Nutcrackerthe

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Early in 1891 the legendary composer Peter Ilyich Tchaikovsky received a commission from the Imperial Theatre Directorate at St. Petersburg to compose a one-act lyric opera together with a ballet for presentation during the following season. Accepting Tchaikovsky’s choice of sub-ject for the opera, the Theatre Directorate selected Alexandre Dumas’ French adaptation of E.T.A. Hoffmann’s tale, The Nutcracker and the Mouse King, for the ballet.

Tchaikovsky was not pleased with the subject selection because he felt it did not lend itself to theatrical presentation and was therefore quite unsuited to serve as a scenario for a ballet. Both the opera and ballet were presented on December 18, 1892. The ballet, conducted by Ric-cardo Drigo, was received somewhat unfavorably. Dance historians have attributed this to the Nutcracker’s unusual story, which was quite different from the romantic tales normally presented.

The Nutcracker choreography was begun by the redoubtable Marius Petipa. The balance of the work was taken up by his assistant Leon Ivanov when Petipa fell ill. According to historical accounts, when the ballet was finally produced, Petipa refused to have his name linked with it, feeling his own part in its creation was insufficient to be publicly announced. However, dance historians have recognized his contribu-tion, and the original choreography is generally credited to both Petipa and Ivanov.

First presented in Western Europe by the Sadler’s Wells Ballet at the Sadler’s Wells Theatre in London, January 30, 1934, the production was staged by Nicholas Sergeyev after the original Petipa-Ivanov version. The first full-length American Nutcracker was produced by the San Francisco Ballet in 1944 with choreography by William Christensen.

Although constantly changing over its sixty-plus-year history, one of the landmark Nutcrackers was brought to the Metropolitan area in 1954 by the New York City Ballet with choreography by George Bal-anchine. Subsequent notable Nutcrackers have been choreographed and staged by Rudolf Nureyev, Royal Swedish Ballet (1967) and

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England’s Royal Ballet (1968), and Mikhail Baryshnikov, American Ballet Theatre (1976). With literally hundreds of productions nation-wide, the Nutcracker has become the quintessential holiday classic, presented in theatrical productions on ice, on the dance stage and in the movies. This American holiday staple has also become an artistic lifeline, often providing over fifty percent of a dance company’s annual ticket sales.

The basic libretto of the Nutcracker has as many interpretations as there are staged versions. The characters’ names often change and plot twists are added. The only constant is the music. Tchaikovsky’s musical genius created one of the most recognizable and enduring scores ever written. An abbreviated version, the Nutcracker Suite, is one of the most recorded selections in classical repertoire. In the final analysis, it is the music that has truly given the Nutcracker a life of its own.

The Nutcracker is set in Western Europe during the 1800s. A doctor and town mayor, Hans Stahlbaum delights in holding large holiday gatherings for family and friends. His two children, Clara and Fritz, anxiously await the arrival of guests. The snow evokes a pleasantly festive atmosphere as the guests arrive. Tardy as always, Clara’s god-father, Herr Drosselmeyer, arrives with special fanfare. He causes quite a stir and then mesmerizes and dazzles all onlookers with his exquisite mechanical dolls.

Presents are distributed to all the children, and Fritz receives a rocking hobby train. A bit jealous, Clara approaches Drosselmeyer for her gift. He teases her with a large mouse doll. Fritz pulls a baby mouse from the mother mouse’s apron and sends Clara scampering. Drosselmeyer quickly makes amends and offers Clara an unusual prize, a colorful Nutcracker. Clara is instantly enthralled with the gift. Sibling rivalry takes hold, and in a tussle to wrest the Nutcracker away from Clara, Fritz breaks him. Drosselmeyer repairs the poor Nutcracker, but Clara is disappointed. He promises that all will be well.

Evening overtakes the party and the guests depart. Clara is shooed to bed. Peace and quiet prevails in the Stahlbaum residency, or does it? Clara has awakened and, longing for her Nutcracker, comes back to the livingroom. She quickly finds her doll and falls asleep again. Thus begins

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her magical dream . . .

