Meet Lance and Debbie, the creative geniuses behind the magic of ALADDIN's stage production! Produced in collaboration with the Hult Center.
ALADDIN: THE ROCK OPERA features original arrangements of Queen performed LIVE by NEON REVIVAL (LA) 👑🎸
Hannah and Donna Marisa Bontrager share the inspiration and creative expression behind ALADDIN, and the excitement of bringing it back bigger and bolder for the Silva stage! ALADDIN: THE ROCK OPERA features original arrangements of Queen performed LIVE by NEON REVIVAL (LA) 👑🎸
🔹 May 10–11 the Hult Center
🎥 @bronsonstudios
Presented by Alpha IT
Ladies’ Night sponsor: Summit Bank
Preston Andrew Patterson is ready to break free as the incredible Genie in Aladdin: The Rock Opera! 🎶⚡️ From magic tricks to mic drops, he shares what it’s like to dance such an iconic role in BFan’s epic Mother’s Day Weekend adventure. ALADDIN: THE ROCK OPERA features original arrangements of Queen performed LIVE by NEON REVIVAL (LA) 👑🎸 🔹 May 10–11 the Hult Center 🎥 @bronsonstudios Presented by Alpha IT Ladies’ Night sponsor: Summit Bank
Gustavo Ramirez unleashes the dark charm of BFan’s villainous sorcerer in Aladdin: The Rock Opera! 🖤✨ Step behind the scenes as he shares what it’s like play the villain this high-voltage adventure—onstage this Mother’s Day Weekend only. ALADDIN: THE ROCK OPERA features original arrangements of Queen performed LIVE by NEON REVIVAL (LA) 🎸🎤 🔹 May 10–11 at the Hult Center 🎥 @bronsonstudios Presented by Alpha IT Ladies’ Night sponsor: Summit Bank
Jenavieve Hernandez premieres in her first leading role as Jasmine in Ballet Fantastique’s Aladdin: The Rock Opera! 👑✨ Jenavieve shares her process and how she steps into the role of the fearless princess in BFan’s high-energy adventure. Experience Jenavieve’s Jasmine on Mother’s Day, Sunday May 11 at 2:30 pm ONLY. Don’t miss this unique experience.
ALADDIN: THE ROCK OPERA features original arrangements of Queen performed LIVE by NEON REVIVAL (LA) 🎸🎤
🔹 May 10–11 the Hult Center
🎥 @bronsonstudios
Presented by Alpha IT
Ladies’ Night sponsor: Summit Bank
Isabelle Bloodoog brings fierce spirit and heart to the role of Jasmine in Ballet Fantastique’s Aladdin: The Rock Opera! 👑✨ Izzy shares how she steps into the role of the fearless princess in BFan’s high-energy adventure. Experience Izzy’s Jasmine on opening night, Saturday May 10 at 7:30 pm ONLY. Don’t miss this unique experience.
ALADDIN: THE ROCK OPERA features original arrangements of Queen performed LIVE by NEON REVIVAL (LA) 🎸🎤
🔹 May 10–11 at the Hult Center
🎥 @bronsonstudios
Presented by Alpha IT
Ladies’ Night sponsor: Summit Bank
Patricio Di Stabile brings a bold new take on the legendary street hero in Ballet Fantastique’s Aladdin:The Rock Opera🧞♂️🌟 Patricio shares how he transforms into the daring dreamer in BFan’s high-energy adventure happening this Mother’s Day Weekend only.
ALADDIN: THE ROCK OPERA features original arrangements of Queen performed LIVE by NEON REVIVAL (LA) - Tita Hutchinson and Carbe & Durand.
