Before you head to the theater, be sure to locate your performance tickets and confirm the date and time of your show! Depending on the show date and time, we may not be able to assist you with replacement tickets if you come to the wrong performance.
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.
Contact Ballet Austin's Audience Services Team if you need help purchasing extra tickets or exchanging your tickets for another performance. Our team members are available via phone at 512.476.2163, weekdays (except major holidays) from noon to 6 p.m. CT. Email us anytime at firstname.lastname@example.org. (NOTE: There is a $5/order exchange fee for non-season ticket holders.)
During performance weekends, Audiences Services will be available to assist you via phone from noon until showtime (Saturdays until 7:30 p.m. and Sundays until 2 p.m.) at 512.476.2163.
On performance dates, Audience Services will be available in person at the Long Center Box Office 90 minutes before the performance begins and at our Austin/Ventures Studio/Theater (located in the Butler Dance Education Center | 501 W. 3rd Street) 90 minutes before showtime for productions scheduled there.
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!
Please have your PRINT-AT-HOME tickets printed and ready to present to ushers when you arrive at the Long Center. You may also present your tickets directly from your mobile device by displaying your print-at-home tickets on the screen of your phone.
If you are picking up tickets at WILL CALL, please arrive at least 30 minutes prior to showtime to pick up your tickets from the venue box office, located on the Ground Level, adjacent to the main entrances.
Complimentary LAP SEAT tickets are available for children ages 3 and younger. A lap seat ticket is required for entry and may be picked up at the box office prior to the performance.
If the tickets you purchased are higher in price than $99--or the prices of tickets listed for sale on the Ballet Austin website (balletaustin.org), you purchased your RESTLESS HEARTS tickets from a reseller and paid more than face value for them. If this is the case, be sure to check the e-Tickets you received for the following:
1. Section (e.g. Orchestra, Parterre, Lower Balcony)
3. Seat number(s)
If you believe your tickets are from a reseller, bring to the theater with you your e-Tickets, sales receipt, and any communications you received from the seller. This will help us locate your seating information if any issues arise with the validity of your tickets when they're scanned at the door.
If the tickets you purchased are not valid, and we cannot locate them in our ticketing system, we can sell you replacement tickets for the performance you originally planned to attend, based on availability.
We want you to have a wonderful time, with a chance to relax and enjoy all of the fun, pre-show activities we have in store for you. Now is a good time to start planning your trip to the Long Center and where you'll park, so you don't feel rushed getting to the performance. Here are some important tips to help you plan ahead:
TIP 1: ARRIVE EARLY!
The Long Center opens 90 minutes before each performance, as does our box office. You can enjoy many family-friendly activities at the venue right until showtime. When you arrive early, traffic is typically lighter, and parking garage space is plentiful. Nearby parking garages, including the City-owned Palmer Events Center Garage, which is located just east of the Long Center, start to fill up 30 minutes before showtime, so arrive early and skip the last-minute parking stress.
TIP 2: CONSIDER ONE TEXAS CENTER GARAGE IF THE PALMER EVENT CENTER GARAGE ADJACENT THE LONG CENTER IS FULL
Located off of Haywood Avenue near the southeast corner of S. 1st Street & Barton Springs Road, this garage is only a four-minute walk to the Long Center. The price is $8 per vehicle ($10 for special events) for the garage. (Parking in the surface lot near the garage costs more than $8.) You can avoid the traffic--and traffic circle--on Riverside Drive by parking here. (Garage entrance is pictured left.) NOTE: This garage is not staffed at all times; you must pay via credit card at the automated gate upon exit. Daytime parking rates will apply for matinee performances conducted on weekdays.
TIP 3: VALET PARK EARLY!
If you arrive an hour early, enjoy extra pampering by letting valet parking professionals park your vehicle for you ($18/vehicle). Just step out and head straight to the pre-show fun waiting for you in the lobbies and lounges. Valet Parking will close 15 minutes prior to show time (evenings at 7:45 p.m., matinees at 2:45 p.m.), so valet park only if you are arriving early. If you're running late, skip the valet line and head straight to one of the garages.
The entrance to Valet Parking is off of Riverside Drive as you head east toward the intersection of Riverside Drive and S. 1st Street. The Valet entrance will be the first of two driveways on the right side of the street. The second drive on the right leads to the entrance of the Palmer Garage.
