MONDAY, January 19, 2026

KINGSBURY HALL

PRESENTED IN PARTNERSHIP WITH THE University of Utah’s Dr. Martin Luther King, Jr. Week

Francesca Harper, Artistic Director

Sylvia Waters, Artistic Director Emerita

Alvin Ailey, Founder

Company Members
Kamani Abu, Jada Ammons, Carley Cruzat Brooks, Meredith Brown,
Christian Butts, Jennifer M. Gerken, Xavier Logan, Xhosa Scott,
Adanna Smalls, Darion Turner, Eric J. Vidaña, Jordyn White

Shay Bland, Rehearsal Director

Apprentices
Vic E. Davis, Jaydin J. De Jesús, Naia Neal, Michelle Osanya

Alicia Graf Mack, Artistic Director of AILEY

 Bennett Rink, Executive Director of AILEY

Ailey II gratefully acknowledges the generous support provided by
The Glorya Kaufman Dance Foundation.

The taking of photographs and the use of recording equipment
of any kind during performances is strictly prohibited.

Programming and casting subject to change.

IN SESSION
(2025)
Choreography by Rena Butler
Music by Darryl J. Hoffman*
Costume design by Katie Chihaby
Lighting design by Aja M. Jackson

 The Company

Rena Butler, a Chicago native, trained at The Chicago Academy for the Arts, Taipei National University of the Arts, and SUNY Purchase (BFA). She performed with Hubbard Street, A.I.M by Kyle Abraham, Bill T. Jones/Arnie Zane Company, and Gibney. A Princess Grace, Isadora Duncan, and Ferradini Grander Award recipient, Butler has choreographed for Het Nationale Ballet, National Ballet of Canada, San Francisco Opera, Hubbard Street, and more. Her works span opera, ballet, film, and museums across the U.S. and Europe. Her practice weaves storytelling, identity, and the reclamation of traditional narratives through interdisciplinary performance and film.

The creation of In Session is supported by Robert A. Press M.D.

*  “HIDE N SEEK” written by Jaylah Hickmon, Kalon Berry, Michael Hernandez and “STANKA POOH” written by Devin Williams, Jaylah Hickmon, Kalon Berry, and Miles Franklin, courtesy of Universal Music Publishing and Warner – Tamerlane Publishing.
“BLOOM” written by Jayda Love, Jaylah Hickmon, Matthew Hawkins, and Xavier Beard, courtesy of Say Zay Publishing and Universal Music Publishing.
“Doechii: Alligator Bites Never Heal, "DENIAL IS A RIVER", & Hip-Hop Traditions, from Apple Music”. “NISSAN ALTIMA” written by Jaylah Hickmon and Randle Markus Alandrus, courtesy of Universal Music Publishing and Childish Major Music.
“Nosebleeds” written by Jaylah Hickmon and Jonas Jeberg courtesy of Jonas Jeberg Publishing and Universal Music Publishing
“BOOM BAP” written by Darhyl Camper, DIXSON, and Jaylah Hickmon courtesy of Universal Music Publishing.

-INTERMISSION-

THIRD PERSON POINT OF VIEW
(2025)
Choreography by My’Kal Stromile
Music by Various Artists*
Costume design by Ezra Lovesky
Lighting design by Brandon Stirling Baker

Carley Cruzat Brooks, Xavier Logan, Eric J. Vidaña

My’Kal Stromile received his BFA from The Juilliard School under the direction of Larry Rhodes, following training with Kim Abel, Ceyhun Ozsoy, Dereque Whiturs, and Anna-Marie Holmes at The School at Jacob’s Pillow. A 2014 U.S. Presidential Scholar in the Arts, an honor awarded by President Barack Obama, he has performed works by William Forsythe, Aszure Barton, Crystal Pite, Dwight Rhoden, and Jerome Robbins, and danced with Bruce Wood Dance, Disney Productions, and Boston Ballet (2018–2024), where he became a Princess Grace Award nominee. Stromile has choreographed for Boston Ballet, The Juilliard School, the Joyce Theater’s UNITE Ballet Festival, and Vail Dance Festival, among others. In 2024, he choreographed Word for Word for the Paris Opera Ballet in collaboration with CHANEL and participated in the New York Choreographic Institute. He is the recipient of Juilliard’s Hector Zaraspe Prize in Choreography and was recognized with Choreographic Honors three consecutive years. Upcoming commissions include Juilliard’s New Dances and Boston Ballet (2026).

*  “Magnets” (feat. Alan Thompson, 5hekwoaga, & Butler Knowles) by Elijah Fox courtesy of Universal Music Group.
“Nothing Can Stop Us” performed by The Vernon Spring, written by Sam Beste.
“Strength Of A Young Man” performed by The Vernon Spring, written by Sam Beste courtesy of BMG Rights Management.
“Cashew” performed by FKJ, written by Vincent Fenton.
“Meeting Again in the Void” performed by FKJ, written by Vincent Fenton.
“TUI” performed and written FKJ.
“Lying Together- Interlude” performed by FKJ, written by Vincent Fenton.

-Pause-

LIKES VS LIFE
(2025)
Choreography by Renée I. McDonald
Music by Various Artists*
Costume design by Heather Craig
Lighting design by Harrison Hoffert

Meredith Brown, Darion Turner, Jordyn White

Renée I. McDonald is a Jamaican choreographer, dancer, photographer, and attorney-at-law. She trained at the Tony Wilson School of Modern Dance in Kingston and danced with the Company Dance Theatre for 12 years, serving 5 years as Rehearsal Director. Since beginning her journey with choreography in 2008, she has become one of Jamaica’s most in-demand choreographers, creating critically acclaimed and award-winning works for companies, schools, artistes, and major events. Renée is the first choreographer from Jamaica to set a piece (Breaking Point) on Ailey II. She is currently the Associate Artistic Director of CDT Jamaica and practices law full-time.

*  “Overture of Conclave,” “Arrival,” and “Soon Enough,” composed by Volker Bertelmann.
“The Night King,” written by Ramin Djawadi, courtesy of Universal Music Publishing.

-INTERMISSION-

REVELATIONS
(1960)

Choreography by Alvin Ailey
Music: Traditional
Décor and costumes by Ves Harper
Costumes for “Rocka My Soul” redesigned by Barbara Forbes
Lighting by Nicola Cernovitch

Pilgrim of Sorrow

I Been 'Buked................... The Company
Music arranged by Hall Johnson*

Didn't My Lord
Deliver Daniel................... Xavier Logan, Adanna Smalls, Meredith Brown
Music arranged by James Miller+

Fix Me, Jesus..................... Jordyn White, Christian Butts
Music arranged by Hall Johnson*

Take Me to the Water

Processional/Honor,
Honor................................. Eric J. Vidaña, Jada Ammons, Kamani Abu, Xavier Logan
Music adapted and arranged by Howard A. Roberts

Wade in the Water........... Carley Cruzat Brooks, Darion Turner, Adanna Smalls
Music adapted and arranged by Howard A. Roberts
“Wade in the Water” sequence by Ella Jenkins.
“A Man Went Down to the River” is an original composition by Ella Jenkins.

I Wanna Be Ready............. Xhosa Scott
Music arranged by James Miller+

Move, Members, Move

Sinner Man......................... Christian Butts, Xavier Logan, Eric J. Vidaña
Music adapted and arranged by Howard A. Roberts

The Day is Past
and Gone............................. The Company
Music arranged by Howard A. Roberts and Brother John Sellers

You May Run On................. The Company
Music arranged by Howard A. Roberts and Brother John Sellers

Rocka My Soul in the
Bosom of Abraham............ The Company
Music adapted and arranged by Howard A. Roberts

* Used by arrangement with G. Schirmer, Inc., publisher and copyright owner.
+ Used by special arrangement with Galaxy Music Corporation, New York City.

All performances of Revelations are permanently endowed by a generous gift
from Donald L. Jonas in celebration of the birthday of his wife, Barbara,
and her deep commitment to Alvin Ailey American Dance Theater.

Ailey II—The Next Generation of Dance—is AILEY’s second company.

Founded in 1974 as the Alvin Ailey Repertory Ensemble, Ailey II has advanced Alvin Ailey’s vision by giving early-career dancers the vital experience of transitioning from training as a student to becoming a professional dancer. Ailey II dancers bring their technical mastery and emotional depth to works by the most daring established and emerging choreographers. Just as Mr. Ailey envisioned, the company continues to expand the audience for dance through global touring and community-based performances.

Sylvia Waters, the company’s first artistic director, was personally chosen by Mr. Ailey and led the company for 38 seasons. In September 2021, Francesca Harper became artistic director. Ms. Harper—a former student at The Ailey School who has choreographed for both AILEY companies—guides Ailey II with her unique perspective, paying homage to Mr. Ailey’s legacy while taking the company in bold, new directions.

Under Ms. Harper’s direction, Ailey II is forging a new path for modern dance—one that’s inclusive, experimental, and transformative.

