Stars and Stripes, Kansas City Ballet 2025-2026 Season
Kansas City Ballet Guild
KANSAS
KANSAS
KANSAS
Dancer Kelsey Ivana Hellebuyck. Cover Artwork | Dancers Naomi Tanioka and Paul Zusi. Photography by Kenny Johnson. Kansas City Ballet
Dear cherished guests,
Thank you for taking the time out of your busy schedules to share the joy of dance with us. You could be anywhere right now, and we truly appreciate your support for the performing arts in Kansas City.
This year marks a significant milestone as our country celebrates its 250th anniversary. What better way to commemorate this occasion than by presenting some of the most iconic American ballets: George Balanchine’s Stars and Stripes and Agnes de Mille’s Rodeo. These works have long been dreams of dancers, and I am incredibly proud of how much our company has grown, both in terms of size and skill.
From the bold spirit of John Philip Sousa to the open horizons of Aaron Copland’s beloved score, these ballets capture the energy and nostalgia of this country’s rich history.
We are also thrilled to present a new creation, A Home Away from Caili Quan, an extraordinary emerging Asian American choreographer whose work embodies the optimism and curiosity of today’s youth.
As the renowned painter Georgia O’Keeffe once said, “I found I could say things with color and shapes that I couldn’t say any other way.” We hope that dance offers you that same kind of expression—a moment to experience joy, connection, and reflection.
Warmly,
Devon Carney, Artistic Director
SUPPORT KANSAS CITY BALLET
Kansas City Ballet is a 501(c)(3) not-for-profit organization. Contributions are tax deductible to the extent allowed by law. Your contribution is important to our mission. Contribute today at kcballet.org, 816.931.2232, or make checks payable to Kansas City Ballet, Todd Bolender Center for Dance & Creativity, 500 W. Pershing Rd., Kansas City, MO 64108-2430.
STAY CONNECTED WITH KANSAS CITY BALLET
For the latest news, exclusive updates, and presale access to upcoming performances and special events, join our email list at kcballet.org, visit our blog at kcballet.org/blog, and follow us on Facebook (facebook.com/kcballet, facebook.com/kcbschool), Instagram (@kc.ballet, @kc.balletschool), TikTok (@kansascityballet), YouTube (@kansascityballet), and LinkedIn (Kansas City Ballet).
THE PATH TO ELEGANCE STARTS WITH US.
NUMEROUS MODELS | ENDLESS OPTIONS | ONE UNFORGETTABLE EXPERIENCE
KANSAS CITY BALLET LEADERSHIP
DEVON CARNEY
ARTISTIC DIRECTOR
Devon Carney joined Kansas City Ballet for the 2013-2014 season after spending the previous 10 years with Cincinnati Ballet as associate artistic director. His early training was with Harvey Hysell of New Orleans. He moved to Boston and was a Principal dancer with Boston Ballet for 12 of his 20 professional performing years. Carney has performed many leading roles in well-known classical ballets and in 20th century classical works, and in roles by cutting-edge choreographers such as Mark Morris, Maurice Bejart and Merce Cunningham. In addition, he performed a diverse Balanchine repertoire and toured extensively with greats such as Rudolf Nureyev, Fernando Bujones and Cynthia Gregory. With Boston Ballet, he was ballet master and artistic director of their Summer Dance Program for eight years. Carney’s teaching credits include Alvin Ailey American Dance Theatre, Pittsburgh Ballet, School of American Ballet, Jacqueline Kennedy Onassis School, San Francisco Ballet School, Houston Ballet School and many others. He has choreographed for Boston Ballet, Ballet Met, Cincinnati Ballet, Grand Rapids Ballet, Cincinnati Opera, Lyric Opera of Kansas City, Kansas City Symphony, Jacob’s Pillow Dance Festival and Kansas City Ballet. He has served many years as a judge for the premier dance competition Youth America Grand Prix. In the summer of 2011, Carney choreographed for the Cincinnati Opera for the opera A Flowering Tree by John Adams with a review in Opera News, “Devon Carney’s choreography was both athletic and exquisite.” With Cincinnati Ballet he created over 20 original works including Blue Rondo and World Citizen in March of 2009 with a review stating, “Carney’s work is not only well crafted but moody and intense with a palpable sense of loneliness. His work grows more confident and more skillful with every piece he creates” (David Lyman, Cincinnati Enquirer). He also created Boot It Up!. This was performed with the live musical accompaniment of rock and roll legend Peter Frampton and his entire band. Additionally, he created a full-length world premiere of Dracula and has created his versions of the great classics of Giselle, Sleeping Beauty, and the one-act ballet The Steadfast Tin Solder. He choreographed Die Fledermaus and La Traviata for the Lyric Opera of Kansas City With Kansas City Ballet, he created Opus I in 2013, Giselle in 2014, a brand new world premiere production of The Nutcracker in 2015, his full length Swan Lake, The Sleeping Beauty and his world premiere choreography of Romeo & Juliet in 2017, and his world premiere choreography of Peter Pan in 2018. Additionally his Nutcracker has been performed at the Kennedy Center for the Performing Arts in 2017 and 2022. Most recently, he created his world premiere choreography of the full-length Cinderella in 2023.
KEVIN AMEY
CHIEF OPERATIONS OFFICER
Kevin Amey’s service to Kansas City Ballet exceeds 40 years. He has served as the company and tour booking manager of Kansas City Ballet since 1983. He was promoted to general manager in 1998. Amey has had the pleasure of working extensively with each of the company’s three Artistic Directors — Todd Bolender, William Whitener, and Devon Carney — as well as Executive Directors Michael Kaiser, Martin Cohen, Jeffrey Bentley, and David Gray — in producing more than 300 works. Additionally, he was instrumental in booking and executing the many tours the company embarked upon in the 80s and 90s, as well as the 11-year second-city residency in St. Louis. He counts the opportunity to play a significant role as the company’s project manager in the creation of the Todd Bolender Center for Dance & Creativity as his most rewarding achievement. Amey’s background in the arts began as a young performer, actor, singer, and dancer. He is a graduate of Avila College, where he received a Bachelor of Fine Arts in acting and directing, and in design. He took his design skills into the professional ranks as lighting and sound designer for the Creede Repertory Theatre in Creede, CO, as well as production manager, for three seasons. While attending graduate school at the University of Missouri-Kansas City in Theatre Arts, Amey split his time between the design and scenic shops and as a special graduate assistant to the director, Dr. Patricia McIlrath. He then followed his interest in arts management by acting as company manager for three seasons of touring with the then Missouri Repertory Theatre. He also has served on a variety of local, state and regional panels, including the Missouri Arts Council Tour Advisory Panel and Touring Task Force, as well as the Steering Committee and Grant Awards Panel for the Kansas City Chapter of Young Audiences. He and his wife Mig Lillig have raised five children.
DAVID GRAY EXECUTIVE DIRECTOR
David Gray was raised in Princeton, NJ, and attended Johns Hopkins University. Following graduation, he moved to New York. He worked in the publicity department of Doubleday Publishing before joining the Press Office of New York City Ballet, where he soon became press director. He also met and married New York City Ballet Principal Dancer Kyra Nichols. Upon the birth of their first child, Gray became a full-time parent so that his wife could return to her performing career. He also pursued his passion for writing and published Escape From Verona: Romeo and Juliet Part Two, a novel that required years of research, including visits to Italy. After they moved to the town where he grew up, Gray became the executive director of American Repertory Ballet and their Princeton Ballet School. Gray then opened a consulting firm, Finance Arts LLC, where he combined his interests in finance and nonprofit management. He served as an itinerant interim executive director for several nonprofits, including the New Jersey Coalition Against Sexual Assault, The New Brunswick Cultural Center (where he was landlord for three theaters), and the Princeton Symphony Orchestra. In addition to teaching nonprofit management and finance classes, he wrote the Finance Arts Guide to Nonprofit Cash Flow, published in 2010. What began as an interim position with the Pennsylvania Ballet (now Philadelphia Ballet) became permanent until his wife was offered a tenured faculty position at Indiana University’s Jacobs School of Music. Gray returned to full-time parenting as a trailing spouse when they moved to Indiana in 2017. He and his youngest son built a batting cage, and Gray spent many hours throwing baseballs for batting practice (sometimes even hitting the strike zone). One of his screenplays, a romantic comedy, Love Across Time, has been produced, and is available on Amazon Prime and Hulu. Now empty nesters, Gray has embraced the renewed energy and excitement of the ballet world and is thrilled to be part of the Kansas City Ballet.
RAMONA PANSEGRAU MUSIC DIRECTOR & CONDUCTOR
Ramona Pansegrau has been music director for Kansas City Ballet for 18 years. She came to Kansas City via the Boston and Tulsa ballet companies. She has been called one of the best ballet pianists in the world. Robert Joffrey said of her ballet class, “The perfect music for every combination.” She was principal pianist/solo pianist for 10 years at Boston Ballet and tenured keyboard for the Boston Ballet Orchestra for 15 years. Pansegrau was on the faculty at Aspen/Snowmass Dance Festival for 11 years and was music director for the ballet school at Jacob’s Pillow for 16 years. She was music director for Tulsa Ballet for nine years, and conductor of the Tulsa Symphony orchestra for ballet performances before coming to Kansas City Ballet. Pansegrau conducted the premiere of the Tulsa Symphony Orchestra with a full-length Sleeping Beauty, starring Italian ballerina Viviana Durante. Her performances were hailed as “giving life to the music and energizing the dancers.” Conducting for the Ballet Across America Festival, The Washington Post stated, “There is a delicious tension between the outpouring of the strings conducted by Pansegrau and the hushed anxiety of the dancing.” The Kansas City Star said Pansegrau’s Symphony No. 5 by Gustav Mahler was conducted with “heartrending sensitivity.” The Orlando Sentinel commented regarding Swan Lake, “…Pansegrau, music director for the Kansas City Ballet, helps Tchaikovsky’s music breathe with emotion reflecting what’s onstage….That gorgeous sound is something I’ll remember.”
Regarding Don Quixote, they said, “As conducted by Ramona Pansegrau, the Philharmonic captured each bit of Spanish flair in Ludwig Minkus’ score, as well as the longing in the characters’ hearts. The Phil’s contribution to the electricity in the air can’t be overstated.” As a piano soloist for ballet, she has performed the piano concertos of Tchaikovsky, Brahms, Gottschalk, Hindemith, and Chopin, performing with many symphony orchestras, including the Kennedy Center Opera Orchestra. Of her performances, the Boston Phoenix stated, “the music...brought to sublime heights by pianist Ramona Pansegrau, allow[ing] you to experience the music anew each time.” Her arrangements of ballets are in the repertory of Ballet West, Colorado Ballet, Royal Winnipeg Ballet, Tulsa Ballet, Louisville Ballet, Washington Ballet, the San Carlo Opera House in Italy, NBA Ballet in Japan, and the Finnish National Ballet. Her edited and compiled score of Penderecki, Gorecki, and others for Jekyll & Hyde, a ballet by Val Caniparoli, premiered in Finland in 2020 to great acclaim, and she conducted the American premiere in Kansas City in October 2023. In 2025, she conducted her own arrangement of the full-length Don Quixote for Kansas City Ballet. Pansegrau’s other ongoing engagements include collaborating with Val Caniparoli for a new world premiere ballet for National Ballet of Canada in 2027 and returning for the 30th year as music director and conductor for the USA International Ballet Competition in 2027.
KANSAS CITY BALLET BOARD & AUXILIARIES
BOARD OF DIRECTORS OFFICERS
Julia Irene Dennie - Kauffman, Chairman Muriel McBrien Kauffman Family Foundation
Carolyn W. Parkerson, President Community Leader
Barbara Storm, Immediate Past President Community Leader
Kathleen Nemechek, Esq., Vice President, Governance Berkowitz Oliver LLP
Stephen Doyal, Vice President Hallmark Cards, Retired
BOARD OF DIRECTORS MEMBERS
Charlotte Kemper Black Commerce Trust Company
Lucy Wells Coulson Community Leader
Kyle Danner EOS Worldwide LLC
Ron Fredman Kansas City Ballet Guild President
John D. Hunkeler, M.D. Community Leader
Linda Lenza Bank of America
KANSAS
Austin Massoth BBN Architects
Steve McDowell BNIM
Rachel Merlo Google Fiber Kansas City
Tracy Musolf Lockton
Sarah Pedraza SS&C
Scott Ramon NBKC Bank
David Harris, Treasurer US Bank
Patricia Macdonald, Secretary HI-IQ – Healthcare Institute for Innovations in Quality
David Gray, Executive Director Kansas City Ballet
Devon Carney, Artistic Director Kansas City Ballet
CiCi Rojas Tico Productions LLC / Tico Sports
Sarah Romine Lockton
G. Mark Sappington, Esq. Community Leader
Suzanne Shank, Esq. Community Leader
Mindy Sosland Community Leader
Kent V. Stallard, Esq. Stinson LLP
CITY BALLET GUILD BOARD • KCBGUILD.ORG
Ron Fredman President
Edie Downing President-Elect
Cindy Wurm Vice President
John Walker Treasurer
Jo Anne Dondlinger Recording Secretary
Carrie Kruse Corresponding Secretary
Jody Stephen Membership Vice President
Eileen Green Membership Data Vice President
Amanda Wagner Special Projects Vice President
Julia Kim Malter Engagement & Education Vice President
Cyndi James Marketing/PR Vice President
Peggy Younger Social Activities Vice President
Lisa Hickok Archives Vice President
Karen Yungmeyer Immediate Past President
Peggy Beal Governance Chairman
Alexis Strauss BARRE KC President
Angela Walker Community Leader
Lorie B. Whitaker, Esq. Bank of America
Nan Lippencott Guild Boutique Vice President
Michele Hamlett-Weith Gala Vice President 2025
Juliette Singer & Cyndi James Gala Vice Presidents 2026
Crystal O’Dea Gala Vice President 2027
Alexis Strauss President
Zakry Akagi-Bustin Vice President
Katie Abbott Secretary
Quinn Harrold Treasurer
Audrey Allen
Morgan Holecek
Allissa Gehring
David Leehy
Madison Moore
Jessica Ritter
Michael Schuckman
Jessica Whalen
Kansas City Ballet thanks our board of directors and leadership teams whose time, energy and generosity enhance our organization and make our performances and community programs possible.