TIP 4: RIDESHARE DROP-OFF/PICK-UP
If using a rideshare service to travel to the Long Center, instruct your driver to drop you off using the LEFT Valet Parking Lane. This is the same area where rideshare drivers can easily pick you up following the performance.
Look for directional signage on Riverside Drive (heading east) as you approach the Long Center's main driveway for additional drop-off/pick-up guidance.
TIP 5: ADA ACCESSIBILITY
The Palmer Events Center garage has 24 accessible/handicapped parking spaces located closest to the elevators on each level.
On this level, you’ll find:
Elevators are conveniently located inside Rollins Lobby. The Rollins Lobby entrance is located on the ground, across from them 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:
On this level you'll find:
NOTE: The Balcony is CLOSED for RESTLESS HEARTS
On this level you'll find:
Join us for the FREE pre-show activities planned before the performance, including our BALLET-O-MANIA! Interactive Discovery Lounge, which features new exhibits every show, FOOTLIGHTS pre-show information sessions, and ENCORE post-show Q&A sessions with the artists. Food and beverage stations are open on every floor serving cocktails, refreshments, and snacks for purchase before the show and during intermissions.
Evening performances begin at 8 p.m. CT.; the Sunday matinee begins at 3 p.m. CT
|6:30 p.m. evenings; 1:30 p.m. matinee||Box Office Opens||Long Center||Located outside on the Ground Level, next to the Grand Staircase.|
|6:30 p.m. evenings; 1:30 p.m. matinee||Doors Open||Long Center||Ground Level entrance through Rollins Lobby. Orchestra Lobby entrance on first floor (Terrace Level) by Grand Staircase.|
|6:30 p.m. evenings; 1:30 p.m. matinee||BALLET-O-MANIA! Interactive Discovery Lounge Opens||Kodosky Lounge | 2nd Floor | Mezzanine Level||Remains open through intermission|
|7 p.m. evenings; 2 p.m. matinee||Footlights | Pre-Show Info Session||2nd Floor | Mezzanine Level | Entrances 23 & 24||Duration is approximately 25 minutes|
|7:15 p.m. evenings; 2:15 p.m. matinee||Kip Winger Autograph Session||West Mezzanine Lounge | 2nd Floor | Mezzanine Level|
|8 p.m. evenings; 3 p.m. matinee||RESTLESS HEARTS ACT 1: RUBIES (20 minutes)||Dell Hall | All Levels||Choreography by George Balanchine; Music by Igor Stravinsky|
|8:20 p.m. evenings; 3:20 p.m. matinee||INTERMISSION (20 minutes)||Long Center | All Levels|
|8:40 p.m. evenings; 3:40 p.m. matinee||RESTLESS HEARTS ACT II: GHOSTS (30 minutes)||Dell Hall | All Levels||Choreography by Christopher Wheeldon; Music by C. F. Kip Winger|
|9:10 p.m. evenings; 4:10 p.m. matinees||Program concludes||Long Center | All Levels|
|Following the performance||ENCORE | Post-show Q&A with artists||1st Floor | Dell Hall | Entrances 11-18||Duration is approximately 15 minutes|
C.F. "Kip" Winger, the Grammy-nominated composer of GHOSTS and star of the rock band, WINGER, will meet fans and sign autographs prior to RESTLESS HEARTS performances at the Long Center.
PRE-SHOW AUTOGRAPH LOCATION:
2nd Floor-West Mezzanine Lobby
Saturday, Feb. 15: 7:15 p.m. to 7:45 p.m.
Sunday, Feb. 16: 2:15 p.m. to 2:45 p.m.
Purchase a copy of Kip Winger's Grammy-nominated classical music album, Conversations with Nijinsky, featuring GHOSTS, the score from Christopher Wheeldon's ballet.
CD PRICE: $15 (includes sales tax)
PRE-SHOW SALES LOCATION:
2nd Floor-West Mezzanine Lobby
Saturday, Feb. 15: 7:15 p.m. to 7:45 p.m.
Sunday, Feb. 16: 2:15 p.m. to 2:45 p.m.
INTERMISSION / POST-SHOW SALES LOCATION:
1st Floor-Orchestra Lobby
During intermission (20 minutes) and following ALL performances
Enhance your experience at the ballet with FOOTLIGHTS, a pre-show lecture and Q&A for all ages.
