Artists of Colorado Ballet rehearse the Russian dance from "The Nutcracker."
For more information, visit www.coloradoballet.org.
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Artists of Colorado Ballet rehearse the Russian dance from "The Nutcracker."
For more information, visit www.coloradoballet.org.
Shelby Dyer, Morgan Buchanan and Dana Benton rehearse Dew Drop from "The Nutcracker."
Unfortunately, ticket scammers are out again, purchasing tickets to Colorado Ballet productions and reselling them at much higher prices. We encourage our patrons to be cautious when purchasing tickets to our productions, especially for The Nutcracker. We have seen tickets on these sites for sale for as high as $350 each. We don't want our patrons overpaying for tickets--the highest price level that Colorado Ballet offers is $155.
When purchasing tickets to Colorado Ballet's The Nutcracker and other shows, we encourage you to only purchase through our website, www.coloradoballet.org or Altitude Tickets, www.altitudetickets.com. These are the only two ticketing sites that we endorse. We also occasionally sell tickets to select performances through Travelzoo, LivingSocial and Goldstar. If you see our tickets for sale on any other websites, please note that these are not authorized vendors and you could get scammed.
If you purchase tickets through www.coloradoballet.org, please note that we do not include additional fees for print-at-home tickets--all taxes and fees are included in the price of the ticket. So, a $25 ticket is $25 with the print-at-home option. There is a small fee for will call or to have tickets mailed to you. If you purchase on www.coloradoballet.org or through Altitude Tickets, you can pick your own seats. Beware of sites that do not allow you to see exactly where you are sitting! If they tell you what "zone" you are in but do not show you where the seats are located, you are probably paying too much for your tickets.
Colorado Ballet offers six ticket price levels, which are spread throughout the different levels in the venues. Here are the prices of Colorado Ballet's tickets during the 2014-2015 season:
If you see Colorado Ballet tickets for sale at prices higher than these, they are probably for sale through a non-authorized ticketing vendor that has added on additional fees. Additionally, if you purchase through another site, unfortunately, our ticketing staff cannot help with any ticketing problems. We want our patrons to have the best experience possible, so please be cautious when purchasing tickets. We hope you enjoy the ballet!
Colorado Ballet announced today that they have named Colorado Ballet’s new building at 1075 Santa Fe Drive, Denver, CO 80204 "The Armstrong Center for Dance” in honor of Liz and Bill Armstrong, long-time Colorado Ballet patrons, past trustees, and donors. The new facility for Colorado Ballet opened its doors in late August.
Colorado Ballet purchased the building on Santa Fe Drive in January 2013 and after a year and half of major renovations and a capital campaign moved from their previous home at 1278 Lincoln Street. Liz and Bill Armstrong served as the lead donors on this project. As past trustees, it was always their dream that Colorado Ballet would have its own home.
“We are thrilled to name the new building, The Armstrong Center for Dance,” said Liz Armstrong. “After seeing the building, knowing the years of work that went into making this dream happen, this facility is beyond what we could have imagined. Bill and I couldn’t be happier to invest in the future of Colorado Ballet and have our name on the facility for decades to come.”
Colorado Ballet's new $6.5 million facility hosts rehearsal and training studios as well administrative offices, while performances will continue to take place primarily in the Ellie Caulkins Opera House and Newman Center for the Performing Arts.
“The Armstrong Center for Dance puts Colorado Ballet’s company on the national level and enhances the training of the next generation of dancers,” said Colorado Ballet's Artistic Director Gil Boggs. “Bill and Liz Armstrong’s generous donation to name The Armstrong Center for Dance supports us in owning our own building for the first time in our nearly 54-year history.”
The new facility, designed by Denver-based Semple Brown Design, features eight state-of-the-art dance studios for Colorado Ballet’s professional Company and the Colorado Ballet Academy. In addition, a multi-use black box theater will function as both a dance studio and performance space equipped with theatrical lighting, sound and telescoping seats for presenting smaller performances and hosting outside groups and their events. Improved amenities for the Company also include locker rooms, showers and a physical therapy room. The new Academy location also includes safer student drop-off and increased parking in the neighborhood for Academy families. Denver-based CMC Group, Inc. was the contractor.
A sign with “The Armstrong Center for Dance” will be added to the outside of the main entrance of the building soon.
“As a former board chair of Colorado Ballet, I’ve seen the organization transform over the years but this building is a statement to the city of Denver that the ballet is an organization that is here to stay,” said Liz Armstrong. “That is very exciting for everyone involved with Colorado Ballet and we can’t wait to see the next generation of dancers come out of The Armstrong Center for Dance.”
