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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 Media Gallery / 2013/2014 Photo Gallery / 2013/2014 Photo Gallery The Nutcracker Quartet La Sylphide Serenade

The Nutcracker 2021 Christensen and Neary / Tchaikovsky Cloe Taneja with Camille Goldsborough & Luna Weintraub in The Nutcracker Cloe Taneja with James Zenghhua Li & LAB Ensemble in The Nutcracker Marcos Ramirez Castellano & Kate Inoue with James Zenghua Li in The Nutcracker Ryo Araki LAB Ensemble in The Nutcracker; LAB Ensemble in The Nutcracker Laura Chachich & Joshua Brown in The Nutcracker; - Jasmine Perry & LAB Ensemble in The Nutcracker Petra Conti in The Nutcracker Petra Conti in The Nutcracker Petra Conti, Tigran Sargsyan & LAB Ensemble in The Nutcracker Cloe Taneja with James Zenghhua Li & LAB Ensemble in The Nutcracker Cloe Taneja with Camille Goldsborough & Luna Weintraub in The Nutcracker Cloe Taneja with James Zenghhua Li & LAB Ensemble in The Nutcracker Marcos Ramirez Castellano & Kate Inoue with James Zenghua Li in The Nutcracker Ryo Araki LAB Ensemble in The Nutcracker; LAB Ensemble in The Nutcracker Laura Chachich & Joshua Brown in The Nutcracker; - Jasmine Perry & LAB Ensemble in The Nutcracker Petra Conti in The Nutcracker Petra Conti in The Nutcracker Petra Conti, Tigran Sargsyan & LAB Ensemble in The Nutcracker Cloe Taneja with James Zenghhua Li & LAB Ensemble in The Nutcracker Cloe Taneja with Camille Goldsborough & Luna Weintraub in The Nutcracker Cloe Taneja with James Zenghhua Li & LAB Ensemble in The Nutcracker Marcos Ramirez Castellano & Kate Inoue with James Zenghua Li in The Nutcracker Ryo Araki LAB Ensemble in The Nutcracker; LAB Ensemble in The Nutcracker Laura Chachich & Joshua Brown in The Nutcracker; - Jasmine Perry & LAB Ensemble in The Nutcracker Petra Conti in The Nutcracker Petra Conti in The Nutcracker Petra Conti, Tigran Sargsyan & LAB Ensemble in The Nutcracker Cloe Taneja with James Zenghhua Li & LAB Ensemble in The Nutcracker Previous Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation. Next Gallery

The audition submission should begin with a short technical demonstration at the barre and center. At the barre the student must include plies, tendues, ronde de jambe, passé and adagio developpe en croix. In the center the dancers must include adagio, pirouettes, petite and grand allegro.  Apply for an Audition / 2026/2027 Season Company and Trainee Auditions Audition Date: Saturday, February 7th, 2026. 12pm – 2pm Place: Los Angeles Ballet Studios Los Angeles Ballet is seeking strong, classically trained dancers for the 26/27 Season. You must submit the requested materials to receive an invitation from the company to attend the audition. Please submit a resume, headshot, and full-body dance shot. You will be notified via email of your invitation to attend the audition. Video is acceptable if you are unable to come in person. Video footage must be recent (in the last 3 months) and include the following: Barre – fast tendus, fondus Center – Adagio, pirouettes, petit allegro, grand allegro Performance footage Do not arrive for the audition unless you have received an invitation from Los Angeles Ballet. Audition Guidelines The audition submission should begin with a short technical demonstration at the barre and center. At the barre the student must include plies, tendues, ronde de jambe, passé and adagio developpe en croix. In the center the dancers must include adagio, pirouettes, petite and grand allegro. Please also include a classical variation, (on pointe for women) one to two minutes in length. If the dancer does not have a variation prepared, please include a pointe combination for ladies and a combination with jumps (both double tour en l’air and saut de basque) for men. A contemporary solo may also be submitted, but is not a requirement Girls should wear a black leotard and either pink ballet shoes with pink tights or flesh-toned ballet shoes and tights. Boys should wear tights, shoes, and a fitted shirt light-colored preferably in a light color (white or grey) or contrasting color to the surrounding environment. Please no warm-ups, skirts, or baggy clothing. Full Name Age Home Phone Number Email Current Affiliations Upload Resume Select PDF, TXT, DOC, PAGES Max File Size: 15Mb Upload Headshot Select JPG or PNG Max File Size: 15Mb Upload Full Body Photo Select JPG or PNG Max File Size: 15Mb Upload/Share a demonstration of Barre and Center (At least one upload or URL required) Select File MOV, MP4 - Max File Size 15Mb Upload/Share a demonstration of a Classical Variation (At least one upload or URL required) Select File MOV, MP4 - Max File Size 15Mb Upload/Share a demonstration of a Contemporary Solo (Optional) Select File MOV, MP4 - Max File Size 15Mb Full Name / Guardian (If Trainee is under 18) REGISTER Upon submitting, please allow a moment for your files to upload. Once your submission have replaced the placeholders below, you may close the page. Date of Birth * * required Cell Phone Number Current Citizenship / Visa Status Full Name of Minor Thank you for your application submission An error occurred. Please make sure all the required fields are filled.

