Christopher Anderson| Artistic Director, Alberta Ballet
Welcome to Away We Go – a lifting program of contemporary dance created by three incredible choreographers.
Our performance begins with an encore of Helen Pickett's vibrant and colourful ballet, Petal. This work is a celebration of the beauty surrounding us. Distinct with its blank canvas-like set, the choreography and dancers explode with graceful enthusiasm, illuminating the stage.
Following Petal, you will experience Alysa Pires's newest work, Skyward. Originally created for the National Ballet of Canada, Skyward premiered last spring. The piece showcases Alysa's unique and imaginative movement style and celebrates the dancers' versatility.
The third and final piece is a remarkable work by Cathy Marston. Moving, Still is one of the most exciting new works I have seen in recent years. Reflecting our shared human experience and need for hope, Moving, Still is a beautiful and brilliant expression and illustration of emotional connection through movement.
This program also marks the first performance series for the 2022/23 Alberta Ballet dancers. It’s not lost on me what a privilege it is that Albertans support our dancers on season-long contracts and it’s so rewarding to see these resident artists grow year over year. I encourage you to get to know them – either on our website or in the Alberta Ballet Dancer section below.
I am so grateful for the generosity and creativity of these artists.
Thank you for being here and for supporting our work!
ACT 1 | Petal by Helen Pickett
Helen Pickett’s original inspiration for Petal came from the vibrancy of a Gerber daisy. As the ballet evolved color remained a critical element of the work, but the visceral movement and relationships between the dancers came to reflect the vigor of wildflowers rather than a hothouse bloom. “The eight dancers who invade, inhabit and constantly transform the stage space, perform as if they had been tossed a do-or-die challenge and are determined to transcend their training,” observed Allan Ulrich of SF Gate. Bathed in the light of hot yellows, pinks, and oranges the dancers’ kinetic energy reflects the vitality of spring. There is also a deeper underlying connection between them expressed through the intimacy of human touch: a gentle caress around someone’s neck or along someone’s neck or inner thigh. "Intimacy is such an important part of a human life - without it, we wither,” says Pickett. “Let's celebrate this burst of color, this sound, this touch."
Lighting Design by Todd Elmer, adapted by Jim French
Costume Design by Nete Joseph
Costumes and Set courtesy of Oregon Ballet Theatre
Music
Death of the Twins/FInale
Elizabeth Chooses a Career
by Philip Glass, Jean Cocteau, Susan Marshall
Music Licensing courtesy of Dunvagen Music Publishers
ACT 2 | Skyward by Alysa Pires
“I think of every piece that I make as a time capsule of my life when I made it. For me, Skyward will always be inextricably linked to my daughter Sawyer; I was 8 months pregnant when we started rehearsals, she was 4 months old when it had its world premiere at the National Ballet of Canada, and we will celebrate her first birthday in Calgary following its company premiere with Alberta Ballet. The urgency and excitement of being on the precipice of parenthood was hugely inspirational during the creation of this work. So much unknown, so much possibility. My entire life and the very fabric of who I was was about to fundamentally change in a way that I couldn’t completely grasp until it happened. Never more in my life have I had to take such a leap of faith.
Movement is an ephemeral art form. It exists only in the moment and disappears as soon as the curtain closes. It’s the beautiful and heartbreaking nature of what we do. Because of this, movement has a unique ability to transport performers and audience alike: to conjure a feeling, an energy, an emotion. An experience that is at once completely individual and wholly collective. This is the magic of live performance.
To me, Skyward feels like taking off: a burst of energy and then a moment of weightlessness. The suspension right before you fall…or fly!” – Alysa Pires
Lighting Design by Jeff Logue, adapted by Jim French
Costume Design by Dana Osbourne
Costumes courtesy of the National Ballet of Canada
Music
Doublespeak by Nico Muhly
Pulse by Robert Honstein
Young Emily by Bryce Dessner
these broken wings by David Lang
Music Licensing courtesy of CHM Press/Abstraction Music Group, G Schirmer/Wise Music Group and Boosey and Hawkes Inc.
