ABT: Education and Training

Kevin McKenzie: Artistic Director

Rachel S. Moore: Executive Director

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Summer Intensives Faculty
	New York	Michigan	Alabama	Texas	California

NEW YORK SUMMER INTENSIVE

Melissa Allen Bowman (Artistic Director of Summer Intensives) began her classical ballet training at age six with Lois Ellyn, formerly of New York City Ballet, and at age eleven began training with Stanley Holden and Margaret Graham Hills, both from the Royal Ballet in London. At age fifteen, she was invited by Mikhail Baryshnikov to join the corps de ballet of American Ballet Theatre, where she danced for the next seven years. During that time, Bowman began her own ballet company, the Emerson Dance Theatre, which featured up-and-coming ABT dancers. From 1981 to 1988, Bowman also appeared in several of ABT’s Great Performances in America. In 1988, she moved to Europe to join the Bern Ballet in Switzerland and then the Zurich Ballet with Uwe Scholz. In 1990, she followed Scholz to Leipzig, Germany, where she danced many soloist and principal roles and became his associate director. Bowman returned to the United States in 1999 to join the staff of the Pittsburgh Youth Ballet, where in 2000 she became resident choreographer and associate director in 2000. While at PYB, she choreographed many pieces for their youth company that were performed not only at the Regional Dance America festivals but also for the Pittsburgh Symphony. Since 2001, Bowman has taught at ABT Summer Intensive in Detroit and, in 2007, became an advisor to ABT’s Curriculum committee. She has also been an adjudicator for the National Foundation for the Advancement in the Arts for the past two years. Bowman is currently founder and artistic director of the Danse Conservatory in southern California and its youth ballet company, California Danse Theatre.

Ethan Brown was born in New York City and received his training at the School of American Ballet. He joined the corps de ballet of American Ballet Theatre in 1981, was promoted to soloist in 1988. Brown danced a wide range of ABT’s repertoire through 2004. He is on the faculty of the ABT Summer Intensives in New York City and Bermuda and also guest teaches with the main Company. He is on the faculty of The School at STEPS and regularly guest teaches at STEPS on Broadway in New York City. Brown judges ballet competitions for Youth America Grand Prix and regularly guest teaches and coaches for Canada’s Royal Winnipeg Ballet.

Leslie Browne received her early training from her parents, Kelly and Isabel Brown, who were both former members of American Ballet Theatre. She also spent summers studying at the ABT School and with Walter Camryn and Bently Stone. Browne joined the School of American Ballet at age fourteen on scholarship. At sixteen, she joined New York City Ballet under the direction of George Balanchine. At seventeen, she was cast in the role of “Emilia” in the motion picture The Turning Point. Browne joined American Ballet Theatre in 1976 as a Soloist and was promoted to Principal Dancer in 1986. Since leaving ABT in 1993, Browne has enjoyed teaching and choreographing throughout the United States. She is currently on faculty at The School at STEPS in New York City and enjoys guest teaching and giving master classes.

Giuseppe Canale is an internationally recognized ballet dancer, choreographer, instructor and coach. Born in Palermo, Italy, he began his dance training at age eleven under the direction of Ludivicio Durst. He then trained at the National Academy of Dance in Rome, as well as Maurice Bejart’s famous Mudra dance school in Brussels, and the School of American Ballet in New York. He has toured extensively as a dancer with such companies as Ballet Company of Germinal Casado (West Germany), Ballet Company Jean Deroc (Switzerland), and the Het National Ballet in the Netherlands. Canale has toured all over Europe, North America, the Middle East, and Asia, and has choreographed works for Het National Ballet and Teatro Massimo. In 1994, the Mayor of Palermo invited him to return to his native home to serve as director of corps de ballet for Teatro Massimo – a company, which had been abandoned for over twenty years. As director, he revived the company and revitalized the theatre’s repertoire. He also spearheaded multiple arts outreach programs for Sicilian children with little or no dance exposure. Since moving to the United States, Canale has become the co-director of the Northeast Academy of Dance in Oscoda, Michigan, where he brings his passion for dance to the youth in the area. He has appeared as a judge at the Luxembourg International Ballet Competition, and most recently as a judge for the Youth America Grand Prix Dance Competition in New York City. Canale has been cited by the American Guild of Music Artists as having extraordinary ability in the field of dance.

Hilary Cartwright performed as a soloist and principal dancer at the Royal Ballet of England before becoming the company’s ballet mistress and repetiteur. After leaving the Royal Ballet, Cartwright became the associate artistic director of Royal Winnipeg Ballet and director of Netherlands Dans Theatre II. Cartwright co-founded White Cloud Studio, New York with Gyrotonic and Yoga for Dancers and is currently an international guest teacher of ballet and Yoga with various companies. Cartwright has been teaching at ABT Summer Intensives since 1996.

Harriet Clark began her training at the Houston Ballet School and received her professional training at the School of American Ballet in New York. While still a student at the school, she was chosen to perform with Makarova and Company on Broadway, and danced as a soloist in ballets with Cynthia Gregory, Anthony Dowell, Fernando Bujones, as well as Natalia Makarova. Later she joined American Ballet Theatre, then under the directorship of Mikhail Baryshnikov, where she performed not only the classics, but also in the works of George Balanchine, Paul Taylor, Jose Limón, Antony Tudor, and Twyla Tharp. Clark went on to dance as a soloist at The Pacific Northwest Ballet. For many years Clark performed as the Dance Captain and Swing of the Broadway production of The Phantom of the Opera. As such she was in charge of teaching and rehearsing choreography and much of the musical staging in the show as well as covering and performing every female ensemble role (dancers as well as singers) and a few of the male roles as well. Clark is currently the Artistic Associate of Educational Outreach at American Ballet Theatre where she participates in a variety of programs including The Jacqueline Kennedy Onassis School at American Ballet Theatre, ABT’s Ballet for the Young Dancer, and ABT’s Summer Intensives.

