Welcome to Student Ballet 4!

Transcription

1 301 North Harrison Street, Princeton, N.J phone: (609) fax: (609) Photo: Horst Frankenberger From the Director s Desk Welcome to Student Ballet 4! This link contains all of the information you need to register for at Princeton Ballet School. Please be sure to read through each of these elements as you prepare to register; there is new information you will want to be aware of. Table of contents: Class schedule Fees and registration information Registration form Student uniform order form (Giselle of Princeton)»» Orders received after July 15 may not be available in time for the start of classes (more detailed information can be found on the order form) Princeton Ballet School Handbook»» Includes uniform requirements»» Includes school calendar Directions to our studios Link to 2016 Summer Adult Open Enrollment brochure (located at the end of class schedules) Preliminary NUTCRACKER audition information American Repertory Ballet Juniors audition (June 22) and membership information

2 301 North Harrison Street, Princeton, N.J phone: (609) fax: (609) Dear dancer, ARBW Junior Audition Information If you ve ever wondered how we get our thrilling productions up on the stage in such a way as to keep everyone talking about them for days; if you ve ever wondered why people keep saying it s so professional ; if you ve ever wondered how our dancers get this done come and try for a chance to find out! We haven t time to bask in the glow of our school show, Swan Lake: the American Repertory Ballet Workshop Juniors audition is just around the corner! We invite you to come audition for the opportunity to join this special group of dancers who comprise ARBW Jr, our entry level performing company. Our aim is the refinement of technique as it pertains to performing and the acculturation of young dancers in the performing life of the profession. We have two seasons, fall and spring and, to help keep you from being over-committed, you may opt to choose one or the other. You do get the most benefit from the experience by choosing both. Do you have a bat mitzvah in the fall? Participate in our spring session. A confirmation (school musical; concerto competition; family commitments) in the spring? Participate in the fall. Most of the ARBW Jr dancers who performed with our professional company, American Repertory Ballet, in its 2015 production of the Nutcracker, found that the experience gave them enough of a taste of the rehearsal/performing life--and improved their technique to such an extent--that they opted for the spring session as well. During Nutcracker, they toured throughout New Jersey in six (6) venues during November and December, each dancer performing in many of the twenty-two shows. Four of those shows offered them the all too rare experience of dancing with an orchestra. Other rehearsal and performance opportunities include Summer Repertory Week leading to the Cranbury Day festival; the annual gala; and the school show. In short, you get to be a better dancer by--dancing! The Audition Time and place: The ARBW Jr audition for the performance season is Wednesday, June 22, 2016 from 6:00 p.m. 8:00 p.m. in the Robertson Studio at our main location at 301 N. Harrison St., Princeton, N.J.. Arrive by 5:45 to sign in. Audition fee: $25.00 Eligibility: You must be a registered student at Princeton Ballet School, accepted into one of the following levels: Student 4 or 4+ Student 5 or 5+ Note: ARBW Jr Student 5 or 5+ dancers need not audition again, regardless of their placement for ARBW Jr Student 4/4+ dancers must audition for the coming season Clothing: a simple classroom leotard, tights, and technique shoes. Young ladies bring pointe shoes with you. If you are intrigued by the opportunity to see where all your dedicated classwork may take you, come audition on June 22. For questions about the audition or ARBW Jrs please contact Cheryl Whitney at this address cwhitney@arballet.org. Sincerely, Cheryl Whitney, ARBW Junior Ballet Mistress

3 301 North Harrison Street, Princeton, N.J phone: (609) fax: (609) Audition Form ARBW Juniors Bring this form with you $25 audition fee must be paid in exact change, check, or charge when you sign in on Wednesday, June 22 at 5:45 p.m. Name (first) (last) Mailing Address (for audition results) City State Zip Home phone Cell phone Student address Family address Age Date of birth / / (month) (day) (year) Academic school grade (this past year) Princeton Ballet School level for (circle one): 4 4 PLUS 5 5 PLUS Applicant signature

4 Schedule of Classes STUDENT BALLET 4 STUDENT BALLET 4: minimum two classes weekly for students with at least one year of pointe work. By evaluation only. The 30-minute pointe class following will be billed separately. Please note that one can take Ballet 4 without pointe, if desired, but if one wishes to dance on pointe, one must do so twice weekly. One can also register for Open Enrollment Intermediate or Advanced classes to have additional Student 4 class options. Leotard color: ROYAL. See Handbook for more information. STUDIO LOCATION DAY TIME ROOM TEACHER CODE Cranbury Tuesday 6:30 8:00 p.m. B Yeager CKL1 8:00 8:30 p.m. pte. B Yeager CKL1 pte. Thursday 7:00 8:30 p.m. B Mero CK2 8:30 9:00 p.m. pte. B Mero CK2 pte. Princeton Monday 7:00 8:30 p.m. Orphanides (C) Byrne PK1 8:30 9:00 p.m. pte. Orphanides (C) Byrne PK1 pte. Wednesday 7:15 8:45 p.m. Robertson (A) Abramson PK2 8:45 9:15 p.m. pte. Robertson (A) Abramson PK2 pte. Friday 7:00 8:30 p.m. Orphanides (C) Mero PKL3 8:30 9:00 p.m. pte. Orphanides (C) Mero PKL3 pte. NOTE: OPEN ENROLLMENT ADVANCED These classes are excellent additions to schedule for Student Ballet 4 and 5. STUDIO LOCATION DAY TIME ROOM TEACHER CODE Princeton Monday 7:45 9:15 p.m. Robertson (A) St.-Pierre PR1 Tuesday 7:45 9:15 p.m. Lescroart (B) Bellis PR2 Saturday 10:45 a.m. 12:15 p.m. Robertson (A) Bellis PL Information on Summer Intensive Intermediates and Summer Open Enrollment can be found on our website at and Princeton Ballet School Main Office: 301 North Harrison Street, Princeton, N.J (609) updated June 2016

5 PLACEMENT CLASS SCHEDULE New students are asked to take a placement class to determine level. This is not necessary for beginners of any age and dancers age 5 and under. A placement class costs $20. To register for a placement class call (609) Cranbury New Brunswick Princeton (609) REGISTRATION INFORMATION Registration may be conducted in person, by mail or by fax and MUST be accompanied by payment. All registrations by mail should be sent to: Princeton Ballet School 301 N. Harrison Street, Princeton, N.J Fax registrations with credit card information to: (609) Fax registrations are not accepted without credit card information section filled out. Priority registration for returning students ends July 15th. All new students in 1st grade or above who have previous dance training need to attend a placement class. Please see below for procedure. PLEASE READ THE FOLLOWING BEFORE REGISTERING: By filling out a registration form, you are registering for the entire school year. Division into payments is made only for the family s convenience. A processing fee will be charged. If you wish to withdraw during the school year for any reason, please contact the Dean of Students, Lisa de Ravel, ext. 11, to discuss. A drop fee of $30 will be charged. You may subtract $25 for each additional sibling registering for the full year. Discount will be applied to child s last tuition payment. Those registering after the start of classes will be charged based on a monthly pro-rate of the 34 week season. Please contact Sean Keeley at , ext. 14, if an alternative payment schedule is needed. Financial Aid is available based on need. Applications are available on request. Deadline is June 30, Any class with insufficient registration may be cancelled at the discretion of the School Director. PAYMENT OPTIONS You may pay in full at the beginning of the year, or choose to enroll in our payment plan, outlined below. The payment plan includes a finance charge. Please call our finance office (Sean Keeley at (732) , ext.14) if you have any questions. Remember, tuition payments are non-refundable INITIAL PAYMENT - DUE WITH REGISTRATION Please make checks payable to: Princeton Ballet School We cannot accept cash for security reasons. MasterCard, Visa, Discover, and American Express are accepted. Payments are non-refundable. Subsequent tuition payments will be billed, or you may choose to set up automatic credit card payments by the due date. (See Registration Form) CLASS CHANGE FEE: There will be a fee of $30 assessed for class changes made after Monday, September 26. This fee will be applicable per each change made. LATE FEE: A late fee of $25 will be charged each time your account is more than 15 days past due date. Accounts more than 45 days past due may result in classroom suspension until satisfactory arrangements have been made with Sean Keeley. INSUFFICIENT FUNDS: Please note effective June 1st all returned checks will be charged a $30 service fee per account CALENDAR School year...sat., Sept. 10 Sun., June 4 Thanksgiving... Closed Tues., Nov. 22 Sun., Nov. 27 Winter Break...Closed Mon., Dec. 19 Sun., Jan. 1 Spring Break... Closed Mon., April 10 Sun., April 16 School Show, The Sleeping Beauty (no classes)... Sat., May 20 Memorial Day Break... Closed Sat., May 27 Mon., May 29 Last day of classes... Sun., June 4 TUITION SCHEDULE SCHOOL YEAR Classes per week Tuition Registration Fee 1st Payment due with registration Installment due 11/15 Payment Plan Total 1 (45 min.) 1 (60 or 75 min.) Classes per week 1 (45 min.) 1 (60 or 75 min.) 2 $820 $995 Tuition $820 $995 $1,850 $60 $60 Registration Fee $60 $60 $60 PAYMENT PLAN SCHEDULE $435 + $60 = $495 $528 + $60 = $588 1st Payment due with registration $176 + $60 = $236 $214 + $60 = $274 $397 + $60 = $457 $435 $528 Installments (4) Due 10/1, 11/14, 1/15/17, 3/16/17 $176 $214 $397 $930 $1,116 Payment Plan Total $940 $1,130 $2, pte. St. 4 only $2,550 $60 $547 + $60 = $607 $547 $2,795 Please note: Student 3 does not pay pointe fee. All of our studios are wheelchair accessible. Princeton Ballet School is not responsible for items lost or stolen. Princeton Ballet School does not discriminate on the basis of race, sex, or creed in the administration of its admission or financial aid programs. The Princeton Ballet School is an equal opportunity employer. updated 6/2016

