Pushing Dance 2018 Second to Last and Pacopepeluto – Cerrudo / Pärt, Martin, Scalissi, This is you – Lou / Scheele, van der Loo, The Four Temperaments – Balanchine / Hindemith Tigran Sargsyan Tigran Sargsyan Petra Conti & Tigran Sargsyan Bianca Bulle & Joshua Brown LAB Ensemble LAB Ensemble LAB Ensemble Bianca Bulle, Joshua Brown & LAB Ensemble Petra Conti & Mangus Christoffersen Tigran Sargsyan & LAB Ensemble Tigran Sargsyan Tigran Sargsyan Petra Conti & Tigran Sargsyan Bianca Bulle & Joshua Brown LAB Ensemble LAB Ensemble LAB Ensemble Bianca Bulle, Joshua Brown & LAB Ensemble Petra Conti & Mangus Christoffersen Tigran Sargsyan & LAB Ensemble Tigran Sargsyan Tigran Sargsyan Petra Conti & Tigran Sargsyan Bianca Bulle & Joshua Brown LAB Ensemble LAB Ensemble LAB Ensemble Bianca Bulle, Joshua Brown & LAB Ensemble Petra Conti & Mangus Christoffersen Tigran Sargsyan & LAB Ensemble Previous Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation. Next Gallery

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

Season 2012-2013 Christensen/Neary Mia Katz & Nicolas de la Vega in 'The Nutcracker' by Christensen/Neary Bianca Bulle in 'The Nutcracker' by Christensen/Neary Zheng Hua Li in 'The Nutcracker' by Christensen/Neary Snowflakes Ensemble in 'The Nutcracker' by Christensen/Neary Helena Thordal-Christensen, David Block & Nicholas de la Vega in 'The Nutcracker' by Christensen/Neary Julia Cinquemani & Alexander Castillo in 'The Nutcracker' by Christensen/Neary Allynne Noelle & Ulrik Birkkjaer in 'The Nutcracker' by Christensen/Neary Allynne Noelle & Zheng Hua Li and Ensemble in George Balanchine's 'La Sonnambula' Allynne Noelle & Zheng Hua Li in George Balanchine's 'La Sonnambula' Chelsea Paige Johnstin & Zheng Hua Li in George Balanchine's 'La Sonnambula' Chelsea Paige Johnstin & Zheng Hua Li in George Balanchine's 'La Sonnambula' Julia Cinquemani & Alyssa Bross and Ensemble in George Balanchine's 'Concerto Barocco' Julia Cinquemani & Alexander Castillo and Ensemble in George Balanchine's 'Concerto Barocco' Allynne Noelle & Kenta Shimizu in George Balanchine's 'Tchaikovsky Pas de Deux' Allyssa Bross & Ulrik Birkkjaer in George Balanchine's 'Tchaikovsky Pas de Deux' Ulrik Birkkjaer in George Balanchine's 'Tchaikovsky Pas de Deux' Kenta Shimizu & Ensemble in George Balanchine's 'The Four Temperaments' Allyssa Bross & Christopher Revels in George Balanchine's 'The Four Temperaments' Kenta Shimizu & Ensemble in George Balanchine's 'The Four Temperaments' Kate Highstrete & Christopher Revels in George Balanchine's 'The Four Temperaments' Chelsea Paige Johnston & Alexander Castillo and Ensemble in 'La Valse' Allyssa Bross & Zheng Hua Li in 'La Valse' Allyssa Bross & Zheng Hua Li in 'La Valse' Allyssa Bross & Zheng Hua Li in 'La Valse' Previous Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation. Next Gallery

Available Shortly Home / Staff / Administrator Adrian Blake Mitchell Trainee Program Director Available Shortly

