Les Ballets Trockadero de Monte Carlo (USA)



Les Ballets Trockadero de Monte Carlo


Colette Adae,Varvara Bratchikova, Nadia Doumiafeyva,
Lariska Dumbchenko, Nina Enimenimynimova,
Helen Highwaters, Nina Immobilashvili,Ida Nevasayneva,
Maria Paranova, Eugenia Repelskii, Moussia Shebarkarova,
Alla Snizova, Olga Supphozova,Guzella Verbitskaya,
Yakatarina Verbosovich, Doris Vidanya, Tatiana Youbetyabootskaya


Jacques d’Aniels, Ilya Bobovnikov,Roland Deaulin, Pepe Dufka,
Ketevan Iosifidi, Stanislas Kokitch, Araf Legupski,
Marat Legupski, Sergey Legupski, Vladimir Legupski, Vyacheslav Legupski,
Mikhail Mudkin, Boris Nowitsky, Velour Pilleaux, Yuri Smirnov,
Innokenti Smoktumuchsky, Kravlji Snepek

Tory Dobrin - Artistic Director
Isabel Martinez Rivera - Associate Director
Liz Harler - General Manager



Swept up into the magical realm of swans (and birds), this elegiac phantasmagoria of variations and ensembles in line and music is the signature work of Les Ballets Trockadero.  The story of Odette, the beautiful princess turned into a swan by the evil sorcerer, and how she is nearly saved by the love of Prince Siegfried, was not so unusual a theme when Tchaikovsky first wrote his ballet in 1877 -- the metamorphosis of mortals to birds and visa versa occurs frequently in Russian folklore. The original Swan Lake at the Bolshoi Theatre in Moscow was treated unsuccessfully; a year after Tchaikovsky’s death in 1893, the St. Petersburg Maryinsky Ballet produced the version we know today.  Perhaps the world’s best known ballet, its appeal seems to stem from the mysterious and pathetic qualities of the heroine juxtaposed with the canonized glamour of 19th century Russian ballet.


Benno: Roland Deaulin
(friend and confidant to)

Prince Siegfried: Sergey Legupski
(who falls in love with)

Lariska Dumbchenko (Queen of the)

Colette Adae, Nadia Doumiafeyva, Nina Immobilashvili,
Maria Paranova, Eugenia Repelskii, Moussia Shebarkarova,
Alla Snizova, Doris Vidanya, Tatian Youbetyabootskaya

(all of whom got this way because of)

Von Rothbart:,Yuri Smirnov
(an evil wizard who goes about turning girls into swans)




“Pas de Six”

La Esmeralda is a three-act ballet based upon Victor Hugo’s Notre Dame de Paris.,Originally choreographed by Jules Perrot, the ballet premiered in London in 1844, with Carlotta Grisi in the title role.  The Russian premiere, with new choreography by Marius Petipa, was in St. Petersburg in 1886. The story is of the hopeless love of the deaf and hunchback Quasimodo for the gypsy girl Esmeralda. The great Russian ballerina Alexandra Danilova wrote in her memoirs: “...Esmeralda was in love with a very handsome officer who was romancing her while he was betrothed to another woman - the usual story - and, of course, he wouldn’t marry her.  She was burned at the stake.  Very tragic.”  In this scene during the second act of the ballet, the heartbroken Esmeralda laments the two-timing officer while being consoled by her friend, Pierre Grengoire, and her fellow gypsies.

Nina Immobilashvili

Pierre Grengoire
Marat Legupski

Artists of the Trockadero


This solo, created for Anna Pavlova in 1905 would become, in later years, her signature dance - and perhaps the most famous solo in ballet. The Trockadero offers its own distinctive interpretation of the terminal fowl.

Ida Nevasayneva



Scene:  The outdoor cafe of Lorenza’s Inn

Colette Adae, Helen Highwaters,  Nina Immobilashvili, Doris Vidanya

Varvara Bratchikova and Eugenia Repelskii

Lorenza (mother to Kitri)
Lariska Dumbchenko

Kitri (the prettiest girl in the village, madly in love with Basil)
Yakatarina Verbosovich

Basil (a pesoless barber with a roving eye and a weakness for strong drink),Vyacheslav Legupski

The Marquise Cristobal Iglesias Habsburgo de Azuza y Cycamonga
(a rich nobleman, desperately seeking a beautiful young wife)
Boris Nowitsky

