In the Night Program

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IN THE NIGHT CONTENTS

9 FIRST POSITION

Dive into the life of Polish composer Frédéric Chopin; gain insight into In the Night’s couples; learn more about the men’s section of Lila York’s Celts ; and join Artistic Director Stanton Welch AM in a Q&A about the creation of Maninyas 15 IN THE NIGHT Discover the artists behind In the Night, Maninyas, and Celts How well do you know the Jerome Robbins ballets in Houston Ballet’s repertoire? Put your knowledge to the test! 13 JEROME ROBBINS QUIZ 33 ÉTOILE Meet the visionary leaders investing in Houston Ballet’s world-class performances and programs

IN THIS ISSUE 6 Welcome Letter 27 Company Profiles 32 Board of Trustees 36 Annual Supporters 41 Special Events 42 In the Wings

HOUSTON BALLET

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

Ben Stevenson OBE Artistic Director Emeritus

PUBLISHED BY Houston Ballet

Welcome!

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

Dear Houston Ballet friends, After a wonderful start to our season, Stanton and I are delighted to welcome you back to the theater for In the Night, a mixed repertoire program that offers a rich exploration of relationships, identity, and cultural heritage. These three ballets represent a beautiful spectrum of classical and contemporary styles, each highlighting the expressive talents of our dancers in unique and compelling ways. We begin the evening with Jerome Robbins’ In the Night , a masterpiece that has captivated audiences since its premiere in 1970. Set to Frédéric Chopin’s exquisite nocturnes, this ballet portrays three couples navigating loves many forms, from tender intimacy to fiery passion. Robbins’ choreography is a testament to his genius, capturing the nuances of human emotion with unmatched grace and authenticity. Next is Stanton Welch’s Maninyas , a deeply personal and evocative ballet that explores the vulnerability of revealing oneself in a relationship. Set to the lyrical music of Ross Edwards, Maninyas features a series of striking pas de deux and pas de trois that convey both the beauty and complexity of human connection. This ballet holds special significance for

Houston Ballet, as it was Stanton’s first American commission, paving the way for his remarkable journey as Artistic Director of this company. Finally, we conclude with Lila York’s Celts , underwritten by Norah Orphanides. Created in 1996 as a tribute to her parents’ fiftieth wedding anniversary, this ballet is a vibrant celebration of her Irish heritage, fusing the precision of classical ballet with the spirited rhythms of Irish folk dance. The result is an exhilarating work that pulses with energy and cultural pride, reminding us of the enduring power of tradition and family. Stanton and I are so grateful to share this extraordinary evening of dance with you, and we extend our deepest thanks to our generous supporters for making this performance possible. It is an honor to welcome you into the theater and to share our passion for the art of ballet.

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See you in the theater,

ON THE COVER Principal Karina González and Joseph Walsh in Jerome Robbins’ In the Night . Photo by Leonel Nerio.

JULIE KENT Houston Ballet Artistic Director

Houston Ballet Artistic Director Julie Kent. Photo by Julie Soefer.

6 HOUSTON BALLET

Enjoy your experience with Houston Ballet!

Grab a drink, grab a snack! Dining and refreshments are available pre-show and during intermission in the Wortham Theater Center, provided by Levy Catering. You can also pre-order beverages at the wine or coffee bar in the foyer. Only drinks served in an approved branded drinking vessel are allowed in the Brown and Cullen theater chamber. All other food and beverage is prohibited inside the theater chamber. 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!

HOUSTON BALLET

FIRST POSITION SPOTLIGHT p. 10 | ANATOMY OF A SCENE p. 11 | EN POINTE p. 12 | UPLIFT p. 13

A portrait of composer Frédéric Chopin by then-16-year-old and ex-fiance Maria Wodzinska. Courtesy of public domain.

SETTING THE ATMOSPHERE FOR JEROME ROBBINS’ poignant work In the Night aFri resftopurrepmi ai enroe dn oi nc t1u9r n7e0sbbyyNtehwe iYnof lrukeCnittiya lBPaol llei sth, c o m p o s e r, Fré d é r i c C h o p i n . In the Night isn’t Robbins’ first eCxhpolpoirna’ tsi opni aonfoCphioe pc ei ns ’ st oecxrpaafnt st hi vee qcuaitnatl oe sgsueen. tJiuasl tptihaen oy ebaarl lbeet f o r e , h e u s e d 1 8 o f Dances at a Gathering . i h d is e B n f o r t r a it n u y g i a n h n t W d r o a th m rs e a a t n w u t r i i c b n u r 1 e le 8 la n 1 t t 0 i o e , n v C e s h h n o i t p p s i s n i , n ’ a s h n m i d s u t l s i h f i e e c , h w in e a c a s l l u t d h d e i i e n s p s g l u y t e h i s n e t f 1 h lu 8 a e 3 t n 0 le c d N ed o t o v b e y h m i h s b i e s e a P r r o U ly l p i s d r h e is ai tnhg ,a t aC gheo p3 i9n. Rr eevnool wu tni oe nd i zf oe rd hpi isa tneoc hmnui cs ai cl l, yb dl eenmd ai nngd icnl ags as ni cda le fmo romt i so nwailtl hy tehx ep rpeesrssi ov ne awl od rekpst, h a nWd choemn pc rl eexaittiyn gc haawr aocrtke rtios tei cx iosft itnhge mR oums i ca,nRt iocbpbei nr isohda. s s a i d : “ Fo r m o n t h s a n d mf r oomn t ht hsepmr i oo rmteontthIegtei mt uepotfoatcht ue aml l yo mweonr tk iInggo otno tshl eeeppi. eIc’ lel , pI l pa yl aiyt twhhe i ml e uI ’smi c schoanvsitnagn. tIl’yl l pislna’yt aitnwyhnioleteI’omr wnuoarnkcinegthaarot uI nmdistsh.”e house. I try to saturate myself with it so there Robbins’ deep musical immersion is evident in In the Night , where he creates

