Question: In which branch of the arts is Patricia Neary famous?
Answer: Ballet

Patricia Neary (born October 27, 1942) is an American ballerina, choreographer and ballet director, who has been particularly active in Switzerland. She has also been a highly successful ambassador for the Balanchine Trust, bringing George Balanchine's ballets to some 60 cities around the globe.

Biography

Born in Miami, Florida, she first studied there under George Milenoff and Thomas Armour until she attended the School of American Ballet in New York. 

At the age of 14, she joined the National Ballet of Canada as the youngest dancer in the company. In 1960, she became a member of the New York City Ballet where she performed almost all the ballerina roles in George Balanchine's major works, including two roles he created specially for her in Raymonda Variations (1961) and Jewels (1967). She also performed leading roles in ballets by Jerome Robbins, Antony Tudor, John Taras and Merce Cunningham.

In 1968, she joined the Geneva Ballet where she performed in and staged Balanchine's ballets. She also made guest appearances in Stuttgart, Hamburg and Hannover. She worked as assistant ballet mistress with the ballet of the Deutsche Oper Berlin from 1970 to 1973. With Balachine acting as artistic advisor, she was appointed director of ballet at the Grand Théâtre de Genève (1973–78). From 1978 to 1985, she served as ballet director of the Zurich Ballet, then of La Scala in Milan (1986–87). As artistic director of Ballet British Columbia (1989–90), she choreographed Variations Concertantes with music by Alberto Ginastera.

Since 1988, she has worked as an ambassador for the Balanchine Trust, bringing his works to some 60 cities in Europe, the Far East and across the United States.

Edward Villella - Division of Cultural Affairs - Florida Department of State
Division of Cultural Affairs
Inducted in 1997
Biography
Edward Villella is generally regarded as America's most celebrated male dancer.  During his career with the New York City Ballet, his supreme artistry–marked by grace, athleticism and virility–helped popularize the role of men in dance.  The great choreographer George Balanchine used him to create role after magnificent role, including perhaps his most famous in the cast of Balanchine's 1929 masterpiece, The Prodigal Son.
Villella was born in the Bayside neighborhood of Queens, New York, in 1936.  At age 10, he enrolled in the School of American Ballet.  But at the urging of his father, in college (the New York Maritime Academy), Villella pursued a degree in marine transportation while also lettering in baseball and becoming a championship welterweight boxer.  His love of dance, however, never waned, and while in college he also became a member of the New York City Ballet. 
After graduating in 1959, he rejoined the School of American Ballet, and soon was well on his way toward becoming the leading male star in American dance.  As a favorite of Balanchine's, he won fame with lead roles in A Midsummer Night's Dream, Tarantella, Jewels and Prodigal Son.
Villella went on to become the first male American dancer to appear with the Royal Danish Ballet and the first American in history–male or female–to be invited to dance an encore at the Bolshoi Theatre in Moscow.  He danced for four sitting presidents, including a performance at the inauguration of John F. Kennedy. 
By the late 1960s, Villella had become a familiar figure in television productions, with rave reviews for performances in Brigadoon, The Nutcracker and even the Ed Sullivan Show.   In the early 1970s, he appeared as himself in an episode of The Odd Couple, starring Tony Randall and Jack Klugman. 
In a performance for President Gerald Ford at the White House in 1975, Villella suffered an injury that ended his career as a performer.  Throughout his retirement from the stage, Villella has led an energetic and creative career as artistic director to ballet companies in New Jersey, Oklahoma and elsewhere.  In 1986 he became founding director for the Miami City Ballet and since then has guided the company to worldwide acclaim.  He still serves as the ballet's artistic director and executive officer.
In recognition of his lifetime achievements in the arts, in 1997 President Bill Clinton awarded Villella a National Medal of Arts.  In 2009, he was inducted into the National Museum of Dance C.V. Whitney Hall of Fame.  His autobiography, Prodigal Son:  Dancing for Balanchine in a World of Pain and Magic, was reissued by the University of Pittsburgh Press in 1998.  Villella's wife, Linda, is director of the Miami City Ballet School.
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Woodlands Civic Ballet
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Director Karyn Simon-Poland founded the non-profit Woodlands Civic Ballet in 1987. The troupe has presented free performances of the classics, as well as original choreographic works, to capacity audiences at Oak Ridge High School Auditorium, The Nancy Bock Performing Arts Centre, and this season at Montgomery College Auditorium. Also, the troupe has been selected by audition to perform on the Epcot stage at Disney World on three different occasions.
Although some students have gone on to dance with professional and college dance companies, there are also those who dance for their own personal enrichment. Simon-Poland, herself, has danced professionally as principal dancer of Pittsburgh's Carnegie Ballet and San Francisco's Northern California Dance Ensemble, performing the leading roles in Nutcracker, Sleeping Beauty, Swan Lake, Giselle, Coppelia, Cinderella, and Les Sylphides. She has studied under former New York City Ballet principals Violette Verdy, Patricia Neary, Patricia Wilde, Melissa Hayden, and Jacques D'Amboise. She studied intensively under the late Vitale Fokine, son of the renowned Michel Fokine, creator of Les Sylphides. Also, she was coached by the late Robert Davis, former Ballet Master of Pittsburgh Ballet Theatre, for her portrayal of Kitri in Don Quixote at the famous Three Rivers Arts Festival in Pittsburgh.