CYRILLE AIMÉE
MARCH 14 • 7:30PM
RUTH MOODY
APRIL 10 • 7:30PM
MAE MARTIN
MAY 9 • 7:00PM
BACK TO THE 80S
MARCH 20, 21 • 7:30PM MARCH 22 • 3:30PM
KCJO PLAYS BENNY GOODMAN LIVE AT CARNEGIE HALL FEATURING ANAT COHEN - APRIL 11 • 7:00PM
JK LIVE! MAY 30 • 3:00PM & 7:00PM
UNLIMITED MILES: MILES DAVIS AT 100 MARCH 29 • 3:30PM
ART OF THE PIANO: ALEXANDRE KANTOROW APRIL 14 • 7:00PM
DAVID BRIGHTON’S SPACE ODDITY JUNE 5 • 7:30PM
Emergency Evacuation Procedures
The Kauffman Center is equipped with advanced life-safety early alert systems. Each performance hall is designed with emergency exits in case of an evacuation. In the event of severe weather, shelter in place inside the hall, not in a lobby area, and await further instructions.
In the event of an emergency, the performance will be interrupted. Horns and strobes will sound. Emergency instructions will be delivered from the stage.
Please remain seated as staff use an appropriate amount of investigational time to verify the source of the alarm.* Should an evacuation be necessary, lighted red (Muriel Kauffman Theatre) and green (Helzberg Hall) exit signs will lead patrons to one of eight emergency exit paths.
Patrons with mobility limitations and/or those who are not able to navigate stairs should remain in the venue near one of the marked “Emergency Evacuation Assistance” areas. First responders will evacuate those requiring assistance immediately upon their arrival.
Elevators, primary entrances and the Brandmeyer Great Hall staircase are NOT used in the case of an emergency evacuation.
For more information on emergency evacuation procedures, visit kauffmancenter.org/policies
THEATRE INFORMATION & PATRON SERVICES
CAMERA POLICY
Due to contractual obligations and for the safety of the artists, the use of cameras and recording devices are strictly prohibited. Attendance at a Kansas City Ballet event gives the patron’s consent to be photographed or recorded.
CELL PHONES AND DEVICES
As a courtesy to the artists and audience members, please silence cell phones and other devices and refrain from texting for the duration of the performance.
SEATING POLICY
We know our patrons make every effort to be on time for events; however, traffic or weather problems can cause late arrivals. Latecomers may watch the performance on monitors in our lobby until the theater has re-opened to allow guests into the auditorium. Seating or reseating once a performance has begun will be allowed at the discretion of the house manager as a courtesy to our audience and in consideration of everyone’s safety.
TICKETING POLICY/CHILDREN
At Kansas City Ballet, we encourage young audiences to attend our shows assuming the program content is appropriate. However, it is strongly suggested that no babies or toddlers be in attendance. Many children over the age of 5 can remain happily and quietly seated for a two-hour performance, but you know your child best. Parents will be expected to immediately remove children creating a disturbance during the performance. Patrons may return to their seats during intermission. Please note that all patrons, regardless of age, must have a ticket. No refunds will be available.
WEATHER POLICY
Kansas City Ballet seldom cancels performances due to inclement weather. An exception to this is an official citywide emergency that requires citizens not be on the streets. In the unlikely chance that Kansas City Ballet cancels a performance, such cancellation will be announced no later than two hours prior to the scheduled start of the show.
REFRESHMENTS
Refreshments are available at bars located throughout Brandmeyer Great Hall. For select events, bar service is also available on levels 5 and 6. Please note, food and beverages are to be enjoyed outside Helzberg Hall and Muriel Kauffman Theatre (with the exception of box seating).
COAT CHECK
Complimentary coat check is available for guests year around. Coat check is located near the restrooms on Level 2 just east of the ticket office.
BOOSTER SEATS
Booster seats are reserved for those who require the use of a four-inch cushion to view the stage and are offered on a first-come, first-served basis. Patrons may request a booster seat at coat check on the plaza lobby level or connect with a Kauffman Center staff member or volunteer.
ELEVATORS
All levels of the building can be reached by elevator with the exception of Upper Grand Tier (Level 7) in Helzberg Hall. However, elevator access does not guarantee the absence of stairs to a seat. Please contact the Kansas City Ballet Ticket Office for more information.
PARKING
There are 1,000 parking spaces available at a $16 charge in advance or $20 the day of per car. Valet services are also available at $25 in advance or $27 the day of per car. There are three charging stations for electric cars.
RESTROOMS
Kauffman Center restrooms fully comply with disability requirements of both the city of Kansas City, MO, and the ADA. All family restrooms feature infant changing tables. The Mezzanine family restroom features a changing table suitable for children or adults. Patrons needing a universal changing table or an additional private space to tend to medical needs should contact a staff member or volunteer for directions to the First Aid Office.
SPECIAL SERVICES & ACCESSIBILITY
Kansas City Ballet is dedicated to providing an accessible and enjoyable experience to all patrons. The Kauffman Center for the Performing Arts is an accessible facility. All performances of Kansas City Ballet are accessible to people with special needs. Adjacent companion seats also are available in the same area. Please consult with Kansas City Ballet Ticket Office at 816.931.8993 to determine your best and most accessible seating options.
SERENITY ROOMS
Patrons who would benefit from the use of a private, relaxing environment are invited to step into one of two serenity rooms. These spaces offer comfortable seating and a monitor to view the live performance, plus sensory items, dimmable lights, and an electrical wall outlet. Patrons may contact a staff member or volunteer to access these spaces.
SENSORY KITS
Patrons who would benefit from comforting sensory resources are invited to exchange an ID card for a complimentary use of a sensory kit from coat check on the Plaza Lobby Level. These kits contain resources such as noise-reducing headphones, weighted lap pads, and handheld sensory items.
LOST AND FOUND
Found items are immediately taken to the Security Console located at the Stage and Performers Entrance near the north entry. Kauffman Center Security will make every effort to identify and contact the owners of lost items. Items unclaimed after 90 days will be donated to a local charity. Cash and items of significant value left over 90 days will be treated as a donation to the Kauffman Center. To inquire about a lost item, contact Kauffman Center Security at 816.994.7222.
KANSAS CITY BALLET HOURS
Kansas City Ballet Ticket Office and administrative hours ware Monday through Friday 10 a.m. to 5 p.m. Ticket Office hours are extended during performance weeks. To contact us, please call 816.931.8993, fax 816.471.1314, or email patronservices@kcballet.org. For more information, visit kcballet.org.
KAUFFMAN CENTER HOURS
The Kauffman Center Ticket Office opens 90 minutes prior to performances and remains open 30 minutes after Kansas City Ballet performances start.
Premier Senior Living in
the Heart of Kansas City
Connecting Experiences
For families on the cancer journey
KANSAS CITY BALLET
Devon Carney
Artistic Director
David Gray Executive Director
Kevin Amey Chief Operations Officer
Ramona Pansegrau Music Director & Conductor
COMPANY ARTISTS
Gavin Abercrombie ◊
Isaac Allen
Alladson Barreto
Joseph Boswell
Kaleena Burks §
Angelin Carrant
Liam Colclough *
Aidan Duffy
KCB II
Zander Johnson
Audrey Lynn
TRAINEES
Julia Bellantoni
Payton Boddy
Alessia Braggiato
Maggie De Groote
Luke Eller
Michelangelo Fante
Kristi Capps
Rehearsal Director
Parrish Maynard
Rehearsal Director
Christopher Ruud
Second Company Manager & Rehearsal Director
Amy Taylor Director of Production
Sidney Haefs ‡
Kelsey Ivana Hellebuyck
Amira Hogan
Whitney Huell
Olivia Jacobus
Joshua Kiesel
Keaton Linzau
Celeste Lopez-Keranen
Troy Monger-Levin
Brooke Noska
Laura Krus
Production Stage Manager
Jennifer Carroll Costume Director
Betti Jo Diem Costume Shop Manager
Becci Jo Kelbaugh Costume Shop Assistant
Madeline Brasgalla Assistant Stage Manager
Jordan Voth Company Pianist
Mei McArtor *
Amelia Meissner
Maura Moody
Taryn Pachciarz
Elliott Rogers
Noura Sander
Naomi Tanioka
Cameron Thomas
Olivia Pearsall
Owen Watson
Andrew Vecseri Landen Walker *
Marisa DeEtte Whiteman
Derek Wippel *
Gillian Yoder
Paul Zusi ∞
Ben Workman
Sage Guillot
Madalyn Hesterlee
Jack Hindocha-Daniels
Hiroaki Ikeda
Addison Jankauskas
Gracie Jean Joiner
◊ Sally and Thomas J. Wood Senior Dancer
∞ John Hunkeler Senior Dancer
§ Norman E. Gaar, Esq. Dancer
Camille Jordan
Corabelle Kennedy
Reagan Kinney
Madeleine Lee
Isabella Martino
Maya McDaniels
Blair Mendes
Joseph Moore
Ena Nomoto
Zoey Uhlman
‡ Greg and Barbara Storm Emerging Dancer
* Company Apprentice, supported in part by the Estelle S. and Robert A. Long Ellis Foundation
Website Recognition Listing
Behind-the-scenes eNews
Program Recognition Listing
Invitation to Rehearsal Watch
Pre-sale Ticket Access
Ballet Season Welcome Packet
Insider Access and Special Events
Priority Access to Upgrade Subscription Tickets
Reception Suite Access for Subscription Performances
Annual State of the Ballet Luncheon
Insights - Rehearsal Watch and Dinner with Guest Artist
Complimentary Garage Parking at Kauffman Center
Dinner with Devon - Dinner with the Artistic Director and Dress Rehearsal
WAYS TO GIVE TO KANSAS CITY BALLET
There are many meaningful ways to support Kansas City Ballet, tailored to your goals, passions, and financial plans. Options include:
Monthly Giving
Make a lasting impact through manageable, recurring contributions.
Annual Gifts
Offer a one-time or annual contribution, ideal for larger gifts or itemized deductions.
Endowment Gifts
Help ensure the Ballet’s long-term sustainability.
The Tatiana Dokoudovska Legacy Society
Leave a lasting legacy that inspires future generations.
Corporate Supporters
Enhance your company’s social impact while strengthening community ties.
Matching Contributions
Your company may match your charitable contributions.
To explore the giving option that’s most meaningful to you, please contact Kristin Castle, Chief Philanthropy Officer, at 816.216.5585 or kcastle@kcballet.org.
THE COMPANY
GAVIN ABERCROMBIE | JOINED KCB IN 2018, +2 YEARS SECOND COMPANY
Sally & Thomas J. Wood Senior Dancer
Gavin Abercrombie is from Acton, California and began his ballet training at the age of 8 with the Antelope Valley Ballet. He continued his training at the Pittsburgh Ballet Theater School and the San Francisco Ballet School where he was taught by individuals such as Marjorie Grundvig, Andre Reyes, Patrick Armand, and Parrish Maynard. Since joining Kansas City Ballet in 2016, Abercrombie has had the opportunity to perform leading roles such as Albrecht in Devon Carney’s Giselle, Dr. Jekyll in the North American premiere of Val Caniparoli’s Jekyll & Hyde, Jonathan Harker in Michael Pink’s Dracula, Principal in George Balanchine’s Rubies, and Cavalier in Devon Carney’s The Nutcracker. Abercrombie has also had the opportunity to perform in ballets by choreographers such as Jiří Kylián, Alexander Ekman, Anabelle Lopez Ochoa, Septime Webre, Twyla Tharp, George Balanchine, and Devon Carney.
ISAAC ALLEN | JOINED KCB IN 2022
Isaac Allen began his ballet training at the age of 8 at Stillpointe Dance Studio in southern Oregon. He spent many of his summers attending intensive training programs across the country including San Francisco Ballet, Pacific Northwest Ballet and Oregon Ballet Theatre. In 2015, Allen joined Oregon Ballet Theatre’s pre-professional program. The next year he was accepted into the HARID Conservatory in Florida where he trained for two years under Meelis Pakri before joining Milwaukee Ballet’s Second Company, performing in ballets such as Michael Pink’s Dracula, Val Caniparoli’s Lambarena, Bruce Wells’ A Midsummer Night’s Dream and many more. Allen spent three years in the Second Company before being promoted to Milwaukee Ballet as an apprentice where he danced for two years.
ALLADSON BARRETO | JOINED KCB IN 2022
Alladson Barreto, born in Rio Grande do Norte, Brazil, began his ballet training in 2015 at the Alberto Maranhão Theater Dance School (EDTAM) in Natal. He trained at the Rock School on full scholarship and danced with Ballet West II from 2019 to 2022, performing in The Nutcracker, Giselle, Chant du Rosignol, Dracula, Romeo and Juliet, Diamonds, Glass Pieces, Raymonda, Don Quixote, Divertimento, and Sleeping Beauty. In 2021, he collaborated with Kathryn Morgan, performing lead roles together in The Nutcracker for three years. Barreto has performed featured roles in The Sandpaper Ballet, Petite Mort, Jewels (Emeralds), Celts, Peter Pan, Cinderella, and The Nutcracker. Since joining Kansas City Ballet in 2022, he has danced in Jekyll and Hyde, Cacti, Giselle, ALICE (in wonderland), among others. He has served as a So Danca Ambassador from 2018-20 and 2022-25.
KALEENA BURKS | JOINED KCB IN 2010 • Norman E. Gaar, Esq. Dancer
Kaleena Burks is from Coral Springs, Florida, where she trained with Magda Auñon and Magaly Suarez. In 2005, she won first place in the pre-professional division of the American Ballet Competition. Burks has danced with Cincinnati Ballet, Columbia Classical Ballet, and Cuban Classical Ballet of Miami. In Kansas City, she has been featured as the title role in Giselle, Odette/Odile in Swan Lake, Juliet in Romeo & Juliet, Kitri in Don Quixote, Marguerite in Lady of the Camellias, Chosen One in Rite of Spring, Sugar Plum in The Nutcracker, along with principal roles in Diamonds, Dracula, Interplay, Petal, and Serenade. In addition to her performing career, Burks has recently been appointed artistic director of Moving Arts, a local summer dance company.
JOSEPH BOSWELL | JOINED KCB IN 2024
Joseph Boswell was born in Spokane, Washington. He started his ballet training at the age of 7 and after five years of training he moved to Houston, Texas to study at the Houston Ballet Academy. He continued his dance training at Boston Ballet School for another three years before being offered a contract for Boston Ballet’s second company. Throughout his career, performed numerous principal roles such as Franz from Coppelia , Conrad from Le Corsaire, La Vivandiere , the Harlequinade pas de deux, and Jorma Elo’s Slice to Sharp . Mr. Boswell also danced alongside Boston Ballet’s main company in works such as Mikko Nissinen’s Swan Lake, Sleeping Beauty, and Nutcracker as well as Rudolph Nureyev’s Don Quixote.