Skyward was originally produced and commissioned by the National Ballet of Canada
ACT 3 | Moving, Still by Cathy Marston
Cathy Marston’s 2020 work, Moving, Still is a personal response to the first COVID-19 lockdown and psychiatrist Elisabeth Kübler-Ross’ theory that we go through five distinct stages of grief after the loss of a loved one: denial, anger, bargaining, depression, and finally acceptance. Originally created for Ballet Junior de Genève, this is the Canadian premiere of this poetic work, featuring twelve dancers and set to music by the Danish String Quartet.
“Moving, Still…is a work underwritten by a very meaningful theme, that takes its time, and that really allows the audience to see individuals at length in solos and duets.” – Seeing Dance
Staging by Anastacia Holden
Lighting Design by Jim French
Costume Design by Marion Schmid
Costumes courtesy of Cincinnati Ballet
Music (played by the Danish String Quartet)
Dromte mig en drom (Traditional)
String Quartet No. 1 “10 Preludes for a String Quartet”: 8 by Hans Abrahamsen
Polska from Dorotea (Traditional)
String Quartet NO. 1 “10 Preludes for String Quartet”: 3 by Hans Abrahamsen
Waltz after Lasse in Lyby (Traditional)
String Quartet No. 1 “10 Preludes for String Quartet”: 7 by Hans Abrahamsen
Now Found in the Fairest of Roses (Traditional)
Music Licensing courtesy of ECM Music, The Danish String Quartet and G Schirmer Inc./Wise Music Group
Away We Go Libretto
Away We Go Artistic Team
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Christopher Anderson began his tenure as Alberta Ballet’s Artistic Director in July 2022.
Before joining Alberta Ballet in 2015, Anderson enjoyed a 16-year career in professional dance. A graduate of Purchase College’s SUNY Conservatory of Dance, he launched his career at Boston Ballet, and two years later was invited to join Salt Lake City’s Ballet West. During his career, he danced leading roles both nationally and internationally and further had several roles created for him by some of today’s most exciting choreographers.
In 2015, Alberta Ballet offered Anderson a contract as Ballet Master. Anderson was motivated to accept, given the strong talent he saw in the company’s dancers. He retired from professional dance and joined Alberta Ballet’s leadership team. At the end of his first season, he took on an expanded role of Associate Artistic Director.
Seeing that the company had a strong foundation of contemporary and theatrical works in its repertoire, Anderson chose to set classics for his first full-length works for Alberta Ballet. He premiered Cinderella in 2017 and The Sleeping Beauty in 2018 and Swan Lake in 2021. In 2019, he also premiered a contemporary one-act Sixth Breath (2019).
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Christiana is in her sixth season working as part of Alberta Ballet’s artistic team. Previous to her position as Rehearsal Director at Alberta Ballet, she was a Principal dancer with Ballet West for 16 years. While dancing with Ballet West, Bennett was given the opportunity to dance throughout the United States, Europe and Asia where she was met with international acclaim. Some of her favourite ballets to perform were Swan Lake, Balanchine’s Diamonds and Serenade, Ben Stevenson’s Cinderella, Nicolo Fonte’s Bolero, Jiri Kylian’s Sinfonietta, William Forsythe’s In the Middle, Somewhat Elevated and Aszure Barton’s Happy Little Things. Christiana also had many roles created for her by choreographers such as Matthew Neenan, Nicolo Fonte, Helen Pickett, Val Caniparoli, Christopher Anderson, Garrett Smith and Charlotte Boye-Christensen.
As a native of Massachusetts, most of her training was along the Eastern seaboard at prestigious schools. However, she attributes her career to the training received at Pacific Northwest Ballet School under the tutelage of Francis Russell.
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After her fourteen-year career as a dancer with Alberta Ballet, Reilley has recently transitioned into the role of Artistic Coordinator. She is excited to be helping behind the scenes and share the knowledge that she has gained while working with our organization.
Originally born in Eatonville, WA, USA, Reilley trained at both Pacific Northwest Ballet in Seattle and at Canada’s National Ballet School in Toronto. She joined Alberta Ballet as a dancer in 2008, and has since made Canada her home, becoming a dual citizen in 2019. Some of her most memorable roles with Alberta Ballet have been as Madame de Tourvel in Jean Grand-Maître’s Dangerous Liaisons, and Queen Anne in David Nixon’s Three Musketeers.