Simon-Poland holds Bachelor of Arts degrees from the University of Pittsburgh in Secondary Education, and is certified in Dance, Theatre Arts, Speech, English, and Spanish.
The Woodlands Civic Ballet offers a comprehensive program in Russian-style Classical Ballet, including pre-ballet, beginning, low intermediate, high intermediate, advanced, pre-professional ballet, pre-pointe and pointe.
Drill Team classes and special coaching sessions are also available. Ms. Simon-Poland actively participates in the Conroe Independent School District's Private Physical Education Program, which allows students to substitute dance at the Woodlands Civic Ballet for physical education classes in school. Finally, founder and director Karyn Simon-Poland is listed in the prestigious premiere edition and subsequent editions of Marquis' Who's Who In Entertainment.

Video | BALLET20.COM
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Rudolf Nureyev choreography (based on version by Marius Petipa and Lev Ivanov).
Amandine Albisson danseuse étoile (Odette, Odile)
Mathieu Ganio danseur étoile (Prince Siegfried)
François Alu premier danseur (Rothbart)
Les premiers Danseurs et le Corps de Ballet de l’Opéra national de Paris
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by @ronnierocket in Video | Leave a comment
Discover the story of The Ninth Symphony through a serie of bonus from the documentary “Dancing Beethoven” by Arantxa Aguirre. This exceptional show, hymn to universal brotherhood, was danced by the Béjart Ballet Lausanne and the Tokyo Ballet, from 6 to 8 January 2017 at Forest National, Brussels.
TRAILER:
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Santtu Mustonen joins New York City Ballet for the fifth presentation of Art Series, which welcomes contemporary artists to our Lincoln Center home.
Chase Finlay talks about what makes Peter Martins’ partnering so fun to watch but so challenging for dancers to do — and takes us behind the scenes of his cross training regimen to prepare.
Adrian Danchig-Waring explains the medieval inspiration behind Balanchine’s modernist masterpiece, and how THE FOUR TEMPERAMENTS has stood the test of time.
Jared Angle talks about how dancing in silence intensifies his connection to the audience and to his fellow dancers in Jerome Robbins’ MOVES, the only ballet in the repertory without music.
Joaquin De Luz talks about taking on the iconic title role in PRODIGAL SON, Balanchine’s interpretation of the Biblical tale, first choreographed for Diaghilev’s legendary Ballet Russes in 1929.
Marika Anderson talks about her childhood love of Tschaikovsky and the important role of the corps in Balanchine’s one-act.
Sterling Hyltin discusses what it takes to play the “mad ballerina” in Jerome Robbins’ comic ballet about “the perils of everybody”.
A critically lauded choreographer and filmmaker hailing from Sweden, Pontus Lidberg often focuses on emotionally complex and psychological relationships, and Winter 2017 will see his first premiere for New York City Ballet, set to a commissioned score by David Lang.
Megan Fairchild on the building drama of her solo in ALLEGRO BRILLANTE.

The New York Public Library for the Performing Arts Restores and Edits Historic Film of George Balanchine and Suzanne Farrell Performing in Balanchine's Don Quixote | The New York Public Library
The New York Public Library
The New York Public Library for the Performing Arts Restores and Edits Historic Film of George Balanchine and Suzanne Farrell Performing in Balanchine's Don Quixote
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Premiere Screenings Planned for Kennedy Center and Lincoln Center in September
Suzanne Farrell and George Balanchine in Don Quixote. Courtesy of the New York City Ballet.Premiere Screenings Planned for Kennedy Center and Lincoln Center in September The Jerome Robbins Dance Division of The New York Public Library for the Performing Arts has restored and preserved the 1965 film of a historic performance of George Balanchine's three-act ballet Don Quixote and has edited the two-camera, uncut film into a complete, edited videotape version available for public viewing at the Library. The project was completed with the participation of Suzanne Farrell, the ballerina for whom the lead role of Dulcinea was created and who is currently the Artistic Director of The Suzanne Farrell Ballet at the John F. Kennedy Center for the Performing Arts. The premiere screenings of the newly edited Don Quixote recording will take place September 5 at the Kennedy Center in Washington, D.C., and September 18 at The New York Public Library for the Performing Arts at Lincoln Center.
"This is a rare recording of the ballet and the only recording of George Balanchine, who was 61 years old at the time, performing as the Don. In addition, it showcases the then 19-year-old Suzanne Farrell in one of her first starring roles - a role created for her - and captures the poignant performance of Balanchine and Farrell dancing together. Therefore, it was imperative that the Library preserve the fragile film for future generations of researchers, scholars, and students," stated Jacqueline Z. Davis, the Barbara G. and Lawrence A. Fleischman Executive Director of The New York Public Library for the Performing Arts.
