CREATIVE DIRECTOR & CHOREOGRAPHERS
OF ABT TODAY: THE FUTURE STARTS NOW
A native of Vermont, Kevin McKenzie received his ballet training at the Washington School of Ballet. In 1972, Mr. McKenzie was awarded a Silver medal at the Sixth International Competition in Varna, Bulgaria. He was a leading dancer with both the National Ballet of Washington and The Joffrey Ballet before joining American Ballet Theatre as a Soloist in March 1979. Mr. McKenzie was appointed a Principal Dancer the following December and danced with the Company until 1991.
As a Principal Dancer with American Ballet Theatre, Mr. McKenzie danced leading roles in all of the major full-length classics including Solor in La Bayadère, Don Jose in Carmen, the Prince in Mikhail Baryshnikov’s production of the full-length Cinderella, Franz in Coppélia, the Gentleman With Her in Dim Lustre, Basil and Espada in Don Quixote (Kitri’s Wedding), Albrecht in Giselle, a leading role in The Garden of Villandry, Her Lover in Jardin aux Lilas, the leading role in The Leaves Are Fading, the Friend in Pillar of Fire, the leading role in Raymonda (Grand Pas Hongrois), a featured role in Requiem, the Champion Roper in Rodeo, Romeo and Mercutio in Romeo and Juliet, Prince Desire in The Sleeping Beauty, Prince Siegfried in Swan Lake, James in La Sylphide and the leading roles in Other Dances, Paquita, Les Sylphides, the Sylvia Pas de Deux and Theme and Variations. He created the role of Amnon in Martine van Hamel’s Amnon V’Tamar and a leading role in Clark Tippet’s S.P.E.B.S.Q.S.A.
During his performing career, Mr. McKenzie performed as a guest artist in cities throughout the world, including Spoleto, Italy, Paris, London, Tokyo, Havana, Moscow, Vienna and Korea, dancing with, among others, the London Festival Ballet, the Bolshoi Ballet, the National Ballet of Cuba and the Universal Ballet in Seoul. In September 1989, Mr. McKenzie was appointed a permanent guest artist with The Washington Ballet, and in 1991 assumed the position of Artistic Associate of that company. He has also acted as Associate Artistic Director of, and a choreographer with, Martine van Hamel’s New Amsterdam Ballet.
McKenzie was appointed Artistic Director of American Ballet Theatre in October 1992. His previous choreographic credits include Groupo Zambaria (1984) and Liszt Études (1991) both for Martine van Hamel’s New Amsterdam Ballet, and Lucy and the Count (1992) for The Washington Ballet and, for American Ballet Theatre The Nutcracker (1993), Don Quixote (1995, in collaboration with Susan Jones) a new production of Swan Lake (2000), the conception and direction of a new production of Raymonda (2004) with choreography by Anna-Marie Holmes and a new production of The Sleeping Beauty with Gelsey Kirkland and Michael Chernov. In 2014, McKenzie, with ABT Ballet Mistress Irina Kolpakova, staged a new production of Raymonda Divertissements.
McKenzie has received numerous awards including an honorary degree of Doctor of Arts from Saint Michael’s College in Colchester, Vermont (1993) and the Dance Magazine Award (1999). In addition, he appeared in two Emmy Award winning broadcasts, The Unicorn, the Gorgon and the Manticore (1970) and American Ballet Theatre in Le Corsaire (1998) both for PBS’ Dance in America series. McKenzie is a founding board member of Kaatsbaan International Dance Center in Tivoli, New York.
Born in Bedfordshire, England, Gemma Bond trained with Sylvia Bebbs and at The Royal Ballet School. In 2000, she danced Zulme in Giselle in the School’s annual performance.
Bond joined The Royal Ballet in 2000 and was promoted to first artist in 2003. Her repertory included Olga in Onegin, Princess Stephanie in Mayerling, Clara in The Nutcracker, the Fairy of the Song Bird in The Sleeping Beauty, a cygnet in Swan Lake, Marie in Anastasia and a sylphide in La Sylphide. She created a role in Poppy Ben David’s Siren Song (2000), which was part of The Royal Ballet’s “The New Works.”
Bond joined American Ballet Theatre as a member of the corps de ballet in January 2008. Her repertory with the Company includes a Porcelain Princess in Aurora’s Wedding, Galya in The Bright Stream, Step-Sister and Spring Fairy in Cinderella, Mazurka Lady in Coppélia, an Odalisque in Le Corsaire, Amour in Don Quixote, Helena in The Dream, Mrs. Fairfax in Jane Eyre, Vera in A Month in the Country, the Chinese Dance in Alexei Ratmansky’s The Nutcracker, Olga in Onegin, Sergei’s Mother in On the Dnieper, Miettes qui tombent (Breadcrumb) and Sapphire Fairy in Ratmansky’s The Sleeping Beauty, the Fairy of Charity in The Sleeping Beauty, a little swan and the Italian Princess in Swan Lake, Effie in La Sylphide and roles in Black Tuesday, Company B, Drink to Me Only With Thine Eyes, Dumbarton, In the Upper Room and The Seasons.