Amour (who neatly ties together all the loose ends)
Olga Supphozova

Artists of the Trockadero

Don Quixote and Sancho Panza*
*Due to economic reasons, these two characters have been eliminated.  You may, if you like, imagine the aristocratic vagrant and his constant companion, Sancho Panza, wandering about aimlessly and getting in everyone’s way, which in most versions is all they do anyway


Celebrating its 41th Anniversary season, Les Ballets Trockadero de Monte Carlo was founded in 1974 by a group of ballet enthusiasts for the purpose of presenting a playful, entertaining view of traditional, classical ballet in parody form and en travesti, Les Ballets Trockadero first performed in the late-late shows in Off-Off Broadway lofts. The Trocks, as they are affectionately known, quickly garnered a major critical essay by Arlene Croce in The New Yorker, and combined with reviews in The New York Times and The Village Voice, established the Company as an artistic and popular success.  By mid 1975, the TROCKS’ inspired blend of a loving knowledge of dance, their comic approach, and the astounding fact that men can, indeed, dance en pointe  without falling flat on their faces, was being noted beyond New York.  Articles and notices in publications such as Variety, Oui, The London Daily Telegraph, as well as a Richard Avedon photo essay in Vogue, made the Company nationally and internationally known.

The 1975-76 season was a year of growth and full professionalization. The Company found management, qualified for the National Endowment for the Arts Touring Program, and hired a full-time teacher and ballet mistress to oversee daily classes and rehearsals. Also in this season, they made their first extended tours of the United States and Canada.  Packing, unpacking, and repacking tutus and drops, stocking giant sized toe shoes by the case, and running for planes and chartered buses all became routine parts of life.

Since those beginnings, the Trocks have established themselves as a major dance phenomenon throughout the world. They have participated in dance festivals in Bodrum (Turkey), Bogota, Holland, Finland, San Luis Potosi, Madrid, Montreal, New York City, Paris, Lyon, Rome, Spoleto, Turin, and Vienna.  There have been television appearances as varied as: a Shirley MacLaine special; The Dick Cavett Show; What’s My Line?; Real People; On-Stage America; Muppet Babies; and a BBC Omibus special on the world of ballet, hosted by Jennifer Saunders. There have been solo specials on national networks in Japan and Germany, as well as a French television special with Julia Migenes.  A documentary was filmed and aired internationally by the acclaimed British arts program, The South Bank Show, and the Company was featured in the PBS program, The Egg, winning an Emmy award for the director, and appeared in a segment of Nightline in December 2008.  Several performances were taped at the Maison de la Danse in Lyon, France, and are available on DVD.  

Awards that the Trocks have won over the years include: the prestigious Critic’s Circle National  Dance Award for Best Classical Repertoire (2007) (UK); the Theatrical Managers Award  (2006) (UK); and the 2007 Positano Award for excellence in dance (Italy).  In December 2008, the Trocks appeared at the 80th anniversary Royal Variety Performance, to aid of the Entertainment Artistes’ Benevolent Fund, attended by members of the British royal family.

The Trocks’ numerous tours have been both popular and critical successes - their frenzied annual schedule has included ten tours to Australia and New Zealand, twenty nine to Japan (where their annual summer tours have created a nation-wide cult following and a fan club), nine to other parts of Asia, twelve to South America, three to South Africa, and eighty-one tours of Europe, including twenty-two tours of the United Kingdom.  In the United States, the Company has become a regular part of the college and university circuit in addition to regular dance presentations in cities in 49 states. The Company has appeared in over 35 countries and over 600 cities worldwide since its founding in 1974.  Increasingly, the Company is presenting longer seasons, which have included extended engagements in New York City (at the Joyce Theater) Amsterdam, Athens, Auckland, Bangkok, Barcelona, Beijing, Berlin, Brisbane, Buenos Aires, Caracas, Cologne, Dusseldorf, Edinburgh, Glasgow, Hamburg, Hong Kong, Johannesburg, Leipzig, Lisbon, London, Lyon, Madrid, Melbourne, Moscow (at the famed Bolshoi Theater), Paris (at the Chatelet Theater and Folies Bergere), Perth, Rome, Singapore, Sydney, Tokyo, Vienna and Wellington.

The Company continues to appear in benefits for international AIDS organizations such as DRA (Dancers Responding to AIDS) and Classical Action in New York City, the Life Ball in Vienna, Austria, Dancers for Life in Toronto, Canada, London’s Stonewall Gala and Germany’s AIDS Tanz Gala.  In addition, The TROCKS have given, or participated in special benefit performances for Connecticut Ballet Theater, Ballet Hawaii, Indianapolis Ballet Theater, Rochester City Ballet, Dancers in Transition (NYC), Sadler’s Wells Theater in London and the Gay and Lesbian Community Center and Young Audiences / Arts for Learning Organization, and  the Ali Forney Center, benefiting homeless gay youths in New York City.

