Kansas City Ballet
|Kansas City Ballet|
|Name||Kansas City Ballet|
Kauffman Center for the Performing Arts|
Kansas City, Missouri
|Executive Director||Jeffrey Bentley|
|Artistic Director||Devon Carney|
|Music Director||Ramona Pansegrau|
|Official school||Kansas City Ballet School|
The company was founded in 1957 by Tatiana Dokoudovska. The Kansas City Ballet steadily developed and grew under Dokoudovska (1957-1981) and her artistic director successors Todd Bolender (1981-1995) and William Whitener (1996-2013).
The KCB presents five major performances each season to include an annual production of The Nutcracker. In the 2016-2017 season, KCB grew to an all-time high with 30 company dancers, 15 second company dancers, 64 full-time and part-time staff, and a network of over 400 local volunteers.
The KCB company, its school, and its staff are all housed in, operate from, and rehearse at the Todd Bolender Center for Dance and Creativity, a renovated, seven-studio, office, and rehearsal facility in Kansas City, Missouri that opened in August 2011. The company performs at and is the resident ballet company at the nearby Kauffman Center for the Performing Arts, a performance venue in downtown Kansas City that opened in September 2011.
- 1 History
- 2 Senior Staff
- 3 The Company
- 4 Repertory
- 5 School
- 6 References
- 7 Further reading
1957-1981 – Dokoudovska era
In 1957, Tatiana Dokoudovska founded the Kansas City Ballet (KCB) at the Carriage House next to the old brick Conservatory building (the old Grant Hall). On April 30, 1957, the company gave its premiere performance at the Victoria Theater (now the Lyric Theatre) with Ms. Dokoudovska serving as its first Artistic Director. The program included two ballets: Michel Fokine’s original Les Sylphides, and Ruse d’Amour, an adaptation by Ms. Dokoudovska of Fokine’s The Toys. In December 1957, the Kansas City Ballet Company became a 501(c)(3) not-for-profit organization with a board of directors, business manager, and musical director.
In the 1958-1959 season, the company name changed to the Kansas City Civic Ballet.
In 1963, the company moved to a small place on 45th street near the Nelson Atkins Museum.
In 1967, Dokoudovska brought Shirley Weaver, a Kansas City native and former dancer with the Metropolitan Opera and the Ballet Russe de Monte Carlo, to the KCB. Weaver danced major roles with KCB, choreographed, served as (honorary) ballet mistress, and taught alongside Dokoudovska at the University of Missouri–Kansas City Conservatory of Music for many years.
For the company’s 10th anniversary in 1967, it performed a program at the Kansas City Music Hall featuring three guest choreographers.
In 1968, the company moved to Treadway Hall on the University of Missouri–Kansas City Campus.
In April 1968, choreographer Zachary Solov began a multi-year collaboration with the KCB, coming to Kansas City to choreograph and stage two world premiere ballets with the KCB: an abstract piece set to Mozart's Symphony No. 40 and a theater ballet based on Carnival of the Animals by Saint-Saëns. The program also included performances by New York City Ballet guest artists Edward Villella and Patricia McBride.
For the opening of the 1969-70 season, Solov returned to Kansas City to create and present three world premiere ballets with the KCB: The World I Knew (set to Massenet's Scenes Alsaciennes), Zygosis, and Divertissement. Lead roles in the first piece were danced by New York City Ballet guest artists Jacques d'Amboise and Melissa Hayden.
For the spring 1970 performance, the KCB presented the ballet Laurencia, staged by guest artists.
In 1970, the mayor of Kansas City, Ilus Winfield Davis proclaimed a special “Civic Ballet Week." During the 1970-1971 season, the company name changed back to Kansas City Ballet.
In the spring of 1971, Solov returned to Kansas City to present a program titled "Ages of Innocence" with the KCB. Solov choreographed/set two additional works for the KCB: Rhapsody and Celebration. The program also included two pieces danced by New York City Ballet guest artists Jacques d'Amboise, Melissa Hayden.
In December 1972, KCB performed its first The Nutcracker.
During the 1973-74 season, the KCB moved to a former appliance store building.
In 1975, the Lyric Theatre was designated as the season performance home for the company. In 1975-1976, a fall performance was added to the annual The Nutcracker production as well as a spring production for a three-production season. The company subsequently implemented its first sale of subscription series season tickets.