Love Through Nocturnes A closer look at Frédéric Chopin’s nocturnes in Jerome Robbins’ In the Night , weaving a tapestry of the stages of love.

By Jasmine Fuller Cane

HOUSTON BALLET

FIRST POSITION

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LOVE TAKES SHAPE for couples in mt o asneya swo anyesd. Fa rnodmc onme wf o ar tnadb leex, cJ iet ri no gm, e Robbins’ In the Night features three creoluaptiloenssinhidpisf.ferent stages of their First Couple Tb ehtewf ei resnt ct ho eu mp l en ei swy oa un nd ge, xt chi et i nl ogv. eT h e y ful no ai stoanc, rdoos tsi nt hgeosnt aagned, odfrtaepni ni ng poevrefre ceta c h of l tohwe irn. Tg ,hme iirmmi cokvi enmg et hnet smaur es iscoaf st ai tnsdo f t l y lt ial tkse at nh de i sr l oe ywel sy ogfrf oewa cs h. Toht ehye rc. aTnh be ar er ei lsy nbuoiwldoinrrgyb, oetnwlyeaennttihciepmat.ion of the bond Second Couple Te shtea bs el i cs ohne dd ct yopuep loef hl oavsea. Tmhoerye m o v e ahci gr ho s, sa nt haei rs ot af gree gwailti ht yt shueri rr ohuena dd isnhgetlhde m ab su itlhdeapnida nr oe l reiansges. To nh ewr ei t hi s dhyi sntaomr yi ci n tmh ae di re rtehl ae tmi o mn sohriep ,c bo umt f toi rmt aebhl ea .s Tohnel iyr his Nocturne in C-sharp minor, Op. 27, No. 1 q ,ubi eutt ehnedr oc of ot hl ,efior rrme laalt ri oe np sl yh imp .aDr keeedp ltyh e aCfhf eocptiendkbeyp thMe raur inar’ es cl ei pt treorcsa, tleadb el ol evde , “ M y shoisrrdoewa,t”hw. hich remained with him until Opus 55, Nos. 1 & 2: Nocturne in F minor and Nocturne in E-flat major NO pe xuts, 5R 5o bt ob iancsc uo sme ps abnoyt ht wn oo cctounr tnreass tf irnogm loves. The first, Nocturne in F minor , sets tt hy pe ep oa fc el ofvoer, awrheesrt er aa isntehde asne dc omn da t, u r e Nocturne in E-flat major fans the flames oT fh ae fni eorcyt uarnnde st ewmepr ee sct ou mo upso rseelda tbi oe nt ws he iepn. 1b e8 g4i2n na inndg 1o8f 4C4h, owp hi ni c’ shdsei gc lni na lee idn t hh ee a l t h froSmhocrhtrlyonaifcteirllnheisssfa. iled engagement to Ml o na rgi ar e, Cl aht oi opni ns hbi pe gwa ni t ha tnheea raluyt dh eo cr a d e - Gweeor regoef tSeann ds eienn1a8s3o7p. pTohsoi ut egsh –t hCeh ot wp ion ra ensde ri nv de de paenndd seennt s–i tti hv ee ,i rS ai nntde nbsoel da n d smoamneyt oi mf Ce hs ot upmi nu’ sl twu oo rukssl. oAvse Ci nhsoppi irne’ds

