Giselle; Encore Arts Seattle

JUNE 2014

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UW MED

A RUNNER.A HURDLE.

AN UNEXPECTED COACH.

HIS IS HOW my doctor became my coach. This is not your typical “I got hurt and my doctor made me better” story. Although I did, and he did.

Being new to distance running, there were a lot of things I simply didn’t know, like when my shoes were too old, what pain was bad pain, what diet is optimal for a runner. As a result, I ran in shoes that I shouldn’t have, pushed through pain when I should have stopped, and didn’t fuel my body the way I should.

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Photo © Angela Sterling.

Though it’s now been three years since the premiere of Pacific Northwest Ballet’s Giselle, the idea for staging our own production was presented to me almost five ago. I had been unsuccess-fully shopping for the right Giselle when Doug Fullington came to me with the suggestion that I look closer to home. Doug knew not only of the trove of Stepanov notation housed in the Harvard Theatre Collection, which he was able to translate, but also of the work of Marian Smith, one of the foremost scholars on Giselle and ballet’s Romantic era, whose base of study was the University of Oregon at Eugene. With some convincing that I could guide and oversee the staging, we had a plan.

The process took months, but every day proved fascinating as figures and texts penned some 170 years ago revealed steps, patterns, motivations, and enough clues to start an interpretation and assemblage of the ballet. Dancers’ bodies became the ciphers, with Adolphe Adam’s score serving as an indispensable guide. The handwriting of the original repetiteur, Antoine Titus, was scrawled across the top of the notes. A manuscript by Henri Justamant, only recently discovered at an auction in Germany, offered a meticulous ground plan. This rich labyrinth of sources still left a few gaping holes, but these too were filled in and a new/old Giselle was born.

For the 2011 premiere, we rented scenery and costumes, which were adequate, but aging. Credit Rico Chiarelli’s lighting design for making the stage look both convincing and haunting. We knew we needed new designs for the production’s return. Enter Jérôme Kaplan, probably the most sought-after designer in ballet. PNB audiences will recall Jérôme’s

brilliant costume designs from Jean-Christophe Maillot’s Roméo et Juliette and his scenic and costume designs from Alexei Ratmansky’s Don Quixote. Jérôme is based in Paris and travels the world, but he has taken a temporary second home in our costume shop. Eighty-two exquisitely tailored costumes have been created over

the past year in our tiny shop under the leadership of Larae Hascall and herculean efforts of Mark Zappone and the many devoted and talented individuals from our costume department. Additional help was brought in from some of our peer organizations around Seattle. Each design is historically researched, meticulously crafted, and exquisite in color and detail.

A few miles to the north, at PNB’s shop in Fremont, our scenic artists and painters have been creating the backdrops and building of Giselle’s village and nearby graveyard. Taking a cue from the detailed lithographs of the original designs, the entire production is steeped in tradition and yet stunning in its freshness, as if layers of patina or soot were cleared from a canvas or fresco. We are all so proud of the fine work of our artisans, who are armed with paintbrushes and needles, creating buttonholes and bulrushes and a production that is destined to be a classic in our diverse repertory.

The vision and the execution are not possible without support, which came from many, particularly those on our Board of Trustees. I’d like to offer a special note of appreciation to Phil & Lesli Schlaepfer and Patty Edwards for challenging others to complete our fundraising goal. Long before the fundraising for this build gathered momentum, four individuals stepped forward, as they so often do, to support the artistic vision of PNB. Thank you, Pam, Dan, Jeff, and Susan, for believing in what we do and for believing in our beautiful Giselle.

Peter Boal

Director’sNotebook“ Taking a cue from the detailed lithographs of the original designs, the entire production is steeped in tradition and yet stunning in its freshness, as if layers of patina or soot were cleared from a canvas or fresco.”

“ Jérôme is based in Paris and travels the world, but he has taken a temporary second home in our costume shop.”

Scenic and costume designer Jérôme Kaplan consults with (l-r) Mark Zappone and Peter Boal during a Giselle costume fitting with PNB soloist Kylee Kitchens. Photo © Lindsay Thomas.


4 PACIFIC NORTHWEST BALLET

June 2014Volume 27, No. 7

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May 2014

The ArtsFund Board of Trustees and Staff congratulate D. David Brown for his years of exemplary leadership at Pacific Northwest Ballet.

David’s vision and drive in managing and executing strategic and operating plans, as well as his focus on increasing financial stability, has allowed PNB the opportunity to accomplish much during his tenure. A new Giselle is one of the many highlights. During his distinguished career at PNB, David has expertly managed the business and operational details to ensure PNB had the resources to produce great art and the audiences to enjoy it. In addition, David has been and continues to be instrumental in leading the legislative operations of the Cultural Access WA effort, and his commitment to improving access and educational programming among cultural groups is exemplary.

David, on behalf of all of us at ArtsFund, we celebrate you for all you have done for PNB and for our regional arts community.

Ray HeacoxKING Broadcasting President & General ManagerChair, ArtsFund Board of Trustees

Mari HoritaPresident & CEOArtsFund


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Dear Friends,

Giselle—what a way to end a remarkable season and two remarkable careers! You may recall, exactly three years

ago we celebrated the opportunity to bring a unique restaging of Giselle into PNB’s repertory. The unique collaboration of Peter Boal, Doug Fullington, and Marian Smith created a 21st-century mark on a 19th-century ballet. We are delighted to continue on that path by returning Giselle to the McCaw Hall stage, but this time with new scenery and costumes by internationally renowned designer Jérôme Kaplan. Look closely, as these costumes are truly period, yet there’s something so remarkably fresh, clean, and vibrant to this new PNB masterpiece.

PNB’s new costumes and scenic design for this evening’s performance of Giselle would not be possible without the generosity of our donors. We extend our deepest gratitude to Dan & Pam Baty, Jeffrey & Susan Brotman, and Patty Edwards for their leadership support in underwriting the new scenery and costumes for Giselle this year. You might recall as well that PNB’s 2011 world premiere staging of Giselle was made possible by Patty Edwards and an anonymous donor.

Now about those two remarkable careers… This month, the curtain comes down on Kaori Nakamura and D. David Brown. If you cherish their contributions to PNB as much as I do, be sure to join us for our Season Encore Performance on Sunday, June 8 at 6:30, when we celebrate them both. It seems impossible, but Kaori jumps as high and turns as fast as she did when she came to PNB. Fortunate are her family and the PNB School, both of whom will now get to see her much more frequently. Brava, Kaori, for pouring your heart and soul into every performance on our stage; we can never adequately demonstrate how much you have enriched our lives. We love you and will miss you on stage!

On the other hand, anyone who has transcended fourteen years in executive leadership in the ballet world will never be mistaken for a teenager. We have often joked in some harrowing late-afternoon ballet meetings that ballet administration can be measured in dog years. David

Brown, you look fantastic at 98! In all seriousness, David has handled these past fourteen years at PNB with care, concern, professionalism, and grace. He has taken PNB through both growing and rocky times. When David started at PNB in 2000, our annual operating budget was $12 million; today, our budget is $22 million. Together, we have navigated and celebrated much under his leadership: establishment of The Francia Russell Center (our Eastside school) in the fall of 2002, the economically challenging years spent performing in the Mercer Arts Arena, and our vibrant transition into the new McCaw Hall in June 2003, an endowment campaign, and the building of four full-length ballets for PNB (Swan Lake, Roméo et Juliette, Coppélia, and Giselle). We are fortunate that David and Elaine have no plans to leave Seattle and take comfort in knowing they will continue to play an important role in local arts infrastructure.

No season at PNB is possible without substantial operating support. We express our appreciation for the continued commitment of our Season Sponsors, ArtsFund, and Microsoft, as well as season-long support from 4Culture. Finally, thank you to our opening night dinner sponsors, Green Diamond Resource Company and Canterbury Consulting.

To all of you in the audience today—a heartfelt PNB thank-you for being with us during this marvelous season. We certainly hope you have already secured your favorite seat in McCaw Hall with a 2014-2015 season subscription. Don’t miss what we have in store for you: George Balanchine’s Jewels; a full evening of William Forsythe; the return of Kent Stowell’s Carmina Burana and Swan Lake; and a chance to see David Dawson’s A Million Kisses to my Skin once again! Your support and loyalty are essential to all of us at PNB. We hope you have a wonderful summer and we’ll look forward to your return to McCaw Hall on September 26 for PNB’s First Look Season Opening Gala.

Warmest regards,

Aya HamiltonChairman, Board of Trustees

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(cover) Kaori Nakamura as Giselle. Photo © Angela Sterling.


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May 30 – June 8, 2014 Marion Oliver McCaw Hall

PRINCIPALS

Batkhurel Bold Maria Chapman Karel Cruz Lindsi Dec Rachel Foster Carrie Imler Carla Körbes James Moore Kaori Nakamura

Seth Orza Jonathan Porretta Lesley Rausch Laura Tisserand

SOLOISTSKiyon Gaines Benjamin Griffiths Kylee Kitchens William Lin-Yee

Margaret Mullin Elizabeth Murphy Sarah Ricard Orza Jerome Tisserand

CORPS DE BALLETChelsea Adomaitis Jessika Anspach Andrew Bartee Leta Biasucci Raphaël Bouchard

Ryan Cardea Amanda Clark Kyle Davis Jahna Frantziskonis Angelica Generosa Joshua Grant Eric Hipolito Jr. Steven Loch Charles McCall Elle Macy

Leah Merchant Liora Neuville Sarah Pasch Brittany Reid Matthew Renko Carli Samuelson Emma Love Suddarth Price Suddarth Ezra Thomson

Apprentice Christian Poppe

Emil de Cou, Music Director/Principal Conductor Allan Dameron, Company Pianist/Conductor

Otto Neubert, Ballet Master Anne Dabrowski, Ballet Master Paul Gibson, Ballet Master Norbert Herriges, Technical Director Randall G. Chiarelli, Resident Lighting Designer

Larae Theige Hascall, Costume Shop Manager Christina Siemens, Company Pianist

PNB's 2011 world premiere production of Giselle was made possible by Patty Edwards and an anonymous donor. PNB also thanks Dan & Pam Baty, Jeffrey & Susan Brotman, Patty Edwards, and Phil & Lesli Schlaepfer

for their leadership support in underwriting new scenery and costumes for Giselle in 2014.


Kaori Nakamura and Lucien Postlewaite with Company dancers and PNB School students, Act I (2011). Photo © Angela Sterling.

Act I 1As the curtain rises on a picturesque scene in a small German village, vinegatherers depart for the harvest. Hilarion the gamekeeper arrives, hoping to see the lovely Giselle. He hides when his rival Albrecht—really a Duke disguised as a peasant named Loys—emerges from his cottage, with his squire Wilfride. Wilfride begs his master not to pursue Giselle, but Albrecht ignores this advice and sends Wilfride away. Albrecht knocks on Giselle’s door; she comes out of her cottage and the two of them delightedly talk and dance together. As they embrace, Hilarion, unable to restrain himself any longer, runs up to Giselle and reproaches her conduct. Giselle reacts disdainfully, and Albrecht warns him to cease his amorous pursuit of Giselle. Angrily, Hilarion departs.

A troupe of young vinegatherers comes to fetch Giselle, for duty calls—the grapes must be harvested. Giselle, passionately fond of dancing and diversion, talks them into postponing work and dancing instead.

Everyone joins together in a merry German waltz. The carefree scene is interrupted by Giselle’s mother Berthe, who comes out of their cottage to upbraid her daughter: You are always dancing instead of working! What’s more, Berthe says, your health is fragile, and if you dance too much, you could die. As the village girls gather around, Berthe tells the frightening tale of the Wilis—ghosts of dead brides-to-be who never reached their wedding day—who rise from their graves at night to kill any men who happen by. The village girls are terrified by this story; Giselle alone is unfazed and laughs it off.

The fanfares of the hunt are heard in the distance. Albrecht is worried by this sound, and he quickly hurries the peasant girls away and departs the scene himself. Hilarion, now alone, furtively gains entry to Albrecht’s cottage in an attempt to find out his rival’s true identity. Soon the noble hunting party, including the magnificently dressed Prince and his daughter Bathilde,

arrive in the village, hoping to find a favorable spot for repose and refreshments during the heat of the day. Berthe and Giselle happily oblige. Bathilde finds Giselle charming and engages her in conversation, asking about her work and her pastimes, and asking if she has a sweetheart.

The Prince sends his retinue back to the hunt, informing them that he will summon them with his horn later. After all is quiet, Hilarion emerges from his rival’s cottage holding a nobleman’s sword: he has figured out that his rival is a great lord; a seducer in disguise! He hides the sword, waiting wfor the right moment to expose the truth about Albrecht.

Now it is time for the harvest festival. A wagon decorated with flowers comes into view and little Bacchus is carried trium-phally astride a cask in keeping with an old country tradition. Giselle dances with Albrecht, surrounded by the entire village. The happy scene ends with a kiss that Albrecht bestows on Giselle.

The Story of

1


At this sight, the fury of the jealous Hilarion knows no bounds. He throws himself into the middle of the crowd and declares Albrecht to be a nobleman in disguise. Giselle responds with disbelief. But Hilarion produces Albrecht’s sword for all to see. He then seizes the horn and blows it forcefully, summoning the entire hunting party, which comes rushing in. The nobles recognize Duke Albrecht and overwhelm him with salutations and deference.

Giselle can no longer doubt Albrecht’s deception. She is devastated, and goes mad. She recalls her happy times with Albrecht, seizes his sword, and nearly kills herself before he grabs it away. Life seems to abandon her; her mother takes her in her arms, and moments later, Giselle dies. Albrecht tries to revive her, but sees that her heart has ceased to beat. He is consumed with despair as the peasants and noblemen gather sorrowfully around Giselle’s lifeless body.

