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Los Angeles Magazine's November 2015 issue features Los Angeles Ballet's female Principal and Soloist dancers in the Fall Fashion spread. Home / News / New Item LAB Dancers Featured in Los Angeles Magazine Fall Fashion Spread October 28, 2015 Los Angeles Magazine by Linda Immediato Los Angeles Magazine's November 2015 issue features Los Angeles Ballet's female Principal and Soloist dancers in the Fall Fashion spread. Principals Allyssa Bross and Julia Cinquemani, and Soloists Bianca Bulle, Kate Highstrete and Chelsea Paige Johnston, were photographed by Henry Leutwyler and styled by Linda Immediato. "Silk chiffon dresses flutter, crystal-covered rompers twinkle, and sequin-etched gowns shine. Who better than members of Los Angeles Ballet— celebrating its tenth-anniversary season—to showcase fall’s high-drama couture and evening looks?" READ ARTICLE AT SOURCE

It’s all shiny and assured good news for Los Angeles Ballet — as well as the evolving character of Princess Aurora — in the lean, deftly satisfying production of “The Sleeping Beauty” that L.A. Ballet founders Thordal Christensen and Colleen Neary have been debuting this winter in four different SoCal theaters. Home / News / New Item Los Angeles Ballet’s Notable “The Sleeping Beauty” March 2, 2015 artsjournal.com by Jean Lenihan It’s all shiny and assured good news for Los Angeles Ballet — as well as the evolving character of Princess Aurora — in the lean, deftly satisfying production of “The Sleeping Beauty” that L.A. Ballet founders Thordal Christensen and Colleen Neary have been debuting this winter in four different SoCal theaters. The third concert in L.A.B.’s year-long Tchaikovsky Trilogy — “Swan Lake” and “Nutcracker” preceded it — this convincing after-Petipa “Sleeping Beauty” is both a great ticket and a heartwarming achievement in a city that is currently a century late in securing a lasting indigenous ballet company. Under Christensen and Neary, the 9-year-old Los Angeles Ballet operates on a crafty, 21st-century model — a sleek company of 37 or so travels with taped music bringing great Balanchine repertory and full-blown story ballets to audiences in their neighborhood theaters. The nomadism is certainly building unshakeable and sophisticated dancers as the years go by, as well as developing convivial, cozy audiences. Last weekend at the handsome Valley Performing Arts Center in Northridge, the 2nd of four “Sleeping Beauty” tour stops, L.A.B.’s company principals comfortably nailed the deviously exposing Petipa feats — multiple turns, brutal balances, leaping jumps, fish dives, et al — while the audience’s relaxed energy organically grew to high enthusiasm. Together, it seemed, mutual energies heated over the 3-act ballet — exactly what should be happening for a young hometown team that’s proving to be a winner. Matching Tchaikovsky’s dreamy score with strong production values goes a long way to cue this fairy tale, and the opulent sets and costumes by David Walker, originally created for a 1977 Royal Ballet production, provide the right note of layered enchantment. Marbled halls and sylvan depths are unfurled, inhabited by a royal court plumed in white wigs and bejeweled velvets, celebrating the arrival of the royal princess. The fairies arrive to the christening in perfect dinner-plate tutus, quirky and courtly spell casters in an ever pleasing array of florals. Though there’s no sustained darkness in this production — the ensuing fights with evil, overlooked Carabosse (Colleen Neary) are settled quickly — the inventive flying-monkey henchman that support the angered fairy, along with Neary’s steely cursing pantomime, provides a successfully sharp and pointed dynamic (not unlike the later, fateful pinprick). After five or more seasons with the troupe, the core of featured principals on Saturday night — Allyssa Bross (Aurora), Allynne Noelle (Lilac Fairy) and Kenta Shimizu (Prince Désiré) — delivered a nucleus of dancing rigor that grounded and carried nearly-three-hours worth of ballet. Without the technical prowess and emotive fire of the two women, in particular, L.A.B’s cheery, streamlined version of the Sleeping Princess story might have looked thin. With their confident skills — Brosse playing up the fancy in a flicked wrist; Noelle using slow port de bras to convey healing benevolence — the simple scenarios were rendered as smart and elegant. The new little touches that Christensen and Neary built into the choreography, like a blind’s man bluff game