mo f osvuermp reins et s, ma ruecshulri ek,ewt hi teh rloi tmt l ea nmc eo m e n t s between the two. Third Couple Tt ahkee smtuhsei cs ti angt ee n. Rs ief pi erse as es nt ht i en gf i np ahlycsoi cuapl l e dc he as irrgee, dt hwe i at hi r ebme towt i eoenn. Tt hh ee sbe atlwa nocies or ef upnoiwt eetri ms hei fat sn da st itmh eeyasgeapi na .r aTtheeai rn hd e a d s qf i un idc kt hl ye ms nsaepl vaews af ay l lbi ne fgo br ea ct kh ei ny tion ee va ictha b l y oi st hd ei srs. oMnuacthe lwi ki et ht hq iusi ec ot umpol em, et hnet smouf s i c rthesrooulvgehththaet htwigoh.light the desire coursing Isnh itphse al sa st th secyednaen, tche eocnotuhpel essa ma ree sptaasgsei,n g bp ul etans oa nt tt roigees t wh ei trh. Tehaecyh eoxtchhear nbguet samp pa lel a r taon db ewohcactu’ sp ti eo dc owmi t eh. tAhse ai ru ot hwonr aa fnf ad i rdsa n c e wo brsi teerrv eCsh, e“rt yh le Al u. Or es soof l raosmo abnecaeuht iof ul dl lsy t o o mw oumc ha np raonmd i ss pe ,i na sn dh eeraoc fhf mi n at on tghaet hnei gr hs th.”i s iUnptrhi sei nwga. kAet ot hf itsh es t 1a 8g e3 0i nNhoi vs ecma rbeeerr, Ccohmoppionswera, syesttill finding his voice as a Nocturne in E-flat major ad lerpe tahd yt hraetvwe aol us ltdh de el yf irni ce ahl ,i se ml a ot et ri own oa lr k s . It th’ si s f ei tat irnl yg pt hi eacteRtoobebvi onks ewt oh ue l fdl eteutri nn gt ,o ae lnmc oous tn at enrosni ynmt hoeu sf i nn aa lt umr oe mo fetnhtes coof ut hp el e s ’ ballet. hf eewa letrh pdi ee cc lei sn, ewd i, thhe Owpruost e5 5f e awme or na gn d tl ehses f. eSwa nhde’ sc rooml ep sl ehtief tde, da nf rdo mp e lrof ov er mr teod cr ea lraettiaoknesrh, iapn edvtohl ev ierdoinnct eo - ap ams soiroen a t e enduring, yet strained, connection. Opus 9, No. 2: Nocturne in E-flat major An or gc ut uarbnl ye , CRhoobpbi inn’ ss mt u or ns ts rteoc tohgen bi zeagbi lnen i n g of Chopin’s catalogue for the final section of In the Night, using the second no fo nc toucrtnuer nf reos mt o hui sn df ier rs st cpourbe l ti shheepdasses ti n g m1 8e3e1t i-n3g2s wo hf tehneCchoouppilne sw. aCso mj u ps to 2s e1dy iena r s oP ladr,i st h, si sh op ri et lcye arfet ef lre chtes lheifst ehai sr lhyoyme aerl as ni nd

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a r t oational nn uo ca tnucrenseos f cChhoos pe ni nf’ so rmt uh sei cb;atlhl eet fcooumr e from different periods of Chopin’s career. Opus 27, No. 1: Nocturne in C-sharp minor Rn oo cbtbuirnnse’ oopf eansse tt hoef bt wa lol etthwa ti tChhtohpei nf i r s t cs toamg ep of os re da iyno u1 n8 g3 6c .oTuhpel emt ou seixcpsl eotrse tahne ii nn nt oh ce emn tu ns iecw’ s lgorvaed, unaol di notue bn ts irteyf. l Ienc tt ehde mw ai ds set mo fb wr oriiltei dn gi nt hhei sc oowmnp ol osvi tei oanf f, aCi rh. o p i n iMn aW1r 8i h a 3 i W 6 le , o C tr d h a z o v i p n e i l s n i k n i r g , e a t c h o y r o n o u n u n e g c g h t w e D d o r e mw s i a d t n h e n fhreo’ md oac wc aeslilo- tnoa-ldl yo gPiov lei ns hpfi aa mn oi l yl e ws shoonms . Ep rnoapmoos reetdo, 1i t6p- yr oema rp- ot el dd MC haor ipai ni nt o St heepitreemnbgearg. eDme sepnitt en et hv eeri nl ei tdi at lo omp tairmr iiasgme,. o s w i m t Ah iss tai mf f eec pt iaosnsse dg r, eMwa rcioal’ ds er re, sapnodn tshe etior cg oe rs rt ue sr ep oonf dl oevnec, eCdhwo pi ni nd lseedn. tI nMaa rf ii na aal collection of his compositions, including

SPOTLIGHT

Love Phases

Explore the dynamics of love of the three couples in Jerome Robbins’ In the Night.

By Amanda Coleman

10 HOUSTON BALLET

FIRST POSITION

ANATOMY OF A SCENE

A Celtic Descent The men’s warrior section in Lila York’s Celts showcases strength, athleticism, and adrenaline.

STONE SOUNDS The score for this section

is a compilation of percussion sounds by William J. Ruyle. York says, “he worked on bodhrans, the original Celtic drums.” Ruyle got creative when it came to finding the right sounds. “He used a stone attached to a string that he spun over his head to make this whirring sound.”

By Kharma Grimes

FLOOR TO FLIGHT The men’s section features dynamic shifts

from floor work to jumps. York notes, “…the floor work was made with me and Rob [Wallace, whom Lila choreographed the warrior section of Celts on], and we’re both small. Our bodies can get into these little crunch positions. Someone with long legs probably can’t do it.”

NOTHING BUT KILTS The costumes reflect the history of Celts going to war in only their kilts. In an interview featured by San Francisco Ballet, Lila York says, “The Celts were famously dirty fighters.” She continues, “They were these huge, pagan types, as bestial as could be. That’s why I have the dancers bare- chested, in red kilts.”

LIGHT STEPS “There’s soft-shoe and

hard-shoe step dancing,” says York. “The steps I put together are based on soft shoe.” Light or Soft Shoe is an elegant Irish dance style emphasizing strength, control, and ballet-like technique. Dancers master four dances—Reel, Single

Jig, Light Jig, and Slip Jig— each with its own rhythm.