The 16mm black-and-white film was recorded on May 27, 1965 at the New York City Ballet's preview gala at the New York State Theater. (The official premiere of Don Quixote was given the following night.) The performance was filmed with two cameras, an unusual occurrence at the time, by the acclaimed photographer and filmmaker Bert Stern of Libra Productions, but it was never edited. Don Quixote was part of the New York City Ballet's active repertoire from 1965 to 1978; it was not performed again until 2005 when Suzanne Farrell restaged it at the Kennedy Center for a combination of The Suzanne Farrell Ballet and The National Ballet of Canada.
"I want to especially thank Suzanne Farrell, without whom we could not have undertaken this project. Her commitment, knowledge, and sensitivity were essential," commented Michelle Potter, Curator of the Jerome Robbins Dance Division. "Also, Jan Schmidt, Assistant Curator, and the staff of the Dance Division deserve recognition for their considerable work in bringing this project to completion."
The film was given by the New York City Ballet to the Dance Division�s Jerome Robbins Archive of the Recorded Moving Image, which houses thousands of films and videotapes to preserve the ephemeral art of dance. The five reels of the Don Quixote film were targeted as "unique and in need of preservation." After funding was found, the staff arranged for the complicated process of restoration and editing. The film consisted of uncut footage from two cameras that recorded the entire ballet, without enhanced lighting or sound, from a wide angle by one camera and most of the ballet by a second camera in a closer angle.
"This newly restored film that The New York Public Library for the Performing Arts has overseen is extraordinary, both in its emotional content and its meaning and historical value for the dance community and the public at large," remarked Suzanne Farrell. "With this film, the world has Mr. B alive and present again. Viewers have the opportunity to witness his genius, his art, and his integrity firsthand."
Process of Restoration and Editing
The restoration of the film was completed by the Library over the course of two years. The process involved cleaning and repairing the original film and generating a new negative. The film�s soundtrack was digitized and extensively restored, in part because of problems with the quality of the original recording. To complete the restoration of the picture and sound, Suzanne Farrell viewed the film and advised the Library on the precise synchronization of the image and music. Then a digital Betacam video master was made from the final film. The footage from the two cameras was edited together into a single videotape, again with the advice and guidance of Ms. Farrell, who worked closely with the editor, Fran�ois Bernadi. The optical restoration of the film was completed for the Library by Cineric, Inc., and the audio preservation was done by Universal Studios BluWave Audio.
From September 20, 2007, all the footage - the five DVD discs, video transfers of the unedited restored film, and two edited DVD discs - can be watched on the Jerome Robbins Dance Division�s viewing carrels at The New York Public Library for the Performing Arts Dorothy and Lewis B. Cullman Center, 40 Lincoln Center Plaza. The Library�s new 45-hour, six-day per week schedule is: Monday and Thursday from 12 noon to 8 p.m.; Tuesday, Wednesday, and Friday from 11 a.m. to 6 p.m.; and Saturday from 10 a.m. to 6 p.m.
Cast
In addition to George Balanchine as Don Quixote and Suzanne Farrell as Dulcinea, the cast includes Deni Lamont as Sancho Panza; Paul Sackett as Dead Poet; Conrad Ludlow as his Friend; Nicholas Magallanes as the Duke; Jillana as the Duchess; Michael Arshansky as Major Domo and Priest: Francisco Moncion as Merlin; Anthony Blum and Frank Ohman as Cavaliers; Karin von Aroldingen as Housekeeper; Patricia Neary, Conrad Ludlow, and Kent Stowell in the Danza della Caccia; Suki Schorer and John Prinz in the Pas de Deux Mauresque; Sara Leland, Kay Mazzo, Carol Sumner, Frank Ohman, Robert Rodham, and Earle Sieveling in Courante Sicilienne; Gloria Govrin and Arthur Mitchell in Rigaudon Flamenco; Patricia McBride and Colleen Neary in Ritornel; Mimi Paul, Marnee Morris, and Anthony Blum in Variations; and Gloria Govrin as Night Spirit. Judith Fugate and Jean-Pierre Frohlich, children at the time, also danced.
Premiere Screenings
The edited recording of Don Quixote will be screened in Washington, D.C., as part of the Kennedy Center Prelude Festival on September 5 at 6 p.m. in the Terrace Theater. The New York premiere will be given on September 18 at 6 p.m. in the Bruno Walter Auditorium of The New York Public Library for the Performing Arts. A limited number of free seats will be available for both screenings. (For Washington, D.C. press information, contact Erin Dowdy at 202.416.8453 or EDowdy@Kennedy-Center.org )
Funding
The 1965 film of George Balanchine�s Don Quixote was restored by the Jerome Robbins Dance Division of The New York Public Library for the Performing Arts. Funding for the preservation of the film was provided by the National Film Preservation Foundation Partnership Grant with the laboratories Cineric, Inc. and Universal Studios BluWave Audio. Additional laboratory work was provided by Trackwise of Full House Productions. Other funding for the film preservation and for the editing of the videotape was provided by The Louis B. Mayer Foundation and The Jerome Robbins Foundation.
About The New York Public Library for the Performing Arts
The New York Public Library for the Performing Arts houses the world's most extensive combination of circulating, reference, and rare archival collections in its field. Its divisions are the Circulating Collections, Jerome Robbins Dance Division, Music Division, Billy Rose Theatre Division, and the Rodgers & Hammerstein Archives of Recorded Sound. The materials in its collections are available free of charge, along with a wide range of special programs, including exhibitions, seminars, and performances. An essential resource for everyone with an interest in the arts - whether professional or amateur - the Library is known particularly for its prodigious collections of non-book materials such as historic recordings, videotapes, autograph manuscripts, correspondence, sheet music, stage designs, press clippings, programs, posters, and photographs.