elaborated with riding crops, are enjoyable, but it’s surely the bountiful evocation of traditional phrases that Neary and Christensen coached from both the principals and the terrific young ensemble dancers that linger in the memory. On Saturday, Brosse’s lilting Aurora hit every pivotal mark: gathering four blooms from her suitors in the famed Rose Adagio with perfect balance, as if we were watching all the blessings she’d received in infancy take flower inside of her. Raising her back leg more and more firmly in attitude as she went on, she was so elevated with power and success by the end that the fast little beat she delivered to her ankle before freezing into her final pose of the scene was like a hat toss in the air. At the next two theaters, the Alex Theatre in Glendale and UCLA’s Royce Hall, Alleynne Noelle and Julia Cinquemani will each take a turn as Aurora, and Brosse will perform as the Lilac Fairy. Shimizu is the only scheduled Prince. After watching this Tchaikovsky Trilogy year — a season of memorable, home-run principal performances in big ballets — audiences will surely, undoubtedly, start to cheer their favorite L.A.B. lead dancers loudly, right out the gate, by next year. The caliber of musicality and interpretation in this evolving company is so good, its starting to throw its taped musical accompaniment into sharp relief. What to tell the young German college student, paying his first-ever visit to Los Angeles, who walked beside me, sharing appreciative smiles for the show as we exited, who said: “This was very good — but excuse me for my question.” He paused with a quizzical expression. “Is there always taped music for this ballet?” “The Sleeping Beauty” continues at the Alex Theatre in Glendale on Saturday March 21 and Royce Hall, UCLA, on Saturday and Sunday March 28-29. For information and tickets:http://losangelesballet.org/. READ ARTICLE AT SOURCE

La Sylphide 2019 Bournonville / Løvenskjold Petra Conti & Tigran Sargsyan Chelsea Paige Johnston, Tigran Sargsyan & LAB Ensemble Petra Conti & Tigran Sargsyan Magnus Christoffersen Chelsea Paige Johnston, Tigran Sargsyan & LAB Ensemble Colleen Neary & LAB Bianca Bulle with Laura Chachich & Shelby Whallon Tigran Sargsyan & LAB Ensemble Petra Conti & LAB Ensemble Colleen Neary & Tigran Sargsyan Petra Conti & Tigran Sargsyan Petra Conti & Tigran Sargsyan Petra Conti, Tigran Sargsyan & LAB Ensemble Petra Conti & Tigran Sargsyan Petra Conti. Tigran Sargsyan & LAB Ensemble Colleen Neary & Tigran Sargsyan Colleen Neary, Tigran Sargsyan & LAB Ensemble Petra Conti & Tigran Sargsyan Chelsea Paige Johnston, Tigran Sargsyan & LAB Ensemble Petra Conti & Tigran Sargsyan Magnus Christoffersen Chelsea Paige Johnston, Tigran Sargsyan & LAB Ensemble Colleen Neary & LAB Bianca Bulle with Laura Chachich & Shelby Whallon Tigran Sargsyan & LAB Ensemble Petra Conti & LAB Ensemble Colleen Neary & Tigran Sargsyan Petra Conti & Tigran Sargsyan Petra Conti & Tigran Sargsyan Petra Conti, Tigran Sargsyan & LAB Ensemble Petra Conti & Tigran Sargsyan Petra Conti. Tigran Sargsyan & LAB Ensemble Colleen Neary & Tigran Sargsyan Colleen Neary, Tigran Sargsyan & LAB Ensemble Previous Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation. Next Gallery

c6f506e5-8f47-45d1-a7f8-6d19bc8ceed4 2024-2025 Season / Ticket Information / Privacy Policy Privacy Policy Los Angeles Ballet knows that you care how information about you is used and shared, and we appreciate your trust. The following sets forth our policy regarding the privacy of those who visit Los Angeles Ballet's website. By visiting the Los Angeles Ballet website, you are accepting the practices described in this Privacy Notice. Personal Information Collected by Los Angeles Ballet The information we learn from our visitors and customers helps us personalize and continually improve your experience at our website. Here are the types of information we gather. Information You Give Us: We receive and store any information you enter on our website or give us in any other way with the exception of credit card or banking information. Los Angeles Ballet does not save, store or retain credit card or banking information. You can choose not to provide certain information. 