CURRICULUM VITAE
Christine Knoblauch-O’Neal
Washington University in St. Louis
Campus Box 1108
1 Brookings Drive
St. Louis, MO 63130
ckoneal@wustl.edu | 314-935-4475 | cknoblauchoneal@gmail.com
Director Graduate Studies - MFA in Dance
Director – Ballet Program
Professor of the Practice
Education
Ph.D., Dance, Texas Woman’s University, 2013
Concentrations: Restaging Master Dance Works, Authenticity in the Restaging of Master Dance Works, Preservation of Legacy of Master Ballet Choreographers within the Restaging Process, the Deconstruction of the Restaging Process as Skill Sets in Pedagogy, Storying, Eyewitnessing, Curating, and Experientially-based Embodied Knowledge
Dissertation: Preserving a Legacy, Preserving Ballet History: Restaging the Ballets of Antony Tudor ©
M.A.L.S., Wesleyan University, 1996
Concentrations: Ballet and Improvisation
Thesis: As Is a Classical Improvisation
A.B., Smith College, 1988
Concentration: Theatre
A.A., Sinclair Community College, 1985
National Ballet Academy, 1967
Experience
Director of the MFA in Dance Program; Appointed by Mark Rollins, Chair of the PAD; Fall 2015
Professor of the Practice/ Director of the Ballet Program; 2010 - Present
Senior Lecturer / Director of Ballet Program; Performing Arts Department; 2003-2010
Senior Artist-in-Residence / Director of Ballet Program; Performing Arts Department, 2003
Artist-in-Residence / Director of Ballet Program; Performing Arts Department; 1991-2003
Washington University in St. Louis
Courses: All levels of classical ballet, pointe, variations, Advanced Musical Theatre, Applied Anatomy for the Performing Artist (created for the curriculum), and Critical Thinking in Western Theatrical Dance: Questioning meets Creative Thinking and Collaboration (created for the curriculum ’12) Problems in Contemporary Arts Practice Research: Storytelling by Other Means (created for the graduate curriculum ’16) Research Methods Colloquium: - Expectations, Potentials, and Possibilities, now in the Study of and Art of Making Dances (created for the graduate curriculum ‘16
Director, Washington University Dance Theater; Edison Theater; St. Louis, Missouri; December 5-7, 2014
Co-Director, with student Emily Duggins; Young Choreographers Showcase; Performing Arts Department; Mertz Studio; St. Louis, Missouri; April 15-17, 2016
Director, MFA in Dance concert, Common Grounds, Edison Theater; March 24, 2018
MFA Concert adviser for Samantha Gaitsch, Spring ’17-Spring ’18, 2018
Graduation of first MFA cohort; May 18, 2018;
Director, MFA in Dance concert, Reel2Real, Edison Theater; March 23, 2019
Graduation of second MFA cohort, May 17, 2019
Publications
“Revealing the Inner Contours of Human Emotion: Preserving the Ballets of Anthony Tudor”; Book; Vita Histria publisher; submitted (publish date - November 2019)
Book review:
“Irina Baronova: Ballerina, Star, Wife, and Mother”; Irina Baronova and the Ballet Russes De Monte Carlo; Dance Chronicle; 39/1; Special Issue: Dance and Literature – Part II; March 2016;
Article:
“A Pedagogy of Restaging: the Authenticity of Embodied Practice”; Journal of Emerging Dance Scholars, An International Publication of the World Dance Alliance; Volume 2, September 1, 2014 http://www.jedsonline.net/sample-page/2014-jeds/theme-1-2014/
Article:
“As Is” a Classical Improvisation; Dedicated to Richard Bull; Contact Quarterly, Summer/Fall; 2001
Conference Papers Delivered
“Writing a Teaching Statement: What is it? Why Write One? Why Now? Missouri Dance Organization; Washington University in St. Louis; June 10, 2018.
Video of my choreography titled, Lugeo, was shown at the International Bioethics Retreat, Paris, July 6-9, 2016. The choreography was chosen by Dr. David Bennahaum because of the subject matter. My work deals with grief, sorrow, and mourning following the death of a loved one.
