Where Dancers Come to Thrive
Welcome to
The School of Ballet Arizona
The School of Ballet Arizona is proud to provide professional dance training that meets the expectations of elite dance companies, as well as those looking to dance as a supplement to enrich their lives. Through our comprehensive curriculum and state-of-the-art facility, SBAZ students are instilled with the core aspects of classical ballet technique, and offered the highest quality training at every level.
Class Offerings
Introduce your child to the gift of dance. Through world-renowned instruction and our state-of-the-art facility, SBAZ students are trained to reach any dream they set their mind to.
School
Year
School Year
Summer
Programs
Summer Programs
Open & Special Programs
Open & Special Classes
School Year
School Year
Summer Programs
Summer Programs
Open & Special Programs
Open and Special Classes
Divisions & Programs
Children's Division Program
The Children’s Division (ages 4 and up) offers an introduction to the art of ballet by promoting the exploration of creativity and expression through movement. Our new syllabus is created to introduce children to ballet technique work. Once students complete this Division, they will know basic barre and center work.
Lower Division Program
The Lower Division (ages 8 and up) is divided into four levels and the syllabus is created to begin formal training in traditional classical ballet. The syllabus progresses at a rate that allows the student to learn the exercises correctly and with full physicality.
Upper Division Program
For the Upper Division, students meet 4-6 times a week. Students are introduced to a wider variety of classes, including Pointe, Variations, Pas de Deux, Modern, Flamenco, Men’s class and Conditioning. The School of Ballet Arizona accepts international students for the Professional Program levels.
Adult Drop-In Classes
Open to teens age 14 and up and adults of all ages, this program is a great way to experience dance training, stay in shape and have fun! Three levels of ballet classes are offered: Beginner, Intermediate and Advanced.
Creative Movement for Toddlers
Open to children ages 2-4. Students will have fun while they express themselves through music and dance! Through the use of props, songs, and games, dancers will increase strength and flexibility, build community, grow creatively, and foster their love for dance!
Summer Programs
At The School of Ballet Arizona, our summer programs offer a opportunities for dancers of all levels to immerse themselves in the artistry and discipline of ballet. From beginner to advanced, our programs are designed for dancers to thrive during the summer.
Studio Company
Ballet Arizona’s Studio Company is an elite training opportunity to prepare students of the highest rank to become professional dancers. Through professional exposure, understudying, and company productions, studio company dancers receive indispensable training for their futures in dance.
Ballet Arizona’s 2023-2024 Season
Faculty and Staff
Ib Andersen
Artistic Director
From: Copenhagen, Denmark
Following a brilliant career performing on the world’s greatest ballet stages, Ib Andersen was named Artistic Director of Ballet Arizona and The School of Ballet Arizona in 2000. Born in Copenhagen, he was introduced to ballroom dance at a young age. Then, at age 7 he was accepted into the School of the Royal Danish Ballet. He joined the Royal Danish Ballet at age 16 and became a principal dancer at age 20 — the youngest principal in the company’s history.
Mr. Andersen’s career and reputation flourished in Europe, bringing him to the attention of the director of New York City Ballet (NYCB), George Balanchine. Andersen joined NYCB in 1980and during his first three months he learned 35 ballets and demonstrated a remarkable affinity for the Balanchine style and technique. This led Balanchine to create principal roles for him in Ballade, Davidsbündlertänze, and Mozartiana. Jerome Robbins and Peter Martins also created roles for Andersen’s unique style.
In 1987, while Andersen was still with NYCB, the Royal Danish Ballet gave him his first choreographic commission, for which he created 1-2-3—1-2. When he retired as a principal from NYCB in 1990, Andersen began a second career as a guest ballet master for companies worldwide. He staged ballets by August Bournonville, Michel Fokine, Jerome Robbins, and others; most notably, George Balanchine. Mr. Andersen’s affinity for Balanchine’s works led to his appointment as a Balanchine Repetiteur; one of a handful of artists worldwide authorized by The George Balanchine Trust to stage the master’s pieces.
Mr. Andersen’s career has been consistently marked by success, and his rise to Artistic Director is no exception. After a tenure as Ballet Master with Pittsburgh Ballet Theatre, Andersen accepted the position of Artistic Director for Ballet Arizona. He now directs the Company in a demanding repertory that combines both classical and contemporary ballets; including works he creates specifically for the dancers. In 2010 Ballet Arizona enjoyed the national spotlight when it presented Andersen’s Diversions at the Ballet Across America festival hosted at the prestigious Kennedy Center in Washington, D.C.