Despite a rocky arts landscape, Los Angeles Ballet has managed to not only survive but also prosper. What’s needed now is more attention from the local community to this admirable, and creative, company. Home / News / New Item Commentary: Los Angeles Ballet on upswing in its fifth year December 5, 2010 Los Angeles Times by Lewis Segal Despite a rocky arts landscape, Los Angeles Ballet has managed to not only survive but also prosper. What’s needed now is more attention from the local community to this admirable, and creative, company. Congratulations are in order — and maybe a sigh of relief. With its “Nutcracker” performances this weekend at the Alex Theatre in Glendale (plus repeats through the month in two other Southland venues), Los Angeles Ballet entered its fifth season as a resident professional company. Season 5 and counting: not exactly a golden anniversary but definitely a hard-won benchmark. It’s been a turbulent demi-decade for all arts organizations, one in which long-established companies such as Orange County’s Ballet Pacifica vanished from the landscape. And that was before the recession took its toll in radically diminished institutional and governmental funding for the arts. But Los Angeles Ballet hasn’t merely survived for five seasons; it’s increased the operating budget some 80%, from $900,000 in 2006-07 to $1,624,000 in 2010-11. And there are other signs of growth: increased ticket sales (up 12% last season), a new school and company center in West Los Angeles, a reconstituted board of directors, expanded support staff and audience development activities. So celebration is justified, but not complacency. After all, John Clifford’s attempt at a company of the same name in the 1970s existed for more than 10 years before it folded: a casualty of consistently under-rehearsed dancing, relentlessly mediocre home-grown choreography and the erosion of its support base. In contrast, the dancing in the new, millennial Los Angeles Ballet has always been meticulously professional and the new choreography varied and often exciting — though you can’t really measure the quality of any company from its “Nutcracker.” Clifford, however, had a knack for making his troupe seem omnipresent, a major player in local dance, while the excellences of the new company have achieved little impact or even visibility on the L.A. arts scene. Yes, it appeared as a guest on the popular “So You Think You Can Dance” reality show. And it publicized its “Nutcracker” by offering tickets on the Groupon discount site. But such innovations produced no buzz in the local community. And if you looked at the winners of the annual Lester Horton Dance Awards — an index of peer-group recognition in Southland dance — you’d scarcely know Los Angeles Ballet existed. Yet season after season, the company gives admirable performances of challenging neoclassical masterworks by George Balanchine, staged by co-artistic director Colleen Neary. The rep this March includes two highly accessible Balanchine staples: “Raymonda Variations” and “Western Symphony,” the first a tribute to the choreographer’s imperial Russian heritage, the second an expression of his enjoyment of the cowboy culture in his adopted homeland. But Balanchine isn’t the company’s sole choreographic asset. Indeed, co-artistic director Thordal Christensen’s 2009 staging of August Bournonville’s full-length “La Sylphide” easily outclassed the badly deteriorated American Ballet Theatre version and the crude approximation by the Bolshoi Ballet. The company’s first attempt at a genuine 19th century story ballet, it proved conclusively that Los Angeles Ballet can switch styles with no loss of authority. On the schedule for May: “Giselle,” another