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Supporting Los Angeles Ballet October 1, 2009 Company News from the Staff at LAB Guests came from the worlds of entertainment, finance, healthcare and other industries to a gala at the Bel-Air home of Stephanie Murray in support of Los Angeles Ballet. Guests enjoyed dinner in the garden and a performance of "The Evangelist," originally created for Neary and Christensen, and selections from the great choreographer George Balanchine. Home / News / New Item

LA Ballet Presents La Sylphide June 3, 2009 CultureSpotLA by Penny Orloff Try summing up the themes of August Bournonville’s romantic 1836 ballet, “La Sylphide.” You might get a list something like this: Dreams, illusions, ideals versus reality and worse — irrational, implacable evil. No wonder the ballet survives, not only to entertain but to trouble, even deeply disturb. Los Angeles Ballet, founded in 2006, marked its latest stage of artistic growth by mounting a handsome production of “La Sylphide” Saturday at the Redondo Beach Performing Arts Center, with period sets and costumes borrowed from the Houston Ballet. (Performances continue over the next two weekends at other venues.) (Freud Playhouse, UCLA, May 23 and 24, and at the Alex Theater in Glendale, May 30.) The story is simple. James, a Scottish highlander, dreams of a magical, otherworldly creature, the Sylph, on the very day of his wedding to his beloved Effie. Suddenly incarnate, the Sylph lures James away from the wedding and into the forest. There, she inexplicably appears and disappears at will, always managing to stay just out of his grasp. James and the Sylph soon meet their destruction, however. James has deeply though mindlessly offended the witch Madge earlier during the wedding day. Now, seeking to bring his ideal Sylph into his arms, he drapes a veil he doesn’t know has been poisoned by Madge over the Sylph’s shoulders and winds it around her arms. The Sylph immediately loses her wings, comes to earth and quickly dies. James is stunned and collapses in grief. As danced Saturday by Eddy Tovar, a permanent LAB guest from Orlando Ballet, James was a bewildered dreamer, torn between the Sylph and Effie. He was also impulsive, flaring into outraged anger upon seeing Madge warming herself by the fire. A handsome, compact dancer, Tovar had the strength and style to execute Bournonville’s demanding foot beats with speed and clarity. Corina Gill was the poised, ethereal Sylph, balancing lightly and cleanly in high extensions. Her most arresting moments, however, came in her death scene, where she seemed to lose the power of sight as well as of flight. The other plum role, of course, is the evil Madge. She is first discovered cowering by James’ fire but is last seen towering triumphantly above his body. Why did she wreck such evil, so out of proportion to the original offense? Her answer is a drumming of her fingers on her chest. “I,” “I,” “I,” she gestures, because James offended her. The ballet ends with a terrible image. Madge pulls the fallen James up by the hair to see his beloved but dead Sylph float up into the heavens. With insouciant flicks of her wrists, Madge then dismisses James’ lifeless form. All in a day’s work, she seems to say, and easy work at that. Final curtain. Co-artistic director Colleen Neary, a former New York City Ballet principal, made a formidable Madge, only gradually revealing her malevolent powers. It was easy to laugh at her mumbo-jumbo antics with her four witch friends around the black cauldron at the start of Act 2. But nobody was laughing at the end of the ballet. In other roles, Grace McLoughlin danced Effie with sweet innocence. James Li was Gurn, James’ best friend, a naïf who winds up marrying Effie after James’ disappearance. (Peter Snow will take over the role in two of the three remaining performances.) Andrew Brader and Drew Grant were the friends. The corps, including the children, danced strongly. Melissa Barak, the First Sylph, gave notice of incipient major Sylph duties. The ballet, staged by co-artistic director Thordal Christensen, a former principal with the Royal Danish Ballet, was danced to pre-recorded music. DOWNLOAD PDF Home / News / New Item