AILEY II PRODUCTION CREDITS

Francesca Harper................... Artistic Director
Sylvia Waters.......................... Artistic Director Emerita
Shay Bland.............................. Rehearsal Director

Eric D. Wright.......................... General Manager
Isabelle Mezin......................... Director of Company Business Affairs
Sumaya Jackson...................... Company Manager
Maragret Caradona................Stage Manager
Harrison Hoffert..................... Lighting and Sound Supervisor
Heather Craig.......................... Wardrobe Supervisor

Jennifer Fyall............................. Associate Director of Marketing
Tracy Severe............................. Associate Director of Public Relations

TOURING CONTACT
OPUS 3 ARTISTS: 212-584-7500 / www.opus3artists.com

AILEY.org/AileyII
Follow us on Instagram – @AileyII
Like us on Facebook – www.facebook.com/AileyII

FRANCESCA HARPER, Artistic Director
Francesca Harper began her professional dance career with Dance Theatre of Harlem. She was also a member of Ballett Frankfurt from 1991-1999 under the direction of William Forsythe, and she has performed on Broadway in productions including Fosse, All Shook Up, The Color Purple, Sweet Charity, and Sophisticated Ladies, and was nominated for Best Actress in a Musical by Broadway.com for her role as Billie Holiday in Lady Day at Emerson’s Bar and Grill. Ms. Harper created her first play, 50 minutes with Harriet and Phillis, produced by Anna Deavere Smith, with her aunt, Pulitzer Prize-winning writer Margo Jefferson, and Paul Miller, a.k.a DJ Spooky. In 2014, she debuted her critically acclaimed one-woman show, The Look of Feeling, as a writer, actor, dancer, and vocalist. She is also the writer, producer, composer, and narrator of the documentary film To Lillian (2021). Ms. Harper has choreographed works for companies including Alvin Ailey American Dance Theater, Ailey II, Dance Theater of Harlem, Hubbard Street II, and Tanz Graz, as well as The Francesca Harper Project, which she had founded in 2005. Her television and film credits include appearances on Boardwalk Empire, Late Night with David Letterman, and The Oprah Winfrey Show. She served as ballet consultant for the motion picture Black Swan and was featured in Zinnias – The Life of Clementine Hunter, directed by Robert Wilson. In 2013, Ms. Harper received a Living History Award during Black History Month from Long Island University and the Innovation and Technology Award for her choreography for Fashion Week with designer Louis Vuitton. She also served as co-director and choreographer for the musical Rose’s War and as movement director for Tommy Hilfiger and Zendaya for their fashion show at the Apollo Theater in 2019. Ms. Harper was the creator and directorial consultant for 16 world premiere virtual films. Her latest works include a new creation for Wendy Whelan, Associate Artistic Director of New York City Ballet, and poet Marc Bamuthi Joseph. Currently, Ms. Harper is engaged as Executive Producer with Sony Pictures on a series in development, and recently she received her Masters of Fine Arts degree from Goddard College.

SYLVIA WATERS, Artistic Director Emerita, Ailey II
Sylvia Waters was personally selected by Alvin Ailey in 1974 as Artistic Director of Ailey II and led the company for 38 years. She attended The Juilliard School, where she worked with Donald McKayle’s company, and with a young Hava Kohav –who later became an actress and Academy Award nominee— performing very often to widely populated audiences of the entire New York Dance community at the YMHA. After receiving her B.S. from Juilliard, she moved to Paris, where she appeared regularly on television. She toured in the European company of Black Nativity and worked with Michel Descombey, then director of the Paris Opera Ballet, as well as Milko Šparembleck. She also performed in Donald McKayle's European production of Black New World and worked with Maurice Béjart’s company performing in Brussels and at the Summer Olympics in Mexico City. In 1968, Ms. Waters joined Alvin Ailey American Dance Theater and toured with the Company until assuming leadership of Ailey II. She has received honorary doctorates from the State University of New York at Oswego and The Juilliard School, and she has served as a panelist for the National Endowment for the Arts and the New York State Council on the Arts. Ms. Waters is a recipient of the Legacy Award as part of the 20th Annual IABD Festival, Syracuse University’s Women of Distinction Award, a Dance Magazine Award, and a “Bessie” Award.

SHAY BLAND, Rehearsal Director
Shay Bland is from Englewood, NJ. She began her formal dance training at The Ailey School in 2007 where she was a scholarship student in the Junior Division. She is a graduate of the Professional Performing Arts School (PPAS), and has danced with several companies including Ailey II, Elisa Monte Dance, Nimbus Dance Theater, Von Howard Project, Francesca Harper Project, Ray Mercer Collective, Kachal Dance, and The Metropolitan Opera Ballet. Ms. Bland has worked on projects on and off-Broadway including The Visitor (off-Broadway) as associate choreographer, and as assistant choreographer for the 13-time nominated Broadway show Hell’s Kitchen. She was also lead choreographer for Nebraska High School Theater Academy (NHSTA) in conjunction with Omaha Performing Arts. As an educator, Ms. Bland serves as a faculty member at Pace University, The Ailey School, Manhattan Youth Ballet, and Earl Mosley’s Institute of the Arts (EMIA).

AILEY II WHO’S WHO

KAMANI ABU (New Castle, DE) began his dance training at the age of 16 at a local studio in his hometown. He also trained in the summer intensive at BalletX. He is a recent graduate of the Ailey/Fordham BFA in Dance program, and has worked with choreographers including Jennifer Archibald, Tracy Inman, Darshan Bhuller, Gregory Dawson, and Maleek Washington. In 2023, Abu performed in Geoffrey Holder’s Dougla with Dance Theatre of Harlem and in Alvin Ailey’s Memoria during Ailey’s New York City Center season. This is his first season with Ailey II.

JADA AMMONS (Los Angeles, CA) began her dance training at the Debbie Allen Dance Academy. She earned her BFA in Dance from Point Park University in 2022 and graduated from The Ailey School’s Certificate Program in 2025. Ammons also trained in the School’s Summer Intensive where she was the recipient of the Oprah Winfrey Foundation Scholarship. She has performed works by choreographers Debbie Allen, Renee Robinson, Ray Mercer, Darrell Grand Moultrie, Christopher L. Huggins, Ronald K. Brown, Branndi Lewis, and Freddie Moore. This is Ammons’ first season with Ailey II.

CARLEY CRUZAT BROOKS (Chicago, IL) received her training at TDA Prep under the direction of Preston Miller and Jacqueline Green. Her studies include summer dance intensives with Jacob's Pillow, Nederlands Dans Theater, and Dance Theatre of Harlem. Brooks graduated from the Ailey/Fordham BFA in Dance program, class of 2025. She has performed works by Alvin Ailey, Jiří Kylián, Ronald K. Brown, Hope Boykin, Marco Goecke, Jennifer Archibald, and Christopher L. Huggins. Her performance highlights include Geoffrey Holder’s Dougla with Dance Theatre of Harlem and Alvin Ailey’s Memoria during Ailey’s New York City Center season in 2023. This is Brooks’ second season with Ailey II.

MEREDITH BROWN (Asheville, NC) began her dance training at a local studio in her hometown. She studied at the University of North Carolina School of the Arts, and she is a recent graduate of the Ailey/Fordham BFA in Dance program, where she performed in Alvin Ailey’s Festa Barroca and Memoria during Ailey’s 2022 and 2023 New York City Center seasons. Brown also danced in Hope Boykin’s Chasing the Spirit at Jazz at Lincoln Center. She worked with Madison Hicks’ “The Moving Forward Collective,” and she is an alumnus of the Jacob’s Pillow Contemporary Program, where she worked with Sidra Bell, Rena Butler, and Antoine Vereecken. This is Ms. Brown’s second season with Ailey II.

CHRISTIAN BUTTS (Atlanta, GA) began his dance training at Dancemakers of Atlanta under the direction of Lynise Heard and Denise Heard-Latimer. He also trained in the summer intensive programs at GALLIM School of Movement with Andrea Miller and A.I.M by Kyle Abraham. He has worked and performed pieces by Linda Celeste Sims and Glenn Allen Sims, Nattie Trogdon and Hollis Bartlett, Seán Curran, Michelle Thompson-Ulerich, and Kevin Wynn. In 2025, he graduated from SUNY Purchase receiving a BFA in Dance with a concentration in composition. This is his first season with Ailey II.

JENNIFER M. GERKEN (Houston, TX) began her dance training at age six. In 2016, she was accepted into Kinder High School for the Performing and Visual Arts. In 2019, Gerken received the Mary Martha Lappe Dance Scholarship and performed in an excerpt of Appalachian Spring by Martha Graham in the roles of the Bride and Follower. She was a student in the Ailey/Fordham BFA in Dance program where she graduated in 2023. Gerken has performed works by William Forsythe, Mark Caserta, Ethan Colangelo, José Limón, and Paul Taylor. This is her second season with Ailey II.

XAVIER LOGAN (Atlanta, GA) trained at Dancemakers of Atlanta. He is a recent graduate of The Juilliard School and has worked with choreographers Medhi Walkerski, Tom Weinberger, Sharon Eyal, Jamar Roberts, Bobbi Jene Smith, and Or Schraiber, amongst others. Logan has been featured on The Vampire Diaries, Dance Moms, and So You Think You Can Dance. In 2023, his work Welcome To The J(U) premiered as the first ever hip-hop dance to appear on Juilliard’s mainstage, and he was named one of Teen Vogue & GLAAD’s “20 Under 20” rising stars. This is Logan’s second season with Ailey II.

XHOSA SCOTT (Richmond, VA) was raised in Virginia where he began dancing with The School of Richmond Ballet’s outreach program, Minds in Motion. He continued training at Baltimore School for the Arts, and attended summer intensives including the Bolshoi Ballet Academy, Dance Theatre of Harlem, and The Juilliard School. After graduating high school under the School of American Ballet, Scott attended The University of Virginia where he majored in Art History with a minor in Anthropology. While at The Ailey School in the Scholarship Program, he performed works by choreographers including Ronald K Brown, Amy Hall Garner, Ray Mercer, and Darrell Grand Moultrie. This is Scott’s second season with Ailey II.

