Romance run awry is at the heart of this playful ballet by Artistic Director Stephen Mills, based on William Shakespeare’s famous comedy of the same name. In 2002, Ballet Austin premiered this delightful work at The Kennedy Center who commissioned Mills to create it for their Youth and Family Public Performance Series. This family-friendly production, perfect for all ages, showcases Mills’ choreographic agility and his dancers’ comedic talent. Join us Mother’s Day weekend for a trip into an enchanted forest, where mortal and magical beings get mixed up looking for love, while delivering loads of laughs!
CHOREOGRAPHY: Stephen Mills
MUSIC: Felix Mendelssohn
LIVE ACCOMPANIMENT: Austin Symphony Orchestra
A Midsummer Night's Dream runs one hour and 50 minutes, including one, 20-minute intermission, and is recommended for all ages.
Known for his innovative and collaborative choreographic projects, Stephen Mills has dance works in the repertoires of companies across the United States and around the world. From his inaugural season as Artistic Director in 2000, Mills attracted attention from around the United States with his world-premiere production of Hamlet, hailed by Dance Magazine as "...sleek and sophisticated."
The Washington Post recognized Ballet Austin as "one of the nation's best-kept ballet secrets" in 2004 after Ballet Austin performed Mills' world premiere of The Taming of the Shrew, commissioned by and performed at the John F. Kennedy Center for the Performing Arts in Washington, D.C. The Company was first invited to perform at the Kennedy Center in January of 2002 with Mills' production of A Midsummer Night's Dream and at The Joyce Theater (NYC) in 2004. In 2005 after two years of extensive research, Mills led a community-wide human rights collaboration that culminated in the world premiere work Light / The Holocaust & Humanity Project. In 2006, Light / The Holocaust & Humanity Project was awarded the Audrey & Raymond Maislin Humanitarian Award by the Anti Defamation League. In September of 2013, the work made its international debut with a tour in three cities across Israel. In October 2016, Mills led his company of dancers through another "first," a 16-city tour of the People's Republic of China, which included performances in China's largest city, Shanghai, an international economic and cultural center.
In 1998, Mills was the choreographer chosen to represent the United States through his work, Ashes, at Les Rencontres Chorégraphiques Internationales de Seine-Saint-Denis in Paris. Most recently, Mills was awarded the Steinberg Award, the top honor at Le Festival des Arts de Saint-Sauveur International Choreographic Competition for One / the body's grace.
Mills has created more than 40 works for companies in the United States and abroad. His ballets are in the repertoires of such companies as Hong Kong Ballet, Ballet Augsburg, American Ballet Theatre Studio Company, Atlanta Ballet, Milwaukee Ballet, Washington Ballet, Cuballet in Havana, Cuba, BalletMet Columbus, Dayton Ballet, Sarasota Ballet, Ballet Pacifica, Dallas Black Dance Theater, Louisville Ballet, Nashville Ballet, Colorado Ballet, Texas Ballet Theater, The Sacramento Ballet and Dance Kaleidoscope. He has worked in collaboration with such luminaries as the eight-time Grammy Award-winning band, Asleep at the Wheel, Shawn Colvin and internationally renowned flamenco artist José Greco II.
As a dancer Mills performed with a wide variety of companies such as the world-renowned Harkness Ballet and The American Dance Machine under the direction of Lee Theodore. He also performed with the Cincinnati Ballet and The Indianapolis Ballet Theatre before becoming a part of Ballet Austin. Mills has danced principal roles in the Balanchine repertoire, as well as works by Choo-San Goh, John Butler, Ohad Naharin, Vicente Nebrada, Domy Reiter-Soffer and Mark Dendy.
In addition to his work as a choreographer, Mills is a master teacher committed to developing dancers. He has been invited as guest faculty at many pre-professional academies including Jacob's Pillow, Goucher College, Booker T. Washington High School for the Performing Arts in Dallas, The Virginia School of the Arts, The New Orleans Center for the Creative Arts, Stephens College and Point Park University in Pittsburgh. Mills is a member of the national dance service organization Dance/USA and has served both in leadership roles and on the board of trustees for the organization.