One hour prior to each performance, Ballet Austin's Community Education staff provide a short, informal, interactive presentation on the historical, creative, and technical elements of the production. See the last-minute preparations unfold in the background as you relax and gain a unique understanding of the performance you are about to see.
Born in St. Petersburg, Russia, George Balanchine (1904-1983) is regarded as the foremost contemporary choreographer in the world of ballet. He came to the United States in late 1933, at the age of 29, accepting the invitation of the young American arts patron Lincoln Kirstein (1907-96), whose great passions included the dream of creating a ballet company in America. At Balanchine's behest, Kirstein was also prepared to support the formation of an American academy of ballet that would eventually rival the long-established schools of Europe.
This was the School of American Ballet, founded in 1934, the first product of the Balanchine-Kirstein collaboration. Several ballet companies directed by the two were created and dissolved in the years that followed, while Balanchine found other outlets for his choreography. Eventually, with a performance on October 11, 1948, the New York City Ballet was born. Balanchine served as its ballet master and principal choreographer from 1948 until his death in 1983.
Balanchine's more than 400 dance works include Serenade (1934), Concerto Barocco (1941), Le Palais de Cristal, later renamed Symphony in C (1947), Orpheus (1948), The Nutcracker (1954), Agon (1957), Symphony in Three Movements (1972), Stravinsky Violin Concerto (1972), Vienna Waltzes (1977), Ballo della Regina (1978), and Mozartiana (1981). His final ballet, a new version of Stravinsky's Variations for Orchestra, was created in 1982.
He also choreographed for films, operas, revues, and musicals. Among his best-known dances for the stage is Slaughter on Tenth Avenue, originally created for Broadway's On Your Toes (1936). The musical was later made into a movie.
A major artistic figure of the 20th century, Balanchine revolutionized the look of classical ballet. Taking classicism as his base, he heightened, quickened, expanded, streamlined, and even inverted the fundamentals of the 400-year-old language of academic dance. This had an inestimable influence on the growth of dance in America. Although at first his style seemed particularly suited to the energy and speed of American dancers, especially those he trained, his ballets are now performed by all the major classical ballet companies throughout the world.
Source: The George Balanchine Trust | balanchine.org
Christopher Wheeldon trained at The Royal Ballet School and joined The Royal Ballet in 1991. In 1993, he joined New York City Ballet (NYCB) and was promoted to soloist in 1998. He was named NYCB’s first resident choreographer in July 2001. Since then, Wheeldon has created and staged productions for many of the world’s major ballet companies. In 2007, Wheeldon founded Morphoses/ The Wheeldon Company and was appointed an associate artist for Sadler’s Wells Theatre in London. Wheeldon now serves as an artistic associate of The Royal Ballet and has created many works for the company, including the full-length Alice’s Adventures in Wonderland and The Winter’s Tale, both of which were co-productions with The National Ballet of Canada. For the Metropolitan Opera, he choreographed Dance of the Hours for Ponchielli’s La Gioconda (2006) and Richard Eyre’s production of Carmen (2012) as well as ballet sequences for the feature film Center Stage (2000) and Sweet Smell of Success on Broadway (2002). Wheeldon created a special excerpt for the Closing Ceremony of the London 2012 Olympics. In April 2016, he was the artistic director for the Fashion Forward exhibition in Paris at La Musee Arts et Decoratif. In 2014, Wheeldon directed and choreographed the musical version of An American in Paris, which had productions in Paris, on Broadway, and in London. 2016 was The Joffrey Ballet’s world premiere of The Nutcracker reimagined by Wheeldon and he directed and choreographed the gala presentation of Lerner & Loewe’s Brigadoon starring Kelli O’Hara and Patrick Wilson at New York City Center in 2017. In 2018, Wheeldon staged two pieces in Tokyo: An American in Paris and Alice’s Adventures in Wonderland while in 2019, Wheeldon’s The Winter’s Tale was performed by The Bolshoi Ballet. 2019 was also the premiere for Corybantic Games at The Royal Ballet and a re-staged version of Cinderella for the English National Ballet at Royal Albert Hall. Among Wheeldon’s awards are a Tony Award® for "Best Choreography" for An American in Paris, an Outer Critics Award for "Best Choreography and Direction" for An American in Paris, the Martin E. Segal Award from Lincoln Center, the American Choreography Award, the Dance Magazine Award, multiple London Critics’ Circle Awards, and the Léonide Massine Prize for new choreography. Wheeldon’s productions of Cinderella and The Winter’s Tale won the Benois de la Danse, and he is an Olivier Award winner for his ballets Aeternum for The Royal Ballet and Polyphonia for Morphoses. In 2016, Wheeldon was named an O.B.E. and was made an Honorary Fellow of American Academy of Arts and Sciences.
