Ibsen’s House - d3ss7t324mvief.cloudfront.net Kits/P3 Press Kit_4... · Music used by arrangement with G. Schirmer, publisher and copyright owner. Costumes ... Jahna Frantziskonis

ARTISTIC & PRODUCTION CREDITS SAN FRANCISCO BALLET 2018

War Memorial Opera House, 301 Van Ness at Grove For tickets, call the Ticket Services Office at 415.865.2000

PROGRAM 3: DISTINCTLY SF BALLET

Running Time: On a Theme of Paganini 30 minutes Intermission 15 minutes Ibsen’s House 37 minutes Intermission 20 minutes Ghost in the Machine 34 minutes Total: 2 hours, 16 minutes On a Theme of Paganini Composer: Sergei Rachmaninov Choreographer: Helgi Tomasson Scenic and Costume Design: Martin Pakledinaz Lighting Design: Neil Peter Jampolis World Premiere: March 7, 2008—San Francisco Ballet, War Memorial Opera House; San Francisco, California Ibsen’s House Composer: Antonín Dvořàk Choreographer: Val Caniparoli Scenic and Costume Design: Sandra Woodall Lighting Design: James F. Ingalls Assistant to the Choreographer: Maiqui Mañosa World Premiere: April 24, 2008—San Francisco Ballet, War Memorial Opera House; San Francisco, California Ghost in the Machine Composer: Michael Nyman Choreographer: Myles Thatcher Scenic Design: Alexander V. Nichols Costume Design: Susan Roemer Lighting Design: Jim French World Premiere: April 5, 2017—San Francisco Ballet, War Memorial Opera House; San Francisco, California

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Program 3 Credits/Page 2 Production Credits On a Theme of Paganini: Music: Rhapsody on a Theme of Paganini, Op. 43 by Sergei Rachmaninov. Music used by arrangement with Boosey & Hawkes Inc., publisher and sole copyright owner. Scenic painting by the San Francisco Ballet Carpentry and Scenic Departments, at the San Francisco Opera Scenic Studios. Ibsen’s House: Music: Dvoràk: Piano Quintet in A Major, Op. 81. Costumes constructed by Birgit Pfeffer, Groveland, California. Scenic construction and painting by San Francisco Ballet Carpentry and Scenic Departments, at the San Francisco Opera Scenic Studios. Ghost in the Machine: Music by Michael Nyman: “Queen of the Night” and “An Eye For Optical Theory” from The Draughtsman’s Contract; “Prawn-Watching” from A Zed and Two Noughts; “A Wild and Distant Shore,” “Lost and Found,” and “The Heart Asks Pleasure First/The Promise” from The Piano; and “Wheelbarrow Walk” from Drowning by Numbers. Music used by arrangement with G. Schirmer, publisher and copyright owner. Costumes constructed by S-Curve Apparel & Design, San Francisco, California.

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CONTACT: Kyra Jablonsky, 415.865.6603 [email protected] Rena Nishijima, 415.865.6610 [email protected]

2018 REPERTORY SEASON LISTING

PROGRAM 1 FULL-LENGTH PRODUCTION THE SLEEPING BEAUTY Tchaikovsky/Tomasson after Petipa/ Worsaae/Miller Jan. 23 eve, 24 eve, 25 eve, 26 eve, 27 mat & eve, 28 mat, 2 eve, 3 mat & eve, 4 mat

PROGRAM 2 BRIGHT FAST COOL BLUE SERENADE Tchaikovsky/Balanchine/after Karinska/Bates THE CHAIRMAN DANCES—QUARTET FOR TWO^ Adams/Millepied

RODEO: FOUR DANCE EPISODES+ Copland/Peck/Bartelme, Jung, Peck/Baker Feb. 13 eve, 14 eve, 16 eve, 18 mat, 22 eve, 24 mat & eve

PROGRAM 3 DISTINCTLY SF BALLET ON A THEME OF PAGANINI Rachmaninov/Tomasson/Pakledinaz/ Jampolis IBSEN’S HOUSE Dvořák/Caniparoli/Woodall/Ingalls GHOST IN THE MACHINE Nyman/Thatcher/Roemer/French Feb. 15 eve, 17 mat & eve, 20 eve, 21 eve, 23 eve, 25 mat PROGRAM 4 FULL-LENGTH PRODUCTION FRANKENSTEIN Liebermann/Scarlett/Macfarlane/Finn/Ross March 6 eve, 7 eve, 8 eve, 9 eve, 10 mat & eve, 11 mat * World Premiere + SF Ballet Premiere ^Expanded Version

2018 Repertory Season Calendar/Page 2 PROGRAM 5 ROBBINS: BALLET & BROADWAY OPUS 19/THE DREAMER Prokofiev/Robbins/Benson/Tipton after Bates

THE CAGE Stravinsky/Robbins/Rosenthal/Sobotka/ Tipton OTHER DANCES Chopin/Robbins/Loquasto/Tipton FANCY FREE Bernstein/Robbins/Smith/Love/after Bates March 20 eve, 21 eve, 22 eve, 23 eve, 24 mat & eve, 25 mat PROGRAM 6 FULL-LENGTH PRODUCTION The National Ballet of Canada (Guest Company) NIJINSKY Chopin, Schumann, Rimsky-Korsakov, Shostakovich/Neumeier April 3 eve, 4 eve, 5 eve, 6 eve, 7 mat & eve, 8 mat

NEW WORKS FESTIVAL: FESTIVAL A* THE COLLECTIVE AGREEMENT* Moran/King/Campbell/Rosenwasser/Ingalls BOUND©* Henson/Wheeldon/Puissant/Ingalls HURRY UP, WE’RE DREAMING* Gonzalez, Gonzalez, Laner, and Meldal-Johnsen/Peck/Bartelme and Jung/Ingalls April 20 eve, 22 mat, 28 eve, May 3 eve, 6 mat NEW WORKS FESTIVAL: FESTIVAL B* MYLES THATCHER WORLD PREMIERE* Adams/Thatcher/Nichols/Rood/Ingalls SNOWBLIND* Beach, Foote, and Pärt/Marston/Kinmonth/ Ingalls ANIMA ANIMUS* Bosso/Dawson/Otto/Takeshima/Ingalls April 21 eve, 25 eve, 29 mat, May 4 eve * World Premiere + SF Ballet Premiere

