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2 The Sarasota Ballet | Box Office: 359-0099 x101 | www.SarasotaBallet.org 

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October 

Shostakovich Suite 

Choreography by Ricardo Graziano 

Othello 

Choreography by Peter Darrell 

Tchaikovsky’s Ballet Fantasy 

Choreography by Matthew Hart 

FSU Center for Performing Arts 

Friday, 28 October at 8pm • Saturday, 29 October at 2pm, 8pm 

Sunday, 30 October at 2pm, 7pm 

November 

Diamonds 

Choreography by George Balanchine 

Performed by The Sarasota Ballet with dancers from The Suzanne Farrell Ballet 

The Two Pigeons 

Choreography by Sir Frederick Ashton 

Van Wezel Performing Arts Hall 

Friday, 18 November at 2pm, 8pm 

Ruth Eckerd Hall 

Saturday, 19 November at 8pm 

December 

Les Patineurs 


The American 

Choreography by Christopher Wheeldon 

Rodeo 

Choreography by Agnes DeMille 

Sarasota Opera House 

Friday, 9 December at 8pm • Saturday, 10 December at 2pm, 8pm 

BALANCHINE is a Trademark of The George Balanchine Trust 

This production of Rodeo is presented with the cooperation 

of DeMille Productions, Anderson Ferrell, Director. 

On the Cover: The Two Pigeons by Sir Frederick Ashton. Photo by Frank Atura 

Dancers: Victoria Hulland and Octavio Martin 

January 

Donizetti Variations 


Spielende Kinder 

Choreography by Will Tuckett 

Salute 

Choreography by Johan Kobborg 


Friday, 27 January at 8pm • Saturday, 28 January at 2pm, 8pm 

Sunday, 29 January at 2pm, 7pm 

February 

Valses Nobles et Sentimentales 

Monotones I & II 

Façade 



Friday, 24 February at 8pm • Saturday, 25 February at 2pm, 8pm 

Sunday, 26 February at 2pm, 7pm 

April 

Serenade 


Premiere by Dominic Walsh 

Nine Sinatra Songs 

Choreography by Twyla Tharp 


Friday, 13 April at 8pm • Saturday, 14 April at 2pm, 8pm 

Theatre of Dreams 

Choreography by Octavio Martin, Kate Honea, Ricardo 

Graziano, Ricki Bertoni and Jamie Carter 


Friday, 27 April at 8pm • Saturday, 28 April at 2pm, 8pm 

Sunday, 29 April at 2pm, 7pm 

www.SarasotaBallet.org | Box Office: 359-0099 x101 | The Sarasota Ballet 5

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Logan Learned in Les Patineurs by Sir Frederick Ashton. 

Photo by Frank Atura. 


30 YEARS 941.955.3000 | www.CFSarasota.org 

PHOTO BY CLIFF ROLES 

Iain Webb 

Director 

This season marks my fifth year, as The Director of The Sarasota Ballet, but 

more importantly I am very excited that this is the first year of my new sixyear 

contract. Already, as we start this new chapter, I sense a very different 

energized atmosphere around me with a strong focus on the future. Last year 

we celebrated our twentieth anniversary with a spectacular Gala to honour 

our wonderful and gracious founder, Jean Allenby-Weidner, who shares the 

same feeling of pride I have in our dancers, and I feel sure you are all equally 

proud of this wonderful company. Without a doubt the dancers are my 

inspiration and it is their commitment and dedication to the art form that 

enables me to accomplish my vision for the company and makes all the hard 

work worthwhile. 

There have been difficult times with obstacles to overcome during the last 

four years, whilst still managing to present productions of the highest caliber 

and building a diverse and world class repertoire, which is becoming the envy of many 

ballet companies in America and internationally. This year we continue building our 

repertoire with exhilarating new works alongside historical masterpieces. However it 

is important to keep our feet firmly on the ground, being frugal, yet creative with our 

business plans for now and the future. 

I truly appreciate how lucky I am to not only have this wonderful company of dancers, 

but at last a great staff that works together as a team, led by Mary Anne Servian, our 

Managing Director, as well as an extremely supportive Board who are committed to 

sustaining the vision and goals that I present to them. Their tremendous work and 

combined effort is what makes the organization we are proud of. Speaking on behalf of 

everybody, I want to especially thank our Board Chair, Hillary Steele, for her tremendous 

work and achieving so much in a short space of time. We are all hugely grateful for 

everything she has done and continues to do and I hope she knows how much we all 

appreciate her love and commitment to The Sarasota Ballet. 

Sarasota is a rarity in having so much creative energy, with many superb arts 

organizations at the heart of our beautiful city. We are fortunate that we have generous 

sponsors who support us all and I would like to send my heartfelt thanks and gratitude 

to you, but most especially to our loyal sponsors and audiences who continue to support 

our unique and very talented company, The Sarasota Ballet. 

Over the past years there have been many memorable moments that I will always 

treasure, but this season started with a particularly special highlight. A memory I shall 

cherish forever is of our main studio overflowing with dancers and at the helm of the 

studio, two of the most inspiring and generous former ballerinas, Suzzane Farrell and 

Margaret Barbieri. Moments like this are to dream of and what makes my work rewarding. 

I hope that every time the curtain rises on our stage to reveal our company, you will 

capture some of the inspiration we feel and fall in love with this company the way that 

Margaret and I have. 



PHOTOS BY CLIFF ROLES 

Jean Allenby-Weidner 

Founder and Chair Emeritus 

Welcome! 

As Founder of The Sarasota Ballet, I am extremely proud to welcome you to 

our 21st season. Under the superb direction of Iain Webb, now in his fifth year 

as Director, The Sarasota Ballet of today is unparalleled with an International 

repertoire that is the envy of many major companies. 

As former principal ballerina with the Stuttgart Ballet and founding director 

of the Evansville Dance Theater, I was approached in 1987 by Leo Rogers, 

then chairman of the Sarasota Opera, who asked me to present ballet at the 

newly renovated Opera House. Thus The Sarasota Ballet was born! With many years of 

hard work, growing pains and commitment, every effort has been rewarded as we have 

achieved a top-notch ballet company. 

This season starts off with an exciting collaboration with The Suzanne Farrell Dance 

Company (Balanchine’s muse) performing in Sarasota, Clearwater and the Kennedy 

Center in Washington, D.C. This collaboration and opportunity to perform at The John 

F. Kennedy Center for the Performing Arts brings high praise for Iain Webb and his wife, 

former Prima Ballerina, Margaret Barbieri, who have tutored and mentored our talented 

dancers. I thank them both for their dedication and passion to The Sarasota Ballet! 

I give my heartfelt thanks to all who supported and assisted me in launching The Sarasota 

Ballet Company some 21 years ago and continue to support the ballet to this day. Special 

recognition to: Ed and Elaine Keating, Marvin and Betty Danto, Alfred and Ann Goldstein, 

Sydney and Jerome Goldstein, Bob and Jeanne Zabelle, Ernest and Alisa Kretzmer, Ulla 

Searing, and many others who have been with us from the very beginning, and of course, 

my generous husband Ken Weidner who mentored all for so long. 

Thank you all for helping to celebrate our 21st season - You are in for a treat! 

20th Anniversary Gala 



THe SArASoTA BAlleT 

BoArd of dIrecTorS 

Founder/Chair emeritus 


emerITA 

Sydney Goldstein 

lIfeTIme dIrecTor 

Marvin Danto 

execuTIve offIcerS 

Hillary Steele 

Chair 

Sally Yanowitz 

Vice Chair 

Peggy Abt 

Secretary 

John Simon 

Governance Officer 

Robert Zabelle 

Treasurer 

GenerAl dIrecTorS 

Dr. Holly Barbour 

Michael Bush 

Judy Cahn 

Kay Delaney-Bring 

Mark Famiglio 

Martin Kossoff 

Helene Noble 

Dr. Bart Price 

Wanda Rayle-Libby 

Dale Rieth 

Terry Romine 

Murray E. Sherry 

Janet Sperling 

Donna Stiens 

Robin Strauss 

Retta Wagner 


Chair 

Welcome to the 21st season of The Sarasota Ballet! This year marks Iain Webb’s 

fifth season as Director and I am thrilled to confirm that he has agreed to a new 

six-year contract. As a testament to the high level of excellence to which Iain 

Webb has brought The Sarasota Ballet, our Company has been chosen for a 

unique collaboration with the Suzanne Farrell Dance Company. Suzanne Farrell, 

a former Prima Ballerina with the New York City Ballet and muse to legendary 

George Balanchine, has invited The Sarasota Ballet to perform with her Company here 

in Sarasota as well as at the Ruth Eckerd Performing Arts Hall in Clearwater and most 

impressively at The Kennedy Center in Washington, D.C. An invitation to perform at The 

Kennedy Center is a huge honor and confirmation that Sarasota is home to a world class 

ballet company under the direction of Iain Webb. 

In addition to enriching Sarasota through outstanding professional ballet performances, 

The Sarasota Ballet also continues to strengthen our community through education and 

outreach: 

• The Sarasota Ballet School for students in pre-k through high school now has a 

waiting list due to its reputation for high quality training. 

• Our award winning drop-out prevention program, Dance–The Next Generation, 

continues to benefit local, at risk children after school through the discipline 

of dance, tutoring, homework assistance and mentoring. Graduates are eligible 

for college scholarships and many have gone on to have successful and productive 

lives and careers in a variety of occupations, including professional dance, as a 

result of this unique and effective program. 

• Studio 20 in Pineapple Square has added more adult dance and yoga classes to 

its offerings and continues to present First Friday Ballet Performances free to 

the public. 

• Girls’, Inc. has invited The Sarasota Ballet to offer ballet, modern and jazz dance to 

its curriculum which is free of charge. 

• Schools in Sarasota and Manatee Counties will be sending 2,000 schoolchildren 

to experience free, school day performances of Tchaikovsky’s Ballet Fantasy 

and Othello this fall. 

I am happy to announce that our Board of Directors has welcomed several new members 

who bring a variety and wealth of experience that will help to keep The Sarasota Ballet 

thriving for many years to come. The Ballet also continues to excel at the box office with 

subscriptions and single ticket sales at a record high. 

As we look to the future, I want to express my gratitude and appreciation to Iain Webb, 

Margaret Barbieri, our dancers, Board members, Friends of The Sarasota Ballet, staff, 

volunteers and you, our beloved audience and supporters. Welcome to our best season 

yet–The Sarasota Ballet’s 21st Season. 



mission 

We enrich lives, 

captivate emotions, 

and strengthen community 

through the art of dance 

vision 

To infuse our community 

with the highest quality 

and diversity of dance 

in America… 

The Sarasota Ballet 

mary Anne Servian 

Managing Director 

Welcome to the 21st season of The Sarasota Ballet. For those who are attending 

for the first time, I sincerely hope you enjoy the experience and will attend many 

more performances. If you are a returning patron I want to thank you for your 

continued support. 

As Managing Director, I have the pleasure of leading a team of professionals 

to provide the administrative foundation for The Sarasota Ballet. Throughout 

my career I have held management positions in banking, finance and software 

development. I also had the honor of serving this community as a City 

Commissioner and Mayor. 

I am confident in saying the staff at The Sarasota Ballet is the most competent 

and enthusiastic team that delivers, time and time again, and always with a smile. 

Noreen Delaney, Development Director: With her passion for ballet and extensive 

experience in sales and marketing, she is responsible for individual donor relationships. 

Noreen previously worked with The Sarasota Ballet in the production of our program 

book. We are happy to welcome Noreen back. 

Mike Marraccini, Box Office and Communication Manager: Mike brings with him a 

diversified background in communications. Mike’s new responsibilities will include 

updating our web site and managing a great deal of marketing materials. Mike is a 

veteran of the Iraq War. 

Susan Reeves, Company Manager & Box Office Assistant: Susan has many years 

experience in performing arts management and patron relationships. She was most 

recently with the Sarasota Opera as Front of House Manager. Susan will assist Mike in 

the Box Office and be the liaison to the Company. 

Michael Scott, Business Manager: Michael has been that familiar face at every 

performance and event for three seasons. He is responsible for corporate sponsorships, 

planned giving and special events. Michael was responsible for The Sarasota Ballet’s 

20th Anniversary Gala receiving an award for “Most Memorable Moment”. 

Ginny Winkler, Controller & Human Resource Director: Ginny joined the organization 

in the spring and has wide-ranging experience in accounting and finance. She is 

also managing payroll and Human Resource activities. Her skills allow us to track our 

financial position at all times. 

Gayle Williams, Marketing Consultant: Gayle has worked with The Sarasota Ballet 

for seven years. Her firm, VisionPRM, handles our Marketing, Advertising and Public 

Relations. This season she is working closely with Mike Marraccini as he takes on more 

tasks in marketing. 

With this team in place, Director Iain Webb and I have been able to organize and manage 

The Sarasota Ballet in a cohesive and long-term manner. There are new processes in 

place for Fiscal Management, Technical Oversight as well as Personnel Policies and 

Procedures. 

The Administrative, Technical and Education divisions work together to support 

Director, Iain Webb in his continued pursuit of excellence. 

Please join us in enjoying an amazing year of dance. 


ST. ARMANDS CIRCLE | 443A JOHN RINGLING BLVD | SARASOTA, FL | 941.388.3091 

With Love and Affection for your Support throughout the years 

–Iain 

Iain Webb, Ulla Searing, Hillary Steele 

Sydney & Jerome Goldstein Elaine Keating 

Johan Kobborg, Alina Cojocaru, Iain Webb 

Alisa & Ernest Kretzmer 


Marvin Danto, Jean Weidner, Betty Danto Alfred Goldstein 

Bob & Jeanne Zabelle 


Jerome & Sydney Goldstein Ernest & Alisa Kretzmer 

Gulf Coast Community Foundation 

of Venice 

Bob & Jeanne Zabelle 


www.SarasotaBallet.org | Box Office: 359-0099 x101 | The Sarasota Ballet 17 

Teri Hansen 

Dean Sally McRorie 

Florida State University

Warren & Margot Coville Mark & Jennie Famiglio Al Goldstein Jim & Harley Hanrahan 

Donations to The Sarasota Ballet received September 1, 2010 - August 31, 2011 

John Simon 


Pineapple Square Properties, LLC 

Charles Huisking 

The Charles L Huisking Jr & Lillian Husking Donor Advised 

Fund of the Community Foundation of Sarasota County 

Ted & Jean Weiller 

Bank of America 

Client Foundation 

J. Robert & Lee Peterson 

In Honor of Jean Allenby-Weidner 

Roxie Jerde 

The Community Foundation 

of Sarasota County 

18 The Sarasota Ballet | Box Office: 359-0099 x101 | www.SarasotaBallet.org www.SarasotaBallet.org | Box Office: 359-0099 x101 | The Sarasota Ballet 19

Ken & Peggy Abt 

My Way 

FRIENDS RIENDS 

OF THE 

Bud & Betty Shapiro 

From the Park to the Prairies 

Kay Delaney & Murray Bring 


Mildred Stein 

A Knight of The British Ballet 

Virginia Linscott 


Kaiserman 

Foundation 

Paul & Sharon Steinwachs 


Sally Yanowitz 

My Way 

Michael & Robin Strauss 


Paul Mattison 

Mattison’s Restaurants & Catering 

Edie Winston 

Made in America 


Gerri Aaron 

My Way 



Joel & Ellen Fedder 

From the Parks to the Prairies 

Harold Libby & Wanda Rayle-Libby 

From the Parks to the Prairies 


Michael & Kathy Bush 




Mort & Carol Siegler 

The Great Masters 

Revella Price 

My Way 

Dale & June Rieth 

Season Opener 

Betty Schoenbaum 


Stanley Kane Elaine Keating 

Lydia Landa 

Matt & Lisa Walsh 

Fifth Third Bank 

Innovative Dining Concepts 

Kerkering Barberio Financial Services 





Betty Menell 

The Menell Family Foundation 


Steve & Lucia Almquist 


Judy Cahn 

My Way 

Gene & Helene Noble 


Charles & Margery Barancik 

Season Opener 

Peter & Judy Carlin 

Season Opener 

Dr. Ken & Chris Pfahler 

In Honor of Dominic Walsh 

Michael Klauber & Phil Mancini 

Michael’s on East 

John Simon 


Donna Stiens 

Retta Wagner 

Williams Parker 


Janet Sperling 


Jeremy Hammond-Chambers 

Lois Stulberg 

My Way 

Not Pictured: 

Arnold & Bette Hoffman 

Christine & Bill Isaac 

Tom & Gwendolyn Watson 

22 The Sarasota Ballet | Box Office: 359-0099 x101 | www.SarasotaBallet.org www.SarasotaBallet.org | Box Office: 359-0099 x101 | The Sarasota Ballet 23 

Marty Kossoff

Herman & Sharon Frankel 


Patrick & Ann Kenny 

My Way 

Bernard & Lauren Walsh 


Ellen Goldman 


Joan Nixon 


William & Karen Watt 

Season Opener 

Eugene & Toby Halpern 



Keith & Carol March 


Flori Roberts 

My Way 

Robert Wilk 

DNG 

Not Pictured: 

Carolyn Byers 


Helen Gifford 


Richard Kemmler 


Robert & Ineza Hart 


Mary Ann Robinson 

Season Opener 

Linda DesMarais 

SNN Local News 6

Golden circle | $1,000 - $2,999 

Zoe Anderson 

Anonymous 

Roland and Betty Anthone 

Martin and Barbara Arch 

Toni Armstrong 

Carol Arscott 

Jane Baisley 

David and Ruth Beliles 

Walter and Anne Bladstrom 

Joseph and Barbara Breitman, 

In Honor of Iain Webb 

James and Susan Buck 

Ann Burroughs 

Robert and Lorynne Cahn 

Del Carlson 

David and Edith Chaifetz 

Boyer and Irene Chrisman 

Willard and Lois Cohodas 

James and Kim Cornetet 

Michael and Marcia Corrigan 

John and Herta Cuneo 

Robert and Gail Davies 

Frank Buffone and Alan Dee 

Bret and Jayme Dixon 

Fred and Lynda Doery 

Murray and Brenda Duffin 

Jane Ebbs 

George and Patricia Edmonds 

William and Barbara Epperson 

Helene Fagin 

E. Raymond and Ann Fenton 

Jeffrey and Lenore Fernald 

Mildred Field 

Paul and Muriel Francis 

Robert and Dottie Baer Garner, 

In Honor of Michael Scott 

Robert Evans and Gerald Genova 

Navid and Gia Ventola Ghoreishi 

Jacqueline Giddens 

Pat Golemme 

Jorgen and Gudrun Graugaard 

Gulf Coast Italian Cultural Society, Inc. 

Eugene and Toby Halpern 

Victor and Marcella Hazan 

Craig and Donna Hecker 

Joe and Mary Kay Henson 

Vlatka Ivanisevic 

The Jelks Family Foundation 

Thomas and Alison Jones 

Luther and Joyce Jungemann 

Joseph Kerata and Lynne Armington, 

In Honor Of Iain Webb 

Kiwanis Club of Longboat Key 

Anne Klisurich 

Robert Kromer and Matsie Yost 

jim lampl 

Claire Levin 

Ina Rae Levy 

Hal and Marlene Liberman 

Saul and Phyllis Lowitt 

William and Cornelia Martin, 

In Honor of Arnold and Paula Spitalny 

Howard Millman aand Carolyn Michel 

Edward and Jadwiga Mues 

Andrew and Lynn Nicoletta 

Fred and Gilda Nobel 

Barbara Pekow 

Betty Pike 

Richard and Joan Reibman 

Marsha Roth 

Varda Ruskin 

In Memory of Peter Roth 

Eleanor Sauers 

Joseph and Eva Saunders 

Alvin and Beverly Saxonberg 

Bert and Eleanor Schweigaard-Olsen 

Richard and Clare Segall 

Ronald and Janet Sheff 

Michael Shelton 

Noel and Toby Siegel 

Jan Silberstein 

Patricia Silver 

Murray and Renee Silverstein 

Jeanne and David Smith 

Frank and Anne Smith 

Barbara Staton 

John and Robin Sullivan 

Peggy Sweeney 

Curtis and Meliss Swenson 

The Tarr Charitable Family 

Foundation, Inc. 

Diran and Virginia Tashian 

Ronald and Marcia Jean Taub 

The Tillie, Jennie & Harold Schwartz 

Foundation, Inc. 

Joseph Tompkins 

Ed Town and Steve Rubin Town 

Gilbert and Elisabeth Waters 

Eleanor Williams 

Robert and Jill Williams 

Stanley and Merry Williams 

Ronald and Marcia Jean Taub, 

In Memory of Ethel Taub 

Jerome and Sydney Goldstein, 

In Honor of Iain Webb 

Michael and Robin Strauss, 

In Honor of Paula Spitalny 

Silver circle | $500 - $999 

Richard and Patricia Anderson 

Edward Daniel Barrett 

Alice Berkowitz 

Shirley Berlin-Gilbert 

Alan Quinby and Susan Brainerd 

Alfred Brandstein 

Elizabeth Callahan 

Paul and Nicola Caragiulo 

Alexander and Irene Cass 

Stephen and Mary Ellen Cease 

Alejandro Cervera 

Will Ryall and Edward Cooke 

Sherman and Joyce Cooper 

William and Mary Jane Cooper 

Donna D’Agostino 

George Davis 

Merle Dimino 

Shirley Dinkin 

Sydney and Hinda Elwyn 

Adriane Evans 

Jerry and Wendy Feinstein 

Jerry and Terri Finn 

Beverly Fisher 

Nelson and Sara Fishman 

Roberto and Suzanne Freund 

Alison Gardner 

Wanda Garofalo 

Cope and Anne Garrett 

Henri and Jennifer Gemmeke 

Valerie Gill 

Edward and Dorothy Gordon 

Eric and Sayward Grindley 

Elizabeth Groth 

Arthur and Lynn Guilford 

Gulf Coast Connoisseur Club 

John and Eileen Hampshire 

Bonnie Harrison 

Donald and Sue Helgeson 

Harry and Belle Heneberger 

Bill Dudley and Martha Honey 

Pocha Horton 

Palmer and Rhea Hughes 

Arnold and Elaine Hurvitz 

Janet Hyman 

Daniel Idzik and Kathleen Osborne 

Edward and Cynthia Johanson 

Anne Jones 

John and Eileen Kaelberer 

Bill and Joan Kayser 

Judi Kerzner 

Dennis Stover and Phil King 

Thomas and Linda Klein 

Robert Lawson 

Mary Ann Lockhart 

Longboat Key Education Center, Inc. 

Nancy MacKenzie 

Anne Maclean 

Macy’s Foundation 

Flora Major, 

In Honor of Michael Scott 

Richard and Helen March 

Louis and Carolou Marquet 

Andrew Martineau 

George and Barbara Mask 

Peter and Teresa Masterson 

Mary Alice McGovern 

Janet Michaelson 

Vic Motto and Sandra Timpson-Motto 

Jamie and Karen Moyer 

C. William and Helene Myers 

Eric and Malfada Neikrug 

Conrad and Lenee Owens, 

In memory of Alyssa Owens 

Virginia Page 

David Perry 

Howard and Carol Phillips 

Julie Planck 

Richard Prescott 

Sue Rauch 

Terry and Susan Romine 

Jules and Sheila Rose 

Sharon Rosenberg 

Robert Ross and Rachel Hackney 

Lois Rubens 

Molly Schecter 

Gabriel and Valerie Schmergel 

Barbara Schott 

Alexander and Anne Scott 

Roselyn Sedlezky 

Jane Smiley 

George and Rochelle Stassa 

Elizabeth Stewart 

Charles and Lorraine Stryker 

Yvonne Sultan 

George and Camille Swerdlin 

David Tidmarsh 

Jim and Marie Underwood 

Mark and Leslie Vestrich 

Emily Walsh 

Ken Harpe and Margaret Warson 

Joseph and Edith Weinberger 

Florence White 

Blair and Fremajane Wolfson 

Cary and Sora Yelin 

friends circle | $100 - $499 

Cecile Adams 

Judy Alexander 

Angel Algeri 

Dorothy Ames 

Scott Anderson and Michael Scott, 

In Honor of Chris Pfahler 

Richard and Carol Angelotti 

Anonymous 

Anonymous 

Anonymous 

Anonymous 

Anonymous 

Anonymous 

Donald and Darla Anthony 

Joan Appel 

Bob and Shana Arello 

Susan Ashton 

Charles and Andrea Bailey 

George amd Marcia Bardos 

Richard Barrie 

Gaele Barthold 

Mary Battle 

James Bauer and Carol Grace 

Francis and Jamie Becker 

Everett and Shirley Behrendt 

Janus and Debra K. Benedict 

Herbert and Rhoda Beningson 

James and Lynette Bennett 

Jack and Kacy Bennington 

Richard and Rebecca Bergman 

Naomi Berry 

Susan Blais 

Lawrence and Judith Bleiberg 

Barbara Blumfield 

Arline Breskin 

Edward and Peg Breslow 

Gary Brown 

Robert Brown 

Sunny Brownrout 

Laura Brownstein 

Marcel Budina 

Sharon Burde 

Hyman Busch 

Thomas and Joan Byrd 

Wayne and Cora Lee Cain 

Dennis Campagnone 

Joan Campo 

Johnette Cappadona 

Ronald and Mollie Cardamone 

Richard Cardozo 

Robert and Emily Carrier 

Peter Rutherford and John Carrier 

H. Paul and Charlene Carstens, 

In Honor Of Jean Weidner 

Robert and Nancy Chalphin 

Warren and Marsha Chernick 

Catherine Ciccolella 

Virginia Clark 

John and Elaine Clark 

Samuel and Norma Claypoole 

Paula Clemow 

Randolph and Virginia Coffey 

Stanley and Norma Cohen 

Gloria Cohn 

Sylvia Cohodas 

Casey and Michelle Colburn 

R. Scott and Kelly Collins 

Martin Collins 

Even and Malama Collinsworth 

Thomas Conklin 

Helena Cooley 

Robert Coppenrath 

Georgia Court 

Michelle Crabtree 

Donna Cubit-Swoyer 

Bob Dart 

Steiner and Tre David 

Kathleen Denning 

Carolyn Devick 

Mort and Lillian Dickler Bloch 

Fred and Lynda Doery 

G. Denis and CeCe Dwyer 

Lawrence and Eleanor Dwyer 

Keith and Beth Ebersole 

Martin and Carol Edelman 

Mimi Edlin 

Catherine Elliott 

Howard and Jean Emery 

Jan and Adrienne Erfert 

Ronald and Sharon Erickson 

Dallas Ernst 

Peter and Barbara Estes 

ExxonMobil Foundation 

Mary Ann Fair 

Peter and Dina Fanning 

Allan and Joan Feder 

Bernice Feinstein 

Alan and Beverly Fendrick 

Thomas and Patricia Fennessey 

Frances Fergusson 

Harold S. and May Fisher-Cohen 

Laurie Fitch 

Bertram and Eleanor G. Fivelson 

Milton and Roberta Fox 

Michael and Lesley France 

Beatrice Friedman 

Jeanette Fruhman 

Dudley and Barbara Funnell 

Carole Gallotta 

Bill Gamble 

Ronald and Mildred Gamer 

Martin Garry, 

In Honor of Phyllis DiTella 

Kathleen Garth, 

In Honor Of Flora Major 

Stefan and Polly Gasparovic 

Dimitar and Maria Georgiev 

Bonita Gillis 

Martin and Lea Gitow 

Otto and Eugenia Glasser 

Eleanor Glickman 

Marilyn Goldman, 

In Memory Of Stephen Goldman 

Robert and Jean Gomoll 

George and Patricia Gondelman 

Julian and Arlene Good 

Sue Gordon 

Peter and Marie Gram 

Llwellyn Greene-Thapedi 

Richard and Gigi Gresen 

Robert and Betty Griggs 

Richard Grimes 

Azriel and Annette Grishman 

Barbra Gross 

Samuel and Ina Gross 

Michael and Sherry Guthrie 

Quinn Halford 

Judy Hall 

Brad Hall 

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When Ricardo Graziano discovered the 

composer Dmitri Shostakovich while 

dancing in Germany eight years ago, he 

was immediately engaged by the expressive 

possibilities of his music for dance. 

