Ballet Arizona’s
Artistic Staff
Artistic Leadership
Daniela Cardim
Artistic Director
Cardim began her celebrated career as a dancer at Ballet of Municipal Theatre of Rio de Janeiro in 1994, becoming a soloist in 1995 and performing lead roles in ballets such as Giselle, L'après-midi d'un Faune (Nijinsky) and Suite en Blanc (Lifar). She then joined the Dutch National Ballet in 1999, rising to distinction in the company, and subsequently performing a vast repertoire including key roles in Choreatium (Massine), Sleeping Beauty and Romeo and Juliet. Her professional dance training includes the Studio Eliana Karin in Rio de Janeiro, the Académie De Danse Classique Princesse Grace in Monaco, and contemporary dance training at Ballet Cristina Helena in Belo Horizonte, Brazil.
While still a student, Cardim began choreographing and soon proved herself to be an exceptional talent and visionary. Her first works for the Dutch National Ballet, including 3 Movements for Cello & Piano (2006), Zaahir (2007), In Space (2008) and Two Octaves Below Middle C (2009), garnered her swift recognition in the dance world. She was also one of six choreographers selected to attend the prestigious New York Choreographic Institute in 2008, where she worked with composer Jude Vaclavik. By 2015, Dance Europe Magazine lauded Cardim as a “New Name to Watch.” Her recent works, such as Reset, Stabat Mater and Baroque Encounters, have now made Cardim a celebrated name.
Over the course of her career, Cardim has choreographed works for a myriad of internationally recognized ballet companies, including Ballet of Municipal Theatre of Rio de Janeiro, São Paulo Dance Company (Brazil), Dutch National Ballet Junior Company - Junior and Main Companies (Netherlands), West Australian Ballet, Poznan Opera Ballet (Poland), Birmingham Royal Ballet, New English Ballet Theatre, English National Ballet School and Elmhurst Ballet School (United Kingdom). Ballet Arizona is thrilled to bring this caliber of talent to its stages.
Additionally, Cardim has worked as a ballet teacher and mentor for student dancers, including mentoring young choreographers at The Royal Ballet School and creating works for their Summer Intensive programs. She also taught students at Studio Eliana Karin and open classes at Central School of Ballet and English National Ballet. Cardim served as a guest ballet teacher at Studio Wayne McGregor, Rambert Dance Company, Akram Khan Company and Swedish Ballet School in Gothenburg.
After retiring as a dancer in 2010, Cardim completed an honors bachelor’s in arts management at London South Bank University graduating with a first-class degree. Since 2013, Cardim has served in a variety of leadership roles at the New English Ballet Theatre in London starting as a project manager, followed by a promotion to company and general manager in 2014, and to assistant director in 2022.
Daniela Cardim
Artistic Director
Cardim began her celebrated career as a dancer at Ballet of Municipal Theatre of Rio de Janeiro in 1994, becoming a soloist in 1995 and performing lead roles in ballets such as Giselle, L'après-midi d'un Faune (Nijinsky) and Suite en Blanc (Lifar). She then joined the Dutch National Ballet in 1999, rising to distinction in the company, and subsequently performing a vast repertoire including key roles in Choreatium (Massine), Sleeping Beauty and Romeo and Juliet. Her professional dance training includes the Studio Eliana Karin in Rio de Janeiro, the Académie De Danse Classique Princesse Grace in Monaco, and contemporary dance training at Ballet Cristina Helena in Belo Horizonte, Brazil.
While still a student, Cardim began choreographing and soon proved herself to be an exceptional talent and visionary. Her first works for the Dutch National Ballet, including 3 Movements for Cello & Piano (2006), Zaahir (2007), In Space (2008) and Two Octaves Below Middle C (2009), garnered her swift recognition in the dance world. She was also one of six choreographers selected to attend the prestigious New York Choreographic Institute in 2008, where she worked with composer Jude Vaclavik. By 2015, Dance Europe Magazine lauded Cardim as a “New Name to Watch.” Her recent works, such as Reset, Stabat Mater and Baroque Encounters, have now made Cardim a celebrated name.
Over the course of her career, Cardim has choreographed works for a myriad of internationally recognized ballet companies, including Ballet of Municipal Theatre of Rio de Janeiro, São Paulo Dance Company (Brazil), Dutch National Ballet Junior Company - Junior and Main Companies (Netherlands), West Australian Ballet, Poznan Opera Ballet (Poland), Birmingham Royal Ballet, New English Ballet Theatre, English National Ballet School and Elmhurst Ballet School (United Kingdom). Ballet Arizona is thrilled to bring this caliber of talent to its stages.
Additionally, Cardim has worked as a ballet teacher and mentor for student dancers, including mentoring young choreographers at The Royal Ballet School and creating works for their Summer Intensive programs. She also taught students at Studio Eliana Karin and open classes at Central School of Ballet and English National Ballet. Cardim served as a guest ballet teacher at Studio Wayne McGregor, Rambert Dance Company, Akram Khan Company and Swedish Ballet School in Gothenburg.
After retiring as a dancer in 2010, Cardim completed an honors bachelor’s in arts management at London South Bank University graduating with a first-class degree. Since 2013, Cardim has served in a variety of leadership roles at the New English Ballet Theatre in London starting as a project manager, followed by a promotion to company and general manager in 2014, and to assistant director in 2022.