🔹 May 10–11 at the Hult Center
Presented by Alpha IT
Ladies’ Night sponsor Summit Bank
🎥 Bronsonstudios
HEAR FROM THE CREATORS 💗 The mother and daughter team of Donna and Hannah Bontrager share their inspiration for creating Pride & Prejudice as one of BFan's first shows, and how they've updated it for the stage this Valentine's Day weekend! Learn about how Jane Austen's themes are resonant even today, and how the strong female characters have been reimagined as cabaret owners in 1920's Paris. ❤️
Performances Feb. 13 - 16 @ Hult Center
🎶 LIVE FRENCH JAZZ Gerry Rempel Jazz Syndicate
Presented by Alpha IT
🎥 @bronsonstudios
A PRINCIPAL LOVE STORY 💗 Principal dancers—and real-life couple—Gustavo & Ashley have always shared incredible onstage chemistry—get ready to hear the swoon-worthy story of their first time performing together! This Valentine’s Day, they will reunite as the iconic Lizzy Bennet & Mr. Darcy and return to the stage now as a married couple to star in BFan’s Pride & Prejudice: A Parisian Ballet. ❤️
Performances Feb. 13 - 16 @ Hult Center
🎶 LIVE FRENCH JAZZ Gerry Rempel Jazz Syndicate
Presented by Alpha IT
🎥 @bronsonstudios
Adam goldthwaite as parson collins / pride & prejudice 2016 / pc stephanie urso
Most people know ballet as a silent art form, but BFan’s never shy about straying from tradition. Live or recorded spoken word in the form of a character-narrator who helps guide the story has become a BFan signature.
“We’re creating immersive new dance theater,” says BFan choreographer-producer Hannah. “So…for audiences familiar with the book that inspires our story, our narration is rooted in this original but always with a fresh take. And for those new to a story, spoken word can make it more accessible. You never have to know the original to enjoy the drama (and jokes) on our stage.”
The twist? BFan’s Pride & Prejudice: A Parisian Jazz Ballet is narrated as a wedding homily, delivered with pomp from a pulpit by regular BFan guest actor Adam Goldthwaite, starring as the hilarious, self-important (and very not self-aware) Parson Collins.
We sat down with Adam to learn about his acting career and get the inside scoop on what it’s like to step into the unique role of narrating…a ballet.
First, please tell us a little bit more about yourself and your acting career? Where did you get started?
Well I’m from Eugene originally, and I was heavily involved in community theater during high school and throughout my formative years. Over the years, I’ve had the privilege of working with incredible local companies like Actors Cabaret, Lord Leebrick Theatre, and the Willamette Repertory Theater back when they were still around. I’ve been collaborating with Ballet Fantastique for a really long time now. I think about 12 years!
Adam goldthwaite / as you like it 2012 / pc greg burns
How did you first get involved with Ballet Fantastique and what was the first performance you narrated?
I’m trying to recall my very first performance with BFan—it might have been their Western-inspired take on William Shakespeare’s As You Like It. I’ve actually known Hannah since high school, and she originally approached me to narrate that show. Ever since then, I’ve been fortunate to keep collaborating with Ballet Fantastique, and it’s been great. [Note: As You Like It was BFan’s first story ballet, premiering in 2012!]
We are so excited to have you back as Parson Collins for our upcoming performance of Pride & Prejudice. Tell us a little bit more about this character.
Parson Collins is an overly eager and self-assured pastor with high hopes of winning the hand of one of the beautiful Bennet sisters. In this adaptation, the Bennet sisters’ father owns this cabaret, which Parson Collins stands to inherit after his passing. Believing himself to be benevolent, Collins devises a plan to marry one of the sisters—thinking it’s a generous gesture that would allow the family to retain some connection to the cabaret, albeit under his control.
What are some of the other characters you have played for Ballet Fantastique? Do you have a favorite?
I like playing Parson Collins quite a bit—this character gets to dance in the performance as well. I don’t normally get a chance to dance on stage, so it’s a really nice, fun, rare opportunity to be playful physically. Another favorite role of mine is Marley’s Ghost in BFan’s Christmas Carol. Performing that character is always an absolute joy. That show has become a personal favorite over the years; we’ve performed it so many times, and it has such a magical holiday vibe. Plus, singing alongside Halie Loren is an incredible honor. The production feels so well-rounded and heartwarming—it’s a treat to be part of.
Of course, there’s also the characters I narrated in As You Like It and Robin Hood.
Adam goldthwaite / robin hood 2023/ pc chapell miller
Robin Hood was such an incredible show with you as our medieval bard! I think that was my first show performing with you, so it really stands out in my mind.
Yes, Robin Hood was truly something special. That production came together so beautifully—it had this energy and depth that really made it stand out. I got to do some accent work, which was a lot of fun, and it was such a satisfying show to perform in. It’s definitely a standout in my mind as well.