Franco De Vita, Principal of Jacqueline Kennedy Onassis School at American Ballet Theatre, graduated from the Conservatoire Royal de Musique de Charleroi, Belgium, and was awarded the “Premier Prix” and Gold Medal. De Vita made his professional stage debut at age 9 and began his career as a professional ballet dancer at the age of 15. He danced with several European companies, in ballets of the classical repertoire, and by choreographers such as Peter Van Dyk, George Skibine, Antony Tudor and George Balanchine. In Europe, he performed in musical comedies and operettas such as Hello Dolly, Kiss Me Kate and My Fair Lady. After retiring from performing, De Vita acquired the Enrico Cecchetti Diploma and the highest teaching degree given by the Italian Ministry of Education through the “Accademia Nazionale di Danza”, Rome. He is a Fellow of the Imperial Society of Teachers of Dancing, London. In 1983, he directed, together with Raymond Lukens, the Hamlyn School of Ballet in Florence, Italy. He was President and co-founder of the Associazione Nazione Coreutica Enrico Cecchetti (the Italian Cecchetti Society). In New York City, De Vita was a faculty member at The Ailey School, The Ailey/Fordham BFA program and a guest company teacher for The Alvin Ailey American Dance Theater and Ailey II. He was company teacher for Hartford Ballet and principal faculty member of the School of Hartford Ballet and the BFA dance program of the University of Hartford. In Hartford, he was part of the task force that revised Hartford Ballet School’s curriculum. Before joining American Ballet Theatre, De Vita was Dean of Faculty and Curriculum of the Boston Ballet School and company teacher for Boston Ballet. De Vita has been a guest teacher for Virginia School of the Arts, Peridance International, Dance Connecticut, Dance Educators of America, Youth America Grand Prix and for Alberta Ballet Company and School. De Vita’s students have won prestigious international dance competitions including the Prix de Lausanne and have danced in many of the world’s major companies such as London’s Royal Ballet, American Ballet Theatre, The English National Ballet, Dutch National Ballet, The Alvin Ailey American Dance Theater and Boston Ballet.

Olga Dvorovenko is a former principal dancer and ballet mistress for the Ukrainian State Academic Dance Ensemble. She was the Recipient of the Honored Artist Award of Ukraine, given by the President, has performed in practically every country of the world, and has taught master classes in Canada and France. Dvorovenko came to the United States in 1996 and turned her focus towards teaching and sharing her wealth of knowledge with the next generation of dancers. In 2002, she was invited by American Ballet Theatre to dance the role of Madame in Antony Tudor’s Offenbach in the Underworld. Currently, Dvorovenko is also on the faculty of Ballet Academy East, the Jacqueline Kennedy Onassis School at American Ballet Theatre, and ABT II.

Tina Fehlandt was an integral part of the Mark Morris Dance Group for twenty years, from its inception in 1980 to January 2000, appearing in over 50 works choreographed by Mark Morris. With the Mark Morris Dance Group (MMDG), she toured the world and appeared in several television specials, most notably as Louise in Mr. Morris’ production of The Hard Nut. She has been the subject of feature articles in Self Magazine, Dance Magazine, and Dance Teacher. Fehlandt has staged Mark Morris’ work on American Ballet Theatre, San Francisco Ballet, Royal New Zealand Ballet, English National Ballet, The Royal Ballet Covent Garden, Boston Ballet, Miami City Ballet, Houston Ballet, Dutch National Ballet, Pacific Northwest Ballet, Washington Ballet, and at New York University, University of Minnesota, The University of Texas, Marymount Manhattan College, Barnard College, the Juilliard School, Long Island University, Princeton University, and the White Oak Dance Project. Fehlandt currently teaches ballet and pointe at NYU Tisch School of the Arts and is a lecturer in Modern Dance at Princeton University. 2009 marks her fourth year teaching at ABT’s Summer Intensives in NYC. She has taught at MMDG workshops at the School at the Mark Morris Dance Center, Skidmore College, Jacob’s Pillow Dance Festival, SUNY Brockport, and the University of Washington. In addition, she has conducted master classes at the Edinburgh International Festival, Adelaide (Australia) Festival, American Dance Festival, Cornish College of the Arts, Wesleyan University, and The Place in London among others. Fehlandt was appointed artist-in-residence at Barnard College in fall 2004 and Long Island University, Brooklyn Campus. Fehlandt has worked in television as Production Coordinator for the Emmy Award winning DANCE IN AMERICA series.

Jessica Lang is a graduate of The Juilliard School and a former member of Twyla Tharp’s company THARP! Lang has choreographed on companies including American Ballet Theatre’s Studio Company (now ABT II), New York City Ballet (selected for the Choreographic Institute), Colorado Ballet, Pennsylvania Ballet, Richmond Ballet (Choo-San Goh Award 2003), Hubbard Street 2, Ballet de Monterey in Mexico, among others. She has also choreographed on The Juilliard Dance Ensemble, The Ailey School/Fordham BFA Program, Princeton University, Texas Christian University, Bucknell University, Mesa State College, Barat Conservatory and commercially for BMW International Industrials. Lang currently teaches modern at the Jacqueline Kennedy Onassis School at American Ballet Theatre. She is also on faculty, teaching modern and composition/improvisation, for ABT Summer Intensives in New York and Bermuda and is a choreographer for the ABT J.P.Morgan Make a Ballet program.

Kate Lydon, born in Berkeley, California, began ballet and movement classes at the age of three. Her professional training includes American Ballet Theatre’s School of Classical Ballet and San Francisco Ballet School. She danced with San Francisco Ballet for five years before joining American Ballet Theatre as a member of the corps de ballet in 1995. Her repertoire with ABT includes Polyhymnia in Apollo, the pas d’action in La Bayadère, the Spring Fairy in Cinderella, Prayer in Coppélia, Zulma in Giselle, and The Rancher’s Daughter in Rodeo. Lydon’s teaching credits include American Ballet Theatre’s Summer Intensive programs in New York and Bermuda, ABT’s Jacqueline Kennedy Onassis School, and ABT’s Ballet for the Young Dancer program in Greenwich, CT. In late September 2008, she taught a professional development workshop at New York City Center’s Fall for Dance program. Lydon is currently and Editor-in-Chief of Dance Spirit Magazine.