ANGELIN CARRANT | JOINED KCB IN 2018, +1 YEAR SECOND COMPANY
Angelin Carrant, originally from Paris, France, began his training at the age of 6. As a child he was chosen to perform in Le Songe de Médée by Angelin Preljocaj, with the Paris Opera Ballet. In 2013, Carrant was offered a full scholarship with the San Francisco Ballet School, under the leadership of Patrick Armand. He trained there for four years where he danced in productions such as Helgi Tomasson’s The Nutcracker, Christopher Wheeldon’s Cinderella and John Neumeier’s Yondering. He joined Kansas City Ballet‘s Second Company in 2017 and was promoted to the main company the following year. As a dancer with Kansas City Ballet, Carrant has performed leading roles in William Forsythe’s In the Middle, Somewhat Elevated, George Balanchine’s Serenade, Alexander Ekman’s Cacti and Val Caniparoli’s Jekyll & Hyde. He has also danced in productions such as Jiří Kylián’s Petite Mort, Edwaard Liang’s Wunderland, Michael Pink’s Dracula and George Balanchine’s Jewels among many others.
AIDAN DUFFY | JOINED KCB IN 2023
Originally from Philadelphia, Aidan Duffy began his training with the School of Pennsylvania Ballet and the Rock School for Dance Education. He then joined Boston Ballet School’s Professional Division as a Pao Scholarship recipient, before being invited into Boston Ballet’s Graduate Program. His training was supplemented by coaching with Chérie Noble and summers at the School of American Ballet, San Francisco Ballet School, Miami City Ballet School, and Ellison Ballet. His repertoire with Kansas City Ballet includes Val Caniparoli’s Jekyll & Hyde, Devon Carney’s The Nutcracker (Snow King), George Balanchine’s Jewels (Emeralds pas de trois), Anna-Marie Holme’s Don Quixote (Espada), William Forsythe’s In the Middle, Somewhat Elevated, and Lila York’s Celts (Red Man). Duffy has also had the privilege of performing alongside the Philadelphia and Cleveland Orchestras.
SIDNEY HAEFS | JOINED KCB IN 2019, +1 YEAR SECOND COMPANY
Greg and Barbara Storm Emerging Dancer
Sidney Haefs was born in Los Angeles, California. She began her training at the Santa Clarita Ballet Academy under the direction of Corinne Glover. Haefs continued her education at the University of Utah where she graduated magna cum laude with a BFA in Ballet and a Minor in Human Development and Family Studies. In 2018, She was offered a traineeship with Kansas City Ballet before joining the company as an apprentice in 2019. With Kansas City Ballet, she has performed roles including the Diamonds Principal in Balanchine’s Jewels, Queen of the Dryads in Don Quixote, Peasant Pas de deux in Giselle, Emerald Ballerina in Septime Webre’s The Wizard of Oz, and Isabel in In the Middle, Somewhat Elevated, as well as roles in Val Caniparoli’s Lady of the Camellias, Balanchine’s Serenade, Jirí Kylián’s Petite Mort, and Alexander Ekman’s Cacti
KELSEY IVANA HELLEBUYCK | JOINED KCB IN 2016
Kelsey Ivana Hellebuyck trained at San Francisco Ballet School for 11 years before joining Boston Ballet at 16, where she performed globally on tour with the company. She later joined Philadelphia Ballet, dancing in works by Forsythe, Kylián, Ratmansky, Robbins, Balanchine and Corella. In 2016, she joined KCB, with favorite roles including Dark Angel in Balanchine’s Serenade, Solo Woman in Balanchine‘s Rubies, and Yoomi in Helen Pickett’s Petal. Other favorites include Petite Mort by Jiří Kylián, Brown Couple in York‘s Celts, and Arabian and Snow Queen in Devon Carney’s The Nutcracker. Ms. Hellebuyck has been featured in Pointe Magazine and The Ballerina Project. Follow her on Instagram (@ IvanaDance) for a behind-the-scenes look at her life.
AMIRA HOGAN | JOINED KCB IN 2023
Texan Amira Hogan began ballet at age 6 at the YMCA and continued training at Robert Underwood’s School for Dance, TKB Center for Ballet & Dance, and Vitacca Vocational School for Dance. She has received awards from Youth America Grand Prix, including the Hope Award, the World Ballet Competition Promise Award, ADC/IBC awards, and the Vitacca Emerging Artist Award. Hogan has performed works by George Balanchine, Devon Carney, Val Caniparoli, Anna-Marie Holmes, Lila York, Caroline Dahm, Haley Kostas, Natasha Adorlee, and Gina Patterson. Her choreographic credits include you can’t control the wind, but you can adjust your sails and Tied In Nots. She is honored and thrilled to return for her third season with Kansas City Ballet.
WHITNEY HUELL | JOINED KCB IN 2014
Whitney Huell trained at the South Carolina Governor’s School for the Arts and Humanities and earned a B.S. in Ballet and Psychology from Indiana University before joining Ballet West, where she performed in Paquita, Sleeping Beauty, Cinderella, Petite Mort, and Jewels. She was named one of Dance Magazine’s Top 25 to Watch in 2011 and featured in Pointe Magazine in 2012. With Kansas City Ballet, Huell has performed works by Amy Seiwert, Adam Hougland, Annabelle Lopez Ochoa, Monique Meunier, Stanton Welch, Edwaard Liang, Val Caniparoli, Helen Pickett, Septime Webre, Mark Morris, Jirí Kylián, and Jerome Robbins. She has been featured in The Man in Black, Giselle, Peter Pan, Don Quixote, Rubies, Serenade, In the Middle, Somewhat Elevated, and Sugar Plum Fairy in The Nutcracker, the first African American to perform the role at KCB. In 2024, she participated in Pathways to Performance: Exercises in Reframing the Narrative at the Kennedy Center and Jacob’s Pillow and was honored on the Monument to Freedom, Justice & Courage in Jackson County, MO.
OLIVIA JACOBUS | JOINED KCB IN 2022
Born and raised in Los Angeles, Olivia Jacobus discovered her love for ballet at age 9. She trained with Romy and Zippora Karz of New York City Ballet and continues to work with them today, professionally. At age 15, Jacobus was accepted into Colburn Dance Academy’s pre-professional program where she performed works from George Balanchine and Jerome Robbins. In 2020, she joined Pacific Northwest Ballet’s Professional Division, and soon after joined Kansas City Ballet. Some of her favorite moments from past seasons with Kansas City Ballet are Emeralds Pas de Trois from Jewels, and Tea in The Nutcracker. Jacobus is working towards a degree in business, and in her spare time, enjoys creating ballet-themed social media content that resonates.
JOSHUA KIESEL | JOINED KCB IN 2021, +2 YEARS SECOND COMPANY
Joshua Kiesel is from Hanover Park, Illinois, where he began his training at The Faubourg School of Ballet before continuing on full scholarship at The Washington School of Ballet under Rinat Imaev and Xiomara Reyes. A prizewinner at the 2022 Helsinki International Ballet Competition, he has been a company member of Kansas City Ballet since 2021. His notable roles include Basilio in Anna-Marie Holmes’ Don Quixote, Peasant Pas in Devon Carney’s Giselle, Cavalier in The Nutcracker, Green Man in Lila York’s Celts, and Third Solo Man in William Forsythe’s In the Middle, Somewhat Elevated. Kiesel has also appeared as a guest artist nationally and internationally.
KEATON LINZAU | JOINED KCB IN 2024
Keaton Linzau is from Washington, D.C. and began his ballet training in 2012 at Maryland Youth Ballet. He joined Houston Ballet Academy in 2021, and was invited to Houston Ballet II in 2023 where he performed corps de ballet roles with Houston Ballet as well as principal roles with the Academy in excerpts from Raymonda, Sleeping Beauty, Don Quixote, The Nutcracker, Le Corsaire, Stanton Welch’s Paquita, and leading contemporary roles in Stanton Welch’s Clear, Bruiser, Play, and many more. During his time in Houston Ballet II, he established the first Student Council for a ballet academy in North America. Linzau is excited to be entering into his second year at Kansas CIty Ballet after an enjoyable first year.
CELESTE LOPEZ-KERANEN | JOINED KCB IN 2025
Celeste Lopez-Keranen began her training at Grand Rapids Ballet School under Patricia Barker. She attended summer programs including Jacob’s Pillow, Orsolina28, BalletX, and San Francisco Ballet. At 16, she began her career as an apprentice and trainee with Grand Rapids Ballet, later joining Louisville Ballet Studio Company. There, she performed in Robbins’ In G Major and Balanchine’s Emeralds. In 2022, she performed in Jacob’s Pillow’s 90th Anniversary Gala. Lopez-Keranen danced with Ballet Arkansas for three seasons, performing Carmen and Mina in Michael Fothergill’s Carmen and Dracula, and repertoire such as Arpino’s Reflections, Bintley’s Galanteries, Tsai Hsi Hung’s BRUSHSTROKES 2024, and Le Sylphides. She has also worked with choreographers including FLOCK, Jennifer Archibald, Annabelle Lopez Ochoa, Penny Saunders, and Val Caniparoli.
AMELIA MEISSNER | JOINED KCB IN 2023
Amelia Meissner, born in San Antonio, Texas, began her ballet training with the Ballet Conservatory of South Texas. She attended summer intensives at Houston Ballet Academy and joined its professional training division in 2017 at age 15. She joined Houston Ballet II in 2020 under Claudio Muñoz. During her time there, Meissner performed featured roles, including lead roles in Don Quixote and Raymonda. She was promoted to apprentice with Houston Ballet in 2022 and performed in Stanton Welch’s The Nutcracker, Swan Lake and Romeo and Juliet. This is her third season with Kansas City Ballet, where she has danced featured roles in The Nutcracker and Emeralds. Outside the studio, Meissner is an avid reader, enjoys traveling, the outdoors and following the PGA Tour. She is also pursuing her bachelor’s degree.
MAURA MOODY | JOINED KCB IN 2025
Originally from Des Moines, Iowa, Maura Moody began her formal ballet training at the School of Classical Ballet and Dance under Serkan Usta and Lori Grooters. She furthered her training in summer programs at San Francisco Ballet, Houston Ballet, Boston Ballet, and Tulsa Ballet. In 2019, she joined Richmond Ballet as a trainee for two seasons before moving to Oklahoma City Ballet in 2021, where she danced with the second company and was promoted to apprentice in 2023. Moody’s favorite repertoire includes Balanchine’s Divertimento No. 15 and Western Symphony, Gerald Arpino’s Birthday Variations, Alexander Ekman’s Cacti, and roles in Oklahoma City Ballet’s Swan Lake and Giselle. Moody has also performed in Ma Cong’s Information and Luscious. Moody is very excited and honored to be joining Kansas City Ballet this season!
TARYN PACHCIARZ | JOINED KCB IN 2012
Taryn Pachciarz was born in Kansas City, Missouri and received her training on full scholarship at the Kansas City Ballet School and the School of American Ballet. Pachciarz was given her corps de ballet contract with New York City Ballet and performed numerous Balanchine and Robbins ballets including, Jewels, Symphony in Three Movements, West Side Story Suite, and The Cage. Pachciarz is in her 14th season with the company and has been featured in numerous roles including Wendy in Peter Pan, Titania in A Midsummer Night’s Dream, Sylvie Pas in William Forsythe’s In The Middle, Somewhat Elevated, Myrtha in Giselle, Russian Girl in Serenade and the Principal Girl in Balanchine’s Theme and Variations, Rubies and Diamonds, as well as roles in The Nutcracker, The Four Temperaments, Petite Mort, In the Upper Room, and The Man in Black.
ELLIOTT ROGERS | JOINED KCB IN 2023
Elliott Rogers, a Chicago native, began dancing at the age of 2. He trained with Chicago Ballet Arts before continuing at the Ruth Page Center for the Arts under the leadership of Victor Alexander and Dolores Long. At 14, he was accepted into Houston Ballet Academy’s Professional Division, where he trained for four years before joining Houston Ballet II under Claudio Muñoz and Kelly Myernick for two seasons. In 2023, Rogers joined Kansas City Ballet as an apprentice, performing the title role in Peter Pan. He has also performed in ALICE (in wonderland), In the Middle, Somewhat Elevated, and Celts, among others. Rogers was honored as the 2024 Greg and Barbara Storm Emerging Dancer.
NOURA SANDER | JOINED KCB IN 2025
Noura Sander, a Northern California native, began serious ballet training at age eight at Franklin School for the Performing Arts in Massachusetts. At 15, she began training at ABT’s Jacqueline Kennedy Onassis School and joined The Washington School of Ballet at 16, where she was promoted to trainee and then The Washington Ballet’s Studio Company. In 2022, she joined the main company. Her repertoire includes The Nutcracker, Romeo and Juliet, Swan Lake, Giselle, Sleeping Beauty, and Balanchine works like Serenade, Concerto Barocco, and Theme and Variations. She has performed works by Ulysses Dove, Choo San Goh, and Edwaard Liang, among others, and has collaborated with choreographers including Jessica Lang, Silas Farley, Gustavo Ramirez Sansano, Brett Ishida, Mthuthuzeli November, Andile Ndlovu, Dana Genshaft and Chanel DaSilva.
NAOMI TANIOKA | JOINED KCB IN 2019
Naomi Tanioka, originally from Sapporo, Japan, started her training with Chida Toshiko Ballet Studio. Tanioka was accepted to the Royal Winnipeg Ballet School in Canada, where she concluded her six years of professional ballet training, and one year of the Aspirant Program. In 2014, Tanioka joined Ballet Arizona, where she performed ballets by Balanchine and Bournonville. She joined Cincinnati Ballet in 2016, where she was pushed out of her box with a variety of repertoire performed there. With Kansas City Ballet, she has been featured as Cinderella in Devon Carney’s Cinderella, Kitri in Anna-Marie Holmes’ Don Quixote, Alice in Septime Webre’s ALICE (in wonderland), Nellie in Val Caniparoli’s Jekyll & Hyde, Lucy in Michael Pink’s Dracula, Wendy in Devon Carney’s Peter Pan, the pas couple in George Balanchine’s Rubies, and works by Adam Hougland, Alexander Ekman, Annabelle Lopez Ochoa, Edwaard Liang, Helen Pickett, Jiří Kylián, Lila York, Mark Morris, and William Forsythe.