Photo by David Lauer
We sent out a questionnaire to our new dancers to get to know them a little better.
Here is the response from one of our new Corps de Ballet dancers, Emily Speed:
1. Where are you from?
The Dallas/Fort Worth, TX area
2. Where did you train/dance before coming to Colorado Ballet?
I have danced with several different companies including Alabama Ballet, Ballet Tucson and Boulder Ballet. Before graduating, I trained with Marina Almayeva.
3. What did you do with your summer break?
My husband and I were married and he moved here to Denver. I also went with Kevin Wilson to Jackson, MS and competed in the USA international ballet competition there. We performed a classical pas de deux and a contemporary duet.
4. What age did you first start dancing? What do you remember from your first class?
My first dance class I was only 3 years old but didn't start my classical training until much later. I just remember I always loved dancing and performing.
5. What was your first ballet you remember attending?
It was a gala, but I remember they performed "Le Spectre de la Rose."
6. Who are your ballet role models? Dancers that inspire you.
I love watching Natalia Osipova because she is such an amazing technician and isn't necessarily what you first think of when you think of a ballet dancer.
7. Proudest moment in your ballet career?
It is hard to pinpoint one, but I am really proud to be where I am right now and it was a culmination of many events that has made me the dancer I am today.
8. Best advice you’ve ever received from a teacher?
Amanda McKerrow has always told me to just "stay present" on stage. It seems simple but for me it is always a good reminder to not think about what's already happened or what will and to truly focus on the role no matter how big or small.
9. Favorite ballets to dance? Which are favorite to watch?
Don Quixote has so much life and is always fun to perform and I also loved performing Serenade. I love watching all the classics but especially Giselle, Swan Lake and La Bayadere.
10. Dream role?
Medora in Le Corsaire or Kitri in Don Quixote
11. What do you like to do when you aren’t dancing (your free time)?
I really enjoy spending time with my family and husband. I love yoga, cooking, and traveling.
12. What are some of your indulgences?
13. Do you have any pre-performance routines/rituals?
I get really chatty when I'm nervous or excited for a show but I like to have my hair done first and wait to finish my makeup until just before curtain. Depending on the part, I check certain sections from the piece on stage. If I do it well once I leave it there but I have to do it well once. I also like to say a quick prayer thanking God for the opportunity to do what I love.
14. What production(s) are you most excited about this year?
George Balanchine's "Concerto Barocco"!!!!!
15. What would you say to people who come to see the Colorado Ballet?
Denver is such a wonderful place with so many great things to do but there is something really special about participating in the arts. Thank you for watching and sharing in a wonderful part of this community.
Choreographer Christopher Wheeldon is a familiar name in the ballet world and Colorado Ballet will showcase his choreography in its upcoming production of A Midsummer Night's Dream September 26-October 5 at the Ellie Caulkins Opera House. Wheeldon originally set A Midsummer Night’s Dream on Colorado Ballet in 1997.
This fanciful production features also features a score by Felix Mendelssohn, performed live by the Colorado Ballet Orchestra and the Colorado Children’s Chorale.
Read more about the choreographer:
Christopher Wheeldon joined New York City Ballet in 1993 and was promoted to Soloist in 1998. He served as NYCB’s first-ever Artist in Residence in 2000/01 and was named NYCB’s first Resident Choreographer in July 2001. Since then he has choreographed at least one ballet a year for NYCB. Outside the ballet world, he choreographed Dance of the Hours for the Metropolitan Opera’s production of Ponchielli’s La Gioconda (2006), as well as ballet sequences for the feature film Center Stage (2000) and Sweet Smell of Success on Broadway (2002). In 2007, Wheeldon founded Morphoses/The Wheeldon Company. In 2009, Wheeldon worked with Richard Eyre on a production of the opera Carmen at the Metropolitan Opera House and in 2010 his new version of The Sleeping Beauty had its premiere with The Royal Danish Ballet. His new full-length ballet Alice’s Adventures in Wonderland was created for The Royal Ballet and given its premiere at the Royal Opera House on February 28, 2011. Thirteen Diversions (created for American Ballet Theatre 2011) and Les Carrillons world premiere formed an all Wheeldon evening at the NYCB in January 2012. In 2014, he is creating a full length version of A Winters Tale for the Royal Ballet and directing and choreographing a musical version of An American In Paris, which will premiere in Paris at the Chatelet Theatre. His awards include the Martin E. Segal Award from Lincoln Center, the American Choreography Award, a Dance Magazine Award, the London Critic’s Circle Award for best new ballet for Polyphonia, two time Olivier award winner most recently for Aeternum choreographed in January 2013 for the Royal Ballet. Mr. Wheeldon’s recent production of Cinderella won the 2013 Benois De La Danse.
