Maleficent isn’t the only witch in town. Madge, the evildoer in August Bournonville’s 1836 Romantic ballet “La Sylphide” also has been creating misery (and laughs). Home / News / New Item Review: Los Angeles Ballet floats with 'La Sylphide and Serenade' June 9, 2014 Los Angeles Times by Victoria Looseleaf Maleficent isn’t the only witch in town. Madge, the evildoer in August Bournonville’s 1836 Romantic ballet “La Sylphide” also has been creating misery (and laughs). As devilishly portrayed by Los Angeles Ballet’s co-artistic director Colleen Neary and choreographed by her co-director husband, Thordal Christensen (after Bournonville), this witch is only one element that gave “La Sylphide” its wings Saturday at the Alex Theatre in Glendale. The program, which also presented George Balanchine’s 1934 classic “Serenade,” featured about three dozen dancers breathing life into these difficult, alluring works. One performer in particular proved unstoppable. Allyssa Bross danced the lead in both numbers on little notice, replacing an ailing Allynne Noelle in “Sylphide.” The pair alternates in the role, so Bross knew her stuff; the question was stamina. But Bross brought insouciance, grace and technique to burn in a sumptuous production last presented by the troupe in 2009. What man wouldn’t fall for her? Set in Scotland to taped music by Herman Severin Løvenskjold, “La Sylphide” told the story of the kilt-clad James as he succumbed to this exquisite creature’s charms. Kenta Shimizu as James offered powerful leaps and turns — pesky sporran aside — as well as quicksilver, precise beats. Alas, he already was betrothed to Effy, articulately danced by Chelsea Paige Johnston, with their wedding scheduled that day. James’ cottage teemed with people, including best pal Gurn (a wonderful Zheng Hua Li), a semi-buffoon who winds up marrying Effy after James disappears, as well as a corps of tartaned-out friends, six children and a pair of bagpipers. But wedded bliss wasn’t meant to be. After James offended the witch, Madge was out for blood — or at least death by sylph wing-removal. Act II’s forest scene had Madge and four crones hexing it up around a caldron to make a poisoned scarf. Neary, a former New York City Ballet principal, dove into Madge with glee, adding luster to this production that’s originally from the Royal Danish Ballet, a company Christensen once headed. The sylphs were also out in fairy force, with lovely, airy dancing by Bianca Bulle, Julia Cinquemani and Paige Johnston, a fine corps abetting them. But after James gifted the Sylph (Bross) that scarf, she began her death spiral. Yes, the ballet ends badly: James crumpled in grief; seeing his dead fairy float up to heaven, he’d lost everything. “Serenade,” set to taped Tchaikovsky and staged by Neary, could also be seen as a work about loss. A poetic vision of yearning, 17 women in diaphanous dresses filled the stage with intricate patterns and circlings. There were also off-balance arabesque lunges, legs scissoring in lifts and an impassioned waltz; hair streamed loose, and several men came and went. Bross was stunning as lead ballerina, sharing the stage at first with a capable Ulrik Birkkjaer, then the able Alexander Castillo, as well as a divine Cinquemani and a thin Kate Highstrete. And, of course, there was the corps, among whom crisp footwork and floating arms were paramount. The ballet had the love-disillusioned-by-destiny theme of Balanchine’s later neo-Romantic works, but its propulsive energy and beauty came from the pure movement patterns that continually introduced new motifs and variations. Los Angeles Ballet, on a roll, made the old new again. calendar@latimes.com ------------ Los Angeles Ballet What: “La Sylphide” and “Serenade” When and where: 7:30 p.m. Saturday at Redondo Beach Performing Arts Center, 1935 Manhattan Beach Blvd., Redondo Beach; also 7:30 p.m. June 21 at Royce Hall, UCLA Tickets: $24-$95 Information: (310) 998-7782, losangelesballet.org READ ARTICLE AT SOURCE

Swan Lake 2015 Christensen and Neary after Petipa and Ivanov / Tchaikovsky LAB Ensemble Allynne Noelle & Ulrik Birkkjaer Allynne Noelle & Rainer Krensetter Allyssa Bross, Kenta Shimizu & LAB Ensemble Chelsea Paige Johnston, Christopher Revels & LAB Ensemble Julia Cinquemani & Allyssa Bross Rainer Krensetter & Allynne Noelle Kenta Shimizu & Julia Cinquemani Allynne Noelle & Ulrik Birkkjaer Kenta Shimizu & Allyssa Bross Allynne Noelle & LAB Ensemble LAB Ensemble Julia Cinquemani & Kenta Shimizu Allynne Noelle & LAB Ensemble LAB Ensemble Allynne Noelle & Ulrik Birkkjaer Allynne Noelle & Rainer Krensetter Allyssa Bross, Kenta Shimizu & LAB Ensemble Chelsea Paige Johnston, Christopher Revels & LAB Ensemble Julia Cinquemani & Allyssa Bross Rainer Krensetter & Allynne Noelle Kenta Shimizu & Julia Cinquemani Allynne Noelle & Ulrik Birkkjaer Kenta Shimizu & Allyssa Bross Allynne Noelle & LAB Ensemble LAB Ensemble Julia Cinquemani & Kenta Shimizu Allynne Noelle & LAB Ensemble LAB Ensemble Allynne Noelle & Ulrik Birkkjaer Allynne Noelle & Rainer Krensetter Allyssa Bross, Kenta Shimizu & LAB Ensemble Chelsea Paige Johnston, Christopher Revels & LAB Ensemble Julia Cinquemani & Allyssa Bross Rainer Krensetter & Allynne Noelle Kenta Shimizu & Julia Cinquemani Allynne Noelle & Ulrik Birkkjaer Kenta Shimizu & Allyssa Bross Allynne Noelle & LAB Ensemble LAB Ensemble Julia Cinquemani & Kenta Shimizu Allynne Noelle & LAB Ensemble Previous Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation. Next Gallery

