Search LAB

Los Angeles Ballet presents a company of outstanding dancers from local communities and around the world. LAB dance artists master classical as well as contemporary techniques. Lori & Michael Milken Principal Dancer Kenta Shimizu Hometown Gifu Prefecture, Japan Schools Soda Ballet School Osaka, Royal Ballet School Companies K-Ballet, Miami City Ballet Los Angeles Ballet 13th Season

Los Angeles Ballet photo gallery presents a complete suite of season performance photos beginning with LAB’s inaugural season in 2005. Los Angeles Ballet performance photographer: Reed Hutchinson 2017/2018 Photo Gallery Swan Lake The Nutcracker Pushing Dance Photo Gallery / 2017/2018 Photo Gallery /

Los Angeles Ballet photo gallery presents a complete suite of season performance photos beginning with LAB’s inaugural season in 2005. Los Angeles Ballet performance photographer: Reed Hutchinson 2018/2019 Photo Gallery Modern Moves The Nutcracker Serenade La Sylphide Photo Gallery / 2018/2019 Photo Gallery /

Julia Rivera is an arts and culture professional who has dedicated the last 20 years to serving in leadership roles in marketing communications and specializing in branding, strategic partnerships, and audience development for museums and performing arts organizations throughout LA County. She served as Marketing Director and Vice President of Marketing Communications for The Natural History Museum of Los Angeles County, The Tar Pits Museum, and the William S. Hart Museum before moving into performing arts management as Marketing Director at LA Opera. Julia joined Los Angeles Ballet in 2015 to lead the efforts of marketing communications, ticket sales, and audience development and helped the Company achieve growth in attendance and ticket income every season and launched the rebrand of the company in 2023. As a consultant during the COVID-19 pandemic, she stepped in as Marketing Director at The Broad Museum to implement a reopening plan and has provided branding and audience development guidance to LA Chamber Orchestra and Pacific Jazz Orchestra before returning to Los Angeles Ballet. Originally from Chicago, Julia is a veteran of the U.S. Army and served three tours in the US and overseas with a focus on the Pacific Rim theater of operations. She is now one of American Corporate Partner’s (ACP) veteran career coaches who mentors members of the Armed Forces preparing for civilian careers. She has also supported local theatre in Los Angeles on an advisory board and is a past Marketing Director of the American Marketing Association, Los Angeles Chapter. Interim Executive Director Julia Rivera Julia Rivera is an arts and culture professional who has dedicated the last 20 years to serving in leadership roles in marketing communications and specializing in branding, strategic partnerships, and audience development for museums and performing arts organizations throughout LA County. She served as Marketing Director and Vice President of Marketing Communications for The Natural History Museum of Los Angeles County, The Tar Pits Museum, and the William S. Hart Museum before moving into performing arts management as Marketing Director at LA Opera. Julia joined Los Angeles Ballet in 2015 to lead the efforts of marketing communications, ticket sales, and audience development and helped the Company achieve growth in attendance and ticket income every season and launched the rebrand of the company in 2023. As a consultant during the COVID-19 pandemic, she stepped in as Marketing Director at The Broad Museum to implement a reopening plan and has provided branding and audience development guidance to LA Chamber Orchestra and Pacific Jazz Orchestra before returning to Los Angeles Ballet. Originally from Chicago, Julia is a veteran of the U.S. Army and served three tours in the US and overseas with a focus on the Pacific Rim theater of operations. She is now one of American Corporate Partner’s (ACP) veteran career coaches who mentors members of the Armed Forces preparing for civilian careers. She has also supported local theatre in Los Angeles on an advisory board and is a past Marketing Director of the American Marketing Association, Los Angeles Chapter. Home / Staff / Administrator

You will receive an email notifying you if audition spots are available. If so, you will be assigned the time for your audition, and a group number, and will be invited to submit your photos and CV. Pre-Registration Received You will receive an email notifying you if audition spots are available. If so, you will be assigned the time for your audition, and a group number, and will be invited to submit your photos and CV. Home / Audition Pre-Registration Received /

Thank you for your request for Group Tickets for the 2021/2022 Season. The Los Angeles Ballet Box Office will contact you to assist with your request. Thank You! Thank you for your request for Group Tickets for the 2021/2022 Season. The Los Angeles Ballet Box Office will contact you to assist with your request. 2024/2025 Season / Ticket Information / Group Sales / Group Request Thank You /