Igor Fyodorovich Stravinsky was born in the resort town of Oranienbaum, Russia, on June 17, 1882. He was raised in St. Petersburg by his father, a bass singer named Fyodor, and his mother, Anna, a talented pianist.
Not wanting Stravinsky to follow in their footsteps, his parents persuaded him to study law after he graduated from secondary school. However, after enrolling at the University of Saint Petersburg, Stravinsky became friendly with a classmate named Vladimir Rimsky-Korsakov, whose father, Nikolai, was a celebrated composer. Stravinksy soon became Nikolai Rimsky-Korsakov's pupil, as he was granted the freedom to pursue his artistic career upon the death of his father in 1902.
In 1906, Stravinsky married Catherine Nossenko, with whom he would have four children. In 1909, the founder of the Ballets Russes, Sergei Diaghilev, invited Stravinsky to orchestrate a couple of Chopin works for his ballet Les Sylphides. That, in turn, led to the commission of The Firebird; a collaboration with choreographer Michel Fokine, the ballet turned Stravinsky into a household name upon its premiere in Paris in June 1910. The composer's fame was reinforced with the production of Petrouchka in 1911 and especially with The Rite of Spring, which incited a riot upon its 1913 premiere but was soon hailed for its revolutionary score.
The outbreak of World War I forced Stravinsky to flee Russia with his family and settle in Switzerland. He dealt with his homesickness by using Russian folklore as inspiration for his work, while other compositions from this time exhibited a jazz influence. Two of his best-known works from his Swiss period are Renard, composed between 1915 and 1916, and Les Noces, which he started in 1914 but didn't complete until 1923.
In 1920 Stravinsky moved his family to France, where they lived for the next two decades. During that time, his notable works included a comic opera, Mavra (1922), an opera-oratorio Oedipus Rex (1927) and the "white" ballet Apollon Musagète (1928). He continued his prolific output into the 1930s, composing such works as Symphony of Psalms, Persephone, Jeu de Cartes and Concerto in E-flat.
Following the deaths of his wife and a daughter from tuberculosis, Stravinsky moved to the United States in 1939. He delivered a series of lectures at Harvard University, and in 1940 he married artist and designer Vera de Bossett. That year, Stravinsky also finished one of his most important works, Symphony in C.
Stravinsky was nearly arrested for his rearrangement of the national anthem during a performance in Boston in 1944, but otherwise, he found a welcome reception in his new country. He became a U.S. citizen in 1945 after settling in Los Angeles and went on to enjoy more successes with such operas as The Rake's Progress (1951) and Agon (1957).
After a period of decline in his health, Stravinsky died at his Manhattan apartment on April 6, 1971. While not shocking, his death saddened those who recalled his immense gifts and influence in his field. Said New York Philharmonic musical director Pierre Boulez: "Something radically new, even foreign to Western tradition, had to be found for music to survive, and to enter our contemporary era. The glory of Stravinsky was to have belonged to this extremely gifted generation and to be one of the most creative of them all."
While C.F. "Kip" Winger has arrived at the highest level of achievement possible for an orchestral composer, his professional journey has been utterly unpredictable and remarkable for its diverse musical path. Early in his career, Winger toured as a bass player with rock legend Alice Cooper, moving on to perform and record with Alan Parsons (as the lead singer for Alan Parsons’ Live Project), Roger Daltrey, and Bob Dylan. In 2012, London’s Classic Rock Magazine called Kip Winger “one of the most gifted composers and arrangers in the rock genre” and praised his "compulsion to experiment".
After establishing his hugely successful, eponymous band—which sold millions of albums and charted six Top-40 radio singles—Winger started writing and producing music without limits. It is in Winger's solo work (This Conversation seems like a Dream, Songs from the Ocean Floor, From the Moon to the Sun) that he has been able to exercise the breadth of his talents as a composer.