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Bubbles at the ballet! And what a fantastic way to end a program, which is precisely what Los Angeles Ballet did by presenting Jiří Kylián’s deliriously witty, “Sechs Tänze,” a 1986 bauble set to Mozart that should be required viewing for those who think ballet is a mysterious and elite art form. Home / News / New Item Los Angeles Ballet Brilliant! May 20, 2015 Fjord Review by Victoria Looseleaf Bubbles at the ballet! And what a fantastic way to end a program, which is precisely what Los Angeles Ballet did by presenting Jiří Kylián’s deliriously witty, “Sechs Tänze,” a 1986 bauble set to Mozart that should be required viewing for those who think ballet is a mysterious and elite art form. Indeed, as Pete Campbell of Mad Men might have said: “A thing like that!” Seriously, Los Angeles Ballet is the little company that could. Concluding its ninth season, the troupe has grown by leaps, fouettés and pirouettes over the years, continually proving its mettle in a town that’s been ballet-averse—at least to local talent. But with a dedicated husband-and-wife team at the troupe’s helm—Colleen Neary (a New York City Ballet dancer under Balanchine and répétiteur) and Thordal Christensen (erstwhile artistic director of Royal Danish Ballet)—Angelenos can take pride in this homegrown organization. And while story ballets are an easier sell than a mixed rep bill (LAB’s recent production of its own “Sleeping Beauty” made a greater impact on this reviewer than the gaudy world premiere presented by ABT in Orange County in March), this program showed the diversity, range and reach of the 37-member company. Opening with Balanchine’s “Tchaikovsky Piano Concerto No. 2,” the 1973 revision of the choreographer’s 1941 “Ballet Imperial” and his first foray into the Petipa style (LAB premiered the opus in 2010), the dancers had a chance to show their dreamy side, albeit one fueled by technique, grit and, well, smiles. Plotless, this is, nevertheless, a huge, majestic affair, with Allynne Noelle, Christopher Revels and Julia Cinquemani leading the charge—in this case a bevy of dancers clad in cream-colored attire (designed and executed by Marianne Parker), the women’s neo-Romantic tutus topped with sparkling bodices. The rich melodic score (alas, heard on tape—won’t some angel please donate a few million dollars to give this troupe an orchestra?), leaves no room for stillness. Teeming with numerous corps members offering constantly shifting patterns, including traversing the stage in diagonals, the work also features dancers’ angled arms held aloft, fingers and feet precisely positioned. Then there are the soloists: Noelle, who leaves the company after its final performances (Glendale’s Alex Theatre, May 30; U.C.L.A.’s Royce Hall, June 6), but who will guest in future, displayed a wonderful mix of feminine swagger, musicality and assured footwork, both graceful and muscular. Revels partnered Noelle with brio, his cabrioles and beating feet taking him to new heights. Cinquemani, who, at 23, also has her own dancewear line, accentuated the angst in Tchaikovsky’s music, her gorgeously fierce attacks a study in exactitude. Also noteworthy: Laura Chachich, Kate Highstrete, Zachary Guthier and Dustin True added to the work that is a testament to stamina and the power of art. José Limón first performed “The Moor’s Pavane—Variations on the theme of Othello” in 1949 at the American Dance Festival. Directed and reconstructed by Alice Condodina, a former Limón dancer under the master, himself, this 20-minute distillation of themes from Shakespeare’s play is a timeless tale of envy, intrigue and violence. Set within the formalism of a Baroque dance to Henry Purcell’s music, “Moor” is the apotheosis of concise storytelling, its four characters inspired by Othello, Iago, Desdemona and Emilia, though not named. Zheng Hua Li’s Moor has dug deep to seize the moment, his acting keen, his every move imbued with meaning: Outstretched arms at the work’s beginning define his nobility, only to later signify his rising jealousy and fury; and finally, his utter despair. Erik Thordal-Christensen (the directors’ son), at 20, does not yet have the maturity for a reptilian Iago, although his striking presence (he’s 6’4” and very blonde, decidedly the stuff of princes), is not to be ignored. In time, no doubt, one can see him investing the moves with more villainous rigor. Stepping in for an injured Bianca Bulle, Elizabeth Claire Walker gave her Desdemona the expected air of tragic innocence, her undoing a tableau of fragile prey. The splendid Allyssa Bross handled her dramatic duties with aplomb, occasionally acting as if these goings-on were games, realizing, too late, that they were, in fact, fatal. Such is the gestural language of the dance, where a handkerchief, untrustworthy friends and paranoia, spell doom. Neary and Christensen danced “Moor” in the 1980s, when they were with Pacific Northwest Ballet, and it is from that troupe that they borrowed the costumes (designed by Pauline Lawrence). A paean to the Renaissance, when heads were offed and suspicions ran rampant, these heavy gowns, billowing sleeves and tights, proved great concealers. “Moor,” also the tragedy of Everyman, rings true in today’s harrowing times, when we, too, might find ourselves occasionally cloaked in fear and agitation. We’re grateful for dance, then, to transport us to a higher level, which Kylián’s “Sechs Tänze” does by feeding the soul with unbridled joy. A Los Angeles Ballet premiere, staged by Fiona Lummis and Glen Eddy, the work is divided into six comical acts danced by four couples, with a supporting quintet upping the humor ante. A cheeky romp through the intrigues of Baroque court life, including men in powdery wigs and women sporting garish make-up, the prevailing octet cavorts about in flirty, absurd fun through a series of dangerous liaisons—hello fencing foils and mime! Throughout the six acts, dancers revel in nonsense, both individually and with each other. Faces are slapped, powder is suspended in air; evening gown facades are periodically paraded across the stage reminiscent of an I Love Lucy sight gag. Among the purveyors of silly: the always outstanding Christopher McDaniel (he leaves the troupe after five seasons, boo hoo), Britta Lazenga, Chelsea Paige Johnston, Chloé Sherman, Javier Moya Romero, Cinquemani, Guthier and True. Mozart would have loved it! Oh, yes: Those buckets of bubbles—champagne, anyone?—that rained down at the work’s end was not only a glorious finale to the Kylián, but to a beautifully rendered program by Los Angeles Ballet. We’ll drink to that! READ ARTICLE AT SOURCE

