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Los Angeles Ballet artistic directors Thordal Christensen and Colleen Neary announced the promotion of Zheng Hua Li to Principal Dancer and the promotion of Bianca Bulle, Alexander Castillo, Julia Cinquemani, and Chelsea Paige Johnston to Soloists. Home / News / New Item Five Dancers Promoted March 7, 2013 LAB Public Relations Los Angeles Ballet annnounces the promotion of five dances featured in the three-month Balanchine Festival beginning March 9, 2013 Los Angeles Ballet artistic directors Thordal Christensen and Colleen Neary announced the promotion of Zheng Hua Li to Principal Dancer and the promotion of Bianca Bulle, Alexander Castillo, Julia Cinquemani, and Chelsea Paige Johnston to Soloists. All five dancers will be featured in Balanchine Festival GOLD, opening Sat., March 9, 2013, and Balanchine Festival RED, opening Sat., May 11, 2013. Each program will be performed at Los Angeles Ballet’s five home theaters: Redondo Beach Performing Arts Center, Royce Hall/UCLA, Valley Performing Arts Center, Alex Theatre, and Carpenter Performing Arts Center. Zheng Hua Li was born and trained in Shen Yang, China. He danced with Guangzhou Ballet before joining Los Angeles Ballet. This is his fourth season with Los Angeles Ballet. During the upcoming Balanchine Festival GOLD, Mr. Li will dance the Poet in La Sonnambula and the lead in Phlegmatic in The Four Temperaments. Since joining LAB, Mr. Li has danced featured roles including the Cavalier in The Nutcracker, the Pas de Trois in Swan Lake and danced in LAB’s world premiere programs NewWaveLA and NextWaveLA in choreography by Sonya Tayeh, Mandy Moore, Travis Wall, and Stacy Tookey. Li joins current principal dancers Allyssa Bross, Allynne Noelle, Christopher Revels and Kenta Shimizu. Bianca Bulle was born in Gold Coast, Queensland, Australia where she trained at Ransley Ballet and Dance Centre before training at New York’s School of American Ballet. This is her second season with Los Angeles Ballet. During Balanchine Festival GOLD Ms. Bulle will dance the second lead (2nd Violin) in Concerto Barocco, and Second Theme in The Four Temperaments. Ms. Bulle has danced featured roles in The Nutcracker including Rose in Waltz of the Flowers and Marie (Sugar Plum Fairy), as well as in LAB’s world premiere program NextWaveLA in choreography by Kitty McNamee and Josie Walsh. Alexander Castillo was born in Bayside, New York and trained at Ballet Academy East, Boston Ballet, and School of American Ballet. This is Mr. Castillo’s third season with Los Angeles Ballet. During Balanchine Festival GOLD Mr. Castillo will dance the male lead in Concerto Barocco and Third Theme in The Four Temperaments. He has been featured in the Arabian dance in The Nutcracker, and the Pas de Trois in Swan Lake, as well in LAB’s world premiere program NextWaveLA in choreography by Sonya Tayeh and Stacey Tookey. Julia Cinquemani was born in Dallas, Texas and trained at the Dallas Ballet Center, Pacific Northwest Ballet and School of American Ballet. This is her third season with Los Angeles Ballet. During Balanchine Festival GOLD, Ms. Cinquemani will dance Third Theme in The Four Temperaments and the lead (1st Violin) in Concerto Barocco. Ms. Cinquemani has been featured in the Pas de Trois and the Russian dance in Swan Lake, as the Arabian and Marie (Sugar Plum) in The Nutcracker, as well as in LAB’s world premieres program NextWaveLA in choreography by Sonya Tayeh and Josie Walsh. Chelsea Paige Johnston was born in Carlsbad, California and trained with San Elijo Dance and Music Academy, Pittsburgh Ballet Theatre School and UC Irvine. She danced with Pittsburgh Ballet Theatre and Milwaukee Ballet II before joining Los Angeles Ballet. This is her fourth season with Los Angeles Ballet. During Balanchine Festival GOLD, Ms. Johnston will dance The Sleepwalker in La Sonnambula. Since joining Los Angeles Ballet she has danced the title role in Giselle, the Russian dance in Swan Lake, Marie (Sugar Plum) in The Nutcracker, and was featured in LAB’s world premiere programs NewWaveLA and NextWaveLA in choreography by Mandy Moore, Travis Wall, Kitty McNamee, and Josie Walsh. DOWNLOAD PDF