ADANNA SMALLS (Brooklyn, NY) began her formal dance training at the Abrons Arts Center/Henry Street Settlement. A 2021 graduate of the Professional Performing Arts School with a concentration in dance, she went on to complete the Certificate Program at The Ailey School. That same year, she performed in Bird Lives! and Memoria during Ailey’s New York City Center season. Smalls had the opportunity to work with renowned choreographers including Clifton Brown, Norbert De La Cruz III, and Ronald K. Brown, and she previously served as an apprentice with Evidence, A Dance Company. This is her first season with Ailey II.

DARION TURNER (Clayton County, GA) began his dance training at AileyCamp Atlanta and attended Martha Ellen Stilwell School of the Arts. He studied as a scholarship student at Atlanta Ballet and Eagles Landing Dance Center. Turner is a graduate of the Certificate Program at The Ailey School and worked with choreographers Darrell Grand Moultrie, Christopher L. Huggins Anthony Burrell, Amy Hall Garner, Ronald K. Brown, Norbert De La Cruz, Brandi Lewis, Houston Thomas, and Baye & Asa. He also performed works by Robert Battle, Geoffrey Holder, and danced in Alvin Ailey’s Memoria during AILEY’s 2022 New York City Center season. This is Turner’s second season with Ailey II.

ERIC J. VIDAÑA (Las Vegas, NV) is a graduate of the Las Vegas Academy of the Arts. He received his early dance training from The Nevada Ballet Theatre and continued studying at West Las Vegas Arts Center and Contemporary West Dance Theatre’s Conservatory, under the direction of Bernard Gaddis and Avree Walker. Vidaña furthered his dance education as a Scholarship student at The Ailey School. He has performed works by choreographers including Alvin Ailey, Hope Boykin, Donald Byrd, Michelle Manzanales, Tommie Waheed Evans, Milton Myers, Jeneane Huggins, Don Bellamy, Rennie Harris, Ronald K. Brown, and Christopher L. Huggins. This is his second season with Ailey II.

JORDYN WHITE (West Palm Beach, FL) graduated from Alexander W. Dreyfoos School of the Arts high school. She began her dance training at Raskin Dance Studio in Florida and attended summer intensives at Joffrey Ballet School, Modas Dance, and The Ailey School. White has performed works by choreographers Houston Thomas, George Balanchine, Judith Jamison, and Ronald K. Brown, and danced in Alvin Ailey’s Memoria during Ailey’s 2022 and 2023 New York City Center seasons. She is a recent graduate of The Ailey School’s Certificate Program, and the University of Florida with a BA in Psychology. This is White’s second season with Ailey II.

APPRENTICES

VIC E. DAVIS (Atlanta, GA) is originally from Gaffney, South Carolina. He began his formal dance training at South Gwinnett High School in Atlanta, where he graduated with honors. He continued studying as a scholarship student at Gwinnett School of Dance, Northeast Atlanta Ballet, and Atlanta Dance Connection. Davis is currently a student at The Ailey School where he trains on scholarship and has performed works by choreographers including Christopher L. Huggins, Maleek Washington, and Clifford Williams. This is his first season as an apprentice with Ailey II.

JAYDIN J. DE JESÚS (West Hartford, CT) is a current senior in the Ailey/Fordham BFA in Dance program. He received his early dance training at Studio 860 and continued his studies at the Greater Hartford Academy of the Arts high school. He has performed works by Alvin Ailey, Takehiro Ueyama, Martha Graham, Christopher L. Huggins, Pedro Ruiz, and Ray Mercer. This is De Jesús’ first season as an apprentice with Ailey II.

NAIA NEAL (Aptos, CA) began her dance training at the age of seven at Dancenter, a local dance school in her hometown. She is a graduate from the Ailey/Fordham BFA in Dance program, where she received the 2023 Denise Jefferson Memorial Scholarship. Neal has performed works by choreographers Christopher L. Huggins, Hope Boykin, Jonathan Lee, PeiJu Chien-Pott, Clifford Williams, Darshan Singh Bhuller, and Ephrat Asherie. She also danced in Alvin Ailey’s Memoria during Ailey’s 2023 New York City Center season and at BAM (Brooklyn Academy of Music) in 2024. This is Neal’s second season as an apprentice with Ailey II.

MICHELLE OSANYA (Ames, IA) began her dance training at Robert Thomas Dancenter. She also attended summer intensives with LINES Ballet, Complexions Contemporary Ballet, and TDA Prep with Preston Miller and Jacqueline Green. Osanya is currently a junior in the Ailey/Fordham BFA in Dance program and has performed works by Adam Barruch, Burr Johnson, Adrienne Hurd, and Judith Jamison. In 2024, Osanya performed in Harrison Guy’s Can We Know the Sound of Forgiveness at Carnegie Hall, and recently, she worked with choreographer Kyle Abraham and slowdanger at Springboard Danse. This is her first season as an apprentice with Ailey II.

ALVIN AILEY DANCE FOUNDATION
Recipient of a National Medal of Arts

Bennett Rink, Executive Director

ALVIN AILEY DANCE FOUNDATION BOARD OF TRUSTEES

Chairman
Daria L. Wallach

President
Anthony S. Kendall

Jolen V. Anderson, Eleanor S. Applewhaite, Esi Eggleston Bracey, Janice Brathwaite, Laura D. Corb,
Georgette C. Dixon, Markus Green, Esq., Jaileah X. Huddleston, Vickee Jordan Adams, Jaishri Kapoor,
Suzan Kereere, Kristin LaRoche, Anthony A. Lewis, Alicia Graf Mack, Johnbull Okpara, Jack Pitts,
Paula Price, Muhammad Qubbaj, Lata N. Reddy, Bennett Rink, Oti Roberts, Cara Robinson,
Danielle M. Robinson, PhD, Tara L. Smith, Joan H. Weill, Jean-Rene Zetrenne, Pamela D. Zilly

Chairmen Emeriti
Philip Laskawy, Stanley Plesent, Esq.,* Joan H. Weill

President Emeriti
Debra L. Lee, Henry McGee

*In Memoriam

Thank you to the Touring Dance Series Sponsor

Neuman Family Foundation

And to tonight's performance sponsor

R. Harold Burton Foundation

Thank you to our 2025 - 26 Season Sponsors:

GORDON & CONNIE HANKS

DAN JOHN & ERICA LEMKE

NANCY PEERY MARRIOTT

DINESH & KALPANA PATEL

SALLIE SHATZ

BEVERLEY TAYLOR SORENSON FOUNDATION

ALICE & KEVIN STEINER

KYLE TREADWAY & GREG PEDROZA

Sō Percussion

VIRTUOSO CONCERT SERIES IN PARTNERSHIP WITH THE SCHOOL OF MUSIC

TUESDAY, January 13, 2026

LIBBY GARDNER CONCERT HALL

4+9 was written for the Sō Percussion Summer Institute 2017.  The piece explores all of the ways that a bar of 9/4 can be subdivided:  There are 36 sixteenth notes in the bar (9 beats x 4 sixteenth notes per beat) - and 36 can be divided evenly by 2, 3, 4, 6, 9, 12, and 18.  The various combinations of different overlapping divisions in the bar make the underlying groupings of 16th notes constantly sound different.  I used this basic idea in a piece for So Percussion’s project ‘A Gun Show’ in 2016, but Four and Nine explores simply the pure process of hearing each possible combination in turn.

Notes by Eric Cha-Beach

Dear Readers, here are a few things to know about Strange and Artificial Echoes ahead of time:
It lasts about 25 minutes.
Feel free to daydream.
The rocks came from my backyard.
It is not in sonata form.

For avid readers of program notes, here are a few more things one could know:

Around 1623, Francis Bacon was writing an unusual utopian novel, New Atlantis, which was left unpublished until his death a few years later. One passage depicts imaginary Sound Houses: “We have also diverse strange and Artificiall Eccho's Reflecting the Voice many times, and as it were tossing it: And some that give backe the Voice Lowder than it came, some shriller and some Deeper.” About three hundred years later, sound artist Celeste Oram pinned this passage to the door of her studio in the BBC building in London, where she was experimenting with tape and electronics while engineering sounds for Samuel Beckett’s first radio plays in the 1950s. A decade later, in another radio house (WBAI New York), composers John Cage and Morton Feldman recorded four open-ended conversations from 1966 to 1967, musing on radio waves, telepathic messages, and “what a sound is.” Unrelated to any of this is a 2013 performance in a high school auditorium on 24th Street in New York, during which I heard the Ebene Quartet play Mozart’s “Dissonance” and I wept during the second movement.

The spoken voices on the cassettes are Celeste Oram (BBC 1969) and John Cage in conversation with Morton Feldman (WBAI 1966-67). The singing/humming voice on the cassettes is my own. The other music on the tapes includes fragments of Mozart K465 (Guarneri) and rehearsals with Sō. The opening moment of the piece is inspired by my friend, the composer Andrea Mazzariello, who mused in conversation once that he just wanted to hear someone simply hit two rocks together.

Writing “Strange and Artificial Echoes” for my longtime friends in Sō Percussion has been one of the deepest musical experiences of my life, and one of my most challenging joys. Thank you to Carnegie Hall and The Concertgebouw for commissioning these echoes. I hope they resonate with you in some strange way.

Notes by Caroline Shaw

Kendall K. Williams’ new quartet, Panorama for Mallet Quartet, features the configuration of two marimbas and two vibraphones. We asked Kendall to write for us in the style of the instrumental pieces of the steel band competition called Panorama. In 2020, just before COVID arrived, Sō Percussion traveled to Trinidad to perform in the Skiffle Steel Orchestra during Panorama finals. Kendall was arranging for the band at that time.