2018 Repertory Season Calendar/Page 3 NEW WORKS FESTIVAL: FESTIVAL C* BESPOKE* Bach/Welch/Hynes/Ingalls YOUR FLESH SHALL BE A GREAT POEM* Garneau/McIntyre/Bartelme and Jung/Ingalls GUERNICA* Andrews, Banabila, Halstead, and Valentin-Alkan/Lope Ochoa/Zappone/Ingalls April 24 eve, 27 eve, May 2 eve, 5 mat NEW WORKS FESTIVAL: FESTIVAL D* THE INFINITE OCEAN* Davis/Liang/Nichols/Zappone/Ingalls LET’S BEGIN AT THE END* Bach, Glass, and Nyman/Rhoden/Nichols/ Darch/Ingalls BJÖRK BALLET* Gudmundsdottir, Sigurdsson/Pita/Morante/Ingalls April 26 eve, 28 mat, May 1 eve, 5 eve * World Premiere + SF Ballet Premiere

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SAN FRANCISCO BALLET ARTISTS OF THE COMPANY

2017-18 SEASON

ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER Helgi Tomasson

PRINCIPAL DANCERS

Dores André Frances Chung

Mathilde Froustey Luke Ingham

Ana Sophia Scheller Yuan Yuan Tan

Ulrik Birkkjaer Sasha De Sola Angelo Greco

Maria Kochetkova Jennifer Stahl

Sarah Van Patten

Jaime Garcia Castilla Carlo Di Lanno Tiit Helimets

Vitor Luiz Sofiane Sylve Joseph Walsh

PRINCIPAL CHARACTER DANCERS

Ricardo Bustamante Val Caniparoli Anita Paciotti

Rubén Martín Cintas

SOLOISTS

Max Cauthorn Jahna Frantziskonis

Steven Morse Lauren Strongin

Daniel Deivison-Oliveira Esteban Hernandez

Julia Rowe Wei Wang

WanTing Zhao

Isabella DeVivo Koto Ishihara

James Sofranko Hansuke Yamamoto

CORPS DE BALLET Kamryn Baldwin

Samantha Bristow Diego Cruz

Solomon Golding Ellen Rose Hummel

Blake Kessler Norika Matsuyama

Sean Orza Elizabeth Powell Rebecca Rhodes Natasha Sheehan

John-Paul Simoens Mingxuan Wang Maggie Weirich

Sean Bennett Alexandre Cagnat

Megan Amanda Ehrlich Gabriela Gonzalez

Blake Johnston Shené Lazarus

Davide Occhipinti Wona Park

Nathaniel Remez Emma Rubinowitz

Henry Sidford Myles Thatcher Joseph Warton

Ludmila Bizalion Thamires Chuvas

Benjamin Freemantle Jillian Harvey

Madison Keesler Elizabeth Mateer

Kimberly Marie Olivier Lauren Parrott

Alexander Reneff-Olson Skyla Schreter

Miranda Silveira Isabella Walsh Lonnie Weeks

Ami Yuki

APPRENTICES Ethan Chudnow

Swane Messaoudi Anatalia Hordov

Larisa Nugent Carmela Mayo Benji Pearson

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BALLET MASTER & ASSISTANT TO THE ARTISTIC DIRECTOR Ricardo Bustamante

Felipe Diaz

BALLET MASTERS Betsy Erickson Anita Paciotti Katita Waldo

COMPANY TEACHERS Helgi Tomasson Patrick Armand*

Ricardo Bustamante Felipe Diaz

CHOREOGRAPHER IN RESIDENCE

Yuri Possokhov

MUSIC DIRECTOR AND PRINCIPAL CONDUCTOR Martin West

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*guest teacher

HISTORY OF SAN FRANCISCO BALLET

San Francisco Ballet, the oldest professional ballet company in America, has emerged as a world-class arts organization since it was founded as the San Francisco Opera Ballet in 1933. Initially, its primary purpose was to train dancers to appear in lavish, full-length opera productions. Willam Christensen arrived in 1938 and choreographed the Company’s first full-length production, Coppélia, the following year. In 1940, he staged the first American full-length production of Swan Lake and on Christmas Eve 1944, Christensen launched a national holiday tradition with the American premiere of Nutcracker—the first complete version of the ballet ever staged in the United States. In 1942, the Company became a completely separate entity from the opera and was renamed San Francisco Ballet. Willam Christensen was artistic director, and his brother Harold was appointed director of the San Francisco Ballet School, a position he retained for 33 years. A third brother, Lew Christensen, America’s first premier danseur, joined Willam as co-director in 1951, and took over the Company the following year. Under Lew’s direction, the Company made its East Coast debut at Jacob’s Pillow Dance Festival in 1956 and toured 11 Asian nations the following year, marking the first performances by an American ballet company in Asia. In 1972, after performing in various San Francisco theaters, the Company settled permanently into the War Memorial Opera House for its annual residency. The following year, Michael Smuin was appointed associate artistic director and celebrated his new partnership with Lew Christensen by collaborating on a full-length production of Cinderella. In 1976, Smuin’s Romeo and Juliet became the first full-length ballet and the first performance by a West Coast company to be shown on the PBS television series Dance in America. In 1981, Smuin’s The Tempest—the first ballet broadcast live from the War Memorial Opera House—was nominated for three Emmy Awards (Willa Kim received the award for Outstanding Costume Design). Three years later, Smuin received an Emmy Award for Choreography for the Dance in America national broadcast of A Song for Dead Warriors. In 1974, SF Ballet faced bankruptcy, but its supporters and the community responded with an extraordinary grassroots effort called “Save Our Ballet,” which successfully brought the Company back from the brink. That same year, Dr. Richard E. LeBlond, Jr. was appointed president and general manager of SF Ballet. He developed the first long-range plan for an American dance company, and in 18 months the organization was in the black financially. Helgi Tomasson’s arrival as artistic director in July 1985 marked the beginning of a new era for SF Ballet. Like Lew Christensen, Tomasson was, for many years, a leading dancer for the most important ballet choreographer of the 20th century, George Balanchine.