6 REGISTRATION FORM FOR OFFICE USE ONLY Date/Time Rec by Are you new to us this year? Yes No Student s First Name Last Name Street Address City State Zip Home Telephone Birthdate / / Male Female Height month day year Academic School Academic Grade (year ) Student Student Cell Phone Information and announcements will be distributed via . Information and announcements Please will be provide distributed a reliable via . Please address provide and put a reliable arballet.org on address your safe and list. put arballet.org on your safe list. Parent/Guardian #1: Parent/Guardian #2: Title Name Home Phone Cell Phone Work Phone/Employer Relation to Student Title Name Home Phone Cell Phone Work Phone/Employer Relation to Student Student resides with (at above address): Parent or Guardian #1 Parent or Guardian #2 Emergency Contact: Title Name Relation to Student Emergency Contact Phone 1: Emergency Contact Phone 2: Does the student have any physical or emotional characteristics that this year s teacher needs to know to make this a positive learning experience? If you are new to us this year and are registering for Children s Intermediate 1 or above have you attended a placement class? (Beginners of any age and dancers age 5 and under do not need a placement class.) CLASS NAME DAY TIME ROOM INSTRUCTOR CLASS CODE REG COMP RB NB SD CONF

7 REGISTRATION FORM PAGE TWO Student Name Preferred Phone Number Names of siblings registering TOTAL NUMBER OF CLASSES WEEKLY TUITION +60 REGISTRATION FEE TOTAL I would like to add tax deductible contribution of $ to the Princeton Ballet School scholarship fund, which goes to benefit need-based scholarships. Please include this donation in your initial payment. TOTAL PAID TODAY PAYMENT: Check enclosed Make payment payable to: Princeton Ballet School. We cannot accept cash. I would like to charge my: _ Visa _ MasterCard _ American Express Discover Name on Card Card Number Signed Exp. Date Today s Date Check here to pay in installments. An authorization form will be sent to you. How did you hear about American Repertory Ballet and Princeton Ballet School? Please check all that apply. Brochure Ad in Website Word of Mouth Current Student Other Would you like to volunteer? Please specify. Sewing Marketing Development Office Help Other (Please Specify) NOTE: Order forms for the student uniform must be recieved by July 15 to guarantee delivery before September. All dancers need to be in uniform to participate in class. THIS APPLICATION MUST BE SIGNED FOR ADMISSION INTO PRINCETON BALLET SCHOOL. I have read the registration information and handbook and understand the school s policies and calendar as outlined. I understand that this registration contract represents a financial commitment from September through June for Beginning Dance through Trainee levels. If I ve chosen to pay in installments, I understand and agree to the payment schedule. Past due accounts may result in classroom suspension until satisfactory arrangements are made. There are no refunds on tuition. Adjustments may be made only under exceptional circumstances and upon receipt of written notification by the Director and are subject to the approval of the Board of Trustees. I certify that this student is in good health and capable of participating in all school activities and classes. I hereby give permission for Princeton Ballet School to take photographs and video recordings for promotional use in the organization s materials online and in print. I understand that Princeton Ballet School cannot be responsible for any lost or stolen items. Student Signature (If over 18 years of age) Parent or Guardian Signature (If under 18 years of age) Complete this form and mail to: Princeton Ballet School 301 N. Harrison St. Princeton, NJ or fax to: or to: princetonballetschool@arballet.org Web: Telephone: Make-up classes cannot carry over into any other session. Princeton Ballet School cannot be responsible for any items lost or stolen.

8 Princeton Ballet School Uniform Please order by July 15 to guarantee delivery prior to the start of classes. Uniforms will be shipped to you 3-4 weeks after the order is placed. GIRLS UNIFORM Uniform A Levels: Hand-in-Hand, Beginning Dance & Children s Ballet 1 Color: PINK in Style A Level: Children s Ballet 2 & Intermediate 1 & 2 Color: LIGHT BLUE in Style A Level: Children s Intermediate 3 Color: ROSE in Style A Child sizes: sm (4-6), int (6x-7), med (8-10), lg Uniform B Levels: Middle School Ballet & Student Ballet 1 Color: MAROON in Style B Child sizes: int (6x-7), med (8-10), lg Adult sizes: petite, small, sm-long, med, md-long, Levels: Student Ballet 2 Color: PERIWINKLE in Style B Child sizes: med (8-10), large Adult sizes: petite, small, sm-long, med, med-long, lg, Levels: Student Ballet 3 Color: NAVY in Style B Child sizes: med (8-10), large Adult sizes: petite, small, sm-long, med, med-long, lg, Levels: Student Ballet 4 Color: ROYAL in Style B Adult sizes: petite, small, sm-long, med, med-long, lg, Levels: Student Ballet 5 Color: PLUM in Style B Adult sizes: petite, small, sm-long, med, med-long, lg, Levels: Student Ballet 6 Color: SILVER GREY in Style B Adult sizes: petite, small, sm-long, med, med-long, lg, Sample leotards are on display at all times at the Giselle of Princeton Kiosk. Ballet shoes are available for purchase September May. Use this chart for sizing uniform leotards. These are general guidelines. All sizes are measured in inches. Child Bust Waist Hips Girth Adult Bust Waist Hips Girth SC PA IC SA MC MA LC LA XLA

9 Uniform C Levels: Professional Training Program & Trainee Color: BLACK in Style C Adult sizes: petite, small, medium, large, Optional leotard styles for Student 1 through Trainee: Colors: MAROON, PERIWINKLE, NAVY, ROYAL, PLUM, SILVER GREY, BLACK Uniform D Style D (cap sleeve princess seam), Uniform E Style E (3/4 sleeve princess seam) Child sizes: int (6x-7), med (8-10), lg Adult sizes: petite, small, medium, large, BOYS UNIFORM Male Shirt or Leotard Levels: All Boys WHITE (form-fitting) T-Shirt w/arb logo in Style #3527 Child sizes: sm (4-6), int (6x-7), med (8-10), lg Adult sizes: small, medium, large, $38 Boys & Men s Tights Levels: Intermediate Ballet for Boys through Professional Training Program Footed BLACK Dance tight in Style #M90 Child sizes: (7-8) (9-10) (11-12) $32 Adult sizes: small, medium, large, $38 GIRLS /WOMEN S BODY WRAPPERS TIGHTS Footless Tights in THEATRICAL PINK (Hand-in-Hand and Beginning Dance only) Child style $13.50 Child size: s/m (4-7) Footed Tight in THEATRICAL PINK Child style $13.50 Child sizes: xs-sm (1-3), s-m (4-7), m-l (8-14) Adult style $15.50 Adult sizes: sm-med, lg-xlg Convertible Tight (with hole in bottom of foot) in THEATRICAL PINK Child style $14.50 Child sizes: m-l (8-14) Adult style $16.50 Adult sizes: sm-med, lg-xlg Mesh Convertible with Backseam Tight in BALLET PINK Adult style Adult sizes: small, medium, large, tall OPTIONAL PRINCETON BALLET SCHOOL DANCEWEAR Dance Sweater: KD Dance Sweaters Child Color: PINK Sizes: medium, $42 Adult Color: BLACK Sizes: petite, small, medium, large, $49 Skirts: For Student Ballet 4, 5, 6, Professional Training Program & Trainees Student Ballet 4 ROYAL mini dance skirt / one size fits $26 Student Ballet 5 PLUM mini dance skirt / one size fits $26 Student Ballet 6 SILVER GREY mini dance skirt / one size fits $26 Student Ballet PTP & Trainees BLACK mini dance skirt / one size fits $26

10 Princeton Ballet School Uniform Giselle of Princeton ORDER FORM Please order by July 15 to guarantee delivery prior to the start of classes. Uniforms will be shipped to you 3-4 weeks after the order is placed. Mail form with payment to: Princeton Ballet School, 301 North Harrison Street, Princeton, N.J or fax to: (609) QUESTIONS? Call the Giselle of Princeton office phone at (267) Student s Name Student Level Home Phone Parent/Guardian cell phone PRINT address Style description Style # Size Color Quantity Amount $ Merchandise Total Shipping & Handling Fee If paying by check, $2.00 deduct from your total. TOTAL ENCLOSED $ $ $2.00 $ PLEASE NOTE: Merchandise payment is to Giselle of Princeton and must be kept separate from tuition payments to Princeton Ballet School. Questions? Call, Victoria Rogers, proprietor, (267) Payment Method: (DO NOT SEND CASH) Billing Address: Street Town Zip Code Check or Money Order payable to Giselle of Princeton Credit Card: MasterCard VISA * *Save $2.00 off your order when paying by check. Credit Card # (Please do not leave spaces between numbers) CVV Code Credit Card ExpIration Date Credit Card Signature (3 numbers on back of card) Month Year Mailing Label - PLEASE PRINT Customer Name: Address City State Zip Please order by July 15 to guarantee delivery prior to the start of classes. Uniforms will be shipped to you 3-4 weeks after the order is placed. NOTE: All leotards can be evenly exchanged for another size at the Giselle of Princeton kiosk with tags intact and still on the garment in the fall.

