IAN J. BETHANY
Ian J. Bethany is from Long Island, N.Y. He started dancing as a tap and jazz student at Robert Mann Dance Centre. He started ballet at the age of 12 at Tap to Pointe Dance Center. Ian then went on to train at the Frank Ohman School of Ballet, at the School of Ballet Chicago with Daniel Duell and Patricia Blair, at Ballet Academy East with Darla Hoover and Francis Patrelle, and then as a full scholarship student in the Professional Division of Pacific Northwest Ballet School with Peter Boal, Elaine Bauer, Marjorie Thompson, Bruce Wells, and Nicholas Ade. With Ballet Austin, Ian has enjoyed performing in George Balanchine’s Agon and Allegro Brillante, Nicolo Fonte’s Lasting Imprint, Annabelle Lopez Ochoa’s Requiem for a Rose, Gabrielle Lamb’s Dovetail, Bradley Shelver’s The Last Just, Stephen Mills’ Carmina Burana, The Magic Flute, and The Nutcracker, and the Bluebird Pas de Deux in The Sleeping Beauty. Ian has performed with project-based company Performa/Dance, has sung with the Austin Opera, was seen as Dream Curly in Zilker Theatre Production’s presentation of Oklahoma!, and does numerous juggling gigs around Austin. He also teaches in the Ballet Austin Academy. Ian would like to thank Jesus Christ, his wife, Grace, and his family for the support they give him each day.
Born in Frankfurt, Germany and raised in Atlanta, Georgia, Constance trained until age 17 under Gigi Hyatt and Janusz Mazon. At 17 she was invited to study year-round at the School of American Ballet in New York City, where she was thrilled to complete her final years of training. She performed George Balanchine's Serenade, Western Symphony and Valse Fantaisie during the school's Workshop performances, featured in a 2015 PBS Live from Lincoln Center national broadcast. She was repeatedly invited to dance in the annual New York Choreographic Institute and to participate as both dancer and choreographer in SAB's Student Choreographic Workshop. In 2015 she began her Apprenticeship with Ballet Austin, and 2017 was invited to join the main company. At Ballet Austin she has particularly enjoyed dancing the principal couple in Stephen Mill's Touch, George Balanchine's Allegro Brilliante, and was honored to join the company in their month-long tour of China. She is thankful to her parents, whose love and sacrifices made her career possible, and she dances to glorify God and magnify His beauty.
Originally from Lafayette, La., Hailey began her ballet training at The Ballet Studio and later Lafayette Ballet Theatre. She has attended the summer programs of American Ballet Theatre (NYC), Houston Ballet, Pacific Northwest Ballet, Boston Ballet, The School of American Ballet (SAB) and Ballet Austin. At 15, Hailey was awarded a full scholarship to study year round at SAB where she then trained for three years. While at SAB, she performed in the Student's Annual Workshop performances. She had the pleasure of performing Dance of the Little Swans in George Balanchine's Swan Lake, Danses Concertantes, The Four Temperaments and Jerome Robbins' Fanfare. She also participated in SAB's Student Choreographic Workshop and was selected to participate in lecture demonstration programs for New York public schools. Hailey joined Ballet Austin II in 2016 and was promoted to the main company in 2017. She would like to thank her parents for their continued support.
Oliver Greene-Cramer, raised in Marlboro, VT, received his early training at the Brattleboro School of Dance and Burklyn Ballet Theatre. Oliver graduated with a BFA from the Conservatory of Dance at SUNY Purchase College where he was given the award for Outstanding Senior in Modern Dance. While at Purchase he danced works by Merce Cunningham, George Balanchine, Lar Lubovitch, Nicolo Fonte, John Heginbotham, Ori Flomin, and Jonathan Riedel. Immediately after graduation Oliver joined the Lar Lubovitch Dance Company in New York City. Since joining Ballet Austin he has performed in works by Stephen Mills, Pontus Lidberg, Pam Tanowitz, Jimmy Orrante, Jennifer Hart, and Nelly van Bommel. Oliver was recently featured in the Illusory Impressions Project directed by Catherine Davis and Michelle Thompson.