Each of these characters are so unique. Do you get to come up with these personas?
Donna and Hannah usually place a lot of trust in my character work, which is something I really appreciate. Of course, they always have the final say in the direction they want me to take, and sometimes I’ll give them a couple of options.
For example, back in 2016, when we performed Pride & Prejudice for the second time, I thought it would be hilarious to give Parson Collins a French accent. I even read them a monologue in my over-the-top, phony French accent—I thought it was absolutely hilarious! While it got a few laughs, they decided it might be too hard for the audience to understand, so we stuck with my original character choice.
Hannah and Donna trust me quite a bit to bring what I can bring to the table. It’s a real treat to have that trust and to be able to really experiment with different character choices.
Adam Goldthwaite / american christmas carol 2024 / pc jeremy bronson
Incorporating narration into a ballet sounds like it can be difficult at times. What are some of the challenges you and the artistic staff have faced?
I think one of the challenges for me is to fill the space in the best way that I can for the show. That means being very intentional with my tone, pace, and physicality—everything I do has to serve the flow and energy of the show. It’s a unique experience to be the only voice in an otherwise voiceless performance. While that can be a challenge, it can also be really, really fun because they give me a lot of license to play. The trickiest part is striking the right balance with tone and energy.
When a piece finishes and the audience is clapping, is it hard to know when to start your monologues?
Not anymore—it’s become second nature at this point. There’s a natural rhythm to the applause, and you learn to recognize the arc. You don’t want to wait until the applause dies out completely, but you also have to time it so your line comes in clearly just as the clapping crests. I’m a big believer in avoiding dead air on stage unless it’s an intentional choice, so I’m always mindful of keeping my cues tight to maintain the momentum.
Adam Goldthwaite / american christmas carol 2024 / pc jeremy bronson
I think having the live narration really helps with those transitions, especially when we have live music and the band needs a moment between pieces.
These three styles I like to think of as the BFan trifecta. Having dancers, live music, and narration is a very unique way to perform ballet. Ballet Fantastique does some really unique special stuff with ballet such as choosing stories that are not traditional to ballet and using live music, which most companies don’t have the luxury of doing.
Any thoughts on what you would want to narrate next for BFan?
I would love to narrate Robin Hood again, I think that show was a huge success. But thinking of shows I want to narrate I’d say Princess Bride. It would be a lot of fun to do a Peter Falk impression.
What do you think audiences love about this show?
I think the show has a really fun heart. It weaves together romance, joy, and a sense of playfulness, all set to approachable, lively music with a distinctly Parisian flair. It’s truly charming.
Preston Andrew Patterson dances the iconic role of the cold hearted miser Ebenezer Scrooge in Ballet Fantastique’s upcoming holiday performance AMERICAN CHRISTMAS CAROL. Watch live with the whole family THANKSGIVING WEEKEND at the Hult Center for the Performing Arts, Eugene or stream on demand 🎁 Get your tickets NOW to see him bring Scrooge’s transformation to life in this fresh take on a holiday classic.
✨ Featuring LIVE music by Grammy-nominated HALIE LOREN, performing 1940s jazz standards, this performance is a holiday must-see!
Nov 30 & Dec 1, 2024—get tickets for the whole family!
🎥 Bronson Studios
Presented by Alpha IT
Izzy Bloodgood dances the fearless and intelligent female detective Irene Poët in Ballet Fantastique’s upcoming Halloween world premiere MURDER AT THE BALLET 🔎 Come see her command the stage and solve the mystery with the help of you, our captive audience.
Get your tickets for the world’s first ever interactive murder mystery ballet—Murder at the Ballet—with music composed by international Grammy® award-winning composer Juan Luqui
Oct. 24 - 27 @hultcenter—HURRY, shows are on track to SELL OUT! 💀
Tavari Groesbeck dances the role of the somewhat overconfident Inspector Hyde in Ballet Fantastique’s upcoming Halloween world premiere MURDER AT THE BALLET 🔎 Come see him join forces with our detective to crack the case in this thrilling whodunit, where you, our captive audience, will vote to decide the ending.
Get your tickets for the world’s first ever interactive murder mystery ballet—Murder at the Ballet—with music composed by international Grammy® award-winning composer Juan Luqui.
