Houston Ballet Vol. 7, Issue 5
Leading Orthopedic Care to KEEP THE BALLET MOVING
At Houston Methodist Orthopedics & Sports Medicine, we are experts in helping the body do what it was designed to do — stay in motion. As trusted doctors for Houston Ballet, we keep the dancers performing in the spotlight. And, by finding innovative ways to treat their injuries, we’re better able to treat yours. Whether you’re getting back on the stage or back to work, we use the latest technology and advanced therapies to get you back on your feet — and keep you moving.
. . | houstonmethodist.org + convenient locations
THE SLEEPING BEAUTY CONTENTS
9 FIRST POSITION Explore the concept of a
divertissement and discover the ones showcased in Act III, take a closer look at the iconic Rose Adagio in Act I, and hear from Carabosse as she shares her side of the story. 13 WHICH TUTU SUITS YOU? On a stage full of Desmond Heeley’s opulent tutus, how could you possibly choose your favorite? Take this quiz to find which tutu suits you best! 15 THE SLEEPING BEAUTY Find the synopsis here and discover the artists behind The Sleeping Beauty. 33 ÉTOILE Meet the visionary leaders investing
in Houston Ballet’s world-class performances and programs.
IN THIS ISSUE 6 Welcome Letter 24 Company Profiles 31 Corporate Spotlight 32 Board of Trustees 36 Annual Support 41 Special Events 42 In the Wings
HOUSTON BALLET
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Houston Ballet 601 Preston Street, Houston, TX 77002
713.523.6300 info@houstonballet.org www.houstonballet.org
Julie Kent Artistic Director
Stanton Welch AM Artistic Director James Nelson Executive Director
Welcome! Dear Houston Ballet friends, For more than a century, The Sleeping Beauty has captivated audiences with its timeless tale, classical technique, and breathtaking music. When Artistic Director Emeritus Ben Stevenson O.B.E. premiered his reimagined version in 1990, it quickly became a cornerstone of Houston Ballet’s legacy. Revitalized by the lavish costumes and scenery of the late Desmond Heeley, Ben’s remarkable ability to blend humor and drama with finely crafted characters showcases our dancers’ dynamic strengths while honoring the nuances of Tchaikovsky’s incredible score. It was an honor to perform in this very production in 1993 during my time in the Company. So, when I was asked to dust off my dancing shoes and return to the stage for this special run, I was truly humbled. In preparation, I briefly returned to the studio; it never ceases to amaze me to watch our dancers in action—fine-tuning their craft, perfecting each step, and honing their characters. The dedication of our dancers is what sets Houston Ballet apart, but what truly elevates us is the passion of our entire community. Art flourishes through the inspiration and collaboration of a supportive community. The connection between the Company and our audience creates an atmosphere where art transcends the stage and unites us all. Your presence and support in the theater allow us to continually push the boundaries of what is possible. You are a part of the heartbeat of this company, and for that, we are deeply grateful.
Ben Stevenson OBE Artistic Director Emeritus
As we look to the future, ticket sales alone cannot cover the full costs of producing world-class performances and supporting the incredible talent you see on stage. Your generosity has been instrumental in our growth, and as part of our strategic plan, we are working to grow our endowment to $200 million by 2035. Houston Ballet’s endowment is crucial to ensuring the long-term sustainability of our company; this will allow Houston Ballet to thrive for generations to come. I hope you will consider joining me in making a legacy gift by including Houston Ballet in your estate plans. Gifts to our endowment will provide lasting support, helping to ensure that the artistry you cherish today will continue to flourish tomorrow. By doing so, you will become a permanent part of the Company’s future. If you’re interested in leaving Houston Ballet in your estate plans, please contact Chief Development Officer Angie Lane at alane@houstonballet.org or 713.535.3276. Thank you for being here with us tonight and for your continued support. Together, we can build a future where Houston Ballet’s artistry and cultural impact will remain a beacon for the community and the world.
PUBLISHED BY Houston Ballet
CHIEF DEVELOPMENT OFFICER Angela Lane DIRECTOR OF MARKETING AND PUBLIC RELATIONS Angela Lee DIRECTOR, DEVELOPMENT COMMUNICATIONS & PUBLICATIONS Jasmine Fuller Cane DEVELOPMENT COMMUNICATIONS MANAGER Kharma Grimes DEVELOPMENT COMMUNICATIONS COORDINATOR Amanda Coleman PROJECT STAFF Alexandra Anthony, Lynn Chung, Jared Murphy, Ellen Neiers
ADVERTISING SALES Ventures Marketing Group - Matt Ross
Houston Ballet Vol. 7, Issue 5
Enjoy the performance,
ON THE COVER Soloist Alyssa Springer. Photo by Julie Soefer.
JIM NELSON Houston Ballet Executive Director
6 HOUSTON BALLET
Houston Ballet Executive Director Jim Nelson. Photo by Alana Campbell.
Enjoy your experience with Houston Ballet!
Enjoy dining and refreshments by Levy Catering in the Wortham Theater Center before the show and during intermission. Pre-order drinks at the wine or coffee bar in the foyer. BEFORE THE SHOW Restrooms are conveniently located on all floors, with accessible options in the Prairie lobby and main foyer. A family viewing area is available in the Brown Alcove and booster seat rentals are offered for those who need a little extra height. GET COMFORTABLE Find Instagram-worthy photo-ops with our larger-than-life performance banners and information boards located in the foyer by the escalators. During the holidays, you can snap photos by the Christmas tree and gingerbread house at our annual performances of The Nutcracker. CAPTURE THE MEMORY Don’t forget to check out the Houston Ballet boutique in the main foyer. You’ll find wonderful gifts for friends and family or even a special memento for yourself. The boutique is open an hour and a half before each performance, during intermission, and for 30 minutes after the show. Many exclusive items are not available online, so take advantage of the opportunity to purchase something unique while attending the performance. FIND THE PERFECT GIFT
ACESSIBILITY & SAFETY
For accommodations or questions, contact the box office before the performance. Wheelchair-accessible drop- off is located at the Prairie Street entrance, with parking in the Theater District garage (level three). Wheelchair seating is available in Orchestra, Grand Tier, and Founders Box levels. Assisted listening devices are provided upon request. EMT and HPD officers are present during all performances for audience safety. If you misplace something during your visit, please check with an usher to see if your item has been located. If you have already left the theater, please contact 832.487.7000 Monday through Friday from 9 AM to 5 PM for assistance. LOST & FOUND
Please follow the following policies for a seamless experience: IMPORTANT POLICIES
• No late seating is allowed during performances. If you arrive late, you will be asked to stand in the Brown Alcove and watch a live stream on monitors until a suitable time to be seated (usually during intermission). • Sit only in your assigned seat. Ushers are available at all theater entrances to help you find your seat.