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Los Angeles Ballet first danced “Giselle” in its fifth season. Now, at the start of Season 10, it has returned to the full-length Romantic tragedy with great freshness and authority. Home / News / New Item Review: Missteps aside, Los Angeles Ballet brings new life to 'Giselle' October 4, 2015 Los Angeles Times by Lewis Segal Los Angeles Ballet first danced “Giselle” in its fifth season. Now, at the start of Season 10, it has returned to the full-length Romantic tragedy with great freshness and authority. At the Redondo Beach Performing Arts Center on Saturday, the level of classical dancing remained praiseworthy, but the big news involved the attempt to bolster the work’s dramatic credibility in Act 1. The unfamiliar Desmond Heeley scenery and costumes (borrowed from the National Ballet of Canada) and the unusually detailed and convincing portrayal of the jealous Hilarion by Alexander Castillo showed that this traditional staging of “Giselle” was being reconsidered or improved. In the title role, longtime principal Allyssa Bross again displayed a touching sweetness and vulnerability in her early scenes, but the superb fierceness and fury of her mad scene proved a welcome innovation. As Albrecht, Kenta Shimizu always partnered her skillfully, but the passion in his performance flowered in Act 2, where his high Romantic fervor exceeded anything I’ve seen in Shimizu’s seven seasons with the company. Julia Cinquemani and Dustin True brought a sense of occasion and honed technical abilities to the Peasant Pas de Deux, along with a brilliant knack for recovering perfectly from slips -- she at the beginning of a solo, he at the end. Indeed, True’s improvisation could well become an original virtuoso step-combination, if he can repeat it. A few small problems remained in Act 1: Berthe’s incomprehensible pantomime-speech, for example -- not how it was executed by company co-artistic director Colleen Neary, but the mime-text itself. In Act 2 the company’s refined classicism couldn’t offset major dramatic lapses. Kate Highstrete’s technically flawless but small-scaled dancing and mime as Myrtha never dominated the stage, the corps or the men intended to be her victims. The role needed a diva, and it didn’t help that everyone stood around doing nothing in particular when Myrtha’s evil power should have faltered in the face of true love -- or the magic of the cross in some stagings. What’s more (spoiler alert), the dawn of Albrecht’s salvation became merely a music cue in this version, without the change in lighting or corps attack that can and should be thrilling. One final disappointment: our last look at Albrecht. When you’re walking away from love beyond the grave, dignity is no substitute for heartbreak. That left Act 2 all about footwork: satisfying work by the corps, even better when the deep rapport between Bross and Shimizu informed their dancing. Some of Adolphe Adam’s music (on tape) seemed a mite slow for this spirited Giselle. It would be exciting to find her exploiting sudden tempo shifts. But her floating pointe-work and Shimizu’s climactic batterie set the seal on an evening that sent Los Angeles Ballet into an ambitious season of full-length classics, boldly and confidently. ---------- “Giselle” Who: Los Angeles Ballet Where: Program repeats at 7:30 p.m. Oct. 24 at the Alex Theatre, 216 N. Brand Blvd., Glendale, and at 2 p.m. Nov. 1 at Royce Hall at UCLA Tickets: $31-$99 Info: (310) 998-7782, losangelesballet.org READ ARTICLE AT SOURCE

La Sylphide 2014 Balanchine / Tchaikovsky Ulrik Birkkjaer & Allynne Noelle LAB Ensemble Colleen Neary, Ashley Millar & LAB Ensemble Kenta Shimizu & LAB Ensemble Kenta Shimizu & LAB Ensemble Kenta Shimizu & LAB Ensemble Allynne Noelle, Ulrik Birkkjaer & LAB Ensemble Allyssa Bross & Kenta Shimizu Allynne Noelle & Ulrik Birkkjaer Allyssa Bross, Kenta Shimizu & LAB Ensemble Colleen Neary Ulrik Birkkjaer & Allynne Noelle LAB Ensemble Colleen Neary, Ashley Millar & LAB Ensemble Kenta Shimizu & LAB Ensemble Kenta Shimizu & LAB Ensemble Kenta Shimizu & LAB Ensemble Allynne Noelle, Ulrik Birkkjaer & LAB Ensemble Allyssa Bross & Kenta Shimizu Allynne Noelle & Ulrik Birkkjaer Allyssa Bross, Kenta Shimizu & LAB Ensemble Colleen Neary Ulrik Birkkjaer & Allynne Noelle LAB Ensemble Colleen Neary, Ashley Millar & LAB Ensemble Kenta Shimizu & LAB Ensemble Kenta Shimizu & LAB Ensemble Kenta Shimizu & LAB Ensemble Allynne Noelle, Ulrik Birkkjaer & LAB Ensemble Allyssa Bross & Kenta Shimizu Allynne Noelle & Ulrik Birkkjaer Allyssa Bross, Kenta Shimizu & LAB Ensemble Colleen Neary Previous Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation. Next Gallery

In January and February of this year, Colleen Neary is traveling by invitation to Orlando, Florida to set George Balanchine’s Agon and stage his Serenade and Who Cares? for Orlando Ballet. Home / News / New Item Colleen Neary in Orlando January 31, 2007 Company News from the Staff at LAB In January and February of this year, Colleen Neary is traveling by invitation to Orlando, Florida to set George Balanchine’s Agon and stage his Serenade and Who Cares? for Orlando Ballet.