CAMERON THOMAS | JOINED KCB IN 2017, +1 YEAR SECOND COMPANY
Cameron Thomas began his dance training in his hometown of Rochester, NY. In 2013, he began performing with the Rochester City Ballet. In 2015, Thomas received a full scholarship to attend the Jacqueline Kennedy Onassis School at American Ballet Theatre. He then joined KCB II for the 2016-2017 season and was promoted to the company the following season. Thomas has performed major roles in his ten years at Kansas City Ballet including Mr. Hyde in the North American premiere of Val Caniparoli’s Jekyll and Hyde. Thomas has also choreographed for Kansas City Ballet and Creative Intersections. He also performs as a pianist. He has also helped Dr. Greg Sabin teach finance at Harvard since 2022.
ANDREW VECSERI | JOINED KCB IN 2022
Andrew Vecseri was born and raised in Houston, Texas and began his training in 2010 at Houston Repertoire Ballet under the direction of Victoria Vittum before joining the Houston Ballet Academy in 2013. In 2015 he was promoted to Houston Ballet’s Second Company performing ballets such as Yondering, Flower Festival, and Sleeping Beauty. In 2017 he competed in the Prix De Lausanne, where he was offered a contract with the Houston Ballet. While there, he was promoted to Demi Soloist, and performed roles in La Bayadere, Swan Lake, Marie, Sleeping Beauty, and The Nutcracker before joining Kansas City Ballet in 2022, performing roles in Giselle, Cinderella, Jekyll & Hyde, In the Middle, Somewhat Elevated, and Don Quixote among other ballets.
MARISA DEETTE WHITEMAN | JOINED KCB IN 2018, +4 YEARS SECOND COMPANY
Originally from St. James, New York, Marisa DeEtte Whiteman began classical training at Seiskaya Ballet, until joining Next Generation Ballet in 2010, and Pittsburgh Ballet Theatre Pre-Professional Program in 2012. Whiteman spent a year training privately before joining Kansas City Ballet in 2014. She has moved through the ranks of Trainee, KCB II, and Apprentice, to the Main Company. Some of her favorite roles have included Twyla Tharp’s In the Upper Room, George Balanchine’s Emeralds, William Forsythe’s In the Middle, Somewhat Elevated, and Alexander Ekman’s Cacti. She has spent summers performing at the Hermitage Theatre in St. Petersburg, Russia, and was featured in the Gala Performance at Jacob’s Pillow. She is thrilled to be celebrating her 12th season with Kansas City Ballet.
GILLIAN YODER | JOINED KCB IN 2024, +3 YEARS SECOND COMPANY
Gillian Yoder was born in San Diego, California, and raised in Jupiter, Florida. Early training began at Paris Ballet and Dance before completing her pre-professional training at Next Generation Ballet under Philip Neal and at The Colburn School under Jenifer Ringer and James Fayette. She also attended the Pacific Northwest Ballet School for five summers. In 2021, Yoder joined Kansas City Ballet as a trainee. She advanced to KCB II in 2022, performing in works by George Balanchine, Lila York, Devon Carney, Alexander Ekman, and Val Caniparoli. She became an apprentice in 2024, dancing featured roles in Webre’s ALICE (in wonderland), Anna-Marie Holmes‘ Don Quixote, and William Forsythe’s In the Middle, Somewhat Elevated. In 2025, she was promoted to the main company.
PAUL ZUSI | JOINED KCB IN 2021 • John Hunkeler Senior Dancer
Paul Zusi began his training at Southold Dance Theater at age 6. In 2019, he joined Boston Ballet’s second company, working with many renowned choreographers and teachers, including Peter Stark, Kathleen Mitchell, Jorma Elo, and Mikko Nissinen. He joined Kansas City Ballet in 2021, where has had the privilege to perform numerous featured roles. Some of his favorites include Dr. Jekyll in Val Caniparoli’s Jekyll & Hyde, Red Man in Lila York’s Celts, Basilio and Espada in Anne-Marie Holmes’ Don Quixote, Prince Albrecht in Devon Carney’s Giselle, Peter Pan in Devon Carney’s Peter Pan, and leading roles in George Balanchine’s Emeralds and Diamonds. Zusi would like to thank his loved ones profusely for their support.
LIAM COLCLOUGH | APPRENTICE, JOINED KCB IN 2025
Liam Colclough, originally from Duluth, Minnesota, began his ballet training at age four with Minnesota Ballet School. He attended summer intensives at Milwaukee Ballet, Ballet Austin, Joffrey Ballet of Chicago, and Ellison Ballet NYC. In 2020, he earned first place at Youth America Grand Prix regionals and a full scholarship to the Joffrey Academy of Dance, where he trained from 2020 to 2022 and earned additional top placements before advancing to the finals in Tampa. Colclough danced with Rochester City Ballet in 2022 and Charlotte Ballet II from 2023 to 2025. Notable roles include Soldier Doll and Candy Cane in The Nutcracker, Alejandro Cerrudo’s Lickity Split and the male lead in Balanchine’s Who Cares?. He is honored to join Kansas City Ballet as an apprentice.
MEI MCARTOR | APPRENTICE, JOINED KCB IN 2025, +2 YEARS SECOND COMPANY Mei McArtor grew up in Columbia, South Carolina, where she began her training at the Southeastern School of Ballet. She joined Kansas City Ballet as a trainee for the 2023-24 season. During her time as a trainee, McArtor performed numerous roles in Val Caniparoli’s Jekyll & Hyde, Devon Carney’s The Nutcracker and Peter Pan, and George Balanchine’s Jewels. She also danced in Gabriel Lorena’s Under My Skin and Emily Mistretta’s This version of you looking at you you looking back as part of Kansas City Ballet’s New Moves 2024. In her second season, she was promoted to KCB II, performing in Septime Webre‘s ALICE (in wonderland), Anna-Marie Holmes‘ Don Quixote, and Lila York’s Celts. McArtor is entering her third season with Kansas City Ballet as an apprentice for the 2025-26 season.
LANDEN WALKER | APPRENTICE, JOINED KCB IN 2025
Landen Walker began his ballet training at age 15 with his home studio in New York. In 2022, he joined CPYB’s professional division on full scholarship. In 2023, he was invited to train at Cary Ballet Conservatory, where he first competed in Youth American Grand Prix. At YAGP Finals 2024, he received an invitation from Peter Stark to train with The Rock School. Walker has been fortunate to work closely with many excellent teachers and mentors, including Peter Stark, Natalya Zeiger, Etienne Diaz and Christina Johnson. He has had the opportunity to dance in George Balanchine’s Nutcracker and Who Cares? and perform featured roles such as Snow King and Cavalier in The Nutcracker and Oberon in A Midsummer Night’s Dream
DEREK WIPPEL | APPRENTICE,
JOINED KCB IN 2025
Derek Wippel is a native of Pickerington, Ohio, and began his formal ballet training at the BalletMet Academy. In 2022, he moved to Houston to join the Houston Ballet professional training division, under the direction of Claudio Muñoz. In 2023, Wippel relocated to Chicago to join the Joffrey Ballet Studio Company for two years, working under the guidance of Ogulcan Borova and Raul Casasola. Wippel has had the opportunity to perform in various ballets, including Stanton Welch’s Bruiser, Liam Scarlett’s Frankenstein, Gerald Arpino’s Kettantanz and Reflections, and was a part of the American premiere of Christopher Wheeldon’s Alice’s Adventures in Wonderland. Wippel is incredibly excited for his first season with Kansas City Ballet.
Kansas City Ballet Company Apprentices are supported in part by the Estelle S. and Robert A. Long Ellis Foundation.
ZANDER JOHNSON
JOINED KCB II IN 2025
BROOKE NOSKA JOINED KCB II IN 2024
KANSAS CITY BALLET SECOND COMPANY
AUDREY LYNN
JOINED KCB II IN 2024
OLIVIA PEARSALL
JOINED KCB II IN 2025
OWEN WATSON JOINED KCB II IN 2024
TROY MONGER-LEVIN
JOINED KCB II IN 2023
BEN WORKMAN JOINED KCB II IN 2024
TRAINEES
Ena Nomoto
Michelangelo Fante
Maggie De Groote
Madeleine Lee
Camille Jordan
Addison Jankauskas
Isabella Martino
Luke Eller
Payton Boddy
*Madalyn Hesterlee not pictured.
Reagan Kinney
Maya McDaniels
Julia Bellantoni
Joseph Moore
Corabelle Kennedy
Blair Mendes
Alessia Braggiato
Gracie Jean Joiner
Hiroaki Ikeda
Zoey Uhlman
Jack Hindocha-Daniels
Sage Guillot
KCB’s Second Company includes KCB II and the Trainee Program, both products of Kansas City Ballet School. These programs are for emerging professionals to give extraordinarily talented young dancers a professional company experience as prelude to their joining a professional company. The Second Company performs throughout the region at public performances, informances, residencies and workshops, enabling the community to experience live dance in a public setting. Those interested in learning more and/or booking them for a performance, email KCBII@kcballet.org.
Rodeo
(The Courting at Burnt Ranch)
Choreography by AGNES de MILLE
Music by AARON COPLAND
Staged by DIANA GONZALEZ
Scenic Design by OLIVER SMITH
Scenic Supervision by Rosaria Sinisi
Costume Design by SANTO LOQUASTO after KERMIT LOVE
Lighting Design by TRAD A BURNS
Conducted by RAMONA PANSEGRAU
Music performed by KANSAS CITY SYMPHONY
Rehearsal Assistants KRISTI CAPPS, CHRISTOPHER RUUD
Scenery and Costumes by arrangement with Philadelphia Ballet
This production of Rodeo is presented with the cooperation of the DeMille Productions, LLC, Anderson Ferrell, Executive Director
Music: Presented by arrangement with Boosey & Hawkes, Inc., publisher and copyright owner
World Premiere: October 16, 1942, Ballet Russe de Monte Carlo, Metropolitian Opera House, New York City, New York Kansas City Ballet Premiere: October 10, 1996, Midland Theatre, Kansas City, Missouri
Scene I.
Rodeo: Saturday Afternoon - The Corral Corral Nocturne
This production of George Balanchine’s Stars and Stripes is made possible in part by generous support by the Wendy and George Powell Family Fund and Dr. Christopher and Lisa Sirridge
Julia Bellatoni, Payton Boddy, Maggie De Groote, Sage Guillot, Kelsey Ivana Hellebuyck, Amira Hogan, Addison Jankauskas, Isabella Martino, Maya McDaniels, Olivia Pearsall, Noura Sander, Zoey Uhlman
THIRD CAMPAIGN
3rd Regiment: Thunder and Gladiator
JOSHUA KIESEL
Isaac Allen, Alladson Barreto, Joseph Boswell, Angelin Carrant, Liam Colclough, Luke Eller, Jack Hindocha-Daniels, Keaton Linzau, Joseph Moore, Owen Watson, Derek Wippel, Ben Workman
Julia Bellatoni, Payton Boddy, Maggie De Groote, Sage Guillot, Kelsey Ivana Hellebuyck, Madalyn Hesterlee, Amira Hogan, Isabella Martino, Maya McDaniels, Olivia Pearsall, Noura Sander, Zoey Uhlman
THIRD CAMPAIGN
3rd Regiment: Thunder and Gladiator
CAMERON THOMAS
Gavin Abercrombie, Alladson Barreto, Joseph Boswell, Angelin Carrant, Liam Colclough, Jack Hindocha-Daniels, Keaton Linzau, Elliott Rogers, Landen Walker, Owen Watson, Derek Wippel, Ben Workman
FOURTH CAMPAIGN
Liberty Bell and El Capitan
SIDNEY HAEFS AIDAN DUFFY
FIFTH CAMPAIGN
Stars and Stripes
All Regiments
Scan the QR code for casting by performance dates.
Kansas City Ballet extends its deepest gratitude to the Kansas City Ballet Guild for their longstanding support and generous sponsorship of Stars and Stripes.
The City of Kansas City, Missouri’s Neighborhood Tourist Development Fund (NTDF) program, established in 1989, helps promote Kansas City’s distinct and diverse neighborhoods. Through cultural, social, ethnic, historic, educational, and recreational activities, NTDF promotes the city as a premier convention, visitor and tourist center. Kansas City Ballet is grateful for NTDF’s support of this production
PROGRAM NOTES
RODEO
Ballet Russe de Monte Carlo commissioned choreographer Agnes de Mille and composer Aaron Copland to collaborate on the creation of a western ballet for its 1942-1943 season. Originally sub-titled The Courting at Burnt Ranch, Rodeo was first produced at the Metropolitan Opera House on October 16, 1942, with scenery by Oliver Smith and costumes by Kermit Love
The idea for the ballet was devised by Miss de Mille who described it as follows:
“Throughout the American Southwest, the Saturday afternoon rodeo gets its tradition. On the remote ranches, as well as in the trading towns, the ‘hands’ get together to show off their skill in roping, riding, branding, and throwing. Often, on the more isolated ranches, the rodeo is done for an audience that consists only of a handful of fellow-workers, womenfolk, and those nearest neighbors who can make the eighty or so mile runover. The theme of the ballet is basic. It deals with the problem that has confronted all American women, from the earliest pioneer times, and which has never ceased to occupy them throughout the history of the building of our country: how to get a suitable man.”
NOTEWORTHY
RAMONA PANSEGRAU MUSIC DIRECTOR/CONDUCTOR
As we salute our country’s 250th anniversary, it’s only fitting that we have wonderful music containing a deep connection to the United States in this evening of Americana.
When Agnes de Mille suggested a cowboy ballet to the Ballet Russe, she said, “I dug in my heels and said I wanted the best American composer for the music, Aaron Copland.” Copland created music for de Mille quintessentially American in tone and topic. Rodeo takes place on an isolated ranch in the west, and the music takes us back to a simpler time when cowboys, Kansas City girls, and ranch hands mingle for a “Ranch House Party,” “Saturday Night Waltz,” and “Hoe-Down.”
Caili Quan’s world premiere work uses the music of Antonín Dvořák. He was not American, but the link
STARS AND STRIPES
Set to Sousa’s buoyant marches and dressed in Karinska‘s delightful all-American costumes, Stars and Stripes contains as much pure dancing as many fulllength classical ballets.
The work is divided into five “campaigns,” each of which uses different themes from John Philip Sousa’s marches. When asked why he chose to choreograph a ballet to Sousa, Balanchine replied, “Because I like his music.” Stars and Stripes has been performed for many memorable occasions, including Nelson Rockefeller’s inauguration as governor of New York, tributes for Presidents John F. Kennedy and Lyndon B. Johnson, and the opening ceremonies for the New York State Theater (now the David H. Koch Theater) at Lincoln Center. The ballet is dedicated to the memory of Fiorello H. LaGuardia, mayor of New York City from 1934 to 1945 and founder of the City Center of Music and Drama.