One of the striking features of playing in a steel band is that the music is taught by rote through oral instruction and demonstration. When we performed with Skiffle, our skills in reading music were useless – the musicians in Trinidad were much faster at picking up the music by ear than we were.

When we asked Kendall to write this piece, we prompted him to recreate this process for us. For almost four years, we convened periodically with Kendall so that he could teach it to us note-by-note. The value in this experiment, impractical as it was, was that it gave Kendall ample time to compose along the way. He had no idea how the piece was going to end when we were learning the first notes.

Panorama pieces, like sonata forms, have standard sections that are expected by listeners. Kendall would often refer to “the minor section” or “the jam” as a shorthand for things that he knew would eventually exist in the piece, even if he didn’t yet know how we were going to get there. Something that all Panorama pieces have in common is that they are based on a theme from a popular song, but this Panorama is composed from scratch.

Steel bands have two main types of instruments: the melodic steel pans and the “engine room,” which consists of drums, congas, metal brake drums, shakers, and other non-pitched instruments. Naturally, performers play one or the other. In Sō’s Panorama quartet, Kendall assigns the engine room to our feet, so that we play hi-hats, bass drums, and even cowbells simultaneously with our melodic mallet instruments. This is a particular kind of virtuosic challenge, because marimba and vibraphones are usually meant to be played from a stable standing position (and the vibraphone has a pedal). In a nod to the percussion quartet tradition, we also break out occasionally to play tin cans.

Although this steel pan world would seem to come from beyond our shores, the genre has become important in the USA, particularly among the large Trinidadian population in Brooklyn, who celebrate their own massive Panorama festival during Labor Day (in Trinidad the festival corresponds with Lent and Carnival). Kendall represents a cohort of American-born pan masters whose style and sensibility is heavily influenced by New York.

Notes by Adam Sliwinski

Go placidly amid the noise and haste, and remember what peace there may be in silence.

 - Max Ehrmann’s “Desiderata”

Jason Treuting’s Amid the Noise began as a soundtrack, which morphed into our third album and then into a flexible set of live music. Now it is a communal music-making project that can occur with a flexible number of musicians in almost any combination. Go Placidly with Haste grew out of this same concept.

The musical ideas are abstract: drones, melodies, rhythms, textures, patterns. Originally, Sō Percussion orchestrated them on the instruments we had in our studio, but we’ve since discovered that accordion, organ, or tuba might play a satisfying drone as well as bowed vibraphone! Like Terry Riley’s In C, this work maintains its identity and integrity even through wildly different realizations.

This modular concept allows us to conduct residencies that reach beyond percussion departments. Many kinds of students at a music school or conservatory can participate in Amid the Noise: vocalists, string quartets, wind and brass players, guitarists, and of course percussionists.

Notes by Jason Treuting

For 25 years and counting, Grammy-winning percussion quartet Sō Percussion has redefined chamber music for the 21st century through an “exhilarating blend of precision and anarchy, rigor and bedlam” (The New Yorker). They are celebrated by audiences and presenters for a dazzling range of work: for live performances in which “telepathic powers of communication” (The New York Times) bring to life the vibrant percussion repertoire; for an extravagant array of collaborations in classical music, pop, indie rock, contemporary dance, and theater; and for their work in education and community-building, seeking to explore the immense possibility of art in our time.

To celebrate its 25th anniversary season, Sō Percussion releases 25x25 on Cantaloupe Music in September 2025, an 8-disc box set featuring 500 minutes of entirely new and previously unreleased recordings of 21st century music, each piece written for, in collaboration with, and premiered by Sō Percussion. 25x25 includes works by Bora Yoon, Kendall K. Williams, Vân-Ánh Võ, Dan Trueman, Jason Treuting, Olivier Tarpaga, Shodekeh Talifero, Caroline Shaw. Juri Seo, claire rousay, Tristan Perich, Angélica Negrón, Andrea Mazzariello, Steven Mackey, Michael J. Love, Leilehua Lanzilotti, Nathalie Joachim, Robyn Jacob, Vijay Iyer, Suzanne Farrin, Cenk Ergün, Donnacha Dennehy, Dan Deacon, Eric Cha-Beach – and Sō Percussion as a writing group!

Recent highlights include  a headlining series of concerts and collaborations at Bang on a Can’s LOUD Weekend at MASS MoCA, leading a festival-opening of Steve Reich’s Drumming with the composer in the audience; a two-week residency at the Brooklyn Academy of Music (BAM) in two programs, including collaborations with Helado Negro and Kate Stables (This is the Kit) and with Caroline Shaw featuring Ringdown performing a program highlighting their GRAMMY-winning Nonesuch album, Rectangles and Circumstance (Best Chamber Music / Small Ensemble Performance, 2025). Sō has performed concerts at the Elbphilharmonie Hamburg, Big Ears, Cal Performances, the BOZAR in Brussels, 92NY, at the Palau de la Musica Catalana in Barcelona, the Kennedy Center for the Performing Arts, Penn Live Arts in Philadelphia, the Hancher Auditorium at the University of Iowa, the Library of Congress; toured Benin and Burkina Faso with Olivier Tarpaga - and elsewhere.

Along with 25x25, Sō has a catalog of more than thirty albums featuring landmark recordings of works by David Lang, Steve Reich, Julia Wolfe, Caroline Shaw, Steven Mackey, Bobby Previte, Matmos, and many others.

Rooted in the belief that music is an elemental form of human communication, and galvanized by forces for social change, Sō enthusiastically pursues a range of social and community outreach through their nonprofit umbrella, including an ongoing partnership with Pan in Motion; the Sō Laboratories concert series; a studio residency program in Brooklyn; and the Sō Percussion Summer Institute, an intensive two-week chamber music seminar for percussionists and composers they have led annually since 2009. The members of Sō Percussion are the Edward T. Cone Performers-in-Residence at Princeton University - a role they’ve held for more than a decade.

Sō Percussion is Jason Treuting, Adam Sliwinski, Josh Quillen, and Eric Cha-Beach.

Sō Percussion uses:
Pearl/Adams Instruments
Vic Firth Drumsticks and Mallets
Zildjian Cymbals
Blackswamp Accessories
Remo Drumheads
Estey Organs
Kyle Dunleavy Steel Pans
MalletMan Steel Drum Mallets

Sō Percussion would like to thank these companies for their generous support and donations.

Percussion students performing tonight:

• Davis Fowers
• Nathan Montoya
• Ella Prawitt
• Peter Hill
• Jake Harker
• Rebekah Hall
• Zach Anderson
• Conner Johnson
• Kaitlynn Steff
• Alex Kent
• Jordan McMillan
• Tim Petersen
• Ellie Foote
• Jaxon Howes
• Eillot Mohlman
• Evelyn Williams
• Sawyner Nutall
• Ian Miller
• Drew Fallon

Upcoming Percussion Events (click the links for more info):

Evening of Percussion with John Psathas, guest artist / composer

Sandbox Percussion Concert

Exclusive Percussion-Only Patron List

The University of Utah School of Music has developed an exclusive percussion-only patron list and would be happy to keep you informed of upcoming Percussion Concerts at the U. Please click this link and fill out contact information to be added to this list.

University of Utah Percussion Faculty
Michael Sammons, D.M.A., Percussion Area Head
Mason Aeschbacher, Global Music Ensemble
Keith Carrick, Orchestral Percussion
Danny Soulier, Timpani
Kelly Wallis, Drum-set / Jazz Vibraphone
Heath Wolf, Music Education / Percussion Methods
Douglas Wolf, Professor Emeritus

Thank you to the Virtuoso Series Sponsor

Thank you to our 2025 - 26 Season Sponsors:

GORDON & CONNIE HANKS

DAN JOHN & ERICA LEMKE

NANCY PEERY MARRIOTT

DINESH & KALPANA PATEL

SALLIE SHATZ

ALICE & KEVIN STEINER

KYLE TREADWAY & GREG PEDROZA

The Lower Lights Musicians:

Aaron Anderson: Drums, Percussion

Colin Botts: Banjo, Octave Mandolin, Electric Guitar, Concertina

Marie Bradshaw: Vocals

Cherie Call: Vocals, Acoustic Guitar

Dustin Christensen: Vocals, Acoustic Guitar

Debra Fotheringham: Vocals, Guitar

Brian Hardy: Keyboards

Paul Jacobsen: Vocals, Acoustic Guitar

Tyler Lambourne: Bass

Darin LeSueur: Drums, Percussion

Dominic Moore: Vocals, Acoustic Guitar

Megan Nay: Fiddle

Sarah Sample: Vocals, Guitar

Dylan Schorer: Electric Guitar, Pedal Steel

M Horton Smith: Mandolin, Lap Steel, Vocals

Scott Wiley: Electric Guitar

Thank you to tonight's performance sponsors

SCOTT & KATHIE AMANN

LAURIE HOFMANN

Thank you to our 2025 - 26 Season Sponsors:

GORDON & CONNIE HANKS

DAN JOHN & ERICA LEMKE

NANCY PEERY MARRIOTT

DINESH & KALPANA PATEL

SALLIE SHATZ

ALICE & KEVIN STEINER

KYLE TREADWAY & GREG PEDROZA

To Be a God

Featuring Little Moon,
and University of Utah School of Dance Students
Presented by UtahPresents and 801 Salon

