Ten Los Angeles Ballet dancers were profiled recently on Refinery29.com. Home / News / New Item LAB Dancers Featured on Refinery29.com February 1, 2013 Company News from the Staff at LAB Ten Los Angeles Ballet dancers were profiled recently on Refinery29.com. The feature includes 20 photographs taken of the dancers at LAB's studio and a variety of insights about their experiences, pre-performance habits, and activities outside of ballet.

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.

Watch at CCTV.com Home / News / New Item A backstage look at the Nutcracker December 14, 2014 CCTV.com by CCTV Watch at CCTV.com READ ARTICLE AT SOURCE

Los Angeles Ballet [LAB] Artistic Directors Thordal Christensen and Colleen Neary are pleased to present three stunning works by George Balanchine this spring. Home / News / New Item Dancing into Spring with Three Glorious Balanchine Pieces January 12, 2010 LAB Public Relations See the Music, Hear the Dance January 12, 2010 -- Los Angeles Ballet [LAB] Artistic Directors Thordal Christensen and Colleen Neary are pleased to present three stunning works by George Balanchine this spring. LAB’s spring program See the Music, Hear the Dance from George Balanchine includes the Los Angeles Ballet premieres of Kammermusik No. 2 and Tchaikovsky Piano Concerto No. 2 , and the return of Serenade . Kammermusik No. 2 is a conceptual work of vast liveliness, momentum and accuracy. The complex eight-man ensemble dances to the composition of the orchestra, while two couples move to the passages of the piano in the counterpart. Balanchine created a role for LAB’s Artistic Director, Colleen Neary in the original cast of Kammermusik No. 2. Principal casting includes Melissa Barak, Grace McLoughlin, Andrew Brader and Drew Grant. Another poignant and dramatic Balanchine piece Tchaikovsky Piano Concerto No. 2 is an existing tribute to Petipa, 'the father of classical ballet,” as well as to Tchaikovsky, Balanchine’s “greatest composer." This piece transmits the strength and splendor of majestic St. Petersburg, and exhibits the classical style and romanticism of Balanchine's early Russian training. Monica Pelfrey and Zheng Hua Li are the principal cast. Serenade is Balanchine’s first original ballet created in America. Originally intended as a stage technique lesson, Balanchine incorporated unanticipated rehearsal events into the work. This beloved ballet articulates the abundant and mystifying score of Tchaikovsky's Serenade for Strings in C. Principal casting for Serenade will be varied. DOWNLOAD PDF