The final bill of Los Angeles Ballet's sixth season, “NextWave LA” is the company's annual new works program (known previously as “New Wave LA”), featuring area choreographers. Home / News / New Item Colony adds shine to Los Angeles Ballet's 'Next Wave LA' May 16, 2012 Los Angeles Times by Jean Lenihan The final bill of Los Angeles Ballet's sixth season, “NextWave LA” is the company's annual new works program (known previously as “New Wave LA”), featuring area choreographers. It’s where you can count on loud amplifiers, the shedding of tutus and hair clips, and the sight of the selfsame ballerina you saw comporting like a regal queen in “Swan Lake” or “The Nutcracker” now writhing in extreme throes. This year’s contemporary bill -- featuring premieres by TV veterans Sonya Tayeh and Stacey Tookey (“So You Think You Can Dance") plus established choreographers Josie Walsh and Kitty McNamee -- may feel to be even more of a stark and risky contrast than previous years since for the first time an L.A. Ballet season has offered only story ballets and no Balanchine. Besides smoothing the distance between classical serenity and stark abstraction, Balanchine ballets also deftly convey the rigorous design and rehearsal values that should bridge both worlds. Yet thanks to McNamee’s opener, a mature and mysterious Euro-style group work called “colony,” the company looks lustrous. The debut came Saturday at the Redondo Beach Performing Arts Center; the program moves next to Glendale’s Alex Theatre, then the Broad Stage in Santa Monica. Set to Anna Clyne’s electronica and cello, “colony” features the metamorphoses of a mostly female brethren as one individualist (retiring dancer Kelly Ann Sloan) makes a break. Outfitted in Kanique Thomas’ ceremonial black coats and silhouetted in chill, harsh light by designer Ben Pilat, the group begins an eerie circling blizzard that morphs into many new geometries. McNamee’s ensemble pointe work here is mesmerizingly chilly -- inscribing arcs, measuring distances, the dancers’ precise feet move like the points and arms of drafting compasses. Meanwhile, the port de bras are kept minimalist and meaningful. Fresh and original, surely “colony” belongs in L.A. Ballet's permanent repertory, alongside Balanchine and Lar Lubovitch. Though well danced, sadly the bill falls off from here. Set to Icelandic composer Ólafur Arnalds, Tayeh’s “Duets in the act of...” features four obvious couples -- “cold desperation” (Allyssa Bross, Zheng Hua Li), “artificial seduction” (Julia Cinquemani, Vincent S. Adams), “fleeting nostalgia” (Kate Highstrete, Nicolas de la Vega) and “false ego” (Allynne Noelle, Alexander Castillo). Fleeting moments when Tayeh layered the duos, suggesting links between the differing motivations, signaled the stronger piece that might have been. Josie Walsh’s “Sirens,” scored by her husband Paul Rivera Jr., is yet another retelling of the Odysseus myth of sailors battling watery enchantresses. Men cover their ears, shaking their heads; women bourrée en pointe with undulating arms. One expects the likes of Rihanna to emerge from a trap door to hasten “Sirens”’ to its end. The final work, “Be Still,” with choreography by Tookey to a score featuring Matthew Banks (Blue Man group) and Icelandic composer Jóhann Jóhannsson, is a subtle, dynamic group piece about time that is currently overwhelmed by its emphatic, confusing design (again by Thomas and Pilat). Why a piece about time’s echoes and waves occurs in fringed two-piece suits -- with white-hot spotlights-- distracts to an impossible degree. “NextWave LA” Los Angeles Ballet, 7:30 p.m. Saturday, Alex Theatre, Glendale; 2 p.m. and 7:30 p.m. May 26, 2 p.m. May 27, the Broad Stage, Santa Monica. $30-$95. (310) 998-7782 or www.losangelesballet.org DOWNLOAD PDF