Notes provided courtesy of and adapted from New York City Ballet Online Repertory index.
to our country happened when he took a vacation in Spillville, Iowa and wrote The American, a string quartet inspired by the rolling hills of eastern Iowa. Quan uses the outer two movements of the quartet as well as a lovely waltz originally written for piano, but orchestrated into string quartet form by the composer. We use the entire string section of the symphony for the work to show the rich textures composed by Dvořák.
Our final work, Stars and Stripes, uses the music of American composer John Phillip Sousa, arranged by American Hershy Kay. You’ll recognize the marches we all look forward to on our patriotic holidays. Originally written for brass band, they were converted to orchestral form by Kay. This rousing ballet continued the collaboration between Balanchine and Hershy Kay. Other ballets include Who Cares?, Western Symphony, and more.is generously supported by a gift from Bill and Ginny Shackelford
AGNES de MILLE
CHOREOGRAPHER (RODEO)
De Mille began her association with the fledgling American Ballet Theatre (then called Ballet Theatre) in 1939, but her first significant work, Rodeo (1942) was staged for the Ballet Russe de Monte Carlo. Although de Mille continued to choreograph nearly up to the time of her death - her final ballet, The Informer, was completed in 1992 - most of her later works have dropped out of the ballet repertoire. Besides Rodeo, two other de Mille ballets are performed on a regular basis: Three Virgins and a Devil (1934), adapted from a tale by Giovanni Boccaccio, and Fall River Legend (1948), based on the life of Lizzie Borden. On the strength of Rodeo, de Mille was hired to choreograph Oklahoma! (1943). The dream ballet, in which dancers doubled for the leading actors, successfully integrated dance into the musical’s plot. Instead of functioning as an interlude or divertissement, the ballet provided key insights into the heroine’s emotional troubles. De Mille went on to choreograph over a dozen other musicals, most notably Bloomer Girl (1944), Carousel (1945), Brigadoon (1947), Gentlemen Prefer Blondes (1949), Paint Your Wagon (1951), Goldilocks (1957), and 110 in the Shade (1963). De Mille’s success on Broadway did not translate into success in Hollywood. Her only significant film credit is Oklahoma! (1955). She was not invited to recreate her choreography for either Brigadoon or Carousel. Nevertheless, her two specials for the TV series Omnibus, “The Art of Ballet” and “The Art of Choreography” (both televised in 1956), were immediately recognized as landmark attempts to bring serious dance to the attention of a broad public. Her love for acting played a very important role in her choreography. De Mille revolutionized musical theatre by creating choreography which not only conveyed the emotional dimensions of the characters but also enhanced the plot. Her choreography, as a reflection of her awareness of acting, reflected the angst and turmoil of the characters instead of simply focusing on a dancer’s physical technique. In 1953, de Mille founded the Agnes de Mille Dance Theatre, which she later revived as Heritage Dance Theatre.
DIANA GONZALEZ STAGER (RODEO)
Diana Gonzalez is associate director and repetiteur for The De Mille Working Group. She was Agnes de Mille’s last rehearsal assistant, working with de Mille from 1987 until her death in 1993. She assisted de Mille on the ballets The Informer and The Other, for American Ballet Theatre, as well as other following reconstruction projects. Gonzalez’s more recent stagings of de Mille’s works include: assistant to Paul Sutherland on Fall River Legend for the Paris Opera Ballet, and most recently Philadelphia Ballet; assistant to Sutherland for Ballet West’s production of Rodeo; as well as the conception and staging of a bluegrass version of Rodeo for The Martha Graham Company. Gonzalez’s performing career includes the Broadway and national tours: On Your Toes, with Leslie Caron and Natalia Makarova, directed by George Abbott; Camelot, starring and directed by Richard Harris; and the role of “Meg” in Andrew Lloyd Webber’s
Phantom of the Opera (Broadway and national tour), directed by Hal Prince.
CAILI QUAN
CHOREOGRAPHER (A HOME AWAY)
Caili Quan is a New York City-based choreographer whose work has been commissioned by New York City Ballet, BalletX, Vail Dance Festival, Ballet West, The Juilliard School, New York Choreographic Institute, Pittsburgh Ballet Theatre, American Repertory Ballet, Sacramento Ballet, USC Glorya Kaufman School of Dance, Flight Path Dance Project, and Ballet Academy East. Beyond concert dance, she has choreographed productions of Guys & Dolls and She Loves Me for Opera Saratoga. From 2012 to 2020, Quan danced with BalletX, performing new works by Matthew Neenan, Nicolo Fonte, and Penny Saunders. She toured with the company to Jacob’s Pillow, the Belgrade Dance Festival, and DEMO by Damian Woetzel at The Kennedy Center. Her short documentary Mahålang—an exploration of her Chamorro Filipino upbringing on Guam through conversations and choreography from BalletX’s Love Letter—was accepted into the Hawai’i International Film Festival and screened at the Dance on Camera Festival at Lincoln Center. Ballet West presented her work Play on Impulse in 10,000 Dreams: A Celebration of Asian Choreography curated by The Kennedy Center and Phil Chan. She was a 2022 Artist-in-Residence at the Vail Dance Festival, a 2023 Artist-in-Residence at the USC Glorya Kaufman School of Dance, and has been an Arnhold Creative Associate at The Juilliard School since 2021.
CHRISTINE DARCH
COSTUME DESIGNER (A HOME AWAY)
Christine Darch designs and builds costumes for choreographers including Julia Adam, Natasha Adorlee, Jennifer Archibald, Val Caniparoli, Rena Butler, Jorma Elo, Nicolo Fonte, Jen Freeman, Adam Hougland, Christina Johnson, Jae Man Joo, James Kudelka, Gabrielle Lamb, Edward Liang, Matthew Neenan, David Parsons, Caili Quan, Dwight Rhoden, Amy Seiwert, Merián Soto, Septime Webre, and Yin Yue. Darch is the resident designer for Complexions Contemporary Ballet and has been commissioned by Alvin Ailey, Astana Ballet, Atlanta Ballet, Ballet Arizona, Ballet Hawaii, Ballet Memphis, Ballet Met, Ballet West, Charlotte Ballet, Cincinnati Ballet, Colorado Ballet, Dayton Ballet, Gibney Dance, Gwangju City Ballet, Houston Ballet, Kansas City Ballet, Madco, Marin Ballet, Milwaukee Ballet, Le Ballet Nice Méditerranée, Oklahoma City Ballet, Oregon Ballet Theatre, Pacific Northwest Ballet, Parsons Dance, Pennsylvania Ballet, Pittsburgh Ballet Theater, Royal Winnipeg Ballet, San Francisco Ballet, Seoul Metropolitan Ballet, Singapore Ballet, Tulsa Ballet, Washington Ballet, and BalletX. Her full length works include Nicolo Fonte’s Carmina Burana, four Nutcrackers (Ballet Memphis, Ballet Hawaii, Marin Ballet and Columbia Dance), Sleeping Beauty, A Midsummer Night’s Dream, and Dwight Rhoden’s Othello. She builds costumes from her studio in East Northport, New York.
GEORGE BALANCHINE CHOREOGRAPHER (STARS AND STRIPES)
George Balanchine (1904-1983), born Georgi Melitonovitch Balanchivadze in St. Petersburg, Russia, is regarded as the foremost contemporary choreographer in the world of ballet. At the age of 9, he was accepted into the ballet section of St. Petersburg’s rigorous Imperial Theater School and was soon appearing on the stage of the famed Maryinsky Theater in such spectacles as The Sleeping Beauty (his favorite). He graduated in 1921 and joined the corps de ballet of the Maryinsky. In 1970, U.S. News and World Report attempted to summarize Balanchine’s achievements: “The greatest choreographer of our time, George Balanchine is responsible for the successful fusion of modern concepts with older ideas of classical ballet.” Balanchine changed classical ballet and in doing so changed the history of modern culture. He founded two American cultural institutions, The School of American Ballet and New York City Ballet, and is credited with having a profound influence on the cultural history of New York City. His contributions to dance are directly responsible for developing and solidifying the art form’s place in American society and establishing ballet as a twentieth century art form.
VICTORIA SIMON STAGER (STARS AND STRIPES)
Victoria Simon was one of the first dancers selected by George Balanchine to restage his ballets. Now, as ballet mistress for The George Balanchine Trust, she has staged over 25 of the master’s ballets for more than 80 companies on every continent in the world. Her love for the ballets and her respect for the choreography is evident in her stagings. With her eye for detail and her emphasis on musicality, she is one of the most soughtafter and respected re-creators of George Balanchine’s masterpieces. Simon began her study of ballet in New York City at the School of American Ballet and was a candy cane in Balanchine’s original production of The Nutcracker. At age 17, she became an apprentice with the New York City Ballet and a few months later, two days after her 18th birthday, she was invited to join the company. Simon went on to become a soloist before taking on the challenging role as Balanchine’s representative around the world. She is also in great demand as a teacher of the Balanchine style and technique.
TRAD A BURNS LIGHTING DESIGNER
Trad A Burns has been designing scenery and lighting professionally since 1989 for theatre, dance, and amusement parks. Recent dance credits include the world premiere of What’s Going On, choreographed by Val Caniparoli for Richmond Ballet, Soar!, choreographed by Jennifer Archibald, Hearts, choreographed by Julia Feldman for Sacramento Ballet, Romeo & Juliet, choreographed by Malcom Burn for Richmond Ballet, Tulsa Ballet’s world
premiere Nutcracker, choreographed by Val Caniparoli and Ma Cong, and the world premiere of Sacramento Ballet’s new Nutcracker, choreographed by Colby Damon, Julia Feldman, and Nicole Haskins. Recent theatre designs include Gloria, directed by Jess Fiene at Texas State University, Assasins, directed by Dr. Martin Friedman at Lakeland Theatre, and The Ballad of Georgia McBride, directed by Eric Schmiedl at the Beck Center for the Arts. Burns has had the privilege of designing world premiere ballets for such notable choreographers as Trey McIntyre, Val Caniparoli, James Kudelka, Edwaard Liang, Matthew Neenan, Adam Hougland, Garrett Smith, Jessica Lang, Alejandro Cerrudo, Kirk Peterson, Donald Byrd, Jodie Gates, Gina Patterson, Amy Seiwert, Ma Cong, Andrea Schermoly, Jennifer Archibald, Penny Saunders, Septime Webre, Devon Carney, Victoria Morgan, Robert Curran, and Sarah Slipper. Over the years his dance lighting has been seen at American Ballet Theatre, National Ballet of Canada, Pacific Northwest Ballet, Atlanta Ballet, The Joffrey Ballet, Kansas City Ballet, Colorado Ballet, Royal Winnipeg Ballet, Alberta Ballet, Ballet X, BalletMet, Louisville Ballet, Tulsa Ballet, Pittsburgh Ballet Theatre, Grand Rapids Ballet, Sacramento Ballet, Hubbard Street, and 21 seasons with Cincinnati Ballet. As a theatre designer, Burns’ designs have been seen at New York Theatre Workshop (NYC), The Public Theatre (NYC), La Mama ETC (NYC), HERE (NYC), Classic Stage Company (NYC), North Shore Music Theatre, Cleveland Play House, Cleveland Public Theatre, Great Lakes Theatre Festival, Cain Park, Beck Center for the Arts, Dobama, Indiana Repertory Theatre, Cedar Point, Valleyfair, Knott’s Berry Farm, Kings Island, Walt Disney World, Disneyland, Disneyland Japan, Disney Sea, Disney Cruise Lines, Carnival Cruise Lines, Universal Studios Florida and Japan, Woodstock Ice Productions and The Family of Charles M. Schulz.
KRISTI CAPPS REHEARSAL DIRECTOR
Kristi Capps accepted the position of rehearsal director for the 2014-2015 season after serving as a rehearsal director in residence for the 20132014 season during the company’s production of Dracula as well as a repetiteur for its spring production of Cinderella. Capps began her professional career with the Atlanta Ballet and then joined Cincinnati Ballet. Rising quickly through the ranks to principal, Capps delighted audiences in leading roles in many major classical and contemporary ballets both within the company and abroad as a guest artist. With Kansas City Ballet, Capps has been given the opportunity to be the répétiteur for many of the company’s productions, including Devon Carney’s Sleeping Beauty for Ballet Hawaii, Cincinnati Ballet and Grand Rapids Ballet, Victoria Morgan’s Cinderella, Edwaard Liang’s Wunderland and Helen Pickett’s Petal. Additionally, she has staged Septime Webre’s The Wizard of Oz for Kansas City Ballet, Colorado Ballet, Royal Winnipeg Ballet, Cincinnati Ballet, Nevada Ballet, and most recently Hong Kong Ballet.
PARRISH MAYNARD REHEARSAL DIRECTOR
Parrish Maynard danced with American Ballet Theatre, where he was invited to join by Mikhail Baryshnikov. He rose through the ranks to become a Principal Dancer before joining San Francisco Ballet. In addition to being a recipient of the Princess Grace Award and the Presidential Scholar Award, he was a silver medalist in the International Ballet Competition. Maynard has performed in Dance in America’s American Ballet Theatre Now, danced Nacho Duato’s Romanso, and danced in Lar Lubovich’s Othello at San Francisco Ballet in the role of Iago which was created on him. In 2005, Maynard joined the faculty of San Francisco Ballet School. In his 10 years at San Francisco Ballet, Maynard choreographed more than 20 ballets for the San Francisco Ballet School, some of which have been danced by companies around the world including American Ballet Theatre Studio Company, Royal Ballet School, and Royal New Zealand Ballet. Maynard is well versed in the classical full-length repertoire as well as neoclassical works such as Lar Lubovich’s Othello, Val Caniparoli’s Lady of the Camellias, John Neumeier’s The Little Mermaid, and Val Caniparoli’s Jekyll & Hyde Throughout his career, Maynard has worked with many of the leading choreographers of our time, including George Balanchine, Jorma Elo, William Forsythe, Nacho Duato, Jiří Kylián, Hans van Manen, Yuri Possokhov, Wayne McGregor, Mark Morris, Alexei Ratmansky, Twyla Tharp, Helgi Tómasson, Paul Taylor, Antony Tudor, and Liam Scarlett. Maynard specializes in male classical technique and coaching and currently serves as Rehearsal Director for Kansas City Ballet under Artistic Director Devon Carney.