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SF Ballet History/Page 2 Less than two years after Tomasson’s arrival, SF Ballet unveiled its fourth production of Nutcracker in December 1986. Tomasson has since staged acclaimed full-length productions of many classics, including Swan Lake (1988, 2009); The Sleeping Beauty (1990); Romeo & Juliet (1994); Giselle (1999); Don Quixote, co-staged with former Principal Dancer and current Choreographer in Residence Yuri Possokhov (2003); and Nutcracker (2004). In 1991, SF Ballet performed in New York City for the first time in 26 years, returning in 1993, 1995, 1998, 2002, 2006, 2008, and 2013. Following the initial tour, The New York Times proclaimed, “Mr. Tomasson has accomplished the unprecedented: He has pulled a so-called regional company into the national ranks, and he has done so by honing the dancers into a classical style of astonishing verve and purity. SF Ballet under Helgi Tomasson’s leadership is one of the spectacular success stories of the arts in America.” In May 1995, SF Ballet hosted 12 ballet companies from around the world for UNited We Dance: An International Festival, commemorating the 50th anniversary of the signing of the United Nations Charter, which took place in the War Memorial and Performing Arts Center in San Francisco. Never before had a dance event brought together over 150 international artists for two weeks of creative exchange and inspiration. 2008 marked the Company’s 75th Anniversary Season, which culminated in a New Works Festival of 10 world premieres by 10 of the dance world’s most diverse and acclaimed choreographers including Julia Adam, Val Caniparoli, Jorma Elo, Margaret Jenkins, James Kudelka, Mark Morris, Yuri Possokhov, Paul Taylor, Stanton Welch, and Christopher Wheeldon. Other anniversary initiatives included a commemorative book, San Francisco Ballet at Seventy-Five; special exhibitions; an alumni reunion weekend; and the broadcast of Tomasson’s Nutcracker on PBS’s Great Performances Dance in America series, produced in partnership with KQED Public Television in San Francisco. In December 2011, the American premiere of John Neumeier’s The Little Mermaid, performed by SF Ballet, was broadcast internationally, as well as nationally on PBS’s Great Performances Dance in America. In 2015, Tomasson celebrated his 30th anniversary as artistic director of the Company, with the San Francisco Chronicle noting, “What Tomasson has done here over these three decades is to transform a respected regional American ballet company into an international-caliber organization that commands worldwide respect for the depth of its repertoire and its superb technical standards.” SF Ballet continues to enrich and expand its repertory and presents approximately 100 performances annually. The Company’s vast repertory includes works by Sir Frederick Ashton, George Balanchine, David Bintley, August Bournonville, Val Caniparoli, Lew Christensen, Nacho Duato, Jorma Elo, William Forsythe, James Kudelka, Jirí Kylián, Lar Lubovitch, Benjamin Millepied, Wayne McGregor, Agnes de Mille, Sir Kenneth MacMillan, Hans van Manen, Peter Martins, Mark Morris, Rudolf Nureyev, Justin Peck, Marius Petipa, Roland Petit, Yuri Possokhov, Alexei Ratmansky, Jerome Robbins, Liam Scarlett, Paul Taylor, Antony Tudor, and Christopher Wheeldon.

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SF Ballet History/Page 3 In recent years, the Company’s touring program has become increasingly ambitious. In fall 2008, as part of its year-long 75th Anniversary Celebration, SF Ballet embarked on a critically acclaimed four-city American tour with engagements at Chicago’s Harris Theater for Music and Dance, New York City Center, Southern California’s Segerstrom Center for the Arts, and The John F. Kennedy Center for the Performing Arts in Washington, D.C. In 2016, the Company performed at Napa Valley Performing Arts Center, Iceland’s Reykjavík Theatre, and The Kennedy Center. In addition, SF Ballet dancers participated in Celebrate Forsythe at The Music Center, honoring the choreographer’s legacy to date. After opening night, the Los Angeles Times declared that “[SF Ballet] dances Forsythe better than any other American company.” SF Ballet has also enjoyed frequent overseas tours, including engagements at prestigious venues such as the famed Opéra de Paris-Palais Garnier in Paris (1994, 2001) and Théâtre du Châtelet (2014); London’s Sadler’s Wells Theatre (1999, 2004, 2012) and the Royal Opera House (2002); Athens’ Megaron Theatre (2002) and Herod Atticus Amphitheatre (2004); the Tivoli Garden Concert Hall in Copenhagen (1998, 2010); and the Edinburgh International Festival at the Edinburgh Playhouse (1997, 2003). In fall 2009, SF Ballet made its first trip to the People’s Republic of China, with performances in Shanghai and Beijing and in 2015, the Company returned to both cities as part of a two-week tour. The Company’s extensive touring program has garnered numerous accolades and awards. In 2005, SF Ballet won its first Laurence Olivier Award, for its 2004 fall season at Sadler’s Wells Theatre. Of the engagement, London’s Sunday Times proclaimed, “Helgi Tomasson’s outstanding artistic direction…has transformed a regional American troupe into one of the world’s top ballet companies.” In 2006, in a readers’ poll conducted by Dance Europe magazine, SF Ballet was the first non-European company to be voted “Company of the Year” by the publication. In 2008, SF Ballet received the Jerome Robbins Award for excellence in dance. In 2012, SF Ballet’s touring schedule included engagements in London and Washington, D.C., as well as first time visits to Hamburg, Moscow, and Sun Valley, Idaho. In fall 2013, the Company performed at New York’s David H. Koch Theater at Lincoln Center, where The New York Times declared SF Ballet “a national treasure.” In July 2014, the Company toured to Paris as part of Les Etés de la Danse Festival, marking the 10th anniversary of its inaugural engagement with the festival. At Théâtre du Châtelet, SF Ballet presented over 20 works by 15 choreographers over a gala evening and 17 performances. Of the tour, The Financial Times remarked, “Where ballet goes from here is anyone’s guess, but as dancers and choreographers continue to flock to Tomasson, the tell-tale signs may well be found in California.”

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SF Ballet History/Page 4 Highlights of SF Ballet’s 2018 Season include Unbound: A Festival of New Works featuring 12 new works by 12 innovative, international choreographers, plus ancillary festival activities; an all-Robbins program celebrating the centennial of Jerome Robbins and Leonard Bernstein; and performances of Neumeier’s acclaimed Nijinsky by The National Ballet of Canada. San Francisco Ballet School, overseen by Tomasson and the School’s Director Patrick Armand, attracts students from around the world, training approximately 350 annually. In addition to filling the ranks of SF Ballet, graduates have gone on to join distinguished ballet companies throughout the world.