About The New York Public Library
The New York Public Library was created in 1895 with the consolidation of the private libraries of John Jacob Astor and James Lenox with the Samuel Jones Tilden Trust. The Library provides free and open access to its physical and electronic collections and information, as well as to its services. It comprises four research centers - the Humanities and Social Sciences Library; The New York Public Library for the Performing Arts; the Schomburg Center for Research in Black Culture; and the Science, Industry and Business Library - and 87 Branch Libraries in Manhattan, Staten Island, and the Bronx. Research and circulating collections combined total more than 50 million items. In addition, each year the Library presents thousands of exhibitions and public programs, which include classes in technology, literacy, and English as a second language. The New York Public Library serves over 15 million patrons who come through its doors annually and another 21 million users internationally, who access collections and services through its website, www.nypl.org .
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Jovani Furlan Archives | Miami City Ballet
MCB’s Balanchine, Tharp and Alston Come Off Beautifully
Artistic Director Lourdes Lopez’s vision for Miami City Ballet was apparent in the tasteful programming of Saturday’s performance at the Kravis Center, with the de rigueur Balanchine work leading off the evening followed by two company premieres.
Lopez who has been “shopping” for new works that would flatter and challenge the company, has been successful. For Program III: Passion and Grace, she brought a rarely seen contemporary work by avant-garde choreographer Tywla Tharp and a sleek contemporary take on the tale of Carmen by British choreographer Richard Alston. Like Balanchine, both of these dance-makers are known for their extremely musical choreography.
The program, ruled by the Delgado sisters, Patricia and Jeanette, with a welcomed sprinkling of new faces doing lead roles, was appealing, well-balanced and well-danced. The company looked strong and confident. The Opus One Orchestra played with gusto and aplomb and the production values were polished and refined.
MCB Dancers Take Italy
It’s been a couple of weeks since our dancers wrapped up rehearsals with choreographer Justin Peck. Since then, they’ve all been enjoying some additional time off this summer, getting plenty of much-needed rest and relaxation. But as we’ve learned quite well, it’s rarely all play and no work for our dancers. In fact, we recently caught up with principal dancers Tricia Albertson and Renan Cerdeiro, who, earlier this month, performed at the Florence Dance Festival at the National Museum of Bargello in Italy–the same museum that houses Donatello’s famous Statue of David.
The show, titled Stars of American Ballet, featured Tricia and Renan, along with principal couples from New York City Ballet and Boston Ballet.
Summertime on Instagram
With their summer downtime, our dancers have split from Miami and spread out all over the world! The latest dancer update comes from Joinville, Brazil, where corps de ballet dancer Jovani Furlan takes over our Instagram feed this week. Follow Jovani at #JovaniMCBphotos for a snapshot of his life back in Brazil! 
Jovani Furlan
When I’m in Brazil, I’ll be taking class at my old ballet school,  The Bolshoi Theater School in Brazil — the only affiliate of the Bolshoi Theater of Moscow. I’m also doing some physical therapy,  working out, spending a lot of time with the family, and enjoying the beaches around my state! – Jovani
Dancing what was lost
Jovani Furlan
When the curtain opens on Program III: Triple Threat next week, Miami City Ballet will become one of only two dance companies and the only American company to perform the Paul Taylor solo in Balanchine’s Episodes since New York City Ballet in 1986. Peter Frame — the last dancer to have performed this role and répétiteur for the solo at MCB — referred to it as a “lost work of art.” Now, 27 years later, dancer Jovani Furlan will be one of only a handful of dancers to perform this role. Here, he tells all about this rare and exciting opportunity.
Welcome to Miami Jordan Matter!
Anyone recognize this photo?
If you know and love this image, along with several other awe-inspiring dance photos, than you have probably heard of photographer Jordan Matter and his New York Times bestseller Dancers Among Us . This week, Jordan takes his talents to the Magic City to exhibit his work at  Spectrum Miami  and  Select Fair , both running December 4-8th in Midtown and South Beach respectively. During his visit, Jordan will also partake in two live photo shoots with Miami City Ballet dancers Renan Cerdeiro, Jovani Furlan and Emily Bromberg!
What’s on INSTAGRAM this week?
Jovani Furlan
Tonight, the worlds of Broadway and ballet literally collide during our first Open Barre of the 2013-2014 Season. The original Anita from the Broadway production of West Side Story, Chita Rivera joins us onstage to discuss working with Jerome Robbins, while the company gives a sneak peek of the “triple threat” premiere of  West Side Story Suite . This will be the first time that our dancers test their signing talents in front of a live audience….and to capture it all on Instagram is dancer Jovani Furlan!
Stories from Opening Night – Jovani Furlan
Jovani Furlan
We are keeping the Opening Night stories coming right up until the curtain rises tomorrow evening at the Arsht Center! Next, corps de ballet dancer Jovani Furlan brings us his most memorable story from Opening Night. 