The Nutcracker 2016 Who Cares? – Balanchine / Gershwin SarahAnne Perel, Zheng Hua Li & LAB Ensemble SarahAnne Perel & Javier Moya Romero Bianca Bulle, Dustin True & LAB Ensemble Julia Cinquemani Joshua Brown SarahAnne Perel Elizabeth Claire Walker & LAB Ensemble Robert Mulvey, Jeongkon Kim & Samuel Akins Julia Cinquemani & Tigran Sargsyan Allyssa Bross & LAB Ensemble Julia Cinquemani & Kenta Shimizu SarahAnne Perel, Zheng Hua Li & LAB Ensemble SarahAnne Perel & Javier Moya Romero Bianca Bulle, Dustin True & LAB Ensemble Julia Cinquemani Joshua Brown SarahAnne Perel Elizabeth Claire Walker & LAB Ensemble Robert Mulvey, Jeongkon Kim & Samuel Akins Julia Cinquemani & Tigran Sargsyan Allyssa Bross & LAB Ensemble Julia Cinquemani & Kenta Shimizu SarahAnne Perel, Zheng Hua Li & LAB Ensemble SarahAnne Perel & Javier Moya Romero Bianca Bulle, Dustin True & LAB Ensemble Julia Cinquemani Joshua Brown SarahAnne Perel Elizabeth Claire Walker & LAB Ensemble Robert Mulvey, Jeongkon Kim & Samuel Akins Julia Cinquemani & Tigran Sargsyan Allyssa Bross & LAB Ensemble Julia Cinquemani & Kenta Shimizu Previous Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation. Next Gallery

Los Angeles Ballet is seeking classically trained boys and girls to perform with the company in The Nutcracker from December 6 through 28, 2024. Home / 2026/2027 Season / The Nutcracker / Children's Open Audition / Children's Open Audition Pre-Registration for The Nutcracker Registration closes on August 28. Upon submittal of Pre-Registration, and if selected, you will be contacted with your audition details. Los Angeles Ballet is seeking classically trained boys and girls to perform with the company from December 11 through 27, 202. Boys and Girls 7 to 13 years - Classically trained Audition Date: Saturday, August 29, 2026 Audition Location: LAB Center, 11755 Exposition Blvd, LA, CA 90064 Audition Registration: Between 11 am – 11:50 am Audition Time: 12 pm – 3 pm If selected, you will be notified; please be prompt and arrive on time. What to Bring: • Headshot • Full Body Ballet Photo

 • Boys 7-13: Ballet shoes, black tights, white T-shirt • Girls 7-13: Ballet shoes, pink tights, black leotard - Hair in a bun Please submit the following information to Pre-Register: LAB will contact you regarding your child’s audition status and details. Additional Questions Laura Chachich , Rehearsal Director Lchachich@losangelesballet.org Parent/Guardian Information Child's Information The safety of our audiences, dancers, musicians, staff, and crew remains our top priority. This season LAB will follow guidelines and protocols from national, state, and local public health officials. In collaboration with our venues, we will follow all required measures as well as implementing recommended measures to the greatest extent possible to help ensure our patrons’ safety. Audition Agreement ( Required) I, the Parent/Guardian of the Child Artist, agree to hold harmless Los Angeles Ballet and its officers, agents, and employees against any and all injuries, costs, losses, damages, and expenses (including attorney’s fees) which Child Artist might suffer from participation in an LAB audition, of whatever kind of character and without limitation. Parent/Guardian of Child Artist waives any claims, liens, demands or causes of action which Child Artist now, or in the future, possess against LAB arising out of or in any way related to Child Artist’s participation in any LAB audition. Child's First Name Child's Last Name Child's Age Ballet School Attending Performance Experience First Name Last Name Phone Email I accept terms & conditions of the Audition Agreement REGISTER

Los Angeles Ballet photo gallery presents a complete suite of season performance photos beginning with LAB’s inaugural season in 2005. Los Angeles Ballet performance photographer: Reed Hutchinson Home > Photo Gallery Photo Gallery Performance Photography by Reed Hutchinson 2021 / 2022 2019 / 2020 2018 / 2019 2016 / 2017 2015 / 2016 2014 / 2015 2013 / 2014 2012 / 2013 2011 / 2012 2010 / 2011 2009 / 2010 2008 / 2009 2007 / 2008 2006 / 2007 2017 / 2018 Rehearsal, Events & Outreach Photographers Sam Akins, Laura Chachich, Catherine Kanner Video Gallery The Nutcracker 2019 Choreography by Christensen/Neary, Music by Peter Ilyich Tchaikovsky

Finally, the company will reprise its provocative NextWaveLA series, which features world premire works created by local choreographers specifically for dancers in LAB. Home / News / New Item "Ballet is Woman" but, Aha, The Men Revolt" March 1, 2010 Huffington Post by Donna Perlmutter 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. 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. Theodore Swank Hometown Lexington, Kentucky Seasons with LAB 2 Seasons with LAB Theo began training in his hometown at Bluegrass Youth Ballet and received additional training at Cincinnati Ballet and Pittsburgh Ballet Theater. In 2023, he attended a summer course at The School of American Ballet in New York and was invited to join their year-round program on scholarship, where he trained for 2 years before joining LAB.