foray into the Romantic era, which Christensen previously staged for the Royal Danish Ballet. Creative partners A husband-and-wife team, Christensen and Neary danced, respectively, in Bournonville’s and Balanchine’s home companies along with other national and international ensembles. Besides their expertise on stage and in the studio, they have explored business strategies that initially seemed promising but sometimes proved counterproductive. Wisely, they quickly abandoned the notion of making Los Angeles Ballet a backup ensemble for guest stars, a practice that sells tickets but generates no company loyalty. However, their very brief repertory seasons (typically four performances) leave dancers little time to develop a personal spin on roles — to own them by an individual interpretation. So the performances often look strongly cast, coached and executed but not indelible. Worse, the directors have divided those seasons into weekend engagements in Westwood, Glendale, Redondo Beach and sometimes Santa Monica, which requires everyone to remain rehearsed at maximum firepower for nearly a month with only a performance or two in each venue as payoff. The concept of touring greater L.A. is sound in terms of audience development, for virtually every poll says that the public doesn’t want to travel more than half an hour to cultural events. But the strain on the dancers has caused Los Angeles Ballet to lose some of its most distinctive soloists to companies with longer seasons. And high-profile principals are a major reason that people keep coming back to ballet. Christensen and Neary have also had to contend with the very daunting conditions of sustaining art in Southern California — a place famed for welcoming every kind of creative expression without supporting anything for long. As far as ballet is concerned, the Los Angeles audience is highly isolated, almost never seeing the reigning international stars and classical companies that appear regularly down the 405 on the well-subsidized dance series at the Orange County Performing Arts Center. As a result, American Ballet Theatre has become the sole standard-bearer for the ballet audience in L.A., though, ironically, the company’s reputation in New York largely depends on those very same international stars who are seldom booked for its engagements at the Dorothy Chandler Pavilion. As the insular, old-guard ballet audience here ages and shrinks, only ABT and ABT offshoots turn up regularly on the Music Center’s classical lineup — and then only for split weeks — while widely acclaimed (and arguably better) companies such as San Francisco Ballet are increasingly unseen or undersold. So where does that leave the newbies? With a clean slate, that’s where. To survive, Christensen and Neary must build an audience from scratch — not just for Los Angeles Ballet but for the art in general — an audience that knows what it’s seeing and will still be around by the time the company celebrates its next five-year benchmark. In the works In February, the directors are scheduled to present a plan for the future to their board. A draft of that plan reveals projected budget increases that should reach $2,460,848 by the 2015-16 season. “Swan Lake” is penciled in for Season 6 or 7, and the recently inaugurated Choreographic Workshop — in which local dance-makers created works for the company — will become an annual event. A season of five productions instead of the current three will expand the dancers’ 24-week period of employment. Additional venues (Pasadena? Northridge? Orange County?) are also under consideration. But live music is not on the horizon, according to executive director Julie Whittaker (much too costly), and all this hoped-for