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44-515: The company was founded in 1985 as the "San Jose Cleveland Ballet," a co-venture with the ten-year-old Cleveland Ballet which offered to the dancers added performing exposure, and each city a ballet company for a moderate, shared investment. In 2000, the Cleveland Ballet ceased operations, and over half the dancers, the headquarters, and artistic director/choreographer Dennis Nahat moved to San Jose to continue operations there. The company

88-456: A New York ballet performance within the context of a dominantly white company. Therefore, although it was only performed three times before being disbanded, Black Ritual was an unprecedented performance, changing perceptions about black ballet dancers and marking a significant milestone in American ballet history. De Mille’s first recognized significant work was Rodeo (1942), whose score

132-702: A ballet company." By 2007, still led by founding artistic director, Dennis Nahat, there was a resident company of 44 dancers from 14 countries in four continents, with a repertoire of over 120 traditional and modern classical ballets . Performances at the San Jose Center for the Performing Arts are accompanied by the Symphony Silicon Valley . The Ballet is now a 'fully owned' resident company serving all of Silicon Valley . On December 23, 2011, Ballet San Jose and John Fry announced

176-482: A dancer's physical technique. De Mille regularly worked with a recognizable core group of dancers, including Virginia Bosler (Doris), Gemze de Lappe , Lidija Franklin , Jean Houloose, Dania Krupska , Bambi Linn , Joan McCracken , James Mitchell , Mavis Ray, and, at American Ballet Theatre, Sallie Wilson . Krupska, Mitchell, and Ray served as de Mille's assistant choreographers, and de Lappe took an active role in preserving de Mille's work. In 1973, de Mille founded

220-544: A dozen other musicals, most notably Bloomer Girl (1944), which presented her feelings of loneliness as a woman who saw her husband leave to serve for the army, Carousel (1945), Allegro (1947, director as well as choreographer), Brigadoon (1947, for which she was co-recipient of the inaugural Tony Award for Best Choreography ), Gentlemen Prefer Blondes (1949), Paint Your Wagon (1951), The Girl in Pink Tights (1954), Goldilocks (1957), and 110 in

264-520: A letter instructed by Fry, Nahat was ousted in January 2011 by newly Fry appointed Executive Director, Stephanie Ziesel. After a year, the name was changed to Silicon Valley Ballet until its final closure in 2016. Agnes de Mille Agnes George de Mille (September 18, 1905 – October 7, 1993) was an American dancer and choreographer . Agnes de Mille was born in New York City into

308-442: A love for acting and originally wanted to be an actress, but was told that she was "not pretty enough", so she turned her attention to dance. As a child, she had longed to dance, but dance at this time was considered more of an activity, rather than a viable career option, so her parents refused to allow her to dance. She did not seriously consider dancing as a career until after she graduated from college. When de Mille's younger sister

352-613: A partnership with American Ballet Theatre (ABT) which will license the company "to implement ABT's comprehensive National Training Curriculum for dancers and receive its rolodex and world renowned repertory". In January 2012, Nahat was “ousted” and John Fry in a letter prepared by his newly appointed Executive Director Stephanie Ziesel said that his services were no longer required due to the ABT arrangement. Fry said, “ABT and its artistic director Kevin McKenzie won't collaborate as long as Nahat

396-403: A production from ABT and the "Director’s Choice" mixed rep program. The "Director’s Choice" Program included Ohad Naharin 's Minus 16 , Cuban Pas De Duex featuring various classics staged by José Manuel Carreño , Jorma Elo 's Glow Stop , and Annabelle Lopez Ochoa 's Prism . This program was also performed during the company's tour to Spain. Nahat was not allowed to announce preparations for

440-420: A well-connected family of theater professionals. Her father William C. deMille and her uncle Cecil B. DeMille were both Hollywood directors. Her mother, Anna Angela George , was the daughter of Henry George , the economist. On her father's side, Agnes was the granddaughter of playwrights Henry Churchill de Mille and Matilda Beatrice deMille . Her paternal grandmother was of German-Jewish descent. She had

484-578: Is still here. You know, it's the greatest company in the world.“. Shortly after, Fry stepped down from the board, replaced as chair by Lorraine Gilmore of Edison Pharmaceuticals. Kathy Kolder, Vice President of Fry's Electronics, remained on the board with Fry's intention to continue its financial support. But, it did not come to be. Artistic direction was shared for two seasons by Principal Ballet Master and former long time principal dancer of Cleveland San Jose Ballet, Raymond Rodriguez and former retired ABT dancer, Artistic Advisor Wes Chapman. George Daugherty

