MAY 12, 13, & 14
4 PERFORMANCES – 2 MATINEE & 2 EVENING
A BELOVED FAIRY TALE FIT FOR THE WHOLE FAMILY!
Stephen Mills brings this treasured fairy tale of perseverance and love to life, with a compiled score from Alexander Glazunov and live accompaniment. Add a dose of humor to the majesty of classical ballet, and Cinderella becomes the perfect way to close Ballet Austin’s 2022/23 Season with four performances on Mother’s Day weekend.
CONCEPT & CHOREOGRAPHY: Stephen Mills
MUSIC: Alexander Glazunov, Arranged by Stephen Mills
LIVE ACCOMPANIMENT: Austin Symphony Orchestra
RUNTIME: 2 hours 10 minutes with two-20 minute intermissions
Cast list and performance dates
- Friday, May 12, 2023, at 8 p.m.
- Saturday, May 13, 2023, at 2 p.m
- Saturday, May 13, 2023, at 8 p.m
- Sunday, May 14, 2023, at 3 p.m. – SOLD OUT!
RUNTIME: 2 hours 10 minutes with two-20 minute intermissions
Act 1 (30 minutes)
Intermission (20 minutes)
Act 2 (30 minutes)
Intermission (20 minutes)
Act 3 (15 minutes)
Please visit our FAQs page for information about parking, discounts, and more.
WHY WE RECOMMEND PURCHASING PERFORMANCE TICKETS *DIRECTLY* FROM BALLET AUSTIN
Ballet Austin strives to share the excitement and beauty of live professional dance with as many community members as possible. *As a 501c3 nonprofit organization, Ballet Austin raises funds throughout the year to help defray part of the production costs in order to bring live performances to you and keep the price of our tickets as low as possible. The following information is intended to assist you as a consumer and help you have the best experience possible.
When you purchase directly from Ballet Austin:
- You are assured your tickets are valid, and your seats are reserved for you/your family/your party.
- You have access to the most affordable ticket prices.* Ballet Austin tickets can range between $20 – $125 dollars (plus applicable fees), depending on location. If you are being asked to pay more per ticket, you are NOT buying from Ballet Austin.
- You have the flexibility to exchange your ticket
/s to another performance for a small handling fee, as tickets remain available.
If you choose to purchase Ballet Austin tickets from sources other than Ballet Austin, we recommend that you:
- Never pay cash or use apps such as Venmo to purchase tickets.
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NOTE: Issues related to tickets purchased from a third-party seller will need to be discussed with that company. Ballet Austin will have no record of these sales.
Our goal for each Ballet Austin performance is to create wonderful, lasting memories for you, your family, and your friends. If you have questions, let us help you by contacting our box office at 512.476.2163 or by email at firstname.lastname@example.org. We look forward to seeing you soon.
Videos by Paul Michael Bloodgood
Photography by Amitava Sarkar
ARTIST AND BACKGROUND INFORMATION
AUSTIN SYMPHONY ORCHESTRA
Known for his innovative and collaborative choreographic projects, Stephen Mills has works in the repertoires of dance companies across the United States and around the world.
His international career began in 1998 after being chosen Prix d’Auteur at les Rencontres Chorégraphiques Internationales de Seine-Saint-Denis in Paris. In his inaugural season as Artistic Director of Ballet Austin in 2000, Mills attracted national attention with Hamlet, hailed by Dance Magazine as “…sleek and sophisticated.”
Mills’ works showcased at The Kennedy Center include A Midsummer Night’s Dream, The Taming of the Shrew, and performances at the Ballet Across America Festival in collaboration with The Suzanne Farrell Ballet.
In 2005 Mills developed a community-wide human rights collaborative dialogue culminating in his signature work Light/The Holocaust & Humanity Project for which he received the Audrey and Raymond Maislin Humanitarian Award from The Anti-Defamation League. Mills contributed a podcast about Light to the Voices on Anti-Semitism series at The United States Holocaust Memorial Museum and was invited to speak about the work at The United Nations in 2014. Light has been performed in five U.S. cities, in three cities in Israel, and was recently featured in an Emmy Award-winning PBS documentary, Sharing Light.
Aleksandr Glazunov, in full Aleksandr Konstaninovich Glazunov, (born July 29 [Aug. 10, New Style], 1865, St. Petersburg, Russia—died March 21, 1936, Paris, France), the major Russian symphonic composer of the generation that followed Tchaikovsky.