YEE-HANG YAM
Stage Manager
MARCIA LIBER
Stage Manager
ANDREA GINTER
Alberta Ballet Lead Physiotherapist -
Momentum Health
COMPANY TEACHERS
Shino Mori
Aram Manukyan
Nicole Caron
Alexandra Gibson
Jennifer Gibson
COMPANY PIANISTS
Juanita Faas
Marina Fedorov
Michael Levin
Mary Martell
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Choreographer, Helen Pickett, native of San Diego, CA, has created over 60 ballets in the U.S., U.K. and Europe. The Crucible, premiering at EIF in 2019, won the UK Theatre Critics Award and the Herald Angel Award. The Guardian newspaper called it, "…a riveting gift of a show." The Crucible had its London premiere in June 2022, and it will show at the Kennedy Center in May 2023. In 2020/21, Helen choreographed 12 dance films, including The Air Before Me, winning the Audience Choice Award for Screen Dance International Festival, and Hurley Burley, which was nominated for an Emmy Award. While resident choreographer for Atlanta Ballet, 2012 – 2017, she was named Best Choreographer in 2014, for The Exiled. And in 2015, Helen won Best Choreographer and Best Dance Production for her full length, Camino Real. Critic, Manning Harris wrote that Camino Real would “become a legend in the dance world.” Helen’s most recent and upcoming commissions include, American Ballet Theatre, Boston Ballet, Cincinnati Ballet, Pittsburgh Ballet Theatre, West Australian Ballet, and two new long form narratives for National Ballet of Canada and Dutch National Ballet.
Helen danced with William Forsythe’s Ballet Frankfurt from 1987-1998, and performed with the Wooster Group, director, Elizabeth LeCompte, 1998-2003. She collaborated as a choreographer and actress with the filmmakers, Eve Sussman, Toni Dove and Laurie Simmons. In 2021, Helen was co-director of the Jacob’s Pillow Contemporary Summer Dance Program, and continues to lead her think tank workshop entitled, Choreographic Essentials. Between 2020 and 2021, Helen created and produced, 83 interviews on her YouTube talk show, Creative Vitality Jam Sessions. Helen founded, 2021, the Female Choreographer’s Big Round Table, a zoom discussion panel. She earned her Master of Fine Arts in 2011 from Hollins University, and in 2016, was awarded an Honorary Doctorate from The University of North Carolina School of the Arts. Representation: Kristopher McDowell, KMP/Rhizome Arts Consulting. www.helenpickett.com
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Alysa Pires is a Canadian choreographer who was born and raised on the traditional territory of the W̱SÁNEĆ people, near Victoria, B.C. Her works have been performed by companies such as the National Ballet of Canada, Alberta Ballet, Ballet Kelowna, Ballet Edmonton, and more.
Pires held the position of Choreographic Associate at the National Ballet of Canada from 2019-2022. She began working with the company as part of their Choreographic Workshop where she created her acclaimed work In Between. Alysa then represented the company at the 13th International Competition for the Erik Bruhn Prize. She was appointed Choreographic Associate by Karen Kain in 2019.
Her next work for NBOC, Frenzied Order, was commissioned for the company’s YOU Dance programming in Fall 2019 and was invited to International DraftWorks 2020 at the Royal Opera House in London, England. Alysa created two films for the company’s 20/21 virtual season including a solo adaptation of In Between and in a state of vanishing. Pires made her mainstage debut with the National Ballet in March 2022 with Skyward.
Her first commission for Ballet Kelowna, MAMBO, has become a signature work for the company, touring extensively across Canada and internationally including to the 2018 Fall for Dance North Festival in Toronto and the China Arts Expo in Beijing. Ballet Kelowna's 2018/2019 season included the company premieres of Pires' In Between and Spring. Alysa was then invited to create the company's first full-length commission. After a two year delay due to the pandemic, Macbeth had its world premiere in May 2022.
Alysa participated in New York City Ballet’s Choreographic Institute three times (Spring and Fall 2019, Summer 2021) and was one of the 2017 winners of Northwest Dance Project’s International Choreographic Competition.
She also creates under the umbrella of Alysa Pires Dance Projects, which made its critically acclaimed full-length debut with Exterminating Angel at the 2016 Toronto Fringe Festival.
Alysa is an Honours BFA graduate from Toronto Metropolitan University and was the recipient of the 2015 Jack McAllister Award, which recognizes alumni accomplishment.