Amanda McKerrow is one of America’s most acclaimed ballerinas. She has the honor of being the first American to receive a gold medal at the International Ballet Competition in Moscow in 1981. Since then she has been a recipient of numerous other awards, including the Princess Grace Foundation Dance Fellowship. McKerrow was born in Albuquerque, New Mexico, and began her ballet training at the age of seven at the Twinbrook School of Ballet in Rockville, Maryland. She later studied with Mary Day at the Washington School of Ballet, where she danced with the company for two years and toured extensively throughout the United States and Europe. McKerrow joined American Ballet Theatre under the direction of Mikhail Baryshnikov in 1982, was appointed a soloist in 1983, and became a Principal Dancer in 1987. Her repertoire included: the leading roles in Cinderella, Giselle, Romeo and Juliet, Manon, La Bayadère, Coppélia, Don Quixote, The Sleeping Beauty, Swan Lake, La Sylphide and The Nutcracker. She has been acclaimed for performances of shorter works by George Balanchine, Antony Tudor, Sir Frederick Ashton, Jerome Robbins and Jiri Kilian. McKerrow has created roles in ballets by choreographers such as Twyla Tharp, Clark Tippet, James Kudelka, Agnes de Mille, Choo San Goh and Mark Morris. She has also appeared as a guest artist with ballet companies throughout the world. In 2000, together with her husband John Gardner, McKerrow began working for the Antony Tudor Trust, staging and coaching his superlative ballet, The Leaves Are Fading, around the country. She has also staged numerous other ballets for professional companies and schools across the United States. During her last ten years performing as a Principal Dancer with ABT, she spent as much time as she could working with students and young dancers. Upon her retirement from ABT in 2005, she has devoted the majority of her time to teaching and coaching this great art form.

Brian Reeder, born in Sunbury, Pennsylvania, began his training with Marcia Dale Weary at the Central Pennsylvania Youth Ballet. After attending American Ballet Theatre’s Summer Program, he studied at the School of American Ballet. Before joining American Ballet Theatre (1994-2003), Reeder performed as a soloist with William Forsythe’s Ballet Frankfurt (1990-1993) and also danced with New York City Ballet (1986-1990). Over a four-year period, Reeder created five original works for American Ballet Theatre’s Studio Company. In 2005, he choreographed a full-length The Nutcracker for Ballet Pacifica. In collaboration with the Washington Ballet, Reeder was the recipient of the New York Choreographic Institute Fellowship Grant (2005). He has created works for the Washington Ballet and it’s Studio Company including a production of Peter & The Wolf. In 2006, he was commissioned by the Guggenheim Museum in New York City to create two new works for their Works & Process series. Reeder was artist in residence at Brown University, Emory University, and St. Paul’s School where he taught and created works for student dance companies. He was involved with the ABT J.P.Morgan Make A Ballet program (2004-2006), and is currently on staff at ABT’s Summer Intensives program in NYC. He served as the Coordinating Director of the ABT Summer Intensive in Bermuda (2006), and has been a guest teacher at the Alvin Ailey School, Icelandic National Ballet Company and School.

Kanji Segawa is a member of Battleworks Dance Company (Artistic Director Robert Battle) since 2002. Segawa has also been performing with Mark Morris Dance Group since 2004 appearing in 5 full evening productions including Mr. Morris’ new Romeo & Juliet as an original cast member. He has appeared in several opera productions at the Metropolitan Opera and English National Opera in the United Kingdom. He is a former member of Alvin Ailey II and Jennifer Muller/The Works and has performed for Aszure and Artists and choreographer Jessica Lang. He is represented by MSA Talent Agency. Mr. Segawa has taught and choreographed for prestigious institutions including at Alvin Ailey Dance Foundation (Ailey School, Ailey Camp, Arts in Education), American Ballet Theatre (Make a Ballet, Collegiate Summer Intensive, Jacqueline Kennedy Onassis School), Steps on Broadway, Brown University, Long Island University, Dance Bermuda, Saint Louis Ballet School, Booker T Washington Performing Arts School, Metropolitan Ballet Academy, among others. He is a recipient of the Outstanding Choreography Award for Youth America Grand Prix in Philadelphia in 2009. Segawa is Artistic Director of Dance Project New York, a project that provides educational workshops and performances in New York and Japan. DPNY’s mission is to provide the Japanese community the experience of American dance while giving young generations of Japanese dancers ideas for career development in the arts.

Rosanna Seravalli was born in Florence, Italy where she began ballet classes at the School of Daria Colin. Shortly after her arrival in the U.S. she joined the Joffrey Ballet, then moved to American Ballet Theatre where she spent the next eleven years, reaching the rank of soloist. Seravalli is currently professor of ballet in the Conservatory of Dance at Purchase College – SUNY. She has staged works and taught for the Cloud Gate Dance Theatre and the National Institute for the Arts in Taiwan, the Hong Kong Academy of Performing Arts, Beijing Academy of Dance, Ballet Philippines, Ballet Municipal de Santiago, the Guangdong Modern Dance Company in China, the University of Melbourne’s Victorian College of the Arts, and the Queensland Institute of Technology (Australia), in Spain and in her home country of Italy, as well as throughout the United States. She has received a SUNY Research Foundation grant to develop methods for adapting Russian Classical training for American dancers, and in 1995 was a recipient of a Fulbright Fellowship to Chile (Santiago) and neighboring countries.

Lupe Serrano had a distinguished performing career as a leading ballerina with American Ballet Theatre for two decades, beginning 1953. She began her teaching career at the University of Milwaukee and later served as Assistant Director at The National Academy of Dance in Illinois. In 1974, she joined The Pennsylvania Ballet as company teacher and head of the apprentice program. She also directed the school for eight years. In 1988, Serrano joined The Washington Ballet as artistic associate where she taught and coached the company and the advanced students. Currently, Serrano teaches company class for American Ballet Theatre, ABT II, and the Jacqueline Kennedy Onassis School at American Ballet Theatre.

New York Summer Intensive faculty will also include special guest teachers:

Kevin McKenzie (Artistic Director of ABT), a native of Vermont, received his ballet training at the Washington School of Ballet. In 1972, McKenzie was awarded a Silver medal at the Sixth International Competition in Varna, Bulgaria. He was a leading dancer with both the National Ballet of Washington and The Joffrey Ballet before joining American Ballet Theatre as a Soloist in March 1979. McKenzie was appointed a Principal dancer the following December and danced with the Company until 1991. As a Principal dancer with American Ballet Theatre, McKenzie danced leading roles in all of the major full-length classics including Solor in La Bayadère, Don Jose in Carmen, the Prince in Mikhail Baryshnikov's production of the full-length Cinderella, Franz in Coppélia, the Gentleman With Her in Dim Lustre, Basil and Espada in Don Quixote (Kitri's Wedding), Albrecht in Giselle, a leading role in The Garden of Villandry, Her Lover in Jardin aux Lilas, the leading role in The Leaves Are Fading, the Friend in Pillar of Fire, the leading role in Raymonda (Grand Pas Hongrois), a featured role in Requiem, the Champion Roper in Rodeo, Romeo and Mercutio in Romeo and Juliet, Prince Desire in The Sleeping Beauty, Prince Siegfried in Swan Lake, James in La Sylphide and the leading roles in Other Dances, Paquita, Les Sylphides, the Sylvia Pas de Deux and Theme and Variations. He created the role of Amnon in Martine van Hamel's Amnon V'Tamar and a leading role in Clark Tippet's S.P.E.B.S.Q.S.A. During his performing career, McKenzie performed as a guest artist in cities throughout the world, including Spoleto, Italy, Paris, London, Tokyo, Havana, Moscow, Vienna and Korea, dancing with, among others, the London Festival Ballet, the Bolshoi Ballet, the National Ballet of Cuba and the Universal Ballet in Seoul. In September 1989, McKenzie was appointed a permanent guest artist with The Washington Ballet, and, in 1991, assumed the position of Artistic Associate of that company. He has also acted as Associate Artistic Director of, and a choreographer with, Martine van Hamel's New Amsterdam Ballet. McKenzie was appointed Artistic Director of American Ballet Theatre in October 1992. His choreographic credits include Groupo Zamboria (1984) and Liszt Études, now called Transcendental Études, (1991), both for Martine van Hamel's New Amsterdam Ballet, Lucy and the Count (1992) for The Washington Ballet, and the full-length classic The Nutcracker (1993), Don Quixote (1995) in collaboration with Susan Jones, and a new production of Swan Lake (2000), all for American Ballet Theatre.

