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  • L.A. Ballet - after the Christmas dream | Los Angeles Ballet

    L.A. Ballet - after the Christmas dream January 1, 2007 Los Angeles Ballet gave its final performance of "Nutcracker" on Saturday at the Alex Theatre in Glendale: a rite of passage, for the next time we see this brand-new company it won't be dancing a homemade version of the Christmas kiddie classic but rather grown-up masterworks from the international repertory. That's a big step — one that dozens of Southland companies that present annual "Nutcracker" performances never take. It was brave of artistic directors Thordal Christensen and Colleen Neary to launch LAB with a ballet presented by virtually every classical school or troupe in the whole region plus visiting ensembles from Russia and Korea. And it's braver still to schedule serious Balanchine and buoyant Bournonville for the company's first 2007 performances in March. There's no place to hide in that kind of rep, and though guest artists will again ensure high standards in principal roles, the challenge will be to develop a company style beyond the well-drilled but essentially faceless corps dancing that "Nutcracker" provided. If that statement sounds cruel, consider that American Ballet Theatre — our nation's classical behemoth — seldom achieves anything beyond well-drilled and faceless corps dancing nowadays. But ABT doesn't dance Balanchine's super-refined "Concerto Barocco," and maybe that's just as well. "Nutcracker" looked better organized on Saturday than it had early in December, though the party scene again proved confused and there seemed no sense of purpose — dramatic or choreographic — in the battle between the toy soldiers and the mice. The important scenic and character transformations on view lacked magic. And it would have helped if the Nutcracker (Erik Thordal-Christensen, son of the artistic directors) actually looked like a nutcracker and not just another toy soldier. Act 2 confirmed the classical prowess and personal star power of Oleg Gorboulev and Corina Gill in the Arabian dance, provided a flashy showpiece for the 14-year-old wunderkind Lilit Hogtanian as Clara and allowed Maria Kowroski and Stephen Hanna (guests from New York City Ballet) to display formidable mastery in supported adagio intricacies. You could regret that their solos were moved earlier than Tchaikovsky intended and that the Mirlitons divertissement was cut, but the score was again given loving care by conductor Eimear Noone and her musicians. And, happily, the Alex Theatre offered more space for Catherine Kanner's scenic vistas than the cramped Wilshire Theatre stage allowed when this "Nutcracker" premiered. That's one lesson LAB learned in 2006 — that Southern California has many midsize theaters that look great from the seats but, because they are converted movie houses, have no room on the stage for elaborate scenery or large-scale choreographies. Another lesson — that the ballet public isn't interested in 5 p.m. shows — helped cause a cutback from 12 "Nutcracker" performances to nine. "We will consider everything we've discovered from this first run," the directors said in a statement, "and make necessary adjustments for our upcoming season." Necessary adjustments may be one key to LAB's survival in a ballet landscape haunted by memories of companies that started strongly and even flourished, for a time, without enlisting the longterm support of the public that flocks to touring attractions. There are always plenty of people who say they want someone to start a local ballet company with major artistic ambitions — but too many really mean they want ABT to relocate. Los Angeles Ballet estimates that it danced for more than 6,000 ticket-holders in December. That's a start, but not nearly a large enough audience base to sustain a year-round professional institution. If Christensen and Neary can't rely on the balletomanes in our community who yammer about homegrown classicism but don't show up at the ticket window, developing a new, loyal audience is the key to their future. And that will take more energy and imagination than everything they've done so far. Los Angeles Times ​ DOWNLOAD ARTICLE (PDF) 2023/2024 Season > News > Previous Item Next Item

  • Los Angeles Ballet teams with LA Magazine, Wachovia Bank, LA’s Best & Warner Brothers Studios for a Holiday Extravaganza | Los Angeles Ballet

    Los Angeles Ballet teams with LA Magazine, Wachovia Bank, LA’s Best & Warner Brothers Studios for a Holiday Extravaganza December 1, 2007 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. Company News from the Staff at LAB 2023/2024 Season > News > Previous Item Next Item

  • 2021-2022 Photo Gallery | The Los Angeles Ballet

    2021/2022 Photo Gallery The Nutcracker Bloom 2023/2024 Season > Photo Gallery > 2021/2022

