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John Frazer returns as company dancer for the 2017/18 season.

Interview with returning company member, John Frazer.

Ballet Idaho: You were a company member from 2010 to 2015. What have you been up to the last two years and what brought you back to Ballet Idaho?
John Frazer: In the two years that I’ve been away, I danced with Ballet San Antonio as well as several independent shows. I was offered the role of “Hook” for Peter Anastos’ Peter Pan this past spring and was very excited to be given a full time spot with the company.

BI: What is something that might surprise our audience about your job as a ballet dancer?
JF: Well we wish each other the best by swearing in French. (A dancer’s traditional “good luck wish” is the French word merde.)

BI: What are you most looking forward to this season?
JF: I’m most looking forward to working with all my friends and the Idaho dancers again!

BI: You are one of the featured choreographers for NewDance fall, how did you first begin as a choreographer?
JF: I first really started thinking about choreography when I was at Ballet West and they started their now annual “Innovations” program. It is similar to Ballet Idaho’s NewDance but I didn’t actually have my first attempt until several years ago with Boise Dance Co-op.

We look forward to seeing John on stage for the 2017/18 season!

We are hiring a Marketing Assistant!

The full time position of Marketing Assistant supports the Marketing Director in website management, marketing design elements, and ticketing.

General responsibilities include:
- Maintain BalletIdaho.org by updating imagery and copy
- Assist with design creation and manipulation
- Ticketing management for in-house performances and events
- Manage patron relations and season ticket requests
- Answer the general phone in the marketing and ticketing department
- Design monthly e-newsletter, including writing content, image selection and proofing
- Periodically assists with manning the front desk to interact with Ballet Idaho Academy students and parents
- Oversight and troubleshooting ticketing at events
- Event support- attend every special event, Academy event, and company performance to assist with ticketing and other tasks as needed
- Maintain and utilize branding standards in all communication
- Keep common office areas tidy and organized
- Assist Marketing Director with the performance of her duties

Specific ticketing duties include:
- Assist in producing various order forms for ticket specials
- Accept, review for accuracy, and process orders in SalesForce
- Answer questions from renewing and new subscribers
- Monitor who has not renewed and follow up with a phone call
- For new subscribers – prepare Thank You notes and brief outline of when to expect Season Tickets in the mail
- Monitor the Season Subscription List in SalesForce and amend as necessary for tracking purposes
- In late July, seating charts
o Create Morrison Center seating chart for all performances based on subscriber seat preferences
o Reconcile tickets with subscriber list
- In late August, prepare season ticket mailing to include
o Executive Director letter thanking them and with general instructions (donate tickets back if unused)
o parking pass if purchased or Silver Circle donor
o parking maps
o all tickets
- Accommodate subscribers who purchase or change seats after seating chart is generated
- Gift Certificates: generate, process redemptions, communicate with guest and MC
- Know which ticket specials are running and how they work
- Groupon/Living Social/Amazon: process orders, follow up with guests, distribute tickets in-office or at MC
- Comp tickets: arrange dancer, board member, staff comps and any other upon request of Marketing Director. Adhere to deadline of Monday prior to performance.

Personality: Extreme attention to detail, and self-driven with a positive outlook. A natural forward planner who is mature, credible, and comfortable in dealing with donors, sponsors and board members. Reliable and determined. Empathic communicator, able to see things from the other person’s point of view. Well presented, groomed, and businesslike. Flexible to work the occasional odd and long hours leading up to and at events and performances.

Specific Job Skills: Strong verbal and written communication skills. Must be an excellent face-to-face and telephone communicator. Appreciates need for consistency within company’s branding and marketing mix, especially PR and the Internet.

Computer skills: Must be adept in use Adobe Design CS6 (Photoshop, InDesign), Microsoft Excel and experience in website maintenance and upkeep.

Ideal background would be Public Relations, Marketing or Communications recent grad or entry level. Salary is $25,000/year.

Artistic Director Search Has Begun! View the job description and help us fill the role.

Position: Artistic Director
Department: Artistic Director
Reports to: President, Board of Directors
FLSA Status: Full Time, Exempt

Ballet Idaho currently has an opportunity for an Artistic Director in Boise, Idaho. Position start date is June 1, 2018.

DESCRIPTION
Ballet Idaho and its Academy create, present, teach, and preserve the art form of classical and contemporary ballet, serving Boise, Idaho, and the larger regional multi-state area. Ballet Idaho has been performing since 1972 and currently includes an artistic, administrative and production staff of 17. Our dance company consists of 20 dancers and six pre-professional apprentices. In addition, we offer a professional academy of dance, Ballet Idaho Academy, which is staffed by a professional teaching staff of 15 and trains students in classical and contemporary ballet. Ballet Idaho also provides extensive outreach programs for students in Boise and throughout Idaho.