Click here for more information about Colorado Ballet's upcoming production of A Midsummer Night's Dream.
Colorado Ballet's new facility, designed by Semple Brown Design, brings artistic director Gil Boggs' vision to reality while elevating dance as an art form in Colorado and beyond
Colorado Ballet and Semple Brown Design, the most recognized performing arts design firm in Colorado, today announced the completion of Colorado Ballet's long awaited move into their new home at 1075 Santa Fe Street (north end of Denver's Art District on Santa Fe.) This move from the Ballet's former home of 20 years to their expansive new facility, brings Artistic Director Gil Boggs' inspiring vision for the largest resident dance company in the state to life. The new space will establish a center for dance where the Ballet will raise the profile of their unique art form in the state overall.
"When I think about my original vision for our new space, and what we are now surrounded by, I'm thrilled to say that this is exactly what I envisioned for Colorado Ballet," said Boggs. "We all feel a strong responsibility to further the art form, and this new space will help us truly accomplish that. Throughout my career, I've noticed that whenever a professional Company owned their own building, they flourished—not only locally, but nationally as well. We want Colorado Ballet to be in the national spotlight and our new building will finally allow us to fulfill that dream. At the core, though, the needs of the dancers, artistic staff and Academy were the driving force behind the design and amenities of this space. Thanks to our Board of Trustees, donors, patrons, Semple Brown Design and CMC Group we have a beautiful, functional new home that will allow us to enter an exciting new phase in our history."
In the fall of 2012, when Boggs turned to architect Rusty Brown, Semple Brown Design's cofounder, and Chris Wineman, the firm's performing arts specialist, to convert a former warehouse into a modern studio for Colorado's premier ballet company, he asked for more than the six studios he had available at their leased space on Lincoln and 13th and a minimum of two studios with floor space that would span the depth and breadth of the Ellie Caulkins Opera House stage so Company dancers could transfer their ballets from rehearsal to stage without adaptation or adjustment. Today, their new space is comprised of eight studios—two the size of the Ellie stage—as well as improved amenities for the Company, including separate locker rooms and showers, a physical therapy and massage room to encourage wellness and prevent injuries, a shared staff and dancer lounge to foster greater interaction between them, as well as safer student drop-off and increased parking in the neighborhood for Academy families. A black box performance space was also on Boggs’ wish list; one that could be used as a studio, yet be converted to a community performance space for more intimate experiences. The new Black Box Theater will enable Colorado Ballet to add in-house productions to their repertoire, foster up-and-coming choreographers—both within the Company and outside, and allow choreographers to practice their craft and present their works to supportive audiences.
Additionally, the increase in the number of Academy studios, their prominent location and visibility also demonstrate how education continues to be a priority for Boggs. "It is the future," he notes. Up to seven dedicated studios will increase and diversify the Academy’s programming. Academy students will have opportunities to perform in the Black Box Theater for First Fridays and other occasions. A new Pre-professional Program will also be launched this fall where high school students will travel to Denver to train with an academic component included. Company rehearsals and Academy classes have commenced for the fall season.
Ultimately, Colorado Ballet's new location represents a literal physical move, as well as a philosophical shift to a new place—a place that's more deeply embedded in its community, and more accessible to all. Semple Brown designed the building with an abundance of glass and open views to allow the Ballet to reach outward into the neighborhood rather than keep its art and activities within. Brown and Wineman also embraced their client's awareness of changing demographics, and how many cultural institutions are intrinsically tied to the community today. To this end, the new building is located outside of the downtown core in a highly diverse arts and cultural district reflecting the role Colorado Ballet will play as the organization moves into the future and becomes increasingly accessible to younger and more diverse audiences. The building's approachable scale also allows the organization to better support their mission to educate the next generation of students through their Academy programs and outreach. And finally, the building helps infuse greater morale within the Company through the establishment of an elegant new home and sense of the Ballet's intrinsic value while emphasizing Colorado Ballet's important contribution to the state and beyond. In Wineman's words, "A 'First Class' space means something—it supports a more substantial vision of what the future can be."