CHRISTOPHER RUUD SECOND COMPANY MANAGER & REHEARSAL DIRECTOR
Growing up backstage at the San Francisco Ballet, Ruud was immersed in the art of professional dance, performance and stagecraft from the start. Receiving the majority of his dance training at San Francisco Ballet School, Ruud was hired into Ballet West in 1998. Quickly moving through the ranks, he was named Principal Dancer in 2004. He spent 21 years as a leading artist for Ballet West performing a huge range of classical
and contemporary repertoire. Ruud is grateful to have performed all over the United States, and internationally most notably in China, Cuba, Scottland, Canada, New York and at the Kennedy Center. In his time with the company, he danced major roles in the great works of Balanchine, Kylián, Tharp, Forsythe, Ashton, Tudor and Cranko to name a few. He has been personally coached by some of the great names in the ballet world such as Sir Anthony Dowell, Cynthia Gregory, Hans Van Mannen, Bruce Marks, and Anna-Marie Holmes. Ruud has seen success as a choreographer having his ballets performed in the Ballet West Innovations program and at their annual gala performance garnering such awards as a New York Choreographic Institute Fellowship as well as several NEA grants. Ruud directed his own small company RUUDDANCES, which was a regular attraction at the annual Utah Arts Festival, and has toured to Jacobs Pillow. Retiring from being a professional dancer in 2019, Ruud joined the artistic team at Kansas City Ballet that same year. Since taking the position of KCB Second Company Manager and Rehearsal Director for the company he has created and ballet-mastered many new and existing works such as George Balanchine’s Rubies, Lila York’s Celts, and Alexander Ekman’s Cacti, while also spending time in the Kansas City community educating children and adults about ballet and live performance.
JORDAN VOTH COMPANY PIANIST/PRINCIPAL ACADEMY PIANIST
Kansas native Jordan Voth joined the accompanist staff of the Kansas City Ballet in the summer of 2015. Before arriving in Kansas City for graduate studies at the University of Missouri-Kansas City in 2013, Voth won the piano division of the 2010 Yamaha Young Performing Artists Competition and studied at the International Keyboard Institute and Festival at Mannes College in New York City. As a class accompanist, Voth has played for masterclasses taught by Wendy Whelan, Victoria Simon, Robert Garland, Peter Stark, and Daniel Ulbricht. After graduating from UMKC with a Doctorate of Musical Arts in 2020, Voth joined the full-time staff of Kansas City Ballet in 2022, where he accompanies classes, rehearsals, and performances as Company Pianist / Principal Academy Pianist.
PRODUCTION STAFF
AMY TAYLOR
DIRECTOR OF PRODUCTION
Amy Taylor’s design credits for Kansas City Ballet include Giselle, Suite Kander, The Scarlatti Dances, Carmina Burana, Coppélia and On the Boulevard. Locally, she has also worked with Wylliams/Henry Contemporary Dance Company and the Kansas City Symphony. Before joining Kansas City Ballet, Taylor received her M.F.A. from the University of Missouri – Kansas City.
LAURA KRUS
PRODUCTION STAGE MANAGER
Laura Krus is a graduate of Oklahoma City University’s Dance Management Program. Krus worked with Adams Davy Media as a Production Intern for productions like Batman Live and Arts for Autism. She also has worked with various professional dance companies as a Production Stage Manager for the American Dance Festival. Krus began working with Kansas City Ballet in 2021. Krus wants to thank her family and friends for always believing in her and helping get her to where she is now.
JENNIFER CARROLL
COSTUME DIRECTOR
Jennifer Carroll came to Kansas City Ballet in 2008 after touring with Broadway Shows for eight years. She toured with shows such as Victor, Victoria, Jekyll & Hyde, Cabaret, Oklahoma!, and Twyla Tharp and Billy Joel’s Movin’ Out. Her design credits for Kansas City
Ballet include Concerto Grosso, Mercy of the Elements, Energy Made Visible, Vesna, and Klein Perspectives. Carroll received her M.F.A. in Costume Design and Technology from the University of Arkansas. She is a member of Kansas City’s IATSE Theatrical Wardrobe Union, Local #810.
BETTI JO DIEM COSTUME SHOP MANAGER
Betti Jo Diem came to Kansas City Ballet in 2013 after touring with the Radio City Christmas Spectacular Arena Tour and the First National Tour of Rock of Ages. She is a member of the IATSE Theatrical Wardrobe Union, Local #810 here in Kansas City. She began her theatrical wardrobe career in Branson, Missouri while working for Silver Dollar City’s Opera House theater and the Radio City Rockettes at the Grand Palace Theater. She feels extremely lucky to have a career she is passionate about and that allows her to learn something new every day!
MADELINE BRASGALLA ASSISTANT STAGE MANAGER
Madeline Brasgalla was born and raised in El Paso, Texas. She has an M.F.A. in Theatre: Design and Technology from the University of Missouri-Kansas City and has a B.A. in Dance from Agnes Scott College in Atlanta, Georgia. Brasgalla has experience stage managing concert dance, ballet, opera, and theatre. She has previously worked with EPIC Arts and the Heart of America Shakespeare Festival. Brasgalla began working with the Kansas City Ballet in 2021 and is grateful to be back for her third season with the company!
APRIL 18, 2026 UNION STATION
6:30 p.m. • Jazzy Drinks & Savories 7 p.m. • Sparkling Sentiments 7:15 p.m. • The Revels Begin
Join your friends and Kansas City Ballet dancers for an unforgettable Gatsby-inspired, Roaring ‘20s evening as KC Ballet’s Second Company dancers bring the party to life all around you, with a DJ keeping the energy high all night long. Add sparkling cocktails, delicious savories, sumptuous décor, nonstop dancing, and raffle prizes announced throughout the night, and you have a night that truly doesn’t quit!
BENEFITTING KANSAS CITY BALLET’S REACH OUT AND DANCE (R.O.A.D.) PROGRAM
BALLET BUSINESS COUNCIL
Kansas City Ballet thanks the following business and corporate foundations for their support.
DIAMOND
($50,000-$99,999)
Bank of America
Hallmark Corporate Foundation
PLATINUM
($25,000-$49,999)
Encore Performance Rehab KCOI, the Official Performance Rehabilitation Provider of Kansas City Ballet
The Westin Kansas City at Crown Center, Partner Hotel of Kansas City Ballet
YMCA of Greater Kansas City, Healthy Living Partner of Kansas City Ballet
GOLD
($10,000-$24,999)
Belger Cartage Service, Inc.
Elevé Dancewear, Kansas City Ballet’s School Uniform Partner
H & R Block Foundation
JE Dunn Construction
Lifted Logic
SS&C Technologies, Inc.
Stepp & Rothwell, Inc.
VanBrock
SILVER
($5,000-$9,999)
Burns & McDonnell
Cboe Global Markets
Commerce Bank
Craig Sole Designs
Dance Shoppe Inc.,
R.O.A.D. Uniform Partner
East Market StudiosBrett Pruitt
The Hise Lowry Group -
Merrill Private Wealth
Lockton
MetLife
Parisi Coffee, Official Coffee Provider for Kansas City Ballet
Riley ABA & Autism Center
UnitedHealthcare
BRONZE
($2,500-$4,999)
Blue Cross Blue Shield of Kansas City
BlueScope Steel
BNIM
Delta Dental of Kansas Evergy
Garmin
Gill Studios, Inc.
Global Prairie Foundation
Henderson Engineers
Kansas City Foot & Ankle, The Official Podiatry Treatment Provider to Kansas City Ballet
Lathrop GPM LLP
Maquette Advisors LLC
Mineral Lounge/Tannin
Wine Bar & Kitchen
Panache Chocolatier
Soli Printing
State Street
US Bank Foundation
OVATION
($1,000-$2,499)
Anderson & Associates
Baseley Law Office
Chevron
Cigna Healthcare
Kansas City Life
Insurance Company
Knapstein Design
Life Unlimited -
Julie Edlund, CEO
Maison by Alexandra Design + Build
MC Realty Group
Microsoft
Northern Trust
John Rufenacht
Associates, Inc.
Sanofi
Strauss Peyton Photography
Tito’s Handmade VodkaFifth Generation, Inc.
BRAVO
($500-$999)
Back On Track
Chiropractic + Acupuncture
Federated Rural Five Elms Capital
Google Fiber
HCA Midwest Health System
Kendra Scott
Levy Craig Law Firm
Park UniversityLaure Christensen
Structurflex
Uhl Engineering, Inc.Mr. Terry Uhl
PARTNER PROFILE: PARISI COFFEE
Partner with Kansas City Ballet to inspire our community through the power of dance.
As a partner, you help make dance accessible through our School and community programs while strengthening local culture.
You’ll also enjoy benefits such as:
• enhanced marketing visibility
• exposure to loyal Ballet patrons
• meaningful employee engagement opportunities
Let’s talk about how we can customize a partnership that meets your business goals.
Contact Lacy Gordon, Corporate and Foundation Relations Manager at 816.451.8757 or lgordon@kcballet.org to get started.
For more than a decade, Parisi Coffee has been a valued partner and the Official Coffee Provider of Kansas City Ballet. Owners Joseph and Salvatore Paris believe the science of roasting and the art of brewing and preparing coffee and espresso-based beverages – when done correctly – can ignite a passion. We are grateful for the opportunity to unite these passions – coffee and dance!
Parisi Coffee first began roasting coffee in Kansas City in 2006 by the Paris family, a longtime local Italian family who had established several successful artisan food companies under the parent company, Paris Brothers Inc. All Parisi coffees are small-batch, drum roasted at the company’s Kansas City production facility.
In addition to Parisi’s handcrafted espresso, coffee, tea, and specialty beverages served at café locations in Union Station, Downtown Overland Park, Argosy Casino, and Kansas City International Airport, the Paris family also offers Mother Earth Organic Coffee — available online and at many local grocery stores.
OCT 14-NOV 2
Copaken Stage
When the lines between predator and prey blur, the power of women’s strength rises from the shadows in this fearless adaptation of Bram Stoker’s iconic Dracula.
SEP 2-21
Spencer Theatre
Indulge in a world of soul-stirring music and unyielding hope with this award-winning stage musical based on Alice Walker’s Pulitzer Prize- winning novel.
FEB 7-MAR 8
Copaken Stage
The ultimate family showdown is on in this new comedy hailed as “genuinely funny, topical, and heartfelt” by Entertainment Weekly.
Spencer Theatre
Follow the yellow brick road to magic adventure!and MAY 5-24
SPECIAL EVENT! NOV 22-DEC 27
Spencer Theatre
Celebrating Gary Neal Johnson, as he prepares to take his final bow as Ebenezer Scrooge.
The White Theatre at The J’s
KANSAS CITY SYMPHONY
FIRST VIOLINS
Jun Iwasaki, Concertmaster
Miller Nichols Chair
Stirling Trent, Associate Concertmaster
Sunho Kim, Assistant Concertmaster
Anne-Marie Brown
Michael Brown
Betty Chen
Anthony DeMarco
Susan Goldenberg*
Tomoko Iguchi
Dorris Dai Janssen
Filip Lazovski∆
Chiafei Lin
Vladimir Rykov
Alex Shum*
SECOND VIOLINS
Tamamo Someya Gibbs, Principal
Carter Coleman, Associate Principal
Kristin Velicer, Assistant Principal
Minhye Helena Choi
Mary Garcia Grant
Kazato Inouye
Rena Ishii
Paul Kim
Stephanie Larsen
Jinyou Lee
Sodam Lim
Ayrton Pisco
VIOLAS
MingYu Hsu, Principal
Duncan Steele, Associate Principal
Jessica Nance, Assistant Principal
Kent Brauninger
Sean Brumble
Marvin Gruenbaum
Jenifer Houck
Duke Lee
Jesse Yukimura
CELLOS
Mark Gibbs, Principal
Robert A. Kipp Chair
Susie Yang, Associate Principal
Richard Hill Chair
Alexander East, Assistant Principal
Maria Crosby
John Eadie
Lawrence Figg
Sally Kim
Meredith McCook
Allen Probus
DOUBLE BASSES
Evan Halloin, Acting Principal
Richard Ryan, Acting Associate Principal
Nils Aardahl
Lena Goodson∆
Joseph Nuñez
Keith Wymer∆
FLUTES
Michael Gordon, Principal Marylou and John Dodds Turner Chair
Shannon Finney, Associate Principal
Liz Teplitsky∆
PICCOLO
Liz Teplitsky∆
OBOES
Kristina Fulton, Principal
Shirley Bush Helzberg Chair
Alison Chung, Associate Principal
Matthew Lengas
ENGLISH HORN
Matthew Lengas
CLARINETS
Javier Morales-Martinez∆, Principal
Bill and Peggy Lyons Chair
Raymond Santos‡
Trevor Stewart∆, Acting Associate Principal
John Klinghammer
E-FLAT CLARINET
Trevor Stewart∆
BASS CLARINET
John Klinghammer
BASSOONS
Ann Bilderback, Principal Barton P. and Mary D. Cohen Chair
Thomas DeWitt, Associate Principal
Maxwell Pipinich
CONTRABASSOON
Thomas DeWitt
HORNS
David Sullivan, Acting Principal Landon and Sarah Rowland Chair
Elizabeth Gray, Acting Associate Principal
David Gamble
Stephen Multer, Associate Principal Emeritus
Benjamin Bacni∆
TRUMPETS
Julian Kaplan, Principal James B. and Annabel Nutter Chair
Omri Barak^, Associate Principal
Shea Kelsay∆
TROMBONES
Evelyn Carlson, Principal Porter Wyatt Henderson, Associate Principal
Joseph Maiocco^
BASS TROMBONE
Joseph Maiocco^
TUBA
Joe LeFevre, Principal Frank Byrne Chair
TIMPANI
Timothy Jepson, Principal Michael and Susan Newburger Chair
PERCUSSION
David Yoon, Acting Principal
Justin Ochoa∆, Acting Associate Principal
Adrian and Nancy Kay Hertog Family Chair
HARP
Chai Lee^, Principal
LIBRARIANS
Elena Lence Talley, Principal Fabrice Curtis, Associate Principal
Photos by Mark McDonald. Named for Todd Bolender (1914-2006), Artistic Director from
Dancers: Sidney Haefs and Gavin Abercrombie. Photography: Kenny Johnson.
•
• Invitation to all BARRE KC events
• BARRE KC Night performance post-parties
•
Photos by Mark McDonald.
You can impact future generations through a legacy gift to Kansas City Ballet. Legacy giving does not require a large income or vast estate. Legacy giving only requires a thoughtful intention to make a difference by remembering Kansas City Ballet in your will or estate plans.
Thank you to the following Legacy Society members:
Brad Allen and Gene Cooper
Mary Ann and Bill Allen
The Amelia Fund/ Nancy L. Murdock, Ph.D.