BAII: 2017–2018 | Joined Company: 2018
Max began dancing under Risa Kaplowitz at Princeton Dance and Theater Studio in Princeton, N.J. He completed his ballet education at American Ballet Theatre’s JKO School (NYC) with a full scholarship, first under Franco De Vita and then Cynthia Harvey. During his time at JKO, he studied with Ethan Steifel, Fabrice Herrault, Karin Averty, Raymond Lukens, Richard and Melissa Bowman, and other master ballet teachers. In 2016 Max was awarded the prestigious Northern Trust Scholarship. Max joined Ballet Austin II in 2017 and was promoted to company dancer the following year. His pre-professional dance credits include the lead in Paquita by Marius Petipa, as well as the principal roles in La Source and Valse Fantaisie, both choreographed by George Balanchine. During his first year in the company, Max performed lead Russian in The Nutcracker, Peasant Pas de Deux in Giselle, and was featured in Annabelle Lopez Ochoa’s Symbiotic Twin, Requiem for a Rose, and Sombrerísimo.
BAII: 2008–2009 | Joined Company: 2009
Ian is from Long Island, N.Y. He started dancing as a tap and jazz student at Robert Mann Dance Centre, continuing at Tap to Pointe Dance Center, the Frank Ohman School of Ballet, the School of Ballet Chicago, Ballet Academy East, and Pacific Northwest Ballet School. Ian has been featured in Balanchine’s Agon and Allegro Brillante, Lar Lubovitch's Dvořák Serenade, Stephen Mills’ Grimm Tales, The Magic Flute, The Nutcracker, and Cinderella (Master of Ceremonies), in The Sleeping Beauty (Bluebird Pas de Deux), in Septime Webre's ALICE (in Wonderland) (White Rabbit), in Paul Vasterling's Peter Pan (Peter), and in works by Annabelle Lopez Ochoa, Nicolo Fonte, Gabrielle Lamb, and Bradley Shelver. He has performed with ZACH Theatre, Performa/Dance, Zilker Theatre Productions, the Austin Opera, and does numerous juggling gigs around Austin. Ian has choreographed and taught for the Ballet Austin Academy, the ZACH Theatre Pre-Professional Company, and for other schools across Texas.
Joined Company: 2005
Orlando began his ballet training with Lawrence and Sarma Rosenberg at the Anaheim Ballet School. At 16 he began training at the School of American Ballet (SAB) where he received a full-tuition merit scholarship and was sponsored by Debbie Allen. Orlando furthered his ballet training with Miami City Ballet School. In 2001, he became an Arpino Apprentice with Joffrey Ballet of Chicago and in 2003 he joined as a full company member. At Joffrey, Orlando played the part of apprentice in Robert Altman's The Company. At Ballet Austin Orlando has danced lead roles in The Nutcracker, Cult of Color: Call to Color, Truth & Beauty: The Bach Project, Romeo & Juliet, Nine Sinatra Songs, silence within silence and The Magic Flute. He has worked with such choreographers as Stephen Mills, Twyla Tharp, KT Nelson, Dominic Walsh, Nicolo Fonte, Sonya Delwaide, Toni Bravo, Michelle Thompson, Reginald Harris, and Annabelle Lopez Ochoa. Orlando has also danced for Molly Lynch’s National Choreographers Initiative in 2012 and 2013. There he worked with Darrell Moultrie, Melissa Barak, Val Caniparoli, Frank Chavez, Kitty McNamee, and Susan McCullough. Orlando also teaches dance at Ballet Austin Academy, The Butler Center for Dance & Fitness, Saint Mary’s Hall, Austin City Ballet, and Alamo Heights High School.
