Bruno Backpfeifengesicht Ilya Bobovnikov Boris Dumbkopf
Araf Legupski Marat Legupski Sergey Legupski Timur Legupski
Medulli Lobotomov Mikhail Mudkin Boris Mudko
Chip Pididouda Yuri Smirnov Kravlji Snepek
Pavel Törd Jens Witzelsucht Tino Xirau-Lopez
Tory Dobrin, Artistic Director
Liz Harler, Executive Director
Isabel Martinez Rivera, Associate Director
Raffaele Morra, Ballet Master
Shelby Sonnenberg, Production Manager
Beatrice Jona Affron
Music Director and Conductor
Patrons are requested to silence cell phones and other electronic devices during performances.
The taking of photographs and the use of recording equipment are not allowed in this venue.
Kennedy Center Sponsors
William J. Caldwell and Michele Toth
C. Michael Kojaian
Terms and Conditions
All events and artists subject to change without prior notice.
Program
Le Lac Des Cygnes (Swan Lake, Act II)
Music by Pyotr Ilyich Tchaikovsky
Choreography after Lev Ivanovich Ivanov
Costumes by Mike Gonzales
Decor by Clio Young
Lighting by Kip Marsh
Swept up into the magical realm of swans (and birds), this elegiac phantasmagoria of variations and ensembles in line and music is the signature work of Les Ballets Trockadero. The story of Odette, the beautiful princess turned into a swan by the evil sorcerer, and how she is nearly saved by the love of Prince Siegfried, was not so unusual a theme when Tchaikovsky first wrote his ballet in 1877 -- the metamorphosis of mortals to birds and visa versa occurs frequently in Russian folklore. The original Swan Lake at the Bolshoi Theatre in Moscow was treated unsuccessfully; a year after Tchaikovsky's death in 1893, the St. Petersburg Maryinsky Ballet produced the version we know today. Perhaps the world's best known ballet, its appeal seems to stem from the mysterious and pathetic qualities of the heroine juxtaposed with the canonized glamour of 19th century Russian ballet.
(an evil wizard who goes about turning girls into swans)
~ Intermission ~
Go for Barocco
Music by J.S. Bach
Choreography by Peter Anastos
Costumes by Mike Gonzales
Lighting by Kip Marsh
Stylistic heir to Balanchine's Middle-Blue-Verging-On-Black-and-White Period, this ballet has become a primer in identifying stark coolness and choreosymphonic delineation in the new(neo) neo-new classic dance. It has been called a wristwatch for Balanchine clock-time.
George Balanchine choreographed this pas de deux in 1964 for two of his most illustrious stars at New York City Ballet: Patricia McBride and Edward Villella. The Trockadero offers its own version of the ballet, featuring two of the Trockadero’s own illustrious stars, with possibly some added Italian flair.
Varvara Laptopova with Pavel Törd
The Dying Swan
Music by Camille Saint-Saens
Choreography by the Trockadero
Costume by Mike Gonzales
Fokine had little notion when he created this solo for Anna Pavlova in 1905 that it would become, in later years, her signature dance--and perhaps the most famous solo in ballet. The Trockadero offers its own distinctive interpretation of the terminal fowl.
Olga Supphozova
~ Intermission ~
Paquita
Music by Ludwig Minkus
Choreography after Marius Petipa
Staged by Elena Kunikova
Costumes and Decor by Mike Gonzales
Lighting by Kip Marsh
Paquita is a superb example of the French style as it was exported to Saint Petersburg in the late 19th Century. Paquita was originally a ballet-pantomine in 2 acts, choreographed by Joseph Mazillier, to music by Ernest Deldevez. The story had a Spanish theme, with Carlotta Grisi (creator of Giselle) as a young woman kidnapped by gypsies, who saves a young and handsome officer from certain death. Premiering at the Paris Opera in 1846, the ballet was produced a year later in Russia by Marius Petipa. Petipa commissioned Ludwig Minkus, the composer of his two most recent successes (Don Quixote and La Bayadere) to write additional music in order to add a brilliant “divertissement” to Mazillier’s Paquita. Petipa choreographed for this a Pas de Trois and a Grand Pas de Deux in his characteristic style. These soon became the bravura highlights of the evening-to the point that they are the only fragments of Paquita that have been preserved. The dancers display a range of choreographic fireworks, which exploit the virtuoso possibilities of academic classical dance, enriched by the unexpected combinations of steps.