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Balanchine Black & White 2019 Agon – Balanchine/Stravinsky, Concerto – Barocco Balanchine/Bach, Apollo – Balanchine/Stravinsky Jeongkon Kim, Eris Nezha, Tigran Sargsyan & Magnus Christoffersen LAB Ensemble Julianne Kinasiewicz with Jeongkon Kim & Magnus Christoffersen Petra Conti & Eris Nezha Petra Conti & Eris Nezha Tigran Sargsyan with Hannah Keene & McKenzie Byrne Petra Conti, Jasmine Perry, Laura Chachich with Tigran Sargsyan Petra Conti & Jasmine Perry with Tigran Sargsyan Petra Conti Petra Conti & Tigran Sargsyan Petra Conti, Jasmine Perry, Laura Chachich with Tigran Sargsyan Petra Conti, Jasmine Perry, Laura Chachich with Tigran Sargsyan Petra Conti, Jasmine Perry & LAB Ensemble Petra Conti & Jasmine Perry Petra Conti, Jasmine Perry & LAB Ensemble Petra Conti, Magnus Christoffersen & LAB Ensemble Jeongkon Kim, Eris Nezha, Tigran Sargsyan & Magnus Christoffersen LAB Ensemble Julianne Kinasiewicz with Jeongkon Kim & Magnus Christoffersen Petra Conti & Eris Nezha Petra Conti & Eris Nezha Tigran Sargsyan with Hannah Keene & McKenzie Byrne Petra Conti, Jasmine Perry, Laura Chachich with Tigran Sargsyan Petra Conti & Jasmine Perry with Tigran Sargsyan Petra Conti Petra Conti & Tigran Sargsyan Petra Conti, Jasmine Perry, Laura Chachich with Tigran Sargsyan Petra Conti, Jasmine Perry, Laura Chachich with Tigran Sargsyan Petra Conti, Jasmine Perry & LAB Ensemble Petra Conti & Jasmine Perry Petra Conti, Jasmine Perry & LAB Ensemble Petra Conti, Magnus Christoffersen & LAB Ensemble Previous Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation. Next Gallery

A celebration of George Balanchine’s life, choreography and his time working in Hollywood with performances of seven of his greatest ballets and discussions with noted dance critics, historians and répétiteurs of The George Balanchine Trust Home / News / New Item Los Angeles Balanchine Presents the Balanchine Festival February 1, 2013 LAB Public Relations Balanchine GOLD (March/April 2013) and Balanchine RED (May/June 2013) A celebration of George Balanchine’s life, choreography and his time working in Hollywood with performances of seven of his greatest ballets and discussions with noted dance critics, historians and répétiteurs of The George Balanchine Trust at: Redondo Beach Performing Arts Center Royce Hall – UCLA Valley Performing Arts Center – CSU Northridge Alex Theatre – Glendale Carpenter Performing Arts Center – CSU Long Beach Los Angeles Ballet presents its Balanchine Festival , celebrating the genius of the most important and influential choreographer of the 20th century. Extending over three months, the Festival centers on seven of Balanchine’s greatest ballets performed in two programs (GOLD and RED), presented at each of LAB’s five home theaters. Special Festival events will include discussions and interviews with those who worked with Balanchine, and an examination of Balanchine’s Hollywood years with screenings of his film choreography. Los Angeles Ballet co-artistic directors Thordal Christensen and Colleen Neary assembled the program to represent Balanchine in his many styles and eras. Both Christensen and Neary danced with Balanchine’s New York City Ballet. Balanchine personally selected Neary to stage his ballets, and to become a répétiteur for The George Balanchine Trust. She has staged his ballets for major companies in America and internationally, including the Paris Opera Ballet, the Bolshoi Ballet, the Mariinksy (formerly Kirov Ballet) and American Ballet Theatre, to name a few, as well as for Los Angeles Ballet. “Selecting only seven ballets from the rich trove Balanchine created over the decades was not easy,” Christensen said. Neary added, “Each of these ballets has a specific mood and reflects a distinct musical and choreographic composition and style. Each ballet also has stories surrounding its creation, the music, and those who danced it, which will be part of the conversations that ticket holders can also experience as part of the performances.” Balanchine GOLD includes La Sonnambula , a one-act story ballet with love, jealousy, murder and a mysterious sleepwalker; Concerto Barocco, one of Balanchine’s signature works set to Bach’s Concerto in D-minor for Two Violins ; Tchaikovsky Pas de Deux , a bravura duet set to what was the original music for the Black Swan pas de deux; and Four Temperaments, with music Paul Hindemith composed at Balanchine’s request and wherein the choreographer fused classical and contemporary movement to explore the medieval “humors” attributed to the human body. Balanchine RED opens with another one-act story ballet, La Valse , where Maurice Ravel’s music is the backdrop for a young woman’s fascination with a sinister figure at a ball. Agon employs Igor Stravinsky’s score for a series of contests among the dancers, and Balanchine returns to