Juan luqui at BFan's 2021 nye performance of arrivals:rio
BFan is deeply honored to have commissioned an original, full-length musical score by international award-winning composer Juan Luqui. Our local and international livestream audiences may remember Juan from his work with us back in 2021 for our NYE performance ARRIVALS: RIO.
The concept not only that BFan should premiere an interactive murder mystery ballet, but also to commission this music from Juan, came from Ballet Fantastique Ballet Master and Principal Dancer Gustavo Ramirez and Principal Dancer Ashley Bontrager, who immediately thought of Juan as the perfect composer to capture the dark, mysterious tone of this ballet.
Juan’s inimitable original music, creative vision, and capacity as a multi-instrumentalist made him a natural fit for this production. Originally from Buenos Aires, Argentina, Juan has made a significant impact on the Hollywood music scene, with notable credits including Finch (2021), The Last of Us series (2020, 2023), Liebes Kind, and many, many more.
Juan’s new compositions and arrangements for Murder at the Ballet premiere have been uniquely written to match our Creative Team’s story libretto, character profiles, and Donna, Hannah, and Gustavo’s intricate new choreography as the story unfolds—and the audience participates. In every way, Juan has knocked it out of the park: The score heightens the story’s drama and pulls the audience in.
Just days before he jetted off to Europe for an international tour, we had the chance to sit down with Juan to learn more about his music career and hear his inside perspective on the creative process for creating a brand new score for Ballet Fantastique’s Murder at the Ballet.
First, please tell us a little bit more about yourself and your career in music! Where did you get started?
I've been playing guitar for nearly thirty years, starting at the age of six after an arm injury. Learning guitar became a form of therapy for me. I initially played in rock bands, focusing on guitar solos, but eventually discovered classical music, which drew me in. At thirteen, I attended a music conservatory, and after high school, I earned a scholarship to the Berklee College of Music in Boston.
Are you working on anything currently (besides the score for Murder at the Ballet)?
I am producing some albums, and now I am starting on the Last of Us Season 2, literally next month!
We are so excited to have you creating a brand new score for this performance. You have written music for other genres before, how different is it creating a full-length score for a ballet?
Juan Luqui watching the dancers rehearse murder at the ballet
It’s such an incredible amount of music, and I love it! For me, it’s so liberating because I get to be completely free. Whatever comes to mind, I just write it. There’s no time to second-guess myself since it’s an hour and a half of music—it’s like a creative purge. It’s so fulfilling that I actually want to do it all over again, maybe even a few more times!
I think everyone here at BFan will be very excited to hear that! Have there been any unexpected challenges creating the music?
No, actually unexpectedly everything went really smoothly! Hannah, Donna, and the entire creative team at BFan were so welcoming of the process. It felt really refreshing because, with most scores, it's like, “Oh no, you have to do it again because the character looked this way,” and everything is so precise. But with this, as long as I captured the right emotions and moods, that was enough. It was incredibly fulfilling!
You originally performed with Ballet Fantastique at the Hult Center for the NYE premiere of ARRIVALS:RIO in 2021. What are you most looking forward to in this next BFan collaboration?
The live shows! Conducting the performance while watching you all dance is going to be so much fun. Right now, I try not to think about it too much or I’ll get too stressed! But when the time comes, I’ll be ready, and it’s going to be amazing. I’m also really excited to see how the audience reacts—that’s the real test. Being there and seeing their response will tell us if we truly nailed it or not!
Our Murder at the Ballet performance is set in the 19th century. How has this time period influenced the score you created? Tell us about the process of choosing instruments to compliment a more contemporary ballet .
JUan Luqui at Ballet in the vineyard PC Erin Beltran
I think it definitely limited the instrumentation I could use, but in a good way. I couldn’t use synths or anything modern—I wanted to stick to traditional instruments that would’ve existed in that time period. Well, except for the guitar—I cheated a little there since I’m a guitarist! But it’s subtle and mostly in the background. Otherwise, I stayed true to classical instruments and gave the piano a bit of an edge, imagining it sounding like an old honky-tonk piano in a London bar. It put a limit on what I could use and what I couldn’t, which was also very nice.
That’s true, I would imagine having some restraints rather than a million options would help.
Yes! This computer has so many instruments, that sometimes I do not know where to start! It’s nice to limit yourself.
