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Los Angeles Ballet presents a company of outstanding dancers from local communities and around the world. LAB dance artists master classical as well as contemporary techniques. Bryce Broedell Hometown HobeSound, FL Seasons with LAB 2 Seasons with LAB Bryce began his formal dance training at age six at Artstage in Palm Beach County, Florida. At 11, he was cast as the Prince in Miami City Ballet’s Nutcracker , a role he performed for two consecutive years. The role launched his pre-professional training at Ballet East Palm Beach, Miami City Ballet, School of American Ballet, and Pacific Northwest Ballet. At 16, he moved to Los Angeles to attend The Colburn Dance Academy. After graduating in 2023, Bryce joined Los Angeles Ballet as a trainee and was promoted to Company member for the 2024/2025 season.

Los Angeles Ballet [LAB] Artistic Directors Thordal Christensen and Colleen Neary are pleased to present three stunning works by George Balanchine this spring. Home / News / New Item Dancing into Spring with Three Glorious Balanchine Pieces January 12, 2010 LAB Public Relations See the Music, Hear the Dance January 12, 2010 -- Los Angeles Ballet [LAB] Artistic Directors Thordal Christensen and Colleen Neary are pleased to present three stunning works by George Balanchine this spring. LAB’s spring program See the Music, Hear the Dance from George Balanchine includes the Los Angeles Ballet premieres of Kammermusik No. 2 and Tchaikovsky Piano Concerto No. 2 , and the return of Serenade . Kammermusik No. 2 is a conceptual work of vast liveliness, momentum and accuracy. The complex eight-man ensemble dances to the composition of the orchestra, while two couples move to the passages of the piano in the counterpart. Balanchine created a role for LAB’s Artistic Director, Colleen Neary in the original cast of Kammermusik No. 2. Principal casting includes Melissa Barak, Grace McLoughlin, Andrew Brader and Drew Grant. Another poignant and dramatic Balanchine piece Tchaikovsky Piano Concerto No. 2 is an existing tribute to Petipa, 'the father of classical ballet,” as well as to Tchaikovsky, Balanchine’s “greatest composer." This piece transmits the strength and splendor of majestic St. Petersburg, and exhibits the classical style and romanticism of Balanchine's early Russian training. Monica Pelfrey and Zheng Hua Li are the principal cast. Serenade is Balanchine’s first original ballet created in America. Originally intended as a stage technique lesson, Balanchine incorporated unanticipated rehearsal events into the work. This beloved ballet articulates the abundant and mystifying score of Tchaikovsky's Serenade for Strings in C. Principal casting for Serenade will be varied. DOWNLOAD PDF

Balanchine – Master of the Dance 2017 Divertimento No. 15 – Balanchine / Mozart, Prodigal Son – Balanchine / Prokofiev, Who Cares? – Balanchine / Gershwin LAB Ensemble LAB Ensemble Kenta Shimizu Elizabeth Claire Walker Elizabeth Claire Walker & Kenta Shimizu Elizabeth Claire Walker & Kenta Shimizu Kenta Shimuz Julia Cinquemani & Tigran Sargsyan Bianca Bulle & Tigran Sargsyan LAB Ensemble LAB Ensemble LAB Ensemble Kenta Shimizu Elizabeth Claire Walker Elizabeth Claire Walker & Kenta Shimizu Elizabeth Claire Walker & Kenta Shimizu Kenta Shimuz Julia Cinquemani & Tigran Sargsyan Bianca Bulle & Tigran Sargsyan LAB Ensemble LAB Ensemble LAB Ensemble Kenta Shimizu Elizabeth Claire Walker Elizabeth Claire Walker & Kenta Shimizu Elizabeth Claire Walker & Kenta Shimizu Kenta Shimuz Julia Cinquemani & Tigran Sargsyan Bianca Bulle & Tigran Sargsyan LAB Ensemble Previous Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation. Next Gallery