“Critical and Creative Thinking in Choreographic Collaboration”; The Council of Organized Researchers of Pedagogical Studies of Ballet, International Conference, Jacob’s Pillow, Becket, Massachusetts; June 20-24, ’12
“The Tellers of Stories: Répétiteurs Recreating the Ballets of Antony Tudor”; The Council of Organized Researchers of Pedagogical Studies of Ballet, International Conference, University of Missouri-Kansas City, Kansas, City, Missouri; June 22-26, ‘11
“The Mature Artist: An Embodied Story”; The Council of Organized Researchers of Pedagogical Studies of Ballet, International Conference, Texas Christian University, Fort Worth, Texas; July 21-26, ’09. (Paper included my performance of Courtesan, choreography by Jennifer Medina)
“Arabesque: Form Following Function”; The Council of Organized Researchers of Pedagogical Studies of Ballet, International Conference, Western Michigan University, Kalamazoo, Michigan; June 24-28, ’07
“Arabesque: Form Following Function”; National Dance Association Conference,
Saratoga Spring, New York, New York; June 14-17, ’07
“Welcome to the World of Parallel: A Journey from Ballet to Ballroom”; Hawaii International Conference on Arts and Humanities, Honolulu, Hawaii; ’07.
Panels
“Meet CORPS’ Founders”; Facilitated by Sharon Oberst; Panelist; CORPS de Ballet International conference; Florida State University; Tallahassee, Florida; July 8-12, 2019
“Career in the Arts: Dance”; Invited Guest Panelist; Jim Connett, Moderator; Radio Arts Foundation; Centene Auditorium in Clayton; Clayton, Missouri; June 5, 2016
“Cinderella” History and Analysis of Present Production – post-performance panel; Invited Guest Panelist; National Taiwan University of Arts; Taipei, Taiwan; December 8, ‘12.
“New Bridges: University Ballet and the Professional World”; The Council of Organized Researchers of Pedagogical Studies of Ballet, International Conference, Aspen, Colorado; July 16-20, ’08
“From Russia with Love: Balanchine and Stravinsky in America”; Southeast Missouri State College, Miami City Ballet Residency; Cape Girardeau, Missouri; April 7-11, ’02
“Musical Theater as Liberal Inquiry: A Pathway to Craft”; Hawaii International Conference on Arts and Humanities, Honolulu, Hawaii, ’07
“Teaching Choreography in Academe”; The Council of Organized Researchers of Pedagogical Studies of Ballet, International Conference, Pacific Northwest Ballet, Seattle, Washington; ’01
“Training Strategies for Ballet Dancers with Regard to Physical Fitness Issues”; The Council of Organized Researchers of Pedagogical Studies of Ballet, International Conference, University of Utah, Salt Lake City, Utah; ’00
Lectures
Restaging History: The Work of the Répétiteurs of the Antony Tudor Ballet Trust; Colloquium Series, Performing Arts Department, Washington University in St. Louis; September 12, 2014
“Anatomy for Dancers”; Center of Creative Arts; St. Louis, Missouri; 2005
“Dance Injury Prevention through Sound Teaching Strategies”; Missouri Dance Education Organization; William Woods College; Fulton, Missouri; 2004
“Gesture in Classical Ballet”
The Troop; Dance St. Louis; St. Louis, Missouri
The Women’s Society; Washington University in St. Louis; St. Louis, Missouri
The Women’s Club of St. Louis; St. Louis, Missouri
The Guild; The State Ballet of Missouri; Kansas City, Missouri; 1998-1999
Responsible for the Lecture section of the Dayton Ballet’s Lecture/Demonstration; 1980-1983
“Career Choices in Dance”; Guest Lecturer; University of New Hampshire; Durham, New Hampshire; 1979
Awards
The Council of Organized Researchers of Ballet, International Service Award; 2009
ArtSci Council Faculty Award, Washington University; 2003
Scholarship, Smith College, Ada Comstock Scholar Program; 1986
United States State Department Medal; Given in recognition of my success at the International Ballet Competition, Varna, Bulgaria; Washington, D.C.; 1972
Bronze Medal, International Ballet Competition, Varna, Bulgaria; 1972
Scholarship, National Ballet Academy, Washington, D. C.; 1966
Consulting Services
CORPS de Ballet International; Reviewer for twenty-two submitted abstracts; New York Conference July, 2020
Interview with Nilas Martins (former principal dancer with New York City Ballet, Répétiteur, Teacher); St. Louis Ballet, Opening Night, Nine Sinatra Songs; Touhill Performing Arts Center; October 4, 2019