In May 2012 Ib created a world premiere “site-specific” work, Topia, which was performed at the Desert Botanical Garden at sunset to sold-out audiences. Due to popular demand, Topia will return to the Garden May 14- June 1, 2013
During the 2011-2012 Season Ib Andersen’s world premiere of Cinderella met with resounding success; garnering rave reviews and record-setting attendance. In February 2012 Ballet Arizona made its New York City debut at the Joyce Theatre performing Andersen’s Play. The New York engagement was lauded by The New York Times, Financial Times and The New York Post which all praised Andersen’s choreography and the work he has done with Ballet Arizona.
In the 2013-2014 season, Ib and the company transitioned into a brand new facility, “The Center for Dance” which included the Dorrance Theatre, a black box theatre seating 299. In 2015, Andersen presented August Bournonville’s 1842 classic, Napoli, a United States premiere featuring authentic sets and costumes imported from Copenhagen. It was undoubtedly Andersen’s eye for detail and exacting coaching that led Alastair Macaulay, lead dance critic for the New York Times, to proclaim “This company has become one of America’s finest…”.
Ballet Arizona triumphantly returned to the Desert Botanical Garden in 2016 for the first of five years of performances, where Ib presented Round— a ballet created for a 360-degree stage, to be viewed by audiences from all sides. The New York Times lead dance critic Alastair Macaulay traveled to Arizona to experience the work, and in his review proclaimed Ballet Arizona “…one of the most enterprising companies anywhere.”
Ib Andersen
Artistic Director
From: Copenhagen, Denmark
Following a brilliant career performing on the world’s greatest ballet stages, Ib Andersen was named Artistic Director of Ballet Arizona and The School of Ballet Arizona in 2000. Born in Copenhagen, he was introduced to ballroom dance at a young age. Then, at age 7 he was accepted into the School of the Royal Danish Ballet. He joined the Royal Danish Ballet at age 16 and became a principal dancer at age 20 — the youngest principal in the company’s history.
Mr. Andersen’s career and reputation flourished in Europe, bringing him to the attention of the director of New York City Ballet (NYCB), George Balanchine. Andersen joined NYCB in 1980and during his first three months he learned 35 ballets and demonstrated a remarkable affinity for the Balanchine style and technique. This led Balanchine to create principal roles for him in Ballade, Davidsbündlertänze, and Mozartiana. Jerome Robbins and Peter Martins also created roles for Andersen’s unique style.
In 1987, while Andersen was still with NYCB, the Royal Danish Ballet gave him his first choreographic commission, for which he created 1-2-3—1-2. When he retired as a principal from NYCB in 1990, Andersen began a second career as a guest ballet master for companies worldwide. He staged ballets by August Bournonville, Michel Fokine, Jerome Robbins, and others; most notably, George Balanchine. Mr. Andersen’s affinity for Balanchine’s works led to his appointment as a Balanchine Repetiteur; one of a handful of artists worldwide authorized by The George Balanchine Trust to stage the master’s pieces.
Mr. Andersen’s career has been consistently marked by success, and his rise to Artistic Director is no exception. After a tenure as Ballet Master with Pittsburgh Ballet Theatre, Andersen accepted the position of Artistic Director for Ballet Arizona. He now directs the Company in a demanding repertory that combines both classical and contemporary ballets; including works he creates specifically for the dancers. In 2010 Ballet Arizona enjoyed the national spotlight when it presented Andersen’s Diversions at the Ballet Across America festival hosted at the prestigious Kennedy Center in Washington, D.C.
In May 2012 Ib created a world premiere “site-specific” work, Topia, which was performed at the Desert Botanical Garden at sunset to sold-out audiences. Due to popular demand, Topia will return to the Garden May 14- June 1, 2013
During the 2011-2012 Season Ib Andersen’s world premiere of Cinderella met with resounding success; garnering rave reviews and record-setting attendance. In February 2012 Ballet Arizona made its New York City debut at the Joyce Theatre performing Andersen’s Play. The New York engagement was lauded by The New York Times, Financial Times and The New York Post which all praised Andersen’s choreography and the work he has done with Ballet Arizona.
In the 2013-2014 season, Ib and the company transitioned into a brand new facility, “The Center for Dance” which included the Dorrance Theatre, a black box theatre seating 299. In 2015, Andersen presented August Bournonville’s 1842 classic, Napoli, a United States premiere featuring authentic sets and costumes imported from Copenhagen. It was undoubtedly Andersen’s eye for detail and exacting coaching that led Alastair Macaulay, lead dance critic for the New York Times, to proclaim “This company has become one of America’s finest…”.
Ballet Arizona triumphantly returned to the Desert Botanical Garden in 2016 for the first of five years of performances, where Ib presented Round— a ballet created for a 360-degree stage, to be viewed by audiences from all sides. The New York Times lead dance critic Alastair Macaulay traveled to Arizona to experience the work, and in his review proclaimed Ballet Arizona “…one of the most enterprising companies anywhere.”