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HELGI TOMASSON

ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER

Helgi Tomasson has held the position of artistic director for San Francisco Ballet since July 1985. Since then, the Company has evolved from a respected regional troupe to an international company praised for its broad repertory, dancers of uncommon range and skill, and a vision that continually sets the standard for the international dance world. San Francisco Ballet is dancing better than it has at any point in its history. As a choreographer, teacher, and coach, Tomasson has fostered an uncompromising classicism that has become the bedrock of the Company’s training. The dancers are energized and inspired by this rigorous training and continue to rise to new heights with each passing year. Born in Reykjavik, Iceland, Tomasson began his early ballet training there with an Icelandic teacher and then joined the National Theatre’s affiliated school, which was led by Danish instructors Erik and Lisa Bidsted. At 15, the emerging dancer began his professional career with the celebrated Pantomime Theatre in Copenhagen’s Tivoli Gardens. Two years later, Jerome Robbins met Tomasson and, impressed by his dancing, arranged a scholarship for him to study at the School of American Ballet in New York City. Soon after, Tomasson began his professional career with The Joffrey Ballet and two years later joined The Harkness Ballet. Over the next six years, he became one of the company’s most celebrated principal dancers. In 1969, Tomasson entered the First International Ballet Competition in Moscow as a United States representative and returned with the Silver Medal (the Gold Medal was awarded to Mikhail Baryshnikov). The following year, Tomasson joined New York City Ballet as a principal dancer and over the course of his career became one of the finest classical dancers of his era. He was one of the foremost interpreters of George Balanchine and Jerome Robbins, and both men created several roles expressly for him. In 1982, Tomasson choreographed his first ballet for the School of American Ballet Workshop, which elicited encouragement from Balanchine to continue choreographing. In 1985, Tomasson accepted the invitation from SF Ballet to become artistic director of America’s oldest professional ballet company, drawing to a close a glorious performing career. Since assuming this role, Tomasson has choreographed over 40 ballets, including stunning full-length productions of Don Quixote (co-staged by Yuri Possokhov), Giselle, Romeo & Juliet, The Sleeping Beauty, and two productions of Swan Lake (1988 and 2009). His intricate and varied works, such as 7 for Eight, Chi-Lin, Concerto Grosso, The Fifth Season, Handel—a Celebration, Meistens Mozart, Nanna’s Lied, and Sonata, showcase the unique qualities of individual dancers. Tomasson’s Prism, which debuted in 2000 at New York City Ballet, received rave reviews and was deemed a “triumph” by The New York Times. In 2004, his new production of

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Tomasson/Page 2 Nutcracker, created in collaboration with an internationally recognized design team, debuted to enthusiastic critic and audience response. The New York Times proclaimed, “This is a Nutcracker on a grand scale…striking, elegant and beautiful.” On December 17, 2008, Tomasson’s Nutcracker was broadcast nationally on Great Performances on PBS, in partnership with KQED Public Television in San Francisco. The strong classical base instilled by Tomasson enables the dancers to effortlessly navigate a myriad of styles by a range of internationally distinguished choreographers. Those invited by Tomasson to create works on the Company have included David Bintley, Val Caniparoli, Jorma Elo, William Forsythe, James Kudelka, Lar Lubovitch, Mark Morris, Justin Peck, Yuri Possokhov, Alexei Ratmansky, Paul Taylor, Stanton Welch, and Christopher Wheeldon. Tomasson has also continued to expand SF Ballet’s repertory through acquiring works by renowned choreographers such as Sir Frederick Ashton, George Balanchine, August Bournonville, Michel Fokine, Hans van Manen, Wayne McGregor, Sir Kenneth McMillan, Agnes de Mille, Nacho Duato, Flemming Flindt, Roland Petit, Jerome Robbins, and Antony Tudor, among others. Tomasson’s own works have been performed by New York City Ballet, Royal Danish Ballet, Houston Ballet, Alberta Ballet, Les Grands Ballets Canadiens de Montréal, Ballet Estable del Teatro Colón, and Asami Maki Ballet. In Denmark, Tomasson’s 1993 staging of The Sleeping Beauty was the most lavish production ever produced in the Royal Danish Ballet’s history and was filmed for Danish public television in April 1995. Under Tomasson’s direction, SF Ballet has toured the world, receiving praise for its purity and verve. Engagements in China (2009, 2015), Copenhagen (1998, 2010), London (1999, 2001, 2004, 2012), Moscow (2012), New York City (1991, 1993, 1995, 1998, 2002, 2006, 2008, 2013), and Paris (1989, 1994, 2001, 2005, 2014) are among the highlights of the Company’s history. For the Company’s 2004 London engagement, SF Ballet won the prestigious Laurence Olivier Award, its first, in the category of Outstanding Achievement in Dance. Of the tour, The Guardian (UK) noted, “As director of SF Ballet, Helgi Tomasson has started to acquire an aura of infallibility, his expertise in laying down repertory, and in balancing great evenings of dance, is held in envy by the rest of the profession.” Tomasson’s vision, commitment, and dedication to the art of classical dance were demonstrated when he conceived UNited We Dance: An International Festival, produced in San Francisco in May 1995. Created to celebrate the 50th anniversary of the signing of the United Nations Charter, it included 12 international companies of the highest caliber that Tomasson had invited to present new works created by native choreographers. Never before had a dance event brought together over 150 artists for an unprecedented two weeks of creative exchange and inspiration. In spring 2008, as part of its yearlong 75th anniversary celebration, SF Ballet presented a New Works Festival of 10 world premieres by 10 of the dance world’s most diverse and acclaimed choreographers. The festival was called “ambitious and unprecedented” by The Washington Post and the San Francisco Chronicle hailed it as a “daring onslaught of fresh work… this is what the