The original concept of LES BALLETS TROCKADERO DE MONTE CARLO has not changed.  It is a Company of professional male dancers performing the full range of the ballet and modern dance repertoire, including classical and original works in faithful renditions of the manners and conceits of those dance styles. The comedy is achieved by incorporating and exaggerating the foibles, accidents, and underlying incongruities of serious dance.  The fact that men dance all the parts - heavy bodies delicately balancing on toes as swans, sylphs, water sprites, romantic princesses, angst-ridden Victorian ladies – enhances, rather than mocks, the spirit of dance as an art form, delighting and amusing the most knowledgeable, as well as novices, in the audiences.,For the future, there are plans for new works in the repertoire:  new cities, states and countries to perform in; and for the continuation of the Trocks’ original purpose:  to bring the pleasure of dance to the widest possible audience.  They will, as they have done for over forty years, “Keep on Trockin’.”


COLETTE ADAE was orphaned at the age of three when her mother, a ballerina of some dubious distinction, impaled herself on the first violinist’s bow after a series of rather uncontrolled fouette voyage. Colette was raised and educated with the “rats” of the Opera House but the trauma of her childhood never let her reach her full potential.  However, under the kind and watchful eye of the Trockadero, she has begun to flower. We are sure you will enjoy watching her growth.

VARVARA BRATCHIKOVA, People’s Artist and Cat’s Meow, was educated at the Revanchist Institute.  She began her career as Pistachia in V. Stolichnaya’s production of The Nutcracker and achieved stardom as Odette/Odile/Juliet/Giselle/Aurora in the famous Night of the 1000 Tsars.  Her repertoire encompasses nearly all the works she appears in.

NADIA DOUMIAFEYVA. No one who has seen Heliazpopkin will soon forget the spiritual athleticism of Nadia Doumiafeyva, a child of Caucasus who changed her name for show business reasons.  Her fiery attack, combined with her lyric somnolence, produce confusion in audiences the world over, especially when applied to ballet.

LARISKA DUMBCHENKO. Before defecting to the West, Lariska’s supreme agility aroused the interest of the Russian space program and in 1962 she became the first ballerina to be shot into orbit. Hurtling through the stratosphere, she delivered handy make-up tips to an assembled crowd of celebrities back on earth, including the now legendary “Whitney Houston, we have a problem...”

NINA ENIMENIMYNIMOVA’S frail spiritual qualities have caused this elfin charmer to be likened to a lemon soufflé poised delicately on the brink of total collapse.  Her adorably over-stretched tendons exude a childlike sweetness that belies her actual age.

HELEN HIGHWATERS has defected to America three times and been promptly returned on each occasion for “artistic reasons.” Recently discovered “en omelette” at the Easter Egg Hunt in Washington, D.C., she was hired by the Trockadero, where her inexplicable rise to stardom answers the musical question: Who put the bop in the bop-shibop shibop?

NINA IMMOBILASHVILI, for more years than she cares to admit, has been the Great Terror of the international ballet world.  The omniscient and ubiquitous Immobilashvili is reputed to have extensive dossiers on every major dance figure, living and/or dead.  This amazing collection has assured her entree into the loftiest choreographic circles; the roles she has thus been able to create are too numerous to mention.  We are honored to present this grand dame in her spectacular return to the ballet stage.

IDA NEVASAYNEVA, socialist Real ballerina of the working peoples everywhere, comes flushed from her triumphs at the Varna Festival, where she was awarded a specially created plastic medal for Bad Taste.  Comrade Ida became known as a heroine of the Revolution when, after effortlessly boureeing through a mine field, she lobbed a loaded pointe shoe into a capitalist bank.

MARIA PARANOVA’s remarkable life story - only now coming to light after 19 dark years in near hopeless conviction that she was Mamie Eisenhower - will never fully be told.  The discovery of her true identity (at a Republican fundraiser in Chicago) brought her to the attention of the Trockadero, where she is slowly recovering her technical powers.

EUGENIA REPELSKII. The secrets of Mme Repelskii’s beginnings lie shrouded behind the Kremlin wall. In fact, no fewer than six lie in the wall (in jars of assorted sizes). Dancing lightly over pogroms and other sordid reorganizational measures, Eugenia has emerged as a ballerina nonpareil whose pungency is indisputable.