growth will take place in an economy that experts warn may languish through the company’s 10th anniversary and beyond. Caution is warranted, but so is pride. A company founded with the highest possible standards at the worst possible time is not only news, it’s inspiring. Christensen and Neary took a chance on Los Angeles and produced the kind of art that helps us get through times like these. Isn’t it high time that Los Angeles stops ignoring the evidence and takes a chance on them? Formerly the dance critic at The Times, Segal is a freelance arts writer based in Hollywood and Barcelona. calendar@latimes.com Copyright © 2010, Los Angeles Times DOWNLOAD PDF

Now is the perfect time to secure your seats for the season!  With a subscription, you’ll lock in your pricing and enjoy exclusive benefits. 2025/2026 Season / Subscribe / Choose-2 Subscriptions: Option 3 / Choose 2 Subscription: Option 3 Series A SELECT The Nutcracker Dec. 1, 2023 – 8:00 PM Pasadena Civic Auditorium Next Steps Mar. 22, 2024 – 7:30 PM The Broad Stage Firebird & Serenade May 11, 2024 – 7:30 PM Pasadena Civic Auditorium Start Now Series B SELECT The Nutcracker Dec. 2, 2023 – 6:00 PM Pasadena Civic Auditorium Next Steps Mar. 23, 2024 – 7:30 PM The Broad Stage Firebird & Serenade May 11, 2024 – 7:30 PM Pasadena Civic Auditorium Start Now Series C SELECT The Nutcracker Dec. 9, 2023 – 5 PM Royce Hall Next Steps Mar. 23, 2024 – 7:30 PM The Broad Stage Firebird & Serenade June 1, 2024 – 7:30 PM Royce Hall Start Now Series D SELECT The Nutcracker Dec 16, 2023 – 5:00 PM Redondo Beach PAC Next Steps Mar 23, 2024 – 7:30 PM The Broad Stage Firebird & Serenade May 25, 2024 – 7:30 PM Redondo Beach PAC Start Now Series E INQUIRE with Box Office The Nutcracker Dec. 23, 2023 – 7:30 PM Dolby Theatre * Next Steps Mar. 23, 2024 – 7:30 PM The Broad Stage Firebird & Serenade May 11, 2024 – 7:30 PM Pasadena Civic Auditorium Start Now Series F SELECT The Nutcracker Dec 3, 2023 – 2 PM Pasadena Civic Auditorium Next Steps Mar 24, 2024 – 2 PM The Broad Stage Firebird & Serenade May, 12 2024 – 2 PM Pasadena Civic Auditorium Start Now Series G SELECT The Nutcracker Dec 9, 2023 – 12 PM Royce Hall Next Steps Mar 23, 2024 – 2 PM The Broad Stage Firebird & Serenade Jun 1, 2024 – 2 PM Royce Hall Start Now Series H SELECT The Nutcracker Dec 16, 2023 – 12 PM Redondo Beach PAC Next Steps Mar 23, 2024 – 2 PM The Broad Stage Firebird & Serenade May 25, 2024 – 2 PM Redondo Beach PAC Start Now Series I INQUIRE with Box Office The Nutcracker Dec 23, 2023 – 2 PM Dolby Theatre * Next Steps Mar 23, 2024 – 2 PM The Broad Stage Firebird & Serenade May 11, 2024 – 2 PM Pasadena Civic Auditorium Start Now Series J INQUIRE with Box Office The Nutcracker Dec 24, 2023 – 2 PM Dolby Theatre * Next Steps Mar 24, 2024 – 2 PM The Broad Stage Firebird & Serenade May 12, 2024 – 2 PM Pasadena Civic Auditorium Start Now Select Venue

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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. Leya Graham Hometown Seasons with LAB 1 Season with LAB Available shortly

Los Angeles Ballet is excited to appear at Santa Monica's The Broad Stage as part of the theater's Inaugural Season. LAB’s Director's Choice program was presented at the theater March 15 and 16, 2009. Home / News / New Item Los Angeles Ballet at The Broad Stage March 1, 2009 Company News from the Staff at LAB The story is simple. James, a Scottish highlander, dreams of a magical, otherworldly creature, the Sylph, on the very day of his wedding to his beloved Effie. Suddenly incarnate, the Sylph lures James away from the wedding and into the forest. There, she inexplicably appears and disappears at will, always managing to stay just out of his grasp.