Something rare is afoot in Los Angeles. To put it simply, “Swan Lake.” Yes, that icon of classical exactitude and style is popping up on stages all over. And the producer turns out to be not some long-standing, well-endowed enterprise on tour here, but the LA Ballet, which is a mere six years old. Home / News / New Item Swan feathers float down on local stages March 14, 2012 LA Observed by Donna Perlmutter Something rare is afoot in Los Angeles. To put it simply, “Swan Lake.” Yes, that icon of classical exactitude and style is popping up on stages all over. And the producer turns out to be not some long-standing, well-endowed enterprise on tour here, but the LA Ballet, which is a mere six years old. Why? Why would brand-name husband/wife directors Thordal Christensen and Colleen Neary be confident enough to mount this behemoth of a ballet? This vast spectacle designed for the likes of kingly companies with multi-millions -- the Bolshoi, American Ballet Theatre, Royal Covent Garden, Royal Danish? Answer: They have the chops now, that is, the dancers, together with their deep, artistic savvy. And they know it. All I did was tip-toe into Royce Hall - the first stop in a city-wide tour of major Southland venues that continues through March 31 - only to discover a production of the Petipa-Ivanov-Tchaikovsky ballet that approximated world-class standards. The capstone of all this cheering came in the second act - you know, the famed lakeside scene, that moonlit mirage with the snowy white swan corps floating about and Prince Siegfried sensing the imminent appearance of his fateful inamorata Odette, aka the Swan Queen, turned from maiden into an avian creature by an evil sorcerer. And when she alit onstage, in the person of Allynne Noelle, the effect was dazzling -- as that first sighting was meant to be. Tall, with perfect proportions and gorgeously tapering long limbs, this Swan Queen had both bird-like spark and human pathos, her hand articulation spelling out regal elegance. She danced with alacrity and definition and fluid musicality. It was as though she’d been in training at Vaganova since adolescence - not a girl from Huntington Beach - although she’d done stints at redoubtable dance oases (National Ballet of Canada, Villella’s Miami City Ballet and not least, Vicky Koenig’s Inland Pacific Ballet). So...with Noelle and a host of others now just in their second season with LAB, Christensen and Neary knew this was their moment. In fact, the bench is deep enough to alternate the lead role, as well as others. But that’s not all. These high-pedigree directors (he a Royal Dane, she a Balanchine Trustee), who have both formerly danced the “Swan Lake” lead roles for years, boast wide contacts for bringing resources to the company -- the dancers, for instance -- and this production, originally designed for Pacific Northwest Ballet. Besides Noelle, who joined LAB only 18 months ago, is Alyssa Bross, the alternate lead. I glimpsed her rehearsing Odile (the Black Swan), and saw richly expressive qualities - she used every enticement to undermine the Prince’s oath to Odette and was a dewy seductress, not the hard, haughty type who would laugh at her easy conquest. And when she danced Odette, it was with aching vulnerability - which belies her photograph on the program book cover, a misleadingly placid look. No wonder Christensen went forward with “Swan Lake.” He knew he’d recruited the talent - many had trained at prestigious schools and had danced with top companies. As Noelle’s and Bross’s partners, both Kenta Shimizu and Christopher Revels acquitted themselves nobly, if not exactly at the danseur level. Guest artist Akimitsu Yahata did his thrilling bravura stuff as the Jester. But down to the last coryphée, the coaching was scrupulous. Everyone had clear focus and a sense of unanimity, even the mimed gestures were natural. What’s more, the muted, old-world sets and costumes looked lovely on the Royce Hall stage, as if made for it. Considering that taped music allows for no moment-to-moment variation, the company coped well. DONNA PERLMUTTER is an ASCAP-Award winning music/dance critic and journalist whose work has appeared in the Los Angeles Times, the New York Times and many other publications. She is also the author of “Shadowplay: The Life of Antony Tudor.” Email her at donna.perlmutter@gmail.com . DOWNLOAD PDF

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.