Ib Andersen
Artistic Director
From: Copenhagen, Denmark
Following a brilliant career performing on the world’s greatest ballet stages, Ib Andersen was named Artistic Director of Ballet Arizona and The School of Ballet Arizona in 2000. Born in Copenhagen, he was introduced to ballroom dance at a young age. Then, at age 7 he was accepted into the School of the Royal Danish Ballet. He joined the Royal Danish Ballet at age 16 and became a principal dancer at age 20 — the youngest principal in the company’s history.
Mr. Andersen’s career and reputation flourished in Europe, bringing him to the attention of the director of New York City Ballet (NYCB), George Balanchine. Andersen joined NYCB in 1980and during his first three months he learned 35 ballets and demonstrated a remarkable affinity for the Balanchine style and technique. This led Balanchine to create principal roles for him in Ballade, Davidsbündlertänze, and Mozartiana. Jerome Robbins and Peter Martins also created roles for Andersen’s unique style.
In 1987, while Andersen was still with NYCB, the Royal Danish Ballet gave him his first choreographic commission, for which he created 1-2-3—1-2. When he retired as a principal from NYCB in 1990, Andersen began a second career as a guest ballet master for companies worldwide. He staged ballets by August Bournonville, Michel Fokine, Jerome Robbins, and others; most notably, George Balanchine. Mr. Andersen’s affinity for Balanchine’s works led to his appointment as a Balanchine Repetiteur; one of a handful of artists worldwide authorized by The George Balanchine Trust to stage the master’s pieces.
Mr. Andersen’s career has been consistently marked by success, and his rise to Artistic Director is no exception. After a tenure as Ballet Master with Pittsburgh Ballet Theatre, Andersen accepted the position of Artistic Director for Ballet Arizona. He now directs the Company in a demanding repertory that combines both classical and contemporary ballets; including works he creates specifically for the dancers. In 2010 Ballet Arizona enjoyed the national spotlight when it presented Andersen’s Diversions at the Ballet Across America festival hosted at the prestigious Kennedy Center in Washington, D.C.
In May 2012 Ib created a world premiere “site-specific” work, Topia, which was performed at the Desert Botanical Garden at sunset to sold-out audiences. Due to popular demand, Topia will return to the Garden May 14- June 1, 2013
During the 2011-2012 Season Ib Andersen’s world premiere of Cinderella met with resounding success; garnering rave reviews and record-setting attendance. In February 2012 Ballet Arizona made its New York City debut at the Joyce Theatre performing Andersen’s Play. The New York engagement was lauded by The New York Times, Financial Times and The New York Post which all praised Andersen’s choreography and the work he has done with Ballet Arizona.
In the 2013-2014 season, Ib and the company transitioned into a brand new facility, “The Center for Dance” which included the Dorrance Theatre, a black box theatre seating 299. In 2015, Andersen presented August Bournonville’s 1842 classic, Napoli, a United States premiere featuring authentic sets and costumes imported from Copenhagen. It was undoubtedly Andersen’s eye for detail and exacting coaching that led Alastair Macaulay, lead dance critic for the New York Times, to proclaim “This company has become one of America’s finest…”.
Ballet Arizona triumphantly returned to the Desert Botanical Garden in 2016 for the first of five years of performances, where Ib presented Round— a ballet created for a 360-degree stage, to be viewed by audiences from all sides. The New York Times lead dance critic Alastair Macaulay traveled to Arizona to experience the work, and in his review proclaimed Ballet Arizona “…one of the most enterprising companies anywhere.”
Maria Simonetti
School Director
From: Buenos Aires, Argentina
A native of Buenos Aires, Ms. Simonetti trained as a dancer at Teatro Colon and danced with La Joven Guardia of Ballet Nacional de Cuba before becoming assistant to Laura Alonso and Regisseur (stage director) for Cuballet. She was on the faculties of the Magda Aunon School of Ballet, Pittsburgh’s Point Park College, and the Baltimore School for the Arts before becoming ballet mistress for the esteemed Hubbard Street Dance Chicago in 1995. As assistant to choreographer Daniel Ezralow she helped create the multi-media production Mandala for a South American tour; Torino Notte di Stelle, an arts special for Italian national television (RAI Uno); choreography for Pope John Paul II’s celebration of International Youth Day; and Aeros, an innovative showcase for the Romanian National Gymnastics Team. On her own, Ms. Simonetti staged Lady Lost Found, for the Bratislava Dance Theatre in Slovakia, and the pas de six from Bournonville’s Napoli for the National Ballet of Greece. She became rehearsal director for Ballet Arizona in 1997 but continues her active career as a visiting artist. She returns to Hubbard Street Dance Chicago every summer as a guest teacher and was engaged in 2006 in a similar role by Montreal’s Les Grands Ballets Canadiens.