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Tomasson/Page 3 ballet world needs now.” Tomasson’s achievements have garnered him numerous awards and honors, and he has participated as a judge for ballet competitions in Italy, Russia, France, Finland, and Japan. During the 1970s in his homeland of Iceland, he was named a Knight of the Order of the Falcon for his achievements as a dancer. In 1989, he received Dance Bay Area’s Isadora Duncan Award for his outstanding choreography of Swan Lake. In June 1990, Tomasson was named Commander of the Order of the Falcon by then-President of Iceland Vigdís Finnbogadóttir, for his continuous achievements in the arts. In recognition of his artistic excellence, Tomasson received the Golden Plate Award from the American Academy of Achievement in 1992. That same year, he received the Dance Magazine Award in recognition of his contributions to the dance world. In 1995, Tomasson joined the Artistic Advisory Board of The Ballet Theatre in Prague, directed by Jana Kurová. Also in 1995, Tomasson was honored with the Cultural Award of The American-Scandinavian Foundation. In 1996, he was presented with a Doctor of Humane Letters, honoris causa, from Dominican College of San Rafael, in recognition of his value as a role model, his extraordinary career, and his community-service accomplishments. That same year, he was awarded the Isadora Duncan Special Award for UNited We Dance: An International Festival. In 2012, he was named recipient of the Dance/USA Honor, acknowledging individuals’ contributions to dance in America and the role they play in the national dance community. Currently, Tomasson serves on the Board of Directors of the School of American Ballet and the Artistic Committee for the New York Choreographic Institute, and has served as a member of the National Endowment for the Arts Dance Advisory Panel. In May 2001, Tomasson was granted the rank of Officier in the French Order of Arts and Letters, established in 1957 to recognize those who have contributed significantly to furthering the arts in France and throughout the world. Hugues Gall, then director of the Opéra National de Paris, presented the award in a ceremony attended by the President of Iceland Ólafur Ragnar Grimsson, following SF Ballet’s triumphant opening at the Palais Garnier. In spring 2002, the Board of Trustees of New York’s Juilliard School unanimously voted to bestow an honorary doctoral degree upon Tomasson, as one of five doctorates given annually in different artistic disciplines. In 2005, Tomasson was awarded the prestigious Lew Christensen Medal in honor of his 20th anniversary as artistic director of SF Ballet. In spring 2007, Tomasson won a sustained achievement award from the Isadora Duncan Dance Awards, also in recognition of his distinguished, ongoing tenure as artistic director. In May of the same year, during a tour to Iceland’s Reykjavik Arts Festival, Grimsson awarded Tomasson the Grand Cross Star of the Order of the Falcon, the country’s most prestigious honor. In 2008, he was awarded the Commonwealth Club of California’s Distinguished Citizen Award. In January 2010, the Company’s Opening Night Gala, Silver Celebration, honored Tomasson’s remarkable achievements to date.

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Tomasson/Page 4 In 2015, on the occasion of his 30th anniversary as artistic director of the Company, the San Francisco Chronicle noted, “What Tomasson has done here over these three decades is to transform a respected regional American ballet company into an international-caliber organization that commands worldwide respect for the depth of its repertoire and its superb technical standards.” In addition to his role as artistic director and principal choreographer of the Company, Tomasson is the artistic director of San Francisco Ballet School. For Tomasson, the School is central to the life and development of the Company. Just as he expects the finest dancing and most meticulous attention to detail from his dancers, he demands the highest standards for training the students in the School. Tomasson lives in San Francisco with his wife, Marlene, who was dancing with The Joffrey Ballet when they met. They have two sons, Erik and Kris.

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HELGI TOMASSON ARTISTIC DIRECTOR & PRINCIPAL CHOREOGRAPHER

REPERTORY

Choreographed for San Francisco Ballet:

Caprice (2014)

Trio (2011)

Swan Lake (2009)

On a Theme of Paganini (2008)

On Common Ground (2007)

Blue Rose (2006)

The Fifth Season (2006)

Bagatelles (2005)

Nutcracker (2004)

7 for Eight (2004)

Don Quixote (2003)

Concerto Grosso (2003)

Chi-Lin (2002)

Bartok Divertimento (2002)

Chaconne for Piano and Two Dancers (1999)

Giselle (1999)

Silver Ladders (1998)

Two Bits (1998)

Twilight (1998)

Criss-Cross (1997)

Pandora Dance (1997)

Soirées Musicales (1996)

Tuning Game (1995)

Sonata (1995)

When We No Longer Touch (1995)

Quartette (1994)

Romeo & Juliet (1994)

Nanna’s Lied (1993)

Le Quattro Stagioni (The Four Seasons) (1992)

Forevermore (1992)

Two plus Two (1992)

Aurora Polaris (1991)

Meistens Mozart (1991)

“Haffner” Symphony (1991)

The Sleeping Beauty (1990)

Con Brio (1990)

Valses Poeticos (1990)

Handel—a Celebration (1989)

Swan Lake (1988)

Intimate Voices (1987)

Bizet pas de deux (1987)

Concerto in d: Poulenc (1986)

Confidencias (1986)

Additional Ballets: Prism (2000), choreographed for New York City Ballet “Much Ado…” (1999), choreographed for Alberta Ballet Simple Symphony (1996), choreographed for SF Ballet School Showcase. Beads of Memory (1985), choreographed in 1985 for Houston Ballet Little Waltz (1985), choreographed for New York City Ballet’s Gala on students of School of American Ballet Menuetto (1984), choreographed for New York City Ballet Contredanses (1984), choreographed in 1984 for Finis Jhung’s Chamber Ballet USA Ballet d’Isoline (1983), choreographed for School of American Ballet Giuliani: Variations on a Theme (1982), choreographed for School of American Ballet

MARTIN PAKLEDINAZ

COSTUME DESIGNER In 2009, Martin Pakledinaz created costume designs for the smash revival of Lend Me a Tenor, directed by Stanley Tucci and starring Tony Shaloub and Anthony LaPaglia. He also earned an Outer Critics Circle and Tony nominations for The Glass Menagerie, with Judith Ivey and directed by Gordon Edelstein; and Moira Buffini’s Gabriel for the Atlantic Theatre Company. Other recent projects include two works for the Opera Theatre of St. Louis, Tchaikovsky’s Eugene Onegin, and the world premiere of The Golden Ticket, based on Raoul Dahl’s Willy Wonka And The Chocolate Factory, composed by Peter Ash with a libretto by Donald Sturrock, and directed by James Robinson. In February 2010, he designed Mark Morris’ Socrates, which premiered at the Brooklyn Academy of Music. Other notable works included the Broadway revival of Cole Porter’s Anything Goes, directed and choreographed by Kathleen Marshall; The Bartered Bride, directed by Stephen Wadsworth for the Juilliard School; and a double bill of Tchaikovsky's Iolante and Stravinsky's Persophone, directed by Peter Sellars for the Teatro Real, Madrid. In 2011, Pakledinaz designed the sets and costumes for SF Ballet’s new production of Tomasson/Possokhov’s Don Quixote. Pakledinaz passed away in July 2012.