AFTER THE FIRST FEW MOMENTS of Lila York’s Celts , a dimmed spotlight rdeavnecael rs raa si st ri ni kgi nh gi s t fai bs tl ei an ut hwei tahi rawmhai ll ee tchl eenoc thheedr, ma nedn seenecmi ricnl ge l hy i pmr ,efpi satrsi n g f o r wk i al trs. , Dt hr eesms eedni’ sn wn oa trhr ii on rg sbeuctt isohno irst ar e d d eIfni nai nKgamn soams eCni ttyi nB at hl lee tbianltl ee rt .v i e w, Yp or or kg rdeisssceuss st he rs ohuogwh “i mt haegpe ise oc ef I r i s h hwias rt or iroyr, sa nwdi tthh et hme iernt’rsi bdeasn.”c e i s C e l t i c Celts is cwohme pn riitsceadmoef mt oucl ht iopol es icnogmt hpeo s e r s ; music for the men’s section, York

cJ . oRmu my l ei s, swi ohnoe ids ha epr ef rrci euns sdi, oWn iisl lti. aHme isnhvei tgeadv eh ehri mt o tah er epcaorradmi negt es rt us ;dYi oo ,r ak n d et omrpe hp ar se iszeendt tt hr aa dt itthi oe nma lu Isri ics nh ederduemd s . “c Iot uclodunl’ dt ns o’ t usnodu nL da tAi nf r; iict ahna, da nt od bi te at hnec ireenatl mC eol tfi cI rmi s hu smi cu.” sWi c ,htihl ei ss st iel cl ti ni o n ipsusrterliyp pa ne do vo ef rallal yo ot hf ef irvseoruenc do sr dainndg si so f RYourykl er epfl laeycitnsgopnetrhceu sbsei go inn ni ni ns tgr uo mf t ehne t s . wheaarrrtiogrosinegc.t”ion, “it really gets your As the section progresses, the

ev ni secregrya lbpuai lrdt ns et hr irnogu ag nh da hsiegrhi evsaoufl t s iant ht ol etthi cei sami r . i“n[ Lt ihl ae ] gburyi sn gt hs aotuIt f ai nnd uWneilqcuheA,”MA rntoi sttei cd Di ni rae c t o r S t a n t o n Houston Arts and Culture article. And out of all the dYoy rnka mb ei cl i emv oe sv et mh ee mn tos si tn cthhai sl l es ne cgti inogn , aa sr mp esc wt ias nkteteopfi lnoga tt huep a, sr omtshset ihl la. r“dTehset i r t h iRnegmi si nkiesec epni nt go tf ht he ea rrme ssi l di eonwt nC.e” l t i c warriors, the men’s section in York’s Celts pushes the limits of its dancers, otofftehreinwgoartkh.rilling rush of adrenaline

HOUSTON BALLET

FIRST POSITION

PERFECT PARTNERS For nearly 30 years, Stanton Welch and Resident Lighting Designer Lisa J. Pinkham have enjoyed a longstanding collaborative relationship – and it all started with Maninyas.

EN POINTE Unveiling Connections Stanton Welch AM reflects on Maninyas , from the power of Ross Edwards’ music to the unveiling imagery in his first American commission.

cs toonrcyl, uas icoonm. Ipt l ef et let bl i aklel ei tt si no wi t sne ll if t. tEl ea c h se el ecmt i oenn tgsa, voen es pi na cwe ht oi cehxIpilmo rme eddi fifaetreel yn t ka nme awn I wwi tahn toende t wo or empar ne sbeeni tn tgh ree ipdl ea ac eodf bs eynasne oot fh seer.aTr oc hmi neg, tf ho ra ta craepl at ut iroends ah i p . Wc l ohtehnaIncda mm oe vui pn gwtiht rhotuhgehi di te, ai t oafl lt h e twi eads ianl wt oatyhsegcooi nngc etpo tcoefnut enrv ea irloi nugn. dI t the struggle of relationships— what Ib iumt mt heedi idaetae loyf hreeamr do vi ni ntghlea ymeur ss,i ca—n d et ov er ne vt ue aa ll l ya nh oa vpienng sepvaecrey, t ehmi negr fgael dl aaws a y pt oagret tohfetrhaensdc ewnoi cr kdeeds iwg ne .l lI tb ae lcl acuasme et h e music told a story. How did you incorporate the idea of unveiling into the choreography? SW: I think the concept of unveiling iws amy ot hs te ryeappr pe seeanr ttehdr obuygthh ei t ,c wl oet ha v. Te hi ne at hnedmo ui nt ;tbhye pbuesghi ni nngi nign.tAo si tf,airt ua snvt heei l s smt eapkse aarme coovne mc eernnte dt h, aI tdwi dans’ tutnr vyetiol i n g ; iatswt ha os umg oh rteh ae ny i wmearl ei s ct irce iant uarwe sa, yn. oI tt w a s lsiet earrac hl l yi n, bg uf rt ai nn toi cuarl lhyeianrtths iasnwdi sl doeurln—e s s foofrththaet sreigahrtchp.erson, and the difficulty

Lisa J. Pinkham and Stanton Welch AM with Artists of Houston Ballet after the Welch’s In Good Company in 2021. Photo by Lawrence Elizabeth Knox.

