American Repertory Ballet Kaleidoscope Review: Interpreting Reflections

The Dance Herald by Nadia Vostrikov

In a program named after constantly changing patterns, American Repertory Ballet’s Kaleidoscope lived up to the title with a range of dance from classical to contemporary. Two group pieces and two pas de deux, the evening’s line up was even laid out in kaleidoscope-like symmetry.

Taking inspiration from Salvador Dali’s painting Swans Reflecting Elephants – a surrealist image of swans peering into their morphed elephant reflection – Ryoko Tanaka’s Hindsight imitated the art through duos, zoological gestures, and an enchanting pas de deux

Tanaka has a firm grasp on vocabulary, knowing when to refer back to theme steps and when to incorporate something new.

In her thematic bag of moves: one arm bent at the elbow with fingertips to the chest and palm to the floor, a pirouette opening to an extended arabesque, stag leaps.

Movement remained a clear thread thoughtfully woven from section to section – elevated by Tanaka’s organic transitions and accompaniment of Ian Howells’ new composition, an inspirational, pastorale-like piano and cello number.

Accolades must also be given to Jason Flamos for the dramatic lagoon of light poured across the stage.

The peak of the piece is a pas de deux featuring emotive dancing from Annie Johnson and Aldeir Monteiro. Johnson changes from a burnt orange dress into black and Howells’ instrumentation becomes tender yet foreboding. Between Johnson’s costume and slackened body, it’s clear this is a duet of loss. Tanaka juxtaposes the simple beauty of the pas de deux with sculptural shapes and sharp upper body configurations in the group work – duality echoes throughout.

Set between the opening and closing group numbers were the two antipodal pas de deux, one to the jazzy Bewitched, Bothered, and Bewildered song and the other to Leo Delibes’ classic Act III Coppélia.

Claire Davison’s Bewitched featured Erikka Reenstierna-Cates and Elias Re in a whimsical, characterized, whirlwind romance. Taking cues from the music, Reenstierna-Cates wobbles and sways to the crooning lyrics “After one whole quart of brandy/Like a daisy, I’m awake”.

Familiar with Davison’s work, I am always happy to see her name on a program. Davison is unafraid of humor and open to riding any inspiration that floats her way (I once saw a piece in which she was inspired by a beach towel). Using non-conventional connections, a foot lifting a head, a cheek resting in a palm, her humor is subtle yet refined and always nestled ever so nicely in the music.

Delibes Duet, choreographed by Artistic Director Ethan Stiefel, is a more classic approach, using the age-old ballet formula of pas de deux, two variations, and coda. Decked in gorgeous silver costumes, the ballerina in a tutu with lapels revealing shimmering crystals and the male dancer in a similar shimmering lapeled tunic, Janessa Cornell Urwin’s costumes are a beautiful nod to the prototypical uniform with a 21st century upgrade.

Like the costumes, Stiefel offers us classical ballet with a twist.

Traditionally, male and female dancers have certain roles to fill. From the attire to how they stand on stage, their expectations are split by gender. Stiefel challenges that expectation.

A few bars in, the female dancer stands in a pose more commonly taken by the prince in full-length ballets; one straight leg, toes pointing slightly out and the other leg bent slightly at the knee with the heel tucked against the other foot. It may seem like nothing, but it’s a pose rarely done by a ballerina in pointe shoes and a tutu.

The pas de deux, luscious and provocative in its subtle challenges of the status quo, is absolutely refreshing. Duo Lily Krisko and Tiziano Cerrato are spirited and green, both new apprentices with the company, and rose to the difficult challenge. The steps following the pas section were increasingly demanding but the kind of dance where the audience is totally clued into the challenge and rooting the dancers on.

Influenced by the namesake of the program, Da’ Von Doane’s “Kaleidoscope Mind” was the most literal interpretation of the evening.

Grace Lynn Haynes’ designs featured a swirled backdrop and metal sculptures, later used as a central point for the end kaleidoscope formation, brought a crowded heaviness to the stage. Layered with fire and ice style unitards and dramatic face paint, there was a lot to take in when the curtain went up. While it was refreshing to see stage sets after three unaccompanied pieces, this may have been a case of too many ideas.