  • Four World Premiers in NextWave LA | Los Angeles Ballet

    Four World Premiers in NextWave LA March 8, 2010 Guest Choreographers from the Hit Show "So You Think You Can Dance" (Los Angeles, March 8, 2010 ) Los Angeles Ballet [LAB] Artistic Directors Thordal Christensen and Colleen Neary are thrilled to present New Wave LA which involves four contemporary World Premieres from guest choreographers Josie Walsh, and Sonya Tayeh, Mandy Moore and Travis Wall from the hit FOX show “So You Think You Can Dance.” Each choreographer will present an innovative, modern, edgy and world class piece with Los Angeles Ballet dancers. New Wave LA is a ground-breaking program for LAB, commissioning four acclaimed choreographers to create on LAB dancers. This program follows Los Angeles Ballet’s mission of incorporating new creations specifically for LAB dancers throughout its season. The four choreographers Josie Walsh, Sonya Tayeh, Mandy Moore and Travis Wall are all elated to be pre- senting FOUR world premieres in ONE evening which is rarely done in a ballet company. Los Angeles Ballet is also proud to present Transmutation, by LA’s own Josie Walsh, developed from a piece originally commis- sioned by the First Annual LAB Choreographic Workshop. Sonya Tayeh, Mandy Moore and Travis Wall’s World Premiere pieces are still untitled. Josie Walsh is a native of Los Angeles and a former professional dancer with the Joffrey Ballet, Zurich Ballet and Oregon Ballet Theatre. Upon her return to Los Angeles, Walsh integrated her vast background into the commercial world. Walsh founded MYOKYO Renegade Rock Ballets in 2000. She is the director, producer and choreographer for the company, creating an eclectic style of inter-disciplinary cooperation. Sonya Tayeh incorporates her deeply rooted form with the essence of contemporary technique, mixing her own ‘quirky’ style into her choreography. This stylized, free-flowing movement is aggressively formulated through one-on-one physical contact. She is currently a choreographer for “So You Think You Can Dance.” Mandy Moore is an exciting, emerging choreographer and performer whose work has been seen on films and television shows such as “So You Think You Can Dance.” She was one of the choreographers for Celine Dion’s “Taking Chances” World Tour. Travis Wall is a choreographer who choreographed for “So You Think You Can Dance” and was principal dancer for Wade Robson on ABC’s “Dancing with the Stars.” These four outstanding choreographers will exercise their unique style and personality in the World Premieres of New Wave LA. The much-anticipated repertoire will take place at venues across Los Angeles from May 15 to May 30 (please see full performance schedule below). ​ LAB Public Relations DOWNLOAD PDF 2023/2024 Season > News > Previous Item Next Item