BA Trainee: 2006–2007 | BAII: 2007–2008 | JoinedCompany: 2008
Growing up in Pittsburgh, Penn., Carr received his first 12 years of ballet training at the Pittsburgh Ballet Theater School. After graduating high school he continued his training at Canada’s National Ballet School in Toronto. Since joining Ballet Austin he has been featured in Stephen Mills’ Light/The Holocaust and Humanity Project, premiered as The Beast in Mills' Belle REDUX / A Tale of Beauty & the Beast, and has been featured in works by George Balanchine, Twyla Tharp, Lar Lubovitch, Pam Tanowitz, Pontus Lidberg, Nicolo Fonte, and Jennifer Hart.
Carr was featured in visual artist Rodney McMillian’s film Untitled (neighbors), part of McMillian’s first solo exhibition Against a Civic Death at The Contemporary Austin. He also serves as associate director to local contemporary dance company Performa/Dance, founded in 2014 by Carr and local choreographer Jennifer Hart, which continues to produce dance for the Austin scene and has been recognized with several Austin Critics Table Awards.
BAII: 2016–2018 | Joined Company: 2018
Katherine is originally from St. Paul, Minnesota. She began her pre-professional training at Minnesota Dance Theatre under Lise Houlton and went on to apprentice with MDT’s professional company in 2013. In 2014, she was invited to attend the School of American Ballet. While at SAB, she worked with choreographers, Peter Walker and Dana Genshaft, and participated in the annual Workshop performances of George Balanchine’s Four Temperaments and Jerome Robbin’s Fanfare. She went on to spend two seasons as an apprentice with Ballet Austin, having the opportunity to dance in works by Stephen Mills, Jennifer Hart, Michelle Thompson, Thang Dao, and Septime Webre. Since joining the company, she was featured in Annabelle Lopez Ochoa’s Requiem for a Rose as well as Symbiotic Twin. Katherine has also performed with Performa/Dance for two seasons in Jennifer Hart’s Fellow Travelers and Murmuration.
BAII: 2015–2017 | Joined Company: 2017
Born in Frankfurt, Germany, and raised in Atlanta, Ga, Constance trained until age 17 under Gigi Hyatt and Janusz Mazon. She was then invited to study year-round at the School of American Ballet, where she was thrilled to complete her final years of training. She performed George Balanchine's Serenade, Western Symphony, and Valse Fantaisie during the school's Workshop performances featured in a 2015 PBS Live from Lincoln Center national broadcast. She was repeatedly invited to dance in the annual New York Choreographic Institute and to participate as both dancer and choreographer in SAB's Student Choreographic Workshop. At Ballet Austin she has particularly enjoyed dancing the principal couple in Stephen Mills’ Touch, George Balanchine's Allegro Brillante, and as the soloist in The Nutcracker’s Waltz of the Flowers. She was also honored to join the company in their month-long tour of China in 2016.
BAII: 2016–2017 | Joined Company: 2017
Hailey is from Lafayette, La., where she began her ballet training. She has attended the summer programs of American Ballet Theatre (NYC), Houston Ballet, Pacific Northwest Ballet, Boston Ballet, The School of American Ballet (SAB) and Ballet Austin. At 15, Hailey was awarded a full scholarship to study year-round at SAB where she then trained for three years. While at SAB Hailey danced in many ballets choreographed by George Balanchine and Jerome Robbins. Hailey joined Ballet Austin II in 2016 and was promoted to the main company in 2017. Since joining the company Hailey has performed in works by Justin Peck, Pam Tanowitz, Lar Lubovich, and Stephen Mills. Hailey has also danced with Austin-based company Performa/Dance under the direction of Jennifer Hart. Hailey is a certified Pilates instructor and teaches at the Butler Center for Dance & Fitness at Ballet Austin. She would like to thank her parents for their continued support.
