2021/2022 Season > Photo Gallery > 2015/2016 The Nutcracker 2015 SarahAnne Perel Julia Cinquemani and Kenta Shimizu with the LAB Ensemble Julia Cinquemani and Erik Thordal-Christensen LAB Ensemble Biana Bulle with LAB Ensemble Allyssa Bross with SarahAnne Perel and David Block Samuel Akins Julie Cinquemani and Alexander Castillo SarahAnne Perel, David Block and Zheng Hua Li LAB Ensemble LAB Ensemble Ashely Millar and Laura Chachich SarahAnne Perel, David Block and Zheng Hua Li Javiar Moya Romero SarahAnne Peral and Javiar Moya Romero Kenta Shimizu Julia Cinquemani SarahAnne Perel, David Block and LAB Ensemble Bianca Bulle and Zachary Guthier Allyssa Bross and Kenta Shimizu SarahAnne Perel and Zheng Hua Li LAB Ensemble SarahAnne Perel and LAB Ensemble SarahAnne Perel Julia Cinquemani and Kenta Shimizu with the LAB Ensemble Julia Cinquemani and Erik Thordal-Christensen LAB Ensemble Biana Bulle with LAB Ensemble Allyssa Bross with SarahAnne Perel and David Block Samuel Akins Julie Cinquemani and Alexander Castillo SarahAnne Perel, David Block and Zheng Hua Li LAB Ensemble LAB Ensemble Ashely Millar and Laura Chachich SarahAnne Perel, David Block and Zheng Hua Li Javiar Moya Romero SarahAnne Peral and Javiar Moya Romero Kenta Shimizu Julia Cinquemani SarahAnne Perel, David Block and LAB Ensemble Bianca Bulle and Zachary Guthier Allyssa Bross and Kenta Shimizu SarahAnne Perel and Zheng Hua Li LAB Ensemble SarahAnne Perel and LAB Ensemble Christensen and Neary / Tchaikovsky Previous Gallery Next Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation.

The New Troupe Learns From 'Nutcracker' and Forges Bravely Ahead with Balanchine and Bournonville January 1, 2007 Los Angeles Ballet gave its final performance of "Nutcracker" on Saturday at the Alex Theatre in Glendale: a rite of passage, for the next time we see this brand-new company it won't be dancing a homemade version of the Christmas kiddie classic but rather grown-up masterworks from the international repertory. That's a big step — one that dozens of Southland companies that present annual "Nutcracker" performances never take. It was brave of artistic directors Thordal Christensen and Colleen Neary to launch LAB with a ballet presented by virtually every classical school or troupe in the whole region plus visiting ensembles from Russia and Korea. And it's braver still to schedule serious Balanchine and buoyant Bournonville for the company's first 2007 performances in March. There's no place to hide in that kind of rep, and though guest artists will again ensure high standards in principal roles, the challenge will be to develop a company style beyond the well-drilled but essentially faceless corps dancing that "Nutcracker" provided. If that statement sounds cruel, consider that American Ballet Theatre — our nation's classical behemoth — seldom achieves anything beyond well-drilled and faceless corps dancing nowadays. But ABT doesn't dance Balanchine's super-refined "Concerto Barocco," and maybe that's just as well. "Nutcracker" looked better organized on Saturday than it had early in December, though the party scene again proved confused and there seemed no sense of purpose — dramatic or choreographic — in the battle between the toy soldiers and the mice. The important scenic and character transformations on view lacked magic. And it would have helped if the Nutcracker (Erik Thordal-Christensen, son of the artistic directors) actually looked like a nutcracker and not just another toy soldier. Act 2 confirmed the classical prowess and personal star power of Oleg Gorboulev and Corina Gill in the Arabian dance, provided a flashy showpiece for the 14-year-old wunderkind Lilit Hogtanian as Clara and allowed Maria Kowroski and Stephen Hanna (guests from New York City Ballet) to display formidable mastery in supported adagio intricacies. You could regret that their solos were moved earlier than Tchaikovsky intended and that the Mirlitons divertissement was cut, but the score was again given loving care by conductor Eimear Noone and her musicians. And, happily, the Alex Theatre offered more space for Catherine Kanner's scenic vistas than the cramped Wilshire Theatre stage allowed when this "Nutcracker" premiered. That's one lesson LAB learned in 2006 — that Southern California has many midsize theaters that look great from the seats but, because they are converted movie houses, have no room on the stage for elaborate scenery or large-scale choreographies. Another lesson — that the ballet public isn't interested in 5 p.m. shows — helped cause a cutback from 12 "Nutcracker" performances to nine. "We will consider everything