ATLANTA BALLET
February 13–15, 2026
Cobb Energy Performing Arts Centre
With the Atlanta Ballet Orchestra Conductor, Ari Pelto
Music by Adolphe Adam
Choreography by Gennadi Nedvigin based on a revision of Marius Petipa after Jean Coralli and Jules Perrot
Staged by Angela Agresti, Rory Hohenstein and Eduardo Permuy
Costume Design by Galina Solovieva
Lighting Design by Ben Rawson
Arrangement By Lars Payne
Costumes provided by Orlando Ballet
Scenery courtesy of American Ballet Theatre
Performance underwritten by Katherine Scott
COMPANY BALLET REPETITEURS
Angela Agresti, Rory Hohenstein, Eduardo Permuy
CHOREOGRAPHER-IN-RESIDENCE
Claudia Schreier
DEAN OF THE CENTRE FOR DANCE EDUCATION
Sharon Story
THE COMPANY
Santiago Bedoya, Severin Brotschul, Khulan Burenjargal, Georgie Grace Butler, Valeria Chaykina, Catherine Conley, Larissa Dal’Santo, Talisson Farias, Brooke Gilliam, Jessica He, Gianna Horton-Sibble, Airi Igarashi, Darian Kane, Matoi Kawamoto, Milei Lee, Sojung Lee, Jordan Leeper, Guilherme Maciel, Juliana Missano, Miguel Angel Montoya, Marius Morawski, Mayu Nakayama, Denys Nedak, Carraig New, Sayron Pereira, Sophie Poulain, Ángel Ramírez, Júlio Santos, Mikaela Santos, Anderson Souza, Paxton Speight, Emanuel Tavares, Jonas Tutaj, Munkhjin Ulziijargal, Luiz Fernando Xavier, Rei Yamaguchi, Nicholas Yurkevich, Rachel Olivia Zinman
ATLANTA BALLET 2
Pierce Bevans, Santiago Gabriel Larronda Gil, Caroline Giltner, Daniel Gray, Sayaka Iwase, Camille-Margaret Jackson, Stacey Johnson, Jacob Lainchbury, Emily McAllister, Sakura Natorigawa, Avery Nelson, Isabela Oku, Leo O’Reilly Okuno, Dyhan Pierre, Ícaro Queiros, Gianni Salazar, Eliza Soto, Kahlen Wright
Atlanta Ballet 2 and Children’s Cast courtesy of Atlanta Ballet Centre for Dance Education
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PHOTOGRAPHY AND VIDEOGRAPHY STRICTLY PROHIBITED
Dorothy Moses Alexander - Atlanta Ballet Founder, 1929 - 1960
Robert Barnett - Artistic Director Emeritus, 1961 - 1994
John McFall – Artistic Director, 1994 - 2016
ACT I
A Village in the Rhineland
Giselle, a delicate young girl who is adored by her fellow villagers, lives with her watchful mother, Berthe. Count Albrecht is bored with his noble duties and obligations and, as a distraction, he disguises himself as a villager named Loys. Albrecht has noticed Giselle and is attracted to her youthful, innocent beauty. He enjoys the simplicity of being just another villager, and as each day passes Albrecht grows fonder of Giselle. In the meantime, Wilfred, Albrecht’s squire reminds the Count that he is betrothed to the noblewoman, Bathilde. Albrecht refuses to be distracted by this commitment and determines he will resolve that situation later.
Unaware of Albrecht’s noble birth yet enamored with him, Giselle is at first overwhelmed by his zeal and persistence. He expresses to Giselle his eternal love and vows he will always be faithful to her. In her joy and enthusiasm she pauses, her frail heart interrupting her. Berthe pleads with Giselle to rest and calm her excitement, reminding her that her frail heart may fail.
Hilarion, the village gamekeeper who is deeply in love with Giselle, discovers Albrecht’s disguise and is consumed with jealousy. He proceeds to reveal his rival’s true identity to the village. At first, Giselle refuses to believe Hilarion, but when Bathilde claims Albrecht as her fiancé, Giselle loses her mind. Overwhelmingly distraught and horrified, Giselle dies of a broken heart.
ACT 2
Night in the Forest
As midnight approaches, Hilarion keeps vigil by Giselle’s grave. This is the hour when the Wilis, the ghosts of young girls who were jilted and died before their wedding days, materialize. They exact revenge upon men they encounter in the night by dancing them to their deaths. Hilarion’s destiny with the Wilis is realized as he is overcome with exhaustion. He succumbs to his fate as he is thrown into the lake.