Daniela Cardim
Artistic Director
Cardim began her celebrated career as a dancer at Ballet of Municipal Theatre of Rio de Janeiro in 1994, becoming a soloist in 1995 and performing lead roles in ballets such as Giselle, L'après-midi d'un Faune (Nijinsky) and Suite en Blanc (Lifar). She then joined the Dutch National Ballet in 1999, rising to distinction in the company, and subsequently performing a vast repertoire including key roles in Choreatium (Massine), Sleeping Beauty and Romeo and Juliet. Her professional dance training includes the Studio Eliana Karin in Rio de Janeiro, the Académie De Danse Classique Princesse Grace in Monaco, and contemporary dance training at Ballet Cristina Helena in Belo Horizonte, Brazil.
While still a student, Cardim began choreographing and soon proved herself to be an exceptional talent and visionary. Her first works for the Dutch National Ballet, including 3 Movements for Cello & Piano (2006), Zaahir (2007), In Space (2008) and Two Octaves Below Middle C (2009), garnered her swift recognition in the dance world. She was also one of six choreographers selected to attend the prestigious New York Choreographic Institute in 2008, where she worked with composer Jude Vaclavik. By 2015, Dance Europe Magazine lauded Cardim as a “New Name to Watch.” Her recent works, such as Reset, Stabat Mater and Baroque Encounters, have now made Cardim a celebrated name.
Over the course of her career, Cardim has choreographed works for a myriad of internationally recognized ballet companies, including Ballet of Municipal Theatre of Rio de Janeiro, São Paulo Dance Company (Brazil), Dutch National Ballet Junior Company - Junior and Main Companies (Netherlands), West Australian Ballet, Poznan Opera Ballet (Poland), Birmingham Royal Ballet, New English Ballet Theatre, English National Ballet School and Elmhurst Ballet School (United Kingdom). Ballet Arizona is thrilled to bring this caliber of talent to its stages.
Additionally, Cardim has worked as a ballet teacher and mentor for student dancers, including mentoring young choreographers at The Royal Ballet School and creating works for their Summer Intensive programs. She also taught students at Studio Eliana Karin and open classes at Central School of Ballet and English National Ballet. Cardim served as a guest ballet teacher at Studio Wayne McGregor, Rambert Dance Company, Akram Khan Company and Swedish Ballet School in Gothenburg.
After retiring as a dancer in 2010, Cardim completed an honors bachelor’s in arts management at London South Bank University graduating with a first-class degree. Since 2013, Cardim has served in a variety of leadership roles at the New English Ballet Theatre in London starting as a project manager, followed by a promotion to company and general manager in 2014, and to assistant director in 2022.
Artistic Staff
María Simonetti
Rehearsal Director, Principal Repetiteur
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.
María Simonetti
Rehearsal Director, Principal Repetiteur
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.
María Simonetti
Rehearsal Director, Principal Repetiteur
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.
Lisbet Companioni
Ballet Mistress
From: Camagüey, Cuba
A native of Camagüey, Cuba, Lisbet Companioni began her career in ballet as a member of Ballet de Camagüey under the direction of its cofounder, Fernando Alonso. Her repertoire as a dancer includes Don Quixote, Dracula, La Bayadère, La Fille mal gardée, Napoli, and The Three Musketeers. In 2001, Lisbet joined Ballet Arizona as a dancer and originated featured roles in Ib Andersen’s 2B, Elevations, Mosaik and Play. Her modern repertoire includes soloist roles in Twyla Tharp’s Sinatra Suite, The Golden Section and Company B. Her interest in Balanchine ballets grew as she added George Balanchine’s Agon, Apollo, Allegro Brillante, Serenade, and Theme and Variations to her repertory. Lisbet has always had a passion for teaching and coaching dancers and is also a faculty member at The School of Ballet Arizona. Ms. Companioni retired from the stage in 2008 to become Ballet Arizona’s Ballet Mistress.
Lisbet Companioni
Ballet Mistress
From: Camagüey, Cuba
A native of Camagüey, Cuba, Lisbet Companioni began her career in ballet as a member of Ballet de Camagüey under the direction of its cofounder, Fernando Alonso. Her repertoire as a dancer includes Don Quixote, Dracula, La Bayadère, La Fille mal gardée, Napoli, and The Three Musketeers. In 2001, Lisbet joined Ballet Arizona as a dancer and originated featured roles in Ib Andersen’s 2B, Elevations, Mosaik and Play. Her modern repertoire includes soloist roles in Twyla Tharp’s Sinatra Suite, The Golden Section and Company B. Her interest in Balanchine ballets grew as she added George Balanchine’s Agon, Apollo, Allegro Brillante, Serenade, and Theme and Variations to her repertory. Lisbet has always had a passion for teaching and coaching dancers and is also a faculty member at The School of Ballet Arizona. Ms. Companioni retired from the stage in 2008 to become Ballet Arizona’s Ballet Mistress.