Vowing one day to choreograph a ballet 

to this music, Graziano continued to 

focus on his performing career. Now in 

his second season at The Sarasota Ballet, 

Graziano was given the opportunity 

to create a ballet for his fellow dancers of 

The Sarasota Ballet. 

Graziano utilizes movements from 

Shostakovich’s Jazz Suite No. 2 and Ballet 

Suite. No. 2, representing the lighter side 

of the composer’s sound palette. Melodic 

and well-suited for the celebratory purposes 

of this ballet, the music provides 

a broad range of opportunities through 

which the choreographer can feature the 

strengths of the company dancers whom 

he knows so well. 

Shostakovich Suite is presented in a traditional, 

non-narrative suite format similar 

to the grand ballets of the late 19th 

century. Graziano points to George Balanchine 

as an inspiration for the elegant 

and more modern treatment of the form 

as well. 

1- Grand Opening (Jazz Suite No.2/March) 

2- Pas de Deux (Ballet Suite No.2/Adagio) 

3- Soloist Dance (Ballet Suite No.2/Waltz) 

4- Female Variation (Ballet Suite No.2/Spring Waltz) 

5- Boys Dance (Jazz Suite No.2/Dance I) 

6- Waltz (Jazz Suite No.2/Waltz I) 

7- Finale I (Jazz Suite No.2/Finale) 

8- Finale II (Ballet Suite No.2/ Finale: Gallop) 

DMITRI ShOSTAkOvICh 


28–30 October 2011 

FSU Center for the Performing Arts 

choreography Ricardo Graziano 

music Dimitri Shostakovich 

costume design Bill Fenner 

Dmitri Shostakovich was one of the most popular and prolific Soviet-era 

Russian composers of the 20th century. Highly acclaimed 

in the West as a great modern symphonist, he completed 15 symphonies 

as well as six concerti, all scored for a large scale orchestra. 

His chamber music includes 15 string quartets, a piano quintet, 

two pieces for a string octet, two piano trios and numerous works 

for solo piano. Other works include three operas, and a substantial 

quantity of film music. 

Shostakovich developed a hybrid style, often juxtaposing neoclassical 

style (showing the influence of Stravinsky) and post-Romanticism 

(after Gustav Mahler). Sharp contrasts and elements 

of the grotesque characterize much of his music which often reflected 

his complex and sometimes tortured relationship with the 

Soviet government. 

first Performed by The Sarasota Ballet 

28 October 2011 

RICARDO GRAzIANO 

Ricardo was born in Brazil, and a the age 

of sixteen moved to Germany to study at 

Akademie des Tanzes Mannheim. In 2005 

he joined Tulsa Ballet in Oklahoma as a 

corps-de-ballet and in 2007 was promoted 

to Soloist. Throughout his five years in 

Tulsa Ricardo danced soloist and Principal 

roles which included Romeo and Juliet 

(Tybalt), Swan Lake (Rothbart), Cinderella 

(Stepsister), Sleeping Beauty (Jewels), Nutcracker 

and Carmina Burana. He also performed 

ballets by the Jiri Kylian, Nacho 

Duato, Twyla Tharp, Paul Taylor, Val Caniparoli, 

Christopher Wheeldon, Edwaard 

Liang, Ma Cong, William Forsythe, George 

Balanchine, among others. In 2007 he received 

an Artistic Achievement Award at 

the NYIBC, and was then invited back as 

a guest for the 2009 NYIBC Gala. In 2010 

Ricardo joined The Sarasota Ballet as Soloist 

and the following season promoted 

to Principal, where his lead and featured 

Roles Include: Balanchines’s The Prodigal 

Son, Divertimento No. 15; de Valois’ The 

Rake’s Progress; Ashton’s Les Rendezvous; 

MacMillian’s Summer Pas de Deux; Possokhov’s 

Firebird; Jim Buckley’s Anne Frank; 

The Nutcracker; Wheeldon’s The American; 

Tharp’s In The Upper Room; Kobborg’s 

productions of Bournonville’s Kermess 

in Bruges, Napoli Pas Six; Layton’s The Grand Tour; 

Walsh’s Time Out of Line, Claire de Lune and Honea’s 

Percolator. 

Shostakovich Suite Costume, Sketch by Bill Fenner 


OTHELLO 

Originally premiered 17 November 1971 

by New London Ballet in Trieste (with André 

Prokovsky as Othello, Galina Samsova 

as Desdemona, John Fletcher, Jorge Salavisa 

and Helen Starr). Later revived by 

Scottish Ballet (1976), Irish National Ballet 

and Malmø Ballet (1978), London City 

Ballet (1985), Cisne Negro Compania de 

Dança, Brazil (1990) and NAPAC, Durban 

(1993). 

In creating a 30-minute ballet inspired by 

Shakespeare’s Moor of Venice, set to Liszt’s 

dramatically-charged score, Peter Darrell 

caught the essence of the central conflict 

between its five principal characters and, 

like the American contemporary dancemaker 

José Limon in his 1949 Othellobased 

The Moor’s Pavane, made some 

bold choices that work in purely dance 

terms. 

Othello 

28–30 October 2011 


choreography Peter Darrell 

music Franz Liszt 

design Peter Farmer 

Staged by Margaret Barbieri 

The ballet opens formally, with Iago 

presented almost as a sinister Master 

of Ceremonies, introducing the tragic 

quartet of characters, handling the stage 

properties (goblets, handkerchief etc), 

controlling the action throughout. The 

first scene establishes the characters and 

develops Iago’s plot to achieve the hero’s 

downfall. Darrell’s articulate choreography 

and mime bring to life the familiar actors in the 

drama, leading to Cassio’s drunken fall from grace 

and Othello’s jealous confrontation with his innocent 

wife Desdemona. 

After a brief duet for Emilia and Desdemona, the 

second scene presents the final, fatal encounter 

when Othello strangles Desdemona (in the ballet, 

with the very handkerchief Iago has duped him into accepting as 

evidence of her guilty amour with the disgraced Cassio), before his 

realisation and suicide. The ballet ends where it began, with Cassio 

and Emilia seated in formal attitudes and Iago, clutching his “motiveless 

malignancy”… or is it grief? 

The ballet does not seek to present all the characters and complete 

action of Shakespeare’s famous tragedy, opting instead for 

a powerful, formal and intimate summary of the interaction between 

Othello, Desdemona, Emilia, Cassio and Iago. Nor did Peter 

Darrell give us a “Moor” in the traditional pattern: his Othello is the 

danseur noble of the great tragic ballet tradition (think Swan Lake’s 

Siegfried or Giselle’s Albrecht), rather than Shakespeare’s exotically 

black-visaged outsider. Replacing words with dance, Darrell presents 

Othello’s flawed nobility, gorgeously poetic language and 

over-powerful imagination in terms of the romantic ballet dancer, 

rather than the orthodox actor of dramatic tradition. 

FRANZ LISZT 

Franz Liszt was born in Hungary where his father worked for the Esterhazy 

family (which Haydn had also served). At age eleven, Liszt 

studied in Vienna, meeting Schubert and Beethoven, and later lived 

in Paris, a city where romanticism flourished and a mecca for virtuosos. 

Liszt was awed by the great violinist Paganini, who drove audiences 

into a frenzy and was half suspected of being in league with 

the devil. Young Liszt was determined to become the Paganini of the 

piano and emerged as probably the greatest pianist of his time. 

Liszt was handsome, magnetic, irresistible to women, and an incredible 

showman, overwhelming the European public and impressing 

first Performed by new london Ballet 

17 November 1971 



musicians as much as concertgoers. But 

Liszt also wanted recognition as a serious 

composer. At thirty-six, he abandoned his 

virtuoso career to become court conductor 

in Weimar, where he composed many 

orchestral pieces (developing a new and 

influential form of program music) and 

conducted works by such contemporaries 

as Berlioz, Schumann, and Wagner. The 

Countess Marie d’Agoult was so overtaken 

by Liszt’s charms, she left her husband to 

live with Liszt and they had three children 

together, one of whom, Cosima, later left 

her husband to marry Richard Wagner. 

Liszt went to Rome for religious studies 

in 1861 becoming Abbe Liszt. This seeming 

incongruity--a notorious Don Juan 

and diabolical virtuoso as churchman- 

-stunned his contemporaries. In Rome, he 

composed oratorios and masses. 

During his last years, Liszt traveled between 

Rome, Weimar, and Budapest, 

where he was president of the new Academy 

of Music. Now he began to write 

curious, experimental piano pieces that 

foreshadowed some features of twentieth-century 

music. Though these late 

works went unappreciated, Liszt had become 

a living legend. 

PETER DARRELL CBE 

Peter Darrell CBE was born 1929 in Richmond, Surrey, 

and died in Glasgow in 1987 at the age of 58. He 

studied at the Sadler’s Wells Ballet School and was 

one of the first company members of the Sadler’s 

Wells Theatre Ballet before leaving to work in musicals 

and at the Malmø Opera House in Sweden. In 

1951 he returned to London and presented his first choreography 

for the newly-formed Ballet Workshop at Rambert’s Mercury Theatre 

(the same night as a young Kenneth MacMillan). During the 

next four years, he continued to present Ballet Workshop Sunday 

night showcases, and other commissions came in, including Harlequinade 

for London Festival Ballet (1952). 

In 1956 he founded Western Theatre Ballet with Elizabeth West, 

dedicated to the twin aims of bringing ballet to the widest audience 

and introducing contemporary themes and theatrical influences 

to ballet. Early successes included The Prisoners (1957), and 

in 1963 Debussy’s Jeux and Mods & Rockers to music by The Beatles. 

After West’s death in 1962, Darrell continued alone, and in 1969 the 

company moved to Glasgow as Scottish Theatre Ballet, and now 

Scottish Ballet. 

Awarded the CBE in 1984, Darrell’s long list of choreographic works 

includes full-length narrative ballets such as Mary Queen of Scots, 

a radical Swan Lake, Nutcracker, Tales of Hoffmann and Cinderella, 

along with many important shorter ballets, created both for Scottish 

Ballet and other major companies around the world. 

The Sarasota Ballet would like to express its sincere thanks to 

The Peter Darrell Trust (www.peterdarrell.org) and Judy Spence 

for all the help and support.

TCHAIKOVSKY’S BALLET 

FANTASY 

We are told the way to hell is paved with 

good intentions, and we know the often 

unintentionally disastrous consequences 

of well-meant interference. With tongue 

in cheek and a knowing affection for the 

great story ballets, Mr Hart has let loose 

his imagination and sent Tchaikovsky’s 

fictional alter ego and good intentions 

to run amusingly amok through the composer’s 

three famous ballets, naughtily 

subverting the characters and narratives 

of ballet’s great warhorses. If this is lése 

majesté, at least we know the real-life 

Tchaikovsky thought The Nutcracker‘s 

plot downright silly, as he struggled to 

give it musical expression. 

Mr Hart’s fictional Tchaikovsky intervenes 

with predictably chaotic results, to try and 

force his ballet’s characters into a rational 

happy ending. The cast enters formally to 

a Polonaise, in traditional Russian Imperial 

court style, and we are in The Sleeping 

Beauty, where we see Tchaikovsky’s 

efforts to prevent the vengeful christening 

guest Carabosse from causing Aurora 

to prick her finger on the spindle and fall 

into her enchanted sleep. This has surprising 

and disconcerting consequences, 

with Prince Florimund reacting most unexpectedly, 

and the composer being chased unceremoniously 

out of his own ballet. 

His next intervention is to manoeuvre Swan Lake’s 

Prince Siegfried into accepting the bewitched heroine 

Odette, instead of the wicked von Rothbart’s 

black swan Odile; and here he is no more successful, 

as his characters again assert their own personalities, dancing out 

of his control once more. 

Finally, Tchaikovsky leaves tragedy and enters The Nutcracker – but 

as usual he causes comic mayhem, after “helping” Clara by knocking 

the Nutcracker senseless and setting the Mouse King loose, to 

indulge what one can only describe as a “consuming appetite” for 

the Sugar Plum Fairy. 

And now events lurch entirely out of poor Tchaikovsky’s control, 

as his characters rush in and out of each others’ ballets and plots, 

with almost farcical energy, and the situation becomes impossibly 

fraught. Fortunately, this is Ballet, Mr Hart knows the rules, and everything 

comes out all right in the end, to Tchaikovsky’s great relief 

and everyone’s mutual satisfaction. Czardas finale; Prince gets Princess; 

Prince gets Swan; Prince gets Fairy… and so, Happy Ever After! 

PYOTR ILYICh TChAIkOvSkY 

Tchaikovsky’s 

Ballet Fantasy 

28–30 October 2011 


choreography Matthew Hart 

music Pyotr Ilyich Tchaikovsky 

first Performed by Images of dance 

14 June 2011 

Born in 1840, Tchaikovsky was the son of an engineer in Imperial 

Russia’s mines and his second wife, who died of cholera in 1854, an 

event that devastated the 14-year-old and inspired his first musical 

composition. The musically precocious Pyotr started piano lessons 

at 5 years old but his father was persuaded that his son had no 

musical future, so Pyotr joined the civil service in the Ministry of 

Justice, starting to study music from 1862-1865. 

Like his brother Modest (a dramatist and writer), Pyotr was homosexual, 

a fact of some importance to his life and music, as a result 

of which he made an ill-considered, hasty marriage in 1877, within 

two weeks of which he attempted suicide and the failure of which 

brought on a nervous breakdown, although the creative result 



was the opera Eugene Onegin and his 4th 

Symphony. From this point onwards, his 

Russian contemporaries compared him 

with the novelist Dostoevsky, detecting 

an ambivalent and suffering identity in 

the composer’s work. 

Tchaikovsky’s creative career developed 

with the patronage of a railway tycoon’s 

widow, Nadezhda von Meck, who gave him 

an annual subsidy for 13 years from 1877. 

Tchaikovsky wrote 10 operas as well as 

his famous 3 ballets: Swan Lake (1876), 

The Sleeping Beauty (1889) and The Nutcracker 

(1892). He also composed 7 symphonies, 

4 orchestral suites and many 

concerti, including his famous Violin Concerto 

(1878) and three Piano Concerti. 

In 1885 the Tsar ennobled Tchaikovsky for 

his services to music, the composer settled 

again in Russia after years of travel, 

and there followed a triumphant international 

conducting tour (1891-2) including 

America, where the composer conducted 

the opening concert at Carnegie Hall in 

New York. In 1893 Cambridge University 

awarded Tchaikovsky an honorary doctorate 

and he died on 6 November, 

shortly after the premiere of his 6th Symphony, 

officially from cholera-infected 

water, but possibly by suicide. 

MATThEW hART 

Dancer, actor, singer and choreographer, Matthew 

Hart was born in Bedfordshire (UK) and trained at 

Arts Educational School and the Royal Ballet School, 

winning the Cosmopolitan/C & A Dance Award 

(1988) and both Ursula Moreton and Frederick Ashton 

Awards (1991 & 1994), as well as the 1996 Jerwood Foundation 

Award for Choreography. 

After five successful years with the Royal Ballet, dancing roles in 

ballets by Fokine, Nijinska, de Valois, Ashton, Balanchine, MacMillan, 

Tharp, Forsythe and Bintley, Matthew joined Rambert Dance 

Company, where he continued choreographing and dancing roles 

for Jiri Kylian, Paul Taylor, Twyla Tharp, Didy Veldman, Ohad Naharin 

and especially Christopher Bruce. Matthew has also danced 

with Tetsuya Kumakawa’s K-Ballet, George Piper Dances, Arc Dance 

Company, William Tuckett (Wind in the Willows, The Soldier’s Tale, 

Pinocchio, The Thief of Baghdad and Pleasure’s Progress), Cathy Marston 

(Asyla, Ghosts), New Adventures, playing The Prince in Matthew 

Bourne’s Swan Lake and Puck in A Midsummer Night’s Dream 

at Regent’s Park Theatre. 

His film credits include Mrs Henderson Presents, Riot at the Rite and 

Margot. His musical theatre appearances include On Your Toes with 

Adam Cooper, and Babes in Arms (Chichester Festival) and he has 

been a panellist on BBC TV’s Strictly Dance Fever. 

Matthew’s choreographic credits are manifold and include: Peter 

and the Wolf (Royal Ballet School and BBC TV), Fanfare, Cry Baby 

Kreisler, Highly Strung and Dances with Death (Royal Ballet), Street 

(Birmingham Royal Ballet), Blitz (English National Ballet), Meet in the 

Middle (K-Ballet) and two full-length ballets, Cinderella (London City 

Ballet) and Mulan (Hong Kong Ballet). More recently he has choreographed 

Young Person’s Guide To The Orchestra and Tchaikovsky’s 

Ballet Fantasy (Images of Dance), Whodunnit? (Ballet Central) and 

Ballet Shoes (London Children’s Ballet). 


PHOTO BY PAUL KOLNIK 

ThE SUzANNE 

FARRELL BALLET 

In just over a decade, The Suzanne Farrell 

Ballet has evolved from an educational 

program of the Kennedy Center to a 

highly lauded ballet company, hailed by 

the New York Times’ Chief Dance Critic 

in 2007 as “one of the most courageous 

projects in ballet today.” 

In 1993, the Kennedy Center invited 

Suzanne Farrell to lead a series of ballet 

master classes for students from the 

metropolitan Washington region. In 

1995, this master class series transitioned 

into a three week summer intensive program 

attracting students from across the 

United States. Since 2003, the program 

has included international students 

from countries including Mexico, Japan, 

China, Czech Republic, Bulgaria, United 

Kingdom, and Switzerland. This intensive 

three-week program, Exploring Ballet 

with Suzanne Farrell, takes place each 

summer and remains a prestigious and 

well-known program for talented young 

dancers. 

In the fall of 1999, Ms. Farrell took cues 

from the masters of ballet with whom 

she studied to direct the Kennedy Center’s 

production Suzanne Farrell Stages 

the Masters of 20th Century Ballet. 

In the fall of 2000, Suzanne Farrell staged Mozartiana 

on the Bolshoi Ballet as part of the Kennedy 

Center’s Balanchine Celebration. She also gathered 

her own group of dancers to present Divertimento 

No. 15 at the festival. After earning rave reviews, the 

group went on to perform in early 2001 at Seven 

Days of Opening Nights at Florida State University, where Ms. Farrell 

is a tenured Eppes Scholar professor in the Dance Department. 

Since 2001, The Suzanne Farrell Ballet has performed annually at 

the Kennedy Center in Washington, D.C. and has toured both nationally 

and internationally. Notably, the Company accepted an 

invitation to perform as a tribute to Ms. Farrell, a 2005 Honoree, 

as part of the nationally televised Kennedy Center Honors gala. To 

date the Company has over fifty ballets in its repertoire including 

works by Ms. Farrell’s mentors George Balanchine, Maurice Béjart, 

and Jerome Robbins. In June 2010, the Company participated in 

the Kennedy Center’s Ballet Across America II festival. 

In June 2005, the Company collaborated with The National Ballet 

of Canada to restage Balanchine’s Don Quixote. The evening-length 

ballet was originally created in 1965 by George Balanchine specifically 

for Ms. Farrell and is unique to The Suzanne Farrell Ballet. It 

had not been performed in twenty-five years. The Suzanne Farrell 

Ballet traveled to the Edinburgh International Arts Festival in 2006 

to present this landmark revival marking the Company’s first international 

engagement. 

The Suzanne Farrell Ballet gave its debut performance at the Jacob’s 

Pillow Dance festival in 2006. In 2008, the Company performed as 

part of the First Annual Gettysburg Arts Festival (Pennsylvania) and 

the esteemed Fall for Dance festival at New York City Center. 

Committed to carrying forth the legacy of George Balanchine 

through performances of his classic ballets, The Suzanne Farrell 

Ballet announced the formal creation of the Balanchine Preservation 

Initiative in February 2007. This initiative serves to introduce 

rarely seen or “lost” Balanchine works to audiences around the 

iain Webb 

and 

the sarasota Ballet 

wish 

the suzanne Farrell Ballet 

Happy 

10 th 

Anniversary 

world. Many of these works have not 

been performed in nearly forty years. The 

Initiative is produced with the knowledge 

and cooperation of The George 

Balanchine Trust. To date, the Company’s 

repertoire includes ten Balanchine 

Preservation Initiative Ballets including 

Ragtime (Balanchine/Stravinsky), Divertimento 

Brillante (Balanchine/Glinka), and 

Pithoprakta (Balanchine/Xenakis). 

In November 2007, the Company 

launched an Artistic Partnership outreach 

program. Showcasing her teaching 

gifts Suzanne Farrell brought together 

her Company and Cincinnati Ballet, 

a nationally recognized company from 

her hometown, to present Chaconne. In 

2008, the company selected Ballet Austin 

as an artistic partner and presented 

Episodes. In 2011, the company will partner 

with The Sarasota Ballet to present 

Diamonds in Washington, D.C. (Oct 2011), 

Sarasota, Florida (Nov 2011), and Clearwater, 

Florida (Nov 2011). The mission 

of this initiative is to salute, support, and 

galvanize ballet companies throughout 

the United States. 

In June 2010, the Company traveled 

to Sofia, Bulgaria, to perform Agon in a 

shared evening with the National Ballet of 

Bulgaria in a program titled “Balanchine 

and Farrell: American Ballet for Bulgaria” presented 

by Cultural Bridges Association. This trip marks the 

Company’s second international appearance. 

In October 2011, The Suzanne Farrell Ballet celebrates 

10 years of annual engagements at the Kennedy 

Center. As a part of the anniversary celebration 

the Company will travel to New York City for a 

week of performances at The Joyce Theater followed by touring in 

Florida, Kansas, Massachusetts, and Vermont. 

For more information visit www.suzannefarrellballet.org or find the 

company on Twitter and Facebook. 

ThE SUzANNE FARRELL BALLET 

COMPANy MEMBERS 

hEAThER OGDEN • MIChAEL COOk 

COURTNEY ANDERSON 

VIOLETA ANGELOVA 

CLEOPATRA AVERY 

AMY BRANDT 

IAN GROSH 

KIRK HENNING 

ELISABETH HOLOWCHUK 

ANDREW SHORE KAMINSKI 

JESSICA LAWRENCE 

JANE MORGAN 

JORDYN RICHTER 

TED SEYMOUR 

LAUREN STEWART 

OLIVER SWAN-JACKSON 

JAMES WOLF 

The Sarasota Ballet and The Suzanne Farrell Ballet wish to 

thank the National Ballet of Canada for the costumes. 

DIAMONDS 

”If the entire Imperial Russian inheritance 

of ballet were lost,” wrote Mary Clarke 

and Clement Crisp, “Diamonds would still 

tell us of its essence.” Along with Rubies 

and Emeralds, Diamonds forms part of 

the famous New York City Ballet triptych 

of abstract ballets – Jewels – the ultimate 

expression of Balanchine’s style. Set to 

most of Tchaikovsky’s 1875 Symphony No 

3, Diamonds quite simply sparkles in its 

setting, the crown jewel of an American 

neo-classicism inherited from the great 

Russian ballet tradition. It is a glittering 

ballet of high style and artistic ambition, 

full of exquisitely fine filigree work. 

Balanchine drew inspiration from the 

great jeweller Claude Arpels, and admitted: 

“I have always liked jewels; after all, I 

am an Oriental, from Georgia in the Caucasus. 

I like the colour of gems, the beauty 

of stones, and it was wonderful to see 

how our costume workshop, under Karinska’s 

direction, came so close to the quality 

of real stones (which were of course 

too heavy for the dancers to wear!).” At 

the same time, Balanchine insisted that 

the ballet “had nothing to do with jewels. 

The dancers are just dressed like jewels.” 


Diamonds 





choreography George Balanchine 


costumes Barbara Karinska 

Staged by Suzanne Farrell 

repetiteur Joysanne Sidimus 

Diamonds calls for a corps de ballet of 

12 men and 12 women, supporting 4 demi-soloist 

couples and a leading couple, originally and 

unforgettably Jacques d’Amboise and Suzanne 

Farrell - Balanchine’s muse of the time. 