GENERAL
• The Artistic Director (AD) is responsible for the artistic vision of Ballet Idaho, including production development, season offerings, music, and educational programing. The AD is also responsible for the artistic direction of Ballet Idaho Academy (BIA)
• The Executive Director (ED) is responsible for the financial, administrative, human resource, development, marketing, planning, programming, and legal functions of Ballet Idaho
• The AD and ED both report directly to the President and the Board of Directors of Ballet Idaho
• The AD is fiscally responsible to the Board through the ED and must adhere to the approved operating budget

SUMMARY
The AD is responsible for artistic, choreographic, musical, educational, and production functions of Ballet Idaho including: seasonal programming; scheduling and staging of all ballet productions; selection and supervision of ballets, artists, artistic staff and guest choreographers; day to day studio work; dancer training and rehabilitation; personal coaching for all ranks of artists; artistic supervision of BIA educational programs; artistic supervision of educational outreach programs; development and maintenance of the artistic and professional growth of Ballet Idaho; participation in budgetary and short and long-range planning in coordination with the ED and Board of Directors: and fundraising, donor relations, and related activities. The AD assures the highest level of performance excellence, all within parameters of established financial plans and existing contractual and other legal restraints.

QUALIFICATIONS
To perform this job successfully, an individual must be able to perform each essential duty sufficiently. The requirements listed below are representative of the knowledge, skill and/or ability required.

ESSENTIAL DUTIES AND RESPONSIBILITIES Artistic
• Provides leadership for the company’s mutually agreed upon vision and development while maintaining a positive work environment and excellent communication; inspires individual growth and provides constructive criticism; maintains a positive and nurturing work environment
• Coordinates with the artistic staff to develop and execute the short and long-range strategies for the `artistic development of Ballet Idaho, involving daily schedules, instructors, choreographers, and other specialists
• Attracts and retains artists of high quality; engages and maintains an effective artistic staff to assist with the development of quality artists and productions
• Works within financial and scheduling constraints to produce and create engaging artistic productions that will appeal to the Ballet Idaho markets
• Maintains and develops Ballet Idaho’s individuality; builds a larger and more diverse audience by performing original works and taking innovative approaches; researches and selects repertory from existing ballets and new ballet projects
• Develops and maintains a season that presents a variety of both classical and contemporary ballets along with an annual version of The Nutcracker
• Manages programming, program order, and musical content; determines casting
• Creates a focused, positive, disciplined, and dynamic work environment. Provides performance reviews for artistic staff and handles the hiring and firing of artistic personnel in consultation with the ED
• Handles all artistic personnel issues in coordination with the ED
• Collaborates with all departments of the organization to provide artistic direction and coordination
• Coordinates with the Boise Philharmonic and other musicians to provide musical accompaniment for performances
• Maintains active and ongoing written and verbal communications with donors, the media, BIA parents/guardians, and the public
• Engages with BIA staff regarding casting, teaching, rehearsing, talent development, and other areas as needed
• Promotes the organization throughout the community, including public speaking and presentations to both large and small audiences and other media activities which may include radio and local TV interviews
• Participates in major gift solicitations, donor cultivation, and grant acquisition in collaboration with the Board of Directors and the ED

KNOWLEDGE, SKILLS AND ABILITIES
Requires knowledge of:
• All forms of Ballet and contemporary dance
• Strategic and operational planning
• Non-profit arts management
• Budgeting and financial analysis
• Develop positive board relations

Requires skills in:
• Ballet and dance techniques
• Ballet selection and production
• Hiring and management of artists
• Communications
• Interpersonal relationships, team building, and personnel management
• Leadership
• Office computer software
• Supervision of staff in effective, tactful, and professional manner
• Negotiation for ballets to be performed by the company

EDUCATION AND EXPERIENCE
A combination of education and experience that demonstrate the ability to work with a team and be the artistic leader of Ballet Idaho.

OTHER REQUIREMENTS
Available to work outside of normal business hours including weekends and holidays.

Submit resume, cover letter, and references to Kathryn Zimmerman, admin@balletidaho.org

2017/18 Season Announced

An exhilarating 2017/18 performance season line-up has been announced. View the announcement video on YouTube.

Visit the website for details or to view our new season brochure or to purchase season tickets, starting at just $108. Single tickets will be on sale to the public in September.