Produced by Roxanne Gray, with 801 Salon
Directed by Ty Davis

 Little Moon
Emma Hardyman - lead vocalist, guitar
Bly Wallentine - accordion, electric bass, flute, clarinet
Grace Johnson - percussion, backup vocal
Bridget Jackson - harp
Liz Lambson - upright bass, backup vocal
Chris Shemwell - drums and percussion
Stephen Rodgers - piano, 12 string guitar, mandocello
Dylan Schorer - pedal steel, 12 string guitar
Bryn Huntington - clarinet, bass clarinet
Lauren Erickson - flute, alto flute, piccolo
Betsy Croft - penny whistle

Dancers
Madi Taylor
Grace Hurley
Lyndsey Wilmes
Sophia Kenton
Marlee Stephens
Elena Evans
Kyra Atkinson
Sofia Johansen
Ella Moore
Dakota Barth
Cooper Wiggins
Céline Nielson
Jade Van Lennep
Lucy Flaming
Aria Green
Maclean Dennis

Characters
Orator - Kylie Finlinson
Magician - Ty Davis
Mermaids - Grace Hurley, Lucy Flaming, Marlee Stephens, Ella Moore, Maclean Dennis
Unicorn - Maclean Dennis
Spiral Knights - Kyra Atkinson, Elena Evans
Ego - Roxanne Gray

Creative Team
Music: written by Emma Hardyman, Bly Wallentine, and Nathan Hardyman
Choreographer: Roxanne Gray, with collaboration from dancers
Set Design and Construction: Ty Davis
Lighting Designer: James Padilla
Sound Designer: Lindenfield
Costumes: Ty Davis, Roxanne Gray, with assistance from the U of U School of Dance Costume Shop
Stage Manager: Samijo Kougioulis
Technical Director: David Braithwaite
Little Moon Manager: Fawn Goodman and Mindy Gledhill
Dance Rehearsal Assistant: Céline Nielson
801 Salon Intern: Keily Tafiti
Merch Design: Nathan Hardyman and Betsy Croft
Documentarian: Vienna Boyes

Little Moon (Featured Artist) is the musical vessel of Emma Hardyman, whose work centers on the intersection of myth and memory. Through soaring vocals and searching lyrics, she explores the ways myth can serve as a mirror for our inner worlds—revealing the sacred within the ordinary and the divine within the flawed. For Little Moon, myth is a way of deepening reality: a language through which pain becomes meaning, and the self becomes story.

Ty Davis (Director) is a multi-media artist originally from Portland, Oregon. He first met Emma while completing his BFA in Graphic Design at Brigham Young University. They have since collaborated on a plethora of projects from photo shoots to music videos to album artwork to even performing together. He’s grateful for the many hats the Little Moon project has allowed him to try on and explore and is constantly inspired by Emma’s trust and the creative freedom she promotes. He’d like to give a special thank you to Roxanne Gray and Emma Hardyman for bringing him on this project and a special thank you to his partner Benjamin Carvajal for constant support and assistance no matter the project. He hopes you enjoy the show!

Roxanne Gray / 801 Salon (Producer) is a Tejana Salt Lake City-based community organizer, choreographer, teaching artist, and curator. Gray works to build community through collaborative structures in her creative work while exploring the diversity of human emotion and identity through curated experiences. She is the the Founder and Director of 801 Salon, a multidisciplinary pop-up art and performance series founded in 2021. 801 Salon, a nonprofit organization, provides a platform and resources for local artists to show work in nontraditional spaces in Salt Lake City. Since 2021, 801 Salon has supported over 300 local artists and produced 41+ exhibits and performances, and continues to create accessible and inclusive art experiences for the Salt Lake City community. @801.salon

We would like to extend a note of gratitude to everyone who supported this project and brought this magic to life. Thank you to Utah Presents for initiating and sustaining the Stage Door Series, providing a platform for local artists to present and create at Kingsbury Hall. Special thanks to Chloe Jones, Aja Vogelman, Severin Sargent-Catterton, and the entire Utah Presents team for their support and assistance. And, additional gratitude to all of our partners, sponsors, and loved ones who sustained us through this creative process! Thank you all for joining us on this journey.

 - 801 Salon and the artists of To Be A God

Thank you to our 2025 - 26 Season Sponsors:

GORDON & CONNIE HANKS

DAN JOHN & ERICA LEMKE

NANCY PEERY MARRIOTT

DINESH & KALPANA PATEL

SALLIE SHATZ

ALICE & KEVIN STEINER

KYLE TREADWAY & GREG PEDROZA

LEE & AUDREY HOLLAAR

Kurbasy

(Lviv, Ukraine)

Mariia Oneshchak and Nataliia Rybka-Parkhomenko, Artistic Directors

“Songs of the Ukrainian Forest”

 Created, Arranged, and Produced by Kurbasy
Projections designed by Grycja Erde & Jardim

Mariia Oneshchak                               Vocals
Nataliia Rybka-Parkhomenko              Vocals
Vsevolod Sadovyi                               Ukrainian Instruments
Severyn Danyleiko                              Cello
Artem Kamenkov                                 Double Bass
Markiian Turkanyk                               Violin

Viktoriia Kyrnytska                              Sound Engineer
Oleksandra Bezemska                         Lighting and Projections Engineer

A song cycle in 75 minutes, presented without intermission

Kurbasy is part of Center Stage, a public diplomacy initiative of the U.S. Department of State's Bureau of Educational and Cultural Affairs with funding provided by the U.S. Government, administered by the New England Foundation for the Arts in cooperation with the U.S. Regional Arts Organizations. General management is provided by Lisa Booth Management, Inc. www.CenterStageUS.org

Songs of the Ukrainian Forest is a conversation between two actress-singers, longtime colleagues and friends Natalia Rybka-Parkhomenko and Maria Oneshchak. The program took shape in the spring of 2020 during the global pandemic quarantine in one of the forests of Lviv region in western Ukraine, where the two women and their families took refuge together.

Since Russia’s military invasion of Ukraine in 2022, Mariia and Nataliia have performed versions of the work in Ukraine and in Europe as a duo, self-accompanied with hand percussion, Tibetan cymbals and bells, and a shruti box – a small Indian harmonium. With these performances in the U.S., Kurbasy is realizing the opportunity to fully produce this work visually and musically.

The program begins with Spring Songs -- calls to awaken and renew life after the long winter -- and includes ballads and love songs from Polissia, Bukovina, Poltava, Podillia, and Central Ukraine. Traditional recruit songs are sung, which highlight the war time situation in Ukraine today.

An affirmation in a time of war and resistance Kurbasy’s Songs of the Ukrainian Forest reveals contemporary connections to an archaic past.

Song List

Zamovliannia vesny / Spring Invocation
A spring song «vesnyanka» from Podillia. Traditionally, spring songs were sung only by girls, very loudly, in the open air, urging Nature to awake after Winter, and to welcome longer, warmer days and new life.

Pytalasia nenka dochky / A Mother Asked Her Daughter
Spring song

Rozlylysia Vody na chotyry brody / The Waters Flow into Four Fords
Spring song

Ya ptychka-nevelychka / I Am a Little Birdy
A lyrical chant from the Kyiv region; a secular song for a three-part ensemble or choir, which was popular in Ukraine in the 16th–18th centuries. A song about love, where a small bird and a falcon allegorically depict lovers figuring out their relationship.

A vzhe tomu sim lit bude / It Has Been Seven Years
A ballad from Bukovina about a Ukrainian soldier who has been wandering lost in the forest for 7 years and now talks to his mother, who visits him in the shape of a bird and flies off, for she could no longer wait for her son to return from military service.

Oi, shcho zh to za svit nastav / Oh, What a World it is Now
A ballad with a sad story about how a son drove his mother out of the house, after which many sorrows and troubles had fallen on him and his family.

Chyia to dolyna / Whose Valley Is This
A lyrical song about a love triangle -- a girl in love with a Cossack who has a wife and three children

Kolyskovi / Lullabies
Two Ukrainian lullabies accompanied by Tibetan bells and "4 elements of Koshi" chimes

Bilia richky, bilia brodu / By the River, By the Ford
A Lemki song about a cheating girl.

Oi, vershe, miy vershe / O Highlands, My Highlands
One of the most famous Lemko songs recounts thoughts of a girl who regrets that she left her mother and fell in love with a boy with black eyebrows.

V nediliu rano / Early on Sunday
Lemko song about both sweet and bitter sides of young love and betrayal.

Iz-za hory viter viie / The Wind Blows from the Mountain
A spring song from the Poltava region in central Ukraine - with these songs, in ancient times, girls tried to invoke Spring and awaken nature. But they also have lyrical plots, as in this song, where a woman with two children waits for her husband for a long time.

Oi, lisu, lisu + Oi, perepelychko + Rano-rano / O Forest + O Little Quail + Bright and Early
A medley of three songs begins with a Spring invocation (O Forest) and moves to O Little Quail (another version of I am a Little Birdy, popular in the 18^th century).  Bright and Early is a relic of pre-Christian cosmology and ritual – “Seeing off the Rusalky” whose timing is now linked to the Christian calendar. The week before Pentecost or “Trinity” — the spirits of departed kin temporarily cross the veil between worlds. Locals still honor them with reverence: setting tables, offering food, singing to appease, and finally escorting them ritually into the deep forest — a symbolic return to the other world. It’s a sacred act of balance: welcoming the dead, then gently sending them back, so the living may thrive undisturbed, and cosmic order restored.

Zberimosia Rode / Let’s Get Together, Kindred
Feast song from Podlachia borderland region about unity and the value of going through even the most difficult moments in life together.

Chevrona Kalyna / Red Guelder Rose
This military recruit song from Podillia region describes the burden of a wife whose husband goes off to war. Not only she, but all young girls, families, and entire villages are crying for their loved ones.

