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SPOTLIGHT Connect with Kansas City’s most devoted arts patrons. For more information, contact Christin Painter at christin@kcindependent.com or 816-471-2800 x218
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Kansas City Ballet program guides are a publication of the Performing Arts Division of The Independent magazine. Information in this publication was carefully compiled to ensure accuracy. However, the publisher does not assume responsibility for accuracy. Editorial program content was provided by the Kansas City Ballet. Copyright by The Independent magazine. No part of this publication may be reproduced in any form without written permission of the publisher.
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TA B L E O F C O N T E N T S THE WIZARD OF OZ Oct. 16-25, 2026 7 LETTER FROM THE ARTISTIC DIRECTOR 12 KANSAS CITY BALLET LEADERSHIP 20 KANSAS CITY BALLET BOARD & AUXILIARIES 21 EMERGENCY EXIT PROCEDURES 26 THEATRE INFORMATION & PATRON SERVICES 29 COMPANY BIOS 39 SECOND COMPANY 40 CASTING 44 PROGRAM NOTES/NOTEWORTHY 45 KANSAS CITY SYMPHONY 46 ARTIST BIOS 47 A SPECIAL THANK YOU 51 PRODUCTION STAFF 52 SUPPORTER BENEFITS 53 BALLET BUSINESS COUNCIL 54 PARTNER PROFILE 56 KANSAS CITY BALLET CONTRIBUTORS 71 THE TATIANA DOKOUDOVSKA LEGACY SOCIETY 76 KANSAS CITY BALLET SCHOOL 77 KANSAS CITY BALLET STAFF
Kansas City Ballet is an American Guild of Musical Artists company. Dancer Amira Hogan. Cover Artwork | Dancers Gillian Yoder, Andrew Vecseri, Paul Zusi and Elliott Rogers. Photography by Kenny Johnson.
WELCOME TO KANSAS CITY BALLET Welcome to Kansas City Ballet’s production of Septime Webre’s The Wizard of Oz! This marks the third time we’ve brought this beloved production to our stage, and I’m convinced it only gets richer with each return. This year, new stage technology brings some of the show’s most iconic moments to life in ways our audiences haven’t quite seen before, adding fresh magic to the journey down the Yellow Brick Road. While several of our dancers have taken on these roles before, many artists are stepping into this production for the first time, bringing their own take to characters generations have loved. I’m especially proud that a number of our newest company members will make their Kauffman Center debut in this production, and I hope you’ll join me in welcoming them. This run also gives students from the Kansas City Ballet School invaluable real-world stage experience, performing alongside our professional artists in a production of this scale, the kind of opportunity that helps shape the next generation of dancers. And there’s something fitting about staging this particular story here at home. Dorothy’s tale begins in Kansas, a story so woven into the identity of our region, and it feels right that our dancers get to bring her journey full circle for you. Thank you for joining us. I hope this treasured favorite brings your family as much joy as it has brought all of us. It is now my privilege to open the door to this exceptional adventure. Please enjoy your journey as you follow the Yellow Brick Road to Oz. With gratitude, 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, 816.216.5582, 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).
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KANSAS CITY BALLET LEADERSHIP DEVON CARNEY • ARTISTIC DIRECTOR Devon Carney joined Kansas City Ballet in 2013 after 10 years with Cincinnati Ballet as associate artistic director. He trained under Harvey Hysell in New Orleans before moving to Boston, where he spent 12 of his 20 performing years as a principal dancer with Boston Ballet. Carney performed lead roles in classical works and in pieces by choreographers including Mark Morris, Maurice Béjart and Merce Cunningham, and toured with Rudolf Nureyev, Fernando Bujones and Cynthia Gregory. He later served for Boston Ballet as ballet master and artistic director of Boston Ballet’s Summer Dance Program for eight years, and has taught for Alvin Ailey American Dance Theatre, Pacific Northwest Ballet School, San Francisco Ballet School and Houston Ballet School. Carney has choreographed for Boston Ballet, Cincinnati Ballet, Grand Rapids Ballet, Oklahoma City Ballet, Ballet Hawaii, Cincinnati Opera, Lyric Opera of Kansas City, Jacob’s Pillow Dance Festival, and has judged the Youth America Grand Prix. His original works include Blue Rondo, World Citizen, and a fulllength Dracula, along with his new productions for Kansas City Ballet of Opus I, Giselle, The Sleeping Beauty, a new Nutcracker, Swan Lake, Romeo & Juliet, Peter Pan, and Cinderella; and his Nutcracker has played the Kennedy Center twice.
Read Carney’s full bio — scan the code:
DAVID GRAY • EXECUTIVE DIRECTOR David Gray was raised in Princeton, N.J., and attended Johns Hopkins University. He moved to New York after graduation and worked in the publicity department of Doubleday before joining the press office of New York City Ballet, where he became press director and met and married company principal dancer Kyra Nichols. When their first child was born, Gray became a full-time parent so his wife could continue performing, and he pursued his own writing, publishing the novel “Escape From Verona: Romeo and Juliet Part Two” after years of research. After returning to Princeton, Gray became executive director of American Repertory Ballet and its Princeton Ballet School, then opened a consulting firm, Finance Arts LLC. He served as an interim executive director for several nonprofits, including the Princeton Symphony Orchestra, and wrote “The Finance Arts Guide to Nonprofit Cash Flow,” published in 2010. An interim position with the Pennsylvania Ballet, now Philadelphia Ballet, became permanent until his wife accepted a tenured position at Indiana University’s Jacobs School of Music, prompting the family’s 2017 move to Indiana and Gray’s return to full-time parenting. Now an empty nester, Gray embraces the energy and excitement of the ballet world as executive director of Kansas City Ballet.
Read Gray’s full bio — scan the code: 12 | KC B AL L ET.OR G
KANSAS CITY BALLET LEADERSHIP KEVIN AMEY • CHIEF OPERATIONS OFFICER Kevin Amey’s service to Kansas City Ballet exceeds 40 years. He has served as the company’s booking manager since 1983 and was promoted to general manager in 1998. Amey has worked 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 J. Bentley, and David Gray, helping to produce more than 300 works. He booked the company’s tours through the 1980s and ’90s, including an 11-year second-city residency in St. Louis, and calls his role as project manager for the Todd Bolender Center for Dance & Creativity his most rewarding achievement. Amey began his arts career as a performer, actor, singer and dancer. He earned a Bachelor of Fine Arts in acting, directing and design from Avila College, then worked as lighting and sound designer and production manager for the Creede Repertory Theatre. While earning his graduate degree in theatre arts at the University of Missouri-Kansas City, he worked in the design and scenic shops and as a graduate assistant to director Patricia McIlrath, then spent three seasons as company manager for the Missouri Repertory Theatre. He and his wife, Mig Lillig, have raised five children.
RAMONA PANSEGRAU • MUSIC DIRECTOR & CONDUCTOR Ramona Pansegrau has been music director for Kansas City Ballet since 1996. She previously spent 10 years as principal pianist and 15 as tenured keyboardist for Boston Ballet. She was music director for Tulsa Ballet for 10 years and conductor for the Tulsa Symphony Orchestra, including for the premiere of a full-length Sleeping Beauty. She was also pianist for the Dance/Aspen festival, as well as music director for The Ballet School at Jacob’s Pillow for 16 years. Robert Joffrey praised her ballet class as offering “the perfect music for every combination.” The Washington Post has praised her conducting for creating “a delicious tension between the outpouring of the strings...and the hushed anxiety of the dancing.” As a piano soloist, she has performed concertos by Tchaikovsky, Brahms and Chopin with orchestras including the Kennedy Center Opera Orchestra. Her ballet arrangements are performed by companies including Royal Winnipeg Ballet and the Finnish National Ballet. Her arrangement for Val Caniparoli’s Jekyll & Hyde premiered in Finland in 2020; she led its American premiere in Kansas City in 2023 and her own Don Quixote arrangement in 2025. In 2027, she’ll collaborate with Caniparoli on Dr. Coppelius for National Ballet of Canada and mark her 30th year with the USA International Ballet Competition.
Read Pansegrau’s full bio — scan the code:
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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 David Harris, President-Elect US Bank
Rachel Hack Merlo, Vice President GFiber Sarah Pedraza Vice President SS&C Kyle Danner, Treasurer EOS Worldwide LLC
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
Charlotte Kemper Black, Vice President, Governance Commerce Bank
BOARD OF DIRECTORS MEMBERS Erin Brower Hallmark Cards, Inc
Tracy Musolf Lockton
Mindy Sosland Community Leader
Lucy Wells Coulson Community Leader
Scott Ramon NBKC Bank
Barbara Storm Community Leader
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Chris Teddy JE Dunn
Edie Downing Kansas City Ballet Guild President
G. Mark Sappington, Esq. Community Leader
Lorie B. Whitaker, Esq. Bank of America
Linda Lenza Bank of America Austin Massoth BBN Architects
Zachary H. Shafran CAPTRUST Suzanne Shank, Esq. Community Leader
KANSAS CITY BALLET GUILD BOARD • KC BG UIL D.OR G Edie Downing President Cindy Wurm President-Elect Jody Stephen Vice President
Eileen Green Membership Data Vice President Angela Walker Special Projects Vice President
John Walker Treasurer
Nannette Lippencott Engagement & Education Vice President
Lauren Martin Recording Secretary
Lori Turec Marketing/PR Vice President
Marilyn Gaar Corresponding Secretary
Peggy Younger Social Activities Vice President
Stacy Brooks Membership Vice President
Lisa Hickok Archives Vice President Ron Fredman Immediate Past President Peggy Beal Governance Chairman Juliette Singer & Cyndi James Gala Vice Presidents 2026 Crystal O’Dea Gala Vice President 2027 Kate Pickert Gala Vice President 2028
Kansas City Ballet thanks our board of directors and auxiliary group whose time, energy and generosity enhance our organization and make our performances and community. programs possible. 20 | KC B AL L ET.OR G
KAUFFM A N C E N T E R FO R T H E PE R FO R MI NG A RTS
E MERGE NCY EVAC UATIO N P RO C EDURES 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 who are not able to safely and comfortably 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.
*Kauffman Center’s emergency egress plan, which includes an appropriate amount of investigational time to verify the source of an alarm, was developed with the assistance of the Kansas City, MO Fire Marshall’s Office.