Stravinsky for Rubies , the jazzy, exuberant center section of the full length ballet, Jewels . George Balanchine, (or Mr. B as he was called by those who knew and worked with him), began his career in Russia, built his reputation as a choreographer at Sergei Diaghilev’s Ballet Russe de Monte Carlo, then came to the United States where he established the School of American Ballet and built what became the New York City Ballet. But Balanchine also spent time in Hollywood, often choreographing for his then wife Vera Zorina. Balanchine’s time in Hollywood is one of the aspects of his career that will be explored by a rotating roster of guest commentators that includes arts journalists Lewis Segal, Victoria Looseleaf, and Sasha Anawalt, and Balanchine répétiteurs including Colleen Neary, her sister Patricia Neary, Kent Stowell and Francia Russell. During his life Balanchine selected répétiteurs authorized to stage his ballets. Since his death in 1983, The Balanchine Trust and its répétiteurs have continued to ensure the integrity of the staging of Balanchine’s ballets while introducing new generations to Balanchine’s legacy. (The George Balanchine Trust, established in 1987 with the mission of preserving and protecting Balanchine’s creative works, is the center from which the business operations relating to the licensing of George Balanchine’s creative output emanate. The Trust has the responsibility of disseminating and protecting the integrity and the copyrights of George Balanchine’s work in the present and for the future, and assigns répétiteurs to teach and coach Balanchine ballets around the world.) “April 30, 2013 marks the 30th anniversary of Mr. B’s death,” Christensen noted. “We had added two more theaters for a total of five home venues, and as Los Angeles Ballet was entering its seventh season in 2012-2013, it seemed the appropriate time for a festival to celebrate Balanchine’s genius and life. It was a happy coincidence when the Music Center announced its festival celebrating the 100th anniversary of Igor Stravinsky’s Rite of Spring, L.A.’s Rite: Stravinsky, Innovation, and Dance. ” “Our Balanchine Festival fit like a glove with the Stravinsky festival,” Neary said. “Balanchine and Stravinsky were great friends and loved to collaborate. With Agon and Rubies already part of Los Angeles Ballet’s Balanchine Festival, we were very pleased with the invitation to perform those ballets this summer as part of the Stravinsky festival to honor both Balanchine and Stravinsky at the same time.” 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. Akimitsu Yahata Hometown Tokyo, Japan Schools New National Ballet School, School of Tokyo City Ballet, Kiyoko Ishii Ballet Studio Companies National Ballet of Japan Los Angeles Ballet 6th Season

I love ballet. I love the grace, the magic, the sheer beauty of it all. But, once in a while, ballet isn’t merely attractive young dancers in white tutus, assembling in lovely tableaus to strains of Mozart and Delibes. Home / News / New Item Los Angeles Ballet's 'New Wave LA' A Company for the 21st Century May 21, 2010 Culturespot LA by Penny Orloff I love ballet. I love the grace, the magic, the sheer beauty of it all. But, once in a while, ballet isn’t merely attractive young dancers in white tutus, assembling in lovely tableaus to strains of Mozart and Delibes. Once in a while, ballet is the tumultuous and heartstopping and transformative theatrical experience I had on May 15, when Los Angeles Ballet presented “New Wave LA” at the Redondo Beach Performing Arts Center. Back in the 1950s my ex-ballerina mother hoarded her housekeeping money in order to take my sisters and me to the ballet. Having fallen in love with Tchaikovsky and Petipa at a young age, she favored classic “white” ballets like “Swan Lake” and other traditional works of the late 1890s and early 20th century. It wasn’t until I relocated to New York in the 1970s that I experienced what decades in the New World had done to an elitist European amusement. George Balanchine had revolutionized classical ballet, working with Stravinsky, Hindemith, and other giants of 20th-century music and creating a uniquely American style reflective of a post-war, increasingly urban culture. My mother found it disturbing, but I was an avid member of the young audience that flocked to the New York State Theatre, taking ownership of this suddenly relevant iteration of a traditional art form. In the 35 years since, I have seen the new audiences of the ’70s grow old and gray – like myself. Except for the young