Working in mostly symmetrical formations and clean, balletic steps the steady tone of the piece mirrored the repeated, minimalistic music of Steve Reich. Intricate arm work was introduced mostly when the lower body was static, like that of an anchor or perhaps the central node of a kaleidoscope window.

Doane lets the piece fade out instead of culminating, delivering an introspective calm, an unusual choice for the closer.

Mid-way through the evening there was a minor curtain malfunction causing a small extended pause. Stiefel appeared on the stage to jovially remind everyone “this is a live performance, obviously, which is what makes it so special.”

American Repertory Ballet is a special company indeed.

Featured Photo for this American Repertory Ballet Kaleidoscope review of (clockwise) Nanako Yamamoto, Annie Johnson, Emily Cordies-Mason, Michelle Quiner in Da’ Von Doane’s Kaleidoscope Mind. Photo by Kyle Froman. 

American Repertory Ballet Review: A Gem in the Garden State

The Ballet Herald |by Nadia Vostrikov

Ethan Stiefel doesn’t shy away from trying new things. He pushed the Royal New Zealand Ballet forward as Artistic Director, choreographed a JFK/Space themed piece for the Washington Ballet, and of course, drove a motorcycle across a stage as the semi-villainous Cooper Nielsen in Center Stage.

It is unsurprising that he would put on a mixed bill of three world premieres at American Repertory Ballet, as their recently appointed Artistic Director. Titled Movin’ + Groovin’, the program includes an array of styles that complement each other nicely.

Program notes highlighted the selection of choreographers as a group who made the move “from dancers to dancemakers”. While one could argue that most choreographers make the very same transition, it is an interesting notion to hire young choreographers so close in time to their dance careers. Claire Davison still dances with the American Ballet Theater and Caili Quan danced with Ballet X until 2020. Choreographer Ja’ Malik’s career holds the most time between dancer and full-time choreographer, but not significantly.

Candidly titled “Moving to Bach”, Malik’s work is a lucid, refined piece.

Washed in patterned beams of light (designed by Jason Flamos) on an open stage of exposed brick walls and metallic light booms, the dancers are precise and well-informed. Set to Johannes Sebastian Bach’s Sonata for Violin Solo No. 1, the dancers move with clarity against a palate of difficult to count strings, creating a melody out of the challenging music. Dancer Clare Pevel stood out for her elongated balances and steady command of the core.

The dancers were dressed in a mix of key lime mesh and forest green leotards and biketards designed by Janessa Cornell Urwin, the greens adding to the fresh nature of the piece.

Malik weaves in generous preparations for the partnering moments, allowing the dancers breath, space, and deep plies. It’s a subtle addition of an attentive artist; whether he does so consciously or not, the dance and dancers benefit from it. While there were moments of wonderful intricacy, arms carving through each other, a repeated elbow pointed outward, hands orbiting a dancer’s head, these baroque junctures were often accompanied by little to no additional movement, allowing them to shine. Harking back on these movements, Malik gives the piece an anchor, threading a cohesive line throughout.

In the middle of the program was Quan’s “Circadia”, a textured contemporary piece set to a mix of 1950’s songs, an eerie whistling tune, and commissioned music.

The stage opens on a group of eight while a single dancer runs dramatically in slow motion, accompanied by deep, bellowing beats. Consider my attention piqued.

What follows is a cascade of funky movements; raised shoulders, shimmies, cocky struts, and tiny, demi-pointe shuffles across the stage.

Most notable is Quan’s use of the head; operating as another limb, the crown of the head rolls in circles or initiates an entire movement, the body merely following suit because it must.

Acting like an outsider of the group, Ryoko Tanaka dances with exactness in both the more laborious moves and the lighter ones. Erika Reenstierna-Cates and Jonathan Montepara dance with full commitment when they join up for a playful pas de deux, continuously falling atop one another.

Quan has many ideas, at times overlapping, which led to a piece that felt like many pieces rather than one singular message.

Closing the evening was Davison’s Fleetwood Mac inspired piece, “Time Within a Time”.

Set to six numbers from the band’s repertoire, the work had a jukebox feel to it. The least intricate costumes of the program, the wardrobe (monotone pedestrian outfits) became a backdrop to the dancing, music, and lighting.

