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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

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. Olivia Flanyak Hometown Seasons with LAB 1 Season with LAB Available shortly

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. Laura Chachich Hometown Bel Air, Maryland Schools The Washington Ballet School, Miami City Ballet School, North Carolina School of the Arts Companies The Washington Ballet Los Angeles Ballet 9th Season

Los Angeles Ballet's Gala 2015 will honor philanthropist Ghada Irani. Home / News / New Item Ghada Irani to be Honored at LAB Gala 2015 January 1, 2015 Company News from the Staff at LAB Los Angeles Ballet's Gala 2015 will honor philanthropist Ghada Irani. In her capacity as a member of the Los Angeles Ballet Board of Directors, Mrs. Irani has been a generous supporter of not only its ballet programs, but also its outreach programs for children, families, low-income seniors, veterans and disabled persons. In addition, she she served as Co-Chair for the Los Angeles Ballet Gala in 2012 and has been a member of the Event Planning Committee for LAB Galas since their inception in 2011. The Los Angeles Ballet Gala 2015 will take place May 7, 2015 at the Beverly Wilshire Hotel and is chaired by Dina Leeds and Jeanette Trepp. The evening will include cocktails, dining, and a preview performance of master choreographer Jírí Kylián’s Sechs Tänze (Six Dances)

Read the full article Home / News / New Item On Their Toes - Los Angeles Ballet...Pirouetting its Way to Top Honors December 1, 2012 LA Confidential by Emili Vesilind 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. Paige Wilkey Hometown Los Angeles, CA Seasons with LAB 3 Seasons with LAB Paige began her ballet training at the age of three in Los Angeles. She trained year-round with the Boston Ballet School as a Professional Division student before joining Oregon Ballet Theatre, where she danced for five seasons. In 2021, Paige joined American Contemporary Ballet, performing principal roles before joining Los Angeles Ballet in 2023. Some of Paige’s favorite roles and performances in her career so far have been with Los Angeles Ballet, including the title role in Yuri Possokhov’s Firebird and the Arbenita pas de deux in Melissa Barak’s Memoryhouse .

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. Lilly Leech Hometown Cedarburg, WI Seasons with LAB 4 Seasons with LAB Lilly began her ballet training at age 11 with Rolando Yanes and Karl Rabenau at Milwaukee Ballet School. When Lilly was 17, she danced in the Studio Company at Ballet Chicago, directed by Daniel Duell and Patricia Blaire. She went on to pursue a Bachelor of Science in Ballet Performance at the Indiana University Jacobs School of Music, where she trained with faculty members Michael Vernon, Sarah Wroth, Kyra Nichols, Carla Körbes, Sasha Janes, and Christian Claessens. After graduating, Lilly was a company dancer with the Indianapolis Ballet directed by Victoria Lyras. Lilly attended summer programs with Akram Khan at Orsolina28, Jacob’s Pillow, Chautauqua Institute, Pacific Northwest Ballet, Carolina Ballet, Ballet Chicago, Indiana University Ballet Theater, Milwaukee Ballet, and Boston Ballet. Lilly has loved performing works by Melissa Barak, Justin Peck, Akram Khan, Sasha Janes, Mark Morris, George Balanchine, Jerome Robbin’s, William Forsyth, Val Caniparoli, Christopher Wheldon, and Micheal Vernon.

"...A native of New York City, [Elisabeth Claire Walker] studied at American Ballet Theatre’s elite Jacqueline Kennedy Onassis School as a teenager. Home / News / New Item LAB Dancer Elizabeth Claire Walker featured in Harvard Magazine June 1, 2016 Harvard Magazine by Maggie Shipstead "...A native of New York City, [Elisabeth Claire Walker] studied at American Ballet Theatre’s elite Jacqueline Kennedy Onassis School as a teenager. Her senior year of high school—even after she’d been accepted to Harvard—was spent attending massive cattle-call auditions for professional companies. Just when she was about to give up, she spotted a notice for Los Angeles Ballet, a new company with impressively pedigreed artistic directors. The audition happened on a rainy day, she remembers; her mother encouraged her to go. “She said I’d regret it if I didn’t. I was sewing pointe shoes in the car.” A week later, she got the call..." READ ARTICLE AT SOURCE