Act II 1The curtain opens in a dark and gloomy forest on the banks of a pond. Giselle’s tombstone can be seen at the left; the bluish gleam of the moon gives a cold and misty appearance to the scene. Several gamekeepers arrive, hoping to set up an observation post, but Hilarion warns them away: this is the place where the Wilis gather at night, attacking any men who stray into their territory, drowning them or forcing them to dance themselves to their death. Distant chimes strike midnight—the hour when the Wilis appear—and the men flee in terror as will-o’-the-wisps flash threateningly around them.

Myrtha, the queen of the Wilis, arrives on the scene, mysteriously radiant and piercing the shadows of the night. She summons the other Wilis to join her in a fantastic ball. The Wilis, including Moyna and Zulmé, present themselves to their sovereign, and soon all of the Wilis are waltzing with abandon, gratifying their love for dancing which they were unable to fulfill in life. Before long, at a sign from the queen, the dance comes to an end, and Myrtha announces the arrival of a new Wili.

Giselle appears, rising from her grave, wrapped in a shroud. When Myrtha touches her with her rosemary branch, the shroud falls off and Giselle is transformed into a Wili. She dances with fervor until a sound is heard in the distance. The Wilis disperse and hide themselves.

Some youths are returning from a festival in a neighboring village. The Wilis seek to detain them and try to force them to

dance. However, an old man throws himself in their midst and warns them of the danger; they barely escape, with the Wilis in hot pursuit.

The grief-stricken Albrecht appears with his faithful squire Wilfride. Though Wilfride begs his master not to linger near the fatal tomb, Albrecht sends him away. Soon thereafter, Albrecht, in his state of sorrow, believes he sees the ghost of Giselle. He tries to embrace her, but he cannot. She looks at him lovingly and throws him some roses. Giselle disappears back into her tomb. Albrecht is about to depart the scene when he sees Hilarion.

Hiding behind a tree, Albrecht watches as the poor hapless gamekeeper, frightened nearly to death and begging for pity from the Wilis, is forced to dance himself to exhaustion. The cruel Wilis throw him into the pond and then begin dancing amongst themselves.

Then, to Albrecht’s horror, Myrtha spots him in his hiding place: a fresh victim! Desperately, he tries to escape, for he knows what cruel fate awaits him. But Giselle re-appears miraculously, takes him by the hand, and leads him to her tombstone, a marble cross, which holds a power even stronger than that of the Wilis. Just as Myrtha is about to touch him with her scepter, it breaks in her hands. Myrtha is furious at her loss of power.

As a last resort, and seeking revenge on the Wili who robbed her of her prey, Myrtha extends her hand toward Giselle and casts a spell on her. Giselle begins a

slow, graceful dance, as though transported by an involuntary delirium. Albrecht is unable to resist the Wili Giselle and he leaves the cross—the only thing that could protect him—and begins dancing ardently with her. Giselle has no choice but to keep dancing, for she is under Myrtha’s spell. Albrecht becomes exhausted.

Just as it seems Albrecht will dance himself to death, the first rays of the sun appear. It is morning! The chimes strike four. Albrecht’s life is saved. Because the Wilis lose their power in daylight, they must withdraw. Giselle, too, must return to her grave. Albrecht kneels by her and gives her a kiss, as if to restore her to life, but Giselle seems to say that she must obey her fate and leave him forever. Suddenly, loud fanfares are heard; Wilfride, the faithful squire, arrives on the scene with the Prince and Bathilde, whose efforts, he hopes, will be more effective than his

own in persuading Albrecht to leave this place of sadness. Giselle points Albrecht toward Bathilde, as if to tell him it is her last wish that he marry the young noble-woman. Albrecht is heartbroken, but the Wili’s command to him seems sacred. With sorrow, Albrecht gathers up the flowers on her grave and lovingly presses them to his lips and to his heart. As he falls into the arms of those who surround him, he reaches out his hand to Bathilde.

This translation and synopsis by Marian Smith is based closely on the original libretto by Jules-Henri Vernoy de Saint-Georges and Théophile Gautier, 1841.

Designer Jérôme Kaplan’s 2014 scenic model for Giselle, Act II.

11



PROGRAM NOTES

The idea for Giselle (1841) was inspired by two ghost stories, both read with relish by Théophile Gautier (1811-1872), the colorful balletomane, poet, critic, man-about-town, and staunch defender of Romanticism. One was a poem of Victor Hugo, “Phantoms”, about a beautiful young girl whose love for dancing leads to her demise. This short excerpt offers some sense of its lugubrious, chilling quality:

Dancing caused her death; with eager, boundless love,Dancing—dazzling, filling her with ecstasies—And now her ashes thrill and gently move,When, in a balmy night, white clouds aboveDance round the crescent of the skies.

Gautier’s other literary inspiration was a passage in Heinrich Heine’s On Germany, about Wilis, spectral brides who rise from their graves at midnight to dance beguilingly in the moonlight:

In parts of Austria there exists a tradition ... of Slavic origin: the tradition of the night-dancer, who is known, in Slavic countries, under the name Wili. Wilis are young brides-to-be who die before their wedding day. The poor young creatures cannot rest peacefully in their graves. In their stilled hearts and lifeless feet, there remains a love for dancing which they were unable to satisfy during their lifetimes. At midnight they rise out of their graves, gather together in troops on the roadside and woe be unto the young man who comes across them! He is forced to dance with them; they unleash their wild passion, and he dances with them until he falls dead. Dressed in their wedding gowns, with wreaths of flowers on their heads and glittering rings on their fingers, the Wilis dance in the moonlight like elves. Their faces, though white as snow, have the beauty of youth. They laugh with a joy so hideous, they call you so seductively, they have an air of such sweet promise, that these dead bacchantes are irresistible.

Gautier responded to Heine’s words by saying aloud, “What a pretty ballet this would make!” Then (as he recalls):

In a burst of enthusiasm, I … took up a large sheet of fine white paper and wrote at the top, in superb rounded characters, “Les Wilis, a ballet.” But then I began to laugh, and I threw the sheet aside without giving it a further thought, saying to myself, with the benefit of my journalistic experience, that it was quite impossible to transpose onto the stage that misty, nocturnal poetry, that phantasmagoria that is so voluptuously sinister, all those makings of legend and ballad that have so little relevance to our present way of life. That same evening I was wandering backstage at the Opéra with my mind still full of [Heine’s] ideas, when I met that amusing man [Vernoy de Saint-Georges, who had written the stories for successful ballets]… I related the tradition of the Wilis, and three days later the ballet of Giselle was written and accepted. In another week Adolphe Adam had sketched out the music, the scenery was nearly ready, and the rehearsals were in full swing.

GiselleLIBRETTO: Jules-Henri Vernoy de Saint-Georges

and Théophile Gautier MUSIC: Adolphe Adam (Giselle, ou Les Wilis, 1841),

with additional music by Friedrich Burgmüller (Souvenirs de Ratisbonne, c. 1841), and Ludwig Minkus (attributed; Giselle’s Act One E Major variation, c. 1878, and Act Two waltz variation, c. 1866)

CHOREOGRAPHY: Jean Coralli, Jules Perrot, and Marius Petipa, with additional choreography by Peter Boal

STAGING: Peter Boal CHOREOGRAPHY RECONSTRUCTION: Doug Fullington HISTORICAL ADVISER: Marian Smith SCENIC AND COSTUME DESIGN: Jérôme KaplanLIGHTING DESIGN: Randall G. Chiarelli COSTUME DESIGN ASSISTANT TO JÉRÔME KAPLAN:

Mark ZapponeORIGINAL PRODUCTION PREMIERE: June 28, 1841;

Ballet du Théâtre de l’Académie Royale de Musique (Paris), choreography by Jean Coralli and Jules Perrot

PETIPA PRODUCTION PREMIERE: February 5, 1884; Imperial Ballet (St. Petersburg), choreography by Marius Petipa (after Jean Coralli and Jules Perrot); revived 1887, 1889, and 1903

PACIFIC NORTHWEST BALLET PREMIERE (PETER BOAL

PRODUCTION): June 3, 2011; new production May 30, 2014

11“ In Westphalia, the former Saxony, all is not dead which lies buried. When we wander there through the old oak groves we can hear the voices of the olden time, and the re-echoes of those deeply mysterious magic spells in which there gushes a [great] fullness of life …A mysterious awe thrilled my soul—when…wandering through these woods”

— Heinrich Heine, On Germany [1833], trans. Charles Godfrey Leland

11

Wood engraving of Giselle Act I from Les Beautés de l’Opéra, 1845.


Gautier overstates the brevity of the timetable here—the ballet actually took about two months to create. But the Opéra’s director Léon Pillet did indeed push the project along with unusual urgency, hoping to capitalize quickly on the popularity of the ballerina Carlotta Grisi, who had recently caused a sensation dancing in the Donizetti opera La Favorite. And it is true that Vernoy de Saint-Georges, more experienced than his friend Gautier at writing stage drama, helped build an effective plot around a bride-to-be who dies before her wedding day and returns as a ghostly Wili.

The scenario they created is set in Germany sometime in the historical past, its first act taking place in a sunny village, and centering round Giselle and the handsome young man who woos her ardently. In the second act, however, all is plunged into darkness: Giselle, who has died of a broken heart at the end of Act One, now must join the band of vampire-like female ghosts, the Wilis, though she ultimately refuses to follow the cruel commands of the man-hating Wili Queen, Myrtha.

In fashioning the characters and action, Gautier and Saint-Georges incorporated subjects we now recognize as central to much Romantic art and literature: the lives of simple country folk, the historical past,

the supernatural, the power of transcendent love, the seeking of the unattainable. They also placed the action in an idealized, locale foreign to France—something typical of French Romantic ballets (though the then-obvious German setting, which was signaled to Parisian audiences by the frequent use of waltz music and the names of the leading couple, is no longer instantly recognizable as such). And they called for ethereal female dancers in long white tutus on a darkened stage, a visual motif that had been popularized by the ballet of the ghostly nuns in the opera Robert le diable (1831) and the white-clad forest-sprites of the ballet La Sylphide (1832), two works that had flourished at the Opéra in the decade leading up to Giselle’s premiere. So it is not hard to imagine why Giselle was so successful in the era it was first devised.

But why does it remain so popular today? Performed every season by major companies on both sides of the Atlantic and the subject of several popular books, Giselle is also widely available on commercial DVDs, and some of its scenes have even been featured in Hollywood films. How do we account for the continuing success of this ballet? Why is Giselle still so compelling?

One reason is surely the effective way it shows the intrusion of mysterious and

alluring-yet-threatening supernatural beings into the lives of everyday mortals—a subject that seems not to have lost its appeal (the recent resurgence of vampire-themed TV shows attests to a spike of interest in this topic at the moment). The encroachment begins in a merely abstract way in Act One: Giselle’s mother Berthe warns the village girls that excessive dancing could lead to their early demise and thus their forced enlistment into the band of Wilis. But Berthe’s description of the Wilis leaves Giselle unfazed and nothing more is heard of these female ghosts for the rest of the act.

Berthe’s words of warning become creepily true, however, in Act Two, which is set on a moonlit night in the Wilis’ territory, a forest glade near a pond. Any mortal male to enter this danger zone does so at his peril. Sure enough, two batches of men do wander in, early in the second act, though they manage to escape quickly. It is another matter entirely for Giselle’s major male characters, however, whose encounters with the Wilis change their lives profoundly and irrevocably.

Every element of the ballet—the chore-ography, lighting, sets and costumes, and music—help communicate the unfath-omable contrast between the real world and the unreal one that lies at the heart of this ballet. The dancing (originally devised by Jean Coralli and Jules Perrot) is in the first act light, airy, carefree, and, in the case of the leading couple, reflective of their lively flirtation. In the second act, however, the range of moods expands greatly, and with it the range of the choreography, which includes, for the Wilis, playful and aggressively vengeful dances as well as drill-team-like formations that demonstrate both their solidarity (sisterhood is powerful!) and obedience to their Queen. And Giselle and Albrecht dance two pas de deux in which the choreography shows the deep and desperate love they have for each other.

The composer Adolphe Adam did his part in conveying the ballet’s central dualism by creating two very different sound worlds, one for each act. The “color” of the first act is bright, mostly in major keys, featuring waltzes and nineteenth-century hoedown music when the villagers dance, and a majestic march for the noble hunting party. (The only dark music in Act One comes up when worrisome thoughts arise momen-tarily.) In the second act, however, the music creates an appropriately dangerous and uncertain atmosphere, though tinged with a hypnotic feminine sweetness at Myrtha’s first

continued on page 14Kaori Nakamura as Giselle. Photo © Angela Sterling.

1

Wood engraving of Giselle Act I from Les Beautés de l’Opéra, 1845.



ABOUT THE ARTISTS

France, Petipa was trained by his father. He moved to St. Petersburg, Russia, in 1847, where he worked as a ballet master and dancer. In 1869, Petipa retired from dancing and became the sole ballet master of the Imperial Theater, St. Petersburg, a position he held until 1903. The Daughter of Pharaoh (1862) was Petipa’s first major choreographic work. Others include Don Quixote (1869), La Bayadère (1877), The Sleeping Beauty (1890), and Raymonda (1898), as well as many dances for operas. Petipa was also responsible for restaging ballets by other choreographers; his versions have become the basis for most subsequent productions. These include Le Corsaire (1863), Paquita (1881), Coppélia (1884), Giselle (1884), and Swan Lake (with Lev Ivanov, 1895), among others.