Modernists 2017 Napoli Pas de Six and Tarantella – Bournonville / Helsted, Paulli, Stravinsky Violin Concerto – Balanchine / Stravinsky, Untouched – Barton / Kong Kie, Macdonald, Shurbin Ashley Millar & Julia Cinquemani Kat Highstrete & Dustin True Bianca Bulle Tigran Sargsyan Bianca Bulle, Alyssa Harrington, Kenta Shimizu & Marc La Pierre Bianca Bulle, Kenta Shimizu with LAB Ensemble LAB Ensemble LAB Ensemble LAB Ensemble Julia Cinquemani & Kenta Shimizu Julia Cinquemani & Kenta Shimizu Julia Cinquemani & Kenta Shimizu Elizabeth Claire Walker & Dustin True Elizabeth Claire Walker LAB Ensemble LAB Ensemble Abby Callahan Tigran Sargsyan Leah McCall Leah McCall Chelsea Paige Johnston Chelsea Paige Johnston & LAB Ensemble Chelsea Paige Johnston & LAB Ensemble Chelsea Paige Johnston & LAB Ensemble Ashley Millar & Julia Cinquemani Kat Highstrete & Dustin True Bianca Bulle Tigran Sargsyan Bianca Bulle, Alyssa Harrington, Kenta Shimizu & Marc La Pierre Bianca Bulle, Kenta Shimizu with LAB Ensemble LAB Ensemble LAB Ensemble LAB Ensemble Julia Cinquemani & Kenta Shimizu Julia Cinquemani & Kenta Shimizu Julia Cinquemani & Kenta Shimizu Elizabeth Claire Walker & Dustin True Elizabeth Claire Walker LAB Ensemble LAB Ensemble Abby Callahan Tigran Sargsyan Leah McCall Leah McCall Chelsea Paige Johnston Chelsea Paige Johnston & LAB Ensemble Chelsea Paige Johnston & LAB Ensemble Chelsea Paige Johnston & LAB Ensemble Previous Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation. Next Gallery

Los Angeles Ballet Artistic Directors Thordal Christensen and Colleen Neary are pleased to present the company’s fifth full-length production, Swan Lake, to an expanded line-up of venues. Home / News / New Item Los Angeles Ballet to Debut Swan Lake February 1, 2012 LAB Public Relations (Los Angeles, CA) – Los Angeles Ballet [LAB] Artistic Directors Thordal Christensen and Colleen Neary are pleased to present the company’s fifth full-length production, Swan Lake, to an expanded line-up of venues. New venues include Carpenter Performing Arts Center in Long Beach and Valley Performing Arts Center in Northridge in addition to Royce Hall at UCLA, Redondo Beach Performing Arts Center and Alex Theatre in Glendale. Choreographed by Artistic Directors Thordal Christensen and Colleen Neary after the traditional revival credited to Petipa and Ivanov, LAB’s Swan Lake will feature Principal dancers Allynne Noelle and Allyssa Bross in the dual role of Odette/Odile at alternate performances. LAB Principal dancers Christopher Revels and Kenta Shimizu will dance the role of Prince Siegfried, also at alternate performances. Guest dancer Akimitsu Yahata, principal dancer with the New National Ballet of Japan, will dance the role of the Jester at select performances. Additionally, the ballet will feature the full company, as well as students from Los Angeles Ballet School. “With its magnificent Tchaikovsky score, Swan Lake enjoys a rich history and is considered one of the quintessential full length ballets.” says Christensen. “Swan Lake provides a wonderful showcase for our entire company, particularly our Principal Dancers Allynne Noelle and Allyssa Bross,” adds Neary. We are bringing this masterpiece a poetic quality that will tell this love story with tenderness and passion, through the music and our choreography,” says Neary, adding, “[Thordal and I] have a deep relationship with this ballet, from our experience of dancing the leading roles together, which was an important part in our performing careers.” The story of Odette, a princess transformed into a swan by an evil sorcerer’s curse, Swan Lake was not well received when it originally premiered. It was not until the Petipa/Ivanov revival which has served as the basis for most subsequent interpretations that it became so popular, most recently serving as the basis for the film Black Swan. LAB is currently in its sixth season. This May, LAB will be back with its much-anticipated and innovative Next WaveLA, featuring four World Premieres by distinguished California based choreographers Kitty McNamee, Sonya Tayeh, Stacey Tookey and Josie Walsh. LAB 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. DOWNLOAD PDF