Later, Count Albrecht visits Giselle’s grave, laden with feelings of guilt and remorse. He sees a vision of Giselle and follows her deeper into the forest. Myrtha, the Queen of the Wilis, discovers them together, and orders the Wilis to enact the same revenge on Albrecht as they did on Hilarion. Giselle tries to protect Albrecht and implores Myrtha to reconsider his fate. Myrtha is firm and orders the Wilis to pursue Albrecht in the dance of death. As the morning bells chime announcing the arrival of dawn, the Wilis vanish into their graves. As Giselle disappears, Albrecht recognizes her true love and is forever touched with the memory of his beloved – the delicate and beautiful village girl.
G E N NADI NE DVIGIN ( Ar tistic Director), in Februar y 2016 , was named
G E N NADI NE DVIGIN ( Ar tistic Director), in Februar y 2016 , was named
G E N NADI NE DVIGIN ( Ar tistic Director), in Februar y 2016 , was named
Atlanta Ballet’s fourth artistic director in the Company’s then 87-year history. Nedvigin, born in Rostov, Russia, began his training at age 5. At 10, he was accepted into the Bolshoi Ballet Academy. Upon graduating, he joined Moscow Renaissance Ballet, as a soloist, before he was invited to dance with Le Jeune Ballet de France in Paris. In 1997, while on tour in the U.S., San Francisco Ballet (SFB) Artistic Director Helgi Tomasson offered Nedvigin a soloist contract. After three years, he was promoted to principal dancer. While at SFB, Nedvigin won the International Competition’s Erik Bruhn Prize (1999). He has also received three Isadora Duncan Dance Awards (2001, 2010 and 2017). Along the way, Nedvigin was fortunate to work with many world-renowned choreographers. In addition to his dancing career, Nedvigin also taught master classes and staged ballets in the U.S. and abroad before becoming an artistic director. Recently, Nedvigin sat on juried panels at the World Ballet Competition in Orlando, the International Ballet Competition held in Jackson, Mississippi, and the Youth America Grand Prix. Under Nedvigin’s guidance, Atlanta Ballet has established the Academy training program, which includes a top-tier performance ensemble, Atlanta Ballet 2, representing his commitment to training for the next generation of professional dancers.
Atlanta Ballet’s fourth artistic director in the Company’s then 87-year history. Nedvigin, born in Rostov, Russia, began his training at age 5. At 10, he was accepted into the Bolshoi Ballet Academy. Upon graduating, he joined Moscow Renaissance Ballet, as a soloist, before he was invited to dance with Le Jeune Ballet de France in Paris. In 1997, while on tour in the U.S., San Francisco Ballet (SFB) Artistic Director Helgi Tomasson offered Nedvigin a soloist contract. After three years, he was promoted to principal dancer. While at SFB, Nedvigin won the International Competition’s Erik Bruhn Prize (1999). He has also received three Isadora Duncan Dance Awards (2001, 2010 and 2017). Along the way, Nedvigin was fortunate to work with many world-renowned choreographers. In addition to his dancing career, Nedvigin also taught master classes and staged ballets in the U.S. and abroad before becoming an artistic director. Recently, Nedvigin sat on juried panels at the World Ballet Competition in Orlando, the International Ballet Competition held in Jackson, Mississippi, and the Youth America Grand Prix. Under Nedvigin’s guidance, Atlanta Ballet has established the Academy training program, which includes a top-tier performance ensemble, Atlanta Ballet 2, representing his commitment to training for the next generation of professional dancers.
Atlanta Ballet’s fourth artistic director in the Company’s then 87-year history. Nedvigin, born in Rostov, Russia, began his training at age 5. At 10, he was accepted into the Bolshoi Ballet Academy. Upon graduating, he joined Moscow Renaissance Ballet, as a soloist, before he was invited to dance with Le Jeune Ballet de France in Paris. In 1997, while on tour in the U.S., San Francisco Ballet (SFB) Artistic Director Helgi Tomasson offered Nedvigin a soloist contract. After three years, he was promoted to principal dancer. While at SFB, Nedvigin won the International Competition’s Erik Bruhn Prize (1999). He has also received three Isadora Duncan Dance Awards (2001, 2010 and 2017). Along the way, Nedvigin was fortunate to work with many world-renowned choreographers. In addition to his dancing career, Nedvigin also taught master classes and staged ballets in the U.S. and abroad before becoming an artistic director. Recently, Nedvigin sat on juried panels at the World Ballet Competition in Orlando, the International Ballet Competition held in Jackson, Mississippi, and the Youth America Grand Prix. Under Nedvigin’s guidance, Atlanta Ballet has established the Academy training program, which includes a top-tier performance ensemble, Atlanta Ballet 2, representing his commitment to training for the next generation of professional dancers.