Los Angeles Ballet ended its benchmark 10th season in June as the first American company to dance Frederick Ashton’s distinctively intimate and poetic “Romeo and Juliet.” Unfortunately, that season left the company fiscally overextended, so the 11th season, which opened Saturday, has cutbacks in the roster and the repertory. Home / News / New Item Los Angeles Ballet At the Top of its Form October 20, 2016 Los Angeles Times by Lewis Segal Los Angeles Ballet ended its benchmark 10th season in June as the first American company to dance Frederick Ashton’s distinctively intimate and poetic “Romeo and Juliet.” Unfortunately, that season left the company fiscally overextended, so the 11th season, which opened Saturday, has cutbacks in the roster and the repertory. That’s disappointing, of course, but the situation forced artistic directors Thordal Christensen and Colleen Neary to capitalize on their bedrock artistic strengths in an invigorating program at the Alex Theatre in Glendale. From Christensen’s Danish birthright came August Bournonville’s antique Pas de Six and Tarantella from “Napoli.” From Neary’s career at New York City Ballet came an authoritative staging of George Balanchine’s wondrous “Stravinsky Violin Concerto.” The directors’ longstanding commitment to new work brought Canadian modernist Aszure Barton’s quirky, challenging “Untouched” to the program too. The celebratory Bournonville divertissement began with a classical abstraction of folklore and then unleashed a nonstop barrage of bouncy, heel-and-toe folk steps. Technical strain from the women and hard landings from the men marred the opening section. But those shortcomings soon yielded to spot-on contributions from the excellent Julia Cinquemani and Kenta Shimizu, as well as Javier Moya Romero and Madeline Houk (replacing the injured Allyssa Bross), plus a stellar newcomer, Tigran Sargsyan, able to project Bournonville style effortlessly at opera house scale. The “Napoli” excerpt also confirmed the growing importance of Dustin True, a versatile soloist previously seen in subsidiary roles but given major assignments in all three works Saturday. In the Bournonville and Barton pieces, you could admire his skill and spirit without feeling he’d outclassed his colleagues. But in the “Stravinsky Violin Concerto,” opposite Elizabeth Claire Walker (replacing Bross), the almost contemptuous force and sensuality of his dancing made it impossible to watch anyone else — even Shimizu and Cinquemani, efficient if subdued in their duet. In a tribute to his friendship with the composer, Balanchine initially reshuffled soloists and small ensembles, then explored two moody, intricate duets before launching a folk-accented finale requiring extraordinary precision from the whole cast. It is one of the prime neoclassic creations of the 20th century and, discounting a few lapses in stamina, the Los Angeles Ballet performance delivered its greatness impressively. Crammed with musical and movement eccentricity, Barton’s 2010 “Untouched” looked at the tensions between group identity and individual expression. For much of the work’s length, the title proved prophetic: Everyone danced in juxtaposition but with no contact. And even when fleeting interactions occurred, the participants remained untouched in a fundamental sense: locked in their own pain and processes. With everyone wearing Fritz Masten’s floral prints, the piece evoked an upscale party at which everyone expected relationships to form but nobody really connected. Along the way, newcomer Leah McCall dominated the stage in a dramatic solo, and Bianca Bulle endured partnering assaults stoically, but everyone in the 12-member cast took to Barton’s twisty, wiggly, off-kilter style as if ballet dancing always incorporated such oddities. Nicole Pearce designed the claustrophobic set (borrowed from Hubbard Street Dance Chicago). Obviously, few would rejoice at Los Angeles Ballet’s cutbacks. But the company’s value stayed resplendent Saturday with no need for more of anything — expect possibly live music. Indeed, this is why we need these dancers in Los Angeles, not for hand-me-down stagings of Russian warhorses but for sustaining the living legacy of modernism (even 19th-century modernism) that has distinguished it for the last decade. The L.A. Ballet program will visit other Southland venues in weeks to come; no doubt, other audiences will see what the Alex audience witnessed: an invaluable community resource suffering growing pains, perhaps, but still near the top of its game. ------------ Los Angeles Ballet In Redondo Beach: 7:30 p.m. Oct. 22 at the Redondo Beach Performing Arts Center, 1935 Manhattan Beach Blvd. In Westwood: 7:30 p.m. Oct. 29 at Royce Hall, UCLA Tickets: $29.50-$104 Info: (310) 998-7782, www.losangelesballet.org Follow The Times’ arts team @culturemonster. ALSO An ode to an avant-garde Japanese dance legend USC celebrates the opening of a $46-million building for dance 40 years of Martin Scorsese movies, mashed up as a concert-musical READ ARTICLE AT SOURCE

Season 2008-2009 George Balanchine George Balanchine George Balanchine George Balanchine Jennifer Backhaus George Balanchine George Balanchine George Balanchine George Balanchine George Balanchine August Boumonville August Boumonville August Boumonville August Boumonville August Boumonville August Boumonville Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky George Balanchine George Balanchine George Balanchine George Balanchine Jennifer Backhaus George Balanchine George Balanchine George Balanchine George Balanchine George Balanchine August Boumonville August Boumonville August Boumonville August Boumonville August Boumonville August Boumonville Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Previous Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation. Next Gallery

LAB Artistic Director, Colleen Neary will work with The Norwegian National Ballet in October 2012 and early January 2013 to stage Balanchine's Symphony in C and Ballet Imperial. Home / News / New Item Colleen Neary to Stage Balanchine with the Norwegian National Ballet October 1, 2012 Company News from the Staff at LAB LAB Artistic Director, Colleen Neary will work with The Norwegian National Ballet in October 2012 and early January 2013 to stage Balanchine's Symphony in C and Ballet Imperial. She previously worked with this company in 2004, staging Symphony C.