we've discovered from this first run," the directors said in a statement, "and make necessary adjustments for our upcoming season." Necessary adjustments may be one key to LAB's survival in a ballet landscape haunted by memories of companies that started strongly and even flourished, for a time, without enlisting the longterm support of the public that flocks to touring attractions. There are always plenty of people who say they want someone to start a local ballet company with major artistic ambitions — but too many really mean they want ABT to relocate. Los Angeles Ballet estimates that it danced for more than 6,000 ticket-holders in December. That's a start, but not nearly a large enough audience base to sustain a year-round professional institution. If Christensen and Neary can't rely on the balletomanes in our community who yammer about homegrown classicism but don't show up at the ticket window, developing a new, loyal audience is the key to their future. And that will take more energy and imagination than everything they've done so far. Los Angeles Times by Lewis Segal DOWNLOAD PDF 2021/2022 Season > News > Previous Item Next Item

Los Angeles Ballet Presents 3 by Balanchine February 22, 2010 With “See the Music, Hear the Dance,” an evening of three challenging choreographies by George Balanchine at UCLA’s Freud Playhouse, the Los Angeles Ballet has reaffirmed its ascendance as the ballet company for which Los Angeles has waited decades. Chosen from the vast catalogue of works from the Balanchine’s prodigiously long career, the LAB premieres of “Kammermusik No. 2” and “Tchaikovsky Piano Concerto No. 2,” and reprise of “Serenade” from Season 1, give local audiences a glimpse into the limitless creativity of the greatest of 20th century choreographers. As usual, Co-Artistic Directors Colleen Neary and Thordal Christensen greeted the packed auditorium. After a brief description of the dances and a couple of anecdotes about Neary’s work with Balanchine, the couple stepped offstage, and the curtain rose on “Serenade” - the first of the Balanchine’s creations after arriving in America in 1933. The perfection of the pale blue tableau of LAB’s women’s corps de ballet elicited spontaneous applause from the audience. With its kaleidoscope patterns of razor-straight lines melting into liquid curves, the piece showcases what has been perceived as LAB’s greatest strength - the flawless precision of the women’s ensemble. With “Kammermusik No. 2,” the company has taken another huge step forward. The dance features two couples backed by an eight-man ensemble. In last year’s Prodigal Son, though the men’s corps showed their technical proficiency and strength, they had not quite homogenized their collective ears to Prokofiev’s score, such that they could dance together with absolute precision. But what a difference a year makes. The Hindemith piano/chamber ensemble opus is very difficult – but the group’s solid, cohesive musicianship, allowed them to move as one through the avant garde combinations. Andrew Brader, Melissa Barak, Drew Grant and Grace McLoughlin in Kammermusik No. 2; Photo: Reed Hutchinson Unleashing powerful, lightning-fast athleticism coupled with uncanny fluidity, Melissa Barak commands the stage. There is, apparently, nothing she can’t do. She is surely in her element in this piece. Her partner, the long-limbed and majestic Andrew Brader, is a perfect foil for Barak’s abandon. His stunning lifts break laws of gravity. Shadowing Barak is exuberant gamin Grace McLoughlin, who danced an endearing Effie in last year’s “La Sylphide.” Her diminutive size belies a large personality, and she expertly “works the room” for laughs during a series of Charleston-on-steroids maneuvers. Rounding out the quartet of soloists, veteran LAB principal dancer Drew Grant’s guides his compact frame through the blazing pace with confidence and discipline. The final work, “Tchaikovsky Piano Concerto No. 2,” is Balanchine’s 1973 revision of his “Ballet Imperial” from 1941, and utilizes every resource available to dazzle and astonish. Monica Pelfrey shines in this very classical Balanchine homage to Petipa. Grand breadth of gesture and superb balance distinguish her dancing. New to LAB as the Rose in the recent “Nutcracker,” one is confident that she will adapt her ‘English Royal Ballet’ style as she relaxes into this very ‘American’ company. Also new to the company, Zheng Hua Li is a surprise as the romantic cavalier, after his witty Mouse King in “Nutcracker.” His beautiful, expressive face is no small asset, and his feet are about as perfect as feet get. The audience rewarded his clean execution of double tours-en-l’air and big, floating jetee’s with enthusiastic applause. As expected, the ensemble finale was spectacular, corps and soloists wonderfully coordinated. The prolonged ovation necessitated multiple curtain calls. Don’t miss two more chances to see this program. “Balanchine – ‘See the Music, Hear the Dance,’ ” Los Angeles Ballet, 7:30 p.m., Saturday, Alex Theatre, 216 N. Brand Ave., Glendale; 7:30 p.m., March 6, Redondo Beach Performing Arts Center, 1935 Manhattan Beach Blvd., Redondo Beach, tickets: $15-$95, contact: www.losangelesballet.org or (310) 998-7782. Culturespot LA by Penny Orloff DOWNLOAD PDF 2021/2022 Season > News > Previous Item Next Item