Maria Simonetti
School Director
From: Buenos Aires, Argentina
A native of Buenos Aires, Ms. Simonetti trained as a dancer at Teatro Colon and danced with La Joven Guardia of Ballet Nacional de Cuba before becoming assistant to Laura Alonso and Regisseur (stage director) for Cuballet. She was on the faculties of the Magda Aunon School of Ballet, Pittsburgh’s Point Park College, and the Baltimore School for the Arts before becoming ballet mistress for the esteemed Hubbard Street Dance Chicago in 1995. As assistant to choreographer Daniel Ezralow she helped create the multi-media production Mandala for a South American tour; Torino Notte di Stelle, an arts special for Italian national television (RAI Uno); choreography for Pope John Paul II’s celebration of International Youth Day; and Aeros, an innovative showcase for the Romanian National Gymnastics Team. On her own, Ms. Simonetti staged Lady Lost Found, for the Bratislava Dance Theatre in Slovakia, and the pas de six from Bournonville’s Napoli for the National Ballet of Greece. She became rehearsal director for Ballet Arizona in 1997 but continues her active career as a visiting artist. She returns to Hubbard Street Dance Chicago every summer as a guest teacher and was engaged in 2006 in a similar role by Montreal’s Les Grands Ballets Canadiens.
Maria Simonetti
School Director
From: Buenos Aires, Argentina
A native of Buenos Aires, Ms. Simonetti trained as a dancer at Teatro Colon and danced with La Joven Guardia of Ballet Nacional de Cuba before becoming assistant to Laura Alonso and Regisseur (stage director) for Cuballet. She was on the faculties of the Magda Aunon School of Ballet, Pittsburgh’s Point Park College, and the Baltimore School for the Arts before becoming ballet mistress for the esteemed Hubbard Street Dance Chicago in 1995. As assistant to choreographer Daniel Ezralow she helped create the multi-media production Mandala for a South American tour; Torino Notte di Stelle, an arts special for Italian national television (RAI Uno); choreography for Pope John Paul II’s celebration of International Youth Day; and Aeros, an innovative showcase for the Romanian National Gymnastics Team. On her own, Ms. Simonetti staged Lady Lost Found, for the Bratislava Dance Theatre in Slovakia, and the pas de six from Bournonville’s Napoli for the National Ballet of Greece. She became rehearsal director for Ballet Arizona in 1997 but continues her active career as a visiting artist. She returns to Hubbard Street Dance Chicago every summer as a guest teacher and was engaged in 2006 in a similar role by Montreal’s Les Grands Ballets Canadiens.
Alecia Good-Boresow
Upper Division Coordinator and Studio Company Manager
Alecia Good-Boresow is the Upper Division Coordinator and Studio Company Manager of The School of Ballet Arizona. Alecia began her ballet training at Central Pennsylvania Youth Ballet (CPYB) at the age of five under the direction of Marcia Dale Weary. From there, she went on to study at the School of American Ballet, the Joffrey Ballet and the Pennsylvania Ballet.
Good-Boresow danced professionally with the Kansas City Ballet under the directorship of renowned ballet dancer, teacher and choreographer Todd Bolender from 1983-1996. While with the company, she danced in many principal roles, including “Sugar Plum Fairy,” “Dew Drop” and “Mirlitons” in The Nutcracker, “Aurora” and “Bluebird” in George Balanchine’s Aurora’s Wedding, “Sanguinic” in Balanchine’s The Four Temperaments and “Swanilda” in Coppelia. In addition, Good-Boresow also danced principal roles in Balanchine’s Concerto Barocco, Apollo, Allegro Brilliante, The Firebird, Raymonda Variations, and Western Symphony.
From 1985 until 1996, Good-Boresow also served as a rehearsal assistant for the Kansas City Ballet. After retiring from the professional stage, she founded and directed the Kansas City Youth Ballet (KCYB), formerly known as the MidWest Youth Ballet in 1997. She held that post for more than 10 years. During that time, Good-Boresow took the KCYB to perform in the Young Tanzsommer Festival in Austria and Germany in 2005 and 2008.