After dancing with Los Angeles Ballet as a Soloist for nine years, Laura Chachich is thrilled to transition into a new administrative role. Laura is a passionate educator who supports and nurtures Company dancers in rehearsals, and oversees the children performing in Los Angeles Ballet’s production of The Nutcracker. She brings the joy of dance to communities in Los Angeles through the outreach programs she manages, A Chance to Dance and POP! Power of Performance. Laura received her dance education at Miami City Ballet School, North Carolina School of the Arts and Central Pennsylvania Youth Ballet before joining The Washington Ballet in DC in 2011. She joined Los Angeles Ballet in 2014 and immediately fell in love with the company and the city. During her time as a dancer, Laura served as LAB’s Outreach Coordinator and helped to grow the company’s outreach programs. She feels that art has the power to connect and heal diverse audiences and looks forward to continuing to serve the LA community. Home / Staff / Administrator Laura Chachich Ballet Master Director of Education Programs After dancing with Los Angeles Ballet as a Soloist for nine years, Laura Chachich is thrilled to transition into a new administrative role. Laura is a passionate educator who supports and nurtures Company dancers in rehearsals, and oversees the children performing in Los Angeles Ballet’s production of The Nutcracker. She brings the joy of dance to communities in Los Angeles through the outreach programs she manages, A Chance to Dance and POP! Power of Performance. Laura received her dance education at Miami City Ballet School, North Carolina School of the Arts and Central Pennsylvania Youth Ballet before joining The Washington Ballet in DC in 2011. She joined Los Angeles Ballet in 2014 and immediately fell in love with the company and the city. During her time as a dancer, Laura served as LAB’s Outreach Coordinator and helped to grow the company’s outreach programs. She feels that art has the power to connect and heal diverse audiences and looks forward to continuing to serve the LA community.

Los Angeles Ballet repertoire includes superb stagings of a Balanchine repertory, stylistically meticulous classical ballets, and commissioned contemporary works by renowned local and international choreographers. Repertoire Home / Repertoire / LAB Repertoire Agon Balanchine / Stravinsky Allegro Brillante Balanchine / Tchaikovsky An American Camelot* Backhaus / Basie, Fitzgerald, Kitt, Martin Apollo Balanchine / Stravinsky Beneath One's Dignity* Tayeh / Sigurðsson Be Still* Tookey / Banks and Johannsson Bloom Lopez Ochoa / Glass Cipher* Stowell / Agruss colony* McNamee / Clyne Concerto Barocco Balanchine / Bach Divertimento No. 15 Balanchine / Mozart Don Quixote Christensen and Neary after Marius Petipa and Alexander Gorky /Minkus Duets in the act of...* Tayeh / ArnaldsFool's Paradise Wheeldon / Talbot Giselle Christensen and Neary after Coralli, Perrot, Petipa/Adam Ghosts Wheeldon / Winger Kammermusik No. 2 Balanchine / Hindemith Lady of the Camellias Caniparoli/Chopin La Sonnambula Balanchine / Rieti after Bellini La Sylphide Bournonville / Løvenskjold La Valse Balanchine / Ravel Les Chambres des Jacques Barton / Vigneault, Vivaldi, Les Yeux Noirs, The Cracow Klezmer Band Lickety Split Cerrudo / Banhart Lost In Transition* Barak / Meyer Memoryhouse Barak/Richter Morphoses Wheeldon/Ligeti My Greatest Fear* Tayeh / Richter and Pärt Napoli Bournonville / Helsted, Paulli Pacopepeluto Cerrudo / Pärt, Martin, Scalissi Pas de Six Bournonville / Helsted, Paulli Prodigal Son Balanchine / Prokofiev Raymonda Variations Balanchine / Glazounov Reflect. Affect. Carry On...* Wall / Queen, U2, Sigur Ros Return to a Strange Land Kylián / Janácek Romeo and Juliet Sir Frederick Ashton / Prokofiev Rubies Balanchine / Stravinsky Sechs Tänze Kylián / Mozart Second to Last Cerrudo / Pärt Serenade Balanchine / Tchaikovsky she said / he said* Backhaus / Muhly Sirens* Walsh / Rivera Jr. Stars and Stripes Balanchine / Kay after Sousa Stravinsky Violin Concerto Balanchine / Stravinsky Swan Lake Christensen and Neary after Petipa & Ivanov / Tchaikovsky Tarantella Balanchine / Gottschalk Tchaikovsky Pas de Deux Balanchine / Tchaikovsky Tchaikovsky Piano Concerto No. 2 Balanchine / Tchaikovsky the back and forth* Tayeh / Bjork, Piazzolla, Paris Gotan Trio The Evangelist Lubovitch / Ives The Four Temperaments Balanchine / Hindemith The Moor's Pavane Limón / Purcell arr. by Sadoff The Nutcracker Christensen and Neary / Tchaikovsky The Sleeping Beauty Christensen and Neary after Petipa / Tchaikovsky This is you* Lou / Scheele, van der Loo Transmutation* Walsh / Rivera Jr. Untouched Barton / Kong Kie, Macdonald, Shurbin Western Symphony Balanchine / American Songs Orchestrated by Kay Who Cares? Balanchine / Gershwin Wink* Moore / Cirque Eloize *LAB Commissioned Work | World Premiere The performances of Balanchine® Ballets are presented by arrangement with The Balanchine Trust and are produced in accordance with the Balanchine Style® and Balanchine Technique® service standards established and provided by the Trust.