Ukraine sits at the heart of Europe, bordered to the southwest by Moldova and Romania, to the west by Slovakia and Poland, to the northwest by Belarus and to the northeast and east by Russia. Ukraine’s diverse geography – from the densely wooded Carpathian Mountains to the Dnipro River basin and seaside of Odessa have informed the many and different rites, practices and traditions that together form Ukrainian culture.

Polissia — Ukraine’s most archaic cultural region. Sheltered by dense forests and vast marshlands, and historically insulated from major geopolitical upheavals, Polissia has preserved archaic songs, rituals and cosmological beliefs dating back to Kyivan Rus’ and even pre-Christian times. Remarkably, recent genetic studies pinpoint this borderland between Ukraine and Belarus as the cradle of the distinct Slavic genotype — where, millennia ago, Slavic DNA diverged from Baltic lineages, seeding the entire future Slavic gene pool.

Bukovina — a cultural crossroads historically divided between Romania, Ukraine, and Austria-Hungary, whose legacy still lingers in architecture, law and layered identities. Nestled in the Carpathians, its culture bursts with chromatic intensity — embroidered sleeves like woven rainbows, wooden churches piercing misty ridges and music so intricate it feels like alchemy. Bukovina was and remains a region of striking diversity. Its vibrant highland culture features some of Ukraine’s most ornate folk dress and complex instrumental music. Rooted in ancient Carpathian Slavic traditions, the local sound absorbed strong Ottoman and Balkan influences — heard in asymmetric rhythms, modal scales, and instruments like the cimbalom and trembita. Despite shifting borders and empires, Bukovina’s musical heritage endures as a unique fusion — archaic, layered and unmistakably its own.

Poltava — oblast (region) is situated in central Ukraine on the left bank of the Dnipro. Historically and culturally part of the Cossack Hetmanate, the region is agriculturally significant and a center of Ukraine's oil and natural gas industry. Poltava is the beating heart of Cossack spirit and the cradle of Ukrainian identity along the river Dnipro's banks. Here, where steppes meet rolling hills, the legacy of the Zaporozhian Host lives in speech, songs and stubborn pride. Refined by luminaries like Ivan Kotliarevsky and later Taras Shevchenko, who wove its rhythms into the nation’s poetic canon, the Poltava dialect, with its melodic intonations and archaic lexical treasures, became the bedrock of modern Ukrainian literary language.

Podillia — the sun-drenched southern heartland of Ukraine, is a cultural borderland where Ukrainian traditions blend with strong Moldovan and Bulgarian influences — legacies of migration, trade and imperial border shifts. Known for its vibrant folk embroidery, archaic singing and earthy, rhythm-driven instrumental music, Podillia absorbed Balkan melodic turns, Romanian dance motifs, and even Bulgarian vocal harmonies — especially in villages settled by 19th-century Bulgarian migrants. Unique rituals like “vesnianky” (spring songs) and “kupalo” fire-jumping survives here with a distinct local flavor. Architecture, cuisine, and dialects also reflect this mosaic: clay houses with carved eaves, spicy stews with Balkan flair and linguistic borrowings that color everyday speech.

Central Ukraine — flanking the left and right banks of the Dnipro River and its basin, consists of several provinces (including Poltava) and its cities are among the oldest in the country. Extensive grain and sunflower fields are found throughout the area. Regarded as the nation’s geographic heartland, it holds a resonant archive of polyphonic resistance. Here, the ancient tradition of “chant” singing — rich, layered polyphony echoing Renaissance Europe — survived centuries of imperial erasure, smuggled through generations in village choirs, harvest songs and whispered lullabies. Though the Russian Empire sought to silence it — today, from village porches to global stages, this multi-voiced legacy pulses on: not as museum artifact, but as living proof that authentic voice, like freedom, cannot be fully suppressed — only postponed, then powerfully reclaimed.

Lemki are a distinct Carpathian highland ethnic group of Rusyn/Ukrainian origin — inhabiting Lemkivshchyna, a cultural and historic region that geographically spans the Carpathian Mountains and foothills of western Ukraine, east and north through Slovakia, and Poland. Sharing a rich culture and language across political borders through time, Lemko culture closely holds centuries-old traditions of song, dance, dress, rituals and unique architecture which are revived and celebrated now throughout Ukraine. Tragically, Lemki became victims of forced resettlement: first by Nazi Germany, then by postwar communist Poland in “Operation Vistula” (1947), which scattered them across western Poland to erase their identity. Many fled or later emigrated — especially to the U.S. and Canada — where vibrant diaspora communities preserved their language, songs and churches. Today, their culture survives as a testament to resilience: reviving on native soil and echoing still in exile.

Kurbasy is a contemporary musical project of the renowned progressive Les Kurbas Theatre in Lviv, Ukraine. Founded in 2008 as an informal vocal gathering of singer-actresses, the group has performed across Europe – from the front lines of occupied Eastern Ukraine to concert halls in Western Europe and in the U.S.

The idea of culture as a cosmic living organism is central to Kurbasy, whose folk-based multimedia performances conjure the natural world, beliefs, and rituals. The theatrical foundation of the group is central to Kurbasy's aesthetic. The music they perform is tied to, celebrates, and renews the rituals and the lived memories of Ukraine and her people.

Led by actor-vocalists Mariia Oneshchak and Nataliia Rybka-Parkhomenko, Kurbasy’s performances trace a theatrical arc to reveal the stories held in the songs of their rich repertoire, a collection of which can be heard on ‘Raytse’ a title that references both paradise and the mythical egg at the origins of the universe, released in 2009. Songs from the calendar cycle, Kupala [St. John’s Day/Midsummers] and wedding ritual singing form the core of their second album, ‘Miracle of Creation,’ released in 2018. Many of the Winter songs from Kurbasy’s ‘Rozkolyada’ (2021), aside from describing biblical and archaic Carpathian Christmas tales, are also rich in early slavonic mythopoetic symbols and animalistic ritual images. @kurbasy_official

Kurbasy is traveling the U.S. as part of Center Stage, a cultural diplomacy program that also produced the group in 2018. The seven-week tour features residencies in 11 communities: Bethlehem, State College and Lewisburg PA, New York City NY, Chicago IL, East Lansing MI, Berkeley and Rohnert Park CA, Salt Lake City UT, Albuquerque and Santa Fe NM, and Tucson AZ.

Since 2012, Center Stage has produced national tours by 48 groups from 17 countries, hosted by colleges and universities, festivals, music clubs, and cultural centers. Center Stage ensembles reach large cities and small towns. They engage with communities onstage, offstage, and online through performances, workshops, and discussions, artist-to-artist exchanges, master classes, and community gatherings, and return home to share these experiences with peers and fans. For this last edition of the program, Center Stage has invited alumni groups to return and share their work in communities from coast to coast. These are Khumariyaan (Pakistan), Papermoon Puppet Theatre (Indonesia), Mohamed Abozekry (Egypt & France), and Kurbasy (Ukraine). Visit centerstageus.org for more information.

A package of virtual educational materials, tailored to students in upper elementary through high school, provides a better understanding of the contexts in which these artists thrive. Visit https://worldcultureincontext.org/artist/kurbasy-ukraine-folk-songs/

Center Stage is a public diplomacy initiative of the U.S. Department of State's Bureau of Educational and Cultural Affairs with funding provided by the U.S. Government, administered by the New England Foundation for the Arts in cooperation with the U.S. Regional Arts Organizations. General management is provided by Lisa Booth Management, Inc.

Center Stage credits

Producer
New England Foundation for the Arts
Adrienne Petrillo, Interim Director of Program Strategy
Kelsey Spitalny, Interim Manager of Program Strategy

General Manager
LBMI, Lisa Booth Management, Inc.
Deirdre Valente, Principal
Robert W. Henderson, Jr., Production Manager
Danielle Dybiec, Nine Muses Travel, Tour Advance
Diego Bucio, On Tour Company Manager

Thank you to our 2025 - 26 Season Sponsors:

GORDON & CONNIE HANKS

DAN JOHN & ERICA LEMKE

NANCY PEERY MARRIOTT

DINESH & KALPANA PATEL

SALLIE SHATZ

ALICE & KEVIN STEINER

KYLE TREADWAY & GREG PEDROZA

Thank You to Tonight's Performance Sponsors

JOHN BALLARD & KAREN MILLER

R. HAROLD BURTON FOUNDATION

Lakecia Benjamin
Saxophone, MC, Bandleader

Oscar Perez
Piano

Elias Bailey
Bass

Quentin Baxter
Drums

To witness a live performance by the alto saxophonist, MC, and bandleader Lakecia Benjamin is to never forget it.

The success of her most recent releases, 2023’s Phoenix and 2020’s Pursuance: The Coltranes, positioned Benjamin among jazz’s most celebrated recording artists: In addition to absolute raves in outlets like The New York Times, The Guardian and DownBeat, she received three Grammy nominations for Phoenix, as well as an NAACP Image Award nomination for Outstanding Jazz Album. Earlier this year, she was named Alto Saxophonist of the Year by prestigious Jazz Journalist Association.

And yet — the ever-rising star from Washington Heights remains, at her core, an improviser best experienced in her soul-stirring concerts. Each and every time she hits the bandstand, she takes her repertoire, and her wide-ranging audience, to sublime new planes. And her message — of spiritual uplift, of social and political liberation — soars higher still.