• Audiovisual recordings are strictly prohibited. • Please silence all mobile devices before the show. • Children require their own ticket and must be five years or older for The Nutcracker . • There is no smoking or vaping inside the Wortham Theater Center. • Management reserves the right to remove disruptive patrons without refunds.
We hope you have a delightful experience at our performance. If you have any further questions or need assistance, please reach out to our staff. Thank you for joining us at Houston Ballet!
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FIRST POSITION ANATOMY OF A SCENE p. 11 | EN POINTE p. 12 | UPLIFT p. 13
THE TERM DIVERTISSEMENT (French fuosre “de fnotre rt ht aei ns omnegnst a” )n wd adsa no cr iegsi n a l l y fset aa gt uerpe edrifno r1m8 tahn cceesn. tTuor dy aEyu, trho ep ewaonr d rl ienfke er sd tboyaascuoi tme mo fodnatnhceems , eu, st uh aa ltl y abrael l eptesr. fAo rl lmt herdewe oi tfhtihnecllaatses i1c 9sttho r y cceonnttuairny dbiavlelerttsisssceomreedntbsy. Tchaikovsky Swan Lake includes a suite of “National Dances”
ianc tt.hTehbeasl lercooonmd saccet noef o f t h e t h i r d The Nutcracker irse pd roems ei nnat it ne gd db iyf fae rseenr ti esswoef edt as .nIcne s The Sleeping Beauty , fairy tale characters po fe rPfroi rnmc eas ss Ap aurrtoor af tahnedcPe rl ei nbcr ea t i o n Florimund’s wedding in the final act. Hv aorui as tt ioonn Bs af ol lre Pt ’ su svse-ri ns i-oBno iont cs l au nd de sT h e WFlohritine eC, aatn, dThTeheBlIuveabnisr.d and Princess
Bonus Tales A closer look at the Act III fairy tale divertissements.
By Elizabeth Klett
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FIRST POSITION
their story and that of The Sleeping Beauty are reflected in their dance, wa nhtiicchi piast ai nfgu ltlhgercaonrdr epsapsodneddi negu x , gF rl oa rnidmpuansdbtehtawt eceonmAeus rl oa trearainndt h e aP cr ti n. Tc ehses mF luosri icnfeo sr i Tmhuel aBt leusebbiirrdd saonndg bd ya nucsei nr sg frl ui pt pt el irntgh ef liur the as ,nadnsda tnhde a r m s tcoh os ur egoggersat pwhiyn igns c. oTrhpeoBr al ut eesb ai r dl o’ st o f gbreaant sd oafntdh ep el et igtsbtahtatte m e n t , w i t h fa s t ab lisr od ewvionkges . The Ivans The final df ei av teur rt iesss eI vma ne nt th e F o o l ad nr adwhni sf rt wo mo bRruostshi ea rns f, oc lhkal or ar ec t ae nr sd Ls aemo eTonl as mt o ey .’ sI v1a8n8a6nsdt ohri ys ob fr ot ht he e r s St hi me Oe ol dn Da ne vd i lT, awr rhaos csot rnus gpgi rl ee sa tgoa i n s t rt huri ne et hbermo t.hIevrasn, ai sn dt hreekf ui ns edse st ot ogfi vt he e ianp pt oe ltlha et i oDne v“ if lo’ so lt ”e mr e pf et rast i toon Isv. aTnh’ se stoimwpilne ignotohde neantdu.re that allows him R an u T d s h s s i i p a s n l t i r t d i j o a u n m in c p i c n o s g , r , t p h s o u a r c t a h w te a i s l s l t s b r q a e u d f a i a t t m i o k i n i l c i a a k l r s tRouasusidainenvcaersiaftrioomn itnhe popular The Nutcracker . Th ahne dt sh roene ebarcoht hoet hr se rp’ lsa sc he ot uh ledi re r s tt hh reoi rumg huotuuta lt hl oevdeaanncde , ssuupgpgoerstt itnhga t i s part of the folklore tradition. The Sleeping Beauty divertissements cf or ce ua st ei nf ga ior yn tcahl ae rsawc tiet hr si nwahfoasi reys tt ao lrei e, s (alri ek ee st hs ea nt toi fa lAl yu rpoorsai tai vned. FT lhorroi mu guhn d ) gcooonds -t na na tcuyr oe fd t trrui ce kl eo rvye, , tahned t hp ee sr es i fsot lekn hc ee raogeasi nt rs it uemv ipl ,h noovt eornal yd vdei vr seirt tyi.nTgh; et hdeaynaclesso a r e sBhaol lwe tc ad saen ct he er st, awl ehnot sp oe fr ftohremH tohuessteo n v ac or ime di cptiiemc ei nsgw, si twhoiomnp- we cocratbhlye rovmiratunotiscicdsekliiclla. cy, and
Puss-in-Boots and The White Cat dAef tqeur aatnr eo ips ean si na gu cpya s pas de deux for the cat c ht ha er ai rc toerri gs ,i nwshi on ht wa voe different tales: Puss in Boots written by 1C6h9a7rl,easnPderrault in The White Cat i n 1b6y9M8 .aTdha me feodr m’Aue rl nios y wa bhoouits al et frti ct ok sat emr icl laetr ’ s sr eoqnuaef st et sr ah ipsafiart oh fe br odoi et ss . tTo hwe ecaart, ha epl rpisn ct he es sm, ai nl l ed rd’ se sf eoant st oa nmoa gr rr ye tahpr roiungche shsi swwh oi l ei ss . tTr ahneslfaotrtme reids ianbtoou t ae vwe nh ti tuea cl layt fbr ey eesvhi lefrasi er il ef sb, ybhuet lwp ihnog a ph irsi ndceemwainndai nsge rfai etsh eorf. c o n te s t s s e t by b oTt hh ecihradrua cetteirsspienrcf oa rt mf oerdmw, wi tiht h furry heads and long fluffy tails, and ienmc op rhpaos ri zaet etsh me i ra nf eyl imn eo vneamt uerne tss. Tt hhaet cphaos rdeeo gc hr aapt sh y( “as tpeppr oopf rai ac taet l”y) , fbe auttu r e s aml soot i gornoso. mT hi ne igr apnadr tsncer raitnc gh iins g cs uo ng gt eens tt ii no ug st hr ae ti rh es or mt heawn hr aotmcar annt ikc y, cat-like personalities. The Bluebird and Princess Florine Bi syacboenatur at isftu, lt ha ne dn et exnt ddeivredrut iests ef omr e n t TT hh ee i Br lsut eo br yi r wd aa sn da l Ps or i tnocleds bs yF lMo raidnaem. e d’Aulnoy in The Blue Bird , published il on v1e6b9e7t .wTeheent Pa lrei nr ceec sosu Fn ltos rhi noewatnhde PbyriFnlcoerCinhea’srmwiincgkeisddisrupted sa tnedp ms t eopt hs iesrt e r waihdooef nanlisetvtihl efairy to ti nr at on saf obrl ume bt hi redp. rOi vn ec re tFhl oe rci no ue rasnedotf hme aPnryi ntcrei a l s , raenmd aairne feavi tehnf tuul at lol ye aa bc hl e ot toh e r, dr uelfee aotvtehretihr ef ioreks i, nmg adrormy, sa. n d The parallels between
MASTERS OF THE FAIRY REALM In Act III of The Sleeping Beauty, the divertissements showcase delightful and varied dances inspired by classic fairy tales from these famous authors:
CHARLES PERRAULT (1628-1703) French author Charles Perrault was renowned for creating classic fairy tales that continue to be adapted like The Sleeping Beauty and Puss in Boots . His charming stories with moral lessons laid the foundation for modern fairy tales.