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528-659: The Omnibus TV series titled "The Art of Ballet" and "The Art of Choreography" (both televised in 1956) were immediately recognized as landmark attempts to bring serious dance to the attention of a broad public. During his presidency, John F. Kennedy appointed de Mille a member of the National Advisory Committee on the Arts, the predecessor to the National Endowment for the Arts, to which she

572-696: The Agnes de Mille Dance Theatre , which she later revived as Heritage Dance Theatre. De Mille developed a love for public speaking, becoming an outspoken advocate for dance in America. She spoke in front of Congress three times: once in the Senate, once in the House of Representatives, and once for the Committee for Medical Research. She was interviewed in the television documentary series Hollywood: A Celebration of

616-576: The American Ballet Theatre (then called the Ballet Theatre) in 1939. One of Agnes de Mille’s most overlooked and important pieces was Black Ritual ( Obeah ), which she began choreographing for the newly formed Ballet Theatre’s first season. Lasting 25 minutes, this performance was created for the “Negro Unit” of the dance company and was performed by 16 black ballerinas . This was the first representation of black dancers in

660-558: The Hanna Theatre November 16, 1976. A year later the Ohio Chamber Orchestra began providing live music and in 1978 the company presented its first original full-length ballet, “The Gift” in 1976 The Nutcracker in 1979, Coppelia , Romeo and Juliet and Swan Lake were next added to the repertory. In 1984 Horvath resigned, leaving Nahat solely responsible for the company and school. That year

704-523: The 2012 season which were delayed, with the dancers' contract being finalized in December 2011 and rehearsals for any performances other than The Nutcracker not begun by mid-December. The company's web site on January 5, 2012 had not announced its 2012 season, but a "shortened" season was later announced, with programs for March, April and May. Although earlier reports that Artistic Director Dennis Nahat might be replaced were subsequently denied, his role in

748-601: The American Silent Film (1980) primarily discussing the work of her uncle Cecil B. DeMille . Agnes de Mille appears in a wheelchair in Frederick Wiseman 's 1995 film Ballet rehearsing her final piece, “The Other.” She tells her star “You must look like something that’s absolutely broken, and stuck up in the wind.” DeMille's 1951 memoir Dance to the Piper was translated into five languages. It

792-660: The Handel Medallion for achievement in the arts (1976), an honor from the Kennedy Center (1980), an Emmy for her work in The Indomitable de Mille (1980), Drama Desk Special Award (1986) and, in 1986, she was awarded the National Medal of Arts . De Mille also received seven honorary degrees from various colleges and universities. She was featured on a U.S. postage stamp in 2004. At present,

836-467: The New Ballet School with the ABT approved syllabus, under former Cleveland San Jose Ballet dancer Dalia Rawson and Ballet San Jose dancer Alexsandra Meijer. The company developed a repertoire of over 120 traditional and modern classical ballets under founder Dennis Nahat, performed by dancers from Argentina, Canada, China, Cuba, Denmark, France, Germany, Japan, Russia, Venezuela, Vietnam, and

880-482: The Shade (1963). These many dance performances within musical theater enriched Broadway musicals by how they provided perspective on the events of the time. De Mille's success on Broadway did not translate into success in film. Her only significant film credit is Oklahoma! (1955). She was not invited to recreate her choreography for either Brigadoon (1954) or Carousel (1956). Nevertheless, her two specials for

924-579: The United States. The repertoire includes ballets by Balanchine , Bournonville , de Mille , Daryl Gray, Flemming Flindt, Donald McKayle, Kurt Jooss and the bulk of the repertory specially-created ballets by founder Dennis Nahat. The company performed all the classic ballets such as Giselle, The Nutcracker and Swan Lake and more modern ballets such as Nahat's ground breaking Blue Suede Shoes , based on Elvis Presley 's songs and Flindt full evening modern classics. In 2008, Nahat arranged to take

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968-536: The Wings Grow , America Dances , Portrait Gallery , and Martha: The Life and Work of Martha Graham . She also wrote And Promenade Home , To a Young Dancer , The Book of Dance , Lizzie Borden: Dance of Death , Dance in America , Russian Journals , and Speak to Me, Dance with Me . De Mille also wrote an introduction entitled "Anna George de Mille - A Note About the Author" to the book Henry George: Citizen of