Choose the Series A subscription and enjoy all the benefits of being a Los Angeles Ballet Subscriber. 2024/2025 Season / Subscribe / Select Your Serie / Series A / Need Assistance? Email / (310) 998-7782 Login Series A Subscription

I love ballet. I love the grace, the magic, the sheer beauty of it all. But, once in a while, ballet isn’t merely attractive young dancers in white tutus, assembling in lovely tableaus to strains of Mozart and Delibes. Los Angeles Ballet's 'New Wave LA' A Company for the 21st Century May 21, 2010 Culturespot LA by Penny Orloff I love ballet. I love the grace, the magic, the sheer beauty of it all. But, once in a while, ballet isn’t merely attractive young dancers in white tutus, assembling in lovely tableaus to strains of Mozart and Delibes. Once in a while, ballet is the tumultuous and heartstopping and transformative theatrical experience I had on May 15, when Los Angeles Ballet presented “New Wave LA” at the Redondo Beach Performing Arts Center. Back in the 1950s my ex-ballerina mother hoarded her housekeeping money in order to take my sisters and me to the ballet. Having fallen in love with Tchaikovsky and Petipa at a young age, she favored classic “white” ballets like “Swan Lake” and other traditional works of the late 1890s and early 20th century. It wasn’t until I relocated to New York in the 1970s that I experienced what decades in the New World had done to an elitist European amusement. George Balanchine had revolutionized classical ballet, working with Stravinsky, Hindemith, and other giants of 20th-century music and creating a uniquely American style reflective of a post-war, increasingly urban culture. My mother found it disturbing, but I was an avid member of the young audience that flocked to the New York State Theatre, taking ownership of this suddenly relevant iteration of a traditional art form. In the 35 years since, I have seen the new audiences of the ’70s grow old and gray – like myself. Except for the young mothers of each new crop of baby ballerinas, today the majority of my fellow balletomanes – like the aging devotees of classical music and opera – are on the far side of the hill, a disturbing percentage of our decreasing numbers rigidly clinging to an increasingly irrelevant artistic sensibility. Or so I thought. Last week I watched, incredulous, as the lobby of the Redondo Beach Performing Arts Center filled with a hyperactive horde of tattooed and pierced twenty- and thirty-somethings, eager – nay, impatient – for the unveiling of the four world premieres featured in Los Angeles Ballet’s production of “New Wave LA.” Inside the theater the electricity was palpable, the buzz deafening. No polite hand clapping greeted the appearance of co-artistic directors Colleen Neary and Thordal Christensen. Instead, cheers worthy of European soccer erupted as the couple stepped on stage to welcome their audience. Unfamiliar with ballet, most of this young crowd has discovered dance through “American Idol,” “Dancing With the Stars,” and “So You Think You Can Dance,” where passionate demonstration has supplanted decorous appreciation. Largely ignorant of the current crop of TV dance shows, I was not acquainted with the work of Mandy Moore, Travis Wall, and Sonya Tayeh, all of “So You Think You Can Dance.” Together with MYOKYO founder and choreographer Josie Walsh, these young artists represent a new voice, new dance vocabularies, performed to new music – with nary a tutu in sight. Mandy Moore’s “Wink” opens the show, dealing with the tangled web of Internet dating “and all the awkwardly beautiful moments along the path to finding true love,” she writes in the program notes. The curtain rises on a lineup of 10 characters who deliver “profile” introductions directly to the audience: “Hi, I’m Chelsea…” “I love walks on the beach…” “I’m an Aries…” The music by Cirque Eloise underscores Moore’s complex interactions. She expertly weaves the daring with the lyrical, the humorous with a thread of melancholy, as richly detailed ensembles give way to a quasi-traditional pas de deux. The audience, unused to the capabilities of bona fide ballet dances, rewards individual virtuosity and group precision with a torrent of screams and applause – and just like that, we’re not in Kansas, anymore. After a brief intermission, choreographer and former international ballerina Josie Walsh, founder of MYOKYO Renegade Rock Ballets, offers “Transmutation.” The specially commissioned, driving rock score by Walsh’s husband, Paul Rivera, Jr., pulses and throbs as three couples act out the visceral “interplay between the male and female energies” in a tour de force display of physical exertion. Walsh told me that the greatest challenge of this piece was the sheer endurance factor for the dancers. Pressed to their limits, all six reveal uncommon depth of personality and character. Tiny Grace McLoughlin, especially, unleashes a raw, wild abandon. She is like an animal possessed. Drew Grant, Andrew Brader, and Alexander Forck are individually and collectively astonishing, as they negotiate the tremendous athleticism of Walsh’s huge compound leaps and spectacular lifts. The audience screams itself hoarse, until shocked into pin-drop silence by the transcendent finale. Travis Wall’s “Reflect. Affect. Carry On…” is a time-bending, nonlinear love story set to Queen’s “Bohemian Rhapsody,” U2’s “With or Without You,” and Sigur Ros’ “Samskeyti.” His star is rapidly rising on the contemporary dance scene; nevertheless he is a master of classical ballet technique, infusing his sui generis style with enough tradition to satisfy the most rabid haters of the unfamiliar. Through a personal vocabulary of movement, Wall creates a surreal dreamscape of desire, memory, yearning. One cannot begin to guess what this 22-year-old phenom may become. The dancers execute the unique combinations with total commitment. At one point, their meticulous and precise delivery of an extended fugue provokes a long, audible gasp from the previously vociferous audience – literally taking our breath away. Sonya Tayeh’s “the back and forth” is a sexy, wild ride of a finale to music of the Paris Gotan Trio, Björk, and tango king Astor Piazzolla. The alchemy of Tayeh’s quirky, signature style of “combat jazz” melded with virtuoso ballet elements whips the packed house into a frenzy. The bullfight-inspired dance features unexpected, increasingly dramatic interactions between the bare-chested men and flamenco-clad women. This is dance as unbridled passion, dance as spectacle, dance as Theatre. The audience was on its feet, screaming even before the curtain came down. The dancers took a bow to deafening roars. The ovation surged again with the appearances of Neary, Christensen, and the four choreographers. After the show, hundreds of fans stood in long lines to get autographs and have their photographs taken with the young choreographers. I’d conclude that Neary and Christensen’s experiment bodes well for the future of classical ballet. Catch Los Angeles Ballet’s “New Wave LA” on May 22 at 7:30 p.m. at the Alex Theatre, Glendale; on May 29 at 2 p.m. (just added) and 7:30 p.m. (sold out) and May 30 at 2 p.m. (sold out) at the Broad Stage, Santa Monica. Tickets and information: (310) 998-7782 or www.losangelesballet.org . DOWNLOAD PDF Home / News / New Item