11 Audition Notice! ARB s Nutcracker is a professional production of American Repertory Ballet in which students from Princeton Ballet School appear as guests. Auditions for children s roles are open to Princeton Ballet School students registered in Children s Ballet 2 and up. Performances will take place between November 19 and December 18, 2016 at Union County Performing Arts Center in Rahway, McCarter Theatre in Princeton, Patriots Theater at the War Memorial in Trenton, South Orange Performing Arts Center and State Theatre in New Brunswick. If cast, you may dance alongside Clara in the party scene, taunt her as a mouse or battle evil rats as a soldier in the epic battle scene, or float through a magical snow scene as an angel. If cast, you will appear in approximately 1/3 to 1/2 of the performances. As a student of Princeton Ballet School enrolled in Children s Ballet 2 through Student Ballet 4, your child may choose to audition if s/he measures 3 8 (44 inches) or taller and is at least 6 years old by October 1. We will be using both new and existing costumes for the production, so there are very specific height requirements to audition. To learn more visit our website after August 29 when you will able to download the Nutcracker Audition Information Packet. You must pre-register no later than Wednesday, September 14 if you would like to audition. Audition date: September 18. Information will be available at the front desk beginning September 1. Photos by George Jones from Nutcracker

12 Princeton Ballet School Studio Locations Princeton Ballet School Studios and Business Princeton Shopping Center 301 N. Harrison St., Princeton Above McCaffrey s supermarket. Please do not stand/park in the turnaround area to pick up/drop off. Ample parking is available in the lot. Princeton Ballet School Arts Council of Princeton 102 Witherspoon St, Princeton The Arts Council suggests parking at the Hulfish or Spring Street garages. Please do not wait in the drop off area. The Arts Council parking lot is for Arts Council staff only. Witherspoon St. Princeton Ballet School s Cranbury Studios 29 N. Main Street, Cranbury Please park and enter at the rear of the building. Princeton Ballet School s New Brunswick Studios 7 Livingston Ave, New Brunswick In the Crossroads Theatre. Ring bell on left side of the building. Livingston Ave.

13 THE OFFICIAL SCHOOL OF AMERICAN REPERTORY BALLET Celebrating over 60 Years of Excellence in Dance Education Handbook Pamela Levy, School Director Douglas Martin, Artistic Director Audrée Estey, Founder of Princeton Ballet School (609)

14 WELCOME TO PRINCETON BALLET SCHOOL! Princeton Ballet School is the official school of American Repertory Ballet (ARB), the preeminent professional classical and contemporary ballet company in the state. ARB has been designated a Major Arts Institution by the N.J. State Council on the Arts consistently for the past two decades, and has repeatedly been awarded a Citation of Excellence by the Council. ARB has also been voted N.J. s Favorite Dance Company in the Jersey Arts People s Choice Awards, and is recognized nationally as a professional company and dance training school by Dance USA. Since its founding in 1964 by Audrée Estey, Princeton Ballet School has built a national reputation for excellence in dance training. The Princeton Ballet School syllabus, developed by former Princeton Ballet School Director Mary Pat Robertson and the faculty, has produced dancers working in a wide range of U.S. and European companies, from New York City Ballet to Paul Taylor. We take great pride in these alumni who have gone on to careers in dance, and we are also proud of supporting the development of the whole student within a nurturing educational environment, and educating the next generation of arts lovers and supporters as well. American Repertory Ballet and Princeton Ballet School offer many additional educational programs: American Repertory Workshop, our pre-professional and advanced student performance group. The Trainee program for post-high school students, authorized under federal law to enroll non-immigrant students, provides performance opportunities with ARB through a full-time study program, accepting international students with visas. The Rider University/Princeton Ballet School Dance Program allows access to conservatory-level training within a liberal arts institution. The Access & Enrichment program reaches communities outside the studio and the theater through initiatives such as DANCE POWER and On Pointe. Princeton Ballet School has studios in Cranbury, New Brunswick and Princeton and a presence at the Paul Robeson Center for the Arts in downtown Princeton. We are proud to have been serving our community for over 60 years. This handbook contains information on the traditions and expectations of ballet training. Please take some time to read through it prior to the start of classes, as it will explain what is expected of you as a student. Work hard, have fun and have a great year! 1

15 RESPECT AND CLASSROOM RULES The theater world clings to its traditions, which include respect for the theater, the rehearsal hall, the teacher and the other students. Out of respect, and also for safety reasons, we request that young children not enter the classroom and run around before the teacher is present. Dancers in Student Ballet 1 and above are encouraged to go in and warm up. Talking in class is not allowed. Hands should be raised when there is a question for the teacher. Gum is never allowed in class or anywhere in the school. We expect that the students will have used the bathroom before class. Students in Student Division and above are expected to confine trips to the bathroom to the break between barre and center work. At the end of the class, traditionally the students thank the teacher and accompanist by applauding. If a student needs to leave class early, please alert the teacher before class. At the given time, the student should thank the teacher and then quietly leave. Teachers may also have additional classroom rules, which will be discussed with students. Self-discipline is what makes it all happen. Sometimes young dancers get bored with the repetitions of the same exercises, and get eager to learn new steps. Steps are not the most important part of dancing; form and musicality are what really matter. Correctness of execution matters not only because it is beautiful, and because it separates the advanced dancer from the eternal intermediate, but also because it is safe. Sloppy dancing leads to injuries. You will notice in the classroom that each teacher continually gives corrections to the dancers. These corrections should be considered and worked on by all dancers. The good dancer got that way by listening to every comment and applying it to her or his work. While some young dancers may feel that they are being picked on, the teacher s comments should not be construed as criticism of the student s possibilities or personality, but as the only means of progressing in a physical art form. These corrections are frequently hands on. Manual adjustment of a student s body to correct alignment and technique is standard practice. All of our teachers teach this way. We feel strongly about the importance of the group experience. In a ballet company, the beautiful corps patterns rely on the responsibility, alertness and sensitivity of each member of the group. Each dancer learns to be responsible not only for herself or himself, but for the accomplishment of the group goal. 2

16 BEFORE AND AFTER CLASS We are responsible for your children during the time of their class with us. However, you are responsible for their behavior and safety before and after class. Siblings must stay with parents; young children may not be left in the lobby unattended. We are concerned about the safety of every individual who we deal with. We want everyone to maintain awareness of how to be safe when coming to and from classes in all of our studios. The safest situation in all of our studios is for you to park the car and walk with your child into our lobby. We suggest that you come into the lobby of each location to pick up your child after class. Please make sure that children are respectful of our property, including the carpeting and furniture. For their own safety please do not allow children to hang or sit on the barres, counters or tables. Please, no shouting or running in any of our lobbies. No ball playing either. Please respect the on-going classes, and the people working in our reception areas. If you drop off your child or arrange for your child to wait for you outside, you are assuming full responsibility for their safety. Please be prompt for pick up. Any parent arriving more than 15 minutes after the end of a class may be charged a child care fee. For reasons of personal safety, personal health and tradition, students are not permitted to walk around outside of the dance studio in dance clothing. Dancers may not wear dance shoes outdoors in order to preserve the life of the shoes and our special dance floors. All dancers should plan to change clothes in the dressing room, or wear appropriate cover-ups such as shorts, teeshirts or sundresses in the summer, and street clothes or warm-up suits in the winter. The dancer will feel warm and not interested in a jacket, but the muscles and respiratory system need the warmth. PROMPTNESS AND ATTENDANCE Because dance requires great concentration and focus, it is difficult for both the individual and the group when a student comes in late. We understand that running late is sometimes unavoidable, however, please do not let this become a habit. If you are finding it difficult to make it to a particular class, please think about moving your child to a class at a different time. It is important to remember to allow time to change clothes and use the bathroom before class. There are dressing rooms provided at each of our locations. Please use them, or dress your child at home if you prefer. Please do not use our lobby as a changing room. It is not safe to dance without warming up; therefore, any dancer (in Student Ballet 1 or above) arriving more than ten minutes late will not be allowed to participate in class. She/he will be allowed to watch class and then make it up at a later date. 3

17 MISSED CLASSES AND MAKE-UPS Regular attendance is important. Our minds can grasp quickly, but it takes constant repetition for the body to really get the movement. At Princeton Ballet School, we encourage you to make up missed classes. However, we have had increasing difficulty with abuse of this privilege, and have instituted these rules: Please keep track of your missed classes. Attendance is kept only in the roll book, which is in the classroom. If you have any questions concerning your attendance, please ask the teacher. Classes may only be made up in your own level or the level below. PLUS program classes may not be used for make-ups, unless you are a member of the PLUS program. Classes may be made up at any of our locations. Please confirm the time and place of classes with the front desk. You may not make up classes during parent observation weeks in December and May. We urge you to make up missed classes as soon as possible so that each month s material is learned in a timely manner. We encourage you to complete fall semester make-ups by the end of January. If you find a make-up class is at a more convenient time than your regular class, talk to the receptionist about switching classes. You will not be allowed to do make-ups every week. Carpools of three or more dancers may not take make-up classes together. This overloads the class and overwhelms the teacher. You may also make up in advance a class you will miss at a future date. You are not allowed to take make-ups for scheduled Princeton Ballet School holidays or breaks these days off have already been accounted for in your 34 week calendar. When you go to a make-up class, please arrive a little early and check in at the desk. You will need the class code and date of the class you missed to complete your makeup slip. 4

18 CLASS CHANGES Students may change from one class to another only with permission of the Dean of Students, who can be reached at (609) , ext.11 Parents are urged to consider such a change thoughtfully. Each time a child changes teachers, the educational process is slowed down as the child re-adjusts. Changing classes several times per year makes progress slow and evaluation almost impossible. Pending agreement by the Dean of Students, class changes will be permitted as long as there is room in the class. There will be a fee of $30 assessed for each class changed after September 26, This fee must be paid before the student can attend the new class. PARENTAL INVOLVEMENT There is no homework as such for dance class. We don t encourage formal practice at home, because it s so easy to fall into bad habits of posture and muscle use. Young children should be encouraged to move to music and make up dances. Older dancers should be encouraged to do some abdominal work or stretches that they have been given in class. And, of course, any live performance or televised concert is a wonderful experience for the student dancer. We encourage our students to see our affiliate professional company, American Repertory Ballet, perform live. Please visit to see upcoming performance listings. PARENT CLASS OBSERVATION We request that you not watch class for the first few weeks, in order to give the students a chance to get a good group atmosphere going without distractions. The last weeks of each semester have been designated as our Parent Observation class weeks. Sometimes, teachers will invite you on a different week, due to their own performance commitments, or sometimes they will invite half of the class one week and half the next. Digital photography and video can not be taken during class. Please remember you may not make up classes during parent observation weeks in December and May. 5