Ballerina and Cavalier
Nadia Doumiafevya
With
Bruno Backpfeifengesicht
Variations:
Variation 1 Tatiana Youbetyabootskaya
Variation 2 Resi Oachikatzlschwoaf
Variation 3 Ludmila Beaulemova
Variation 4 Varvara Laptopova
Variation 5 Nadia Doumiafeyva
Company History
LES BALLETS TROCKADERO DE MONTE CARLO was founded in 1974 by New York City-based ballet enthusiasts in order to present a playful, entertaining view of traditional, classical ballet in parody form and with men performing all of the roles – and in the case of roles usually danced by women: en travesti and en pointe. Founders Peter Anastos, Anthony Bassae, and Natch Taylor broke away from Larry Ree’s Gloxinia Trockadero Ballet to create a dance- and choreography-focused company. They put on their first shows on the makeshift stage of the West Side Discussion Group, an early gay and lesbian political organization, which was led by future Trockadero General Director Eugene McDougle. The performances were infused with a subversive edge as the country was still a long way from bringing drag performance to a mainstream audience.
The Trocks, as they are affectionately known, soon garnered critical acclaim and cultural cachet in publications with major reach, such as The New Yorker, The New York Times, and the Village Voice. By mid-1975, the company’s inspired blend of dance knowledge, comedy, and athleticism, moved beyond New York City when the Trocks qualified for the National Endowment for the Arts Touring Program, hired a full-time teacher and ballet mistress, AND made its first extended tours of the United States and Canada. Packing, unpacking, and repacking tutus and drops, stocking giant-sized toe shoes by the case, and running for planes and chartered buses all became routine parts of life. They have been going non-stop ever since, appearing in 43 countries and more than 660 cities worldwide. The company has garnered a dedicated fan base, repeating performances in countries year after year, and continuing to add first-time engagements as the company enters its 50th Anniversary season.
Interest and accolades have accumulated over the years. The Trocks have proved an alluring documentary subject, featured in an Emmy-winning episode of the acclaimed British arts program The South Bank Show; the 2017 feature film Rebels on Pointe; and most recently Ballerina Boys, which aired on PBS American Masters in 2021. Several of the Trocks’ performances at the Maison de la Danse in Lyon, France, were also aired by Dutch, French and Japanese TV networks. Other television appearances have ranged from a Shirley MacLaine special to the Dick Cavett Show, What’s My Line?, Real People, and On-Stage America. The dancers also have the distinction of appearing with Kermit and Miss Piggy on Muppet Babies.
The company’s awards include a prestigious UK Critics Circle National Dance Award for Best Classical Repertoire (2007) and nomination for Outstanding Company (2016), the UK Theatrical Managers Award (2006); and the Positano Award for Excellence in Dance (2007, Italy). The company has appeared in multiple galas and benefits over the years, including at the 80th anniversary Royal Variety Performance to aid the Entertainment Artistes’ Benevolent Fund in December 2008, which was attended by members of the British Royal family, including the (now) King Charles III.
The original concept of Les Ballets Trockadero de Monte Carlo has not changed. It is a company of professional male dancers performing the full range of ballet and modern dance repertoire, including classical and original works in faithful renditions of the manners and conceits of those dance styles. The comedy is achieved by incorporating and exaggerating the foibles, accidents, and underlying incongruities of serious dance. Muscular, athletic bodies delicately balancing on toes as swans, sylphs, water sprites, romantic princesses, and angst-ridden Victorian ladies enhance the appreciation for the art form, delighting die-hard ballet fans and newcomers alike.
Looking to the future, the Trocks are making plans for new commissions, new debuts, and new audiences, while continuing the company’s original mission: to bring the pleasure of dance to the widest possible audience.
The company will, as they have for 50 years, “keep on Trockin’.”
Beatrice Jona Affron
Music Director and Conductor
Beatrice Jona Affron joined Philadelphia Ballet (formerly Pennsylvania Ballet) as the assistant conductor in 1993. Four years later, she became the company’s music director. In Philadelphia, Affron has conducted many works by George Balanchine and a large repertoire of full-length works, including Giselle, The Firebird, Romeo and Juliet, and The Sleeping Beauty. In 2004, she led the world premiere of Christopher Wheeldon’s Swan Lake.