Capturing Balanchine’s ‘Episodes’ on Instagram
Jovani Furlan
Returning from summer vacation and a fun trip home to Brazil, corps de ballet dancer Jovani Furlan is back on Instagram as this week’s guest photographer.
Our studios are exceptionally busy this week, with the arrival of two répétiteurs from the George Balanchine Trust — Patricia Neary and Peter Frame — who will be staging the company premiere of Episodes . Patricia Neary was hand-picked by Balanchine to join the New York City Ballet, where he later created two key roles on her — in Raymonda Variations and in Jewels. She will use her personal experience dancing several roles to stage Episodes and preserve every last detail of the choreography.
Jovani Furlan is back on Instagram!
Jovani Furlan
Corps dancer Jovani Furlan is back on Instagram ! From dancers in glamorous ball gowns to paper dolls and tin soldiers, he will be capturing all of the action in Program III: The Masters .
Jovani Furlan takes a trip down memory lane on Instagram!
Jovani Furlan
Corps dancer Jovani Furlan is back to take over our Instagram feed as this week’s guest photographer! Jovani will be snapping shots of the dancers hard at work rehearsing for Program III: The Masters and Program IV: Broadway and Ballet .

NYCB - NYCB Alumni
NYCB Alumni
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NYCB Roster 1948 - Present
Human talent is the principal resource that any dance company possesses. In this regard, New York City Ballet has been fortunate beyond measure. Nearly 700 women and men comprise the roster of extraordinary artists who have regularly inspired and realized the choreographic imagination of the Company's Ballet Masters in Chief George Balanchine and Peter Martins and Co-Founding Choreographer Jerome Robbins.
These dancers have shaped countless indelible memories and images throughout the company's history. Their contributions to the art of dance are lasting. We proudly recognize them and list their names, as they appeared during their performing careers, below.
*(Names appear as listed in NYCB programs)
† In Memoriam

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Staff – Danza Dance Academy
Denise Danzo
Owner/Artistic Director
Email Denise received most of her dance training in Steamboat Springs, CO. She spent many intensive summers training at the famous Perry Mansfield School of the Arts, located in Steamboat. She is a previous company member of Ballet North West. She has 20 years of dance teaching experience, and has spent the last 10 years teaching dance in one of Denver’s most prestigious dance schools. She has an Associate of Arts Degree specializing in business and art. Denise has been the Director and Choreographer for the Denver Nuggets Professional Dance Team. She has performed in and choreographed for two Ford Truck commercials, one Ford Car commercial, and a dance video “Reality” for Cabana Boy Records. She has spent the last couple of years working with many cheerleading and pom squads in the Denver Metro area choreographing state routines, and musical theater for high school productions. She specializes in children’s dance and is excited to bring the highest quality of dance to the Castle Rock community.
Terrell Davis
Instructor
Terrell Davis was born and raised in Chicago, Illinois. He has a B.A. in Political Science and a minor in dance from Western Illinois University (WIU). His dance training began at Lincoln Park High school in Chicago with Cheryl McWortor. He was a full scholarship student at the Joseph Holmes Chicago Dance Theatre. At JHCDT he trained with Rodni Williams who introduced him to the Horton Technique. Mr. Davis was also a full scholarship student at the American Dance Festival, for two consecutive summers. At WIU he trained with Candice Winters-March, Heidi Clemmons, and Denise Breakfield. He also co-directed the Gwendolyn Brooks Cultural Center Dance Troupe with Keesha Jackson and was a member of the University Dance Theatre. He got his professional start with the Dayton Contemporary Dance Company where he was mentored by Terrence Greene, and worked with the legendary artist Sherri “Sparkle” Williams. His journey then brought him to Denver, where he danced with the Cleo Parker-Robinson Dance Ensemble for six years. He was a principle dancer and also served as Assistant Rehearsal Director for the company. While at CPRD he danced many lead roles and also worked and trained with many great teachers and choreographers such as Milton Myers, Donald Mckayle, Christopher Huggins, Marceline Freeman, and Randy Brooks, just to name a few. He also danced with Moraporvida Contemporary Dance Company, founded and directed by Jacob Mora. Mr. Davis’s teaching experience in Denver has been at the Cleo Parker-Robinson Dance School, the Academy of Classical Ballet, and many other dance schools in Denver. He currently teaches at the Academy of Colorado Ballet, Dance Kaleidoscope, Hannah Kahn’s Open Studio, and at Manuel High School. He is thrilled to be a part of the Danza Dance Academy staff.
Donovan Helma
Instructor
Donovan Helma began dancing at the age of three under the direction of his mother’s dance studio, Miller’s Dance Studio, in Denver CO. He currently continues his education in New York City. When he is not performing, Donovan teaches for numerous studios and national conventions across the United States. Some recent stage works include corporate performances for General Motors, Charles Schwab and a Monday Night Football halftime performance with the Big Bad Voodoo Daddy. Donovan performed for Montreal’s Danse Encore International Festival in a production with the group Tap’d Out. In 2009 and 2010 Donovan toured with the new Greogory Hines tribute show, “Thank You Gregory” starring Jason Samuels Smith and Dormeshia Sumbry-Edwards. Since 2004, he has performed for numerous tours and industrials with the international cast of Tap Dogs, including North America, Europe, South Africa and Australia. Donovan looks forward to continuing his performing career and inspiring audiences and students worldwide.