She created Columbine in Ratmansky’s The Nutcracker, Cinderella in Ratmansky’s The Sleeping Beauty, a leading role in Liam Scarlett’s With a Chance of Rain and roles in After You, Brahms-Haydn Variations and Everything Doesn’t Happen at Once.
Bond got her first taste of choreography at age 13 when she competed in The Royal Ballet’s Sir Kenneth Macmillan Choreographic Competition. Since 2010, she has created three new ballets for ABT’s Choreographic Institute, as well as works for ABT Studio Company, Atlanta Ballet, Ballet Sun Valley, Intermezzo Ballet Company, New York Theater Ballet and The Hartt School. Her choreography has been performed at the prestigious Erik Bruhn Competition, the Youth America Grand Prix Gala, the 92nd Street Y, The Joyce Theater and Jacob’s Pillow. Her work Myriad was commissioned by The Washington Ballet and received its world premiere in March 2018. She has also worked on commercial projects with 1stAveMachine.
Bond has received grants from the Virginia B. Toulmin Foundation, and in 2014, she was awarded the fellowship grant from the New York Choreographic Institute, an affiliate of New York City Ballet. Bond was a 2017-2018 New York City Center Choreography Fellow, the recipient of a 2017 Princess Grace Choreography Fellowship and the winner of a 2018 Clive Barnes Award for Dance.
Darrell Grand Moultrie
A recipient of the Princess Grace Choreography Fellowship Award, Darrell Grand Moultrie has established himself as one of the most diverse and sought-after choreographers and master teachers.
Recently, Alvin Ailey American Dance Theater premiered Moultrie’s work Ounce of Faith during their engagement at New York’s Lincoln Center Theater. The company also performed the work as part of their Fall European Tour and engagement at New York City Center.
Moultrie has created and staged works for Atlanta Ballet, Colorado Ballet, Dance Theatre of Harlem, Cincinnati Ballet, BalletMet Columbus, Ailey 2, Milwaukee Ballet, Tulsa Ballet, Richmond Ballet, Smuin Ballet, Sacramento Ballet, The Juilliard School, Dallas Black Dance Theatre, North Carolina Dance Theatre, Cleo Parker Robinson Dance Ensemble and NBA Ballet in Japan.
On stage, Moultrie has provided movement and choreography for the world premiere of Jeremy O. Harris’s off-Broadway play Daddy, Witness Uganda at American Repertory Theater directed by Tony Award® winner Diane Paulus, Sugar in Our Wounds at Manhattan Theatre Club, the off-Broadway musical Invisible Thread at Second Stage, the world premiere of Redwood at Portland Center Stage Theater, and Evita and Pride and Prejudice at Kansas City Repertory Theatre. He has collaborated with Tony Award®-winning dancer Savion Glover and provided choreography for Beyoncé’s Mrs. Carter World Tour. Moultrie also choreographed El Publico, a new opera at the world-famous Teatro Real in Madrid, Spain, directed by Robert Castro and conducted by Robert Heras-Casado.
Moultrie is a proud New Yorker, born and raised in Harlem, and a graduate of P.S. 144, The Harbor Conservatory for the Performing Arts, LaGuardia High School and The Juilliard School.
Choreographer Pam Tanowitz has been making dances since 1992. Her work often draws on eccentric and awkward movements to which she lends a formal beauty by bringing classical ballet into a postmodern context. In 2000 Tanowitz founded Pam Tanowitz Dance and has received commissions and residencies from The Joyce Theater, New York Live Arts, The Kitchen, Danspace Project, The Guggenheim Museum’s Works & Process program and Baryshnikov Arts Center. The company has performed at The Lincoln Center Out of Doors Festival and the Chicago Dancing Festival. She has set work on dancers at The Juilliard School, New York Theater Ballet and Saint Louis Ballet.
With the support of her 2010 Grants to Artists award, Tanowitz had a return engagement of her work Be in the Gray With Me at Dance Theater Workshop (2010), and she premiered The Wanderer Fantasy (2010) at Danspace Project. Tanowitz’s subsequent works include Spectators (2013) and Passagen (2014). In 2015, Tanowitz premiered Broken Story (wherein there is no ecstasy), a collaboration with David Lang that was commissioned by Works & Process at the Guggenheim.
Following her FCA support, Tanowitz received a John Simon Guggenheim Memorial Foundation Fellowship (2011) and a Hodder Fellowship from Princeton University (2013-2014). Prior to her 2010 Grants to Artists, Tanowitz received two grants from the Harkness Foundation for Dance (2004, 2005), a New York Dance and Performance “Bessie” Award (2009), and a Dance Force Grant (2009).
Tanowitz received a B.F.A. in Dance from the Ohio State University in 1991 and an M.F.A. in Dance from Sarah Lawrence College in 1998, where she was mentored by former Merce Cunningham principal dancer Viola Farber-Slayton.