Born and raised in New York City and a graduate of Yale University, Affron studied conducting with Robert Spano and with Pascal Verrot at the New England Conservatory, where she later served on the faculty. She led the national tour of Philip Glass’ Les Enfants Terribles and received international attention while conducting the world premiere of Glass’s Galileo Galilei.
Affron has conducted for Opera Theatre Saint Louis, Glimmerglass Opera, Boston Lyric Opera, and New England Conservatory. She has conducted dance and opera productions at the Boston Conservatory, as well as concerts with Boston’s Pro Arte Chamber Orchestra and the Boston Landmarks Orchestra. With Philadelphia Ballet, Affron has performed at the Kennedy Center, New York City Center and the National Arts Center of Canada. She has appeared as a guest conductor with Atlanta Ballet, Boston Ballet, Cincinnati Ballet, Miami City Ballet, Nashville Ballet, and Oklahoma City Ballet. Affron is thrilled to make her debut with The Trocks.
Dancers
Marina Plezegetovstageskaya
Any ballet goer who saw Marina Plezegetovstageskaya dancing on a herring in her first American tour is not likely to forget her outstanding performance as the Sour Cream Fairy. One of the world’s great dialectical sophists, Honored Artist Plezegetovstageskaya came to the stage from the Bolshoi Academy of Dance Polemics where she excelled in heroic parts and tableaux vivifies. There she gained youthful fame as a practitioner of barefoot naturalism right up to the eyebrows. Following her graduation she was drafted by the Trockadero for a player to be named late.
Medulli Lobotomov
Dancer by night, Bulgarian Mafia assassin by day and purveyor of guillotine-triggering car flaps at weekends, Medulli has held a grudge against the animal kingdom ever since a fur allergy forced him to quit his job as a hat-check girl at the Opera.
Blagovesta Zlotmachinskaya
Ever since her auspicious debut as the Left Nostril in the ballet extracted from The Nose by Gogol, Blagovesta has shown a unique appreciation of her homeland’s literary heritage. Back home in Kiev, she is best known as the star of the hit TV show Challenge Anna Karenina, in which the eponymous heroine of Tolstoy’s classic novel seeks to expose the fin de siecle malaise at the heart of pre-Revolutionary Russia with the aid of a helicopter and walkie-talkie.
Mikhail Mudkin
Mikhail Mudkin, the famed Russian danseur for whom the word “Bolshoi” was coined, comes to America from his triumphs as understudy to a famous impresario in the role of the Bear in Petrushka.
Olga Supphozova
Olga Supphozova made her first public appearance in a police line-up under dubious circumstances. After a seven-year-to-life hiatus, she now returns to her adoring fans. When questioned about her forced sabbatical, Olga’s only comment was “I did it for Art’s sake.” Art, however, said nothing.
Yuri Smirnov
At the age of sixteen, Yuri ran away from home and joined the Kirov Opera because he thought Borodin was a prescription barbiturate. Luckily for the Trockadero, he soon discovered that he didn’t know his arias from his elbow, and decided to become a ballet star instead.
Gerd Törd
“The Prune Danish of Russian Ballet,” abandoned an enormously successful career as a film actress to become a Trockadero ballerina. Her faithful fans, however, need not despair as most of her great films have been made into ballets: the searing Back to Back, the tear-filled Thighs and Blisters, and the immortal seven-part Screams from a Carriage. Because of her theatrical flair, Gerd has chosen to explore the more dramatic aspects of ballet, causing one critic to rename her Giselle, “What’s my Line?”
Pavel Törd
“The Prune Danish of Russian Ballet”, abandoned an enormously successful career as a film actor to become a Trockadero premier danseur. His faithful fans, however, need not despair as most of his great films have been made into ballets: the searing Back to Back, the tear-filled Thighs and Blisters, and the immortal seven-part Screams from a Carriage. Because of his theatrical flair, Pavel has chosen to explore the more dramatic aspects of ballet, causing one critic to rename his Siegfried, “What's my Line?”
Tatiana Youbetyabootskaya
Tatiana Youbetyabootskaya created many original roles in St. Petersburg where she was the last of a long line of Italian etoiles to appear at the Maryinsky Theater. It was her dazzling triumph in the role of “Electricity” in the extravagant “Excelsior” in her native Milan which brought her fame. However, no less electrifying was the line up of perfectly trained elephants, performing like the present day Rockettes. Unfortunately, Mlle Youbetyabootskaya’s jealous scenes over the publicity given to these elephants and their ensuing popularity with the public, caused numerous problems. She subsequently refused to appear again in this role.