mothers of each new crop of baby ballerinas, today the majority of my fellow balletomanes – like the aging devotees of classical music and opera – are on the far side of the hill, a disturbing percentage of our decreasing numbers rigidly clinging to an increasingly irrelevant artistic sensibility. Or so I thought. Last week I watched, incredulous, as the lobby of the Redondo Beach Performing Arts Center filled with a hyperactive horde of tattooed and pierced twenty- and thirty-somethings, eager – nay, impatient – for the unveiling of the four world premieres featured in Los Angeles Ballet’s production of “New Wave LA.” Inside the theater the electricity was palpable, the buzz deafening. No polite hand clapping greeted the appearance of co-artistic directors Colleen Neary and Thordal Christensen. Instead, cheers worthy of European soccer erupted as the couple stepped on stage to welcome their audience. Unfamiliar with ballet, most of this young crowd has discovered dance through “American Idol,” “Dancing With the Stars,” and “So You Think You Can Dance,” where passionate demonstration has supplanted decorous appreciation. Largely ignorant of the current crop of TV dance shows, I was not acquainted with the work of Mandy Moore, Travis Wall, and Sonya Tayeh, all of “So You Think You Can Dance.” Together with MYOKYO founder and choreographer Josie Walsh, these young artists represent a new voice, new dance vocabularies, performed to new music – with nary a tutu in sight. Mandy Moore’s “Wink” opens the show, dealing with the tangled web of Internet dating “and all the awkwardly beautiful moments along the path to finding true love,” she writes in the program notes. The curtain rises on a lineup of 10 characters who deliver “profile” introductions directly to the audience: “Hi, I’m Chelsea…” “I love walks on the beach…” “I’m an Aries…” The music by Cirque Eloise underscores Moore’s complex interactions. She expertly weaves the daring with the lyrical, the humorous with a thread of melancholy, as richly detailed ensembles give way to a quasi-traditional pas de deux. The audience, unused to the capabilities of bona fide ballet dances, rewards individual virtuosity and group precision with a torrent of screams and applause – and just like that, we’re not in Kansas, anymore. After a brief intermission, choreographer and former international ballerina Josie Walsh, founder of MYOKYO Renegade Rock Ballets, offers “Transmutation.” The specially commissioned, driving rock score by Walsh’s husband, Paul Rivera, Jr., pulses and throbs as three couples act out the visceral “interplay between the male and female energies” in a tour de force display of physical exertion. Walsh told me that the greatest challenge of this piece was the sheer endurance factor for the dancers. Pressed to their limits, all six reveal uncommon depth of personality and character. Tiny Grace McLoughlin, especially, unleashes a raw, wild abandon. She is like an animal possessed. Drew Grant, Andrew Brader, and Alexander Forck are individually and collectively astonishing, as they negotiate the tremendous athleticism of Walsh’s huge compound leaps and spectacular lifts. The audience screams itself hoarse, until shocked into pin-drop silence by the transcendent finale. Travis Wall’s “Reflect. Affect. Carry On…” is a time-bending, nonlinear love story set to Queen’s “Bohemian Rhapsody,” U2’s “With or Without You,” and Sigur Ros’ “Samskeyti.” His star is rapidly rising on the contemporary dance scene; nevertheless he is a master of classical ballet technique, infusing his sui generis style with enough tradition to satisfy the most rabid haters of the unfamiliar. Through a personal vocabulary of movement, Wall creates a surreal dreamscape of desire, memory, yearning. One cannot begin to guess what this 22-year-old phenom may become. The dancers execute the unique combinations with total commitment. At one point, their meticulous and precise delivery of an extended fugue provokes a long, audible gasp from the previously vociferous audience – literally taking our breath away. Sonya Tayeh’s “the back and forth” is a sexy, wild ride of a finale to music of the Paris Gotan Trio, Björk, and tango king Astor Piazzolla. The alchemy of Tayeh’s quirky, signature style of “combat jazz” melded with virtuoso ballet elements whips the packed house into a frenzy. The bullfight-inspired dance features unexpected, increasingly dramatic interactions between the bare-chested men and flamenco-clad women. This is dance as unbridled passion, dance as