Davison starts the piece with a slow walk on for dancer Jonathan Carter and then a break in the fourth wall as he looks at the audience, inviting us in. Later, Carter shows great technical skill in a demanding solo and then dramatic pause when the group gently hoist him up as if to say “we are here”.

Davison’s movements are festive and warm; soft knees and open palm gestures echo the folk-rock essence of the tunes. Particularly beautiful was a quick, repeated moment: bodies braided in a line of curved arms, only to unfold in a canon as soon as the braid was complete.

Later she creates a labyrinthine celestial knot with her eight dancers, weaving them in and out of each other in an elevated square dance. Moments like these are peppered amongst uncomplicated steps like simple skips or suspended stag jumps.

Would I say it is a happy piece? Yes. Would I say it is purely joy? No. There are morsels of sadness dotted throughout which get extinguished by a bright run or friendly lift. In doing so, Davison carves a space of merriment and delight for the dancers.

With no shortness of talent and a desire for the fresh and new, American Repertory Ballet is a gem of a dance company and just a short train ride away from the city.

Featured Photo of  Annie Johnson and Andrea Marini in Claire Davison’s Time Within A Time by Rosalie O’Connor Photography

American Repertory Ballet Presents MOVIN’ + GROOVIN’

American Repertory Ballet celebrates its spring season finale at the New Brunswick Performing Arts Center, June 3rd – 5th, 2022, with Movin’ + Groovin’, featuring world premieres by three of today’s most exciting and innovative choreographers.

American Repertory Ballet is committed to fostering the presentation of diverse makers, movements and modalities in ballet and dance,” says Artistic Director Ethan Stiefel. “Movin’ + Groovin’ celebrates these ideas by commissioning three choreographers who are fresh and entering into a pivotal time in their careers. Their singular vocabularies and backgrounds will create an exhilarating evening of dance.”

The program features: Claire Davison’s Time Within A Time, set to the music of Fleetwood Mac; Ja’ Malik’s Moving to Bach, set to Bach’s Sonata for Violin Solo No.1; and a new work by Caili Quan, inspired by an eclectic music mix ranging from Boban Marković Orchestra to Gabriella Smith’s Carrot Revolution performed by the Aizuri Quartet.

Inspired by six songs from the legendary band Fleetwood Mac, Time Within Time reflects on recent years and how it might feel to return to a place, such as a theater, studio, workplace – or to each other. It is also a celebration! “We are happy to be together again,” says Claire Davison. “I am thrilled to be returning to ARB as the dancers are a dream to work with: talented, eager, passionate, and willing to play. And, the music of Fleetwood Mac is unbeatable.”

Davison currently dances with American Ballet Theatre (ABT). Her choreographic credits include One of Us (2019) for Boulder Ballet and Por Ti for Kaatsbaan Cultural Park’s 2021 Summer Festival. In 2021, Davison was also the selected choreographer for New York Theatre Ballet’s Lift Lab. She participated in ABT’s 2022 Incubator program and created a one-woman show, Crash Test Dummy, for which she received the Bindlestiff Family Cirkus First of May award.

Newly appointed Artistic Director of Madison Ballet, Ja’ Malik, has been called a “choreographer to watch” by The New York Times. Describing his piece Moving to Bach, Malik says he was “inspired by both the dancers of ARB and Bach’s beautiful Sonata for Violin Solo No. 1. This new work for five dancers will create an ever evolving world of exhilarating physicality in both a direct relation and counter relation to the rhythmically serene and sometimes explosive score by Bach.

Malik previously danced with North Carolina Dance Theater (now Charlotte Ballet), BalletX, Ballet Hispanico, in addition to working with Camille A. Brown (For Colored…at The Public Theater), Juel D. Lane, and College Dance Collective among others. With a deep connection to music, Malik’s choreography draws on his own personal life experiences as well as the world around him to create physically emotional works that allow both dancers and audiences to experience a connection through the language of movement.

Caili Quan is a New York-based choreographer and a Creative Associate at The Juilliard School. Her new piece for ARB is inspired by how the body is affected during sleep. “Sleep gives us a place to recover, but it is also where our minds choose memories to keep. It also allows us space to reminisce and dream,” she says. “The music for the work is an eclectic mix that made me want to move, but also felt like a soundtrack to our dreams.”

