2019 Ballet Intensive

sunday, july 7th - friday, july 26th

 

The Ballet Intensive is designed for students pursuing excellence in ballet technique and artistry. The curriculum includes ballet, pointe, variations, pas de deux, character, jazz, contemporary, musical theatre, and repertory.

Live or Video Audition is required to be considered. Scholarships are available.


Guest Faculty

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Megan Fairchild

Megan Fairchild is a principal dancer with New York City Ballet. Ms. Fairchild was born in Salt Lake City, Utah, and began her dance training at the age of four, studying with Judy Levitre and Kaelynne Oliphant at Dance Concepts in Sandy, Utah, and at the Ballet West Conservatory in Salt Lake City with Sharee Lane, Deborah Dobson, and Maureen Laird. While at the Ballet West Conservatory, Ms. Fairchild was also a Ballet West trainee. Ms. Fairchild entered the School of American Ballet (SAB), the official school of New York City Ballet, in the fall of 2000. In November 2001, Ms. Fairchild became an apprentice with New York City Ballet, and in October 2002 she joined the Company as a member of the corps de ballet. Ms. Fairchild was promoted to the rank of soloist in February 2004, and in January 2005, she was promoted to principal dancer.

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Joseph Phillips

Joseph Phillips is the holder of more gold medals than any other American dancer. He has been named “golden boy of ballet” by leading publications. He studied at the American Ballet School from 1999 to 2000. On graduating he completed an summer intensive program at the American Ballet Theatre in New York where he studied with M. Heiden in 2001. After that he entered the North Carolina School of the Arts where he studied from 2001 to 2003 with G. Pandi. From 2003 to 2006 he worked with Ballet San Fransisco; from 2006 to 2008 with Ballet Miami; from 2009 to 2013 with the American Ballet Theatre. He was also a Guest soloist of Carolina Ballet (Raleigh, North Carolina). Joseph Phillips studied with: N. Danilov, S. Isaev, W. Conover, С. Маккалоу, D. Nobel, F. Smith, F Cordell, K. Spizzo, E. Villella. He has studied contemporary dance with: M. Diamond, J Houlihan, S. Nils, T. Cassey, B. Daniels, D. Markem, S. Sullivan. He was given the honour of lighting the Olympic Flame at the opening ceremony of the International Ballet Competition in Jackson, 2006. Since 2013 he has been a principal dancer of the State Primorsky Theatre of Opera and Ballet. Since 2016 he has worked in the Primorsky Stage of the Mariinsky theatre.

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Jessica Teague

A South Carolina native, Jessica began her professional dance career at the age of 17 with the Pacific Northwest Ballet in Seattle, Washington after completing her training at the School of American Ballet at Lincoln Center. While on tour in Europe with PNB, Jessica was invited to join the Dutch National Ballet in Amsterdam. Upon moving to the Netherlands, Jessica danced a wide range of classical and neo-classical repertoire and worked personally in the studio creating roles with many of Europe’s leading choreographers including Jiří Kylián, Mats Ek, Nacho Duato, William Forsythe, Hans van Manen, David Dawson, Christopher Wheeldon, Christian Spuck, and Wayne McGregor. Jessica rose to the rank of soloist and remained in Europe for the duration of her professional career later joining the Gothenburg Ballet in Sweden and the Royal Ballet of Flanders in Belgium. With the Royal Ballet of Flanders she toured extensively around the world performing principal roles in William Forsythe’s Artifact and Impressing the Czar. Jessica currently lives in Europe with her family where she teaches dance and works as an arts journalist and researcher. She holds a MA in Cultural Policy and Management from City University London, and a BA in Art History and Criticism. She is staff writer at Dance Europe Magazine and recently co-authored the book Ballet: The Definitive Illustrated Story. She has taught master classes in London, Amsterdam, Berlin, Antwerp and Stockholm and has also been invited as a guest lecturer on choreography at the University of Saint Petersburg in Russia.

Addison Ector

Addison Ector born and raised in Los Angeles, CA began dancing at the Debbie Allen Dance Academy at 13 years old. After graduating high school, he was accepted into the scholarship program for 3 years at The Alvin Ailey School in New York City where he was the recipient of The Alistar Butler, Oprah Winfrey & Alvin Ailey Scholarships. He also attended the Jacob Pillow Contemporary Program in 2012, performed with Germaul Barnes/Viewsic Expressions Dance domestically and internationally & has performed with Company XIV.