The Third is unique among Tchaikovsky’s symphonies, 

being the only one in a major key, and also 

having an uncharacteristic fifth movement – the 

alla tedesca (German). Interestingly, too, most of the movements 

begin in a minor key, often in a slower tempo, slipping into an optimistic 

major key, concluding with the scherzo (joke) – unusually 

in 2/4 time – and allegro con fuoco finale, which uses the polonaise 

that lends the Third its nickname “The Polish Symphony”. So, the 

music of Diamonds takes us from a slow funeral march in D minor 

to an exuberant Polish folk dance finale in D major. 












brought on a nervous breakdown, although the creative result was 

the opera Eugene Onegin and his 4th Symphony. From this point 

onwards, his Russian contemporaries compared him with the novelist 

Dostoevsky, detecting an ambivalent and suffering identity in 


Tchaikovsky’s creative career developed with the patronage of a railway 

tycoon’s widow, Nadezhda von Meck, who gave him an annual 

subsidy for 13 years from 1877. 

first Performed by new York city Ballet 

13 April 1967 


















awarded Tchaikovsky an honorary 

doctorate and he died on 6 November, 

shortly after the premiere of his 6th Symphony, 

officially from cholera-infected 

water, but possibly by suicide. 

GEORGE BALANChINE 

Probably the most important and 

influential ballet figure in America, he was 

born Georgi Balanchivadze in St. Petersburg 

(1904), and two decades after his death 

in New York (1983), we can appreciate 

fully the huge impact of a choreographer 

whose creative life spanned 60 years, who 

carried the grand Russian classical style 

triumphantly into the modernist era, established one 

of the world’s leading companies (New York City Ballet) 

and gave America its own classical ballet tradition. 

Graduating from the Petrograd Imperial School of 

Ballet in 1921 aged 17, Balanchine joined what is 

now the Kirov Ballet, where his first choreographies 

shocked the company’s traditionally-minded 

establishment. In 1924, he toured Germany with his own group 

of Soviet State Dancers, where an audition for Diaghilev led to the 

Ballets Russes acquiring the talents of Balanchine, Tamara Geva 

(the first of his four ballerina wives) and Alexandra Danilova. 

After Diaghilev’s death in 1929, Balanchine worked in Copenhagen, 

Paris and for René Blum’s Monte Carlo Ballet. It was during his 

directorship of Les Ballets 1933 in London that the wealthy writer 

Lincoln Kirstein persuaded him to found the American School of 

Ballet in New York (1934), out of which emerged the New York 

City Ballet (1948). During the 1930’s and 1940’s, Balanchine also 

choreographed extensively for Broadway and the movies, including 

Rodgers & Hart’s The Boys From Syracuse and On Your Toes . 

Among his best known, most frequently performed ballets, one 

might list: Serenade (1934), Concerto Barocco (1941), The Four 

Temperaments (1946), Western Symphony (1954), Agon (1957), 

Jewels (1967) or Who Cares? (1970). 

One of the world’s greatest choreographers, Balanchine created 

a neoclassical aesthetic that connected the vigour of American 

modernism with the Russian ballet tradition Balanchine inherited; 

and he now stands as a ballet colossus between America and 

Europe, his rich repertoire of ballets constantly performed and 

appreciated around the world. 

Sarasota Ballet wishes to thank National Ballet of Canada 

for the use of their costumes. 

The performance of Diamonds, a Balanchine® Ballet, is presented by arrangement with The 

George Balanchine Trust and has been produced in accordance with the Balanchine Style® 

and Balanchine Technique® Service standards established and provided by the Trust. 

Choreography by George Balanchine ©The George Balanchine Trust 


THE TWO PIGEONS 

“An allegory in two acts and three scenes 

based on a fable by Jean de la Fontaine” 

Les Deux Pigéons premiered at the Paris 

Opéra on 18 October 1886, in a choreography 

by Louis Mérante (a leading 

dancer and ballet master of the day, in 

the year before his death), to a new score 

by André Messager (1853-1929) and a 

commissioned libretto by Henri Régnier. 

The three-act ballet was based on one of 

the fables of the great French storyteller, 

Fontaine, and the ballet remained popular 

in France for many years, although its 

first performance in the English-speaking 

world was at London’s Royal Opera 

House in 1906. 

The ballet’s narrative frankly declares it a 

cousin of “The Prodigal Son,” ”The Wizard 

of Oz” or ”The Fantasticks,” with its erring 

protagonist and theme of the need 

for adventure, bitter experience, and a 

world-weary return to home values and 

forgiveness, although it is perhaps a gentler 

parable than the biblical story from 

which Balanchine made his classic ballet 

of the 1920s. 

Sir Frederick Ashton’s 1961 ballet, a twentieth-century 

classic in its own right, revisited 

the French classical tradition with 

respect (much as he had done with La Fille mal Gardée 

in the previous year), creating a two-act ballet 

for his stunning original cast of Lynn Seymour and 

Christopher Gable, and since its Royal Ballet premiere 

(14 February 1961) at Covent Garden, this version 

has become a much-loved and much-revived 

staple of the international repertoire. 

For his account, Ashton retained Messager’s lovely score and rejected 

Regnier’s three-act scenario, in favour of an allegorical treatment 

of the story, touching back to Fontaine’s original fable, and 

adding the beautiful and memorable touch of symbolising his 

temporarily parted and ultimately reunited lovers, with two live 

birds, whose coming together touchingly expresses the journey of 

the lovers in the fable. 

Ashton’s essential lightness of touch, musicality and true understanding 

of the French Romantic ballet tradition makes his Two 

Pigeons a complete delight, its forgiving warmth and human understanding 

a balm to the more dramatic tale of a wandering lover 

adrift in a tough and bewildering world, and his ultimate return to 

true love, home and reconciliation. 

ANDRÉ MESSAGER 

The Two Pigeons 





choreography Sir Frederick Ashton 

music André Messager 

design Jacques Dupont 

Staged by Margaret Barbieri and Iain Webb 

first Performed by The royal Ballet 


The French composer, André Messager was born at Monluçon in 

1853. He studied at the Niedermeyer School in Paris and under 

such leading French composers as Camille Saint-Saëns and Gabriel 

Fauré (collaborating with Fauré on his Mass for the Fishermen of Villerville), 

before being appointed (1874) organist at the leading Paris 

church of Saint-Sulpice and (1880) music director at Sainte Marie 

des Batignolles. In 1876 Messager won the gold medal of the Society 

of Composers with his only symphony (1875). 

But it was with his 45 stage works (including 8 ballets) that Messager 

established his reputation as a theatrical composer, with a series 

of successful operettas and ballets from the mid-1880’s onwards, 

including The Two Pigeons (Paris Opéra 1886), La Basoche and La Béarnaise 

(both given at the Opéra Comique in Paris and transferred 



to London, where several of his light 

operas were produced by Gilbert & Sullivan’s 

famous impresario, Richard D’Oyly 

Carte). 

Largely forgotten and rarely performed, 

Messager’s impressive output of comic 

operas, of which Madame Chrysantheme 

(1893), Mirette (1894), Véronique (1898) 

and Monsieur Beaucaire (1919) all enjoyed 

long runs in Paris and London, 

where Messager frequently conducted, 

becoming a director of Covent Garden 

Opera in his later years. 

Messager died in Paris in 1929 and is buried 

in Passy cemetery. 

SIR FREDERICk AShTON CBE 

Sir Frederick Ashton was born in Ecuador 

in 1904 and determined to become a 

dancer after seeing Anna Pavlova dance 

in 1917 in Lima, Peru. Arriving in London, 

he studied with Leonide Massine and later 

with Marie Rambert (who encouraged 

his first ventures in choreography) as 

well as dancing briefly in Ida Rubinstein’s 

company (1928-9). A Tragedy of Fashion 

was followed by further choreographies 

(Capriol Suite, Façade, Les Rendezvous), 

until in 1935 he accepted de Valois’ invitation 

to join her Vic-Wells Ballet as dancer and choreographer. 

It was in 1935, too, that Ashton began a 

long creative association with Margot Fonteyn, for 

whom he would create many great roles over 25 

years. 

Besides his pre-war ballets at Sadler’s Wells, Ashton 

choreographed for revues and musicals. His career 

would also embrace opera, film and international commissions, 

creating ballets in New York, Monte Carlo, Paris, Copenhagen and 

Milan. During the War, he served in the RAF (1941-5) before creating 

Symphonic Variations for the Sadler’s Wells Ballet’s 1946 season 

in its new home at Covent Garden, affirming a new spirit of classicism 

and modernity in English postwar ballet. 

During the next two decades, Ashton’s ballets, often created around 

the talents of particular dancers, included: Scenes de ballet and Cinderella 

(1948), in which Ashton and Robert Helpmann famously 

played the Ugly Sisters. He created La fille mal gardée (1960) for Nadia 

Nerina and David Blair, The Two Pigeons (1961) for Lynn Seymour and 

Christopher Gable, and The Dream (1964) for Antoinette Sibley and 

Anthony Dowell. 

Appointed Associate Director of the Royal Ballet in 1952, it was 

under Ashton’s direction that after 1970 the company rose to 

new heights. His choreographic career continued with Monotones 

(1965), Jazz Calendar, Enigma Variations (1968), A Month in the 

Country (1976) and the popular film success The Tales of Beatrix Potter 

(1971) in which he performed the role of Mrs. Tiggy-Winkle. 

Now named Founder Choreographer of the Royal Ballet and knighted 

in 1962, Sir Frederick died in 1988. His ballets, which remain in 

the international repertory undiminished, show a remarkable versatility, 

a lyrical and highly sensitive musicality, and an equal facility 

in recreating historical ballets and creating new works. If any single 

artist can be said to have formulated a native English classical ballet 

style and developed it over a lifetime, it is Sir Frederick Ashton. 

Sarasota Ballet wishes to thank Birmingham Royal Ballet, 

Birmingham, UK, for the use of their sets and costumes. 

LES PATINEURS 

It was Constant Lambert, the troubled 

but inspirational Musical Director of the 

Vic-Wells Ballet and lover of the young 

Margot Fonteyn, who suggested that 

the ballet music from two of the French 

composer Meyerbeer’s operas (L’Étoile du 

Nord and the 1849 La Prophete – which 

had famously featured a corps de ballet 

on roller skates, well over a century 

before Lloyd Webber’s Starlight Express!) 

might furnish the ideal score for a skating 

ballet in development in 1937. 

Ninette de Valois, the young company’s 

founding director, found herself unable 

to make headway with the Meyerbeer 

project, and handed it over to her rising 

young choreographer, Frederick Ashton, 

who reciprocated by delivering to her 

The Rake’s Progress which was proving 

equally challenging for him. This proved a 

happy exchange, resulting in a significant 

landmark work for each dance-maker. 

Ashton knew precisely nothing of skating 

and had never visited an ice-rink in 

his life, but the delightful ice-skating divertissement 

he concocted premiered 

at Sadler’s Wells to great public acclaim, 

spectacularly demonstrating just how far 

the nascent British ballet had come in six 

short years from its inception by de Valois. 

The ballet’s premiere benefited from an illustrious 

cast, with Margot Fonteyn (Ashton’s muse in the late 

1930’s) and Robert Helpmann as the pas de deux 

couple and Harold Turner as the Blue Skater (a role 

not unrelated, perhaps, to the Blue Bird of the classical 

Sleeping Beauty). It was in this popular success 

that the dancer Michael Somes first made his mark, attracting 

notice with his spectacularly impressive elevation, as the leading 

dancer and Ashton inspiration he was to become. 

GIACOMO MEYERBEER 

Les Patineurs 

9–10 December 2011 



music Giacomo Meyerbeer, 

arranged by Constant Lambert 

design William Chappell 

Like his contemporary Mendelssohn, Meyerbeer was German-Jewish, 

born Jacob Liebmann Beer (1791) near Berlin. Both his parents 

came from wealthy backgrounds and two of his brothers became 

respectively a well-known astronomer and poet. Like Mozart, his 

precocious talent led to an early musical debut. He performed at 

the age of 9 and studied with Salieri. 

Moving from virtuosic performance to composition and renaming 

himself Giacomo Meyerbeer, he studied in Italy, where he came 

under Rossini’s influence. He composed 17 operas (1812-1865), 

of which the best-known are probably Les Huguenots (1836) and 

L’Africaine (1865), although his first major success Il Crociatto in 

Egitto in Venice, Paris and London (1824-5) was the last opera to 

feature a castrato. 

Meyerbeer’s biggest hit Robert le Diable (Paris, 1831) is often (and 

inaccurately) considered the first “grand opera”, but his melodramatic, 

historical plots, sumptuous scores, huge casts and staging 

demands ensured the success of his operas, until the sustained personal 

attacks of Wagner (whose 1842 opera Rienzi was maliciously 

dubbed “Meyerbeer’s greatest work”!) and growing anti-semitism 

in Germany traduced his popularity, leading to a total ban under 

the Nazis. 


first Performed by Sadler’s Wells Ballet 

16 March 1937 


19 December 2008 

Meyerbeer’s huge wealth was enhanced 

by the success of his operas. He became 

Musical Director to the Hohenzollern 

court in Berlin (1842-9) and died in 1864, 

before the eclipse of his reputation, 

which has steadily risen since 1945. 







with Marie Rambert (who encouraged his 

first ventures in choreography) as well as 

dancing briefly in Ida Rubinstein’s company 

(1928-9). A Tragedy of Fashion was 

followed by further choreographies (Capriol 

Suite, Façade, Les Rendezvous), until 

in 1935 he accepted de Valois’ invitation 

to join her Vic-Wells Ballet as dancer and 

choreographer. It was in 1935, too, that 

Ashton began a long creative association 

with Margot Fonteyn, for whom he would 

create many great roles over 25 years. 

Besides his pre-war ballets at Sadler’s 

Wells, Ashton choreographed for revues 

and musicals. His career would also embrace 

opera, film and international commissions, 

creating ballets in New York, 

Monte Carlo, Paris, Copenhagen and Milan. During 

the War, he served in the RAF (1941-5) before creating 

Symphonic Variations for the Sadler’s Wells Ballet’s 

1946 season in its new home at Covent Garden, 

affirming a new spirit of classicism and modernity in 

English postwar ballet. 

During the next two decades, Ashton’s ballets, often 

created around the talents of particular dancers, included: Scenes 

de ballet and Cinderella (1948), in which Ashton and Robert Helpmann 

famously played the Ugly Sisters. He created La fille mal gardée 

(1960) for Nadia Nerina and David Blair, The Two Pigeons (1961) 

for Lynn Seymour and Christopher Gable, and The Dream (1964) for 

Antoinette Sibley and Anthony Dowell. 














Sarasota Ballet wishes to thank Birmingham Royal Ballet, 

Birmingham, UK, for the use of their sets and costumes. 


THE AMERICAN 

The impact of America upon the great 

Czech composer Antonin Dvorak (1841- 

1904) is best known from his famous 

New World Symphony. Perhaps less wellknown 

was the inspiration Dvorak felt 

from the natural beauty and tranquillity 

of the great midwestern plains, which he 

experienced in 1893 when he visited the 

Czech-speaking community at Spilville, 

Iowa. 

In the Midwest, Dvorak found a striking 

contrast from the vitality and clamour of 

America’s new cities, New York and Chicago 

where he was living and working. This 

was of special importance to the composer, 

who was fervently seeking during 

his three-year sojourn in the United 

States an equivalent to his own creative 

sources in Bohemian folk music. One of 

Dvorak’s American pupils, the early African-American 

composer Harry Burleigh, 

had introduced a fascinated Dvorak to 

spirituals (an influence we can hear in 

the New World Symphony, of course), and 

he had published a series of newspaper 

articles in 1892 on the state of American 

music, which, he passionately urged, 

should derive its character and creativity 

from Native American and African-American 

traditions, just as his own music had benefitted 

from Bohemian folk sources. 

Dvorak responded to the great prairies with his 

String Quartet The American in F major, in which 

he paid special tribute to the birdsong he recalled 

hearing. This can be heard clearly at key moments 

in the score, which is notably serene, peaceful and 

pastoral in mood. One can sense the delight of a successful international 

artist who passed most of his life in the world’s great cities, 

but who had grown up in a small Bohemian village, and who left 

New York from homesickness in 1895, in responding to this idyllic 

rural peace and natural beauty. 

Christopher Wheeldon, another European in America, has in turn 

responded to these feelings, by setting his ballet to the allegro, lento 

and final vivace movements from Dvorak’s Quartet. The sense of 

space, tranquillity, the great plains and the open sky, have inspired 

composer and choreographer alike. 

ANTONIN DVORAK 

The American 



choreography Christopher Wheeldon 

music Antonín Leopold Dvořák 


Antonin Dvorak was born 8 September 1841 and raised in a small 

village outside Prague, Czech capital of Bohemia, then a province 

of the Hapsburg Empire. A devout Roman Catholic, Dvorak drew 

key inspiration from Czech folk music, studied organ, viola and violin 

and spent his early years as a professional musician and piano 

teacher in Prague, where in 1871 he wrote his first string quartet 

and in 1873 married Anna Cermakova. Of their nine children, three 

died in infancy. 

With a wife and growing family to support, Dvorak secured the 

post of organist at St Adalbert’s Church, Prague, continued to compose, 

and found a publisher through Brahms, who became a friend 

and major influence. Throughout the 1870s, Dvorak’s reputation in 

Prague grew with his works for strings, piano and especially his 5th 

Symphony. The international success of his Stabat Mater led to nine 

triumphant visits to England, including the premieres of his 7th 

Symphony in London (1885) and Requiem in Birmingham (1891), 

first Performed by carolina Ballet 2001 



and an honorary degree from Cambridge 

University. 

In 1890-1891 Dvorak conducted in Moscow, 

St Petersburg and Prague, before 

spending three fruitful years in America 

(1892-1895) where he directed the National 

Conservatory of Music in New York. 

Dvorak’s desire to discover an “American 

music” with strong Native American and 

African-American roots, introduced him 

to American spirituals, which influenced 

his 9th New World Symphony (New York 

1893). Homesick, Dvorak returned in his 

later years to Prague, directing the Conservatory 

until his death on 1 May 1904. 

Apart from his nine symphonies, choral 

works and many concerti, he composed 

symphonic poems, chamber music and 

10 operas, of which one, Rusalka (1900) is 

frequently performed. 

ChRISTOPhER WhEELDON 

“An Englishman in America”, Christopher 

Wheeldon was born 22 March 1973 and 

raised in Yeovil, Somerset before joining 

the Royal Ballet School, winning the Prix 

de Lausanne Gold Medal in 1991, when 

he graduated and joined the Royal Ballet, 

where he danced for two years. 

In 1993 Mr. Wheeldon joined The New York City Ballet, 

dancing in many works by Balanchine, Robbins 

and others, winning Lincoln Center’s Martin E. Seagal 

Award to “recognize extraordinary young artists 

of promise” before becoming a Soloist in 1998. He 

retired from dancing in 2000 at the early age of 27 

to concentrate on choreography, swiftly establishing 

his reputation with major commissions and becoming Resident 

Choreographer at The New York City Ballet in 2001. 

In fact, Mr. Wheeldon started choreographing at the Royal Ballet 

School, winning the School’s Junior, Senior and Ursula Moreton 

Choreographic Awards. Early works included his Prix de Lausanne 

winner March, Celestial Spaces (1992) Con Brio (1993) and Schubertiade 

(1994). His first works stateside included Brahmusik for Ballet 

Inc., Le Voyage for the School of American Ballet (both 1994), his 

first full-length work, A Midsummer Night’s Dream for Colorado Ballet 

and his first creation for New York City Ballet, Slavonic Dances 

(1998). Returning to London, Mr. Wheeldon created for the Royal 

Ballet Souvenir (Tchaikovsky), Pavane pour une infante défunte 

(Ravel) both in 1996; and for the Royal Opera House Linbury Studio 

Theatre, his 2000 There Where She Loved (Chopin and Kurt Weill). 

In the USA, Mr. Wheeldon choreographed Sea Pictures for San Francisco 

Ballet and The Four Seasons for Boston Ballet, both in 2000, 

and, among further new creations for New York City Ballet, Mercurial 

Manoeuvres (Shostakovich), Polyphonia (Ligeti) and Variations 

Serieuses (Mendelssohn). In 1991, Mr Wheeldon choreographed 

the Marvin Hamlisch Broadway musical Sweet Smell of Success. 

Launching his own company Morphoses in 2006, based between 

New York City Center and London’s Sadler’s Wells, his ballets were 

greeted rapturously by audiences and critics (“bespoke, top-ofthe-range 

classics with a twist, every one impeccably cut” Luke 

Jennings, The Observer), Mr Wheeldon ended his tenure as NYCB 

Resident Choreographer in 2008 and resigned from Morphoses in 

2010, to continue his freelance career. 


RODEO 

In 1942, New York was full of refugees 

from the war in Europe, including the 

Ballet Russe de Monte Carlo and a 

talented trio who had spent the late 

1930s in London with Ballet Rambert – 

Antony Tudor, Harold Laing and Agnes de 

Mille: and it was to the little-known niece 

of Hollywood director Cecil B de Mille 

that the émigré ballet troupe turned, 

for a new cowboy ballet to rival Ballet 

Theater’s 1938 hit Billy The Kid. 

Agnes de Mille, dancing the lead role, was 

given artistic control, as she struggled 

to choreograph vernacular American 

folk styles on an international cast and 

persuade a reluctant Aaron Copland to 

undertake “another cowboy ballet” to 

a scenario she had laid out in advance. 

Rodgers and Hammerstein attended 

the triumphant premiere and promptly 

engaged de Mille to choreograph 

Oklahoma! The rest is history. 

Rodeo 



choreography Agnes DeMille 

music Aaron Copland 

original design Oliver Smith 

Staged by Paul Sutherland 

first Performed by 

Ballet russe de monte carlo 


Copland’s folk-influenced score was 

seminal, as was de Mille’s innovative 

fusion of folk dance, classical ballet and 

show dance, influencing a generation 

with the narrative of the all-American 

tomboy who strives for acceptance on 

her own terms, to get her man. It’s the 

mid-Western pioneer version of the American 

Dream: you can be your own person, the outsider 

(which is how de Mille saw herself and the role), yet 

still earn your status and self-fulfillment within the 

community. 

Rodeo’s fanfare opening and woodwinds evoke 

the trotting of horses, as the solitary Cowgirl 

vainly mimics the men to attract the Head Wrangler, who prefers 

the conventional feminine charms of the Rancher’s Daughter in 

‘Buckaroo Holiday’. In ‘Corral Nocturne’ the besotted Cowgirl fails 

again, while the ‘Ranch House Party’ and ‘Saturday Night Waltz’ 

show her competing with the other girls, engaging the interest 

of the Champion Roper, until, in the final, exuberant ‘Hoe Down’ 

her strength, cussedness, sass, femininity and vulnerability win her 

man. 

De Mille described the Cowgirl as acting “like a boy, not to be a boy 

but to be liked by the boys.” It is from this outsider position that the 

Cowgirl must make her way, to achieve her goal. 

AARON COPLAND 

Often hailed as “the Dean of American music,” Aaron Copland 

was born 14 November 1900 in Brooklyn into a Lithuanian Jewish 

immigrant family (originally named Kaplan). His father ran what 

Copland called “a kind of neighbourhood Macy’s” in which all the 

family worked, but his musical mother ensured that all five of her 

children developed musical talents. Aaron, the youngest, studied 

piano and composition with Leopold Wolfssohn and then with 

Nadia Boulanger in Paris where he participated fully in the heady 

1920s of the American expatriate “Lost Generation,” travelling 

widely in Europe and returning to New York in 1925. His 1920s 

work (e.g. his 1926 Piano Concerto) displayed a strong Jazz and 

Modernist influence. 

In the 1930s, Copland continued to travel, compose, teach and 

write, but aimed to compose more accessible work, and drew 

close to the political left, associating with Lee Strasberg’s Group 



AGNES DEMILLE 

Agnes de Mille achieved fame both as a dancer 

and choreographer. Among her masterpieces are 

Rodeo, in which she danced, Fall River Legend and 

Three Virgins and a Devil. Miss de Mille changed 

the face of the American musical theatre with her 

choreography for Oklahoma!, which enjoyed a hit Broadway revival 

in 1979, One Touch of Venus, Bloomer Girl, Carousel, Brigadoon, 

Gentlemen Prefer Blondes, Paint Your Wagon and other memorable 

shows. Miss de Mille directed and choreographed Allegro, The 

Rape of Lucretia, Out of this World, and Come Summer, and she 

choreographed the film version of Oklahoma!. 

Her awards include three New York Drama Critic’s Circle Awards, 

two Antoinette Perry (Tony) awards and The Handel Medallion in 

1976, the highest award New York City gives. She had considerable 

success as a television figure, especially with an Omnibus series 

on ballet, and was the subject of an Emmy Award winning 

documentary entitled Agnes the Indomitable de Mille produced 

by Dance in America/PBS. She has written a number of books 

including Dance to the Piper, and Promenade Home, To a Young 

Dancer, Lizzie Borden: Dance of Death, Speak to Me, Dance with Me 

and Where the Wings Grow. She was a founding member of The 

American Ballet Theatre and her last ballets, The Informer and The 

Other were great successes for that company. She died in October, 

1993 at the age of 88 in New York City. 

Choreography by Agnes DeMille 

This production of Rodeo is presented with the cooperation 

of DeMille Productions, Anderson Ferrell, Director. 

Costumes on loan from Tulsa Ballet 

Theater. Although he never joined the 

Communist Party, his sympathies would 

bring him problems in the McCarthyite 

1950s. 

Meanwhile, Copland’s wider range 

included Hollywood film scores (Of Mice 

and Men and Our Town), radio broadcasts, 

incidental music for plays, and ballets, 

notably his 1938 Billy The Kid. In 1936 came 

his first major signature work, El Salon 

Mexico, and in the 1940s major acclaim 

and financial security, with the hugely 

popular Rodeo, Appalachian Spring for 

Martha Graham, Lincoln Portrait, Fanfare 

for the Common Man, a Piano Sonata that 

became Doris Humphreys’ ballet Day 

On Earth, a Clarinet Concerto for Benny 

Goodman, and his Third Symphony. 