Peter Anastos to Retire in 2018

FOR IMMEDIATE RELEASE: April 14, 2017
Contact: Meredith Stead, Marketing Director
Ballet Idaho
208.343.0556 Ext. 222, mstead@balletidaho.org

BALLET IDAHO ARTISTIC DIRECTOR PETER ANASTOS TO RETIRE IN 2018

Boise ID — Ballet Idaho announced Artistic Director Peter Anastos’ plans to retire at the close of the 2017/18 performance season. Mr. Anastos has been with the organization for 10 years as Artistic Director. He has announced that he will assist with the national search for the replacement Artistic Director. The company hopes to secure a new Artistic Director to work with Anastos beginning January 2018.

Peter Anastos was born in New York and has choreographed stage works throughout the United States for ballet, theatre, film, and television. He has enjoyed a longstanding relationship in ballet and television with Mikhail Baryshnikov. He has also choreographed in Europe, Asia and Latin America and his ballets are performed worldwide. He was the founding Director/Choreographer of Les Ballets Trockadero de Monte Carlo and served as Artistic Director for Garden State Ballet and Cincinnati Ballet. He was appointed Ballet Idaho Artistic Director in 2008.

Anastos has seen Ballet Idaho through several triumphs and challenges in the past decade with the company, rebuilding from scratch after Ballet Idaho’s split from Eugene Ballet. Under his leadership, the company has enjoyed operating in the black for the past three years.

About his decision, Mr. Anastos said, “It’s time. It has been an honor and privilege to spend 10 wonderful yeas with this organization but I’m ready to open myself up to overseas freelance opportunities and my next chapter. It has been a tremendous joy working with the talented and dedicated dancers of the company, board, and staff. The dancer’s commitment, dedication, and artistry is inspiring. They bring a wealth of creativity and depth to the performances that have enriched our community. I know that the entire organization is in a strong place and poised to enter its own new chapter with fresh leadership.”

“Peter’s announcement is a bittersweet moment for Ballet Idaho,” said Randy Anderson, Ballet Idaho’s Board President. “We are extremely saddened to see him go but we are excited for him as he begins the next chapter of his life. As many can imagine, the Board of Directors has a significant responsibility to find Peter’s successor, but we all know that we will never be able to ‘replace’ Peter. He is a one-of-a-kind talent and person. We wish our dear friend all the best!”

Since 1972, Ballet Idaho has enriched lives through classical ballet and served as a dynamic reflection of the Boise community. Ballet Idaho is the only professional ballet company and academy in the state of Idaho, bringing together the highest level of dance excellence with a commitment to education and training. For more information, visit www.balletidaho.org.

"All Children, Except One, Grow Up". Interview with Ethan Schweitzer-Gaslin

Ballet Idaho premieres Peter Pan this month at the Morrison Center. We had a chance to sit down with Ethan Schweitzer-Gaslin as he prepares to dance the role of Peter Pan. For more info or to purchase tickets, click here.

Ballet Idaho: What do you think the Idaho community will enjoy the most of the Peter Pan ballet?
Ethan Schweitzer-Gaslin: I think everyone enjoys a good fairytale. The showmanship in Peter Pan really goes beyond what you normally see in a ballet, so I think that will be exciting for people. The subtleties of the characters also stand out. I think everyone will appreciate an exciting story with characters whose adventurous natures they can identify with. Ultimately, it’s a just FUN! There are really no dull moments in this ballet.

BI: Have you ever flown before? (Peter Pan has fabulous flying effects!)
ESG: I have never flown before, but the school where I danced growing up once did a ballet where some of the other students got to fly, and the company teaching those dancers to fly is actually the same family that will be teaching it to Ballet Idaho!

BI: How did you get started as a dancer?
ESG: I guess I’ve always loved to dance. When I was a little kid I used to dance around the house anytime there was music playing. I especially liked the music that went with forecast on the weather channel for some reason. When I was 5 my parents saw an ad in the local paper for ballet classes for boys and they asked me if I wanted to sign up. I’ve been hooked ever since!

BI: What is your favorite role you have danced?
ESG: As I’ve gotten older I’ve started to appreciate getting to perform more contemporary dances. When a choreographer creates steps just for me, I feel like I really get to make every performance honest and personal.