Susan Jones (ABT Ballet Mistress) was born in York, Pennsylvania and began her early dance training there. She continued her studies with Lucille Hood at the Rockville School of Ballet, Rockville, Maryland, and with Mary Day at the Washington School of Ballet in Washington, D.C. In 1969, she accepted an apprenticeship with the Joffrey Ballet, dancing with the original Joffrey II, and made her professional debut with the New York City Opera, Robert Joffrey, choreographic director. Jones joined American Ballet Theatre in 1971 and danced with the Company for eight successive seasons. Among her roles were the Cowgirl in Rodeo and Lizzie Bordon as a child in Fall River Legend. Her transition from dancing to staff began in 1976 when she assisted Twyla Tharp with Push Comes to Shove. She was appointed Assistant Ballet Mistress in 1978. Retiring as a dancer at the close of the 1979/80 season, she was appointed Ballet Mistress in the spring of 1980 and Regisseur in 1982. Jones has returned to ABT after a three-year absence during which she mounted Natalia Makarova's full-length La Bayadère for the Ballet del Teatro Colon in Buenos Aires, Argentina, and Mikhail Barysnikov's production of Don Quixote (Kitri's Wedding) for The Royal Ballet.

Clinton Luckett (ABT Ballet Master) was a dancer with American Ballet Theatre for ten years. His professional career spanned fifteen years and began at the National Ballet of Canada. As a dancer he created roles in original works by Glen Tetley, William Forsythe, John Neumeier, and James Kudelka among others and appeared in featured roles in most of the full-length ballets in the classical repertoire. Born in Louisville, Kentucky, he began his dance training there, and after two years of study at the National Ballet School in Toronto, joined the National Ballet of Canada in 1987. In 1992 Luckett came to American Ballet Theatre where he was featured in the works of Frederick Ashton, George Balanchine, Agnes De Mille, Jiri Kylian, Lar Lubovitch, Kenneth MacMillan, Mark Morris, and Antony Tudor. He appeared on television in the PBS/Dance in America programs ABT Now and Le Corsaire, and in the CBC/Rombus Media productions of Glen Tetley’s Alice and La Ronde. A faculty member of the ABT New York Summer Intensive since 2001, Luckett assumed his position as the Artistic Associate for Education and Training in 2002 where he taught, rehearsed, and coordinated ABT Studio Company and also served as a Company Teacher at ABT and as the Artistic Coordinator of ABT’s first Bermuda Summer Intensive in 2005. Luckett has been a guest teacher for the Alvin Ailey company and taught ballet at New York University.

Nancy Raffa (ABT Ballet Mistress) was born in Brooklyn, New York, and received her early training with Madame Gabriella Darvash. In 1980, she became the youngest and first American female to win the Gold Medal at the Prix de Lausanne competition in Switzerland. The same year, Raffa joined Makarova and Company on Broadway and, at age 16, became a member of the corps de ballet of American Ballet Theatre. She joined Ballet de Santiago in 1985 as a principal dancer and was also a principal dancer at Ballet National Française de Nancy. In 1992, she became a principal dancer with Miami City Ballet. She began her teaching career in Miami at the New World School of the Arts and joined the staff of the Miami City Ballet School in 1994, becoming the coordinator for the School’s summer intensive program and Ballet for Young People program. Among her many awards, Raffa was twice awarded a special teacher’s recognition from the National Foundation for the Advancement in the Arts and won a grant from the United States Information Services to act as a cultural ambassador and teacher for the company and school in Honduras. Raffa holds an Ace certification in exercise physiology and graduated magna cum laude in 2002 with a bachelor’s degree in Psychology from St. Thomas University. Raffa was appointed Ballet Mistress with American Ballet Theatre in June 2007.

MICHIGAN SUMMER INTENSIVE

Alaine Haubert (Artistic Coordinator), a fourth generation Californian, has the unique distinction of having been associated with America’s three major companies. She received her training from age fifteen at the School of American Ballet in New York City where she studied with George Balanchine and his illustrious post-Diaghilev faculty. After graduation from high school she performed with San Francisco’s Pacific Ballet, then joined the national touring company of Camelot. In 1965 after a year on the road with Camelot, Haubert joined American Ballet Theatre, where she performed corps de ballet, soloist and principal roles. She was coached, during this period, by such diverse and exciting choreographers as: Antony Tudor, Agnes De Mille, Jerome Robbins, Elliot Feld, Birgit Culberg, Herald Lander, and Glen Tetley, and also danced the classics. In 1969 Haubert joined the Joffrey Ballet as Principal Dancer performing leading roles in many ballets including The Green Table, The Dream, Feast of Ashes, The Moor’s Pavane, The Still Point, The Three Cornered Hat, Cakewalk and Le Bleu Danube. After nearly a decade with the Joffrey Ballet, a serious back injury ended Haubert’s performing career, and she began teaching and coaching in such wide-ranging locations as Europe, Japan, Canada, the United States, and the Caribbean. In 1986 Haubert moved to Hawaii where she was on faculty at the University of Hawaii for seven years. In 1993, Haubert was invited by Kevin McKenzie to return to New York as Ballet Mistress for American Ballet Theatre, where she instructed, coached, and rehearsed the world’s leading dancers for four years. She now makes her home in California where she was on faculty at California State University, Long Beach for six years. She continues her association with ABT and annually travels the U.S. auditioning dancers for the ABT Summer Intensives. She has been Artistic Coordinator of the ABT Detroit Summer Intensive for eleven years. In spring, 2002, Haubert had the honor of adjudicating the Pacific Region for Regional Dance America (RDA) and in 2003 was adjudicator for the Southwest Region. Haubert continues to travel worldwide, offering master classes and workshops and scouting for future ballet professionals.