Given Benjamin’s personal story over the last few years, her live dates are nothing short of life-affirming. In 2021, she was involved in a car accident that resulted in more than one potentially career-ending injury: Benjamin broke her jaw, shoulder blade and ribs, and ruptured an eardrum, among other wounds. Today, she’s regained her confidence and physical strength, and embraces whatever limitations her accident may have engendered. She also realizes she has decades more music and travel to go. “I don’t think about the accident anymore. Some people might see my shows now as a victory lap, because inspiration comes in multiple forms,” Benjamin says, “but I really feel I’m still learning. I’m trying to get uncomfortable. I’m trying to grow. I’m trying to play better.”

Benjamin’s new album, Phoenix Reimagined, focuses on the music from her acclaimed Phoenix project and adds three new songs. It was captured live-in-studio at Brooklyn’s the Bunker — a great-sounding space whose alumni include everyone from Brad Mehldau to Bang on a Can to the Black Keys. Combining the spontaneous magic of a live LP with the crisp, crystalline audio that only a world-class studio can deliver, Phoenix Reimagined illustrates that vibrant togetherness between Benjamin and her live listeners. In the case of the Bunker show, that meant pretty much anyone who adores music as much as she does. “I was like, you know what? Let’s celebrate life. Let’s celebrate everything. I’m going to invite everybody to this studio,” Benjamin recalls with a chuckle. “The studio personnel were lucky I didn’t just open the door!” The atmosphere took the saxophonist back to her earliest years hitting the NYC jam-session scene: the heat, the camaraderie, the competition, the hard-earned lessons. “It just reminded me why I love music,” she says.

Thank you to our 2025 - 26 Season Sponsors:

GORDON & CONNIE HANKS

DAN JOHN & ERICA LEMKE

NANCY PEERY MARRIOTT

DINESH & KALPANA PATEL

SALLIE SHATZ

ALICE & KEVIN STEINER

KYLE TREADWAY & GREG PEDROZA

Thank you to our Jazz at Kingsbury Hall series sponsors:

ERIC & DOMINQUE ARAGON

NATE BOWLER

MARKOSIAN AUTO

SARAH MCCARTHEY

TOM & MARY MCCARTHEY

ERIC & JAYE OLAFSON

And to Tonight's Performance Sponsors:

VON & VIRGINIA WHITBY

BALLET HISPÁNICO NEW YORK

The Company

Founder
Tina Ramirez

Artistic Director & CEO
Eduardo Vilaro

Rehearsal Director
Anitra Keegan

Rehearsal Director
Nicole Duffy

Chief Managing Director
Patrick Muhlen

The Company
Amanda Bacallao, Amir J. Baldwin, Mia Bermudez, Thierry Blannchard, Maya Canestaro, Antonio Cangiano, Francesca Levita, Matthew Mancuso, Dylan Dias McIntyre, Andrea Mish, Kevin Ortiz Lemus, Amanda Ostuni, Daniel Palladino, Omar Rivéra, Olivia Winston.

Company Manager
Karl Rader Watson

Production Director
Aholibama Castañeda González

Wardrobe Director
Andrea Mejuto

Lighting Supervisor
Dominick Riches

Stage Manager
Rosemary Lisa Jones

Transformational funding for Ballet Hispánico New York is generously provided by MacKenzie Scott, the Ford Foundation, The Mellon Foundation, and the Jerome L. Greene Foundation. Major support is provided by the Howard Gilman Foundation, the Shubert Foundation, Warner Music Group & Blavatnik Family Foundation Social Justice Fund, a sponsored project of Moore Impact, the Fan Fox and Leslie R. Samuels Foundation, the Tatiana Piankova Foundation, and the Mosaic Network and Fund in The New York Community Trust.

Public support is provided by the New York State Council on the Arts with the support of Governor Kathy Hochul and the New York State Legislature, the New York City Department of Cultural Affairs in partnership with the City Council under the leadership of Speaker Adrienne Adams, and the National Endowment for the Arts.

MetLife Foundation is the Official Tour Sponsor of Ballet Hispánico

Buscando a Juan

World Premiere: 2024, New York City Center
Choreography by Eduardo Vilaro
Music by Osvaldo Golijov
Recorded by Orquesta La Pasión, Members of the Simon Bolivar Youth Orchestra of Venezuela & Maria Guinand
Costume Design by Eduardo Vilaro
Associate Costume Design by Dianela Gil
Set and Lighting Design by Christopher Ash

Performed by
Amanda Bacallao, Amir J. Baldwin, Mia Bermudez, Thierry Blannchard, Maya Canestaro, Antonio Cangiano, Francesca Levita, Matthew Mancuso, Dylan Dias McIntyre, Andrea Mish, Amanda Ostuni, Omar Rivéra, & Olivia Winston.

Juan de Pareja
Amir J. Baldwin

Diego Velázquez
Antonio Cangiano

The Calling of Juan
Francesca Levita & Amir J. Baldwin

Description
Inspired by The Metropolitan Museum of Art’s Juan de Pareja: Afro-Hispanic Painter exhibition and showcasing Eduardo Vilaro’s unique choreographic talents, Buscando a Juan explores the mix of cultures and diasporas through the exoticized body and fixation on gesture and sensuality.

Run Time:
30 minutes

INTERMISSION
(15 minutes)

House of Mad’moiselle

Premiere: 2024, New York City Center
Original Work “Madmoiselle,” World Premiere: 2010, The Joyce Theatre
Choreography by Annabelle Lopez Ochoa
Music by Leonard Bernstein, Bart Rijnick, Chavela Vargas, Oro Solido and Charles Gounod
Soundscape by Bart Rijnick
Costume Conception by Annabelle Lopez Ochoa
Costume Development and Construction by Diana Ruettiger
Drag Dramaturgy and Drag Wardrobe by Nicholas Villeneuve
Lighting Design by Christopher Ash

Performed by
Amanda Bacallao, Amir J. Baldwin, Mia Bermudez, Thierry Blannchard, Antonio Cangiano, Francesca Levita, Dylan Dias McIntyre, Andrea Mish, Amanda Ostuni, Omar Rivéra, & Olivia Winston.

María
Mia Bermudez

Description:
Originally created in 2010 as her first full-length work for the company, House of Mad’moiselle by internationally acclaimed choreographer Annabelle Lopez Ochoa is a wild romp through the layered symbols of Latin American femininity. It revels in the drama, elegance, and defiance of iconic women who blur the lines between myth and memory.

INTERMISSION
(15 minutes)

Club Havana

World Premiere: 2000, The Joyce Theater
Choreography by Pedro Ruiz
Music by Israel Lopez, Rubén Gonzales, A.K. Salim, Pérez Prado and Francisco Repilado
Costume Design by Emilio Sosa
Costume Construction by Ghabriello Negron
Lighting Design by Donald Holder

The original Club Havana production was made possible, in part, by gifts from Jody and John Arnhold, Dhuanne and Douglas Tansill and Caroline Newhouse; by grants from American Express Company and AT&T; and with commissioning funds from the New York State Council on the Arts.

Performed by
Amir J. Baldwin, Mia Bermudez, Maya Canestaro, Antonio Cangiano, Matthew Mancuso, Dylan Dias McIntyre, Andrea Mish, Amanda Ostuni, Omar Rivéra, & Olivia Winston.

Opening
Mia Bermudez and Omar Rivéra

Caballo
Olivia Winston and Dylan Dias McIntyre, Maya Canestaro and Matthew Mancuso, Andrea Mish and Amir J. Baldwin

Cha Cha Cha
Amanda Ostuni, Antonio Cangiano and Omar Rivéra

Romanza
The Company

Rumba, Conga
The Company

Description:
Latin dancing at its best. The intoxicating rhythms of the conga, rumba, mambo, and cha cha are brought to life by choreographer Pedro Ruiz, himself a native of Cuba, as he imagined his very own “Club Havana.”

Run Time:
20 minutes

Eduardo Vilaro is the Artistic Director & CEO of Ballet Hispánico New York. He was named the Artistic Director in 2009, becoming only the second person to head the company since its founding in 1970. In 2015 was also named Chief Executive Officer. Mr. Vilaro has infused Ballet Hispánico’s legacy with a bold brand of contemporary dance that reflects America’s changing cultural landscape. Mr. Vilaro’s philosophy of dance stems from a basic belief in the power of the arts to change lives, reflect and impact culture, and strengthen community. He considers dance to be a liberating, non-verbal language through which students, dancers, and audiences of all walks of life and diverse backgrounds, can initiate ongoing conversations about the arts, expression, identity, and the meaning of community.