Joined Company: 2010
James Fuller is from Irvine, Calif., and was trained at Ballet Pacifica Conservatory. In 2004, James received a Youth America Grand Prix scholarship to study at the Boston Ballet School where he completed his final year of training. James apprenticed with Oregon Ballet Theatre for a year before enrolling at Harvard University. At Harvard, James performed works by Paul Taylor, Martha Graham, George Balanchine, and Alvin Ailey. In the summers, James studied modern dance with the Paul Taylor Dance Company, American Dance Festival, and Beijing LDTX. James directed the Harvard Ballet Company in 2009 and graduated in 2010 with a Bachelor of the Arts in Philosophy, a secondary field in dramatic arts, and a language citation in Urdu-Hindi. Since joining Ballet Austin, James has danced Tamino in The Magic Flute, Ivan in The Firebird, Albrecht in Giselle, and the final duet in Stephen Mill's Four Mortal Men.
BAII: 2013–2014 | Joined Company: 2014
An Austinite by birth, Oliver was raised in southern Vermont and received his early training at the Brattleboro School of Dance and Burklyn Ballet Theatre. He graduated from the SUNY Purchase Conservatory of Dance where he danced works by George Balanchine, Merce Cunningham, Nicolo Fonte, John Heginbotham, and Gabrielle Lamb. After graduation, Oliver joined the Lar Lubovitch Dance Company with whom he continued to perform until 2016. At Ballet Austin, Oliver has been featured in works by Stephen Mills, Lar Lubovitch, Pontus Lidberg, Pam Tanowitz, Annabelle Lopez Ochoa, Septime Webre, and Nelly van Bommel. Outside of Ballet Austin, he has performed in the Galas of such festivals as Jacob’s Pillow (2019 - Symbiotic Twin by Annabelle Lopez Ochoa) and Danza in Arte a Pietrasanta (2017 - We Circle the Night by Thang Dao). Oliver has also been featured in works by artists Rodney McMillian (2018 - Against a Civic Death) and Jack Ferver (2019 - Mon Ma Mes).
Joined Company: 2016
Originally from Toronto, Canada, Courtney began her professional training at age 11 at Canada’s National Ballet School and graduated in 2010. She continued training at the Dance Theatre of Harlem. In 2012, she was a finalist at Valentina Kozlova International Ballet Competition. She received a scholarship to the Banff Centre’s Professional Dance Program and appeared as a guest artist in the Arts Summer Festival performing George Balanchine’s Concerto Barocco and Christopher Wheeldon’s Souvenirs. In 2013, Courtney joined Charlotte Ballet II where she performed works by George Balanchine, Dwight Rhoden, Sasha Janes, Mark Diamond, and Jean-Pierre Bonnefoux, and was featured in The Nutcracker and Cinderella (The Autumn Fairy), directed by Kennedy Center Honoree Patricia McBride. At Ballet Austin, Courtney has danced works by Stephen Mills, Septime Webre, Pam Tanowitz and Annabelle Lopez Ochoa. She enjoyed performing Justin Peck’s In Creases, Annabelle Lopez Ochoa’s A deux and was featured in Paul Vasterling’s Peter Pan as ‘Tinker Belle.’
BAII: 2015–2017 | Joined Company: 2017
Paul began his ballet and dance training in West Des Moines, Iowa, under the tutelage of Hank and Beth Adams. With their guidance, Paul earned scholarships to notable summer intensive programs, including Kansas City Ballet School, Nutmeg Conservatory, San Francisco Ballet School and Ballet Austin. In 2014, Paul received a scholarship to Kansas City Ballet School where he advanced his training, culminating in a performance opportunity with Kansas City Ballet II. As a Ballet Austin II apprentice, Paul performed lead roles, such as The Judge in Nick Kepley’s Season of Innocence and The Prince in Nelly Van Bommel’s Snow White. Additionally, he’s performed in Jennifer Hart’s Spaces and Stephen Mills’ Touch and The Nutcracker.