Thematically, Clara is cast as a mid-teen just blossoming into adult-hood. She is young enough to display childlike emotions, yet mature enough to fantasize that a doll turned human can have idyllic qualities of heroism, selflessness, tenderness and a zest for adventure. Her at-traction to the handsome Nutcracker is only natural; Clara has created him in her mind’s eye. She has molded a doll into a living being, and a prince at that. Her devotion to the Nutcracker is symbolized by her brave effort to save him from being vanquished by the evil Mouse King. As the Nutcracker becomes more lifelike, the dream sequence carries her to a romantic interlude, a magical winter wonderland and an exotic garden in the Kingdom of the Sweets.

The character of Drosselmeyer has almost endless possibilities. The Seiskaya version adopts the characterization of him as Clara’s god-father, who is an eccentric maker of magnificent mechanical toys. A widower with no children of his own, he delights in teasing and pleasing his only godchild. Drosselmeyer’s relationship to the Nutcracker is simply that of an artisan. Clara’s dream vision of Drosselmeyer is an expression of her affection for him and an extension of the attributes she sees in him.

The Nutcracker presents two major ensemble dances: the Dance of the Snowflakes and the Dance of the Flowers. One of the strengths of the Seiskaya Company has always been ensemble segments. Nowhere is this more evident than in these dances. Flowing lines, exact patterns and intricate interplay between corps and soloists are the hallmark of the choreography.

Cyril W. Beaumont, the noted dance critic, historian and author, panned the original 1934 British version of the Nutcracker: “The final scene is merely an excuse for the traditional series of character dances which, in this instance, are seldom appropriate to the situation and, generally speaking, are of indifferent quality.” History has proven that even a revered critic like Mr. Beaumont can be wrong. The Second Act has long been considered the ballet’s highlight. The Seiskaya version of the Kingdom of the Sweets, Act II, reaffirms the classical approach. The scene opens with the Sugar Plum Fairy surrounded by a host of

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angels, followed by the entrance of her court, and the arrival of a nut-shell boat with Clara and the Nutcracker. The members of the Sugar Plum’s court represent many lands, as well as characters, from children’s fairy tales. The couple is presented with sweets and delicacies from around the world. The Nutcracker tells of his valiant struggle against the Mouse King and Clara’s heroic efforts. Clara’s dream at this junc-ture takes on a “sugar and spice and everything nice” tone. Seiskaya’s unusual choreographic adaptations frame the character ballet dances with a unique quality.

Beaumont was a lot more generous in his opinion of the Dance of the Snowflakes and, in particular, the Sugar Plum Pas de Deux: “. . . there are three beautiful ‘classical numbers’ - the pas de deux danced by the Sugar-Plum Fairy and her Cavalier, the latter’s variation, and the ‘Dance of the Sugar-Plum Fairy.’” Seiskaya’s rendition of this famous pas de deux matches the elegance, beauty and charisma of Seiskaya Ballet principals Alexandra Palma and Danielle Lovetro with guest artist Stephen Hanna’s consummate artistry. About the pas de deux it can be said, “We saved the best for last.”

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A former New York City Ballet principal dancer and original cast member of Billy Elliot, Stephen Hanna is the personification of

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extensive credentials, he performed at the 2009 Tony Awards, appeared on the Soap Opera All My Children and can be seen in the movies Centerstage and These Showers Can Talk.

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Recently promoted to principal dancer, Danielle Lovetro has

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The couple was playful, and she was aptly coy throughout the pas. Dossev was, as usual, a masterful partner and displayed impeccable technique landing all his double tours in fifth position and finishing his gallop turns with a flurry of pirouettes. Lovetro was simply stunning. She exhibited high ballon in her jumps coupled with impressive à la secondes plus a long series of Italian fouettès which were flawlessly executed.” And about Nutcracker 2012, the critic wrote, “Danielle Lovetro’s interpretation of Dew Drop was equally as impressive. Confidently whirling through several turns in a pas de trois and then leading her corps de ballet, she finished with a flurry of well-executed fouettes to avid applause.”