GENNADI NEDVIGIN (Artistic Director and Choreographer, Giselle), in February 2016, was named Atlanta Ballet’s fourth artistic director in the Company’s then 87-year history. Nedvigin, born in Rostov, Russia, began his training at age 5. At 10, he was accepted into the Bolshoi Ballet Academy. Upon graduating, he joined Moscow Renaissance Ballet as a soloist before he was invited to dance with Le Jeune Ballet de France in Paris. In 1997, while on tour in the U.S., San Francisco Ballet (SFB) Artistic Director Helgi Tomasson offered Nedvigin a soloist contract. After three years, he was promoted to principal dancer. While 19 seasons at SFB, Nedvigin won the International Competition’s Erik Bruhn Prize (1999). He has also received three Isadora Duncan Dance Awards (2001, 2010 and 2017). Along the way, Nedvigin was fortunate to work with many worldrenowned choreographers. In addition to his dancing career, Nedvigin also taught master classes and staged ballets in the U.S. and abroad before becoming an artistic director. Recently, Nedvigin sat on juried panels at the World Ballet Competition in Orlando, the International Ballet Competition held in Jackson, Mississippi, the Japan Grand Prix and the Youth America Grand Prix. Under Nedvigin’s guidance, Atlanta Ballet has established the Academy training program, which includes a top-tier performance ensemble, Atlanta Ballet 2, representing his commitment to training for the next generation of professional dancers.
TOM WEST (Executive Director)
assumed his role as Atlanta Ballet’s
TOM WEST (Executive Director)
assumed his role as Atlanta Ballet’s
TOM WEST (Executive Director)
assumed his role as Atlanta Ballet’s
Executive Director at the top of the 2021 | 2022 Season. West’s career in arts management spans for more than 20 years including leadership roles at the John F. Kennedy Center for the Performing Arts, the Segerstrom Center for the Arts and American Film Institute. An actor and theatre director by training, West received a Master of Arts in arts administration from American University and began his career in arts management at the Kennedy Center in 1997, where he rose to the serve as Vice President of Development, overseeing all fundraising programs for the National Symphony Orchestra and the Suzanne Farrell Ballet, and leading the effort to fund a remount of Balanchine’s Don Quixote. In 2007, West served as Vice President of Development for the Segerstrom Center for the Arts in Costa Mesa, California. From 2010-2021, West served as the Chief Advancement Officer for the American Film Institute in Los Angeles, where he championed the development of new programs to provide bridges to the film industry for under-represented storytellers in Hollywood. West also served on AFI’s senior leadership team, shaping organizational strategy for the Institute’s filmmaker training programs and working with major studios developing on targeted diversity initiatives, as well as its strategy for weathering the COVID-19 pandemic. West established the AFI National Council in 2011, a community of philanthropists from across the United States who serve as champions for excellence in the art of film and opportunities for the next generation of great storytellers.
Executive Director at the top of the 2021 | 2022 Season. West’s career in arts management spans for more than 20 years including leadership roles at the John F. Kennedy Center for the Performing Arts, the Segerstrom Center for the Arts and American Film Institute. An actor and theatre director by training, West received a Master of Arts in arts administration from American University and began his career in arts management at the Kennedy Center in 1997, where he rose to the serve as Vice President of Development, overseeing all fundraising programs for the National Symphony Orchestra and the Suzanne Farrell Ballet, and leading the effort to fund a remount of Balanchine’s Don Quixote. In 2007, West served as Vice President of Development for the Segerstrom Center for the Arts in Costa Mesa, California. From 2010-2021, West served as the Chief Advancement Officer for the American Film Institute in Los Angeles, where he championed the development of new programs to provide bridges to the film industry for under-represented storytellers in Hollywood. West also served on AFI’s senior leadership team, shaping organizational strategy for the Institute’s filmmaker training programs and working with major studios developing on targeted diversity initiatives, as well as its strategy for weathering the COVID-19 pandemic. West established the AFI National Council in 2011, a community of philanthropists from across the United States who serve as champions for excellence in the art of film and opportunities for the next generation of great storytellers.