MOUSSIA  SHEBARKAROVA.,A celebrated child prodigy back in the Brezhnev era, Moussia Shebarkarova astounded her parents at the age of two by taking a correspondence course in ballet.  Sadly, due to the unreliable Russian postal system, she has only just graduated.

ALLA SNIZOVA enjoyed great success as a baby ballerina at the mere age of 9.  Being a child prodigy, she developed serious allergy problems and could only perform short pieces. Known as the “little orphan,” Miss Snizova joined the Trockadero on tour, appearing cloaked in an enigma (complete with zip-out lining). A consummate actress, she has danced the part of Little Miss Markova and the title role of Glinka’s Popoy-the Sailor Man.

OLGA SUPPHOZOVA made her first public appearance in a KGB line-up under dubious circumstances.  After a seven-year-to-life hiatus, she now returns to her adoring fans.  When questioned about her forced sabbatical, Olga’s only comment was “I did it for Art’s sake.”  Art, however, said nothing.

YAKATARINA VERBOSOVICH. Despite possessing a walk-in wardrobe so large that it has its own post code, Yakatarina remains a true ballerina of the people.  Indeed, she is so loved in her native Russia that in 1993 the grateful citizens of Minsk awarded her the key to the city. That might well have remained the “golden moment” of this great ballerina’s career, had they not subsequently changed the locks.

DORIS VIDANYA.  The legendary Vitebsk Virago first achieved recognition as a child performer, appearing with the famous Steppe Brothers in the world premiere of Dyspepsiana (based on an unfinished paragraph by M. Gorki).  As a favorite of Nicholas, Alexandra, Olga, Tatiana, Maria, Anastasia and the czarevich, La Effhrvia, as she is known to her admirers, was compelled to flee St. Petersburg disguised as a Karsky shashlik.  Upon arrival in the New World, she established herself as the Prima Ballerina Assoluta de Kalamazoo, a title she still retains.

TATIANA YOUBETYABOOTSKAYA comes to the ballet stage after her hair-raising escape from the successful (but not terribly tasteful) overthrow of her country’s glamorous government.  She made a counter-revolutionary figure of herself when she was arrested for single-handedly storming the People’s Museum, where her fabulous collection of jewels were being insensitively displayed alongside a machine gun. The resilient Madame Youbetyabootskaya is currently the proprietress of American’s only mail-order course in Classical Ballet.

JACQUES d’ANIELS was originally trained as an astronaut before entering the world of ballet.  Strong but flexible, good natured but dedicated, sensible but not given to unbelievable flights of fantastic behavior, Mr. d’Aniels is an expert on recovering from ballet injuries (including the dread “Pavlova’s clavicle”).  

ILYA BOBOVNIKOV, the recipient of this year’s Jean de Brienne Award, is particularly identified for his Rabelaisian ballet technique.  A revolutionary in the art of partnering, he was the first to introduce crazy glue to stop supported pirouettes.

ROLAND DEAULIN.,Having invented the concept of the “bad hair year” or “annus hairibilis,” French-born Roland now devotes his spare time to selling his new line of Michael Flatley Wigs on the QVC shopping channel.

PEPE DUFKA. The ballet world was rocked to its foundations last month when Pepe Dufka sued 182 of New York’s most ardent ballet lovers for loss of earnings.  Mr. Dufka claims that nineteen years of constant exposure to rotten fruit and vegetables has led to painful and prolonged bouts of leafmould, cabbage root fly, and bottom-end rot.  Sadly, this historic court case comes too late for a former colleague, whose legs were recently crushed by a genetically modified avocado. He will never dance again.

KETEVAN IOSIFIDI. Ketevan was dismissed from the Kirov Ballet in 1991 when he blackmailed the horn section of the orchestra and forced them to play Papa Don’t Preach in the third act of Romeo and Juliet while he vogued en pointe.  Though Ketevan’s appreciation of high culture is second to none, he still thinks that prima donna means any song recorded before Like a Virgin.

STANISLAS KOKITCH. “The Forgotten Man” of ballet, is hardly ever mentioned in reviews by critics or in discussions by devoted balletomanes, despite having created several important roles in now-forgotten ballets.  He is the author of The Tragedy of My Life, an autobiography not at all reliable.

THE LEGUPSKI BROTHERS. Araf, Marat, Sergey, Vladimir and Vyacheslav are not really brothers, nor are their names really Araf, Marat, Sergey, Vladimir or Vyacheslav, nor are they real Russians, nor can they tell the difference between a pirouette and a jete...but...well...they do move about rather nicely...and...they fit into the costumes.