Lisbet Companioni
Ballet Mistress
From: Camagüey, Cuba
A native of Camagüey, Cuba, Lisbet Companioni began her career in ballet as a member of Ballet de Camagüey under the direction of its cofounder, Fernando Alonso. Her repertoire as a dancer includes Don Quixote, Dracula, La Bayadère, La Fille mal gardée, Napoli, and The Three Musketeers. In 2001, Lisbet joined Ballet Arizona as a dancer and originated featured roles in Ib Andersen’s 2B, Elevations, Mosaik and Play. Her modern repertoire includes soloist roles in Twyla Tharp’s Sinatra Suite, The Golden Section and Company B. Her interest in Balanchine ballets grew as she added George Balanchine’s Agon, Apollo, Allegro Brillante, Serenade, and Theme and Variations to her repertory. Lisbet has always had a passion for teaching and coaching dancers and is also a faculty member at The School of Ballet Arizona. Ms. Companioni retired from the stage in 2008 to become Ballet Arizona’s Ballet Mistress.
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.
Nayon Iovino
Resident Choreographer
From: Goiania, Brazil
A prolific creator since 2013, Iovino has crafted over 25 original works, 11 of which were commissioned by Ballet Arizona. His choreographic vision took a monumental leap forward in 2024 with the creation an original full-length ballet "Moving Movies" on a theme of the golden era of Hollywood for Ballet Arizona. This ambitious project represents a significant innovation in how narrative ballet is presented, blending cinematic storytelling with his signature contemporary ballet style.
Iovino's distinguished career includes being selected for the New York Choreographic Institute and receiving accolades such as the Phoenix New Times' "Best Choreographer" and recognition as an "Up and Coming Artist Under 40" by AZCentral. His works continues to push the boundaries of the art form through dynamic movement and cross-disciplinary innovation.
Nayon Iovino
Resident Choreographer
From: Goiania, Brazil
A prolific creator since 2013, Iovino has crafted over 25 original works, 11 of which were commissioned by Ballet Arizona. His choreographic vision took a monumental leap forward in 2024 with the creation an original full-length ballet "Moving Movies" on a theme of the golden era of Hollywood for Ballet Arizona. This ambitious project represents a significant innovation in how narrative ballet is presented, blending cinematic storytelling with his signature contemporary ballet style.
Iovino's distinguished career includes being selected for the New York Choreographic Institute and receiving accolades such as the Phoenix New Times' "Best Choreographer" and recognition as an "Up and Coming Artist Under 40" by AZCentral. His works continues to push the boundaries of the art form through dynamic movement and cross-disciplinary innovation.
Nayon Iovino
Resident Choreographer
From: Goiania, Brazil
A prolific creator since 2013, Iovino has crafted over 25 original works, 11 of which were commissioned by Ballet Arizona. His choreographic vision took a monumental leap forward in 2024 with the creation an original full-length ballet "Moving Movies" on a theme of the golden era of Hollywood for Ballet Arizona. This ambitious project represents a significant innovation in how narrative ballet is presented, blending cinematic storytelling with his signature contemporary ballet style.
Iovino's distinguished career includes being selected for the New York Choreographic Institute and receiving accolades such as the Phoenix New Times' "Best Choreographer" and recognition as an "Up and Coming Artist Under 40" by AZCentral. His works continues to push the boundaries of the art form through dynamic movement and cross-disciplinary innovation.
Artistic Director Emeritus
Ib Andersen
Artistic Director Emeritus
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 Emeritus
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 Emeritus
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.”
Production
Michael Panvini
Director of Production
From: Ballet Arizona
Ballet Arizona’s Director of Production for over 14 years, Michael Panvini dropped out of college and moved to the “Big Apple” in 1983 to begin his career as a freelance electrician/lighting technician, working on over 100 Off-Broadway and Off-Off-Broadway productions from the age of 20 years old.
Rising quickly through the ranks of Off-Broadway and graduating to national tours, he was Head Electrician for touring Broadway musicals (A Chorus Line, Singin’ in the Rain) and The Magic of David Copperfield, until moving into the world of ballet as Lighting Supervisor for Dance Theatre of Harlem, followed by Joffrey Ballet. In 1993, Michael began a 15-year tenure with Columbia Artists Management, Inc. as a tour Production Manager, touring North America with dozens of ballet, folk dance, and opera companies from around the world until joining Ballet Arizona in January 2008.
Michael Panvini
Director of Production
From: Ballet Arizona
Ballet Arizona’s Director of Production for over 14 years, Michael Panvini dropped out of college and moved to the “Big Apple” in 1983 to begin his career as a freelance electrician/lighting technician, working on over 100 Off-Broadway and Off-Off-Broadway productions from the age of 20 years old.
Rising quickly through the ranks of Off-Broadway and graduating to national tours, he was Head Electrician for touring Broadway musicals (A Chorus Line, Singin’ in the Rain) and The Magic of David Copperfield, until moving into the world of ballet as Lighting Supervisor for Dance Theatre of Harlem, followed by Joffrey Ballet. In 1993, Michael began a 15-year tenure with Columbia Artists Management, Inc. as a tour Production Manager, touring North America with dozens of ballet, folk dance, and opera companies from around the world until joining Ballet Arizona in January 2008.
Michael Panvini
Director of Production
From: Ballet Arizona
Ballet Arizona’s Director of Production for over 14 years, Michael Panvini dropped out of college and moved to the “Big Apple” in 1983 to begin his career as a freelance electrician/lighting technician, working on over 100 Off-Broadway and Off-Off-Broadway productions from the age of 20 years old.
Rising quickly through the ranks of Off-Broadway and graduating to national tours, he was Head Electrician for touring Broadway musicals (A Chorus Line, Singin’ in the Rain) and The Magic of David Copperfield, until moving into the world of ballet as Lighting Supervisor for Dance Theatre of Harlem, followed by Joffrey Ballet. In 1993, Michael began a 15-year tenure with Columbia Artists Management, Inc. as a tour Production Manager, touring North America with dozens of ballet, folk dance, and opera companies from around the world until joining Ballet Arizona in January 2008.