MADAME D’AULNOY (1652-1705) Madame d’Aulnoy coined the fairy tale genre’s name with her 1697 collection Les Contes des Fées (Fairy Tales) and was the first to include the canonical Prince Charming in her stories. She wrote The White Cat and The Blue Bird , among others.
LEO TOLSTOY (1828-1910) A giant of Russian literature, Leo Tolstoy is more well-known for his classic novels—like War and Peace and Anna Karenina —than fairy tales, but Tolstoy was also known to write children’s literature like Ivan the Fool , based on a popular hero of Russian folklore.
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FIRST POSITION
The Rose Adagio ANATOMY OF A SCENE Soloist Aoi Fujiwara shares her experience performing the iconic Rose Adagio.
By Kharma Grimes
STORYTELLING More than just a technical feat, the Rose Adagio is a storytelling moment where
ROSE SYMBOLISM The delicate roses Princess Aurora holds are not just for aesthetics—it represents
every interaction matters. Soloist Aoi Fujiwara explains, “How I look at the suitors or how I let go of their arm could change the story
her blossoming into womanhood. One by one, each suitor offers her a rose, and she collects them in her left hand to cherish for the rest of the Rose Adagio
completely. What matters is that I am telling the story.”
section. “She is surprised by this moment and is excited about her future,” Fujiwara explains.
TRUSTFUL TURNS Each suitor takes
Princess Aurora’s hand in turn, guiding her through a
promenade, a slow, controlled turn on one foot while the supporting partner rotates her. This requires immense trust, as Aurora must maintain balance while shifting from one suitor to the next.
ICONIC BALANCES One of the most defining moments of the Rose Adagio
is the series of sustained balances in attitude, a position where one leg is lifted and bent at the knee while the supporting leg remains en pointe. These moments of control require immense strength and stability as she transitions between suitors, maintaining a regal and effortless demeanor.
FEW MOMENTS IN BALLET are as breathtaking and iconic as the Rose Adagio from The Sleeping Beauty . This celebrated passage, performed in the first act, marks Princess Aurora’s ipnrtersoednut ci nt igo nh et ro ws oi tchi eat yr oa ss es. hTeh me seceet ns eh’ es rmf oous tr fsaumi t oo ur ss , e a c h cbho at hl l et nh ge eb iasl liet sr i snear’ si etse oc hf np ircoal lo pn rgoewd ebsasl aanncde tsh, se hcohwa rcaacsti enrg’ s yoFuothrfdual necxecirtse,mtheenRt.ose Adagio is a pinnacle of classical tSeocl ho ni sitqAu oe .i IFt udj iewmaarna d, ws hi mo mi s emn saek icnogn ht reorl ,dset br eunt gatshA, aunr do raar, t i s t r y. sohnaeroe fs ,t h“ teh mi s obsatl lcel ta si ss ipc ha yl saincda l fl ay ma no du st epci he cnei cs a, lal ny dv eI rf ye ehl aprrdo. uI td’ st o beTpheerfporrempianrgatiito.”n for this role extends beyond rehearsals.
Pc hooi notsei nsgh ot he es pr ilgahy tapcariur cciaanl ri oml ep ai nc tt ah ed apne rc feorr’ smaabni cl iet y, atnode x e c u t e tt hh ei s dbeaml l ea tn, dI ifnogu nb da l sa onfcteesr . s“ hI oneosr mw ao lrl ky bweetat er rhfaorrdt shhe obeasl, abnucte fso r anWd jhuimleptsh,”e Fteucjihwnaicraaleexlpemlaiennst.s of the Rose Adagio are undeniably challenging, storytelling remains paramount. Aurora, just 16 years old, is stepping into the world for the first twi mo rel da fstienrc he ehrepr acrherni st st ei nn itne gn tai so na abl layb ky e. “pI t wh ae nr thti od ds eh no wf r ommy tohwe n At huarno rj ua s—t thheer be ax cl ai tnecme se; ni tt ,’ sn ae br vo ouut sbnr ei ns sg ,i na gn dh ewr ocnhdaer ra. cItte’ sr mt oolri ef e . ” The Rose Adagio remains a defining moment in ballet heqisutaolrym, deaesmuarne.ding both athleticism and storytelling in
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FIRST POSITION
AND ANOTHER SIDE
Hear from Catalabutte, Master of Ceremonies, on the guest list and Carabosse’s reaction.