Los Angeles Ballet presents a company of outstanding dancers from local communities and around the world. LAB dance artists master classical as well as contemporary techniques. Aviva Gelfer-Mundl Hometown Orange County, CA Seasons with LAB 3 Seasons with LAB Gelfer-Mundl was the only American to be named Prize Winner at the prestigious Prix de Lausanne 2018 competition, granting her a scholarship to study at the Vaganova Ballet Academy in St. Petersburg, Russia (class of world-renowned Professor Ludmila Kovaleva). Before that, she studied on scholarship at Paris Opera Ballet School, Bolshoi Ballet School, San Francisco Ballet School, and Canada’s National Ballet School. Aviva is also the Grand Prize winner of the 2018 Music Center Spotlight Awards and the winner of a silver medal at the VII Vaganova Prix International Ballet Competition. She has additionally performed principal roles in numerous international tours and festivals to Japan, Greece, Russia, and across the United States. After graduation, she danced with Boston Ballet (2020-2022) and joined Los Angeles Ballet in 2023. As a company member, she has performed in the company’s productions of The Nutcracker, Justin Peck’s Belles Lettres, Serenade, Melissa Barak’s Memoryhouse 2023/2025, and Edwaard Liang’s Cinderella.

Los Angeles Ballet [LAB] Artistic Directors Thordal Christensen and Colleen Neary are pleased to present Giselle, the timeless story of a young peasant girl who, betrayed by her lover, dies of a broken heart. Home / News / New Item Los Angeles Ballet to Debut Giselle April 19, 2011 LAB Public Relations Season 5 Culminates with a Gala Celebrating the Achievements of Five Years April 19, 2011 – Los Angeles Ballet [LAB] Artistic Directors Thordal Christensen and Colleen Neary are pleased to present Giselle , the timeless story of a young peasant girl who, betrayed by her lover, dies of a broken heart. The Company continues to build a repertoire that underscores the creative leadership of its artistic directors, presenting timeless classics as well as innovative choreography from today’s contemporary artists. The full-length premiere of Giselle , with choreography by Artistic Director Thordal Christensen (after Coralli, Perrot and Petipa), is no exception. First premiered in 1841, Giselle is one of the most beloved romantic ballets of all time, and the title role has given the world its greatest ballerinas. Giselle tells the tragic tale of a maiden who falls in love with Albrecht, a nobleman so enchanted by Giselle’s innocence and purity that he recklessly leads her to believe that he is a peasant. When his betrothed Bathilde reveals his true identity, Giselle dies of a broken heart. Albrecht visits Giselle’s grave, overcome with remorse. Giselle rises to protect him from the Wilis, vengeful female spirits that haunt the forest. Giselle’s forgiving, profound love saves Albrecht from certain death. The Season 5 Gala Celebration will take place Saturday, May 28th at the Broad Stage in Santa Monica, following the 6:00 pm performance of Giselle. The event will hosted by LAB Board members/Gala Co-Chairs Lori Milken, Ghada Irani, and Jeanette Trepp. Designed by Billy Butchkavitz and catered by Wolfgang Puck, guests will be transported to an enchanting ‘Midsummer Night’s Dream’ setting. DOWNLOAD PDF

LAB Co-Artistic Director Colleen Neary will stage Le Palais de Cristal, which was choreographed by George Balanchine for the Paris Opera Ballet in 1947. Home / News / New Item Colleen Neary to Stage Balanchine at the Paris Opera Ballet April 30, 2014 Company News from the Staff at LAB LAB Co-Artistic Director Colleen Neary will stage Le Palais de Cristal, which was choreographed by George Balanchine for the Paris Opera Ballet in 1947. The name was changed to Symphony in C when Balanchine revived it for New York City Ballet. Colleen Neary is a Répétiteur for The George Balanchine Trust.