Cecilia Acosta
Costume Shop Staff
Cecilia Acosta
Costume Shop Staff
Cecilia Acosta
Costume Shop Staff
Laura Cadieux
Stage Manager
From: Ballet Arizona
Laura Cadieux has been stage-managing for Ballet Arizona since 2009. During her tenure, she has had the privilege to work with acclaimed choreographers Alexei Ratmansky, Christopher Wheeldon and Alejandro Cerrudo, and be involved in the creation of Ballet Arizona full-length premieres including Juan Gabriel, Cinderella, Napoli, Firebird, La Bayadere, The Sleeping Beauty and An Evening at the Desert Botanical Gardens. Notably, Mrs. Cadieux traveled with Ballet Arizona to help the company present work at Ballet Across America II at the Kennedy Center, Chicago Dancing Festival and the Company residency at the Joyce Theatre.
Laura has also worked for a variety of theatres and dance companies including Kansas City Repertory Theater, Arkansas Repertory Theatre, Lyric Opera of Kansas City, The Coterie, Albany Berkshire Ballet and Wylliams/Henry Contemporary Dance Company. Laura’s love of the performing arts keeps her excited to continue honing her craft and bringing the best of stage magic to the audience.
A Missouri native, Laura holds a Bachelor of Fine Arts from Stephens College in Columbia, MO and a Master of Fine Arts from the University of Missouri-Kansas City in Kansas City, MO. In addition to her professional credentials, Laura is a wife and mother to two beautiful children and cherishes her family.
Laura Cadieux
Stage Manager
From: Ballet Arizona
Laura Cadieux has been stage-managing for Ballet Arizona since 2009. During her tenure, she has had the privilege to work with acclaimed choreographers Alexei Ratmansky, Christopher Wheeldon and Alejandro Cerrudo, and be involved in the creation of Ballet Arizona full-length premieres including Juan Gabriel, Cinderella, Napoli, Firebird, La Bayadere, The Sleeping Beauty and An Evening at the Desert Botanical Gardens. Notably, Mrs. Cadieux traveled with Ballet Arizona to help the company present work at Ballet Across America II at the Kennedy Center, Chicago Dancing Festival and the Company residency at the Joyce Theatre.
Laura has also worked for a variety of theatres and dance companies including Kansas City Repertory Theater, Arkansas Repertory Theatre, Lyric Opera of Kansas City, The Coterie, Albany Berkshire Ballet and Wylliams/Henry Contemporary Dance Company. Laura’s love of the performing arts keeps her excited to continue honing her craft and bringing the best of stage magic to the audience.
A Missouri native, Laura holds a Bachelor of Fine Arts from Stephens College in Columbia, MO and a Master of Fine Arts from the University of Missouri-Kansas City in Kansas City, MO. In addition to her professional credentials, Laura is a wife and mother to two beautiful children and cherishes her family.
Laura Cadieux
Stage Manager
From: Ballet Arizona
Laura Cadieux has been stage-managing for Ballet Arizona since 2009. During her tenure, she has had the privilege to work with acclaimed choreographers Alexei Ratmansky, Christopher Wheeldon and Alejandro Cerrudo, and be involved in the creation of Ballet Arizona full-length premieres including Juan Gabriel, Cinderella, Napoli, Firebird, La Bayadere, The Sleeping Beauty and An Evening at the Desert Botanical Gardens. Notably, Mrs. Cadieux traveled with Ballet Arizona to help the company present work at Ballet Across America II at the Kennedy Center, Chicago Dancing Festival and the Company residency at the Joyce Theatre.
Laura has also worked for a variety of theatres and dance companies including Kansas City Repertory Theater, Arkansas Repertory Theatre, Lyric Opera of Kansas City, The Coterie, Albany Berkshire Ballet and Wylliams/Henry Contemporary Dance Company. Laura’s love of the performing arts keeps her excited to continue honing her craft and bringing the best of stage magic to the audience.
A Missouri native, Laura holds a Bachelor of Fine Arts from Stephens College in Columbia, MO and a Master of Fine Arts from the University of Missouri-Kansas City in Kansas City, MO. In addition to her professional credentials, Laura is a wife and mother to two beautiful children and cherishes her family.
Zachary Cooper
Technical Director
Zachary Cooper joined Ballet Arizona in the Spring of 2021 after a tenure as Technical Director at the two-time Tony-winning Eugene O’Neill Theater Center in Waterford, CT and has worked professionally in theatrical production for nearly a decade.
Originally from Wisconsin, Zac attended Lawrence University, University of Wisconsin-Parkside, and the National Theater Institute and worked with the Fireside Dinner Theater in Fort Atkinson, WI and Skylight Music Theater in Milwaukee, WI. In addition to time spent behind the stage, Zac maintains years of training as an actor, director, and playwright which he constantly uses to inform his technical work. While at the O’Neill Theater, Zac worked with grant recipients of the Jerome Robbins Foundation and Jim Henson Foundation while overseeing and contributing to the Young Playwright’s Festival, the National Puppetry Conference, the National Musical Theater Conference, the National Playwright’s Conference, and the Cabaret & Performance Conference.