In her fourth season as Sugar Plum, principal dancer Alexandra Palma will have performed the role more often than any previous Seiskaya principal. 2012’s Sugar Plum Pas elicited this review, “Physically ideally

suited to each other, guest artist American Ballet Theatre principal dancer Cory Stearns and Seiskaya Ballet principal dancer Alexandra Palma were simply electric. The dancer’s lines melded so well in the pas de deux it was as if the two were one. Matching arabesques, high elevation in their jumps and flowing port de bras made them mesmerizing to behold.” And BESFI 2013, “Seiskaya principal dancer Alexandra Palma is rightfully taking her place as Seiskaya Ballet’s pre-eminent ballerina. Matched with Milwaukee Ballet principal dancer David Hovhannisyan, the couple was riveting in the Paquita Pas de Deux. Mr. Hovhannisyan’s superb elevation in jumps and artful partnering played against Palma’s magnificent split jumps, lightning multiple turns and professional demeanor.”

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Warren Camhi, Guest ArtistRole: Drosselmeyer Seiskaya’s quintessential magic man returns for an 8th season as the eccentric and redoubtable Herr Drosselmeyer. Lauded for his previous performances, he holds a Masters in Fine Arts from Penn State in theater work and technical direction and has been a teacher at Western Suffolk BOCES for thirty years.

Other Featured Performers

Guest ArtistsFirst Soloistsv v

Alexandra Berti, First SoloistRoles: Snow Queen, Doll, Chinese, Flower SoloistAlexandra has performed as Snow Queen, Doll, Bo Peep, Chinese, Flower soloist, Trepak, Spanish, Arabian and Mouse soloist. Whether coquettishly charming as Spanish, a regal Snow Queen, an exuberant dancer in Chinese or feisty brat as Fritz, she is always a consummate performer to watch.

Abram Bagwell, Guest ArtistRole: Nutcracker Abram began his training with, and continues to be mentored by, Eileen Houghton. Following his attendance at the 2013 BESFI Summer Program, Abram was invited back to dance the role of the Nutcracker. His repertoire includes the Poet in Les Sylphides and Siegfried in Swan Lake.

Nicole DiFiore, Guest ArtistRoles: Rehearsal Mistress Party and Battle Scenes, SnowA former Seiskaya Ballet principal dancer, Nicole danced leading Nutcracker roles such as the Sugar Plum, Clara and Dew Drop. A Chemistry major in Stony Brook University’s Pre-Med program, Nicole continues to dance, teaches at Seiskaya and frequently serves as a rehearsal mistress.

Girie Carrero-Sagona, First SoloistRoles: Clara, Friend of Clara and Fritz, Snow, FlowerArriving in 2012, Girie settled in quickly successfully learn-ing a host of roles culminating in her selection as Clara this season. Clara is a role that challenges each dancer to keep the audience fully engaged in the ballet’s storyline. Girie’s supple quality of movement and radiant smile do just that.

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Alyse Melillo, First SoloistRoles: Chocolate Soldier, Fritz, Snow, FlowerIf one word could describe Alyse, it would be irrepressible. A mature performer in several dance genres, she is a “born actress.” It is her ability to attack roles with verve and attitude that make her especially adept at demanding roles such as Chocolate Soldier and Fritz.

Kristina Diaz, First SoloistRoles: Dew Drop, Clara, Chocolate Soldier, SnowA facility for turns coupled with an assured poise has yielded a dancer with a level of consistency and clarity of movement that augurs well for her future. Kristina’s expansive and eclectic repertoire also includes Girl at the Party and Chinese as well as Arabian Soloist and Flower Soloist.

Jade Donnelly, First SoloistRoles: Snow Queen, Doll, Chocolate Soldier, Chinese Last year Jade performed her first major role. This year she has a cornicopia full of enticing treats. Equally at home with rapid turns, lyrical phrases or high jumps, Jade’s range is impressive whether conquering technically difficult roles or capturing the lyrical essence of the regal Snow Queen.

More Featured PerformersFirst Soloists

Featured SoloistsSoloists

v v

Lauren Kerr, First SoloistRoles: Dew Drop, Chinese, Arabian, Flower Soloist A rising star in the Seiskaya constellation, Lauren’s impish smile belies strong jumps, high leg extensions and a facility for turns that have become her hallmark. Adding Dew Drop to her repertoire this year showcases these attributes. She is working on Snow Queen, Doll and Sugar Plum for the future.