In the 1950s, Copland became interested 

in experimental music, notably 

Schoenberg, Webern, Berg, Takemitsu 

and Cage. His opera The Tender Land was 

a mixed success. In the 1960s he shifted 

to conducting, feeling himself short of 

creative ideas “as if someone had simply 

turned off a faucet.” A calm, affable 

and famously generous man, Copland 

guarded his privacy and died 2 December 

1990, leaving a large fortune to the Aaron 

Copland Foundation for Composers. 

Sarasota Ballet wishes to thank Tulsa Ballet for the use 

of their costumes.

DONIZETTI VARIATIONS 

Originally entitled Variations from Don 

Sebastian, Balanchine created this ballet 

to selections from Don Sebastian (1843), 

the final opera by the prolific Donizetti 

(1797-1848), master of the Italian bel 

canto style. It was a commission for a special 

“Salute to Italy” programme celebrating 

the 100th Anniversary of Italy’s 1860 

Reunification, and was premiered in New 

York with a cast led by Melissa Hayden 

and Jonathan Watts. 

Balanchine wrote that he needed a 

“cheerful and sunny work” to offset the 

more sombre tone of other works in 

the Tribute programme, including Balanchine’s 

1946 Night Shadow which used 

music from Bellini’s opera La Sonnambula. 

Choreographed for a principal couple 

and a corps de ballet of six women 

and three men, Donizetti Variations has 

proved popular with many international 

companies, including a notable 1967 revival 

by Hamburg State Opera Ballet. 

The abstract ballet (which bears no relation 

at all to the opera’s dramatic account 

of the doomed Portuguese King Sebastian 

and his ill-fated 1578 Moroccan campaign) 

carries many of Balanchine’s most 

distinctive stylistic touches, and typifies 

his highly musical approach, with the ensemble 

variations executed by the corps de ballet, and, for 

the principal couple, an entrée, adagio, two variations 

and a coda. 

GAETANO DONIzETTI 

Donizetti Variations 

27–29 January 2012 



music Gaetano Donizetti 

Staged by Sandra Jennings 

Born in Bergamo, Northern Italy in 1797, the son of a poor pawnshop 

owner, Donizetti’s meteoric rise to join Bellini and Rossini as 

a leading proponent of the Italian bel canto opera was built on a 

prolific career, with no less than 75 operas written between 1816 

and 1843. His best-known operas – including Lucia di Lammermoor 

(1835), La fille du régiment (1840) and his two great comedies L’elisir 

d’amore (1832), with the famous aria una furtiva lagrima, and Don 

Pasquale (1843) – are frequently performed. 

Despite the success of his operas, which became international after 

the Milan triumphs of his Anna Bolena (1830) and Lucrezia Borgia 

(1833), Donizetti’s critical reception remained mixed, one critic 

dismissing his final opera Don Sebastian as “a funeral in five acts.” 

In addition to his 75 operas, Donizetti composed 16 symphonies, 

19 string quartets, and many other choral, orchestral, chamber and 

piano works. Asked which of his operas he thought best, the composer 

famously riposted: “ How can I say which? A father always favours 

a crippled child, and I have so many.” 

Donizetti’s personal life was marked by tragedy. His wife Viriginia 

gave birth to three children, none of whom survived, and herself 

died of cholera within a year of both his parents. In 1838, when his 

work met with censorship problems in Italy, he moved to Paris, and 

thereafter divided his time between the French capital and Bergamo. 

Diagnosed and institutionalised as insane from advanced 

syphilis, Donizetti revised his last (1843) opera Don Sebastian for 

Vienna, and died in 1848 at the home of his patrons, the wealthy 

Scotti family. He was re-buried and now rests in his native Bergamo. 

first Performed by new York city Ballet 





Probably the most important and influential 

ballet figure in America, he was born Georgi 

Balanchivadze in St. Petersburg (1904), and 

two decades after his death in New York 

(1983), we can appreciate fully the huge 

impact of a choreographer whose creative 

life spanned 60 years, who carried the 

grand Russian classical style triumphantly 

into the modernist era, established one 

of the world’s leading companies (New 

York City Ballet) and gave America its own 

classical ballet tradition. 

Graduating from the Petrograd Imperial 

School of Ballet in 1921 aged 17, 

Balanchine joined what is now the Kirov 

Ballet, where his first choreographies 

shocked the company’s traditionallyminded 

establishment. In 1924, he 

toured Germany with his own group of 

Soviet State Dancers, where an audition 

for Diaghilev led to the Ballets Russes 

acquiring the talents of Balanchine, 

Tamara Geva (the first of his four ballerina 

wives) and Alexandra Danilova. 

After Diaghilev’s death in 1929, 

Balanchine worked in Copenhagen, Paris 

and for René Blum’s Monte Carlo Ballet. 

It was during his directorship of Les 

Ballets 1933 in London that the wealthy 

writer Lincoln Kirstein persuaded him to found the 

American School of Ballet in New York (1934), out 

of which emerged the New York City Ballet (1948). 

During the 1930’s and 1940’s, Balanchine also 

choreographed extensively for Broadway and the 

movies, including Rodgers & Hart’s The Boys From 

Syracuse and On Your Toes . 











The performance of Donizetti Variations, a Balanchine® Ballet, is presented by arrangement 

with The George Balanchine Trust and has been produced in accordance with the 

Balanchine Style® and Balanchine Technique® Service standards established and provided 

by the Trust. 


SPIELENDE KINDER 

Originally created as a ballet for graduate 

dancers, entitled School Pieces, Will 

Tuckett revised and recreated this work 

for Margaret Barbieri and London Studio 

Centre’s Images of Dance in 2004, as 

Spielende Kinder (translating from the 

German as “Children at Play”). Despite this 

title, the ballet is not altogether playful in 

tone, or childlike, in the Wordsworthian 

sense of infancy as a state of innocence, 

happiness or perfection. 

The choreographer has expressed his 

desire “to capture that fleeting moment 

between childhood and maturity in 

these snapshots of life as a series of 

playground games.” In short, this is more 

a portrait of the uneasy transitions and 

breathless contradictions of adolescence, 

as we gradually learn to “put away 

childish things” and grow up. Carl Orff’s 

rhythmically energetic music is matched 

by Will Tuckett’s choreographic wit and 

vigour, to create a piece which evokes all 

the joys of youth, alongside the wistful 

innocence of first love and future dreams. 

The ballet’s stark lighting and bare 

stage, stripped back to the theatre walls, 

sharply dismiss any risk of sentimentality 

or tweeness in the school uniforms or 

playground games of the dancers. This deliberate 

counterpoint perfectly captures and reflects the 

mood and tone of Carl Orff’s bittersweet music. 

The music for this ballet, written between 1931 and 

1977 by the German composer Carl Orff, of Carmina 

Burana fame, and collected as Music for Children includes selections 

from Four Pieces for Xylophone, Eight Pieces for Two Violins, Evening 

Song and other short works. 

CARL ORFF 

Spielende Kinder 

27–29 January 2012 


choreography Will Tuckett 

The German composer and teacher Carl Orff was born 10 July 

1895 into a military family in the Bavarian capital, Munich, where 

he spent most of his life. Learning piano, organ and cello from an 

early age, he started to write short stories and compose songs, his 

first significant composition being a large-scale cantata Also Sprach 

Zarathustra (1912) based on Nietzsche. 

Severely injured in World War One, he worked at Mannheim and 

Darmstadt opera houses, before returning to Munich to continue 

studying music and compose, marrying in 1920 the first of his four 

wives, who bore a daughter Godela (1921) whom Orff later rejected. 

In 1924, Dorothée Günther and Orff founded Munich’s Günther 

School for gymnastics, music and dance, where he was Head of 

Music until his death in 1982, developing from 1930 onwards his 

schulwerk system of innovative music education for children, to 

which his Music for Children (1930-1935, revised 1950-1954) was 

integral. 

In the 1920s, influenced by Stravinsky, Orff advocated an integrated 

“elemental music” and became fascinated with historical choral 

works and authentic instruments, adapting 17th century operas, 

including Monteverdi’s Orfeo. This historical interest inspired Orff’s 

trilogy of epic cantatas, The Triumphs, of which his masterwork Carmina 

Burana (Frankfurt, 1937) was hugely popular, the most important 

music work premiered in Nazi Germany. Orff’s career suffered 

by association after World War Two. 

Orff’s relationship to the Nazi régime 

remains contentious, but once “rehabilitated,” 

he continued to broadcast, 

publish and compose: operas, A Midsummer 

Night’s Dream (1964), cantatas and 

“classics,” including Triumph of Aphrodite 

(1953), Oedipus Rex (1959) and his last 

work A Play to the End of Time (1973). He 

died in Munich 29 March 1982. 

WILL TUCkETT 

The English choreographer Will Tuckett 

was born in Birmingham, England. His 

family moved to Bristol when he was six 

years old and he joined the Royal Ballet 

Upper School in 1986, the year he started 

to choreograph, including I Am A Kenwood 

Mixer for Dance, Umbrella and Going 

Underground, which won the Ursula 

Moreton Award. 

Will joined Sadler’s Wells Royal Ballet in 

1988, dancing many roles including The 

Moor in Petrushka, before transferring to 

The Royal Ballet in 1990. Rising steadily 

through the company, he was promoted 

to Principal Character Artist in 2002, his 

repertory including Drosselmeyer, Von 

Rothbart, Dr Coppélius, Tybalt, Prince 

Gremin (Onegin), The Man She Must Marry 

(Lilac Garden), Monsieur G.M., Gaoler 

(Manon), Tusenbach (Winter Dreams), 

Rasputin (Anastasia), Yslaev (A Month in the Country) 

and Widow Simone (La Fille Mal Gardée). 

Throughout the 1990s, Will created well-received 

ballets, including three one-act works for Birmingham 

Royal Ballet (Those Unheard, Game and License 

My Roving Hands), Slippage for Rambert Dance Company and many 

works for the Royal Ballet: Enclosure, Present Histories, If This Is Still A 

Problem, A Shropshire Lad, Puirt-a-Beul and Dream of Angels. He also 

created The Unobtrusive Detail for Irek Mukhamedov and Company 

(revived in 1997 by Ontario Ballet), Bach 1056 (1994) and In Transit 

(1995) for the National Ballet of China, a contemporary re-telling 

of The Sleeping Beauty for Ontario Theatre Ballet and works for K 

Ballet, DanceXchange’s Bare Bones and American Ballet Theatre’s 

Studio Company. 

In the last ten years, Will has created a successful number of narrative 

works, including The Turn of the Screw and Arthur Miller’s The 

Crucible for Sadler’s Wells, and, for the Royal Opera House Linbury 

Studio Theatre, The Wind in the Willows (2002), The Soldier’s Tale 

(2003), Pinocchio (2005) and The Thief of Baghdad (2008). 

Will has made several films for the BBC and Channel 4 TV as both 

a choreographer and director, including The Rime of the Ancient 

Mariner (1994) with Sir John Gielgud and Sir Anthony Dowell and 

Shepherds’ Calendar (1996) with film director Miffid Ellis. 


music Carl Orff 


costume design 

Tricia Hopkins and Robert Gordon 

first Performed by ABT II 2001 


3 December 2010

PHOTO BY JOHAN PERSSON 

SALUTE 

Salute is a 23-minute ballet in the style 

of August Bournonville, the great Danish 

choreographer. School of Dance Dean 

Ethan Stiefel, with whom Kobborg is 

close, specifically requested this. The 

piece is set to music by Danish composer 

Hans Christian Lumbye, who wrote the 

music for many Bournonville ballets. The 

ballet features 12 dancers – six women, 

six men. The boys are going off to war 

and the girls are going to miss them. The 

dancers play true to age as they interact 

with each other in different combinations 

– pas de deux, pas de trois, pas de quatre 

and so forth. They flirt, fuss, and show off 

for each other through quick footwork 

and clever expressive gestures. The 

acting involved is almost as demanding 

as the challenging choreography. 

True to Bournonville’s legacy, Kobborg 

gives equal emphasis to both male and 

female roles. It’s wonderful, lighthearted 

piece. 

hANS ChRISTIAN LUMBYE 

Salute 

27–29 January 2012 


choreography Johan Kobborg 

music Hans Christian Lumbye 

Hans Christian Lumbye was born in 

Copenhagen in 1810 was often referred 

to as the Johann Strauss of Denmark or 

Strauss of the North. He was a celebrated composer 

and conductor of dance music and theater, and it 

was said he deliberately modeled some elements 

of his career on that of Strauss, but ultimately he 

proved a bit more versatile than the Viennese 

master, performing major serious compositions by 

Danish and foreign composers. 

As a child, he studied music in Randers and Odense, and at 14 

was playing the trumpet in a military band. In 1829 he joined the 

Horse Guards in Copenhagen whilst still continuing his music 

education. It was ten years later after he was so impressed by a 

concert in Copenhagen by an Austrian band playing Lanner and 

Strauss that he formed his own orchestra playing similar music and 

was often billed as “Concerts à la Strauss.” Like Strauss, he often 

played violin in front of his orchestra. This established relationships 

with several theaters and pleasure-gardens, and devoted part of 

his time to composing for famed Danish choreographer August 

Bournonville at the Royal Theater. But his greatest success began in 

1843, when his orchestra opened the Tivoli Gardens; he remained 

music director there until 1872. Off season, he toured the Danish 

provinces and Europe and gained international repute as a rival to 

Strauss. 



JOhAN kOBBORG 

Johan was born in Copenhagen and in 

1988 at the age of 16 joined the Royal 

Danish Ballet School one year later joined 

the Royal Danish Ballet In 1991 was 

promoted to Soloist and 1994 was made a 

Principal. Johan danced the principal roles 

in the major Classical repertoire which 

includes dancing Romeo in productions 

by Ashton, MacMillan and Neummeier. 

Other repertoire includes Bournonville’s 

La Sylphide, Le Conservatoire, The Kermesse 

in Bruges, The Flower Festival in Genzano, 

A Folk Tale, and Napoli, Ashton’s The 

Dream, Symphonic Variations, Les 

Rendezvous, Scènes de ballet, Ondine, 

Cinderella, A Wedding Bouquet, La Fille 

mal gardée. MacMillan’s Mayerling, Danses 

concertantes, Manon, Anastasia. Robbin’s 

The Concert, Dances at a Gathering, 

Cranko’s Onegin, Tudor’s The Leaves Are 

Fading, Baynes’ Beyond Bach, Forsythe’s In 

the middle, somewhat elevated, Duato’s Por 

Vos Muero. Fokine’s Les Sylphides, Flindt’s 

The Lesson, Legs of Fire, de Valois’ The Rake’s 

Progress, Lander’s Etudes, Le Corsaire, 

Taylor’s Aureole, Balanchine’s Tchaikovsky 

Pas de deux, DuoConcertant, Agon, 

Martin’s Zakouski. Corder’s Water as part 

of Homage to the Queen, Masquerade 

and Dance Variations, Bintley’s Tombeaux. Created 

roles include the title role in Schaufuss’ Hamlet, 

Reverend Parris in Tuckett’s The Crucible, Page’s This 

House Will Burn, Le Printemp in Bintley’s Les Saisons, 

Brandstrup’s Two Footnotes to Ashton. 

In 1993 Johan won the gold medal at the Erik Bruhn 

Competition in Canada. The following year he won 

the Grand Prix at the International Ballet Competition in Jackson, 

U.S.A. and the Grand Prix at the International Nureyev Ballet 

Competition in Hungary. In 1996 he was nominated for the prize 

Benoir de la Danse for his role as James in La Sylphide. 

Guest appearances have included with The Kirov Ballet Bolshoi 

Ballet, La Scala Ballet, National Ballet of Canada, Hamburg Ballet, 

Stuttgart Ballet, Teatro San Carlos, Naples and the Vienna State 

Opera. In 2003 he created his own show, Out of Denmark at the 

Queen Elizabeth Hall, London. For The Royal Ballet he has produced 

Bournonville’s La Sylphide and Napoli Divertissements. 

Iain Webb and Johan Kobborg in rehearsal 


VALSES NOBLES 

ET SENTIMENTALES 

Ravel admitted his own fascination with 

the waltz, a folk dance formerly banned 

by the Pope (its dancers grasped each 

other around the waist!) and firmly identified 

with the early 19th century Romantic 

movement (Chopin, Schubert et al). “The 

title sufficiently indicates my intention to 

compose a succession of waltzes, after 

Schubert’s example” wrote Ravel, referring 

to Schubert’s earlier use of the same title. 

The composer, of course, intended his 

homage to Schubert to be at the same 

time nostalgically retrospective and entirely 

contemporary: Ravel always liked 

to startle and surprise, and he was interested 

in modernism and jazz, as we can 

hear in his later piano concerti. The music 

writer Roger Nichols summed up Valses 

Nobles et Sentimentales perfectly, as offering 

“nostalgia without incoherence, 

sentiment without sentimentality”. 

In 1906, Ravel started work on his waltz 

project, culminating in his 1919 La Valse. 

Before then, he had presented his Valses 

Nobles et Sentimentales in an anonymous 

1911 Paris competition, dedicated to the 

pianist Louis Aubert, where the audience 

attributed it to Zoltan Kodaly or Erik Satie 

while greeting it with booing and catcalls. Ravel orchestrated 

his waltzes in 1912 for Diaghilev’s Ballets 

Russes as Adelaide or the Language of the Flowers. 

Valses Nobles 

et Sentimentales 

24–26 February 2012 



music Maurice Ravel 

original design Sophie Fedorovitch 

Ashton had used Valses Nobles et Sentimentales for 

his 1935 Valentine’s Eve for Ballet Rambert, and he 

revisited Ravel’s ravishing, swooning score for his 

new 1947 piece for Sadler’s Wells Ballet, which encapsulated 

the postwar yearning for glamour, style and elegance in 

a Britain bankrupted by World War II and still dominated by austerity 

and rationing. 

Sophie Fedorovitch designed Ashton’s ballet against an abstract 

décor of screens and silhouetted palms, suggesting a ballroom, 

with luscious velvet and tulle costumes in maroon and pink, redolent 

of both the original 1830s Romantic ballet and the exhilarating 

Parisian catwalk designs of Christian Dior’s 1947 New Look, with 

its elegantly exaggerated feminine tailoring and extravagant yards 

of swirling skirts. Nothing could have captured so completely the 

glamorous, escapist dreams of a glumly rationed postwar Britain! 

MAURICE RAvEL 

France’s most acclaimed (and, reputedly, highest-earning) 20th 

century composer was born in Ciboure (in the French Basque province 

adjoining Spain) 7 March 1875 to a Swiss father and Basque 

mother, but grew up in Paris, where he studied music at the Conservatoire 

under Fauré and was influenced by Debussy’s Impressionism. 

An atheist, Ravel lived the bohemian Paris life to the full 

and never married. His diverse interests extended to American jazz, 

African and traditional folk music – and especially Spain, for which 

country’s music he developed a particular affection and affinity. 

Ravel enjoyed an equal talent for piano and orchestral composition. 

The first decade of the 20th century saw his Pavane pour une enfante 

défunte (1899), String Quartet (1903), Introduction & Allegro 

for Piano, Harp & Flute (1905), Rhapsodie Esagnole (1908), the opera 

L’Heure Espagnole (1907), and the admired piano works Jeux d’Eau 

(1901), Miroirs and Sonatine (1905). The following decade saw his 

career blossom, with a major Diaghilev/Fokine ballet Daphnis & 


first Performed by Sadler’s Wells Ballet 




Chloe (1912), Mother Goose (1912), and 

important piano works Valses Nobles et 

Sentimentales (1911) and Le Tombeau de 

Couperin (1917), which pre-dated Stravinsky’s 

neoclassical innovations. 

Ravel continued to work successfully 

throughout the 1920s, developing his 

interests in the waltz form, neoclassicism, 

Spanish and jazz music, with works including 

La Valse (1920), Bolero (1928), the 

opera L’Enfant et les Sortileges (1925) and 

his milestone piano concerti for Left Hand 

(1930) and in G (1931). He also made a 

superb 1922 orchestration of Mussourgsky’s 

Pictures at an Exhibition (1922). In 

1928 Ravel made a wildly successful 

American tour of 25 cities, famously refusing 

Gershwin’s request to study under 

him: “Why be a second-rate Ravel when 

you can be a first-rate Gershwin?” 

In 1932 Ravel suffered severe head injuries 

in a road accident, from which he 

never recovered. After an unsuccessful 

operation, he died in Paris at the age of 

62, on 28 December 1937. 






he studied with Leonide Massine and later with Marie 

Rambert (who encouraged his first ventures in 

choreography) as well as dancing briefly in Ida Rubinstein’s 

company (1928-9). A Tragedy of Fashion 

was followed by further choreographies (Capriol 

Suite, Façade, Les Rendezvous), until in 1935 he accepted 

de Valois’ invitation to join her Vic-Wells Ballet 

as dancer and choreographer. It was in 1935, too, that Ashton 

began a 25-year creative association with Margot Fonteyn. 

Besides his pre-war ballets at Sadler’s Wells, Ashton choreographed 

for revues and musicals. His career would also embrace opera, film 

and international commissions, creating ballets in New York, Monte 

Carlo, Paris, Copenhagen and Milan. During the War, he served in 

the RAF before creating Symphonic Variations for the Sadler’s Wells 

Ballet’s 1946 season in its new home at Covent Garden, affirming a 

new spirit of classicism and modernity in English postwar ballet. 

During the next two decades, Ashton’s ballets, often created 

around the talents of particular dancers, included: Scenes de ballet 

and Cinderella (1948), in which Ashton and Robert Helpmann famously 

played the Ugly Sisters. He created La fille mal gardée (1960) 

for Nadia Nerina and David Blair, The Two Pigeons (1961) for Lynn 

Seymour and Christopher Gable, and The Dream (1964) for Antoinette 

Sibley and Anthony Dowell. 















MONOTONES I & II 

At first glance, with its austere qualities 

and its firmly “contemporary” title 

(sounding more like a dance by Cunningham 

or one of the 1960s Judson Church 

experimentalists) Monotones I & II does 

not appear a typical Ashton work, but 

closer inspection reveals it as a characteristically 

sensitive and fine exercise in the 

great tradition of classical ballet adagio. 

First came the ironically-titled Monotones 

II – which Ashton created as an abstract 

pas de trois, a special “occasion” piece for 

Vyvyan Lorraine, Anthony Dowell and 

Robert Mead to perform at a Royal Ballet 

Benevolent Fund Gala in March 1965. 

Dressed in simple white unitards and 

skullcaps (very au courant in the moonlanding 

1960s), the two men partnered 

the female dancer, the trio patterns and 

interactions echoing the title of Satie’s famous 

1888 Trois Gymnopédies, originally 

composed as a piano solo and subsequently 

orchestrated by Claude Debussy 

and Roland-Manuel. 

The short work was extremely well received, 

so in the following year, Ashton 

expanded the ballet by adding Monotones 

I to make a companion trio, this 

time for two women and a man, dressed 

in green. At the 1966 Royal Ballet premiere, Monotones 

I was danced by Antoinette Sibley, Georgina 

Parkinson and Brian Shaw. The companion work, 

which precedes the earlier Monotones II, is set to 

Satie’s piano works Trois Gnossiennes (1890) and Prélude 

d’Eginhard (1893), especially orchestrated by 

John Lanchbery. 

Monotones I & II 




music Erik Satie 

Staged by Lynn Wallace 

first Performed by The royal Ballet 

Monotones II 

24 March 1965 

Monotones I 

25 April 1966 

The two abstract ballets are usually, but not always, performed 

together, as a single short work, in the original “opposite” order 

Ashton intended. Monotones has been in consistent demand by 

international ballet companies: Joffrey Ballet (1974), San Francisco 

Ballet (1981) etc. 

Ashton fully grasps Satie’s intention to discard grandiose, orchestral 

sonority in the Germanic classical tradition, in search of a 

lighter, understated, melodic clarity, giving the ballet limpid, flowing 

lines, and precise, calm, metronomic movements. Arlene Croce 

noted that “the continuity of Ashton’s line is like that of a master 

draftsman whose pen never leaves the paper”. 

ERIk SATIE 

Perhaps the quintessential eccentric and experimenter, the French 

pianist and composer Erik Satie was born 17 May 1866 of French- 

Scottish parents in Normandy, dividing his childhood between his 

grandparents in Honfleur and his father in Paris, who worked as 

a translator and, after his first wife’s 1872 death, married a piano 

teacher. Early piano and organ lessons took Satie to the Paris Conservatoire, 

where he failed to impress. 

The 21-year old Satie settled in Montmartre, drifting through the 

1890s, writing, composing, struggling financially, and pursuing 

such enthusiasms as the Rosicrucians and other religious orders, 

socialism and various avant garde ideas, befriending Debussy and 

the young Ravel. By 1900, the cash-starved composer had lost his 

religious faith, started to work in cabarets and moved to suburban 

Arceuil, where he lived for 27 years, unvisited by anyone. An obsessive 

and short-lived 1893 affair with the painter Suzanne Valadon 

seems to have been Satie’s only relationship. 




Meanwhile, Satie continued his studies, 

writing and composing, mostly for the 

piano, without success until 1912, when 

his humorous piano miniatures began 

to earn admirers and money. In 1915 he 

met Jean Cocteau with whom he collaborated 

on A Midsummer Night’s Dream and 

then, with Picasso for Diaghilev’s Ballets 

Russes, on Parade (1917). There followed 

associations with all the Parisian post- 

War avant garde movements; Dadaism 

via Tristan Tzara, “Les Jeunes” via Ravel, 

Surrealism via Picabia, Dérain, Duchamp 

and Man Ray, and finally “Les Six” via Auric, 

Honegger, Poulenc and Milhaud. 