Highly pedigreed? You bet. Well-known in the dance world? No question. But Thordal Christensen and Colleen Neary have also passed the acid test: As directors of the Los Angeles Ballet, now in its sixth season, they can take a collective bow for their thoroughly sterling production of “Swan Lake.” Home / News / New Item Los Angeles Ballet's 'Swan Lake' is full of grace March 12, 2012 Glendale News-Press by Donna Perlmutter Highly pedigreed? You bet. Well-known in the dance world? No question. But Thordal Christensen and Colleen Neary have also passed the acid test: As directors of the Los Angeles Ballet, now in its sixth season, they can take a collective bow for their thoroughly sterling production of “Swan Lake.” Just remember, not any old company can stage this icon of classical ballet. Oh, many with lesser artistic resources try. But to put on a show of so fine a caliber normally takes a bigger-than-big budget, dancer bench-depth, masterly and dedicated coaching. What’s more, they mounted their full-length extravaganza with the requisite number of performances. “And that meant we had to find venues all over the city.” says Christensen, who led the eminent Royal Danish Ballet and is steeped in its standards of style and rigorous technique. “We had to travel to the audiences,” he adds, noting that people will venture out to an attraction, so long as it doesn’t mean long drives through congested traffic. So from Westwood to Long Beach, with a stop at the Alex Theatre on March 17, the company is showing off its current jewel, “Swan Lake,” all feathery finery, moonlit mirages, pathos born of misfortune, good-versus-evil conflict. Thus the mountain comes to Muhammad. And it is a mountain, what with the full-scale sets originally built at Pacific Northwest Ballet, Christensen’s last post before he decamped to Los Angeles. “In fact,” says the Danish-born danseur, “when you think about it, it’s madness, dealing with four separate acts. We’ve had to extend intermission lengths just to do the set changes,” and that took the crew a week of practice just to learn how to move things along faster, he added. But the décor is eminently beautiful, old-school poetic without looking old — or worn — and it accommodates to any standard proscenium. The costumes, too, are delicate pastels, setting off the pristine-white lakeside scenes. What catches attention, though, apart from these details, is the totality of the spectacle — the dancers’ total immersion in the action and feeling states, be they coryphees, peasants, courtiers, royalty. As to the coaching, well, it is meticulous — in contrast, even, to some A-circuit “Swan Lake” productions, like the last one American Ballet Theatre brought on tour to L.A., where we saw casts that suffered rehearsal deficits. In their prime, both Christensen and Neary danced the lead roles many times. With his deep background in Bournonville, not to mention her prominence as a member of the Balanchine Trust, it’s no surprise that the choreography they adapted from the Petipa/Ivanov model is wonderfully evocative and rational. So, too, is the mime clear, uncluttered and natural — a feat in itself for American dancers seldom exposed to courtly behavior. But then the troupe’s roster now stands higher than ever in its level of virtuosity — thanks mostly to Neary’s recruitment of dancers from companies on which she has set Balanchine works, among them ABT and Russia’s Mariinsky, formerly the Kirov. Still, holding on to them is difficult. “We lose roughly a third each year,” says LAB executive director Julie Whittaker. “But that’s par for the course with all companies.” Corina Gill was stolen by the Boston Ballet, she recalls. And some leave because of the low salaries. “Most of our dancers stay, though. The trick is to keep them performing and not laid off for any substantial period of time.” So far, artistry runs the gamut at Los Angeles Ballet. It also keeps the wheel turning. And this “Swan Lake” does the trick. 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

Available Shortly Home / Staff / Administrator Lizzy Rothstein Physical Therapist Available Shortly

Available Shortly Home / Staff / Administrator Donna Wieczorkowski Development Operations & Database Manager Available Shortly

Eric is a seasoned box office operations & ticketing management professional who first began as a Ticket Seller with AEG/Staples Center in 2008 and was soon promoted within AEG to Manager, Box Office Operations at the formerly named Nokia Theatre L.A. LIVE (now Peacock Theater) in Los Angeles. He has had further box office and ticketing management leadership roles with AEG and the Los Angeles Clippers, gaining valuable management and guest experience knowledge that he has applied to his role as LAB’s Box Office Manager since 2022. Home / Staff / Administrator Eric Gonzalez Director of Box Office Operations Eric is a seasoned box office operations & ticketing management professional who first began as a Ticket Seller with AEG/Staples Center in 2008 and was soon promoted within AEG to Manager, Box Office Operations at the formerly named Nokia Theatre L.A. LIVE (now Peacock Theater) in Los Angeles. He has had further box office and ticketing management leadership roles with AEG and the Los Angeles Clippers, gaining valuable management and guest experience knowledge that he has applied to his role as LAB’s Box Office Manager since 2022.