“Swinging Palaces and Dancing Icosahedrons. Interactions between Art, Architecture and Dance from Rudolf Laban to Richard Buckminster Fuller.” Review for MDPI Publons; Fall 2019
Postdoctoral Fellow Search Committee; Washington University in St. Louis; Professor Letty Chen, EALC, Professor Julia Walker, PAD; Spring 2019
MFA Adviser, Washington University in St. Louis; Anya Fisher, Brown School of Social Work; Spring 2019
Promotion and tenure evaluation Asaf Benchetrit; Department of Theater and Dance; University of New Hampshire; August 28, 2019
MFA in Dance Adviser; Hollins University; Jennifer Welch Cudnick; Fall 2018-Spring 2019
Promotion and tenure evaluation for Angela Fledderman-Miller; Milliken University, Decateur, Illinois; Spring 2018
American College Dance Festival Conference; Adjudicator; West Chester University; West Chester Pennsylvania; March 14-18, 2018
American College Dance Festival Conference; Adjudicator; John C. Smith University; Charlotte, North Carolina; March 14-17, 2017
Promotion and tenure evaluation for Clara Cravey Stanley; University of Oklahoma; Norman, Oklahoma; Spring 2015
Adviser to the Chair Committee: Performing Arts Department; Washington University in St. Louis; 2015 - Presently
Curriculum Committee; Performing Arts Department; Washington University in St. Louis; January 2015, 2016
Colloquium Series Committee; Performing Arts Department; Washington University in St. Louis; September 2014
Antony Tudor Ballet Trust Dance Studies Curriculum Committee; Invitation of Sally Bliss, executor of the Tudor will and Trustee of the Tudor Trust; June, 2010 - Presently
Projects and Special Planning Committee; Performing Arts Department; Washington University in St. Louis; May 1999 – Spring 2014
The Village Residential College BLOC Mentor; Washington University in St. Louis; 2011-2012
Faculty Associate; Danforth House; Washington University in St. Louis; 2003-2004
Committee for External Review of the Department of Ballet, University of Utah; Salt Lake City, Utah; 2003
Committee for tenure for Charles Flachs and Rose Flachs, Mount Holyoke; 2000
Committee for tenure for Joyce Yagerline, Kansas State University; 2000
Consultant for COCA, the Center of Contemporary Arts, in their pre-professional dance program. I created the documentation for the program’s brochure, documented their dance curriculum, and advised students chosen for the program on their current academic studies along with advising them on their dance choices after their studies at COCA; St. Louis, Missouri; 1999-2001
Washington University in St. Louis Reunion classes, swing class; May 15, 1999
Interlochen Center for the Arts; Evaluator of Dance Program and Classes; Fall 1998
Community Work
A Blissful Affair, Gala Performance for Sally Bliss, Organized Volunteers; Touhill Performing Arts Center; St. Louis, Missouri; March 13, 2006
The National Society of Arts and Letters, St. Louis Chapter master class; Center of Creative Arts; St. Louis, Missouri; May 5, 2002
RAVEN and The Women’s Shelter, Dance Close-Up Benefit Performance, co-chair and performer; Mertz Studio, Washington University in St. Louis; St. Louis, Missouri; 1998
Board of Directors Young Audiences of St. Louis; 1994 – 2000
Junior League of St. Louis, Arts Partners Committee; 1990 – 1994
Service to the Department and Institution
Performing Arts Department; Chair’s Advisory Committee – Presently
Performing Arts Department; Graduate Committee (Chair) MFA - Presently
Institution
Mentor Connections; Office of Undergraduate Research; Washington University in St. Louis,
Fall 2018, November 11, 2019 (shared a table with Barbara Baumgartner)
Graduate Counsel 2016-Present
Policies and Services Committee
Professional Affiliations
Missouri Dance Organization; 2018 - Present
The Council of Organized Researchers of Pedagogical Studies of Ballet International, Inc. (CORPS) - Presently
Strategic and Long Range Planning Committee; Presently Composed of Past Presidents and adviser/member Judith Chazin-Bennahum
Past President; 2006-2008
President; 2004-2006
President Elect; 2002-2004
Chairperson – Strategic Planning Committee; 2000-2002
Nominations Committee
Founding Member and Board Member; 1998
National Society of Schools of Dance (NASD); 2016 - Present
National Dance Education Organization (NDEO); 2015 - 2016
Teaching
WASHINGTON UNIVERSITY 1991-2018