COMPANY DANCERS

Amanda Bacallao – Dancer – Miami, Florida
Amanda Bacallao, of Cuban descent, is originally from Miami, Florida. She began dancing at the age of four and graduated from Miami Arts Charter School in 2022, where she studied dance under the direction of Diana Ford. Earlier in her career, Amanda also trained at Armour Dance Theater with Rosario Suárez and Mariana Alvarez. Amanda is currently pursuing a Bachelor of Fine Arts in Contemporary Dance at the Boston Conservatory at Berklee. During her time at the Boston Conservatory, she has performed works by Ken Ossola, Dwight Rhoden, Gustavo Ramirez Sansano, Cristina Chan, Lydia Zimmer, and Alyssa Cardon. She is also a 2024 alumna of The School at Jacob's Pillow. Additionally, Amanda has completed certification to teach Progressing Ballet Technique. This is Amanda’s first season with Ballet Hispánico.
IG: @amanda_bacallao

Amir J. Baldwin – Dancer – Montclair, New Jersey
Amir, originally from Trenton, NJ, received his BFA in Dance from Montclair State University with a minor in American Sign Language. His dance training consists of an eclectic mix which includes Ballet, Modern, Horton, Jazz, Contemporary, Musical Theatre and Capoeira. He has trained in educational facilities such as Ballet Hispánico, Alvin Ailey American Dance Theater, and Complexions Contemporary Ballet among others. This is Amir’s fourth season with Ballet Hispánico.
Instagram: @amirjblue

Mia Bermudez – Dancer, Montclair, New Jersey
Mia, originally from Montclair, NJ, began her dance training at The Ballet Hispánico School’s La Academia Pre-Professional Program on a full merit scholarship. While at Ballet Hispánico, Mia performed at the Macy's Thanksgiving Parade and at the Ballet Hispánico Gala. She has trained at numerous intensive programs including the Debbie Allen Dance Academy, La Escuela National de Ballet de Cuba, Canada National Ballet School, and Ballet Hispánico's ChoreoLaB. This is Mia’s second season with Ballet Hispánico.
Instagram: @mia.bermudez_

Maya Canestaro – Apprentice – San Antonio, Texas
Born in San Antonio, Texas, Maya began dancing at the age of four with Filipino folk dance before continuing her training in ballet. She studied at the Ballet Conservatory of South Texas and was accepted at 16 into the University of North Carolina School of the Arts (UNCSA). After graduating from UNCSA, she attended the University of Chicago, where she earned a bachelor's degree in public policy with minors in human rights and philosophy. While in school, she also danced with Ballet Chicago’s studio company. Following graduation, Maya joined Kansas City Ballet’s second company for two seasons before dancing as an apprentice with Madison Ballet. Her performance highlights include appearing at the Kennedy Center, performing Anabelle Lopez Ochoa’s Nube Blanco and Mark Morris’s Sandpaper, dancing the Sugar Plum Fairy, and dancing in the corps of Giselle and George Balanchine’s Concerto Barocco. Last season, Maya danced in Ballet Hispánico’s Pa’lante program. This is Maya’s first season with Ballet Hispánico as an apprentice.
Instagram:  @playa_de_la_maya_

Antonio Cangiano – Dancer – Naples, Italy
Antonio trained on scholarship at the Ateneo Danza, Accademia Normanna and the Martha Graham Dance School in NYC. He has danced for the Nai-Ni Chen Dance Company, Dardo Galletto Dance, Acsi Ballet, and the Martha Graham Dance Company for their 90th Anniversary Season. Antonio has danced works by world-renowned choreographers such as William Forsythe, Nacho Duato, Annabelle Lopez Ochoa, and Gustavo Ramírez Sansano. This is Antonio’s seventh season with Ballet Hispánico.
Instagram: @cangianoanto

Thierry Blannchard – Dancer – São Paulo, Brasil
Thierry Blannchard, originally from São Paulo, Brazil, began his dance training at the Elizandra Bellotto School. He studied contemporary and character dance, dance history, and pas de deux at the Bolshoi Theater School after being awarded a scholarship. During his time at the Bolshoi Theater School, he had the opportunity to work with the likes of Vladimir Vasiliev, Galina Kravchenko, Dennys Nevidommy, Pedro Carneiro and Rostlav Dzabraev. In 2022, he was awarded a trainee program with Eglevsky Ballet in New York. He has worked with choreographers such as Amy Hall Garner, Cassi Abranches (Grupo Corpo), Kevin Jenkins, Maurice Brandon Curry, Gabrielle Lamb, Valentina Kozlova, among others. This is Thierry’s first season with Ballet Hispánico.
Instagram: @thierryblannchard

Francesca Levita – Dancer – Chicago, IL
Francesca, originally from Chicago, IL, began her training with Visceral Dance Center. She has attended numerous ballet intensives including BalletMet, American Ballet Theatre, and the Milwaukee Ballet. She also trained at The School at Jacob’s Pillow Contemporary Summer Intensive, BODYTRAFFIC, and Arts Umbrella. In 2024, Francesca graduated with Honors Summa Cum Laude from Marymount Manhattan College receiving a BFA with a double concentration in Ballet and Modern dance. This is Francesca’s second season with Ballet Hispánico.
Instagram: @frankielevita

Matthew Mancuso – Dancer – East Haven, Connecticut
Matthew Mancuso is originally from East Haven, Connecticut. He began his dance training at the age of 8 at Gloria Jean’s Studio of Dance under the direction of Stacy Eastman. He also studied at New Haven Ballet under various teachers and choreographers. Matthew went on to further his education at New York University’s Tisch School of the Arts where he earned a BFA in Dance and a Minor in Entertainment Business. While at school, Matthew got to learn and perform repertoire from Sidra Bell and Bill T. Jones/Arnie Zane Dance Company. He also was chosen to study abroad in Prague, Czech Republic at The National Theatre. After graduation Matthew joined “Gaspard and Dancers”, a contemporary dance company where he traveled to Romania, Armenia, and Tbilisi, Georgia. This is Matthew’s first season with Ballet Hispánico.
Instagram:  @matthew_mancuso

Dylan Dias McIntyre – Dancer – North Palm Beach, FL
Dylan was born in Key West and raised in West Palm Beach, FL. Dylan started dancing at Palm Beach Ballet Center at the age of eight. At sixteen, he became a trainee with Next Generation Ballet and after two years, he joined the Richmond Ballet to complete his training and start his professional career with their second company. In 2019, Dylan joined Ballet Memphis as a company dancer for three seasons and participated in the 2022 season with the Terpsicorps Theatre of Dance. This is Dylan’s fourth season with Ballet Hispánico.
Instagram: @d_mcintyre

Andrea Mish – Dancer – West Palm Beach, Florida
Andrea Stephanie Mish was born and raised in South Florida. She began her training at Southern Dance Theater and later studied at Ballet East in West Palm Beach, Florida. She furthered her training at A.W. Dreyfoos School of the Arts and attended numerous summer intensives, including San Francisco Ballet, Boston Ballet, The Joffrey Ballet, Houston Ballet, among others. In 2023, Andrea graduated with Honors Cum Laude and high distinction with a Bachelor of Science in Dance Arts Administration and Psychology from Butler University. She is also the 2022 and 2023 recipient of the Outstanding Performance Award with Butler Ballet and was on the Dean’s List at Butler University. Following graduation, Andrea accepted a position with Ballet Des Moines. She is currently in her second season with Ballet Hispánico.
Instagram: @andreammish

Kevin Ortiz Lemus – Guest Artist – Guatemala City, Guatemala
Kevin Otoniel Ortiz Lemus, originally from Guatemala, has performed with companies such as Brooklyn Ballet, Ballet Eloelle/Grandiva, Exit12 Dance Company, and Peridance Contemporary Dance Company. Before moving to New York, Kevin was a Principal Dancer with the Modern and Folkloric Ballet of Guatemala, representing his country in international festivals in Spain and France, and performing in numerous national productions. This is Kevin’s first season with Ballet Hispánico.
Instagram: @kevinortizlem

Amanda Ostuni – Dancer – Patterson, New York
Amanda, originally from Patterson, NY, began dancing at the Seven Star School of Performing Arts. She trained in ballet, contemporary, jazz, tap, and hip hop for over fourteen years. She graduated Butler University in 2023, where she received a BFA in Dance Performance. While there, Amanda worked with Jennifer Archibald and Deborah Wingert as well as Susan McGuire, training in Cunningham and Graham technique. This is Amanda’s third season with Ballet Hispánico.
Instagram: @amanda_ostuni

Omar Rivéra - Dancer – Los Angeles, California
Omar Rivéra (He/Him) is a Mexican-American originally from Los Angeles, California. He began his formal training in Dallas, Texas, at Prodigy Dance & Performing Arts Centre under Camille Billelo, and graduated from Booker T. Washington High School for the Performing and Visual Arts. He earned his BFA in Dance from the University of Arizona in 2018, where he performed works by Bella Lewitzky, Darrell Grand Moultrie, Christopher Wheeldon, and others, and appeared at The Joyce Theater for the José Limón International Dance Festival. Since joining Ballet Hispánico in 2018, Rivéra has performed in works by acclaimed choreographers including Nacho Duato, William Forsythe, Annabelle Lopez Ochoa, Gustavo Ramírez Sansano, Pedro Ruiz, Eduardo Vilaro, and others. This is Omar’s seventh season with Ballet Hispánico.
Instagram: @omyythehomiee

Olivia Winston – Dancer – Salt Lake City, Utah
Olivia, originally from Salt Lake City, UT, received her early classical ballet training at the Ballet West Academy Professional Training Division. She attended intensives at BalletX, American Ballet Theater, Houston Ballet, and Ballet West/ArtÉmotion. Graduating in 2023 from the Alonzo King LINES Ballet Training Program, Olivia performed works by Alonzo King, Mike Tyus, and Kayla Farrish. Olivia was a Dance Fellow with BalletX for the 2023-2024 season where she performed works by Matthew Neenan, Jennifer Archibald, and Amy Hall Garner. This is Olivia’s second season with Ballet Hispánico.
Instagram: @winston.olivia

Thank you to our 2025 - 26 Season Sponsors:

GORDON & CONNIE HANKS

DAN JOHN & ERICA LEMKE

NANCY PEERY MARRIOTT

DINESH & KALPANA PATEL

SALLIE SHATZ

ALICE & KEVIN STEINER

KYLE TREADWAY & GREG PEDROZA

Thank you to the Touring Dance Series Sponsor

NEUMAN FAMILY FOUNDATION

and to tonight's Show Sponsors

TIANA HOOD & STEVEN MORALES

PAUL TAYLOR

R. HAROLD BURTON FOUNDATION

and a special thank you to