Zachary Cooper
Technical Director
Zachary Cooper joined Ballet Arizona in the Spring of 2021 after a tenure as Technical Director at the two-time Tony-winning Eugene O’Neill Theater Center in Waterford, CT and has worked professionally in theatrical production for nearly a decade.
Originally from Wisconsin, Zac attended Lawrence University, University of Wisconsin-Parkside, and the National Theater Institute and worked with the Fireside Dinner Theater in Fort Atkinson, WI and Skylight Music Theater in Milwaukee, WI. In addition to time spent behind the stage, Zac maintains years of training as an actor, director, and playwright which he constantly uses to inform his technical work. While at the O’Neill Theater, Zac worked with grant recipients of the Jerome Robbins Foundation and Jim Henson Foundation while overseeing and contributing to the Young Playwright’s Festival, the National Puppetry Conference, the National Musical Theater Conference, the National Playwright’s Conference, and the Cabaret & Performance Conference.
Zachary Cooper
Technical Director
Zachary Cooper joined Ballet Arizona in the Spring of 2021 after a tenure as Technical Director at the two-time Tony-winning Eugene O’Neill Theater Center in Waterford, CT and has worked professionally in theatrical production for nearly a decade.
Originally from Wisconsin, Zac attended Lawrence University, University of Wisconsin-Parkside, and the National Theater Institute and worked with the Fireside Dinner Theater in Fort Atkinson, WI and Skylight Music Theater in Milwaukee, WI. In addition to time spent behind the stage, Zac maintains years of training as an actor, director, and playwright which he constantly uses to inform his technical work. While at the O’Neill Theater, Zac worked with grant recipients of the Jerome Robbins Foundation and Jim Henson Foundation while overseeing and contributing to the Young Playwright’s Festival, the National Puppetry Conference, the National Musical Theater Conference, the National Playwright’s Conference, and the Cabaret & Performance Conference.
Camila Corrales
Camila Corrales is a dedicated ballet teacher with extensive training in the Cuban Ballet methodology, cultivated through years of experience at the Cuban National Ballet School under the direction of Ramona de Saa. She is proficient in teaching classical ballet technique, variations, and contemporary styles to students of all levels. Camila has designed and implemented ballet classes for beginner, intermediate, and advanced students, emphasizing technique, musicality, and artistry.
Camila Corrales
Camila Corrales is a dedicated ballet teacher with extensive training in the Cuban Ballet methodology, cultivated through years of experience at the Cuban National Ballet School under the direction of Ramona de Saa. She is proficient in teaching classical ballet technique, variations, and contemporary styles to students of all levels. Camila has designed and implemented ballet classes for beginner, intermediate, and advanced students, emphasizing technique, musicality, and artistry.
Camila Corrales
Camila Corrales is a dedicated ballet teacher with extensive training in the Cuban Ballet methodology, cultivated through years of experience at the Cuban National Ballet School under the direction of Ramona de Saa. She is proficient in teaching classical ballet technique, variations, and contemporary styles to students of all levels. Camila has designed and implemented ballet classes for beginner, intermediate, and advanced students, emphasizing technique, musicality, and artistry.
Michael Korsch
Resident Lighting Designer
From: Ballet Arizona
Michael Korsch is a lighting, projection, and scenic designer based in Philadelphia, PA, where he earned his BA in theatre from Temple University. He has worked with numerous directors and choreographers, creating hundreds of visual designs for dance, theatre, and other live performances throughout North and South America, Europe, Asia, Australia, and New Zealand. Michael has been the resident lighting designer for Complexions Contemporary Ballet since 1998, and Ballet Arizona since 2001. In addition, Michael has created designs for Alvin Ailey American Dance Theater, American Ballet Theatre, Aspen Santa Fe Ballet, Backhausdance, BalletMet, Ballet Nice Méditerranée, Ballet West, BalletX, Carolina Ballet, Charlotte Ballet, Cincinnati Ballet, Cleveland Play House, Czech National Ballet, DanceBrazil, Dance Theatre of Harlem, Dayton Contemporary Dance Company, Disney Creative Entertainment, English National Ballet, FELA! The Concert, Houston Ballet, Hubbard Street Dance Chicago, MOMIX, Oakland Ballet, Pacific Northwest Ballet, Philadelphia Ballet, Pittsburgh Ballet Theatre, Royal Danish Ballet, Sacramento Ballet, San Francisco Ballet, Staatsballett Berlin, and Washington Ballet, among others.
Michael Korsch
Resident Lighting Designer
From: Ballet Arizona
Michael Korsch is a lighting, projection, and scenic designer based in Philadelphia, PA, where he earned his BA in theatre from Temple University. He has worked with numerous directors and choreographers, creating hundreds of visual designs for dance, theatre, and other live performances throughout North and South America, Europe, Asia, Australia, and New Zealand. Michael has been the resident lighting designer for Complexions Contemporary Ballet since 1998, and Ballet Arizona since 2001. In addition, Michael has created designs for Alvin Ailey American Dance Theater, American Ballet Theatre, Aspen Santa Fe Ballet, Backhausdance, BalletMet, Ballet Nice Méditerranée, Ballet West, BalletX, Carolina Ballet, Charlotte Ballet, Cincinnati Ballet, Cleveland Play House, Czech National Ballet, DanceBrazil, Dance Theatre of Harlem, Dayton Contemporary Dance Company, Disney Creative Entertainment, English National Ballet, FELA! The Concert, Houston Ballet, Hubbard Street Dance Chicago, MOMIX, Oakland Ballet, Pacific Northwest Ballet, Philadelphia Ballet, Pittsburgh Ballet Theatre, Royal Danish Ballet, Sacramento Ballet, San Francisco Ballet, Staatsballett Berlin, and Washington Ballet, among others.
