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In honor of America at 250, American Icons celebrates legendary innovators in American dance and music. The program opens with Artistic Director Melissa Barak’s Pretty, Peculiar Things set to In C Remixed, a musical adaption by numerous American musicians to American composer Terry Riley’s ground-breaking work, In C. Written in 1964, In C stands as one of the most successful works by an American composer and a seminal example of minimalism in classical music. American Icons The Cage Dilly Dilly Wavelength The Cage Dilly Dilly Wavelength LAB's ARTISTIC DIRECTOR Melissa Barak Melissa Barak Barak is a former leading dancer with Los Angeles Ballet where she performed for five seasons commencing in 2006 and choreographed Lost In Transition in 2008. Her career also includes New York City Ballet (NYCB), where she performed in numerous works by George Balanchine, as well as originating roles in new ballets by Christopher Wheeldon, Elliot Feld and Robert Garland, among others. LEARN MORE LOS ANGELES BALLET History Read the history of the company from the premiere performances of LAB’s original production of The Nutcracker in 2006. Learn about LAB’s Leadership, Mission, Outreach initiatives, commissions of original works and more. LAB HISTORY 2026/2027 Season / American Icons / September 24–27, 2026 American Icons The Cage Robbins | Stravinsky Dilly Dilly Taylor | Ives Wavelength Barak | Lawrence In honor of America at 250, American Icons celebrates legendary innovators in American dance and music. The program opens with an encore of Artistic Director Melissa Barak’s smash hit Wavelength set to a score by American composer David Lawrence and featuring a costume collaboration with luxury fashion house ETRO. Included in the program are two legendary American dancemakers, Jerome Robbins and Paul Taylor. Robbins’ The Cage takes the audience into an intense scene where a tribe of female insects prey on the male counterparts that enter their habitat. Premiering in 1951, The Cage stands till this day as a revolutionary work both in invention and abstract storytelling. Paul Taylor’s Dilly Dilly is also a masterclass in abstract storytelling where its cast of 11 dancers playfully frolic and romp to the famous tunes of American folk singer, Burl Ives. Choreography The Cage – Robbins | Stravinsky Dilly Dilly – Taylor | Ives Wavelength – Barak | Lawrence Music & Score The Cage : Concerto in D for String Orchestra – Igor Stravinsky Dilly Dilly : A medley of folk songs – Burl Ives Wavelength : David Lawrence Run Time Available shortly. SUBSCRIBE Perfomance Schedule BroadStage On Sale Now! Thursday, September 24 | 7:30 pm Friday, September 25 | 7:30 pm Saturday, September 26 | 7:30 pm Sunday, September 27 | 2:00 pm