Executive Director at the top of the 2021 | 2022 Season. West’s career in arts management spans for more than 20 years including leadership roles at the John F. Kennedy Center for the Performing Arts, the Segerstrom Center for the Arts and American Film Institute. An actor and theatre director by training, West received a Master of Arts in arts administration from American University and began his career in arts management at the Kennedy Center in 1997, where he rose to the serve as Vice President of Development, overseeing all fundraising programs for the National Symphony Orchestra and the Suzanne Farrell Ballet, and leading the effort to fund a remount of Balanchine’s Don Quixote. In 2007, West served as Vice President of Development for the Segerstrom Center for the Arts in Costa Mesa, California. From 2010-2021, West served as the Chief Advancement Officer for the American Film Institute in Los Angeles, where he championed the development of new programs to provide bridges to the film industry for under-represented storytellers in Hollywood. West also served on AFI’s senior leadership team, shaping organizational strategy for the Institute’s filmmaker training programs and working with major studios developing on targeted diversity initiatives, as well as its strategy for weathering the COVID-19 pandemic. West established the AFI National Council in 2011, a community of philanthropists from across the United States who serve as champions for excellence in the art of film and opportunities for the next generation of great storytellers.
TOM WEST (Executive Director) assumed his role as Atlanta Ballet’s Executive Director in 2021. West’s career in arts management spans more than 25 years, including leadership roles at the John F. Kennedy Center for the Performing Arts, the Segerstrom Center for the Arts and American Film Institute. An actor and theatre director by training, West received a Master of Arts in arts management from American University and began his career in arts management at the Kennedy Center in 1997, where he rose to serve as Vice President of Development, overseeing all fundraising programs for the National Symphony Orchestra and the Suzanne Farrell Ballet, and leading Farrell’s effort to fund a remount of Balanchine’s Don Quixote. In 2007, West served as Vice President of Development for the Segerstrom Center for the Arts in Costa Mesa, California. From 2010-2021, West served as the Chief Advancement Officer for the American Film Institute (AFI) in Los Angeles, where he championed the development of new programs to provide bridges to the film industry for under-represented storytellers in Hollywood. West established the AFI National Council in 2011, a community of philanthropists from across the United States who serve as champions for excellence in the art of film and opportunities for the next generation of great storytellers. Since joining Atlanta Ballet in 2021, West’s focus has been on Atlanta Ballet’s long-term financial health and prestige, expanding engagement in the greater Atlanta region and breaking down historic barriers to full participation in the artform of Ballet for all.
S HARO N S TO RY (D ean of the C entre for D ance Education) joined Atlanta Ballet after a professional dance career that spanned more than 20 years and included tenures with Joffrey Ballet, the School of American Ballet, Stars of New York City Ballet, Atlanta Ballet and 10 years with Boston Ballet. Her Boston Ballet tenure included international tours with Rudolf Nureyev. In 1996, along with her role as ballet mistress, Story became dean of Atlanta Ballet Centre for Dance Education (Centre), which has grown to become one of the largest dance schools in the nation. The Centre is nationally recognized for its programs and community initiatives. Under Story’s direction, the Centre achieved accreditation with the National Association of Schools of Dance (NASD). She serves on the board of directors for NASD. In 2021, Story received Atlanta Ballet’s Dorothy Alexander Award. She received the 2015 Women Making a Mark Award from Atlanta Magazine and was featured in the Arts ATL Legacy Series 2018. Story is committed to providing a noncompetitive atmosphere and access to dance education that is shaped by the community’s needs, is innovative and inspires the commitment and excellence that are the trademarks of Atlanta Ballet.
S HARO N S TO RY (D ean of the C entre for D ance Education) joined Atlanta Ballet after a professional dance career that spanned more than 20 years and included tenures with Joffrey Ballet, the School of American Ballet, Stars of New York City Ballet, Atlanta Ballet and 10 years with Boston Ballet. Her Boston Ballet tenure included international tours with Rudolf Nureyev. In 1996, along with her role as ballet mistress, Story became dean of Atlanta Ballet Centre for Dance Education (Centre), which has grown to become one of the largest dance schools in the nation. The Centre is nationally recognized for its programs and community initiatives. Under Story’s direction, the Centre achieved accreditation with the National Association of Schools of Dance (NASD). She serves on the board of directors for NASD. In 2021, Story received Atlanta Ballet’s Dorothy Alexander Award. She received the 2015 Women Making a Mark Award from Atlanta Magazine and was featured in the Arts ATL Legacy Series 2018. Story is committed to providing a noncompetitive atmosphere and access to dance education that is shaped by the community’s needs, is innovative and inspires the commitment and excellence that are the trademarks of Atlanta Ballet.