Fundamentals of Classical Ballet, 221
Fundamentals of Classical Ballet, 222
Classical Ballet I, 321
Classical Ballet II, 3221
High Intermediate I, 415
High Intermediate II, 416
Classical Ballet III, 4281
Classical Ballet IV, 4291
Variations in Ballet, 418
Pointe Technique, 423
Pointe Technique, 424
Topics in American Musical Theater, Drama, 321
Applied Anatomy for the Performing Artist, U31 430; developed for the curriculum
Critical Thinking in Western Theatrical Dance: Questioning meets Creative Thinking and Collaboration; accepted Fall 2011; developed for the curriculum
Problems in Contemporary Arts Practice Research: Storytelling by Other Means; accepted 2014; developed for the graduate curriculum)
Research Methods Colloquium: Expectations, Potentials, and Possibilities, now in the Study of and Art of Making Dances (created for the graduate curriculum ’16)
Invited Guest Instructor; National Taiwan University of Arts; Taipei, Taiwan; teaching advanced ballet to the undergraduate and MFA students and advising the MFA students on teaching methodologies; December 6-14, 2012
Guest Teacher; St. Louis Ballet Company; company class; presently; Director Gen Horiuchi
Guest Teacher; The Big Muddy Dance Company; company class; Director Brian Enos; periodically
Guest Teacher; warm-up classes for the professional dancers performing in the Spring to Dance concerts; Dance St. Louis; May 2013, 2014, 2015, 2016, 2017
Guest Teacher; warm-up class for guest dancers; An Evening of Ballet Starts 2; Dance St. Louis; February 28, 2019
Professional Employment in Professional Ballet Companies
Cincinnati Ballet; Ballerina; 1983-1984
Selected Roles: First Soloist in Serenade (Balanchine); Lead in Yes, Virginia! Another Piano Ballet (Anastos); Sugar Plum Fairy in Nutcracker (Petipa-McClean); Lead in Raymonda Variations (Franklin).
Dayton Ballet; Ballerina; 1980-1983
Handled Rehearsals for our Stuart Sebastian, Director of the company, and taught company class.
Responsible for the lecture part of the company’s Lecture/Demonstrations.
Staged Les Sylphides for Dayton Ballet II, the junior, non-professional group, besides teaching company class and handling rehearsals.
Selected Roles: Aurora in Sleeping Beauty (Sebastian); Tatiana in Stage Struck (Sebastian); Grande Dame in Ballet a la Carte (Sebastian); Undine Solo (Sebastian); Pas Eglatant (Sebastian); Romantic Couple in Fast Company (Sebastian); Lead in Romance (Sebastian); Mother/Sweetheart in Billy the Kid (Loring); Lead in Concertina (Koner); Cowgirl in Country Quick (Walker)
International Company, New York; 1979-1980
Performed the role of Christine in A Chorus Line
Dancers, New York; Ballerina; 1976-1979
Under the direction of Joanne Woodward and Dennis Wayne.
Performed at the Spoleto Festival, Spoleto, Italy.
Selected Roles: Lead in Still Point (Bolender); Pavanne for Solo Dancer (Walker); Canto Indio (McDonald); Ramifications (Van Danzik); The Entertainers (Anderson); Of Us Two (Keuter); Afternoon of a Faun (Biagi)
American Ballet Theater, New York; Corps de Ballet; 1973-1976
Join ABT under the guidance of Anthony Tudor, Associate Director.
Worked with Erik Bruhn in La Sylphide.
Danced in Las Hermanas with guest artist, Marcia Haydee.
Selected Roles: The Leaves Are Fading (Tudor); Hagar in Pillar of Fire (Tudor); Vendor in The Tragedy of Romeo and Juliet (Tudor); Lead in Brahms Quintet (Nahat)
National Ballet, Washington D.C.; Ballerina; 1971-1973
Returned to this company as a soloist under the guidance of Directors Frederic Franklin and Ben Stevenson.
Selected Roles: Aurora in Sleeping Beauty (Petipa-Stevenson); Swanhilda in Coppelia (Franklin); Cinderella in Cinderella (Stevenson); Prelude and Waltz in Les Sylphides (Fokine); Effie in La Sylphide (Bournonville); Lead and Solo in Serenade (Balanchine); Third pas de deux in Four Temperments (Balanchine);
Harliquinad pas de deux (Stevenson); Lead and soloist in Raymonda (Franklin); Sugar Plum Fairy in Nutcracker (Stevenson); First Student in Graduation Ball (Lichine); Bluebird pas de deux in Sleeping Beauty (Stevenson); Shakers (Humphrey); Water Study (Humphrey); Danse Brillante pas de trois (Franklin); Peasant pas de deux in Giselle (Franklin); The Sleepwalker in La Sonnabula (Balanchine)
Harkness Ballet, New York; Corps de Ballet; 1970-1971
Continued work with Ben Stevenson.