19 STUDIO GUIDELINES No pets are allowed in the lobbies at any time. Do not use the lobby or studio as a dressing room. When you enter the classroom, you should have on only your dance clothes. All belongings should be placed on the floor close to the mirror. Princeton Ballet School is not responsible for any lost or stolen articles. Unfortunately, we have had incidents of mischief and petty theft in all of our dressing rooms. We would like to encourage the use of the dressing rooms to change clothes, but ask that parents accompany their children to the dressing rooms, so that adult presences will discourage mischief. Please do not leave unsupervised siblings/young children in the lobby, and please accompany them to the restrooms. No food is allowed in the studios at any time. Please dispose of any containers left after eating in the lobby. Be particularly careful not to leave glass drink containers around. Any lost and found items left unclaimed two weeks after the end of the semester will be given to charity or disposed of. Only staff is permitted in office areas. PARKING GUIDELINES FOR OUR STUDIOS: Princeton Shopping Center: Please do not wait in your car in the circle. This circular driveway is only for dropping off and picking up students. Princeton Downtown Studio: The parking lot next to the building is very small, and reserved for full-time employees of the Princeton Arts Council. Please do not park there. There are many other lots in the immediate area, plus on the street parking. Please do not drop off, pick up or wait in front of the building. This blocks access for patrons with disabilities. Cranbury Studio: Please enter the studio from the back door. Cars can park on the right hand side of our lot parking is not allowed on the left side. We are allowed to park in the large lot belonging to the elementary school. Please follow all local speed indications. Please do not allow your children to cut through between our neighbors buildings and ours, or to play in our neighbors yards. New Brunswick Studio: Street parking may be available, and there are multiple New Brunswick Parking Authority lots in walking distance. Our studio and administrative offices are located in the Crossroads Theatre building on the fourth floor. Enter via the door on the left side of the building. You will need to ring our buzzer to the left of the door and confirm that you are a Princeton Ballet School student when prompted by our receptionist in order to gain entry. 6

20 WINTER WEATHER CLOSING PROCEDURES School Closing announcements will be posted on our website home page at: on American Repertory Ballet s Facebook page and via Twitter feed (twitter.com/arballet). If you are not able to access the internet, you may call our school offices for information about snow closures at all of our locations at (609) , ext. 29. Because these lines cannot handle large call volumes, if you are able to check online we encourage you to do so. In the event of an unusual closing (for an electrical outage or other unforeseen circumstance), we will do our best to you to alert you to the closing. Please be sure to supply a valid address on your registration form, and be sure that princetonballetschool@arballet.org is on your safe list so you will receive these important updates. Please note: Morning classes should check for announcements after 8 a.m. Afternoon and evening closings will be announced after 1:30 p.m. Princeton Ballet School does not necessarily cancel classes when the local school district does. Please use your own judgment when deciding to drive in inclement weather. Missed classes can be made up at a later date. Snow days can be made up at your convenience. No additional days will be added to the calendar. EVALUATION PROCEDURES Each spring, the Director of Princeton Ballet School will evaluate the students progress in conjunction with the teachers. Here are the different, age-appropriate, evaluation procedures: 7 Hand-in-Hand, Beginning Dance, Children s Ballet 1 these children are not evaluated, as their classes are all about discovery and enjoyment. Instead of a written evaluation, they receive a Certificate of Achievement. Children s Ballet 2, Intermediate 1, 2 and 3, and Student 1 all of these children receive written evaluations from their teacher. The director also visits these classes to add her observations to the evaluations. Student 2 6, Professional Training Program these dancers attend Assessment Classes at the end of the year. A panel of teachers observes the dancers and decides on advancement. The director also refers to written comments from each of the teachers in writing the evaluation for these dancers. All evaluations are sent by mail shortly after the end of classes for the year.

21 THINGS TO REMEMBER We communicate frequently via to save on printing costs and environmental impact. Please be sure to supply a valid address on your registration form, and be sure that the domain arballet.org is on your safe list so you will receive these important updates. Occasionally, we also communicate with you by way of handouts. Please check with your child to see if anything was handed out in class. Please label all your child s dance clothing, particularly the shoes. We keep lost and found boxes at all three studios, but unlabeled dancewear is hard to track. Please be aware that due to the large number of people who pass through our doors Princeton Ballet School is not an allergy-free zone. If your child feels ill or has a fever, please do not bring her/him to class. Please take all valuables with you into the classroom. We cannot be responsible for any valuables left in the dressing room (especially pointe shoes). The Princeton Studio has a library. Books and videos can be checked out. Please inquire at the front desk for guidelines for book lending and video rentals. BECOME A VOLUNTEER! Through volunteering, you will have the opportunity to meet other parents, learn more about American Repertory Ballet and Princeton Ballet School and enrich the lives of all students. Parent volunteers are a vital resource for our continued success. Volunteers are involved with activities around Nutcracker performances, ARB performances and throughout the school year. We are grateful for all volunteers. To learn more, please call (732) ARE YOU AN EDUCATOR OR COMMUNITY LEADER? Learn more about our Access & Enrichment educational and community programming by visiting Bring American Repertory Ballet to your school or town! 8

22 DIRECTORS/FACULTY/STAFF BIOGRAPHIES PAMELA LEVY (School Director) holds a BFA in Dance from Mason Gross School of the Arts, Rutgers University, and an MA in Dance Education/ABT Ballet Pedagogy from New York University. Her great love of dance began as a child when she enrolled at the Princeton Ballet School (known then as the Princeton Ballet Society), where she studied with Audrée Estey, Dermot Burke, Sherry Alban, Jane Miller Gifford, Judith Leviton, Alexei Yudenich, Mary Pat Robertson, Virginia Griffee, Christine Sarry and Karen Russo. She continued her studies at Mason Gross School of the Arts at Rutgers University, earning her BFA in Dance. Upon graduation, Ms. Levy took classes at The Paul Taylor School and concurrently began studies at the Nikolais/Louis Dance Lab as a scholarship student, studying with Alwin Nikolais, Murray Louis, Beverly Blossom and Alberto Del Saz. She was soon thereafter invited to join the Murray Louis and Nikolais Dance Company, with whom she danced for 10 years in Principal roles throughout the United States and Europe. With the company, Ms. Levy performed at ADF Seoul, South Korea, Montpelier Dance Festival, Kalamata Dance Festival, Vignale Dance Festival, The Britt Festival in Oregon and numerous seasons at the Joyce Theater in New York City, among other venues. Ms. Levy also danced with the Metropolitan Opera Ballet, Don Redlich Dance Company and Claudia Gitelman Dance Theatre. her passion for teaching was ignited. Ms. Levy grew the company from eight students to 60, created and implemented a ballet curriculum and launched a full-length Nutcracker production within two years. Ms. Levy continued as Artistic Director of WRYB for 10 years. Ms. Levy was a member of the inaugural graduating cohort of the New York University, Steinhardt School Master of Arts degree program in Dance Education/ American Ballet Theatre Ballet Pedagogy. There, Raymond Lukens and Franco DeVita mentored her. At NYU/ABT, Ms. Levy was recognized by Mr. Lukens and Mr. DeVita for her teaching and leadership abilities and was immediately hired to teach at American Ballet Theatre s Jacqueline Kennedy Onassis School. During that time, Ms. Levy furthered her ballet studies as a student of Mark Morris, Marjorie Mussman, Tina Fehlandt and Lauren Grant at the Mark Morris School in Brooklyn and was the Director of the Mark Morris Student Company II. Since then, Ms. Levy has served on the faculty of American Ballet Theatre Jacqueline Kennedy Onassis School Children s Division, ABT Young Dancer Summer Workshop, ABT Summer Intensives, as a Children s Ballet Master for Alexei Ratmansky s Nutcracker at ABT, Mark Morris Dance Center, Rider University, Mason Gross School of the Arts and Princeton University. Ms. Levy is an ABT Affiliate Teacher and serves on the ABT National Training Curriculum Board of Examiners. Upon retirement from performing, Ms. Levy became the Artistic Director of the newly formed Washington Rock Youth Ballet and She has also taught for American Ballet Theatre s Make a Ballet Program, Teachers College Columbia University, 9