In 1976, Ms. Dokoudovska stepped down as artistic director of the Ballet to devote her time to teaching as head of the ballet department at the Conservatory of Music on the University of Missouri–Kansas City campus. That same year, KCB qualified as a member of the National Endowment for the Arts Dance Touring Program.
In 1977, the company office moved to the Prescott Firehouse in Kansas City, Kansas, an upstairs room with a fire pole in the corner. In April 1977 New York City Ballet dancer Patricia McBride performed her first full-length production of Giselle with the KCB.
1981-1995 – Bolender era
In January 1981, Todd Bolender, a renowned and long-time New York City Ballet (NYCB) dancer, teacher, and choreographer, accepted the artistic directorship of the Kansas City Ballet. His first year proved to be pivotal for the company with the introduction of major new works and the implementation of several major initiatives.
Kevin Amey joined KCB as company manager in February 1983. During the 1983-1984 season, the company increased its performance season with 25 tour dates in five states: Arkansas, Kansas, Missouri, Nebraska, and Wyoming.
In 1985, Michael Kaiser joined the KCB as General Manager.
In 1986, the KCB was renamed the State Ballet of Missouri. The company continued to operate under this name for the next 14+ years.
In 1987, KCB debuted in New York City with four Bolender ballets.
In 1988, Alvin Ailey came to KCB with his ballet – the company’s first Ailey work.
In 1989, KCB premiered Bolender's work , created and performed to mark the 150th anniversary of the founding of the University of Missouri.
In 1991, KCB premiered its first work by Antony Tudor.
In 1994, KCB's Nutcracker sets were redesigned by Robert Fletcher (artist/designer).
In 1995, Bolender retired at age 81. He was named Artistic Director Emeritus in 1996.
1996-2013 – Whitener era
In the spring of 1997, Whitener premiered the first of his many creations for the KCB. In the fall of 1997, KCB established a full-time community outreach director position.
In 1999, the company moved to 1601 Broadway in the old NCR Building (prophetically perhaps, in 2011 this became the address of the new Kauffman Center for the Performing Arts).
In January 2000, after nearly 15 years as the State Ballet of Missouri, the Kansas City Ballet reclaimed its original name. In October 2000,
In August 2011, after operating out of nine different locations over the course of 50+ years, the KCB moved into its new permanent home, the totally renovated (and aptly named) Todd Bolender Center for Dance and Creativity. In October 2011, KCB made its debut as the resident dance company of the Kauffman Center for the Performing Arts with William Whitener’s Tom Sawyer: A Ballet in Three Acts.
2013-current – Carney era
Devon Carney became KCB’s Artistic Director in 2013. One of Carney's first initiatives at KCB in the fall of 2013 was the establishment of a Second Company program under the auspices of the KCB School. Carney saw the Second Company, composed of post-graduation trainees and emerging professional dancers, as an important bridge/connector between KCB's school programs and the professional company.
Jeffrey Bentley is KCB's long-serving Executive Director, having been appointed KCB Executive Director in 1998. Mr. Bentley has been involved in dance and theater for over 40 years as a performer, administrator, festival director, dance presenter, teacher and consultant. In 2018, the Kansas City-based Nonprofit Connect organization named Mr. Bentley its Nonprofit Professional of the Year.
Devon Carney became KCB’s Artistic Director in 2013. A native of New Orleans, Mr. Carney was a long-time principal dancer and Ballet Master with the Boston Ballet. He also toured extensively throughout the United States, Mexico, Europe, and Asia with ballet greats such as Rudolf Nureyev, Fernando Bujones, and Cynthia Gregory. Prior to coming to KCB, Mr. Carney served as the Associate Artistic Director of the Cincinnati Ballet.
Kristi Capps joined KCB's artistic staff as Ballet Master in 2013. A native of Charlotte, North Carolina, Ms. Capps’ ballet training included the School of American Ballet, Harid Conservatory and the University of North Carolina School of the Arts. Upon graduation from UNCSA, Ms. Capps joined the Atlanta Ballet for three seasons and then moved to the Cincinnati Ballet in 1996. Promoted to principal in 2002, Ms. Capps continued to dance in Cincinnati until her retirement in 2010.
Parrish Maynard joined KCB as Ballet Master in 2016. He danced with American Ballet Theatre and as a principal dancer with both the Joffrey Ballet and San Francisco Ballet. From 2005-2015, Mr. Maynard served on the faculty of San Francisco Ballet School.