As an educator, Good-Boresow has taught ballet for over 35 years, eleven of those years as a full-time faculty member at CPYB. In 2014, Good-Boresow was appointed to the School Principal of CPYB. Prior to her faculty position at CPYB, Good-Boresow was on faculty at the Kansas City Ballet School and Miller Marley School of Dance in Overland Park, Kansas. She has been a guest teacher at Ballet Arizona, Central Indiana Dance Ensemble, Shari Shell-True Dance Academy in Lincoln, Nebraska, Greater York Dance in York, Pennsylvania and Dance St. Louis Summer Intensive. Most recently, Good-Boresow was on the faculty of the 2019 Mid-States Regional Dance Festival in Indianapolis. Alecia joined The School of Ballet Arizona as the Upper Division Coordinator and Studio Company Manager in 2022.
Alecia Good-Boresow
Upper Division Coordinator and Studio Company Manager
Alecia Good-Boresow is the Upper Division Coordinator and Studio Company Manager of The School of Ballet Arizona. Alecia began her ballet training at Central Pennsylvania Youth Ballet (CPYB) at the age of five under the direction of Marcia Dale Weary. From there, she went on to study at the School of American Ballet, the Joffrey Ballet and the Pennsylvania Ballet.
Good-Boresow danced professionally with the Kansas City Ballet under the directorship of renowned ballet dancer, teacher and choreographer Todd Bolender from 1983-1996. While with the company, she danced in many principal roles, including “Sugar Plum Fairy,” “Dew Drop” and “Mirlitons” in The Nutcracker, “Aurora” and “Bluebird” in George Balanchine’s Aurora’s Wedding, “Sanguinic” in Balanchine’s The Four Temperaments and “Swanilda” in Coppelia. In addition, Good-Boresow also danced principal roles in Balanchine’s Concerto Barocco, Apollo, Allegro Brilliante, The Firebird, Raymonda Variations, and Western Symphony.
From 1985 until 1996, Good-Boresow also served as a rehearsal assistant for the Kansas City Ballet. After retiring from the professional stage, she founded and directed the Kansas City Youth Ballet (KCYB), formerly known as the MidWest Youth Ballet in 1997. She held that post for more than 10 years. During that time, Good-Boresow took the KCYB to perform in the Young Tanzsommer Festival in Austria and Germany in 2005 and 2008.
As an educator, Good-Boresow has taught ballet for over 35 years, eleven of those years as a full-time faculty member at CPYB. In 2014, Good-Boresow was appointed to the School Principal of CPYB. Prior to her faculty position at CPYB, Good-Boresow was on faculty at the Kansas City Ballet School and Miller Marley School of Dance in Overland Park, Kansas. She has been a guest teacher at Ballet Arizona, Central Indiana Dance Ensemble, Shari Shell-True Dance Academy in Lincoln, Nebraska, Greater York Dance in York, Pennsylvania and Dance St. Louis Summer Intensive. Most recently, Good-Boresow was on the faculty of the 2019 Mid-States Regional Dance Festival in Indianapolis. Alecia joined The School of Ballet Arizona as the Upper Division Coordinator and Studio Company Manager in 2022.
Alecia Good-Boresow
Upper Division Coordinator and Studio Company Manager
Alecia Good-Boresow is the Upper Division Coordinator and Studio Company Manager of The School of Ballet Arizona. Alecia began her ballet training at Central Pennsylvania Youth Ballet (CPYB) at the age of five under the direction of Marcia Dale Weary. From there, she went on to study at the School of American Ballet, the Joffrey Ballet and the Pennsylvania Ballet.
Good-Boresow danced professionally with the Kansas City Ballet under the directorship of renowned ballet dancer, teacher and choreographer Todd Bolender from 1983-1996. While with the company, she danced in many principal roles, including “Sugar Plum Fairy,” “Dew Drop” and “Mirlitons” in The Nutcracker, “Aurora” and “Bluebird” in George Balanchine’s Aurora’s Wedding, “Sanguinic” in Balanchine’s The Four Temperaments and “Swanilda” in Coppelia. In addition, Good-Boresow also danced principal roles in Balanchine’s Concerto Barocco, Apollo, Allegro Brilliante, The Firebird, Raymonda Variations, and Western Symphony.
From 1985 until 1996, Good-Boresow also served as a rehearsal assistant for the Kansas City Ballet. After retiring from the professional stage, she founded and directed the Kansas City Youth Ballet (KCYB), formerly known as the MidWest Youth Ballet in 1997. She held that post for more than 10 years. During that time, Good-Boresow took the KCYB to perform in the Young Tanzsommer Festival in Austria and Germany in 2005 and 2008.