Danielle Sunseri
Instructor
sunshineballet@yahoo.com 720.341.2635 Classical and Contemporary Ballet Dancer/Performer Ms. Sunseri is an Ohio native and trained as a competitive swimmer and gymnast before studying classical dance. She began at age 14 with German Zamuel and Valentina Moukhanova at Pittsburgh Ballet Theatre School, studied on scholarship with PBTS Schenley Program and Graduate Program under David Holladay and Patricia Wilde and attended North Carolina School for the Arts and Mercyhurst College for Dance Performance and Pedagogy. She also studied at Peridance in NYC and at The School of Ballet Arizona and was a teacher’s apprentice under Mr. Kee Juan Han and Ms. Nadya Zubkov there for two years. She joined Martin Fredmann’s Colorado Ballet in 1995, dancing roles in Swan Lake and The Nutcracker, Balanchine’s Serenade and Stars & Stripes and the principal role of Pioneer Woman in their 1998 historic staging of Martha Graham’s Appalachian Spring. She worked with repetiteurs Patricia Neary, Bart Cook, Janet Eilber, Terese Capucilli, Janek Schergen and others. She joined David Taylor Dance Theatre in 2003, performing seven seasons through its transition into Dawson/Wallace Dance Project until 2012 and simultaneously danced five seasons as a soloist with Zikr Dance Ensemble serving as David Taylor’s mainstay choreographic and rehearsal assistant from its 2008 inception through 2013. She danced numerous roles with both companies in ballets created by David Taylor, James Canfield, James Wallace, Gregory Dawson and others. She performed extensively with Kim Robards Dance and Elizabeth Shipiatsky’s Russian Ballet and enjoyed guest appearances with Kanopy Dance Company, International Youth Ballet and 7 Dancers. She has studied with master instructors Nikoloz Makhateli, Mark Carlson, Lorita Travaglia and Robert Sher-Machherndl and continues with her mentors German Zamuel and Lizanne McAdams-Graham. Ballet Instructor & Choreographer Ms. Sunseri has more than 20 years experience instructing young students in foundational through advanced levels of classical ballet, repertoire, stretch, conditioning, and choreography and has completed teacher training seminars in the Soviet/Russian method with Nadia Tikhonova, Zhanna Dubrovskaya and Mansur Kamaletdinov. She was a ballet instructor for ten years with the Academy of Colorado Ballet and has instructed students of all levels on many ballet faculties including the School of Ballet Arizona, Pittsburgh Youth Ballet, Rocky Mountain School of Dance, Belliston Academy of Ballet, Metropolitan Academy of Dance and International Ballet School & Youth Ballet. She designed and taught successful ballet programs for David Taylor Dance Theatre/Ascot Academy of Ballet and Denver Ballet Theatre and conducted numerous literacy-based dance residencies for Englewood Public Elementary School PEAK Outreach Programs. She has directed her own ballet program for figure skaters and taught ballroom dance to wedding couples for Adventures In Dance for three years.  Ms. Sunseri joined the ballet faculty of Sweatshop Dance in 2011.
Nicole O'Farrell
Instructor
Nicole is an accomplished performer from the Denver area and currently the assistant- director and a performer of The Schiff Dance Collective in Boulder, CO. Nicole can be seen in such shows as “Dreamlife”, “Unsilenced”, “Project Joy/Full”, “How We Found Hope”, “fits like a gLOVE”, “She Is…”, and “The Edge of Us”.. She has spent her career studying, performing, and competing in a variety of styles including Jazz, Tap, Ballet, Lyrical, Pointe, Contemporary, Hip Hop and more. She has had the honor of training with talents such as Jenny Schiff, Kit Andree, Thommie Walsh, Bill Hastings, Chet Walker, Jacob Mora, and Doug Caldwell to name a few. In August of 2008, she was a featured artist in two different studios in Oregon for summer workshops. Nicole is in high demand as she teaches and choreographs at multiple competitive level and pre-professional studios throughout Colorado. She attended the National Dance Teachers Summit in New York in the summer of 2009. In addition, Nicole was a featured performer with Danca Nova in Boulder. Nicole is a very fun and quirky teacher, a favorite for all ages!
Hailee Willcox
Instructor
Hailee took her first dance class when she was three years old and has continued with her passion for dance since then.  She trained in ballet, jazz, hip hop, to lyrical, tap and clogging. During her 4 years of high school she was on the varsity cheerleading team at Douglas County High School.  Hailee attended Wichita State University in Kansas and was the captain of her college’s dance team.  Being a former student of Danza Dance Academy she is honored to have joined the teaching staff at Danza Dance Academy.  She loves teaching and hopes to spread her love of dance to everyone. 