Peter BoalArtistic Director Stager

(see page 18)

Doug FullingtonChoreography Reconstruction

Doug Fullington has been with Pacific Northwest Ballet since 1995. He was named

Education Programs Manager of Pacific Northwest Ballet in 2005 and Assistant to Artistic Director Peter Boal in 2006. He is responsible for developing PNB’s audience education programs and is also on the consulting staff of PNB School as dance historian. As a dance historian, Mr. Fullington is a fluent reader of Stepanov notation. In 2000, he contributed reconstructed dances to the Bolshoi Ballet’s revival of Marius Petipa’s The Daughter of Pharaoh; in 2004, he reconstructed Petipa’s Le jardin animé for PNB School; and in 2007, reconstructed 25 dances from Petipa’s Le Corsaire for the Bavarian State Ballet. His writings on the Stepanov notations have been published in Ballet Alert!, Ballet Review, Dance View, and Dancing Times. In 2000, he was named a principal researcher for The George Balanchine Foundation’s “Popular Balanchine” project.

Adolphe AdamComposer

Adolphe Adam (1803-1856) was a prolific French theater composer who trained at the Paris Conservatoire. From

his youth, he loved the theater, and was a favorite collaborator of artists. The ballets Giselle (1841) and Le Corsaire (1856), as well as the Christmas carol “Cantique de Noël” (“O Holy Night”, 1847), are among his best-known works. He was celebrated by critics as the “master of masters” of ballet composition, and his comic operas were enormously successful as well.

Jean CoralliChoreographer

Jean Coralli (1779-1854) was a French dancer and choreographer. He served as maître de ballet en chef at the

Paris Opéra from 1831 to 1850 and created a number of important ballets. His best- known work is Giselle (a collaboration with choreographer Jules Perrot), for which he choreographed all the ensemble dances as well as the “Peasant” pas de deux in Act One.

Jules PerrotChoreographer

Jules Perrot (1810-1892) was a French dancer, choreographer, and teacher. Among his best-known works are La Esmeralda,

Pas de Quatre, Ondine, and Giselle (in collaboration with Jean Coralli), for which he choreographed Carlotta Grisi’s dances. Perrot was active throughout Europe and was famous for his marvelous dancing and stage presence. From 1848 to 1859, he was ballet master in St. Petersburg Russia, where he was a colleague and predecessor of Marius Petipa.

Marius PetipaChoreographer

Marius Petipa (1818-1910) was the greatest choreographer of the second half of the nineteenth century. Born in Marseille,

PROGRAM NOTES

continued from page 13

appearance. Adam accomplishes all this—including bringing out the Wilis’ twofold nature—by deploying many more flat-side keys and unstable harmonies than he did in the first act, as well as minor mode, special effects (like muted strings, tremolo, and harmonics), and plenty of lower brass.

Of course the title character Giselle, the very embodiment of the contrast between the real and unreal worlds, surely accounts for much of Giselle’s enduring popularity. She is a sparkly, high-spirited young person whose ghostly return in Act Two as a Wili makes for a stunning character transfor-mation. Giselle is a great ballerina role, and through the generations, it has inspired many famous interpretations—by Pavlova, Karsavina, Spessivtzeva, Alonso, Ulanova, Markova, Fonteyn, Verdy, Fracci, among others—which have become legendary in the annals of the stage.

Though the world has changed radically since 1841, Giselle retains its power, and there can be no doubt that Gautier’s initial idea to make a ballet out of Heine’s Wili story was a good one. Originally wrought through the great teamwork of specialists in music, literature, drama, choreography, and art design, this ballet has been carried forward for well over a century and a half by successive generations of creative artists. Each new performance brings to life anew the spirited young title character and her milieu, and allows audiences today to breathe in the same Romantic air that so inspired Gautier those many years ago.

Program notes by Marian Smith.

11Acknowledgements

The original score by Adolphe Adam for Giselle has been edited by Lars Payne using original sources provided by the Bibliothèque nationale de France (Departement de Musique), the Bibliothèque de l’Opéra, and the British Library.

An 1842 manuscript rehearsal score with annotations in French has been made available by the Theatre Museum, St. Petersburg.

Imperial-era documents relating to Giselle have been made available by the Harvard Theatre Collection, Harvard University, including a choreographic notation of Giselle in the Stepanov notation system, an Imperial-era orchestral score, a printed piano score with manuscript interpolations, and additional materials.

The Russian prose in the Stepanov choreographic notation and other Imperial-era documents has been translated by Kaleriya Maslyak.

Lisa C. Arkin worked closely with Marian Smith and contributed significantly to the devising of the mime scenes.


Marian SmithHistorical Adviser

Marian Smith is a musicologist and dance historian. Her book, Ballet and Opera in the Age of Giselle, won the De la Torre Bueno

prize, and she is currently editing a volume on La Sylphide. In her youth, she studied ballet with Nora White Shattuck, and she is also a pianist. After earning a PhD at Yale in 1988, she joined the faculty of the University of Oregon School of Music and Dance. Her articles and reviews have been published in Dance Chronicle, the Cambridge Opera Journal, Dance Research, and the Journal of the American Musicological Society. Her essays on ballet appear in publications of the Paris Opéra, the Royal Opera (Covent Garden), and La Scala.

Jérôme KaplanScenic and Costume Designer

Jérôme Kaplan was born in Paris and studied scenic design at L’Ecole de la Rue Blanche. In

1991 Mr. Kaplan met the choreographer Jean-Christophe Maillot and discovered the world of dance. He went on to design sets and costumes for numerous Les Ballets de Monte Carlo ballets including, L’enfant et les Sortilèges, Roméo et Juliette, Cendrillon (Cinderella), Casse-Noisette Circus, Œil pour Œil (Eye for Eye), and Scheherazade. He also created the costumes for Raise the Red Lantern for the National Ballet of China in Beijing. He has also worked for Opera of Strasbourg, Shanghai Ballet, National Ballet of Finland, National Ballet of Korea, Royal Opera of Stockholm, and Northern Ballet. In 2010, Mr. Kaplan created sets and costumes for Alexei Ratmansky’s Don Quixote for Dutch National Ballet (Het Nationale Ballet) and Christopher Wheeldon’s Tornerose (Sleeping Beauty) for the Royal Danish Ballet. In 2011, he designed sets and costumes for the world premiere of Ratmansky’s Lost Illusions (Les Illusions Perdues) at the Bolshoi Theatre in Moscow, winning the 2012 Golden Mask award for Best Costume Designer.

Randall G. ChiarelliResident Lighting Designer Lighting Designer

(see page 18)

2014 SEASON • JULY 5TH – 20TH

JULY 5 JULY 12JULY 8 & 10 JULY 16 JULY 18 & 20

M ICHAEL PAL M ER, A RTISTI C D I R ECTO Rand THE FESTIVAL ORCHESTRA AND CHORUS

Stefan Jackiwviolin

Lise� e Oropesasoprano

CalidoreString Quartet

Richard Goodepiano

Pablo Sáinz Villegasguitar

bellinghamfestival.org • (360) 201–6621 • facebook.com/bellingham.festival

Includes Major Works by Brahms, Elgar, Mozart, Prokofiev, and SchumannVisit the Website for a Complete List of Artists, Programs, and Venues

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NEW/OLD DESIGNS FOR A NEW/OLD GISELLE


In 2011, Pacific Northwest Ballet premiered a new production of Giselle whose staging was based on three historic sources: a heavily annotated 1842 Parisian rehearsal score (répétiteur), a recently redis-covered complete notation of the ballet as it was likely performed in Paris in the 1860s, and the now-famous Stepanov choreo-graphic notation of the ballet made circa 1899-1903 in St. Petersburg, Russia. PNB Artistic Director Peter Boal worked with dance historians Marian Smith (French sources) and Doug Fullington (Russian sources) to revive the ballet, overseeing the

entire production, providing choreography at several points where none survived, and also taking into account the rich perfor-mance history of Giselle, the greatest of the Romantic-era ballets.

Having presented Giselle using rented scenery and costumes in 2011, Peter Boal has commissioned French designer Jérôme Kaplan to create new scenery and costumes for this 2014 revival. Kaplan is familiar to Boal and the PNB audience through his contemporary costume designs for Jean-Christophe Maillot’s Roméo et Juliette and his traditional-with-a-twist scenic and

costume designs for Alexei Ratmansky’s Don Quixote.

In designing Giselle, Kaplan has followed the approach of the revival team and researched historic sources, beginning with the wood engravings of various scenes from the ballet that were published in Les Beautés de l’Opéra in 1845. The scenic designs were also informed by the stage plots included in the 1860s notation of Giselle by Henri Justamant as well as Alexandre Benois’ classic designs for the Paris Opéra made in 1924. (See Kaplan’s set model for Act II on page 11 of this program.)

Technical Director Norbert Herriges and scenic artists Jan Harvey-Smith and Charlene Hall at the PNB scene shop. Photos © Jesson Mata.


In designing the costumes, Kaplan made the decisive choice to set the ballet in the period in which it was created, the mid-1800s. This especially impacted the designs for the aristocratic hunting party in Act I, which in many productions, including the original, were dressed in faux- medieval garb. Now the aristocracy resembles a classic hunting party, complete with red jackets for the gentlemen and veiled top hats for the ladies. Responding to an inter-viewer, Kaplan said, “When you start to think about Giselle, what part is the most beautiful and interesting visually? Definitely, the ‘white’ second act. The first act is in ‘Prince Charming’ style, and it’s very ‘ballet’ in the stereotypical way. It made sense to set it in this time period, because during the 19th century, the medieval look was quite in fashion. But now, it’s really out of fashion. That’s why I proposed to Peter Boal the idea to re-imagine the first act in ‘hunting foxes’ style, with the beautiful equestrian dresses and gorgeous red hunting jackets, and he enjoyed immediately the idea. I didn’t change anything in the Giselle story, but re-set it in the real time in which it was choreographed, the late-19th century.”

Kaplan was also inspired by the colorful and evocative work of Ferdinand Georg Waldmüller, an Austrian painter of the Biedermeier era. Giselle’s Act I costume, however, is modeled on the original worn by ballerina Carlotta Grisi in 1841—a brown bodice with a yellow skirt—and Myrtha’s costume is based on the lithograph of the role’s creator, Adèle Dumilâtre.

The entire build was done in PNB’s shops—the scenic shop in Fremont and the costume shop at the Phelps Center, overseen by Technical Director Norbert Herriges and Costume Shop Manager Larae Theige Hascall. Draper Mark Zappone served as Costume Design Assistant to Kaplan and more than fifty artists were engaged for the build.

Summing up the process, Kaplan said, “In a way, when you re-design a historical ballet as Giselle, you only need to read, open your ears, and be “serious” in the work. The ballet will be revealed to you as a photograph in the laboratory—slowly and magically. …I would like to say that people don’t realize how classical ballet is important and part of our cultural heritage, exactly like Noh and Kabuki for the Japanese. We need to keep it alive and fight to transfer it to the younger generation. I only try to help to refresh it slightly, with all the respect you could have for a beautiful monument.”

—Doug Fullington

(l-r) Jérôme Kaplan’s sketch for Giselle, Act I. Carlotta Grisi as Giselle, 1841.

Clockwise from top left: 1 Jérôme Kaplan and Mark Zappone with a

Peasant pas de deux costume.2 Terry Frank (millinery/crafts).3 Designs and swatches for the aristocracy. 4 PNB Costume Shop: Design Assistant

Mark Zappone, Joan Powell (tailor), and Jérome Kaplan in a fitting with Company dancer Charles McCall. Photos © Jesson Mata.

“�In�a�way,�when�you�re-design�a�historical�ballet�as�Giselle,�you�only�need�to�read,�open�your�ears,�and�be�

‘serious’�in�the�work.�The�ballet�will�be�revealed�to�you��as�a�photograph�in�the�laboratory—slowly�and�magically.”

–��Jérôme�Kaplan

4

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Peter Boal Artistic Director of Pacific Northwest Ballet and Director of PNB School

Peter Boal assumed artistic directorship of Pacific Northwest Ballet and PNB School in 2005 following a 22-year career as a dancer with New York City Ballet. In addition to working

with George Balanchine, Jerome Robbins, and Peter Martins, Mr. Boal originated roles in over 30 new works. He received his training at the School of American Ballet, joined New York City Ballet in 1983, and was promoted to principal dancer in 1989. From 1997 to 2005, he was a full-time faculty member at SAB. In 2004 he founded Peter Boal and Company, a critically acclaimed chamber ensemble. In 1996 Mr. Boal received the Dance Magazine Award, and in 2000 he received a New York Dance and Performance Award.

Emil de CouMusic Director/Principal Conductor

Emil de Cou has been Pacific Northwest Ballet’s Music Director and Principal Conductor since 2011. Previously, he was associate conductor of the National Symphony Orchestra

and 2014 will mark his 10th season as conductor of the NSO performances at Wolf Trap Foundation for the Performing Arts. Mr. de Cou debuted at Carnegie Hall as guest conductor for the New York Pops, and has also conducted the orchestras of Phila-delphia, Chicago, Houston, Saint Louis, Detroit, Montreal, and Boston Pops, among others. He was Principal Pops Conductor for the San Francisco Symphony and also serves musical consultant for NASA. In 1985, Mikhail Baryshnikov hired Mr. de Cou to conduct American Ballet Theatre and in 1994, he joined the staff of San Francisco Ballet. Other ballet companies he has conducted include New York City Ballet, National Ballet of Canada, Netherlands Dance Theatre, and Hong Kong Ballet. Mr. de Cou was born in Los Angeles and studied at the University of Southern California. He was the subject of a documentary on National Public Radio and was chosen from 200 candidates to study in Leonard Bernstein’s master class at the Hollywood Bowl.

