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Giselle 2025/2026 Season / Giselle / APRIL 30–MAY 3, 2026 Giselle Coralli, Perrot, Petipa | Adam Imagine a story that combines romance, heartbreak, and the supernatural all in one breathtaking performance—Giselle is that ballet. First performed in Paris in 1841, it follows a young woman who falls in love with a man hiding a dangerous secret. When she learns the truth, tragedy strikes, but the story doesn’t end there—her spirit rises into a mysterious world of ghostly maidens who punish men for their betrayals. What makes Giselle unforgettable is how love transcends even death. Instead of seeking revenge, Giselle chooses forgiveness, protecting the man who deceived her from the wrath of the vengeful spirits. With its hauntingly beautiful music, intense drama, and moments that feel almost cinematic, Giselle is a ballet that pulls you into a world of passion, danger, and ultimate redemption—an experience you’ll carry with you long after the curtain falls. We are delighted to present Giselle at The Music Center’s Ahmanson Theatre. Choreography Jean Coralli and Jules Perrot originated the choreography for the 1841 premiere, with revisions by Marius Petipa, forming the basis for most modern stagings. Score Giselle (1841): Adolphe Adam SUBSCRIBE On Sale Now! Perfomance Schedule The Music Center's Ahmanson Theatre Thursday, April 30 | 7:30 pm Friday, May 1 | 7:30 pm Saturday, May 2 | 7:30 pm Sunday, May 3 | 2:00 pm Saturday, May 2 | 2:00 pm LOS ANGELES BALLET Repertoire Learn about the comprehensive and varied seasons of Los Angeles Ballet since its debut in 2006. Repertoire includes Balanchine masterworks, stylistically meticulous classical ballets, commissioned and contemporary works by renowned local and international choreographers. VIEW REPERTOIRE LOS ANGELES BALLET History Read the history of the company from the premiere performances of LAB’s original production of The Nutcracker in 2006. Learn about LAB’s Leadership, Mission, Outreach initiatives, commissions of original works and more. LAB HISTORY

This page will list the various auditions and job openings that the Los Angeles Ballet hosts and has available. Employment Home / Employment / LOS ANGELES BALLET Repertoire Learn about the comprehensive and varied seasons of Los Angeles Ballet since its debut in 2006. Repertoire includes Balanchine masterworks, stylistically meticulous classical ballets, commissioned and contemporary works by renowned local and international choreographers. VIEW REPERTOIRE LOS ANGELES BALLET History Read the history of the company from the premiere performances of LAB’s original production of The Nutcracker in 2006. Learn about LAB’s Leadership, Mission, Outreach initiatives, commissions of original works and more. LAB HISTORY