The Nutcracker 2018 Christensen and Neary / Tchaikovsky SarahAnne Perel & LAB Ensemble SarahAnne Perel, Zheng Hua Li & LAB Ensemble SarahAnne Perel, Elizabeth Claire Walker, Joshua Brown & Marc LaPierre SarahAnne Perel & LAB Ensemble Marc LaPierre & Mangus Christoffersen Madeline Houk & Chelsea Paige Johnston Misa Kuranaga & Kenta Shimizu Elizabeth Claire Walker & Joshua Brown Bianca Bulle LAB Ensemble Petra Conti Tigran Sargsyan LAB Ensemble SarahAnne Perel & LAB Ensemble SarahAnne Perel, Zheng Hua Li & LAB Ensemble SarahAnne Perel, Elizabeth Claire Walker, Joshua Brown & Marc LaPierre SarahAnne Perel & LAB Ensemble Marc LaPierre & Mangus Christoffersen Madeline Houk & Chelsea Paige Johnston Misa Kuranaga & Kenta Shimizu Elizabeth Claire Walker & Joshua Brown Bianca Bulle LAB Ensemble Petra Conti Tigran Sargsyan LAB Ensemble SarahAnne Perel & LAB Ensemble SarahAnne Perel, Zheng Hua Li & LAB Ensemble SarahAnne Perel, Elizabeth Claire Walker, Joshua Brown & Marc LaPierre SarahAnne Perel & LAB Ensemble Marc LaPierre & Mangus Christoffersen Madeline Houk & Chelsea Paige Johnston Misa Kuranaga & Kenta Shimizu Elizabeth Claire Walker & Joshua Brown Bianca Bulle LAB Ensemble Petra Conti Tigran Sargsyan LAB Ensemble Previous Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation. Next Gallery

LA County’s resident classical ballet company, Los Angeles Ballet opens a sixth season with Thordal Christensen and Colleen Neary’s original staging of Tchaikovsky’s “The Nutcracker.” Home / News / New Item 'The Nutcracker' Opens LA Ballet Sixth Season December 15, 2011 CultureSpotLA by Penny Orloff LA County’s resident classical ballet company, Los Angeles Ballet opens a sixth season with Thordal Christensen and Colleen Neary’s original staging of Tchaikovsky’s “The Nutcracker.” This sweet holiday treat is currently making its annual three-week tour from Glendale’s landmark Alex Theatre to UCLA’s Royce Hall to the Redondo Beach Performing Arts Center. The ballet opens on sumptuous storybook sets designed by LA artist Catherine Kanner. As a festive Christmas party gets underway at the Steinbaum house, young Clara – danced by Mia Katz – and her friends play with their favorite dolls. New to the role last year, Katz shows a deepening dramatic and technical rtistry. Clara’s bratty brother, Franz, is played with devilish glee by Aidan Merchel-Zoric. Sweeping into the party, the children’s Uncle Drosselmeyer brings mechanical dancing dolls to entertain the guests. Revealing himself as a fine dramatic dancer in last season’s Sonya Tayeh world premiere, the charismatic Nicolas de la Vega commands the stage in his first performances as the wizardly uncle. Sparkling Isabel Vondermuhll repeats last year’s spicy performance as the commedia dell’arte Columbine Doll, partnered by Angel Lopez in a bravura company debut as Harlequin. Following his electrifying performance as Hilarion in last year’s acclaimed “Giselle,” Chehon Wespi-Tschopp brings the audience to a screaming frenzy with the virtuoso leaps and turns of Drosselmeyer’s Cossack Doll. Eighteen-year-old Pacific Northwest Ballet guest artist Nathaniel Solis guides his compact frame through perfect double tours en l’air and grands jetés with flashing eyes and a brilliant smile. This handsome young man is clearly one to watch. The midnight battle between the brave toy soldiers and menacing mice is delightful, led by Zheng Hua Li as the high-leaping, hilarious Mouse King. As ever, the women’s corps de ballet presents a breathtaking Dance of the Snowflakes to end Act I. Act II begins in the Palace of the Dolls, all brought to life by magical Uncle Drosselmeyer. Allyssa Bross and Christopher Revels made auspicious LAB debuts as presiding dolls Marie and her Cavalier in last season’s “Nutcracker.” In the short year since – which included their partnering in both “Giselle” and Balanchine’s “Raymonda Variations” – Bross has developed a confident insouciance to go along with her perfect technique and superb balance, flirting shamelessly with her adoring audience during the fiendish variations of a long and arduous Pas de Deux. One year ago, Revels made an indelible impression with his ebullient, sky-high leaps and enormous strength and stamina. Now only 20 years old, he exhibits an authority and refinement rare in so young a premier danseur. The fortuitous partnership between these two young artists, carefully and wisely mentored by Christensen and Neary, brings out the best in both of them. Newly named company principals, they exude considerable star quality, which has created a national flurry of anticipation for their pairing in LAB’s upcoming “Swan Lake.” In alternate