Satie died, from years of heavy drinking, 

on 1 July 1925. His reputation rests on 

his rebellion against the overly ”serious” 

Germanic symphonic tradition, and his 

innovative piano miniatures and compositional 

experiments, notably Trois Gymnopédies, 

Trois Gnossiennes and the more 

substantial Parade. 







with Marie Rambert (who encouraged his first ventures 

in choreography) as well as dancing briefly 

in Ida Rubinstein’s company (1928-9). A Tragedy of 

Fashion was followed by further choreographies 

(Capriol Suite, Façade, Les Rendezvous), until in 1935 

he accepted de Valois’ invitation to join her Vic-Wells 

Ballet as dancer and choreographer. It was in 1935, 

too, that Ashton began a long creative association with Margot 

Fonteyn, for whom he would create many great roles over 25 years. 

Besides his pre-war ballets at Sadler’s Wells, Ashton choreographed 

for revues and musicals. His career would also embrace opera, film 

and international commissions, creating ballets in New York, Monte 

Carlo, Paris, Copenhagen and Milan. During the War, he served in 

the RAF before creating Symphonic Variations for the Sadler’s Wells 

Ballet’s 1946 season in its new home at Covent Garden, affirming 

a new spirit of classicism and modernity in English postwar ballet. 

During the next two decades, Ashton’s ballets, often created 

around the talents of particular dancers, included: Scenes de ballet 

and Cinderella (1948), in which Ashton and Robert Helpmann famously 

played the Ugly Sisters. He created La fille mal gardée (1960) 

for Nadia Nerina and David Blair, The Two Pigeons (1961) for Lynn 

Seymour and Christopher Gable, and The Dream (1964) for Antoinette 

Sibley and Anthony Dowell. 

Appointed Associate Director of the Royal Ballet in 1952, it was under 

Ashton’s direction that after 1970 the company rose to new 

heights. His choreographic career continued with Monotones 











FAÇADE 

Façade is that very rarest of English creatures, 

an enduringly popular success and 

at the same time a definitively modern 

work of art. It began in the Chelsea home 

of the aristocratic and artistic Sitwell siblings, 

where the young William Walton 

was lodging. Walton (who had just been 

humiliatingly turned down by Diaghilev 

for a Ballets Russes commission, despite 

the Sitwells’ enthusiastic promotion) 

composed a scintillating score of pastiche 

musical numbers to accompany 

Edith Sitwell’s avant garde poems, recited 

through a megaphone from behind a 

surrealist front curtain. 

Its Aeolian Hall premiere in 1923 was 

greeted with contemptuous derision, reinforced 

by Noel Coward’s skit “The Swiss 

Family Whittlebot” in his popular revue 

London Calling. But in Frederick Ashton’s 

choice of Walton’s music for a ballet divertissement 

created for the Camargo 

Society in 1931, Façade attained genuine 

popularity and has never looked back. 

In that 1931 premiere, Alicia Markova 

danced the Polka, Lydia Lopokova doubled 

as the Milkmaid and the Tango 

dancer, whilst Ashton himself played the 

Dago. Façade’s sophisticated wit caught 

the mood of the twenties; and its instant popularity 

brought it into the repertoires of Rambert’s Ballet 

Club, the Vic-Wells Ballet (1935, with Fonteyn’s Polka 

and Ashton’s Dago leading the cast) and the Royal 

Ballet, from whose repertoire it is never absent long. 

Ashton made various revisions over the years. A Country 

Dance was added in 1935 (and later dropped). The 

Foxtrot dates from 1940, when John Armstrong created new designs 

after the original sets and costumes were lost in the Sadler’s Wells 

Ballet’s dramatic flight from the Nazi invasion of Holland. Following 

the adoption of Walton’s Popular Song as the theme tune for 

the long-running British TV show “Face The Music,” Façade was performed 

in 1972 at The Snape Maltings and Sadler’s Wells with Peter 

Pears reciting the Sitwell poems. 

But the ballet remains, intact and much-loved. Ashton’s tonguein-cheek 

tribute to the Bloomsbury Movement. Walton’s knowing 

take on the popular songs and dances of the twenties. With a generous 

dash of genteel camp. A very English marriage of high art 

and sheer enjoyment. 

WILLIAM WALTON 

Façade 




music William Walton 

design John Armstrong 


first Performed at 

the cambridge Theatre 

26 April 1931 

The English composer, Sir William Walton, knighted in 1951 and 

awarded the Order of Merit in 1967, made his mark in the late 

1920s as a modernist with early successes like Façade, but it is on 

his more substantial orchestral, symphonic and choral works, from 

the 1931 oratorio Belshazzar’s Feast onwards, that his reputation 

rests. Influenced by Stravinsky, Sibelius and jazz, Walton’s work 

embraced film scores, chamber and ceremonial music, choral and 

orchestral works. 

Born into a musical family in Oldham Lancashire, the 10-year-old 

Walton became a chorister at Christ Church Cathedral, Oxford and 

subsequently entered Christ Church College as a 16-year-old undergraduate, 

at a time when “The House” was the fashionable centre 

of Oxford’s jeunesse dorée, who took him up enthusiastically. 



Largely self-taught, Walton studied the 

works of Stravinsky, Delius and Sibelius, 

and began composing, but was sent 

down from Oxford for failing his exams in 

1920, moving in with the Sitwells in London 

and associating with the 1920s avant 

garde: Noel Coward, Lytton Strachey, Cecil 

Beaton, Rex Whistler and Diaghilev’s 

Ballets Russes entourage and artistic collaborators. 

The concert overture Portsmouth Point 

(1925) and Façade (1926) were followed 

by his first work to make major impact, 

the Viola Concerto (1929) and through 

the 1930s Walton’s reputation grew, with 

his 1st Symphony (1935), Crown Imperial 

(1937) for the coronation of George VI and 

Violin Concerto (1939). Walton was exempted 

from active service during World 

War II to create his masterly film scores including 

Olivier’s Henry V, Hamlet and Richard 

III. In all, Walton scored 14 feature films 

(1934 – 1969). 

After the War, Walton composed his 2nd 

String Quartet (1946), dedicated many 

years to his opera Troilus & Cressida (1954), 

which was not a major success, and subsequently 

turned his attention to orchestral 

works such as his Cello Concerto (1956), 

2nd Symphony (1960) and Variations on 

a Theme by Hindemith (1963). In 1949 he 

settled on the Adriatic island of Ischia with his Argentine 

wife Susana, where he died in 1983, having 

found composition of new work very difficult during 

his final decade, a 3rd Symphony, for André Previn being 

abandoned after several attempts. 

Alexander Grant CBE • 1925 - 2011 

Alexander Grant and Iain Webb 

Alexander, 

Thank you for your tremendous support. 

You will be greatly missed by us all, 

but forever in our hearts. 

Iain, Margaret & the dancers of The Sarasota Ballet 


SERENADE 

A New York City Ballet signature work, and a 

landmark in Balanchine’s choreographic 

achievement, Serenade followed Apollo 

(1927) and The Prodigal Son (1929) - his 

two masterpieces for Diaghilev’s Ballets 

Russes -and was the first original ballet he 

created in America, originally for students 

of the School of American Ballet, who 

performed it privately on 10 June 1934, 

before its official 1935 New York premiere 

by American Ballet. It has remained a 

repertoire standard ever since. 

Starting with classwork and famously 

incorporating spontaneous episodes (a 

student’s late arrival, a dancer’s slip in the 

rehearsal studio, a shortage of men in 

class), Balanchine described Serenade as 

“simply dancers in motion to a beautiful 

piece of music. The only story is the 

music’s story, a serenade, a dance… in 

the light of the moon”. “Making a ballet is 

a choreographer’s way of showing how he 

understands a piece of music, not in words, 

not in narrative form… but in dancing”. 

Balanchine declared a strong affinity for 

Tchaikovsky’s music, returning to it for 

many of his ballets, while the composer 

claimed the Serenade for Strings as his 

“favourite child… written from the heart”. 

Balanchine originally set only the first three of its four 

movements – an opening sonatina, a lilting waltz 

and a grieving elegy - choreographing the Russian 

folk-inspired finale in 1940 but changing the order, 

so that the ballet still ends with the melancholic 

elegy. He made various other changes over the years. 

The choreographer’s “dance in the moonlight” 

opens with 17 women in long blue dresses, bathed in ethereal blue 

light. The full cast of 28 dancers weave patterns through the music, 

responding to its structure and moods. It is very much a ballet about 

and for women, with the men seeming to come and go through 

a world shaped and defined by the aspirational trajectory of the 

female dancer; but, at the same time, it is immaculately structured, 

meticulous and razor-sharp, reflecting Balanchine’s demands. “The 

body is lazy!” he would tell his dancers. “That’s why I am here!” 


Serenade 

13–14 April 2012 




Staged by Sandra Jennings 












brought on a nervous breakdown, although the creative result was 

the opera Eugene Onegin and his 4th Symphony. From this point 

onwards, his Russian contemporaries compared him with the novelist 

Dostoevsky, detecting an ambivalent and suffering identity in 


Tchaikovsky’s creative career developed with the patronage of Nadezhda 

von Meck, who gave him an annual subsidy for 13 years from 1877. 

created for the School of American Ballet 

10 June 1934 

first Performed by American Ballet 

1 March 1935 


13 April 2012 

















awarded Tchaikovsky an honorary doctorate. 

He died on 6 November, shortly 

after the premiere of his 6th Symphony, 

officially from cholera-infected water, but 

possibly by suicide. 


Probably the most important and influential 

ballet figure in America, he was born 

Georgi Balanchivadze in St. Petersburg 

(1904), and two decades after his death 

in New York (1983), we can appreciate 

fully the huge impact of a choreographer 

whose creative life spanned 60 years, who 

carried the grand Russian classical style triumphantly 

into the modernist era, established one 

of the world’s leading companies (New York City Ballet) 

and gave America its own classical ballet tradition. 

Graduating from the Petrograd Imperial School of 

Ballet in 1921 aged 17, Balanchine joined what is 

now the Kirov Ballet, where his first choreographies 

shocked the company’s traditionally-minded establishment. In 

1924, he toured Germany with his own group of Soviet State 

Dancers, where an audition for Diaghilev led to the Ballets Russes 

acquiring the talents of Balanchine, Tamara Geva (the first of his 

four ballerina wives) and Alexandra Danilova. 

After Diaghilev’s death in 1929, Balanchine worked in Copenhagen, 

Paris and for René Blum’s Monte Carlo Ballet. It was during his 

directorship of Les Ballets 1933 in London that the wealthy writer 

Lincoln Kirstein persuaded him to found the American School of 

Ballet in New York (1934), out of which emerged the New York 

City Ballet (1948). During the 1930’s and 1940’s, Balanchine also 

choreographed extensively for Broadway and the movies, including 

Rodgers & Hart’s The Boys From Syracuse and On Your Toes . 











The performance of Serenade, a Balanchine® Ballet, is presented by arrangement with The 

George Balanchine Trust and has been produced in accordance with the Balanchine Style® 

and Balanchine Technique® Service standards established and provided by the Trust. 


DOMINIC WALSh 

Resident Choreographer 

Dominic Walsh began dancing in Elgin, 

Illinois, with Lisa Boehm. He joined 

Houston Ballet in 1989 and was promoted 

to Principal Dancer by 1996. During his 

years at the Ballet, he received praise from 

national and international critics and 

danced all the classics such as Swan Lake, 

Giselle, and Romeo & Juliet, appearing with 

major stars including Nina Ananiashvili 

and Alessandra Ferri. Dominic has had 

many ballets created for him. Some of 

the most influential choreographers 

include Jirí Kylián, Christopher Bruce, 

Nacho Duato, Natalie Weir, Kenneth 

MacMillian, George Balanchine and Ben 

Stevenson. In 1998, he created Flames 

of Eros, when Mr. Stevenson invited him 

to choreograph with the Houston Ballet. 

This work won the Choo-San Goh Award 

for Choreography. He created three more 

works for Houston Ballet and Houston 

Ballet Academy and continues to set 

and create works for other companies 

including, ABT Studio Company, Ballet 

Austin, London Studio Centre, Asami 

Maki Ballet Tokyo, New National Theatre, 

Tokyo, Teatro San Carlo di Napoli and The 

Sarasota Ballet. 

Sarasota Premiere 

13–14 April 2012 


choreography 

Dominic Walsh 

Resident Choreographer 

In May 2002, Walsh launched his 

contemporary ballet company, Dominic Walsh 

Dance Theater. After the company’s debut 

in February 2003, Dance Magazine declared, 

“[a]t last Houston has a contemporary dance 

company on par with its symphony, opera and 

ballet companies.” In May 2006, Mr. Walsh created 

Romeo & Juliet, his first full-length, multi-sensory 

production that received praise from Dance Magazine. In 2007, 

he premiered a new full length ballet, Orfeo ed Euridice, for New 

National Theatre, Tokyo, and a full-length Sleeping Beauty, followed 

by Titus Andronicus, The Trilogy: Wolfgang Amadeus Mozart, and 

Firebird in 2009 for DWDT. Firebird was created with Paris Opera 

Etoile, Marie-Agens Gillot and Domenico Luciano. Since founding 

his company, Mr. Walsh continues to dance and had the opportunity 

to perform the American premiere of Mauro Bigonzetti’s Pression. 

Most recently, he danced Jirí Kylián’s only solo for a man, Double 

You, and the White Swan pas de deux from Matthew Bourne’s 

Swan Lake. Walsh received his second Choo-San Goh Award for 

Choreography for Amadeus in 2007 and in July 2008, he won a 

Princess Grace Award for Choreography for Mozart. 2011-12 marks 

his fifth season as Resident Choreographer of The Sarasota Ballet. 


13 April 2012 

It is with delight that 

we recognize Domenic’s 

5th season with 


2009-2010 

2010-2011 

2007-2008 

2010-2011 

2008-2009 


PHOTOS BY FRANK ATURA

PHOTO BYGREG GORMAN 

NINE SINATRA SONGS 

Ms. Tharp describes Nine Sinatra Songs 

as “a long string of gorgeous, romantic 

duets.” Clement Crisp hailed it as “a 

portrait in which seven couples incarnate 

the most correct as well as the most 

extreme aspects of ballroom behaviour.” 

For Arlene Croce it was “full of flair and 

sophistication…a composite of the 

Great American Prom, and, by extension, 

a picture of different relationships.” To 

any audience who has ever seen it, Nine 

Sinatra Songs is sheer delight, from start 

to finish, full of surprises and satisfactions. 

Beneath the mirror-ball, seven couples, 

each differently characterised and 

gorgeously costumed in different colours, 

interpret a classic Sinatra recording. 

Created at a time when Disco had 

separated the traditionally-embraced 

ballroom couple, Ms Tharp intentionally 

chose Ol’ Bue Eyes’ mature recordings 

from the time “when my parents were still 

together, when all parents were together, 

the last time we assumed as a culture that 

of course men and women lived together 

and loved for a lifetime.” 

Nine Sinatra Songs 

13–14 April 2012 


choreography Twyla Tharp 

music Songs sung by Frank Sinatra 

lighting Jennifer Tipton 

costumes Oscar de la Renta 

Scenic design Santo Loquasto 

Staged by Shelley Washington 

So the nostalgic romanticism of the 

swooning love songs is matched by a 

cynical awareness that love is not forever, 

that the moment must be seized, that 

the crooner’s clichés cannot be trusted. Each of the 

couples dances a variation on this theme, offering 

us: infatuation, what Ms Tharp terms “a bastardized 

tango,” a late-night smooch, effortlessly smooth 

harmony, a hectic Latin pastiche, the will-theywon’t-they? 

of That’s Life, and so on, culminating in 

a reprise of My Way. 

Ms Tharp came straight to Nine Sinatra Songs from intensive 

research into turn-of-the-century ballroom exhibition dancing 

for the movie Ragtime, and while acknowledging a long-seated 

desire to evoke the (later) romantic glamour of Astaire and Rogers, 

she also determined to adjust the traditional partnering by 

empowering her female dancers into a more proactive or equal 

role than orthodox ballroom allows. 

It would be tedious to list the endless revivals since its triumphant 

1982 premiere by companies all over the world. Suffice it to say 

that Nine Sinatra Songs must rank among the most popular and 

universally welcomed of Ms Tharp’s many successful dances. 

FRANK SINATRA 

The father of modern pop singing, “Ol’ Blue Eyes” was born 12 

December 1915 in Hoboken, New Jersey, the only child of doting 

Italian immigrant parents, who encouraged his career. A troubled 

and delinquent youth, during which he developed his singing 

gifts by ear – Sinatra never learned to read music – found him a 

professional band singer at the age of 20, his career taking off in 

1939 as featured vocalist in the Harry James and Tommy Dorsey 

orchestras during the Swing era. 

As a best-selling recording artist during World War Two (in which, to 

his subsequent embarrassment, he did not serve), Sinatra became 

the heart-throb of the bobbysoxers, whose adulatory antics predated 

The Beatles phenomenon by two decades. Despite his 

recording career, success in Hollywood musicals, often with Gene 

Kelly (Anchors Aweigh, Take Me Out To The Ballgame and On the 

Town) and a Las Vegas season, sensing that his star was waning, 

first Performed by Twyla Tharp dance 



13 April 2012 


overshadowed by newer singing idols, 

dropped by Columbia and MCA Records, 

and with TV success eluding him, Sinatra 

attempted suicide. 

His career bounced back with a 

vengeance in the 1950s, with the movie 

From Here To Eternity and a series of 

triumphantly successful albums (In The 

Wee Small Hours, Songs For Swingin’ 

Lovers and Come Fly With Me) for Capitol 

Records. This success lasted into the 

1960s, with Sinatra a leading member 

of the notorious Rat Pack, further movie 

successes (Oceans Eleven, The Manchurian 

Candidate), plus a hectic concert and 

recording schedule. 

At the age of 55, Sinatra announced 

his retirement in 1971, but consistently 

returned to the stage and recording 

studio until 1995. He died in Los Angeles 

at the age of 82 on 14 May 1998. Sinatra 

had three children, including the singer 

Nancy Sinatra, by his first wife Nancy 

Barbato, and later married Ava Gardner, 

Mia Farrow and Barbara Marx. 

TWYLA THARP 

Twyla Tharp has choreographed over 

135 dances for her own company and for 

Joffrey Ballet, American Ballet Theater, 

Paris Opera Ballet, The Royal Ballet, 

New York City Ballet, Boston Ballet, Hubbard Street 

Dance, Martha Graham Dance Company, Miami 

City Ballet and Pacific Northwest Ballet. She has 

choreographed five Hollywood films: Milos Forman’s 

Hair (1978), Ragtime (1980) and Amadeus (1984), 

Taylor Hackford’s White Nights (1985) and James 

Brooks’ I’ll Do Anything (1994). She’s directed and 

choreographed four Broadway shows: When We Were Very Young 

(1980), The Catherine Wheel with David Byrne (1981), Singin’ In the 

Rain (1985) and Movin’ Out (2002). 

Among Ms. Tharp’s numerous awards, she received a Tony, two 

Emmys, nineteen honorary doctorates, the Vietnam Veterans of 

America President’s Award, the 2004 National Medal of the Arts, the 

2008 Jerome Robbins Prize and a 2008 Kennedy Center Honor. She 

is a member of the American Academy of Arts and Sciences and an 

Honorary Member of the American Academy of Arts and Letters. 

Born 1 July 1941 in Portland, Indiana, Twyla Tharp was educated 

and began dance training in California before moving to New York, 

where she graduated from Barnard College (1963) with an Art History 

degree and studied with Martha Graham and Merce Cunningham, 

before joining the Paul Taylor Dance Company and forming her own 

company Twyla Tharp Dance in 1965, which toured internationally 

from 1971 to 1988, when she merged it with American Ballet Theater, 

to re-form a new company in 1991 for a major international tour 

of Cutting Up with Mikhail Baryshnikov. Twyla Tharp Dance toured 

internationally from 1999-2003. 

From Twyla Tharp’s distinguished choreographic oeuvre, one might 

single out landmark works: Deuce Coupe (Joffrey Ballet, 1973) to 

Beach Boys music, often credited as the first “crossover” ballet, Sue’s 

Leg (1975), Push Comes To Shove (American Ballet Theater, 1976) for 

Baryshnikov, Nine Sinatra Songs (1982), The Golden Section (1983) or 

In The Upper Room (1986). 

Ms. Tharp has wriitten her autobiography Push Comes To Shove 

(1992), The Creative Habit and The Collaborative Habit. She has a 

son and a grandson. She continues to create, write and lecture. 

THEATRE OF DREAMS 

Theatre of Dreams is going to be the 

signature name for the last program 

of the season. For the last two years, 

our last program has highlighted new 

choreography created by our own 

Sarasota Ballet dancers. The creative 

energy and the final product, together 

with the response from the dancers 

and audience have impressed me and 

I believe that this is a very worthwhile 

project. A couple of the choreographers 

have said that it is a dream come true to 

choreograph on the company and have 

their creation performed as part of our 

season, thus the name Theatre of Dreams 

was born. 

Some people have said that it is quite a 

gamble for me to present so many new 

works, and yes it could be seen that way, 

because when you commission a ballet 

you have no idea what the end result will 

be. It would be like you commissioning 

an artist to paint your portrait and in 

your imagination you may have hoped 

it would be in the style of Degas but 

when it is revealed, it is more suggestive 

of Francis Bacon. Both undoubtedly 

could be masterpieces, but it would rely 

on your perception and in many cases 

individual taste. 


27–29 April 2012 


choreography 

Octavio Martin 

Kate Honea 

Ricardo Graziano 

Ricki Bertoni 

Jamie Carter 

As a dancer it is vital to our growth as artists that we are challenged. 

These challenges come in different forms, which could be in 

performing one of the full length classical ballets like Petipa’s 

Swan Lake, or in the acting skills required in de Valois’ The Rake’s 

Progress, or indeed the physical pressure of Tharp’s In The Upper 

Room. However, working one to one with a choreographer, being 

the instrument for his vision, and seeing the ballet come alive; can 

be most challenging yet also rewarding. 

Both Margaret and I believe strongly in developing new talent and 

giving opportunities to dancers and choreographers alike. 


13 April 2012 


PHOTOS BY FRANK ATURA

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Repetiteurs 

SANDRA JENNINGS, DONIZETTI VARIATIONS AND SERENADE 

Sandra was born in Boston and trained with June Paxman and then with Boston Ballet. Her training continued 

with a Ford Foundation Scholarship at the School of American Ballet where she made her mark 

with leading roles in SAB workshops and danced in Balanchine’s Tarantella at the age of fifteen. in 1974 

was invited to join Balanchine’s New York City Ballet, During nine years Sandra danced an impressive 

repertoire including ballets by Balanchine, Robbins, Taras, d’Amboise, Ashton, Martins and Bournonville. 

In 1985, became a repetiteur for The George Balanchine Trust, and has staged over 30 ballets for 

companies worldwide, including Apollo, Serenade, Concerto Barocco, Agon, Four Temperaments, Jewels, 

The Nutcracker, Midsummer Night’s Dream and Donizetti Variations, as well as full-length classics. From 

1993–2002 Sandra was Ballet Mistress for Pennsylvania Ballet and 2002-2006 for the San Francisco Ballet. 

Sandra was guest teacher for the Royal Danish Ballet. 

PAUL SUThERLAND, RODEO 

Paul Sutherland began studying ballet at eighteen in Fort Worth, Texas, after seeing ballet for the first 

time. Two years later he danced with the Royal Winnipeg Ballet and a year later joined Ballet Theatre, 

where he was promoted to soloist and then principal. He was also a principal dancer with the Joffrey 

Ballet and the Harkness Ballet, working with choreographers as deMille, Tudor, Robbins, Joffrey, Arpino, 

Ailey, Bolender, Butler and many others. Sutherland was ballet master with the Joffrey Ballet, Feld Ballet, 

Milwaukee Ballet and New Jersey Ballet and a faculty member at the Boston Conservatory, Juilliard and 

Montclair State University. As the only person authorized to stage Agnes deMille’s classic Rodeo, the 

first ballet he ever saw, he has set it over fifty times throughout the United States, Canada, and abroad. 

His wife, Brunilda Ruiz, was a founding member and principal dancer of the Joffrey Ballet and Harkness 

Ballet. 

JOYSANNE SIDIMUS, DIAMONDS 

Joysanne began her dance career in New York City where she studied under George Balanchine at the 

School of American Ballet before joining the New York City Ballet. She subsequently performed as a 

soloist with London’s Festival Ballet and as a Principal Dancer with Pennsylvania Ballet and The National 

Ballet of Canada. Joysanne extensive and intimate understanding of Balanchine’s works has led her to 

stage them for ballet companies all over the world, including the Grands Ballets de Genève in Switzerland, 

Stuttgart Ballet, the North Carolina Dance Theatre, Pennsylvania Ballet, Teatro Municipale of Rio 

de Janeiro, The Royal Winnipeg Ballet and The National Ballet of Canada. In addition to her work as a 

guest repetiteur, Ms. Sidimus is the founder of the Canadian Dancer Transition Resource Centre and the 

Artists’ Health Centre. Ms. Sidimus was awarded the Governor General’s Performing Arts Award which is 

the United State’s equivalent to the Kennedy Center Award. 

LYNN WALLIS, MONOTONES I & II 

Lynn graduated from the Royal Ballet School in 1965 into the Royal Ballet Touring Company. In 1969 

become Ballet Mistress at The Royal Ballet School, and in 1982 was made Deputy Principal. During this 

time she reproduced many ballets from the classical repertoire for the school performance. In 1984 

Erik Bruhn invited Lynn to join the National Ballet of Canada, and in 1986 she became Associate Artistic 

Director, and Co-Artistic Director from 1987 to 1989. In 1990, she was appointed Deputy Artistic 

Director of English National Ballet In 1994 joined the Royal Academy of Dance as Artistic Director and 

is responsible for setting and maintaining the standards of dance training world-wide, developing the 

Academy’s Syllabus. 

In 2004 she was nominated for an Isadora Duncan Dance award in the category of Reconstruction/ 

Revival/ Restaging for her work on Monotones I and II, Sir Frederick Ashton, San Francisco Ballet. 