As an educator, Good-Boresow has taught ballet for over 35 years, eleven of those years as a full-time faculty member at CPYB. In 2014, Good-Boresow was appointed to the School Principal of CPYB. Prior to her faculty position at CPYB, Good-Boresow was on faculty at the Kansas City Ballet School and Miller Marley School of Dance in Overland Park, Kansas. She has been a guest teacher at Ballet Arizona, Central Indiana Dance Ensemble, Shari Shell-True Dance Academy in Lincoln, Nebraska, Greater York Dance in York, Pennsylvania and Dance St. Louis Summer Intensive. Most recently, Good-Boresow was on the faculty of the 2019 Mid-States Regional Dance Festival in Indianapolis. Alecia joined The School of Ballet Arizona as the Upper Division Coordinator and Studio Company Manager in 2022.
Gillmer Duran
Upper Division Student Liaison
From: Barquisimeto, Venezuela
Originally from Barquisimeto, Venezuela, Gillmer Duran began dancing Venezuelan folk dances and continued his formal ballet training at age 21 at the FundaciĂłn Arte Nuevo. He danced professionally with Ballet Metropolitano, Ballet Nuevo Mundo, National Ballet of Caracas, Tulsa Ballet Theatre, and eight consecutive seasons with Eugene Ballet Company. He worked with choreographers such as Vicente Nebrada, Nicolo Fonte, Robert Battle, Mauricio Wainrott, Edwaard Liang, Jessica Lang and Toni Pimble, among others.
His versatility and intuition allowed him to perform a variety of classical, neoclassical and contemporary roles. In June of 2010, he began teaching ballet as a way to inspire the new generations of dancers and to share his passion for dance. In October of 2010, he was appointed as Alaska Dance Theatre’s Artistic Director and Resident Choreographer. In 2011, Duran received the Fermin Toro University Award for his career and continued to teach ballet in the east coast. He has taught master classes for several schools and has created choreography for Eugene Ballet, Alaska Dance Theatre, Ballet Des Moines, and Northwest Arkansas Ballet Theatre.
In July of 2023 he obtained his Bachelor in Fine Arts from Saint Mary’s College of California. He is currently a full-time faculty at the School of Ballet Arizona and this is his fifth-year teaching at the Arizona School for the Arts.
Gillmer Duran
Upper Division Student Liaison
From: Barquisimeto, Venezuela
Originally from Barquisimeto, Venezuela, Gillmer Duran began dancing Venezuelan folk dances and continued his formal ballet training at age 21 at the FundaciĂłn Arte Nuevo. He danced professionally with Ballet Metropolitano, Ballet Nuevo Mundo, National Ballet of Caracas, Tulsa Ballet Theatre, and eight consecutive seasons with Eugene Ballet Company. He worked with choreographers such as Vicente Nebrada, Nicolo Fonte, Robert Battle, Mauricio Wainrott, Edwaard Liang, Jessica Lang and Toni Pimble, among others.
His versatility and intuition allowed him to perform a variety of classical, neoclassical and contemporary roles. In June of 2010, he began teaching ballet as a way to inspire the new generations of dancers and to share his passion for dance. In October of 2010, he was appointed as Alaska Dance Theatre’s Artistic Director and Resident Choreographer. In 2011, Duran received the Fermin Toro University Award for his career and continued to teach ballet in the east coast. He has taught master classes for several schools and has created choreography for Eugene Ballet, Alaska Dance Theatre, Ballet Des Moines, and Northwest Arkansas Ballet Theatre.
In July of 2023 he obtained his Bachelor in Fine Arts from Saint Mary’s College of California. He is currently a full-time faculty at the School of Ballet Arizona and this is his fifth-year teaching at the Arizona School for the Arts.
Gillmer Duran
Upper Division Student Liaison
From: Barquisimeto, Venezuela
Originally from Barquisimeto, Venezuela, Gillmer Duran began dancing Venezuelan folk dances and continued his formal ballet training at age 21 at the FundaciĂłn Arte Nuevo. He danced professionally with Ballet Metropolitano, Ballet Nuevo Mundo, National Ballet of Caracas, Tulsa Ballet Theatre, and eight consecutive seasons with Eugene Ballet Company. He worked with choreographers such as Vicente Nebrada, Nicolo Fonte, Robert Battle, Mauricio Wainrott, Edwaard Liang, Jessica Lang and Toni Pimble, among others.
His versatility and intuition allowed him to perform a variety of classical, neoclassical and contemporary roles. In June of 2010, he began teaching ballet as a way to inspire the new generations of dancers and to share his passion for dance. In October of 2010, he was appointed as Alaska Dance Theatre’s Artistic Director and Resident Choreographer. In 2011, Duran received the Fermin Toro University Award for his career and continued to teach ballet in the east coast. He has taught master classes for several schools and has created choreography for Eugene Ballet, Alaska Dance Theatre, Ballet Des Moines, and Northwest Arkansas Ballet Theatre.
In July of 2023 he obtained his Bachelor in Fine Arts from Saint Mary’s College of California. He is currently a full-time faculty at the School of Ballet Arizona and this is his fifth-year teaching at the Arizona School for the Arts.