KCB A LLET.O RG | 21
2027 FESTIVAL SEASON JULY 2 - 25
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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 city-wide 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 26 | KC B AL L ET.OR G
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 firstcome, 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 $30 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.
THEATRE INFORMATION & PATRON SERVICES 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 noisereducing 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 are 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, 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.
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.
The Tatiana Dokoudovska Legacy Society Leave a lasting legacy that inspires future generations.
Annual Gifts Offer a one-time or annual contribution, ideal for larger gifts or itemized deductions.
Corporate Supporters Enhance your company’s social impact while strengthening community ties.
Endowment Gifts Help ensure the Ballet’s long-term sustainability.
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. KCB A LLET.O RG | 27
KANSAS CITY BALLET Devon Carney Artistic Director
Parrish Maynard Rehearsal Director
Betti Jo Diem Costume Shop Manager
David Gray Executive Director
Christopher Ruud Second Company Manager & Rehearsal Director
Becci Jo Kelbaugh Costume Shop Assistant
Kevin Amey Chief Operations Officer Ramona Pansegrau Music Director & Conductor Kristi Capps Rehearsal Director
Amy Taylor Director of Production Laura Krus Production Stage Manager
Kris Gooding Assistant Stage Manager Jordan Voth Company Pianist
Jennifer Carroll Costume Director
COMPANY ARTISTS Gavin Abercrombie
Whitney Huell
Elliott Rogers
Isaac Allen
Olivia Jacobus
Noura Sander
Alladson Barreto
Joshua Kiesel
Naomi Tanioka
Joseph Boswell
Keaton Linzau
Cameron Thomas
Kaleena Burks
Jordan Long
Marisa DeEtte Whiteman
Angelin Carrant
Celeste Lopez-Keranen
Derek Wippel
Anya Chiu
Audrey Lynn
Ben Workman
Michael Dadlez
Mei McArtor
Gillian Yoder
Aidan Duffy
Amelia Meissner
Paul Zusi
Sidney Haefs
Maura Moody
Amira Hogan
Olivia Pearsall
KCB II Luke Eller
Isabella Martino
Zander Rhys
Jack Hindocha-Daniels
Nathaniel Orlov-Mayer
Zoey Uhlman
Emma Ashton
Michelangelo Fante
Joseph Moore
Julia Bellantoni
Ella Fischer
Catherine Payson
Payton Boddy
Jordan Gourley
Isabelle Rookstool
Claire Bowers
Madalyn Hesterlee
Caroline Strasberg-Fern
Meagan Cameron
Addison Jankauskas
Amelia Wood
Johnny Castle
Reagan Kinney
Maggie De Groote
Maya McDaniels
Corabelle Kennedy
TRAINEES
2026-2027 DANCER HONOREES Sally and Thomas J. Wood Senior Dancer Amelia Meissner
Norman E. Gaar, Esq. Dancer Alladson Barreto
John Hunkeler Senior Dancer Marisa DeEtte Whiteman
Greg and Barbara Storm Emerging Dancer Gillian Yoder
Thank you to the generous supporters who established these endowed funds, which sustain Kansas City Ballet in perpetuity by providing for the salaries of company artists. Each year, dancers are selected by the artistic director to receive this recognition. 28 | KC B AL L ET.OR G
THE COMPANY GAVIN ABERCROMBIE | JOINED KCB IN 2018, +2 YEARS SECOND COMPANY Gavin Abercrombie, from Acton, California, began his ballet training at age 8 at Antelope Valley Ballet. Abercrombie continued training at Pittsburgh Ballet Theater School and San Francisco Ballet School under the direction of Marjorie Grundvig, Andre Reyes, Patrick Armand and Parrish Maynard. Abercrombie has performed works including Devon Carney‘s Giselle, Val Caniparoli‘s Jekyll & Hyde, Michael Pink‘s Dracula, George Balanchine‘s Rubies and Carney‘s The Nutcracker. Abercrombie has performed works by other choreographers, including Jiří Kylián, Alexander Ekman, Annabelle Lopez Ochoa, Septime Webre and Twyla Tharp. ISAAC ALLEN | JOINED KCB IN 2022 Isaac Allen, from Southern Oregon, began his ballet training at age 8 at Stillpointe Dance Studio. Allen spent summers training at San Francisco Ballet, Pacific Northwest Ballet and Oregon Ballet Theatre. In 2015, Allen joined Oregon Ballet Theatre‘s preprofessional program. In 2016, Allen was accepted into the HARID Conservatory, where he trained for two years under Meelis Pakri. He then joined Milwaukee Ballet‘s second company for three years before being promoted to an apprentice with Milwaukee Ballet. During his time with the company, Allen performed works including Michael Pink‘s Dracula, Val Caniparoli‘s Lambarena, and Bruce Wells‘ A Midsummer Night‘s Dream. ALLADSON BARRETO | JOINED KCB IN 2022 Norman E. Gaar, Esq. Dancer Alladson Barreto, from Rio Grande do Norte, Brazil, began training in 2015 at Alberto Maranhão Theater Dance School. He trained at The Rock School for Dance on full scholarship and danced with Ballet West II from 2019-22. His repertoire includes Le Chant du Rossignol, Dracula, Romeo and Juliet, Jewels, Glass Pieces, Raymonda, Don Quixote and Sleeping Beauty. He has been featured in The Sandpaper Ballet, Petite Mort, Celts, Peter Pan, Cinderella and The Nutcracker. At Kansas City Ballet, he has danced in Jekyll & Hyde, Cacti, Giselle and ALICE (in wonderland). He‘s been a So Danca ambassador for six years. JOSEPH BOSWELL | JOINED KCB IN 2024 Joseph Boswell, from Spokane, Washington, began his ballet training at age 7 before studying at Houston Ballet Academy and Boston Ballet School. He joined Boston Ballet’s second company, performing principal roles including Franz in Coppélia, Conrad in Le Corsaire and the Harlequinade pas de deux. He also danced with Boston Ballet in Swan Lake, The Sleeping Beauty, The Nutcracker and Don Quixote. With Kansas City Ballet, Boswell has performed in ALICE (in wonderland), The Nutcracker, Swan Lake, Don Quixote, Celts, Rodeo and The Great Gatsby. In 2026, Boswell choreographed Frantasia for New Moves. KALEENA BURKS | JOINED KCB IN 2010 Kaleena Burks, from Coral Springs, Florida, trained with Magda Auñon and Magaly Suarez. In 2005, she placed first in the preprofessional division of the American Ballet Competition. Burks has danced with Cincinnati Ballet, Columbia Classical Ballet and Cuban Classical Ballet of Miami. With Kansas City Ballet, Burks has performed roles including the title role in Giselle, Odette/Odile in Swan Lake, Juliet in Romeo & Juliet, Kitri in Don Quixote, KCB A LLET.O RG | 29
HEARTLAND MEN’S CHORUS KANSAS CITY SEASON 41
AMPLIFY DON WE NOW!
UR S NG!
ALL OF US!
December 4-6, 2026
March 19-21, 2027
June 26-27, 2027
The Folly Theater
Yardley Hall in the Midwest Trust Center at JCCC
Yardley Hall in the Midwest Trust Center at JCCC
THE MUSIC OF
ELT N J HN
V I S I T H M C KC O R F O R D E TA I L S L I K E , F O L LO W & S U B S C R I B E :
Playful Splashes Sun-Soaked Laughter
Heartfelt Moments
Cherish More Memories
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THE COMPANY KALEENA BURKS cont. Marguerite in Lady of the Camellias, Daisy in The Great Gatsby, Waltz Girl in Serenade and Principal in Diamonds. Burks is also the artistic director of Moving Arts, a dance company. ANGELIN CARRANT | JOINED KCB IN 2018, +1 YEAR SECOND COMPANY Angelin Carrant, originally from Paris, France, began training at age 6. As a child, Carrant performed in Angelin Preljocaj‘s Le Songe de Médée with the Paris Opera Ballet. In 2013, Carrant attended San Francisco Ballet, studying under Patrick Armand, dancing in Helgi Tomasson‘s The Nutcracker, Christopher Wheeldon‘s Cinderella and John Neumeier‘s Yondering. Carrant joined KCB II in 2017, was promoted to the main company the following year, and has since 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, Jiří Kylián’s Petite Mort and Edwaard Liang‘s Wunderland. ANYA CHIU | JOINED KCB IN 2026 Anya Chiu, from Washington, D.C., trained at The Washington School of Ballet. Accepted as a trainee under Xiomara Reyes in 2022, Chiu performed in company productions including Julie Kent and Victor Barbee’s Sleeping Beauty, Swan Lake, and George Balanchine’s Theme and Variations. At The Chautauqua Institution, Chiu performed as principal in Balanchine’s Tarantella, Donizetti Variations, and Rubies. As a Pittsburgh Ballet Theatre apprentice, Chiu performed in Terrence Orr’s The Nutcracker, Balanchine’s Emeralds, Septime Webre’s The Wizard of Oz, Micheal Pink’s Dracula, Ben Stevenson’s Three Preludes, Garrett Smith’s Meet You at Midnight and Mark Godden’s Angels in the Architecture. MICHAEL DADLEZ | JOINED KCB IN 2026 Michael Dadlez, from Riverside, California, began his ballet training at Riverside Ballet Arts. At 16, he received a full scholarship to the Houston Ballet Academy. In 2024, Dadlez joined Boston Ballet‘s second company. During his time with the company, Dadlez danced in Mikko Nissinen’s Swan Lake, August Bournonville’s Napoli and Crystal Pite’s The Seasons’ Canon. At the 2026 Jacob’s Pillow Dance Festival, Dadlez danced excerpts from Yuri Possokhov‘s Magrittomania and Paul Taylor‘s Brandenburgs, as well as two world premieres, Annabelle Lopez Ochoa‘s Sweet Suite and Claudia Schreier‘s Rounds. AIDAN DUFFY | JOINED KCB IN 2023 Aidan Duffy, from Philadelphia, began his training with the School of Pennsylvania Ballet and the Rock School for Dance Education. Duffy joined Boston Ballet School’s Professional Division as a Pao Scholarship recipient before entering 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 Kansas City Ballet repertoire includes The Nutcracker, Swan Lake, Stars and Stripes, Jewels, Don Quixote, In the Middle, Somewhat Elevated, Celts, Rodeo, ALICE (in wonderland) and The Great Gatsby.