Catalabutte, you oversaw the guest list. What happened? Catalabutte: It’s difficult being the Master of Ceremonies, especially for such a grand event as Princess Aurora’s christening. I do the bidding of the King and Queen to the best of my abilities. There are a lot of details one must keep a keen eye on, and I receive direction and changes in abundance at all hours! It’s not a job for the faint of heart, and I say I do a rather fine job keeping it all straight. As far as Carabosse is concerned, my list is final. You saw her extreme reaction—it would be no wonder why her name didn’t appear on the guest list. Her reaction was very severe! She treated you unfairly, wig pull and all. Are you okay? C: Thank you so much for your concern. The whole situation was quite rude and frightening. Had her minions not ambushed me, Carabosse would have been escorted out immediately. The way she handled my guest list— property of the royal kingdom, I might add— with such disdain was ghastly. And my finest wig for the event…I can’t even bring myself to talk about it. I would take it upon myself to say that it is unexemplary behavior of a fairy of the kingdom.
EN POINTE The Other Side There are two sides to every story – in this exclusive interview for the Houston Ballet program, we finally hear from the fairy who started it all: Carabosse. This is her story.
best bring it. I gave into my rage, quite fabulously, I think. I wore the outfit Ia np yl awn anye, da nt od wI he aa dr tt oo tchoemc eh rwi si tt he nmi ny g eTnhtaot uwr aags ej .uPs ut lf loi nr gf uonf .f TCha et acl aubr suet ,t ew’ se lwl , iIg ? know that cursing a baby to die via prick of the finger is a bit extreme, but I’m sc uo ur er si te’,sLwi l ha ca twt ahse tpheeorpe l teoeixnpt ee rc fteerde. . B u t o f Speaking of the Lilac Fairy, have you spoken to her since…[cut off] C: i s sAob bs oelauut teilfyu lnaont .dEpvue rr ey .bSohdey ctohui nl dkns ’ Lt i l a c pr aossps bi belryr ideos ]a. nLyi ltahci ni sg twh er oonnge [ pb ul ol lwi nsg a l l tFhl oe rsi tmr iunngds . eHvoe wn fdoou nydo uo ut ht ianbkoPurti nAcuer o r a ao st hl eeerpt hi na nt hteh ec aLsitllaec? FOafi rcyo, ucrasset ,i nngo na be s u r d va i lsai ko en.sDt oo et sh et hPart i snoc ue nwdhl ii lkeehseo’ smael tohni en gb y somebody so pure of heart would do? Speaking of Aurora sleeping for a hundred years, why did you give Princess Aurora the spindle that pricked her finger? C: repI’umtaatifoanirytowuipthhofoldlloawfte-trharlol.ugh. I have a
Carabosse, I know it’s been a tough time for you since your big showdown with Prince Florimund and the Lilac Fairy. Let’s go back a hundred years to when and why it all started: Princess Aurora’s christening. What happened? Carabosse: Princess Aurora’s christening wa sams aa ldl awrokrdl da.yLfiol ar cm, Ceh. aTrhme ,f Ga ierny erreoaslimt y,i s Tk en mo wp eeraacmh eont th, eSro. Tn gh,eBy ema ua tyyn…owt be ea ml l y bo ue sr tsfirmi ei nl adrsi t, ibeus .t Wb ehi enng tf ahier iiensv, iwt aet iho anvse cI awma ei t et rdi cwk il ti nh gb iant ef od rbtrheea tchh rf oi srt emniinneg. , I thought about my outfit, how I would dA aunr oc er a, w, bhuat t mI wy iannvt iet da tti oo ng inf te Pv er irnccaems se . I t hbuutrtI—haavleotfe. IelkinnogswtoI oh.ave a reputation, Is that why you cursed Princess Aurora? C: i n It hweaks i snog dd oi sma pwp aosi ni nt evdi t tehda bt ue vt emr ye o, anned tt hh ee nj eIajluosutssyatwu rgnreede nt o. Iawnagse rj.eIaf lpo euos ,pal en d rI ewaal lsy gt ohiinngk tIo’ ms ht ho iws mt heeamn ,j us ps ti the fouwl feavi ri ly, Ia cl iotut lled dbrea. mA an?d Mwihg ahtt’ sa sa wp aerl lt yh awviet ht ho ue t
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FIRST POSITION
Which tutu UPLIFT
suits you? In a ballet teeming with striking tutus designed by the legendary Desmond Heeley, how can you choose just one favorite? We’re here to help! Take this quiz to discover which tutu suits you best.
A
B
C
I prefer my jewelry to be
gold
silver
both
I look best in
pastels
dark tones
pink!
I consider myself to be a
morning person
night owl
neither
talking to everyone
sticking with my friends
At a party I am
hosting
My favorite season is
spring
fall
summer
A personal trait I am proud to have is
wisdom
confidence
poise
If you answered mostly A, your favorite tutu belongs to
If you answered mostly B, your favorite tutu belongs to
If you answered mostly C, your favorite tutu belongs to
Carabosse Dark and sultry, Carabosse’s black tutu is adorned with metallic green snakes and an intricate web of black embroidery that wraps around the bodice like growing roots. This tutu is detailed and dramatic, the perfect fit for an evil fairy. She knows how to command a room, and she does it in style.
Lilac Fairy Bright and soft, the Lilac Fairy’s tutu is a whimsical vision of pink and purple florals. With glittering tulle and iridescent bodice, this tutu has an ethereal feel. Fit with flowers and leaves that bloom from shoulder to skirt, this enchanted spring design makes this fairytale all the more magical.
Princess Aurora Simple yet elegant, Aurora’s Act I tutu is a burst of bright pink. Silver applique adorns the bodice and skirt creating an elegant symmetry that lays perfectly over the glittering tulle of the tutu. Complete with dainty sheer sleeves and a small pink rose at the center, this tutu is simple yet dignified and fit for a princess.
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Sleeping Beauty The March 13-23 May 29 - June 8 Raymonda World Premiere
Tickets Start at $25 ACT NOW!
Grab your seats today! Experience the Romance
Generous underwriting by Melza and Ted Barr
HOUSTONBALLET.ORG | 713.227.2787
14 HOUSTON BALLET HOUSTONBALLET.ORG | 713.227.2787
THE SLEEPING BEAUTY SYNOPSIS p. 17 | FIVE FAIRY FAVORS p. 18 | THE ARTISTS p. 19 MARCH 13-23, 2025
PROLOGUE 33 minutes INTERMISSION 15 minutes ACT I 24 minutes INTERMISSION 15 minutes ACT II 30 minutes INTERMISSION 15 minutes ACT III 39 minutes
Approximate Duration 2 hours and 49 minutes
THE WORTHAM FOUNDATION, INC.