Los Angeles Ballet is the latest company to attempt success against long odds. We wish it well. Home / News / New Item Get the 'pointe' November 26, 2006 Los Angeles Times from the Staff of the LA Times Los Angeles Ballet is the latest company to attempt success against long odds. We wish it well. Of course we're rooting for the new Los Angeles Ballet, which will debut December 2, at the Wilshire Theatre with a production of (what else?) "The Nutcracker. " Still, it's hard to ignore the historical odds against ballet in the L.A. area. The company may begin with the graceful aarabesque of Clara, but we have to brace ourselves for the thud of "Swan Lake's" Odette dumped to the floor during the pas de deux by a feckless Siefried we call "the public." Locally based ballet has been tutu scarce in Southern California. This remains the only U.S. megopolis without a top-tier classical company, despite well-ranked ballet schools that churn out world-class dancers. There have been at least five attempts to launch a premier company in the last decade, and all of them flopped – in one case, owning large sums of money to its dancers. L.A. Ballet – it even rhymes! – seems like a natural for a dynamic metropolitan area with such a love for arts new and old (including an otherwise lively dance scene). It's always been puzzling that we haven't support a world-raned company. But the survival of an elite adn expensive art form is tricky anywhere. Chicago's renowned 50-year old Joffrey Ballet, whose part-time residence in L.A. during the 1980's didn't work out either. Even superstar Ethan Stiefel couldn't bring in the big bucks when he spent a tour as artistic director of Ballet Pacifica, a small Irvine-based company he had hoped to take regional. Now two notable ballet dancers, Thordal Christensen and Colleen Neary, are putting their best slippers forward as artistic directors. Their L.A. Ballet will be affiliated with the respected Westside School of Ballet and make its premanent home at th Malibu Performing Arts Center. In a canny move, its version of "The Nutcracker " will be performed at three venues around the county, hoping to draw views by chopping their commutes. None of the locations are with L.A.'s city limits, but there's time to build toward that. The main issue is whether Southern California will provide enough cash and audience to sustain this latest effort. Perhaps some of the major centers of money in town, such as Hollywood, will see the value in supporting the performing arts. It would help L.A. Ballet delivers the goods, and if ballet fans buy tickets. Then, perhaps, L.A. will be ready for a major jeté forwards in the arts. DOWNLOAD PDF

Nearly 9,000 Angelenos applauded LAB's The Nutcracker last month at 9 performances at UCLA's Royce Hall, Glendale's historic Alex Theatre, and Redondo Beach Performing Arts Center. Home / News / New Item Los Angeles embraces Los Angeles Ballet's The Nutcracker January 1, 2008 Company News from the Staff at LAB