Upcoming projects include a new commission for New York City Ballet which will premiere at Lincoln Centre in May 2023.
@alysapiresdanceprojects
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Cathy Marston is an award-winning choreographer, artistic director and Clore Cultural Leadership Fellow. After education in Cambridge, she spent two years at the Royal Ballet School, before launching a successful international career now spanning over twenty-five years. She will become Director of Ballett Zurich, Switzerland, from August 2023.
Marston’s great gift is to join artistic dots, creating form for stories, emotions and ideas. She inherited a passion for literature from her English-teacher parents; for her, stories inspire dance. As Associate Artist of the Royal Opera House (2002-2007), she created a critically acclaimed interpretation of Ibsen’s Ghosts, before the tempest…after the storm, and many other short works. During her six-year tenure directing the Bern Ballett, Switzerland, (2007-2013) she continued to develop her unique approach to narrative in works such as Juliet and Romeo and Ein Winternachtstraum. Since 2013, receiving commissions from companies all around the world, she continues to offer new perspectives to old narratives, for example in Mrs Robinson (her adaptation of Charles Webb’s The Graduate), Snowblind (inspired by Edith Wharton’s Ethan Frome), Charlotte Bronté’s Jane Eyre, DH Lawrence’s Lady Chatterley’s Lover and John Steinbeck’s Of Mice and Men. Likewise, she offers unusual perspectives in her biographically-inspired works, The Cellist, Victoria and Witch-hunt. Ever-more widely recognised for her distinctive style of dance-drama, she won the South Bank Sky Arts Award for Best Dance Production for Victoria (Northern Ballet), the UK National Dance Award for The Cellist (The Royal Ballet), The Suit (Ballet Black) and has been short-listed for both the Olivier Awards and National Dance Awards for several other works including Jane Eyre and Victoria (Northern Ballet.) In 2020 the International Institute for Dance and Theatre awarded her their prize for Excellence in International Dance.
Marston has also embraced the digital stage, capturing her works for the screen as well as creating work especially for the camera. The Cellist, Victoria and other short works have been live streamed to cinema/TV and are available on DVD/digital platforms. Her specially created film works include Mrs Robinson (a short, location-shot adaptation of the full work for San Francisco Ballet), Bertha (Joffrey Ballet), Switchback (Ballet Unleashed) and Drift in which she performs herself.
Marston’s portfolio includes creations and collaborations with The Royal Ballet, Joffrey Ballet, San Francisco Ballet, American Ballet Theatre, Northern Ballet, English National Ballet, Cuban National Ballet, Danish Royal Ballet, Ballet Black, Les Grands Ballets Canadiens and many more. In addition to commissioned works she has founded two project based companies in the UK – The Cathy Marston Project – and Switzerland – Compagnie La Ronde. From these structures she has self-produced, commissioned and toured several programs of work.
www.cathymarston.com
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Born and raising in Ann Arbor, Michigan, Anastacia Holden joined the Joffrey Ballet in 2003. During her 14-years with the Joffrey, Ms. Holden performed soloist and principal repertoire including notable roles in works choreographed by Frederick Ashton, George Balanchine, Alexander Ekman, William Forsythe, Kurt Jooss, Jiri Kylian, Lar Lubovitch, Wayne McGregor, Justin Peck, Yuri Possokhov, Paul Taylor and Christopher Wheeldon. She originated roles in works by Nicolas Blanc, Val Caniparoli, James Kudelka, Edwaard Liang, Annabelle Lopez Ochoa, Myles Thatcher, and Stanton Welch, among others. In November 2016, Ms. Holden was recognized by Pointe Magazine as one of twelve standout performers worldwide for her role as the Red Woman in Jiri Kylian’s Forgotten Land.
Since retiring from the Joffrey Ballet, Ms. Holden has staged works with companies around the world including the Badisches Staatstheater Karlsruhe, the Beijing Dance Academy, Cincinnati Ballet, the Finnish National Ballet, the Hamburg Ballet, the Joffrey Ballet, Los Angeles Ballet, Nashville Ballet, Pittsburgh Ballet, and the Royal Ballet of Flanders, for various choreographers including Gerald Arpino, Alexander Ekman, Annabelle Lopez-Ochoa, Cathy Marston, John Neumeier and Christopher Wheeldon. She has also acted as dance captain in New York City Center’s gala production of Brigadoon, choreographed by Christopher Wheeldon.