performances, the Cavalier is danced by returning guest artist Kenta Shimizu, who has parlayed his spectacular jumps, turns, and enormous lifts into a blossoming international career. Second-act highlights included a sizzling, Flamenco-flavored Spanish Dance, featuring passion and precision from soloists Kate Allynn Noelle as The Rose Photo: Reed Hutchinson Highstrete, Kelly Ann Sloan, Alexander Forck and Zheng Hua Li. Lithe and lovely Julia Cinquemani and majestic Alexander Castillo repeated their mesmerizing Arabian pas de deux from last year. Wespi-Tschopp vaulted through a show-stopping Russian Dance, joined by buoyant and acrobatic Christopher McDaniel and Tian Tan. Always enchanting, the Waltz of the Flowers is especially striking with Allynne Noelle as The Rose. Her strong debut as Queen of the Wilis in last season’s “Giselle” marked her as a brilliant addition to LAB’s impressive roster of soloists. This season Noelle and Bross share performances as Marie and The Rose. The children’s corps de ballet offers disciplined and precise step-work, and a rollicking sense of fun throughout the evening – no doubt inspiring the throng of young audience members, who can be seen whirling and leaping through the lobby after the show. For five years, LAB has presented every one of its productions in at least three locations. A recipient of large grants from LA County Arts Commission and the Schubert Foundation, the company has announced two additional performance venues – in Long Beach and Northridge – for its production of “Swan Lake” in March. “The Nutcracker” plays at UCLA’s Royce Hall on Saturday, Dec. 17, and Sunday, Dec. 18, at 1 and 5 p.m.; and Redondo Beach Performing Arts Center on Thursday, Dec. 22, and Friday, Dec. 23, at 7:30 p.m., and Saturday, Dec. 24, at 1 p.m. For tickets and information, please visit www.losangelesballet.org . —Penny Orloff, Culture Spot LA DOWNLOAD PDF

LAB’s 9th season includes three full-length romantic story ballets with music by Tchaikovsky and a mixed bill program Home / News / New Item 2014-2015 Season Expansion June 1, 2014 LAB Public Relations LAB’s 9th season includes three full-length romantic story ballets with music by Tchaikovsky and a mixed bill program Los Angeles Ballet Co-Artistic Directors Thordal Christensen and Colleen Neary are excited to unveil LAB’s 2014-2015 season, which includes the Tchaikovsky Trilogy, with three full-length ballets featuring the music of Peter Tchaikovsky, plus a mixed bill program of 20th century masterworks. LAB’s ninth season marks the addition of a fall program for a total of four programs, an expansion from 3 productions in all of its previous seasons. A major goal of Los Angeles Ballet’s long-term plan, LAB is pleased to achieve this in Season 9! The Tchaikovsky Trilogy includes a new production of The Sleeping Beauty , the return of the company’s critically-acclaimed productions of Swan Lake and The Nutcracker all with choreography by Artistic Directors Christensen and Neary, and closes with a mixed bill program that will include works by 20th century choreographic masters. Continuing LAB’s mission to offer world-class professional ballet to greater LA, its programs are performed at LAB’s home theaters: UCLA’s Royce Hall, Glendale’s Alex Theatre, Valley Performing Arts Center in Northridge and Redondo Beach Performing Arts Center. In addition, LAB is proud to announce that in December of this year it will present four performances of The Nutcracker at its newest venue - the prestigious Dolby Theatre in Hollywood. LAB opens the season and its first fall program with the full-length Swan Lake (October/November 2014). The company premiered this production during the 2011-2012 season with sold out shows. “After Swan Lake sold out most performances, we had many requests to bring it back. Swan Lake is the perfect way to launch this expanded season and respond to our audience requests.” Mr. Christensen explained. The holidays welcome LAB’s popular The Nutcracker set in 1913 Los Angeles (December 2014). Additional matinees offer more opportunities to see this family favorite and enjoy some of Tchaikovsky’s most beloved music. Spring 2015 opens with the premiere of LAB’s new production of The Sleeping Beauty (February/March) with choreography by Mr. Christensen and Ms. Neary after the original choreography by Marius Petipa. “We have wanted to present The Sleeping Beauty for several years. The Tchaikovsky