1012-657: The World by Anna George de Mille (daughter of Henry George & Agnes' mother) which was published in 1950 by the University of North Carolina Press. De Mille married Walter Prude on June 14, 1943. They had one child, Jonathan, born in 1946. Agnes de Mille donated her papers to the Sophia Smith Collection at Smith College "between 1959 and 1968, and her Dance To The Piper was purchased in 1994. Three films were donated by Lester Tome in 2010. The bulk of

1056-554: The ballet moved to the newly renovated State Theater in Playhouse Square where Nahat created another full evening ballet Celebrations and Ode music from Ludwig van Beethoven full 7th and 9th symphonies. From 1985 to 2000 it continued as the Cleveland San Jose Ballet , performing in both Cleveland and San Jose, California . By 1990 it was the fourth-largest ballet company in the United States, and

1100-402: The ballet provided key insights into the heroine's emotional troubles. This performance exemplifies how de Mille brought new ideas to the performing arts, integrating dance to enhance the musical. This production is widely known for this innovative idea and is credited for starting de Mille’s fame as a choreographer, both for Broadway and in the dance industry. De Mille went on to choreograph over

1144-542: The ballet's performances were danced to recorded music instead of a live orchestra. José Manuel Carreño became artistic director September 3, 2013, and remained through the company's closure. The Ballet San Jose School was established in 1996. Upon the closure of the company, the school is now its own entity, The New Ballet School. It is an American Ballet Theatre Certified School run under the direction of former Cleveland San Jose Ballet dancer, executive director, Dalia Rawson. Cleveland Ballet The Cleveland Ballet

1188-469: The company on an unprecedented 8-city tour of China. Called the "Goodwill Tour From Silicon Valley," it represented the first international tour of the company since its move from Cleveland. Under newly appointed artistic director José Manuel Carreño, the 2015/2016 season included a staging of Alicia Alonso 's Giselle utilizing Nahat's staging of Giselle production concepts and retired Cleveland San Jose Ballet, Ballerina Karen Gabay's new Nutcracker with

1232-434: The company remained unclear and the 2012 program will be chosen by the new artistic committee and new board of directors appointed by Fry since all former major board members resigned after Nahat's ousting. In January 2012, the new leaders removed Nahat in a letter directed by Fry and delivered by executive director, Stephanie Ziesel stating that his services were no longer required from his role as artistic director and he left

1276-570: The company went on a multi-week tour to Spain mid-January to mid-February 2016. They performed the "Director's Choice" mixed repertoire program. Upon arriving home to San Jose after a disastrous financial and artistic tour, the company performed the same program but it turned out to be the last. In March 2016, the Ballet announced it was closing. At the time of its closing there were 30 union dancers plus all artistic, production and administrative staff laid off permanently. The school stayed open and became

1320-774: The company. The company danced to recorded music for its spring 2012 repertory season, but all 2012–2013 performances are being accompanied by Symphony Silicon Valley , including new productions of The Nutcracker in December 2012, a new full-length Don Quixote was staged and performed by ABT retired principal dancer José Manual Carreño using sets and costumes from a number of Nahat productions in February 2013, as well as such pieces of mixed repertoire as Sir Frederick Ashton's Lez Rendez-vous and Thais Pas de Deux , and Clark Tippet 's (Former Cleveland Ballet dancer and ABT Principal) Bruch Violin Concerto . Beginning in 2013, most of

1364-438: The direction of the newly appointed CEO Alan Hineline, the company was paying off debt and attempting to update its business model to be more sustainable. The fundraising campaign was successful, but mounting debt surpassed it. Hineline resigned. In September 2015, the company again changed its name to Silicon Valley Ballet in an "effort to erase the passed and incorporate the greater Silicon Valley area." As Silicon Valley Ballet,

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1408-479: The largest one that was a co-venture between two cities. In 2000, the founding Cleveland base of operations then led by Board President, Robert G. Jones of Key Bank, closed the company and the ballet began operating based exclusively in San Jose. In 2004 John Fry of Fry's Electronic's joined the board with a contribution on 1 million dollars and the company was subsequently taken over by new board chair, John Fry. In

1452-646: The life of Lizzie Borden . While she lived in New York and was working for Ballet Theatre in 1941, de Mille choreographed Drums Sound in Hackensack for the Jooss Ballet (originally located in Germany), which had just moved to New York in 1939. This was an important step in the company’s history as it was the first performance not choreographed by Kurt Jooss himself. Although there are no film recordings of