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THE COMPANY SIDNEY HAEFS | JOINED KCB IN 2019, +1 YEAR SECOND COMPANY Sidney Haefs, from Los Angeles, California, began her training at Santa Clarita Ballet Academy under the direction of Corinne Glover. Haefs continued her education at the University of Utah, graduating magna cum laude with a BFA in Ballet and a Minor in Human Development and Family Studies. In 2018, Haefs joined Kansas City Ballet as a trainee before joining the company. She has performed Odette/Odile in Swan Lake, Diamonds Principal in Jewels, Liberty Bell in Stars and Stripes and Isabel in In the Middle, Somewhat Elevated. She has also performed in Don Quixote, Serenade, Cacti, and Petite Mort among others. AMIRA HOGAN | JOINED KCB IN 2023 Amira Hogan, from Houston, Texas, trained at Robert Underwood’s School for Dance, TKB Center for Ballet & Dance and Vitacca Vocational School for Dance. Honors include the Youth America Grand Prix Hope Award, World Ballet Competition Promise Award, ADC/IBC awards and Vitacca Emerging Artist Award. With Kansas City Ballet, Hogan has performed works by George Balanchine, Devon Carney, Val Caniparoli, Anna-Marie Holmes, Lila York, Septime Webre, Caroline Dahm, Haley Kostas, Natasha Adorlee, Gina Patterson, Duncan Cooper and Caili Quan. Hogan’s choreographic credits include you can’t control the wind, but you can adjust your sails, Tied in Nots and A Wish of Love Was What It Was. WHITNEY HUELL | JOINED KCB IN 2014 Whitney Huell, from South Carolina, 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. She was named one of Dance Magazine‘s Top 25 to watch in 2011 and featured in Pointe Magazine in 2012. Huell became the first African American to perform the Sugar Plum Fairy in Kansas City Ballet‘s The Nutcracker. In 2024, she participated in Pathways to Performance at The Kennedy Center and Jacob‘s Pillow and was honored on the Monument to Freedom, Justice & Courage in Jackson County, Missouri. OLIVIA JACOBUS | JOINED KCB IN 2022 Olivia Jacobus, born in Los Angeles, discovered her love for ballet at age 9. At 15, she 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, where she spent two years performing alongside the company. Jacobus is elated to return to Kansas City Ballet for a fifth season. Some of her favorite moments from previous seasons include Tall Regiment Leader in Balanchine’s Stars and Stripes and Rose in Devon Carney’s The Nutcracker. JOSHUA KIESEL | JOINED KCB IN 2021, +2 YEARS SECOND COMPANY Joshua Kiesel, originally from Hanover Park, Illinois, began his training at The Faubourg School of Ballet before continuing at The Washington School of Ballet on full scholarship. In 2019, Kiesel joined KCB II before joining the company in 2021. His repertoire with Kansas City Ballet includes Basilio in Anna-Marie Holmes’ Don Quixote, Siegfried in Devon Carney’s Swan Lake, Cavalier in The Nutcracker and works by William Forsythe, Lila York and Septime Webre. He has also 34 | KC B AL L ET.OR G
THE COMPANY JOSHUA KIESEL cont. performed internationally as a guest artist and was awarded third prize at the 2022 Helsinki International Ballet Competition. KEATON LINZAU | JOINED KCB IN 2024 Keaton Linzau, from Washington, D.C., began his dance training at Maryland Youth Ballet and finished his training at Houston Ballet Academy and Houston Ballet’s Second Company. Since joining Kansas City Ballet, Linzau has had the pleasure of performing works by choreographers including Annabelle Lopez Ochoa, Septime Webre, Lila York, George Balanchine, Agnes de Mille, and Caili Quan. Linzau is excited to continue his professional ballet career with another season at Kansas City Ballet. JORDAN LONG | JOINED KCB IN 2026 Jordan Long, from Charlotte, North Carolina, began his ballet training at Charlotte Ballet Academy before joining Houston Ballet Academy’s Professional Program and Houston Ballet II. He worked with choreographers Ben Stevenson and Stanton Welch, performing in The Sleeping Beauty, A Dance in the Garden of Mirth, Clear, Swan Lake, Cinderella and The Nutcracker. During his apprenticeship with Houston Ballet, Long performed Annabelle Lopez Ochoa’s Broken Wings, Stanton Welch’s Vi et Animo, Sylvia, Giselle and John Cranko’s Onegin. CELESTE LOPEZ-KERANEN | JOINED KCB IN 2025 Celeste Lopez-Keranen, from Grand Rapids, Michigan, trained at Grand Rapids Ballet School under Patricia Barker and attended summer programs at Jacob‘s Pillow, Orsolina28, BalletX and San Francisco Ballet. At 16, Lopez-Keranen became an apprentice with Grand Rapids Ballet before joining Louisville Ballet Studio Company, where she performed Jerome Robbins‘ In G Major and George Balanchine‘s Emeralds. In 2022, she performed in Jacob‘s th Pillow‘s 90 Anniversary Gala. Lopez-Keranen danced with Ballet Arkansas for three seasons, performing Carmen and Mina in Michael Fothergill‘s Carmen and Dracula. Her repertoire also includes Gerald Arpino‘s Reflections, David Bintley‘s Galenteries, Tsai Hsi Hung‘s BRUSHSTROKES 2024 and Les Sylphides. AUDREY LYNN | JOINED KCB IN 2026, +2 YEARS SECOND COMPANY Audrey Lynn, from Asheville, North Carolina, trained at the Ballet Conservatory of Asheville before attending American Ballet Theatre’s Jacqueline Kennedy Onassis School. She later joined ABT Studio Company, performing in The Nutcracker, The Sleeping Beauty, Don Quixote and works by contemporary choreographers. In her first two seasons with Kansas City Ballet, Lynn performed Belle in Beauty and the Beast, Snow White in Snow White, and Kitri and Odile in Second Company productions. She has also performed in Don Quixote, ALICE (in wonderland), The Great Gatsby, The Nutcracker and Swan Lake. Lynn returns for the 2026-27 season as a main company dancer.
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THE COMPANY MEI MCARTOR | JOINED KCB IN 2025, +2 YEARS SECOND COMPANY Mei McArtor, from Columbia, South Carolina, began her ballet training at the Southeastern School of Ballet at age 4. McArtor expanded her training through summer programs at the Boston Ballet School and San Francisco Ballet School. In 2023, McArtor joined Kansas City Ballet as a trainee and was promoted to KCB II the following year. During her time with the second company, she performed in Jekyll & Hyde, The Nutcracker, Peter Pan, Jewels, ALICE (in wonderland), Don Quixote, Celts and Beauty and the Beast. McArtor was promoted to apprentice in 2025 and is entering her fourth season with Kansas City Ballet as a main company dancer. AMELIA MEISSNER | JOINED KCB IN 2023 Sally & Thomas J. Wood Senior Dancer Amelia Meissner was born in San Antonio, Texas, and began her ballet training with the Ballet Conservatory of South Texas. She attended summer intensives at Houston Ballet Academy before joining its Professional Training Division in 2017. Meissner joined Houston Ballet II in 2020 under Claudio Muñoz and was promoted to apprentice with Houston Ballet in 2022. She joined Kansas City Ballet in 2023 and is in her fourth season with the company. Meissner has performed featured roles including the Snow Queen and Rose in Devon Carney‘s The Nutcracker and the pas de trois in Emeralds. MAURA MOODY | JOINED KCB IN 2025 Maura Moody, from Des Moines, Iowa, began her ballet training at the School of Classical Ballet and Dance under the direction of Serkan Usta and Lori Grooters. Moody spent summers training at San Francisco Ballet, Houston Ballet, Boston Ballet and Tulsa Ballet. In 2019, she began her professional career with Richmond Ballet as a trainee. She joined Oklahoma City Ballet in 2021 as a second company member and was promoted to apprentice in 2023. Moody’s favorite repertoire includes Devon Carney’s Swan Lake, George Balanchine’s Divertimento No. 15 and Stars and Stripes, Gerald Arpino’s Birthday Variations and Alexander Ekman‘s Cacti. OLIVIA PEARSALL | JOINED KCB IN 2026, +3 YEARS SECOND COMPANY Olivia Pearsall began ballet training at age 3 at Crooked Tree Arts Center. At 16, she joined the pre-professional division at Miami City Ballet School, performing with the company in productions including Swan Lake, George Balanchine’s The Nutcracker, Romeo and Juliet, and Symphony in Three Movements. Pearsall spent summers studying at Suzanne Farrell’s Cedar Island, Chautauqua Institution, Gelsey Kirkland Academy, Pacific Northwest Ballet and Miami City Ballet. Pearsall joined Kansas City Ballet as a trainee in 2023, joined KCB II in 2025 and promoted to the main company in 2026. With Kansas City Ballet, Pearsall has performed in Jewels, Jekyll & Hyde, Swan Lake, and Snow White.