Leslie G. Anderson
Anonymous (4)
Peggy and Andy Beal
Jeffrey J. Bentley
Joe and Claire Brand
Mike and Vicki Bray
Jerry and Meghan
Carpenter Family Trust
Melissa Kelly Cavanaugh
Robert J. Cody
Don and Pat Dagenais
Kyle Danner
Dickerson Family Trust
Vicki Erickson
J. Scott Francis
Dr. Michael Frost
Marilyn A.W. Gaar and Norman E. Gaar, Esq.
Marilu Goodyear
David Gray
Cynthia Hampton
David and Beth Harris
John and Mary Hunkeler
Dr. Richard Jensen and Gay Dannelly
Estate of Lothar P. Krause
Art Lafex
Estate of Billie Mahoney
Julia Malter
Estate of Hazel Dean McClure
P. Alan McDermott
Lindsay Meyer
Dr. Linda E. Mitchell
Marcy Nelson
Kathy and Justin Nemechek
Bill Pallucca and Kevin Deen
Estate of Marilyn Pierson Patterson
Wendy and George Powell, III
Jean and Jack Rosenfield Trust
Jack and Paula Rowe
G. Mark Sappington
Dr. Richard Schupp
Suzanne Shank
Estate of James E. Taylor
Angela and John Walker
Jacquie and Kyle Ward
Estate of Shirley Weaver
Thomas F. and Loren Whittaker
Estate of Dr. Sonya Cornell Yarmat
Rebecca Zandarski
Please let us know if you’ve included Kansas City Ballet in your estate plans or if you’re actively considering ways in which to leave your legacy.
KANSAS CITY BALLET CONTRIBUTORS
Thank you to the 2025-2026 Bolender Society members for their dedication and transformational support.
BOLENDER SOCIETY LEADERSHIP
($100,000+)
Anonymous
Julia Irene
Dennie - Kauffman
Marilyn A.W. Gaar and Norman E. Gaar, Esq.
John and Mary Hunkeler
Jackson County, Missouri
Kansas City Ballet Guild
Estate of Deana McClure
Missouri Arts Council
Muriel McBrien Kauffman
Family Foundation
Richard J. Stern Foundation for the Arts - Commerce Bank, Trustee
The Seeley FoundationDana Seeley
William T. Kemper Foundation - Commerce Bank, Trustee
BOLENDER SOCIETY DIAMOND
($50,000-$99,999)
Ann and Gary Dickinson
Family Charitable Foundation
Evelyn R. Craft Belger and C. Richard Belger
Mike and Vicki Bray
City of Kansas City, Missouri Neighborhood Tourist Development Fund
Estelle S. and Robert A. Long Ellis Foundation
Hall Family Foundation
Dennis and Susan Lordi Marker
National Endowment for the Arts
R and C Charitable Foundation
The Shubert Foundation
BOLENDER SOCIETY PLATINUM
($25,000-$49,999)
Brad Allen and Gene Cooper
Mr. and Mrs. A. Joseph Brandmeyer
Francis Family FoundationJ. Scott Francis
Michele Hamlett-Weith and Brian Weith
Richard Jensen and Melanie Jones
Linda and Topper Johntz
Timothy C. Liebert
Oppenstein Brothers Foundation - Commerce Bank, Trustee
Zack and Christina Shafran
Suzanne Shank and John Lohmeyer
SkillBuilders Fund
Greg and Barbara Storm
Mr. and Mrs. William D. Sullivan
Lynne and Carl Weilert
BOLENDER SOCIETY GOLD
($10,000-$24,999)
Americans for the Arts
Arvin Gottlieb Charitable Foundation - UMB Bank, Trustee
Bruce and Vicki Baxter
Mr. Blair Bieser
Carol Blum and
Steven Wilson
Joe and Claire Brand
Mr. and Mrs. John Brandt
Janis E. Brewster
Stanley J. Bushman and Ann Canfield
Ms. Lisa Choules
Karen and Stephen Clegg
Fred and Lucy Coulson
Cathy and Steve Doyal
Elsberry Family Foundation -
Anne and Howard Elsberry
Sue Ann and Richard Fagerberg
Mr. and Mrs. Barnett C. Helzberg, Jr.
Ms. Joan Horan
Bonne and Clifford W. Illig
Ingram Family Foundation -
Beth Ingram
Jill Ingram Reynolds
J.B. Reynolds Foundation
Dr. Roger and Mrs. Sandy Jackson
Jerome Robbins Foundation
Kao Family Foundation
Kirk Foundation -
Julie and Mike Kirk
Ms. Victoria Lamkey
The Lighton Fund -
Linda Lighton and Lynn Adkins
Louis & Elizabeth Nave
Flarsheim Charitable Foundation - Bank of America, Trustee
Patricia Martin and Brian Woolley
P. Alan McDermott
Edward P. Milbank
Miller Nichols Charitable Foundation
Dr. Linda E. Mitchell
Carolyn and Bill Parkerson
Ms. Margot Patterson
Leslie A. Pfriem
Ms. Julie Phillips
George and Wendy Powell Fund of The Kuehn Foundation
R.C. Kemper Charitable TrustUMB Bank, Trustee
Paula and Jack Rowe
Bill and Ginny Shackelford
Myron Sildon and Doris Hamilton
Dr. Christopher and Lisa Sirridge
Craig Sole
Sosland Foundation
Mr. Ian Spinks and Ms. Juliette Singer
Jody Shelton Stephen, in memory of Rita Shelton
Ms. Kathy Stepp and Mr. Howard Rothwell
Deb and Tom Swenson
Thomas and Sally Wood
Family Foundation
Angela and John Walker
Mr. Bill Weaver and Ms. Crystal O’Dea
Dr. Loren and Thomas Whittaker
Sarah Yé
Dr. John and Karen
Yungmeyer
BOLENDER SOCIETY
SILVER
($5,000-$9,999)
Andy and Kathy Anderson
Anonymous
Andy and Peggy Beal Family Fund
Dr. Stephen and Susan Bubb
Dennis and Marilyn Christopher
Vicki and Mark Dickerson
Jo Anne and Bill Dondlinger
Edie and Randy Downing
Ewing Marion Kauffman Foundation
Carol and Tony Feiock
Mr. Michael D. Fields
Ron and Tricia Fredman
A Friend of Kansas City Ballet
Lisa E. and Steven B. Glassman
Drs. Nicholas and Stephanie Golda
Innes and John Hale
Susan and Zack Hangauer
David and Beth Harris
Haverty Family FoundationMichael and Marlys Haverty
Rudy and Deb Herrmann
Harold and Vicki James
Taylor and Samantha Kranzberg
Bill Lindsay and Jan Foletta
Colette and James Majerle
Austin and Kristin Massoth
Bobbie Mathes
Mr. Robert H. Maynard, in memory of Heather Maynard
Mary Anne and Steve McDowell
Teresa and Bruce McKinney
Mike Breedlove Memorial Fund
Kamal and Mary Lynn Mikhail
Ms. Gail B. Morse
Tracy and Jeff Musolf
Barbara Clarke Nash
George and Suzy Pagels
Sarah and Jesse Pedraza
Fred and Jami Pryor
Joe and Sara Romine
Gigi and Gary Rose
Susan and Glen Sands
Lisa and Charles Schellhorn
Meyer and Mindy Sosland
Bradley and Cynthia Strecker
Jennifer and Bryan Wampler
Lorie Whitaker
Raelee Wright
Dr. Michael J and Cindy S. Wurm
BOLENDER SOCIETY BRONZE
($2,500-$4,999)
Aviva Ajmera and Wayne Strickland
Anna and John Allen
Anonymous
Dr. Lillard and DeVette Ashley
Marina and Matthew Bell
Sarah Bent and Craig Thompson
Angelo and Joan Brisimitzakis
Lynne and Peter Brown
Devon Carney and Pamela Royal Carney
Dr. Akin and Ms. Ayca Cil
City of Kansas City, MO
Dr. Robert Claassen
Vince and Julie Clark
Robert J. Cody
Copaken Family Foundation
Gene and Joy Cota
Don and Patricia Dagenais
Kyle Danner
Drs. Charles and Donna Davis
Peggy and Terry Dunn
Julia Kirk and John Duty
Joseph and Diana Eisenach
Vicki Erickson and Ron Keel
Melanie and Mike Fenske
Ms. Virginia Fisher
Ms. Melissa Ford and Dr. Eric Molloy
Mark and Nancy Gilman
Susan Gilmore and Barry Loughrige
Bruce and Kathy Gordon
David Gray and Kyra Nichols
Charles and Eileen Green
Ms. Cynthia L. Hampton
Hank and Mary Beth Hershey
Lisa Merrill Hickok
Kim and Ted Higgins
Robert and Cindy Hisle
Jackson and Gamble Family
Cyndi James
Dr. William and Sheila Jewell
Dr. Karen Jordan
Mr. Steve Joss
Kansas Arts Commission
Donna Kelly
Charlotte Kemper Black
Dr. and Mrs. Howard Kilbride
Dana M. Koehn
Carol and John Kornitzer
Dr. and Mrs. William Kruse
William T. Laaser
Kim and Mike Lorenz
Julia and Greg Malter
Donna and Rex Martin
Mike and Jody McCamon
Carol and Dan McCartney
Siobhan McLaughlin Lesley
Rachel and Matt Merlo
Julia and Dennis Meyer
Miller-Mellor Association -
Mr. JoZach Miller and Mr. Peter Bali
Dr. Dan and Rev. Jeanie Murphy
Kathy and Justin Nemechek
Barbara Nicely
Drs. Charles and Susan Porter
Joe and Kelly Privitera
R.A. Long Foundation
Kathy and Michael Rainen
Mr. Mark Sappington and Dr. David S. McGee
Mark and Janice Schonwetter
Dr. Richard Schupp and Dr. Marilu Goodyear
Sherman Family FoundationMarny and John Sherman
Mrs. Sunday Siragusa
Marya and Kent Stallard
Michele and Jim Stowers
Stratus Group -
Courtney and Peggy Jones
Suhor Family Foundation -
Joe and Carol Suhor, Trustees
Fr. Paul Turner
Myron and Nicole Wang
James and Michaela Waters
Keith and Margie Weber Foundation
Linda Weber
Jeff Whitman and Danielle Forpomes
Darlus M. Wolff
Andy Zaborny and Karyn Clewes Zaborny
KANSAS CITY BALLET CONTRIBUTORS
Many thanks to the following individuals and charitable foundations for their support.
OVATION
($1,000-$2,499)
Adriana Albors and Jarrod Huntley
Anne Allen
Mary Cade Allen
Ms. Leslie G. Anderson
Anonymous
Anthony Iiams Memorial Foundation
Thomas and Karen Badgett
Iván and Karla Batlle
Peter D. Beckett for Beckett
Ministries International
Ms. Kaylee Bergman
John and Karen Binaggio
Ms. Nell M. Blatherwick
Cynthia J. Bleck
Tessa Bodnar
Cindy and Glenn Bowers
Marilyn and Robert Bowser
Diana M. Brady
Cynthia Bray
Dr. Robert and Pam Bruce
Bailey Burt
Mr. Ken Bush, in memory of
Mrs. Victoria Bush
Jerry and Meghan Carpenter
Kirk and Tamara Carson
Linda Clarkson
Steve and Patty Closser
Marcelle Cooper and Roger Arwood
Dale and Loire Cowen
Dr. Susie Cox
Dr. Suzanne C. Crandall
Chuck Cuda
Dao and Amanda Dang
William and Amanda Dugan
Amy and David Embry
Dr. Rachel Engelbarts
Jenny and Warren Erdman
Keelyn and Becky Ericson
William and Michelle Fasel
Bonnie Frederick
John and Sue Furla
Charles and Evelene Gallardo
George W. and Ada Heath Ultch
Memorial Fund - Commerce
Bank, Trustee
Fran and George Gerritz
Ann and Douglas Ghertner
Ellen R. and John R. Goheen
Gayle Gotcher
Ms. Anita Toby Grow and Dr. Jon Scheinman
Joseph and Tesa Guevel
Mr. Chris Lee Hafner
Ms. Pamela Hancock
Mr. Kelvin and Dr. Victoria
Haynes - Haynes Health & Wellness
George Helmkamp
Pamela T. Henderson
Henry E. Wurst Family Foundation
Gary and Liddell Hobin
Sharon and John Hoffman
Lesley and Peter Holt
Richard and Kathleen Honan
Jessica Joseph and Vivek Dubey
Mr. Kurt A. KnapsteinKnapstein Design
Regina and Bill Kort
Thomas Kusnetzky
Art Lafex
Kathy and James Laursen
Benny and Edith Lee
Linda Lenza
Nanette and Ken Lippincott
Louis and Frances Swinken
Supporting Foundation of the Jewish Community Foundation
Mr. and Mrs. Michael Lyon
Patricia Macdonald
Phillip and Connie Mangiaracina
Martha Lee Cain Tranby
Music Enrichment Fund
Andrew P. McDonald
Martina and Patrick McLarney
Wendy and Patrick Melland
Joe and Yvette Miceli
Jackie and John Middelkamp
Denise Minet
Samantha Mockaitis
Troy and Angela Moore
Ms. Kelly L. Muehlberger
Marcy Nelson
Ron and Jane Nesemeyer
Brad and Deirdre Newcomer
Kismet Oettinger and Susan Neumann
Mr. Joab Ortiz
Jennifer Owen and Brad Cox
Bill Pallucca and Kevin Deen
Michael and Jillian Pence
John Pepper
Laura Ponce
Powell Family Foundation -
Nancy E. Powell
Melissa and Rob Price
Patty and Jerry Reece
Mallory Robins
Connie and David Ross
Chad and Latrica Schnepf
Mrs. Patricia Ann Scott
Veronica and Jere Sellers
Ms. Carol Nelson Shifflett
Vicki Short
Pam and Gary Smedile
Rebecca and Phil Smith
Thomas and Sharon Soetaert
Ms. Colette Sorell
Sara Stipkovits
Ms. Alexis Strauss
Pamela and Terrence Sullivan
The Trudy Foundation
Justin Turner and Wenfei Xie
Ms. Kristi Weaver Rowe
Sandy and Byron Whitaker
Mr. Ronald Wilson, in memory of Barbara Baer, PhD
Thomas and Patty Wood
Mrs. Margaret Wurst
Sophia C. Zetmeir
BRAVO
($500-$999)
Chris Ahrens
Andrew and Jeanne Alingh
Arthur and Laura Allen
Jacob and Catherine Ambrose
Anonymous
Joseph Appelt
Jennifer Artman
Pamela Bachman
Mrs. Tom E. Beal
Cathy Bennett and Mike McGuire
Jeffrey J. Bentley
Dr. Kristi Bernath
William and Terry Biggins
Tom and Judy Bowser
Angelo and Holly Brisimitzakis
Brunfeldt Family Fund of the Douglas County Community Foundation
Jacqueline Buell
Matt Burns
Ms. Norma Butler
Claire Chase
Craig Coen and Jeffrey Bellamy
Craig and Jill Connell
Steven S. Conway
Dr. Patricia Cox
Nicole and Bernard Craig
Norman and Rachelle Craig
Kim Crane
Mr. and Mrs. James C. Cusser
Jack and Nida Dillon
Derek Dummermuth and Allison Rank Dummermuth
Laurie Eck
Derek and Jen Elder
Darci Emerson
Dan Flanigan
Dr. John and Julia Fritzlen
Kent Galley
Mr. and Mrs. Timothy Gill
Mr. Ervin Gina
Mr. and Mrs. Kenneth Hagen
Quint Hall
Scott and Lisa Hallier
Phyllis Hart
Andy and Melissa Haskins
Teresa Hayes
Julie and Ward Holmquist
Arthur Hoyt
Humboldt Sax
William and Margo Humenczuk
Diana Ice
Mr. Kirk and Mrs. Gretchen Ivy
Denise and Mark Jacobson
Jacqueline and Robert
Epsten Foundation
Christina and Chris Johnson
Robert Kadavy
Abby and Tyler Krampe
Tara LaCoe and Matt Schwartz
Ingrid Larson
Jana LeBaron
Mary Leonida
Margaret L. Lesher
Thomas and Joyce Lohmeyer
Jon and Stephanie Lumpkin
Megan Marshall
Jill McCarthy
Named for beloved former Artistic Director Todd Bolender, who transformed Kansas City Ballet with his artistry and vision, The Bolender Society is our premiere philanthropic group.