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16 HOUSTON BALLET
Synopsis
Choreography by Ben Stevenson O.B.E. after Marius Petipa (1818-1910) Music by Pyotr Ilyich Tchaikovsky (1840-1893)
PROLOGUE The court of King Florestan is celebrating the christening of Princess Aurora. The courtiers are assembled around her cradle as the festivities begin. The king and queen enter, followed by six fairies and their cavaliers. Each fairy dances, offering her special gift to the infant princess. Suddenly, before the Lilac Fairy can present her gift, the wicked Fairy Carabosse interrupts the ceremony. Angry because she has not been invited, Carabosse delivers a curse upon the tiny princess: she will grow up to be beautiful, but one day will prick her finger and die. The Lilac Fairy intervenes, promising that the princess will but sleep until awakened by a prince’s kiss.
Costume and Scenic Design by Desmond Heeley (1931-2016)
Original Lighting Design by Duane Schuler
Lighting Design Re-created by Lisa J. Pinkham
World Premiere: January 16, 1890 by the Imperial Ballet renamed Mariinsky Ballet at the Mariinsky Theater in St. Petersburg, Russia. Houston Ballet Premiere: September 28, 1978 at Jones Hall for the Performing Arts in Houston, Texas. Costume and Scenic Design by Peter Farmer. Houston Ballet Wortham Premiere: May 24, 1990 in the Brown Theater at the Wortham Theater Center in Houston, Texas. Costume and Scenic Design by Desmond Heeley. WHAT YOU’RE WATCHING The Sleeping Beauty, a defining work in Ben Stevenson O.B.E.’s career, based on Charles Perrault’s classic fairytale. The Artistic Director Emeritus first premiered his 1967 retelling for Houston in 1978. In 1990, designs by Tony Award- winning Desmond Heeley revitalized Stevenson’s retelling into the ballet seen today. Stevenson’s production, influenced by Russian ballet traditions, was further enriched by coaching from Dame Margot Fonteyn. WHAT YOU’RE LISTENING TO The second of his three ballet scores, Tchaikovsky’s score for The Sleeping Beauty was born from a collaboration with choreographer Marius Petipa and director Ivan Vsevolozhsky. Despite a delayed start, Tchaikovsky was captivated by the poetic subject matter, composing the score with passion and urgency, completing the music in eight months. Tchaikovsky, who was often disappointed with his works, regarded The Sleeping Beauty as one of his best.
INTERMISSION
ACT I It is Aurora’s sixteenth birthday party. Her father informs her that she must select one of four visiting princes as her husband. Aurora dances with the princes, each of whom offers her a rose and declares his love. As the celebration continues, the disguised Carabosse hands Aurora a bouquet in which a spindle is concealed. Aurora pricks her finger, and as she falls, the Lilac Fairy appears and casts her spell, putting the entire court to sleep.
INTERMISSION
ACT II One hundred years have passed. Prince Florimund and his hunting party stop beside a lake. As the hunt moves on the prince is left alone. To his amazement, the Lilac Fairy appears and conjures a vision of Princess Aurora. Enchanted by the vision, Prince Florimund begs the Lilac Fairy to lead him to Aurora. A boat takes them to the castle, where they are confronted by Carabosse, who turns herself into a monster. With help from the Lilac Fairy, the prince overpowers Carabosse. Once inside the castle, Prince Florimund discovers the sleeping Aurora and awakens her with a kiss.
INTERMISSION
ACT III The court is celebrating the wedding of Princess Aurora and Prince Florimund. Characters from other fairy tales have joined the celebration. After Aurora and Florimund’s grand pas de deux, the occasion ends as the entire court joins in the finale.
“
[ The Sleeping Beauty music] is beautiful, simply gorgeous. Swan Lake, The Nutcracker and The Sleeping Beauty, the three ballets that have endured, all have Tchaikovsky scores. If only he had lived for a few hundred years more.”
BEN STEVENSON O.B.E. CHOREOGRAPHER, THE SLEEPING BEAUTY ARTISTIC DIRECTOR EMERITUS
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Five Fairy Favors Alongside the Lilac Fairy in Act I, five fairies grace Princess Aurora’s christening, each presenting a magical gift through a charming dance, known as a variation in ballet, to celebrate their blessings for the royal baby.
FAIRY CHARM Delicate hops en pointe and graceful backward bourrées make this fairy’s movements seem to pluck the very strings of the orchestra. She tenderly bestows the gift of charm upon the baby monarch.
FAIRY TEMPERAMENT Presenting the gift of temperament, this fairy’s dance is spirited and buoyant. Her hands dynamically point in the direction of each movement, symbolizing the vibrant energy she offers to Princess Aurora.
FAIRY GENEROSITY Radiating poise and control, this fairy showcases stunning,
steady balances en pointe. With a graceful twirl into her final curtsy, she grants the gift of generosity to the princess.
FAIRY BEAUTY Elegant and enchanting, this fairy bestows the gift of outward beauty upon Princess Aurora. Her flowing extensions and gentle, swaying arm movements complement the soothing, lullaby- like melody.
FAIRY SONG With bright, swift footwork, this fairy bestows the gift of song. As she gracefully dances across the stage, the delightful music feels almost indistinguishable from the cheerful melodies of singing birds.
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The Magic Flute and Susannah . At Lyric Opera of Chicago, where Mr. Schuler is resident lighting designer, he has created lighting for such productions as Mourning Becomes Electra, Ariadne auf Naxos , Rise and Fall of the City of Mahogonny, and Ring Cycle . Mr. Schuler was born and raised in Elkhart Lake, Wisconsin. At the University of Wisconsin-Madison, he studied with his mentor Gilbert W. Hemsley, Jr. whom he assisted for three years throughout the country. He has achieved national and international acclaim as a theatrical lighting designer for such organizations as New York Metropolitan Opera, Lyric Opera of Chicago, De Nederlandse Opera, Opera National de Lyon, San Francisco Opera, Salzburg Festival, La Scala, and American Ballet Theatre. He is also a founding partner in Schuler and Shook, Inc., whose theatrical consulting projects include the renovation of the Civic Opera House and the new home of the Washington Opera. The Artists
BEN STEVENSON O.B.E. Choreographer
with L’Orchestre de L’Opera National de Paris, which won the Cannes Classical Music Award for Best DVD in the category of Concert and Ballet Recordings, and Le Corsaire with ABT which won an EMMY for Outstanding Classical Program in the Performing Arts. Mr. Florio’s upcoming engagements for the 2025 and 2026 seasons include performances with Ballet Zurich, Houston Ballet, Norwegian Ballet, Ballet del Teatro Colon, Ballet de l’Opera National de Bordeaux and the Vienna State Ballet.