In July of this year co-artistic director Colleen Neary was in St. Petersburg, Russia, staging George Balanchine’s Symphony in C on the acclaimed Kirov Ballet as part of the city’s White Nights Festival. Home / News / New Item Colleen Neary Travels to St. Petersberg July 1, 2008 Company News from the Staff at LAB As danced Saturday by Eddy Tovar, a permanent LAB guest from Orlando Ballet, James was a bewildered dreamer, torn between the Sylph and Effie. He was also impulsive, flaring into outraged anger upon seeing Madge warming herself by the fire. A handsome, compact dancer, Tovar had the strength and style to execute Bournonville’s demanding foot beats with speed and clarity.

Los Angeles Ballet is the latest company to attempt success against long odds. We wish it well. Home / News / New Item Get the 'pointe' November 26, 2006 Los Angeles Times from the Staff of the LA Times Los Angeles Ballet is the latest company to attempt success against long odds. We wish it well. Of course we're rooting for the new Los Angeles Ballet, which will debut December 2, at the Wilshire Theatre with a production of (what else?) "The Nutcracker. " Still, it's hard to ignore the historical odds against ballet in the L.A. area. The company may begin with the graceful aarabesque of Clara, but we have to brace ourselves for the thud of "Swan Lake's" Odette dumped to the floor during the pas de deux by a feckless Siefried we call "the public." Locally based ballet has been tutu scarce in Southern California. This remains the only U.S. megopolis without a top-tier classical company, despite well-ranked ballet schools that churn out world-class dancers. There have been at least five attempts to launch a premier company in the last decade, and all of them flopped – in one case, owning large sums of money to its dancers. L.A. Ballet – it even rhymes! – seems like a natural for a dynamic metropolitan area with such a love for arts new and old (including an otherwise lively dance scene). It's always been puzzling that we haven't support a world-raned company. But the survival of an elite adn expensive art form is tricky anywhere. Chicago's renowned 50-year old Joffrey Ballet, whose part-time residence in L.A. during the 1980's didn't work out either. Even superstar Ethan Stiefel couldn't bring in the big bucks when he spent a tour as artistic director of Ballet Pacifica, a small Irvine-based company he had hoped to take regional. Now two notable ballet dancers, Thordal Christensen and Colleen Neary, are putting their best slippers forward as artistic directors. Their L.A. Ballet will be affiliated with the respected Westside School of Ballet and make its premanent home at th Malibu Performing Arts Center. In a canny move, its version of "The Nutcracker " will be performed at three venues around the county, hoping to draw views by chopping their commutes. None of the locations are with L.A.'s city limits, but there's time to build toward that. The main issue is whether Southern California will provide enough cash and audience to sustain this latest effort. Perhaps some of the major centers of money in town, such as Hollywood, will see the value in supporting the performing arts. It would help L.A. Ballet delivers the goods, and if ballet fans buy tickets. Then, perhaps, L.A. will be ready for a major jeté forwards in the arts. DOWNLOAD PDF

Los Angeles Ballet presents a company of outstanding dancers from local communities and around the world. LAB dance artists master classical as well as contemporary techniques. Leya Graham Hometown Seasons with LAB 1 Season with LAB Available shortly

Together, along with Julie Whittaker, another ballet-world veteran and executive director of LAB, they created a board of directors. Two years of business planning followed before the company gave its very first performance, The Nutcracker, to favorable reviews in 2006. Home / News / New Item Los Angeles Ballet's Season5 Gala Celebration | Broad Stage Santa Monica May 1, 2011 Giselle is a village girl courted by a prince disguised as a peasant. She falls in love with him, but when she finds out his identity -- and that he’s engaged to someone else -- she loses her mind and dies. End of ballet? Not by a long shot. In Act 2, she appears as a spirit newly enrolled in the ranks of the Wilis, night creatures that wreak vengeance on perjured suitors. Giselle resists her new duties and saves her prince. READ ARTICLE AT SOURCE

Nearly 9,000 Angelenos applauded LAB's The Nutcracker last month at 9 performances at UCLA's Royce Hall, Glendale's historic Alex Theatre, and Redondo Beach Performing Arts Center. Home / News / New Item Los Angeles embraces Los Angeles Ballet's The Nutcracker January 1, 2008 Company News from the Staff at LAB