Dancers who were new to every role gave the challenging three-part program by Los Angeles Ballet on Saturday the thrills of a high-wire act without a net. Would anyone fall? Home / News / New Item Balanchine Casts a Spell March 13, 2017 Los Angeles Times by Lewis Segal Dancers who were new to every role gave the challenging three-part program by Los Angeles Ballet on Saturday the thrills of a high-wire act without a net. Would anyone fall? (Yes, once.) Would anyone succeed brilliantly? (Yes, more than once.) Emergency casting added another edge to the experience at the Alex Theatre in Glendale. An injury to principal dancer Allyssa Bross caused the company to fly in Lia Cirio to take on major roles in two ballets. A principal with Boston Ballet, Cirio not only displayed refined technique but an ability to give herself to the music that took you deeply into the choreography. Since all of the choreography was created by George Balanchine, the stakes were high indeed. It was a shrewd programming ploy to include on the same bill Balanchine’s 1956 “Divertimento No. 15” and his 1970 “Who Cares?” Though radically different in style, these plotless showpieces share structural similarities and, especially, a string of complex, effervescent women’s solos. “Divertimento” is danced to Mozart and seems to belong in an 18th-century royal court; “Who Cares?” is danced to Gershwin and seems to belong on a 20th-century Broadway stage. Cirio appeared perfectly at home in both environments — as did the regal Bianca Bulle and the lyrical Julia Cinquemani. A company premiere, “Divertimento” will need more performances to erase the sense of strain periodically evident on Saturday. But Madison McDonough brought ease and refinement to some exceptionally difficult steps in her variation. What’s more, the staging by company co-director Colleen Neary kept the fabled musicality of the ballet firmly in focus. Although the company has programmed “Who Cares?” before, the new cast and Neary’s staging enforced elegance as well as pizzazz. As the resident dreamboat wooing all the principal women, Tigran Sargsyan was clearly working through some of the intricate partnering issues, but eventually his remarkable generosity as a dancer came into view. He had a tough night: Along with Kenta Shimizu and Dustin True, he also danced strongly in “Divertimento” and “Prodigal Son.” True’s stellar breakthrough came earlier this season in “Stravinsky Violin Concerto,” and on Saturday his cautious diligence occasionally yielded to moments where he again really inhabited the choreography and made it personal. As for Shimizu, he remained faultless as a cavalier in “Divertimento” (no surprise there) but displayed unexpected dramatic powers in the title role of “Prodigal Son.” Impeccably staged by Patricia Neary (Colleen Neary’s sister), this 1929 story ballet set to music by Prokofiev had a cohesion and surety on Saturday that made you relax and fall under its spell. Debut performances? Who could guess, when Shimizu claimed the role at full intensity? There’s a dimension of ironic comedy here that remains to be discovered — and perhaps Shimizu externalized the character’s pain too overtly in the final scene. But his interaction with the impossibly glamorous Elizabeth Claire Walker as the Siren overcame a minefield of technical hazards with no loss to his character’s helpless confusion or her over-the-top hauteur. The seductive, greedy Siren was always as much a living cliché as the stern but forgiving Father (Zheng Hua Li). But Balanchine used these stereotypes to define in the shortest possible time the prodigal’s all-too-human arc from rebellion to contrition. And the dancers exploited their opportunities skillfully. In the 1920s, the Russian ballet world considered Balanchine a radical, and “Prodigal Son” has plenty of evidence: experimental gymnastics, realistic pantomime, bizarre character dancing and plenty of sex. The academic classical vocabulary for which he’s celebrated can be found if you look for it, but a couple years shy of its 90th birthday, the work still looks newly minted — and now one of the great Los Angeles Ballet triumphs. ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ ♦ Los Angeles Ballet’s ‘Balanchine — Master of the Dance’ When: 7:30 p.m. March 18 at Redondo Beach Performing Arts Center, 1935 Manhattan Beach Blvd., Redondo Beach. Also 2 p.m. March 26 at Royce Hall, UCLA, 340 Royce Drive Tickets: $31-$99 Information: (310) 998-7782, www.losangelesballet.org Follow The Times’ arts team @culturemonster. ALSO Spring preview: What to see in dance, theater, art, classical and more Alvin Ailey translates MLK speeches into dance 'Runway' finalist’s costumes create character for Jessica Lang Dance Movement as bleak theater, with some terrific Pharrell music too READ ARTICLE AT SOURCE