  • Los Angeles Ballet: A spring in its step | Los Angeles Ballet

    Los Angeles Ballet: A spring in its step February 24, 2008 To state the obvious, Los Angeles Ballet's identity will be forged through its repertory and how its dancers perform. But the fledgling company's true branding will take form from the dances it commissions: the ballets it has that no one else does. Los Angeles Ballet artistic directors Colleen Neary and Thordal Christensen know that. So for this, the second season, they ordered up two new pieces for their 26 dancers. The first one, "Lost in Transition" by soloist Melissa Barak, debuted at the spring season opener this weekend at UCLA's Freud Playhouse. It is a smart, taut and whimsical winner. Ballet is not baseball, but let's just say that signing "free agent" Barak and bringing her back from Manhattan to her Los Angeles hometown was one of Neary's and Christensen's smartest decisions. Frustrated in the corps de ballet at New York City Ballet, and already an accomplished choreographic craftsman, Barak is blossoming further as a dancer with LAB. With "Lost in Transition," this 20-something advanced, too, as a dancemaker. Her four-movement premiere demonstrated clear purpose and great skill in execution, especially with the corps de ballet. The complicated layers and patterns she knitted for the all-female ensemble continuously surprised this viewer, and then delighted with each succeeding revelation. She gave us a trail of treats to follow using repeated motifs, which guided us gently, not obviously, through the piece. Barak's choreographic "voice" is rooted in the modernism of George Balanchine (like other NYCB alumni), but she is quickly finding her own movement colors and pitch. "Lost" is sleek abstraction, but with warm undertones, just like the (recorded) score, selections from two separate concerti by composer and virtuoso bassist Edgar Meyer. Barak began with an upstage line of women holding hands, their arms raised in a V. Like dominoes, they collapsed through a cascading canon. They pulled into a tight circle, and then burst open like flower petals exploding in fast motion. In the third movement, the corps was clumped in four tiered rows and occasionally burst into mechanistic, syncopated arm signals, a kinetic illustration of the chaotic musical outbursts unexpectedly sprinkled through Meyer's "Double Concerto for Cello and Double Bass." For her lead couples, Aubrey Morgan and Damien Johnson – two sensational newcomers – and Erin Rivera-Brennard and Peter Snow, Barak provided brisk, if less interesting, partnering challenges. But Barak was never timid – when Rivera-Brennard exited at one point, the abandoned Snow wandered sadly about until she returned. A trio for Sergey Kheylik, Lauren Toole and Kelly Ann Sloan was a sassy diversion, filled with loose torsos and rolling hips, big leaps for Kheylik and attacking footwork for Toole and Sloan. Patricia Guillem's neon-colored unitards and Tony Kudner's suggestively mysterious lighting were the appropriate finishing touches to this exciting piece. The program's other three ballets highlighted the many moods of Balanchine. Neary and Christensen spread about the solo parts, coaching every with exactitude. Overall, the dancers were more relaxed and greatly improved from a year ago. The cast approached the radical precision of "The Four Temperaments" (1946), to Paul Hindemith's equally revolutionary score, with still too much severity. But there were also sparks of adventurousness. In the "Melancholic" movement, Kheylik pulled his body to extremes, folding nearly in half forward and backward. His cat-like leaps soared ever upward and yet he still hit the floor, his body flat, on the beat. In "Sanguinic," Corina Gill amped up every inside and outside spin, losing a few, but still making the risks worthwhile. Her dependable partner, Peter Snow, also left caution at the wings and flew through his jumps. The dancers in the "Phlegmatic" section were one-note serious, but Andrew Brader's fluid arms and legs seemed to lengthen and ripple with each wave. The bravura "Tarantella" (1964, music by Louis Moreau Gottschalk) followed "Lost in Transition" on the program – a dessert when one was not needed. But Gill and guest artist Rainer Krenstetter made it the dance equivalent of sweet sherbet, a light entertainment intended only to please. Gill impressed with her pointe work and balance, while Krenstetter's sunny disposition and beautifully articulated beats made him an irresistible presence. The final act was devoted to "Who Cares?" (1970) and the dancers took to the Gershwin songs and the choreography's frothy sassiness with carefree and energetic eagerness. We were glad to see this other side of Los Angeles Ballet.. Barak was a sensuous and sophisticated soloist in "I'll Build a Stairway to Paradise." Despite a few bobbles, Nancy Richer brought lyrical playfulness to "My One and Only." Morgan and guest artist Eddy Tovar filled "The Man I Love Duo" with aching love. The male ensemble sprang with palpable joy. Los Angeles Ballet presented itself in the 600-seat Freud Playhouse, taking the box-office risks on its own shoulders. This same weekend at Royce Hall, UCLA Live was presenting the similarly attractive but inferior State Ballet of Georgia, and audience members commented to me how happy they were to see classical dance on the lineup. This is a ridiculous state of affairs. Los Angeles Ballet is coming up fast. Wake up, you folks at UCLA Live (and all you other presenters around town). Take this young talented group under your wing, because everyone will benefit. Orange County Register by Laura Bleiberg DOWNLOAD PDF 2023/2024 Season > News > Previous Item Next Item

  • Swan feathers float down on local stages | Los Angeles Ballet

    Swan feathers float down on local stages March 14, 2012 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 . LA Observed by Donna Perlmutter DOWNLOAD PDF 2023/2024 Season > News > Previous Item Next Item

  • LAB Co-Artistic Directors Receive Lifetime Achievement Award | Los Angeles Ballet

    LAB Co-Artistic Directors Receive Lifetime Achievement Award November 1, 2012 Los Angeles Ballet Co-Artistic Directors Colleen Neary and Thordal Christensen have been honored with the McCallum Theatre Institute's Lifetime Achievement Award. Previous recipients of this award include Julie McDonald, of MSA Agency, Nigel Lythgoe, and Lula Washington. The award will be presented at the 15th Annual Dance Under the Stars Choreography Festival on Saturday, November 10, 2012. To attend the Festival and learn more, visit McCallum Theatre's website. McCallum Theatre ​ READ ARTICLE AT SOURCE 2023/2024 Season > News > Previous Item Next Item

  • Tyler Lambert-Perkins – Lighting Director | Los Angeles Ballet

    2023/2024 Season > Staff > Lighting Director Tyler Lambert-Perkins Available Shortly Next Artist Staff Previous Artistic Staff