ShELLEY WAShINGTON, NINE SINATRA SONGS 

Shelly danced with Martha Graham’s Company and The Twyla Tharp Dance Company. In 1977 she 

performed in the film Hair and in 1985 the Broadway production Singing in the Rain and in 1987 was 

honored with a Bessie Award for Outstanding Performance. In 1988 Shelly joined the American Ballet 

Theater in Association with Tharp as a Soloist and Rehearsal Director. In 1993 she was the Rehearsal 

Director for Tharp’s Cutting Up tour starring Ms. Tharp and Mikhail Baryshnikov, Tharp and Dancers City 

Center Season in New York and Tharp Dances’ International Tour, continuing to work with Ms. Tharp as 

a Repetiteur, for various companies both nationally and internationally including American Ballet Theater, 

Australian Ballet, Birmingham Royal Ballet, The Royal Ballet, , Alvin Ailey, Joffrey Ballet,The Royal 

Danish Ballet to name a few. In 1999 Shelly worked with Trevor Nunn’s at “The Royal National Theater” 

London. 


emil de cou, Conductor 

Emil de Cou (conductor) is the newly appointed music director of the Pacific Northwest Ballet 

and has appeared regularly as conductor for major ballet companies since his first performance 

with the American Ballet Theatre in 1988. During his tenure as conductor at the Kennedy Center 

he has conducted the San Francisco Ballet, the Kennedy Center Opera Orchestra and the National 

Symphony Orchestra, where he served as associate conductor for seven seasons. De Cou is also the 

conductor for the Suzanne Farrell Ballet and entering his 8th season as the NSO @ Wolf Trap Festival 

Conductor, and music director of the Virginia Chamber Orchestra. In November de Cou will conduct 

in his 9th performance with National Symphony Orchestra and their annual Anti-Defamation League 

of Washington’s “Concert Against Hate.” 

In addition to these performances with The Sarasota Ballet, Emil de Cou’s recent and upcoming 

appearances include the Suzanne Farrell Ballet, Toronto Symphony, Little Orchestra Society at Lincoln 

Center, the San Francisco Ballet, the Joffrey Ballet, and the Baltimore Symphony. In May of 2011 Mr. 

de Cou conducted his 8th performance in collaboration with NASA’s “The Kennedy Legacy: Human 

Spaceflight” in the Concert Hall, which commemorated President Kennedy’s famous “send a man to 

the moon” speech. This coming season he will conduct the world premiere of Debussy’s overture and 

one act operatic scene “Diane au Bois” which he completed with the BSO’s President, Paul Meecham. 

De Cou made his Carnegie Hall debut as guest conductor for the New York Pops, and also appeared 

at the gala tribute to Beverly Sills at Lincoln Center with the Orchestra of St. Luke’s and a stellar roster 

of soloists. He has performed with many of the world’s leading orchestras including those of Philadelphia, Chicago, San Francisco, Minnesota, 

Houston, St. Louis, Detroit, Boston Pops, Milwaukee, and Montreal. 

In June 2003 Great Performances (PBS) aired the ballet Othello with the San Francisco Ballet led by de Cou. The Ballet Suite, by Elliot Goldenthal, 

was recorded by de Cou for Varese Sarabande; among his other recordings is a disc entitled Debussy Rediscovered for Arabesque, which includes 

previously unrecorded works by Debussy, and the world premiere recording of American Charles Griffes’s dance drama the Karin of Koridwen. 

In 1988 de Cou was hired by Mikhail Baryshnikov to be the conductor of the American Ballet Theatre, and in 1994 joined the staff of the San 

Francisco Ballet, completing his tenure there as acting music director in 2001. During that time he was also the Principal Pops Conductor of the 

San Francisco Symphony. 

Emil de Cou was born in Los Angeles and studied with Daniel Lewis at the University of Southern California and was chosen from 200 candidates 

to study in Leonard Bernstein’s master class at the Hollywood Bowl. He makes his home in San Francisco. 

This endowment will make it possible for the Sarasota Orchestra 

to perform this season for George Balanchine’s Diamonds and 

Sir Frederick Ashton’s The Two Pigeons. These performances will 

take place November 18th at the Van Wezel Performing Arts Hall 

and on November 19th at Ruth Eckerd Hall. 

To find out more about The Sarasota Ballet Live Music Endowment Fund 

and how you can help, call Michael Scott at 941-359-0099 x110. 


The Sarasota Ballet Live Music Fund was established through 

the generosity of Elaine Keating and The Keating Family 

Foundation. 

Iain Webb 

Director 

Director 

Born in Yorkshire, England, Iain started ballet at the age 

of 14 and moved to London at 16, where he trained for 

two years with The Rambert School of Ballet, a year at The 

Royal Ballet School and a further year as an apprentice 

with The Sadler’s Wells Royal Ballet where he was offered 

a full time position. His main principal repertoire included 

Ashton’s The Dream, The Two Pigeons, La Fille mal Gardee (Colas & Alain), Bintley’s The Snow 

Queen, Fokine’s Les Sylphides and Petrushka, Balanchine’s The Prodigal Son, van Manen’s 

Five Tangos, Coppélia, and Swan Lake. 

In 1989 he transferred to The Royal Ballet, Covent Garden, to perform character roles which 

included Bottom in Ashton’s The Dream, The Small Sister, Dancing Master & Napoleon in 

Cinderella, and Mrs. Tiggy-Winkle and Pigling Bland in Tales of Beatrix Potter, MacMillan’s 

The Doctor in Different Drummer and a Client in Manon and Sancho Panza in Baryshnikov’s 

production of Don Quixote. In 1996, Webb retired from The Royal Ballet, but was invited 

back as a guest artist to give three farewell performances at Covent Garden as the Small 

Sister in Ashton’s Cinderella. After retiring as a dancer, he was invited by Matthew Bourne 

to be Rehearsal Director for The West End, L.A. and Broadway seasons of Swan Lake and 

continued to work with Bourne on his production of Cinderella. 

In 1999, Webb was asked by Tetsuya Kumakawa to join his newly formed K-Ballet Company 

in Japan as Ballet Master and two years later was appointed Assistant Director. During this 

time he also worked with many international stars including Adam Cooper, with whom 

he co-directed The Adam Cooper Company and organized their tour to The Kennedy 

Center. Likewise, he co-produced with Johan Kobborg the London performances of Out 

of Denmark and staged Roland Petit’s Carmen Pas de Deux for Alessandra Ferri & Julio 

Bocca for American Ballet Theatre’s 65th Anniversary Gala. Throughout Iain’s career he 

has produced and directed many international performances which included presenting 

dancers from Royal Danish Ballet, Paris Opera Ballet, New York City Ballet and Stuttgart 

Ballet to name a few. He has been guest teacher for White Oak Project, Birmingham Royal 

Ballet, Rambert Dance Company, as well as teaching master classes and workshops for all 

the major ballet schools in England. 

In July 2007, Webb took over the directorship of The Sarasota Ballet and during the last 

four seasons the company has performed 102 ballets & divertissements which include 16 

world premieres, 55 Sarasota premieres, 4 new productions and 27 American premieres 

These include ballets by: Ashton, de Valois’, MacMillan, Balanchine, Cranko, Tudor, van 

Manen, Bourne, Wheeldon, Tharp and Tuckett. Under Webb’s direction the company has 

received critical acclaim in The New York Times, The New York Financial Times, Sarasota 

Herald Tribune, St. Petersburg Times, Orlando Sentinel, Dancing Times (London); He has 

developed a stronger financial foundation for the company, was selected to serve on the 

National Endowment for the Arts Dance Panel and recently signed a contract extending 

his tenure six more years. 


PHOTO BY CLIFF ROLES

Artistic + Production Staff 

Yaima franco, company Ballet mistress 

Yaima began her training with the Cuban National Ballet School and in 1999 joined The National Ballet of Cuba. Yaima danced soloist roles in Swan Lake, Don 

Quixote, Giselle, Les Sylphides, Coppelia and Paquita. In 2000, Yaima danced in George Balanchine’s Ballo Della Regina, staged by Merrill Ashley -- one of the few 

Balanchine ballets performed in Cuba. Her experience with The National Ballet of Cuba has given her a vast knowledge of the classical, romantic & contemporary 

repertoire of the company, affording her the opportunity to represent the company in many theaters throughout Latin & North America, Asia & Europe. Yaima 

joined the Sarasota Ballet faculty in 2008. She has also performed with the Company as Love in Dame Ninette de Valois’ Checkmate and Countess Vronsky in 

Prokovsky’s Anna Karenina. Yaima currently teaches in the upper level in the Sarasota Ballet School and was made Company Ballet Mistress in 2010. 

Pavel fomin, Ballet master 

Pavel Fomin was born in the Ukraine and received his ballet training at the Odessa Ballet School and the Kirov Ballet in Leningrad under the guidance of A. 

Pushkin and S. Kaplan. From 1964 to 1990 he was a principal dancer with the State Academic Opera & Ballet House in Odessa City and danced the entire 

classical repertoire, incuding Basilio in Don Quixote, Solar in La Bayadere, Albrecht in Giselle, and Prince Desiree in The Sleeping Beauty. Contemporary ballets 

in which he performed include The Moor’s Pavane by Jose Limon, Carmen by Alberto Alonso, and Tcheishov’s Spartacus, among others. Mr. Fomin has worked 

with choreographers of the stature of L. Lavrovsky, Oleg Vinograkov and E. Tchernishov, and received the title of Honored Artist of the Ukraine in 1971. Mr. Fomin 

graduated with honors from The Russian Academy of Theatre Arts with an M.A. in classical ballet. 

Jeff ellis, Technical director 

Jeff, a native of Vienna, VA, began his career as a freelance stage carpenter and rigger in the Washington, DC area. After completing his BFA in Technical Direction 

at the North Carolina School of the Arts he started a run of working for opera companies around the country. Jeff’s credits include productions at Opera New 

Jersey, Florida Grand Opera, Los Angeles Opera and Houston Grand Opera. While at HGO he oversaw the construction of The Little Prince, a world premiere opera 

directed by Francesca Zambello based on the children’s book. Most recently Jeff was the Director of Production at the Sarasota Opera producing sixteen new 

opera productions in a six year period. 

Bill fenner, costume designer and Supervisor 

Bill, a native of Sarasota, began his career in Los Angeles working with popular designers. Some of the Hollywood celebrities who have been dressed by Bill 

include Kim Novak, Diahann Carroll, Vanna White, Stephanie Powers and Shari Belafonte-Harper. Bill designed the costumes for the 2000 tour of the Ice Capades. 

Bill’s specialties include pattern designing, beading, bridal and evening wear, hand painting and airbrushing, as well as fitting and illustrations. 

ed cosla, Sound designer 

Edward has sound designed for corporate industrials, Broadway (nominated for Tony Award Best Musical), Off-Broadway, Off-Off Broadway, and “Way-Off-Off 

Broadway”. He is passionate about dance and has worked extensively with Alvin Ailey Dance Theater, Merce Cunningham, Pilobolus, Elliot Feld Ballet Tech, and 

was Head of Sound for 6 years at The Joyce Theater in NYC. He relocated to Sarasota from Manhattan in the aftermath of 9/11. 

mark noble, Stage manager 

Mark Noble earned his MFA from Florida State University where he worked in lighting design and scene painting at the Asolo Conservatory. He has been the head 

electrician at the Asolo Repertory Theatre Company and Van Wezel Performing Arts Hall, Production Electrician and Assistant Technical Director at the Sarasota 

Opera, Production Manager for the Florida West Coast Symphony and La Musica International Chamber Music Festival. Mark is also currently serving as Technical 

Director of the Glenridge Performing Arts Center. 

Hilare Petlock, costume Shop Assistant 

Hilare was born in Poona, India and moved to England at age 5. Coming fromBath, England to Sarasota she started work with what was then the Asolo Opera and 

continued working with them for several seasons at their (then) new home - the Sarasota Opera House. Moving to the Asolo Repertory Company she remained 

with them as Wardrobe Supervisor for 25 years, handling costumes for almost 200 of their productions. She has also dressed performers at Van Wezel and 

Barabara Mann Performing Arts Halls, including Debbie Reynolds, Donald O’Conner and Theodore Bikel. Hilare had planned to retire at the end of Asolo’s 2010 

season but when The Sarasota Ballet called she was thrilled to accept and now finds herself working with their talented dancers and wonderful designers. Hilare’s 

husband Martin was one of the Founders of and first designers for The Sarasota Ballet. 

Zara Baroyan, company Pianist 

Zara, of Flushing, New York, graduated with a Bachelor of Arts degree from the Tchaikovsky Specialized Music School, and received her master’s and doctoral 

degrees from the Komitas State Conservatory, both schools in Armenia. She has worked with L.E. Barnes Circus’ national tour, Michael Bolton’s national tour, 

Andrew Lloyd Webber’s national tour, the Armenian National Opera Theatre, Moscow’s Theater of Music Comedy and Aisadora Dunkan Ballet Troup in their 

Moscow tour. In 2003, she accompanied “Hamazkayin” in New York’s Society Armenian Choral and Off Broadway auditions for GMR Musical Productions. This is 

her seventh season with The Sarasota Ballet. 

libby Bennett, Program Book designer 

Libby received a Bachelor of Design in Graphic Design from The University of Florida’s College of Fine Arts. She currently works as a freelance graphic designer in 

Sarasota. This is her fifth season designing the program book and working as the graphic designer for both The Sarasota Ballet and The Sarasota Ballet School. 

PHOTOS BY CLIFF ROLES 

margaret Barbieri 

ARAD, PDTC (Dip) PG Cert. 

Assistant Director 

Born in South Africa of Italian parents, Margaret Barbieri moved to 

England to study at the Royal Ballet School before joining the Royal 

Ballet Touring Company (now Birmingham Royal Ballet) in 1965, 

becoming a Principal Dancer in 1970. During a highly successful 25year 

dancing career, she danced most of the leading roles (Sleeping 

Beauty, Swan Lake, Coppélia, Romeo & Juliet, La Fille mal Gardée, Taming 

of the Shrew and The Two Pigeons), although it was her major impact 

in the title role of Giselle, at the age of 21 that first established her 

special reputation as a Romantic ballerina. In 1973 she was invited to 

dance Giselle at the Deutsche Oper in Berlin and received high praise 

from the press and audience alike, a triumph which she repeated in 

1974 when she returned to her native South Africa to dance the role in 

Durban. She replaced an indisposed Natalia Makarova at short notice 

in the same role for Norwegian National Ballet and made many guest 

appearances with companies internationally in Giselle, Swan Lake, 

Coppelia and Cinderella. 

Miss Barbieri worked closely with most of the great masters of the 20th Century, 

including Ashton, MacMillan, de Valois, Cranko, Tudor, Nureyev and van Manen and 

roles were created on her by Sir Frederick Ashton, Sir Peter Wright, Anthony Tudor, David 

Bintley, Michael Corder, Ronald Hynd and Joe Layton. Many of her best-known roles 

were televised, including Swanhilda (Coppélia), Black Queen (Checkmate), The Mother 

(Bintley’s Metamorphosis), Young Girl (Spectre de la Rose) and van Manen’s Grosse Fuge. 

With David Ashmole, she was featured in BBC TV’s Ballet Masterclass series, given by 

Dame Alicia Markova, who later coached her in Pavlova’s The Dying Swan and The 

Dragonfly. 

Miss Barbieri retired from the Royal Ballet in 1990 to become Director of the new 

Classical Graduate Programme at London Studio Centre and Artistic Director of the 

annual touring company Images of Dance, and she was instrumental in devising the 

Classical Ballet Course for the BA Honours degree. She has also found time to teach at 

Birmingham Royal Ballet Company and the English National and Royal Ballet Schools, 

serving on the Royal Ballet’s Board of Governors from 1994 to 2000 and participating as 

an External Assessor for the Arts Council of England from 1995-2001. 

Her staging credits include Swan Lake Act II, The Fantasy Garden from Le Corsaire, 

Kingdom of the Shades from La Bayadere for Images of Dance, Company, Nureyev’s 

production of Raymonda Act III for K Ballet, Japan, Ashton’s Façade for Scottish Ballet, K 

Ballet, Oregon Ballet Theatre, The Two Pigeons for K Ballet, State Ballet Theatre of Georgia 

and The Sarasota Ballet. During the last four years, she also has staged for The Sarasota 

Ballet Wright’s production of Giselle, Ashton’s Façade, Les Patineurs and Les Rendezvous, 

de Valois’ The Rake’s Progress, and Checkmate, Cranko’s Pineapple Poll, Wheeldon’s There 

Where She Loves and The American, Darrell’s Othello, Bourne’s Boutique ,Bintley’s Scottish 

Dances, Layton’s The Grand Tour, Fokine’s Les Sylphides and Samsova’s production of 

Paquita. 

Miss Barbieri has judged at many International Ballet Competitions and during her dancing 

career performed all over the world. In April 2010 she was awarded Distinction by the 

University of the Arts, London, for her Post Graduate Certificate in Teaching and Learning. 

60 The Sarasota Ballet | Box Office: 359-0099 x101 | www.SarasotaBallet.org www.SarasotaBallet.org | Box Office: 359-0099 x101 | Sarasota Ballet 61 


Birthplace 

Wisconsin 

started dancing 

Age 6 

Previous Companies 

Ballet Austin, Nashville Ballet 

Joined the sarasota Ballet 

2007, promoted to soloist 2009, principal 2010 

Favourite roles 

The Siren in Prodigal Son, Desdemona in Othello, the 

Jealous Sister in Las Hermanas, Myrtha in Giselle, 

and Firebird 

Favourite Productions 

Giselle, Elite Syncopations, There Where She Loves, 

In The Upper Room, Las Hermanas 

Career highlights 

Meeting and dancing with Alina Cojocaru and Johan 

Kobborg in Giselle, Dancing in London and meeting 

Sir Peter Wright and Dame Beryl Grey 

roles i would like to dance 

Giselle and Juliet 

repertoire 

Lead and featured Roles Include: Ashton’s The 

Two Pigeons, Les Patineurs, Façade; Balanchine’s 

Donizetti Variations, Allegro Brillante, Prodigal Son, 

Divertimento No. 15; de Valois’ Checkmate, The 

Rake’s Progress; MacMillan’s Elite Syncopations, Las 

Hermanas; Bourne’s The Infernal Galop, Boutique; 

Tudor’s Lilac Garden; Wright’s Giselle; Wheeldon’s 

There Where She Loves, The American; Tharp’s In 

The Upper Room; Prokovsky’s Vespri; Fokine’s Les 

Sylphides; Darrell’s Othello (Desdemona); Walsh’s 

I Napoletani; and Petipa’s Diana and Acteon Pas 

de Deux. She created roles in Dominic Walsh’s 

Wolfgang for Webb and The Trilogy, Jamie Carter’s 

A Deux Mains. 

Birthplace 

Sao Paulo, Brazil 


Age 8 


Tulsa Ballet Theatre 


2010, promoted to principal 2011 


Rothbart (Swan Lake), Ugly Stepsister (Cinderella) 

Favourite Production 

Dracula (Ben Stevenson) 


Kylian’s Petite Mort, Duato’s Remansos, Tharp’s In the 

Upper Room and Nine Sinatra Songs 


Romeo 

repertoire 

With Tulsa included Romeo and Juliet (Tybalt), Swan 

Lake (Rothbart), Cinderella (Stepsister), Sleeping 

Beauty (Jewels), Nutcracker and Carmina Burana. 

He also performed ballets by the Kylian, Duato, 

Tharp, Taylor, Caniparoli, Wheeldon, Liang, Cong, 

Forsythe. 

the sarasota Ballet repertoire 

Lead and featured Roles Include: Balanchine’s 

Prodigal Son, Divertimento No. 15; de Valois’ 

The Rake’s Progress; Ashton’s Les Rendezvous; 

MacMillian’s Summer Pas de Deux; Possokhov’s 

Firebird; Jim Buckley’s Anne Frank; The Nutcracker; 

Wheeldon’s The American; Tharp’s In The Upper 

Room; Kobborg’s productions of Bournonville’s 

Kermess in Bruges, Napoli Pas Six; Layton’s The Grand 

Tour; Walsh’s Time Out of Line, Claire de Lune; Honea’s 

Percolator. 

Birthplace 

Miami, Florida 


Age 4 


Pittsburgh Ballet Theatre 




The Stripper in MacMillan’s Elite Syncopations, Clara/ 

Sugar Plum in The Nutcracker, Milkmaid in Façade, 

Anne in Anne Frank, The Student in Flindt’s The Lesson 


In my ten years with this company, it is hard to 

narrow down my highlights, but here are a few: 

Petipa’s Le Corsaire Pas de Trois, my first classical 

variation, pas de deux and coda; working with Hans 

Van Manen in Grosse Fuge; working with Alexander 

Grant for the Milkmaid in Façade; having a review 

and photo in The New York Times of Blue girl from 

Les Patineurs; It was my dream come true to dance 

the Sugar Plum Fairy role in front of my whole 

family, who had seen me dance Marie (Clara) when 

I was 10 years old; performing in Susan Stroman’s 

Contact; choreographing Percolator on the company. 

repertoire 

Lead and featured Roles Include: Balanchine’s Allegro 

Brillante, Divertimento No.15, Who Cares; de Valois’ The 

Rake’s Progress; Ashton’s The Two Pigeons, Les 

Patinuers, Les Rendezvous, Façade; MacMillan’s Elite 

Syncopations; Tharp’s In The Upper Room; Wheeldon’s 

The American; Bintley’s Scottish Dances; Bourne’s The 

Infernal Galop, Boutique; Tudor’s Lilac Garden; Wright’s 

Giselle; van Manen’s Grosse Fuge; Prokovsky’s Anna 

Karenina; Petipa’s Les Corsaire; Samsova’s production 

of Paquita; Kobborg’s productions of Bournonville’s 

William Tell, Napoli Pas Six. 

Birthplace 

Sherrill, NY 


Age 6 


Boston Ballet Trainee 




Giselle, Gertrude Lawrence in The Grand Tour, 

Desdemona in Othello, Caroline in Lilac Garden 


Wright’s Giselle, Ashton’s The Two Pigeons, Tharp’s In 

The Upper Room, Layton’s The Grand Tour, Kobborg’s 

production of Bournonville’s Napoli, Act III 


Dancing Giselle 


The Young Girl in Ashton’s The Two Pigeons, Juliet in 

MacMillan’s Romeo and Juliet 

repertoire 

Lead and featured Roles Include: Ashton’s The 

Two Pigeons, Les Patineurs, Les Rendezvous, 

Façade; Balanchine’s Allegro Brilliante, Who Cares, 

Divertimento No. 15; Cranko’s Pineapple Poll; 

Wright’s Giselle; The Nutcracker; Tudor’s Lilac Garden; 

de Valois’ The Rake’s Progress, Checkmate; Darrell’s 

Othello; Fokine’s Les Sylphides, Petipa; Swan Lake Act 

II Pas de Deux; Bourne’s Boutique; Wheeldon’s The 

American; Tharp’s In The Upper Room; MacMillan’s 

Summer Pas de deux; Layton’s The Grand Tour; 

Walsh’s I Napoletani; Anna Pavlova’s The Dragonfly 

Solo; Prokovsky’s Vespri; Kobborg’s productions of 

Bournonville’s Kermess in Bruges, Napoli Pas Six; 

she created roles in Walsh’s Wolfgang for Webb, The 

Trilogy Time Out of Line. 

Birthplace 

Havana, Cuba 


Age 9 


National Ballet of Cuba 


2005, promoted to principal in 2010 


Albrecht in Giselle, Siegfried in Swan Lake, The Rake 

in The Rake’s Progress, The Teacher in The Lesson 


The Sleeping Beauty 


Carmen (Zuniga), Shakespeare (Shakespeare and his 

Mask), The Rake’s Progress (The Rake), Pineapple Poll 

(Captain Belaye) 

Would most love to dance with 

Alessandra Ferri 

repertoire 

Lead and featured Roles Include: Ashton’s The Two 

Pigeons, Façade; Wrights’ Giselle; van Manen’s Grosse 

Fuge; de Valois’ The Rake’s Progress; MacMillan’s Las 

Hermanas, Elite Syncopations; Cranko’s Pineapple 

Poll; Tudor’s Lilac Garden; Balanchine’s Donizetti 

Variations, Allegro Brillante, Who Cares?; Tharp’s In 

The Upper Room; Wheeldon’s There Where She Loves, 

The American; Layton’s The Grand Tour; Flindt’s The 

Lesson; Darrell’s Othello; North’s Troy Game; Bintley’s 

Scottish Dances; Petipa’s Les Corsaire; Walsh’s 

Wolfgang for Webb, The Trilogy; Stroman’s Contact. 

Choreographed his first professional ballets On The 

Outside, part of Embracing Our Differences, and 

Orpheus and Eurydice. 

62 The Sarasota Ballet | Box Office: 359-0099 x101 | www.SarasotaBallet.org www.SarasotaBallet.org | Box Office: 359-0099 x101 | Sarasota Ballet 63

1st Soloist 

Birthplace 

Berkeley, California 


Age 11 


Orlando Ballet 


2008 


Puck from Midsummer Night’s Dream, 

Blue Boy from Les Patineurs, 

The Son from Prodigal Son 


The Two Pigeons, Les Patineurs, In The 

Upper Room, Checkmate 


The Lead in Stars & Stripes, Dances at 

the Gathering, Valse Fantasie, Puck from 

Ashton’s The Dream, The Short Guy in 

Elite Syncopations 

repertoire 

Lead and featured Roles Include: Ashton’s 

Les Patinuers, Les Rendezvous, Façade; 

Balanchine’s Donizetti Variations, 

Prodigal Son, Tarantella, Who Cares?; 

Cranko’s Pineapple Poll; de Valois’s The 

Rakes Progress; Bourne’s Boutique; Darrell’s 

Othello; Wright’s Giselle, Wheeldon’s 

There Where She Loves; North’s 

Troy Games; Prokovsky’s Anna Karenina; 

Walsh’s Trilogy, I Napoletani; Petipa’s Le 

Corsaire and The Bronze Idol; Tharp’s In 

The Upper Room; Possokhov’s Firebird; 

Tuckett’s Spielende Kinder; Layton’s The 

Grand Tour; Kobborg’s productions of 

Bournonville’s William Tell, Napoli Pas 

Six; Stroman’s Contact (Waiter). Created 

a role in Honea’s Percolator and Carter’s 

Five Duets 

1st Soloist 

Birthplace 

New Hartford, New York 


Age 10 


Louisville Ballet, Ballet Gamonet 


2009 


Ashton’s Les Rendezvous(Pas de Trois), 

Flindt’s The Lesson (Student), 

Balanchine’s Tarantella 


I loved every production I have done at 

Sarasota Ballet for different reasons 


I feel blessed to work on amazing repertoire 

with incredible choreographers, 

coaches and teachers 


Aurora in The Sleeping Beauty 


Johan Kobborg 

repertoire 


Les Rendezvous; Balanchine’s Who 

Cares?, Divertimento No 15, Tarantella; 

Cranko’s Pineapple Poll, Bourne’s Boutique; 

Petipa’s Don Quixote Pas de Deux; 

Wheeldon’s There Where She Loves; 

Flindt’s The Lesson; Samsova’s Paquita; 

Tuckett’s Spielende Kinder; Layton’s The 

Grand Tour; Buckley’s Anne Frank; and 

The Nutcracker. Created a role in Kate 

Honea’s Percolator. 