BAII: 2012–2013 | Joined Company: 2013
Grace is from Seattle, Wash., She received her early training at Dance Fremont under the direction of Vivian Little and Mary Reardon. In 2010 she continued her study under Damara Bennett in Oregon Ballet Theater's professional division. As a member of Ballet Austin II she enjoyed performing featured roles in Stephen Mills' Luminaria, Jennifer Hart's Wavemakers, and Nelly van Bommel's Snow White. After joining the company, Grace has danced lead roles in Mills' The Nutcracker (Snow Queen, French), One/the body's grace, and CARBON53. She has also appeared in works by George Balanchine, James Gregg, Jennifer Hart, Gabriel Lamb, Pontus Lidberg, Annabelle Lopez Ochoa, and Pam Tanowitz. Grace has danced for project-based company Performa/Dance and appeared in Zilker Theatre Production's presentation of Oklahoma! as Dream Laurie. She is also a teacher for the Ballet Austin Academy.
BAII: 2013–2015 | Joined Company: 2015
Originally from Roseville, Calif., Kevin began his dance training at The Hawkins School of Performing Arts. He then went on to train at the San Francisco Ballet School for six years before moving to Austin. At Ballet Austin Kevin has enjoyed dancing roles such as Mercutio in Stephen Mills' Romeo & Juliet, the Dodo Bird in Septime Webre's ALICE (in Wonderland), and being a part of new works like Exit Wounds and Grimm Tales by Stephen Mills. He has also performed in works by Lar Lubovitch, Pam Tanowitz, Pontus Lidberg, and Justin Peck. While in Austin Kevin has also danced in productions with Performa/Dance.
BAII: 2008–2010 | Joined Company: 2010
Preston Andrew Patterson was born in Atlanta, Ga., and began his dance studies at the Ballethnic Academy of Dance. At 17 he attended the School of American Ballet and later the National Ballet School of Canada. As a member of Ballet Austin Preston Patterson has had the privilege of performing in Stephen Mills’ Wolftanzt, Light / The Holocaust & Humanity Project, BELLE REDUX / A Tale of Beauty & The Beast, George Balanchine’s Allegro Brillante, the Peasant Pas de Deux from Giselle, and the Blue Bird pas de deux in Marius Petipa’s The Sleeping Beauty.
BA Trainee: 2007–2009 | BAII: 2009–2011 | Joined Company: 2011
Elise is originally from the Chicago area and began her early ballet training with the Judith Svalander School of Ballet under the direction of Judith Svalander and Greg Begley. Since joining Ballet Austin’s main company, Elise has been honored to have been featured in several works by Stephen Mills, Annabelle Lopez Ochoa, George Balanchine, Lar Lubovitch, Pam Tanowitz, and Septime Webre. She has participated as a dancer in the National Choreographer's Initiative in 2017, 2018, and 2019. Elise has also performed in Austin-based projects such as Michelle Thompson's Illusory Impressions as well as with Performa/Dance, directed by Jennifer Hart and Edward Carr. In 2017, she performed Thang Dao's award-winning duet, We Circle The Night, for the Danza in Arte a Pietrasanta festival in Pietrasanta, Italy. Elise also teaches classes for Ballet Austin's Pilates Center.
BA Trainee: 2005–2007 | BAII: 2007–2008 | Joined Company: 2008
Originally from Bozeman, Mont., Chelsea received her early training from Ann Bates of Montana Ballet and Campbell Midgley of Queen City Ballet. Since joining Ballet Austin's main company, Chelsea has enjoyed performing principal roles in Stephen Mills' The Nutcracker as the Sugar Plum Fairy and Paul Vasterling’s Peter Pan as Wendy. She has also enjoyed performing in Mills’ Light / The Holocaust & Humanity Project, Kai, Hamlet, and as Rosalyn in Romeo & Juliet, along with George Balanchine's Agon, Nicolo Fonte's Lasting Imprint, and works by Nelly van Bommel, Gregory Dolbashian, Gabrielle Lamb, Jimmy Orrante, and Pam Tanowitz. Chelsea has toured with the company domestically as well as internationally. Chelsea was the first recipient of the Sarah and Ernest Butler Scholarship. Chelsea also loves spending her time with her son, Landon, her husband, Aaron, and running her skincare business with Rodan & Fields. Chelsea would like to thank her husband, parents, and grandparents for their endless love and support.