Ashley Chenery, First SoloistRoles: Clara, Arabian Soloist, Girl at the Party, SnowAshley possesses ideal physical attributes with clean classi-cal lines and beautifully arched feet. Her elevated arabesques and grand jetés will be on display as she dances Clara. Fol-lowing her success at BESFI ‘13 with the Flower Festival Pas de Deux, she is looking forward to the Nutcracker Pas.

Sydney Essex, Featured SoloistRoles: Flower Soloist, Girl at the Party, Snow Sydney is another of the group of talented and versatile dancers that continue to garner attention this season. A quick study, she is able to absorb choreography quickly making her a delight to work with. Her focus, solid work ethic, professional deportment and strong technique are the basis of succes in every endeavor.

Jamie Bergold, SoloistRoles: Bo Peep, Arabian Soloist, Boy at the Party, SnowBlessed with nicely arched feet, high elevation in her jumps and very ample leg extensions, Jamie is a perfect fit for Bo Peep overseeing her flock with charm and grace. By contrast, the role of Arabian Soloist is predicated on a series of angular poses which when combined make a human sculpture.

Alexandra Berlingieri, SoloistRoles: Fritz, Arabian Soloist, Snow, Flower A newcomer to the ranks of soloists, Alexandra’s penchant for spot-on technique has resulted in her recent elevation. Shy and retiring by nature, the role of Fritz allows a much peskier personna to emerge. Range is a sign of maturity, and the role of Arabian Soloist greatly expands Alex’s range.

Alyson Miller, Featured SoloistRoles: Bo Peep, Flower Soloist, Girl at the Party, Snow Aly again reprises a role with which she has become asso-ciated, Bo Peep. A paragon for others to emulate, her fo-cused work ethic, musicality, consistency and mature stage presence translate into a performer with demure charm. She lights up the stage whether as Bo Peep or a Girl at the Party.

Julia Kharzeev, Featured SoloistRoles: Snow Queen, Flower Soloist, Arabian Soloist Long flowing classical lines in addition to a statuesque figure and outstanding facilities yields a tailor-made Snow Queen. Matched in a quartet of tall dancers, Julia will dance Flower Soloist which requires, alternately, a series of high leg exten-sions and then multiple synchronized turns.

Natalie Butkevich, Featured SoloistRoles: Bo Peep, Fritz, Snow, Flower In ballet it is about the feet, and this is one dancer with the “feet.” Bo Peep is a jaunty role where the shepherdess must amiably coax and cajole her charges. As Fritz, her disarm-ingly cherubic smile gives way to sibling jousting with Clara and fits of naughtiness that result in several scoldings.

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Compliments of theButkevich Family

Composer Peter Ilyich TchaikovskyChoreographer Valia SeiskayaSet & Scenery Designer Margaret PiotrowskaCostume Mistress Sue DiFioreLighting Designer Elizabeth SilverStage Manager Elizabeth Silver

Guest Artist

Stephen Hanna

PrinciPAlsAlexandra Palma Danielle Lovetro

In order of appearance:

Herr Drosselmeyer: W. CamhiDrosselmeyer’s Assistant: M. HarriganClara: A. Chenery, K. Diaz, Gi. SagonaFritz: A. Berlingieri, N. Butkevich, A. MelilloHerr and Frau Stahlbaum: P. and H. Sagona

Guests at PartyK. Borch S. Butkevich Al.Caraiani D. EssexT. Fitzgerald J. Hsu D. Pyrros D. Volpicella

Children at PartyS. Adamo A. Aube D. Baranowski B. BorchM. Butkevich L. Caraiani S. Cassara S. CiprianoS. Creedon A. DeLorenzo K. Donetski M. EssexM. Fitzgerald A. Franquiero A. Fried Z. GonzalezB. Hanson B. Harrigan Mn. Hogden Mt. HogdenB. Jimenez K. Lascarides J. Lee A. LiuM. Ma M. Martufi R. Moore S. MosheM. Mursch M. Pennello E. Pyrros Gr. SagonaKa. Tang Ke. Tang B. Volpicella V. Ye

