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Please provide the following information and the Los Angeles Box Office will contact you to assist with your Group details. *All fields are required. 2026/2027 Season / Ticket Information / Group Sales / SUBSCRIPTION SERIES Group Sales Please provide the following information and the Los Angeles Box Office will contact you to assist with your Group details. *All fields are required. Group Principal Contact First Name * Last Name Email Phone Number Address 2026/2027 Season Schedule American Icons: The Cage, Dilly Dilly, Wavelength BroadStage Thursday, September 24, 2026 | 7:30 pm Friday, September 25, 2026 | 7:30 pm Saturday, September 26, 2026 | 7:30 pm Sunday, September 27, 2026 | 2:00 pm The Nutcracker Royce Hall, UCLA Friday, December 11 | 7:30 pm Saturday, December 12 | 2:00 pm Saturday, December 12 | 7:30 pm Sunday, December 13 | 2:00 pm The Nutcracker Dolby Theatre Friday, December 18 | 7:30 pm Saturday, December 19 | 2:00 pm Saturday, December 19 | 7:30 pm Sunday, December 20 | 2:00 pm Sunday, December 20 | 7:30 pm Tuesday, December 22 | 2:00 pm Tuesday, December 22 | 7:30 pm Wednesday, December 23 | 2:00 pm Wednesday, December 23 | 7:30 pm Thursday, December 24 | 2:00 pm Saturday, December 26 | 2:00 pm (Sensory Friendly) Saturday, December 26 | 7:30 pm Sunday, December 27 | 2:00 pm The Nutcracker Dolby Theatre Los Angeles Ballet Orchestra Thursday, December 19 - 7:30 pm Friday, December 20 - 7:30 pm Saturday, December 21 - 2 pm Saturday, December 21 - 7:30 pm Sunday, December 22 - 2 pm Sunday, December 22 - 7:30 pm Tuesday, December 24 - 2 pm Thursday, December 26 - 2 pm Friday, December 27 - 7:30 pm Saturday, December 28 - 2 pm Movers and Shakers: Polyphonia, Carry Me Anew , World Premiere by Mate Szentes The Wallis Thursday, February 4 | 7:30 pm Friday, February 5 | 7:30 pm Saturday, February 6 | 7:30 pm Coppélia Dolby Theatre in Hollywood Thursday, June 10 | 7:30 pm Friday, June 11 | 7:30 pm Saturday, June 12 | 7:30 pm Sunday, June 13 | 2:00 pm Select a date * required Please indicate preferred show time. House Seating & Discount Breakdown The Wallis & BroadStage Standard Ticket Prices Section A – $109 Section B – $189 Section C – $65 15+ Seat Discounts Section A – 10% Off Section B,C,D,E – 20% Off Dolby Theatre (Live Orchestra) Standard Ticket Prices Section A – $165 Section B – $132 Section C – $96 Section D – $72 Section E – $45 50+ Seat Discounts Section A – 20% Off Section B,C,D,E – 25% Off Royce Hall Standard Ticket Prices Section A – $157 Section B – $121 Section C – $93 Section D – $66 Section E – $38 100+ Seat Discounts Section B,C,D,E - 30% Off What Section of the House are you interested in?  * Required Section A – Center Orchestra Section B – Front Orchestra, Prime Balcony Section C – Main Orchestra, Balcony Circle Section D – Orchestra Ring, Balcony Center Section E – Balcony Side, Rear Balcony, Rear Orchestra Number of Adults Number of Children Please leave any comments or questions that will allow us to better serve you. SUBMIT Select one of the following performances you are interested in: The Nutcracker Memoryhouse Cinderella In-person Ticket Sales Group Sales Venues Acccessibility Gift Certificates Tax-Deductibe Donations Terms & Conditions of Sales In-house Policies Privacy Policy