2021/2022 Season > Photo Gallery > 2017/2018 Pushing Dance 2018 Tigran Sargsyan Tigran Sargsyan Petra Conti & Tigran Sargsyan Bianca Bulle & Joshua Brown LAB Ensemble LAB Ensemble LAB Ensemble Bianca Bulle, Joshua Brown & LAB Ensemble Petra Conti & Mangus Christoffersen Tigran Sargsyan & LAB Ensemble Tigran Sargsyan Tigran Sargsyan Petra Conti & Tigran Sargsyan Bianca Bulle & Joshua Brown LAB Ensemble LAB Ensemble LAB Ensemble Bianca Bulle, Joshua Brown & LAB Ensemble Petra Conti & Mangus Christoffersen Tigran Sargsyan & LAB Ensemble Tigran Sargsyan Tigran Sargsyan Petra Conti & Tigran Sargsyan Bianca Bulle & Joshua Brown LAB Ensemble LAB Ensemble LAB Ensemble Bianca Bulle, Joshua Brown & LAB Ensemble Petra Conti & Mangus Christoffersen Tigran Sargsyan & LAB Ensemble Second to Last and Pacopepeluto – Cerrudo / Pärt, Martin, Scalissi, This is you – Lou / Scheele, van der Loo, The Four Temperaments – Balanchine / Hindemith Previous Gallery Next Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation.

2022/2023 Season > Single Tickets > Terms and Conditions of Sales In-person Ticket Sales Group Sales Venues Accessibilty Gift Certificates Tax-Deductibe Donations Terms & Conditions of Sales In-house Policies Privacy Policy Before purchasing tickets, please carefully review the Terms and Conditions of Sale. 1. Refund and Exchange Policy Pre COVID-19 there were No Refunds and No Exchanges. All Tickets sales were final. However COVID-19 has impacted Refunds and Exchanges. Please read the COVID-19 Ticketing Policy for updates. 2. Reserved Seating This purchase is for tickets in designated seats at a designated price level, as chosen and/or approved by you as the ticket purchaser. Please be sure you are happy with your seat selection before finalizing your purchase. 3. Confirmation Number Please be sure to record/save your confirmation number, as this is required for replacing lost tickets and locating reservations. The confirmation page is NOT a ticket. 4. Mail Delivery The standard mailing fee is $1.50 per order for regular ticket purchases and $3 per order for group sales. If you choose to have your tickets mailed to you they will arrive within 7-10 business days. If your tickets have not arrived within one week of the performance date, please call the Los Angeles Ballet Box Office at 310.998.7782. Please have your confirmation number available. 5. Will Call Will Call opens at all venue box offices one hour prior to each performance and remains open until the performance begins. Identification is required for Will Call pick-up. 6. Lost Tickets Lost tickets will be replaced provided you have your confirmation number available. Please call the Los Angeles Ballet Box Office at 310.998.7782 to request replacement tickets. 7. Performance Cancellation or Date/Time Change Policy If a performance is cancelled for any reason other than “force majeure,” (see Clause 7a below), Los Angeles Ballet will refund the face value of tickets purchased. Delivery charges are non-refundable. A performance is not considered “cancelled” if it is stopped at any point after Act 2 has begun, in which case Los Angeles Ballet is not required to refund the value of any tickets purchased for said performance. Los Angeles Ballet will accommodate you at subsequent performances when possible. Los Angeles Ballet reserves the right to change the date and/or time of any performance no later than 5 weeks before the originally scheduled date of the performance. If a change occurs, patrons will be notified immediately and alternate accommodations or reimbursements will be arranged, as necessary. 