ARB Position: Teacher

Rachel Levy earned her B.F.A. in Dance Performance from the University of the Arts, where she received the Promising Artist Award throughout her undergraduate career. She also holds a Master’s degree in Elementary Education and a teaching certificate for PreK–4th grade. Ms. Levy currently teaches at The Chapin School in Princeton, where she combines her passion for education with her love of inspiring young learners.

Ms. Levy’s dance training began at Princeton Ballet School, where she studied extensively in the Professional Training Program. She performed in numerous productions with American Repertory Ballet, including The Nutcracker, Sleeping Beauty, and Coppélia, and attended Princeton Ballet School’s prestigious summer intensives.

With more than 20 years of teaching experience, Ms. Levy has instructed ballet, jazz, and lyrical dancers of all ages. She is an award-winning choreographer whose works have earned top honors and choreography awards at national dance competitions in both ballet and jazz. She has taught children’s ballet, jazz, summer intensives, and camps at both Dance Arts of Yardley and Princeton Ballet School. Since 2014, she has served as the co-director and choreographer of Yardley Youth Ballet’s annual production of The Nutcracker. In addition to teaching, Ms. Levy has performed professionally in film, television, and live productions.

Ms. Levy is thrilled to return to Princeton Ballet School to share her lifelong love of dance with the Children’s Division.

Valerie Amiss began her training at age eight under Sue Millington at the Regency Ballet. She continued her instruction with Victor Moreno and Alexei Yudenich, and at age 12 joined the Pennsylvania Ballet School. At age 15, Ms. Amiss spent a summer studying in Saratoga Springs, NY with members of New York City Ballet, including Peter Martins, Heather Watts, and Jock Soto. She was nominated for the prestigious Princess Grace Award in 1994, and in 1995 performed at the Algur H. Meadows Award Ceremony to honor choreographer Paul Taylor. In the summer of that same year, she also performed with the Chautauqua Ballet Company, directed by Jean-Pierre Bonnefoux and Patricia McBride, and, in 1997, she was asked by Gloria Govrin and Sandra Jennings to perform at the St. Bart’s Music Festival on the island of St Bart’s.

Ms. Amiss joined Pennsylvania Ballet as an apprentice in 1992 under the direction of Christopher d’Amboise. She became a member of the corps de ballet in 1993 and was promoted to soloist in 1999 with director Roy Kaiser. In the summer of that year, she also represented the company at the Sintra Festival in Portugal. And in 2005, Ms. Amiss not only performed at the Edinburgh Festival in Scotland, where she danced featured roles in Christopher Wheeldon’s Swan Lake, but also performed Matthew Neenan’s 11:11 and Carmina Burana at New York City Center. Additionally, she had the honor of performing twice at the Kennedy Center in Washington, D.C. as well as with Susan Jaffe and Nicole Hlinka for a Rock School benefit.

Ms. Amiss has performed numerous principal roles in George Balanchine’s ballets, including Titania and Hermia in A Midsummer Night’s Dream, Odette in Swan Lake Act II, and the Sugarplum Fairy and Dew Drop in The Nutcracker. As well, she danced featured roles in such works as Giselle, Paul Taylor’s Company B, Twyla Tharp’s In the Upper Room, Christopher Wheeldon’s Continuum and Swan Lake, Janek Schergen’s The Sleeping Beauty, Alvin Ailey’s The River, Jerome Robbins’ In the Night and The Concert, and George Balanchine’s Rubies, The Four Temperaments, Western Symphony, Agon, Scotch Symphony, Bugaku, and Serenade, among others.

Ms. Amiss has taught ballet and pointe classes at summer intensives for The Rock School of the Pennsylvania Ballet. As well, she has been a guest instructor at schools throughout Pennsylvania and New Jersey. For seven years after her retirement from the stage, she was co-ballet mistress for the Academy of Ballet NJ in West Berlin, NJ. Ms. Amiss had the pleasure of teaching ballet to aspiring figure skaters in Aston, Pennsylvania. She was a senior lecturer at the University of the Arts, where she taught several ballet classes, and a guest lecturer at Drexel University where she was asked to speak about Balanchine repertoire for the Philadelphia Museum of Dance at the Barnes Museum., Ms. Amiss has been a faculty member of The School of Pennsylvania Ballet where she taught all levels including beginner ballet through trainee program. She has also taught for the Princeton Ballet School in both the Cranbury and Princeton locations.

In 2018, Ms. Amiss was asked by The Pennsylvania Ballet outreach program to teach classes for children with Down syndrome. She has taught several ballet classes for children with special needs at St. Katherine Day School in Wynnewood, Pennsylvania. Where she collaborated with the school staff and students to create a fully inclusive Nutcracker for the community to experience the joy of The Nutcracker. Valerie also developed Audrey’s class for children of all abilities at the Princeton Ballet School inspired by a student named Audrey who loved ballet and classical music. Valerie enjoys teaching children of all abilities and ages pre ballet through pre professional levels, Adult ballet and private coaching. Valerie truly believes an arts education can enrich and change lives. Ms. Amiss retired from Pennsylvania Ballet in June 2007. She resides in Marmora, NJ with her husband, former Pennsylvania Ballet Soloist Edward Cieslak, and their son Adam and daughter Lily.