Premiere December 15, 1995Nutcracker 2013

- Bravo -Seiskaya Ballet

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Friends of Clara and FritzS. Adamo J. Bergold A. Berlingieri A. BertiE. Bishop N. Butkevich A. Chenery H. CrewsK. Diaz J. Donnelly S. Essex B. HansonMt. Hogden L. Kerr D. Lovetro A. MillerGi. Sagona

Maids: K. Amella, L. LeeDoll: A. Berti, J. Donnelly, D. LovetroChocolate Soldier: K. Diaz, J. Donnelly, A. MelilloNutcracker: A. Bagwell

Mouse King: J. LevyMice (*Soloists)

M. Abrams* E. Bishop* F. Dennehy A. DonnellyA. Franquiero A. Fried B. Hanson Mn. HogdenMt. Hogden J. Jarrah C. Languilli J.Lee*S. Moody M. Mursch I. Pirraglia

Soldiers D. Atoian A. Aube D. Baranowski B. BorchM. Butkevich A. Caraiani L. Caraiani S. CassaraS. Cipriano S. Creedon K. Donetski M. EssexZ. Gonzalez J. Jaramillo B. Jimenez K. LascaridesA. Liu M. Ma R. Moore S. MosheE. Pyrros Gr. Sagona Ka. Tang Ke. TangB. Volpicella Cavalry: L. Atoian, S. Hogden, Re. Sagona, Ri. Sagona

Snow Queen: A. Berti, J. Donnelly, J. Kharzeev

SnowflakesS. Adamo J. Bergold A. Berlingieri A. BertiN. Butkevich A. Chenery H. Crews K. Diaz N. DiFiore J. Donnelly S. Essex B. JimenezL. Kerr J. Kharzeev D. Lovetro A. MelilloA. Miller Gi. Sagona

Intermission(cont’d)

Merry Christmasand

Happy New Year

The Aubé Family

ACT IISugar Plum

A. Palma D. Lovetro Angels

D. Baranowski B. Borch M. Butkevich L. CaraianiS. Cassara S. Creedon K. Donetski J. JaramilloK. Lascarides M. Ma S. Moshe Gr. SagonaKa. Tang Ke. Tang B. Volpicella

Spanish Dancers: S. Bedell, J. Hsu

Arabian Dancers (*Soloists)M. Abrams S. Adamo J. Bergold* A. Berlingieri*E. Bishop N. Butkevich A. Chenery* H. CrewsA. Donnelly B. Hanson Mt. Hogden L. Kerr*J.Kharzeev*

Chinese: A. Berti, J. Donnelly, L. Kerr, D. Lovetro

Trepak: D. Atoian, A. Caraiani, M. Fitzgerald, J. Jarrah, C. Languilli, J. Lee, S. Moody, I. Pirraglia Cossack: M. Fitzgerald, B. Hanson, Mt. Hogden

Bo Peep: J. Bergold, N. Butkevich, A. MillerSheep: D. Atoian, A. Aube, A. Caraiani, S. Cipriano, C. Languilli, E. Pyrros, Gr. SagonaLamb Chop: B. Borch, Z. Gonzalez, M. Pennello

Mother Ginger: L. LamendolaPolichinelles

L. Caraiani, S. Cipriano F. Dennehy K. DonetskiM. Essex A. Franquiero A. Fried B. HansonMn. Hogden Mt. Hogden J. Jaramillo J. JarrahA. Liu R. Moore S. Moshe I. PirragliaB. Volpicella

ClownsA. Biondi Sm. Bonventre Sr. Bonventre J. DeJesusA. Fortier H. Gerstein M Gerstein M. HutchinsonD. Lee C. McCann J.Mirabile K. MontanaA. Reid V. Reid J. Vincenti D. SadoswkyJ. TacettaI. I. Zimmerman (cont’d)

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Proud to SupportSeiskaya Ballet