7a. Force Majeure Los Angeles Ballet does not guarantee a refund or exchange on tickets purchased for a performance that is cancelled, or is rescheduled less than 5 weeks before the original performance date/time, as a result of “force majeure.” “Force majeure” means any event which Los Angeles Ballet could not, even with all due care, foresee or avoid. Such events may include war or threat of war, riot, civil strife, terrorist activity or threatened terrorist activity, industrial dispute, natural or nuclear disaster, adverse weather conditions, fire and all similar events outside Los Angeles Ballet’s control. In the event of a cancellation or rescheduling due to “force majeure,” Los Angeles Ballet will accommodate you at subsequent shows when possible. 8. Late Seating Policy Arriving late to a performance can be extremely disturbing to the artists and your fellow audience members. Latecomers will be seated at the discretion of the house staff at an appropriate pause in the program. 9. Reselling Policy Tickets may not be resold or offered for resale. Tickets may not be used for advertising, promotion, or other commercial purposes except with the express written consent of Los Angeles Ballet, Inc. Los Angeles Ballet reserves the right to refuse entry to any customer who has purchased tickets and resold them, or to any person attempting to attend a performance with such tickets. 10. Reproduction Policy It is unlawful to reproduce any tickets in any form. In the event of reproduction, Los Angeles Ballet reserves the right to refuse entry to the original purchaser as well as any person attempting to attend a performance with reproduced tickets. 11. Review Upon Receipt Please review your tickets and confirmation upon receipt. If any detail of your order is incorrect, please contact the Los Angeles Ballet Box Office immediately at 310.998.7782. Los Angeles Ballet will not be responsible for any discrepancies if you do not contact the box office within 24 hours after receiving your tickets. 12. Agreement Submitting a ticket order indicates your AGREEMENT to these terms and conditions. For questions and support, please contact the Box Office at (310) 998-7782 to purchase by phone, Monday through Friday, 12:00pm to 5:00pm. Our Commitment to You Please review our COVID-19 Ticketing Policy REVIEW POLICY

2021/2022 Season > Photo Gallery > Season 2006-2007 George Balanchine George Balanchine George Balanchine George Balanchine George Balanchine George Balanchine George Balanchine George Balanchine George Balanchine George Balanchine George Balanchine George Balanchine George Balanchine George Balanchine George Balanchine George Balanchine George Balanchine Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Christensen and Neary / Tchaikovsky Previous Gallery Next Gallery All photos by Reed Hutchinson Click on image for a fullscreen presentation.

LAB to Perform in Grand Park February 1, 2013 Los Angeles Ballet will perform at Grand Park on July 6, 2013 as part of The Music Center's L.A.'s Rite: Stravinsky, Innovation, and Dance, a festival honoring the 100th anniversary of Igor Stravinsky's Le Sacre du Printemps (The Rite of Spring). The performance is free to the public and will be followed by a discussion with LAB Artistic Directors Colleen Neary and Thordal Christensen. "Los Angeles Ballet is pleased and honored to present collaborative masterpieces of George Balanchine and Igor Stravinsky for this occasion. George Balanchine was the innovator that changed classical dance forever, and is responsible for what it has become today. Together with his dear friend Igor Stravinsky they created works of pure musical and choreographic genius. These ballets remain timeless, an inspiration to us all," said Christensen and Neary. Company News from the Staff at LAB 2021/2022 Season > News > Previous Item Next Item

Los Angeles Ballet: A spring in its step February 24, 2008 To state the obvious, Los Angeles Ballet's identity will be forged through its repertory and how its dancers perform. But the fledgling company's true branding will take form from the dances it commissions: the ballets it has that no one else does. Los Angeles Ballet artistic directors Colleen Neary and Thordal Christensen know that. So for this, the second season, they ordered up two new pieces for their 26 dancers. The first one, "Lost in Transition" by soloist Melissa Barak, debuted at the spring season opener this weekend at UCLA's Freud Playhouse. It is a smart, taut and whimsical winner. Ballet is not baseball, but let's just say that signing "free agent" Barak and bringing her back from Manhattan to her Los Angeles hometown was one of Neary's and Christensen's smartest decisions. Frustrated in the corps de ballet at New York City Ballet, and already an accomplished choreographic craftsman, Barak is blossoming further as a dancer with LAB. With "Lost in Transition," this 20-something advanced, too, as a dancemaker. Her four-movement premiere demonstrated clear