Our dancers are very excited to get to perform to your live music! Does working with dancers influence how you create the music as opposed to creating music for the television or video game?
Absolutely! I always thought it was important for the music to inspire someone to want to move. I’d definitely be interested in the reverse—seeing a dance first and then composing music for it, rather than creating music and the choreography happening afterwards. I love to dance, so I had to feel some sort of movement while I was creating the music. I’m constantly checking in with my own body, which if it’s for a film score, I don’t do that.
JUan Luqui at Ballet in the vineyard PC Erin Beltran
What do you think audiences love about this show?
Everything! The interactive aspect, in particular, will be a lot of fun and also a bit challenging for some people. I am creating a piece of music that will happen during the voting, so I am very curious to see how the interactive part turns out.
TICKETS TO KILL FOR: Get your Murder at the Ballet world premiere tickets now, before we sell out. (Inside tip: BFan season tickets are the best deal and lock in your seats and savings for the year.)
WATCH FOR IT: Juan’s original score for Ballet Fantastique’s Murder at the Ballet will be released on Spotify later in 2024. Watch for it!
American Christmas Carol cast & crew at Northwest Regional Emmy Awards Ceremony in seattle
"American Christmas Carol: A Ballet Movie" is a captivating interpretation of the timeless Charles Dickens classic, reimagined in the post-World War II era of America. This genre-defying collaboration between cinematographer Jeremy Bronson and the visionary Choreographer-Producer team of Donna and Hannah Bontrager brings together the artistry of ballet and the magic of cinema to deliver a truly unique experience on the big screen.
“I am thrilled and grateful for this award. ‘An American Christmas Carol: A Ballet Movie’ has been a labor of love for me. It was an incredible opportunity to collaborate with Ballet Fantastique and capture the beauty and emotion of this reimagined classic. I am proud of our collective effort and the result we achieved.”
Filmed amidst the stunning landscapes of the Pacific Northwest, this visually striking movie showcases iconic locations including the Shelton McMurphey Johnson House Museum (Eugene, OR) and the turn-of-the-century Oregon Electric Station (Eugene, OR). These locations served as Ballet Fantastique’s ‘movie sets’ to bring pieces originally choreographed for the stage to the screen.
Director and Cinematographer Jeremy Bronson & Producer Hannah Bontrager with telly awards
The Telly Awards recognize excellence in video and television content across all viewing platforms. Established in 1979 to honor achievements in local, regional, and cable television commercials, the scope of the awards quickly expanded to include non-broadcast video and television programming. With the advent of digital video, the Telly Awards have further evolved to honor excellence in branded content, documentaries, social media, immersive media, and more. Today, the Telly Awards celebrate the pinnacle of video production in this dynamic new era of both online and offline media.
Each year, the Telly Awards highlight the finest work produced for television and video across all screens. With over 12,000 entries submitted from all 50 states and 6 continents, the winners represent some of the most esteemed advertising agencies, television stations, production companies, and publishers worldwide. The Telly Awards honor projects created for clients, specific brands, companies, or even as self-directed creative endeavors. The award "American Christmas Carol: A Ballet Movie" received from the Telly Awards in the Entertainment category highlights the exceptional artistry and creativity of this project.
“We are humbled and honored to receive this award for ‘American Christmas Carol: A Ballet Movie.’ This recognition reflects the hard work and dedication of our talented team, who poured their hearts into bringing this beloved story to life in a fresh and exhilarating way.”
This award is the perfect way to start off our Cinematic Dance Season and showcases the innovation Ballet Fantastique prides itself on. Ballet Fantastique continues to push boundaries and redefine the art of ballet, merging it with other art forms to create unforgettable experiences for audiences worldwide.
We invite you to join us on this journey this Thanksgiving as Ballet Fantastique proudly brings its American Christmas Carol to the Hult’s Silva Concert Hall for the first time, in collaboration with international award-winning jazz vocalist Halie Loren. Performances Sat. Nov. 30th & Sunday, Dec. 1st at Hult Center for Performing Arts Center. Tickets on sale now!