Fabiana Poulis
Children’s and Lower Division Coordinator
From: Phoenix, Arizona
Born in Paraguay and raised in Argentina, Fabiana Fadlala-Poulis has been teaching ballet for over 20 years. She received her training at Estudio Coreografico Bonnin, the Teatro Colon and received her Masters in Ballet Pedagogy from the School of the National Ballet of Cuba. She studied under Olga Ferri, Miguel Bonnin, Ileana Balmori and Raul Candal. Fabiana danced professionally with the Teatro Municipal de Asuncion, Teatro General San Martin, Ballet Arlington and Ballet Concerto. Fabiana has taught at the Margo Dean School of Ballet in the Dallas/Fort Worth area and Ballet Conservatory in Lewisville, TX where she also served as the assistant director of Lake Cities Ballet Theatre II. Her choreography for YAGP, “It’s a Good Day”, placed 2nd in the regionals and performed in the finals in New York. She also served as the Outreach Coordinator for the Desert Youth Ballet Foundation, taught for the Arizona School of Classical Ballet, Tempe Dance Academy, The Louisville Ballet and served as the ballet mistress for the Louisville Ballet Youth Ensemble, Sacred Heart School for the Arts in Louisville, KY and Wynn Twins School of Dance in Kansas City, MO. She has been a sought-after guest teacher throughout the United States and South America.
Fabiana Poulis
Children’s and Lower Division Coordinator
From: Phoenix, Arizona
Born in Paraguay and raised in Argentina, Fabiana Fadlala-Poulis has been teaching ballet for over 20 years. She received her training at Estudio Coreografico Bonnin, the Teatro Colon and received her Masters in Ballet Pedagogy from the School of the National Ballet of Cuba. She studied under Olga Ferri, Miguel Bonnin, Ileana Balmori and Raul Candal. Fabiana danced professionally with the Teatro Municipal de Asuncion, Teatro General San Martin, Ballet Arlington and Ballet Concerto. Fabiana has taught at the Margo Dean School of Ballet in the Dallas/Fort Worth area and Ballet Conservatory in Lewisville, TX where she also served as the assistant director of Lake Cities Ballet Theatre II. Her choreography for YAGP, “It’s a Good Day”, placed 2nd in the regionals and performed in the finals in New York. She also served as the Outreach Coordinator for the Desert Youth Ballet Foundation, taught for the Arizona School of Classical Ballet, Tempe Dance Academy, The Louisville Ballet and served as the ballet mistress for the Louisville Ballet Youth Ensemble, Sacred Heart School for the Arts in Louisville, KY and Wynn Twins School of Dance in Kansas City, MO. She has been a sought-after guest teacher throughout the United States and South America.
Fabiana Poulis
Children’s and Lower Division Coordinator
From: Phoenix, Arizona
Born in Paraguay and raised in Argentina, Fabiana Fadlala-Poulis has been teaching ballet for over 20 years. She received her training at Estudio Coreografico Bonnin, the Teatro Colon and received her Masters in Ballet Pedagogy from the School of the National Ballet of Cuba. She studied under Olga Ferri, Miguel Bonnin, Ileana Balmori and Raul Candal. Fabiana danced professionally with the Teatro Municipal de Asuncion, Teatro General San Martin, Ballet Arlington and Ballet Concerto. Fabiana has taught at the Margo Dean School of Ballet in the Dallas/Fort Worth area and Ballet Conservatory in Lewisville, TX where she also served as the assistant director of Lake Cities Ballet Theatre II. Her choreography for YAGP, “It’s a Good Day”, placed 2nd in the regionals and performed in the finals in New York. She also served as the Outreach Coordinator for the Desert Youth Ballet Foundation, taught for the Arizona School of Classical Ballet, Tempe Dance Academy, The Louisville Ballet and served as the ballet mistress for the Louisville Ballet Youth Ensemble, Sacred Heart School for the Arts in Louisville, KY and Wynn Twins School of Dance in Kansas City, MO. She has been a sought-after guest teacher throughout the United States and South America.
David Krensing
Ballet Master, Summer Intensive Coordinator
A Minnesota native and former Principal Dancer with Philadelphia Ballet, then known as Pennsylvania Ballet, David performed numerous leading classical, contemporary and modern dance roles by renowned choreographers, such as Alvin Ailey, Sir Fredrick Ashton, George Balanchine, John Butler, John Cranko, Agnes DeMille, William Forsythe, Jose Limon, Lar Lubovitch, Peter Martins, Jerome Robbins, Ben Stevenson, Paul Taylor, Twyla Tharp, Hans Van Manen. Additional performance credits include world premieres by Ib Andersen, Jorma Elo, Trey McIntyre, Kevin O’ Day, David Parsons, Antony Rizzi, Dwight Rhoden and Christopher Wheeldon.