Soloist 

Birthplace 

Florianopolis, Brazil 


Age 5 


Ballet de l’Opera National de Bordeaux, 

Festival Ballet, Oakland Ballet 


2008, Promoted to Soloist in 2011 


Tharp’s In the Upper Room, Paroni’s 

Rococo Variations, Wheeldon’s There 

Where She Loves 


Ashton’s The Two Pigeons, Les Patineurs 


Juliet and Giselle 


Ricardo Graziano, Marcelo Gomes (ABT) 

repertoire 


Divertimento No.15 Who 

Cares?, Donizetti Variations; de Valois’ 

Checkmate, The Rake’s Progress; Ashton’s 

Les Patineurs, The Two Pigeons, 

Les Rendezvous, Façade; Fokine’s Les 

Sylphides; Prokovsky’s Anna Karenina, 

Vespri; Bourne’s Boutique; Cranko’s 

Pineapple Poll; Wheeldon’s There Where 

She Loves; Buckley’s Anne Frank; Possokhov’s 

Firebird; Tuckett’s Spielende 

Kinder; Tharp’s In The Upper Room; 

Layton’s The Grand Tour; Kobborg’s productions 

of Bournonville’s William Tell, 

Napoli; Honea’s Percolator. 

Soloist 

Birthplace 

Melbourne, Australia 


Age 16 


Queensland Ballet 




Pas de Six in Sir Peter Wright’s Giselle 

,Matthew Bourne’s The Infernal Galop, 

Dancing Master and Man with the Rope 

in de Valois’ The Rakes Progress. 


Dancing In The Upper Room 


Killian’s Double You 

repertoire 


Allegro Brillante, Donizetti 

Variations, Who Cares?; Ashton’s Façade, 

The Two Pigeons, Les Patineurs, 

Les Rendezvous; North’s Troy Games; Tudor’s 

Lilac Garden; de Valois’ Checkmate, 

The Rake’s Progress; Bintley’s Scottish 

Dances; Tuckett’s Spielende Kinder; 

Tharp’s In The Upper Room; Layton’s The 

Grand Tour, Kobborg’s production of 

Bournonville’s Napoli; Prokovsky’s Anna 

Karenina, Vespri; Walsh’s Wolfgang for 

Webb, I Napoletani The Trilogy, Clair de 

Lune; Cranko’s Pineapple Poll; The Nutcracker; 

Wright’s Giselle (pas de Six); 

Bourne’s The Infernal Galop, Boutique; 

MacMillan’s Elite Syncopations and Darrell’s 

Othello. 

Soloist 

Birthplace 

Manises, Valencia, Spain 


Age 7 




Iago in Othello, The Rake in The Rakes 

Progress, Kashei in Firebird 


Baryshnikov’s Don Quixote, 

McMillan’s Romeo & Juliet 


Don Quixote Solo for the 20th Anniversary 

Gala, Lead Role in Ashton’s Les 

Rendezvous 


Basilio in Don Quixote, and Prince Seigfried 

in Swan Lake 

repertoire 


Allegro Brillante, Donizetti 

Variations, Who Cares, Prodigal Son; 

Ashton’s Façade, The Two Pigeons, Les 

Patineurs, Les Rendezvous; North’s 

Troy Games; Tudor’s Lilac Garden; de 

Valois’s Checkmate, The Rake’s Progress; 

Bintley’s Scottish Dances; Tuckett’s 

Spielende Kinder; Tharp’s In The Upper 

Room; Layton’s The Grand Tour; Kobborg’s 

production of Bournonville’s, Napoli; 

Prokovsky’s Anna Karenina, Vespri; 

Walsh’s Wolfgang for Webb, I Napoletani, 

The Trilogy, Clair de Lune; Cranko’s 

Pineapple Poll; The Nutcracker, Wright’s 

Giselle (pas de Six); Bourne’s The Infernal 

Galop, Boutique; MacMillan’s Elite 

Syncopations and Darrell’s Othello. 

Soloist 

Birthplace 

Boston,Massachusetts 


Age 8 




Les Rendezvous (male principal), Divertimento 

No.15 (male principal) Prince 

Siegfried (Cranko’s Swan Lake Act II Pas de 

Deux), There Where She Loves (Surabaya 

Johnny), Diana and Actaeon (Actaeon) 


Romeo & Juliet, Onegin (John Cranko), 

Grosse Fuge (Hans Van Manen), The Second 

Detail (William Forsythe) 


Romeo, Onegin 

repertoire 

Lead and featured Roles Include: 

Ashton’s The Two Pigeons, Façade, Les 

Patineurs, Les Rendezvous; Balanchine’s 

Allegro Brillante, Donizetti Variations, 

Who Cares?; Bintley’s Scottish Dances; 

Prokovsky’s Vespri, Anna Karenina; 

North’s Troy Games, de Valois’ Checkmate, 

The Rakes Progress; Paroni’s 

Rococo Variations; Cranko’s Pineapple 

Poll; The Nutcracker; Samsova’s Paquita, 

Petipa’s Swan Lake Act II Pas de Deux, 

Diana and Acteon Pas de Deux; Walsh’s 

The Trilogy; Bourne’s The Infernal Galop, 

Boutique; Wheeldon’s There Where She 

Loves, The American; Buckley’s Anne 

Frank; Possokhov’s Firebird; Tuckett’s 

Spielende Kinder; Tharp’s In the Upper 

Room; Layton’s The Grand Tour; Kobborg’s 

productions of Bournonville’s 

William Tell, Napoli; Stroman’s Contact; 

created a role in Honea’s Percolator. 

Soloist 

Birthplace 

Louisville, Kentucky 


Age 4 


Louisville Ballet, Nashville Ballet 




Wheeldon’s There Where She Loves (Pas 

de Deux) Queen of the Willis in Wright’s 

Giselle, The Siren in Balanchine’s Prodigal 

Son and The American Tourist in 

Layton’s The Grand Tour 


Ashton’s The Two Pigeons, Balanchine’s 

Serenade, Tudor’s Lilac Garden 


Having the opportunity to learn the 

role of the Pianist from Vivi Flindt in 

Fleming Flindt’s The Lesson, Being 

coached by Margaret Barbieri in the 

role of Myrta (Sir Peter Wright’s Giselle) 

and performing it with Alina Cojocaru 

and Johan Kobborg 

repertoire 


The Two Pigeons, Façade, Les Patineurs, 

Les Rendezvous; de Valois’ Checkmate, 

The Rake’s Progress; Cranko’s 

Pineapple Poll; Bourne’s The Infernal 

Galop, Boutique; Balanchine’s The Prodigal 

Son, Who Cares? Divertimento No. 

15, Donizetti Variations; Flindt’s The Lesson; 

Paroni’s Rococo Variations; Fokine’s 

Les Sylphides; Walsh’s Wolfgang for 

Webb, The Trilogy, I Napoletani; Wrights 

Giselle; Wheeldon’s There Where She 

Loves, The American; Darrell’s Othello. 


These physicians have agreed to see our dancers immediately and treat them 

at a substantially reduced fee or no fee at all. To show your appreciation, please 

consider using their services when you may have the need. 

ACUPUNCTURE 

Filipp A. Gadar, A.P. D.O.M. 

3205 Southgate Circle, Suite 7 


941-735-6786 

Dr. Lars Eric Larson 

2030 Bee Ridge Rd. 


941-954-3700 

Zane Zynda B.S.A.P. 

1715 Stickney Point Rd. 


941-302-3932 

ChIROPRACTIC 

Dr. Joseph P. Hornberger 

Wellness & Chiropractic 

4001 Swift Rd., Suite 2 


941-924-4400 

Dr. Lars Eric Larson 



941-954-3700 

Dr. Theodore Simon 

Simon Clinic of Chiropractic 



941-921-6656 

DENTAL 

Dr. Peter Masterson 

Lakewood Ranch Dental 

6270 Lake Osprey Dr. 


941-907-8300 

Dr. Patricia Sabers 

1950 Adams Ln. 


941-906-9999 

DERMATOLOGY 

Dr. Elizabeth Callahan 

SkinSmart Dermatology 

5911 North Honore Ave., #214 


941-308-7546 

Dr. Susan Weinkle 

5601 21st Ave. West 

Bradenton, FL 34209 

941-794-5432 

EYES 

Dr. Dana J. Weinkle 

Palm Coast Eye Center 

3131 S. Tamiami Trail, Suite 201 


941-954-2020 

Dr. Susan M. Sloan 

500 Orange Avenue South 


941-365-4060 

INTERNAL MEDICINE 




941-365-7771 

NEUROLOGY 

Dr. Daniel Stein 

5602 Marquesas Circle, Suite 108 


941-400-1211 

OBSTETRICS/GYNECOLOGY 

Gulf Coast Obstetrics & 

Gynecology, Ltd. 

Dr. Richard Jamison 

Dr. Kyle Garner 

5741 Bee Ridge Rd., Suite 390 


941-379-6331 


2011-2012 

Doctors Circle 

OCULOFACIAL SURGERY 

Dr. Holly L. Barbour 



941-951-2220 

ORThOPAEDICS 

Schofield, Hand and 

Bright Orthopaedics 

Dr. Brian A. Schofield 

Dr. John D. Hand 

Dr. Adam S. Bright 

1950 Arlington St., #111 

Sarasota, Fl 34239 

941-921-2600 

Advanced Sportsmedicine Center 

Dr. John T. Moor 

2446 S. Tamiami Trail 

Sarasota, Fl 34239 

941-957-1500 

PLASTIC SURGERY 

Dr. Marguerite Barnett 

1715 Stickney Point Rd. 


941-927-2447 

PODIATRY 

Dr. Robert Goecker 

West Coast Podiatry Center 

1961 Floyd Street, Suite C 


941-366-2627 

Dr. Robert F. Herbold 

4717 Swift Rd. 


941-929-1234 

Dr. Paul yungst 

1921 Waldemere Street, Suite 106 


941-917-6232 

Birthplace 

England 


Age 9 


English National Ballet, K-Ballet (Japan) 


2007, promoted to Coryphee in 2009 


The Teacher in Flindt’s The Lesson, Hilarian 

in Wright’s Giselle, George Bernard 

Shaw in Layton’s The Grand Tour, Stompers 

in Tharp’s In The Upper Room 


K-Ballet’s Le Corsaire, The Nutcracker, 

The Sleeping Beauty, Swan Lake. Roland 

Petit’s Carmen, Le Jeune Homme et la 

Mort. Balanchine’s Thé Prodigal Son. 


Working with Roland Petit, Tetusaya 

Kumakawa, Hans van Manen, Vivi 

Flindt and Sir Anthony Dowell. 


Chicken dance in La fillé mal Gardée, 

Tybalt in Romeo and Juliet. 

repertoire 

Includes: Ashton’s The Two Pigeons, 

Façade, Les Rendezvous; Flindt’s The 

Lesson; North’s Troy Games; de Valois’ 

Checkmate, The Rake’s Progress; Cranko’s 

Pineapple Poll; Wright’s Giselle; Walsh’s I 

Napoletani, Wolfgang for Webb, The 

Trilogy; Bourne’s Boutique; Wheeldon’s 

There Where She Loves, The American; 

Tharp’s In The Upper Room; Carter’s 

Five Duets, A Deux Mains, which he 

also performed in London, in the presence 

of Sir Peter Wright and Dame 

Beryl Grey. 

Birthplace 

London, England 


Age 3 


Scottish Ballet, The Israel Ballet 




White pas de deux in Les Patineurs, 

Man with Tie in Elite Syncopations, and 

Noel Coward in The Grand Tour. 


The Grand Tour, The Two Pigeons, The 

Rakes Progress and There Where She 

Loves 


Being asked to choreograph for the 

20th Anniversary Gala 


Phlegmatic in The Four Temperaments 

and the Pas de Deux from The American 


Claire Roberts (Principal with Scottish 

Ballet) 

repertoire 

Includes: Ashton’s Façade, The Two 

Pigeons, Les Patineurs, Les Rendzvous; 

Cranko’s Pineapple Poll; Darrell’s Othello; 

Balanchine’s Who Cares?; Prokovsky’s 

Vespri, Anna Karenina; MacMillan’s Elite 

Syncopations; North’s Troy Games; de 

Valois’s Checkmate, The Rake’s Progress; 

Bourne’s The Infernal Galop; Wheeldon’s 

There Where She Loves. In 2010 Jamie 

choreographed his first ballet A Deux 

Mains, which was also performed in 

London, in the presence of Sir Peter 

Wright and Dame Beryl Grey. 

Birthplace 

Osaka, Japan 


Age 4 

training 

Ogaki Ballet School (Japan), 

London Studio Centre (England) 




Christopher Wheeldon’s There Where 

She Loves 


My first performance with The Sarasota 

ballet with Alina Cojocaru and Johan 

Kobborg 


Giselle 

repertoire 

Includes: Ashton’s Les Rendezvous; 

Samsova’s Paquita; Paroni’s Rococo 

Variations;Wright’s Giselle; Petipa’s Diana 

and Acteon Pas de Deux, Wheeldon’s 

There Where She Loves, The American; 

Tuckett’s Spielende Kinder; Kobborg’s 

productions of Bournonville’s Napoli Pas 

Six; Balanchine’s Divertimento No 15, 

Who Cares?. 

Birthplace 

Los Angeles, California 


Age 5 

training 

London Studio Centre 




Blanche in Pineapple Poll, 

Betrayed Girl in The Rake’s Progress 


Christopher Wheeldon’s There Where 

She Loves, Matthew Bourne’s Infernal 

Galop, Anthony Tudor’s Lilac Garden 


Performing in Christopher Wheeldon’s 

There Where She Loves; Performing Jamie 

Carter’s A Deux Mains in London for 

Dame Beryl Grey and Sir Peter Wright 


Juliet and Caroline in Lilac Garden 

repertoire 

Includes: Balanchine’s Allegro Brillante, 

Divertimento No.15, Donizetti Variations, 

Who Cares?; De Valois’ Checkmate, 

The Rake’s Progress; Ashton’s The Two 

Pigeons, Facade, Les Patineurs, Les Rondezvous; 

Bourne’s The Infernal Galop, 

Boutique; Wright’s Giselle; Tudor’s Lilac 

Garden; Wheeldon’s There Where She 

Loves, The American; Kobborg’s productions 

of Bournonville’s Napoli Pas Six; 

Walsh’s I Napoletani; Cranko’s Pineapple 

Poll; Fokine’s Les Sylphides; Prokovsky’s 

Anna Karenina, Vespri; Paroni’s Rococo 

Variations; Carter’s A Deux Mains. 

Created roles in Carter’s A Deux Mains 

and Five Duets. 


Birthplace Chicago, Illinois 

started dancing Age 6 

Joined the sarasota Ballet 2008 

repertoire 

Balanchine’s Divertimento No. 15, 

Donizetti Variations, Who Cares?; de 

Valois’ Checkmate, The Rake’s Progress; 

Ashton’s Les Patineurs, The Two 

Pigeons, Façade, Les Rendezvous; 

Fokine’s Les Slyphides; Samsova’s 

Paquita; Prokovsky’s Anna Karenina, 

Vespri; Stroman’s Contact; Tuckett’s 

Spielende Kinder; Kobborg’s productions 

of Bournonville’s Napoli, Paroni’s 

Rococo Variations. 

Birthplace Newquay, England 




Slovak National Ballet 

Tulsa Ballet 


Dancing the principal role in Balanchine’s 

Serenade and Kylian’s Sechs 

Tanze, as a student performing for 

HRH Prince Charles. 

Birthplace Marostica, Italy 



repertoire 

Ashton’s Les Rendezvous; Balanchine’s 

Who Cares?, Prodigal Son; 

Tuckett’s Spielende Kinder; Kobborg’s 

production of Bournonville’s Jockey 

Dance; Layton’s The Grand Tour; The 

Nutcracker. 

Birthplace Erie, Pennsylvania 



repertoire 

Balanchine’s Concerto Barocco, Divertimento 

No. 15. Who Cares?; Ashton’s 

The Two Pigeons, Façade, Les Patineurs, 

Les Rendezvous; de Valois’ Checkmate, 

The Rake’s Progress; Fokine’s Les 

Sylphides; Prokovsky’s Anna Karenina, 

Vespri; Paroni’s Rococo Variations; 

Cranko’s Pineapple Poll; Wright’s 

Giselle; Wheeldon’s There Where She 

Loves; Tuckett’s Spielende Kinder. Created 

roles in Carter’s Five Duets 

Birthplace Lubbock, Texas 



repertoire 


Divertimento No 15, Who Cares?; 

Ashton’s Les Rendezvous; Wright’s 

Giselle; Bourne’s Boutique; Samsova’s 

Paquita; Tuckett’s Spielende Kinder; 

Prokovsky’s Vespri; Paroni’s Rococo 

Variations; Wheeldon’s There Where 

She Loves; Cranko’s Pineapple Poll; 

Buckley’s Anne Frank. 

Birthplace Milwaukee, Wisconsin 



repertoire 

Buckley’s Anne Frank; Tharp’s In The 

Upper Room; Ashton’s Les Rendezvous; 

De Valois’s The Rake’s Progress; 

Balanchine’s Divertemento No 15, 

Who Cares?; Walsh’s Time Out of Line 

Birthplace Valencia, Spain 


training 

Show Dance Studio (Valencia, Spain) 

London Studio Centre (London) 


Created roles 

Tchaikovsky in in Matthew Hart’s 

Tchaikovsky’s Ballet Fantasy. 

Birthplace Seoul, Korea 



repertoire 

Samsova’s Paquita, Wright’s Giselle; 

Cranko’s Pineapple Poll; Bourne’s 

Boutique; Wheeldon’s There Where 

She Loves, The American; Prokovsky’s 

Vespri; Buckley’s Anne Frank; Possokhov’s 


Kinder; Ashton’s Les Rendezvous; 

Layton’s The Grand Tour; Kobborg’s 

production of Bournonville’s Napoli 

Birthplace Sevilla, Spain 


training 

Conservatorio Profesional de Danza 

de Sevilla, London Studio Centre 



Joven Ballet de Málaga (corps de ballet), 

Corella Ballet (trainee) 

Created roles 

Prince Siegfried in Matthew Hart’s 

Tchaikovsky’s Ballet Fantasy. 

Birthplace Huntington Beach, CA 



Previous Company 

Houston Ballet II 


Danced a contemporary solo in the 

New York City Center for YAGP’s Gala 

“Stars of Today meet Stars of Tomorrow” 

in 2009. Toured nationally and 

internationally with Houston Ballet II. 

Birthplace San Antonio, Texas 




Dayton Ballet, Montgomery Ballet 


Performing Internationally. In “City 

Celebration Clermont-Ferrand” in 

Avignon, France, “The Cancun International 

Dance Festival”, The “Pietrasanta 

in Danza International Festival” in 

Pietrasanta, Italy, and A collaboration 

performance with Arts Umbrella and 

the Joffrey Ballet School in Vancouver. 

Birthplace Fukuoka, Japan 



Previous Company 

Boston Ballet as a Trainee 

Pennsylvania Ballet II 


Dancing at the New York State Theater 

as part of the Jerome Robbins 

Celebration with the New York City 

Ballet, and at the Kennedy Center in 

Washington D.C. with the Pennsylvania 

Ballet. Danced in Fox Searchlight 

Pictures’ feature film Black Swan. 

Birthplace Oneida, New York 



repertoire 


Who Cares?; Wright’s Giselle; Prokovsky’s 

Vespri; Samsova’s production 

of Paquita; Bourne’s Boutique; 

Walsh’s I Napoletani; Buckley’s Anne 

Frank; Layton’s The Grand Tour; Kobborg’s 

production of Bournonville’s 

Napoli. She created a role in Honea’s 

Percolator. 

Birthplace Barcelona, Spain 


training 

Casino Prado La Companyia (Barcelona), 

London Studio Centre (London) 


Created roles 

Florimund & Mouse King in in Matthew 

Hart’s Tchaikovsky’s Ballet Fantasy. 

Birthplace Greensboro, NC 



repertoire 


Who Cares?, Divertimento No15; Possokhov’s 


Kinder; Tharp’s In The Upper Room; 

Ashton’s Les Rendezvous; Layton’s 

The Grand Tour; Wright’s Giselle; Prokovsky’s 

Vespri; Samsova’s production 

of Paquita; Bourne’s Boutique. 

She created a role in Honea’s Percolator, 

Martin’s On the Outside, and 

Carter’s Five Duets. 

Birthplace Bolton, England 



repertoire 

Balanchine’s The Prodigal Son, Ashton’s 

Les Rendezvous, de Valois’ The 

Rake’s Progress, Possokhov’s Firebird, 

Tuckett’s Spielende Kinder, Layton’s 

The Grand Tour, Buckley’s Anne Frank, 

and he created a role in Carter’s Five 

Duets. 


D E N TA L I M P L A N T S | C O S M E T I C | PORCELAIN VENEERS 

GENERAL DENTISTRY | L A S E R D E N T I S T RY | WHITENING 

Sometimes it’s the finale that matters the most. 

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PETER J. RODENBOSTEL, DMD 

PETER N. MASTERSON, DMD 

MICHAEL J. O'NEIL, DDS 

Committed to uncompromised personal service 

and excellence in dentistry. 

NEW PATIENTS ALWAYS WELCOME 

(941) 907-8300 

www.lakewoodranchdental.com 

6270 Lake Osprey Drive | University and I-75 across from Publix 

Smile@LakewoodRanchDental.Com | Hablamos Espanol and Wir Sprechen Deutsch 

30 

www.toojays.com 

SARASOTA 

Westfield Southgate 

(941) 362-3692 


dId You KnoW…. 

• A dancer can require as many 

as three different pairs of pointe 

shoes per performance? 

• On average a pair of pointe 

shoes cost $65? 

• Overused Pointe Shoes can 

cause damage and injury to 

a dancer’s body? 

our GoAl IS To rAISe $55,000 

for SHoeS THIS SeASon. 

Here is how you can help: 

Send A cHecK TodAY 

PAYABle To: 


5555 N. Tamiami Trail 


SHoP: 

T. Georgianos Shoe Salon 

1409 First Street 

(downtown near Whole Foods) 

10% of your purchase will be 

donated to The Pointe Shoe fund! 

Birthplace 

Palm Harbor, FL 


Joined the sarasota 

Ballet 2010 

training 

America’s Ballet School; Trainee, 

Orlando Ballet; Trainee, 


repertoire 

Balanchine’s Who Cares?, 

Yuri Possokhov’s Firebird, 

created role in Octavio Martin’s 

Orpheus and Eurydice. 

Birthplace 

New York, NY 




training 

Ballet Academy East, Pacific 

Northwest Ballet, Boston 

Ballet 

repertoire 


Possokhov’s Firebird, Martin’s 

Orpheus and Eurydice, 

Tuckett’s Spielende Kinder. 

Birthplace 

Washingtonville,NY 




training 

The Rock, Indiana University 

repertoire 


created role of in Octavio 

Martin’s Orpheus and Eurydice. 

Birthplace 

Sparta, NJ 




training 

American Ballet Theater’s 

Jaqueline Kennedy Onassis 

School, Indiana University 

Career highlight 

Dancing Aurora in Peter 

Anastos’ production of The 

Sleeping Beauty 

Birthplace 

Milwaukee, Wisconsin 





Milwaukee Ballet II, Guest 

Apprentice – Dresden Semper 

Opera Ballet 

Career highlight 

Dancing Swan Lake with 

Dresden Semper Opera Ballet 

Birthplace 

Louisville, Kentucky 





Louisville Ballet 

repertoire 

Balanchine’s Who Cares?, de 

Valois’ The Rake’s Progress, 

created role in Octavio Martin’s 

Orpheus and Eurydice 

and Jamie Carter’s Elegant 

Society. 

Director Iain Webb established this two-year program for students whose goal is to dance professionally. The dancers, 

in addition to their daily classes, also have the opportunity to train and rehearse with the Company. The Trainees have 

their own performances and also occasionally perform with the School and Company. 

Mr. Webb oversees the program along with Education Director, Sayward Grindley as supervisor/mentor. 

Primary Instructors are Mrs. Grindley, Dex Honea, Isabel Dubrocq, Pavel Fomin, Octavio Martin, Yaima Franco, 

Courtney Smith and Leah Verier-Dunn. 

ali 

Block 

annabel 

Chaharsooghi 

marisa 

Gomez 

eloise 

hymas 

emma 

Pressman 

amanda 

sewel 

emily 

smith 

www.sarasotaballet.org | Box Office: 359-0099 x101 | Sarasota Ballet 71

School Partners: 

The Studio Dance Company 

Clearwater, Florida 

studiodancers.com 

Lakewood Ranch High School 

Theatre Department 

Booker Middle School Visual 

and Performing Arts Program 

The Sarasota Ballet School is the only Ballet School on the West Coast of Florida 

that is affiliated with a Professional Company, with an attached Trainee Program. 