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THE COMPANY ELLIOTT ROGERS | JOINED KCB IN 2023 Elliott Rogers, from Chicago, began dancing at age 2. Rogers trained at Chicago Ballet Arts before continuing at Ruth Page Center for the Arts. At 14, he was accepted into Houston Ballet Academy‘s Professional Division, where he trained 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. Rogers was honored as the 2024 Greg and Barbara Storm Emerging Dancer. NOURA SANDER | JOINED KCB IN 2025 Noura Sander, from Northern California, trained at Franklin School for the Performing Arts, American Ballet Theater‘s Jacqueline Kennedy Onassis School and The Washington School of Ballet. She joined The Washington Ballet Studio Company in 2021 and was promoted to the company in 2022. During her time with The Washington Ballet, Sander performed in The Nutcracker, Romeo and Juliet, Swan Lake, Giselle, The Sleeping Beauty, Serenade, Vespers and ALICE (in wonderland). She joined Kansas City Ballet in 2025 and has performed in Devon Carney‘s Swan Lake and The Nutcracker, as well as works by Duncan Cooper, Amira Hogan and Caili Quan. NAOMI TANIOKA | JOINED KCB IN 2019 Naomi Tanioka, of Sapporo, Japan, trained at Chida Toshiko Ballet Studio and the Royal Winnipeg Ballet School in Canada. In 2014, Tanioka joined Ballet Arizona, where she performed many Balanchine and Bournonville ballets. She joined Cincinnati Ballet in 2016 before joining Kansas City Ballet in 2019. Tanioka has been featured as Odette/Odile in Swan Lake, Cinderella in Cinderella, Kitri in Don Quixote, Alice in ALICE (in wonderland), Nellie in Jekyll & Hyde, Lucy in Dracula, Wendy in Peter Pan, Cowgirl in Rodeo, Liberty Bell in Stars and Stripes, Principal in Rubies and Jeté Woman in In the Middle, Somewhat Elevated. CAMERON THOMAS | JOINED KCB IN 2017, +1 YEAR SECOND COMPANY Cameron Thomas began his dance training in his hometown of Rochester, New York. In 2013, he began performing with Rochester City Ballet. In 2015, Thomas received a scholarship to attend the Jacqueline Kennedy Onassis School at American Ballet Theatre. He joined KCB II for the 2016-17 season and was promoted to the main company the following season. During his 10 years with Kansas City Ballet, Thomas has performed many roles, including Mr. Hyde in Val Caniparoli’s Jekyll & Hyde. He has choreographed for Kansas City Ballet and Creative Intersections and is also a pianist. MARISA DEETTE WHITEMAN | JOINED KCB IN 2018, +4 YEARS SECOND COMPANY • John Hunkeler Senior Dancer Marisa DeEtte Whiteman, from St. James, New York, began training locally before joining Next Generation Ballet and Pittsburgh Ballet Theatre‘s Pre-Professional Program. She later trained privately before joining Kansas City Ballet in 2014, progressing from trainee to main company. Favorite roles include Agnes de Mille’s Rodeo, Twyla Tharp’s In the Upper Room, George Balanchine’s Emeralds, and Alexander Ekman’s Cacti. Whiteman has performed summers at the Hermitage KCB A LLET.O RG | 37
THE COMPANY MARISA DEETTE WHITEMAN cont. Theatre in St. Petersburg, Russia, and was featured in the Gala at Jacob’s Pillow. Whiteman also teaches and coaches at the Kansas City Ballet School and is marketing director for Moving Arts. DEREK WIPPEL | JOINED KCB IN 2025 Derek Wippel, a native of Pickerington, Ohio, began his ballet training at BalletMet Academy. He trained under Claudio Muñoz in Houston Ballet‘s Professional Training Division before joining the Joffrey Ballet Studio Company in Chicago, where he refined his classical and contemporary artistry under Oğulcan Borova and Raul Casasola. Wippel joined Kansas City Ballet in 2025 and is in his second season with the company. His repertoire includes Gerald Arpino‘s Kettentanz and Reflections, Liam Scarlett‘s Frankenstein, Septime Webre‘s The Great Gatsby, Stanton Welch‘s Bruiser and the U.S. premiere of Christopher Wheeldon‘s Alice‘s Adventures in Wonderland. BEN WORKMAN | JOINED KCB IN 2026, +2 YEARS SECOND COMPANY Ben Workman began dancing at age 6 in Louisville, Kentucky. At 11, he began training at the Louisville Ballet School under Robert Curran, performing with the Louisville Ballet Youth Ensemble and in company productions. At 16, he continued at Houston Ballet Academy, studying with Claudio Muñoz and Orlando Molina and performing works by Stanton Welch, including Paquita and Bruiser. Since joining KCB II in 2024, Workman has peformed in Septime Webre‘s ALICE (in wonderland), Anna-Marie Holmes‘ Don Quixote and Devon Carney‘s The Nutcracker. He also was featured as the Beast in Bruce Wells‘ Beauty and the Beast. GILLIAN YODER | JOINED KCB IN 2024, +3 YEARS SECOND COMPANY • Greg and Barbara Storm Emerging Dancer Gillian Yoder, from Jupiter, Florida, was born in San Diego, California. Yoder trained at Paris Ballet and Dance, Next Generation Ballet, and The Colburn School, and attended five summer programs at Pacific Northwest Ballet School. In 2021, Yoder joined Kansas City Ballet as a trainee, advancing to KCB II, apprentice and company artist in 2025. Yoder has performed featured roles including Amor in Anna-Marie Holmes’ Don Quixote, In the Middle, Somewhat Elevated, Pas de Trois in Devon Carney’s Swan Lake, Sugar Plum Fairy in The Nutcracker, and 1st Regiment Leader in George Balanchine’s Stars and Stripes. PAUL ZUSI | JOINED KCB IN 2021 Paul Zusi began training at Southold Dance Theater at age 6. In 2019, he joined Boston Ballet‘s second company, where he worked with choreographers Peter Stark, Kathleen Mitchell, Jorma Elo and Mikko Nissinen. He joined Kansas City Ballet in 2021, where he has performed featured roles including 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 Carney‘s Peter Pan and leading roles in George Balanchine‘s Emeralds and Diamonds. Zusi thanks his loved ones for their support.
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KANSAS CITY BALLET SECOND COMPANY KCB II
LUKE ELLER
JACK HINDOCHA-DANIELS
CORABELLE KENNEDY
JOINED IN 2026, +2 YEARS TRAINEE
JOINED IN 2026, +2 YEARS TRAINEE
JOINED IN 2026, +2 YEARS TRAINEE
ISABELLA MARTINO
NATHANIEL ORLOV-MAYER
JOINED IN 2026, +1 YEAR TRAINEE
JOINED IN 2026
ZANDER RHYS JOINED IN 2025
ZOEY UHLMAN JOINED IN 2026, +2 YEARS TRAINEE
TRAINEES (Front Row from L-R) Madalyn Hesterlee, Claire Bowers, Amelia Wood, Maggie De Groote, Meagan Cameron, Catherine Payson, Isabelle Rookstool, Ella Fischer (Middle Row from L-R) Payton Boddy, Caroline Strasberg-Fern, Maya McDaniels, Julia Bellantoni, Reagan Kinney, Emma Ashton, Addison Jankauskas (Back Row from L-R) Jordan Gourley, Michelangelo Fante, Johnny Castle, Joseph Moore
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. KCB A LLET.O RG | 39
CASTING The Wizard of Oz Original Story by L. FRANK BAUM (written in 1900, The Wonderful Wizard of Oz) Choreography by SEPTIME WEBRE Music Composition by MATTHEW PIERCE Scenic Design by MICHAEL RAIFORD Costume Design by LIZ VANDAL Lighting Design by TRAD A BURNS Projection Design by AARON RHYNE Puppetry Design by NICHOLAS MAHON Flying illusions provided by ZFX Conducted by RAMONA PANSEGRAU Music performed by KANSAS CITY SYMPHONY Staged by KRISTI CAPPS, PARRISH MAYNARD, CHRISTOPHER RUUD Children’s Ballet Coaches KIMBERLY COWEN, JENNIFER WELCH CUDNIK All children appearing are students of Kansas City Ballet School Story lines and visual elements from the classic motion picture provided by Warner Bros. Theatre Ventures. The ballet production of The Wizard of Oz is a joint commission by Colorado Ballet, Kansas City Ballet, and Canada’s Royal Winnipeg Ballet World Premiere: Friday, October 12, 2018. Kauffman Center for the Performing Arts, Kansas City, Missouri
The Cast Dorothy Aunt Em/Glinda Miss Gulch/Wicked Witch of the West Hunk/Scarecrow Hickory/Tin Man Zeke/Lion Professor Marvel/Wizard of Oz Uncle Henry Toto Puppeteer Twister Puppeteers
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Naomi Tanioka Gillian Yoder Sidney Haefs Amelia Meissner Mei McArtor Noura Sander Aidan Duffy Joshua Kiesel Gavin Abercrombie Elliott Rogers Cameron Thomas Keaton Linzau Alladson Barreto Jordan Long Michael Dadlez Alladson Barreto Johnny Castle Payton Boddy Joseph Boswell, Claire Bowers, Collin Brooks, Michael Dadlez, Michelangelo Fante, Ella Fischer, Eleanor Golda, Jordan Gourley, Madalyn Hesterlee, Zander Rhys, Caroline Strasberg-Fern, Derek Wippel, Ben Workman, Anna Young
CASTING Munchkinland Munchkins
Curly Cues
Ruffians
Grasshoppers Cast A:
Cast B:
Meagan Cameron, Maggie De Groote, Addison Jankauskas, Corabelle Kennedy, Reagan Kinney, Celeste Lopez-Keranan, Audrey Lynn, Isabella Martino, Maya McDaniels, Luke Eller, Jack Hindocha-Daniels, Jordan Long, Nathaniel Orlov-Mayer, Zander Rhys, Derek Wippel, Ben Workman Olivia Jacobus, Noura Sander Marisa DeEtte Whiteman Anya Chiu, Whitney Huell, Maura Moody Isaac Allen, Keaton Linzau, Elliott Rogers Isaac Allen, Joseph Boswell, Derek Wippel Reagan Cheshier, Sara Harris, Karsyn Hutchinson-Ramirez, Laurel Niang-Trost, Henley Spaulding, Elsie Winter Genevieve Clymer, Cecilia Guezuraga, Molly Houck, Natalia Powers, Alice Sagdeev, Catherine Streb