BORIS NOWITSKY has been with the greatest ballerinas of our time; he has even danced with some of them.  One of the first defective Russian male stars, he left the motherland for purely capitalistic reasons.  Amazingly, between his appearances on television and Broadway, in movies, commercials, magazines and special events, and women’s nylons, he occasionally still has time to dance.

VELOUR PILLEAUX, whose political adaptability saw him through two world wars and numerous police actions, comes to America in conjunction with the release of his tenth cookbook, “Ma Brie.” When asked by an American reporter to describe his most exciting experience in ballet, M. Pilleaux referred to pages 48-55: the night he danced the Rose Adagio (en travesti) in Buenos Aires with four political figures, the names of whom he assured us we would recognize.

YURI SMIRNOV.  At the age of sixteen, Yuri ran away from home and joined the Kirov Opera because he thought Borodin was a prescription barbiturate.  Luckily for the Trockadero, he soon discovered that he didn’t know his arias from his elbow and decided to become a ballet star instead.

INNOKENTI SMOKTUMUCHSKY is known only to the most cultured and refined balletomanes in the dark alleyways of St. Petersburg.  Originally a promising dancer-choreographer, his only ballet, Le Dernier Mohicain, was stolen by the director of the company.  In severe depression and shock, he burned his ballet slippers and fled to the sewers, only to surface these forty years later.

KRAVLJI SNEPEK comes to the Trockadero from his split-level birthplace in Siberia, where he excelled in toe, tap, acrobatic and Hawaiian.  This good natured Slav is famous for his breathtaking technique--a blend of froth and frou-frou centered on a spine of steel, painfully acquired at the hands and feet of his teacher, Glib Generalization, who has already trained many able dancers.  As an artist in the classical, heroic, tragical mold, young Kravlji wrenched the heart of all who saw him dance Harlene, the Goat Roper in The Best Little Dacha in Sverdlovsk.

Box 1325, Gracie Station, New York City, New York 10028

Olga Supphozova and Yuri Smirnov - Robert Carter
Moussia Shebarkarova and Vyacheslav Legupski - Paolo Cervellera
Ida Nevasayneva and Velour Pilleaux - Paul Ghiselin
Varvara Bratchikova and Sergey Legupski - Giovanni Goffredo
Helen Highwaters and Vladimir Legupski - Duane Gosa
Alla Snizova and Innokenti Smoktumuchsky - Carlos Hopuy
Yakatarina Verbosovich and Roland Deaulin - Chase Johnsey
Tatiana Youbetyoubootskaya and Araf Legupski - Laszlo Major
Nadia Doumiafeyva and Kravlji Snepek - Philip Martin-Nielson
Lariska Dumbchenko and Pepe Dufka - Raffaele Morra
Colette Adae and Marat Legupski - Christopher Ouellette
Doris Vidanya and Ilya Bobovnikov - Matthew Poppe
Nina Immobilashvili and Stanislas Kokitch - Alberto Pretto
Maria Paranova and Boris Nowitsky - Carlos Renedo
Eugenia Repelskii and Jacques d’Aniels - Joshua Thake
Nina Enimenimynimova and Ketevan Iosifidi - Long Zou

Artistic Director - Tory Dobrin
Associate Director / Production Manager - Isabel Martinez Rivera
General Manager - Liz Harler
Associate Production Manager - Barbara Domue
Ballet Masters - Paul Ghiselin, Raffale Morra
Company Teacher - Ludmila Raianova
Lighting Supervisor - Erika Johnson
Wardrobe Supervisor - Ryan Hanson
Development Manager - Lauren Gibbs
Costume Designers - Ken Busbin, Jeffrey Sturdivant
Stylistic Guru - Marius Petipa
Orthopedic Consultant - Dr. David S. Weiss
Photographer - Zoran Jelenic


Birthplace: Charleston, SC.  Training: Robert Ivey Ballet School, Joffrey Ballet School.  Joined Trockadero: November 1995. Previous companies: Florence Civic Ballet, Dance Theater of Harlem Ensemble, Bay Ballet Theater.

Birthplace: Putignano (Bari), Italy.,Training: San Carlo Opera House Ballet School.  Joined Trockadero:  November 2012.  Previous company: San Carlo Opera House Ballet Company, Naples Italy.