Swan Lake 2018 Christensen and Neary after Petipa & Ivanov / Tchaikovsky Petra Conti & Kenta Shimizu LAB Ensemble Bianca Bulle & Kenta Shimizu Petra Conti Petra Conti & Kenta Shimizu Bianca Bulle Petra Conti & Kenta Shimizu Petra Conti & Kenta Shimizu Bianca Bulle & LAB Ensemble Petra Conti, Kenta Shimizu Petra Conti & Kenta Shimizu LAB Ensemble Bianca Bulle & Kenta Shimizu Petra Conti Petra Conti & Kenta Shimizu Bianca Bulle Petra Conti & Kenta Shimizu Petra Conti & Kenta Shimizu Bianca Bulle & LAB Ensemble Petra Conti, Kenta Shimizu Petra Conti & Kenta Shimizu LAB Ensemble Bianca Bulle & Kenta Shimizu Petra Conti Petra Conti & Kenta Shimizu Bianca Bulle Petra Conti & Kenta Shimizu Petra Conti & Kenta Shimizu Bianca Bulle & LAB Ensemble Petra Conti, Kenta Shimizu Previous Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation. Next Gallery

Los Angeles Ballet is launching an exciting new partnership opportunity for Season 19! If you are a luxury brand seeking to bridge and advance the art forms of design and dance, please consider joining our LAB Brand Collaborators. Major Giving Major Giving / Elevate the Stage: Invest in the future of Los Angeles Ballet As Los Angeles Ballet celebrates its milestone 20th Anniversary Season, major gifts ensure transformational growth, provide stability for long-term planning, and expand access to ballet across Los Angeles. Learn more about our Special Project Funds and Season 20 Priorities below: ARTISTIC INNOVATION FUND DANCERS WELLNESS FUND COMMUNITY ENGAGEMENT FUND COSTUME, SCENIC, AND STAGING FUND MEMORYHOUSE BARAK | RICHTER LIVE ORCHESTRA FUND OFF BALANCE Special Project Funds Artistic Innovation Fund Pioneering new works keeps ballet evolving and propels the art form forward. This fund supports commissioning new choreography and collaborations, building on LAB’s tradition of world premieres — including Melissa Barak’s new work debuting this season. $25,000 – Provides seed funding for a new work’s development. $50,000 – Supports a week of rehearsal workshops with the full company. $100,000 – Funds staging a new ballet with costumes, sets, and production design. Dancer Wellness Fund Behind every performance is the strength and resilience of LAB’s dancers. This fund provides access to physical therapy, injury prevention, and wellness services to keep them performing at their best throughout the 20th Anniversary Season. $25,000 – Provides annual PT support for the company. $50,000 – Covers injury prevention and rehabilitation services. $100,000 – Establishes a comprehensive wellness program for LAB dancers. Community Engagement Fund LAB is committed to ensuring that ballet is accessible to everyone in Los Angeles. Through our signature initiatives: Power of Performance (POP!) – Provides thousands of free tickets each year to underserved children, families, veterans, seniors, and other community members who might not otherwise have access to ballet. A Chance to Dance (ACTD) – Offers free community ballet classes across Los Angeles, encouraging young dancers of all backgrounds to explore movement, creativity, and confidence. “I was at The Nutcracker, the very first ballet with our ladies. It was so magical to see some who had been homeless or being abused or just abusing themselves with drugs so free and happy. The situation that got me was that about half of the ladies had tears streaming down their faces and they all said at once when they saw me looking at them that they had never experienced something so beautiful before.” – Program Participant $25,000 – Gives the gift of live ballet to 250 community members. $50,000 – Provides 1,200 free dance classes. $100,000 – Underwrites 10% of Nutcracker tickets for POP! Participants. $250,000 – Funds a full season of free community engagement and education programs. Production and Maintenance