Along the Yellow Brick Road Yellow Brick Roadies
Trees Poppies
Johnny Castle, Michael Dadlez, Luke Eller, Michelangelo Fante, Jordan Gourley, Jack Hindocha-Daniels, Nathaniel Orlov-Mayer, Zander Rhys, Ben Workman Reagan Kinney, Caroline Strasberg-Fern, Amelia Wood Ella Fischer, Eleanor Golda, Anna Young Anya Chiu, Olivia Jacobus, Corabelle Kennedy, Celeste Lopez-Keranan, Audrey Lynn, Isabella Martino, Mei McArtor, Maura Moody, Olivia Pearsall, Isabelle Rookstool, Noura Sander, Zoey Uhlman, Joseph Boswell, Michael Dadlez, Luke Eller, Jack Hindocha-Daniels, Jordan Long, Nathaniel Orlov-Mayer, Zander Rhys, Derek Wippel, Ben Workman
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CASTING Poppy Seeds Cast A:
Cast B:
Frances Charles Grant, Lilly Hoover, Eleanor Knoll, Lottie Linn, Adele Osbern, Mabel Phillips, Faye Renshaw, Avonni Robbins Fiona Doerksen, Emi Kawano-Sanchez, Genevieve Lassiter, Evelyn Martin, Elizabeth Romine, Elizabeth Valenti, Saho Watanabe, Jubilee Wiens
- 20 MIN. INTERMISSION The Emerald City Guard with the Green Whiskers His Assistant Emerald City Posers
Bell Hops Popcorn Girls Emerald Ballerina Emerald Officer Quartz Baby Ballerinas Cast A:
Cast B:
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Alladson Barreto Jordan Long Owen Weeks (A) Jameson Sauser (B) Julia Bellantoni, Payton Boddy, Meagan Cameron, Maggie De Groote, Ella Fischer, Addison Jankauskas, Catherine Payson, Isabelle Rookstool, Caroline Strasberg-Fern, Amelia Wood Johnny Castle, Michael Dadlez, Luke Eller, Jordan Gourley, Jack Hindocha-Daniels, Jordan Long, Nathaniel Orlov-Mayer, Zander Rhys Isaac Allen, Joshua Kiesel Joseph Boswell, Derek Wippel Amelia Meissner, Marisa DeEtte Whiteman Olivia Jacobus, Celeste Lopez-Keranan Whitney Huell Sidney Haefs Ben Workman Alladson Barreto Kinley Buxton, Payton Ann Casey, Anya Hudson, Delila Gardner, Evelyn Overmyer, Scarlett Spaulding, Prisca Wiersma, Emerson Williams Hadley Bakkedahl, Sophie Jane Ecord, Ella Gampper, Katherine Jacobson, Samantha Lopez-Duarte, Isabella Scavone, Saige Stokley, Lillian Torres
CASTING The Witch’s Castle Winged Monkeys Monkey Puppeteers
The Winkies
Isaac Allen, Joseph Boswell, Johnny Castle, Michelangelo Fante, Joseph Moore Gavin Abercrombie, Alladson Barreto, Collin Brooks, Eleanor Golda, Jordan Gourley, Madalyn Hesterlee, Joshua Kiesel, Keaton Linzau, Jordan Long, Nathaniel Orlov-Mayer, Catherine Payson, Cameron Thomas, Anna Young Julia Bellantoni, Payton Boddy, Claire Bowers, Anya Chiu, Madalyn Hesterlee, Olivia Jacobus, Corabelle Kennedy, Celeste Lopez-Keranan, Audrey Lynn, Isabella Martino, Maya McDaniels, Maura Moody, Olivia Pearsall, Isabelle Rookstool, Zoey Uhlman, Marisa DeEtte Whiteman, Isaac Allen, Michael Dadlez, Aidan Duffy, Luke Eller, Jack Hindocha-Daniels, Zander Rhys, Derek Wippel, Ben Workman
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SYNOPSIS KANSAS It is morning on Uncle Henry and Aunt Em’s farm in Kansas and the farmhands goof off between chores, ignoring Dorothy, who feels unappreciated and dreams of a place far away. Their unpleasant neighbor, Miss Gulch arrives to complain about Dorothy’s little dog, Toto, threatening to take him away. Toto escapes and Dorothy runs away with him. On the road, Dorothy meets a showman, Professor Marvel, who urges her to return to the farm as a twister approaches. THE TWISTER & MUNCHKINLAND Dorothy is lifted into the sky by the twister and travels for what seems like an eternity. Suddenly she plops to the ground with a thud. The twister has taken her to the Land of Oz, where she meets the Munchkins and Glinda, the Good Witch of the North. Dorothy’s bed has fallen upon the Witch of the East, killing her, and freeing the Munchkins from her power. As the Munchkins celebrate, the Wicked Witch of the West arrives to claim her sister’s magical ruby slippers, and avenge her sister’s death. But in a flash, the ruby slippers appear on Dorothy’s feet, thwarting the Witch… for the moment. Dorothy wants to go home to Kansas. The Munchkins tell Dorothy that, surely the Wizard of Oz will help her, and she sets off down the Yellow Brick Road towards the Emerald City to find him. ALONG THE YELLOW BRICK ROAD Along the way, Dorothy and Toto meet three new friends who need help: a Scarecrow whose head is full of straw; a Tin Man with an empty chest, and a Lion who is afraid of his own tail. Dorothy invites them to join her to see if the Wizard can help them too. When the Wicked Witch fails to intimidate Dorothy and her friends, she creates a beautiful field of poppies whose scent is poisonous. Glinda causes it to snow, and the poppies melt away, revealing the gates of the Emerald City. Dorothy and her friends boldly knock on the gates but the Guard with the Green Whiskers and his Assistant send them away.
– Intermission – THE EMERALD CITY The Guard sees that Dorothy is wearing the ruby slippers and assumes she must 44 | KC B AL L ET.OR G
be a person of great importance. He welcomes the friends into the Emerald City. As they are preparing to meet the Wizard, the Witch flies by with another warning to Dorothy: give her those slippers! Unsettled, the group is led into the Wizard’s throne room where they ask for his help. He tells them that to prove themselves worthy of his assistance they must bring him the broom stick of the Wicked Witch of the West. WINGED MONKEYS AND THE WITCH’S CASTLE Dorothy and her friends depart in haste, and as they make their way to the Witch’s Castle, they are set upon by the Witch’s Winged Monkeys who capture Dorothy. The Scarecrow, Tin Man and Lion, sneak into the castle to try to free Dorothy and Toto, who have been imprisoned by the Witch and the Winkies, her slaves. Amid the chaos, the Witch makes a grab for the ruby slippers and Dorothy defends herself by throwing a bucket of water on the Witch, who melts into nothingness. The friends take her broomstick and return to the Emerald City. THE HUMBUG AND DOROTHY’S RETURN HOME In the Throne Room, the Wizard is reluctant to help Dorothy and her friends, when Toto discovers a befuddled man behind an emerald wall: it turns out that the Wizard is a humbug. He’s not a wizard at all, but an ordinary man from Kansas who found himself in Oz after he lost control of his hot-air balloon. The Scarecrow, Tin Man and Lion impatiently remind him that he promised to help them, but the Wizard points out that they don’t need his help--they have already shown brains, heart and courage beyond measure. As for Dorothy, he tells her that he will take Toto and her to Kansas himself in his hotair balloon. As they prepare to depart, Toto runs off, and Dorothy chases him, but it’s too late—the wind has already taken the Wizard, leaving Dorothy and Toto behind. Glinda appears, telling Dorothy that her ruby slippers will take her home. Dorothy says farewell to her friends, and with the aid of the slippers, wills herself home. Dorothy awakens to finds herself at home in Kansas, with Toto asleep at her feet.
PROGRAM NOTES SEPTIME WEBRE • CHOREOGRAPHER My relationship with all things OZ, in four easy steps: 1. I grew up in the Bahamas until I was about 12, and every Sunday, driving to a small missionary church my family attended we’d pass a tiny greying abandoned house plopped in the brush near a beach. We called it Dorothy’s house and it looked as though a Caribbean hurricane had dropped it there, like Dorothy’s house landing in Munchkinland. My siblings and I were obsessed with the Oz books and read every book in the series multiple times. 2. When I was 12 years old we moved to South Texas, and my brothers and sister and I bought a whole suite of marionettes for 99 cents each in Mexico. We spent the whole summer re-costuming these string puppets to create a full cast of Oz, and we painted elaborate backdrops to fit the full-sized puppet house my parents had ordered for us from FAO Schwartz. We created what we thought was a rather extravagant puppet version of The Wonderful Wizard of Oz which we toured all over South Texas—from nursing homes, to orphanages, to church bazaars.
3. A few years later, in my late teens, I ran a youth summer program for the local Parks and Recreation Department, in partnership with the Texas School for the Blind and a social service agency which provided support for kids with Down Syndrome. That summer I directed a production of The Wonderful Wizard of Oz with the majority of the principal roles played by blind teens and the Munchkins played by youth with Down Syndrome. It was such a celebration of humanity. 4. And now, Oz, the ballet. Over the years I had toyed with working on a ballet adaptation of The Wonderful Wizard of Oz, but had resisted—both the book and the film are such perfect works of art and I wasn’t quite sure I could illuminate anything about the story that hadn’t been said by the source material. But over time I realized the marvelous characters invented by Frank Baum beg to be danced, and that so much could still be discovered using our metaphorical language of ballet. I’ve been living with this magical tale for so long, working on this ballet has been like coming home. And there’s no place like it…..