Cassidy Cocke Hometown Dallas, Texas Seasons with LAB 2021/2022, 2022/2023, 2023/2024 Cassidy Cocke was born in Dallas, TX, and began dancing at the age of 10 at Dallas Ballet Center under the direction of Brent and Judy Klopfenstein. She trained with Asako Fandrich and Catherine Lewellen during her time there. At the age of 15, she trained under Paul Mejia at Mejia Ballet International until moving to Seattle to join the Professional Division at Pacific Northwest Ballet under artistic director Peter Boal. She then danced as a guest artist at Avant Chamber Ballet in Dallas under the direction of Katie Puder in the 2020-21 season and trained with Michele Gifford before joining Los Angeles Ballet in the fall of 2021. She attended The School of American Ballet Summer Course in 2014, 2016, and 2017, Pacific Northwest Ballet in 2015 and 2017, and in the summer of 2019, was chosen to attend The National Ballet of Canada on exchange by PNB. Some of her favorite roles she’s performed are Marzipan in The Nutcracker with PNB, Concerto Barocco as a guest artist with ACB, and Bluebird in Sleeping Beauty , Ghosts choreographed by Christopher Wheeldon, and the Dream Pas de Deux in Val Caniparoli’s Lady of the Camellias all during her time at LAB. When she isn’t dancing, Cassidy is currently working at BASIC Magazine and BASIC PR, a quarterly fashion magazine and fashion showroom as the assistant to the Editor-in-Chief and Showroom Coordinator. She enjoys spending time with her friends and family, and her crazy orange cat, Edgar. Cassidy is honored to be a part of Los Angeles Ballet, and can’t wait to see what her future holds.

Tchaikovsky Piano Concerto No. 2 2015 Julia Cinquemani with Kate Highstrete and Laura Chachich LAB Ensemble Allynne Noelle & Christopher Revels LAB Ensemble Julia Cinquemani with Kate Highstrete and Laura Chachich LAB Ensemble Allynne Noelle & Christopher Revels LAB Ensemble Julia Cinquemani with Kate Highstrete and Laura Chachich LAB Ensemble Allynne Noelle & Christopher Revels LAB Ensemble Julia Cinquemani with Kate Highstrete and Laura Chachich LAB Ensemble Allynne Noelle & Christopher Revels LAB Ensemble Julia Cinquemani with Kate Highstrete and Laura Chachich LAB Ensemble Allynne Noelle & Christopher Revels LAB Ensemble Julia Cinquemani with Kate Highstrete and Laura Chachich LAB Ensemble Allynne Noelle & Christopher Revels LAB Ensemble Julia Cinquemani with Kate Highstrete and Laura Chachich LAB Ensemble Allynne Noelle & Christopher Revels LAB Ensemble Julia Cinquemani with Kate Highstrete and Laura Chachich LAB Ensemble Allynne Noelle & Christopher Revels LAB Ensemble Balanchine / Tchaikovsky Previous Gallery Next Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation.

Santiago Paniagua Hometown Boston, Massachusetts Seasons with LAB 2021/2022, 2022/2023, 2023/2024 Santiago started dancing at the age of 8 through Boston Ballet's inner city outreach program 'Citydance.' He joined Boston Ballet School soon after and completed his training at 18. He then joined Philadelphia Ballet 2 and was promoted to Apprentice after two years. Santiago joined Los Angeles Ballet in 2021 and is currently dancing his third season with the company.

Balanchine – Master of the Dance 2017 LAB Ensemble LAB Ensemble Kenta Shimizu Elizabeth Claire Walker Elizabeth Claire Walker & Kenta Shimizu Elizabeth Claire Walker & Kenta Shimizu Kenta Shimuz Julia Cinquemani & Tigran Sargsyan Bianca Bulle & Tigran Sargsyan LAB Ensemble LAB Ensemble LAB Ensemble Kenta Shimizu Elizabeth Claire Walker Elizabeth Claire Walker & Kenta Shimizu Elizabeth Claire Walker & Kenta Shimizu Kenta Shimuz Julia Cinquemani & Tigran Sargsyan Bianca Bulle & Tigran Sargsyan LAB Ensemble LAB Ensemble LAB Ensemble Kenta Shimizu Elizabeth Claire Walker Elizabeth Claire Walker & Kenta Shimizu Elizabeth Claire Walker & Kenta Shimizu Kenta Shimuz Julia Cinquemani & Tigran Sargsyan Bianca Bulle & Tigran Sargsyan LAB Ensemble Divertimento No. 15 – Balanchine / Mozart, Prodigal Son – Balanchine / Prokofiev, Who Cares? – Balanchine / Gershwin Previous Gallery Next Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation.