Joined Company: 2019
Leanna Rinaldi began taking dance classes at age 3. She trained at Franklin School of Performing Arts until her family relocated to Frisco, Texas. She continued her training at Chamberlain Performing Arts under the direction of Kathy Chamberlain. She attended summer intensives at the School of American Ballet and Miami City Ballet School. She received a scholarship for the year-round program at Miami City Ballet School in 2011. She was hired in 2013 and spent six seasons with Miami City Ballet. She’s danced a diverse repertoire of works including George Balanchine’s La Source, Emeralds, Rubies, Diamonds, Serenade, Swan Lake, Raymonda Variations, and Who Cares? among others. She was also featured in Jerome Robbins’ West Side Story, danced Justin Peck’s Year of the Rabbit and Heatscape; Nacho Duato’s Jardi Tancat; Alexei Ratmansky’s Concerto DSCH, Fairy’s Kiss, and Symphonic Dances; Paul Taylor’s Company B and Mercuric Tidings; and Twyla Tharp’s Sweet Fields.
Joined Company: 2002
Originally from the Chicago area, Ashley received her training from Sherry Moray. She then danced with Alabama Ballet under the direction of Wes Chapman and Roger Van Fleteren. Since joining Ballet Austin, Ashley has especially enjoyed dancing the roles of Giselle, Odette/Odile, Juliet, and Ophelia in Mills’ Hamlet. Ashley originated the roles of Pamina in Mills’ The Magic Flute, and, most recently, Snow White in Mills’ Grimm Tales. She has also danced the principal pas de deux in Balanchine’s Agon, Lar Lubovitch’s Dvořák Serenade, and Pontus Lidberg’s Stream. Ashley has toured internationally with Ballet Austin and made guest appearances with National Choreographer’s Initiative, Dominic Walsh Dance Theater, and Performa/Dance. She is an alumna of St. Edward's University, and a yoga instructor with a specialization in Restorative and Ayurveda. Ashley is also the proud mama of a very energetic 2-year-old boy. She would like to thank her husband, Joshua, and her family for their generous support.
Joined Company: 2017
Morgan Stillman began his ballet training with Project Ballet in Fort Wayne, Ind., and attended Jacobs School of Music at Indiana University. In 2014 he joined Nevada Ballet Theatre and performed principal and soloist roles in works by James Canfield and George Balanchine. At Ballet Austin Morgan has danced principal roles in Mills’ Romeo & Juliet, The Nutcracker, The Firebird, and Giselle, and has been featured in works by Justin Peck and Annabelle Lopez Ochoa.
BA Trainee: 2007–2008 | BAII: 2008–2010 | Joined Company: 2010
Brittany Strickland is from Winston-Salem, N.C., where she attended the North Carolina School of the Arts from 2001-2007. There she trained under Melissa Hayden, Nina Danilova, and Kee-Juan Han. She continued her education as a Ballet Austin trainee under a full scholarship and then spent two years with Ballet Austin II. Since joining the main company, Brittany has enjoyed dancing featured roles in Justin Peck’s In Creases, Balanchine’s Agon, Annabelle Lopez Ochoa’s Requiem for a Rose, Stephen Mills’ Wolftantz and in works by Pam Tanowitz, Lar Lubovitch, Gabrielle Lamb, and Jimmy Orrante. Brittany has performed roles in classical ballets such as Peasant Pas in Giselle, Dew Drop and Arabian in The Nutcracker, and Big Swans in Swan Lake. Brittany has her Bachelor's Degree from St. Edward’s University and teaches for Ballet Austin’s Academy.