MUSIC NOTES MATTHEW PIERCE • COMPOSER Music or choreography, what comes first? People ask this frequently when they witness a new ballet. Music, the simple answer, has always preceded choreography in the collaboration Septime and I have enjoyed through five full length ballets. Septime crafts a libretto that defines a sequence of storytelling moments and dances and I translate the psychology of the narrative and the muscular movement into music. Dancers need a rhythm to move to and a melody to inspire them. Anything can be an inspiration: a snip of song, a dance step, a simple count, a painting, a tone of voice, an episode from a television series, a character description. Free association and improvisation shape the creative process and this spontaneity is the reason for our success. Studio time with Septime follows where I humbly witness the mysterious kinesthesia and “listen” to the dancer’s
moving song. The happiness of the music in this ballet is a direct reflection of the working relationship Septime and I have. The mélange of influences creating the joy span the decades, 1920’s Big Band, 1950’s Cool Jazz, 1970’s Glam Rock, late 1970’s Disco and 1980’s New Wave. Septime and I examined our collective 20th Century popular music favorites and rendered the memories into a playful aural journey. You’ll hear a reference to screaming electric guitars in the brash and noisy orchestration, Big Band swing in the liberal use of glissandi (slides) in the strings and trombones and cool jazz in the unusual inclusion of a Tenor Saxophone in the orchestra announcing to Dorothy, “We aren’t in Kansas anymore.” L. Frank Baum’s story of Dorothy and the 1939 film spurred the creation of this collaborative project that required an open mind, an open heart, a fantastical spirit and an unrestrained imagination. KCB A LLET.O RG | 45
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 Chiafei Lin Yun-Chung Lin^ Vladimir Rykov Alex Shum*
Meredith McCook Allen Probus DOUBLE BASSES Landon Honolka^, Principal Evan Halloin, Associate Principal Nils Aardahl Joseph Nuñez Richard Ryan Michael Zogaib^
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 Filip Lazovski∆ Sodam Lim Ayrton Pisco
PICCOLO Alejandro Lombo^
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 46 | KC B AL L ET.OR G
FLUTES Michael Gordon, Principal Marylou and John Dodds Turner Chair Shannon Finney, Associate Principal Alejandro Lombo^
OBOES Kristina Fulton, Principal Shirley Bush Helzberg Chair Alison Chung, Associate Principal Matthew Lengas ENGLISH HORN Matthew Lengas CLARINETS Raymond Santos, Principal Bill and Peggy Lyons Chair Javier Morales-Martinez, Associate Principal John Klinghammer E-FLAT CLARINET Javier Morales-Martinez 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 Roy Femenella^, Principal Landon and Sarah Rowland Chair David Sullivan, Associate Principal
Elizabeth Gray David Gamble Stephen Multer TRUMPETS Julian Kaplan, Principal James B. and Annabel Nutter Chair Shea Kelsay∆, Acting Associate Principal Hyojoon Park∆ TROMBONES Evelyn Carlson, Principal Porter Wyatt Henderson, Associate Principal Joseph Maiocco BASS TROMBONE Joseph Maiocco TUBA Jarrett McCourt∆, Acting Principal 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 DAVID T. BEALS III ASSISTANT CONDUCTOR Daniel Wiley __________________ Justin White, Director of Orchestra Operations Elena Collins, Manager of Orchestra Personnel * Non-Rotating Musician ^ New Member ∆ One-Year Member ± On Leave of Absence
MEET THE ARTISTS SEPTIME WEBRE • CHOREOGRAPHER
Septime Webre is an internationally recognized ballet director, choreographer, educator and advocate. He became artistic director of Hong Kong Ballet in July 2017, following 17 years as artistic director of The Washington Ballet (1999–2016) and six years leading American Repertory Ballet in Princeton, New Jersey (1993–1999). He also serves as artistic director of Halcyon, a Washington DC foundation, where he launched an annual international Festival for Creativity in 2018. During his Washington Ballet tenure, the budget grew 500%, and he founded far-reaching community engagement programs and artistic initiatives like The American Experience, adapting literary classics such as The Great Gatsby and Hemingway’s The Sun Also Rises into fulllength ballets. His choreography appears in repertoires across North America, including Pacific Northwest Ballet, Ballet West, Atlanta Ballet, and Kansas City Ballet. His Hong Kong works, Romeo+Juliet and The Nutcracker, both premiered in 2021; the latter won Outstanding Choreography at the 2022 Hong Kong Dance Awards. A former dancer in classical and contemporary roles, Webre has judged international competitions worldwide and holds a History/Pre-Law degree from the University of Texas at Austin. He is the seventh son in a large, boisterous CubanAmerican family.
MATTHEW PIERCE • COMPOSER
Composer-Violinist Matthew Pierce is celebrated for his new classical scores commissioned by major American ballet companies. He has written ballet scores for Joffrey Ballet, American Ballet Theater, Atlanta Ballet, Ohio Ballet, Ballet Met, Cincinnati Ballet, Miami Ballet, Ballet Memphis, Ballet Hawaii, Post Ballet, Ballet Coeur d’Alene, Colorado Ballet, Kansas City Ballet, New York City Ballet, Houston Ballet, Ballet Austin and San Francisco Ballet. Night, a full orchestra score set to a Chagall inspired dreamscape ballet has been seen at the Opera Garnier in Paris, Covent Garden in London and City Center in New York. Sarah Kaufman of the Washington Post called his 2012 score for Washington Ballet’s ALICE (in wonderland), “The cherry on top: Pierce’s visionary result, a shimmering landscape that weaves together bits of our own world — Asian, Middle Eastern, pop riffs, jazz — with a contemporary edge and a spirit of discovery. And, yes, wonder.”
MICHAEL B. RAIFORD • SCENIC DESIGNER
Michael B. Raiford’s scenic and costume designs for theater, ballet and opera have been seen throughout the US and internationally, earning him a nomination for the Bolshoi’s Prix Benois de la Danse in Moscow. Known as a “dramaturgical designer,” he is drawn to new work and the insight it takes to build a world never seen before. With a background in music, he has a particular feel for how plays, musicals, ballet and opera each need orchestration. Recent highlights include Septime Webre’s The Wizard of Oz and Blast: The Music of Disney in Japan, which he directed. A longtime contributor to new-play festivals, he has collaborated with over 30 playwrights and choreographers to bring their worlds to life. He has taught at the University of Texas at Austin, mentored young artists, and remains dedicated to arts education for LGBTQ+ and racially underserved youth. KCB A LLET.O RG | 47
MEET THE ARTISTS LIZ VANDAL • COSTUME DESIGNER
Liz Vandal began as a self-taught fashion designer, quickly gaining recognition for an approach where technical precision meets the poetry of movement. She has collaborated with Marie Chouinard, Margie Gillis, the Paris Opera, the Hong Kong Ballet, and the Grands Ballets Canadiens. A specialist in costumes for extreme movement, she became a key creative at Cirque du Soleil (OVO, Viaggio, Sonor, Cosmos, Excentick). She designed over 3,000 costumes for the 2015 European Games closing ceremony in Baku and the opening ceremony for the Lake Placid FISU World University Games. Honored with the Hong Kong Dance Award and nominated for the Benois de la Danse, her work spans ballet, film, and music — including The Wizard of Oz, ALICE (in wonderland), and the Backstreet Boys’ Black ‘n Blue Tour. She also teaches design and innovation worldwide. In 2026, she designs the costumes for Évangéline (Québecor), continuing a career defined by vision and kinetic elegance.
AARON RHYNE • PRODUCTION DESIGNER
Aaron Rhyne’s designs have been seen on stages around the world in musicals, plays, operas, and dance performances, as well as immersive experiences and nighttime spectaculars. He keeps offices in both New York and Los Angeles. He designed the Broadway, touring, and international productions of Anastasia, winning a Drama Desk and an Outer Critics Circle Award for Outstanding Projection Design. Other projects include Hasan Minhaj’s The King’s Jester world tour and Netflix special, The Sound Inside and A Gentleman’s Guide to Love and Murder on Broadway, and multiple Disney Parks, Resorts, and Cruise Line productions including Frozen, Beauty and the Beast, and Aladdin. His opera work includes The Thirteenth Child at Santa Fe Opera, The Ghosts of Versailles at LA Opera, and Florencia en el Amazonas for Opera Colorado and Florida Grand Opera. Rhyne currently teaches Projection Design at UCLA.
NICHOLAS MAHON • PUPPETRY DESIGNER
Nicholas Mahon is an Emmy-nominated puppet and theatrical designer specializing in performer interactive pieces and character creation. Since 2004 he has worked on projects for Michael Curry Design, Walt Disney Entertainment, Universal Studios, The Jim Henson Company, Blue Man Group and many more. Most recent projects include Sesame Street Television (2013-present), Mother Of The Nation (Abu Dhabi 2016), Islamic Solidarity Games Opening Ceremony (Baku 2017) and 2018 Winter Olympics Opening Ceremony (Pyeonchang). His work on the Baku 2015 European Games Opening Ceremony as scenic designer was nominated for a Daytime Emmy.
TRAD A BURNS • LIGHTING DESIGNER
Trad A Burns’ lighting and scenic designs for theater, dance, and theme parks have been seen around the world. He has created world-premiere ballets for notable choreographers including Trey McIntyre, Val Caniparoli, James Kudelka, Edwaard Liang, Annabelle Lopez Ocha, Kenneth Tindall, Matthew Neenan, Adam Hougland, Garrett Smith, Jessica Lang, Alejandro Cerrudo, Kirk Peterson, Nicola Fonte, Donald Byrd, 48 | KC B AL L ET.OR G
MEET THE ARTISTS TRAD A BURNS cont.
Jodie Gates, Gina Patterson, Amy Seiwert, Ma Cong, Andrea Schermoly, Jennifer Archibald, Penny Saunders, Stephanie Martinez, Septime Webre, Devon Carney, Victoria Morgan, Robert Curran, James Sofranko, Darrell Grand Moultrie, and Caili Quan. Trad’s theatrical designs have been seen at The Public Theatre, New York Theatre Workshop, Indiana Repertory Theatre, The Cleveland Playhouse, Great Lakes Theatre, Idaho Shakespeare Festival, Lake Tahoe Shakespeare Festival, among others. You can also see his work at multiple Disney Parks & Resorts around the globe. This is Burns’ 11th season working with Kansas City Ballet.
KRISTI CAPPS • REHEARSAL DIRECTOR & STAGER
Kristi Capps has served as rehearsal director with Kansas City Ballet since the 2014-2015 season. In that role, Capps has been répétiteur for many of the company’s productions including Edwaard Liang’s Wunderland, Helen Pickett’s Petal, and AnnaMarie Holmes’ Don Quixote. Beyond the company, she has staged Devon Carney’s The Sleeping Beauty, Giselle, and Romeo & Juliet for companies such as Ballet Hawaii, Cincinnati Ballet, Grand Rapids Ballet, and Oklahoma City Ballet. She has also staged Septime Webre’s The Great Gatsby and The Wizard of Oz for Kansas City Ballet, Webre’s The Wizard of Oz for Colorado Ballet, Royal Winnipeg Ballet, Cincinnati Ballet, Nevada Ballet, Pittsburgh Ballet, and Hong Kong Ballet. When she is not in the studio as rehearsal director, Capps teaches at Barre3 Kansas City and works with KC Ballet’s Creative Aging Program, teaching dance to people living with Parkinson’s and dementia.
PARRISH MAYNARD • REHEARSAL DIRECTOR
Parrish Maynard danced with American Ballet Theatre, where he was invited to join by Mikhail Baryshnikov, rising to principal dancer before joining San Francisco Ballet. A recipient of the Princess Grace Award and the Presidential Scholar Award, he was also a silver medalist at the International Ballet Competition. He danced the role of Iago in Lar Lubovich‘s Othello, which was created on him at San Francisco Ballet. In 2005, Maynard joined the faculty of San Francisco Ballet School, where he choreographed more than 20 ballets, some performed by companies worldwide including ABT Studio Company, Royal Ballet School, and Royal New Zealand Ballet. Throughout his career he has worked with leading choreographers including George Balanchine, William Forsythe, Jiří Kylián, Wayne McGregor, Alexei Ratmansky, and Twyla Tharp. Specializing in male classical technique and coaching, Maynard currently serves as rehearsal director for Kansas City Ballet.