Selected Roles: Time Out of Mind (McDonald); Bartok (Stevenson); Souvenirs (Bolender)
National Ballet Company, Washington D.C., Corps de Ballet; 1967-1970.
Chosen by the Director, Frederic Franklin from the graduation class of the National Ballet Academy that I attended during my senior year of High School. Ben Stevenson selected me from the corps de ballet for the role of the Winter Fairy in his Cinderella that began our long, creative relationship.
Summer Stock Theater
St. Louis Municipal Opera, St. Louis, MO; 1965 and 1967
Performed in various Broadway shows and worked with top Broadway choreographers like Tommy Tune, Larry Fuller, and Buddy Schwab.
Guest Performances
University of Missouri-St. Louis, Dance Department concert; Danced Courtesan, (solo work), choreography Jennifer Medina; May 1-2, 2014
Spring to Dance, Dance St. Louis; Touhill Center for the Performing Arts on the campus of the University of Missouri-St. Louis; Danced Courtesan, (solo work), choreography by Jennifer Medina; 2008
Slaughter Project, COCA, St. Louis, Missouri; Danced Courtesan, (solo work), choreography by Jennifer Medina; 2007
University of Missouri-Kansas, Kansas City, Missouri; Danced Courtesan, (solo work), choreography by Jennifer Medina; 2006
Dance St. Louis, Touhill Performing Arts Center, University of Missouri-St. Louis campus, St. Louis, Missouri; Danced Black, Pearls and Harry, choreography by Christine O’Neal; 2004
St. Louis Dance Festival, Edison Theatre, St. Louis, MO; Danced Time Alone, (solo work), choreography by Christine O’Neal; 2002
Choreographer’s Showcase, New York, New York; Danced The Entertainers, Partner David Anderson, choreography by David Anderson; 1997
Chicago Ballet, Chicago, Illinois; Danced Sleeping Beauty pas de deux and the Harliquinad pas de deux, choreography by Ben Stevenson, Partner Kirk Peterson; 1975
Special Gala, Houston, Texas; Danced Bluebird pas de deux from Sleeping Beauty and the Harliquinad pas de deux, choreography by Ben Stevenson, Partner Kevin McKenzie; 1974
Birmingham Ballet, Birmingham, Alabama; Danced Swanhilda in Coppelia, choreography by Frederic Franklin, Partner Kirk Peterson; 1972
DANCE CLOSE-UP, WASHINGTON UNIVERSITY DANCE PROGRAM; 1995-2014
Miss Lily, restaged solo, choreography by Christine O’Neal,
Celestial Witness, solo, choreography by Jennifer Medina
Me to Them, and Back Again, solo, choreography by Christine O’Neal
Tranquil Entrapment, solo, choreography by Beckah Voigt
Courtesan, solo, choreography by Jennifer Medina
Black, Pearls and Harry, solo, choreography by Christine O’Neal
Miss Lily, solo, choreography by Christine O’Neal
Yes, Virginia! Another Piano Ballet, solo, choreography by Peter Anastos
Time Alone, solo, choreography by Christine O’Neal
Unforgettable, duet, choreography by Christine O’Neal
Trilogy: Summer ’93 Summer ’97 Summer ’95, solo, choreography by Christine O’Neal
Metamorphosis, solo, choreography by Christine O’Neal
Arco Iris, solo, choreography by Christine O’Neal
Skirting the Issue, solo, choreography by Gary Hubler
Waltz Project, trio, choreography by Suzanne Grace and Jan Feager
American College Dance Festival, Wichita State University, Wichita, Kansas;
Representing the Performing Arts Department, Informal Showing, Time Alone, choreography by Christine O’Neal; 1998
American College Dance Festival, University of Iowa, Iowa City, Iowa; Representing the Performing Arts Department, Informal Showing, Metamorphosis, choreography by Christine O’Neal; 1997
Film
Turning Point, directed by Herbert Ross; New York, New York; 1976
Television
High Education Center of ST. Louis, HEC-TV, Is This Art? 1996
Dayton Ballet Special, documentary of the company, Dayton, Ohio; 1982
United Way Special with Joanne Woodward and Dancers, New York, New York; 1978