Ted Kivitt is a former Principal dancer of American Ballet Theatre, International Guest Artist and Artistic Director of The Milwaukee Ballet. On stage, Kivitt was known throughout the world as one of American Ballet Theatre’s danseurs nobles. After dancing with ABT from 1961 to 1979, he made the challenging transition from performer to director, teacher and administrator of the Milwaukee Ballet, which he led to national acclaim. Kivitt has performed world wide, partnering many of the world’s leading ballerinas, including Cynthia Gregory, Eleanor D’Antuono, Lupe Serrano, Michelle Lucci, Carla Fracci, Gelsey Kirkland, Marianna Tcherkassky, and Natalia Makarova. In addition to his many appearances with ABT as a Principal dancer, he has also been a popular guest artist and teacher throughout the world. His performances in Russia, England, Spain, Italy, Japan, France, Cuba and Central and South America have received standing ovations and critical acclaim. In 1975, he was the first American male dancer invited to dance in Cuba. In the summer of 1977, Kivitt was invited to perform with Cynthia Gregory at a “Command Performance” at the White House for President Jimmy Carter in honor of the President of Venezuela. Currently, Kivitt is an Associate Professor in the Conservatory of Dance at Purchase College.

Orlando Molina began his training at the age of ten in Cuba. In 1996, he directed and performed with Trujillo Ballet in Peru. In 1998, Molina was a competitor in Jackson International Ballet Competition, Mississippi, and the same year he was offered a contract for Cleveland Ballet. In 2000, Molina joined Orlando Ballet under the direction of Fernando Bujones. For the 2002-2003 season he was appointed ballet master. In 2003, Molina coached Joseph Gatti, gold medal winner at the Youth American Grand Prix and recent gold medal winner at the New York International Ballet Competition. He has been a guest teacher with Spartanburg Ballet, Texas Christian University, Alabama Dance Theatre, Jackson Mississippi Metropolitan Ballet, and most recently at Kowa Ballet in Okayama, Japan, and Ohio Dance Theatre.

Amy Rose joined American Ballet Theatre in 1979 at the age of sixteen and danced with the Company until 1992, rising to the rank of Soloist. During that time she also performed with Mikhail Baryshnikov in Spoleto, Italy, as well as Patrick Bissell at Jacob’s Pillow and Wes Chapman in Manila. From 1992-1997, she danced as a soloist with Pacific Northwest Ballet. After freelancing several years as a guest artist, Rose settled down to teaching fulltime. She is on full-time staff at four different schools in the Chicago area and also guest teaches for the professional companies in the city.

Samantha Shelton received her professional training from the Joffrey Ballet and the David Howard Dance Center in New York and in Michigan with Rose Marie Floyd. She has also trained in London with Anita Young, former soloist with the Royal Ballet and at the Cecchetti Summer Program in Chichester, England. For the past eleven years, she has been on the ballet faculty for American Ballet Theatre Summer Intensive, teaching, setting ABT repertoire and choreographing new ballets for the final performance at the Detroit Opera House. She has also taught and choreographed for the professional ballet program at the Walnut Hill School in Boston, directed by former ABT principal, Michael Owen and was on faculty at the Interlochen Arts Academy for three summers. She has performed extensively in both classical and contemporary ballets, including the Grand Pas from The Nutcracker, The Sleeping Beauty, Don Quixote and principal roles in Giselle and Raymonda. Currently, she is on the ballet faculty at Wayne State University and the Detroit Opera House, where she was the artistic director for the Detroit Opera House’s Civic Dance Ensemble. Shelton holds an M.F.A in Dance from the University of Michigan, where she was awarded a Rackham Thesis grant, and a B.A. in Political Science from the University of Michigan. She has also done graduate work at New York University in Performing Arts Administration with internships in development and marketing at Carnegie Hall and the Orchestra of St. Luke’s. Shelton is on the ballet faculties of the Rochester School of Dance and Spotlight Dance Works in Chesterfield, Michigan. Recently, she was elected to the University of Michigan’s School of Music, Theatre & Dance Alumni Society Board of Governors and the Executive Board of the Michigan Dance Council.

ALABAMA SUMMER INTENSIVE

Melissa Hale Coyle grew up in Tulsa, Oklahoma where she received her early training from Roman Jasinski and Moscelyne Larkin. She studied as a scholarship student for two summers at American Ballet Theatre with Leon Danelion and Patricia Wilde. After graduating from high school, she joined American Ballet Theatre as a company member for three years. Hale later joined Cincinnati Ballet Company where she performed in principal roles and Tulsa Ballet Theatre where she was a principal dancer for six years. For the past 20 years, Hale has lived in Charlotte, North Carolina where she is on the faculty and Artistic Director of the Ballet Program at Sullivan Dance Centre, Artistic Director of Charlotte City Ballet Company, part-time faculty member at the University of North Carolina at Charlotte and teaches company classes at North Carolina Dance Theatre. She has been a guest choreographer for the Charlotte Philharmonic Orchestra, Carolina Voices, Atlanta Dance Theatre, The Dance Collective, Ballet San Antonio, Civic Ballet of Chicago, South Carolina’s Governors Summer School and Orange County Performing Arts High School. In 2001, The North Carolina School of the Arts awarded Hale “Best Dance Teacher of North Carolina”.

Lorin Johnson danced with the San Francisco Ballet before joining American Ballet Theatre in New York in 1987 under the direction of Mikhail Baryshnikov. Johnson performed at ABT until 1995, creating original roles in ballets by Ulysses Dove, Clark Tippet, and Agnes De Mille, among others. He has also worked with some of the most influential choreographers of the 20th century including Glen Tetley, Kenneth MacMillan, Twyla Tharp, and Jerome Robbins. His choreography has been commissioned in the United States and abroad, and in 2003 he choreographed and produced an evening of dance at the renowned dance festival at the Fabbrica Europa in Florence, Italy. Johnson has been on faculty of the American Ballet Theatre Summer Intensives program since 2004. In 2005, he directed the Ballet Pacifica Academy in Southern California. In 2006, Mr. Johnson became an Assistant Professor of Dance at California State University, Long Beach, where he teaches courses in ballet technique and dance history. Johnson has published several articles and has both B.A. and M.A. degrees from the University of Southern California.

