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  • Colleen Neary to Stage Balanchine with the Norwegian National Ballet | Los Angeles Ballet

    Colleen Neary to Stage Balanchine with the Norwegian National Ballet October 1, 2012 LAB Artistic Director, Colleen Neary will work with The Norwegian National Ballet in October 2012 and early January 2013 to stage Balanchine's Symphony in C and Ballet Imperial. She previously worked with this company in 2004, staging Symphony C. Company News from the Staff at LAB 2023/2024 Season > News > Previous Item Next Item

  • Los Angeles Ballet to Debut Giselle | Los Angeles Ballet

    Los Angeles Ballet to Debut Giselle April 19, 2011 Season 5 Culminates with a Gala Celebrating the Achievements of Five Years April 19, 2011 – Los Angeles Ballet [LAB] Artistic Directors Thordal Christensen and Colleen Neary are pleased to present Giselle , the timeless story of a young peasant girl who, betrayed by her lover, dies of a broken heart. The Company continues to build a repertoire that underscores the creative leadership of its artistic directors, presenting timeless classics as well as innovative choreography from today’s contemporary artists. The full-length premiere of Giselle , with choreography by Artistic Director Thordal Christensen (after Coralli, Perrot and Petipa), is no exception. First premiered in 1841, Giselle is one of the most beloved romantic ballets of all time, and the title role has given the world its greatest ballerinas. Giselle tells the tragic tale of a maiden who falls in love with Albrecht, a nobleman so enchanted by Giselle’s innocence and purity that he recklessly leads her to believe that he is a peasant. When his betrothed Bathilde reveals his true identity, Giselle dies of a broken heart. Albrecht visits Giselle’s grave, overcome with remorse. Giselle rises to protect him from the Wilis, vengeful female spirits that haunt the forest. Giselle’s forgiving, profound love saves Albrecht from certain death. The Season 5 Gala Celebration will take place Saturday, May 28th at the Broad Stage in Santa Monica, following the 6:00 pm performance of Giselle. The event will hosted by LAB Board members/Gala Co-Chairs Lori Milken, Ghada Irani, and Jeanette Trepp. Designed by Billy Butchkavitz and catered by Wolfgang Puck, guests will be transported to an enchanting ‘Midsummer Night’s Dream’ setting. ​ LAB Public Relations DOWNLOAD PDF 2023/2024 Season > News > Previous Item Next Item

  • Fall Fashion 2015: The Turning Point | Los Angeles Ballet

    Fall Fashion 2015: The Turning Point October 28, 2015 Silk chiffon dresses flutter, crystal-covered rompers twinkle, and sequin-etched gowns shine. Who better than members of Los Angeles Ballet— celebrating its tenth-anniversary season—to showcase fall’s high-drama couture and evening looks? Los Angeles Magazine by Linda Immediato READ ARTICLE AT SOURCE 2023/2024 Season > News > Previous Item Next Item

  • A Wonderfully Refreshing Los Angeles Ballet Performs at The Alex Theatre | Los Angeles Ballet