Michael Korsch
Resident Lighting Designer
From: Ballet Arizona
Michael Korsch is a lighting, projection, and scenic designer based in Philadelphia, PA, where he earned his BA in theatre from Temple University. He has worked with numerous directors and choreographers, creating hundreds of visual designs for dance, theatre, and other live performances throughout North and South America, Europe, Asia, Australia, and New Zealand. Michael has been the resident lighting designer for Complexions Contemporary Ballet since 1998, and Ballet Arizona since 2001. In addition, Michael has created designs for Alvin Ailey American Dance Theater, American Ballet Theatre, Aspen Santa Fe Ballet, Backhausdance, BalletMet, Ballet Nice Méditerranée, Ballet West, BalletX, Carolina Ballet, Charlotte Ballet, Cincinnati Ballet, Cleveland Play House, Czech National Ballet, DanceBrazil, Dance Theatre of Harlem, Dayton Contemporary Dance Company, Disney Creative Entertainment, English National Ballet, FELA! The Concert, Houston Ballet, Hubbard Street Dance Chicago, MOMIX, Oakland Ballet, Pacific Northwest Ballet, Philadelphia Ballet, Pittsburgh Ballet Theatre, Royal Danish Ballet, Sacramento Ballet, San Francisco Ballet, Staatsballett Berlin, and Washington Ballet, among others.
Flor Loya
Costume Shop Staff
Flor Loya
Costume Shop Staff
Flor Loya
Costume Shop Staff
Jessica Muñoz
Head Electrician/Assistant Technical Director
From: Ballet Arizona
Jessica is the Head Electrician/Assistant Technical Director of Ballet Arizona and has worked with the Company since the summer of 2018. She first began learning about and working in production while attending Arizona State University where she graduated with a Bachelor of Fine Arts in Dance Education in 2015.
After graduating, Jessica accepted a production internship at Dance Place, a dance theatre space in Washington D.C. During her time at Dance Place, Jessica was able to work with both local artists from the D.C. Maryland, Virginia, area as well as traveling artists who were part of the National Performance Network (NPN). The following year, Jessica worked one summer as a production apprentice for the American Dance Festival in Durham, North Carolina, under Bessy award-winning lighting designer David Ferri, where she got to work with nationally and internationally renowned dance artists and companies. After teaching dance in a public middle school for two years, Jessica returned to the world of production which led her to joining Ballet Arizona.
Jessica Muñoz
Head Electrician/Assistant Technical Director
From: Ballet Arizona
Jessica is the Head Electrician/Assistant Technical Director of Ballet Arizona and has worked with the Company since the summer of 2018. She first began learning about and working in production while attending Arizona State University where she graduated with a Bachelor of Fine Arts in Dance Education in 2015.
After graduating, Jessica accepted a production internship at Dance Place, a dance theatre space in Washington D.C. During her time at Dance Place, Jessica was able to work with both local artists from the D.C. Maryland, Virginia, area as well as traveling artists who were part of the National Performance Network (NPN). The following year, Jessica worked one summer as a production apprentice for the American Dance Festival in Durham, North Carolina, under Bessy award-winning lighting designer David Ferri, where she got to work with nationally and internationally renowned dance artists and companies. After teaching dance in a public middle school for two years, Jessica returned to the world of production which led her to joining Ballet Arizona.
Jessica Muñoz
Head Electrician/Assistant Technical Director
From: Ballet Arizona
Jessica is the Head Electrician/Assistant Technical Director of Ballet Arizona and has worked with the Company since the summer of 2018. She first began learning about and working in production while attending Arizona State University where she graduated with a Bachelor of Fine Arts in Dance Education in 2015.
After graduating, Jessica accepted a production internship at Dance Place, a dance theatre space in Washington D.C. During her time at Dance Place, Jessica was able to work with both local artists from the D.C. Maryland, Virginia, area as well as traveling artists who were part of the National Performance Network (NPN). The following year, Jessica worked one summer as a production apprentice for the American Dance Festival in Durham, North Carolina, under Bessy award-winning lighting designer David Ferri, where she got to work with nationally and internationally renowned dance artists and companies. After teaching dance in a public middle school for two years, Jessica returned to the world of production which led her to joining Ballet Arizona.
Kaler Pilar Navazo
Wardrobe Supervisor
Kaler Pilar Navazo
Wardrobe Supervisor
Kaler Pilar Navazo
Wardrobe Supervisor
Edna Orlanes
Costume Shop Staff
Edna Orlanes
Costume Shop Staff
Edna Orlanes
Costume Shop Staff
Lainie Seretis
Lainie Seretis
Vera Solodovnikova
Costume Shop Staff
Vera Solodovnikova
Costume Shop Staff
Vera Solodovnikova
Costume Shop Staff
Leonor Texidor
Costume Director
Leonor Texidor
Costume Director
Leonor Texidor
Costume Director
Iris Weng
Costume Shop Staff
Iris Weng
Costume Shop Staff
Iris Weng
Costume Shop Staff
Reggie Wisniewski
Assistant Stage Manager
Reggie Wisniewski
Assistant Stage Manager
Reggie Wisniewski
Assistant Stage Manager
Manuela Zavala
Costume Shop Staff
Manuela Zavala
Costume Shop Staff
Manuela Zavala
Costume Shop Staff
Additional Stagehands provided by IATSE Local #336
The School of Ballet Arizona
James Payne
School Director
James Payne began his training in Phoenix, Arizona with Michel Fokine’s great niece Nina Marlow. His performing career with Ballet West (1989-1994) and Houston Ballet (1994-2001) gave him the opportunity to perform internationally, working with exceptional choreographers and coaches. He has over 35 years of professional experience in the art of ballet.