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Deborah Taylor | Company Manager
Kelsey Miller | Technical Director
Kenzie Bowes | Assistant Technical Director
Jason McLellan | Lead Stage Carpenter
Chris McPherson | Lead Fly Carpenter
Ximena Pinilla | Lead Props
Summer Anderson | Lead Lighting
Georgia Jeffery | Second LightingAudrey Lee | Wardrobe Manager
Juli Elkiw | Lead Wardrobe
Kari Bjarnason-Willcocks | Second Wardrobe
Anne Nguyen | Cutter/ Stitcher
Erin LeBaron | Stitcher
Alberta Ballet Dancers
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Kira Anderson
Corps de Ballet
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Aaron Anker
Soloist
![Michael_Luna_Anastacia_MovingStill[64].jpg](https://images.squarespace-cdn.com/content/v1/614b6c8253146a12d82f1162/52373f18-3157-4657-89f5-35e4dab48dea/Michael_Luna_Anastacia_MovingStill%5B64%5D.jpg)
![Zacharie_AlexH_Skyward[88].jpg](https://images.squarespace-cdn.com/content/v1/614b6c8253146a12d82f1162/34732597-0343-459c-805f-d4d3b5283b74/Zacharie_AlexH_Skyward%5B88%5D.jpg)
![Scotto_Jennifer_MovingStill[53].jpg](https://images.squarespace-cdn.com/content/v1/614b6c8253146a12d82f1162/1ee09aeb-0cdb-4ae2-af58-f08034ca69dc/Scotto_Jennifer_MovingStill%5B53%5D.jpg)
Alberta Ballet Dancers Supported by
Alberta Ballet Apprentices Supported By
Nightly Casting
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Nadia
Mariko Kondo (Oct 27e, 29, Nov 4e)
Alexandra Hughes (Oct 28e, 29e, Nov 5e)Yoomi
Melissa Eguchi (Oct 27e, Nov 4e)
Heather Dornian (Oct 28e, 29e)
Seira Iwamoto (Oct 29, Nov 5e)Peng
Jennifer Gibson (Oct 27e, Nov 4e, 5e)
Luna Sasaki (Oct 28e, 29e)
Mya Kresnyak (Oct 29)Rachel
Alexandra Gibson (Oct 27e, Nov 4e, 5e)
Kira Anderson (Oct 28e, 29e)
Allison Perhach (Oct 29)Jonah
Aaron Anker (Oct 27e, 29, Nov 4e)
Caleb Durbin (Oct 28e, 29e, Nov 5e)Jesse
Yoshiya Sakurai (Oct 27e, 29, Nov 4e, 5e)
Zachary Boresow (Oct 28e, 29e)Heath
Zacharie Dun (Oct 27e, Nov 4e, 5e)
Michael Scott-Kahans (Oct 28e, 29e)
Alan Ma (Oct 29)Pedro
Kurtis Grimaldi (Oct 27e, Nov 4e, 5e)
Eli Barnes (Oct 28e, 29e)
Scotto Hamed-Ramos (Oct 29)
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October 27e, 28e, 29e, Nov. 4e:
Kira Anderson
Aaron Anker
Zacharie Dun
Caleb Durbin
Jennifer Gibson
Scotto Hamed-Ramos
Alexandra Hughes
Mariko Kondo
Alan Ma
Allison Perhach
Michael Scott-KahansOctober 29, Nov. 5e:
Eli Barnes
Zachary Boresow
Alyssa Churchill
Heather Dornian
Melissa Eguchi
Kurtis Grimaldi
Seira Iwamoto
Yaroslav Khudych
Kale Lazarick
Yoshiya Sakurai
Luna Sasaki
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Duet 1
Allison Perhach, Eli Barnes(Oct 27e, 29e, Nov 4e)
Luna Sasaki, Scotto Hamed-Ramos (Oct 28e, 29, Nov 5e)Duet 2
Kira Anderson, Zachary Boresow (Oct 27e, 29e, Nov 4e)
Alexandra Gibson, Caleb Durbin (Oct 28e, 29, Nov 5e)Duet 3
Jennifer Gibson, Michael Scott-Kahans (Oct 27e, 29e, Nov 4e)
Melissa Eguchi, Yoshiya Sakurai (Oct 28e, 29, Nov 5e)Duet 4
Alexandra Hughes, Zacharie Dun (Oct 27e, 29e, Nov 4e)
Mya Kresnyak, Aaron Anker (Oct 28e, 29, Nov 5e)Duet 5
Luna Sasaki, Kurtis Grimaldi (Oct 27e, 29e, Nov 4e)
Sayuri Nakanii, Eli Barnes (Oct 28e, 29, Nov 5e)Duet 6
Brittany Broussard, Caleb Durbin, Allison Perhach (Oct 27e, 29e, Nov 4e)
Kira Anderson, Zachary Boresow, Luna Sasaki (Oct 28e, 29, Nov 5e)
Subject to Change
Dance with Alberta Ballet School
Recreational and dedicated dance programs available for all ages and levels of experience.