Quan danced and choreographed for BalletX, and has created works for The Juilliard School, Nashville Ballet, and others. Her short documentary called Mahålang weaves familial conversations of her Chamorro Filipino upbringing on Guam with scenes from BalletX’s Love Letter, and was shown at the Hawai’i International Film Festival, CAAMFest, and the Dance on Camera Festival at Lincoln Center. She will be an artist in residence at the 2022 Vail Dance Festival.

Tickets start at $25 and are available at

The New Brunswick Performing Arts Center is located at 11 Livingston Avenue, New Brunswick, NJ 08901. The venue can be reached by car or New Jersey Transit, and has ample parking in its attached parking deck.

Beginning March 1, 2022, all patrons attending a performance at the New Brunswick Performing Arts Center (NBPAC) must show proof of vaccination, including a booster if eligible. If not vaccinated, you must present a Negative COVID-19 PCR test taken within 72 hours of the performance date.

A Midsummer Makeover

Ethan Stiefel and Gillian Murphy on a new Midsummer Night’s Dream at American Repertory Ballet

Fjord Review

Ethan Stiefel thinks the world could use some laughter right now. “My mantra as of late has been that love and laughter can prevail,” says the former American Ballet Theatre star, who took the reins of the Princeton, New Jersey-based American Repertory Ballet last summer. “I felt that coming out of the pandemic it would be great to have a new ballet that really exudes laughter and joy.”

Enter Stiefel’s “A Midsummer Night’s Dream,” his first full-length work for ARB, set to the rarely-heard Erich Wolfgang Korngold score. Stiefel’s reimagining, which premieres this weekend at the New Brunswick Performing Arts Center, doubles down on the whimsy of the Shakespearian comedy. (And not just in the ballet itself: Pre-show activities on opening night include a petting zoo and a fairy face painting station.)

Though the production is family-friendly, it’s too sophisticated to be just a kids show. The source of some of that sophistication: Luminous ABT principal Gillian Murphy, who is married to Stiefel, and who will dance the role of Oberon in several performances. Yes, Oberon, King of the Fairies, a role typically played by male virtuosos from Edward Villella to Stiefel himself. In Stiefel’s version, a more vulnerable but no less virtuosic Oberon is a woman, and is instead the leader of the elves. I spoke to Stiefel and Murphy about adapting the character to be a woman, the ballet’s unique score, and their vision for ARB.

For the full article, visit Fjord

Fairies, elves and a live donkey: New ‘Dream’ ballet has something for everyone

Home News Tribune

When you go to the ballet, you probably do not expect to see a petting zoo.

But that’s exactly what you’ll find at the opening night of American Repertory Ballet’s “A Midsummer Night’s Dream.” (There’s even a donkey!)

And that kind of family-friendly offering is exactly what new ARB artistic director Ethan Stiefel is aiming for.

His new interpretation of the Shakespeare classic, which he conceived and choreographed, is about 70 minutes long, making it perfect for audiences of all ages, he said. It will have its world premiere from April 1 to 3 at the New Brunswick Performing Arts Center.

“It’s an interactive experience, as well as a theatrical show,” he said.

The show is set to Felix Mendelssohn’s iconic score, with additional music by Erich Wolfgang Korngold.

“A Midsummer Night’s Dream” is Stiefel’s first full-length ballet for the company since he was named artistic director last summer. It will be performed in collaboration with the Princeton Symphony Orchestra, conducted by Kenneth Bean.

“The ballet is going to really follow and stay true to the essence of the Shakespeare story, but at the same time I’ve put a little bit of a twist into it,” he said.

Oberon will be played by a woman, and Stiefel has added elves to the story.

“There’s a team elf and a team fairy,” he said. “Oberon in many legends or lore means ruler or leader of the elves. And so Oberon will actually have elves and Titania will have her fairies, which is, I think, going to be a cool and fun source of amusing conflict.”

He said that conflict will draw audience participation, and there will be other ways to show team pride, including themed merchandise.