Ramona Pansegrau joined KCB in October 2006 as its first music director. Previously, Ms. Pansegrau served with both the Boston and Tulsa ballet companies, where she held positions as principal pianist, solo pianist, music director, and conductor, respectively. She has also served on the faculty, as music director, and/or as conductor/guest conductor for the Aspen/Snowmass Dance Festival, multiple International Ballet Competitions, the Ballet Across America Festival, the Orlando Ballet, and the Jacob’s Pillow Ballet Program.
The Kansas City Ballet is an ensemble/unranked company consisting of 30 dancers. Dancers are routinely interchanged and perform multiple lead, solo, and/or corp de ballet roles within productions, as required. Company dancers for the 2018-19 season are (name and year joined KCB):
|Gavin Abercrombie (2018)||Angelin Carrant (2018)||Danielle Bausinger (2014)|
|Humberto Rivera Blanco (2016)||Joshua Bodden (2014)||Kaleena Burks (2010)|
|Christopher Costantini (2014)||Amanda Devenuta (2014)||Liang Fu (2014)|
|Lilliana Hagerman (2015)||Kelsey Hellebuyck (2016)||Enrico Hipolito (2017)|
|Elysa Hotchkiss (2015)||Whitney Huell (2014)||Nicholas Keeperman (2018)|
|Dillon Malinski (2014)||Taryn Mejia (2012)||Emily Mistretta (2016)|
|Javier Morales (2017)||Courtney Nitting (2018)||Tempe Ostergren (2010)|
|Lamin Pereira dos Santos (2014)||Amaya Rodriguez (2016)||Daniel Rodriguez (2018)|
|James Kirby Rogers (2016)||Sarah Joan Smith (2016)||Cameron Thomas (2017)|
|Goldie Walberg (2017)||Marisa Whiteman (2018)||Kevin Wilson (2016)|
The KCB has performed 200+ works since its founding in 1957. The company maintains a complete list of works they have performed on their website.
The growth of the company to 30 full-time dancers and the addition of the Second Company has allowed it to expand into more and larger full-length classical works.
Nearly 40 years later, the school has grown and expanded dramatically, now offering a comprehensive and diverse training program for students of all ages. It operates from both the Bolender Center in downtown Kansas City, Missouri as well as a second campus in nearby Johnson County, Kansas. It received back-to-back “Outstanding School” awards at the 2017 and the 2018 Youth America Grand Prix Regional Semi-finals.
Grace Holmes joined KCB as Director of the Kansas City Ballet School in September 2014. A former soloist with the San Francisco Ballet and the Birmingham Royal Ballet, she previously served as Ballet Education Manager at the Royal Opera House in Covent Garden, London, England and more recently as a Professor of Dance at the University of Texas at Austin.
The KCB School has two divisions: The Academy, which begins at age 3, and the Studio Division, for ages 12 and older.
- The Academy. Currently, the Academy has more than 500 students, making it one of the largest ballet schools in the region. All classes are taught by KCBS’ faculty at the Bolender Center. The academy is divided into two sections: a "lower" school and an "upper" school.
- Lower School. The Lower school offers two programs. The Children’s Program, for ages 3-7, introduces children to ballet and movement while focusing on creativity and group interaction. The Primary Program, for ages 7-11, lays the foundation of more advanced classical ballet training.
- Upper School. The Upper school offers Intermediate and Advanced programs. Both programs focus on developing a student's technique, musicality, and artistry. The varied curriculum and progression of levels allows for the development of a strong, versatile dancer. The Daytime Program was introduced in 2016 as an extension of the Upper School. It offers students an opportunity to study intensively during the day. Students attend 20-25 hours of training each week including classes in all dance forms.
- Studio Division. Classes/Programs offered include:
- Junior Studio classes are for students, ages 7–15 who are unable to commit to the number of classes per week that are required to participate in the Academy Division. These classes also provides Academy students the opportunity to augment their dance education with classes other curriculum, such as Jazz and Hip Hop.
- Studio Dance and Fitness classes are for all ages and experience levels.
- Adult dance classes and workshops are available and organized into 4 or 6 week sessions.
Kansas City Youth Ballet
Originally called the Midwest Youth Ballet, it began its residency with the KCB School in 2005. KCYB is made up of dancers ranging in age from 13-18. The company presents two major performances each season and educational outreach demonstrations throughout the community, showcasing works by local and national choreographers, as well as new emerging artists.