Araf Legupski
Araf, Marat, Sergey, and Timur are not really brothers, nor are their names really Araf, Marat, Sergey, or Timur, nor are they real Russians, nor can they tell the difference between a pirouette and a jete...but...well...they do move about rather nicely...and...they fit into the costumes.
Resi Oachikatzlschwoaf
Resi was born on a locomotive speeding through the Alps in her native Bavaria. She quickly realized the limitations of her native folk dancing and quaint handicrafts. After her arrival in America, she learned everything she now knows about ballet from a seminar entitled: “Evil Fairies on the Periphery of the Classical Dance.”
Ilya Bobvnikov
Ilya Bobvnikov the recipient of this year’s Jean de Brienne Award, is particularly identified for his Rabelaisian ballet technique. A revolutionary in the art of partnering, he was the first to introduce crazy glue to stop supported pirouettes.
Elvira Khababgallina
Voted “the girl most likely to,” is the living example that a common hard-working girl can make it to the top. Our friendly ballerina was pounding the pavement looking for work when the Trockadero found her. Her brilliant technique has endeared her to several fans, as well as to some of the stage hands. Her motto is “a smile is better than talent.” Her nickname is... well, never mind what her nickname is.
Sergey Legupski
Araf, Marat, Sergey, and Timur are not really brothers, nor are their names really Araf, Marat, Sergey, or Timur, nor are they real Russians, nor can they tell the difference between a pirouette and a jete...but...well...they do move about rather nicely...and...they fit into the costumes.
Maria Clubfoot
The latest of the great Native American ballerinas: Larkin, Tallchief (Maria and Marjorie), Clubfoot. Maria, pride of the Luni tribe, blazed a path with her interpretation of “Slaughter on 10th Avenue,” set in the Wolf Den club at Mohegan Sun. Maria appears with the Trockadero under special permission from Federal authorities.
Tino Xirau-Lopez
Lopez, a well-known figure to the Off-Off-Off audiences, returns to the Trockadero flushed from last season's Nutcracker in which he played the fiendishly difficult role of the Father. His numerous theatrical successes have not prevented his stern, aristocratic family from disavowing any claims he might make to the title.
Anya Marx
Anya Marx comes to the ballet stage after her hair-raising escape from the successful (but not terribly tasteful) overthrow of her country’s glamorous government. She made a counter-revolutionary figure of herself when she was arrested for single-handedly storming the State Museum of Revolutionary Evolution, where her fabulous collection of jewels were being insensitively displayed alongside a machine gun. The resilient Madame Marx is currently the proprietress of America’s only mail order Course in Classical Ballet.
Chip Pididouda
Chip is a renowned Greek cricket player who stumbled into the world of English ballet after a wrong turn on the M-90 to Folkestone. Chip was heralded for his simple and inspiring interpretation of “Doppe” in Dizzney’s world premiere of La Fille de Neige Blanche. Unaffected by technique, Chip brings his special brand of athleticism and “je ne sais quoi pas” to the Trocks.
Nadia Doumiafeyva
No one who has seen Heliazpopkin will soon forget the spiritual athleticism of Nadia Doumiafeyva, a child of Caucasus who changed her name for show business reasons. Her fiery attack, combined with her lyric somnolence, produces confusion in audiences the world over, particularly when applied to ballet.
Kravlji Snepek
Kravlji Snepek comes to the Trockadero from his split-level birthplace in Siberia, where he excelled in toe, tap, acrobatic and Hawaiian. This good-natured Slav is famous for his breathtaking technique--a blend of froth and frou-frou centered on a spine of steel, painfully acquired at the hands and feet of his teacher, Glib Generalization, who has already trained many able dancers. As an artist in the classical, heroic, tragical mold, young Kravlji wrenched the heart of all who saw him dance Harlene, the Goat Roper in The Best Little Dacha in Sverdlovsk.
Holly Dey-Abroad
Miss Dey-Abroad lacks the talent and intelligence that are required to be good at dancing and did not understand that this lack of talent and intelligence are often the same qualities needed to recognize that one is not good at dancing—and if one lacks such talent and intelligence, one remains ignorant that one is not good at dancing. Consequently she auditioned for the Trocks and was accepted.