In 1996, you created Maninyas for San Francisco Ballet, which was also your first American commission. How did this opportunity come about? Stanton Welch AM: The Australian BF easl ltei vt apl a[ratni ciinptaetrendaitni oUnNa li tfeeds tWi v ael Di na nS caen Fa nr anni vc ei srcsoa,rcyoomf mt heems iogrnaitni ng go tf ht eh e5 0Utnhi t e d Ne aacthi opnas rCt ihc ai pr at et ri n] .gTchoemi dp ea an ywtaos bf or irn g ac obuanl lter ty mi na tdhee bnya st ioomn ae lo bn ae l lf er ot mc o tmh pe iarn y ; I[ Twoams at shseoAn u, fsot rr ma l iearnScaonmFpr aonnceins ct .oHBeal gl lie t Aa nr tdi sktni ce Dwi rme cet forro]mh at dh es es ec hn omo yl . Awfot er kr t h e ff eosr tti hv ael ,c ho emipnavni tye, dwmh iec ht ot uc rr enaetde oaubt atlol e t be Maninyas . The ballet is set to Ross Edwards’ violin concerto, Maninyas . How did you come across the composition, and how did it fit the concept of the ballet, which you’ve described as a process of unveiling and exploring relationships? SW: I first came across it on tape and lt ihs et ecnoeudn tt or yi st iodne ao nWaa rl ke mg i ao nn awl ht oi luer i n iWn hAeuns tIrhael iaar; dI jtuhset mfeul lsiinc , lIokven ewwi tiht iwt .a s amgursei ac thpaide cl aeyfeorrsb. Ta lhl ee tf bi resct amu soev et hmee n t fi ne et ol s slei kc et i oa nn si nbterfoodr ue ci tt i loena dt hs ai nt tuon tf oh led s

The Beginning of a Beautiful Collaboration When Welch arrived in the

Bay Area to create Maninyas , he was already familiar with the “cool lighting lady” at San Francisco Ballet from his time in the San Francisco Ballet School. Bonding over their love of preparedness, the two hit it off right away. “As I started getting commissions, I kept bringing her on board,” Welch says. “It’s about having that shorthand with someone—being able to compare another work and say, “Look, it needs to be a bit like this, but this is what’s different about it.” Why Lisa? Her Work Style Preparedness aside, Welch is always impressed by Pinkham’s final product. With an adept hand for clean lines, Pinkham’s elegant simplicity ensures that the dancers always shine. “I never feel that the lighting is going to overpower or under light the dancer,” Welch says. “We can do everything we want creatively, but the bottom line is that the dancer has to do the step, and I’ve always felt that Lisa has understood that.”

12 HOUSTON BALLET

FIRST POSITION Jerome Robbins Quiz Are you a Jerome Robbins afficianado? Match these dancers with the title of the Robbins ballet in Houston Ballet’s repertoire. UPLIFT FIRST POSITION

OTHER DANCES Created in 1976, this pas de deux was created to showcase the technical brilliance of Russian ballet icons Natalia Makarova and Mikhail Baryshnikov.

AFTERNOON OF A FAUN Inspired by Stéphane Mallarmé’s poem L’après- midi d’un faune, the ballet features two young dancers meeting at a rehearsal studio.

WEST SIDE STORY SUITE A snippet of the critically acclaimed Broadway show choreographed by Robbins, this piece features the iconic Jets and Sharks.

THE CAGE This peculiar ballet follows a tribe of female insects who prey on their male counterparts.

THE CONCERT The Concert (or the Perils of

FANCY FREE Robbins’ first choreographic venture, this piece tells the tale of three sailors on shore leave in New York City.

IN THE NIGHT Premiering in 1970, and featuring three sets of couples, this ballet depicts the many faces of love.

Everybody) portrays a quirky piano recital in the form of a comedic ballet.

HOUSTON BALLET

Sleeping Beauty The March 13-23

Great seats still available for March 14 @ 7: 30 PM and March 22 @ 1:30 PM ACT NOW!

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14 HOUSTON BALLET

IN THE NIGHT IN THE NIGHT p. 17 | MANINYAS p. 19 | CELTS p. 21 | THE ARTISTS p. 22 FEBRUARY 27 – MARCH 9, 2025

IN THE NIGHT 28 minutes INTERMISSION 20 minutes MANINYAS 34 minutes INTERMISSION 15 minutes CELTS 26 minutes

Approximate Duration 2 hours and 3 minutes

HOUSTON BALLET

IN THE NIGHT

16 HOUSTON BALLET

Choreography by Jerome Robbins (1918-1998) Music by Frédéric Chopin (1810-1849) Piano Nocturnes, Opus 27, No. 1; Opus 55, Nos. 1 & 2; and Opus 9, No. 2 Costume Design by Anthony Dowell Lighting Design by Jennifer Tipton , recreated by Nicole Pearce Staged by Anita Paciotti In the Night

Katherine Burkwall-Ciscon , Piano

World Premiere: January 29, 1970 by New York City Ballet at New York State Theatre in New York City, New York.