A few weeks ago, as I sat in Walt Disney Concert Hall for a concert by the New York Philharmonic, I mused to my companion that – in our 60s – we were some of the youngest people there. That isn’t news. But this is: the much-lamented “graying” of the audience for classical music, opera and dance seems to have missed Los Angeles Ballet. Home / News / New Item Los Angeles Ballet's "NextWaveLA" May 31, 2012 CultureSpotLA by Penny Orloff May 31, 2012 | By Penny Orloff Category: Theater and Dance A few weeks ago, as I sat in Walt Disney Concert Hall for a concert by the New York Philharmonic, I mused to my companion that – in our 60s – we were some of the youngest people there. That isn’t news. But this is: the much-lamented “graying” of the audience for classical music, opera and dance seems to have missed Los Angeles Ballet. I looked around the lobby of Santa Monica’s Broad Stage as the audience assembled for the final performance of LAB’s “NextWaveLA,” a program of four – count ’em, four – world premieres by some of the brightest lights in contemporary dance. The presence of a few other silverhaired old dames kept me from feeling completely out of place among a vociferous throng largely composed of teens and 20-somethings, madly twittering on smartphones. LAB’s artistic directors Thordal Christensen and Colleen Neary have commissioned new works in every year of the company’s six-year existence. Two years ago, they offered “NewWaveLA” – a wildly successful program of four world premieres. Attracting hordes of young dance aficionados weaned on TV dance shows, the sold-out shows necessitated adding performances to accommodate the demand for tickets. Capitalizing on that success, this season Christensen and Neary presented a similar production featuring pieces by Kitty McNamee, Sonya Tayeh, Josie Walsh and Stacey Tookey. “NextWaveLA” opened with McNamee’s “Colony,” to music of Anna Clyne. This mesmerizing work utilizes traditional elements of classical ballet in surprisingly unique combinations. A large, synchronous group moves in disciplined lines and circles, giving way to a quasi-traditional pas de deux… singly or in pairs or trios, characters conform to the group or risk ostracism. Six-year LAB veteran Kelly Ann Sloan offers a fiercely dramatic performance reminiscent of her brilliant work in LAB’s third-season “The Evangelist.” Woven through and beyond McNamee’s piece is a melancholy statement about the danger of individuality. Conformity may confine and chafe, but, in dancing to the beat of a different drummer, one risks a lonely life outside the safety of the circle. Kudos to McNamee. It takes courage to swim against the tide. “Duets in the act of —” is Tayeh’s third world premiere for LAB. Arguably one of the most innovative of contemporary choreographers, Tayeh uses her highly personal dance vocabulary to illustrate subtle layers of desire, action and memory as four couples explore the universal conflicts of love partnerships, to music of Olafur Arnalds. One gradually senses that each couple represents but one aspect of a single relationship. Company principal ballerina Allyssa Bross contorts in “the act of cold desperation,” struggling to hold on to an indifferent and increasingly repelled lover, danced by Zheng Hua Li. This duet morphs into “the act of artificial seduction,” as Julia Cinquemani manipulates Vincent Adams with an elastic sensuality. The parting lovers – now represented by Molly Flippen and Nicolas de la Vega – briefly remember the good times in an “act of fleeting nostalgia,” before “the act of false ego,” danced by Kate Highstrete (alternating with company principal Allynne Noelle) and Alexander Castillo, ultimitely destroys any chance of reconciliation. Tayeh brings all four couples together in a blazing finale suggestive of her groundbreaking work on the hit TV show, “So You Think You Can Dance.” After an intermission, the curtain opens on “Sirens,” from last year’s LAB choreographic workshop, by returning choreographer Walsh. Formerly an international ballerina, Walsh borrows from the 150-year tradition of the great supernatural Romantic ballets, in which female nature-spirits captivate and charm unsuspecting young men. A master of the narrative story ballet, she imbues every smallest gesture with meaning as she creates a watery matrix where nine Sirens seduce five hapless mariners onto the rocks. This is a highly complex work, and Walsh’s dancers are to be congratulated for superb ensemble work. The women’s corps de ballet exhibit their acclaimed precision and unity throughout; and the men’s ensemble, led by Nicolas de la Vega, is uniformly excellent. Composer Paul Rivera Jr. contributes crashing waves, Siren songs, creaking ship’s timbers and other sound effects woven through a driving, custom-designed rock score. The program ends with Tookey’s “Be Still,” to music of Matthew Banks and Johann Johannsson. Emmy-nominated for her work on “So You Think You Can Dance,” Tookey has synthesized a sui generis style incorporating ballet, jazz and contemporary dance. Largely abstract, her first work for LAB explores the human interaction with Time as both element and concept. “We are always faced with the inevitability of Time running out,” she says in the program notes. “We crave that perfect moment when we’re completely present and time stands still.” Her dancers appear trapped in the inexorable ticking of the clock; legs seem to describe the eternal pendulum; Ben Pilat’s lighting contracts, compressing and squeezing the dancers as the hourglass runs out. Bross, Li and Flippen sustain the dramatic tension of balancing on the razor’s edge of this extraordinary work of art. Highly effective original costumes for all four pieces are by LAB resident designer Kanique Thomas. Pilat’s sensational lighting design emerges as a character in each dance. —Penny Orloff, Culture Spot LA DOWNLOAD PDF

Los Angeles Ballet announces the opening of the Los Angeles Ballet Center, the new home of LAB and the Los Angeles Ballet School. Home / News / New Item Los Angeles Ballet Center Opens June 1, 2008 Company News from the Staff at LAB Los Angeles Ballet announces the opening of the Los Angeles Ballet Center, the new home of LAB and the Los Angeles Ballet School.