Bruno Backpfeifengesicht
Bruno Backpfeifengesicht soared into prominence as the first East German defector whose leave-taking was accomplished at the virtual insistence of the defectees (although in subsequent days Herr Backpfeifengesicht was accused of abandoning his joyous comrades for “a mountain of beer and an ocean of dollars”). His meteoric rise to stardom caused him to be named Official Bicentennial Porteur by a committee of New York balletomanes who singled out his winning feet and losing smile.
Ludmila Beaulemova
Ludmila Beaulemova famed country and western ballerina and formerly prima ballerina of the grand Ole Opry, recently defected from that company when they moved to their new Nashville home. The rift was caused by their refusal to stage the ballet with which her name has become synonymous, I Never Promised You a Rose Adagio.
Jens Witzelsucht
Mr. Witzelsucht has a pure and rare neurological disorder characterized by a tendency to make puns or tell inappropriate jokes or pointless stories in socially inappropriate situations, along with a pathological giddiness with lunatic mood swings. As he does not understand that this behavior is abnormal, he has found a place in the company as one of the more comedic artists.
Bertha Vinayshinsky
Bertha Vinayshinsky has defected to America three times and been promptly returned on each occasion -- for "artistic reasons." Recently discovered "en omelette" at the Easter Egg Hunt in Washington, D.C. Prima Ballerina Vinayshinksky was hired by the Trockadero, where their inexplicable rise to stardom answers the musical question: Who put the bop in the bop-shibop shibop?
Boris Mudko
Boris Mudko is the Trocks’ newest danseur, having joined only last year. Boris is a drunken but talented Russian from Dzerzhinsk, in the former Soviet Union. He insisted on an audition while the company was on tour. It took some time to sober him up to make him coherent – he was given gallons of tea and several enemas – but finally he was accepted into the company. He has since given up all drink and is doing quite well.
Grunya Protazova
Grunya Protazova is the missing link between the crustaceans of the old Russian school and the more modern amphibians now dancing. Before joining the Trockadero, Grunya was the featured ballerina at Sea World, where her famous autobiographic solo, Dance of the Lower Orders, brought several marine biologists to tears.
Marat Legupski
Araf, Marat, Sergey, and Timur are not really brothers, nor are their names really Araf, Marat, Sergey, or Timur, nor are they real Russians, nor can they tell the difference between a pirouette and a jete...but...well...they do move about rather nicely...and...they fit into the costumes.
Colette Adae
Colette Adae was orphaned at the age of three when her mother, a ballerina of some dubious distinction, impaled herself on the first violinist’s bow after a series of rather uncontrolled fouette voyage. Colette was raised and educated with the “rats” of the Opera House but the trauma of her childhood never let her reach her full potential. However, under the kind and watchful eye of the Trockadero, she has begun to flower and we are sure you will enjoy watching her growth.
Timur Legupski
Araf, Marat, Sergey, and Timur are not really brothers, nor are their names really Araf, Marat, Sergey, or Timur, nor are they real Russians, nor can they tell the difference between a pirouette and a jete...but...well...they do move about rather nicely...and...they fit into the costumes.
Varvara Laptopova
Varvara Laptopova is one of those rare dancers who, with one look at a ballet, not only knows all the steps but can also dance all the roles. As a former member of the Kiev Toe and Heel Club, she was awarded first-prize at the Pan Siberian Czardash and Kazotski Festival for artistic mis-interpretation.
Boris Dumbkopf
Boris Dumbkopf has been with the greatest ballerinas of our time and he has even danced with some of them. One of the first defective Eastern Bloc male stars, he left the motherland for purely capitalistic reasons. Amazingly, between his appearances on television and Broadway and in movies, commercials, magazines, special events, and women’s nylons, he occasionally still has time to dance.
Birthplace: Pinar del Río, Cuba. Training: Centro pro danza-Laura Alonso. Joined Trockadero: July 2023. Previous companies: California Ballet, Twins City Ballet of MN, Ballet Theater of Maryland, Cuban Classical Ballet of Miami.
Olga Supphozova and Yuri Smirnov
Robert Carter
Birthplace: Charleston, SC. Training: Robert Ivey Ballet School, Joffrey Ballet School. Joined Trockadero: November 1995. Previous companies: Florence Civic Ballet, Dance Theater of Harlem Ensemble, Bay Ballet Theater.