Jaime Santoro began her ballet training at the age of six at both The Rock School of the Pennsylvania Ballet and the Philadelphia Dance Conservatory. She went on to perform as a member of the Philadelphia Ballet before joining Orlando Ballet in 1996, where she enjoyed a distinguished fourteen-season career. In the summer of 2001, Ms. Santoro was awarded a Professional Fellowship and invited to perform as a guest artist with the Rome Festival, touring and performing throughout Italy.

While with Orlando Ballet, Ms. Santoro performed numerous soloist and principal roles in both classical and contemporary works. Her classical repertoire includes The Nutcracker, Romeo and Juliet, Don Quixote, Swan Lake, Cinderella, The Sleeping Beauty, and A Midsummer Night’s Dream. Her Balanchine repertoire includes Symphony in C (First and Fourth Movements), Who Cares?, Concerto Barocco, Valse Fantaisie, Serenade, and Agon. She also performed in contemporary masterpieces such as Twyla Tharp’s Nine Sinatra Songs and The Upper Room, as well as Val Caniparoli’s Going for Baroque.

The transition from principal and soloist dancer to choreographer and teacher was a natural evolution for Ms. Santoro and provided her the opportunity to contribute artistically and educationally to several organizations, including Orlando Ballet, Orlando Ballet School, Springton Dance Academy, and Dance Arts of Yardley.

In 2009, Ms. Santoro was recognized by Cambridge Who’s Who for her dedication, leadership, and excellence in the performing arts.

Most recently, Ms. Santoro served as Children’s Ballet Mistress and Head Teacher of the Trainee Program with the Philadelphia Ballet for ten years. In that role, she was instrumental in the development and training of professional dancers and students and played a pivotal role in staging and rehearsing George Balanchine’s The Nutcracker, helping to inspire, guide, and shape the next generation of young dancers.

Ms. Santoro looks forward to bringing her experience, talent, and love for dance to the professional dancers and students of the American Repertory Ballet and Princeton Ballet School, continuing her lifelong commitment to artistic excellence and education in the art of ballet.

Ryoko Tanaka was born and raised in Wakayama Japan, where she began her training. In 2013, she was selected to be in the Nancy Einhorn Milwaukee Ballet II program. In 2017, she joined the trainee program at American Repertory Ballet and soon moved up to ARB 2, and by 2018, she was promoted to ARB company member. Since joining the company, Ryoko has performed the title role in Ethan Stiefel and Johan Kobborg’s Giselle, Sugar Plum Fairy in The Nutcracker, Odette in Swan Lake (for Princeton Ballet School). She has also performed featured roles in Stiefel’s Wood Work, Overture, VARIANTS, as well as Caili Quan’s Circadia, Amy Seiwert’s Sight Line and World, Interrupted, Paul Taylor’s Airs, Trey McIntyre’s Blue Until June, Meredith Rainey’s Intrare Forma and multiple other roles. In 2021, she made her debut as choreographer for ARB with Saudade. She continued her choreographic work with ARB in 2022, collaborating with composer/pianist Ian Howells to create Hindsight and most recently TSUBOMI, for Princeton Ballet School.  

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Aldeir Monteiro (Sponsored by Nancy and Duncan MacMillan) began his training at the Centro de Arte e Dança de Campo Grande in Rio de Janeiro, Brazil, coached by Daniel Mendéz and directed by Alice Arja. Monteiro won the Bronze Medal at the XVIII International Dance Seminar of Brasilia in 2008. He continued his training at the Miami City Ballet School and joined Miami City Ballet in 2012 under the direction of Edward Villella, followed by Lourdes Lopez. Monteiro performed in the original cast of Euphotic choreographed by Liam Scarlett for the Miami City Ballet in 2013. His repertoire includes Alexei Ratmansky’s Symphonic Dances; Sir Frederick Ashton’s Les Patineurs; George Balanchine’s The Nutcracker, Serenade, La Valse, and Slaughter on Tenth Avenue; Paul Taylor’s Piazolla Caldera; John Cranko’s Romeo and Juliet and others. Since joining ARB in 2016, Monteiro has performed principal roles such as Cavalier in The Nutcracker, Lysander in Douglas Martin’s A Midsummer Night’s Dream, Matador in Kirk Peterson’s Carmen, Franz in Coppelia, Paul Taylor’s Airs, José Límon’s There is a Time, Gerald Arpino’s Sea Shadow and Jean de Brienne in Peterson’s Glazunov Variations. Other credits include Trey McIntyre’s Blue Until June, Septime Webre’s Fluctuating Hemlines, and Riccardo De Nigris’ Beyond the Normal, Ethan Stiefel’s Wood Work and VARIANTS, Amy Seiwert World, Interrupted and Sight Line, and Arthur Mitchell’s Holberg Suite. Monteiro originated the role of Puck, dancing alongside ARB’s Artistic Associate Gillian Murphy in Stiefel’s A Midsummer Night’s Dream, and Albrecht in Ethan Stiefel and Johan Kobborg’s Giselle.