~ Susan Hamblem

Merry Christmas & Happy Holidays from Academy V

The Ma, Tang, Delorenzo, Borch, Ye,Harrigan & Martufi Families

Dew Drop: K. Diaz, L. Kerr

Flowers (*Soloists)S. Adamo A. BerlingieriA. Berti* E. BishopN. Butkevich A. CheneryH. Crews N. DiFioreJ. Donnelly* S. Essex* B. Jimenez D. Lovetro*L. Kerr* J. Kharzeev*A. Melillo A. Miller*M. Mursch Gi. Sagona

Cavalier: Stephen Hanna

May theHoliday Season

be Merry —

From the SeiskayaFamily to all of you -

Happy New Year!

TheSagonaFamily

Happy Holidays

Thank you Valia & Dimitri and all the teachers at

Seiskaya Ballet!

Nicholas P. Craig, M.D., F.A.C.S.Diplomate of the American Board of Surgery

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HappyHolidays!

Compliments of the Chenery & Lovetro Families

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LONG ISLANDDIGESTIVE DISEASEC O N S U L T A N T S

Merry ChristmasThe Baranowski Family

Credits

Nutcracker Webmaster Karin EngelRehearsal Assistants Nicole DiFiore, Alexandra Berti,

Jade Donnelly, Alyse Melillo, Alexandra Palma

Assistant Costume Mistress Carol Adamo, Lillian MelilloCostume Design & Execution Kathy Baker, Birgitta Bergeman,

Ronni Camhi, Sue DiFiore, Karen Kralik, Kathi Kwiecinski,

Vaso Mavrianos, Laura Schifano,Caroline Wilks

Costume Detailing Carol Adamo, Hayley Carrero-Sagona, Marie Carrero, Patricia Cawley,

Nicole DiFiore, Doreen StoricAudio Recording Engineer Andrew NittoliSculptures/Art Work Matt Targon/Bill MeehanProps Mike Kaminski, Joe Markowski, Al Morel, Ed Rogienski, Paul Weiner Props Manager Philip SagonaStage Crew Pat Adamo, David Essex,

Tom Fitzgerald, Philip SagonaGreen Room Supervisors Patty Miller, Irina Kharzeev,

Kerry LovetroScenery Painted by Scenic Art Studios, Inc., Norwalk, CTScenery Design Assistant Anita WasilewskaChoreography, Spanish Dance Loretta CelitanAdministrative Services Karin Engel, Pam Donnelly,

Irina Kharzeev, Kiyo BorchProgram Proof Reading Lisa Lee, Marta Cassara,

Melaine Gonzalez, Irina SourikovaPhotography Sergey Butkevich, Patty MillerElectronic Imaging Pat AdamoElectronic Detailing Jose Gonzalez

We would like to acknowledge all those not listed here without whosecontribution these performances would not have been possible.

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Happy Holidaysfrom the Abrams Family

VALIA SEISKAYARussian-born Valia Seiskaya took her first ballet lessons in Greece at the age of six. Her teacher was Adam Morianoff, also a Russian émigré. (Valia was experiencing difficulty learning Greek; thus, it was natural for her mother to seek out a fellow countryman.) At nine she became a scholarship student, showing prodigious technique—for ex-ample, entrechat huit, eight beats, in centre—by age ten. Pointe work also started at ten, character ballet at twelve. Thereafter, Mme. Seiskaya rapidly developed the combination of strong technique and high elevation which would become her hallmark

as a professional.

At fifteen Valia continued her training under Sonia Morianova, the niece of Adam Morianoff, who had recently retired from the National Opera of Greece. She became a member of the National Opera at seventeen, soon attaining the rank of featured soloist, and touring Europe and Russia with the company. At the National Theater her preparation continued under resident ballet masters and choreographers, including the Bolshoi’s Asaf Messerer, Boris Kniazev, Nina Kyrsanova and Olympia Yelodari (former judge at the International Ballet Competitions held in Varna, Bulgaria and Moscow).

In Greece, as in most European countries, ballet students wishing to become professionals must pass comprehensive national level examinations and ob-tain a license. Mme. Seiskaya has fulfilled all her requirements and has been granted both a diploma and a license.