Gerd Törd and Pavel Törd
Matias Dominguez Escrig
Birthplace: Santiago, Chile, Training: José Espadero Professional Dance Conservatory, Sofia Sancho Dance School, Madrid Dance Center. Joined Trockadero: October 2023. Previous company: International Ballet Festival.
Tatiana Youbetyabootskaya and Araf Legupski
Andrea Fabbri
Birthplace: Lugo, Italy. Training: Il Balleto, The HARID Conservatory. Joined Trockadero: October 2023. Previous companies: Los Angeles Ballet, Estonian National Ballet.
Resi Oachikatzlschwoaf and Ilya Bobvnikov
Gabriel Foley
Birthplace: Overland Park, KS. Training: Ballet Chicago, Miami City Ballet, Oregon Ballet Theatre. Joined Trockadero: July 2023. Previous companies: City Ballet of San Diego, Queer the Ballet.
Elvira Khababgallina and Sergey Legupski
Kevin Garcia
Birthplace: Gran Canaria, Spain. Training: Centro Coreografico de Las Palmas Trini Borrull, Conservatory of Dance Carmen Amaya. Joined Trockadero: August 2017. Previous companies: Ballet Jose Manuel Armas, Lifedanscenter , Peridance Contemporary Dance Company.
Maria Clubfoot and Tino Xirau-Lopez
Alejandro Gonzalez Rodriguez
Birthplace: Holguin, Cuba Training: Camaguey Academy of Ballet, Provincial Ballet School, Holguin, Cuba. Joined Trockadero: May 2019. Other Companies: Holguin Chamber Ballet, Ecuadorian Chamber Ballet, Municipal Ballet of Lima, Peru.
Anya Marx and Chip Pididouda
Shohei Iwahama
Birthplace: Komae-shi, Tokyo, Japan. Training: Sam Houston State University, The Ailey School, Miyako Kato Dance Academy. Joined Trockadero: March 2022. Previous Companies: NobleMotion Dance, James Sewell Ballet, Hope Stone Dance.
Nadia Doumiafeyva and Kravlji Snepek
Philip Martin-Nielson
Birthplace: Middletown, NY. Training: Natasha Bar, School of American Ballet, Chautauqua Institution of Dance. Joined Trockadero: September 2012. Previous company: North Carolina Dance Theater.
Holly Dey-Abroad and Bruno Backpfeifengesicht
Felix Molinero Del Paso
Birthplace: Granada, Spain. Training: Hochschule fur Darstellende kunst Frankfurt am Main. Joined Trockadero: August 2019.
Ludmila Beaulemova and Jens Witzelsucht
Trent Montgomery
Birthplace: McGehee, AR. Training: Arkansas Academy of Dance, University of Arkansas at Little Rock, Accademiá dell’Arte, Florida State University. Joined Trockadero: August 2021. Previous companies; Arkansas Festival Ballet, Tallahassee Ballet.
Bertha Vinayshinsky and Boris Mudko
Sergio Najera
Birthplace: México City. Training: Dance School of Mexico City, Joffrey Ballet School, Alonzo King's LINES Ballet. Joined Trockadero: February 2023. Previous companies: Ballet Folklorico De México de Amalia Hernández, Convexus, Contemporary Ballet, FABC, Mexico de Colores.
Grunya Protazova and Marat Legupski
Salvador Sasot Sellart
Birthplace: Lleida, Spain. Training: Real Conservatorio Profesional de Danza de Madrid Mariemma. Escuela de Ballet Camina Ocaña and Pablo Savoye. Joined Trockadero: August 2019. Previous company: Severočeske Divadlo Opera a Balet.
Colette Adae and Timur Legupski
Jake Speakman
Birthplace: Philadelphia PA. Training: Marymount Manhattan College Joined Trockadero: November 2021. Previous companies: New York Dance Project, New York Theater Ballet.
Varvara Laptopova and Boris Dumbkopf
Takaomi Yoshino
Birthplace: Osaka, Japan. Training: Vaganova Ballet Academy, Ellison Ballet. Joined Trockadero: August 2018. Previous company: Atlantic City Ballet.