    A Wonderfully Refreshing Los Angeles Ballet Performs at The Alex Theatre October 10, 2018 Thordal Christensen and Colleen Neary’s, wonderfully refreshing Los Angeles Ballet opened their 2018/19 season at the Alex Theatre on Saturday, October 6, with the prolific and brilliant Aszure Barton’s Les Chambres des Jacques . Barton is an eclectic inventive artist and choreographic activist, who in this piece combines Québécois folk rhythms and voice of Gilles Vigneault, and Les Yeux Noire, which were then soothed with the lush beauty of Vivaldi, and the humanity of the Cracow Klezmer Band. The cadences and pulse-like heartbeat, so beautifully executed by the now seasoned dancers of Los Angeles Ballet, was not only splendidly performed but enchanting to experience. The intelligent and courageous leadership of Christensen and Neary, L.A. Ballet’s Artistic Directors, and Julie Whittaker, Executive Director, is insistent that Los Angeles have their own ballet company…and succeed they have, as was revealed on Saturday. Tobin Del Cuore staged Barton’s signature choreography with devotional zeal, making sure, as Barton would, that every part of the body was addressed down to the eyes, face, mouth, and fingers. The breadth of the work was eloquently executed by the dancers Joshua Brown, Laura Chachich, Magnus Christoffersen, Dallas Finley, Madeline Houk, Leah McCall, Costache Mihai, Jasmine Perry; with special mention of Clay Murray’s surprising, wonderfully loose and rhythmic opening that mesmerized the audience with dance which came deeply from inside him. Another highlight was the wonderful pas de quatre, danced by Petra Conti, Tigran Sargsyan, Bianca Bulle, and Kenta Shimizu which delighted us with their unusual playfulness that moved shoulders, hips and bodies rolling together and apart with unanticipated changes. And with that, an amazing, subtle and soulful solo by Sargsyan to the Cracow Klezmer Band which harkened back to the shtetles of Eastern Europe as though it was clear to him the feeling of a heritage long gone. As if this were not dessert enough for us all, we were then treated to Alejandro Cerrudo’s sensual stand out piece, Lickety-split, which examined the dynamics of three couples, their interplay between each other and the group as a whole. Jasmine Perry, so beautifully partnered by Dallas Finley, was exquisite in her seamless interplay, her smooth transitions, and effortless soulful relationship with her partner done to the quiet sometimes raspy tones of Devendra Banhart, Equally langorous, was the smooth movements, as if on ice, drawn by the facile partnership of Tigran Sargsyan, and Bianca Bulle, Joshua Brown and Leah McCall. A kind of Greek chorus on the floor followed the scintillating Dallas Finley’s expressive and impassioned solo. Both the Barton and Cerrudo pieces alone would be a gift of creativity and brilliance, yet the last thank you by the entire company doing Balanchine, the Western Symphony, happily ended our joyous evening. This piece requires strength, endurance, charm, technique and…fun! It appears quaint and classic, yet a gift of another time, when cowboys and dancing girls were an accepted part of the American West in the mind of Mr. B. Restaged by Colleen Neary, who clearly understands the work of George Balanchine, having worked closely with this Master during some of his most prolific years. It is through Neary we get the essence of his work and his legacy. The corps did a fine job of creating superb energy as towns-folk, all the way to the rousing finale. In the first coupling we’re delighted by strong and lyrical Laura Chachich. She shares the stage with the talented, technically marvelous dancer, Eris Nesha, who charmed the audience with his sense of play, his strong presence and engaging charm, which was quite reminiscent of the young Edward Villella. In the second movement, the wonderful Petra Conti, and Tigran Sargsyan, took the lead in their engaging, pas de deux, with Bianca Bulle and Kenta Shimizu’s sparkling and flirtatious third movement. Bianca Bulle leads us through the iconic diagonal in competition with her partner to lead the entire company into the iconic pirouettes from fifth as the curtain goes down on the continuing dance which appears to go on forever. My hope is that it will go on forever with the grand legacy of the growing and thriving Los Angeles Ballet. LA Dance Chronicle by Joanne DiVito READ ARTICLE AT SOURCE 2023/2024 Season > News > Previous Item Next Item

  • Soloist Chelsea Paige Johnston featured on MSN Video | Los Angeles Ballet

    Soloist Chelsea Paige Johnston featured on MSN Video August 1, 2013 The creators of MSN Video's Dance Nation series followed Los Angeles Ballet Soloist Chelsea Paige Johnston for a day to discover what a typical work day is like for her. Watch her interview to learn more about Chelsea's daily dance routine. Company News from the Staff at LAB WATCH VIDEO 2023/2024 Season > News > Previous Item Next Item