Ben Stevenson, a native of Portsmouth, England, received his dance training at the Arts and Educational School in London. He appeared with the Royal Ballet and English National Ballet where, as a principal dancer, he performed lead roles in all the classics. He has received numerous awards for his choreography, including three gold medals at the International Ballet Competitions. For his contributions to international dance, Mr. Stevenson was named an Officer of the Order of the British Empire (O.B.E.) by Queen Elizabeth II in December 1999. In April 2000, he was presented with the Dance Magazine Award. In 2018, Mr. Stevenson was acknowledged by the Chinese government as one of the most influential Foreign Experts in the past 40 years since China initiated its policy on Reform and Opening Up. Mr. Stevenson assumed the artistic directorship of Texas Ballet Theater in July 2003. In 2022, Mr. Stevenson was named Artistic Director Laureate in recognition of his lengthy tenure. Previously he served as artistic director of Houston Ballet (1976-2003), elevating the company from a regional troupe to an internationally acclaimed ensemble. DESMOND HEELEY Costume and Scenic Design Desmond Heeley is an internationally acclaimed designer whose work spans the worlds of theater, opera, Broadway, and ballet. Winner of several Tony awards, Mr. Heeley’s productions for Houston Ballet also include Ben Stevenson’s Coppélia, The Nutcracker, The Sleeping Beauty, The Snow Maiden , as well as Sir Kenneth MacMillan’s Solitaire . He has designed sets and costumes for John Cranko, Sir Kenneth MacMillan, and many others. His designs have been seen in a number of productions at the Metropolitan Opera, The Royal Ballet, English National Ballet, American Ballet Theatre, Sadler’s Wells, La Scala in Milan, The National Ballet of Canada, Stuttgart Ballet, New York City Opera, and numerous productions on Broadway. He has worked with such luminaries of the stage and screen as Vivien Leigh, Richard Burton, Peter O’Toole, and Mikhail Baryshnikov.
GARRETT KEAST Guest Conductor
A desire to unify hearts and minds through the spirit and messages of music is at the core of Garrett Keast’s work. Known for his ability to inspire and connect with musicians and audiences alike, the Berlin-based conductor is widely recognized for his musical depth with a wide range of repertoire both in the concert hall and opera house. Keast has become known in recent years for his symphonic conducting and expertise in American repertoire as well as for his rise as founder and conductor of his critically acclaimed orchestra, the Berlin Academy of American Music. Keast enjoyed an enduring partnership with John Neumeier’s esteemed Hamburg Ballet, where he conducted over 130 performances across eight major productions both in Hamburg and on tour to cities such as Tokyo, Baden-Baden, and Los Angeles. His extensive repertoire also includes The Nutcracker with the New York City Ballet, Swan Lake with the Opéra National de Paris, and Don Quixote, Romeo and Juliet, and The Nutcracker at the Royal Swedish Ballet. He has also led numerous productions with prestigious companies such as Les Ballets de Monte-Carlo, the Royal Danish Ballet, the Finnish National Opera & Ballet, and the Staatsoper Hannover. Keast began his career as Associate Conductor of New York City Opera before launching his career in Europe with engagements at the Paris Opera, Orchestre de Paris, Deutsche Oper Berlin, and the NDR Elbphilharmonie Orchester. Today, he regularly appears at top venues including Hamburg’s Elbphilharmonie, Amsterdam’s Concertgebouw, Brussels’ BOZAR, the Staatsoper Hamburg, Seoul Arts Center, Theater an der Wien, and the Festspielhaus Baden-Baden. Described as drawing out “refined and concentrated playing” with “assured sensitivity” (Financial Times), Keast has conducted performances with orchestras including the Tonkünstler Orchester, Deutsches Sinfonie-Orchester Berlin, Philharmonisches Staatsorchester Hamburg, Rundfunk-Sinfonieorchester Berlin, Orchestre National Capitole Toulouse, Philharmonique de Monte Carlo, the Atlanta Symphony, and the Los Angeles Opera Orchestra.
LISA J. PINKHAM Lighting Design (Re-creation)
Lisa J. Pinkham has designed lighting for over 200 ballets, operas, and plays. Her lighting can be seen in the repertories of many national companies. She enjoys a successful relationship with Stanton Welch AM, and has designed the lighting for many of his ballets, including Maninyas, Taiko, Tu Tu, and Falling for San Francisco Ballet; Madame Butterfly for Boston Ballet and Houston Ballet; Clear for American Ballet Theatre; and Swan Lake, Play, Cinderella, Tapestry, Marie, The Rite of Spring, Sons de L’âme, Paquita, The Young Person’s Guide to the Orchestra, Romeo and Juliet, Zodiac, Giselle, The Nutcracker, Sylvia, and Sparrow for Houston Ballet.
