| KEVIN MCKENZIE|
native of Vermont, Kevin McKenzie received his ballet training
at the Washington School of Ballet. In 1972, Mr. 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. Mr. McKenzie was
appointed a Principal Dancer the following December and danced
with the Company until 1991.
As a Principal Dancer with American Ballet Theatre, Mr. 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, Mr. 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, Mr. 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.
Mr. 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, a new production of Swan
Lake (2000) and a new production of The Sleeping
Beauty (2007), with Gelsey Kirkland and Michael Chernov,
all for American Ballet Theatre.
Chief Executive Officer
former member of ABT’s corps de ballet from 1984-1988, Rachel
S. Moore was named Executive Director of American Ballet Theatre
in April 2004 and became CEO in June 2011. Prior to her appointment,
she served as Director of Boston Ballet’s Center for Dance
Education (2001-2004). From 1998-2001, Moore served as Executive
Director of Project STEP, a classical music school for students
of color in Boston and Managing Director of Ballet Theatre of Boston.
She has also held senior positions with Americans for the Arts and
the National Cultural Alliance, both in Washington, DC.
Moore currently serves as a member of the Advisory Board for Dizzy
Feet Foundation, the Board of Advisors of Project STEP, and as a
member of the Child Performer Advisory Board for the New York State
Department of Labor. She served on the Board of Trustees for Dance/USA
from 2007-2012 and the National Dance Foundation of Bermuda from
2007-2012, and as a member of the United States National Commission
for UNESCO from 2005-2009.
Moore served as adjunct faculty in the Arts Administration program,
specializing in non-profit finance, at Columbia University from
2006-2010, in the dance department of Emerson College from 1998-2000,
and an instructor of non-profit finance in the Graduate Program
in Arts Administration at Boston University (2000).
During her performing career, Moore served as a member of ABT’s
union committee and chair of the Dancers’ Emergency Fund,
which raised money to provide non-interest bearing loans to dancers
in need. She has served on grant panels for the National Endowment
for the Arts and the New Jersey State Arts Council and served as
an advisor to the Diversity Committee at Boston Symphony Orchestra.
In 1982, Moore was named a White House Presidential Scholar
in the Arts. In 2006, she was inducted into the YWCA’s
Academy of Women Leaders and was awarded a Distinguished
Alumni Award from Columbia University’s Teacher’s
College. In 2008, she was given the Distinguished Alumni
Award from the National YoungArts Foundation (formerly the
National Foundation for Advancement in the Arts).
She is a currently a trustee of the Economic Club of New
York, where she also serves as a member of the Strategic
Planning Committee. In April 2010, Moore was elected a member
of the Women’s Forum of New York, in 2011, became
a member of the Century Association and, in 2013, became
a member of the Belizean Grove.
In 1990, Moore served as an Arts Administration Fellow at the National
Endowment for the Arts, and in 2002 was a Fellow at the Executive
Program for Nonprofit Leaders in the Arts at Stanford Business School,
and is an alumnus of the National Arts Strategies 100 CEOs in the
Arts program at Harvard Business School, Ross School of Business
at University of Michigan and the McCombs School of Business at
University of Texas at Austin (2011-2013).
Moore holds a bachelor’s degree from Brown University, Phi
Beta Kappa, Honors (1992); and a Masters in Arts Administration
from Columbia University (1994).
Photo of Kevin McKenzie by Fabrizio Ferri.
Photo of Rachel Moore by Jerry Ruotolo.