Colleen O'Callaghan danced with American Ballet Theatre under the direction of Lucia Chase and Mikhail Baryshnikov. She trained on scholarship with the schools of the Louisville Ballet, the Pennsylvania Ballet, the Joffrey Ballet, and American Ballet Theatre. Before joining American Ballet Theatre, she danced with ABT’s Ballet Repertory Company under the direction of Richard Englund and Gage Bush. O’Callaghan received a Bachelor of University Studies degree from the University of Utah. She has been teaching ballet for over 23 years and has been a faculty member of the University of Utah, Ballet West, California State Long Beach, California Institute of the Arts, the Stanley Holden Dance Center, Westside School of Ballet, Louisville Ballet and many other nationally recognized schools. For over five years she was the classical dance director for the Orange County High School of the Arts (OCHSA). Currently, O'Callaghan is a faculty member for the American Ballet Theatre Summer Intensive programs. Most recently, she taught for ABT II and for the Jacqueline Kennedy Onassis School at American Ballet Theatre in New York City. She continues to teach for South Bay Ballet and California Dance Theater. She is a certified Yoga instructor and has developed a Yoga program for children in pre-K through grade 8 that has had much success throughout Southern California. The uniqueness of this situation is that the highly experienced teachers travel to the students, allowing the dancers to stay close to home and experience a professional and positive dance intensive. O'Callaghan lives with her husband and three children in Ventura, California.

Lisa Slagle began her professional dancing career at the age of eleven when she appeared as a solo dancer in the Elvis Presley movie, Clambake. She performed as a soloist and principal Dancer with the Joffrey Ballet in New York in the 1970’s. In the 1980’s, she performed as a soloist with the Ballet du Grande Theatre de Geneve in Switzerland, and as a principal dancer with Tulsa Ballet Theatre. She brings to her students a wide range of training styles, having studied with world-renowned teachers in the Russian, Cecchetti, and Bournonville techniques. She directs the Ballet Academy of Texas School in the Dallas, Texas area, which has received the “Outstanding School” award from the Youth America Grand Prix’s Semi-Final in the Southwest for the years 2005, 2006, and 2007. In addition, Slagle has received the “Outstanding Teacher” award in 2006. She is also the director of the pre-professional company, Ballet Ensemble of Texas. Slagle has been a Master Teacher in the summers for Burklyn Ballet Theatre, Joffrey Texas Workshop, American Dance Institute in Washington, D.C. and the Orlando Ballet School in Florida. In 2007 she was asked to be on the advisory board for American Ballet Theatre’s National Training Curriculum, and was a Master Teacher for ABT’s Young Dancer Workshops in Los Angeles and New York in 2007 and 2008.

Carla Stallings Lippert spent eleven years with American Ballet Theatre in New York City. She won the Bronze medal at the Jackson International Ballet Competition in Jackson, Mississippi, in 1982 and toured with Baryshnikov and Company in 1983. After this she spent nine years as a principal dancer with Boston Ballet and retired from Boston Ballet in 1994.

TEXAS SUMMER INTENSIVE

Rodney Gustafson (Artistic Coordinator) trained at the School of American Ballet and spent the majority of his performing career as a dancer with the world-renowned American Ballet Theatre. During this period, Gustafson trained and worked with many of the great dancers and choreographers of our time including Mikhail Baryshnikov, Alvin Ailey, George Balanchine, Rudolf Nureyev, Jerome Robbins, and Anthony Tudor and appeared in the films The Turning Point, Baryshnikov’s The Nutcracker, and several Live from Lincoln Center specials for PBS. He continues his affiliation with American Ballet Theatre as a coordinator, choreographer, and teacher for its summer programs. Academically, Gustafson holds a Bachelor of Science in Business Administration (1994) from the University of Arizona, and a Master of Arts in Organizational Management (2001) from Antioch University in California. Gustafson founded State Street Ballet in 1994 and, from a modest debut in a small black box theatre to performances throughout the United States, and Asia, the company continues to gain prominence and recognition both nationally and internationally. A talented choreographer, Gustafson has created many new ballets for the company’s repertoire including full-length versions of The Nutcracker, Romeo & Juliet, and Cinderella. He has built a company respected for its choreography, dancing, and fiscally responsible management.

Julie Bickerton Bravata is from Honolulu, Hawaii where she received her early dance training from Barbara Theusen. She continued her studies on full scholarship at the National Academy of Arts in Champaign, IL and in New York City at the School of American Ballet, the American Ballet Theatre Scholarship Program, and with Madame Darvash. At the age of 15, Bickerton became a member of ABT's Ballet Repertory Company. At 18, she was invited to join American Ballet Theatre under the direction of Mikhail Baryshnikov. During her six years there she was privileged to work with some of the world's leading choreographers, such as Kenneth MacMillan, Antony Tudor, Roland Petit, Jerome Robbins, and Twyla Tharp. While with American Ballet Theatre, Bickerton appeared in several Dance in America and Live from Lincoln Center television special presentations. She then went on to dance as a soloist with Ballet du Nord in France and with The Feld Ballet in New York City. Since retiring from her performing career in 1988, Bickerton has taught all levels of ballet from creative movement through professional classes in New York, Oregon, and South Florida. In April 2002, Bickerton received a certificate of recognition from the National Foundation for Advancement in the Arts for inspiring young dancers and for her commitment to the arts. She is currently the Ballet Director for Southern Dance Theatre in Boynton Beach, Florida.

Lawrence Pech was invited by Mikhail Baryshnikov to join American Ballet Theatre in 1980. For the next six years, Pech worked with such choreographers as George Balanchine, Martha Graham, Antony Tudor, Agnes De Mille, Jerome Robbins, Twyla Tharp, Paul Taylor, Jir¹í Kylián, Carol Armitage, David Gordon, Natalia Makarova, Erik Bruhn, and Mark Morris. He has danced with such greats as Baryshnikov, Makarova, Ivan Nagy, Cynthia Gregory, Fernando Bujones, Gelsey Kirkland, Cynthia Harvey, Martine Van Hamel, Kevin McKenzie, among others. He has made numerous television appearances with ABT in Live from Lincoln Center as well as figuring prominently with Baryshnikov in the 1983 BBC movie, Dancer and the Dance. In 1986, Helgi Tomasson invited Pech to join the San Francisco Ballet and in 1989, was promoted to Principal Dancer. In 1991, Pech was the subject of a PBS/KQED special entitled, Blue Lair, a ballet about his victory over cancer. This special was awarded a 1991 Emmy for “Best Choreography.” To date, Pech has choreographed over forty-five ballets, forty musicals, thirty operas, and numerous self-produced evenings of original music, dance, and theater. He has garnered numerous awards such as the Bay Area Theater Critics’ Circle and Dean Goodman awards for “Best Choreography” and “Best Supporting Actor in a Musical”.