ERMANNO FLORIO Guest Conductor
As a symphony orchestra conductor and music arranger with a deep understanding of the art of ballet, Mr. Florio’s career spans over forty years, during which time he has been the Music Director of several of the worlds most distinguished ballet companies including Houston Ballet, American Ballet Theatre, the Dutch National Ballet, and the National Ballet of Canada. He exhibits an unwavering dedication to music for dance, with an internationally established career as a leading figure in the realm of ballet conducting. He has a passion for the art form, and an ability to guide orchestras towards a harmonious synergy with the dancers. Mr. Florio has led performances with the resident ballet companies at many of the world’s most prestigious opera houses and his extensive discography of video recordings include the award-winning performances of Don Quichotte
DUANE SCHULER Lighting Design
The Sleeping Beauty is one of Duane Schuler’s four collaborations with designer Desmond Heeley for Houston Ballet. Other designs for Houston Ballet include Ben Stevenson’s The Snow Maiden, Coppélia, and The Nutcracker. Mr. Schuler has also created lighting for several Houston Grand Opera productions including
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THE ARTISTS
Houston Ballet Orchestra Conducted by Simon Thew, Ermanno Florio, and Garrett Keast
FIRST VIOLIN Denise Tarrant*, Concertmaster Rachel Shepard*, Assistant Concertmaster Linda Sanders*
CELLO Barrett Sills*, Principal Erika Johnson, Assistant Principal Dana Rath Wendy Smith-Butler* Dave Zeger* Cheae-Yun (Chennie) Sung BASS Curry Duffey*, Principal Dave Connor, Assistant Principal
BASSOON Michael Frederick*, Principal Amanda Swain* HORN James Wilson*, Principal Jamie Leff
Carrie Kauk* Mary Reed* Sylvia Ver Meulen* Anabel Detrick* Oleg Sulyga* Chavdar Parashkevov* Kana Kimura
Sarah Cranston* Kevin McIntyre
TRUMPET Tetsuya Lawson, Principal Chris Boulais Theresa Hanebury* Gerardo Mata TROMBONE Thomas Hulten*, Principal Michael Warny*
Greg Garcia* Carla Clark*
SECOND VIOLIN Natalie Gaynor, Principal Trung Trinh*, Assistant Principal
FLUTE Henry Williford, Principal Monica Barker
Elizabeth Frederick* Karen Hall Wilkson* Chloe Kim Miriam Belyatsky Feld*
PICCOLO Douglas DeVries
Melissa Williams Erica Robinson*
BASS TROMBONE Richard Reeves*
OBOE Elizabeth Priestly*, Principal Katherine Hart
VIOLA Rene Salazar*, Principal Lorento Golofeev*, Assistant Principal Elizabeth Golofeev* Sarah Mason Matthew Weathers Erika Lawson
PERCUSSION Christina Carroll*, Principal Karen Slotter* Robert McCullagh
ENGLISH HORN Spring Hill*
CLARINET Eric Chi, Principal Justin Best
HARP Laurie Meister, Principal
PIANO Katherine Burkwall-Ciscon*
*Houston Ballet Orchestra members who have more than 10 years of service
Acknowledgements General Counsel: Vinson & Elkins, LLP Immigration Attorneys: Foster, LLP
The Dancers and Stage Managers of Houston Ballet are represented by The American Guild of Musical Artists, AFL-CIO. Houston Ballet Orchestra members are represented by Houston Professional Musicians Association, Local 65-699, A.F. of M. Stage Crew personnel are placed by I.A.T.S.E., Local 51. Wardrobe personnel are placed by I.A.T.S.E., T.W.U. Local 896. Houston Ballet is a member of Dance/USA Touring Representation: IMG Artists
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HOUSTON BALLET
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Artistic Staff Profiles
Julie Kent Artistic Director
(1994). His work can be seen in the repertoire of The Australian Ballet, San Francisco Ballet, American Ballet Theatre, and Birmingham Royal Ballet, among others. In July 2003, Welch was appointed Artistic Director of Houston Ballet, America’s fourth-largest ballet company. Welch has choreographed more than 40 works for Houston Ballet, including Marie (2009) and spectacular stagings of Swan Lake (2006), La Bayadère (2010), Romeo and Juliet (2015), Giselle (2016), The Nutcracker (2016), Sylvia (2019), and the upcoming Raymonda (2025). Developing Houston Ballet into a choreographic Eden, Welch has commissioned over 30 works from notable choreographers such as Mark Morris, Aszure Barton, Dwight Rhoden, Trey McIntyre, and Justin Peck, while expanding the company’s repertoire with works from internationally acclaimed choreographers including George Balanchine, William Forsythe, Jiří Kylián, Sir Kenneth MacMillan, John Neumeier, Twyla Tharp, and Jerome Robbins. Under Welch’s leadership, Houston Ballet has appeared across the globe including recent engagements in Tokyo, Dubai, Melbourne, New York City, and Washington, D.C. Welch continues to nurture the next generation of artists through the Houston Ballet Academy, a leading institution in dance education and training.
Julie Kent became the Artistic Director of Houston Ballet in July 2023, joining Stanton Welch AM as co-artistic leadership of America’s fourth largest classical ballet company. Kent was the longest serving Ballerina in American Ballet Theatre’s 85- year history, dancing a vast repertoire of classical and neo-classical roles from 1985-2015, and working closely with choreographers John Neumeier, Twyla Tharp, Lar Lubovitch, Stanton Welch AM, Alexei Ratmansky, Mark Morris, Nacho Duato, James Kudelka, Jorma Elo, Kevin McKenzie, and others. Ms. Kent also danced as an international Guest Artist with the Mariinsky Ballet, New York City Ballet, Teatro alla Scala, Stuttgart Ballet, Berlin Staatsballett, The Australian Ballet, Houston Ballet, Bayerisches Staatsballett, Teatro Colon, Ballet de Santiago, Tokyo Ballet, and others. She won the Prix de Lausanne (1986), Erik Bruhn Prize (1993), and was the first American dancer ever to win the Prix Benois de la Danse (2000). In 2012, she received an Honorary Doctorate of Performing Arts from the University of North Carolina School of the Arts and a “Lifetime Achievement Award” from Dance Magazine and was conferred an Honorary Doctorate from American University’s College of Arts and Sciences in 2023. Ms. Kent also starred in the films Dancers (1987) and Center Stage (2000). In August of 2015, after a 30-year performing career, Kent was named Artistic Director of ABT’s Summer Intensive, a comprehensive summer dance program for 1,400 students at five campuses across the US. From 2016-2023, she was Artistic Director of The Washington Ballet where she brought important classical and contemporary masterworks into the repertoire, commissioning over 26 world premieres. Ms. Kent married former ABT Associate Artistic Director and Principal Dancer Victor Barbee in 1996, and, as a mother of two children, she has helped redefine the image of the American Ballerina.