Allan DameronCompany Pianist/Conductor

A native of Greensboro, North Carolina, Allan Dameron graduated from North Carolina School of the Arts and studied conducting at the Pierre Monteux School in Maine. Mr.

Dameron has been Music Director and Conductor for Chicago City Ballet and Assistant Conductor at Chicago Lyric Opera. Prior to joining PNB he was a chamber music professor at Northern Illinois University. As a chamber music pianist, Mr. Dameron has been a guest artist with the Vermeer and Audubon Quartets and is a member of Ariel Trio. Mr. Dameron performs piano solo work for PNB ballets, including Dual Lish, Duo Concertant, Für Alina, and Rubies.

Norbert HerrigesTechnical Director

Norbert Herriges began working in Seattle theater after receiving his degree in Theatre Arts at Southern Oregon State College in Ashland, Oregon. In 1984, he started at ACT

as a scenic builder and in 1991 moved to Seattle Repertory Theatre, where he worked for fifteen years as a shop carpenter and later as Scenic Coordinator. In the course of his 28-year career in local theater, Mr. Herriges worked backstage for PNB in various capacities. He was appointed Interim Technical Director for PNB in February 2011 and assumed the position of Technical Director in July of 2011. Mr. Herriges oversees and coordinates all technical aspects of PNB’s productions, assisted by an exceptional staff of stage technicians and managers.

Randall G. ChiarelliResident Lighting Designer Lighting Designer

Randall G. Chiarelli has served as PNB’s lighting designer since 1979. During that time he worked with choreographers such as Donald Byrd, Lucinda Childs, Mark Dendy,

Glen Tetley, Helgi Tomasson, Rudi van

PNB ARTISTIC STAFFIN TRIBUTE TO

Jerry Manning

All of us here at Pacific Northwest Ballet extend our heartfelt sympa-thies to our friends and neighbors at Seattle Repertory Theatre on the recent, unexpected passing of artistic director Jerry Manning. Jerry joined Seattle Rep in 2000 and immediately established himself as an advocate for new work, emerging artists, and the Seattle community: A beloved leader, director, producer, mentor, and gentleman through and through, Jerry was a staunch and vocal champion of Seattle’s rich pool of performers, designers, and artistans, and in return was respected and treasured by his peers, colleagues, and coworkers.

The Seattle arts community is an uncommonly close-knit group: several members of PNB’s admin-istrative and production staff are former Rep employees, and many of the Rep’s costume shop employees “moonlighted” at PNB for the Giselle build; the sorrow of Jerry’s passing has been felt not just around Seattle Repertory Theatre, but also at PNB and across the city.

A memorial service to celebrate Jerry’s life is scheduled for June 2 at 6:30 pm at Seattle Repertory Theatre. His family has requested that in lieu of flowers, donations may be made to the Rep to sustain the Theatre’s many artistic projects.


¹Advisory/Ex Officio ²Past Chairs *Deceased

Violin 1Michael Jinsoo Lim,

ConcertmasterBrittany Boulding,

Associate Concertmaster

Lynn Bartlett-JohnsonNatasha BazhanovStephen DanielsTom Dziekonski*Ella Marie Gray*Peter KrysaRebecca Lowe* Christine Olason*

Violin 2Ingrid Fredrickson*,

PrincipalRita Lee, Assistant

PrincipalWilliam Boyd*Anne Cady*Adrianna HulscherLaurel WellsKim Zabelle

ViolaScott Ligocki, PrincipalBetty Agent*,

Assistant PrincipalTim ChristieJoyce Ramée*Laura RenzEileen Swanson*

CelloPage Smith*, PrincipalVirginia Dziekonski*,

Assistant PrincipalMeg BrennandAndrea ChandlerCharles JacotBrian Wharton

BassTodd Larsen, PrincipalStephen Schermer,

Assistant PrincipalMaurice ClubbBen Musa

FluteKarla Flygare*,

PrincipalLaura Werner

PiccoloLaura Werner

OboeDan Williams,

Acting PrincipalTad Margelli*

*Founding members of PNB Orchestra (1989).Revolving members of the string sections are listed alphabetically.The Pacific Northwest Ballet Orchestra is composed of musicians represented by the PNB Orchestra Players Organization.Sherman Clay & Co. is the official purveyor of pianos for PNB.Steinway & Sons is the official piano of PNB.

English HornTad Margelli

ClarinetJennifer Nelson,

PrincipalDenise Lum

Bass Clarinet/E-flat Denise Lum

BassoonMona Butler*, PrincipalDana Jackson

HornRodger Burnett*,

PrincipalDanielle LemieuxRichard Reed*Ryan Stewart

TrumpetGeorge Oram*,

PrincipalRichard Werner*

TromboneMark Williams*,

PrincipalKay Nichols*

Bass TromboneDouglas Nierman*

TubaRyan Schultz, Principal

TympaniPhillip Hanson*,

Principal

PercussionMatthew Kocmieroski*,

PrincipalGunnar Folsom

HarpJohn Carrington,

Principal

KeyboardAllan DameronAnastasiya

Popova-Kirov Christina Siemens

Personnel ManagerRodger Burnett

Music LibrarianMona Butler

PNB ORCHESTRA

Dantzig, and Christopher Wheeldon. A prime collaborator with founding artistic directors Kent Stowell and Francia Russell, Mr. Chiarelli designed the lighting for the majority of Mr. Stowell’s work and re-created the lighting for the Company’s entire Balanchine repertory with Ms. Russell. His scenery credits for PNB include Carmen, Divertimento #15, Slaughter on Tenth Avenue, and La Sonnambula. Mr. Chiarelli currently serves as set and lighting designer for Spectrum Dance Theater in Seattle. Mr. Chiarelli is a graduate of the University of Washington with degrees in painting and sculpture.

Larae Theige HascallCostume Shop Manager

Born in Spokane, Washington, Larae Hascall joined PNB in 1983 and became Costume Shop Manager in 1987. She supervises the creation, alteration, and maintenance of all

costumes worn in PNB productions. Her own costume designs include Kent Stowell’s Dual Lish, Quaternary, Duo Fantasy, Orpheus Portrait, and Carmen, as well as designs for guest choreographers Donald Byrd and Lynn Daly. She has been the primary collaborator for costumes created by such renowned designers as Paul Tazewell (Swan Lake, Seven Deadly Sins), Martin Pakledinaz (A Midsummer Night’s Dream, Cinderella, Ballet Imperial), Theoni V. Aldredge (Carmina Burana), and David Murin (Silver Lining).

Otto NeubertBallet Master

Otto Neubert has been PNB’s Ballet Master since 1991. Born in Munich, Germany, Mr. Neubert received his training with Alex Ursuliak, the Stuttgart Ballet School, the

School of American Ballet, and with Marika Besobrasova in Monte Carlo. He danced as a soloist with New York City Ballet and at Stuttgart Ballet. Mr. Neubert assists the Artistic Director in teaching and rehearsing the Company, and rehearses PNB School students in their roles for Nutcracker and other productions. He has performed as a guest artist in The Sleeping Beauty, Don Quixote, Swan Lake, and Prodigal Son.

Anne DabrowskiBallet Master

Anne Dabrowski was named a PNB Ballet Master in 1997. Originally from San Diego, California, Ms. Dabrowski received her training at California Ballet

School and with Truman Finney at the School of Hartford Ballet. She danced professionally with Hartford Ballet and then continued there as Company Teacher and Assistant Ballet Master, and as a principal faculty member for Hartford Ballet School. Ms. Dabrowski assists the Artistic Director in teaching and rehearsing the Company and prepares PNB School students for their roles in Nutcracker and other PNB productions.

Paul GibsonBallet Master

Paul Gibson was appointed a PNB Ballet Master in 2005. Mr. Gibson joined PNB in 1994 and was promoted to Principal dancer in 1996. Upon his

retirement in 2004, he was named Assistant Ballet Master. His choreo-graphic work includes ballets for PNB and PNB School, San Francisco Ballet School, the San Francisco Ballet Choreographic Workshop, Allegheny Ballet Company, and the New York Choreographic Institute. Originally from Altoona, Pennsylvania, Mr. Gibson trained at Allegheny Ballet Academy and the School of American Ballet. He won a scholarship at San Francisco Ballet School and joined San Francisco Ballet in 1988, where he rose to the rank of soloist. Mr. Gibson assists the Artistic Director in teaching, rehearsing, and the scheduling the Company and rehearsing PNB School students in their roles for Company productions.



Giselle Scenery & Costumes Made Possible by You!

PNB would like to thank the generous donors who made Giselle’s beautiful new scenery and costumes possible this season.

LEAD SCENERY & COSTUME SPONSORSDan & Pam BatyJeffrey & Susan Brotman

$100,000 CHALLENGE SPONSORSPatty EdwardsPhil & Lesli Schlaepfer

CHALLENGE DONORS

$25,000+Peter & Peggy Horvitz

$10,000+Anonymous

$5,000+Catherine Hobi Hawes H. David Kaplan Leslie & Tachi Yamada

$2,500+John Delo & Elizabeth StokesJerald E. FarleyDr. Frank & Lynn Lindsay

$1,000+Itamar & Christine AbrassDr. & Mrs. Ellsworth* C. Alvord, Jr. Mr. and Mrs. Ray AspiriMs. Pamela BendichErnest & Diane Burgess Ms. Corinne A. CampbellMr. & Mrs. John DemakasMr. & Mrs. Philippe DorGail Goralski Stacy & Frank GravesMr. & Mrs. James S. Griffin Susan & Bill Grinstein Lynne E. Graybeal & Scott HarronMaria C. GunnDavid & Cheryl Hadley Mr. & Mrs. Michael HendrickDr. Craig Jackson &

Mrs. Joyce JacksonApril & Steven KieburtzKyle & Wendy Kizzler Ms. Jeanne KubanMr. Elbert LubasHelene MawyerFrederick McDonaldMr./Mrs. John & Mitzi MorrisMisty MoseleyPNB STARSMimi RichardsMary Ann SageScott & Linda Scherer

Mel & Leena SturmanDr. Michael & Peggy SwistakChristina Tanner Jennifer Thompson

$500+Mrs. Eleanor BarnhillMarcia & Les Books Mr. & Mrs. Ellsworth A. Brown Jr.Colonel & Mrs. Dennis M. CunneenMrs. Priscilla A. FortinerCoral Hanevold & William HarlestonJordan HouleMr. & Mrs. J. Daniel McConnellDr. Joe G. Norman, Jr.Alida & Douglas OlesMr. & Mrs. Bernard SilbernagelLandry Slade & Gretchen Van MeterMs. Margaret SmithAnonymous

$250+Kari & Bill AnspachMr. & Mrs. Matthew BergerMr. Sean BlakeyKatherine Cardinal & Adam Blexrud Jon R. Conte & Margaret KerriganJoy CrossMs. Lee DarrowMs. Pamela DoctorMr. & Mrs. Jim GimlettMs. Rebecca HartleyMs. Melba LancasterDrs. Philip & Susan LindsayMs. Priscilla MadsenMr. & Mrs. J. Daniel McConnell Aina MccormickMs. Marcy MontgomeryMr. & Mrs. Christopher ObertMs. Janice SorensenMs. Marian Wilcox

$100+Mr. Chase AbbottMs. Terri P. AndersonAnne BarkerMs. Diana I. BehlerMrs. Karen S. BerryMs. Ann BriceMr. Dan BrittMs. Angelica Buri MaryAnn CampbellMrs. Cassandra CarothersMs. Kristina Byrd ColemanDrs. Richard & Sandra CountsMs. Suzanne DalyMs. Judy Deiro & Ms. Kristi GruettMs. Dorothy DelaneyMs. Laura DenekeMs. Jennifer Dodson

John & Chani Doggett Paddy EgerMs. Rosalie EllgenMs. Cheryl EllsworthMs. Ana EstebanMr. & Mrs. Philip FarrarMrs. Nancy GordonWendy GrusMrs. Christine HalesMarcella Harrold & Mary Fernandes Patricia HongMr. & Mrs. Christopher Horn Kathleen HuddlestonMr. Peter Hurd &

Mrs. Christine HansenMs. Kathleen Hunt & Mr. Steve Davis Mr. & Mrs. Paul KaaldMr. Malcolm KinchMr. & Mrs. Anders KruusDeborah Lamb Ms. Margaret LaushMr. & Mrs. John B. LeamanMs. Cynthia Lee Mr. & Mrs. Bruce McCasseyMr. John F. McGuirkMrs. Jody McPeakJeffrey MelloyRobert & Lori Morris Ms. Casey MurphyMs. Archana MurthyMs. Betty PersonMr. & Mrs. L. Douglas PetersonMs. Kathryn PratzPrecept WineMs. Margaret PriceMs. Terri RichardsonMs. Mary-Catherine SchugelSusie Seely & Linda Leblanc Ms. Evelyn E. SimpsonSandeep SinghalMs. Judith C. SmithMs. Judy SmithMs. Michelle SmithMs. Lisabeth SoldanoMr. & Mrs. Leonel S. StollarMs. Jessica Tarzan Shannon Tierney, MDMs. Susan L. VestalMs. Wendi WalshMs. Judy WaringMs. Jennifer WheelerMs. Wendy WithamCindy WuMs. Corrie YackulicMrs. Barbara J. Yarington