score is irresistible, but it is a big, classical ballet that requires a lot from all of the dancers, not just the Principals,” Ms. Neary said. “It’s an important measure of how the company has grown that we know LAB is ready to bring this magnificent ballet to life.” The season will close with Directors’ Choice , a mixed bill program that will include Theme and Variations by George Balanchine, (also with music by Tchaikovsky), and two other choreographic luminaries (May/June 2015). The specific repertoire will be announced later in 2014. About Los Angeles Ballet Founded in 2004 by Artistic Directors Thordal Christensen and Colleen Neary, and Executive Director Julie Whittaker, Los Angeles Ballet is known for its superb stagings of the Balanchine repertory, stylistically meticulous classical ballets, and its commitment to new works. LAB has become recognized as a world-class ballet company in eight seasons, presenting 24 productions encompassing 50 works, including 15 commissioned world premieres. Los Angeles Ballet ‘tours’ throughout LA County, regularly appearing at four venues. In 2013, the Los Angeles Music Center presented Los Angeles Ballet at Grand Park, with more than 3,000 attending the outdoor performance. In June 2014, Los Angeles Ballet will tour outside of California for the first time, presenting La Sylphide and Serenade to Seattle, Washington audiences at McCaw Hall at Seattle Center. Since its inception in 2006, LAB’s Power of Performance (POP!) program has provided thousands of free tickets to underserved or disadvantaged children, seniors, veterans, and their families. LAB's A Chance to Dance Community Days outreach program was launched in October 2012. About Thordal Christensen Among Thordal Christensen’s many credentials are an impressive performing career, successful leadership of one of the world's major ballet companies, critically applauded original choreography, and a proven commitment to dance education. Born in Copenhagen, Denmark, Christensen received his ballet training at The Royal Danish Ballet School and at the School of American Ballet in New York City before a performance career that included the Royal Danish Ballet, New York City Ballet, and Pacific Northwest Ballet. Christensen then returned to Denmark where he was Artistic Director of the Royal Danish Ballet. This blend of Bournonville and Balanchine tradition is one of the defining themes of his career, and has shaped the unique artistic vision that Christensen, along with his wife Colleen Neary, bring to Los Angeles Ballet. In 2002, he was made Knight of the Dannebrog by Queen Margrethe II of Denmark. About Colleen Neary Colleen Neary brings to Los Angeles Ballet the benefits of her vast experience as one of George Balanchine's quintessential ballerinas. In her experience as a dancer, teacher, and ballet mistress, she also worked closely with other luminaries of 20th century dance, including Rudolf Nureyev, Maurice Béjart, and Jiří Kylián. Born in Miami, Florida and trained at The School of American Ballet, Neary danced in New York City Ballet under the direction of George Balanchine, then for Maurice Béjart's Ballet du XXième Siecle , and Pacific Northwest Ballet. Neary was personally selected by Balanchine to teach his choreography to major companies all over the world as a repetiteur for The George Balanchine Trust. DOWNLOAD PDF

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Los Angeles Ballet Celebrates The Great Romantics for its Tenth Season with Productions of Giselle, Don Quixote, The Nutcracker and Romeo and Juliet Home / News / New Item Celebrating Season 10 July 1, 2015 LAB Public Relations 2015-2016 Season Opens on October 3, 2015 Los Angeles, xx, 2015 - Los Angeles Ballet Co-Artistic Directors Thordal Christensen and Colleen Neary celebrate the Great Romantics for LAB’s tenth season. The 2015-2016 season includes four full-length story ballets - Giselle, Don Quixote, The Nutcracker and Romeo and Juliet. The season will include new productions of Don Quixote and Romeo and Juliet and the return of the company’s critically-acclaimed productions of Giselle and The Nutcracker. With the exception of Romeo and Juliet, all are choreographed by Artistic Directors Christensen and Neary. Christensen and Neary have chosen Frederick Ashton’s Romeo and Juliet, which will be a Los Angeles premiere. Continuing LAB’s mission to offer world-class professional ballet to greater