BI: Why do you dance?
ESG: I have always loved to perform. Dancing gives me a chance to be on stage, but has also helped me get a lot stronger, more confident and coordinated. As a kid I was never very coordinated or good at sports and had to go to something called occupational therapy. I like to think of my body as a puzzle that I try and arrange the pieces of as well as a can every day. There are fundamental movement patterns that every person learns as a baby that allow our bodies to have a sense of themselves in space, and being a dancer has helped me get to know my body better in this way. Scientists have also studied the link between moving to music with a group of people and stronger social bonds, so I feel very lucky that I get to spend every day at work with some of my favorite people and that through dancing I have made some of my closest friends. A great choreographer named George Balanchine once said “I don’t want people who want to dance, I want people who have to dance”, and at this point in my life I need to dance because I don’t think anything else could make me as happy as standing in the studio moving to a beautiful piece of music with my friends.

BI: What are you most looking forward to for Peter Pan?
ESG: This is a character that makes a lot of sense to me in a lot of ways, so I’m really looking forward to having the opportunity to share with the audience something that feels so personal for me.

BI: What do you think is going to be the most challenging part of playing Peter Pan?
ESG: For me the hardest part about this ballet will probably be the sections dancing with a partner. It will be my first time doing a role where that is so important, so I’ve been going to the gym a LOT over the past few months to prepare.

BI: If you were the Artistic Director/Choreographer, what ballets would you present?
ESG: There are certain choreographers whose work is very important in the grand arc of the evolution of ballet, and I think it’s important for audiences to see their work. People like Marius Petipa who created story ballets like The Sleeping Beauty and The Nutcracker, George Balanchine who pioneered the neoclassical style and the abstract ballet, and William Forsythe who created contemporary ballet as we know it today. In addition, I think it’s also important for companies to perform new work by current and up and coming choreographers. We should all aspire to be lifelong learners, and continually creating new work keeps alive the curiosity this requires of dancers and audiences. Great art needs to be aware of where it comes from but also continually pushing the boundaries of what it is capable of. Great art needs to be alive.

BI: What else do you enjoy doing?
ESG: When I’m not at the studio I enjoy spending time outdoors – hiking, camping, snowshoeing, immersing in hot springs, you name it, in the kitchen cooking – which is very important in my family, and organizing and working in the community. It is also important for dancers to do other forms of exercise, so I do yoga and weight training, and I ride my bike whenever I get the chance.

Ethan as Peter Pan

Acclaimed Master Teacher Tong Wang to join BIA Intensive as Guest Teacher

Tong Wang graduated with honors from the prestigious Beijing Dance Academy in 1986, after which he performed as a principal dancer with companies such as Shanghai Ballet, Tulsa Ballet Theatre, Dayton Ballet, Colorado Ballet, and, most recently, Ballet West, where he performed leading roles in both classical and contemporary repertoire, including the work of Balanchine, Ashton, Tudor, Forsythe, and Van Manen, to name a few.

Tong was featured in the First China Arts Festival, 2002 Salt Lake City Winter Olympics, and Edinburgh International Dance Festival. Following a successful career as a principal artist, Tong Wang has continued to devote his talents to the field of dance as a master teacher, choreographer, and dance professor. While dancing professionally, Tong completed his B.F.A. and M.F.A. degrees in Ballet Teaching and Choreography with the University of Utah Ballet Department and also worked as a guest faculty member from 2000-2005. From 2005-2007, Tong served as Assistant Professor of Dance at Wright State University. From 2007-2011, he held the position of Assistant Professor of Dance at Butler University. In fall 2011, Tong joined the distinguished Dance Department of University of California, Irvine as an Assistant Professor of Dance, where he organized and created a successful first annual East Meets West International Dance Festival in 2016.

As a master teacher, Tong Wang taught at the prestigious Beijing Dance Academy, International Gala-Cincinnati, National Choreography Initiative, Ballet West, Colorado Ballet, Ballet Arkansas and he is a regular faculty at Maple Conservatory of Dance. In recent years, Tong’s creative works have continued to become notable internationally. While his choreographic works have received high praise from the nationally ranked dance departments of University of Utah, Butler University, Cincinnati Conservatory of Music, Mt Holyoke College, and University of California-Irvine, his work has also been performed by companies such as Ballet West, Chinese Military Dance Ensemble, Pacific Symphony and Ballet Arkansas. One of his recent works, Qiu Yie, won him an Outstanding Choreographer Award at the 2012 Youth America Grand Prix, the largest ballet competition in the world. Internationally, he continues to choreograph new works, teach master classes and stage his work in various dance schools and companies, including Beijing Dance Academy, Zhejiang Professional Arts Academy, Nanjing University of the Arts, Shanghai Normal University, Tianjing University, Beijing Normal University and Fudan University. His students are dancing worldwide in professional dance companies such as English National Ballet, Ballet West, Ballet San Jose, BalletMet, BalletX, Louisville Ballet, Cincinnati Ballet, Nashville Ballet, Complections, Hubbard Street, Milwaukee Ballet, and Sarasota Ballet.