1496-572: The papers date from 1914 to 1960 and focus on both personal and professional aspects of de Mille's life." She suffered a stroke on stage in 1975, but recovered. She died in 1993 of a second stroke in her Greenwich Village apartment. De Mille was inducted into the American Theater Hall of Fame in 1973. De Mille's many other awards include the Tony Award for Best Choreography (1947, for Brigadoon ; 1962, for Kwamina ),

1540-400: The performance was significant in her career as a choreographer. After her success with Rodeo de Mille was hired to choreograph the musical Oklahoma! (1943). The dream ballet, in which dancers Marc Platt , Katherine Sergava, and George Church doubled for the leading actors, successfully integrated dance into the musical's plot. Instead of functioning as an interlude or divertissement ,

1584-402: The performance, de Mille’s choreography notes and personal reflections of the dancers shed light on the characteristics of the performance. The piece was placed in a historical context with an American theme and fit the traditional mold for de Mille’s pieces featuring a female perspective. As one of the first pieces de Mille choreographed for a group of dancers rather than simply one or two people,

1628-467: Was appointed Music Director and Principal Conductor in August, 2012 after Maestro Dwight Oltman's 35-year tenure. José Manuel Carreño was appointed Artistic Director effective September 2013. In March 2015, with mounting debt, the company announced an emergency fundraiser in which it needed to raise $ 550,000 to maintain operations and cover the expenses of the rest of the season. Ziesel was fired and under

1672-433: Was appointed by President Lyndon B. Johnson after its creation. Her love for acting played a very important role in her choreography. De Mille revolutionized musical theatre by creating choreography that not only conveyed the emotional dimensions of the characters but enhanced the plot. Her choreography, as a reflection of her awareness of acting, reflected the angst and turmoil of the characters instead of simply focusing on

1716-532: Was by Aaron Copland , and which she staged for the Ballet Russe de Monte Carlo . Although de Mille continued to choreograph nearly up to the time of her death—her final ballet, The Other , was completed in 1992—most of her later works have dropped out of the ballet repertoire. Besides Rodeo , two other de Mille ballets are performed regularly, Three Virgins and a Devil (1934) adapted from a tale by Giovanni Boccaccio , and Fall River Legend (1948) based on

1760-689: Was choreographing Cecil B. DeMille's film Cleopatra (1934). DeMille's dance director LeRoy Prinz clashed with the younger de Mille. Her uncle always deferred to Prinz, even after agreeing to his niece's dances in advance, and Agnes de Mille left the film. De Mille graduated from UCLA with a degree in English where she was a member of Kappa Alpha Theta sorority, and in 1933 moved to London to study with Dame Marie Rambert , eventually joining Rambert's company, The Ballet Club , later Ballet Rambert , and Antony Tudor 's London Ballet . De Mille arrived in New York in 1938 and later began her association with

1804-553: Was founded in Cleveland in 1972 by Dennis Nahat and Ian Horvath as a dance school, the School of Cleveland Ballet. It was the second incarnation of the Cleveland Ballet, having been preceded a ballet company of the same name founded in 1935 and succeeded by another founded in 2014 . Nahat and Horvath subsequently recruited professional dancers who by 1975 were previewing performances around Cleveland. The company first performed at

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1848-647: Was originally known as Ballet San Jose Silicon Valley, but in July 2006 shortened its name to simply Ballet San Jose. In 2003, the company gained benefactor and current chairman of the board John Fry, co-founder of Fry's Electronics .with a 1 million dollar contribution. Fry helped the company survive the dot-com crash and continued to support the company until he closed it in 2016. Over the years Fry became personally involved and Ballet San Jose faced increasing Fry's support, prompting Karen Loewenstern, founding board chair of Cleveland San Jose Ballet to say "...he bought himself

1892-647: Was prescribed ballet classes to cure her flat feet, de Mille joined her. De Mille lacked flexibility and technique, though, and did not have a dancer's body. Classical ballet was the most widely known dance form at this time, and de Mille's apparent lack of ability limited her opportunities. She taught herself from watching film stars on the set with her father in Hollywood; these were more interesting for her to watch than perfectly turned out legs, and she developed strong character work and compelling performances. One of de Mille's early jobs, thanks to her father's connections,

1936-414: Was reissued in 2015 by New York Review Books . De Mille was a lifelong friend of modern dance legend Martha Graham . De Mille, in 1992, published Martha: The Life and Work of Martha Graham , a biography of Graham that de Mille worked on for more than 30 years. After suffering from a near-fatal stroke, she wrote five books: Reprieve (which outlined the experience), Who Was Henry George? , Where

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