Los Angeles Ballet Artistic Directors Thordal Christensen and Colleen Neary are pleased to announce the company’s fifth season as Los Angeles’ own professional ballet company. Home / News / New Item Los Angeles Ballet Announces Season 5 August 10, 2010 LAB Public Relations Celebrating Landmark Fifth Season! (Los Angeles, CA) Los Angeles Ballet Artistic Directors Thordal Christensen and Colleen Neary are pleased to announce the company’s fifth season as Los Angeles’ own professional ballet company. This season the company will dazzle viewers with The Nutcracker , Balanchine masterworks, a World Premiere , and the beloved romantic ballet Giselle . Back to thrill audiences during the holidays and begin the fifth season, LAB will perform its Neary- Christensen choreographed production of The Nutcracker , the city's most enduring holiday tradition. Celebration comes to Los Angeles in March, featuring Balanchine's luscious Raymonda Variations and riotous Western Symphony , plus another World Premiere created specifically for LAB dancers by the returning Sonya Tayeh. In May, the 2010-2011 landmark season culminates with the timeless, full-length romantic Giselle, with choreography by Artistic Director Thordal Christensen, (after Coralli, Perrot and Petipa). The Season 5 Gala Celebration will take place on Saturday May 28th, 2011, at the Broad Stage in Santa Monica, after a performance of Giselle. Additionally, Los Angeles Ballet continues its commitment to the workshop process, to the identification and nurture of emerging choreographers, composers and designers. LAB’s Choreographic Workshop will take place May 24, 2011. 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. DOWNLOAD PDF

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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. Jasmine Perry Hometown Charlotte, North Carolina Schools The School of American Ballet, Charlotte Ballet (formerly North Carolina Dance Theatre) Companies Los Angeles Ballet 9th Season

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. Julianne Kinasiewicz Hometown Portage, IN Seasons with LAB 8 Seasons with LAB Julianne began dancing at age four at the Ruth Page School of Dance, where she trained under Patricia Klekovic, Dolores Lipinski Long, and Birute Barodicaite. After attending two summer courses at The School of American Ballet, she was invited to join them as a full-time student in New York. At SAB, Julianne danced in many lecture demonstrations and donor performances, as well as performances of "Scenes de Ballet" and "The Sleeping Beauty" with the New York City Ballet. In her graduation workshop performance, she danced a Principal role in George Balanchine's "Western Symphony" and led roles in Justin Peck's "In Creases". Julianne was also awarded the Mae L. Wien Award for Outstanding Promise. At 17, Julianne received a corps de ballet contract with the Los Angeles Ballet. Now in her seventh season, some of her notable repertoire have included George Balanchine's "Western Symphony", "Concerto Barocco", as well as Principal roles in “Agon" and “Serenade”. Other notable roles include principal and soloist roles in Christopher Wheeldon’s “Fool’s Paradise”, Justin Peck’s “Belles Lettres”, and Edward Liang’s “Cinderella”. Outside of her work with the Los Angeles Ballet, Julianne is dedicated to nurturing the next generation of dancers, teaching and coaching students of all ages throughout Los Angeles. In addition to her artistic pursuits, she is currently earning a degree in Business Administration.

Ten Los Angeles Ballet dancers were profiled recently on Refinery29.com. Home / News / New Item LAB Dancers Featured on Refinery29.com February 1, 2013 Company News from the Staff at LAB Ten Los Angeles Ballet dancers were profiled recently on Refinery29.com. The feature includes 20 photographs taken of the dancers at LAB's studio and a variety of insights about their experiences, pre-performance habits, and activities outside of ballet.

The audition submission should begin with a short technical demonstration at the barre and center. At the barre the student must include plies, tendues, ronde de jambe, passé and adagio developpe en croix. In the center the dancers must include adagio, pirouettes, petite and grand allegro.  Apply for an Audition / 2026/2027 Season Company and Trainee Auditions Audition Date: Saturday, February 7th, 2026. 12pm – 2pm Place: Los Angeles Ballet Studios Los Angeles Ballet is seeking strong, classically trained dancers for the 26/27 Season. You must submit the requested materials to receive an invitation from the company to attend the audition. Please submit a resume, headshot, and full-body dance shot. You will be notified via email of your invitation to attend the audition. Video is acceptable if you are unable to come in person. Video footage must be recent (in the last 3 months) and include the following: Barre – fast tendus, fondus Center – Adagio, pirouettes, petit allegro, grand allegro Performance footage Do not arrive for the audition unless you have received an invitation from Los Angeles Ballet. Audition Guidelines The audition submission should begin with a short technical demonstration at the barre and center. At the barre the student must include plies, tendues, ronde de jambe, passé and adagio developpe en croix. In the center the dancers must include adagio, pirouettes, petite and grand allegro. Please also include a classical variation, (on pointe for women) one to two minutes in length. If the dancer does not have a variation prepared, please include a pointe combination for ladies and a combination with jumps (both double tour en l’air and saut de basque) for men. A contemporary solo may also be submitted, but is not a requirement Girls should wear a black leotard and either pink ballet shoes with pink tights or flesh-toned ballet shoes and tights. Boys should wear tights, shoes, and a fitted shirt light-colored preferably in a light color (white or grey) or contrasting color to the surrounding environment. Please no warm-ups, skirts, or baggy clothing. Full Name Age Home Phone Number Email Current Affiliations Upload Resume Select PDF, TXT, DOC, PAGES Max File Size: 15Mb Upload Headshot Select JPG or PNG Max File Size: 15Mb Upload Full Body Photo Select JPG or PNG Max File Size: 15Mb Upload/Share a demonstration of Barre and Center (At least one upload or URL required) Select File MOV, MP4 - Max File Size 15Mb Upload/Share a demonstration of a Classical Variation (At least one upload or URL required) Select File MOV, MP4 - Max File Size 15Mb Upload/Share a demonstration of a Contemporary Solo (Optional) Select File MOV, MP4 - Max File Size 15Mb Full Name / Guardian (If Trainee is under 18) REGISTER Upon submitting, please allow a moment for your files to upload. Once your submission have replaced the placeholders below, you may close the page. Date of Birth * * required Cell Phone Number Current Citizenship / Visa Status Full Name of Minor Thank you for your application submission An error occurred. Please make sure all the required fields are filled.