Learn more about BIA’s Summer Intensive.

TongWang

Ballet Idaho to perform at Nampa Civic Center

FOR IMMEDIATE RELEASE: September 6, 2016
Contact: Meredith Stead, Marketing Director
Ballet Idaho
208.343.0556 ext. 222, mstead@balletidaho.org

BALLET IDAHO TO PERFORM AT THE NAMPA CIVIC CENTER

Boise, ID – Ballet Idaho will bring a version of their Winter Repertory to the Nampa community in February. The original program of the Winter Repertory, performed over two nights at the Velma V. Morrison Center for the Performing Arts February 10 -11, 2017 will consist of Peter Anastos’ comedy ballet Night Crawlers, new work by company member Daniel Ojeda, titled The Monster and the Gift, and George Balanchine’s masterpiece, Concerto Borocco. Music for the Winter Repertory at the Morrison Center will be played live by local pianist Del Parkinson and the Boise Baroque Chamber Orchestra.

The Winter Repertory will then travel to the Nampa Civic Center two weeks later for one night only, February 25, 2017. This revised program will include Peter Anastos’ ballet Sweet Dreams with music by Patsy Cline and Elvis Pelvis with music by Presley, the Anastos comedy ballet Night Crawlers, as well as excerpts from Ojeda’s The Monster and the Gift.

Ballet Idaho executive director, Jenny Weaver noted, “Expanding our performances to new communities is important to our strategic plan of growing our reach to being recognized as “Ballet Idaho” not “Ballet Boise”. As Idaho’s only professional Ballet company this is significant to our mission and this performance in Nampa is a great first step.”

Since 1972, Ballet Idaho has enriched lives through classical ballet and served as a dynamic reflection of the Boise community. Led by Artistic Director Peter Anastos, Ballet Idaho is the only professional ballet company and academy in the state of Idaho, bringing together the highest level of dance excellence with a commitment to education and training. For more information, visit www.balletidaho.org. Tickets available here.

Winter Repertory's "The Monster and the Gift"

Interview with Daniel Ojeda

We sat down with company member and choreographer Daniel Ojeda to discuss his new ballet, The Monster and the Gift, which will make it’s world debut at this month’s Winter Repertory. Ojeda’s ballet will run February 10 and 11, alongside Concerto Barocco by George Balanchine and Peter Anastos’ Night Crawlers.

Ballet Idaho: What inspiration do you look for when creating a full ballet?
Daniel Ojeda: Most of the work I create, big or small, tends to be conceptually driven and preferably current. Whether that means a current reflection of my own personal struggles, or something more universally topical, I do my best to be consistently creating in the now otherwise I see no point attempting to create anything.

BI: What about ballet/dance gives you the most joy?
DO: To me, Dance is the best vehicle for the purest form of expression. Before we could talk, we could move and emote. I love being able to use my body’s unique physicality to express myself, it’s like therapy, really painful therapy.

BI: How/when in your life did you begin choreographing?
DO: I began choreographing here, at Ballet Idaho as part of our NewDance, Up Close series. The ‘how’ is a combination of things. When I danced at Pacific Northwest Ballet School as a professional division student, there was a program where company members would create original work for the students to be performed at the end of the year. This was my first exposure to the choreographic process. I loved dancing the work but I loved the process of working to create something more. This is why I decided to give choreography a shot.

BI: What do you love most about choreography in contrast to dancing?
DO: The ability to create work on different bodies is probably my favorite thing about choreography. My own body can sometimes be very limiting, so being able to make tangible the things I see in my brain but can’t necessarily execute is really interesting. There is an intimacy and trust that comes with having a piece choreographed on you. But when you are in front of the room and you’re the one creating that environment, it’s very rewarding.

BI: How did you begin your process for The Monster and the Gift? Does the ballet have a story?
DO: The process for this ballet has been longer than most. The idea to do a collaborative work, especially one involving original artwork has been on my brain for a little over a year. The ballet stems from an original narrative I have created. From there, the artwork and score were created. So yes, the ballet certainly has a story. The title refers to the artist, their talent, and how oftentimes the most talented people are monster in their personal lives. The work comes at a cost, sometimes it’s at the cost of ones humanity. Since the artist’s life is her work, we see bits and pieces of her life through the process of her creating the art and where she was in her life during that creation.

Barnes and Noble Bookfair

Support Ballet Idaho when you shop online or in store between November 26 and December 1. Present this bookmark in the store or enter the code online.
Barnes and Noble voucher

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