S HARO N S TO RY (D ean of the C entre for D ance Education) joined Atlanta Ballet after a professional dance career that spanned more than 20 years and included tenures with Joffrey Ballet, the School of American Ballet, Stars of New York City Ballet, Atlanta Ballet and 10 years with Boston Ballet. Her Boston Ballet tenure included international tours with Rudolf Nureyev. In 1996, along with her role as ballet mistress, Story became dean of Atlanta Ballet Centre for Dance Education (Centre), which has grown to become one of the largest dance schools in the nation. The Centre is nationally recognized for its programs and community initiatives. Under Story’s direction, the Centre achieved accreditation with the National Association of Schools of Dance (NASD). She serves on the board of directors for NASD. In 2021, Story received Atlanta Ballet’s Dorothy Alexander Award. She received the 2015 Women Making a Mark Award from Atlanta Magazine and was featured in the Arts ATL Legacy Series 2018. Story is committed to providing a noncompetitive atmosphere and access to dance education that is shaped by the community’s needs, is innovative and inspires the commitment and excellence that are the trademarks of Atlanta Ballet.
SHARON STORY (Dean of the Centre for Dance Education) joined Atlanta Ballet after a professional dance career that spanned more than 20 years and included tenures with Joffrey Ballet, the School of American Ballet, Stars of New York City Ballet, Atlanta Ballet and 10 years with Boston Ballet. Her Boston Ballet tenure included international tours with Rudolf Nureyev. In 1996, along with her role as ballet mistress, Story became dean of Atlanta Ballet Centre for Dance Education (Centre), which has grown to become one of the largest dance schools in the nation. The Centre is nationally recognized for its programs and community initiatives. Under Story’s direction, the Centre achieved accreditation with the National Association of Schools of Dance (NASD). She serves on the board of directors for NASD. In 2021, Story received Atlanta Ballet’s Dorothy Alexander Award. She received the 2015 Women Making a Mark Award from Atlanta Magazine and was featured in the Arts ATL Legacy Series 2018. Story is committed to providing a noncompetitive atmosphere and access to dance education that is shaped by the community’s needs, is innovative and inspires the commitment and excellence that are the trademarks of Atlanta Ballet.
ANGELA AGRESTI (Company Repetiteur) grew up in Indianapolis, Indiana, where she began her training at the Jordon College Academy of Dance and later transferred to North Carolina School of the Arts (UNCSA) for ballet. After UNCSA, Agresti danced with Cincinnati Ballet for one season before joining Het Nationale Ballet in Amsterdam where she danced a mix of classical ballets, Balanchine works, Hans van Manen repertoire, contemporary and neoclassical works, and new creations. Agresti has been featured in William Forsythe’s Second Detail, Alexei Ratmansky’s Don Quichot, Shen Wei’s Sacre du Printemps, and other notable ballets, such as The Dream, Paquita and Swan Lake. During her time dancing in Amsterdam, Agresti gained experience as a choreographic assistant for multiple choreographers’ stage, film, and festival works. She traveled to Riom, Switzerland, assisting works by Juanjo Arques and Peter Leung for the Origen Cultural Festival. She also worked with Peter Leung on the first ever virtual reality ballet entitled Nightfall. Upon returning to the U.S. in 2018, she assisted Annabelle Lopez Ochoa in the making of Tulips and Lobster for Kansas City Ballet and re-staged the work for the company the following season. Since joining Atlanta Ballet in 2022, she has worked with classical repertoire such as Don Quixote, La Sylphide, and Coppélia, as well as new works for Remi Wörtmeyer, Garrett Smith, Juliano Nunes, and Annabelle Lopez Ochoa. Agresti has had the privilege of guiding dancers in Tu Tu (Stanton Welch), Classical Symphony (Yuri Possokhov), 7 for Eight (Helgi Tomasson), and Prodigal Son (George Balanchine), and has staged the North American premiere of Coco Chanel: The Life of a Fashion Icon
RORY HOHENSTEIN (Company Repetiteur) was born in Washington D.C., where he began dancing at the age of six. Hohenstein furthered his training from the age of 12 at the Kirov Academy of Ballet. At 17, he joined Le Jeune Ballet de France in Paris. In 2000, he joined San Francisco Ballet as a member of the corps, being promoted to soloist in 2006. In 2008, he moved to New York, joining Christopher Wheeldon’s company, Morphoses, performing in its home seasons at New York City Center and at Sadler’s Wells in London. He spent a season dancing with the Lar Lubovitch Dance Company before joining the Joffrey Ballet in 2011, where he continued to be a leading artist with the company through the 2018-19 season. Some personal highlights include dancing the roles of Romeo in Krzysztof Pastor’s Romeo and Juliet, Riff in Jerome Robbins’ West Side Story Suite, Fancy Free, Red Man in Lar Lubovitch’s Elemental Brubeck, The Roper in Agnes De Mille’s Rodeo, Levin in Yuri Possokhov’s Anna Karenina, Forgotten Land from Jiří Kylián and Wayne McGregor’s Eden/Eden. As a Repetiteur Rory has staged several works from choreographers Helgi Tomasson, Lar Lubovitch, Liam Scarlett, and Justin Peck. He has been a Company Repetiteur with Atlanta Ballet since 2019.