The Kennedy Center Opera House Orchestra
Evan Rogister, Principal Conductor
Violin I Oleg Rylatko, Concertmaster Eric Lee, Associate Concertmaster Ko Sugiyama, Assistant Concertmaster
Zino Bogachek+ Joan Cataldo^ Michelle Kim Karen Lowry-Tucker Susan Midkiff Rhea Chung* Jennifer Himes* Ki Won Kim*
Violin II Kayla Moffett, Principal Najin Kim, Assistant Principal Richard Chang+ Xi Chen Jessica Dan Fan Martha Kaufman Timothy Macek Victoria Noyes
Viola Allyson Goodman^, Principal Johanna Nowik, Assistant Principal Philippe Chao+ Leon Neal Elizabeth Pulju-Owen Uri Wassertzug Erika Gray*
Cello Amy Frost Baumgarten, Principal Danielle Cho, Assistant Principal Ignacio Alcover+ Kristen Wojcik Igor Zubkovsky Ariana Nelson*
Bass Robert D’Imperio, Principal Frank Carnovale, Assistant Principal Ed Malaga*
Flute Adria Sternstein Foster, Principal Stephani Stang-Ferry, Assistant Principal Sandra del Cid-Davies
Piccolo Sandra del Cid-Davies
Oboe Igor Leschishin, Principal Emily Tsai, Assistant Principal David Garcia*
English Horn Vacant
Clarinet David Jones, Principal Ashley Booher
Bass Clarinet Ashley Booher
Bassoon Joseph Grimmer, Principal Christopher Jewell, Assistant Principal Samuel Blair
Contrabassoon Samuel Blair
Horn Geoffrey Pilkington^, Principal Christy Klenke, Assistant Principal Wei-Ping Chou Peter de Boor Robert Odmark
Joy Hodges*
Trumpet Tim White, Principal Christopher Tranchitella, Assistant Principal Michael Rossi Kelley Corbett*
Trombone Lee Rogers, Principal Tanner Antonetti* Daniel Brady*
Bass Trombone Vacant
Tuba Seth Cook, Principal
Timpani Jonathan Rance, Principal Gregory Akagi, Assistant Principal
Percussion John Spirtas, Principal Gregory Akagi Alvin Macasero* Douglas Wallace**
Harp Susan Robinson, Principal
Harpsichord/Celeste/Piano Amanda Halstead* Thomas Pandolfi*
Vice President, Government Relations and ProtocolLaurie McKay
Senior Vice President, DevelopmentLeslie Miller
General Director, Washington National OperaTimothy O’Leary
Chief Human Resources OfficerFrederick Owusu
Executive Vice President & General CounselAsh Zachariah
Staff for the Opera House
Theater ManagerGuy Jordin Heard*
Box Office Treasurer Holly Longstreth
Head UsherKeith Dunn, Mykal Cox
Head CarpenterShane Angus
FlymanRichard Page
Assistant CarpenterRobert Palmer
Head ElectricianMark Cohee
Assistant ElectricianErik King
Assistant ElectricianAnnemarie Mountjoy
Head AudioDave Crook
Head PropsDavid Mairs
Assistant PropsBen Large
Head WardrobeGeorge Pires
*Represented by ATPAM, the Association of Theatrical Press Agents and Managers.
Steinway Piano Gallery is the exclusive area representative of Steinway & Sons and Boston pianos, the official pianos of the Kennedy Center.
The box office at the Kennedy Center is represented by I.A.T.S.E, Local #868.
The technicians at the Kennedy Center are represented by Local #22, Local #772, and Local #798 I.A.T.S.E., AFL-CIO-CLC, the professional union of theatrical technicians.
The Trocks would like to thank our Major Institutional Supporters:
Booth Ferris Foundation
The New York Community Trust
The Howard Gilman Foundation
The Fan Fox and Leslie R. Samuels Foundation
The Max and Victoria Dreyfus foundation
Rallis Foundation
Shubert Foundation
The Harkness Foundation for Dance
The NYU Community Fund
This project is supported in part by an award from the National Endowment for the Arts.
Major support for the Choreography Institute is provided by Denise Littlefield Sobel.
Thanks to our local and state cultural funding agencies for their contributions to our work in New York with support, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council; the New York State Council on the Arts with the support of the Office of the Governor and the New York State Legislature; The Harkness Foundation for Dance; and the NYU Community Fund.
Thanks to our Board of Directors and individual supporters for their generous contributions that make our nonprofit mission possible.
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