Fund Invest in the technical and creative elements that bring ballet magic to life — from set and lighting design to refurbishing beloved costumes. This season, your gift helps realize the timeless beauty of The Nutcracker , the romance of Giselle , and the visual artistry of Barak’s world premiere. $25,000 – Supports annual maintenance and costume restoration. $50,000 – Funds refurbishment of sets, lighting, and stage elements. $100,000 – Provides annual preservation and storage for the new Nutcracker. $250,000 – Establishes a long-term production maintenance reserve for LAB’s repertory. Programming Fund This fund provides the artistic freedom for Melissa Barak to curate dynamic seasons that blend LAB creations with important works from the global ballet repertoire. It supports the licensing, staging, and rehearsal of pieces by other choreographers and companies, enriching LAB’s artistic range and connecting Los Angeles audiences with iconic works. $25,000 – Supports licensing of one contemporary or classical ballet. $100,000 – Underwrites rights, royalties, and staging costs for one major work. $250,000 – Funds the curation and presentation of an entire mixed-repertory program. Season 20 Priorities Live Orchestra Fund Ensure that dancers and audiences alike can experience the magic of movement and the power of live music together. $25,000 – Supports rehearsals with a full orchestra. $50,000 – Underwrites one Nutcracker performance with live orchestra. $100,000 – Underwrites a full run of live-orchestra performances for Nutcracker. $250,000 – Establishes a season-long commitment to live orchestra across LAB’s productions. Sensory-Friendly Performances Fund This initiative ensures that individuals with sensory sensitivities can experience the magic of ballet. Beginning with The Nutcracker , LAB adapts lighting, sound, and the audience environment to create a welcoming, inclusive experience. $25,000 – Funds staff/volunteer training and accessibility materials. $50,000 – Covers adaptive lighting, sound adjustments, and quiet spaces. $100,000 – Underwrites a full sensory-friendly performance with reduced-price tickets. $250,000 – Establishes an annual series of sensory-friendly performances across LAB’s season. Sponsor LAB’s New Nutcracker Support the production of LAB’s brand-new Nutcracker — an investment that will delight audiences for years to come. $25,000 – Supports rehearsal and staging costs. $50,000 – Funds select new costume and scenic design elements. $100,000 – Provides vital production support for one Nutcracker performance. Leadership Gifts ($250,000+) – Help bring the entire new Nutcracker to life. Giselle Spring 2026 | Music Center’s Ahmanson Theatre Los Angeles Ballet will perform at the Music Center for the very first time with the timeless classic Giselle. This milestone not only marks LAB’s debut at one of Los Angeles’ most iconic cultural institutions but also introduces audiences to a cornerstone of the ballet repertoire during our 20th Anniversary Season. Giselle is a timeless classic that continues to inspire audiences and dance artists alike. Between the incredibly touching score by Adolphe Adam and the brilliant staging by choreographers Jean Coralli and Jules Perrot, Giselle transcends the stage it is performed on and takes on dramatic life of its own. A story focusing on love, betrayal, and eventually redemption, it is a must in any company canon, and a riveting story that cuts to the heart of what it is to be human. Levels of Support $25,000 – Supports rehearsals of Giselle. $50,000 – Funds costume and scenic design elements unique to this production $75,000 – Underwrites one performance at the Ahmanson Theatre — LAB’s first at the Music Center. GIVE NOW Contact Olivia O'Connor Director of Development (310) 477-7411 ext 1006 oloconnor@losangelesballet.org