purpose and great skill in execution, especially with the corps de ballet. The complicated layers and patterns she knitted for the all-female ensemble continuously surprised this viewer, and then delighted with each succeeding revelation. She gave us a trail of treats to follow using repeated motifs, which guided us gently, not obviously, through the piece. Barak's choreographic "voice" is rooted in the modernism of George Balanchine (like other NYCB alumni), but she is quickly finding her own movement colors and pitch. "Lost" is sleek abstraction, but with warm undertones, just like the (recorded) score, selections from two separate concerti by composer and virtuoso bassist Edgar Meyer. Barak began with an upstage line of women holding hands, their arms raised in a V. Like dominoes, they collapsed through a cascading canon. They pulled into a tight circle, and then burst open like flower petals exploding in fast motion. In the third movement, the corps was clumped in four tiered rows and occasionally burst into mechanistic, syncopated arm signals, a kinetic illustration of the chaotic musical outbursts unexpectedly sprinkled through Meyer's "Double Concerto for Cello and Double Bass." For her lead couples, Aubrey Morgan and Damien Johnson – two sensational newcomers – and Erin Rivera-Brennard and Peter Snow, Barak provided brisk, if less interesting, partnering challenges. But Barak was never timid – when Rivera-Brennard exited at one point, the abandoned Snow wandered sadly about until she returned. A trio for Sergey Kheylik, Lauren Toole and Kelly Ann Sloan was a sassy diversion, filled with loose torsos and rolling hips, big leaps for Kheylik and attacking footwork for Toole and Sloan. Patricia Guillem's neon-colored unitards and Tony Kudner's suggestively mysterious lighting were the appropriate finishing touches to this exciting piece. The program's other three ballets highlighted the many moods of Balanchine. Neary and Christensen spread about the solo parts, coaching every with exactitude. Overall, the dancers were more relaxed and greatly improved from a year ago. The cast approached the radical precision of "The Four Temperaments" (1946), to Paul Hindemith's equally revolutionary score, with still too much severity. But there were also sparks of adventurousness. In the "Melancholic" movement, Kheylik pulled his body to extremes, folding nearly in half forward and backward. His cat-like leaps soared ever upward and yet he still hit the floor, his body flat, on the beat. In "Sanguinic," Corina Gill amped up every inside and outside spin, losing a few, but still making the risks worthwhile. Her dependable partner, Peter Snow, also left caution at the wings and flew through his jumps. The dancers in the "Phlegmatic" section were one-note serious, but Andrew Brader's fluid arms and legs seemed to lengthen and ripple with each wave. The bravura "Tarantella" (1964, music by Louis Moreau Gottschalk) followed "Lost in Transition" on the program – a dessert when one was not needed. But Gill and guest artist Rainer Krenstetter made it the dance equivalent of sweet sherbet, a light entertainment intended only to please. Gill impressed with her pointe work and balance, while Krenstetter's sunny disposition and beautifully articulated beats made him an irresistible presence. The final act was devoted to "Who Cares?" (1970) and the dancers took to the Gershwin songs and the choreography's frothy sassiness with carefree and energetic eagerness. We were glad to see this other side of Los Angeles Ballet.. Barak was a sensuous and sophisticated soloist in "I'll Build a Stairway to Paradise." Despite a few bobbles, Nancy Richer brought lyrical playfulness to "My One and Only." Morgan and guest artist Eddy Tovar filled "The Man I Love Duo" with aching love. The male ensemble sprang with palpable joy. Los Angeles Ballet presented itself in the 600-seat Freud Playhouse, taking the box-office risks on its own shoulders. This same weekend at Royce Hall, UCLA Live was presenting the similarly attractive but inferior State Ballet of Georgia, and audience members commented to me how happy they were to see classical dance on the lineup. This is a ridiculous state of affairs. Los Angeles Ballet is coming up fast. Wake up, you folks at UCLA Live (and all you other presenters around town). Take this young talented group under your wing, because everyone will benefit. Orange County Register by Laura Bleiberg DOWNLOAD PDF 2021/2022 Season > News > Previous Item Next Item