Christine Spizzo-Serrano trained at the North Carolina School of the Arts and at the School of American Ballet in New York. She first performed professionally with the National Ballet of Washington (DC) and Ballet Repertory Co. (NY), before joining American Ballet Theatre as a Soloist in 1975. She appeared in many of ABT’s Live From Lincoln Center and Dance in America programs and the Herbert Ross movies The Turning Point (1977) and Dancers (1987). She was a principal dancer with Ballet Arizona (1988, 1990) and with the Nureyev and Friends North American tour in 1990. She performed on Broadway in The Phantom of the Opera for ten years before retiring from the stage. She is on the dance faculty at the University of North Carolina School of the Arts and was the original Artistic Coordinator of ABT’s Summer Intensive Programs (1996 and 1997). She has remained a primary teacher for all subsequent ABT Summer Intensives in NYC and Austin.

Roger Van Fleteren, a native of Michigan, began his dance training at the age of twelve with Charmaine Schick. Two years later, he was offered a scholarship to study with Madame Nathalie Krassovska in Dallas. In 1982 he joined ABT and became soloist in 1990, where his repertory included works by Antony Tudor, Kenneth Macmillan, Twyla Tharp, George Balanchine, Mikhail Baryshnikov, Jir¹í Kylián, and Frederic Ashton among other. He was chosen by Agnes de Mille to dance the principal role in her final ballet, The Other. Van Fleteren has appeared as a guest artist with companies throughout the United States including Wes Chapman's American Ballet in 1991-1992. Van Fleteren has also performed throughout Europe at major Opera Houses including the Paris Opera and the Coliseum Theatre in London. He has also performed in productions of 42nd Street, Seven Brides for Seven Brothers, The Best Little Whorehouse in Texas, the television series The Equalizer and in the film Dancers starring Mikhail Baryshnikov. Van Fleteren joined the Alabama Ballet Company from the London City Ballet in 1996 where he served as principal dancer at the renowned Sadler's Wells Theatre. His repertoire included Giselle, TheSleeping Beauty, Cinderella, Coppelia, Don Quixote pas de deux and works with Royal Ballet stars David Wall and Leslie Collier. While at the Alabama Ballet, Van Felteren has been featured as Albrecht in Giselle, Drosselmeyer in Nutcracker, Herr Stahlbaum in George Balanchine's The Nutcracker, as well as principal roles in Bolero and Swan Lake. Van Fleteren continues to be closely affiliated with American Ballet Theatre. In the summer of 1998 and 1999, he was appointed Administrative Coordinator of the ABT Summer Intensive in Tuscaloosa, Alabama, and was on the teaching staff of the intensive in Detroit, MI. In 1998, he co-choreographed Dracula, and in the 1999-2000 season Wes Chapman and Van Fleteren choreographed Dr. Jekyll and Mr. Hyde. In 2001 he choreographed the Alabama Ballet's one- act full-length Romeo & Juliet and the full length Cinderella, and in 2003 he created original choreography for Swan Lake. In 1999, he won the Panoply Award for best overall choreography for Tickling the Ivories, in 2001 for Bach Variations. In the 2002- 2003 season he choreographed Be Major. Van Fleteren is one of the principal instructors in the Alabama Ballet School, and an Artist in Residence at the Gorham's Bluff Institute's Summer Residency.

ORANGE COUNTY SUMMER INTENSIVE

Deirdre Carberry danced with American Ballet Theatre for 12 years, and remains the youngest member to have been accepted into the Company at the age of 14. She was the youngest Company member to have performed solo and principal roles. Carberry received her early dance training at the American Ballet Theatre School, Miami Conservatory, David Howard & Elena Tchernichova. She was accepted by the School of American Ballet on scholarship, and she also attended the Harkness House Ballet & David Howard Studio on scholarship. At the First U.S. International Ballet Competition held in Jackson, Mississippi, Carberry was the youngest competitor and won a silver medal, in a year in which a gold medal was not awarded. After her 12 years dancing with ABT under the artistic direction of Mikhail Baryshnikov, she was also a principal dancer with the Atlanta Ballet, Cincinnati Ballet, Ballet Memphis, and the Miami City Ballet. While with American Ballet Theatre, Twyla Tharp cast her as the leading ballerina in a new ballet she choreographed called The Little Ballet partnered by Baryshnikov. She then debuted as Kitri in Baryshnikov’s Don Quixote partnered by Kevin McKenzie (currently ABT Artistic Director) and then partnered by Patrick Bissel. Fernando Bujones invited her to dance the Sugar Plum Fairy opposite him in SUNY Purchase, NY. Carberry has appeared in several PBS Great Performances programs for television & video: Baryshnikov Dances Balanchine, Baryshnikov Dances Sinatra and More with ABT, in both her partner was Baryshnikov. She is also featured in several Dance in America television programs & videos: ABT at the Met and ABT in San Francisco. The following seasons she demonstrated a quality of technique, style, presence and artistic interpretation that inspired ABT to promote her to increasingly important and prominent roles. Some of her other partners have been Wes Chapman (currently Artistic Director of ABT II), Robert LaFosse, Johan Renvall, Robert Hill, and Ross Stretton. She has toured three times with Baryshnikov & Company, toured with Alexander Godunov & Stars of the American Ballet, she has danced extensively throughout the USA, Europe, Israel, Japan, Central & South America, Mexico, Denmark and Toronto. Carberry had the great honor to have been coached by Dame Margot Fonteyn, Natalia Makarova, Fredrick Franklin, and Baryshnikov. Several works were created on her: Common Ground by Toni Pimble, Carmen by Nigel Burgione, Elements by Dennis Poole, Rigaudon by Clark Tippet, Taming of the Shrew and Diane Corbin Bruning contemporary work. While still performing she had taught at: Atlanta Ballet School, Cincinnati Ballet School, and the American Ballet Theatre Summer Intensive, master classes for Emory University in Atlanta, The Washington Ballet School, and numerous workshops throughout the USA and Europe. Carberry was the ballet teacher and judge for American Idol’s Paula Abdul Company Dance Conventions & Competition. This included being televised on ESPN from Disney Florida. Carberry was also a judge for the Star Search Finals in Atlanta. She has been a ballet mistress for the Columbia City Ballet and ballet instructor for the school. Some of the ballets she has staged on students include Cinderella, Don Quixote, La Slyphide, The Nutcracker, The Sleeping Beauty, Paquita and Swan Lake. As part of her workshops she has included educating the students in stage makeup and nutrition awareness. Most recently Carberry was a guest instructor for several months at the Alabama School of Fine Arts in Birmingham. She was also a faculty member at American Ballet Theatre Summer Intensive in Detroit for 2008.