American Christmas Carol: A Ballet Movie film set locations include: The turn-of-the-century Oregon Electric Station (Eugene, OR), Portland’s White House (Portland, OR), Trinity Episcopal Church (Portland, OR), Eugene Masonic Cemetery (Eugene, OR), Walker Union Church and Cemetery (Walker, OR), Ken Scott’s River Run Gallery (Leaburg, OR), the Shelton McMurphey Johnson House Museum (Eugene, OR), Mims Historic Cottage/NAACP Lane County (Eugene, OR), and community restaurants and bookstores local to Ballet Fantastique, including many closed during the Covid-19 pandemic.
Nicole Brown plays BFan’s new version of the iconic, formidable Queen of Hearts in Ballet Fantastique’s Alice in Wonderland: Remix 🐇✨! Experience the power of the villainess as she delves into her role in BFan’s electro-swing Wonderland.
ALICE IN WONDERLAND: REMIX is set to custom original score by @highstepsociety. May 9-12 @hultcenter, Eugene // May 2-3 in Casper, WY @artcorewy // HURRY, shows are on track to sell out! 🎶
🎥 Jeremy Bronson
Principal Dancer, Preston Andrew Patterson, is the iconic Mad Hatter in Ballet Fantastique’s upcoming performance Alice in Wonderland: Remix. See the behind the scenes transformation as we escape down the rabbit hole.
MOTHER’S DAY WEEKEND at the Hult Center for Performing Arts with High Step Society’s exhilarating, daredevil hot jazz score
Dancer: Preston Andrew Patterson / Makeup: Anna Maria Bursofsky / Music: High Step Society (Time for Tea) / Video: Daniel Olbrych, Jeremy Bronson *********************************************************
Get tickets to a show: https://hultcenter.org/get-tickets
As Mother's Day approaches, Ballet Fantastique is gearing up to transport audiences into a realm of enchantment with our electrifying performance of Alice in Wonderland: Remix at the Hult Center for Performing Arts. This exciting performance offers a fresh take on Lewis Carroll’s timeless tale featuring Eugene-based band High Step Society’s exhilarating, daredevil hot jazz score bringing the fantastic Alice characters to life.
We had the opportunity to sit down with Chelsea Lovejoy, the talented costume designer behind the costume creation of this year's newest character, the White Queen. Chelsea shared insights into her creative process and what the collaboration process is like with Artistic Director, Donna Bontrager, to bring the White Queen's character to life.
Q: Tell us a little bit about yourself and how you became involved with costume design at Ballet Fantastique!
Chelsea: I am an illustrator and artist that has been working in the arts locally for over a decade. I have also been an adult ballet student for the past 4 years at the Academy of Ballet Fantastique! During one of BFan’s Open Barre sessions, I spent a good deal of time with Hannah and Donna discussing all the amazing costumes I loved from past shows. When they learned that I’ve been a sewist for many years, they offered me an incredible opportunity to use my passion and creativity to design and sew some original costumes for BFan!
Q: Can you tell us about the inspiration behind the design of the White Queen's costume for Ballet Fantastique’s performance of Alice in Wonderland: Remix?
Chelsea: I absolutely love that costumes bring depth and breadth to a character on the stage. Anytime I’m looking for inspiration, I want something that will add context, richness, and texture to the audience’s experience of the character. For the White Queen, I wanted my design to portray the gentleness, kindness, and compassion in stark contrast to the Red Queen!
Q: Creating a costume from scratch sounds like a daunting process! Could you walk us through what this is like? How long does a project like this typically take and where do you find the materials to create it?
Chelsea: It starts with a meeting of minds! Donna and I come together with design ideas and I translate them into sketches. BFan has an incredible stock of fabrics and trims from previous shows and I’m all about getting the most out of every inch! Donna has great taste in fabrics and once we’ve hand chosen each of them for every part of the costume, I can start sewing! This design has more than seven fabrics and five trims to give it a regal, luxe feel. From the design process all the way to the final sewn garment, it took just over two and a half weeks for me to make this costume!
Beginning construction
Details being added, requiring both machine and hand sewing
Q: How do you collaborate with Ballet Fantastique Artistic Director, Donna Bontrager, to ensure the costume aligns with her artistic vision for the performance?