Get the 'pointe' November 26, 2006 Los Angeles Ballet is the latest company to attempt success against long odds. We wish it well. Of course we're rooting for the new Los Angeles Ballet, which will debut December 2, at the Wilshire Theatre with a production of (what else?) "The Nutcracker. " Still, it's hard to ignore the historical odds against ballet in the L.A. area. The company may begin with the graceful aarabesque of Clara, but we have to brace ourselves for the thud of "Swan Lake's" Odette dumped to the floor during the pas de deux by a feckless Siefried we call "the public." Locally based ballet has been tutu scarce in Southern California. This remains the only U.S. megopolis without a top-tier classical company, despite well-ranked ballet schools that churn out world-class dancers. There have been at least five attempts to launch a premier company in the last decade, and all of them flopped – in one case, owning large sums of money to its dancers. L.A. Ballet – it even rhymes! – seems like a natural for a dynamic metropolitan area with such a love for arts new and old (including an otherwise lively dance scene). It's always been puzzling that we haven't support a world-raned company. But the survival of an elite adn expensive art form is tricky anywhere. Chicago's renowned 50-year old Joffrey Ballet, whose part-time residence in L.A. during the 1980's didn't work out either. Even superstar Ethan Stiefel couldn't bring in the big bucks when he spent a tour as artistic director of Ballet Pacifica, a small Irvine-based company he had hoped to take regional. Now two notable ballet dancers, Thordal Christensen and Colleen Neary, are putting their best slippers forward as artistic directors. Their L.A. Ballet will be affiliated with the respected Westside School of Ballet and make its premanent home at th Malibu Performing Arts Center. In a canny move, its version of "The Nutcracker " will be performed at three venues around the county, hoping to draw views by chopping their commutes. None of the locations are with L.A.'s city limits, but there's time to build toward that. The main issue is whether Southern California will provide enough cash and audience to sustain this latest effort. Perhaps some of the major centers of money in town, such as Hollywood, will see the value in supporting the performing arts. It would help L.A. Ballet delivers the goods, and if ballet fans buy tickets. Then, perhaps, L.A. will be ready for a major jeté forwards in the arts. Los Angeles Times from the Staff of the LA Times DOWNLOAD PDF 2021/2022 Season > News > Previous Item Next Item

2021/2022 Season > Dancers > ​ Hannah Keene Hometown Wellesley, Massachusetts Schools Boston Ballet School Companies Kansas City Ballet, Boston Ballet II Los Angeles Ballet 6th Season Next Dancer Previous Dancer

2014-2015 Season Expansion June 1, 2014 LAB’s 9th season includes three full-length romantic story ballets with music by Tchaikovsky and a mixed bill program Los Angeles Ballet Co-Artistic Directors Thordal Christensen and Colleen Neary are excited to unveil LAB’s 2014-2015 season, which includes the Tchaikovsky Trilogy, with three full-length ballets featuring the music of Peter Tchaikovsky, plus a mixed bill program of 20th century masterworks. LAB’s ninth season marks the addition of a fall program for a total of four programs, an expansion from 3 productions in all of its previous seasons. A major goal of Los Angeles Ballet’s long-term plan, LAB is pleased to achieve this in Season 9! The Tchaikovsky Trilogy includes a new production of The Sleeping Beauty , the return of the company’s critically-acclaimed productions of Swan Lake and The Nutcracker all with choreography by Artistic Directors Christensen and Neary, and closes with a mixed bill program that will include works by 20th century choreographic masters. Continuing LAB’s mission to offer world-class professional ballet to greater LA, its programs are performed at LAB’s home theaters: UCLA’s Royce Hall, Glendale’s Alex Theatre, Valley Performing Arts Center in Northridge and Redondo Beach Performing Arts Center. In addition, LAB is proud to announce that in December of this year it will present four performances of The Nutcracker at its newest venue - the prestigious Dolby Theatre in Hollywood. LAB opens the season and its first fall program with the full-length Swan Lake (October/November 2014). The company premiered this production during the 2011-2012 season with sold out shows. “After Swan Lake sold out most performances, we had many requests to bring it back. Swan Lake is the perfect way to launch this expanded season and respond to our audience requests.” Mr. Christensen explained. The holidays welcome LAB’s popular The Nutcracker set in 1913 Los