Mr. Ector has been featured in two books, The Art of Movement by NYC Dance Project & Dancers After Dark by Jordan Matter, along with being featured in Gap's Fall 2015 Fitness Campaign. Follow him on Instagram @Legs_4_Lyfe.

Mr. Ector danced with Complexions Contemporary Ballet from 2013-2018. Mr. Ector is now in his first season with TanzCompany Innsbruck, in Austria.



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Norbert Nirewicz

A native of Poland Norbert began his ballet studies at the National Ballet School in Gdansk. He was a finalist in Poland’s 7th national Ballet Competition and obtained a silver medal in the same competition in 2 years later. As a Dancer for the Polish National Theater he portrayed roles in a variety of classical ballets such as "Swan Lake", "Giselle", "Sleeping Baeuty" and "La Fille Mal Gardee" in Warsaw and throughout Europe. After leaving Poland Mr. Nirewicz joined Ballet Classico de Camara in Venezuela, as a Principal Dancer adding "La Bayadere", "Le Corsaire" and many more to his repertoire. After Mr. Nirewicz competed at US International Ballet Competition in Jackson, Mississippi, he was offered a Principal contract to join Cleveland/San Jose Ballet. He performed with the company for two seasons in Nahat's "Blue Suede Shoes" and Roland Petit's "Carmen" garnering public and critical acclaim. In the Summer Norbert competed in the 16th New York International Ballet Competition where he was a finalist. After two seasons with Cleveland/San Jose Ballet Mr. Nirewicz joined Columbia City Ballet with a Principal contract where he performed in "Don Quichote" and "Dracula" among the others.

Since 2002 Norbert has been working as a Free Lance Dancer, Teacher and Choreographer performing across United States Japan, Latin America and Europe adding many more ballets to his repertory such as "Apollo", "Who Cares", "Allegro Brilliante", "Combat", "Serenade", "Tchaikovsky Pas de Deux, "Romeo & Juliet" to name the few as well as taught numerous Master Classes, Company Classes and Summer Intensive Workshops through out the Country as well as created Award Winning choreographies for Ballet Companies and Dance Competitions.

 

Featured Residential Faculty

Stacey Calvert

Stacey Calvert was born and raised in Columbia, South Carolina and began her ballet training at the Calvert-Brodie School of Dance, studying with her Mother and Godmother. In 1980, Ms. Calvert entered the School of American Ballet, the official school of the New York City Ballet—and remained there for three years. She joined New York City Ballet’s corp de ballet in 1983. In 1992, Ms. Calvert joined William Forsythe’s Frankfurt Ballet. She returned to New York City Ballet in the winter of 1993. Ms. Calvert was promoted to the rank of Soloist in 1994.

Since joining the Company, she has danced numerous featured roles including George Balanchine’s Apollo, Ballo della Regina, The Four Temperaments, The Nutcracker (Hot Chocolate), Stars and Stripes, Symphony in C, Tschaikovsky Piano Concerto No. 2, Western Symphony, and Who Cares?, as well as Jerome Robbins’ The Four Seasons (Winter) and Interplay. In addition, she has been featured in Peter Martins’ Ash and Barber Violin Concerto as well as William Forsythe’s Herman Schmerman. During the inaugural season of NYCB’s Diamond Project in 1992, Ms. Calvert originated a principal role in John Alleyne’s Bet Ann’s Dance. During the Company’s 1994 Diamond Project, she originated principal roles in Lynne Taylor-Corbett’s Chiaroscuro, John Alleyne’s The New Blondes, Trey McIntyre’s Steel and Rain, and Kevin O’Day’s Viola Alone...(with One Exception). For The Diamond Project in 1997, Ms. Calvert originated principal roles in O’Day’s Open Strings and Angelin Preljocaj’s La Stravaganza. In addition, she originated principal roles in Mr. O’Day’s Huoah, Dvorak Bagatelles and Badchonim. Ms. Calvert has danced in Europe with a touring group, and has travelled extensively in the United States and abroad with the New York City Ballet.

Since 2006, she has presented, for the University of South Carolina, Ballet Stars of New York, a concert featuring principal dancers from the NYC Ballet Company such as Wendy Whelan, Albert Evans, Nilas Martins, Tom Gold, Nikolaj Hubbe, Yvonne Borree, Sara Mearns, Jared Angle, Tyler Angle, Charles Askegard, Amar Ramasar and others, performing alongside the USC Dance Company. Past Ballet Stars of NY concerts have included performances of signature Balanchine works such as Apollo, Agon, Tarantella, Stars and Stripes, Western Symphony, Allegro Brillante, Walpurgisnacht, and Who Cares, as well as Jerome Robbins' In The Night, William Forsythe's Herman Schmerman (Pas De Deux) and Lila York's Celts. This gala evening has become an annual event for the USC Board of Dance.