Second Company Program
KCB’s Second Company is an emerging professionals program. It provides talented young dancers professional experience as a prelude to their moving into a professional company.
- Trainee Program. The tuition-based Trainee Program was created in 2014 to develop the technical skills and artistry of young aspiring post-secondary school dancers, preparing them for a dance career by bridging the gap between the student and the professional level. Trainees participate in some company classes and have the opportunity to be considered for performances with KCB Company during the season. They also perform in tandem with the KCB II in their own educational and community outreach performances throughout the year.
- KCB II. The KCB II concept was created and implemented as a strategic initiate by KCB Artistic Director Devon Carney in the fall of 2013. It currently consists of six aspiring dancers selected from across the US. KCB II dancers hone their dance skills and gain experience in a professional environment and are often afforded the opportunity to perform alongside KCB’s professional company. They also serve as ambassadors for dance and KCB across the region, reaching out to local audiences and communities via "mini-performances" at private and public venues. Previous events have included performances at local Kansas City art galleries, Kansas City's historic Union Station, and at the annual Kansas City Plaza Lights Ceremony.
- Matinees for Schools. KCB performs specially discounted morning matinees for schools designed to enhance interdisciplinary learning, including English language arts, social studies/history, music, and technology. Teachers receive a online multi-media study guide which includes a ballet synopsis, educational activities and resources related to performances.
- Lecture Demonstrations. KCB Second Company offers a 60-minute dance interactive program in schools, appropriate for elementary, middle, and high-school students. These programs are narrated by dancers and KCB staff and include a diverse repertoire of classic and contemporary ballets, including excerpts for KCB's current season.
The KCB Guild can be traced back to 1961 when a group of KCB mothers created a support group for the KCB. In 1967, this group became the KCB "Women's Committee", it was subsequently renamed the "Kansas City Ballet Guild." The KCB Guild is currently a group of nearly 200 Kansas City area ballet enthusiasts who serve as advocates for dance and ballet in the Kansas City community. The KCB Guild offers social events for its members to include special behind-the-scenes presentations by guest choreographers, company dancers and staff, watch nights, receptions, luncheons, movie nights, and a book club. It also sponsors an annual student/company cast party, sponsors/funds dancer attendance at Guild events and provides holiday gifts for company dancers.
- Fundraising. The Guild conducts two major fundraising efforts each year for the KCB - the Nutcracker Boutique and the annual Ballet Ball. The KCB "Women's Committee" sponsored the first "Ballet Ball" in 1968, with Elizabeth Hard and Jan Newman as co-chairs. In 2017, the KCB Guild sponsored the KCB 60th Anniversary "Diamond Ball", raising over $300K for the KCB.
- Archive. The KCB Guild Archive Committee maintains the Tatiana Dokoudovska Library for Dance which was established in 2008. It currently houses four collections: the KCB core collection and three special collections containing materials from each of the three previous Artistic Directors; Tatiana Dokoudovska, Todd Bolender, and William Whitener. The core collection spans 1957-2012 with the bulk of the records dating after 1980. It contains records generated by the KCB Board of Directors, staff, school, guild, and individual donations from the greater Kansas City community of dancers, patrons and supporters.
The KCB Patrons Society is a group of enthusiastic ballet supporters who make substantial annual donations and/or legacy endowments to the KCB. Patrons are invited to special KCB events such lunches/lectures with guest choreographers, social gatherings with company dancers, private rehearsals, and trips to dance performances.
In 2016, the KCB staff organized a week-long trip for 44 patrons and KCB staff members to Cuba to attend the 25th International Ballet Festival of Havana. Participants were offered special tours each day (including a visit to the Cuban National Ballet School) and attended IBF performances each evening.
- Article "Ballet Mistress... is retiring", Kansas City Star, April 28, 1994, Record Group 6, Box 2, Kansas City Ballet Archive
- Press Release, Kansas City Ballet, September 15, 1981, Record Group 9, Box 2, Folder 11, Kansas City Ballet Archive
- Program, 2007-2008, 50th Anniversary Season, Record Group 5, Box 11, Folder 7, Kansas City Ballet Archives
Muriel Kauffman Foundation (1995). A Salute to Todd Bolender. State Ballet of Missouri.