  • Santiago Paniagua – Company Dancer | Los Angeles Ballet

    2023/2024 Season > Dancers > 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. MEET THE DANCERS LOS ANGELES BALLET Repertoire Learn about the comprehensive and varied seasons of Los Angeles Ballet since its debut in 2006. Repertoire includes stunning classical ballets, exceptional stagings of Balanchine repertory, and relevant works by many of today’s most innovative dance-makers. VIEW REPERTOIRE LOS ANGELES BALLET 2023/2024 Season This season includes exciting works by master choreographers Justin Peck, Hans van Manen, Yuri Possokhov and George Balanchine, and another world premiere by LAB Artistic Director, Melissa Barak. Plus, LA's holiday favorite, The Nutcracker. Subscriptions and Single Tickets on Sale Now! DOWNLOAD SEASON BROCHURE

  • Los Angeles Ballet Announces Quartet | Los Angeles Ballet

    Los Angeles Ballet Announces Quartet February 1, 2014 Performances to include: World premieres from Sonya Tayeh and Christopher Stowell Commissioned score from Noah Agruss LAB premiere of Jiří Kylián’s Return to a Strange Land LAB premiere of George Balanchine’s Stars and Stripes Los Angeles Ballet co-artistic directors Thordal Christensen and Colleen Neary are excited to unveil the ballets selected for LAB’s upcoming mixed program, QUARTET. This production adheres strongly to a main component of LAB’s mission: to passionately pursue innovation and creativity in performances by preserving the best choreographic work of the past and to become the impetus for the best choreography yet to come. Also continuing LAB’s mission to bring great, professional ballet to greater LA, each program will be performed at LAB’s four home venues: UCLA’s Royce Hall, The Alex Theatre in Glendale, Redondo Beach Performing Arts Center, and Valley Performing Arts Center in Northridge. From March 1 to 22, 2014, QUARTET combines masterworks from George Balanchine and Jiří Kylián with new works from rising choreographers Sonya Tayeh and Christopher Stowell. Known for her work on television’s So You Think You Can Dance as well as on several celebrity concert tours and Broadway touring productions, Beneath One’s Dignity will mark Tayeh’s fourth commission for Los Angeles Ballet. Her ferocious, emotional style, blended with ballet, has brought audiences and critics to their feet. Former Artistic Director of Oregon Ballet Theater and noted choreographer Christopher Stowell will be working with LAB dancers for the first time, creating Cipher specifically for the company. This piece also marks the first commissioned composition for LAB, titled Modules by local composer Noah Agruss. QUARTET will also include the company premiere of Return to a Strange Land, from master choreographer Jiří Kylián to music by Leoš Janáček, and Stars and Stripes by George Balanchine set to the rousing marches of John Philip Sousa. “The dancers always look forward to working with Sonya. And having seen Christopher’s work in Oregon, we are excited to see what he will be creating on our dancers”, Mr. Christensen explained. “We think works from these two young dancemakers will fit well with Jiří Kylián’s beautiful, elegiac ballet and Balanchine’s stirring valentine to his adopted country.” Los Angeles Ballet’s production of QUARTET promises four extraordinary pieces, with something for every audience member. 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. This past summer the Los Angeles Music Center presented Los Angeles Ballet at Grand Park, with more than 3,000 attending the outdoor performance. 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 Jiří Kylián Jiří Kylián is a Czechoslovakian dancer and choreographer who began his career in Stuttgart Ballet in 1968. After creating numerous new ballets at Stuttgart, he became the Artistic Director of Nederlands Dans Theater where he served until 1999 and continued to choreograph for the company until 2009. His work Return to a Strange Land is an LAB premiere. About Christopher Stowell Christopher Stowell led a distinguished 16-year career as a principal dancer with San Francisco Ballet before becoming Oregon Ballet Theatre’s second Artistic Director from 2003 to 2012, where he significantly expanded the company’s repertoire. Cipher is his first commissioned work for Los Angeles Ballet. About Sonya Tayeh Sonya Tayeh was born in Detroit, Michigan and received a B.S. in Dance from Wayne State University. She has extensive stage credits and has choreographed for Miley Cyrus, Florence and the Machine, Kylie Minogue, and Madonna. She is a recurring choreographer and judge on So You Think You Can Dance. Beneath One’s Dignity will be her fourth commissioned work for Los Angeles Ballet. About George Balanchine Born in St. Petersburg, Russia, George Balanchine came to the United States in late 1933 following an early European career that included the Ballets Russes. Balanchine co-founded the School of American Ballet, and New York City Ballet where he served as the ballet master from its inception in 1948 until his death in 1983. To this day, Balanchine is regarded as world’s foremost contemporary ballet choreographer. Stars and Stripes is an LAB premiere. About Noah Agruss Noah Agruss is a Los Angeles based Composer who studied composition at Berklee College of Music in Boston and was mentored by Pulitzer Prize composer Wayne Peterson at San Francisco State University. Noah co-founded San Francisco's composer consortium, New Release Alliance, and served as Composer-in-Residence and Music Director on more than 20 productions for Sacramento's B Street Theatre. His edgy string quartet arrangements for Vitamin Records have garnered millions of hits on YouTube and have been chosen by choreographer Mia Michaels for her work on So You Think You Can Dance. His Film and Television credits include the Lionsgate's feature Five Fingers and NBC's broadcast of the Beiijing Olympics. Noah is honored to have been chosen to collaborate with Christopher Stowell in creating "Modules" for Los Angeles Ballet. ​ LAB Public Relations DOWNLOAD PDF 2023/2024 Season > News > Previous Item Next Item