629eb535-9fea-4fa2-972e-993e1a79127e 2024-2025 Season / Ticket Information / Terms and Conditions of Sales Terms and Conditions of Sales Before purchasing tickets, please carefully review the Terms and Conditions of Sale. 1. Refund and Exchange Policy Pre COVID-19 there were No Refunds and No Exchanges. All Tickets sales were final. However COVID-19 has impacted Refunds and Exchanges. Please read the COVID-19 Ticketing Policy for updates. 2. Reserved Seating This purchase is for tickets in designated seats at a designated price level, as chosen and/or approved by you as the ticket purchaser. Please be sure you are happy with your seat selection before finalizing your purchase. 3. Confirmation Number Please be sure to record/save your confirmation number, as this is required for replacing lost tickets and locating reservations. The confirmation page is NOT a ticket. 4. Mail Delivery The standard mailing fee is $1.50 per order for regular ticket purchases and $3 per order for group sales. If you choose to have your tickets mailed to you they will arrive within 7-10 business days. If your tickets have not arrived within one week of the performance date, please call the Los Angeles Ballet Box Office at 310.998.7782. Please have your confirmation number available. 5. Will Call Will Call opens at all venue box offices one hour prior to each performance and remains open until the performance begins. Identification is required for Will Call pick-up. 6. Lost Tickets Lost tickets will be replaced provided you have your confirmation number available. Please call the Los Angeles Ballet Box Office at 310.998.7782 to request replacement tickets. 7. Performance Cancellation or Date/Time Change Policy If a performance is cancelled for any reason other than “force majeure,” (see Clause 7a below), Los Angeles Ballet will refund the face value of tickets purchased. Delivery charges are non-refundable. A performance is not considered “cancelled” if it is stopped at any point after Act 2 has begun, in which case Los Angeles Ballet is not required to refund the value of any tickets purchased for said performance. Los Angeles Ballet will accommodate you at subsequent performances when possible. Los Angeles Ballet reserves the right to change the date and/or time of any performance no later than 5 weeks before the originally scheduled date of the performance. If a change occurs, patrons will be notified immediately and alternate accommodations or reimbursements will be arranged, as necessary. 7a. Force Majeure Los Angeles Ballet does not guarantee a refund or exchange on tickets purchased for a performance that is cancelled, or is rescheduled less than 5 weeks before the original performance date/time, as a result of “force majeure.” “Force majeure” means any event which Los Angeles Ballet could not, even with all due care, foresee or avoid. Such events may include war or threat of war, riot, civil strife, terrorist activity or threatened terrorist activity, industrial dispute, natural or nuclear disaster, adverse weather conditions, fire and all similar events outside Los Angeles Ballet’s control. In the event of a cancellation or rescheduling due to “force majeure,” Los Angeles Ballet will accommodate you at subsequent shows when possible. 8. Late Seating Policy Arriving late to a performance can be extremely disturbing to the artists and your fellow audience members. Latecomers will be seated at the discretion of the house staff at an appropriate pause in the program. 9. Reselling Policy Tickets may not be resold or offered for resale. Tickets may not be used for advertising, promotion, or other commercial purposes except with the express written consent of Los Angeles Ballet, Inc. Los Angeles Ballet reserves the right to refuse entry to any customer who has purchased tickets and resold them, or to any person attempting to attend a performance with such tickets. 10. Reproduction Policy It is unlawful to reproduce any tickets in any form. In the event of reproduction, Los Angeles Ballet reserves the right to refuse entry to the original purchaser as well as any person attempting to attend a performance with reproduced tickets. 11. Review Upon Receipt Please review your tickets and confirmation upon receipt. If any detail of your order is incorrect, please contact the Los Angeles Ballet Box Office immediately at 310.998.7782. Los Angeles Ballet will not be responsible for any discrepancies if you do not contact the box office within 24 hours after receiving your tickets. 12. Agreement Submitting a ticket order indicates your AGREEMENT to these terms and conditions. For questions and support, please contact the Box Office at (310) 998-7782 to purchase by phone, Monday through Friday, 12:00pm to 5:00pm. In-person Ticket Sales Group Sales Venues Accessibility Gift Certificates Tax-Deductibe Donations Terms & Conditions of Sales In-house Policies Privacy Policy