He has toured the United States and Europe, with Pennsylvania Ballet and as an independent artist, and has been featured domestically and internationally in both company-produced and independent productions with artists from New York City Ballet, American Ballet Theatre, San Francisco Ballet, Frankfort Ballet, Paul Taylor Dance Company, Dance Theater of Harlem, Cedar Lake Contemporary Ballet, and Martha Graham Dance Company, among others. He has taught for professional dance companies, colleges and universities including The University of Arizona, The University of the Arts, Stephens College, The Washington Ballet, Ballet BC, BalletX, Ballet Idaho, and Trey McIntyre Projects.
Mr. Krensing holds a Bachelor of Fine Arts from Stephens College in Columbia, MO, and a Master of Fine Arts from The University of Arizona in Tucson, AZ. In addition to his Ballet Master duties, he is a faculty member at The School of Ballet Arizona.
David Krensing
Ballet Master, Summer Intensive Coordinator
A Minnesota native and former Principal Dancer with Philadelphia Ballet, then known as Pennsylvania Ballet, David performed numerous leading classical, contemporary and modern dance roles by renowned choreographers, such as Alvin Ailey, Sir Fredrick Ashton, George Balanchine, John Butler, John Cranko, Agnes DeMille, William Forsythe, Jose Limon, Lar Lubovitch, Peter Martins, Jerome Robbins, Ben Stevenson, Paul Taylor, Twyla Tharp, Hans Van Manen. Additional performance credits include world premieres by Ib Andersen, Jorma Elo, Trey McIntyre, Kevin O’ Day, David Parsons, Antony Rizzi, Dwight Rhoden and Christopher Wheeldon.
He has toured the United States and Europe, with Pennsylvania Ballet and as an independent artist, and has been featured domestically and internationally in both company-produced and independent productions with artists from New York City Ballet, American Ballet Theatre, San Francisco Ballet, Frankfort Ballet, Paul Taylor Dance Company, Dance Theater of Harlem, Cedar Lake Contemporary Ballet, and Martha Graham Dance Company, among others. He has taught for professional dance companies, colleges and universities including The University of Arizona, The University of the Arts, Stephens College, The Washington Ballet, Ballet BC, BalletX, Ballet Idaho, and Trey McIntyre Projects.
Mr. Krensing holds a Bachelor of Fine Arts from Stephens College in Columbia, MO, and a Master of Fine Arts from The University of Arizona in Tucson, AZ. In addition to his Ballet Master duties, he is a faculty member at The School of Ballet Arizona.
David Krensing
Ballet Master, Summer Intensive Coordinator
A Minnesota native and former Principal Dancer with Philadelphia Ballet, then known as Pennsylvania Ballet, David performed numerous leading classical, contemporary and modern dance roles by renowned choreographers, such as Alvin Ailey, Sir Fredrick Ashton, George Balanchine, John Butler, John Cranko, Agnes DeMille, William Forsythe, Jose Limon, Lar Lubovitch, Peter Martins, Jerome Robbins, Ben Stevenson, Paul Taylor, Twyla Tharp, Hans Van Manen. Additional performance credits include world premieres by Ib Andersen, Jorma Elo, Trey McIntyre, Kevin O’ Day, David Parsons, Antony Rizzi, Dwight Rhoden and Christopher Wheeldon.
He has toured the United States and Europe, with Pennsylvania Ballet and as an independent artist, and has been featured domestically and internationally in both company-produced and independent productions with artists from New York City Ballet, American Ballet Theatre, San Francisco Ballet, Frankfort Ballet, Paul Taylor Dance Company, Dance Theater of Harlem, Cedar Lake Contemporary Ballet, and Martha Graham Dance Company, among others. He has taught for professional dance companies, colleges and universities including The University of Arizona, The University of the Arts, Stephens College, The Washington Ballet, Ballet BC, BalletX, Ballet Idaho, and Trey McIntyre Projects.
Mr. Krensing holds a Bachelor of Fine Arts from Stephens College in Columbia, MO, and a Master of Fine Arts from The University of Arizona in Tucson, AZ. In addition to his Ballet Master duties, he is a faculty member at The School of Ballet Arizona.
Up to Date
Don’t miss a beat on any program or class SBAZ has to offer. Follow along with our yearly calendar for every exciting event coming soon!
Fall Showcase
May 4 - 4, 2024
Fall Showcase
May 5 - 5, 2024
Spring Performance
May 4 - 4, 2024
Spring Performance
May 5 - 5, 2024
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