CHRISTOPHER RUUD • SECOND COMPANY MANAGER & REHEARSAL DIRECTOR
Growing up backstage at San Francisco Ballet, Ruud was immersed in professional dance and stagecraft from the start. Trained primarily at San Francisco Ballet School, he joined Ballet West in 1998 and was named principal dancer in 2004. Over 21 years as a leading artist there, he performed a wide range of classical and contemporary repertoire across the U.S. and internationally—including China, Cuba, Scotland, Canada, New York, and the KCB A LLET.O RG | 49
MEET THE ARTISTS CHRISTOPHER RUUD cont.
the Kennedy Center—dancing major roles in works by Balanchine, Kylián, Tharp, Forsythe, Ashton, Tudor, and Cranko. His choreography earned a New York Choreographic Institute Fellowship and several NEA grants, and his company RUUDDANCES toured to Jacob‘s Pillow. After retiring from dancing in 2019, Ruud joined Kansas City Ballet, where as Second Company manager and rehearsal director he has staged works including Balanchine‘s Rubies, Lila York‘s Celts, and Alexander Ekman‘s Cacti, and while also spending time in the Kansas City community educating children and adults about ballet and live performance.
KIMBERLY COWEN • PRINCIPAL, BOLENDER CENTER & CHILDREN’S COACH
Kimberly Cowen, from St. Louis, Missouri, received most of her ballet training from Nathalie LeVine. She has also studied at St. Louis Ballet under Ludmila Dokoudovsky and Antoni Zalewski, at Pacific Northwest Ballet with Fleming Halby and Nina Danilova and at The Joffrey Ballet with Francesca Corkle and Winthrop Corey. She studied at the Kansas City Ballet School with Todd Bolender, Una Kai, and Lisa Dillinger before joining the Kansas City Ballet in 1991, where she danced for 20 years. Cowen has danced leading roles in Coppélia, Swan Lake, A Midsummer Night’s Dream, The Sleeping Beauty, Giselle, Carmen and Romeo & Juliet. She has danced a wide variety of styles by famous choreographers such as George Balanchine, Jerome Robbins, Anthony Tudor, Todd Bolender, David Parsons, Paul Taylor, Merce Cunningham, Twyla Tharp, Vincente Nebrada , Nacho Duato, Margo Sappington, Trey McIntyre, Jessica Lang, Val Caniparoli, Mary Wigman and William Whitener. Cowen joined the Kansas City Ballet School staff in 2002.
JENNIFER WELCH CUDNIK • PRINCIPAL, PRE-PROFESSIONAL PROGRAM & CHILDREN’S COACH
Originally from St. Louis, Jennifer Welch Cudnik trained with Berkeley Evans, Alexandra Zaharias, Todd Bolender, and Una Kai before moving to New York at fifteen to study on full scholarship at the School of American Ballet under Stanley Williams, Suki Schorer, and Kay Mazzo. There she performed works by Balanchine—including The Four Temperaments, Rubies, and Concerto Barocco—and originated roles by Christopher Wheeldon and Damian Woetzel. She danced professionally with Pennsylvania Ballet and Saint Louis Ballet for a decade, performing leading roles in Balanchine‘s Serenade, Allegro Brillante, and Divertimento No. 15, the title role in Giselle, and Aurora in The Sleeping Beauty. A dance educator for 25 years, she most recently served as Principal of the Sarasota Ballet School and has held faculty positions at Webster University, COCA, and Saint Louis Ballet. ABT® certified with an MFA from Hollins University, she centers her work on equity, inclusivity, and compassionate artistic excellence.
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MEET THE ARTISTS 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.
A SPECIAL THANK YOU Kansas City Ballet expresses its deepest appreciation to the following supporters for making this extraordinary production of The Wizard of Oz possible. Arvin T. Gottlieb Charitable Foundation, UMB Bank, N.A., trustee Estelle S. and Robert A. Long Ellis Foundation The Francis Family Foundation Hall Family Foundation Richard J. Stern Foundation for the Arts, Commerce Bank, Trustee The Sunderland Foundation William T. Kemper Foundation, Commerce Bank Trustee Costume design by Liz Vandal.
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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!
KRIS GOODING • ASSISTANT STAGE MANAGER
Originally from Dallas, Kris Gooding joined Kansas City Ballet in 2026 and is grateful for her first season with the company. Gooding has previously worked as an assistant stage manager at Oklahoma City Ballet and as a stage manager at Jacob‘s Pillow Dance Festival. She holds a B.F.A. in Design and Production: Stage Management from Oklahoma City University. Gooding would like to thank her mentors, family, and friends for supporting her dreams and always cheering her on.
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$10,000-$24,999
BOLENDER SOCIETY GOLD
$5,000-$9,999
BOLENDER SOCIETY SILVER
$2,500-$4,999
BOLENDER SOCIETY BRONZE
OVATION
$1,000-$2,499
BRAVO
$500-$999
FRIEND
2026-2027 SUPPORTER BENEFITS
$1-$499
YOUR SUPPORT ENSURES DANCE IS FOR ALL
Website Recognition Listing Behind-the-scenes eNews Program Recognition Listing Invitation to Rehearsal Watch Pre-sale Ticket Access Welcome Packet Bolender Society 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
To learn more about supporting Kansas City Ballet, contact us at impact@kcballet.org or visit our website at kcballet.org/donate. KCB A LLET.O RG | 53
BALLET BUSINESS COUNCIL Kansas City Ballet thanks the following businesses and corporate foundations for their support. DIAMOND ($50,000-$99,999)
Bank of America Hallmark Corporate Foundation Performance Rehab KCOI, the Official Performance Rehabilitation Provider of Kansas City Ballet
PLATINUM ($25,000-$49,999)
Belger Cartage Service, Inc. 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) Elevé Dancewear, Kansas City Ballet School Uniform Partner Encore JE Dunn Construction Kemper Family Foundations Lifted Logic Seville Home SS&C Technologies, Inc. Stepp & Rothwell, Inc. VanBrock SILVER ($5,000-$9,999) BlueScope Steel Burns & McDonnell Cboe Global Markets Commerce Bank Craig Sole Designs Dance Shoppe Inc., R.O.A.D. Uniform Partner East Market Studios - Brett Pruitt The Hise Lowry Group - Merrill Private Wealth
Lockton Riley ABA & Autism Center UnitedHealthcare US Bank Foundation BRONZE ($2,500-$4,999) Blue Cross Blue Shield of Kansas City Children’s Mercy Delta Dental of Kansas Evergy Garmin Gill Studios, Inc. Henderson Engineers Kansas City Foot & Ankle, The Official Podiatry Treatment Provider to Kansas City Ballet Lathrop GPM LLP Mineral Lounge/ Tannin Wine Bar & Kitchen Parisi Coffee State Street Tito’s Handmade Vodka - Fifth Generation, Inc.
OVATION ($1,000-$2,499)
Baseley Law Office Chevron Google Fiber Levity Events Maison by Alexandra Design + Build MC Realty Group Microsoft Northern Trust PNC Foundation John Rufenacht Associates, Inc. Strauss Peyton Photography
BRAVO ($500-$999)
HCA Midwest Health System Kendra Scott Levy Craig Law Firm Marsh McLennan Agency Structurflex T-Mobile Foundation Uhl Engineering, Inc. - Mr. Terry Uhl
SPONSOR KANSAS CITY BALLET TO INSPIRE OUR COMMUNITY THROUGH THE POWER OF DANCE. As a sponsor, 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
Let’s talk about how we can customize a sponsorship that meets your business goals. Contact Lacy Gordon, Corporate and Foundation Relations Manager, at 816.451.8757 or lgordon@kcballet.org to get started.
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Photo by Anna Walters.
• meaningful employee engagement opportunities
PARTNER PROFILE: Presenting Sponsor of The Wizard of Oz
Kansas City Ballet is grateful to Seville Home for its support as a partner and for its commitment to the arts and design community in Kansas City. For decades, Seville Home has helped Kansas City families create beautiful, livable spaces that feel distinctly their own. Locally owned and operated, Seville Home offers an expertly curated collection of fine furniture, accessories, art and home décor from some of the industry’s most respected brands—all brought together in its Leawood showroom. More than a furniture store, Seville Home is a destination for inspired interiors. Its talented design team
provides complimentary interior design services, helping clients bring rooms and entire homes to life with a thoughtful mix of furnishings, color, texture and personal style. From the first design conversation through white-glove delivery, the Seville Home team is known for creating a highly personalized experience centered around quality, service and enduring design. Seville Home is proud to support Kansas City Ballet and its continued contribution to the cultural life of our community. The partnership celebrates a shared appreciation for artistry, creativity and the beauty of a thoughtfully created experience— whether on the stage or at home. sevillehome.com
KANSAS CITY BALLET GUILD PRESENTS
DECEMBER 5, 2026 Waltz with the flowers at Kansas City Ballet Guild’s annual gala, the Nutcracker Ball at the Kansas City Marriott Downtown. Proceeds from the Nutcracker Ball provide essential support for Kansas City Ballet.
TICKETS START AT $350 KCBALLETBALL.ORG
Photography by Strauss Peyton and Kenny Johnson.