The Seiskaya Ballet School was founded in 1974, one year after Mme. Seis-kaya retired from the National Opera of Greece. At that time she taught all fifteen class sections. In 1976 Studio A was doubled in size to its present 2,500 square feet, and in 1981 Studio B was opened, adding another 1,500 square feet to the dance facility. That year also saw the establishment of the Seiskaya Ballet Academy.

Seiskaya Ballet School continues to be one of the premier institutions of its kind, offering classical and character ballet for the non-career-oriented dancer. The School offers an open-class format, where students are encour-aged to explore fulfillment through dance. Expanded in September 2007, the School was supplanted by OPEN which provides pre-Academy and adult

May beautiful moments and happy

memories surround you with joy this holiday season !

-The Miller Family and Patty Miller; Photographic Artist

www.pattymillerphotoartist.com81 Landing Avenue, Smithtown, NY

Merry Christmas andHappy New Year!

The Ma and Zhu Families

To all the dancers and their families, Happy Holidays and Congratulations

on a timeless tradition.

The Carrero-Sagona Family

classes utilizing the Academy staff and facilities.

The Seiskaya Ballet Academy is designed as a professional training program for serious dancers who display the determination, physical attributes and musicality of the career-oriented dancer. Admission to the Academy is by audition only. Since the inception of the Seiskaya Ballet programs, over sixty students have opted for professional careers.

All Seiskaya students are encouraged to participate in the guest teacher and summer workshop programs offered by the Ballet Education and Scholar-ship Fund, Inc. (BESFI). As part of their professional preparation, Academy students’ participation in auditions for company schools and major dance companies are routinely encouraged.

Seiskaya students have compiled an outstanding record of achievement. Through the years, full scholarships have been awarded by every major institution for which they have auditioned, including schools affiliated with American Ballet Theatre (ABT), New York City Ballet, and the San Francisco, Houston, Joffrey, Pacific Northwest, Pittsburgh, Miami, and Boston Ballets. Some of the numerous dance companies Seiskaya students have joined: ABT (5), Atlanta Ballet (2), Fort Worth, Ballet West, Eliot Feld Ballet, Bal-let Memphis, Ballet Austin, Boston (2), Milwaukee (3), New Jersey, Pacific Northwest, Pittsburgh, Royal Swedish, State Ballet of Missouri, Tennessee, Louisville and Tulsa Ballets. In 1994 Seiskaya student Michael Cusumano captured a bronze medal and Special Commendation at the International Ballet Competition (IBC) in Varna, Bulgaria and a coveted Jury Award (a gold medal-level award) at the Prix de Danse, Paris, France. Valia Seiskaya was nominated that year as the Best Teacher and Coach at Varna, one of the few Americans ever to be so honored.

In 1996 Kirov student Rasta Thomas, coached by Valia Seiskaya, reached the pinnacle: a gold medal in the Men’s Junior Division at the 17th IBC, Varna, Bulgaria. Incredibly, he was the first American male dancer ever to win a Junior Division gold and the youngest male dancer ever to do so. In addition, his triumph ended a sixteen-year stretch in which no gold medal was awarded in the Junior Men’s Division.

In 1998 Seiskaya student Elizabeth McGrath established herself as one of America’s potential stars. She represented the U.S. in the 18th IBC in Varna, Bulgaria distinguishing herself by advancing to the semifinal round. In late

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‘98, she was a top finalist in the 8th Concours International de Danse de Paris, France and won double gold at the inaugural YAGP. In 2009, Anna Craddock captured the Grand Prize in the 9th Hellas International Dance Competition and in 2011, garnered 1st place in the American Ballet Competition in Texas.

Additional exemplary efforts in the international arena include those by Alexandra Kastrinos, Allison Wade, Eileen Houghton, Johanna Hsu, Sophie Vanier, Amy Wilks, Karen Lynch, and Lesli Lyon. Seiskaya students have captured more than twenty national and regional awards, including those from the National Arts and Letters Competition; National Arts Recognition and Tal-ent Competition (Presidential Scholar in the Arts); Saraband, Ltd; the Amilita Hoffman Memorial Ballet Competition and American Ballet Competition.