$50+Ms. Sandra AndrewsMs. Sheila BartlettGalina Betz

Ms. Erika BitzerMs. Beth BonnecroyMr. Todd E. BullockMr. Christoph DettlingShannon DieffenbacherMs. Teresa DoltonBill & Peggy Jo EatonMs. Mary Lou FineKay & Anneliese Frankenstein Ms. Marci GoodwinMr. Ian HallidayPatsy HernandezCrystal HullMs. Ritsu ItoiMark JipsonMrs. Suzanne S. KagenMs. Verna Lin & Mr. Robert B. YeeMs. Jacci MahrtJohn McclurgMs. Suzanne MoerySusan NiehPaula Podemski & Linda Weinstein Ms. Susan PylesMs. Stephanie RakeJesse & Rochelle Reingold Lori RoozenMr. & Mrs. Richard SiersMr. & Mrs. Roy SparksMs. Jessica Tarzan Mrs. Gail A. TaylorMs. Alison K. TimidaiskiMs. Judy TsouMr. & Mrs. Stan Zielinski

$25+Lorrie CardosoMs. Charlene A. CurtissMs. Belinda DangMs. Ruth T. EmersonJohn Empey & Mary Coward Ms. Kathy HagnMs. Erica WoodMr. Jeffrey HighleyMs. Catherine HuntDonal KavanaughMs. Vivian Y. LeeMr. James MayMs. Elizabeth MilesMs. Ellen NaorMs. Megan RomanoMr. & Mrs. Michael SannellaTim Schmitt & Mercedes Schmekel Ms. Marian SmithMs. Donna StangerMs. Suzanne SunesonMs. Bonnie WayMichael & Traci Wojack


CS 042814 pink 1_12.pdf

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PNB AUDIENCE SERVICE DIRECTORY Mailing Address: Pacific Northwest Ballet

301 Mercer Street, Seattle WA 98109Administration Main Desk: 206.441.9411Donation and Membership: 206.441.3599John Tangeman, Manager of Audience

Services: 206.441.3574Web Site: www.pnb.orgEmail: [email protected] (general info)

[email protected] (ticketing) [email protected] (membership & giving) [email protected] (PNB Special Events) [email protected] (PNB School)

TICKETSPNB Box Office: 301 Mercer Street, Seattle,

WA; Monday–Friday 10am–6pm; Saturday 10am–5pm

McCaw Hall Box Office: open 90 minutes prior to performance only

Online: www.pnb.orgPhone: 206.441.2424Ticket Exchange Fax: 206.441.2420Group Sales: 206.441.2416Ticketmaster: 1.800.745.3000;

www.ticketmaster.com; or any Ticketmaster outlet. (All Ticketmaster purchases subject to fees.)

PACIFIC NORTHWEST BALLET SCHOOL

Seattle School: 206.441.2435Eastside School: 425.451.1241

MARION OLIVER MCCAW HALL321 Mercer Street, Seattle WA 98109Phone: 206.733.9725Security Office: 206.733.9735Head Usher Emergency Phone: 206.733.9722Prelude: 206.615.0404Amusements: 206.774.4990Parking: 206.684.7180Traffic and Transportation: 206.233.3989Lost & Found: 206.684.7200McCaw Hall offers wheelchairs, accessible seating and staff assistance for patrons with mobility challenges. ALD headsets, booster seats and binoculars are available in the lobby.

NOTICELate patrons may view the performance from lobby monitors until intermission. Turn off all cellular phones, pagers and alarms. Because of contractual obligations with our artists, the use of photographic and recording equipment is prohibited. Flash cameras are inconsiderate and dangerous to the artists. Loud or disruptive children should be discreetly taken to the nearest exit to view the performance on lobby monitors.

5th Avenue Theatre • ACT Theatre • Book-It Repertory Theatre • Broadway Center for the Performing Arts • Pacific Northwest Ballet • Paramount & Moore Theatres • Seattle Children’s Theatre • Seattle Men’s Chorus • Seattle Opera • Seattle Repertory Theatre • Seattle Shakespeare Company • Seattle Symphony • Seattle Women’s Chorus • Tacoma

City Ballet • Tacoma Philharmonic • Taproot Theatre • UW World Series at Meany Hall • Village Theatre

Issaquah & Everett • American Conservatory Theater • Berkeley Repertory Theatre • Broadway San Jose • California Shakespeare Theater • San Francisco Ballet • San Francisco Opera • SFJAZZ • Stanford Live • TheatreWorks • Weill Hall at Sonoma State University • 5th Avenue Theatre • ACT Theatre • Book-It Repertory Theatre • Broadway Center for the Performing Arts • Pacific Northwest Ballet • Paramount & Moore Theatres • Seattle Children’s Theatre • Seattle Men’s Chorus • Seattle Opera • Seattle Repertory Theatre • Seattle Shakespeare Company • Seattle Symphony • Seattle Women’s Chorus • Tacoma City Ballet • Tacoma Philharmonic • Taproot Theatre • UW World Series at Meany Hall • Village Theatre I s s aquah and Everett • American Conservatory Theater • Berkeley Repertory Theatre • Broadway San Jose • California Shakespeare Theater • San Francisco Ballet • San Francisco Opera • SFJAZZ • Stanford Live • TheatreWorks • Weill Hall at Sonoma State University • 5th Avenue Theatre • ACT Theatre • Book-It Repertory Theatre • Broadway Center for the Performing Arts • Pacific Northwest Ballet • Paramount & Moore Theatres • Seattle Children’s Theatre • Seattle Men’s Chorus Seattle Opera • Seattle Repertory Theatre

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Peter Boal, Artistic Director | Kent Stowell & Francia Russell, Founding Artistic Directors

Artistic StaffPeter Boal, Artistic DirectorOtto Neubert, Ballet MasterAnne Dabrowski, Ballet MasterPaul Gibson, Ballet MasterDoug Fullington, Assistant to the Artistic DirectorEmil de Cou, Music Director/Principal ConductorAllan Dameron, Company Pianist/ConductorRodger Burnett, Orchestra Personnel ManagerChristina Siemens, Anastasiya Popova-Kirov,

Company PianistsRay Allan, Stephen Barnes, Yelena Golets,

Jeff Junkinsmith, Randall Plut, Katja Rubin, Shelley Sutton-Bolton, Rob Vienneau, Don Vollema, Annastasia Workman, Class Pianists

Mona Butler, Orchestra LibrarianJon Blake, Birgit Hansen, LibrariansSheila Dietrich, ArchivistLauren Kirchner, Student Cast, Parent Volunteer

& DanceChance Coordinator

ProductionNorbert Herriges, Technical DirectorSandra Barrack, Production Stage ManagerLiz Willett, Assistant Stage ManagerRandall G. Chiarelli, Resident Lighting DesignerMurray Johnson, Master CarpenterDante Leonardi, Master ElectricianJeffrey Stebbins, Master of PropertiesAlan Hiskey, FlymanHoward Neslen, Tim Casey, Assistant CarpentersJonathan Hackett, Production ElectricianReed Nakayama, Assistant ElectricianPeter Gantt, Jay Gosselin, Properties AssistantsJan Harvey-Smith, Sarah Middleton,

Master Scenic ArtistsCharlene Hall, Scene Design AssociateScott Bennett, Marne Cohen-Vance, Ruth Gilmore,

Mona Lang, Steve LaRose, Patty Makatura, Beth Peterson, Carmen Rodriguez, Kelly Staton, Scenic Artists

Jeff Doll, Lighting TechnicianToby Basiliko, SoundJim Austin, Chris Balducci, Follow SpotJack Taylor, Videographer

Costume Shop StaffLarae Theige Hascall, Costume Shop ManagerSherri J. Thompson, Wardrobe MistressBarbara Pritchard, Assistant Wardrobe MistressRobin Emerson, Costume Shop AssistantMark Zappone, Costume Design Assistant to

Jérôme KaplanJanet Lind, Victoria McFall, Luna Pham, Joan Powell,

Mark Zappone, DrapersLisa Peterson, Pauline Smith, First HandsPatrick Stovall, Wardrobe AssistantTerry Frank, Millinery/CraftsWendy Oberlin, Dyer/PainterHeili Aun, JoAnn Bailey, Mark Ferrin, Sarah Gladden,

Michelle Grimm, Amanda Hunt, Leslie Law, Lisa Lockard, Allison Maryatt, Shellie Moomey, Shari Noble, Rose Powers, Jen Sipila, Christine Smith, Laura Me’ Smith, Jen Stone, Robyn Tarbet, Naomi Weber, Costume Technicians

Shelby Adele Rogers, Head of Specialty MakeupJoyce Degenfelder, Wigmaster

Executive OfficeD. David Brown, Executive DirectorTerrie Flaming, Director of Human ResourcesCraig Big Eagle, IT ManagerJason Darland, Desktop Support

FinanceDavid Thorpe, Chief Financial OfficerKaren Portzer, Accounting AnalystKaleriya Maslyak, Accounting/Payroll Associate

OperationsSerni Reeves, Office ManagerBrian Zenk, Maintenance SupervisorCheryl Gunder, ReceptionistDiane Sardeson, Saturday Receptionist

Company Management & TouringMichael Ann Mullikin, Company Manager

DevelopmentKatherine Cardinal, DirectorLilah Helton, Associate DirectorLindsay Krause, Major Gifts & Planned Giving OfficerCarolyn Radakovich, Major Gifts Officer Geri Morris, Annual Fund ManagerErin Hulme, Corporate Relations ManagerSuzanne Erickson, Foundation &

Govt. Relations ManagerPaula Wilkinson, Special Events ManagerMatthew Echert, Research ManagerCarrie Mood, Individual Giving Associate &

Board LiaisonYelena Brandman, Donor Information Coordinator

Marketing and CommunicationsEllen Walker, DirectorLia Chiarelli, Associate DirectorGary Tucker, Media Relations ManagerMarsha Bennion, Publications ManagerJamon Siefert, Webmaster/Digital Media SpecialistJudith May Austin, Marketing & Media

Relations AssistantLindsay Thomas, VideographerDoug Fullington, Education Programs ManagerKayti Bouljon, Community Programs ManagerShannon Barnes, Community Programs CoordinatorAna Maria Campoy, Community Programs AssistantSuzanne Singla, Rochelle Rapaszky, Lauren Kirchner,

Ann Marie Caldwell, Ellen Cooper, Adriana Hernandez, Community Programs Teaching Artists

Adam Kessler, Becca Baggenstoss, Jeremy Jones, Community Programs Accompanists

Jennifer Maier, Senior Manager of Ticket OperationsJohn Tangeman, Manager of Audience ServicesMegan Weigley, Customer Service ManagerJulie Jamieson, Group SalesChristina Carter, Madeleine Horst, Kelsey Von Stubbe,

Customer Service RepresentativesShaliese Rogers, Telesales Campaign ManagerKate Farwell, Manager of Amusements

Pacific Northwest Ballet SchoolPeter Boal, DirectorDenise Bolstad, Administrative DirectorAbbie Siegel, School PrincipalJennifer Panara, School SupervisorMeg Potter, Assistant PrincipalMarjorie Thompson, Assistant Principal

Wendy Casper, Assistant to the Administrative Director

Teri McCarthy-Greene, RegistrarJennifer McLain, DanceChance ManagerDavid Jensen, Summer Residence DirectorBenjamin Benne, Assistant Registrar Elizabeth Belyea, Bria Best, Barbara Nakatani,

Zach Lombardo, Bethany Pruitt, Administrative Assistants

FacultyMarisa Albee, Peter Boal, Nancy Crowley,

Dana Hanson, Dane Holman, Lauri-Michelle Houk, Timothy Lynch, Meg Potter, Abbie Siegel, Marjorie Thompson, Bruce Wells, Le Yin

Megan Becker, Kelly Boal, Kayti Bouljon, Betsy Cooper, Michele Curtis, Alexandra Dickson, Juanita Franke, Susan Gorter, Deborah Kenner, Miriam Landis, Sara de Luis, Dina McDermott, William Miglino, Adam Miller, Stanko Milov, Suzanne Singla, Eva Stone, Julie Tobiason

Elaine Bauer, PNB Company dancers, Guest Faculty

AccompanistsDon Vollema, Music Staff CoordinatorRay Allan, Kofi Anang, Stephen Barnes, John Boatner,

Sheila Bristow, Carol Buschmann, Sue Clifford, David Clodfelter, David Close, Rob Cook, Tatyana Dadayeva, Yelena Golets, Irv Huck, Nathan Jensen, Jeff Junkinsmith, Marina Katsel, Genevieve Peaslee, Randall Plut, Katja Rubin, Shelley Sutton-Bolton, Rob Vienneau, Anastasia Workmann

PNBConditioning StaffMarjorie Thompson, PNBConditioning

Program DirectorAlexandra Dickson, Carol Elsner, Deborah Kenner,

Marie Lynah, Dina McDermott, Uraina Nagy, Kayoko Price, Tara Stepenberg, Teresa Hanawalt

TherapySteven Anderson, MD, Pierce E. Scranton Jr., MD,

Consulting PhysiciansBoyd Bender, Physical TherapistChristopher Kagen, Ellie Pierce, Massage TherapistsSeattle Gym, Official Fitness Club for PNB Dancers

& Staff

School ConsultantsToby Diamond, Ph.D., PsychologistPeggy Swistak, M.S., R.D., C.D., NutritionistAlan Woodle, D.P.M., Podiatrist/Foot &

Ankle SpecialistHenry Lu, Karin Townson, Physical Therapists

Special CounselPerkins Coie, Employment LawAmy M. Royalty, MacDonald Hoague & Bayless,

Immigration LawMoss Adams LLP, Auditors

Pacific Northwest Ballet dancers are represented by AGMA—the American Guild of Musical Artists, AFL-CIO. Pacific Northwest Ballet Orchestra is represented by the PNB Orchestra Players Organization. Stage Crew is represented by I.A.T.S.E., local #15. Wardrobe attendants are represented by Theatrical Wardrobe Union #887, I.A.T.S.E. Stage Draperies: I. Weiss, New York.PNB is an EOE.