Kudos to the Los Angeles County Arts Commission and the LA Board of Supervisors, for supporting Los Angeles Ballet’s completely credible “Swan Lake” in five venues around LA County. The Arts Commission’s major funding of the production acknowledges our city’s worthiness of LAB’s continuing presence as LA’s own world-class ballet company. Home / News / New Item Los Angeles Ballet's "Swan Lake" March 18, 2012 CultureSpotLA by Penny Orloff Kudos to the Los Angeles County Arts Commission and the LA Board of Supervisors, for supporting Los Angeles Ballet’s completely credible “Swan Lake” in five venues around LA County. The Arts Commission’s major funding of the production acknowledges our city’s worthiness of LAB’s continuing presence as LA’s own world-class ballet company. The quintessential classical ballet, “Swan Lake” first appeared in 1877. The earliest of the great Tchaikovsky ballets, the music uses Russian folk music, leitmotif, and orchestral color to tell the Romantic tale of a lovestruck prince, an enchanted maiden, and an evil sorcerer. LAB’s four-act “Swan Lake” is a towering accomplishment for the 6-year-old company. As staged by artistic directors Thordal Christensen and Colleen Neary, the piece retains its magical 19th-century style and flavor, while simplifying and clarifying some of the more arcane elements. In a bold departure from most modern productions, Christensen and Neary restore the original 1877 ending, in which Von Rothbart, the evil sorcerer, is vanquished by the Prince, and dies a particularly gruesome death. Principal dancer Allynne Noelle takes on the demanding central role — playing both the Swan Queen and her treacherous, look-alike rival. A Southern California native, Noelle has spent the better part of the past decade honing her considerable skills in such companies as the National Ballet of Canada and Miami City Ballet. Now at the peak of her artistry, her revelatory interpretation of Odette/Odile places her among the greatest of today’s American ballerinas. Noelle’s technique is perfection — her gorgeous extensions, precision footwork, spellbinding ports de bras, and extraordinary turns take one’s breath away. But beyond these virtuoso aspects of her dancing, it is her stillness in Act 2 that is most compelling. Here is an artist imbued with that indefinable quality we name Presence. Her virtuosity has no limits. All radiance and shimmer, Noelle’s Odette is a tortured soul, yearning for release, transformed by love. Her Act 3 Odile exudes a raw sexuality that culminates as the bravura 32 fouetté turns explode in a burst of depraved triumph. Opposite her, Kenta Shimizu’s Prince Siegfried is flawless. The steadiness of his support and ease in the lifts enhance his partner’s transcendent performance. Currently enjoying an ever-increasing international career, Shimizu’s cool elegance and regal bearing are a perfect complement to Noelle’s emotional style. Alternating with Noelle and Shimizu as the hapless lovers are Allyssa Bross and Christopher Revels. Discovered by Christensen and Neary during the month-long 2010 LAB Summer Intensive, Bross entered the company as a soloist during season five, rising within months to principal dancer. Her performances as Marie in “The Nutcracker” and as last season’s ethereal Giselle garnered national attention. In her first “Swan Lake,” Bross impresses with her stylistic purity and luminous characterization of the Swan Queen. Her Act 3 Black Swan is icy, treacherous; in her ultimate victory over Revels’ callow Prince, her seductive smile becomes a sneer of contempt. Gifted with exceptional grace and beauty, a solid technique, and formidable physical stamina, this young artist is clearly one to watch. Audience favorite Revels brings an earthy sensuality to his first performances as the Prince. Having partnered Bross for “The Nutcracker,” “Raymonda Variations,” and “Giselle” last year, the pair have an easy rapport and a convincing chemistry together. This young man is gifted with a charismatic presence and a devil-may-care fearlessness that make his every entrance electrifying. Particularly impressive are his huge floating leaps, great strength in the lifts, and phenomenal endurance. Last year a nominee for the prestigious Princess Grace Award, at 20 years of age he continues to develop his prodigious talent under the inspired mentoring of Christensen and Neary. As the evil von Rothbart, Nicholas De La Vega owns the stage. His dancing has about it a fatal glamour. LA balletomanes will remember his definitive Drosselmeyer in last December’s “The Nutcracker,” and his powerful performance in last season’s Sonia Tayeh world premiere, “My Greatest Fear.” De La Vega’s rapier-thin physique and flashing eyes are also featured in the April issue of Marie Claire magazine. The production is replete with highlights. Guest artist Akimitsu Yahata dances the Jester with great wit — and spectacular leaps and turns. Act 3’s Court Scene features a plethora of folk-inspired dances. A bravura Neapolitan Dance features Isabel Vondermuhll and Christopher McDaniel; Kate Highstrete and Alex Castillo lead a spirited Hungarian Dance; and Chelsea Paige Johnston and Julia Cinquemani offer a mesmerizing Russian Dance. Brilliant soloists aside, “Swan Lake” ultimately succeeds or fails on the strength of the women’s corps de ballet. Perhaps the greatest achievement of this production is LAB’s peerless ranks of swans. Every back has the same arch, every arm exhibits the same pure line from shoulder to fingertip, every neck is identically poised. Gliding across the stage in perfectly synchronized bourrées they are stunningly beautiful; in their moments of stillness, they are a living work of art. The second act Dance of the Cygnets is hypnotic as a petite foursome, arms interlaced, drill out perfectly coordinated pas de chats and échappés. This tour de force is all the more impressive considering that apprentice Sophie Silna, a product of the LAB School, stepped in to replace an injured colleague on a mere two days’ notice. —Penny Orloff, Culture Spot LA Performances continue at the Carpenter Performing Arts Center in Long Beach on Saturday, March 24, at 7:30 p.m. and at the Valley Performing Arts Center in Northridge on Saturday, March 31, at 7:30 p.m. For information and tickets, visit www.losangelesballet.org . DOWNLOAD PDF

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

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

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

The Nutcracker 2019 Christensen and Neary / Tchaikovsky LAB Ensemble Hannah Keene & Clay Murray Petra Conti, Tigran Sargsyan & LAB Ensemble Mackenzie Moser & LAB Ensemble Joshua Schwartz & Magnus Christoffersen LAB Ensemble Brittany Rand & Mackenzie Moser Laura Chachich & Magnus Christoffersen LAB Ensemble Mackenzie Moser Petra Conti & Eris Nezha LAB Ensemble Hannah Keene & Clay Murray Petra Conti, Tigran Sargsyan & LAB Ensemble Mackenzie Moser & LAB Ensemble Joshua Schwartz & Magnus Christoffersen LAB Ensemble Brittany Rand & Mackenzie Moser Laura Chachich & Magnus Christoffersen LAB Ensemble Mackenzie Moser Petra Conti & Eris Nezha LAB Ensemble Hannah Keene & Clay Murray Petra Conti, Tigran Sargsyan & LAB Ensemble Mackenzie Moser & LAB Ensemble Joshua Schwartz & Magnus Christoffersen LAB Ensemble Brittany Rand & Mackenzie Moser Laura Chachich & Magnus Christoffersen LAB Ensemble Mackenzie Moser Petra Conti & Eris Nezha Previous Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation. Next Gallery