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A Chance To Dance Home / A Chance to Dance / Los Angeles Ballet’s A Chance to Dance Laura Chachich, Director of Education Programs Founded by Allynne Noelle, A Chance to Dance (ACTD) Community Day is a monthly community outreach initiative for all ages incorporating a theme around which the day’s events are centered. Each month during LAB’s season, the dancers of Los Angeles Ballet offer FREE ballet classes, alternative dance/fitness classes, and lectures/demonstrations for a range of experience level and age groups. Join us on A Chance to Dance’s Instagram page: @chancetodancela Upcoming Events Sun, Oct 13 ACTD Sunday, October 13 / Los Angeles Ballet Center RSVP Oct 13, 2024, 9:00 AM – 1:00 PM Los Angeles Ballet Center, 11755 Exposition Blvd, Los Angeles, CA 90064, USA A Chance to Dance offers free ballet, dance and fitness classes to dancers of all ages and skill levels. Join the dancers of Los Angeles Ballet for a day of dance! Share Sun, Nov 10 ACTD Sunday, November 10 / Los Angeles Ballet Center RSVP Nov 10, 2024, 9:00 AM – 1:00 PM Los Angeles Ballet Center, 11755 Exposition Blvd, Los Angeles, CA 90064, USA A Chance to Dance offers free ballet, dance and fitness classes to dancers of all ages and skill levels. Join the dancers of Los Angeles Ballet for a day of dance! Share Adult Beginner Ballet, Photo by Mary Katherine Leslie Intermediate/Advanced Ballet, Photo by Mary Katherine Leslie Youth Ballet, Photo by Mary Katherine Leslie Children’s Creative Movement, Photo by Mary Katherine Leslie Pilates Mat, Photo by Mary Katherine Leslie Adult Beginner Ballet, Photo by Mary Katherine Leslie Intermediate/Advanced Ballet, Photo by Mary Katherine Leslie Youth Ballet, Photo by Mary Katherine Leslie Children’s Creative Movement, Photo by Mary Katherine Leslie Pilates Mat, Photo by Mary Katherine Leslie Adult Beginner Ballet, Photo by Mary Katherine Leslie Intermediate/Advanced Ballet, Photo by Mary Katherine Leslie Youth Ballet, Photo by Mary Katherine Leslie Children’s Creative Movement, Photo by Mary Katherine Leslie Pilates Mat, Photo by Mary Katherine Leslie Adult Beginner Ballet, Photo by Mary Katherine Leslie Intermediate/Advanced Ballet, Photo by Mary Katherine Leslie Youth Ballet, Photo by Mary Katherine Leslie Children’s Creative Movement, Photo by Mary Katherine Leslie Pilates Mat, Photo by Mary Katherine Leslie Adult Beginner Ballet, Photo by Mary Katherine Leslie Intermediate/Advanced Ballet, Photo by Mary Katherine Leslie Youth Ballet, Photo by Mary Katherine Leslie Children’s Creative Movement, Photo by Mary Katherine Leslie Pilates Mat, Photo by Mary Katherine Leslie Adult Beginner Ballet, Photo by Mary Katherine Leslie Intermediate/Advanced Ballet, Photo by Mary Katherine Leslie Youth Ballet, Photo by Mary Katherine Leslie Children’s Creative Movement, Photo by Mary Katherine Leslie Pilates Mat, Photo by Mary Katherine Leslie Please bring completed Registration Form on arrival (Form may be filled out in person before class) ​ Class size is not limited ​ Classes take place at Los Angeles Ballet Center 11755 Exposition Blvd Los Angeles, CA 90064 ​ Additional Questions Laura Chachich , Director of Education Programs REGISTER TODAY Information 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 LAB OUTREACH PROGRAM Power of Performance (POP!) Since its debut in 2006, Los Angeles Ballet’s Power of Performance! (POP!) program has provided a minimum of 10% of tickets to all performances—free of charge—to organizations that support underserved communities all across Los Angeles County. MORE ABOUT POP!