PACIFIC NORTHWEST BALLET STAFF


AOTF 041414 CAM054 2_3v.pdf


2013-2014 PNB BOARD OF TRUSTEESOFFICERSChairman: Aya HamiltonPresident: David HadleyTreasurer: W. Daniel Heidt²Secretary: Lynn LindsayAssistant Secretary: Lynne GraybealImmediate Past Chairman: Carl Behnke²

VICE PRESIDENTSBoard & Donor Development: Gail JamesMarketing/PR: Sara JonesEducation: Gregory KusnickVolunteer Development: Rocke R. KoreisNew Works: Peter Horvitz²Foundation Board Chairman: Peter Horvitz²Governance Leadership: Peter Horvitz²Chairman Emeritus: Sheffield Phelps*

EX OFFICIO TRUSTEESArtistic Director: Peter Boal¹Executive Director: D. David Brown¹Young Patrons Circle: Colleen Stevens/Jeff JorgensenPNB Stars: Carrie Lee/Kristin PastorizaPNB League: Rebecca WakefieldParents Association: Jennifer Northrop

GOVERNING BOARD OF TRUSTEESHeidi AlessiPatrice AuldSusan Brotman²Cheryl ClarkRobert CreminJerald FarleyJoan FitzmauriceStephen E. FuhsJoerg GablonskyRobin F. GaineySusan GrinsteinWilliam GrinsteinMarie C. GunnKalen HolmesToni Hoover Pamela JohnsonH. David KaplanTravis Keeler²April KieburtzMegan Kirley Wendy KizzierRocke R. KoreisLisa Kroese

Natasha LaljiCarol NeimanJoe NormanSusan OkamotoAlida OlesGwendolyn C. PaytonBarbara PearsonTom A. PuentesJames RaisbeckRichard C. RedmanChristina RichSharon RichardsonBarbara RiesCatherine RiesScott SchererJohnese SpissoDavid VaskevitchDeidra WagerConnie WalshDeborah WatsonSheree WenLeslie Yamada

ADVISORY BOARD OF TRUSTEESNancy AlvordKathy Alvord GerlichElisabeth BodalDiane BurgessBarbara ChaplinPatricia EdwardsEliza FlugCaroline GoedhartGail GoralskiStacy GravesSteven M. HarlowTracy HarsvikAnne-Marie HedgesTom HedgesCathy Beth HooperC. James JudsonGlenn KawasakiSusan KrabbeFiroz LaljiDeborah LambCandy J. Lee

Jennifer LoweHelene MawyerFrederick W. McDonaldTracy McGuireMimi RichardsGladys Rubinstein*John C. RudolfLaura SelipskyJohn F. ShawJohn H. ShortMelba ShortMel SturmanAngela SutterPeggy SwistakChristina TannerShannon TierneyLisa WahbeLinda WarsonJodi WongArlene WrightJack D. Wulfekuhle

TRUSTEES EMERITINorma CuginiJane M. Davis,Wendy Griffin²Cathi Hatch²Arthur H. Mazzola²

Jane McConnellFrancia RussellKent StowellCarol Wright

BOARD OF TRUSTEES LIFE FELLOWSPatty BarrierBenjamin W. BevisRobert R. Braun, Jr.Ron ElginJames A. EliasDon C. Franklin²Catherine Hobi HawesDavid F. HillJohn Iverson

Helen C. Kloess*Dr. Susan LindsayMaria Postnikoff-DowningMarsha Rich InghamSusan R. RicheyCynthia StroumDavid B. Winder²Linda Wyman

¹Advisory/Ex Officio ²Past Chairs *Deceased


http://seattleidf.org/


Pacific Northwest Ballet gratefully acknowledges the following individuals for their generous support of the Annual Fund during the past year. These generous contributors are an integral part of our success, sustaining and enriching artistic productions, dance education, and community outreach programs. For information on how to become part of this esteemed group of donors, contact Carrie Mood, Individual Giving Associate, at 206.441.3597, or [email protected].

Individual DonorsStowell Society

Artistic Directors’ Circle $100,000 and aboveJeffrey & Susan BrotmanMrs. Patty EdwardsPeter & Peggy HorvitzJolene McCaw & FamilyAnonymous

Chairman’s Circle $50,000 - $99,999Carl & Renee BehnkeMichael & Lois CraigAya Stark HamiltonMr. H. David KaplanMarcella McCaffrayAnonymous

President’s Circle $25,000 - $49,999Lyndall BoalRobert W. CreminJane M. & David R. DavisJoan FitzmauriceDavid & Cheryl HadleyJim & Diana JudsonGlenn KawasakiMr. & Mrs. Travis H. KeelerGreg Kusnick & Karen Jo GustafsonFiroz & Najma LaljiStewart & Barbara PearsonJames & Sherry Raisbeck

PNB STARSDeidra Wager

Ballet Masters Circle $10,000 - $24,000Lisa & Richard AltigDr. & Mrs. Ellsworth* C. Alvord, Jr.Jack Blaylock & Jane EvansElisabeth BottlerDaniel Burkert Daniel & Margaret Carper FoundationRoyce & Aggie ChurchCheryl Clark & Stephan CoonrodAlex & Norma CuginiJudith CushmanMelonee Daniels & Stuart PlattJohn Delo & Elizabeth StokesWilliam J.* & Sandra B. DunnJerald E. FarleyDr. Stephen & Beverly FuhsDr. Joerg GablonskyRobin GaineyKatharyn Alvord GerlichStacy & Frank GravesLynne E. Graybeal & Scott HarronSusan & Bill GrinsteinMaria C. GunnRoss Hartling, MD & Johnese SpissoW. Daniel Heidt & Michele B. HeidtKalen & Sean HolmesSusanne F. HubbachSteven & April KieburtzRocke R. Koreis & Candy J. LeeMoe & Susan KrabbeLisa KroeseFrances J. KwapilSharon LeeMr. James W. Leslie & Ms. Jeanne E. TwetenDr. Frank & Lynn LindsayMr. & Mrs. Robert I. LippThe MacRae Family FoundationChristina Marra & Paul SilverFrederick W. McDonaldCarol & Paul NeimanDr. Joe G. Norman, Jr.John Parchem & Barbara LycettMichele & Steve PesnerPNB LeaguePNB School Parents’ Association

Ms. Christina RichSharon Richardson Barbara RiesCatherine & Grant RiesMr. Scott SchererJohn & Melba ShortMs. Dyanne StepanekKent Stowell & Francia RussellDr. Michael & Peggy SwistakMs. Patricia TarrBonnie TowneDavid VaskevitchTom & Connie Walsh Sheree WenMs. Jodi WongBagley* & Virginia WrightBarbara & Charles B. Wright, IIICarol WrightLeslie & Tachi YamadaAnonymous

Members of the BarreScholarship Patron $5,000-$9,999Heidi AlessiLinda & Tom AllenChap & Eve AlvordJerry & Rita AnchesRev. Mary Petty AndersonPatrice & Kevin AuldPatty & Jimmy BarrierTom & Jeannie BlankCapt. & Mrs. Paul BlochElisabeth BodalDr. & Mrs. Thomas R. Boyce Ernest & Diane BurgessMs. Susan Y. BuskeCatherine Cantrell & Joseph DionneChris Capossela & Leigh TonerKent & Barbara ChaplinShirlee D. ChristensenDr. Terrence CroninMr. Michael W. DabneyMr. & Mrs. William* O. EllisonMs. Kristina EricksonCaroline Gallee & Frank Peschel-GalleeNatalie GendlerMrs. James L. Goedhart

Gail GoralskiSerena Harding-Jones & William LeseSteven HarlowOystein & Tracy HarsvikCatherine Hobi HawesRay Hoekstra & Dan DrummeyThomas & Kim HohlCathy Beth & Steven W. HooperRoy Hughes & Julie DavisChristian Huitema & Neige GilTom & Gail JamesNed & Pam JohnsonGilla Kaplan Daniel KingstonMr. & Mrs. Tim KirleyMs. Deborah LambJoan & Bob LawlerBarbara LewisJeff & Nancy LochHelene Mawyer Charles Maxfield &

Gloria F. Parrish FoundationPaul M. MockettDr. Armin & Beverly MohrMarywilde NelsonSusan & Dennis OkamotoAlida & Douglas OlesBob & Annette ParksGwendolyn Payton & John NeelemanMr. & Mrs. Tom A. PuentesDick & Alice RapaskyRick & Jennifer RedmanLynn Ries & Rod ProctorLaura & Adam SelipskyJohn F. & Julia P. ShawAmy L. SidellSusan & Philip StollerMel & Leena SturmanAngela & Carl SutterChristina TannerMr. Bryan VergatoRobert & Lisa WahbeStephanie WallachToby & Linda WarsonDeborah & Jim WatsonDavid & Romayne WattJohn W. Westergaard & Allison BurgwinRay & Judy WilliamsArlene A. WrightJack Wulfekuhle

Liora Neuville Photo © Angela Sterling.

theMillion

Dollar gift club

Pacific Northwest Ballet gratefully acknowledges the following individuals and organizations who have committed $1 million or more to support the Ballet’s operating needs or capital, endowment, touring, and new works initiatives.

FRIENDS OF PACIFIC NORTHWEST BALLET

4Culture • King County Lodging Tax • The Paul G. Allen Family Foundation • ArtsFund • ArtsWA • The Boeing Company • Jeffrey and Susan Brotman • Jane M. and David R. Davis • John and Carmen* Delo • Estate of Ruth Hoffman • Peter and Peggy Horvitz • Glenn Kawasaki • Kreielsheimer Foundation • Office of Arts & Culture-Seattle • David Michaud • Microsoft Corporation • National Endowment for the Arts • Mr. and Mrs. Sheffield Phelps • PONCHO • James D. and Sherry Raisbeck Touring Fund • Samuel and Althea Stroum* • Talented Students in the Arts Initiative, a collaboration of the Doris Duke Charitable Foundation and the Surdna Foundation • The Seattle Foundation • The Wallace Foundation • Washington State Office of Community Development • Anonymous


David & Linda WymanAnonymous (2)

Members of the Barre $3,500-$4,999Bill & Lisa AndersonKari Anderson & Mark PavlovicJK & Sherilyn BankstonMs. Katherine Barclay-RobertsonJane & Peter BarrettMs. Courtney BearValentina Vitols BelloLinda & George BerkmanGary & Linda BlumeMr. & Mrs. Robert R. Braun, Jr.Gardner & Victoria BrownJohn & Maralyn Burnley BlumeJoe* & Dorothy CanavanEllen C. CarnwathJon R. Conte & Margaret KerriganMrs. Tatiana DavidsonEarl & Anita DavieBertrand & Brooke de BoutrayKathryn Del BeccaroSuzanne DeWitt & Arie SteinbergSheila C. DietrichElizabeth Giblin Designated FundDr. Milton & Nancy EnglishSharon Falkner & Gene ChamberlainWilliam E. FranklinAlyce & Lowell FritzMrs. Stanley GolubIn memory of Dr. Geraldine N. GravesRosalind M. GreenbergMr. & Mrs. Richard C. HedreenStephen & Marie HeilJon and Laura HonhartMs. Toni Hoover & Mr. Alfred NeetlesMs. Marilyn Huey & Ms. Dorothy Sloan Huey*Sara A. Jones Ms. Joan Matthews JulnesSeymour & Evelyn KlebanoffBruce & Carol KochRob and Claudette KrauseBill & Kathie KreagerMr. John KruperMs. Natasha LaljiStephen & Marleen LandMr. Joshua LiebermanMs. Susan D. LouieBarbara & Michael LuxenbergNikki & Mark MahanMarsh Family FoundationMr. Fowler Martin & Ms. Barbara WarrenJim & Julie McElroyRichard & Jean PattonMrs. Marda PhelpsMrs. Ellen PottengerRobert Ripley & Nancy KadelMs. Pamela RolfeDorrit SaviersMary-Catherine SchugelKaren ShermanMichael Sible & Kristine SchmaltzLandry Slade & Gretchen Van MeterNorm & Cheryl Smith Dr.* & Mrs. George SoferMr. & Mrs. David G. SpragueDiane StevensBonnie & Tom StraussMs. Jessica TarzanMichael TempleSusan ThurstonJames TruchardNicholas Utzinger & John RochfordMs. Susan F. ValenciaMary ZorotovichAnonymous (5)

Put yourself in the middle of it.

Mirabella


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PNB Foundation Board

Chairman, Peter HorvitzFoundation Immediate Past Chair, Susan Brotman

President, Aya HamiltonAssociation Immediate Past Chair, Carl Behnke

Vice President, Joe NormanSecretary, Jim JudsonTreasurer, Dan HeidtAt Large, Dan Kingston, Phil Schlaepfer

Pacific Northwest Ballet gratefully acknowledges the following donors to the PNB Endowment, established in 1996 to ensure the future stability of PNB. If you would like to give a gift to the PNB Endowment that will help secure the future of PNB, please contact Lilah Helton, Associate Director of Development, at 206.441.3594 or [email protected].