Los Angeles Ballet artistic directors Thordal Christensen and Colleen Neary watch dancers rehearse "The Evangelist," which the company will be begin performing later this month. Home / News / New Item Los Angeles Ballet meets “The Evangelist” April 1, 2008 Los Angeles Times by Lynne Heffley Los Angeles Ballet artistic directors Thordal Christensen and Colleen Neary watch dancers rehearse "The Evangelist," which the company will be begin performing later this month. The 2-year-old company readies a program that includes a piece first danced by its artistic directors and inspired by the life of Aimee Semple McPherson. In a warehouse space on a no-frills Westside industrial street, Thordal Christensen, co-artistic director of Los Angeles Ballet, points to a rickety little table. "Welcome to my office," he jokes. "We've been in here four months, so it's still a work in progress." The unfinished but spacious digs are another step forward for 2-year-old LAB, the city's latest hope for home-based premier classical ballet. Half of the interior is a jumble of racks of costumes, stacks of Marley flooring -- a special sprung surface carted to venues for the dancers' use -- and utilitarian furniture. But in the expansive, mirrored studio space on the other side of a partition, with loading dock doors rolled open for ventilation, several of the company's 26 young dancers are warming up in motley practice gear. Christensen and Colleen Neary, his wife and fellow artistic director, are about to revisit a work that was choreographed for them 16 years ago: "The Evangelist," a spiritual duet inspired by 1920s charismatic preacher Aimee Semple McPherson, set to the music of Charles Ives. It will tour to four venues in April and May, beginning Friday and Saturday at UCLA's Freud Playhouse, as part of a varied program that includes "he said/she said," a world premiere by Jennifer Backhaus of the Orange County-based Backhausdance; George Balanchine's "Allegro Brillante"; and August Bournonville's "Napoli/Pas de Six" and "Tarantella." Balanchine's "Who Cares?" will replace the Bournonville pieces for the company's Irvine Barclay Theatre performance May 17. Appearing with the company as guest artist will be Orlando Ballet’s Eddy Tovar. 'The Evangelist' Created by choreographer Lar Lubovitch when Christensen and Neary were principals with Pacific Northwest Ballet, "The Evangelist" was the critical highlight of Lubovitch's ballet "American Gesture" at its 1992 Kennedy Center premiere. A meld of classical form and Grahamesque force, it depicts a male penitent's struggle toward redemption, guided by a powerful female figure. "It's always nice to work on something that you've done yourself," Christensen says. "At the same time, you have to make sure it becomes the dancer's piece, because it's really about getting them to find . . . " "Themselves in it," interjects Neary. "And the spirit of the piece," Christensen finishes. For the next 30 minutes, the couple, dancer-fit themselves, take to the floor by turns to demonstrate a lift or position, coaching the pairs who will alternate in the work (and wear Christensen and Neary's original costumes): Peter Snow and Melissa Barak, and Andrew Brader and Kelly Ann Sloan. The intensity of emotion the dancers must express in arching bends and high lifts, extreme gestures and moments of muscular rigidity is clear when they take a break, panting and dripping with sweat. Christensen and Neary next take five couples through Balanchine's demanding and lyrical "Allegro Brillante," set to Tchaikovsky, correcting a step here, a line there. "We call it a dancer's ballet," Neary says later, "because dancers love to do it. It's a full-length ballet in 17 minutes -- there are that many steps." "Is it fun, or is it death?" Neary asks the breathless company when rehearsal ends. The consensus: "It's fun." Taking the next step With their international careers as dancers behind them, Christensen, former artistic director of the Royal Danish Ballet, and Neary, a New York City Ballet alumna and authoritative Balanchine choreographer, say they don't mind being out of the spotlight. "When you're onstage, it's such an incredible feeling, but being offstage and seeing somebody else do what you're giving them is even more fulfilling," Neary says. Dancing is a short-lived career, Christensen adds, "and we're fortunate to have the opportunity to give it to the next generation." New work is key to the growth of Los Angeles Ballet, he says. The company launched with a familiar repertoire that included Balanchine masterworks and its own "Nutcracker" in order to "excite the audience and create a company style. Now it's important to bring in outside choreographers to show the dancers' range." "In the end, that's going to define who we are," says Neary, noting that the piece commissioned from Backhaus, a Lester Horton Award-winning, cutting-edge contemporary choreographer, is "extremely different" from anything the dancers have done. In the work, created for the full ensemble, "there's more gravity, more weight, more things that are off-balance," Backhaus explains later by phone. "I was toying with the idea of making the dance on pointe, but I wanted to challenge their dynamic sensibility a bit. They're a great group of dancers, and they've been really open to trying new things." Backhaus is enthusiastic about LAB's chances for success in a city where others on the same mission have failed. "They're on the right track," she says. "I think this is the best shot we've had." lynne.heffley@latimes.com DOWNLOAD ARTICLE (PDF)