ARB artistic associate and American Ballet Theatre principal ballerina Gillian Murphy, Stiefel’s wife, will dance the role of Oberon. The rest of the cast includes the entire ARB company and trainees from the Princeton Ballet School.

Stiefel stressed the importance of making ballet, and this production specifically, appeal to all.

“Arts is the source of inspiration and an elevation of spirit,” he said.

For the full article, visit the Home News Tribune

BWW Interview: Ethan Stiefel-Artistic Director of American Repertory Ballet and MIDSUMMER NIGHT’S DREAM at NBPAC

Broadway World

American Repertory Ballet (ARB) will present the world premiere of Ethan Stiefel‘s A Midsummer Night’s Dream from April 1 to April 3 at the New Brunswick Performing Arts Center (NBPAC). This is his first full-length ballet for the company since being named Artistic Director in the summer of 2021. Stiefel’s magical production for audiences of all ages will be performed in collaboration with the Princeton Symphony Orchestra, conducted by Kenneth Bean.

Set to Felix Mendelssohn‘s iconic score with additional music written for film by Erich Wolfgang Korngold, the enchanting production will transport audiences to a fantastical forest filled with fairies, elves, mischief, romance, joy and love. ARB’s Artistic Associate and American Ballet Theatre principal ballerina Gillian Murphy will dance the role of Oberon, leader of the elves.

Family-friendly activities inspired by the production will take place all weekend. On April 1, from 3:00-5:00 p.m., American Repertory Ballet will partner with the Arts Institute of Middlesex County with A Midsummer Night’s Dream themed programming as part of the Arts Institute’s First Fridays at Monument Square Park in New Brunswick. Children of all ages can enjoy a petting zoo, fairy and elf hand painting, a beginner ballet class offered by Princeton Ballet School and DANCE POWER, giveaways, and more. The Arts Institute’s First Fridays attendees will also experience fantastic art in the making with spoken word poetry, courtesy of Basement Shakes, live mural installation by New Brunswick Public Schools Art Teacher Danielle Fleming and the Art Club students, and a papermaking workshop, featuring lines of poetry from the ballet.

Children can also enjoy elf, fairy, and donkey themed face-painting in the lobby of the New Brunswick Performing Arts Center beginning at 1:00 p.m. on Saturday, April 2nd and Sunday April 3rd, to further enhance the performance experience.

Broadwayworld had the pleasure of interviewing Ethan Stiefel about his career, the ARB and the upcoming performance of Midsummer Night’s Dream at NBPAC.

Ethan Stiefel is an internationally renowned Dancer, Instructor, Coach, Director, and Choreographer. He is currently the Principal Guest Instructor at American Ballet Theatre (ABT). Stiefel was the Artistic Director of the Royal New Zealand Ballet (RNZB) from 2011-2014. Just prior to being appointed the RNZB’s Artistic Director, Stiefel served as Dean of the School of Dance at the University of North Carolina School of the Arts (UNCSA).

Stiefel began his professional career at age 16 with the New York City Ballet where he quickly rose to the rank of Principal Dancer. He was also a Principal Dancer with Ballett Zürich and joined American Ballet Theatre as a Principal Dancer in 1997. Stiefel gave his final performance with ABT in July 2012.

Can you tell us a little about your early training as a dancer?

I began my training in Madison, WI, at the Monona Academy of Dance when I was about nine. My sister Erin was interested in ballet and started lessons first. I wasn’t interested in ballet really, but my mom wouldn’t leave me at home alone because I was an active kid and was breaking furniture and stuff while playing sports in the house. After about 2 years in Monona, my sister and I studied at The Milwaukee Ballet School, Central Pennsylvania Youth Ballet, and the School of American Ballet. At the age of 16, I was offered a contract with the New York City Ballet.

Is there someone in particular who has influenced your career?

My amazing parents, my incredible wife Gillian, every dancer I shared the stage with, and are you ready for this… my motorcycles.

What advice would you like to give young people aspiring to a career in dance?

Listen and learn from others, but always stay true to yourself and your own artistic ideas.

How have your experiences as a dancer complemented your talent as a choreographer?

I was fortunate enough to have danced with so many companies on different continents and to have danced a very large and diverse amount of repertoire and styles both on stage and on film. These experiences, coupled with the fact that I have always sought to be my own artist, give my work unique, authentic, and entertaining perspectives. I like to think that my work has an “accessible sophistication” that can be enjoyed whether you are a balletomane or a casual theater patron.