It takes commitment, nerve, and ridiculous sums of money to build a successful ballet company. And that’s just the kindling. Home / News / New Item Returning in Full Force Los Angeles Ballet Kicks Off Its Third Season March 9, 2009 Los Angeles Times by Laura Bleiburg It takes commitment, nerve, and ridiculous sums of money to build a successful ballet company. And that’s just the kindling. To get a real blaze going, it helps to have the high-powered dance connections of Los Angeles Ballet’s co-directors, Thordal Christensen and Colleen Neary. For their fl edgling company’s third repertory season, launched Saturday at Redondo Beach Performing Arts Center, Christensen and Neary brought out their big-gun friends and family, and there was noticeably more heat onstage. Colleen’s sister Patricia Neary, a former principal dancer with New York City Ballet, staged the George Balanchine-Sergei Prokofi ev 1929 masterpiece “Prodigal Son.” One of that ballet’s greatest interpreters of the title part, Miami City Ballet director Edward Villella, loaned them costumes and sets (modeled on Georges Rouault’s originals). Karin von Aroldingen, another former City Ballet powerhouse, was brought in to help stage “Stravinsky Violin Concerto” (1972), one of Balanchine’s neoclassical gems. Finally, there was a snazzy premiere, “An American Camelot” by Jennifer Backhaus, with party costumes by Franco Martinez and hanging light shades by Tony Kudner. “Prodigal” requires an oversized acting style of another era, yet the L.A. Ballet dancers managed it and the dance’s quirky athleticism fl awlessly. This century-old ballet, based on the biblical parable, crackled with freshness. L.A. Ballet shares Cuban-born leading-man dancer Eddy Tovar with Orlando Ballet, and thank them very much. Tovar has dark good looks, not to mention that classic, unfussy Cuban technique. He inscribes beautiful, open shapes with his etched, muscular body. His son took us on a believable journey, leaving home full of insolent bravura and crawling back a repentant, broken man. Ballerina Melissa Barak, coached also by Westside Ballet’s Yvonne Mounsey, came to inhabit the Siren’s wily personality more slowly. She had the moves and an exacting style. Barak wrapped the Siren’s red cape seductively around her thigh and unfurled her turned-out legs in high sideways kicks and those provocative lunges. Barak more fully became the temptress in her pas de deux with Tovar. In one pretzel coupling after another, Barak emotionally reeled Tovar in, and when she became his, her raised hand signaled triumph. The L.A. Ballet men made a notable transformation as the grotesque Drinking Companions. Flopping and rollicking about the stage, they took to this weirdness with all-out freedom. Backhaus’ “An American Camelot” was her second piece for L.A. Ballet. The fi rst work misfi red so badly (last season’s “she said/he said”) that the latest commission came as a surprise. This time, Backhaus and the six couples she cast were on much fi rmer ground. “An American Camelot” advocates dancing through your troubles, and Backhaus’ loose, hip choreography was persuasive. How can you go wrong with Ella Fitzgerald, Count Basie and Eartha Kitt, singing “Bal Petite Bal”? (The night’s music was taped.) The choreographer melded jitterbug, jazz and classic steps in six sections. Male dancers were given virile leaps and push-ups. The women did the Charleston -- never comfortable in toe shoes -- but pointe work too. The tall and loose-limbed Andrew Brader was in his element as leading man. “Stravinsky Violin Concerto,” on the other hand, was occasionally effortful. But the corps de ballet held heads high, and that deer-in-the-headlights expression everyone used to wear has vanished. Hallelujah. Barak and Peter Snow made a complementary match in the fi rst duet. Paired with Brader in the second duet, Corina Gill was a shining light of newfound strength and complexity. Her continued growth and onstage joy were infectious. That’s the fun of having a local ballet company -- watching it grow and develop. Experience it yourself. -- Laura Bleiberg READ ARTICLE AT SOURCE

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. Home / News / New Item Los Angeles Ballet Featured in Dance Magazine - August 2010 Issue August 1, 2010 Dance Magazine 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. The company tours the greater LA area each season, performing at Glendale's Alex Theatre Performing Arts & Entertainment Center, Royce Hall at UCLA Live, the Redondo Beach Performing Arts Center, The Broad Stage in Santa Monica, and-new this season-the Richard & Karen Carpenter Performing Arts Center in Long Beach and the Valley Performing Arts Center in Northridge. "It's important we establish [ourselves in] LA first, before we tour anywhere else," says Christensen. The Nutcracker, this season's festive opening ballet, is "very important to present around the holidays," says Neary. "Kids love it; the dancers love it, and so do we."