Butler Fellow: 2017-18 | BAII: 2018-19 | Joined Company 2019
Originally born in Stavropol, Russia, Maxim was raised in an orphanage until age 5 when he was adopted by two loving and caring parents. He began his training at the Marin Dance Theater in 2008 under the direction of Margaret Swarthout. In 2014 Maxim began studying at the San Francisco Ballet School with a full scholarship under Patrick Armand, where he danced the lead roles in Balanchine's Serenade and in John Neumeier's Yondering. He also got the chance to perform in San Francisco Ballet's performance tour of Cinderella in Washington D.C., and danced character roles in Swan Lake and The Nutcracker.
BA Trainee: 2001–2003 | BAII: 2003–2004 | Joined Company: 2004
Jaime is originally from Bucks County, Penn., where she received most of her training from Maxim Ponomarenko, Oleg Briansky, and Mireille Briane. She attended summer programs at CPYB, Boston Ballet, and Ballet Austin. She continued training with Truman Finney in Ballet Austin's Trainee program and as a member of Ballet Austin II. Since joining the company, Witts has performed works by numerous choreographers including Pontus Lidberg, Pam Tanowitz, KT Nelson, Nicolo Fonte, Loni Landon, Jennifer Hart, Annabelle Lopez Ochoa, and Gabrielle Lamb. She’s performed principal roles in George Balanchine's Allegro Brillante and Agon. She has also performed the title roles in The Firebird and Cinderella, Lilac Fairy in The Sleeping Beauty and Kate in The Taming of the Shrew, for which she earned her second Austin Critics Table Award. Most recently she made her premiere as Ophelia in Stephen Mills’ Hamlet. Jaime has also had the honor of performing the role of The Survivor in Mills' Light / The Holocaust & Humanity Project in Austin and on tour in Miami and Israel.
Before the performance begins, please remind children not to talk or ask questions during the performance and to remain seated without touching or kicking the seat in front of them. Remember, when the lights dim and the music which is part of the performance begins, it is quiet time.
Is My Child Ready to Attend?
Parents know best if their child is able to quietly enjoy a full-length performance. The following questions will help you decide if your child is ready:
Please note that there are no refunds, credits, or exchanges if you must leave the theater because your child was unhappy or disruptive.
Water and beverages purchased from the bar with a lid are allowed inside the theater during the performance. Food is not allowed inside the auditorium. Please be courteous of other guests enjoying the performance.
Tickets are revocable and may be taken up at any time for any reason.
Ballet Austin does not enforce a formal dress code for performances; however, we are often asked by guests for suggested attire.
While our audience members tend to dress more formally for evening shows, "business casual" attire, including dresses/sundresses, blouses, skirts, dress pants, nice polo shirts, button-up shirts, sports coats and/or suits are always welcome at evening and matinee performances held at the Long Center and at our own AustinVentures StudioTheater at Ballet Austin.
Both performance venues are air-conditioned, and if you typically need a sweater, shawl or jacket in places like restaurants or movie theaters, it's a good idea to bring one with you to the ballet.
If you have questions or need advice on what to wear, contact Audience Services at 512.476.2163, weekdays from noon. to 6 p.m. CT. We're happy of offer guidance!
Ballet Austin's Audience Services Team is available via phone at 512.476.2163, Monday through Friday, noon. to 6 p.m. CT (available weekdays except major holidays) or via email at email@example.com. Call us if you need help purchasing season or individual performance tickets and if you need your tickets replaced or reprinted. We can also assist you with online ticket purchases, give you directions to the Butler Dance Education Center (501 W. 3rd Street) and our performance venues, and share tips on parking, special events, and attractions near our downtown studios.
If you need to reach the Audience Services Team during the weekends, please email us at firstname.lastname@example.org.
During performance dates, Audience Services Team members will be available in person at the Long Center Box Office 90 minutes before the performance begins. Audience Services Team members will also be available in person for performances scheduled in our Austin/Ventures Studio/Theater (located in the Butler Dance Education Center | 501 W. 3rd Street) 90 minutes before show time.