$1,000,000 and aboveJeffrey & Susan BrotmanJohn & Carmen* DeloKreielsheimer FoundationDavid MichaudTalented Students in the Arts Initiative, a collaboration

of the Doris Duke Charitable Foundation

$500,000 - $999,999Carl & Renee BehnkeEstate of Ruth HoffmanPeter & Peggy HorvitzDr. Joe G. Norman, Jr.Arlene A. WrightMrs. Althea Stroum*The Bagley Wright Fund

$250,000 - $499,999Mr. & Mrs. William* J. DunnEstate of Gerard L. HanauerGlenn KawasakiEstate of Helen C. Kloess Estate of Gloria Peck-Neils

$150,000 - $249,999Robert W. Cremin Laurie A. GriffithWilliam Randolph Hearst FoundationEstate of Helen C. Kloess Anonymous (2)

$100,000 - $149,999Patrice & Kevin Auld Jane M. & David R. DavisJeremy & Jacqueline JaechHenry & Mary Ann JamesH. David Kaplan, In Memory of Dr. Stanley M. PierTravis & Suzanne KeelerThe Norcliffe FoundationRick & Jennifer Redman Mr. & Mrs. Tom A Puentes John F. & Julia P. ShawAllen & Kathleen ShoupKayla SkinnerAnonymous

$50,000 - $99,999Chap & Eve AlvordApex FoundationRobert M. Arnold*Elizabeth BottlerEstate of Edward S. BrignallEstate of Evangeline EdwardsEstate of Erma EricksonJane Erskine*Reed & Maren ErskineMrs. Paul S. Friedlander*Robin Gainey & Jerry Sanford, Jr.,

In Memory of Jerome G. Sanford, Sr. Estate of Merrill Gerstel John Graham Foundation

PACIFIC NORTHWEST BALLET ENDOWMENT

Aya Stark HamiltonMichele B. & W. Daniel HeidtEstate of Pauline HoodBruce & Carol HosfordJim & Diana JudsonFrederick W. McDonaldEstate of Shirley Callison MinerMargaret Perthou-Taylor*John & Nancy RudolfJeanne Ellen Tweten & James W. LeslieEstate of Frankie WakefieldRon & Carolyn WoodardCarol Wright

$25,000 - $49,999The Kenneth and Marleen Alhadeff Charitable

FoundationJerry & Rita AnchesSharon & Jay BallantinePatty & Jimmy BarrierJohn & Kay BaxterRebecca & Jack BenaroyaBenjamin BevisMr. & Mrs. Robert R. Braun, Jr.Mr. & Mrs. Anson Brooks, Jr.Cheryl Clark & Stephen Coonrod Clise Properties, Inc.Gail Cottle & Reynold BrownEstate of Cordelia BurnsDale & Leslie ChihulyDerdick TrustMrs. Patty EdwardsJoan Fitzmaurice Eliza FlugSusan E. Foster & Maurice J. PirioWilliam FranklinMr. & Mrs. James S. GriffinDavid & Cheryl HadleyMr. Mike & Mrs. Janet HalvorsonRoss Hartling, MD & Johnese Spisso Cathi & Ken HatchMrs. Catherine Hobi Hawes & Mr. Edward M. HawesLuke & Gail HelmsDavid F. Hill & Barbara M. Hyland-HillKalen & Sean Holmes Moe & Susan KrabbeLisa Kroese James A. Kraft & Dominique PosyFiroz & Najma Lalji Dr. Frank & Lynn LindsayMichael & Barbara MaloneMarcella McCaffrayAudrey McCoyMCM a Meisenbach CompanyCarol & Paul Neiman Laura J. PetersonIn honor of our parents, Sheffield & Patricia PhelpsPNB STARSJames & Sherry RaisbeckSharon RichardsonDr. Mack & Susan RicheyJohn & Sarah RindlaubMrs. John S. Robinson*Jan RogersPaula Rose*Jon & Judy RunstadJohn Charles & Mary R. Sellen-KlinkerJan & Jim SinegalEstate of Phillip SothDelphine & Charles StevensJohn Stokes & Laurie McDonaldHarry C. & Joan StonecipherKent Stowell & Francia RussellDr. Michael & Peggy SwistakDoug & Janet TrueToby & Linda WarsonRichard L. WeismanAlbrecht Widmann & Kenneth Barlow Wyman Youth TrustLeslie & Tachi Yamada Anonymous (3)

$15,000 - $24,999Alex & Norma CuginiBarry & JoAnn FormanRuth & Bill GerberdingDr. Hellmut & Marcy GoldeAdele GolubGerald & Lyn GrinsteinMark & Julie HutchesonSkip & Jackie KotkinsDiane & Gordon KuensterHelen L. Luchs*Dennis & Linda MitchellHeidi OrrEstate of Opal J. OrrCynthia Phelps*Barbara Prestrud, In Memory of Mr. & Mrs. Louis K. ByeEstate of Mary SchneidlerWayne ThurmanAnonymous (2)

$10,000 - $14,999Erik & Sherilyn AndersonBetty L. BlakeneyTom & Jeannie BlankBill & June BoeingDiane Canaday & Daniel HesseMrs. Phyllis B. ClarkSteven & Judith CliffordTatiana DavidsonMrs. Mildred K. DunnJim & Ann EliasDr. Stephen & Beverly FuhsMr. & Mrs. George M. GalpinMr. G. Keith & Mrs. Naomi N. GrimEstate of Margaret T. HawkesEstate of Mary S. HelmickJohn & Marli Iverson Estate of Ralph C. JacobsonCraig & Karen KennedyLee Kraft Cressman & Paul R. CressmanJoan T. LasersohnPatricia & Wilfrid LoekenKeith & Mary McCaw Family FoundationEstate of Nancy Nuckols Keefe Lea Anne & Randall OttingerLynn RiesGeorge* & Nelly SoferCraig TallDonna & Joshua Taylor Anonymous (1)*deceased

The following named funds have been created in the PNB Endowment:

Patricia Barker Endowed Scholarship FundCarmen Elizabeth Delo Endowed Fund for

Education & OutreachWilliam Randolph Hearst Foundation

Endowed Education & Outreach FundFrank Hobi Endowed Scholarship FundLaurie A. Griffith Endowed Scholarship Fund Benjamin Houk Scholarship for Young MenLucinda Hughey Endowed Scholarship FundHelen Kloess Endowed Scholarship Fund Kreielsheimer Artistic Development FundCatherine S. Leschen Endowed Scholarship Fund Jane McConnell ScholarshipLouise Nadeau Endowed FundAlexis Phelps Dancers’ Support Endowed FundPatricia Phelps Endowed Scholarship FundDr. Stanley M. Pier Endowed Scholarship FundTom & Gretchen Puentes Endowed Scholarship Fund Janet Reed Scholarship FundPaula Rose Endowed Scholarship FundThe Althea Stroum Production FundFrankie Ladley Wakefield Endowment for

Ballet Educational ProgramsArlene A. Wright DanceChance Endowment Fund


Bournonville/Christensen

Los Angeles BalletThordal Christensen & Colleen Neary Artistic Directors

2013/2014 Season

June 27, 2014 | 7:30 pm McCaw Hall, Seattle Center321 Mercer Street, Seattle WA 98109

LAB’s Seattle Debut

TicketsTicketmaster.com800.745.3000

More information about Los Angeles Ballet www.losangelesballet.org

“La Sylphide...exemplary,

among the finest achievements

in this company’s history.” los angeles times lewis segal, 2014

The Ralph M. Parsons Foundation

RÉVÉRENCE SOCIETYThe Révérence Society was established to honor those who remember Pacific Northwest Ballet in their long- range financial and estate plans–ensuring the artistic and financial strength of PNB for future generations. Estate gifts come in all sizes and include gifts through wills, living trusts and beneficiary desig nations on retirement plan accounts, and life insurance policies; other deferred gifts such as charitable gift annuities and charitable remainder trusts provide lifetime income. If you would like more information on how to join the Révérence Society and begin receiving special behind-the-scenes benefits or how to include PNB in your estate plans, please contact Lindsay Krause, Major Gifts & Planned Giving Officer at 206.441.3599 or [email protected], or visit www.pnb.org/support/plannedgiving.

David AkiyamaSena BaronPatty & Jimmy BarrierHallock W. BealsCarl & Renee BehnkeSharon A. BidwellElisabeth BottlerJohn H. BowenMr. & Mrs. Robert R.

Braun, Jr.Susan BrotmanLorna BrownCarol A. BurchDiane BurgessDaniel BurkertSally S. Cahill BrookbankDorrienne ChinnFerrell Nathan ConnGail A. CottleTavia CrowderMichael W. DabneyRita DaubenspeckTatiana DavidsonJohn DeloSheila C. DietrichWilliam J.* &

Sandra B. DunnMrs. Patty EdwardsJim & Ann EliasE.R.H.Thomas & Jane FaddenRussell & Nancy FosmireRobin F. GaineyDeborah GatesNatalie GendlerInger A. GoransonMrs. James S. GriffinMr. & Mrs. James M.

HalversonAya HamiltonBart & Jan Harper

JohnsonCathi & Ken HatchJoann HaugerudCatherine Hobi HawesW. Daniel Heidt &

Michele B. HeidtKlaus & Joaquenia

HeinrichPaula HoppingPeter HorvitzRoy L. HughesJohn E. IversonTom & Gail JamesBarbara A. JohnstonH. David KaplanNancy N. KeefeApril & Steven KieburtzKen & Claudia KilbreathDebby KimEdith KraemerBetty KreagerFrances J. Kwapil

Joan T. LasersohnRocke R. Koreis &

Candy J. LeeDr. Frank & Lynn LindsayLeslie* & David MattsonMr. & Mrs. J. Daniel

McConnellEdward McGuirkKathryn McPherson

RoonDavid MichaudCurt & Mary MikkelsenRoger F. MillerPaul M. MockettDr. Armin & Beverly MohrAnn D. MolitorLisa & Jonathan MorrisPhyllis MossCarol & Paul NeimanMarywilde NelsonJudy & Arnie NessDr. Joe G. Norman, Jr.Ms. Margaret OrdorniaMr. & Mrs. Richard

ParsellWilliam & Carol ParsonsRichard & Jean Patton Tony Sepanski & Ann

Logan PhillipsJean E. PhillipsJudith Cushman Quick &

Bob QuickRichard C. RedmanMs. Christina RichMimi RichardsLynn RiesRoyce & Maura RobertsAnn Lyda RogersMary K. RogersDr. H. Martin RosaCornelius & Penny RosseJoAnne Hardt RudoJohn RudolfMichael Ann SaginSam SebestaJohn F. & Julia P. ShawMr. & Mrs. Michael

SheetzJohn & Melba ShortSue Ann SmithW. Dyanne StepanekDr. Michael &

Peggy SwistakWayne ThurmanDr. Darlene A. TownsendBeni TuranElaine VonaDeidra WagerMr. Mike Waters Cathy & Ross WigginsMr. John C. Wilson, Jr.Evelyn ZaboAnonymous (4)


http://losangelesballet.org/


Pacific Northwest Ballet applauds the following corporations, foundations, agencies, and government institutions for their commitment to enrich the cultural life of our community through support of PNB. Their generosity provides vital funding needed to fulfill PNB’s mission of artistic excellence, innovation, and creativity along with dance education and wide-reaching community programs.

$200,000 & aboveArtsFundKOMO4*The Wallace Foundation$100,000 - $199,999The Boeing CompanyMicrosoft CorporationOffice of Arts & Culture SeattleThe Seattle Times*$50,000 - $99,999The Paul G. Allen Family Foundation4Culture—King County Lodging TaxThe Hearst FoundationsPerkins Coie Foundation*The Shubert FoundationSnoqualmie Tribe$25,000 - $49,999AnonymousBank of AmericaChateau Ste. Michelle*Dilettante Chocolates*Freed of London

HSBC John Graham FoundationThe Joyce Theater FoundationMoss Adams LLP*National Endowment for the ArtsNesholm Family FoundationSAVOR*The Seattle FoundationU.S. Bank$10,000 - $24,999ArtsFund/ The Ned & Kayla Skinner

Arts Enrichment FundArtsWAEngaging Dance Audiences,

A program of Dance/USAGoldman, Sachs & Co.Harvest FoundationJean K. Lafromboise FoundationThe Jerome Robbins FoundationMacDonald, Hoague & Bayless*Muckleshoot Indian TribeNorman Archibald Charitable

Foundation

Northwest Danish AssociationNecorah Floral*Plum CreekSafeco Insurance Foundationscan|design Foundation

by Inger & Jens BruunStarbucks Coffee Company*Sterling Bank U.S. Bancorp FoundationWells Fargo$2,500 - $9,999Acción Cultural EspañolaAlaska Airlines*AnonymousArtsFund/ The Jean T. Fukuda

Memorial Fund for Performing Arts Bellevue Arts CommissionCanterbury ConsultingGreen Diamond Resource CompanyHedges Family Estate* KeyBankK&L GatesByron & Alice Lockwood Foundation

Northern Trust BankPEMCO FoundationPicture Source*Regence Blue ShieldTalking Rain*Ten Mercer*UW MedicinePeg & Rick Young Foundation$1,000 - $2,499Alabastro PhotographyAnonymousBossak/Heilbron Charitable

FoundationCreag FoundationElliot Bay Book Company*Eltana Wood-Fired Bagel CaféKelly Foundation of WashingtonRoger F. Miller*MetLife FoundationSuperGraphics, a division

of GM Nameplate*Harold L. Wyman Foundation

*In-kind support

SEASON PARTNERS

2013-2014 SEASON SPONSOR

MAJOR SUPPORTERS

PREFERRED PROVIDERS

THE HEARST FOUNDATIONS

CORPORATE, FOUNDATION, AND GOVERNMENT SPONSORS

Nesholm FamilyFoundation


PNB SCHOOL PARENTS’ ASSOCIATIONAn association of parents of PNB School students, the PNBSPA functions as a support organization for the School, students, and parents to further the goals of quality dance instruction.