Glazunov’s mother, a piano pupil of Mily Balakirev, took her obviously talented son to her teacher, and on his advice the boy in 1880 began study with Nikolay Rimsky-Korsakov. In 1882 Balakirev conducted Glazunov’s First Symphony. A revised version of the piece was printed in 1886 by M.P. Belyayev, a millionaire timber merchant and founder of the famous Belyayev music-publishing firm that Glazunov later helped direct. Glazunov continued to compose, producing two string quartets, two overtures on Greek folk tunes, and the symphonic poem Stenka Razin. In 1886 he finished his Second Symphony. At that time he was the recognized heir of the nationalist group and composed according to their principles; he also absorbed the influence of Franz Liszt, whom he visited in Weimar, Germany, in 1884. Other influences, notably Wagner’s and Tchaikovsky’s, were later evident. Most of Glazunov’s best works—the fourth, fifth, and sixth symphonies and his ballets Raymonda, Ruses d’amour, and Les Saisons (“The Seasons”)—date from the 1890s. He finished his Violin Concerto in A Minor in 1904 and last complete symphony, the eighth, in 1906. In 1905 he became director of the St. Petersburg Conservatory, where he had taught since 1899. He wrote few large-scale works after 1906: two piano concerti (1911 and 1917), two string quartets (1920 and 1930), the Concerto-Ballata for Cello and Orchestra (1931), and the Concerto for Saxophone, Flute, and Strings (1934). After the Revolution of 1917 he remained at his post until 1928, when, feeling isolated, he left the Soviet Union. After an unsuccessful tour of the United States (1929–30) he lived in Paris.
Biography courtesy of Britannica.com
About the Austin Symphony Orchestra
The mission of the Austin Symphony Orchestra Society, Inc. is to enhance the cultural quality of life for the adults and young people of Austin and Central Texas by providing excellence in music performance and educational programming.”
Founded in 1911, the Austin Symphony Orchestra is Austin’s oldest performing arts group. The ASO offers a complete season of musical and educational programming. Masterworks concerts include a series of eight concert pairs running monthly September through May in the state-of-the-art Joe R. & Teresa Lozano Long Center for the Performing Arts. Our season also features the Sarah & Ernest Butler Pops Series: October & February Pops at the Long Center and December & June Pops at Palmer Events Center. Programming for the entire family includes the Halloween Children’s Concert, and the Christmas in the Community, as well as the popular James C. Armstrong Youth Educations Programs, which include Children’s Day Art Park, Young People’s Concerts, High School Concert Tour and a variety of other school programs.
Symphony Square at 11th and Red River is home to the ASO’s administrative offices. This complex of four historic Austin buildings (two of which are owned by the ASO and Waterloo Greenway) is also home to the Women’s Symphony League of Austin.
Please Note: As of January, 2021 our new temporary administration office is located at 1806 Rio Grande St., Austin, TX 78701.
Music Director, Maestro Peter Bay: https://austinsymphony.org/about/conductor/
Austin Symphony Orchestra Musicians: https://austinsymphony.org/about/musicians/
Cinderella lives with her evil Stepmother and two beautiful evil Stepsisters. Cinderella has become a servant to her family’s whims since the death of her noble father. Her life is very difficult but she is gracious and considerate. When beggars come to the door, Cinderella always gives them food, though she is often punished for doing so.
One day, there is a knock at the door. The Master of Ceremonies from the palace has come to announce a Royal Ball that evening where the Prince will choose a bride. Cinderella’s Stepsisters are invited as is her Stepmother. Cinderella does not receive an invitation to the Ball.
As everyone leaves the house for the Ball, Cinderella is taunted for her dirty appearance and clothing of rags. Left alone, she begins to daydream of what it would be like to attend the Royal Ball. Suddenly, a beautiful woman appears before her. She explains to Cinderella that she is a Fairy Godmother and that because of Cinderella’s good deeds she has come to grant her a wish. Cinderella can think of nothing greater than to attend the Ball, but cries that she doesn’t have a beautiful gown.
At once, the Fairy Godmother and her twelve fairies grant her wishes. Cinderella is warned that she must return home by midnight because the spell will be broken and she will be returned to her dirty and ragged self. Excited, Cinderella promises and flies to the Ball in a gilded carriage.
The Ball begins with a formal procession of guests. Everyone is anticipating the arrival of the Prince. Four beautiful ladies have been selected for His Royal Highness as possible brides. The Stepsisters are two of the four.