2024-2025 Season / Ticket Information / Terms and Conditions of Sales Terms and Conditions of Sales Before purchasing tickets, please carefully review the Terms and Conditions of Sale. 1. Refund and Exchange Policy Pre COVID-19 there were No Refunds and No Exchanges. All Tickets sales were final. However COVID-19 has impacted Refunds and Exchanges. Please read the COVID-19 Ticketing Policy for updates. 2. Reserved Seating This purchase is for tickets in designated seats at a designated price level, as chosen and/or approved by you as the ticket purchaser. Please be sure you are happy with your seat selection before finalizing your purchase. 3. Confirmation Number Please be sure to record/save your confirmation number, as this is required for replacing lost tickets and locating reservations. The confirmation page is NOT a ticket. 4. Mail Delivery The standard mailing fee is $1.50 per order for regular ticket purchases and $3 per order for group sales. If you choose to have your tickets mailed to you they will arrive within 7-10 business days. If your tickets have not arrived within one week of the performance date, please call the Los Angeles Ballet Box Office at 310.998.7782. Please have your confirmation number available. 5. Will Call Will Call opens at all venue box offices one hour prior to each performance and remains open until the performance begins. Identification is required for Will Call pick-up. 6. Lost Tickets Lost tickets will be replaced provided you have your confirmation number available. Please call the Los Angeles Ballet Box Office at 310.998.7782 to request replacement tickets. 7. Performance Cancellation or Date/Time Change Policy If a performance is cancelled for any reason other than “force majeure,” (see Clause 7a below), Los Angeles Ballet will refund the face value of tickets purchased. Delivery charges are non-refundable. A performance is not considered “cancelled” if it is stopped at any point after Act 2 has begun, in which case Los Angeles Ballet is not required to refund the value of any tickets purchased for said performance. Los Angeles Ballet will accommodate you at subsequent performances when possible. Los Angeles Ballet reserves the right to change the date and/or time of any performance no later than 5 weeks before the originally scheduled date of the performance. If a change occurs, patrons will be notified immediately and alternate accommodations or reimbursements will be arranged, as necessary. 7a. Force Majeure Los Angeles Ballet does not guarantee a refund or exchange on tickets purchased for a performance that is cancelled, or is rescheduled less than 5 weeks before the original performance date/time, as a result of “force majeure.” “Force majeure” means any event which Los Angeles Ballet could not, even with all due care, foresee or avoid. Such events may include war or threat of war, riot, civil strife, terrorist activity or threatened terrorist activity, industrial dispute, natural or nuclear disaster, adverse weather conditions, fire and all similar events outside Los Angeles Ballet’s control. In the event of a cancellation or rescheduling due to “force majeure,” Los Angeles Ballet will accommodate you at subsequent shows when possible. 8. Late Seating Policy Arriving late to a performance can be extremely disturbing to the artists and your fellow audience members. Latecomers will be seated at the discretion of the house staff at an appropriate pause in the program. 9. Reselling Policy Tickets may not be resold or offered for resale. Tickets may not be used for advertising, promotion, or other commercial purposes except with the express written consent of Los Angeles Ballet, Inc. Los Angeles Ballet reserves the right to refuse entry to any customer who has purchased tickets and resold them, or to any person attempting to attend a performance with such tickets. 10. Reproduction Policy It is unlawful to reproduce any tickets in any form. In the event of reproduction, Los Angeles Ballet reserves the right to refuse entry to the original purchaser as well as any person attempting to attend a performance with reproduced tickets. 11. Review Upon Receipt Please review your tickets and confirmation upon receipt. If any detail of your order is incorrect, please contact the Los Angeles Ballet Box Office immediately at 310.998.7782. Los Angeles Ballet will not be responsible for any discrepancies if you do not contact the box office within 24 hours after receiving your tickets. 12. Agreement Submitting a ticket order indicates your AGREEMENT to these terms and conditions. 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

Commentary - Los Angeles Ballet on upswing in its fifth year December 5, 2010 Los Angeles Times by Lewis Segal Giselle’s character is straightforward, but that of Prince Albrecht is ambiguous. Is he merely dallying, really in love, torn between court and country? Unfortunately, Christopher Revels gave no clear take on the prince’s motives, although his repentance and sense of loss at the end looked genuine. Revels danced with princely bearing, partnered with consideration, and executed his second act marathon challenges with strength, though he looked more on the edge of real rather than dramatic exhaustion. Home / News / New Item

2024/2025 Season / Subscribe / Select Your Serie / Series C / Need Assistance? Email / (310) 998-7782 Login Series C Subscription

2024/2025 Season / The Nutcracker / December 15, 2024, 2pm / Need Assistance? Email / (310) 998-7782 Login