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Regina Willoughby

Regina Willoughby began dancing at the age of 8 at Ballet Midland while growing up in West Texas. At the age of 15, she was awarded a scholarship to study at Virginia School of the Arts, where she went on to graduate. She also studied at Westside in Los Angeles and on scholarship with the Joffrey Ballet School in New York.

Regina’s professional career began at Ballet Austin, where she danced solo roles, including Stephen Mills’ “Four Mortal Men.” In 1997, she joined Columbia City Ballet, dancing such roles as the Arabian, Dew Drop Fairy, Snow Queen, and Sugar Plum Fairy in Nutcracker; Maiden and Lucy in Dracula: Ballet with a Bite; title roles in Cinderella, Giselle, and Romeo & Juliet; Aurora in The Sleeping Beauty; and Odette/Odile in Swan Lake.

Director William Starrett has created many roles on her for his original ballets, including Mina in Dracula’s Revenge and the “Sand Dance” pas de trois and “Daughters of the South” from Off the Wall & Onto the Stage. The title role of Cleopatra was created on Regina receiving rave reviews.

Critics have lauded her commanding stage presence, stating “Willoughby, as one of City Ballet’s up and coming stars, was exotically arrogant as Arabian,” and “the showstopper was Regina Willoughby with her sultry stage presence.” Free Times said that “Willoughby is the company’s most enchanting female performer, both technically and dramatically,” and “Willoughby possesses that special it quality that makes a performance so riveting.”

Regina was made a Soloist of the company in 2001, Principal dancer in 2006, and Ballerina in 2010. She is married with two children. Regina is an ABT National Training Curriculum certified teacher with 20 years teaching experience.

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Rhythm McCarthy

Professional career includes work with North Carolina Dance Theatre, the California Ballet Company, Agnes DeMille, Valerie Bettis, Pauline Koner, Duncan Noble, Alwin Nikolais, Donlin Foreman, Anthony Morgan, and Ernestine Stodelle. Teaching and choreographic credits include residencies and guest artist positions with Florida State University, Jacksonville University, Missouri State University, University of Nebraska-Lincoln, University of Nevada-Las Vegas, University of Illinois Urbana-Champagne, Austin Peay State University, University of Arkansas Little Rock, Coker College, and Imperial College in London, England. Ms. McCarthy has directed/ choreographed over fifty shows for the musical stage including Once Upon a Mattress for the Department of Theatre Arts and Dance at UALR. While at Missouri State University she received College and University Outstanding Teaching Awards and in 2008 was selected as a finalist for the national student nominated Inspire Integrity Award. She has taught ballet, tap, jazz and modern dance, and developed a premier touring program utilizing dance performance and movement studies to enhance literacy in public schools. Ms. McCarthy’s paper on The Dance Educator’s Role in Preserving Diversity: Two University Programs was chosen for presentation at the 18th World Congress on Dance Research in Argos, Greece. The same organization invited her to present her choreographic work, Ozarks Folk Suite, for the 19th World Congress in Larnaca, Cyprus. She returned to the 20th World Congress in Athens, Greece to present a co-authored paper, From Tap to Toe, From Jig to Clog, From Salome to the Chocolate Nijinsky: How Vaudeville Taught America to Dance. Ms. McCarthy has given the opening keynote address at the International Dance in Education Congress in Bogota, Columbia, published articles in Pointe Magazine, and been awarded National Endowment of the Arts Initiative Grants. Ms. McCarthy began her professional studies at North Carolina School of the Arts and holds degrees from Jacksonville University (BFA) and Florida State University (MFA). She serves as a Vice President on the National Board of Directors for the American College Dance Association. She is currently teaching at the University of South Carolina and is Professor Emeritus at Missouri State University.

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Gabor Toth

Gabor Toth, co-owner, co-artistic director and founder of Southeastern School of Ballet, began his formal dance training at the world-renowned Hungarian Dance Academy in Budapest,Hungary. Toth is trained extensively in the arts of ballet, folk dance, acrobatics, stage dance, acting, historical dance,pantomime, partnering and contemporary dance.

Upon graduation, he was awarded a scholarship to the School of Alicia Alonso in Madrid, Spain, where he received instruction in Spanish folk dance and classical ballet. Following this, Toth made his American debut as an intern with the Greensboro Ballet Company, where he perfected his knowledge of American techniques, styles and choreography.

Toth has utilized his extensive knowledge of movement with some of the most accomplished dance companies in the world, including: Music World, a national dance festival and competition in Fivizzano, Italy, performances in “Majismo” and “El Gran Baile” in Madrid, Spain, and “AIDA” in Budapest, Hungary.

In spring 2000 he came to Carolina Ballet to be in the premiere productions of Lynne Taylor-Corbett’s Cabaret. Lynne Taylor-Corbett is known for her work in theatre, ballet and film. She was nominated for Tony Awards for her direction and choreography of Broadways Swing! and for two American Theatre Wing Star Awards for its National Tour. She choreographed Chess and Titanic on Broadway and the feature films Footloose, My Blue Heaven and Vanilla Sky. Her ballets have been commissioned by New York City Ballet, American Ballet Theatre, Pacific Northwest Ballet, Pennsylvania Ballet.

Toth’s experience includes professional productions of both contemporary and classical ballets. During his two-year stay as a dancer and instructor at Columbia Classical Ballet, Toth played a vital role in choreographing dance sequences for “The Nutcracker”, “Jekyll and Hyde” and “Lifechance”.

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erin Elizabeth Morton

Erin Elizabeth began her formal ballet training in 1990 at the Virginia Ballet School and Company. Under the direction of former Ballet Russes dancer Oleg Tupine and his wife Tania, Erin Elizabeth was instructed in Russian classical ballet and folk dance. During her time with Virginia Ballet she performed such classics as The Nutcracker, Sleeping Beauty, Swan Lake, and Raymonda as well as attend summer programs at Richmond Ballet, Pennsylvania Ballet, and Boston Ballet. In 1995 Erin Elizabeth was invited to perform in Novgorod, Russia to celebrate the 1,000 anniversary of the city. Upon her high school graduation in 1996, Erin Elizabeth went on to dance professionally with Southern Ballet Theater in Orlando, Florida from 1996-1998. She was invited to be a part of American Jewish Ballet and performed with them at the Spoleto Festival in the summer of 1998.

After Florida, Erin Elizabeth took a dance break and attended Valencia Community College and received her A.A. in Education. Erin Elizabeth found that she really missed dancing and took a contract in 2002 with The Georgia Ballet under the direction of former principal dancers Gina and Januaz Mason of Hamburg Ballet. With Georgia Ballet Erin Elizabeth danced many principal roles. Some of her favorites include: “Shall We Dance?” pas de deux by John Neumeier, Waltz Girl in Serenade by George Balanchine, Princess Aurora in Sleeping Beauty, Giselle in Giselle, Grand Pas Classique, and Sugar Plum Fairy in The Nutcracker. She also taught in the school of The Georgia Ballet.

After eight seasons with The Georgia Ballet, Erin Elizabeth went on to guest perform all over the country and continued teaching for Atlanta Ballet Centre for Dance Education and North Atlanta Dance Academy. While rehearsing for Swan Lake with North Atlanta Dance Theater, Erin Elizabeth met her husband Tory Morton. Upon their marriage Erin Elizabeth moved to South Carolina where Tory was in school studying Physical Therapy. She joined SCCDT in the fall of 2012 and was gifted Assistant Director in 2015. She is also adjunct faculty at The University of South Carolina teaching in their Theater and Dance department and coaches individual dancers for Youth American Grand Prix.

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Shannon Ludlum

Shannon was born and raised in Wading River, New York. She began her ballet training at the age of 3 at a local ballet academy. Later she had the privilege of training with renowned ballet instructor Maggie Black in NY. Shannon received many scholarships to dance at several prestigious summer programs including, Pacific Northwest Ballet, The School of American Ballet, Joffrey Ballet, Boston Ballet, and American Ballet Theatre. In 1997, at 16 years old, she competed at The National Foundation for Advancement in the Arts held in Miami and was awarded the highest Level One award. Also that year, Shannon was invited to join American Ballet Theatre’s Studio Company, where she was featured in many Principal and Soloist roles. In 1998 she was promoted to American Ballet Theatre’s Corps De Ballet where she danced in several full length classical ballets as well as contemporary works. Shannon was featured in soloist roles such as The Mother in The Nutcracker, Madame La Patronne in Offenbach in the Underworld and Lady Montague in Romeo and Juliet. Shannon is currently a certified American Ballet Theatre National Training Curriculum instructor in levels Primary through level 3. She has also completed the Central Pennsylvania Youth Ballet’s instructor training program. Currently, she is Adjunct Faculty for the University of South Carolina’s Department of Theatre and Dance.

*faculty subject to change.