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KANSAS CITY BALLET CONTRIBUTORS Thank you to the 2026-2027 Bolender Society members for their dedication and transformational support. BOLENDER SOCIETY LEADERSHIP ($100,000+) Anonymous Julia Irene Dennie – Kauffman 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 Foundation Dana Seeley William T. Kemper Foundation Commerce Bank, Trustee BOLENDER SOCIETY DIAMOND ($50,000-$99,999) Evelyn R. Craft Belger and C. Richard Belger City of Kansas City, Missouri Neighborhood Tourist Development Fund Estelle S. and Robert A. Long Ellis Foundation Marilyn A.W. Gaar and Norman E. Gaar, Esq. Estate of Timothy C. Liebert * Dennis and Susan Lordi Marker National Endowment for the Arts 56 | KC B AL L ET.OR G
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 Michele HamlettWeith and Brian Weith Mr. and Mrs. Barnett C. Helzberg, Jr. Francis Family Foundation J. Scott Francis Richard Jensen and Melanie Jones Tracy and Jeff Musolf 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 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 Dorothy Brandt Mike and Vicki Bray Janis E. Brewster Karen and Stephen Clegg Fred and Lucy Coulson
Cathy and Steve Doyal Sue Ann and Richard Fagerberg 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 Harold and Vicki James Jerome Robbins Foundation Kao Family Foundation Kirk Foundation Julie and Mike Kirk Taylor and Samantha Kranzberg Ms. Victoria Lamkey The Lighton Fund Linda Lighton and Lynn Adkins Louis & Elizabeth Nave Flarsheim Charitable Foundation - Bank of America Patricia Martin and Brian Woolley 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 Paula and Jack Rowe Susan and Glen Sands Bill and Ginny Shackelford * Dr. Christopher and Lisa Sirridge Craig Sole Sosland Foundation Mr. Ian Spinks and Ms. Juliette Singer Jody Shelton Stephen, in memory of Rita Shelton Will and Kathryn Stroman Deb and Tom Swenson
Thomas and Sally Wood Family Foundation Angela and John Walker Mr. Bill Weaver and Ms. Crystal O’Dea Lynne and Carl Weilert 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 Midwest Trust Dr. Stephen and Susan Bubb Dennis and Marilyn Christopher Vicki and Mark Dickerson Jo Anne and Bill Dondlinger Edie and Randy Downing Joseph and Diana Eisenach 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 Foundation Michael and Marlys Haverty Rudy and Deb Herrmann Brent and Rachelle Hesterlee Linda and Topper Johntz Robert and Georgia Kingsley Bill Lindsay and Jan Foletta Austin and Kristin Massoth Bobbie Mathes
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KANSAS CITY BALLET CONTRIBUTORS Thank you to the 2026-2027 Bolender Society members for their dedication and transformational support. Mr. Robert H. Maynard, in memory of Heather Maynard Mary Anne and Steve McDowell Teresa and Bruce McKinney Kamal and Mary Lynn Mikhail Ms. Gail B. Morse * Barbara Clarke Nash George and Suzy Pagels Sarah and Jesse Pedraza Fred and Jami Pryor Joe and Sara Romine Gigi and Gary Rose Lisa and Charles Schellhorn Sherman Family Foundation - Marny and John Sherman Meyer and Mindy Sosland Bradley and Cynthia Strecker Jennifer and Bryan Wampler Lorie Whitaker Dr. Loren and Thomas Whittaker Raelee Wright Dr. Michael J and Cindy S. Wurm
BOLENDER SOCIETY BRONZE ($2,500-$4,999)
Anna and John Allen Ms. Leslie G. Anderson Anonymous 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 Craig Coen and Jeffrey Bellamy Copaken Family Foundation Dr. Susie Cox Don and Patricia Dagenais 68 | KC B AL L ET.OR G
Kyle Danner Peggy and Terry Dunn Julia Kirk and John Duty Vicki Erickson and Ron Keel Melanie and Mike Fenske Ms. Virginia Fisher Mark and Nancy Gilman Susan Gilmore and Barry Loughrige Dr. Richard Schupp and Dr. Marilu Goodyear Bruce and Kathy Gordon David Gray and Kyra Nichols Charles and Eileen Green Hank and Mary Beth Hershey Robert and Cindy Hisle Jackson and Gamble Family Cyndi James Mr. Steve Joss Donna Kelly Charlotte Kemper Black Dr. and Mrs. Howard Kilbride Dana M. Koehn Carol and John Kornitzer Dr. and Mrs. William Kruse Kim and Mike Lorenz Colette and James Majerle Julia and Greg Malter Donna and Rex Martin Mike and Jody McCamon Carol and Dan McCartney Siobhan McLaughlin Lesley Rachel Hack Merlo and Matt Merlo Julia and Dennis Meyer Chris and Amanda Miller Miller-Mellor Association Mr. JoZach Miller and Mr. Peter Bali Dr. Dan and Rev. Jeanie Murphy Kathy and Justin Nemechek Barbara Nicely
Clayton Percy and Karen Lordi 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 Marya and Kent Stallard Michele and Jim Stowers Ms. Alexis Strauss Suhor Family Foundation - Joe and Carol Suhor, Trustees Fr. Paul Turner Myron and Nicole Wang James and Michaela Waters Linda Weber Jeff Whitman and Danielle Forpomes Darlus M. Wolff Andy Zaborny and Karyn Clewes Zaborny
OVATION ($1,000-$2,499)
Ms. Jane Abildgaard Adriana Albors and Jarrod Huntley Mary Cade Allen Anthony Iiams Memorial Foundation Thomas and Karen Badgett Iván and Karla Batlle Mrs. Tom E. Beal Peter D. Beckett for Beckett Ministries International Jeffrey J. Bentley 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 Dr. Suzanne C. Crandall Chuck Cuda Dao and Amanda Dang Amy and David Embry Jenny and Warren Erdman Keelyn and Becky Ericson William and Michelle Fasel Bonnie Frederick Jonassen Family Charitable Fund 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 Joe and Tesa Guevel Dr. Richard Kent Gutknecht Ms. Cynthia L. Hampton Ms. Pamela Hancock Mr. Kelvin and Dr. Victoria Haynes - Haynes Health & Wellness Pamela T. Henderson Henry E. Wurst Family Foundation Ms. Elizabeth Henry Lisa Merrill Hickok Gary and Liddell Hobin Sharon and John Hoffman
KANSAS CITY BALLET CONTRIBUTORS Lesley and Peter Holt Richard and Kathleen Honan Jessica Joseph and Vivek Dubey Mr. Kurt A. Knapstein Knapstein Design Regina Kort William T. Laaser Art Lafex Benny and Edith Lee Linda Lenza Nanette and Ken Lippincott Louis and Frances Swinken Supporting Foundation of the Jewish Community Patricia Macdonald Martha Lee Cain Tranby Music Enrichment Fund P. Alan McDermott Andrew P. McDonald
Martina and Patrick McLarney Wendy and Patrick Melland Joe and Yvette Miceli Jackie and John Middelkamp Denise Minet Troy and Angela Moore Ms. Kelly L. Muehlberger Marcy Nelson Brad and Deirdre Newcomer Kismet Oettinger and Susan Neumann 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 Connie and David Ross 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 Ms. Kathy Stepp and Mr. Howard Rothwell Linda S. Stevens Pamela and Terrence Sullivan The Trudy Foundation
Wendell and Marilyn Vice Ms. Kristi Weaver Rowe Sandy and Byron Whitaker Mr. Ronald Wilson, in memory of Barbara Baer, PhD Mrs. Margaret Wurst Sophia C. Zetmeir * In Memoriam
For our complete contrIbutor listing, please visit kcballet.org.
Join Kansas City Ballet’s premiere philanthropic group with a $200 monthly or $2,500 annual gift. Benefits include: • Exclusive special events • Engagement with dancers and choreographers • Behind-the-scenes access Become a part of something truly special where your passion for dance meets powerful impact!
K C B A L L E T. O R G / BOLENDER-SOCIETY Photos by Mark McDonald.
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LEGACY SOCIETY
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 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 Zack and Susan Hangauer 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 Curt and Deb McWhirt 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.
SPECIAL THANKS TO
for sponsorship of the Bolender Society Performance Reception Suite for the 2026-2027 season. KCB A LLET.O RG | 71
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PA R T N E R S H I P S Providing joyful and meaningful dance experiences that inspire, inform, and engage the broader community.
W AY S T O ENGAGE Kansas City Ballet is committed to making dance accessible to everyone of all ages, abilities, and experiences. REHEARSAL WATCHES • MATINEES FOR SCHOOLS EDUCATION • SENSORY-FRIENDLY PERFORMANCES DISCOUNTS & GROUP TICKETS
KCBALLET.ORG/COMMUNITY
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Dancers: Sidney Haefs and Gavin Abercrombie. Photography: Kenny Johnson.
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Dancers: KaleenaBurksand Humberto RiveraBlanco. Photography: Kenny Johnson.
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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 20172022. 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.
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, performing works by choreographers including Peter Wright, Jessica Lang, Stanton Welch, Kenneth MacMillan, Frederick Ashton and Ninette de Valois on tours across the U.K., Europe, U.S., Japan and China. He holds a bachelor‘s degree in business with environment, interned at a New York investment bank. He earned ABT-NTC Pre-Primary through Level 7 and Partnering certification, then taught at the Swedish National Ballet School, where he implemented the ABT National Training Curriculum, led mentoring for students ages 8 to 11 and managed outreach programs. He later joined the Joffrey Ballet as Head of Children‘s, Adult and Adaptive programs, focusing on curriculum, program structure and performance opportunities. Till champions accessible, holistic dance education for everyone, regardless of age or ability. KANSAS CITY BALLET SCHOOL | STAFF ARTISTIC Devon Carney Artistic Director Oliver Till School Director Kimberly Cowen Principal, Bolender Center Taryn Ouellette, Principal, South Campus at Meadowbrook
Jennifer Welch Cudnik, Principal, Pre-Professional Program
Jacob Thomas Academy and R.O.A.D. Pianist
Rachel Grisi Dugan Summer Intensive Coordinator
ADMINISTRATIVE
Dmitry Trubchanov Lead Teacher, Boys Program
Sherry Urton Operations Manager
Kira Dimarco School Administrator
Jordan Voth Company Pianist/ Principal Academy Pianist
Miyesha McGriff R.O.A.D. Program and Partnerships Coordinator
For the full faculty listing, please scan the code:
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Adrienne Anderson Data & Process Analyst Alisson Gonzalez Allay Freeman Annie Roe Audrey Sweeney Administrative Assistants
KANSAS CITY BALLET STAFF 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
Lacy Gordon Corporate and Foundation Relations Manager Grace Ingham Manager, Events & Philanthropy MARKETING & PATRON SERVICES Karen Badgett Chief Sales & Marketing Officer Savanna Daniels Associate Director of Design & Marketing
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 Kris Gooding Assistant Stage Manager
Kelly Leahy Content & Publicity Manager
Katelyn Stanton 2nd Assistant Stage Manager
ADMINISTRATIVE
Beeh Moynagh Creative Content Producer
Maya Welde Student’s Stage Manager
David Gray Executive Director
Nicole Dolan Social Media Specialist
Kevin Amey Chief Operations Officer
Sydney Puls Communications Coordinator
Jordan Voth Company Pianist
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
Mark Volk Patron Services Manager Kim Toigo Assistant Patron Services Manager Alix England Patron Services Associate PARTNERSHIPS Kim Trudell Manager, Strategic Partnerships
Rachel Lauren Assistant Lighting Director 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
Kelly Adrian Director of Individual Giving
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
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 KCB A LLET.O RG | 77
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