As a member, you’ll get exclusive access to guest artist talks, fun outings around ballet performances, and special social gatherings with the dancers.
Want to learn more or join? Contact Kristin Castle, Chief Philanthropy Officer, at 816.216.5585 or kcastle@kcballet.org.
Courtney and Tim McFadden
Wendy Mendes
Ms. Patricia Miles
Mr. and Mrs. Chris Miller
Charles Morffi
Stephen and Andrea Morgan
Shannon Murray
Phyllis Naragon
Jacque Nordhus
Dr. Robin Onikul
Alex and Holly Pahulu
Jo Beth Paradis
Nisha Patel
Dr. Ron and Donna Patton
Mr. and Mrs. Joel Pinkston
Ms. Lisa Pinsker
Carolyn Price and Lou Ferro
Ms. Joan Priolo
Ms. Rebecca Pycior
Mr. Hal Douglas Quinn
Nicholas and Natalie Riegg
Richard and Sharyl Roady
Gary and Anita Robb
Marsha Schieber
Anastasia and Max Schlesinger
Mr. Alvin J. Schneider
Mrs. Shirley Schoenlaub
Mal Shafran
Ms. Penny Shand and Marissa Lyons
Steve and Joan Sherman
Debbie and Tom Sherrer
Steve Short and Carl Welander
Clarence Simmons, Jr.
Jason and Bethany Sloderbeck
Lora Smith
Barbara Spilker
Sean and Jana Spivey
Melissa Stanfield
Nadia Mikhova and Ronald Stanke
Mr. Chris Stanley
Linda S. Stevens
Will Stroman
Sven and Julie Sykes
Ms. Alarie Tennille and Mr. Christopher Purcell
Robert and Sandra Thompson
Marcia and Dennis Tighe
Geoff and Krista Tolsdorf
Dan and Karen Toughey
Mrs. Katherine L. and Mr. TJ Trum
Paul and Loraine Turec
Michele Warnecke
Mrs. Barbara Weary
Lisa Weidmaier
Paul Wickens and Lisa Weixelman
Bero Wiens Legacy Fund, in honor of Jubilee Wiens
Mary Ruud Wood and Lance Wood
Gregory Woodhams and Julia Gargallo
William Yeo
Mrs. Peggy Jean Younger
KANSAS CITY BALLET SCHOOL
OLIVER TILL SCHOOL DIRECTOR
Oliver Till trained at The Royal Ballet School, and danced as a Soloist with Birmingham Royal Ballet under Sir David Bintley’s directorship. Through his career, he performed diverse roles from repertoires by renowned choreographers such as Peter Wright, David Bintley, Jessica Lang, Stanton Welch, Kenneth MacMillan, Michael Corder, Frederick Ashton, and Ninette de Valois. His performances took him on tours across the UK, Europe, USA, Japan, and China. Parallel to his ballet career, Till pursued a BA in Business with Environment and gained valuable experience interning at an investment bank in New York City. He later founded a video and distance coaching platform based in the US and gained his ABT-NTC Pre-Primary to Level 7 and Partnering certification. Till then transitioned to the role of ballet teacher at the Swedish National Ballet School, where he led the implementation of the ABT National Training Curriculum. As Mentor Team Leader for students aged 8 to 11, he focused on student wellbeing and transition to vocational training as well as supporting fellow teachers in their roles. As manager of the school’s outreach programs, he developed support for young dancers and the school’s teachers. Returning to the US, Oliver joined the Joffrey Ballet as Head of Children’s, Adult, and Adaptive Programs. There, he focused on curriculum development, program structure, and creating performance opportunities, aiming to enhance the student experience and
KANSAS CITY BALLET SCHOOL | STAFF
ARTISTIC
Devon Carney
Artistic Director
Oliver Till School Director
Kimberly Cowen Principal & KCYB Director
Taryn Ouellette, Principal, South Campus at Meadowbrook
Jennifer Welch Cudnik, Principal, Daytime Program
Dmitry Trubchanov
Men’s Program Coordinator & KCYB Associate Director
Jordan Voth
Company Pianist/Principal Academy Pianist
Jacob Thomas Academy and R.O.A.D. Pianist
KANSAS CITY BALLET SCHOOL | FACULTY
Iyonna Barris
Brigitte Benyei
Chelsea Brown Villamayor
Winston Brown
Tara Burgat
Nora Burkitt-Davis
Christina Burton
Alexis Byerly
Pamela Carney
Tamara Carson
Christine Colby-Jacques
Kimberly Cowen
Jennifer Welch Cudnik
Caroline Dahm
Rachel Grisi Dugan
Olivia Emert
Stephanie Eppler
Melissa Ford
Tess Gadwood
Kendra Gage
Sidney Haefs
Maureen Hall
Michele Hamlett-Weith
Jeremy Hanson
Jaime Hickey
Lauren Holmes
Anna Hughlett
Debbie Jacobs-Huffaker
Tobin James
Alyssa Jones
support teacher development. Operationally he has driven efforts to streamline processes and effectively communicate to new and existing audiences. Till believes in making dance accessible to everyone, regardless of age or ability, ensuring high-quality support and expertise are available to all. In the pre-professional sphere, he champions a holistic approach to nurturing young students, integrating mental and physical methods to support their development. Till’s commitment to innovation, inclusivity, and excellence defines his vision for the future of dance education.
KANSAS CITY BALLET SCHOOL
Kansas City Ballet School is the Official School of Kansas City Ballet and offers two tracks of study: the Academy for the career-minded student who aspires to be a professional dancer; and the Open Division for youth and adults who wish to study for recreation. Classes are offered in ballet, pointe, men’s technique, tap, flamenco, modern, jazz and more. All classes are taught by highly-qualified professionals with the experience and dedication to guide, inspire and nurture all students in their dance training. The School uniform partner is Elevé Dancewear. Kansas City Ballet School was named “Outstanding School” by Youth America Grand Prix 2017-2022. There are two convenient locations: the Todd Bolender Center for Dance & Creativity in downtown Kansas City and the South Campus at Meadowbrook at 95th and Nall. For more information: call 816.931.2299, email school@kcballet.org or visit our website at kcballet.org/school.
ADMINISTRATIVE
Sherry Urton
School Operations Manager
Miyesha McGriff
R.O.A.D. Program Administrator
Rachel Grisi Dugan Summer Intensive Coordinator
Nora Burkitt-Davis Children’s Program & Adaptive Dance Coordinator
Olivia Kalamboukas
Joshua Kiesel
Elaine Kimble
Kramer Kreiling
Hannah Lareau
Susan Lewis
Skyler Linn
Audrey Lynn
Miyesha McGriff
Sam McReynolds
Robert Mills
Linda Mitchell
KANSAS CITY BALLET SCHOOL | ACCOMPANISTS
Brian Bates
Samuel Beckett
Nina Cherry
Catherine Clark
Inna Daniels
Alyssa Murray
Rosie O’Brien
Andrew Ouellette
William Puckett
Angie Roustio
Jaclyn Rylee
RJ Schultze
Erin Muenks
Tempe Ostergren
Taryn Ouellette
Monika Overend
Jennifer Owen
Taryn Pachciarz
Andrew Parker
Nadine Price-Rojas
Tina Ray
Megan Robinson
Elliott Rogers
Suzanne Ryanstrati
Jenny Schmidt
Emily Simpson
Cameron Thomas
Jacob Thomas
Jordan Voth
Yee-Sik Wong
Kira Dimarco Bolender Center Campus Administrator
Adrienne Anderson Data & Process Analyst
Allay Freeman Alisson Gonzalez
Annie Roe
Carolyn Franano Administrative Assistants
Lisa Sirridge
Toinette Tamayo
Cameron Thomas
Dmitry Trubchanov
Kim Trudell
Laura Vernaci
Lynley Von Engeln
Paula Weber
Marisa Whiteman
Latra Wilson
Susan Williams
Molly Yuelkenbeck
Paul Zusi
Hyerin Yang
Xiangyu Zhao
ARTISTIC
Devon Carney Artistic Director
Kristi Capps Rehearsal Director
Parrish Maynard Rehearsal Director
Christopher Ruud Second Company Manager & Rehearsal Director
Oliver Till School Director
Ramona Pansegrau Music Director & Conductor
Jordan Voth Company Pianist
ADMINISTRATIVE
David Gray
Executive Director
Kevin Amey Chief Operations Officer
George Hans Chief Financial Officer
Gregg Markowski Finance Director
Mary Allen
Office Manager/Executive Assistant
Glenn Lewis Facilities Manager
PHILANTHROPY
Kristin Castle Chief Philanthropy Officer
Kelly Adrian Director of Individual Giving
Lacy Gordon Corporate and Foundation Relations Manager
KANSAS CITY BALLET STAFF
Grace Ingham Manager, Events & Philanthropy
Kelly Leahy Manager, Philanthropic Communications
Natalie Sextro Manager, Philanthropic Operations
Megan Robinson Philanthropy Assistant
MARKETING
& PATRON SERVICES
Karen Badgett Chief Sales & Marketing Officer
Savanna Daniels Design & Digital Marketing Manager
Beeh Moynagh Creative Content Producer
Nicole Dolan Social Media Specialist
Ellen McDonald Publicist
Mark Volk Patron Services Manager
Kim Toigo Assistant Patron Services Manager
Alix England Patron Services Associate
PARTNERSHIP
Kim Trudell Manager, Strategic Partnerships
PRODUCTION
Amy Taylor Director of Production
Laura Krus Production Stage Manager
Jennifer Carroll Costume Director
Betti Jo Diem Costume Shop Manager
Becci Jo Kelbaugh Costume Shop Assistant
Madeline Brasgalla Assistant Stage Manager
IATSE LOCAL #31, STAGE CREW
Josh Beasley Head Carpenter
Dale Klamm Head Properties
Rick Knapp Programmer
Ryan Lewis Steward & Head Flyman
Phil Rebel Audio Engineer
Margaret Spare Head Electrician
Greg Brown Head Electrician Emeritus
IATSE LOCAL #810, WARDROBE ATTENDANTS
Desiree Story Head of Wardrobe
Kansas City Ballet acknowledges the following professional service providers:
Lathrop GPM, Legal
Forvis Mazars, Auditors
Commerce Trust Company
Investment Advisors
AssuredPartners – A Gallagher Company
Insurance
Kansas City Foot & Ankle
Lead Podiatrist – Dr. John Riley
Kansas City Orthopedic Alliance
Lead Physicians – Dr. J.P. Halloran, Dr. Michael Khadavi, Dr. Kirk McCullough, Dr. Fermin Santos
Performance Rehab
Lead Physical Therapist –Kendra Gage, DPT, OCS
Extraordinary Machine Massage
Stephen Jacoby, LMT Dr. Nancy Murdock
Psychological Consultant
Lois Kauffman, Kansas City Ballet Archivist
KEVRA: The Culture Company
Dr. Kevin Sansberry,
Human Resources Consultant
PARK UNIVERSITY
INTERNATIONAL CENTER FOR MUSIC
2025-26 CONCERT SEASON
September 5, 2025, 1900 Building
Molly Carr, Viola and Anna Petrova, Piano
October 3, 2025, Graham Tyler
Memorial Chapel
Park ICM Orchestra Fall Concert
Guest Conductor Timothy Hankewich
October 23, 2025, 1900 Building
Shmuel Ashkenasi, Violin, with ICM Faculty
November 13, 2025, 1900 Building
Stanislav Ioudenitch Piano Studio
December 5, 2025, Graham Tyler
Memorial Chapel
An Intimate Christmas with the ICM Orchestra
Conductor Steven McDonald
January 23, 2026, 1900 Building
Ben Sayevich, Violin and Lolita Lisovskaya-Sayevich, Piano
February 6, 2026, Graham Tyler
Memorial Chapel
Park ICM Orchestra Valentine Concert
Guest Conductor Filippo Ciabatti
March 13, 2026, 1900 Building
ICM String Studios
March 21, 2026, Kauffman Center
Stanislav & Friends Gala
April 17, 2026, Graham Tyler
Memorial Chapel
Park ICM Orchestra Season Finale
Guest Conductor Jason Seber
May 1, 2026, 1900 Building
Behzod Abduraimov, Piano
1900 BUILDING
Mission Woods, KS
KAUFFMAN CENTER FOR THE PERFORMING ARTS Kansas City, MO
GRAHAM TYLER
MEMORIAL CHAPEL
Parkville, MO
All concerts begin at 7:30 p.m. except for Stanislav & Friends which begins at 7 p.m.
ONE FOR YOU.
Every step of the way.
At FNBO, your needs take center stage. One-on-one or behind the scenes, we’re here to help you earn, save and do more.