EDUARDO PERMUY (Company Repetiteur) was born in Cuba, where he began his training at the age of seven at Laura Alonso’s ballet school Pro-Danza, later joining the National Ballet School of Cuba and finishing at Miami City Ballet School under the tutelage of Nancy Raffa. At the age of 17, Permuy started his professional career with Miami City Ballet as an apprentice and he went on to enjoy a career of 18 years also dancing for American Ballet Theatre Studio Company, Joffrey Ballet, Ballet West, Smuin Contemporary Ballet, Cincinnati Ballet, and appearing as guest artist with a few others. During this time, his repertoire included most of the classics and a vast number of ballets from the Balanchine repertoire, ranging from corps to principal roles. He also had the opportunity to perform ballets from Gerald Arpino, Robert Joffrey, Jiří Kylián, Kurt Joss, John Cranko, Frederick Ashton, Kenneth MacMillan, Twyla Tharp, Helen Picket, Nicolo Fonte, Antony Tudor, Ulysses Dove, Michael Smuin, Val Caniparoli, Alberto Alonso, Benjamin Millepied, Leonide Massine, and Amy Seiwert. Throughout his career, Permuy feels blessed to have learned from figures like Nancy Raffa, Fernanado Bujones, Martha Bosh, Sir Anthony Dowell, Christopher Carr, Eddie Villella and Clinton Luckett. In 2021, he joined Cleveland Ballet as a director of repertoire, where he had the opportunity not only to perform ballet master duties but also was able to return to the stage as a character dancer, performing the roles of Don Quijote in the ballet by the same name and Drosselmeyer in The Nutcracker. This is Permuy’s fourth season with Atlanta Ballet.
CLAUDIA SCHREIER (Choreographer-in-Residence) has choreographed, directed, and produced for dance, opera, and film across the U.S. and internationally. She has created over 50 works for various companies and organizations, including San Francisco Ballet, Boston Ballet, Miami City Ballet, Dance Theatre of Harlem, Vail Dance Festival, Richmond Ballet, Guggenheim Works & Process, ABT Studio Company, Juilliard Opera, New York Choral Society, and New York Choreographic Institute. Her works for Atlanta Ballet include The Rite of Spring, Nighthawks, Carnivale, Fauna, Pleiades Dances, and First Impulse, named a 2019 Standout Performance by Pointe Magazine. Schreier and Atlanta Ballet partnered with the Cathedral Choir Society in 2022 to present Berlioz’s Roméo et Juliette at the Washington National Cathedral. In 2021, Schreier released Force of Habit, a film commissioned by Guggenheim Works & Process and co-presented by Atlanta Ballet. She has contributed to programs at the White House, Jazz at Lincoln Center, and the Kennedy Center, including the Kennedy Center Honors. Her work is the subject of two documentaries, most recently PBS’s Emmy Award-Winning “Dancing on the Shoulders of Giants” (Capital Region). Schreier presented her TEDx talk “Thinking On Your Feet,” at Columbia University in 2018. She is a recipient of the Princess Grace Award, Toulmin Fellowship at the Center for Ballet and the Arts at NYU, Lotos Prize, and Suzanne Farrell Dance Prize.
Cali, Colombia
NEW Juneau, Alaska
JÚLIO
Araruama, Rio de Janeiro, Brazil
Fortaleza, Brazil