23 Marymount Manhattan College, Berkeley Ballet Theater, Brooklyn Ballet, Barbara Thompson School of Dance, the Lewis School of Princeton, Princeton Ballet School and was the Founding Director of the ABT Certified School at Mason Gross Extension Division. She has choreographed more than 100 original dance pieces on students of all ages and has re-staged numerous classical ballet pieces for student performances. DOUGLAS MARTIN (Artistic Director) started his ballet training with Dimitri Romanoff at the San Jose Ballet School and was one of six dancers selected by Mikhail Baryshnikov to study in the newlyformed American Ballet Theatre School. He was invited to join the Joffrey Ballet in 1984 where, as a principal dancer, he performed roles in ballets by Ashton, Arpino, Cranko, Balanchine, Joffrey, Taylor, Pendleton, Kudelka and many other great 20th century choreographers. Martin was featured in performances of Dance in America on PBS and was an original cast member of the historic recreation of Nijinsky s Le Sacre du printemps. He was among the last dancers of the Joffrey Ballet to spend the majority of his career in the company working under founder Robert Joffrey. Martin joined the Cleveland Ballet in 1991 and danced an array of principal roles including the Minister in Agnes demille s Fall River Legend. In 1993, Martin was invited to join the American Repertory Ballet. As leading dancer and Ballet Master for ARB, Martin collaborated with directors in creating ballets, including productions as the original cast lead in Romeo and Juliet, Swan Lake, The Dream and The Nutcracker. Martin continued to be a principal dancer in the company as well as Ballet Master for ARB and ARBW and Principal Faculty for the Summer Intensive until his retirement from performing in After retiring from ARB as a performer, Martin expanded his teaching, production and choreographic work. Martin has been an integral part of the teaching staff at the Princeton Ballet School, Rutgers University and Westminster Choir College, and has also served as the School s Music Director and ARBW Ballet Master. He has staged full-length and repertory ballets for several companies, including Romeo and Juliet and Philip Jerry s Our Town. Additionally, Martin has choreographed for several Princeton Ballet School productions, including Sleeping Beauty, Swan Lake, Don Quixote and Coppélia. In 2010, Mr. Martin became Artistic Director of American Repertory Ballet. Since then, he has premiered a new production of Nutcracker, choreographed several new works including Ephemeral Possessions, Rite of Spring, Firebird, and a full-length Romeo and Juliet and A Midsummer Night s Dream and has commissioned 27 company premieres, including 18 world premieres. MARY BARTON (Resident Choreographer and Ballet Master, Princeton Ballet Company faculty memeber) received her dance training at The Washington School of Ballet under the direction of Mary Day and participated in summer courses at the School of American Ballet and Joffrey Ballet School. Her professional experience began when she performed with The Washington Ballet as a soloist in Balanchine s Scotch Symphony and in the principal role in Tom Paczik s Tzigane. Early professional credits include the Oldenburg Staat Ballet in Germany and several seasons with Dayton Ballet. In 1986, Ms. Barton joined the Joffrey 10

24 Ballet/NY where she performed a variety of roles in the great ballets of the 20th century. Robert Joffrey created the role of Clara for her in the world premiere of his new Nutcracker. Ms. Barton was featured along with Gerald Arpino in an interview with Charlie Rose for the world premiere of Robert Joffrey s Nutcracker. Ms. Barton TV credits include performances in Dance in America on PBS and she was an original cast member of the historic recreation of Nijinsky s Le Sacre du printemps. From , Ms. Barton was a principal dancer with American Repertory Ballet where notable roles include Sugar Plum Fairy, Odette/Odile in Swan Lake, Juliet in Romeo and Juliet, Cinderella, Titania in A Midsummer Night s Dream, and Emily in Our Town and leads in Balanchine s Four Temperaments, Rubies, Concerto Barocco and Serenade. Ms. Barton has been on the faculty of the Princeton Ballet School since 1994 and is one of the primary teachers and choreographers for the Summer Intensive. She is a former ballet faculty member at Princeton University and current faculty at Rider University s Music Theater Department. As Resident Choreographer and Ballet Master of ARB, Ms. Barton s works include Straight Up with a Twist, Five Men and a Concerto, Faerie Tyme, Fantasy Baroque, Shades of Time and her newest work A Shepherd Singing (And I Still Heard Nothing). She has also choreographed over two dozen works for Princeton Ballet School s spring full-length ballets and Summer Intensive. KATHLEEN MOORE (ARB Company Teacher, Princeton Ballet Company faculty member) trained with Dame Sonia Arova and Thor Sutowski at the Alabama School of Fine Arts (ASFA) and attended summer intensives at the School of American Ballet and the American Ballet Theatre (ABT) School. She graduated from ASFA as a Presidential Scholar in the Arts and moved to N.Y. to join ABT II in Invited by Mikhail Baryshnikov to become a member of the corps of ABT in 1982, Ms. Moore was appointed soloist in 1988 and Principal dancer in Her work included roles across the classical, dramatic, modern and contemporary repertory. Agnes de Mille, Twyla Tharp, Mark Morris and other respected choreographers created roles for her and she was a member of the premiere tour of the White Oak Dance Project under the direction of Mikhail Baryshnikov and Mark Morris in Ms. Moore has appeared in several dance documentaries, the Herbert Ross movie Dancers, and was interviewed on The Charlie Rose Show. Ms. Moore began teaching for Princeton Ballet School in 1993 as a guest teacher and has taught on a regular basis in the school and worked with ARB since She is also a member of the ballet faculty at the Lewis Center of the Arts at Princeton University. Ms. Moore is certified to teach all levels of ballet through the ABT National Training Curriculum. SHERRY ALBAN (Nutcracker Party and Battle Rehearsal Director) has taught at Princeton Ballet School since She has choreographed several ballets for PBII (now known as ARB Workshop), and served for many years as Rehearsal Director for Act I of Nutcracker, a role she returned to in fall Since 2004, Ms. Alban has annually staged the Act 1 children s dances for Washington Ballet s The Nutcracker as well. Ms. Alban has been a recipient of a New Jersey State Council on the Arts Choreography Fellowship and has directed and choreographed numerous musicals for Plays in the Park of Edison, N.J.; Rutgers Opera and NJPAC. She also teaches ballet at Mason Gross School of 11

25 the Arts at Rutgers University. CAROL BELLIS (Principal, Cranbury Studio; Coordinator Summer Intensives; Ballet) received her training on scholarship at the School of American Ballet, official school of the New York City Ballet. She danced with the Garden State Ballet and has taught for Garden State Ballet School, Gloria Govrin s New Hope Ballet Academy, and the School of Performing Arts at Somerset Vo-Tech. She has been teaching here for more than 20 years, and is the principal of the Cranbury studio and the Coordinator of Princeton Ballet School s summer programs. Ms. Bellis is also an Adjunct Professor of Ballet at Rider University. LISA de RAVEL (Dean of Students, Alumni Relations Coordinator) received her training at North Carolina School of the Arts, the School of American Ballet and Boston Ballet School. During her professional dance career, she also studied in New York with Finis Jhung, David Howard and Maggie Black. She joined American Repertory Ballet in 1988, and danced under the direction of Dermot Burke in ballets by Ailey, Arpino, Balanchine, Bournonville, Limón, Tudor, Taylor, Burke, Webre and others. From she taught and choreographed for Princeton Ballet School, including coordinating the Cranbury summer program, now called Summer Intensive Intermediates. She has been a recipient of the Audrée Estey Award for Excellence in Dance Education, and has also been inducted into Princeton Ballet School Wall of Fame. She is the organization s Alumni Relations Coordinator, and also faculty liaison for the Junior Gala. Ms. de Ravel received her B.A. in Psychology, specializing in child and adolescent development, from Rutgers, The State University, in She is a Phi Beta Kappa scholar and a member of Psi Chi psychology honor society. CHERYL WHITNEY (ARBW Juniors Ballet Master, ARBW Administrator, Princeton Ballet School faculty member) received an M.S. in Ballet from Indiana University and a B.A. in English Literature and Music from St. Lawrence University. She was trained and performed professionally in the Baltimore/ Washington, D.C., area. For more than 25 years, she has taught in Princeton Ballet School s Student Division also serving as rehearsal director for the ARB productions of Nutcracker. Guest teaching credits include Brandywine Ballet, Peabody Conservatory and N.J. Governor s School. Her teaching in academic settings includes Princeton University, Howard University, Indiana University, The Lawrenceville School, Foxcroft School and Latin School of Chicago. She is an associate professor in the dance program at Rider University. Ms. Whitney has received grants from the New York and New Jersey State Councils on the Arts, and is the 2008 recipient of the Audrée Estey Award for Excellence in Dance Education. She is Artistic Director of Reverence Dance Company. MARIA YOUSKEVITCH (ARB Workshop Ballet Mistress, Ballet), the daughter of legendary ballet star Igor Youskevitch, was a soloist with American Ballet Theatre and Maryland Ballet, and ballerina with Youskevitch s concert group, Ballet Romantique. She was company teacher, rehearsal assistant and senior faculty member at Hartford Ballet under the Artistic Direction of Kirk Peterson. She has been ballet mistress for BalletMet, Nevada Dance Theatre and 12