Costume being fit to exact size of the dancer that will originate this role
Chelsea: Donna not only has great taste in fabrics, but also an immense wealth of experience to pull from. It’s been so helpful relying on her knowledge of which fabrics are good for partnering and which places on a bodice need more stretch. These garments don’t only need to look beautiful, they also have to function in a high intensity, athletic environment. Donna and I have worked seamlessly together to make sure that these costumes function well and meet her high artistic standards.
Q: Can you give us a sneak peek of the costume design?
Initial design phase, where Donna and I collaborate on ideas and fabrics
Costume almost completed and ready for fitting
Q: Thank you so much for giving us a glimpse into your creative process! We can't wait to see the White Queen's costume come to life on stage!
Chelsea: It’s been such a joy to use my creativity and skills to add a little extra sparkle and passion to this production. I hope the audience loves these costumes as much as I love making them!
Don't miss your chance to see the White Queen’s costume come to life in Ballet Fantastique’s original Alice in Wonderland: Remix, May 9-12 at the Hult Center for Performing Arts, featuring High Step Society’s exhilarating, daredevil hot jazz score.
Brooke Geffrey-Bowler & Elizabeth Chapa play the naughty and fabulous Stepsisters, “Drizz” and “Stasia” in Ballet Fantastique’s upcoming performance Cinderella: The Rock Opera! 👑✨ Find out what it is like taking on roles that balance comedy with ridiculous technique (literally), and be sure to get your tickets to see them in action Feb. 29-Mar. 3 @hultcenter before they’re gone!
CINDERELLA: THE ROCK OPERA Feb 29- Mar 3 @hultcenter with LIVE 60S BILLBOARD HITS from Shelley James and The Agents of Unity
Preston Andrew Patterson dances Ballet Fantastique’s playful twist on the traditional role in our newest spinoff in this reimagined Cinderella! Find out how this character has been updated to fit this 60s-inspired rock ballet remake of the fairytale classic!
CINDERELLA: THE ROCK OPERA Feb 29- Mar 3 @hultcenter with LIVE 60S BILLBOARD HITS from Shelley James and The Agents of Unity
Step into a world where classic fairy tales collide with the vibrant energy of the swinging 60s! Ballet Fantastique's upcoming production of Cinderella: The Rock Opera is not your average rendition of the timeless tale. Instead of donning glass slippers to attend a royal ball, Cindy finds herself grooving at Prom! The Prince, looking for his sweetheart, hosts Prom, transforming the typical fairytale palace scene into a vibrant dance floor, adorned with dazzling lights and the sounds of rock 'n' roll. This sassy and powerful twist on the beloved fairytale creates an unforgettable experience for audiences of all ages.
As Cindy prepares for this epic adventure we decided to take a moment to reminisce about this iconic event from the 60s—Prom Night! Read on to discover some of Ballet Fantastique’s dancers and artistic staff’s favorite memories from their own prom nights.
“My best friend at the time lent me one of her dresses for prom. I loved it— in fact, I loved it so much when I got asked to go to another highschool’s prom I wore the same dress again. Same dress, different date!”
“Prom was special because it was the beginning of what I hope is forever :)”
“My wonderful friend Justin made me a painting when he asked me to prom. We had a shared love for art that always deeply bonded us. I remember laughing endlessly with him and all of our friends that night. The painting still hangs in my living room today.”
“Well, I didn’t go to prom on a motorcycle, but I did go in a blue corvette…”
“Kind of like Cinderella and the ball, I didn’t think I was going to go to my senior prom. I didn’t have a boyfriend at the time but then 3 days before prom, my good friend Andy called me up and said let’s go have some fun with all of our friends! Life is full of last minute sweet surprises!”
“By senior year I had known most of my friends since the 6th grade. We had truly grown up together and I remember prom feeling like this epic last chance to all be together knowing we would all soon go our separate ways.”
“Prom. Little Remembered. Heavily romanticized. A poignant punctuation to a year I’ll never forget with people I’ll always miss dearly.”
“A Bella Swan type of prom.”
We hope you are ready for a night you will never forget! Dust off your finest prom attire and join us for the Prince’s much anticipated Prom. Get your tickets to see Ballet Fantastique’s original Cinderella: The Rock Opera, Feb. 29-Mar. 3 at the Hult Center for Performing Arts, featuring Shelley James & the Agents of Unity band playing 60s billboard hits–hurry tickets are selling fast!