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

Call them a team. Some team. They are, arguably, the greatest living theater artist and the greatest living dancing actor, in magical cahoots with each other. Namely, Robert Wilson and Mikhail Baryshnikov. Home / News / New Item LA Observed End-of-Year 2016 Review December 27, 2016 LA Observed by Donna Perlmutter Call them a team. Some team. They are, arguably, the greatest living theater artist and the greatest living dancing actor, in magical cahoots with each other. Namely, Robert Wilson and Mikhail Baryshnikov. Two years ago they brought us "The Old Woman," a revelatory piece that instead of being a fluke with rich resources was just the first combustion of a duo bound for the poetic cosmos. But return they did to UCLA's Royce Hall (and it couldn't happen for more appreciative hosts) -- this time with "Letter to a Man," otherwise known as their Nijinsky piece, based on the legendary dancer's madman journal writings to his nemesis, Sergei Diaghilev, that haute impresario of the early Parisian 1900's, who sponsored and bedded him, then sent him into exile; this, after his misdeed of marriage to aristocrat Romola de Pulszky. Did you miss it? Well, you missed a stunning event. What kind? The kind that makes you crave to see the 60-minute show again. To jump on a plane to Paris next week, where it plays for 8 days. And what makes it so? The moment-to-moment montage, a kaleidoscope that frames the ever-magnetic Misha in a myriad of physical portrayals, his voice projections of the Russian lines set down by Vaslav Nijinsky in the Zurich sanatorium. It's where he lived in otherwise silence for the subsequent 30 years to his life's end. What Wilson does is drop each vignette into a stage picture, developed through ingenious lighting and set pieces that form a captivating tableau. There's the stark shock value of Misha in white face, with tux shirt and black bow tie, strobe-lit in a freeze of madness, the stage fronted by a row of yellow bulbs. But that's just to start. Soon the sardonic good times get going. A little song and dance, Bausch-style, with the nostalgia of '30s pop tunes, Misha still doing a fluidly integrated turn or step that advertises his authoritative wit and showmanship. But elsewhere this Nijinsky's expression goes dark and his downcast eyes gaze into the same abyss seen on an LP jacket picturing the dancer as a tragic Petrouchka. If we're lucky UCLA's Royce Hall will stage an encore. Meanwhile there's another Russian supernova commanding our attention: Daniil Trifonov, the 25-year-old pianist whose name often brings up talk of Vladimir Horowitz -- although this current virtuoso comes without personal peculiarities. He's simply an extraordinary artist. So when the Disney Hall crowd, packed wall-to-wall, heard him with Gustavo Dudamel leading his LA Philharmonic, it was blown away. Naturally. They ventured that beast of the literature, Rachmaninoff's Third Piano Concerto. A knuckle-buster if there ever was one, it became the world Trifonov inhabits, wholly absorbing, intense in its intricacies and rapacious demands, its live-or-die heat, all of it stitched together in unrelenting concentration. Unlike many others, he even took on the lush romantic theme with an elegant, classical approach -- no swoosh and swoon and swell, no quarter with easy, over-indulgence, but just a modicum of restraint for contrast with the surrounding finger fury. To be sure, Dudamel kept his band stepping along in unflagging sympathy with the soloist. But there were moments when they swamped him -- so that Rachmaninoff's advanced harmonics (1st movement), as heard when Trifonov played under the Verbier Festival's Yuri Temirkanov, got swallowed up here. No check on orchestral power came in the remaining program. Dudamel gave his forces their head and then some for Prokofiev's mystical Scythian Suite, followed by Scriabian's "Poem of Ecstasy." For those who have yet to hear the Philharmonic in all its sonic brilliance, this has to be a resolute goal. But those seeking a massive visual component to music had only to catch LA Opera's production of Philip Glass's "Akhnaten" -- you know, that supposedly androgynous pharaoh, made more so in this re-telling of Egyptian history by the title character's gradual gender change before our very eyes. Extraneous commotion abounded here, and not just for the staging and majestically static score, momentous music of mounting drama (a Glass specialty). First, there was the Music Center Pavilion's protest rally by "Black History Matters" questioning that the company did not cast an African-American as the lead counter-tenor, despite its color blind composition of numerous others, including Queen Nefertiti. And then there was Akhnaten (himself/herself), sung by Anthony Roth Costanzo in a somewhat scratchy, appropriately high voice, who appeared nude at one lengthy ceremonial point, head and body shaven, only to be dressed in this glacially slow production by attendants. (One wag was heard saying "what a way to put your pants on!" referring to the choreographed lifting of the whole body and slow guiding of his legs into their coverings). Later, under sheer garments, he appeared with a semblance of breasts. You could call the entire show a processional, with much sung declaiming, a contingent of jugglers and some stunning scenic triumphs -- all of it underpinned by a score with ongoing arpeggios, led perfunctorily here by Matthew Aucoin (a talked-about composer named to three years as the company's artist-in-residence). But coming after Glass's "Einstein on the Beach," staged three years ago, it doesn't nearly match the power of that celebrated piece. As a breather LA Opera gave us Leonard Bernstein's charming, upbeat "Wonderful Town" -- and didn't even insist on an operatic conversion, except for baritone Marc Kudisch, the only self-consciously formal voice here, who sang off-pitch much of the time. So, yes, the Broadway musical has a place here, especially if you believe that music drama can be inclusive. Quality counts, not genre. And although its orchestration fully acknowledges terrific tunes and musical comedy rhythms, Bernstein's interior scoring also lets us in on his compositional kernels for "On the Waterfront" and even "West Side Story." Grant Gershon led the whole shebang lovingly and energetically (revealing his early roots) -- with the orchestra onstage behind the performing cast. Faith Prince made a comically jaded Ruth with Nikki James her deliciously starry-eyed sister Eileen. Roger Bart, that utterly versatile impersonator, changed voices, accents and characters in the flick of an eye. Steven Sondheim joined the Broadway focus when Beverly Hills' Wallis Theater put on the composer's still problematic "Merrily We Roll Along." Despite the staging's over-the-top, unintended caricature (an SNL skit?) and George Furth's now fatuously melodramatic book, Sondheim's marvelous songs and lyrics make the effort well worth our while. Can anyone ever resist the chance to hear "Not a Day Goes By"? Even when up against this show's politically correct diversity casting that makes not a whit of sense? Of course, if you close your eyes and just listen. Among notable locals there was the best of them, LA Ballet, an enterprise that keeps on amazing us with its often sterling programs.The latest, in a string of successes, led off with signature Balanchine, the "Stravinsky Violin Concerto" and let me say here that the piece is always startling; it is its choreographer's neo-classical genre emblem. Pull it out of the box, amid many diverse ballet formats, and it will outshine everything else. Of course, that's assuming the dancers, their coach and the general staging can match the demands. No question this time. The soloists made the most eloquent complement to Stravinsky's quirky, convoluted and melancholy score. And the ensemble was not far behind. The other grateful entry on the bill was Aszure Barton's "Untouched," a clever cowboy's lament set in a dance hall (brothel?) that uses Graham expressionism in an original, characterful way. Again, the dancers rose to the high level of national companies with big budgets. Establishment Los Angeles and its private benefactors must do more to secure this gem of a dance troupe. READ ARTICLE AT SOURCE