26 coach for the New York International Ballet Competition. In addition, Ms. Youskevitch has taught at such prestigious schools as the David Howard Dance Center, Alvin Ailey American Dance Center, Virginia School of the Arts under the direction Petrus Bosman, The Houston Ballet s Ben Stevenson Academy and The Jacqueline Kennedy Onassis School at American Ballet Theatre. A celebrated teacher and coach for over 40 years, she was featured in the June 2002 issue of Dance Teacher magazine. Well versed in the classical ballet repertoire, she has mounted versions of Giselle, Coppélia, La Fille Mal Gardée and her father s one-act Romeo and Juliet. She has also staged Michel Fokine s Spectre de la Rose and Les Sylphides, and the children s roles in Kirk Peterson s Nutcracker. Ms. Youskevitch was also on faculty for ABT s Young Dancer Summer Workshop in New York City for eight years, and is an ABT Certified Teacher, having completed the ABT National Training Curriculum. FACULTY BIOGRAPHIES LAURIE ABRAMSON (Ballet, ARBW Juniors Rehearsal Director) received her training at the Joffrey Ballet School and holds B.A. and M.A. degrees from New York University. She has also studied with Alfredo Corvino, David Howard and at The New Dance Group. In addition to her work at Princeton Ballet School, Ms. Abramson is a member of the ballet faculty at the Lewis Center for the Arts at Princeton University, and at Montclair State University. She has served as a dance evaluator for the N.J. State Council on the Arts and helped construct and implement the exit exams for the performing arts schools throughout the state for the N.J. Dept. of Education, Visual and Performing Arts. Laurie has received an arts educator grant from the N.J. State Council on the Arts to teach and set choreography for various performing arts high schools throughout the state. JANELL BYRNE (Ballet), a native of California, studied with Stanley Holden and Margaret Hills in Los Angeles. A graduate of the Juilliard School, where she studied with Alfredo Corvino, Ms. Byrne has taught at Mercer County Community College, Princeton University, The College of New Jersey and the Lawrenceville School. She has performed with DanceWorks and Teamwork Dance and is Director of Mercer Dance Ensemble, and has been teaching here for over 20 years. ANGELA CUSUMANO (Hip Hop) started dancing at age five in Brooklyn, N.Y. and has studied dance styles ranging from ballet to hip hop (her forte ). She s toured nationally and internationally as a backup dancer for Who Da Funk. Angela also performed in numerous stage productions at Plays in the Park, was a member of the alternative jazz based dance company, Push Factor Dance Company, and the hip hop based dance crew, Iconic. She served as the hip hop instructor for Push Factor s National Convention, DanzJam, and guest teaches in numerous locations throughout the east coast. Other professional credits include KTU s Beatstock Concert, Chinna Cinema (Bollywood film) and was featured on Paula Abdul s CBS hit TV show, Live to Dance (Season 1). Angela served for years as a faculty member of ARB s DANCE POWER and DANCE POWER II programs, founded by Gregory Hines. Other choreography credits include music video work for Urban Melodic Entertainment, Inc. and Team Snooki Music. PAMELA DAY (Ballet) completed her 13

27 early ballet training with Ruth Petrinovic at the Academy of Performing Arts in Ft. Lauderdale, Fla. During her professional career, she performed soloist roles with the Israel Ballet, the Connecticut Ballet and Dancers (New York City). During her years as a professional dancer, she trained in New York City with Finis Jhung, David Howard and Robertson Denvers; in New Haven, Conn., with Robert Vickrey, Rochelle Zide-Booth and Bruce Wells; and in Paris with Yves Casati. Ms. Day holds a B.A. from Albertus Magnus College, and an M.A. from George Washington University. GEOFFREY DOIG-MARX (Jazz/Theater Dance) moved to New York City in the mid- 80s to start a career in dance and musical theatre. He appeared in equity national tours and regional theater productions of West Side Story, Pippin, A Chorus Line, Dames at Sea, Cabaret, La Cage aux Folles, Jesus Christ Superstar and many others. As a producer, Geoffrey received a Certificate of Excellence in Cultural Achievement from the City of New York for his work as Artistic Director of The Elan Awards. He also teaches at Marymount Manhattan College and Montclair State University. Recent choreography projects include Cabaret and Kiss of the Spider Woman. Geoffrey is also an accomplished painter and photographer, and his work in these genres has been shown recently in New York. SHAYE FIRER (Ballet) was born in Cape Town, South Africa and raised in Vancouver, Canada. She received training at the Royal Winnipeg Ballet School and attended various intensive programs such as The National Ballet of Canada, Houston Ballet and Ellison Ballet. She joined the inaugural class of ARB s Trainee program. As a Trainee, she performed company roles in Nutcracker, Our Town and Glazunov Variations and as the lead role of Swanhilda in Princeton Ballet School s production of Coppélia. Shaye has received various choreographic awards from the Royal Winnipeg Ballet School and was chosen as one of five choreographers in Houston Ballet Academy s collaboration with American Festival for the Arts. Since she joined ARB, she has performed The Chosen One in Douglas Martin s Rite of Spring and Titania in Martin s A Midsummer Night s Dream, as well as featured roles in works by Patrick Corbin, José Limón, Kirk Peterson and Trinette Singleton. JENNIFER GLADNEY (Ballet), an alum of Princeton Ballet School and American Repertory Ballet, graduated summa cum laude from Rider University in 2006, and received a B.A. in Elementary Education, Early Childhood Education and Dance, as part of the Rider University/Princeton Ballet School Dance program. She was a member of our Professional Training Program throughout high school, and was part of a trainee program, ARB Ensemble, during the season. As a freelanc dancer she danced lead roles such as Aurora, Sugar Plum Fairy and Cinderella. She s worked as a freelance dancer and choreographer with Mercer Dance Ensemble, Rider Dances and Teamwork Dance, and was a company dancer with ARB during the season, where she performed in works by Twyla Tharp, Kirk Peterson, Philip Jerry and ARB Company Director Douglas Martin. She has also been in numerous world-premiere works by ARB Resident Choreographer, Mary Barton. Ms. Gladney is a certified N.J. Educator, preschool to fifth grade. SAMANTHA GULLACE (Ballet), a graduate of Princeton Ballet School s Professional Training Program and spent 3 14

28 years with the Joffrey Ballet as a Trainee. She returned to New Jersey and joined American Repertory Ballet in the fall of 2010, and has been featured in many roles, such as Sugar Plum Fairy and Arabian in Nutcracker, the principal in Kirk Peterson s Glazunov Variations, Gerald Arpino s Viva Vivaldi and Mary Barton s Shades of Time, and as a featured soloist in Ann Marie DeAngelo s Blackberry Winter and José Limón s There is a Time. Ms. Gullace started teaching for Princeton Ballet School fall of JACOPO JANNELLI (Ballet) trained with Fabula Saltis in Rome, with summer programs at The Royal Ballet School and Princeton Ballet School. As an ARB Trainee, Jacopo performed lead roles in Princeton Ballet School productions: Toreador in Don Quixote and Siegfried in Swan Lake. Since he joined the company, Jacopo has danced the role of Tybalt in Romeo and Juliet, The Ancient One in Rite of Spring, the Prince in Nutcracker, Puck in A Midsummer Night s Dream, and featured roles in ballets by Trinette Singleton and Kirk Peterson. He has been with ARB since TALIN KENAR (Ballet), from Solana Beach, Calif., began her training there and then at age 15 received a full year scholarship to continue her training at The Royal Ballet School in London. She has been a dancer with the Hong Kong Ballet, Colorado Ballet, Carolina Ballet and American Repertory Ballet, where she was featured in many roles, including Sugar Plum Fairy in Nutcracker and Lady Capulet in Douglas Martin s Romeo and Juliet. Talin has been teaching for many years, and started teaching for Princeton Ballet School in fall of She is also a Gyrotonics instructor. AMY MEGULES (Ballet) began dancing in her hometown of Vineland, N.J., with the Vineland Regional Dance Company. She went on to receive her BFA in dance from State University of New York at Purchase, where she received the Bert Terborgh Dance Award. She apprenticed with the Joffrey Ballet of Chicago, and then danced with American Repertory Ballet. She has taught on the faculties of Princeton Ballet School, the National Dance Institute of Trenton and Mercer County Community College. While living in Cincinnati, Ms. Megules taught and choreographed for the Otto M. Budig Academy of Cincinnati Ballet, the College Conservatory of Music Preparatory Division of the University of Cincinnati, and was the ballet instructor for the elite and accelerated gymnasts at the Cincinnati Gymnastics Academy. ERIKA MERO (Ballet, ARBW Juniors) began dance training at Princeton Ballet School. She was a member of the Professional Training Program and Princeton Ballet II. As a dancer in ARBW, Ms. Mero appeared as the ballerina role of Swanhilda in Coppélia, and during these years attended The Juilliard School s summer program. In 2006, Ms. Mero graduated Cum Laude with a BFA in Dance Performance from SUNY Purchase. Performance works include Terra Firma Dance Theatre, opera productions with Opera New Jersey and featured dancer/choreographer in Capriccio at AVA in Philadelphia. Erika holds an M.A. in Dance Education with a concentration in ABT Ballet Pedagogy from NYU. She is an ABT certified teacher, completing the ABT National Training Curriculum and sits on the faculty of ABT s Young Dancer Summer Workshop. She is an adjunct faculty member at Rutgers University and The Lawrenceville School, and the Curriculum and Assessment Supervisor for DANCE POWER. KAREN LESLIE MOSCATO (Ballet) began classes at Princeton Ballet School 15

29 after seeing ARB s Nutcracker when she was four years old. She continued up through the syllabus of the school, also attending summer programs at Kaatsbaan International Dance Center and Boston Ballet. After one semester of the Trainee Program, Karen Leslie joined American Repertory Ballet, where she has performed featured roles in works by Gerald Arpino, Mary Barton, Douglas Martin, Phillip Jerry, Kirk Peterson and Twyla Tharp. In ARB s Nutcracker, she has performed the roles of Sugar Plum Fairy, Snow Queen, Dew Drop Fairy, Marzipan soloist and Doll. She danced the role of Juliet in the world premiere of Douglas Martin s Romeo and Juliet. Ms. Moscato joined the faculty of Princeton Ballet School in fall of MATTIA PALLOZZI (Boys Ballet) was born and reared in Italy where he received his early training at the School of Teatro Dell Opera then at the Accademia Nazionale Di Danza in Rome. During this time, he performed as a soloist in Ugo dell Ara s Ballo Excelsior, Vaionone s The Nutcracker and Ismael Ivo s Ballo Sports. In 2011 he joined ARB/Princeton Ballet School s Trainee Program, where he has had the opportunity to perform alongside the company in works by Gerald Arpino, Mary Barton and Patrick Corbin. He performed the lead role of Basilio in Princeton Ballet School s production of Don Quixote before joining ARB in 2012 as an Apprentice-Trainee. In 2013, he was promoted to a full company member. He danced the role of Romeo in the world premiere of Douglas Martin s Romeo and Juliet and the role of The Faun in Kirk Peterson s Afternoon of a Faun, among other featured roles. KATHLEEN A. SMITH (Ballet, Beginning Dance) has been with American Repertory Ballet and Princeton Ballet School for more than 25 years as a student, teacher and administrator. Ms. Smith began her dance training at Princeton Ballet School in She is a graduate of Princeton Ballet School and rose through the levels of the PLUS program, the Professional Training Program and ARB Workshop. She has also studied ballet at the Joffrey Ballet School in New York City. Performance highlights include the evil fairy Carabosse in Princeton Ballet School s production of Sleeping Beauty in 2003, various roles in ARB s The Nutcracker under the direction of both Septime Webre and Graham Lustig. Ms. Smith has also performed numerous pieces with Susan Tenney Dance. Ms. Smith was also the choreographer in the summer of 2010 at George Street Playhouse s Summer Theater Academy. MARC ST-PIERRE (Ballet) started ballet at the Académie de Ballet Classique de Montréal at age eight, after training in the Canadian gymnastics program. At 10, he was admittted to the prestigious École Supérieur de Ballet de Quebec. He has performed with Les Grands Ballets Canadiens de Montréal, Ballet Ouest de Montréal, Gleich Contemporary Dances, Albany Berkshire Ballet and Roxey Ballet Company where he performed many Join the ARB E-Club for news about Princeton Ballet School, our alumni, the professional performance company and our other educational programs! Visit and click Sign up for the ARB E-Club. 16