Houston Ballet Premiere: March 6, 1986 in Jones Hall for the Performing Arts in Houston, Texas.

WHAT YOU’RE WATCHING Jerome Robbins’ In the Night , created a year after his brilliant Dances at a Gathering in 1970, is a poignant exploration of romantic relationships through three distinct pas de deux, each representing a different stage of love. The ballet opens with a youthful, innocent couple whose tender movements express joy and discovery. The second couple, mature and reserved, displays the depth and restraint of a long-established relationship, subtly conveying both elegance and history. The third couple’s passionate and tumultuous interactions contrast sharply with the previous two, their physical and emotional struggles playing out in a fiery pas de deux. The ballet concludes with a brief, polite acknowledgment between the couples. WHAT YOU’RE LISTENING TO The ballet is set to four piano nocturnes by the Polish composer Frédéric Chopin, renowned for their lyricism and emotional depth. Composed between 1831 and 1844, these pieces evoke a range of moods, from tranquil to passionate. The word “nocturne” refers to evening or night, a fitting inspiration for Robbins’ title of the ballet. Each nocturne begins with a delicate melody that gradually evolves into rich emotional landscapes, perfectly complementing Robbins’ exploration of love’s complexities. The music not only shapes the tone and pacing of the choreography but also serves as a narrative voice, guiding the dancers’ emotional journeys.

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“If you’re doing Shakespeare, you really have to (stick to) the script. There’s no ad libbing. … You can only play within the words. There’s such a freedom in that for some artists—for great artists, frankly. They find that liberating. The (set) structure gives you the puzzle from which to find your new way. I think Robbins is like that.”

STANTON WELCH AM FOR ARTS AND CULTURE TEXAS (2024)

Sara Webb and Principal Connor Walsh. Photo by Amitava Sarkar.

HOUSTON BALLET

MANINYAS

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Maninyas

Choreography by Stanton Welch AM , for Mark Music by Ross Edwards Maninyas: Concerto for Violin and Orchestra Presented under license by G. Schirmer, Inc., o/b/o Wise Music G. Schirmer Australia Pty. Ltd., copyright owners.

Costume Design by Stanton Welch AM Lighting Design by Lisa J. Pinkham

Denise Tarrant , Violin

World Premiere: February 28, 1996 by San Francisco Ballet at the Yerba Buena Center for the Arts in San Francisco, California.

Houston Ballet Premiere: June 9, 2005 in the Brown Theater at Wortham Theater Center in Houston, Texas.

WHAT YOU’RE WATCHING Created in 1996 as his first American commission for San Francisco Ballet, Stanton Welch’s Maninyas features five couples whose fierce pas de deux and pas de trois capture the beauty and complexity of human connection. Maninyas delves into the process of unveiling oneself in a relationship, as Welch explains: “In relationships, as you get to know someone, you gradually unveil yourself, taking off different layers of your protections, until eventually you’re just your real self with somebody.” Throughout the ballet, these five couples interact in ways that reflect the daunting yet wonderful journey of self-revelation. At the conclusion, the veils fall away, and the couples move forward into a new, unguarded connection. After seeing Maninyas in 1997, Artistic Director Emeritus Ben Stevenson invited Welch to create his first work for Houston Ballet, marking the beginning of his relationship with the Company. WHAT YOU’RE LISTENING TO A work for solo violin and orchestra in three movements, Maninyas was co mposed by Australian composer Ross Edwards in 1988 and draws heavily from his connection to the natural environment, particularly the sounds of the Australian bush. The work is influenced by two distinct musical styles Edwards developed during his time in a coastal village near Sydney. The “sacred style” is marked by refined textures, while the “maninya style” incorporates lively rhythms and abstract bird and insect sounds. This latter style is central to Maninyas first and third movements, which incorporates energetic rhythms and vibrant orchestration. The second movement contrasts with a violin cadenza and serene chorale.

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The alluring Maninyas is darkly haunting, giving it that edginess that is usually associated with contemporary ballet. The emotions presented on the stage by the dancers are raw and primal. Sweeping arms, arched legs, hovering bodies, pointe work, and mind-bending agility all mix together in this piece to leave the audience entirely breathless.”

DAVID CLARKE BROADWAY WORLD (2014)

Nozomi Iijima and Ian Casady. Photo by Amitava Sarkar.

HOUSTON BALLET

CELTS

20 HOUSTON BALLET

Celts Generously Underwritten by Mrs. Norah Orphanides

Choreography by Lila York Music by

The Chieftains - Treasure Cave Mason Daring - Piper’s Lullaby Drumming by William J. Ruyle The Chieftains - Dunmore Lassies Celtic Thunder - Slip Jig: Foxhunter’s Bill Whelan - Caracena Costume Design by Tunji Dada Lighting Design by James F. Ingalls Staged by Elizabeth Coker

World Premiere: March 21, 1996 by Boston Ballet at The Wang Theatre in Boston, Massachusetts.

Houston Ballet Premiere: September 9, 2004 in the Brown Theater at Wortham Theater Center in Houston, Texas.