Los Angeles, its programs are performed at LAB’s home theaters: UCLA’s Royce Hall, Glendale’s Alex Theatre, Valley Performing Arts Center in Northridge, Redondo Beach Performing Arts Center, and the Dolby Theatre in Hollywood. “As we embark upon our tenth season and to celebrate this milestone, we thought that this was the perfect time to share the Romantics with the city,” said Christensen, LAB’s co-artistic director. “Thanks to the support of our patrons, the company has seen thrilling growth over the last nine years. Our dancers have grown artistically and technically, and our audience has grown across the city,” said Neary, LAB’s co-artistic director. LAB opens the season with Giselle (October/November 2015). Premiered by Los Angeles Ballet in 2011, this ethereal and haunting masterwork is the embodiment of the Romantic ideal. The holidays welcome back LAB’s popular The Nutcracker set in 1913 Los Angeles (December 2015), with additional matinees offering more opportunities to see this family favorite and enjoy Tchaikovsky’s beloved music. Don Quixote, based on Cervantes' iconic Spanish novel and choreographed by Los Angeles Ballet's Christensen and Neary (after Petipa), weaves a splendid tapestry of love, illusion, daring and adventure. Gypsies, matadors, and windmills result in a profusion of excitement, humor, and family fun. To close the season, Los Angeles Ballet makes history as the first American company to present the great choreographer Frederick Ashton's Romeo and Juliet. "We are thrilled to be the first American company to perform this tremendous piece, a work of classical genius," says Christensen. Shakespeare's timeless tragedy of star-crossed lovers is unforgettably expressed in dance, drama, and Prokofiev's timeless score. About Los Angeles Ballet Founded in 2004 by Artistic Directors Thordal Christensen and Colleen Neary, and Executive Director Julie Whittaker, Los Angeles Ballet is known for its superb stagings of the Balanchine repertory, stylistically meticulous classical ballets, and its commitment to new works. LAB has become recognized as a world-class ballet company in nine seasons, presenting 28 productions encompassing 50 works, including 15 commissioned world premieres. Los Angeles Ballet ‘tours’ throughout LA County, regularly appearing at four venues. Since its inception in 2006, LAB’s Power of Performance (POP!) program has provided thousands of free tickets to underserved or disadvantaged children, seniors, veterans, and their families. LAB's A Chance to Dance Community Days outreach program was launched in October 2012. About Thordal Christensen Among Thordal Christensen’s many credentials are an impressive performing career, successful leadership of one of the world's major ballet companies, critically applauded original choreography, and a proven commitment to dance education. Born in Copenhagen, Denmark, Christensen received his ballet training at The Royal Danish Ballet School and at the School of American Ballet in New York City before a performance career that included the Royal Danish Ballet, New York City Ballet, and Pacific Northwest Ballet. Christensen then returned to Denmark where he was Artistic Director of the Royal Danish Ballet. This blend of Bournonville and Balanchine tradition is one of the defining themes of his career, and has shaped the unique artistic vision that Christensen, along with his wife Colleen Neary, bring to Los Angeles Ballet. In 2002, he was made Knight of the Dannebrog by Queen Margrethe II of Denmark. About Colleen Neary Colleen Neary brings to Los Angeles Ballet the benefits of her vast experience as one of George Balanchine's quintessential ballerinas. In her experience as a dancer, teacher, and ballet mistress, she also worked closely with other luminaries of 20th century dance, including Rudolf Nureyev, Maurice Béjart, and Jiří Kylián. Born in Miami, Florida and trained at The School of American Ballet, Neary danced in New York City Ballet under the direction of George Balanchine, then for Maurice Béjart's Ballet du XXième Siecle, and Pacific Northwest Ballet. Neary was personally selected by Balanchine to teach his choreography to major companies all over the world as a repetiteur for The George Balanchine Trust. DOWNLOAD PDF