Live from Lincoln Center, American Ballet Theater, New York, New York; 1976
Choreography
WASHINGTON UNIVERSITY
Washington University Dance Theater
Spatior, 2020 (Click here to view. Password: WUDT-Aperture-w/Discussion-2020)
Interludes, 2019
Now You Hear It, 2018
Torke, 2017
Two, and Only Two, 2016
Into the Light; 2015
Lugeo: 2014
Collage: Recycled and Reconsidered; 2013
Agita; 2012
Scarlatti Sonatas; 2011
The Edge; 2010
The Seasons; 2007
Women’s Voices; 2006
What’s the Pointe? 2005
A Stolen Didactic Coup in a Novel Manner on Tracing Paper, Primarily a Cry for Help, from the Contrition Period; 2004
Joplin’s Ragtime Rolls; 2003
As Is - restaged; 2002
Journey – restaged; 2001
La Valse Elegante; 2001
Ruminations – restaging of The Glass Company; 2000
Arco Iris – restaged; 1999
Mood…and Another Mood – restaged; 1998
The Glass Company; 1998
Take Five – restaged; 1997
Untitled; 1997
Journey – restaged; 1996
Downstage Right; 1995
Journey; 1995
Starlight Roof; 1994
Arco Iris – restaged; 1994
Arco Iris; 1993
Papillons; 1993
Roses of Picardy; 1991
Performing Arts Department Productions in the Hotchner Theater and the Edison Theater – choreographer and/or movement adviser.
Legally Blonde, 2019
Rocky Horror Show, 2018
Urinetown, 2017
Company, 2015
“If I were You.” And other Elvis Presley Songs; 2013
Cabaret; 2012
As You Like It; 2012
Three Penny Opera; 2010
She Stoops to Conquer, dance sequence; 2008
1940’s Radio Hour; 2007
Highness; 2007
Kokoschka: A Love Story; 2006
Fiddler on the Roof; 2006
Violet; 2006
Much Ado About Nothing; 2006
Into the Woods; 2005
Hair; 2005
The Awakening; 2004
The Good Man from Szechwan; 2004
All’s Well That Ends Well; 2003
Shooting Magda; 2002
How to Succeed in Business Without Really Trying; 2001
Man of La Mancha; 2000
Pirates of Penzance; 1999
Alice in Wonderland; 1999
Company; 1998
Machinal; dance sequence; 1998
Cabaret; 1997
The Fantasticks; 1997
Café Universe – bull fight scene; 1997
Beggar’s Opera; 1994
A Little Night Music; 1993
As You Like It; 1992
Tartuffe; 1991
OTHER
HotCity Theatre’s Greenhouse Series, St. Louis, Missouri; Demons… and Other Blunt Objects, Movement Consultant, directed by Anna Pileggi; 2007
Union Avenue Opera Theater, St. Louis, Missouri; Dido and Aeneas, choreographer; directed by Scott Schoonover; 2004
Kirkwood Theatre Guild, St. Louis, Missouri; You’re a Good Man Charlie Brown,
choreographer; directed by Jerry McAdams; January 9-11, 15-17, 2004
Washington University in St. Louis, Music Department, The Most Happy Fella, choreographer; directed by Jolly Stewart; 2003
Missouri Governor’s Mansion Fundraising evening Holiday Gala – “Christmas in Vienna”; Re-choreographed the waltz from the Vienna Festival, for two couples including dance majors Jayson Johnson, Katie Rutterer, and Ami Rojan and ballet minor, Christopher Dillard. The students performed for Governor and Mrs. Carnahan and several hundred guests during dessert on the third floor of the residence. Arrangements were made through Sue Taylor in the Music Department; Jefferson City, Missouri; 1999
Veiled Prophet Ballet, Adam’s Mark Hotel Ballroom, St. Louis, Missouri; I was hired by the Contemporary Group to select all the dancers and to direct and choreograph the processional. The dancers included students from Julliard, North Carolina School of the Arts, COCAdance, Webster University, SIUE, MADCO, Asha Prem’s company and Washington University. Included in the processional of ’99 were various jugglers, acrobats, animal handlers and fire eaters. The ’01 processionals were a “blacklight” scene depicting the underworld subjects of the Veiled Prophet; 1999, 2001
COCA – St. Louis, Missouri
Ballet Eclectic
Little Dancer - Sleigh Ride section; 2007
Little Dancer – Tango section; 2006
COCADANCE
A Stolen Didactic Coup in a Novel Manner on Tracing Paper, primarily a Cry for Help, from the Contrition Period; restaged 2013