30 leads. He has guested regularly with City Center Ballet and with the International Ballet Theatre. Marc joined American Repertory Ballet in 2010, and has been featured in works by Kirk Peterson, Philip Jerry, Patrick Corbin, Gerald Arpino, Mary Barton and Douglas Martin, and also has appeared as Romeo and as the Cavalier in Nutcracker. Mr. St-Pierre has since retired from performing and teaches men s classes at Princeton Ballet School. SUSAN TENNEY (Modern Dance, Ballet, Choreography) began her dance training at Princeton Ballet School with Audrée Estey. She received a B.F.A. in Dance from SUNY Purchase and danced professionally as a soloist for Jean Erdman, Andrew degroat and Dancers, Novantiqua, Nat Horne Musical Theater and Muna Tseng. For Princeton Ballet School, she teaches Ballet and Modern Dance to students from 4 82 years old and teaches Choreography for the Summer Intensive Intermediates in Cranbury. Her fundraiser for Princeton Ballet School brought over 150 dancers, musicians and community members on to the fields of Princeton University for an outdoor performance of her choreography and structured improvisation. She has received commissions from the Coalition for Peace Action and Princeton Arts Council. Her choreography has been produced Off-Broadway, in regional theatres and in film. She is a three-time Award Winner for Outstanding Direction and Choreography from N.Y.C. s Planet Connections Theatre Festivity. DR. KIM CHANDLER VACCARO (Ballet, CoMBo, Pilates, Modern) is an Associate Professor and the Director of the Dance program in the department of Theatre and Dance at Westminster College of the Arts, of Rider University. She became a professional dancer and teacher while earning a B.A. in Choreography and Performance from the University of California at Santa Barbara, an M.A. in Dance Education from UCLA, and an Ed.D from Temple University. During that time she performed in numerous modern dance companies, choreographed and produced her own work, and taught dance at colleges on both the east and west coasts. Dr. Vaccaro has taught at Princeton Ballet School since 1989, and she has also been an educational consultant to the organization. Her current research is on focus, creativity and mindfulness in dance teaching. She is the creator and author of CoMBo: Conditioning for Mindbody. KEL VALLERY (Ballet, Beginning Dance) is a summa cum laude graduate of Rider University, where she received a major in dance (2014). While at Rider, she participated in the Rider University/ Princeton Ballet School Dance Program, and performed with Rider Dances. Since graduation, she has been working for ARB as a Teaching Artist in the DANCE POWER program. Ms. Vallery joined the faculty of Princeton Ballet School in She also is the assistant to the Summer Intensive Juniors program and dances with Artistic Visions Dance Company. TRISHA WOLF (Beginning Dance, Ballet) received her ballet training at the Nutmeg Conservatory for the Arts and participated in summer courses at ABT and Joffrey Ballet School. Also an accomplished pianist, Trisha has played at Steps on Broadway, Nutmeg Ballet and has been accompanying classes here at Princeton Ballet School since Currently she is also on staff at Princeton University s Lewis Center for the Arts and is a company pianist at Pennsylvania Ballet and American Ballet Theater. 17

31 DRESSING FOR DANCE Ballet has very special and specific clothing. The very action of putting on this special clothing helps prepare the young dancer to focus in a different way, and to participate fully in the dance class. The clothing is specific in many ways, which relate to safety, utility and aesthetics. Here are some guidelines which will help dancers look the part and do well in dance class in this narrow but important way. If each family makes its own choice and adds accessories, the clean, clear look of the classroom becomes cluttered. We have a line of Princeton Ballet School leotards, some of them especially commissioned for us. This uniform can be purchased through Giselle of Princeton, either by filling in the enclosed order form, or in person in our Princeton lobby. Please note that a portion of each sale will be donated back to the ballet school. This service is being offered as a convenience. GIRLS AND YOUNG WOMEN LEOTARDS cover the torso (and sometimes the arms). TIGHTS cover the lower body. LEOTARDS: Hand-in-Hand, Beginning Dance, Children s Ballet 1: Uniform A in PINK. Children s Ballet 2, Intermediate 1 and 2: Uniform A in LIGHT BLUE. Intermediate 3: Uniform A in ROSE. Student 1, Middle School Ballet: Uniform B in MAROON. This will be your special class leotard, for Nutcracker auditions, Parent Observation Days, Assessment Classes, etc. You can augment your wardrobe with the approved cap and or three-quarter sleeve leotard. Student 2: Uniform B in PERIWINKLE. This will be your special class leotard, for Nutcracker auditions, Parent Observation Days, Assessment Classes, etc. You can augment your wardrobe with approved cap and or three-quarter sleeve leotard. Student 3: Uniform B in NAVY. This will be your special class leotard, for Nutcracker auditions, Parent Observation Days, Assessment Classes, etc. You can augment your wardrobe with approved cap and or three-quarter sleeve leotard. Student 4: Uniform B in ROYAL. This will be your special class leotard, for Nutcracker auditions, Parent Observation Days, Assessment Classes, etc. You can augment your wardrobe with approved cap and or three-quarter sleeve leotard. You may also wear the pull-on skirt that we are ordering. Student 5: Uniform B in PLUM. This will be your special class leotard, for Nutcracker auditions, Parent Observation Days, Assessment Classes, etc. You can augment your wardrobe with approved cap and or three-quarter sleeve leotard. You may also wear the pull-on skirt that we are ordering. Student 6: Uniform B in SILVER GREY. This will be your special class leotard, for Nutcracker auditions, Parent Observation Days, Assessment Classes, etc. You can augment 18

32 your wardrobe with approved cap and or three-quarter sleeve leotard. You may also wear the pull-on skirt that we are ordering. Professional Training Program and Trainee: Uniform C in BLACK. Princeton Ballet School matching skirt is recommended for pointe class and will be required for ARBW in-studio performances. Please order at least one uniform leotard for these occasions. You may also wear other black leotards, as long as they do not feature cut-outs, mesh, lace, or rhinestones. TIGHTS: Dancers need tights to keep their legs warm and to keep down bacteria and odor in ballet shoes. We recommend style #C30 (children s sizes) or #A30 (adult sizes) available on the Giselle of Princeton order form. Plain pink tights from other dancewear makers are also fine. We do not allow white, beige or black tights or patterned tights. Full-footed tights are required. Very young dancers (Children s Division) may go bare-legged in very hot weather. If they choose to do this, they must wear thin anklet socks under their ballet shoes. Tights belong UNDER the leotard, not over. Dancers in Beginning Dance and Hand in Hand are not required to wear ballet shoes, so they will need tights without feet (Child style #C33), or bare legs. If they choose to wear ballet slippers, they will need full-footed tights. Dancers old enough to wear pointe shoes might want convertible tights (C31 or A31). ARB Workshop dancers might want to buy professional mesh tights with seams. These are the most suitable for dancers at this elite level. Ballet Pink color will be required of you for performance. If you prefer Theatrical Pink for classwear, that s fine. 19

33 UNDERWEAR: Dancers don t wear underpants under their tights. To us, this would be like wearing panties under a bathing suit. Leotards and tights should therefore be washed after each wearing. Manufacturers recommend hand washing and line drying for best results. One can wash them in the machine if you prefer (on cold), but don t put them in the dryer. Some dancers don t wear bras, either again, the leotard functions as its own support, in most cases. For those of you who would like the support of a bra, we have chosen the styles for Student 1 5 carefully to allow for wide enough shoulder straps and high enough back to suitably cover a bra. Please make sure your bra doesn t show. COVER UPS: We keep the studios fairly warm, but a dance sweater can be useful for the beginning of class. The only cover-ups allowed are long-sleeved cotton tee shirts and pull-over dance sweaters. Please DO NOT BUY wrap around and tie dance sweaters. SKIRTS: No skirts are allowed except for the built-on skirts for the youngest levels, and the special skirts available to Student 4 and up. HAIR: It is very important for hair to be pulled back neatly away from the face. It is not only safer and more comfortable, but also helps create the look of the dancer. Loose hair gets sweaty and uncomfortable, and when it is very long and the dancer is turning very fast, can actually sting the eyes and face. Girls with very short hair can come up with cute and appropriate combinations of barrettes and headbands (soft ones will stay on better) which will work just fine. Girls with longer hair should either make a ponytail (if they are very young) or a bun (if they are in Intermediate 3 or above). Here are some pointers on creating these classic dance hairstyles. 1. The classic ballerina bun: One of the best ways to start looking like a young dancer is to put your hair up in a bun. We would like to encourage the dancers to learn to do this for themselves. It takes practice, so summer would be a good time to try. It s a very cool hair-do for 20