WHAT YOU’RE WATCHING A jubilant and high-energy homage to her Irish heritage, Lila York’s Celts premiered in 1996 with Boston Ballet, commissioned by then-artistic director Bruce Marks. The ballet, inspired by a trip to Ireland for her parents’ fiftieth wedding anniversary, blends classical ballet technique with the percussive movements and intricate footwork of Irish folk dance to depict Ireland’s history and culture. The ballet opens with three dancers, including a couple representing the ancient past and a boy in green symbolizing the unbreakable energy of Ireland. As the piece progresses, York explores various facets of Irish life chronologically, from the fierce warriors of Celtic history to a haunting pas de deux inspired by a Galway folk tale. The work culminates in an exuberant, fast-paced finale, where the music swells with the sounds of bagpipes, reflecting Ireland’s transition into a new, prosperous era. WHAT YOU’RE LISTENING TO When commissioned, Marks gave York one stipulation: she had to use recorded music. Instead of opting for pop music, York chose music that would be challenging for a traditional orchestra to perform. The score for Celts is a vibrant mix of traditional Irish tunes and modern interpretations, featuring compositions by the Grammy Award- winning Irish group The Chieftains, The Secret of Roan Inish composer Mason Daring, percussionist and York’s friend William J. Ruyle, Riverdance composer Bill Whelan, and the eclectic Irish singing group Celtic Thunder.

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It is a privilege to underwrite Lila York’s Celts for Houston Ballet, a production that challenges conventions and celebrates the dynamic possibilities of dance. Supporting innovative works like this ensures the continued growth and excitement of the art form.”

MRS. NORAH ORPHANIDES PRODUCTION UNDERWRITER

Pamela Lane and Ian Casady. Photo by Jim Caldwell.

HOUSTON BALLET

The Artists Vi et animo , William Forsythe’s Artifact Suite , Mark Morris’s Drink to Me Only with Thine Eyes , Jerome Robbins’s The Concert (Or the Perils of Everybody), and George Balanchine’s Rubies, Ballet Imperial, and The Four Temperaments.

JEROME ROBBINS Choreographer, In the Night

with Sergiu Luca; Royal College of Music in London with Dona Lee Croft; and Trinity College of Music with Bela Katona. Ms. Tarrant began her professional career as the violinist in the Midland-Odessa (Texas) Symphony at the age of 16. She began her tenure with the Houston Ballet Orchestra in 1986 and was promoted to concertmaster in 1988. Ms. Tarrant has been featured as a violin soloist in several Houston Ballet productions including Stanton Welch’s Maninyas, Clear, and the world premiere of Tapestry (Mozart Violin Concerto No. 5 ); world premiere of Jorma Elo’s ONE/end/ONE (Mozart Violin Concerto No. 4 ); Natalie Weir’s Steppenwolf ; Mark Morris’ Pacific ; world premiere Edwaard Liang’s Mumuration (Ezio Bosso, Violin Concerto No. 1 ); world premiere of Jacquelyn Long’s Illuminate (Oliver Davis, Frontiers ) and world premiere of Jindallae Bernard’s Parodie de l’histoire du ballet (Camille Saint-Saëns, Introduction et Rondo capriccioso Op. 28 for Violin and Orchestra ). She has enjoyed an extensive career with Houston Grand Opera Orchestra, becoming concertmaster under the baton of Maestro Patrick Summers in 1999. Ms. Tarrant has also performed in Europe and toured to Japan with the Houston Symphony.

Jerome Robbins is world renowned for his work as a choreographer of ballets as well as his work as a director and choreographer in theater, movies, and television. His Broadway shows include On the Town, Billion Dollar Baby, High Button Shoes, West Side Story, The King and I, Gypsy, Peter Pan, Miss Liberty, Call Me Madam , and Fiddler on the Roof. His last Broadway production in 1989, Jerome Robbins’ Broadway , won six Tony Awards including best musical and best director. Among the more than 60 ballets he created are Fancy Free, Afternoon of a Faun, The Concert, Dances at a Gathering, In the Night, In G Major, Other Dances, Glass Pieces, and Ives, Songs, which are in the repertories of New York City Ballet and other major dance companies throughout the world. His last ballets include A Suite of Dances created for Mikhail Baryshnikov (1994), 2 & 3 Part Inventions (1994), West Side Story Suite (1995), and Brandenburg (1996). In addition to two Academy Awards for the film West Side Story , Mr. Robbins received four Tony Awards, five Donaldson Awards, two Emmy Awards, the Screen Directors’ Guild Award, and the New York Drama Critics Circle Award. Mr. Robbins was a 1981 Kennedy Center Honors Recipient and was awarded the French Chevalier dans l’Ordre National de la legion d’Honneur. Mr. Robbins died in 1998.

STANTON WELCH AM Choreographer, Maninyas

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 (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.