Yan Chen was born in China where she started her dance training at the Shanghai Dance School. She later continued her studies at the San Francisco Ballet School and was a prizewinner at the 1987 Prix de Lausanne in Switzerland. Prior to joining American Ballet Theatre in 1993, Chen was a principal dancer with the Washington Ballet. As one of ABT's most lyrical and versatile dancers, Chen performed many demanding leading roles. She received critical praise from The New York Times for her "refined and exuberant" rendition in all pieces.

Warren Conover, a former soloist with American Ballet Theatre, performed a wide range of roles from classical to demi-character to modern in more than fifty ballets. He has also appeared on several Live from Lincoln Center broadcasts; a Dance in America presentation and he performed a feature role in the television broadcast of Baryshnikov’s The Nutcracker. He was a faculty member at the Ruth Page Foundation School of Dance, the Gus Giordano Dance Center and the Lou Conte Dance Studio in Chicago for thirteen years. For ten years, Conover was the Artistic Associate/Ballet Master for Hubbard Street Dance Chicago, touring extensively throughout the United States, South America, and Europe. In 1994, Conover joined the faculty of the University North Carolina School of the Arts, where he is Assistant Dean/School of Dance. Since that time he has staged and choreographed numerous ballets for the School of the Arts. In February 1997, he returned to American Ballet Theatre to restage Frederick Ashton’s Les Patineurs, which had been absent from their repertoire for twelve years. Conover continues to guest teach nationally, including the American Ballet Theatre Summer Intensive program, the Southeastern Regional Ballet Association, the Regional Dance America Northeast Festival as well as a long association with Chicago Dance Masters of America.

Charles Maple began his training with Evelyn LeMone, the founder of Pasadena Dance Theatre. He continued his studies with Andrei Tremaine and Stanley Holden until 1972 when he received a Ford Foundation scholarship to the School of American Ballet. At the age of nineteen, he joined American Ballet Theatre and rapidly rose through the ranks to become a featured soloist. In 1979, he made numerous guest appearances with the National Ballet of Mexico and danced the leading roles in The Sleeping Beauty, Les Sylphides, and La Fille Mal Gardee. In 1983 he became a principal dancer with the Basel Ballet of Switzerland. His association with ABT gave him the opportunity to dance in the works of Europe and America’s most influential choreographers. He has appeared as a guest artist throughout the United States, in Europe, Mexico, and South Africa. In 1992, Maple began creating his own works. He has since received a steady stream of commissions, awards and a growing reputation as a freelance choreographer. Companies in Regional Dance America have presented several of his works. Two of his works for Rosella Hightower’s Ballet La Jeunesse were presented with top awards at the 1992 La Baule Festival in France. In 1993, he attended the Tokyo International Choreographers Competition where his works received international recognition and critical acclaim. In 1993 Maple’s The Angel of the Abyss was created to open the televised Posada Aids Procession in Los Angeles. In 1995, his new version of La Fille Mal Gardee for Pasadena Dance Theatre opened to rave reviews. In 1997 he created a new version of The Nutcracker for Black Hills Dance Theatre and Symphony. His work Latcho Drom was selected by Regional Dance America to be shown at the 1998 International Ballet Competition in Jackson, Mississippi. Maple has set numerous works for American Ballet Theatre’s Summer Intensive programs. Maple’s choreography represents a diversity of dance styles that are firmly rooted in the traditions of classical ballet. In 2007, he founded the Maple Conservatory of Dance, a classical ballet school with a curriculum based training program that is dedicated to nurturing dancers with the highest standard of excellence in a caring and healthy environment. He is also Artistic Director of the school’s performing entity, The Maple Youth Ballet. In 1994 and 1995, Maple directed Pasadena Dance Theatre. He then founded Charles Maple and Dancers to concentrate on developing his own creations. Maple has been an active advocate for Regional Dance America. In 2001, he became the associate director and resident choreographer for South Bay Ballet, a position he held until 2007. He has served as an adjudicator as well as a faculty member at numerous RDA Festivals. Maple has also acted as the artistic coordinator for American Ballet Theatre’s Alabama and California Summer Intensive programs. In conjunction with many of his choreographic projects, Maple holds special lecture demonstrations that are designed to enhance the audience’s understanding and appreciation of dance. In them he explains choreographic techniques and discusses the process of creating a new work. The lectures are invariably successful because they bring the audience into a process which they are generally not permitted to share.

COLLEGIATE SUMMER INTENSIVE

Brian Reeder, born in Sunbury, Pennsylvania, began his training with Marcia Dale Weary at the Central Pennsylvania Youth Ballet. After attending American Ballet Theatre’s Summer Program, he studied at the School of American Ballet. Before joining American Ballet Theatre (1994-2003), Reeder performed as a soloist with William Forsythe’s Ballet Frankfurt (1990-1993) and also danced with New York City Ballet (1986-1990). Over a four-year period, Reeder created five original works for American Ballet Theatre’s Studio Company. In 2005, he choreographed a full-length The Nutcracker for Ballet Pacifica. In collaboration with the Washington Ballet, Reeder was the recipient of the New York Choreographic Institute Fellowship Grant (2005). He has created works for the Washington Ballet and it’s Studio Company including a production of Peter & The Wolf. In 2006, he was commissioned by the Guggenheim Museum in New York City to create two new works for their Works & Process series. Reeder was artist in residence at Brown University, Emory University, and St. Paul’s School where he taught and created works for student dance companies. He was involved with the ABT J.P.Morgan Make A Ballet program (2004-2006), and is currently on staff at ABT’s Summer Intensives program in NYC. He served as the Coordinating Director of the ABT Summer Intensive in Bermuda (2006), and has been a guest teacher at the Alvin Ailey School, Icelandic National Ballet Company and School.