Four Lords of the Court accompany them in a dance. Each Lady in turn dances with the Prince, hoping he will choose her as a bride. As he is about to choose one of the Stepsisters, the Master of Ceremonies rushes in and announces that there is a new arrival. As Cinderella descends into the ballroom, the Prince falls in love with her at first sight. Though Cinderella is unrecognizable, she avoids her family. The Prince follows her and asks her to dance. They dance all night long, every moment falling deeper and deeper in love with each other.
Swept away by her happiness, Cinderella forgets her Fairy Godmother’s warning. Suddenly, she hears the chimes at midnight and everything is frozen in time. Her Fairy Godmother appears to warn her to go. As the clock strikes twelve, her clothes change back to rags and she runs from the palace. As midnight passes, the spell is broken. Everyone awakens and Cinderella is nowhere to be found. All that is left of the mystery guest is a single slipper. The Prince vows to find her, for no other love will do. The search begins for the woman who fits the slipper, the woman who will be his bride.
The Prince, accompanied by his Master of Ceremonies, goes door-to-door in search of this elusive creature. The Prince declares that he will never give up his search, no matter how long it may take nor how far he must travel. He vows, “I would give up ten years of my life to cry for one hour at her feet.” Hearing this true love vow, the Fairy Godmother guides the Prince to Cinderella’s door.
Recognizing the Prince, the household breaks into an uproar. Though the Stepsisters know that the slipper won’t fit either of them, they still forcefully try. The Fairy Godmother appears to Cinderella and asks her if she loves the Prince. Cinderella declares that there has been no love before, nor will there ever be a love to match her love for him. While her family scoffs and laughs, she presents her foot and, to everyone’s amazement, the shoe fits perfectly.
The Prince falls at her feet to declare his love for her and asks that she become his bride. She immediately accepts. Because of her goodness, Cinderella forgives her family. She thanks her Fairy Godmother and goes on to live her life happily ever after.
Courtney Holland – Friday, May 12 at 8:00pm and Saturday, May 13 at 2:00pm
Chelsea Marie Renner – Saturday, May 13 at 8:00pm and Sunday, May 14 at 3:00pm
Morgan Stillman – Friday, May 12 at 8:00pm and Saturday, May 13 at 2:00pm
James Fuller – Saturday, May 13 at 8:00pm and Sunday, May 14 at 3:00pm
Isabella Phillips Lynch* / Grace Morton**,
Katherine Deuitch* / Elise Pekarek**
MASTER OF CEREMONIES
Ian J. Bethany
August Gupton* / Ethan Fallon**
Alyssa Manguiat* / Dianetzy Rojas**,
Reagan Arenz, Amelia Bednar, Daniela Bennetti, Lexi Eicher, Meg Kataoka, Ashley Krystkowiak, Murray McCormack, Nya Mitchell, Alexandra Owens, Sahel Flora Pascual, Isabella Salas, Daisy Ye
Asa Sundstrom* / Emma Roth**,
Lulu West* / Ming Boebel**
FRIENDS OF THE PRINCE
Colin Canavan, Arnaldo Hernandez, Paul Martin, Leighton Taylor
Vivien Farrell, Isabella Phillips Lynch* / Grace Morton**, Sahel Flora Pascual, Alyssa Manguiat* / Dianetzy Rojas**
Daniela Bennetti, Lexi Eicher, Meg Kataoka, Murray McCormack, Isabella Salas, Daisy Ye
Andrew Buckley, Edward Carr, Daniel Estrada, Rhys Hudson, Jackson Rankin, Julius Taiber
*May 12 at 8:00pm & May 13 @ 2:00pm
**May 13 at 8:00pm & May 14 at 3:00pm
Casting is subject to change
Cinderella made its premiere at Bass Concert Hall in Austin in 1997, as the first full-length ballet conceptualized and choreographed by Stephen Mills, Ballet Austin’s Sarah & Ernest Butler Family Fund Artistic Director. Creating a compilation from select works by Russian composer Alexander Glazunov (1865-1936), Mills brings his timeless story to life with an enchanting musical score that departs from Sergei Prokofiev’s 1944 score often associated with the fairytale ballet. Excerpts selected by Mills come from a variety of Glazunov’s most popular compositions, including Raymonda, Scenes de Ballet, Concert Waltz No. 2, and The Seasons.