Time Alone; extended version; 2003
Upper West Side; 1999
Classical Mood; 1997
…and Another Mood; 1996
Mood; 1995
Take Five; 1994
Agita, (restaged); Common Thread Dance Company, Director – Jennifer Medina; St. Louis, Missouri; Spring 2015
Classical Symphony: No Ratty Sneakers Please!, Choreography Project, St. Louis Dance Festival, St. Louis, Missouri; 1991
Pas de Quatre, restaged, ALEXANDRA BALLET; St. Louis, Missouri; 1991
If You Knew Susie, ADA Jennifer Levitz, Smith College, Honors Project, Choreographer; Northampton, Massachusetts; 1988
Vivaldi Concerto, Webster University Dance Theater; St. Louis, Missouri; 1980
Special Projects
Choreographer for luncheon for alumni; Jeffrey Matthews, Director; Washington University in St. Louis; Spring 2017, 2018
Dance Masters of America, Inc.; Scholarship Teacher/Adjudicator; St. Louis Chapter; February 17, 2017
Antony Tudor Ballet Trust, Répétiteur-in-training; Fall 2014 - Presently
Ballet Memphis, Memphis, Tennessee; Rehearsal Director for the Children’s Chorus for Ballet Memphis’s Wizard of Oz; through Dance St. Louis; Touhill Performing Arts Center on the campus of the University of Missouri-St. Louis; St. Louis, Missouri; 2014
Presentation of the Antony Tudor Dance Studies Curriculum; Member of the Antony Tudor Curriculum Development Committee for the Tudor Trust; The Council of Organized Researchers of Pedagogical Studies of Ballet, International Conference; University of Missouri-Kansas City, Kansas, City, Missouri; June 22-26, ‘11
Joffrey Ballet, New York; Rehearsal Director for the Children’s Chorus for the Joffrey
Ballet’s Nutcracker; through Dance St. Louis; Fox Theater; St. Louis, Missouri; 2007, 2009, 2010
Dance St. Louis Spring to Dance Concert; 2009 - 2014; Invited by Michael Uthoff, Executive and Artistic Director of Dance St. Louis to teach the pre-performance ballet class for visiting performers
Assistant to Sally Bliss, Executor of the Tudor Trust, for Dark Elegies Auditions at Webster University, St. Louis, Missouri; November 11, 2010
Rehearsal Assistant to Paula Weber, Guest Choreographer for Washington University Dance Theatre, for Souls Intertwined; production, Edison Theatre, St. Louis, Missouri; December 4-6, 2009
Rehearsal Assistant to James Jordan, Ballet Master of Kansas City Ballet, for Dark Elegies, Washington University Dance Theater production, Edison Theater, St. Louis, Missouri; 2008
Rehearsal Assistant to Carlo Fittante, choreographer with Kingsbury Ensemble; Fete Galante: Love and Nature; Holmes Lounge, Washington University in St. Louis; Edison Theatre; November 9, 2003
Choreographer, Hannah’s Shawl, director by Professor Henry Schvey; Brith Sholom Kneseth Israel; St. Louis, Missouri; April, 13, 1999
OTHER
Opera Theater of St. Louis; Summer Session, Movement for Opera Students; 2004-2007
Center of Creative Arts (COCA), St. Louis, Missouri; Summer and Fall programs; Ballet Intensive-Pointe, Ballet 4/5, Advanced Ballet, Variations; 1988-1991, 2000, 2002-2005
Ballet West, St. Louis, Missouri; Summer session; Intermediate Ballet; 2005
St. Louis Ballet Company; Summer program; Company Class; 2003
Stephens College, Columbia Missouri; Summer program; 2001
Webster University / Dance St. Louis, Missouri; Summer Institute; 1999-2000
State Ballet of Missouri, Kansas City, Missouri; Summer Program; 1998
North Virginia School of the Arts, Herndon, Virginia; Summer Program; 1993, 1996-1998
Performing Arts Academy, St. Charles, Missouri; Summer Program; 1998
Dance Center, Kirkwood, Missouri; 1988-1991
Alexandra Ballet, Chesterfield, Missouri; 1988-1991
St. Louis University High; St. Louis, Missouri; 1988-1991
National High School Institute, Northwestern University; Evanston, Illinois; Summer Program; 1988-1991.