Los Angeles Ballet’s public relations team is headed by Shari Mesulam of The Mesulam Group. Public Relations Home / Public Relations / Public Relations For Public Relations inquiries and information, please contact Shari Mesulam , The Mesulam Group shari@themesulamgroup.com Company Press Releases Press Releases READ NOW 2023/2024 SEASON Press Photos REQUEST ACCESS

Los Angeles Ballet staff are comprised of talented non-profit arts professionals dedicated to supporting and producing outstanding productions for the LA community and southern California. Staff Home / Staff / Olivia O’Connor Director of Development ABOUT Matt Carney Institutional Growth Manager ABOUT Laura Chachich Ballet Master Director of Education Programs ABOUT Kirsten Turkle Production Manager ABOUT Donna Wieczorkowski Development Operations & Database Manager ABOUT Adrian Blake Mitchell Trainee Program Director ABOUT Christina Stroh Conditioning Coach ABOUT Lizzy Rothstein Physical Therapist ABOUT Naomi Shapira Robinow Physical Therapist ABOUT Nancy Batlin Design Director ABOUT Eric Gonzalez Director of Box Office Operations ABOUT LAB OUTREACH PROGRAM A Chance to Dance (ACTD) ACTD is presented two Sundays each month during Los Angeles Ballet’s season at LAB Center. LAB dancers teach free ballet classes, alternative dance/fitness classes, and more! All ages are welcome. VIEW ACTD SCHEDULE LAB OUTREACH PROGRAM A Chance to Dance (ACTD) ACTD is presented two Sundays each month during Los Angeles Ballet’s season at LAB Center. LAB dancers teach free ballet classes, alternative dance/fitness classes, and more! All ages are welcome. VIEW ACTD SCHEDULE

In honor of America at 250, American Icons celebrates legendary innovators in American dance and music. The program opens with Artistic Director Melissa Barak’s Pretty, Peculiar Things set to In C Remixed, a musical adaptation by numerous American musicians of American composer Terry Riley’s groundbreaking work, In C. Written in 1964, In C stands as one of the most successful works by an American composer and a seminal example of minimalism in classical music. 2026/2027 Season / American Icons / Sunday, September 27, 2026 2:00 pm / Tickets

e189d824-e21b-4c9a-b2ec-3fc74bd02b8f 2026-2027 Season / Ticket Information / Accessibility Accessibility Venues have differing policies regarding accessibility and procedures for requesting access. Please call the LAB Box Office at least 24 hours in advance of the performance for assistance securing these options. For questions and support, please contact the Box Office at (310) 998-7782 to purchase by phone, Monday through Friday, 12:00pm to 5:00pm. In-person Ticket Sales Group Sales Venues Accessibility Gift Certificates Tax-Deductibe Donations Terms & Conditions of Sales In-house Policies Privacy Policy

The choice to feature choreographers outside of the classical dance arena is indicative of the couple's dedication to cultivating the next generation of ballet enthusiasts in LA. Home / News / New Item Dance Review: Los Angeles Ballet's Balanchine Program February 22, 2010 Los Angeles Times by Laura Bleiberg The production was from the Louisville Ballet. Ben Pilat provided the dramatic lighting. L.A. Ballet company co-director Thordal Christensen tweaked the traditional Coralli-Perrot-Petipa choreography, cutting some virtuosic demands, adding some mime, and inventing a poor couple who provide their cottage as the prince’s local digs. Christensen’s wife and company co-director, Colleen Neary, enacted Giselle’s mother, Berthe, with fuss and worry. DOWNLOAD PDF

Los Angeles Ballet’s The Nutcracker is as much a holiday tradition for Los Angeles as tree lighting at The Grove or watching the floats in the Hollywood Christmas Parade.  2026/2027 Season / The Nutcracker / Saturday, December 12, 2026 2:00 pm / Tickets

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 / 2021/2022 Photo Gallery / 2021/2022 Photo Gallery The Nutcracker Bloom

LAB’s signature holiday fundraiser in support of our Outreach and Education Programs is an afternoon tea party experience for guests of all ages, culminating in a special presentation of scenes from The Nutcracker. 2026/2027 Season / Nutcracker Tea 2026 / Purchase Raffle Tickets / Purchase Raffle Tickets

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.