Tell us a little about the challenges of your role as Artistic Director of ARB.

The biggest challenge is navigating the fact that you won’t please all people all the time.

We are excited about the upcoming production of A Midsummer Night’s Dream by ARB at NBPAC. What would you like audiences to know?

I guess I would like audiences to know that it is presented in an engaging 65-70-minute format and will be a distinctively magical and entertaining production for all ages. A production that keeps true to the essence of the Shakespeare tale, yet I believe presents many original ideas and fresh perspectives in both the staging, designs, and the choreography. I really love that we will also have fun activities for kids throughout the run like elf and fairy face painting and a real live donkey visiting us on the opening night!

Can you share with us some of your plans for the future of American Repertory Ballet?

Plans include a continuing investment in new productions and new voices and an ongoing commitment to fostering the presentation of diverse makers, movement, and modalities in ballet and dance. Essentially creating a culture and identity that is exclusively ARB, with the purpose of promoting inclusion, inspiration, and involvement.

Anything else, absolutely anything you’d like BWW NJ readers to know?

With the state of the world being what it is, I think it is important to believe, and ARB’s production of A Midsummer Night’s Dream truly supports this idea, that love, and laughter does prevail.

Move Closer to Your Career Goals at Princeton Ballet School This Summer

Pointe Magazine | January 21, 2022

For five weeks every summer, the university town of Princeton, New Jersey, becomes a destination for ballet students from around the world. As the official school of American Repertory Ballet, Princeton Ballet School’s summer intensive is designed for advanced students, ages 13 and up, to polish their technique and performance skills. And because students in the intensive are also considered for the school’s year-round trainee program—the direct feeder into ARB’s second company, ARB 2—the intensive is ideal for post–high-school students looking to launch their professional careers.

A Training Destination for Local and International Dancers Alike

As an educational institution certified to provide F-1 visas, Princeton Ballet School has the ability to accept international students from nearly anywhere in the world for its summer intensive, trainee program and ARB2. “Students come to us from across the local region, the U.S. and other countries, such as Japan, Italy and Brazil, creating a wonderful opportunity for dancers to learn from each other technically, artistically and culturally,” says Julie Diana Hench, ARB/PBS executive director who oversees the summer program in collaboration with Princeton Ballet School director Aydmara Cabrera and summer intensive coordinator Carol Bellis.

When current ARB company member Jonathan Montepara attended the summer intensive in 2019, it was his first experience training outside his native Italy. Being among other international students in the program made adjusting to dancing in another country much easier. “I knew I wasn’t the only student who spoke another language,” he says, “which helped me develop the strength to show up fully as who I am when I was dancing.”

Cici Yu, a young Asian woman, is photographed midair with her right leg in second and her left tucked under her. She is wearing tights, pointe shoes and a light blue leotard.

Stepping Outside Your Comfort Zone

Princeton Ballet School’s program is structured to help students get comfortable with stepping outside their comfort zones. Montepara, who was 19 when he attended the intensive, says, “I really wanted to get out of myself and do something different when I came here. I loved being able to shift between styles so quickly for the first time.” Aside from rigorous daily ballet training, Montepara was challenged with other styles, like musical theater, character dance and Graham technique.

Students are also exposed to a dynamic range of ballet technique and training styles, thanks to the PBS faculty, whose professional experience spans the globe. The roster of faculty includes former principal dancers from American Ballet Theatre, Ballet Naciónal de Cuba, Boston Ballet and Russian National Ballet.

Up-Close With Company Members

ARB company dancers, under the leadership of artistic director Ethan Stiefel and artistic associate Gillian Murphy, supplement the PBS faculty, teaching classes during the intensive and often taking classes alongside the students. Montepara remembers how inspiring it was to watch them while he was in the program. “You could tell the difference between the professional dancers and the students right away by their approach and refinement,” he says.