A mother and her baby stood watching ballet dancers practice behind the closed curtains of a Seattle opera house. Home / News / New Item UCLA student poised in pursuit of ballet, education September 17, 2015 Daily Bruin by Shreya Aiyar A mother and her baby stood watching ballet dancers practice behind the closed curtains of a Seattle opera house. The mother, Lauri-Michelle Houk, was still on leave from her career as a company ballet dancer to take care of her 8-month-old baby, Madeline. Their eyes were trained on Lauri-Michelle’s husband Ben, also a dancer with the company. As Houk set her child down to let her crawl around backstage, the baby took her first wobbly steps toward her father. “(Madeline) wanted to perform too,” Houk said. “Even back then, ballet was her world.” After years of barre routines and wearing out countless pairs of pointe shoes, Madeline Houk, a fourth-year communication studies student, now dances professionally with the Los Angeles Ballet. Houk balances full-time dancing with her studies at UCLA, juggling lectures with rehearsals and midterms with shows. When Lauri-Michelle and her husband Ben danced professionally, she said they had neither the time nor the resources to drive their children to different activities. Their five children thus grew up in the dance studio, absorbing the fundamentals of ballet technique by watching the dancers practice. To Madeline Houk, the oldest of the five, attending ballet lessons and school classes was equally important. Even though her parents danced for a living, Houk said they never forced her to follow the same path. “(My parents) aren’t like those weird stage moms you hear about – they’ve always supported what I want to do,” Houk said. “I definitely chose this profession for myself.” During her senior year of high school, Houk contemplated pursuing ballet professionally or continuing on with academics. Though she weighed the pros and cons of both paths carefully, she said she still couldn’t make the choice. However, Houk received an apprenticeship with the Los Angeles Ballet the same year she was accepted by UCLA. She said the lucky coincidence gave her a way to dance professionally while also going to school nearby. To fit school and about 35 hours of rehearsals into one week, Houk said she typically prefers to enroll in 8 a.m. classes. For six consecutive days before shows, she said she drives to theaters around Los Angeles County in areas such as Northridge, Glendale and Long Beach so the company can optimize its use of space and acclimate to the different stages. “Sometimes we even go to Royce Hall, which is my favorite place,” Houk said. “I can just walk there from my apartment.” The Los Angeles Ballet’s dancers are hired on a seasonal basis, Houk said. Each dancer is given a 30-week contract that begins in September and expires in June, resulting in every dancer being laid off during the summer. Houk said most of the dancers work hard to support themselves with part-time or second jobs during the summer. However, she is grateful for the time off during the summer to catch up on schoolwork. John Kochian, a lecturer in the communication studies department and one of Houk’s past teachers, said he never would have found out about her love of ballet had she not mentioned it in a class speech about hobbies and interests. Only after he inquired further did he realize she danced professionally. Because of her positive outlook, Kochian said Houk can serve as a role model to struggling students looking to manage school and work. “I asked how long she’s studied, how much she practices, if she can stand on her toes, if she can assume the second position,” Kochian said. “She just didn’t bring attention to what she does, which was very humbling.” Christina Sturgeon, a third-year communication studies student and Houk’s friend, said Houk’s strong work ethic extends beyond the classroom to the stage. When she attends Houk’s shows to provide moral support, Sturgeon said she sees Houk backstage working on her homework while other dancers help each other with costumes, hair and makeup. Houk said she isn’t ready to choose between academics and ballet after graduating from UCLA. However, when she eventually retires from dancing, she would like to use her degree to work in public relations for ballet companies or arts organizations. “When I’m ready to stop dancing later in life, which I’m not sure when that’ll be, I’m going to have my UCLA degree,” Houk said. “But I’ll keep dancing for as long as I can not because of the salary, but because I love it.” READ ARTICLE AT SOURCE