Holly J. Schlotterback
Instructor
Holly J. Schlotterback has extensive experience as a choreographer in addition to being a seasoned performing arts instructor for all ages and disciplines in both the public and private sectors. Before taking a break from the dance studio schedule to spend time with her two young children, Holly spent five years as office manager and instructor at Petite Company Director and at Michelle Latimer Dance Academy. She is currently instructing a variety of classes throughout Denver and the surrounding areas. Holly is a current member of the HER. Dance Company and is a 15 year veteran of The Damsels Dance Company. Holly also works throughout Denver and the Front Range in productions and promotions. She is the Entertainment Coordinator for Kevin Larson Presents, and an events coordinator for the Colorado Firefighter’s Calendar. For her day job, Holly is a part-time salon manager at Rockstar Industries, Inc. located in Cherry Creek. She is very excited to be joining the Danza Dance family as an instructor.
Edie Garcia
Instructor
Edie has over 20 years of dance and choreography experience. She began her ballet training in San Antonio, Texas where she danced in a variety of schools. She later moved to Dallas and continued her training with summer intensives at the Ft. Worth/Dallas Ballet Company. Later in her dancing career she provided ballet instruction at the Kerrville School of Dance, and was the Ballet Mistress for the Kerrville Performing Arts Society. Edie has performed in classical pieces as solo dancer in La Bayadere, Les Sylphides, and Le Corsaire. Edie also teaches other disciplines of dance including Jazz, Lyrical and Modern dance. Other accomplishments have been in musical theatre performing in musicals such as Fiddler on the Roof, My Fair Lady and Anything Goes. Edie not only has a passion for dance but a love for fitness in which she is a certified Barre Conditioning instructor.
Justin "DTM" Oliver
Instructor
Justin “DTM” Oliver’s drive, love and passion for Hip-Hop dance came at the young age of 11.  From the moment he saw his future friend and mentor dancing in one of the studios, he was in love.  Justin began dancing at Centerstage Starz in Littleton in the autumn of 2004 and adored it.  Justin auditioned for Centerstage’s competition team in 2008 and made it onto one of the top teams.  During this time, Justin began showing interest in teaching so he began substituting and assisting at Centerstage. In 2010, Justin landed his first teaching job at Streetside South, also in Littleton.  After taking some time off for personal reasons in 2010, Justin has exploded back into the Hip-Hop scene and is diving headfirst into the choreography/teaching world.  Justin has been teaching for a little over 2 years and has previously taught at Centerstage Starz, Streetside South, Artistic Fusion Dance Academy, and has choreographed an end-of-the-year piece at DCS Montessori in 2010.  Justin has also taken classes from various professional choreographers such as: Dave Scott, Wade Robson, Leslie Scott, Chase Evered, Skye Edwards, Danza’s own Kevin O’Keefe, and many others.  Justin is extremely excited to be a part of the Danza family and would like to thank Denise for the opportunity to be a part of such an awesome studio!
Justin Boulet
Instructor
Born and raised in Denver, Colorado Justin Boulet grew up with an extensive background in acting and dance. As a young man, he crossed the threshold to Los Angeles and began to contribute his gifts and talents to the capitol of entertainment.
Now at age 27 with more than a decade’s experience as a dancer and choreographer in film, television, and live performances, Justin’s vast skill and character has led him to work with artists such as Taylor Swift, Paula Abdul, Katie Holmes, Vanessa Hudgens, Ashley Tisdale, Carrie Underwood and Latin American pop star Chayanne. Justin’s choreography can be seen on the television show So You Think You Can Dance, with Emmy award winning choreographer Tyce Diorio. He has also contributed a great deal of his creativity to the High School Musical tour with the highly prestigious choreographer Nancy O’Meara. His acting and alluring personality has brought his talent to commercials including Sprint, Samsung, Degree, Sony and ongoing television shows such as Glee (seasons one and two), Hannah Montana, Eli Stone and the Nickelodeon hit series Victorious starring Victoria Justice.
With his multiple talents and inspiring energy, Justin Boulet has positioned himself to not only be in front of the camera but direct behind the scenes as well.
Amanda Catherine Segro
Instructor
Amanda Catherine Segro grew up in Denver, Colorado. She graduated from The Denver School of the Arts. Amanda has been a member of the University Dance Company from fall of 2011- the spring of 2015. She was also a member of the Art In Motion "AIM" Dance Company for fall of 2012 and fall of 2014, located in Lawrence, Kansas. She has trained in Contemporary, Contact Improv, Ballet and Point, Jazz, Lyrical, Modern, Tap, Hip-hop, Classical East Indian and Flamenco. From the summer of 2013 through fall of 2014 Amanda worked as a dance teacher and choreographer at Fuzion School of Dance in Topeka, Kansas. During her final year of college she co-directed a small show which performed in the 2015 Rock Chalk Revue at the Lied Center in Lawrence, Kansas. Amanda's senior project, "Law Of Gravity," represented the University of Kansas at the American College Dance Association (ACDA) in March of 2015 in Iowa. Amanda graduated with a Bachelors of Fine Arts in dance from the University of Kansas and since has moved to Denver Colorado and dances for The Schiff Collective in Boulder, Colorado. 