Birthplace: Chapel Hill, NC.  Training:  Tidewater Ballet Academy, Joffrey Ballet School.  Joined Trockadero:  May 1995.  Previous companies:  Ohio Ballet, Festival Ballet of Rhode Island.

Birthplace:  Noci, Italy.  Training:  Ballett-Akademie Munchen,  La Scala Opera Ballet School.  Joined Trockadero:  October 2013.  Previous companies: DeMa Dance Company, Peridance Contemporary Dance Company.

Birthplace:  Chicago, IL.  Training: University of Akron, Ailey School.  Joined Trockadero; September 2013.,Previous companies: Jennifer Muller/The Works, Brooklyn Ballet, The Love Show.

Birthplace: Havana, Cuba.  Training: Escuela Nacional de Arte, Havana.  Joined Trockadero:  February 2012,Previous companies:  National Ballet of Cuba, National Ballet of Costa Rica, Ballet San Antonio. Awards: International Ballet Competitions in Havana (Gold medalist 1999, 2001, 2002) Nagoya (Gold medalist 2002), and Jackson, Mississippi (finalist, 2010).

Birthplace: Winter Haven, FL.  Training:  Harrison Arts Center, Virginia School of the Arts.  Joined Trockadero: April 2004.  Previous company:  Florida Dance Theatre.  Named Dance Magazine’s 25 to Watch in 2008.

Birthplace: Mosonmagyaròvàr, Hungary.,Training: Györ Dance and Art School.  Joined Trockadero: September 2014.  Previous companies: North Carolina Dance Theater, Atlantic City Ballet, Compagnie Pàl Frenàk.

Birthplace:  Middletown, NY.  Training: Natasha Bar, School of American Ballet, Chautauqua Institution of Dance.,Joined Trockadero: September 2012.  Previous company:  North Carolina Dance Theater.

Birthplace:  Fossano, Italy.  Training: Estudio de Danzas (Mirta & Marcelo Aulicio), Accademia Regionale di Danza del Teatro Nuovo di Torino.,Joined Trockadero:  May 2001.,Previous company:  Compagnia di Danza Teatro Nuovo di Torino.,

Birthplace: San Francisco, CA. Training:  San Francisco Ballet School.  Joined Trockadero: May 2014.,Previous company:  Pittsburgh Ballet Theatre.

Birthplace: Phoenix, AZ.,Training: School of American Ballet, School of Ballet Arizona.  Joined Trockadero:  June 2014.  Previous companies: Boston Ballet, Ballet Arizona.

Birthplace: Vicenza, Italy.  Training: Academie de Danse Classique Princesse Grace, Monaco.,Joined Trockadero:  February 2011.  Previous companies: English National Ballet, Stadttheater Koblenz.

Birthplace: Barcelona, Spain.  Training: Jorge Fdez-Hidalgo Estudi de Dansa Barcelona, Steps on Broadway (NYC).  Joined Trockadero:  February 2012.,Previous companies: Metropolitan Opera Ballet, Steps Ensemble, Rebecca Kelly Ballet.

Birthplace:  Providence, RI.,Training:  Boston Ballet School, San Francisco Ballet School, Brae Crest School of Classical Ballet.  Joined Trockadero:  November 2011.  Previous company:  Man Dance Company of San Francisco.

Birthplace: Li Ling, China.  Training:  Central School of Ballet (London), Guangzhou Art School.  Joined Trockadero:  May 2009 / rejoined 2016. Previous Companies:  Ballet Central (UK), Guangzhou Ballet, Jinxing Dance Theatre, Shanghai.

LES BALLETS TROCKADERO DE MONTE CARLO, Inc. is a nonprofit dance company chartered by the State of New York.  Vaughan de Kirby, president; Lucille Lewis Johnson, vice-president; Tory Dobrin, secretary/treasurer.  
All contributions are tax-deductible as provided by law.

Special thanks to:
The Harkness Foundations for Dance, The SHS Foundation,
The Joyce Theater Foundation, The Mid-Atlantic Foundation
(through US Artists International in partnership with the National Endowment for the Arts and the Andrew W. Mellon Foundation), Natasha Bar, Felix Eaton, Akiko Kohda, Hilda Kraker, James Berry, Marsha Borin, Heather Knight, Stephanie Webb, Elena Kunikova, Selby Schwartz, Lynn Shipley and Jenny Palmer of IMG Artists.

instagram! @lesballetstrockadero
Tweet us! @TrocksB

Liz Harler
General Manager

Program subject to change without notice.

Az előadást, a 2016-os Budapest Táncfesztivál részeként támogatják:


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