Underwritten by Wachovia Bank, the event showcased Los Angeles Ballet's commitment to serving LA's underprivileged communities through its outreach program, POP! Power of Performance. Los Angeles Ballet teams with LA Magazine, Wachovia Bank, LA’s Best & Warner Brothers Studios for a Holiday Extravaganza December 1, 2007 Company News from the Staff at LAB In other roles, Grace McLoughlin danced Effie with sweet innocence. James Li was Gurn, James’ best friend, a naïf who winds up marrying Effie after James’ disappearance. (Peter Snow will take over the role in two of the three remaining performances.) Andrew Brader and Drew Grant were the friends. Home / News / New Item

Los Angeles Ballet photo gallery presents a complete suite of season performance photos beginning with LAB’s inaugural season in 2005. Los Angeles Ballet performance photographer: Reed Hutchinson Photo Gallery 2021 / 2022 2019 / 2020 2018 / 2019 2016 / 2017 2015 / 2016 2014 / 2015 2013 / 2014 2012 / 2013 2011 / 2012 2010 / 2011 2009 / 2010 2008 / 2009 2007 / 2008 2006 / 2007 2017 / 2018 Performance Photography by Reed Hutchinson Rehearsal, Events & Outreach Photographers Sam Akins, Laura Chachich, Catherine Kanner Home > Photo Gallery

Los Angeles Ballet photo gallery presents a complete suite of season performance photos beginning with LAB’s inaugural season in 2005. Los Angeles Ballet performance photographer: Reed Hutchinson 2016/2017 Photo Gallery Modernist The Nutcracker Balanchine Photo Gallery / 2016/2017 Photo Gallery /

LAB will contact you regarding your child’s audition status and details. Thank You! LAB will contact you regarding your child’s audition status and details. Open Registration - Thank You /