We offer excellence in dance education for ages 3 through pre-professional 

• Children’s Division | Ages 3-7 

• Lower Division | Ages 8-14 

• Upper Division | Ages 13 + 

• Pre-Graduate Program 

• Adult Program 

• Summer Programs for Ages 4 to pre-professional 

• Open Classes and Private Lessons 

• Student Performing Ensemble 

• Classes include: 

Ballet, Pointe, Variations, Repertoire, Character, Flamenco, Pas de Deux, 

Modern, Jazz, Pilates, Stretch, Conditioning, Capoeira, Yoga, Boys Classes 

For More Information contact 

Sayward Grindley, Education Director 


941.359.0099 x120 

school@sarasotaballet.org 


(DNG) 

A Nationally Recognized Program of The Sarasota Ballet 

and Recipient of the President’s Committee on the Arts 

and The Humanities “Coming up Taller Award” 

did you know…. 

• Nearly 1 in 4 high school students in Florida 

do not graduate? 

• Sarasota County has a dropout rate of 20%? 

• High School dropouts make up a large proportion 

of the prison population? 

Dance - The Next Generation 

is recognized as a drop-out prevention 

program by Sarasota county: 

A unique partnership between The Sarasota Ballet, USF 

and the State College of Florida, DNG is a seven year 

program which uses the discipline of dance to teach 

children the life skills necessary for a successful and 

productive life as an adult. The goal of DNG is not to 

make professional dancers of the students - but the 

development of individual as a whole. 

The results are outstanding: 

• 125 students are currently enrolled in DNG 

• 100% of the children who finish the 

DNG Program also finish high school 

• High School students consistently maintain 

a 3.5 GPA 

• Graduates of the DNG Program are eligible for 

four year college scholarship 

funding for Dance–The Next Generation 

is dependent on individual donations. 

Here is how you can help: 

• Call or email Noreen Delaney, Development Director 

359-0099 x 104 • ndelaney@sarasotaballet.org 

• Attend our On Pointe Luncheon to benefit DNG 

on Tuesday, January 7, 2012 

• Use the enclosed donation envelope 

• Donate To The Bridgett Zehr Scholarship Fund 

and 100% of your donation will benefit DNG 

A special thank you to our community partner: 

The Booker Middle School of Visual 

and Performing Arts Program 


free Performances on the first fridays of each month 

Plus additional workshops and events throughout the year! 

The Sarasota Ballet and The Sarasota Ballet School offer a wide variety of classes 

open to all ages and levels in the community in order to increase the awareness 

of health and fitness in Sarasota. 

Adult dance and fitness classes 

Ballet (True Beginner, Advanced Beginner, Intermediate and Intermediate/Advanced), 

Latin Jazz, Jazz, Pilates, Yoga, Ballet Body, Stretch and Tone, Nia with Kelly Atkins, 

Capoeira with Sarasota Capoeira*, Modern Dance with Moving Ehos* 

children’s classes 

Creative Dance for 4-5 year olds, Mommy and Me Class for parents and children under three 

Classes are taught by Faculty and Company of The Sarasota Ballet and experts who are certified in their particular field. 

Studio 20 Partners: 

Nia with Kelly Atkins, niawithkelly.com • Sarasota Capoeira, sarasotacapoiera.com • Moving Ethos, movingethos.com 

Your first class is free! 

classes are $10/class, class cards are $90 for 10 classes or neW! $99/month for unlimited classes 

(*Classes marked above are excluded. Please register for those classes through the partner organization) 

Class Schedules are posted at the Studio, on our website sarasotaballet.org 

and on Facebook.com/sarasotaballetstudio20. Please RSVP before attending your first class. 

For more information contact: 

Sayward Grindley or dex Honea | 941.359.0099 x120 

74 The Sarasota Ballet | Box Office: 359-0099 x101 | www.SarasotaBallet.org

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2011/2012 

Media 

Sponsors 


would like to thank 

all of its season 

media sponsors 

THE SARASOTA BALLET OF FLORIDA INC. MEETS 

ALL REQUIREMENTS SPECIFIED BY THE FLORIDA 

SOLICITATION OF CONTRIBUTIONS ACT. A COPY 

OF THE OFFICIAL REGISTRATION AND FINANCIAL 

INFORMATION MAY BE OBTAINED FROM THE 

DIVISION OF CONSUMER SERVICES BY CALLING 

TOLL FREE 1-800-435-7352 WITHIN THE STATE. 

REGISTRATION DOES NOT IMPLY ENDORSEMENT, 

APPROVAL OR RECOMMENDATION BY THE STATE. 

fAculTY 

The Sarasota Ballet School 

Sayward Grindley, Dex Honea, Pavel Fomin, 

Yaima Franco, Isabel Dubrocq, Sherri Kitchens, 

Octavio Martin, Kate Honea, Wendy Johnson, 

Jamie Carter, Sara Sardelli, Nicole Padilla, Emily 

Dixon, Pedro Batista, Courtney Smith, Leah 

Verier-Dunn, Alex Harrison, Javier Dubrocq, 

Lisa Townsend, Gustavo Jorge and Gabriela 

Rocha of Sarasota Capoeira, Abigail Henniger 

Sarasota Ballet Trainee Program 

Sayward Grindley, Dex Honea, Pavel Fomin, 

Yaima Franco, Isabel Dubrocq, Sherri Kitchens, 

Octavio Martin, Lisa Townsend, Courtney 

Smith, Leah Verier-Dunn 


Lisa Townsend, Pedro Batista, Alex Harrison, 

Steven Windsor, Bree Watson, Megan Lindsey 

Studio 20 

Sayward Grindley, Dex Honea, Lisa Townsend, 

Isabel Dubrocq, Octavio Martin, Kelly Atkins, 

Marlena Abaza, Wendy Johnson, Leah Verier- 

Dunn, Sara Sardelli, Nicole Padilla, Gustavo 

Jorge and Gabriela Rocha of Sarasota Capoeira 

Guest Faculty 

Michelle Tyke, The Studio Dance Company Hip- 

Hop Instructors 

Education Faculty 

iain Webb, director 

Iain Webb teaches Master Classes for the School and Trainee Program. 

margaret Barbieri arad PBtC (dip) PG Cert. 

Margaret Barbieri provides consulting services to the School and Trainee Program and teaching Master Classes. 

sayward Grindley, education director 

Sayward Grindley has BFA Degrees in Dance Performance and Dance Education from East Carolina University. 

Sayward was a founding company member of Fuzion Dance Artists, with whom she performed in Chicago, New 

York City at the Alvin Ailey Theatre, in Miami and throughout the rest of Florida. Sayward has taught at North 

Carolina Academy of Dance Arts, Goldsboro Civic Ballet, Arts Council of Wilson, was on the Faculty at Manatee 

School for the Arts and was also the Director of Dance for Booker Middle School’s Visual and Performing 

Arts Program. She has also taught at the Florida Dance Festival OnTour, and had been an adjudicator for 

the American Dance Competition and Walker’s Rising Stars Scholarship Program and has presented at the 

Network for Arts Education Conference in Oakland, California as well as many other conferences. This past 

year, Sayward was on the committee to help rewrite the Florida Sunshine State Standards for Dance in the 

public schools and is a member of the National and Florida Dance Associations, and the National and Florida 

Dance Educators’ Organizations as well as the Sarasota-Manatee Dance Alliance and the Arts Education Task 

Force Committee for Sarasota County. Sayward oversees the Sarasota Ballet School, Trainee Program, Summer 

Programs, DNG, Studio 20 and Outreach Programs, and teaches and choreographs for all of the programs. 

dex honea, assistant director of education 

Dex Honea was born and raised in Bangkok, Thailand, then started his classical ballet training in Canada’s 

Royal Winnipeg Ballet. After four years, Dex graduated from the Royal Winnipeg Ballet School in 1995, and 

remained with the company until 1998. He then joined Milwaukee Ballet for three years, and moved to 

Florida in 2002 to become part of The Sarasota Ballet. Honea performed numerous roles from classical ballet 

to contemporary works. He began teaching ballet in 2002 throughout Southeast Florida, and now teaches for 

the School, Studio 20 and Trainee Program. 

Lisa townsend, Program director Dance–The Next Generation 

Lisa Townsend graduated with a Bachelor of Fine Arts in Dance from The Juilliard School. As a member of the 

Juilliard Dance Ensemble, she performed in works by Antony Tudor, Anna Sokolow, José Limon, and others. 

She appeared with the Fort Smith Civic Ballet in her hometown in Arkansas as a guest artist and choreographer 

as well as performed as a member of the Tulsa Ballet in Oklahoma and The Way International Dancers in Ohio. 



C 

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Personal service is hard to find these days—but it’s the cornerstone upon which 

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In appreciation, we’ll make a $100 donation to the charity of your choice. 

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Get to know us. Help your community. 

Trusts Estates Investment Management Accounts IRAs 

R. Dean Hautamaki, M.D. FCCP 

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2130 South Tamiami Trail 

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Office • 941 / 951 / 3920 

Fax • 941 / 951 / 3922 

Left to right: 

Michael Marraccini, Gayle Williams 

Noreen Delaney, Mary Anne Servian 

Ginny Winkler, Susan Reeves, Michael Scott 

It is a real pleasure to have such 

wonderful team working with me 

and I would like to thank especially 

Mary Anne, our Managing Director 

for her tremendous work and to say 

how great it is to have her at my 

side. My appreciative thanks also to 

Michael, Noreen, Mike, Ginny, Susan, 

Gayle, to my technical production 

team Jeff, Bill, Mark, Jim, Arron, 

Hilare, Ed, and last but not least to 

my ballet staff, Sayward and all the 

Education faculty. Thank you for 

all your hard work, commitment 

and most importantly for working 

together as a team and supporting 

each other, thus making it possible 

for us to take this great company 

onto new and exciting heights. 

My grateful thanks to Libby for a 

beautifully designed program, Tim 

for the enlightening program notes, 

the Friends of The Sarasota Ballet and 

all the volunteers for everything they 

are doing for the Company. 

What can I say other than a Big Thank 

You to you all. 

Mary Anne Servian 

Managing Director 

359-0099 x106 

maservian@sarasotaballet.org 


Development Director 

359-0099 x104 

ndelaney@sarasotaballet.org 

Michael Marraccini 

Box Office and Communications Manager 

359-0099 x101 

mmarraccini@sarasotaballet.org 

Susan Reeves 

Company Manager and Box Office Assistant 

359-0099 x107 

sreeves@sarasotaballet.org 

Michael Scott 

Business Manager 

359-0099 x110 

mscott@sarasotaballet.org 

Ginny Winkler 

Controller/Human Resources 

359-0099 x121 

gwinkler@sarasotaballet.org 

Administrative Staff 



BOARD OF DIRECTORS 

2011-2012 

PRESIDENT 

Murray Sherry 

EXECUTIVE VP 

Jerry Genova 

TREASURER 

Richard Anderson 

SECRETARy 

Peggy Sweeney 

VP MEMBERSHIP 

Lucia Almquist 

VP MARKETING 

Sandra Timpson Motto 

VP Events 

Yvonne Sultan 

BOARD MEMBERS 

Rhoda Beningson 

Bob Evans 

Patricia Fennessey 

Barbara Mask 

Barbara Maier 

Teresa Masterson 

Virginia Page 

Virginia Tashian 

Rhoda Walk 

Lauren Walsh 

EX-OFFICIO 


Chair, Board of The Sarasota Ballet 

Iain Webb 

Director, The Sarasota Ballet 

Mary Anne Servian 

Managing 

Director, The Sarasota Ballet 

FFRIENDS RIENDS 

OF OF THE THE 

PHOTO BY CLIFF ROLES PHOTO BY SHIRLEY BLAIR 

YOU ARE CORDIALLY INvITED… 

We are an active group who share an appreciation for dance and The Sarasota 

Ballet and want to put our enthusiasm into action. We are committed to helping 

sustain The Ballet’s high standards for excellence and its bright future in 

Sarasota and beyond. We volunteer our time, our talents and our resources 

toward this goal. 

Our vision is to become invaluable to the Company and we are richly rewarded 

for our efforts. 

First, we have a wonderful time. We are part of The Sarasota Ballet family and 

work side by side with them, making us personally involved with their success. 

We enrich our appreciation of dance by gathering at frequent lectures, luncheons, 

classes and rehearsals with Director Iain Webb, Company dancers, 

internationally-known guest artists and choreographers. 

Finally, we have the privilege of seeing our Company of young dancers grow 

into world class artists and we share in their brilliant accomplishments and 

critical acclaim. We can see the results of our work in the faces of the performers, 

the audiences and our community. 

WON’T YOU JOIN US? BECOME A MEMBER TODAY. 

Visit our Information Desk located in the Lobby 

before performances and during intermission 

or contact: 

Lucia Almquist, VP Membership 

luciaalmquist@verizon.net 

or find us on the web: 

www.sarasotaballet.org/friends 


Catha Abrahams 

Jean M. Abrams 

Peggy & Ken Abt 

Mrs. Carolyn Albrecht 

Judy Alexander 

Angel Algeri 

Edward & June LeBell Alley 

Lucia & Steven Almquist 

Patricia & Richard Anderson 

Scott Anderson 

Zoe Anderson 

Robert & Elaine (Lani) Appel 


Ina Arnell 

Carol Arscott 

Jewel A. & Mike Ash 

Jane Baisley 

Justine Baran 

Holly Barbour, M.D. 

Marcia Bardos 

Judith Barnett 

Leah Barker 

Edward D. Barrett 

Barbara M. Bart 

Florence Begg 

Herbert & Rhoda Beningson 

Karen Bennett 

Jack & Kacy Carla Bennington 

Nancy & Bernard Berkman 

Shirley Berlin-Gilbert 

Maryann Betagole 

Alice Birnbaum 

Marlies H. Black 

Anne & Walter Bladstrom 

Shirley Blair 

Marilyn Blausten 

John P. Blue & Gary J. Behnke 

Barbara W. Blumfield 

Iris & Edward Bolwell 

Patricia E. Bonarek 

Robert & Eleanore Boyd 

Peg Breslow 

Donald Britt 

Rita S. Brown 

Sunny S. Brownrout 

Joel Bruck & Herb Morgan 

Frank Buffone & Alan Dee 

Rebecca Ann Buky 

Lynn (Carolyn) B. Byers 

Dennis Campagnone 

Norval (Del) Carlson 

Marsha Chernick 

Merle & George Chorba 

Ron & Shannon Ciaravella 

Jude Clark 

Paula W. Clemow 

Gloria A. Cohn 

Patricia Coja 

Juanita Connell 

Kim Cornetet 

Marcia D. & Michael V. Corrigan 

Sandra Cowing 

Beverly Crawford 

Dr. Jacklyn Daffner, Ph.D. 

Donna Marie D’Agostino 

Jacqueline & Harold D’Alessio 

Susan Loren Davidson 

Joan S. Davies 

Janice deGrineau-Kunkel 

Kay Delaney & Noreen Delaney 

Lynn deLoe 

Brenda Demby 

JoAnne DeVries 

Robert & Jaqueline deWarren 

Syble DiGirolamo 

Shirley Dinkin 

Lynda L. Doery 

Angela Locsin Dolorico 

Kit Dornbush 

Sandy Drettmann 

Marcia Dubrin 

Cece Dwyer 

Dr. Laila Ebert 

Mimi (Mirian S.) Edlin 

Linda Elliff 

Mrs. Hinda Elwyn 

Barbara E. Epperson 

Helene Fagin 

Joel D. & Ellen S. Fedder 

Arthur Feigenbaum 

Shirley & Arnold E. Fein 

Bonnie & Lewis Femec 

Josefina (Dolly) Fenix 

Patricia Fennessey 

Ann Fenton 

Jomel Ferdinand 

Lenore & Jeffrey Fernald 

Bernice Ferst 

Mildred R. Field 

May Fisher-Cohen 

Bert & Eleanor Fivelson 

Marlene Forster 

Marcia Merdinger Fox 

Suzanne Freund 

Barbara D. Frey 

Mikal H. Frey 

Dolores C. (Dody) Furman 

Arthur Gaisser 

Jennifer Gemmeke 

Gerald J. Genova & Robert Evans 

Jacqueline Giddens 

Helen F. Gifford 

Bonita G. Gillis 

Linda A. Glover 

David & Nancy A Gold 

Ellen Goldman 

Patricia Golemme 

Jorgen & Gudrun Graugaard 

Fran Greenberg 

Gloria L. Grenier 

Bob Griffiths & David Eichlin 

Sayward Grindley, Sarasota Ballet 

Sonya (Sonni) Grossman 

Patricia A. Haas 

Renee Hamad 

Dolores (Dee) & John Hamill 

James & Harley Hanrahan 

Marjorie Harper 

Marianne F. Hart 

Charlotte Hedge 

Nicolas P. Hemes 

Lucille Henderson 

Muriel Hendricks 

Harry & Belle Gordon Heneberger 

Martha K. Hennes 

Carol Hirschburg 

Kathleen W. Hodges 

Dr. Delores Hoffman 

Carolyn Ann Holder 

Dr. Stanley & 

Mrs. Dorith Hollander 

Peter A. & Patricia A. Hood 

Meet the Friends of The Sarasota Ballet 

Pocha & Doug Horton 

Anne V. Howard 

Scott Howard 

Patricia G. Hudome 

Martha Huie 

Richard Hurter 

Carol Hyde 

Karen Iezzi 


Van Ivey 

Barbara Jacoby 

Barbara Jarabek 

Marsha W Johnson 

Anne Jones 

Luther & Joyce Jungemann 

Merrill Ann Kaegi 

Nancy N & Gerald Kaplan 

Marcia & Irwin Katz 

Ken Keating 

Judi Kerzner 

Patty & Richard Kiegler 

Joan H Kindred 

Marlene Kitchell 

Pat Klugherz 

Alice Kondrat 

Ruth Kruglick 

Robert E. Ladieu & 

David A. Hamilton 

William Lahm 

Lori Lalin 

Lydia H. Landa 

Harriet K. Lane 

Joan Levenson 

Judith Levine 

Emily H. Levine 

Alicia & Michael LeVine 

Leone Levy 

Marlene & Hal Liberman 

Virginia F. Linscott 

Erin Long, M.D. & Kathleen Long 

Mary Lou Loughlin 

Allie Lucas 

Carole L. & George B. Ludlow Jr. 

Dot Lyles 

Gillian MacDonald 

Anne MacLean 

James & Patricia Maguire 

Meg Mahoney & 

Michael Connelly 

Dr. Barbara A. Maier 

Richard & Helen March 

Bluma Marcus 

Donald & Judith Markstein 

Carolou Marquet 

Michael Marraccini, 

Sarasota Ballet 

Joan B. & Leroy G. Martin 

Michael T. & Jean M. Martin 

Barbara Mask 

Donna & Walter Maytham 

Eva Maze 

Helen McBean 

Jennifer McDonald 

Mary Alice McGovern 

Leanne P. McKaig 

Anne McKay 

Sel & Henry Medvin 

Dr. Michael & Gila Meriwether 

Janet & Paul Michaelson 

Carol Michelman 

Diane Milrod 

Jean Mitchell 

Vic & Sandra Timpson Motto 

Diane L. Muir 

Brian & Marvera Murphy 

Nancy G. Myers 

Eric & Mafalda Neikrug 

Ellen Neil 

Muriel (Terry) Neuss 

Joan Nixon 

Helene & Gene Noble 

Marilyn Nordby & 

Murray Henry 

Mercedes & John O’Brien 

Sonja O’Flynn 

Anita Orwig 

Katherine D. Ostrovsky 

Conrad & Lenee Owens 

Virginia H. Page 

Helen Panoyan 

Julian & Emily Parry 

Veronica “Ronni” Parrish 

Colette Penn 

Beverly & Ira Peterman 

Dr. Kenneth & Christina Pfahler 

Joyce Pickett 

Betty Pike 

Julie Planck 

Donald Plumleigh 

Kathy Pollack 

Fanny Porter 

Richard Prescott & D.J. Arnold 

Revella Price 

Faith & Marshall Pridmore 

Janet & Michel Rapoport 

Jimmye Reeves 

Joan B & Richard E. Reibman 

Joel J. Reznick 

Timothy K. Rhoades 

Julie Riddell 

Ed & Elizabeth Roberts 

Anne F. Roberts 

Margot & Jack Robinson 

Elinor Rogosin 

Terry & Susan Romine 

Sheila Rosenthal & 

Phil Silverstein 

Luise E. Rosoff 

D. Ann Hill & Gilbert L. Roth 

George & Ann Roth 

Sidney & Marcia Rutberg 

Beverly Ryan 

Barbara Sander 

Joan Sands 

Eleanor Sauers 

Joe & Eva Saunders 

Renata Sawyer 

Dr. Charlotte Scarbrough 

Molly Schechter 

Betty Schoenbaum 

Barbara (Bobbye) Schott 

Barbara S. Schur 

Rita Schwartz 

Michael Scott 

Alice Scott 

Carol & Erwin Segal 

Tracy Seider 

Jerry and Micki Sellman 

Mary Anne Servian, 

Sarasota Ballet 

Lavonne & James Shedivy 

Ron & Janet Sheff 

Marcia S. Shepard 

Abby & Murray Sherry 

Marianne Siegal 

Hermine Silver 

Renee Silverstein 

Rita W. Sinaiko 

Kiernan & Margaret Skinner 

Eva T. Slane 

Brandy & Dr. Herbert Solomon 

Paula Spitalny 

Marilyn Stamberg 

Irene Stankevics 

Ken Starr 

Barbara Staton 

Ruth Steel 


Mildred F. Stein 

Dorothy Stevens 

Robin & Michael Strauss 

Joan Suddarth 

Dr. John & Jennie-Ray Suess 

Helen Sullivan 

Yvonne R. Sultan 

Anne Sundeen 

Peggy Sweeney 

Melliss Kenworthy Swenson 

Patricia Talbott 

Claire Taplin 

Virginia & Dee Tashian 

Joan J. Tatum 

John Teryek 

Michelle Teyke 

Carolyn Thompson 

Janet Tolbert 

Lisa Townsend, Sarasota Ballet 

Bal Usefoff 

Andrew Vac & Ramona Glanz 

Robert B. Van Skike, Jr. 

Elske Vermaas 

Rhoda Walk & 

Alfred Brandstein 

Sidney & Sylvia Waller 

Lauren Ann Walsh 

Matt & Lisa Walsh 

Rosa Warburg 

Lois L. Watson 

Iain Webb & Margaret Barbieri 

Jo-An Webb 

Ruth Weinberg 

Rita Weingarten 

Jeanne & Robert Wescott 

JoAnne Whalen 

Myrna & Jeremy Whatmough 

R. Eugene & Daphne Whitman 

Kathy Wieder 

Laurie Wiesemann 

Edith Winston 

Norma S. Wohl, M.D 

Betsy Wollman 

Matsie Yost & 

Dr. Robert Kromer 

Robert & Jeanne Zabelle 

Dr. Elaine Zwelling 


FFRIENDS RIENDS 

OF OF THE THE 

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We have fancy shoes. 

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with this ad 

6th Season Concert 

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at Jane B. Cook Theater 


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OPENING 

As an expressive art form, 

Ballet stands apart 

In its physical demands 

And emotional commitment. 

Many revere ballet, 

Others are amused, confused 

By its subtle and nuanced expression. 

The opening of the curtain, 

The appearance of the ballerina, 

Is like the oyster opening to present the beauty, 

Magnificence of the pearl. 

Marvelous pieces of art, 

Formed sculpture, fine-crafted jewelry, 

Once-in-a-lifetime performances, 

All reach their finest, their highest moment, 

When they touch us deeply, 

The ballerinas magic, the pearls beauty. 

640 S. Washington Blvd. Sarasota, FL 34236 

941-957-1110, Monday-Saturday, 10am-5pm 

www.crissy.com 


Seaman Schepps 

Burma ruby, diamond and 

pearl bracelet 

Advertiser’s Index 

Fuzion dance artists 84 

Gulf Coast Community Foundation BC 

hautamaki & horiuchi 78 

holly Barbour, m.d. 33 

hyatt Place 86 

i tesori 86 

innovative dining 24 

Jonathan Parks architect 16 

Juno and Jove 31 

Kerkering Barberio 24 

Kobernick anchin 33 

Lakewood ranch dental 70 

Lerner -Cohen Concierge Medical 82 

Lilly Pulitzer 14 

mattisons 2 

michael’s on east 31 

morgan stanley smith Barney 87 

mortons 82 

new York dancewear Company 87 

Parker harrigan Group 30 

Pineapple Square 75 

Plymouth harbor 1 

Print & ink 32 

Private Physician services iFC 

sarasota Bay Club 3 

Sarasota Magazine 85 

sarasota orthopedic Group 87 

sarasota Polo at Lakewood ranch 83 

sarasota Yacht Club 10 

selva 8 

simon Chiropractic 28 

Susan Sloan , O.D. 85 

the Community Foundation of sarasota 6 

The Out-of-Door Academy 76 

the sarasota YmCa iBC 

toojays 70 

treviso 87 

udell associates 32 

Vision Pr and marketing 82 

Wsmr 89.1 28 

FOR A 

HEALTHY 

HOME 

THE SARASOTA Y 

Babe Weiller Branch 

1991 Main Street, Suite 100 

941-366-6778 

Evalyn Sadlier Jones Branch 

and Selby Aquatics Center 

at the CJ Lofino Family Complex 

8301 Potter Park Dr. 

941-922-9622 

Frank G. Berlin, Sr. Branch 

1075 S. Euclid Ave. 

941-955-8194 

www.TheSarasotaY.org

We Transform How the 

Gulf Coast Gives. 

The exhilarating fact about modern philanthropy 

is that the speed of need has been increasing at 

an exponential rate — and it’s up to us in the 

giving business to keep pace. Our latest contribution 

is Gulf Coast Gives, a new easy-to-use online resource 

that makes donating simpler, swifter, and more satisfying 

than ever before. 

Call Gulf Coast Community Foundation today and let us 

help you transform the way you give. 

GulfCoastGives.org | GulfCoastCF.org | 941.486.4600

THE PLACE TO PURSUE LIFE'S PASSIONS - Sarasota Ballet

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