  • A ballet's next steps | Los Angeles Ballet

    A ballet's next steps October 11, 2006 Los Angeles Ballet announces its first season, to be presented in three areas of the sprawling city By Lewis Segal, Times Staff Writer October 11, 2006 Aiming to become what artistic directors Thordal Christensen and Colleen Neary call "a major company that belongs to L.A. - that has a local flavor at an international level," the newly formed Los Angeles Ballet has announced its first season of performances and placed subscription tickets on sale. The company's debut will take place Dec. 2 at the Wilshire Theatre in a brand-new Christensen / Neary "Nutcracker," with repeat engagements through December at the Redondo Beach Performing Arts Center and the Alex Theatre in Glendale. Programs dominated by the works of George Balanchine are scheduled for mid-March and early June at these same three venues."We feel that it's part of our mission to bring ourselves to audiences in all of the areas," Neary explained in a recent interview. Christensen added: "You can't blame audience members for not wanting to sit in traffic when they go out at night. By being in the Wilshire Theatre, we're covering the Westside. By being at the Alex, we're covering Glendale and Pasadena. And by being down in Redondo, we're covering the beach communities." Christensen danced with Pacific Northwest Ballet before becoming artistic director of the Royal Danish Ballet. Neary (his wife) danced with New York City Ballet and has staged Balanchine choreography for a number of major companies. Their Los Angeles Ballet has no connection with the company of the same name run by New York City Ballet alumnus John Clifford from the early 1970s to the mid-'80s, or with Clifford's attempt to restart that company 10 years later. The current roster includes 21 resident professional dancers on 21-week contracts. Home is the Malibu Performing Arts Center. The projected annual budget is $1.7 million, and Christensen said that enough money is on hand, from unspecified sources, to carry the company through the "Nutcracker" engagements "without selling any tickets. We have paid for our production, we have paid for the theaters, and on top of that we have a cash reserve of approximately two- to three-hundred-thousand dollars." "Nutcracker" costumes are being donated by the Royal Danish Ballet, but the sets are newly created by locally based designer Catherine Kanner. "They'll be traditional but a little bit different," Christensen promised. "We wanted to make something very specifically for Los Angeles." Negotiations continue with musicians needed for the "Nutcracker" orchestra and with guest dancers as well. American Ballet Theatre principal Paloma Herrera has been signed for three "Nutcracker" performances. In addition, the company subscription brochure lists Artem Shpilevsky of the Bolshoi Ballet and five principals from New York City Ballet (Yvonne Borree, Nikolaj Hübbe, Maria Kowroski, Nilas Martins and Benjamin Millipied) as guest artists, but who will appear when has to be determined. Christensen and Neary have been working for years for this moment of launch. "Los Angeles is ready for its own ballet company," Christensen declares. "The timing is right for this. We're going to have to develop our own audience — to prove ourselves, to show that the level of excellence that we put on is at a very high level. That's going to be our challenge. But we feel now that we're ready to begin." Company News from the Staff at LAB 2023/2024 Season > News > Previous Item Next Item

  • November 18 - 10am | Nutcracker Tea! 2023 | Los Angeles Ballet

    2023/2024 Season > Nutcracker Tea! 2023 Need Assistance? / (310) 998-7782 Login

  • Press Access Request Step 2 | Los Angeles Ballet

    Press Access Request - Step 2 of 2 2023/2024 Season > Press > Press Access Request - Step 2 Log In Thank you for requesting press access to Los Angeles Ballet media. Please select to log in below and set-up your access. Once we have processed your request, we will contact you with further details. If you have any questions, concerns, or immediate needs, please contact Shari Mesulam , The Mesulam Group

  • A backstage look at the Nutcracker | Los Angeles Ballet

    A backstage look at the Nutcracker December 14, 2014 Watch at by CCTV READ ARTICLE AT SOURCE 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

  • Jasmine Perry – Soloist | Los Angeles Ballet

    2023/2024 Season > Dancers > Jasmine Perry Hometown Charlotte, North Carolina Schools The School of American Ballet, Charlotte Ballet (formerly North Carolina Dance Theatre) Los Angeles Ballet 9th Season Companies ​ Next Dancer Previous Dancer

  • Tax-Deductible Donations

    2023/2024 Season > Single Tickets > Tax-Deductible Donations In-person Ticket Sales Group Sales Venues Accessibilty Gift Certificates Tax-Deductibe Donations Terms & Conditions of Sales In-house Policies Privacy Policy Los Angeles Ballet welcomes your tax-deductible donation. Your gift will support and sustain Los Angeles Ballet dancers and productions, as well as new works and outreach programs. Los Angeles Ballet’s Tax ID #20-1819852 Learn more about donating to Los Angeles Ballet. Thank you. 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.

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