Something rare is afoot in Los Angeles. To put it simply, “Swan Lake.” Yes, that icon of classical exactitude and style is popping up on stages all over. And the producer turns out to be not some long-standing, well-endowed enterprise on tour here, but the LA Ballet, which is a mere six years old. Home / News / New Item Swan feathers float down on local stages March 14, 2012 LA Observed by Donna Perlmutter Something rare is afoot in Los Angeles. To put it simply, “Swan Lake.” Yes, that icon of classical exactitude and style is popping up on stages all over. And the producer turns out to be not some long-standing, well-endowed enterprise on tour here, but the LA Ballet, which is a mere six years old. Why? Why would brand-name husband/wife directors Thordal Christensen and Colleen Neary be confident enough to mount this behemoth of a ballet? This vast spectacle designed for the likes of kingly companies with multi-millions -- the Bolshoi, American Ballet Theatre, Royal Covent Garden, Royal Danish? Answer: They have the chops now, that is, the dancers, together with their deep, artistic savvy. And they know it. All I did was tip-toe into Royce Hall - the first stop in a city-wide tour of major Southland venues that continues through March 31 - only to discover a production of the Petipa-Ivanov-Tchaikovsky ballet that approximated world-class standards. The capstone of all this cheering came in the second act - you know, the famed lakeside scene, that moonlit mirage with the snowy white swan corps floating about and Prince Siegfried sensing the imminent appearance of his fateful inamorata Odette, aka the Swan Queen, turned from maiden into an avian creature by an evil sorcerer. And when she alit onstage, in the person of Allynne Noelle, the effect was dazzling -- as that first sighting was meant to be. Tall, with perfect proportions and gorgeously tapering long limbs, this Swan Queen had both bird-like spark and human pathos, her hand articulation spelling out regal elegance. She danced with alacrity and definition and fluid musicality. It was as though she’d been in training at Vaganova since adolescence - not a girl from Huntington Beach - although she’d done stints at redoubtable dance oases (National Ballet of Canada, Villella’s Miami City Ballet and not least, Vicky Koenig’s Inland Pacific Ballet). So...with Noelle and a host of others now just in their second season with LAB, Christensen and Neary knew this was their moment. In fact, the bench is deep enough to alternate the lead role, as well as others. But that’s not all. These high-pedigree directors (he a Royal Dane, she a Balanchine Trustee), who have both formerly danced the “Swan Lake” lead roles for years, boast wide contacts for bringing resources to the company -- the dancers, for instance -- and this production, originally designed for Pacific Northwest Ballet. Besides Noelle, who joined LAB only 18 months ago, is Alyssa Bross, the alternate lead. I glimpsed her rehearsing Odile (the Black Swan), and saw richly expressive qualities - she used every enticement to undermine the Prince’s oath to Odette and was a dewy seductress, not the hard, haughty type who would laugh at her easy conquest. And when she danced Odette, it was with aching vulnerability - which belies her photograph on the program book cover, a misleadingly placid look. No wonder Christensen went forward with “Swan Lake.” He knew he’d recruited the talent - many had trained at prestigious schools and had danced with top companies. As Noelle’s and Bross’s partners, both Kenta Shimizu and Christopher Revels acquitted themselves nobly, if not exactly at the danseur level. Guest artist Akimitsu Yahata did his thrilling bravura stuff as the Jester. But down to the last coryphée, the coaching was scrupulous. Everyone had clear focus and a sense of unanimity, even the mimed gestures were natural. What’s more, the muted, old-world sets and costumes looked lovely on the Royce Hall stage, as if made for it. Considering that taped music allows for no moment-to-moment variation, the company coped well. DONNA PERLMUTTER is an ASCAP-Award winning music/dance critic and journalist whose work has appeared in the Los Angeles Times, the New York Times and many other publications. She is also the author of “Shadowplay: The Life of Antony Tudor.” Email her at donna.perlmutter@gmail.com . DOWNLOAD PDF