Julie Kent Artistic Director
Stanton Welch AM The Harris Masterson III Artistic Director
Simon Thew Music Director and Chief Conductor
Australian Conductor Simon Thew was a regular guest conductor with The Australian Ballet between 2013 and 2016, conducting performances in most of the company’s seasons during that time. In 2017 he accepted an invitation to become The Australian Ballet’s assistant conductor, a position he held until mid-2022. He has also worked as a guest conductor for English National Ballet, Birmingham Royal Ballet, and Houston Ballet. Mr. Thew was The Australian Ballet’s Conducting Fellow in 2011 and was awarded a Churchill Fellowship. The Churchill Fellowship enabled him to undertake further professional development opportunities with ballet companies, opera houses and orchestras in London, Birmingham, Vienna, Berlin, and New York across 2012. In 2007, Mr. Thew was awarded the Dame Joan Sutherland/ Richard Bonynge Travel Scholarship, which enabled further study in Europe, culminating in his position as musical intern at the Bayreuth Festival in 2008. Mr. Thew was an assistant conductor with Opera Australia from 2007-2010. In 2010, he held the Hephzibah Tintner Fellowship, which gave him performance and mentoring opportunities with The Australian Ballet, Opera Australia, and the Sydney Symphony. Mr. Thew undertook studies in
Simon Thew Music Director and Chief Conductor
Stanton Welch AM The Harris Masterson III Artistic Director
Stanton Welch AM was born in Melbourne to Marilyn Jones OBE and Garth Welch AM, two of Australia’s most gifted dancers of the 1960s and 1970s. He joined The Australian Ballet, rising to the rank of leading soloist and performing various principal roles, before serving as Resident Choreographer. During his decades long career, Welch has choreographed over 100 works including audience favorites Madame Butterfly (1995), Clear (2001), and Divergence
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Artistic Staff Profiles
Sydney, Vienna, Berlin, and Barcelona with mentors including Sebastian Weigle, Nicolette Fraillon AM, Harry Spence Lyth, Richard Bonynge AC CBE, and John Hopkins AM OBE. Mr. Thew also has an active concert and recording conducting career and is committed to the education of young conductors and instrumentalists. He joined Houston Ballet as Associate Conductor in August 2022 for the 2022-23 season. Mr. Thew starts as the new Music Director and Chief Conductor beginning the 2024-25 season.
focusing on her portrayal of one of the great heroines of Russian literature. She was also featured on PBS, performing Alonzo King’s Map , in a moving 9/11 performance. Following retirement, Ms. Fote accepted the position of Ballet Master with Ballet San Antonio. Upon returning to Houston, she began teaching for Houston Ballet II and Houston Ballet before joining the artistic staff in 2018.
Ian Casady Ballet Master
Hayden Stark Ballet Master
Ian Casady Ballet Master
Hayden Stark grew up in Lincoln, Nebraska. He began dancing at three years old, toured with Minnesota Ballet at ten, and, at fifteen, left home to attend University of North Carolina School of the Arts. After graduating in 2012, Stark joined Houston Ballet II, was hired into the Houston Ballet Company in 2013 and quickly elevated to Soloist. He has enjoyed performing the lead role of Ariel in David Bintley’s The Tempest , Bluebird in Ben Stevenson’s The Sleeping Beauty, and Fire God in Stanton Welch’s La Bayadère. After retiring from Houston Ballet in 2021, Stark became the Professional Training Division Instructor with Texas Ballet Theater before rejoining Houston Ballet as a member of the artistic staff in 2024.
Ian Casady was born in Fairfax, California, and received his dance training there from David Roxander, Jody White, and Georgia Ortega. In 1998, Mr. Casady studied at Houston Ballet’s Ben Stevenson Academy before joining the Company as a member of the Corps de Ballet. He was promoted to Soloist in 2002, to First Soloist in 2006, and to Principal in 2007. Over the course of his career, Mr. Casady has danced a wide range of roles in works by some of the most celebrated choreographers, both past and present. Mr. Casady has been fortunate enough to have danced on some of the most historic and famous stages around the world including Lincoln Center in New York, the Kennedy Center in Washington D.C., the Bolshoi in Moscow, the Champs- Élysées in Paris, the Sydney Opera House, Sadler’s Wells in London, and theaters in Hong Kong, Spain, Germany, and Canada. Mr. Casady was a finalist at the 2002 International Ballet Competition in Jackson, Mississippi. Upon his retirement after a 22-year professional career onstage, he joined the artistic staff of Houston Ballet as ballet master in 2020.
Amy Fote Ballet Master
Steven Woodgate Ballet Master
Australian Steven Woodgate graduated from The Australian Ballet School in 1985. He performed with The Australian Ballet, progressing through the ranks to senior artist in 1996. In 2000, he was awarded The Churchill Fellowship, which enabled him to observe many ballet masters from around the world and study their various teaching methods. Mr. Woodgate joined the artistic staff of Houston Ballet in January 2004. Mr. Woodgate has taught both student and professional classes around the world. Mr. Woodgate reproduced Stanton Welch’s Madame Butterfly for the Singapore Dance Theater, The Royal New Zealand Ballet, The National Ballet of Canada, Pittsburgh Ballet Theatre, Atlanta Ballet, Ballet West, and The Australian Ballet. In 2009, Mr. Woodgate staged Clear for Angel Corella’s company in Spain and in 2011 re-staged Ronald Hynd’s The Merry Widow for Texas Ballet Theatre, Tulsa Ballet, The National Ballet of Canada, Teatro Colon Argentina and Houston Ballet. Woodgate also represented Australia in the Moscow Ballet Competition in 1989. Woodgate danced principal roles in Ashton’s La Fille Mal Gardee , Van Praggh’s Coppélia , Bejart’s Le Concours and Gaite Parisienne , works by Tudor and Balanchine, Welch, and many other choreographers.
Hayden Stark Ballet Master
Amy Fote Ballet Master
Amy Fote began dancing at the age of four in her hometown of Manitowoc, Wisconsin, under the direction of Jean Wolfmeyer. She continued her studies on scholarship at the National Academy of Arts, Interlochen Arts Academy, and at the Harid Conservatory, where she graduated with honors. Ms. Fote then accepted a position with the Milwaukee Ballet and rose through the ranks to become a principal dancer. During her 14 years with the company, she regularly performed at the Chautauqua Institution in New York and was subsequently invited to dance the title role in Stanton Welch’s Madame Butterfly with the Royal New Zealand Ballet. In 2005, she joined Houston Ballet, where she danced for eight seasons. In 2003, she was featured in a PBS documentary entitled Dancing Anna Karenina ,
Steven Woodgate Ballet Master
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