Co-President: Laura RookstoolCo-President: Keri FentonTreasurer: Leigh Staddon-SmithSecretary: Denise OpperFlower Chair: Paula JurionPetite Finale Seattle: Laura RookstoolPetite Finale Eastside: Keri Fenton, Acco KennedySchool Performance Chair: Leigh Staddon-Smith

PNB STARSOriginally established in 1997 to honor PNB’s 25th Anniversary, PNB STARS’ dedicated, energetic members support the Ballet through special events, fundraising, and member education.

President Pro-Tem: Cindy Lee, Carrie Lee, Kari AnspachPresident Elect: Kristin Pastoriza VP Membership: Susie Ostrander VP Programs: Deborah Ritner, Nicole Bolling, Courtney Bear Treasurer: Gail Goralski Recording Secretary: Anne Dor Newsletter/Directory: Donna Thornes, Amy AndersenVolunteer Council Rep: Winnie BaxterMentor Program: Amy AndersenScholarship Liaison: Sharon Richardson Members at Large: Faith Sheridan, Natalie Phelps, Beverly Kershaw Founder: Alexis Phelps

DANCECHANCE This PNB School program offers free classical ballet training to talented elementary students in Seattle and Bellevue. Volunteers work directly with students, assisting them before and after classes as well as supervising and coordinating educational activities.

Linda BlumeLeslie GallagherStacy GravesGerry Kuaimako

Victoria MathiasCarolyn MawbeyShannan McCormickElizabeth Means

Lisa MillsCarol NeimanLinda PetersJennifer Porter

YOUNG PATRONS CIRCLEPNB’s social and educational group for ballet patrons in their 20s and 30s offers its members subscription discounts and social and educational events throughout the season.

Chair: Jeff Jorgenson President: Colleen KreylingLuke Collova Daniel Rathbone Jon Shepherd Mike Waters

Nia Zhang Molly DavisKirsten Wattenburg Keely Coxon

Pacific Northwest Ballet’s family of supporters includes a community of dedicated and enthusiastic volunteers. The wonderful individuals in each of our volunteer organizations contribute countless hours and immeasurable energy to ensure the success of PNB’s many programs. We gratefully acknowledge the generosity of each volunteer and commend them for all they have accomplished this season to further the goals of Pacific Northwest Ballet.

PNB Volunteer Organizations

TO KNOW MORE, OR IF YOU ARE INTERESTED IN VOLUNTEERING, PLEASE VISIT PNB.ORG

Thank You To Our Volunteers

PNB LEAGUEOur PNB League volunteers work to support and promote PNB through fundraising projects, Nutcracker Brunch, and dancer support and recognition activities.

President: Betty KreagerFirst VP-Volunteers/PNB Representative/Treasurer: Rebecca WakefieldSecond VP- Programs/Publicity: Gloria WernliThird VP-Membership: Judy WilliamsFourth VP-Dancer Liaison: Joyce LangRecording Secretary: Carol Williams-SmithCorresponding Secretary: Barbara SnoeyHistorian: Kate MitchellParliamentarian: Zoe Erickson

SUPPORT GROUP CHAIRPERSONSBainbridge Island: Peggy BoothCorps: Tina Pope

VOLUNTEER CORPSEver wonder who runs the Amusements gift shop? PNB’s Volunteer Corps provides this vital service and also assists with hands-on projects in PNB’s administrative and ticket offices.Norma Aamodt-NelsonAlan & Carriann

AlabastroSheri AshlemanNicole BaileyRenate & Stephan BarnesJane BernsteinKarly BillsteinRobert BogatajJean BolivarArt & Cheryl BollNaomi BotkinMoira BradshawSandy BreenFran CalhounLisa CaprinaSue CarlsonHelen ClemensLinda DelgadoKaty DiggesAlexandra DoctorBrenda DonnerJoyce DowdingTony EansDon & Linda ElmanLida EncheZoe EricksonSusannah EverlundJoyce GarsonChristine GileKate Good-SmithMarcia GrimstadSara Hart

Joann JordanLinda JosephsonLaura Kennedy-GouldBeverly KershawKaren KirchoffDiana Kilsheimer Cindy LeeBrian & Jane LeonardRosemary Leong-MillerCharlie & Christa

LiebentrittPat MackenzieNecia & Ron ManchasJanet MandellErik MartinWilson MatPamela MayCharles MichelsonToni MickusNadine MiyaharaNancy MurphyJill NovikSigne OlsonCorrine & Rachel

PassavantKara PeckBrooke PerryJoceyln PhillipsMarilyn PriceDot PrimePedro ReyesPauline & Sally RoachPacita Roberts

Betty RobertsonJan SaarelaNina SandersBruce SchicklerCarol SchillreffCynthia SheridanTraci SimsLois & Malva

SlachowitzSusan StarrLauren StevensSherry StevensJoy StrangeLucy Allen SullivanSusanne SunnesonTiffany SutterfieldAnn TamuraCarol ThomsonCherryl ToweyChristiane UlnessJacquelyn VailSherri VansickleJan VetterLaura VonderlagePat WalkerDebbie WebberConstance WelchEleanor & Sabine

WestonKim WilsonJudy YuMarietta Zintak

PNB School Parents’ Association volunteers Denise Opper and Laura Rookstool. Photo © Rex Tranter.



PACIFIC NORTHWEST BALLET DANCERS

Batkhurel Bold is from Ulan Bator, Mongolia. He joined PNB in 1996 and was promoted to soloist in 1999 and principal in 2004.

Jonathan Porretta is from Totowa, New Jersey. He joined PNB as an apprentice in 1999 and was promoted to soloist in 2002 and principal in 2005. Mr. Porretta has also danced with Dances Patrelle in New York.

Carrie Imler* is from Carlisle, Pennsylvania. She joined PNB as an apprentice in 1995 and was promoted to soloist in 2000 and principal in 2002.

Lesley Rausch* is from Columbus, Ohio. She joined PNB as member of the corps de ballet in 2001, was promoted to soloist in 2007 and principal in 2011.

Karel Cruz is from Havana, Cuba. He joined PNB as a corps de ballet member in 2002 and was promoted to soloist in 2007 and principal in 2009. Mr. Cruz also danced with Ballet Nacional de Cuba and in Venezuela with Ballet Clasico de Camara and Teatro Teresa Carreno.

Kaori Nakamura is from Gumma, Japan. She joined PNB as a soloist in 1997 and was promoted to principal in 1998. Ms. Nakamura was formerly a principal dancer with Royal Winnipeg Ballet.

Rachel Foster is from Pittsburgh Pennsylvania. She joined Pacific Northwest Ballet as a member of the corps de ballet in 2002. She was promoted to soloist in 2008 and principal in 2011. Ms. Foster has also danced with Pittsburgh Ballet Theatre.

Seth Orza is from San Francisco, California. He joined PNB as a member of the corps de ballet in 2007, was promoted to soloist in 2008 and principal in 2010. Mr. Orza was formerly a soloist with New York City Ballet.

Maria Chapman* is from Macon, Georgia. She joined PNB as an apprentice in 1995 and was promoted to soloist in 2005 and principal in 2009.

Carla Körbes is from Porto Alegre, Brazil. She joined PNB as a soloist in 2005 and was promoted to principal in 2006. Ms. Körbes was formerly a soloist with New York City Ballet.

Principals

Lindsi Dec* is from Fairfax, Virginia. She joined Pacific Northwest Ballet as an apprentice in 2001, and was promoted to soloist in 2009, and principal in 2014.

James Moore is from San Francisco, California. He joined PNB as a member of the corps de ballet in 2004, was promoted to soloist in 2008, and principal in 2013. Mr. Moore also danced with Pittsburgh Ballet Theatre.

Laura Tisserand* is from Hammond, Louisiana. She joined Pacific Northwest Ballet as an apprentice in 2003 and was promoted to corps de ballet in 2004, soloist in 2010, and principal in 2014.

Listen to the Ballet on KING FM 98.1!Pacific Northwest Ballet partners with Classical KING FM 98.1 to bring listeners performances by the PNB Orchestra, live from McCaw Hall. Featuring some of the most popular ballet scores of all time, PNB’s 2013-2014 on-air season concludes with a broadcast of the opening night performance of Giselle on May 31. The curtain goes up at 7:30 pm on Classical KING FM 98.1, or online at www.king.org/listen.


Jerome Tisserand is from Lyon, France. He joined Pacific Northwest Ballet as a member of the corps de ballet in 2007 and was promoted to soloist in 2012. Mr. Tisserand also danced with Miami City Ballet.

Benjamin Griffiths* is from Boise, Idaho. He joined Pacific Northwest Ballet as a member of the corps de ballet in 2005 and was promoted to soloist in 2008. Mr. Griffiths also danced with Boston Ballet.

Elizabeth Murphy*is from Chelmsford, Massachusetts. She joined Pacific Northwest Ballet as a corps de ballet member in 2011 and was promoted to soloist in 2014. Ms. Murphy also danced with North Carolina Dance Theater, Pennsylvania Ballet, and Ballet West.

Sarah Ricard Orza is from Amherst, Massachusetts. In 2007, she joined Pacific Northwest Ballet as a corps de ballet dancer and was promoted to soloist in 2010. Ms. Orza also danced with New York City Ballet.

Kiyon Gaines* is from Baltimore, Maryland. He joined Pacific Northwest Ballet as a member of the corps de ballet in 2001 and was promoted to soloist in 2012.

Kylee Kitchens* is from Laguna Hills, California. She joined Pacific Northwest Ballet as a member of the corps de ballet in 2000 and was promoted to soloist in 2012.

William Lin-Yee is from San Francisco, California. He joined Pacific Northwest Ballet as a corps de ballet dancer in 2008 and was promoted to soloist in 2014. Mr. Lin-Yee also danced with New York City Ballet.

Margaret Mullin* is from Tucson, Arizona. She joined Pacific Northwest Ballet as an apprentice in 2008, was promoted to corps de ballet in 2009, and soloist in 2014.

Soloists

*denotes former Pacific Northwest Ballet School student.

Learn more about the artists of Pacific Northwest Ballet by visiting www.pnb.org.

The dancers of Pacific Northwest Ballet are members of AGMA — the American Guild of Musical Artist, AFL-CIO. Pacific Northwest Ballet School Professional Division students perform courtesy of AGMA. PNB artist headshot photography by Angela Sterling and Lindsay Thomas.

TWITTERmission!Questions or comments

about Giselle?

Tweet at us using #PNBIntermission!www.twitter.com

www.twitter.com/PNBallet


http://babyandco.us/


Kyle Davis* Joined in 2008 Green Bay, WI

Amanda Clark* Joined in 2008 Fairfax, VA

Eric Hipolito Jr.* Joined in 2008 Seattle, WA

Joshua Grant* Joined in 2001; 2011 Niceville, FL

Corps de Ballet

* denotes former Pacific Northwest Ballet School student.

Angelica Generosa* Joined in 2011 South River, NJ

Raphaël Bouchard Joined in 2013 Quebec City, Quebec

Steven Loch*Joined in 2011 Dallas, TX

Charles McCall*Joined in 2011 St. Louis, MO

Ryan Cardea* Joined in 2009 New York, NY

Jessika Anspach* Joined in 2004 Bellevue, WA

Chelsea Adomaitis* Joined in 2009 Boston, MA

Leta BiasucciJoined in 2011Carlisle, PA

Andrew Bartee* Joined in 2008 Everett, WA

Elle Macy* Joined in 2012 Huntington Beach, CA

Jahna Frantziskonis* Joined in 2012 Tucson, AZ

PACIFIC NORTHWEST BALLET DANCERS

WONDERING WHO THAT YOUNG BALLET-GOER IS, SITTING IN THAT SEAT NEXT TO YOU?

They could very well be a member of Teen Tix. Since the inception of this arts access program for teenagers, Pacific Northwest Ballet has been a proud and passionate participant. Now in its 9th year of operation, Teen Tix provides Seattle-area teenagers with access to over 40 arts organizations in an effort to engage young people in Seattle’s vibrant cultural scene. Teen Tix members can purchase day-of-show tickets to music, dance, theater, and arts events for only $5.

For more information, visit

TEENTIX.org or just lean over and

ask the teen sitting next to you.

Welcome

Teens


Leah Merchant* Joined in 2007 Mobile, Alabama

Price Suddarth*Joined in 2010Westfield, IN

Brittany Reid* Joined in 2000 Huntington Beach, CA

Ezra Thomson* Joined in 2009 San Bernardino, CA

Carli Samuelson* Joined in 2008 Boiling Springs, PA

Liora Neuville* Joined in 2007 Paris, France

Matthew RenkoJoined in 2011Sumter, SC

Sarah Pasch*Joined in 2011 Dublin, CA

Christian Poppe* Joined in 2013 Lake Stevens, WA

APPRENTICE

Emma Love Suddarth* Joined in 2008 Wichita, KS

http://www.teentix.org/


http://www.pnb.org/

http://www.pnb.org/

DOC. NAME: DLTCORM14645_1H_SEA_Encore_SHRT_AMST_May30_00.indd LAST MOD.: 4-9-2014 12:42 PM

CLIENT: Delta

CAMPAIGN: 2014 Keep Climbing

BILLING #: DLTCORM14645

STUDIO JOB #: WKS DLT M14645

PUBLICATION: Encore

PUB DATE: May 30

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PROPERTY: 2014 1H Seattle

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ECD: N/A

CD/ACD: John Parker & Sean McLaughlin

AD: Jon Robbins

CW: Maddison Bradley

SA: Mike Nesi

PD: Nakia Sinclair

PM: Ava Rant

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COLORS: Cyan, Magenta, Yellow, Black

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Giselle; Encore Arts Seattle

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