Professional Training
Florida State University; Tallahassee, Florida; CORPS de Ballet Conference; July 8-12, 2019
Identifying Inclusivity, Equality, Equity and Privilege with Ballet’s Training and Culture
Pre-conference Seminar; July 7, 2019; Coryphée: Leading for Equity, Diversity and Inclusion in the Arts
Facilitator: Tammy L. Borman
Florence, Italy; CORPS de Ballet International conference; July 15-20, 2018
Presentations on both master teacher Enrico Cecchetti and master choreographer Anthony Tudor
Class with Marco Bendoni Nartak and Bruna Gondoni; Renaissance and Baroque dances
Brigham Young University and Ballet West; CORPS de Ballet International conference; June 6-9, 2017
Class with Adam Sklute, director of Ballet West
Florida State University Center for the Performing Arts on The John and Mable Ringling Museum of Art campus, Sarasota, Florida; CORPS de Ballet International conference; June 14-17, 2016.
Class with Ramona de Sâa, Director of the National Ballet of Cuba
Towson University, Towson, Maryland; CORPS de Ballet International conference; June 23-27, 2015.
Class with Septime Webre, director of The Washington Ballet
Observed class with Virginia Johnson, director of the Dance Theatre of Harlem
Class with Dana Tai Soon Burgess, artistic director of the Dana Tai Soon Burgess Dance Company
Pittsburgh Ballet Theatre, Pittsburgh, Pennsylvania; CORPS de Ballet International conference; June 16-21, 2014
Class with Rochelle Zide-Booth, former ballerina with Ballet Russe
Class with Alexandre Münz, former principal dancer with the Paris Opera
Centre National de la Danse, Paris, France; CORPS de Ballet, International conference; June 19-23, 2013
Class with Alexandre Münz de la Caffiniére, former principal dancer with the Paris Opera
Jacob’s Pillow, Becket, MA; CORPS de Ballet, International conference; June ‘12
Class with Anne-Marie Holmes, Director of the Ballet Program
University of Missouri-Kansas City, Kansas City, MO; CORPS de Ballet, International conference; June ‘11
Class with Amanda McKerrow and John Gardner, former principle dancers with ABT, Antony Tudor Ballet Trust Répétiteurs
Texas Christian University, Fort Worth, Texas; CORPS de Ballet, International conference; July ‘09
Class with: Ben Stevenson, Director of Texas Ballet Theatre
Raymond Lukens, American Ballet Theatre National Training Curriculum
Kim Abel, Master Teacher
Jennifer Jackson, Master Teacher in choreography
Western Michigan University, Kalamazoo, Michigan; CORPS de Ballet, International conference; June ‘07
Class with Nadia Potts, former ballerina with the National Ballet of Canada and author of Betty Oliphant: The Artistry of Teaching
Advanced ballet class with Igal Perry
Webster University, St. Louis, Missouri; Injury Prevention for the Performing Artist, April 8, 2006
York University, Toronto, Canada; CORPS de Ballet, International Conference; guest presenters; Summer 2006
Catherine Turocy, Director of the New York Baroque Dance Company, class and repertoire 18th century ballet
Sandra Noll Hammond, lecturer, teacher and author, Ballet Basics, class and repertoire, 19th century ballet
Donald Himes, Dalcroze Eurythmics class
San Francisco Ballet School, CORPS de Ballet, International Conference, guest presenters; Summer 2005
Dr. Richard Gibbs “Rehabbing Injury through Ballet Class”
Suzanne Martin “Nutrition for Optimum Performance”
Mark Baird “Academic Equivalence for Professional Experience for Dancers”
Columbia College, Columbia, South Carolina; CORPS de Ballet, International Conference; Choreography Workshop with Alonzo King; Summer ‘04
New York, New York; CORPS de Ballet, International Conference
Class with David Howard; Summer ‘03
Western Michigan University, Kalamazoo, Michigan; Corps de Ballet, International Conference Class with Finis Yung; Summer ‘02
Pacific Northwest Pacific Teacher’s Seminar; Seattle, Washington; Summer ’01
National Ballet School of Canada, Toronto, Canada; Teacher’s Summer Intensive; Summer ’99, ’00
Luigi Intensive, Center of Contemporary Arts, St. Louis, Missouri; ’99