  • Natalia Burns – Company Dancer | Los Angeles Ballet

    2023/2024 Season > Dancers > Natalia Burns Hometown Mission Viejo, CA Seasons with LAB 2023/2024 Originally from Orange County, Natalia began dancing at the age of 4. Natalia trained at Westside School of Ballet, where she attended summer courses at Houston Ballet, American Ballet Theatre, San Francisco Ballet, and Chautauqua Dance Institution on scholarship. At age 18, Natalia joined the Professional Division At Pacific Northwest Ballet where she performed in George Balanchine’s The Nutcracker, Giselle, A Midsummer Night’s Dream , and Crystal Pite’s The Seasons’ Canon . Natalia also performed leading roles in George Balanchine’s Serenade, Tarantella, Who Cares , Bruce Wells’ Snow White , and originated roles in Amanda Morgan’s Unfinished Symphony and Mark Cuddihee’s Traverse . Natalia is a National YoungArts Award Winner in Dance and Youth America Grand Prix Finalist. MEET THE DANCERS LOS ANGELES BALLET Repertoire Learn about the comprehensive and varied seasons of Los Angeles Ballet since its debut in 2006. Repertoire includes stunning classical ballets, exceptional stagings of Balanchine repertory, and relevant works by many of today’s most innovative dance-makers. VIEW REPERTOIRE LOS ANGELES BALLET 2023/2024 Season This season includes exciting works by master choreographers Justin Peck, Hans van Manen, Yuri Possokhov and George Balanchine, and another world premiere by LAB Artistic Director, Melissa Barak. Plus, LA's holiday favorite, The Nutcracker. Subscriptions and Single Tickets on Sale Now! DOWNLOAD SEASON BROCHURE

  • Brigitte Edwards – Company Dancer | Los Angeles Ballet

    2023/2024 Season > Dancers > Brigitte Edwards Hometown San Diego, California Seasons with LAB 2019/2020, 2021/2022, 2022/2023, 2023/2024 Brigitte Edwards began her dance training at the age of 6 at California Ballet School in San Diego. While dancing at CBS, she spent five summers training at the School of American Ballet, in New York City, from 2011-2015. She was offered a position to join the California Ballet Company in 2014 and danced as a member of the Corps de Ballet for two years. After competing and placing in the Youth American Grand Prix in 2016, Brigitte was invited to join Ballet West as a trainee. Brigitte was promoted to Ballet West 2 in 2018 where she performed in many classical and contemporary works, including featured roles in Balanchine’s Walpurgisnacht , Nicolo Fonte’s Piece of My Heart , and Elena Kunikova’s Divertimento . Brigitte also teaches ballet at local studios in addition to studying to receive her bachelor’s degree in business. MEET THE DANCERS LOS ANGELES BALLET Repertoire Learn about the comprehensive and varied seasons of Los Angeles Ballet since its debut in 2006. Repertoire includes stunning classical ballets, exceptional stagings of Balanchine repertory, and relevant works by many of today’s most innovative dance-makers. VIEW REPERTOIRE LOS ANGELES BALLET 2023/2024 Season This season includes exciting works by master choreographers Justin Peck, Hans van Manen, Yuri Possokhov and George Balanchine, and another world premiere by LAB Artistic Director, Melissa Barak. Plus, LA's holiday favorite, The Nutcracker. Subscriptions and Single Tickets on Sale Now! DOWNLOAD SEASON BROCHURE

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