spectacle, dance as Theatre. The audience was on its feet, screaming even before the curtain came down. The dancers took a bow to deafening roars. The ovation surged again with the appearances of Neary, Christensen, and the four choreographers. After the show, hundreds of fans stood in long lines to get autographs and have their photographs taken with the young choreographers. I’d conclude that Neary and Christensen’s experiment bodes well for the future of classical ballet. Catch Los Angeles Ballet’s “New Wave LA” on May 22 at 7:30 p.m. at the Alex Theatre, Glendale; on May 29 at 2 p.m. (just added) and 7:30 p.m. (sold out) and May 30 at 2 p.m. (sold out) at the Broad Stage, Santa Monica. Tickets and information: (310) 998-7782 or www.losangelesballet.org . DOWNLOAD PDF

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Continuing her global work as a member of the George Balanchine Trust, Colleen Neary has just returned from Moscow's Bolshoi Ballet where she staged and rehearsed Symphony in C. Next she is off to Portland, Oregon to restage Rubies, a work she originally set there in 2003. Home / News / New Item Colleen Neary travels to Portland & Moscow January 1, 2008 Company News from the Staff at LAB The ballet ends with a terrible image. Madge pulls the fallen James up by the hair to see his beloved but dead Sylph float up into the heavens. With insouciant flicks of her wrists, Madge then dismisses James’ lifeless form. All in a day’s work, she seems to say, and easy work at that. Final curtain.

For all the opening-night jitters and imperfections, Los Angeles Ballet gave a credible, even moving, performance of “Giselle” on Saturday at the Redondo Beach Performing Arts Center. The essential Giselle experience remained intact: Love survives the grave, bestows forgiveness on an unworthy bad boy and transforms him into a decent human being. Home / News / New Item Los Angeles Ballet Dances 'Giselle' May 15, 2011 Los Angeles Times by Chris Pasles For all the opening-night jitters and imperfections, Los Angeles Ballet gave a credible, even moving, performance of “Giselle” on Saturday at the Redondo Beach Performing Arts Center. The essential Giselle experience remained intact: Love survives the grave, bestows forgiveness on an unworthy bad boy and transforms him into a decent human being. Hmm. Sounds like the plot of a movie or two, or a dozen. 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. Allyssa Bross danced the title role with appealing sweetness and vulnerability. She made her mad scene nuanced and sparked with creepiness, and if she had some unsteadiness in her ghostly extended balances, she more than compensated elsewhere with poise. Giselle’s character is straightforward, but that of Prince Albrecht is ambiguous. Is he merely dallying, really in love, torn between court and country? Unfortunately, Christopher Revels gave no clear take on the prince’s motives, although his repentance and sense of loss at the end looked genuine. Revels danced with princely bearing, partnered with consideration, and executed his second act marathon challenges with strength, though he looked more on the edge of real rather than dramatic exhaustion. Chehon Wespi-Tschopp was an intense Hilarion, a villager also in love with Giselle. His prestissimo spins to his death at the hands of the Wilis were terrific. Kate Highstrete made Myrtha, the Queen of the Wilis, an other-worldly creature of pitiless steel. The Peasant Pas de Deux was danced by Allynne Noelle and Zheng Hua Li (who alternates in the role of Prince Albrecht). Noelle was sunny and graceful. Li had crisp, flashing legwork, but tended to land badly. The corps looked well-schooled, although earthbound. The company danced to pre-recorded music. The production was from the Louisville Ballet. Ben Pilat provided the dramatic lighting. L.A. Ballet company co-director Thordal Christensen tweaked the traditional Coralli-Perrot-Petipa choreography, cutting some virtuosic demands, adding some mime, and inventing a poor couple who provide their cottage as the prince’s local digs. Christensen’s wife and company co-director, Colleen Neary, enacted Giselle’s mother, Berthe, with fuss and worry. With this touchstone Romantic ballet, LAB closes its fifth season with a stronger than ever claim for community support. Performances continue Saturday at the Alex Theatre in Glendale and the following weekend at the Broad Stage in Santa Monica. 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. 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.