Intensive students are also given the opportunity to dialogue with company members and learn more about what professional life is like. Last year during an event led by ARB’s rehearsal director, Ian Hussey, “company dancers performed new choreography in the studio and spoke with students about being a professional, creating new work and the creative process,” says Hench. “We also offered a virtual ‘open house’ for new students in the trainee program, inviting them to meet current dancers, observe class or rehearsals and see excerpts from recent performances.”

A young male dancer, in a white shirt and black tights, photographed in sauté middair with his back leg in attitude.

Inside the Creative Process

The five-week intensive concludes with a performance of all-new work, which gives students an opportunity to experience a professional rehearsal process. Montepara recalls working with Cabrera on an original pas de deux set to Rachmaninoff for the final show. “She showed me what it was like to work closely with a choreographer and experience the process of having something created on you. It was really hard and intense, but at the same time it taught us to trust ourselves, our technique and what we had learned throughout the program.”

This summer, the performance will be held for a public audience in Princeton, on an outdoor stage with sprung Harlequin floors.

Students will also have the option to attend the intensive in person, following pandemic precautions, or participate online. Virtual students can be considered for Princeton Ballet School’s trainee program, as well.

In-person auditions for the intensive will continue in cities across the country through February 13. U.S. and international students can attend a virtual audition or submit an application video. More details and the pre-registration form can be found here. With questions, contact summer intensive coordinator Carol Bellis [email protected].

Gillian Murphy to Appear in The Nutcracker

November 23, 2021 | New Jersey Stage

World-Renowned Ballerina Gillian Murphy to Appear in American Repertory Ballet’s “The Nutcracker”

Gillian Murphy – courtesy of NYC Dance Project

Celebrating a return to stages this holiday season, American Repertory Ballet (ARB) is has announced that world-renowned ballerina Gillian Murphy will appear as the Sugar Plum Fairy in ARB’s The Nutcracker. Ms. Murphy will perform on Saturday, November 27th at 7:30pm at the McCarter Theatre Center in Princeton.

“What an incredible opportunity for local audiences to experience Gillian’s artistry firsthand, and for Princeton Ballet School students to be inspired onstage – and backstage – by her technical brilliance, warmth and generosity, ” says Executive Director Julie Diana Hench.

A principal dancer with American Ballet Theatre (ABT), Ms. Murphy’s repertoire include leading and iconic roles in ABT’s current full-length classics and in shorter works by George Balanchine, Jerome Robbins, Jiri Kylian, Antony Tudor, William Forsythe, Martha Graham, Lar Lubovitch, Paul Taylor, Frederick Ashton and Agnes de Mille.

In addition to her work with ABT, Ms. Murphy has the distinction of being American Repertory Ballet’s first-ever Artistic Associate, a position made possible by Lewis and Genevieve Geyser.

Gillian Murphy was raised in Florence, South Carolina and received her high school education and advanced dance training under the tutelage of Melissa Hayden at the University of North Carolina School of the Arts. As a teenager, she was awarded the Prix de Lausanne Espoir, and she joined American Ballet Theatre in 1996. After being honored with a Princess Grace Foundation Award, Ms. Murphy was promoted to Soloist in 1999 and to Principal Dancer in 2002. She starred as Odette/Odile in ABT’s PBS television production of Swan Lake and as Giselle in the New Zealand Film Commission’s movie of Stiefel and Kobborg production of Giselle at the Royal New Zealand Ballet, where she was a Principal Guest Artist for three years.

In 2009, Ms. Murphy was the recipient of a Princess Grace Statue Award, the organization’s highest honor. In 2014, she received an Honorary Doctorate in the Performing Arts from UNCSA. In 2018, Ms. Murphy graduated summa cum laude from St. Mary’s College of California with a Bachelor of Arts. In 2019, she successfully completed the Harvard Business School’s “Crossover into Business” program for professional athletes.

Performances of The Nutcracker kick off at McCarter Theatre Center in Princeton, November 26th through 28th, and continue through December with stops at the Union County Performing Arts Center, the Patriots Theater at the War Memorial, and State Theatre New Jersey in New Brunswick.

The Nutcracker tells the magical story of Clara and her Nutcracker Prince as they battle toy soldiers and larger-than-life mice, and travel through a whirlwind of dancing snowflakes to the Land of Sweets. Greeted by the Sugar Plum Fairy and her Cavalier, Clara enjoys a suite of brilliant and joyful dances before opening her eyes to the familiar sights of her own home. Was it all a dream?