Excelling at both classical and contemporary work allowed him to perform soloist and principal roles in all the classics as well as work by Ben Stevenson, Christopher Bruce, Ronald Hynd, George Balanchine, Val Caniparoli, Glen Tetley, William Forsythe, John Neumeier, Eugene Loring, Helgi Tomasson, Peter Martins, Jiri Kylian, Trey McIntyre, and more.
Upon his retirement from the stage, he served as Houston Ballet’s company manager and then co-founded and directed a student performing company and school for 17 years in the Woodlands, Texas. Jim has choreographed and produced 5 full length ballets and many one act ballets. He has served as Philadelphia Ballet's School Director, Houston Ballet Academy faculty, and sat on the board of the American Guild of Musical Artists (AGMA). Jim continues to serve as a Master Teacher and judge for YAGP and repetiteur for Trey McIntyre, staging his ballets internationally.
James Payne
School Director
James Payne began his training in Phoenix, Arizona with Michel Fokine’s great niece Nina Marlow. His performing career with Ballet West (1989-1994) and Houston Ballet (1994-2001) gave him the opportunity to perform internationally, working with exceptional choreographers and coaches. He has over 35 years of professional experience in the art of ballet.
Excelling at both classical and contemporary work allowed him to perform soloist and principal roles in all the classics as well as work by Ben Stevenson, Christopher Bruce, Ronald Hynd, George Balanchine, Val Caniparoli, Glen Tetley, William Forsythe, John Neumeier, Eugene Loring, Helgi Tomasson, Peter Martins, Jiri Kylian, Trey McIntyre, and more.
Upon his retirement from the stage, he served as Houston Ballet’s company manager and then co-founded and directed a student performing company and school for 17 years in the Woodlands, Texas. Jim has choreographed and produced 5 full length ballets and many one act ballets. He has served as Philadelphia Ballet's School Director, Houston Ballet Academy faculty, and sat on the board of the American Guild of Musical Artists (AGMA). Jim continues to serve as a Master Teacher and judge for YAGP and repetiteur for Trey McIntyre, staging his ballets internationally.
James Payne
School Director
James Payne began his training in Phoenix, Arizona with Michel Fokine’s great niece Nina Marlow. His performing career with Ballet West (1989-1994) and Houston Ballet (1994-2001) gave him the opportunity to perform internationally, working with exceptional choreographers and coaches. He has over 35 years of professional experience in the art of ballet.
Excelling at both classical and contemporary work allowed him to perform soloist and principal roles in all the classics as well as work by Ben Stevenson, Christopher Bruce, Ronald Hynd, George Balanchine, Val Caniparoli, Glen Tetley, William Forsythe, John Neumeier, Eugene Loring, Helgi Tomasson, Peter Martins, Jiri Kylian, Trey McIntyre, and more.
Upon his retirement from the stage, he served as Houston Ballet’s company manager and then co-founded and directed a student performing company and school for 17 years in the Woodlands, Texas. Jim has choreographed and produced 5 full length ballets and many one act ballets. He has served as Philadelphia Ballet's School Director, Houston Ballet Academy faculty, and sat on the board of the American Guild of Musical Artists (AGMA). Jim continues to serve as a Master Teacher and judge for YAGP and repetiteur for Trey McIntyre, staging his ballets internationally.
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.
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 Fundación 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 Fundación 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 Fundación 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.
Gia Firicano
Arizona School for the Arts Program Manager
Ms. Firicano received her formal ballet training at the Boston School of Ballet under a full scholarship. She began her professional career in 1984 with the Tennessee Festival Ballet, under the directorship of Anne-Marie Holmes. She went on to become a principal dancer with The Berkshire Ballet, the Southwest Ballet, and Ballet Arizona. Her repertoire includes the leading roles of Giselle, Juliet, Cinderella, Swanhilda, and the Sugarplum Fairy. In addition, her repertoire includes a wide range of contemporary and Balanchine pieces.
Gia retired in 2003 after 13 years of performing with Ballet Arizona. She has been an instructor with Phoenix Dance Academy and The Plumb Performing Arts Academy. In 2004, she joined the Arts faculty at Arizona School for the Arts. In the summer of 2010, she attended and achieved certification for levels primary through level three in American Ballet Theatre’s Teacher Training Intensive.
She is currently in her fifteenth year as the Program Manager of the Ballet Program at Arizona School for the Arts. This is Ms. Firicanos’s eighteenth year teaching at The School of Ballet Arizona.