Please note: Ballet Austin does not operate a walk-up box office location in the Butler Dance Education Center. Give us a call at 512.476.2163 any time you need personal assistance!
Tickets may be purchased through Ballet Austin's official website, at my.balletaustin.org, 24 hours a day. Please note that online ticket sales for individual performances will close two hours prior to show time on the day of the performance. Audience members interested in purchasing tickets within two hours of show time may do so at the Long Center Box Office (701 W. Riverside Drive, Austin, TX 78704), which opens 90 minutes prior curtain. Tickets are subject to availability.
Accessible seating is available at both the Long Center and the Butler Dance Education Center. Elevators at the Long Center can be accessed in the Rollins Lobby on the ground level and service all levels.
For more information regarding these accommodations or to purchase tickets in accessible seating locations, please contact the Ballet Austin box office at 512.476.2163.
Ballet Austin provides audio description services during one performance during each scheduled production at the Long Center. Audio description services will be provided at these 2019/20 performances:
Friday, Sept. 20, at 8 p.m.
Sunday, Dec. 15, at 2 p.m.
Sunday, Feb. 16, at 3 p.m.
THE AUSTIN MUSIC PROJECT
Sunday, March 29, at 3 p.m.
A MIDSUMMER NIGHT'S DREAM
Mother's Day, Sunday, May 10, at 3 p.m.
For additional information about audio description services, contact Audience Services, weekdays from noon to 6 pm. CT at 512.476.2163 or email@example.com.
College students can purchase up to two (2) tickets with a valid college ID for $15 per ticket (Parterre, Mezzanine or Balcony seating as available) on the day of the performance at the Long Center box office. The box office will open 90 minutes prior to curtain at the Long Center. College Student Rush tickets will be offered based on availability.
Ballet Austin offers the following discounts:
Please note these discounts are not applicable to THE NUTCRACKER or Ballet Austin II performances at AustinVentures StudioTheater at Ballet Austin and are only available for purchase in-person or by calling the Ballet Austin Box Office at 512.476.2163.
Lap seating is available for children under the age of 3 free of charge. A lap seat ticket is required for entry and may be picked up at the box office prior to the performance.
Please be courteous of other guests and step outside the theater into the lobby if your child is crying or being disruptive.
Ballet Austin Season Ticket Holders may exchange tickets for a different performance date or a different production at no cost. Free ticket exchanges are offered only to Season Ticket Holders. There is no guarantee that tickets can be exchanged for the exact seats purchased.
Please contact Ballet Austin's Audience Services Team at 512.476.2163 no later than 24 hours prior to the originally scheduled performance to exchange your tickets.
For non-season ticket holders, a $5 exchange fee per order will be applied to ALL ticket exchanges.
It happens to the best of us. We buy tickets to a show, forget to check the date, and show up for the wrong performance.
If it happens to you, we're happy to sell you tickets to a subsequent performance of the same production at a 50-percent discount based on seating availability.
If you have missed the performance for which you purchased tickets we cannot offer you complimentary tickets to another show.
We can exchange* tickets for performances that have not yet taken place because those tickets still have value.
As always, be sure to check your tickets when you receive them and make note of your performance date and time so you arrive on time for the show.
*There is a $5 per order exchange fee for non-season ticket holders.
Please be courteous of other guests enjoying the performance.
Tickets are revocable licenses that may be taken up at any time for any reason upon refunding the purchase price.
On this level, you’ll find:
Elevators are conveniently located inside Rollins Lobby. The Rollins Lobby entrance is located on the ground, across from the Long Center Box Office. Audience members with mobility issues may request an usher's assistance to enter the building and access their seats.
On this level, you’ll find:
Note: Access to Encore, Ballet Austin's post-performance Q&A session in Dell Hall, is available via the Orchestra Level (all entrances).
On this level you'll find:
On this level you'll find: