King Arthur's Camelot [World Premiere]: Artists
Artistic Director & CEO
Over the past 15 years, Cincinnati Ballet has experienced tremendous growth and critical success under the leadership of Artistic Director Victoria Morgan. As the company entered its 45th Anniversary Season, Ms. Morgan took on the additional role as an executive leader, serving for the first time as both the Artistic Director and CEO to lead the company into a vibrant and confident future.
Ms. Morgan arrived in Cincinnati in 1997, taking immediate steps to raise the company’s standard of excellence by attracting celebrated dancers, choreographers, and ballet masters to the Ballet from the international dance realm. Her choreography has also brought the company critical acclaim, most recently noted by the success of the 2011 world premiere of her Frisch’s Presents the New Nutcracker. She is on the board of Dance Magazine and DanceUSA, has served on the NEA evaluation panel, and has served as judge for the New York International Ballet Competition and the Benois de la Danse Awards Gala. Ms. Morgan came to Cincinnati Ballet after nearly a decade as resident choreographer for the San Francisco Opera. She was a principal dancer for San Francisco Ballet (1978-1987) and Ballet West (1969-1978). Her repertoire included leading roles in numerous classical and Balanchine ballets, as well as in many modern and contemporary ballets. She performed lead roles for television and film, and her choreography was featured in the PBS documentary, The Creation of O.M.O.
Ms. Morgan graduated Magna Cum Laude with an M.F.A from the University of Utah and was honored as a 2009 Distinguished Alumna. She was also honored as a 2009 YWCA Career Woman of Achievement.
Trad A Burns
Resident Lighting Designer
Trad A Burns is a lighting and scenic designer based in Cleveland, his career has spanned theatre, dance, and amusement parks, as well as architectural and retail lighting. Designing over 400 productions during the last two decades, his varied work has been seen around the world. Designs include works for Cincinnati Ballet, New York City Ballet, American Ballet theatre, Houston Ballet, Pittsburgh Ballet theatre, Ballet British Columbia, Washington Ballet, Spectrum Dance, Ballet Hawaii, Verb Ballets, New York theatre Workshop (NYC), The Public theatre (NYC), La Mama ETC (NYC), HERE (NYC), Classic Stage Company (NYC), The Cleveland Play House, Cleveland Public theatre, Indiana Repertory Theatre, Cedar Point, ValleyFair, Knott's Berry Farm, Kings Island, Walt Disney World, Disneyland, Disneyland Japan, Disney Sea, Disney Cruise Lines, Carnival Cruise Lines, Universal Studios Florida & Japan, Woodstock Ice Productions, and The Family of Charles M. Schulz.
Enjoying his tenth season as the Resident Lighting Designer for Cincinnati Ballet, Trad has been privileged to design two world premieres by Choreographer Adam Hougland, as well as world premiere works by Artistic Director Victoria Morgan, Devon Carney, Johanna Bernstein Wilt, Kirk Peterson, Trey McIntyre, Val Caniparoli, Donald Byrd, Darrell Grand Moultrie, Sarah Slipper, Luca Veggetti, Viktor Kabaniaev, and Jessica Lang.
Carmon DeLeone, Music Director, is currently celebrating his 45th season with Cincinnati Ballet. The Middletown (OH) Symphony, and Conductor Laureate of The Illinois Philharmonic Orchestra, possesses an impressive list of accomplishments. At New York's Carnegie Hall, he has served as Conductor and Host of the Family Concert Series with the Orchestra of St. Lukes. He has conducted frequent performances in Europe with the Luxembourg Philharmonic Orchestra, and has been named the Illinois Music Director of the Year. Under Mr. DeLeone's leadership, The Illinois Philharmonic was twice named the Illinois Orchestra of the Year.
As a composer, he most recently premiered his Fanfare, Funk and Fandango (An American Dance Set). He has composed many original scores for the ballet, most recently his Princess & the Pea. His best known work, the full-length ballet in two acts, Peter Pan, is enjoying continued praise in major cities from coast to coast, as well as overseas. Maestro DeLeone conducted the debut of Peter Pan in London during a 28-performance run with the Atlanta Ballet at the prestigious Royal Festival Hall. His list of ballet score creations also includes Frevo, Guernica, With Timbrel, Dance Praise His Name, and Ruth Page's Billy Sunday, which was nationally televised in 1983.
During his 12-year tenure as Assistant, and later Resident Conductor of the Cincinnati Symphony Orchestra, Maestro DeLeone served on its staff with Music Directors Max Rudolf, Thomas Schippers, Walter Susskind, and Erich Kunzel. He was also selected personally by Maestro Erich Leinsdorf to participate in an intensive master conducting seminar at Lincoln Center.
Maestro DeLeone earned B.M., B.S., and M.M. degrees from the Cincinnati College Conservatory of Music. He served at CCM as Adjunct Assistant Professor of Opera and Music Theatre. He has been presented with their Distinguished Alumni Award.
Maestro DeLeone is very pleased to have made his New York conducting debut with the Alvin Ailey American Dance theatre for their season-opening gala performance of Carmina Burana and Revelations at New York's City Center. He made his Carnegie Hall debut with the Orchestra of St. Luke's and was immediately re-engaged to host and conduct all of the following year's series of Family Concerts.
Maestro DeLeone is a proud recipient of Cincinnati's most prestigious Post-Corbett Award for excellence in the arts and was recently named as A Gentleman Of Style And Substance by Cincinnati Magazine. He lives in Cincinnati (North Avondale) with his wife of 40-plus years, Kathleen.
JUNO nominated composer John Estacio has served as Composer in Residence for the Edmonton Symphony Orchestra, the Calgary Philharmonic, and the Calgary Opera. These residences yielded several works, many of which can be found on the CD Frenergy, the Music of John Estacio. His frequent performances and broadcasts have earned him several SOCAN Concert Music Awards.
Estacio is the recent recipient of the NAC Award for Composers which will result in three commissioned works for the National Arts Centre Orchestra, the first of which was premiered in Ottawa and throughout the Atlantic provinces. His recent opera, Lillian Alling, premiered in Vancouver in 2010. His first opera, Filumena, has been remounted five times and was filmed for television and recently broadcast on PBS. His works have been performed at Carnegie Hall, including performances by the Toronto Symphony Orchestra, and a performance of his Triple Concerto in May 2012 by the Edmonton Symphony.
The Royal Winnipeg Ballet featured several of Estacio’s orchestral works in a new ballet Wonderland with choreography by Shawn Hounsell. During the past few seasons, the National Youth Orchestra of the Americas toured the US and Canada with Bootlegger's Tarantella. The Los Angeles Philharmonic, along with acclaimed tenor Ben Heppner, toured Europe with Estacio’s arrangements of Seven Songs of Jean Sibelius. In 2008, his cantata The Houses Stand Not Far Apart was premiered by a number or choirs. His orchestral works have been performed by all the major Canadian orchestras, as well as the Houston Symphony, St. Louis Symphony, Rochester Philharmonic, Fort Wayne Philharmonic, and orchestras in Europe.
This season, Eda Holmes directs Bernard Shaw’s Misalliance. Last season she directed Tennessee Williams’ Cat on a Hot Tin Roof and was the choreographer for the Jay Turvey/Paul Sportelli musical Maria Severa. Eda’s selected credits for The Shaw include Serious Money, One Touch of Venus, In Good King Charles’s Golden Days, Lillian Hellman’s The Little Foxes, Tristan, the first new musical developed and produced at The Shaw; Love Among the Russians, the musical Floyd Collins, the cerebral thriller Blood Relations, Anatol for the Directors Project and Assistant Director for The Millionairess, The Man Who Came to Dinner and The Return of the Prodigal.
She recently directed the English language premiere of Michel Marc Bouchard’s The Madonna Painter at the Factory Theatre and will direct his new play Tom and the Coyote in the fall. Holmes’ other directing credits includes Faust (Calgary Opera); The Optimists, The Pessimist (Tarragon Theatre); Lucy (Canadian Stage Company); The Fall (Great Canadian Theatre Company); for Urjo (choreography), 12 Solo Project (Toronto Dance Theatre); Iphigenia 2.0 (National Theatre School of Canada); Helen’s Necklace, Alice’s Affair (Tarragon Theatre); Trout Stanley and The Gwendolyn Poems (Factory Theatre); Laius (George Brown Theatre School); the premiere production of the new musical The Miracle Man (Ryerson Theatre School).
Other theatre highlights include Little Mercy’s First Murder (Tarragon Theatre/Shaw Festival co-production), winner of seven Dora Awards; Music for Contortionist (Tarragon Theatre/Shaw Festival co-production); Pina Bausch: a tribute (Harbourfront World Leaders Festival); Standing Female Nude (Factory Theatre Studio Café); Side by Side by Sondheim (Canadian Stage Company); dramaturgy for Romeo & Juliet (choreographer Victoria Morgan, Cincinnati Ballet); and The Tale of Genji (assistant director/choreographer, Opera Theatre of St Louis). Holmes was also a script contributor and assistant choreographer for the Grammy-nominated film Satie and Suzanne. Prior to becoming a director, Holmes was a soloist with San Francisco Ballet, Dutch National Ballet and William Forsythe’s Frankfurt Ballet. She is a graduate of the National Theatre School of Canada.
Over the span of his career Joe Tilford has become widely known as a theatrical designer of remarkable vision and talent. His work of more than three decades includes hundreds of lighting and set designs that have earned him acknowledgement as a unique and visionary artist of the American professional theatre.
Joe Tilford’s body of work includes designs for major professional theatres throughout America; among them are San Diego’s Old Globe, Chicago’s Goodman Theatre, The Chicago Shakespeare Theatre, The Repertory Theatre of St. Louis, and many others.
At the Cincinnati Playhouse in the Park, he has designed more than 30 productions over the last 25 years. His set designs have been exhibited at the Prague Quadrennial in the Czech Republic, and in a solo retrospective exhibit “The Designs of Joe Tilford” at the 50th Anniversary Conference of the United States Institute for Theatre Technology. A prominent figure in American higher education, he serves as dean of the School of Design and Production at the University of North Carolina School of the Arts.
Sandra Woodall has contributed scenic and costume designs to San Francisco Ballet, Frankfurt Ballet, Stuttgart Ballet, the Bolshoi Ballet, the Norwegian National Ballet, the State Opera Ballet of Austria, Dance Theatre of Harlem, the Royal Winnipeg Ballet, Houston Ballet, Hubbard Street Dance Project, Singapore Dance Theatre and many other companies around the world.
Ms. Woodall has also recently completed costume designs for The Nutcracker, choreographed by James Canfield for the Nevada Ballet and for The Unkindness of Ravens, choreographed by Trey McIntyre and premiering at Brooklyn Academy of Music, and scenic and costume designs for The Lottery, choreographed by Val Caniparoli for BalletWest. Other recent credits include costume designs for Francesca da Rimini, choreographed by Yuri Possokhov for San Francisco Ballet and Scorched!, directed by Carey Perloffat American Conservatory Theater, and scenic and costume designs for Incantations, choreographed by Val Caniparoli for the Joffrey Ballet, A Midsummer Night’s Dream, choreographed by Jorma Elo for the Austria State Opera Ballet, and Still Life, choreographed by Val Caniparoli, for the Scottish Ballet. Other notable projects include scenic and costume designs for Don Quixote and for Sleeping Beauty for the Norwegian National Ballet, scenic and costume designs for Ibsen’s Women and for Lambarena, both choreographed by Val Caniparoli for San Francisco Ballet, costume designs for Cinderella at the Bolshoi Ballet, scenic and costume designs for Yuri Possokov’s Classical Symphony and Helgi Tomassson’s On Common Ground at San Francisco Ballet, and Jaialdi and Oh, Inverted World!, choreographed by Trey McIntyre. Among her numerous productions designed for San Francisco’s American Conservatory Theatre and Magic Theatre are The Doll’s House, St. Joan, The Duchess of Malfi, andJoseph Chaikin’s revival of Tongues/Savage Love. In 1991, Ms Woodall designed costumes for the Eureka Theater's world premiere of Tony Kushner's Angels in America.
Ms. Woodall’s artwork and designs have been shown in solo exhibitions at the Wadsworth Atheneum in Hartford, Connecticut and the San Francisco Museum of Performance and Design, and in numerous group exhibitions, including the 2011 Wearable Art exhibit in Hong Kong. In 1999 and 2000, she was a Fulbright scholar teaching at what is now the Taiwan National University of the Arts (TNUA); she has contributed designs and visual consultation to many productions in Taiwan, including 2009’s stadium-scale opening pageant for the Deaf Olympics andscenic designs for the 100th anniversary-celebration of Taiwan National Day.
Eric Van Wyk
ERIC J. VAN WYK received his M.F.A. in Scenic Design from the University of Maryland—College Park and his B.A. in Fine Arts from Dordt College. He is a participant of Sandglass Theatre's Summer Puppet Intensive. Regional credits for the Children's Theatre Co. include Scenic Designer for Mercy Watson to the Rescue!, Babe The Sheep-Pig, Puppet and Scenic Designer for The Biggest Little House in the Forest, Puppet Designer for A Wrinkle in Time, Cinderella and Puppet Consultant for Bert & Ernie, Goodnight!
Minneapolis credits also include Open Eye Figure Theatre's Milly & Tillie as Scenic Designer, The Holiday Pageant as Assistant Scenic Designer and the Guthrie Theater’s 39 Steps as assistant puppet designer. Regional credits include the puppet design for ALICE with the Washington Ballet and the scenic and puppetry design of The Lion, the Witch and the Wardrobe at Imagination Stage in Washington DC. He is a recipient of a 2009 Jim Henson Foundation Seed Grant for his shadow puppet work O the Sky! Eric thanks his family for inspiration and enjoying objects in motion.
Projection design accompanying the performance of music includes The Chicago Symphony Orchestra, Eos Orchestra (New York), and The Ravinia Festival Chicago among others