Our quality dance training is delivered through active, and engaging classes and live accompaniment. Visit our website to register for a seasonal or full-year program.
Your Gift is Needed
Did you know that Alberta Ballet relies on multiple income streams to bring these incredible performances to the stage?
Donations are at the very heart of our funding. As a registered charity, Alberta Ballet relies on donations to bridge the shortfall to perform in the Jubilee, create new works and attract the best talent. As stewards of a rarified art form, we face a delicate balance, and ticket prices only get us part of the way there. Donations make it possible for us to deliver the art you love.
Conceived during the pandemic, Alberta Ballet created an Endowment Fund to provide more financial stability in the years to come. When our goal of $15 million is reached, the Endowment Fund will start providing consistent, predictable disbursements that will help us bring seasons like this one to life. It will also help Alberta Ballet be a haven for Albertans to connect with each other and themselves whether they are deeply moved in our audience, taking their first step into a community dance class, or pursuing their craft through professional dance training.
Dance has the power to unite communities and transform lives through inspiration. Please consider making a one-time or recurring donation today.
To make a donation to the Forever Moved campaign or to learn more about the Endowment Fund, please visit Endowment Fund | Alberta Ballet.
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Thank you to our donors!
Over these many uncertain months, we’ve been grateful to our donor community for all the ways they’ve supported our mission to share dance and ballet.
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2022/23 GOVERNMENT FUNDERS
AND COMMUNITY PARTNERS
BOARD OF DIRECTORS
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CHAIR
Daryl S. Fridhandler, Burnet, Duckworth & Palmer LLP (Calgary)VICE CHAIR
Joshawa N. Bilyk, TLA Developments Ltd. (Edmonton)VICE CHAIR
Jana Neal, SFG Investments (Calgary)CORPORATE SECRETARY
Frank Molnar, Field Law (Calgary)CHAIR, AUDIT COMMITTEE & TREASURER
Jana Neal, SFG Investments (Calgary)CHAIR, GOVERNANCE & NOMINATING COMMITTEE
Elan MacDonald, University of Alberta (Edmonton)CHAIR, SCHOOL COMMITTEE
Ellie Siebens, EPL Consulting Ltd. (Calgary) & Noel Papadopoulos, Papas Group (Edmonton) -
Linda Cochrane (Edmonton)
Todd Hirsch, The Modern Economist (Calgary)
Heather Klimchuk, Advocacy, Connections & Communications Consulting (Edmonton)
Gerard McInnis, Ozone Advisory Group (Calgary)
Agnieszka (Aggie) Mikulski, TIPP Consulting (Edmonton)
Sarah Palmer, Yellowstone to Yukon Conservation Initiative (Calgary)
Heather Rae, HRJ Consulting (Calgary)
Bob Willows, Willows Construction (2001) Ltd. (Winfield)
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CHAIR/PRESIDENT
Alfred SorensenSECRETARY/TREASURER
Peter A. JohnsonDIRECTOR
Daryl FridhandlerDIRECTOR
Heather RaeDIRECTOR
Chandra Henry
Libretto Image by Paul McGrath featuring Allison Perhach, Yoshiya Sakurai, Zacharie Dun
Rehearsal Images by Nigel Goodwin featuring Artists of Alberta Ballet