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NEIL PETER JAMPOLIS

LIGHTING DESIGNER For over 40 years, Neil Peter Jampolis has been designing scenery, costumes, and lighting for theater, opera, and dance. On Broadway, he has received multiple Tony Award nominations for lighting, winning the award for the Royal Shakespeare Company’s Sherlock Holmes. His more than 150 opera productions have been seen at La Scala, the Vienna State Opera, Berlin Opera, New York City Opera, and many others. Jampolis has also served as director/designer for productions at Pilobolus Dance Theatre, Seattle Opera, Opera Theatre of Saint Louis, and Boston Lyric Opera. His designs for dance have been featured at the Berlin Opera Ballet, Ballet de Nancy (France), Dance Theatre of Harlem, and National Ballet of Canada. Since 1992, he has led the stage design program in the School of Theater, Film and Television at University of California, Los Angeles, where he holds the title of distinguished professor of theater.

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VAL CANIPAROLI

CHOREOGRAPHER

Val Caniparoli's versatility has made him one of the most sought after American choreographers in the United States and abroad.

He has contributed to the repertories of more than forty dance companies, including Pacific Northwest Ballet, Boston Ballet, Joffrey Ballet, Northern Ballet Theatre, Pennsylvania Ballet, Royal Winnipeg Ballet, Ballet West (resident choreographer 1993-97), Washington Ballet, Israel Ballet, Cincinnati Ballet, Singapore Dance Theatre, Atlanta Ballet, State Theatre Ballet of South Africa and Tulsa Ballet, where he also was appointed resident choreographer. When Boston Ballet danced the company premiere of Caniparoli's full-length Lady of the Camellias in 2004, the critic for the Boston Herald wrote, “Why have we had to wait so long to see a ballet by this gifted choreographer?”

Caniparoli is most closely associated with San Francisco Ballet, his artistic home for over forty years. He began his career under the artistic directorship of Lew Christensen, and in the 1980s was appointed resident choreographer of San Francisco Ballet. He continues to choreograph for the company under Artistic Director Helgi Tomasson.

Caniparoli has created a body of work that is rooted in classicism but influenced by all forms of movement: modern dance, ethnic dance, social dancing, and even ice-skating. His extensive knowledge and appreciation of music is reflected in the range of composers that have inspired his choreography: Sonata for Two Pianos and Percussion (Béla Bartók), Gustav's Rooster (Hoven Droven), The Bridge (Dmitri Shostakovich), boink! (Juan Garcia Esquivel), Aria (George Frederic Handel), Open Veins (Robert Moran), Prawn-watching (Michael Nyman), Torque (Michael Torke), Jaybird Lounge (Uri Caine), Hamlet and Ophelia, pas de deux (Bohuslav Martinu), Bird's Nest (Charlie Parker), Death of a Moth (Carlos Surinach), Going for Baroque (Antonio Vivaldi), Aquilarco (Giovanni Sollima), Book of Alleged Dances (John Adams), Aubade (Francis Poulenc), Slow (Graham Fitkin), Djangology (Django Reinhardt), Vivace (Franz Schubert), and one of his most performed works, Lambarena (Johann Sebastian Bach and traditional African rhythms and music), which is performed by 16 companies and has become an international sensation.

Lady of the Camellias, choreographed in 1994 and co-produced by Ballet Florida and Ballet West, was Caniparoli's first full-length work. He has also choreographed The Nutcracker (2001) for Cincinnati Ballet, The Nutcracker (2009) for Louisville Ballet, Val Caniparoli's A Cinderella Story, danced to themes by Richard Rodgers, for Royal Winnipeg Ballet (2004), and in 2014, created a new version of The Nutcracker for Grand Rapids Ballet. Caniparoli has choreographed operas for three of this country's major companies: Chicago Lyric Opera, San Francisco Opera, and the Metropolitan Opera. In addition, he has worked on several occasions

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with the San Francisco Symphony, most memorably on the Rimsky-Korsakov opera-ballet Mlada, conducted by Michael Tilson Thomas, a major success of the 2002 Russian Festival. In 2005, he received rave reviews for his choreography in Carey Perloff's new production of A Christmas Carol at San Francisco's esteemed American Conservatory Theatre (A.C.T.). Additional work with A.C.T. includes choreography for Ibsen's A Doll's House, 'Tis Pity She's a Whore, Arcadia and the creation, with Carey Perloff, of a new movement-theatre piece, Tosca Cafe.

The recipient of ten grants for choreography from the National Endowment for the Arts, Caniparoli was also awarded an artist fellowship from the California Arts Council in 1991. He has twice received the Choo-San Goh Award from the Choo-San Goh and H. Robert Magee Foundation: in 1994 for Lambarena, choreographed for San Francisco Ballet, and in 1997 for Open Veins, created for Atlanta Ballet. Lambarena was also nominated for the Benois de la Danse Award from the International Dance Association at a gala at the National Theater of Warsaw, Poland, in 1997. Dance Bay Area acknowledged Caniparoli's contributions to the local dance scene with an Isadora Duncan Award (or Izzy) for Sustained Achievement in 1996. In addition, he has twice won Izzies for Outstanding Choreography. He was also honored to have been selected to choreograph a pas de deux for Evelyn Hart and Rex Harrington for the Royal Jubilee Gala for Queen Elizabeth in Toronto.

Born in Renton, Washington, Caniparoli opted for a professional dance career after studying music and theatre at Washington State University. In 1972, he received a Ford Foundation Scholarship to attend San Francisco Ballet School. He performed with San Francisco Opera Ballet before joining San Francisco Ballet in 1973. He continues to perform with the company as a principal character dancer.