Angeles (December 2014). Additional matinees offer more opportunities to see this family favorite and enjoy some of Tchaikovsky’s most beloved music. Spring 2015 opens with the premiere of LAB’s new production of The Sleeping Beauty (February/March) with choreography by Mr. Christensen and Ms. Neary after the original choreography by Marius Petipa. “We have wanted to present The Sleeping Beauty for several years. The Tchaikovsky score is irresistible, but it is a big, classical ballet that requires a lot from all of the dancers, not just the Principals,” Ms. Neary said. “It’s an important measure of how the company has grown that we know LAB is ready to bring this magnificent ballet to life.” The season will close with Directors’ Choice , a mixed bill program that will include Theme and Variations by George Balanchine, (also with music by Tchaikovsky), and two other choreographic luminaries (May/June 2015). The specific repertoire will be announced later in 2014. About Los Angeles Ballet Founded in 2004 by Artistic Directors Thordal Christensen and Colleen Neary, and Executive Director Julie Whittaker, Los Angeles Ballet is known for its superb stagings of the Balanchine repertory, stylistically meticulous classical ballets, and its commitment to new works. LAB has become recognized as a world-class ballet company in eight seasons, presenting 24 productions encompassing 50 works, including 15 commissioned world premieres. Los Angeles Ballet ‘tours’ throughout LA County, regularly appearing at four venues. In 2013, the Los Angeles Music Center presented Los Angeles Ballet at Grand Park, with more than 3,000 attending the outdoor performance. In June 2014, Los Angeles Ballet will tour outside of California for the first time, presenting La Sylphide and Serenade to Seattle, Washington audiences at McCaw Hall at Seattle Center. Since its inception in 2006, LAB’s Power of Performance (POP!) program has provided thousands of free tickets to underserved or disadvantaged children, seniors, veterans, and their families. LAB's A Chance to Dance Community Days outreach program was launched in October 2012. About Thordal Christensen Among Thordal Christensen’s many credentials are an impressive performing career, successful leadership of one of the world's major ballet companies, critically applauded original choreography, and a proven commitment to dance education. Born in Copenhagen, Denmark, Christensen received his ballet training at The Royal Danish Ballet School and at the School of American Ballet in New York City before a performance career that included the Royal Danish Ballet, New York City Ballet, and Pacific Northwest Ballet. Christensen then returned to Denmark where he was Artistic Director of the Royal Danish Ballet. This blend of Bournonville and Balanchine tradition is one of the defining themes of his career, and has shaped the unique artistic vision that Christensen, along with his wife Colleen Neary, bring to Los Angeles Ballet. In 2002, he was made Knight of the Dannebrog by Queen Margrethe II of Denmark. About Colleen Neary Colleen Neary brings to Los Angeles Ballet the benefits of her vast experience as one of George Balanchine's quintessential ballerinas. In her experience as a dancer, teacher, and ballet mistress, she also worked closely with other luminaries of 20th century dance, including Rudolf Nureyev, Maurice Béjart, and Jiří Kylián. Born in Miami, Florida and trained at The School of American Ballet, Neary danced in New York City Ballet under the direction of George Balanchine, then for Maurice Béjart's Ballet du XXième Siecle , and Pacific Northwest Ballet. Neary was personally selected by Balanchine to teach his choreography to major companies all over the world as a repetiteur for The George Balanchine Trust. ​ LAB Public Relations DOWNLOAD PDF 2021/2022 Season > News > Previous Item Next Item

Employment LOS ANGELES BALLET Repertoire Learn about the comprehensive and varied seasons of Los Angeles Ballet since its debut in 2006. Repertoire includes stunning classical ballets, exceptional stagings of Balanchine repertory, and relevant works by many of today’s most innovative dance-makers. VIEW REPERTOIRE 2023/2024 SEASON Dancers Los Angeles Ballet presents a company of outstanding dancers from local communities and around the world. Learn about each of LAB’s dance artists. LEARN MORE 2022/2023 Season > Employment Employment 2023/2024 Season Company Audition We are holding online auditions for dancers. APPLY ONLINE Director of Development LAB is seeking an experienced development professional to join our team. Download the job description . APPLY ONLINE