Watch at CCTV.com Home / News / New Item A backstage look at the Nutcracker December 14, 2014 CCTV.com by CCTV Watch at CCTV.com READ ARTICLE AT SOURCE

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

Highly pedigreed? You bet. Well-known in the dance world? No question. But Thordal Christensen and Colleen Neary have also passed the acid test: As directors of the Los Angeles Ballet, now in its sixth season, they can take a collective bow for their thoroughly sterling production of “Swan Lake.” Home / News / New Item Los Angeles Ballet's 'Swan Lake' is full of grace March 12, 2012 Glendale News-Press by Donna Perlmutter Highly pedigreed? You bet. Well-known in the dance world? No question. But Thordal Christensen and Colleen Neary have also passed the acid test: As directors of the Los Angeles Ballet, now in its sixth season, they can take a collective bow for their thoroughly sterling production of “Swan Lake.” Just remember, not any old company can stage this icon of classical ballet. Oh, many with lesser artistic resources try. But to put on a show of so fine a caliber normally takes a bigger-than-big budget, dancer bench-depth, masterly and dedicated coaching. What’s more, they mounted their full-length extravaganza with the requisite number of performances. “And that meant we had to find venues all over the city.” says Christensen, who led the eminent Royal Danish Ballet and is steeped in its standards of style and rigorous technique. “We had to travel to the audiences,” he adds, noting that people will venture out to an attraction, so long as it doesn’t mean long drives through congested traffic. So from Westwood to Long Beach, with a stop at the Alex Theatre on March 17, the company is showing off its current jewel, “Swan Lake,” all feathery finery, moonlit mirages, pathos born of misfortune, good-versus-evil conflict. Thus the mountain comes to Muhammad. And it is a mountain, what with the full-scale sets originally built at Pacific Northwest Ballet, Christensen’s last post before he decamped to Los Angeles. “In fact,” says the Danish-born danseur, “when you think about it, it’s madness, dealing with four separate acts. We’ve had to extend intermission lengths just to do the set changes,” and that took the crew a week of practice just to learn how to move things along faster, he added. But the décor is eminently beautiful, old-school poetic without looking old — or worn — and it accommodates to any standard proscenium. The costumes, too, are delicate pastels, setting off the pristine-white lakeside scenes. What catches attention, though, apart from these details, is the totality of the spectacle — the dancers’ total immersion in the action and feeling states, be they coryphees, peasants, courtiers, royalty. As to the coaching, well, it is meticulous — in contrast, even, to some A-circuit “Swan Lake” productions, like the last one American Ballet Theatre brought on tour to L.A., where we saw casts that suffered rehearsal deficits. In their prime, both Christensen and Neary danced the lead roles many times. With his deep background in Bournonville, not to mention her prominence as a member of the Balanchine Trust, it’s no surprise that the choreography they adapted from the Petipa/Ivanov model is wonderfully evocative and rational. So, too, is the mime clear, uncluttered and natural — a feat in itself for American dancers seldom exposed to courtly behavior. But then the troupe’s roster now stands higher than ever in its level of virtuosity — thanks mostly to Neary’s recruitment of dancers from companies on which she has set Balanchine works, among them ABT and Russia’s Mariinsky, formerly the Kirov. Still, holding on to them is difficult. “We lose roughly a third each year,” says LAB executive director Julie Whittaker. “But that’s par for the course with all companies.” Corina Gill was stolen by the Boston Ballet, she recalls. And some leave because of the low salaries. “Most of our dancers stay, though. The trick is to keep them performing and not laid off for any substantial period of time.” So far, artistry runs the gamut at Los Angeles Ballet. It also keeps the wheel turning. And this “Swan Lake” does the trick. 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

Available Shortly Home / Staff / Administrator Lizzy Rothstein Physical Therapist Available Shortly

Available Shortly Home / Staff / Administrator Donna Wieczorkowski Development Operations & Database Manager Available Shortly

Eric is a seasoned box office operations & ticketing management professional who first began as a Ticket Seller with AEG/Staples Center in 2008 and was soon promoted within AEG to Manager, Box Office Operations at the formerly named Nokia Theatre L.A. LIVE (now Peacock Theater) in Los Angeles. He has had further box office and ticketing management leadership roles with AEG and the Los Angeles Clippers, gaining valuable management and guest experience knowledge that he has applied to his role as LAB’s Box Office Manager since 2022. Home / Staff / Administrator Eric Gonzalez Director of Box Office Operations Eric is a seasoned box office operations & ticketing management professional who first began as a Ticket Seller with AEG/Staples Center in 2008 and was soon promoted within AEG to Manager, Box Office Operations at the formerly named Nokia Theatre L.A. LIVE (now Peacock Theater) in Los Angeles. He has had further box office and ticketing management leadership roles with AEG and the Los Angeles Clippers, gaining valuable management and guest experience knowledge that he has applied to his role as LAB’s Box Office Manager since 2022.