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SANDRA WOODALL

DESIGNER

For San Francisco Ballet, Sandra Woodall has designed scenery and costumes for a number of works including Helgi Tomasson’s Bartok Divertimento, Chi-Lin, 7 for Eight, The Fifth Season, On Common Ground, and Concerto Grosso; as well as scenic and costume designs for Alexei Ratmansky’s Le Carnaval des Animaux; costume designs for Yuri Possokhov’s The Rite of Spring, Francesca da Rimini, Classical Symphony, Reflections, Fusion, and Diving into the Lilacs; and scenic and costume designs for Val Caniparol’s Ibsen’s House, Death of a Moth, Slow, Ciao Marcello and Lambarena. Full-length projects include scenic and costume designs for A Midsummer Night’s Dream for the Vienna Statsoper and ballet, with choreography by Jorma Elo, and for Don Quixote for the Norwegian National Ballet; costume designs for The Nutcracker for Nevada Ballet, with choreography by James Canfield, and for the upcoming King Arthur’s Camelot at Cincinnati Ballet (choreography by Victoria Morgan) and Camino Real at Atlanta Ballet (choreography by Helen Pickett). Other projects include scenic and costume designs for The Lottery at BalletWest, Incantations at the Joffrey Ballet and Still Life at the Scottish Ballet, all choreographed by Val Caniparoli; and costume designs for The Unkindness of Ravens at Brooklyn Academy of Music, choreographed by Trey McIntyre, and for Bells at the Joffrey Ballet, choreographed by Yuri Possokhov. Woodall has also served as production designer and scenic designer on several stadium-scale productions, including the recent Taiwan National Day and The Deaf Olympics opening procession. A Fulbright Scholar in Taiwan from 1999 to 2000, Woodall taught at the National Institute of Arts in Taipei; designed costumes for Shangri-La for the Performance Workshop; and worked as a visual collaborator on the eight-hour original production Dream Like a Dream, written and directed by Stan Lai. Woodall’s artwork has also been shown in numerous gallery exhibitions. They include The Shadow Garments at the American Cultural Center in Taipei, Taiwan in 1999; Designs for Dance, an exhibition in honor of San Francisco Ballet’s 65th Anniversary Season, SFPALM Gallery in 1998 and 2002; and Making Magic: Sandra Woodall Designs for the Hartford Ballet, at Wadsworth Atheneum in Hartford in 1997. Woodall received the Isadora Duncan Award for costume design in 1999 for LINES Contemporary Ballet’s Who Dressed You Like a Foreigner, in 1997 for Smuin Ballet’s Frankie

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Woodall/Page 2 and Johnny, in 1996 for San Francisco Ballet’s Lambarena, and in 1991 for Margaret Jenkins Dance Company’s Age of Unrest. In 1989 she received the award for Sustained Achievement in Design. She is also the recipient of numerous Bay Area Theatre Critics’ Circle Awards in Costume Design.

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JAMES F. INGALLS

LIGHTING DESIGNER

James F. Ingalls has designed several works for San Francisco Ballet, including John Cranko’s Onegin, Helgi Tomasson’s Silver Ladders and Nutcracker, Lila York’s El Grito (The Cry), Mark Morris’ Sylvia, Sandpaper Ballet, Maelstrom and Pacific, and ten pieces for the Company’s 75th Anniversary New Works Festival.

His other work in ballet includes The Sleeping Beauty, choreographed by Alexi Ratmansky for Teatro alla Scala Ballet and American Ballet Theatre; George Balachine’s Nutcracker and Twyla Tharp’s Waiting at the Station for Pacific Northwest Ballet in Seattle; Onegin for National Ballet of Canada; Don Quixote, Giselle, and Coppélia for the Dutch National Ballet; Giselle for Den Norske Ballett in Oslo, and Lila York’s Celts for Boston Ballet. For the Mark Morris Dance Group he has designed this season’s Layla and Majnun as well as Romeo and Juliet, On Motifs of Shakespeare; Mozart Dances; Dido and Aeneas; The Hard Nut and L’Allegro, il Penseroso ed il Moderato. He designed The Weight of Smoke, Dill Dilly and Sullivaniana for Paul Taylor’s American Modern Dance and Twyla Tharp’s 50th Anniversary Tour, as well as Fluid Canvas and Split Sides for Merce Cunningham Dance Company. Ingalls’ work in the Bay Area includes John Adams’ Dr. Atomic and The Death of Klinghoffer at San Francisco Opera; several productions at American Conservatory Theatre including Phedre, A Mother and The Invention of Love, all directed by Carey Perloff, and Once in a Lifetime and Marcus, Or the Secret of Sweet, both directed by Mark Rucker; Yellowman and How I Learned to Drive at Berkeley Repertory Theatre; and many works for Peter Sellars at CalPerformances. Recent projects include The Beauty Queen of Leenane and Waiting for Godot, both directed by Garry Hynes for the Druid Theatre in Galway, Ireland; The Little Matchgirl for the Spoleto Festival/USA; and Oedipus Rex/Symphony of Psalms for Festival D’Aix-en-Provence, Iolanta/Persephone for Lyon Opera, and the world premiere of Kaija Saariaho's Only the Sound Remains for Dutch National Opera, all directed by Peter Sellars.

He often collaborates with the Wooden Floor dancers in Santa Ana, California.

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MYLES THATCHER

CHOREOGRAPHER

CORPS DE BALLET MEMBER

Born in Atlanta, Georgia, Myles Thatcher trained at The Harid Conservatory, Ellison Ballet, and San Francisco Ballet School, where he was in the SF Ballet School Trainee program for two years. Named an apprentice in 2009, he joined the Company as a member of the corps de ballet in 2010.

Thatcher has performed principal or featured roles in Tomasson’s Giselle (Wilfred), Nutcracker (Jack-in-the-Box, Russian, and Spanish), Romeo & Juliet (Paris), and Swan Lake (Aristocrats, Russian, and Czardas); Tomasson/Possokhov’s Don Quixote (Gamache); Cranko’s Onegin (Lensky); Balanchine’s Symphony in C, Symphony in Three Movements (demi-soloist) and Theme and Variations (soloist); Caniparoli’s Ibsen’s House (Oswald) and Lambarena (principal); Lifar’s Suite en Blanc (pas de cinq); Scarlett’s Hummingbird (soloist); and Wheeldon’s Cinderella (Benjamin), Ghosts (soloist), and Within the Golden Hour (soloist). He created a soloist role in Caniparoli’s Tears and corps de ballet roles in Tomasson’s Caprice and Scarlett’s Hummingbird.

His repertory also includes Balanchine’s Allegro Brillante, Brahms-Schoenberg Quartet (1st and 4th movements), Coppélia, The Four Temperaments, Scotch Symphony, and Serenade; Fokine’s Petrouchka; Forsythe’s Artifact Suite; Morris’ Drink to Me Only With Thine Eyes; Neumeier’s The Little Mermaid; Possokhov’s Classical Symphony, Firebird, Fusion, Magrittomania, The Rite of Spring, and Swimmer; Ratmansky’s From Foreign Lands and Shostakovich Trilogy (Chamber Symphony and Piano Concerto #1); Robbins’ Glass Pieces, The Concert, and Opus 19/The Dreamer; Tomasson’s Prism, Le Quattro Stagioni, and Trio; Wheeldon’s Continuum, Number Nine, and Rush; and Zanella’s Underskin.