Winger always knew he had to turn his attention back to his first loves: classical music and ballet. He studied composition with Richard Danielpour, Michael Kurek and Richard Hermann. Since then, his works have been commissioned and performed by the Nashville Symphony Orchestra, the Colorado Symphony Orchestra, the Sun River Music Festival in Oregon, the Tucson Symphony Orchestra, and the Thessaloniki State Symphony Orchestra in Greece. Teacher Michael Kurek has publicly praised Winger for “his great ear and innate musical sensitivity... beautifully crafted phrases and nuance”.
Winger’s score for the ballet GHOSTS, written for string orchestra, piano, and harp, is one of the most celebrated contemporary ballet scores in performance today. Championed by the world-renowned and Tony Award®-winning choreographer Christopher Wheeldon, GHOSTS was part of the San Francisco Ballet’s repertoire from 2010 to 2014, with performances at Manhattan’s Lincoln Center, London’s Sadler’s Wells, and the Théâtre du Châtelet in Paris. In 2010, GHOSTS was nominated for the Isadora Duncan Dance Award for Outstanding Achievement in Music/Sound/Text.
In 2016, Kip recorded Winger: Conversations with Nijinsky with the San Francisco Ballet Orchestra. The album, which included music from GHOSTS, reached No. 1 on Billboard’s Traditional Classical Chart and was nominated for a Grammy in 2017 for "Best Contemporary Classical Composition."
His band, WINGER, continues to record and tour and their last album Better Days Comin entered at No. 85 on the Billboard Rock chart. The band is currently in the process of writing their new album, which is expected to be released in 2020.
Kip Winger also made his theatrical composing debut with Get Jack, A Musical Thriller, which is currently on development stage and was presented in concert in New York in October 2019. He is currently composing his Symphony no.1, commissioned by the Nashville Symphony, which will be premiered in September 2020.
He is also writing a new album with WINGER, expected in 2020, and a new solo record which will be released in 2021.
Kip Winger held onto his rock roots, but lately he's revealed another side: The genre of his new album, Conversations With Nijinsky, is classical. Winger began studying classical music composition seriously in 2003, and eventually began traveling from his home in Nashville to New York to learn from acclaimed composer Richard Danielpour.
His first orchestral piece is called "Ghosts." Through a mutual friend, Winger met noted choreographer Christopher Wheeldon, who eventually set "Ghosts" to dance for the San Francisco Ballet. The company's music director, Martin West, had the idea to record Winger's music after performing it around the world with the San Francisco Ballet Orchestra.
"You know, if you told someone the bass player from Alice Cooper was going to write your piece, you wouldn't necessarily expect sophistication," West says.
But, he says, Winger has keen ears, a good feel for rhythm, and is the first to admit he's learning on the job. West senses that Winger may feel like he has an uphill battle in proving himself in the classical music world.
"I think he does feel like he has something to prove," West adds. "I personally don't think he has anything to prove. For him, I think he would love to be known as a classical composer of note. That's very difficult for anyone to achieve. But as far as I'm concerned, he is and I'm happy to be his advocate and play his music."
-- NPR, "Kip Winger Explores His Classical Side," June 25, 2016
PAS DE DEUX
Grace Morton, Max Azaro
CORPS DE BALLET
Ian J. Bethany, Oliver Greene-Cramer, Paul Martin, Morgan Stillman** | James Fuller*
Constance Doyle, Hailey Dupont, Courtney Holland, Elizabeth-Jane Moller,
Elise Pekarek** | Brittany Strickland *, Chelsea Marie Renner, Leanna Rinaldi, Dianetzy Rojas
*Performs Thursday, Feb. 13 (Night of Community), and Saturday, Feb. 15
**Performs Friday, Feb. 14, and Sunday, Feb. 16
Ashley Lynn Sherman, James Fuller
Jaime Lynn Witts, Orlando Julius Canova, Kevin Murdock-Waters
Max Azaro, Hailey Dupont, Oliver Greene-Cramer, Courtney Holland, Paul Martin, Leanna Rinaldi
CORPS DE BALLET
Ian J. Bethany, Grace Morton, Preston Andrew Patterson, Elise Pekarek, Morgan Stillman, Brittany Strickland,
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 during warm-weather months, 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 to offer guidance!