Los Angeles Ballet’s The Nutcracker is LA’s holiday tradition. Set to Tchaikovsky’s iconic score, with surprises, this production stays true to the holiday story and is set in 1912 Los Angeles. With choreography by Artistic Directors Thordal Christensen and Colleen Neary, the production tours to venues across the city: Alex Theatre, Redondo Beach Performing Arts Center, Royce Hall UCLA, and Dolby Theatre. Dolby performances are presented with a live orchestra. 2025/2026 Season / The Nutcracker / The Nutcracker, December 14 , 2pm / Tickets

An elite group of artists called “repetiteurs “ carry on the works of one of the greatest choreographic masters of all time, George Balanchine. For 30 years since his death on April 30, 1983, these human “style guides” for the Balanchine aesthetic have served as guardians of his expansive repertoire of nearly 400 works, and storytellers of his legacy. Home / News / New Item Passing the Balanchine Baton May 15, 2013 KCET by AC Remler An elite group of artists called “repetiteurs “ carry on the works of one of the greatest choreographic masters of all time, George Balanchine. For 30 years since his death on April 30, 1983, these human “style guides” for the Balanchine aesthetic have served as guardians of his expansive repertoire of nearly 400 works, and storytellers of his legacy. Many have danced the roles themselves under his tutelage, such as Colleen Neary, co-artistic director of Los Angeles Ballet. She, along with about 30 other New York City Ballet disciples -- the acclaimed ballet company that he founded in 1948 -- have the stamp of approval from the Balanchine Trust to stage the choreographer’s works. As such, they travel the world ensuring that professional ballet companies who present Balanchine on their playbill, perform it, just so. “There was always a style and way of dancing the role that was very important to him,” Neary says. “He gave you the freedom to do what you wanted but not to the extreme where it took the piece another direction. And we grew up around that style - we saw what he wanted. We all respect each other but we all have differences in the years we danced with Balanchine and for versions we danced in. When I danced “Rubies” and “Symphony in C” in the same roles as my sister, [Patricia Neary for whom many roles were created by Balanchine], she was a decade before me, and he may have changed it for me, or changed his mind on certain timings. He changed as he went along. We always say ‘Before Death.’ Those are the years we look at. And after he died, things kept changing, so we try to keep it as tight as we can,” she says. Noelle “Rubies” Neary danced as a soloist from 1969 to 1979 in The New York City Ballet under the direction of Balanchine. Like her sister, she also had numerous roles created for her by Balanchine, as well as by other acclaimed choreographers such as Peter Martins, Jacques d’Amboise and others, throughout her career. Now Neary is poised to pass the Balanchine baton to a new generation of dancers at her own company, which she founded nine years ago with husband and former Royal Danish Ballet and New York City Ballet dancer Thordal Christensen. To commemorate Mr. B’s death (as he’s called fondly) and to celebrate his work, Los Angeles Ballet recently launched a Balanchine Festival 2013. Having just wrapped “Balanchine Gold” in March and April, Los Angeles Ballet recently launched part two of the series, “Balanchine Red” across Southern California that runs through June 9. Balanchine Red features his works, “Agon,” “La Valse,” and “Rubies.” The next performance takes place Saturday, May 18 at the Carpenter Performing Arts Center, followed by a night at the Valley Performing Arts Center May 25, an afternoon at the Alex Theatre May 26 and ending at Royce Hall June 9. Each performance is accompanied by lectures prior to curtain by experts in Balanchine’s work, including Kent Stowell, Francia Russell, Lewis Segal, Victoria Loos leaf, and of course, Neary herself. One of Los Angeles Ballet’s principal dancers is Southern California native Allynne Noelle. A tall, lithe figure who crackles on stage, Noelle has been with the company since 2011, coming from Miami City Ballet where she also performed Balanchine under the direction of Eddie Villella, another former principal dancer with New York City Ballet. Kenta, Noelle, “TchaiPas” “I like ‘Rubies’ ‘Tall Girl.’ LOVE Jewels as a whole ballet. Oh, and ‘Tchai Pas’ is fun (that’s ballet slang for 1960’s Tchaikovsky Pas de Deux),” she says, ticking off her favorite Balanchine ballets similar to how someone of a different milieu might rattle off pop music hits. “I really like “Apollo” too, but I’ve never performed it.” In Los Angeles Ballet’s “Balanchine Festival Red,” Noelle will dance the Pas de Deux in the notoriously challenging Agon (1957) an abstract masterpiece in which nary a note is lost on movement; and she will revisit “Tall Girl” in Rubies (1967). The fact that Neary has coached her in a masterpiece that Neary herself has danced for the master is clearly not lost on her. “I was a little scared at first because I know [Neary] has done the role,” she says. “Colleen gives me the freedom to do what I want with the role as an artist, but if there’s a step that isn’t right she lets me know. Even though it’s crazy hard technically, it’s artistically freeing.” Neary is quick to dispel any notion that she expects a cookie cutter interpretation of how she performed the part. “It’s perfect for Allynne. I give her feedback as to how I did it, but I don’t like to say: ‘This is MY role!’; even though you might feel like it’s your role. I want to train the next generation who are dancing the Balanchine ballets and dancing them well so eventually The Balanchine Trust might approve them to stage the ballets. The Balanchine Trust is very tight with [its] mechanism, and typically, they come from New York City Ballet. But I think it’s important for those of us who are with other companies to train the next generation to be able to rehearse his work,” she says. Mr. B, Pat, Colleen. Meanwhile Neary’s next repetiteur “gig” will be with the Paris Opera Ballet staging the original “Symphony in C” called “Palais de Cristal.” Neary also invites other repetiteurs to Los Angeles to stage Balanchine on Los Angeles Ballet dancers. “It’s good for the dancers to work with someone different. Although sometimes it’s hard for me to keep my mouth shut,” she laughs. Noelle, a self-proclaimed repetiteur in waiting, is one of six dancers with Los Angeles Ballet from Southern California. Noelle grew up in Huntington Beach and began classical ballet training at age 5. She remembers limited exposure to professional productions beyond seeing New York-based companies like New York City Ballet, American Ballet Theatre and “the occasional Russian company” breeze through to perform. “The cultural growth (in Southern California) has been exponential since then,” Noelle says. “I’m so happy to be back here dancing in a company that offers the opportunity to perform such great ballets. Last time I was on stage performing ‘Tchai Pas’ I thought, ‘Wow, this is my job. Should I really be having this much fun?’” DOWNLOAD PDF

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Seranade 2019 Balanchine / Tchaikovsky LAB Ensemble LAB Ensemble Petra Conti & LAB Ensemble LAB Ensemble Jasmine Perry & LAB Ensemble Jasmine Perry & LAB Ensemble Petra Conti & Eris Nezha Petra Conti & Eris Nezha & LAB Ensemble Bianca Bulle, Petra Conti & Jeongkon Kim Jeongkon Kim & Jasmine Perry Bianca Bulle, Petra Conti, Jasmine Perry & Jeongkon Kim Petra Conti & LAB Ensemble LAB Ensemble LAB Ensemble Petra Conti & LAB Ensemble LAB Ensemble Jasmine Perry & LAB Ensemble Jasmine Perry & LAB Ensemble Petra Conti & Eris Nezha Petra Conti & Eris Nezha & LAB Ensemble Bianca Bulle, Petra Conti & Jeongkon Kim Jeongkon Kim & Jasmine Perry Bianca Bulle, Petra Conti, Jasmine Perry & Jeongkon Kim Petra Conti & LAB Ensemble LAB Ensemble LAB Ensemble Petra Conti & LAB Ensemble LAB Ensemble Jasmine Perry & LAB Ensemble Jasmine Perry & LAB Ensemble Petra Conti & Eris Nezha Petra Conti & Eris Nezha & LAB Ensemble Bianca Bulle, Petra Conti & Jeongkon Kim Jeongkon Kim & Jasmine Perry Bianca Bulle, Petra Conti, Jasmine Perry & Jeongkon Kim Petra Conti & LAB Ensemble Previous Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation. Next Gallery