Los Angeles Ballet will perform at Grand Park on July 6, 2013 as part of The Music Center's L.A.'s Rite: Stravinsky, Innovation, and Dance, a festival honoring the 100th anniversary of Igor Stravinsky's Le Sacre du Printemps (The Rite of Spring). Home / News / New Item LAB to Perform in Grand Park February 1, 2013 Company News from the Staff at LAB Los Angeles Ballet will perform at Grand Park on July 6, 2013 as part of The Music Center's L.A.'s Rite: Stravinsky, Innovation, and Dance, a festival honoring the 100th anniversary of Igor Stravinsky's Le Sacre du Printemps (The Rite of Spring). The performance is free to the public and will be followed by a discussion with LAB Artistic Directors Colleen Neary and Thordal Christensen. "Los Angeles Ballet is pleased and honored to present collaborative masterpieces of George Balanchine and Igor Stravinsky for this occasion. George Balanchine was the innovator that changed classical dance forever, and is responsible for what it has become today. Together with his dear friend Igor Stravinsky they created works of pure musical and choreographic genius. These ballets remain timeless, an inspiration to us all," said Christensen and Neary.

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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. Kate Inoue Hometown Rancho Palos Verdes, CA Seasons with LAB 5 Seasons with LAB Kate trained in the Professional Division at Pacific Northwest Ballet and the Central Pennsylvania Youth Ballet. Her early training includes the Palos Verdes Ballet and Etoile Ballet School in Osaka, Japan. She has danced the featured roles of Aurora and Princess Florine in The Sleeping Beauty , Marie in The Nutcracker , Nichette in Val Caniparoli’s Lady of the Camellias , and in contemporary works such as Annabelle Lopez Ochoa’s Bloom and Christopher Wheeldon’s Morphoses and Fool’s Paradise .

You will receive an email notifying you if audition spots are available. If so, you will be assigned the time for your audition, and a group number, and will be invited to submit your photos and CV. Home / Audition Pre-Registration Received / Pre-Registration Received You will receive an email notifying you if audition spots are available. If so, you will be assigned the time for your audition, and a group number, and will be invited to submit your photos and CV.

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. Jasmine Perry Hometown Charlotte, North Carolina Schools The School of American Ballet, Charlotte Ballet (formerly North Carolina Dance Theatre) Companies Los Angeles Ballet 9th Season

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 / 2017/2018 Photo Gallery / 2017/2018 Photo Gallery Swan Lake The Nutcracker Pushing Dance

Choreography by Christensen/Neary, Music by Peter Ilyich Tchaikovsky Home / Video Gallery / Video The Nutcracker 2019 Choreography by Christensen/Neary, Music by Peter Ilyich Tchaikovsky

Los Angeles Ballet presents a company of outstanding dancers from local communities and around the world. LAB dance artists master classical as well as contemporary techniques. Lilly Fife Hometown Westfield, IN Seasons with LAB 5 Seasons with LAB Lilly trained in her hometown at the Central Indiana Academy of Dance and later joined the Boston Ballet as a trainee. She then went on to the Charlotte Ballet and spent 2 years as an apprentice before joining LAB.