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Nanako Yamamoto was born and raised in Japan where she began her training at the Geijutsuza Ballet Studio “Jardin des Arts”, performing such roles as Clara in The Nutcracker, Rose Adagio in The Sleeping Beauty and the title role in Cinderella. In 2005, she was selected to attend the prestigious Royal Ballet Summer School, then was accepted to the Elmhurst School for Dance in Association with the Birmingham Royal Ballet. While a student, she performed in the Birmingham Royal Ballet’s National Tour of Firebird, Fokine’s Petrushka, Petipa’s Raymonda and David Bintley’s Beauty and the Beast. She performed for his Royal Highness Prince Charles and the Duchess of Cornwall in addition to the grand re-opening of Birmingham’s Town Hall. Since graduating in 2009, she has performed with New Tampa Dance Theatre, Dance Theatre of Tampa, Ballet Fleming, Virginia Regional Ballet, in Giselle with Boca Ballet Theatre alongside Julie Kent and Marcelo Gomes, and as soloist in La Bayadere with Gillian Murphy and José Manuel Carreño. Since joining ARB, she has danced featured roles in The Nutcracker, including Sugar Plum Fairy and Snow Queen, the title role in Ethan Stiefel and Johan Kobborg’s Giselle, Changeling and Titania in Stiefel’s world premiere of A Midsummer Night’s Dream, as well as Belle in Kirk Peterson’s world premiere of Beauty and the Beast. She has also been featured in Gerald Arpino’s Confetti and Sea Shadow, Peterson’s Carmen and Glaznov Variation, Claire Davison’s world premiere Time Within A Time and other works by Douglas Martin, Kirk Peterson, Mary Barton, David Fernandez, Colby Damon and Ethan Stiefel.

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A California native, Erikka Reenstierna-Cates (Sponsored by Catherine Granzow and Lisa Patterson) received her training under Leslie Ann Larson and Rene Daveluy. Before joining American Repertory Ballet in 2016, she previously danced with Central West Ballet, Oklahoma City Ballet, and Ballet Ireland. Reenstierna-Cates has been featured in a number of ballets in such notable roles such as Elena in Ethan Stiefel’s A Midsummer Night’s Dream, Caroline Bingley in Douglas Martin’s Pride and Prejudice, and Zulma and Bathilde in Stiefel and Johan Kobborg’s Giselle. She has had the privilege of performing works by renowned choreographers including George Balanchine’s Serenade, Who Cares?, and Valse Fantaisie, José Limón’s There Is A Time, Paul Taylor’s Air, Ethan Stiefel’s Wood Work, Paul Vasterling’s Peter Pan, Val Caniparoli’s Songs and Violin, Septime Webre’s Fluctuating Hemlines, Ronn Guidi’s Trois Gymnopedies, Dennis Spaight’s  Scheherazade, Kirk Peterson’s Tears of the Moon, Carmen, and Beauty and the Beast, Ryoko Tanaka’s Saudade and Hindsight, Claire Davison’s Bewitched, Stiefel’s Woodwork and VARIANTS, Amy Seiwert’s World, Interrupted and Sight Line, Caili Quan’s Circadia, Da’Von Doane’s Kaleidoscope Mind, Arthur Mitchell’s Holberg Suite, Meredith Rainey’s Intrare Forma, Stephanie Martinez’s The Time That Runs Away, and Drosselmeyer in The Nutcracker. 

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Lane Dallape is a dancer, teacher, and choreographer from Suwanee, Georgia, trained in ballet, modern, jazz, and tap. Her education includes Suwanee Academy of the Arts, University of North Carolina School of the Arts, and Brenau University where she graduated with a Bachelor of Arts in Dance. Recently, Lane performed with VISIONS Contemporary Ballet, directed by Ranardo-Domeico Grays. She also completed the American Repertory Ballet trainee program under the direction of Aydmara Cabrera and Ethan Stiefel, where some of her more memorable roles include Myrtha in Giselle, and the Spanish Pas de Deux in The Nutcracker. Since her completion of the trainee program, Lane has been teaching with Princeton Ballet School and has also worked on the administrative side as a Front Desk Receptionist. Lane looks forward to another season with the school and helping young dancers find their passion through technique and musicality in the classroom. 

Former ballerina Leigh Donlan trained in Russian technique and a variety of folk and modern dance techniques, was Children’s Ballet Mistress at the Washington School of Ballet, Director of the Athenaeum School of Ballet, and studied English at the University of Oregon and Public Relations at Georgetown University. She has been writing for Ballet to the People since 2014.