Gia Firicano
Arizona School for the Arts Program Manager
Ms. Firicano received her formal ballet training at the Boston School of Ballet under a full scholarship. She began her professional career in 1984 with the Tennessee Festival Ballet, under the directorship of Anne-Marie Holmes. She went on to become a principal dancer with The Berkshire Ballet, the Southwest Ballet, and Ballet Arizona. Her repertoire includes the leading roles of Giselle, Juliet, Cinderella, Swanhilda, and the Sugarplum Fairy. In addition, her repertoire includes a wide range of contemporary and Balanchine pieces.
Gia retired in 2003 after 13 years of performing with Ballet Arizona. She has been an instructor with Phoenix Dance Academy and The Plumb Performing Arts Academy. In 2004, she joined the Arts faculty at Arizona School for the Arts. In the summer of 2010, she attended and achieved certification for levels primary through level three in American Ballet Theatre’s Teacher Training Intensive.
She is currently in her fifteenth year as the Program Manager of the Ballet Program at Arizona School for the Arts. This is Ms. Firicanos’s eighteenth year teaching at The School of Ballet Arizona.
Gia Firicano
Arizona School for the Arts Program Manager
Ms. Firicano received her formal ballet training at the Boston School of Ballet under a full scholarship. She began her professional career in 1984 with the Tennessee Festival Ballet, under the directorship of Anne-Marie Holmes. She went on to become a principal dancer with The Berkshire Ballet, the Southwest Ballet, and Ballet Arizona. Her repertoire includes the leading roles of Giselle, Juliet, Cinderella, Swanhilda, and the Sugarplum Fairy. In addition, her repertoire includes a wide range of contemporary and Balanchine pieces.
Gia retired in 2003 after 13 years of performing with Ballet Arizona. She has been an instructor with Phoenix Dance Academy and The Plumb Performing Arts Academy. In 2004, she joined the Arts faculty at Arizona School for the Arts. In the summer of 2010, she attended and achieved certification for levels primary through level three in American Ballet Theatre’s Teacher Training Intensive.
She is currently in her fifteenth year as the Program Manager of the Ballet Program at Arizona School for the Arts. This is Ms. Firicanos’s eighteenth year teaching at The School of Ballet Arizona.
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.
Tyler Hooten
School Administrator and School Faculty
Tyler Hooten
School Administrator and School Faculty
Tyler Hooten
School Administrator and School Faculty
Jasmine Nunn
School Manager
Jasmine Nunn is the School Manager of The School of Ballet Arizona and oversees the administrative management of all School programs. She joined the School' staff in 2018.
Originally from Colorado, she received her early training under Esther Geoffrey at Colorado College and at Zamuel Ballet School. Jasmine trained at The School of Ballet Arizona during her last three years of high school and graduated from Arizona School for the Arts. Her summer study included programs at The Juilliard School and at Alonzo King LINES Ballet.
She went on to study dance at Arizona State University’s School of Film, Dance and Theatre, graduating magna cum laude and completing her Honors thesis on modern dance in China. After graduation, Jasmine then interned at the Arizona Commission on the Arts and was a fellow at Gibney Dance Center in New York. She also performed and choreographed post-modern contemporary dance, as well as administratively supported artist in residency programs, while working with [nueBOX] as a Permanent Artist in Residence (PAIR).
Jasmine Nunn
School Manager
Jasmine Nunn is the School Manager of The School of Ballet Arizona and oversees the administrative management of all School programs. She joined the School' staff in 2018.
Originally from Colorado, she received her early training under Esther Geoffrey at Colorado College and at Zamuel Ballet School. Jasmine trained at The School of Ballet Arizona during her last three years of high school and graduated from Arizona School for the Arts. Her summer study included programs at The Juilliard School and at Alonzo King LINES Ballet.
She went on to study dance at Arizona State University’s School of Film, Dance and Theatre, graduating magna cum laude and completing her Honors thesis on modern dance in China. After graduation, Jasmine then interned at the Arizona Commission on the Arts and was a fellow at Gibney Dance Center in New York. She also performed and choreographed post-modern contemporary dance, as well as administratively supported artist in residency programs, while working with [nueBOX] as a Permanent Artist in Residence (PAIR).
Jasmine Nunn
School Manager
Jasmine Nunn is the School Manager of The School of Ballet Arizona and oversees the administrative management of all School programs. She joined the School' staff in 2018.
Originally from Colorado, she received her early training under Esther Geoffrey at Colorado College and at Zamuel Ballet School. Jasmine trained at The School of Ballet Arizona during her last three years of high school and graduated from Arizona School for the Arts. Her summer study included programs at The Juilliard School and at Alonzo King LINES Ballet.
She went on to study dance at Arizona State University’s School of Film, Dance and Theatre, graduating magna cum laude and completing her Honors thesis on modern dance in China. After graduation, Jasmine then interned at the Arizona Commission on the Arts and was a fellow at Gibney Dance Center in New York. She also performed and choreographed post-modern contemporary dance, as well as administratively supported artist in residency programs, while working with [nueBOX] as a Permanent Artist in Residence (PAIR).
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.
Full list of Faculty, visit here.
School Assistants
- Chris Caracciolo
- Ameena Mohammed
- Maya Sarraf
Accompanists
- Shauna Bierly
- Larisa Denman]
- Kylar Gardner
- Amanda Hidalgo
- Robert Kaplan
- Klara Kukumi
- Jisun Myung
- Larry Phibbs
- Natasha Schwimmer
- Terry Seretis
- Bill Swayze
- Grace Templeton