34 the hot months! All the girls in Intermediate 3 and above should have their hair in a bun, if it is long enough. If not, we have some tips for you below (see #4). You will need: hair spray, or gel, or a spray bottle with water covered rubber band to make the pony tail hair pins (these are large open pins. They can be hard to find in regular stores Giselle of Princeton carries them) bobby pins (these are the smaller, crinkly sliders, useful for under the bun to hold up the shorter hair at the nape of the neck) fine hair net the same color as your hair (like your grandmother used to wear). Now let s make the bun: Spray your hair with water to make it damp, and/or apply hair gel this will help control all the little thin, wispy areas. Gather your hair and pull it back tightly. If you re making this bun for on stage, get rid of any bangs. For dance class, bangs are OK, as long as they re not too long and messy. Some dancers wear a thin elastic headband with their bun to hold back shorter lengths of hair. If you wish to do this, be sure to bobby pin the headband into place. Use your brush to smooth the hair. Form a ponytail by brushing the hair up from the jaw line and then to the back of the head. The placement of the ponytail (ie high or low) determines the placement of the bun. For short hair use hair clips or bobby pins (the same color as your hair) to keep ends from coming loose. Use a strong elastic, or even TWO elastic bands to secure the ponytail, especially if your hair is thick or very straight. A loose ponytail will result in a sloppy bun. Start twisting the ponytail. As you twist, start to coil the ponytail into a tight circle. Use the hairpins to pin each section of the ponytail as you go (about every 1 or 2 inches). As you add each new section, use hair pins all around the coil to secure the new section to the already done parts of the bun. Slide each hair pin through the outer part of the coil and into the base (center) of the bun. Wrap a fine hair net over the bun. Keep twisting and wrapping so that the hairnet tightly fits the bun. You end up with several layers of hairnet. Secure the hairnet with bobby pins. Don t count on the hairnet to keep the bun secured to the head. The 21

35 hairnet is just there to keep little lengths of hair from sticking out in different directions. What keeps the bun secure is the hair pins. Make sure the hairnet is the same color as the hair. If this bun is for a performance, do not use a crocheted bun warmer or snood the color will stand out badly onstage. These decorative additions are fine for classroom use. Very thick hair can be challenging. A good technique is to divide thick hair into two coils. Do one first, then fit the other one around the edge of the first. 2. For an easier version, which works well on medium length hair, ie hair long enough to fit into a ponytail, but not long enough to easily coil: Start as above Braid the ponytail as far as possible, then secure the end with another elastic band. Fold the end of the braid under and press it flat against head. Secure in place with hairpins. If this is just for class, you could also use a very large, strong barrette to quickly do this. 3. One can also do a modified French twist. Start twisting the hair at the nape of the neck (no rubber band). Twist up a few inches to the middle of the head. Fold the top part of the hair back under to hide it, then secure the whole thing with a very large, very strong barrette. 4. For very short hair that will not fit into a ponytail, use any combination of hair clips, bobby pins, barrettes, and/ or headband to hold hair back and away from the face. You may wish to use hair spray for extra hold. For Our Youngest Dancer, through Intermediate 2: We suggest a ponytail, pigtails, braids, or a bun. If your hair is too short for any of these classic little girl hairstyles, then it s probably short enough that you can just leave it as is for ballet class. But please do not send dancers with long loose hair flopping around. Any hair longer than chin length should be put up in some way, for the dancer s comfort and coolness, and also for the neat look that is a part of ballet training. 22

36 SHOES Ballet shoes divide into two types. More definitions: 1. BALLET SHOES (also known as technique shoes or ballet slippers) are worn by both sexes. Girls should purchase pink, boys should buy black. They should be reputable brands such as Bloch, Sansha, Capezio. Do not buy off-brand house slippers that are made to look like ballet shoes. Buy the real thing. Be sure to write your first initial and last name inside all ballet slippers and pointe shoes. This is our only means of identifying lost or misplaced shoes. They all look alike! Frequently Asked Questions: Canvas or leather? It s up to you. Leather lasts a little longer. Canvas breathes a little better in very hot weather. So feel free to buy whichever is more comfortable for your dancer. Full sole or split sole? We far prefer full sole. The split sole ballet shoe was invented to help the dancer s foot appear to be more well-arched. We prefer to get that look by having them work their muscles more and actually arch the foot. What about those little strings at the top? You are supposed to use these to pull the shoe snug on the dancer s foot (the fitter will show you how to do this). Then tie them in a square knot. You can then cut off some of the excess. Contrary to pictures in children s books, the little strings are not supposed to be tied in bows and left on top of the shoe they are to be tucked neatly into the shoe. That s why they shouldn t be too long. If they are, they will be very uncomfortable against the toes. What about elastic? Yes, all dancers should wear elastic on their shoes. Your dancewear supplier will show you how it is to be sewn (by you, but very simple to do). Why don t they come pre-sewn? Because each dancer s foot is a little different, and you will want to find the best place to sew. Can we safety-pin them? Please don t! The pins could open and hurt the feet. Sew them firmly with doubled-over thread and a good knot. Some shoes come with two elastics already half-sewn on to the shoe. These are to be completed in a criss-cross pattern your shoe fitter can show you how. Please do not tie these elastics to each other, but sew them to the shoe. ALL OF THE ABOVE INFORMATION IS THE SAME FOR BOYS AND GIRLS. 2. POINTE SHOES: The second type of shoe worn by ballet dancers is the pointe shoe. (This is the shoe also commonly known as toe shoes). This shoe is only worn after several years of intensive training. Pointe shoes are discussed separately when the dancers are ready to purchase and wear these shoes. Student 3 should not purchase pointe shoes until instructed to do so, in late October. BOYS Boys who are just starting the study of ballet are encouraged to wear any loose, comfortable clothing, such as sweatpants or bike shorts, with the ARB/Princeton Ballet School logo T-shirt and ballet shoes. 23

37 Boys who have been advanced into Intermediate Ballet for Boys or above should wear: White, form-fitting T-shirt with logo in style #3527, tucked into Dance belt (a type of athletic supporter for dancers), worn with Tights: black footed tights in style #M90 Black ballet shoes (see SHOES) Please buy the tee shirt snug (see Giselle of Princeton order form or try on in lobby) the point is to see how the core strength musculature is developing. ARRIVING AND DEPARTING To those of us in the dance world, wearing leotards and tights in a non-theatre, public arena, such as a parking lot or grocery store, would feel like walking around in a bikini. You just don t do it outside of the appropriate place. So please help your dancer understand that we are very proud and happy to dress in this special, unique way as we enter the special area of the dance studio, where we are in a safe, non-judgmental environment with teachers also wearing dance clothing. Arriving: We have large dressing rooms for females and males. Some dancers come underdressed, i.e. they have their dancewear on and street clothes on top, in which case they visit the dressing rooms to remove street clothes and hang them on the hooks. Some dancers prefer to arrive in their street clothes and change clothes in the dressing room. That s why we don t allow parents of the opposite sex in these changing rooms. Please leave clothing neat, and please do not leave valuables (including pointe shoes) in the dressing room. 24

38 Departing: Some dancers just put on a sweatsuit and jacket on top of their clothes. As the dancers mature and sweat profusely in class, it becomes more pleasant for them to remove their dance clothes and put on full street clothing. The choice is yours. What we don t want to encourage is dancers just walking out in their dancewear with nothing on top. This is not appropriate behavior. Parents, please do not encourage your children to do this in an effort to hurry them along. We need to help them understand what clothing is appropriate in what context. No one, male or female, before or after class, should ever wear dance shoes outside of the studio area. This shortens the life of your dance shoes, and of our dance flooring, by tracking in dirt, mud and floor wax. PLEASE NOTE: We are proud of the fact that many of our faculty maintain active professional schedules. When they are not available to teach, due to performance or directorial commitments, substitute teachers will be provided, generally from within our own faculty, professional company or Trainee programs. The art of ballet accompaniment is a highly skilled craft, with very few practitioners. It is our goal to offer live musical accompaniment for all of our ballet classes, but we have few back-ups to turn to when our musicians are ill or unable to be here. We have recorded our musicians, and downloaded hundreds of selections onto our computers for use on these occasions. Princeton Ballet School will make attempts to provide a suitable teacher and level for special needs children. However, we may require these parents/caretakers to stay on our premises during the child s class. Princeton Ballet School is not responsible for any lost or stolen articles. 25

39 ON POINTE: American Repertory Ballet (ARB) is reinventing the community s inside access to the dance world through a free monthly series entitled On Pointe. Held at Princeton Ballet School s studios, 301 N. Harrison Street above McCaffrey s in the Princeton Shopping Center, ARB brings guest speakers, lecture-demonstrations, company performance previews and panel discussions to seasoned dance enthusiasts and new students alike. Look for our full schedule of On Pointe events on our website. PHOTO CREDITS: Cover, Caroline Pallat; Page 2, Caroline Pallat; Page 4, George Jones; Page 5, Caroline Pallat; Page 6, Caroline Pallat; Page 7, George Jones; Page 8 (top), Caroline Pallat; Page 8 (bottom), George Jones; Page 19, George Jones; Page 20, Caroline Pallat; Page 21, Caroline Pallat; Page 22, Caroline Pallat; Page 24, George Jones; Page 25, Theresa Wood; Page 26, Caroline Pallat American Repertory Ballet s programs are made possible in part by funds from the New Jersey State Council on the Arts/Department of State, a Partner Agency of the National Endowment for the Arts. 26