In 2015 Thatcher choreographed Body of Your Dreams for the Rolex Arts Weekend in Mexico City, Mexico; Polaris for New York City Ballet; and Passengers for Joffrey Ballet. He danced the role of Paris in the 2015 film of Tomasson’s Romeo & Juliet as part of the inaugural season of Lincoln Center at the Movies: Great American Dance. In 2014 he was commissioned by Artistic Director and Principal Choreographer Helgi Tomasson to create a ballet for the 2015 Repertory Season, Manifesto. Thatcher choreographed In the Passerine’s Clutch for the SF Ballet 2013 Repertory Season Gala and, for the San Francisco Ballet School Student Showcase, Spinae, Stone and Steel, and Spectrum in 2012, 2013, and 2014, respectively. He choreographed a dance segment for Le Martyre de Saint Sébastien at the San Francisco Symphony in 2012 and Timepiece for the Assemblée Internationale at Canada’s National Ballet School in Toronto, Canada, in 2009.

Thatcher was one of seven artists in the 2014–15 Rolex Mentor & Protégé Arts Initiative, selected by his mentor, American Ballet Theatre Artist in Residence Alexei Ratmansky. In 2016 Thatcher was nominated for an Isadora Duncan Award for Outstanding Achievement in Choreography for Manifesto.

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ALEXANDER V. NICHOLS

SCENIC DESIGN

Alexander V. Nichols’ designs for San Francisco Ballet include Death of a Moth, Later, Thread, RAkU, Trio, Francesca da Rimini, and Swimmer. Broadway credits include Wishful Drinking, Hugh Jackman: Back on Broadway, and Nice Work If You Can Get It, and Off-Broadway credits include In Masks Outrageous and Austere, Los Big Names, Horizon, Bridge and Tunnel, Taking Over, Through the Night, and In the Wake. Nichols served as resident lighting designer for Pennsylvania Ballet, Hartford Ballet, and American Repertory Ballet and as lighting supervisor for American Ballet Theatre. Other dance credits include Boston Ballet, Joffrey Ballet, Alvin Ailey American Dance Theater, Hubbard Street Dance Chicago, ODC Dance/San Francisco, and the Margaret Jenkins Dance Company. Recent projects include the museum installation Circle of Memory—a collaboration with Eleanor Coppola recently presented in Stockholm, Sweden—and video and visual design for LIFE: A Journey Through Time, a collaboration with Frans Lanting and Philip Glass, recently presented at the Concertgebouw, Amsterdam.

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SUSAN ROEMER

COSTUME DESIGNER Susan Roemer, a former professional dancer in San Francisco, is a costume, dancewear, and sportswear designer. Originally from Milwaukee, Roemer danced with Milwaukee Ballet and other small organizations across the US before moving to California to join Smuin Ballet in 2007. Roemer created her first costumes for Smuin Ballet’s Choreography Showcase in 2012. A year later she founded her business, S-Curve Apparel & Design, through which she produces costumes and athletic apparel. Roemer first worked with Myles Thatcher creating costumes for In the Passerine’s Clutch. She has also designed costumes for Amy Seiwert’s Imagery, Post:Ballet, Diablo Ballet, Menlowe Ballet, Ballet Memphis, Ballet West, Joffrey Ballet, Singapore Dance Theatre, and on the television series Flesh & Bone.

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JIM FRENCH

LIGHTING DESIGNER

Jim French is a lighting designer working broadly in the performing arts and live events. Selected dance credits include: Amy Seiwert’s Imagery, BANDALOOP, Ballett Basel, Carte Blanche (Norway), Cedar Lake Contemporary Ballet, Dancers Responding to AIDS, Introdans (Netherlands), Joe Goode Performance Group, RAW Dance, Richmond Ballet, Rioult Dance NY, San Francisco Ballet, Texas Ballet Theater, and Twyla Tharp Dance. Designs for theater and opera include: City Theatre, Just Theater, Marin Theatre Company, Opera Theatre of Pittsburgh, Pittsburgh Irish and Classical Theatre, Playwrights Horizons, Primary Stages, Shotgun Players, St. Louis Repertory, and West Edge Opera. Raised here in the Bay Area, French has toured the globe extensively as a lighting supervisor with a diverse range of dance companies.

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MARTIN WEST

MUSIC DIRECTOR & PRINCIPAL CONDUCTOR

Martin West is acknowledged as one of the foremost conductors of ballet, garnering critical acclaim throughout the world. Born in Bolton, England, he studied math at St. Catharine’s College, Cambridge University, before studying at the St. Petersburg Conservatory of Music and London’s Royal Academy of Music. In fall 1997, West made his debut with English National Ballet and was immediately appointed resident conductor. There, he conducted almost half of the company’s performances throughout England and abroad. From 2004-2007 he held the position of principal conductor before relinquishing the post to allow him the flexibility to guest with other companies. West has worked with many of the top companies in North America such as New York City Ballet, Houston Ballet, and The National Ballet of Canada as well as the The Royal Ballet in England. West has worked with the Hallé Orchestra, Holland Symfonia, Royal Liverpool Philharmonic Orchestra, and Odense Symphony Orchestra in Denmark. He made his U.S. symphonic conducting debut with Silicon Valley Symphony, resulting in an immediate re-invitation. From 1998 to July 2005, West was the music director of the Cambridge Philharmonic Society. In addition, he had a long association with Pimlico Opera, including conducting a ground-breaking performance of West Side Story inside a prison with the inmates as part of the cast. In fall 2005, West joined San Francisco Ballet, having been a frequent guest since his debut two years earlier. In his ten years as music director he has been credited with raising the standard and profile of the San Francisco Ballet Orchestra to new levels and has made a number of critically acclaimed recordings with them, including the complete scores of Tchaikovsky’s Nutcracker, excerpts from Delibes’ Coppélia and Sylvia, and a CD of Shostakovich and Tchaikovsky cello music. He and the Orchestra have also made many world premiere recordings, including music by composers such as Bizet, Moszkowski, Shinji Eshima, Kip Winger, and Maury Yeston whose full-length ballet Tom Sawyer was recorded in 2013. In addition, he conducted on the award-winning DVD of John Neumeier’s The Little Mermaid as well as Helgi Tomasson’s productions of Nutcracker for PBS and Romeo & Juliet for Lincoln Center at the Movies: Great American Dance.

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