LILA YORK Choreographer, Celts

Lila York danced with the Paul Taylor Dance Company for twelve years, appearing in over 60 works. Since 1990 she has choreographed works for Birmingham Royal Ballet, the Royal Danish Ballet, San Francisco Ballet, Boston Ballet, Norwegian National Ballet, Houston Ballet, Pacific Northwest Ballet, Scottish Ballet, Washington Ballet, Pennsylvania Ballet, Tulsa Ballet, Atlanta Ballet, Milwaukee Ballet, Ballet West, Colorado Ballet, Louisville Ballet, Ballet Memphis, Kansas City Ballet, Dayton Ballet, Cincinnati Ballet, Orlando Ballet, American Repertory Ballet, Connecticut Ballet Theatre, NBA Ballet of Tokyo, The David Parsons Company, The Alvin Ailey Repertory Ensemble, and The Juilliard Dance Ensemble. She recently premiered a new work for the Paul Taylor Dance Company and a full evening ballet based on The Handmaid’s Tale . From 1989 to 1992 Ms. York directed a program for the production of new choreography at Pacific Northwest Ballet. She graduated from Skidmore College with a degree in English literature.

KATHERINE BURKWALL-CISCON Piano, In the Night

Chicago native Katherine Ciscon received her bachelor’s degree in piano from Rice University’s Shepherd School of Music, and a double master’s degree in both piano performance and collaborative arts from the University of Houston Moores School of Music. She was named Principal Pianist of Houston Ballet in 1995 and has also been a vocal coach and Visiting Artist Professor of Music at the Moores School of Music. While at Houston Ballet, Ms. Ciscon has performed as soloist in the world premieres of Stanton Welch’s Nosotros, Class and The Core , Justin Peck’s Reflections (world premiere of Sufjan Stevens music), Garrett Smith’s Reveal , James Kudelka’s Passion , Ben Stevenson’s Eclipse , and Trey McIntyre’s Bound , among others. She has also been featured as soloist in many works, including Stanton Welch’s Sons de L’âme, Tu Tu, and

DENISE TARRANT Violin, Maninyas

Denise Tarrant studied at the University of Houston with Fredell Lack; Rice University

22 HOUSTON BALLET

THE ARTISTS

Houston Ballet Orchestra Conducted by Simon Thew

FIRST VIOLIN Denise Tarrant*, Concertmaster Rachel Shepard*, Assistant Concertmaster Linda Sanders*

VIOLA Rene Salazar*, Principal Lorento Golofeev*, Assistant Principal Elizabeth Golofeev* Sarah Mason Matthew Weathers Erika Lawson CELLO Barrett Sills*, Principal Erika Johnson, Assistant Principal Dana Rath Wendy Smith-Butler* Dave Zeger* Cheae-Yun (Chennie) Sung

FLUTE Henry Williford, Principal Colleen Matheu Johnson*

HORN James Wilson*, Principal Jamie Leff Sarah Cranston* TRUMPET Tetsuya Lawson, Principal Chris Boulais TROMBONE Thomas Hulten*, Principal Michael Warny*

PICCOLO Colleen Matheu Johnson*

Carrie Kauk* Mary Reed* Sylvia Ver Meulen* Anabel Detrick* Oleg Sulyga* Chavdar Parashkevov* Hae-a Lee

OBOE Elizabeth Priestly*, Principal Spring Hill*

ENGLISH HORN Spring Hill*

SECOND VIOLIN Natalie Gaynor, Principal Trung Trinh*, Assistant Principal

BASS TROMBONE Richard Reeves*

CLARINET Eric Chi, Principal Molly Mayfield

PERCUSSION Christina Carroll*, P rincipal Karen Slotter*

Elizabeth Frederick* Karen Hall Wilkson* Chloe Kim Miriam Belyatsky Feld*

BASS Curry Duffey*, Principal Dave Connor, Assistant Principal

BASS CLARINET Molly Mayfield

HARP Joan Eidman*, Principal

Melissa Williams Erica Robinson*

BASSOON Michael Frederick*, Principal Amanda Swain*

Greg Garcia* Carla Clark*

PIANO Katherine Burkwall-Ciscon*

CONTRABASSOON Amanda Swain*

*Houston Ballet Orchestra members who have more than 10 years of service

Acknowledgements

In the Night Costumes Courtesy of The National Ballet of Canada.

General Counsel: Vinson & Elkins, LLP

Celts Music Credits Treasure Cave from “Treasure Island,” composed and arranged by Paddy Maloney Moloney, performed by The Chieftains, from “The Chieftains: Reel Music,” RCA Victor 60412-2-RC, used by permission of BMG Classics BMG Blue (BMI) and Chrysalis Music. All rights reserved. Piper’s Lullaby, music by Mason Daring from “The Secret of Roan Inish,” Daring Records CD 3015, used by permission of Daring Records & Music, divisions of Daring Music Studios, Inc. Published by Universal Music Corp. on behalf of Mason Daring Music (ASCAP). All rights reserved. Drumming, specially composed and performed by William J. Ruyle. Dunmore Lassies, performed by The Chieftains, from “The Long Black Veil,” RCA Victor 09026-68297-2, used by permission of BMG Classics BMG Blue (BMI) and Chrysalis Music. All rights reserved. Slip Jig: Foxhunter’s, traditional celtic music from “Celtic Thunder/Hard New York Days,” R-3035, used by permission of Kells Music. Caracena from The Seville Suite “Kinsalo Kinsale to La Coruna Coruña,” Tara Records Ltd. #3030.

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

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

24 HOUSTON BALLET

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

HOUSTON BALLET

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