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

The Nutcracker 2014 Christensen and Neary / Tchaikovsky Dylan Burford as Clara Dylan Burford as Clara & Zheng Hua Li as Uncle Drosselmeyer LAB Ensemble Dylan Burford as Clara, David Block as The Nutcracker & LAB Ensemble Dylan Burford as Clara, Colleen Neary as Mrs. Staulbaum & Adam Luders as Mr. Staulbaum Dylan Burford as Clara & LAB Ensemble Snow Ensemble Julia Cinquemani as Marie Zachary Guthier & Alyssa Harrington & Columbine Dolls Alexander Castillo & Julia Cinqumani in Arabian Allynne Noelle as The Rose & LAB Ensemble Bianca Bulle as The Rose & LAB Ensemble LAB Ensemble Dylan Burford as Clara Dylan Burford as Clara & Zheng Hua Li as Uncle Drosselmeyer LAB Ensemble Dylan Burford as Clara, David Block as The Nutcracker & LAB Ensemble Dylan Burford as Clara, Colleen Neary as Mrs. Staulbaum & Adam Luders as Mr. Staulbaum Dylan Burford as Clara & LAB Ensemble Snow Ensemble Julia Cinquemani as Marie Zachary Guthier & Alyssa Harrington & Columbine Dolls Alexander Castillo & Julia Cinqumani in Arabian Allynne Noelle as The Rose & LAB Ensemble Bianca Bulle as The Rose & LAB Ensemble LAB Ensemble Dylan Burford as Clara Dylan Burford as Clara & Zheng Hua Li as Uncle Drosselmeyer LAB Ensemble Dylan Burford as Clara, David Block as The Nutcracker & LAB Ensemble Dylan Burford as Clara, Colleen Neary as Mrs. Staulbaum & Adam Luders as Mr. Staulbaum Dylan Burford as Clara & LAB Ensemble Snow Ensemble Julia Cinquemani as Marie Zachary Guthier & Alyssa Harrington & Columbine Dolls Alexander Castillo & Julia Cinqumani in Arabian Allynne Noelle as The Rose & LAB Ensemble Bianca Bulle as The Rose & LAB Ensemble LAB Ensemble Previous Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation. Next Gallery

Los Angeles Ballet’s Jasmine Perry on her effortlessly cool looks in an out of the studio. Home / News / New Item Point Magazine features LAB Dancer Jasmine Perry February 27, 2018 Point Magazine by Candice Thompson Los Angeles Ballet’s Jasmine Perry on her effortlessly cool looks in an out of the studio. READ ARTICLE AT SOURCE

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Los Angeles Ballet's first Spring Gala, hosted by LAB Board member Vicki Neuman, was a bright, elegant and rewarding evening. Home / News / New Item Spring Gala for Los Angeles Ballet April 1, 2007 Company News from the Staff at LAB Los Angeles Ballet's first Spring Gala, hosted by LAB Board member Vicki Neuman, was a bright, elegant and rewarding evening. The event included a silent auction, dinner, and performances of Napoli and Agon by Los Angeles Ballet dancers Corina Gill, Oleg Gorboulev, Erica Bandy, Kelly Ann Sloan, Erin Rivera-Brennand, and Peter Snow. Funds raised at this event support Los Angeles Ballet and its future performances.

Kirsten Turkle began as a Stage Manager with Los Angeles Ballet in 2019 for The Nutcracker. In summer 2022, she was promoted to Production Manager and took up her new responsibilities with enthusiasm. Kirsten started life as a performer, taking ballet lessons from age 2 to 13. She was singing and dancing in community productions through elementary and middle school, as well as taking piano and voice lessons. In high school she began Stage Managing and learning the technical arts, including lighting, costuming, and scenic carpentry. At UC San Diego she founded a Shakespearian theater group and helped produce 8 plays during her college career, most notably Cymbeline and Hamlet. She moved to Los Angeles in 2013 and worked with many different companies and venues for the next decade, including The Wallis Annenberg Performing Arts Center, AGBU Vatche & Tamar Manoukian Performing Arts Center, Moving Arts, Jaxx Theatricals, and Royce Hall at UCLA. She looks forward to growing with Los Angeles Ballet, producing new works and classics, and touring this beautiful artform to even wider audiences. Home / Staff / Administrator Kirsten Turkle Production Manager Kirsten Turkle began as a Stage Manager with Los Angeles Ballet in 2019 for The Nutcracker. In summer 2022, she was promoted to Production Manager and took up her new responsibilities with enthusiasm. Kirsten started life as a performer, taking ballet lessons from age 2 to 13. She was singing and dancing in community productions through elementary and middle school, as well as taking piano and voice lessons. In high school she began Stage Managing and learning the technical arts, including lighting, costuming, and scenic carpentry. At UC San Diego she founded a Shakespearian theater group and helped produce 8 plays during her college career, most notably Cymbeline and Hamlet. She moved to Los Angeles in 2013 and worked with many different companies and venues for the next decade, including The Wallis Annenberg Performing Arts Center, AGBU Vatche & Tamar Manoukian Performing Arts Center, Moving Arts, Jaxx Theatricals, and Royce Hall at UCLA. She looks forward to growing with Los Angeles Ballet, producing new works and classics, and touring this beautiful artform to even wider audiences.