Paul Michael Gibbs
Instructor
Paul Michael Gibbs has always loved Performing and Teaching. He began his training at the age of 8 in his native Wilmington, Delaware at Christina Cultural Arts Center and The Anna Marie Dance Studio which has been producing consummate performers for over 60 years. In 2001 at the age of 15 Paul started attending the Broadway Theater Project, under the artistic direction of Ann Reinking, where he received instruction from legends including Ben Vereen and Gregory Hines. He studied Dance and Musical Theatre in Delaware, Philadelphia, New York, Florida, and California . He moved to California at 17 and attended California Pacific School of the Performance Arts (the college of The Young Americans) for vocal performance, while simultaneously doing a Los Angeles Dance Force Scholarship at the EDGE Performing Arts Center in Los Angeles. Since then, he has had the honor of performing and teaching Nationally and Internationally with Smokey Joe’s Cafe, Little Shop of Horrors, Dreamgirls, and Into the Woods, and toured Internationally with The Original USA Gospel Singers  and The Young Americans Inc. and their Music Outreach Tours in places such as England, Ireland, Scotland, Wales, Germany, Austria, Switzerland, France, Italy, all across the United States, and most recently Japan. While living in New York City, he worked and taught in schools such as Broadway Dance Center and the King Centre for Performing Arts. He is currently a Show Director for Spotlight Dance Cup, living in Denver, Colorado, and is so excited to continue on the path of Performing and Dance Education.

Sleek American Style From Monte Carlo - The New York Times
The New York Times
Arts |Sleek American Style From Monte Carlo
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Monte Carlo is a magic name in ballet history, most of which is best forgotten when looking at Les Ballets de Monte Carlo, the 11-year-old company that made a zesty and refreshing New York debut on Tuesday night.
Whatever world-famous ballets were created by Russian choreographers in Monte Carlo in the past, the company on view has a sleek neo-classical look that is very much tune with American taste.
It was Princess Grace's wish to establish a classical ballet troupe in Monaco in the 1970's and none other than George Balanchine was tapped as potential artistic adviser. Princess Grace died before the project was completed. It was her daughter Princess Caroline who established the Ballets de Monte Carlo in 1985 and who serves as its hands-on president: Caroline and her brother, Prince Albert, attended by an army of security men, were in the audience at the opening of the troupe's weeklong run at City Center (131 West 55th Street, Manhattan). Symbolically, their American heritage had something to do with what one saw onstage.
In many ways, this is the most American of European ballet companies, largely because it understands the neo-classicism developed by Balanchine in America. Jean-Christophe Maillot, artistic director since 1993, obviously appreciates the formal value of ballet's academic idiom, both in his own choreography and in his repertory.
This first of two different programs paid homage to the company's inspiration, if not its real antecedents. Balanchine was represented by his 1946 masterpiece ''The Four Temperaments,'' danced impressively, with meticulous detail (although not the taut energy seen at the New York City Ballet). A historical nod to Serge Diaghilev's Ballets Russes, Monte Carlo's most famous resident company of the past, was embodied in a revival of Michel Fokine's ''Polovtsian Dances.''
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But even here the accent was on movement rather than storytelling, a viewpoint that Mr. Maillot displayed in the New York premiere of his ''Vers un Pays Sage,'' choreographed to John Adams's ''Fearful Symmetries.'' That Peter Martins, the City Ballet director, has choreographed very differently to the same score made Mr. Maillot's work all the more interesting.
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Even more fascinating was how the international group of dancers (mainly French and Italian) looked so at home in a pure-dance esthetic but also took to the expressive gesture of the Fokine choreography, reconstructed by Pierre Lacotte.
Among the dancers, the only familiar name is Jean-Charles Gil, who once dazzled New York as a star with Roland Petit and whose Balanchine experience in the San Francisco Ballet may explain the power, presence and desperate air he brought to the ''Melancholic'' solo in ''The Four Temperaments.'' There were also revelations: Sandrine Cassini, perfect in her classical style and partnered by an agile Chris Roelandt, in the ''Sanguinic'' section of the same ballet. Bernice Coppieters, the troupe's young Belgian ballerina, had the technique and assurance to get through the difficult ''Choleric'' variation.
Patricia Neary's supervision of this familiar work has the articulate clarity of all stagings of Balanchine. But company brought its individual touch to the work, capturing the emotional subtext behind the celebrated Hindemith score. The composer may have been interested in distilling the essence of emotions or ''humors'' of the body. But Balanchine, more abstract, responded to the music in images of his own. The cast included Raphael Coums-Marquet in the ''Phlegmatic'' solo. Bland, he received the most applause.
As for ''Polovtsian Dances'' from Borodin's opera ''Prince Igor,'' no pagan warrior chief, weaving in and out of his harem and own tribe on the steppes of City Center can hope to bring back the frisson of 1909. That  was the year in which this ballet opened Serge Diaghilev's first ballet season in Paris. Rarely seen nowadays, it comes back now in vibrant pictorial terms in Mr. Lacotte's version, based on the original. Led by Francesco Nappa, the dancers were true to Fokine in their use of the entire body, not just arms and legs. Nicholas Roerich's decor has been reproduced with the requisite tents and river.
In a different world, a band of alienated couples is led with fierce attack by Ms. Coppieters and Gaetan Morlotti in Mr. Maillot's ''Vers un Pays Sage.'' Five other couples round out a cast whose swoons, embraces and acrobatic outlines look both athletic and sexy. Mr. Maillot eventually runs out of steam but he works intriguingly against the propulsive music, not with it.