During her 17 year professional career with the National Opera of Greece, Mme. Seiskaya gained an affinity for the grand sweep of story-line ballets and operas staged by the company. Her own choreographic works reflect that interest such as: Street People, Las Damiselas, Forest, MASK, and the Nut-cracker. Fresh interpretations of classical favorites La Boutique Fantasque, Walpurgis Night and A Night on Bald Mountain complement her signature ensemble works Grand Waltz, Seasons and Dance of the Hours.

Valia Seiskaya is listed in Who’s Who Among Outstanding Americans, was The Village Times 1985 Woman of the Year in the Arts and in 2011, was elected to the Long Island Volunteer’s Hall of Fame. She has received commendations from President Reagan, Governor Pataki and Congressman Forbes.

Embarking on its 19th season, the Seiskaya Nutcracker has established itself as the premiere event of its kind on Long Island. Total cumulative attendance eclipsed 84,000 last season.

LATECOMERS will be seated at ap-propriate intervals in the program as predetermined by Seiskaya Ballet and the theater’s management. Viewing monitors are available in the lobby for those awaiting seating.SOUND RECORDINGS, VIDEO- TAPING AND/OR PHOTOGRAPH-ING of any performance without writ-ten permission of the management is forbidden by law.

DOCTORS who expect to be called during a performance may give their pager/seat number to an usher who will notify the House Manager.NO FOOD OR BEVERAGES are permitted in the theater.SMOKING is strictly prohibited.NUTCRACKER MERCHANDISE may be purchased in the lobby during intermission and either before or after the performances.

Procedural Notes

“It is Christmas in the heartthat puts Christmas in the air.”

- W. T. Wells

The Lee andBencivenga Family

Dr. Eric T. Baum, DMDDr. Doreen Cloughley, DMD

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And to all...a good night!

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LI’S MASTER SUMMER WORKSHOPJuly 14 to August 22

Scholarship CompetitionJune 1, 2014

Information: (631) 584-0192 or www.besfi.com

BESFI 2014

Classical Ballet TechniqueVariations, Contemporary, Pas de Deux,

Pointe, Turns, Beats & Port de Bras

Faculty (subject to change) MARY CARPENTER ELEANOR D’ANTUONO RHODIE JORGENSON EILEEN HOUGHTON

VASO KIKNA TBA

Join Seiskaya Ballet again in 2014 on Friday, May 16th at 7PM and Saturday, May 17th at 2PM when the Ballet Education and Scholarship Fund, Inc. benefit performances will be presented by the Seiskaya Ballet. Returning for BESFI’s 35th season at the Staller Center, the program will feature a one-act ballet, vibrant character dances plus an exciting series of pas de deux. To join our mailing list call 631-584-0192, email us at seiskaya@aol.com or write: Seiskaya Ballet; 7 Flowerfield Suite 16; St. James, New York 11780. Auditions for the Seiskaya Ballet Academy are available throughout the year by making an audition reservation at the above phone number. Applicants must be properly attired, with females, if applicable, requiring pointe shoes. A nonrefundable audition charge of $25.00 will be collected at the time of the audition.

The 2014 BESFI Intensive Summer Workshop will be held from July 14th through August 22nd. The program will continue the three division format in 2014 which allows students more flexibility in scheduling and is an alternative to sleep-away-camps. As always, an outstanding teaching staff will be featured. In its 30+ years, the workshop has attracted such noted instructors as Andre Kramarevsky, Jurgen Schneider, Luis Fuente, Marianna Tcherkassky, Eleanor D’Antuono, Lupe Serrano, Marjorie Tallchief and Cynthia Harvey. When available, students may opt for an abbreviated schedule or simply pay by the class. Class placement priority is given to students attending the entire program. Scholarships are available through an open competition which is tentaviely scheduled for June 1, 2014. Details will be available on request by writing BESFI, P.O. Box 2146, St. James, New York 11780 or by visiting www.besfi.com.

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Happy HolidaysLove ,

The Hanson Family

Wishing you the joy of family, the gift of friends, and the best of everything in 2014!

The Essex Family

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