A holiday tradition for nearly 60 years, American Repertory Ballet’s The Nutcracker is one of the longest, continuously running Nutcracker productions in the nation. For more information, visit or call 609. 921.7758.

COVID-19 Health and Safety Measures: The health and safety of our audiences, artists, and staff are of the utmost importance. All patrons attending a performance must show proof of vaccination via a vaccine card, or through NJ’s Docket App, or show proof of a negative COVID-19 PCR test taken within *72 hours of the performance. Please check each venue’s website for more information.

Patrons are required to wear masks at all times while inside the venue regardless of  vaccination status. This policy includes children older than age 2.  *McCarter Theatre requests a proof of negative COVID-19 PCR test taken within 36 hours of the performance*

The mission of American Repertory Ballet is to bring the joy, beauty, artistry and discipline of classical and contemporary dance to New Jersey and nationwide audiences and to students through artistic and educational programs. Founded as the Princeton Ballet Society in 1954, the organization now comprises: the preeminent professional ballet company in the state; Princeton Ballet School, one of the most established non-profit dance schools in the nation; and ARB’s Access & Enrichment initiatives, including the long-running and acclaimed DANCE POWER program. In July 2021, ARB welcomed its new Artistic Director, Ethan Stiefel.

PHOTO: Gillian Murphy – courtesy of NYC Dance Project

Ethan Stiefel Has Just Been Named Artistic Director of American Repertory Ballet

Amy Brandt | Nov. 17, 2020

After an extensive search, American Repertory Ballet announced yesterday that Ethan Stiefel will become the company’s new artistic director, starting July 2021. The position has been open since former director Douglas Martin’s departure in 2019; executive director Julie Diana Hench has been assuming artistic duties in the interim. Stiefel, a former American Ballet Theatre star with directing, teaching and choreographing experience, brings major name recognition and international credentials to the New Brunswick, New Jersey–based ARB.

Stiefel in Swan Lake at American Ballet Theatre | Rosalie O’Connor, Courtesy ARB

This isn’t the first time Steifel has led a company—from 2011 to 2014 he served as artistic director of the Royal New Zealand Ballet. Prior to that, he was dean of University of North Carolina School of the Arts’ dance department. At ARB, he inherits 10 full company members plus 8 apprentices and second company dancers, as well as the affiliated Princeton Ballet School.

“I am very fortunate to again have the opportunity to become an artistic director,” Stiefel said in a statement. “I believe most arts organizations have taken stock during these times and are exploring ways to pioneer, diversify and reinvigorate how they approach their internal culture, while seeking to offer current and relevant inspiration for communities and audiences. I am looking forward to helping American Repertory Ballet emerge from these challenging times and to being a part of developing the art form within the organization and the communities we serve.”

Stiefel rehearses ARB dancer Marie Tender in his ballet Overture for a 2019 performance. | Courtesy ARB

Stiefel’s career, which began at age 16 at New York City Ballet, has quite literally spanned the globe. After rising to principal at NYCB, he joined Zurich Ballet and then ABT, where he danced until 2012. During that time he guested at major companies all over the world and starred as Cooper Nielsen in the cult classic Center Stage.

While Stiefel is currently a principal guest instructor at ABT’s Jacqueline Kennedy Onassis School, he has spent the last several years building up his choreographic resumé, creating works for The Washington Ballet, ABT Studio Company and the 2015 television series “Flesh and Bone.” And he is a familiar face at ARB—in 2019, he coached the dancers in his ballet Overture, which the company performed at the opening of the New Brunswick Performing Arts Center.

ARB in the opening pose of Stiefel’s ballet Overture | Courtesy ARB

There’s no word yet on his plans for the company, which is scheduled to come back from hiatus in January, or whether Steifel’s wife, ABT principal Gillian Murphy, will have a role there in the future. But Hench, ARB’s executive director, noted in a statement that Stiefel’s experience and vision are a boon to both ARB and its Princeton Ballet School: “With Ethan at the helm, it feels like the possibilities are endless.”


A Mother Shares How Communal Ballet Classes Have Enriched the Life of Her Daughter With Disabilities