Paul began his dance training in his hometown of Des Moines, Iowa under Hank and Beth Adams of The Pointe Academy. He performed in various productions, such as The Nutcracker and Peter Pan, with Iowa Dance Theatre and The Pointe Academy Dance Ensemble. To broaden his technique and further his education, he attended Summer intensive programs with Kansas City Ballet, Nutmeg Conservatory, San Francisco Ballet, and Ballet Austin. After high school graduation, Paul trained with The Kansas City Ballet School under School Director Grace Holmes, and his efforts culminated in a performance opportunity with Kansas City Ballet II. He then joined Ballet Austin's apprentice company in 2015 and spent the following two years developing his artistry under Artistic Director Stephen Mills. Following his apprenticeship, Paul was promoted to Ballet Austin's main company and joined for the 2017/18 season. Notable and favorite performances include, Stephen Mills' Touch and Romeo and Juliet, Michelle Thompson's Planets, Jennifer Hart's Spaces, and Nelly van Bommel's Snow White. Paul enjoys diversifying his movement in ballet and contemporary dance and looks forward to his first performance with Performa/Dance.
Grace Morton is from Seattle, Washington. She received her early training from Vivian Little and Mary Reardon, school directors of Dance Fremont. In 2010 she began training under the direction of Damara Bennett in Oregon Ballet Theater's professional division. She had the chance to tour to Korea and performed in company productions of George Balanchine's The Nutcracker and Nicolo Fonte's world premiere of Petrushka. Grace joined Ballet Austin II in 2012, and enjoyed performing featured roles in Stephen Mills' Luminaria, Jennifer Hart's Wavemakers, and Nelly Van Bommel's Snow White. After becoming a company member of Ballet Austin, Grace has performed roles in classical ballets such as French and Snow Queen in Stephen Mills' The Nutcracker, Puss 'n Boots in The Sleeping Beauty, and Four Little Swans in Swan Lake. She has also had the pleasure to appear in works choreographed by George Balanchine, Jennifer Hart, Gabriel Lamb, James Gregg, Pam Tanowitz, and Pontus Lidberg. Grace danced in the Performa/Dance's 2014 production, IGNITE, and is thrilled to be working with the company again.
Originally from Roseville, California Kevin began his training at Hawkins School of Performing Arts. He then went on to train at the San Francisco Ballet School where he performed roles in multiple company productions, including John Cranko's Onegin, Rudolf Nureyev's Raymonda, Christopher Wheeldon's Cinderella and Helgi Tomasson's The Nutcracker and Romeo & Juliet. During the San Francisco Ballet student showcase, Kevin performed the second movement principal in George Balanchine's Western Symphony. Since dancing first as an apprentice and then joining the company of Ballet Austin he has enjoyed performing as Hansel in Nelly van Bommel's Hansel and Gretel, the judge in Nick Kepley's Season of Innocence, and various works by Stephen Mills, Pontus Lidberg, and Lar Lubovitch.
Preston Andrew Patterson
Preston Andrew Patterson was born in Atlanta, Ga., and began his dance studies at the Ballethnic Academy of Dance. At age 17 he attended the School of American Ballet and later the National Ballet School of Canada. As a member of Ballet Austin, Preston Patterson has had the privilege of performing in Stephen Mills’ Wolftanzt, Light / The Holocaust & Humanity Project, Belle Redux / A Tale of Beauty & The Beast, George Balanchine’s Allegro Brillante, the Peasant Pas de Deux from Giselle, and the Blue Bird in Petipa’s The Sleeping Beauty.
Elise Pekarek is originally from the Chicago area and began her formative ballet training with the Judith Svalander School of Ballet under the direction of Judith Svalander and Greg Begley. Elise was then a Ballet Austin trainee and apprentice before joining the company in 2011. Since, Elise has been honored to have been featured in several works by Stephen Mills' as well as Annabelle Lopez-Ochoa, Lar Lubovitch, George Balanchine, Pam Tanowitz, and Septime Webre. She participated in the National Choreographer's Initiative 2017 and enjoyed dancing works by Christopher Stuart and Suzanne Haag. Elise was nominated for the 2016 Austin Critic's Table award for Outstanding Dancer for her work in choreographer Michelle Thompson's Illusory Impressions. In 2017, she performed Thang Dao's award winning choreography, We Circle The Night, for the Danz in Arte a Pietrasanta festival in Pietrasanta, Italy. Elise has completed her Bachelor of Science in Business Administration through Columbia College of Missouri and teaches classes for Ballet Austin's Pilates Center.
Oren Porterfield hails from Dallas, Texas, where she trained with Tanju and Patricia Tuzer of Tuzer Dancenter. She continued to study under revered master teacher Truman Finney as a trainee and an apprentice with Ballet Austin. Oren has danced with Ohio Ballet and Dayton Ballet where she had the pleasure of performing the featured roles of Blanche DuBois in Karen Russo Burke's A Streetcar Named Desire and as Lucy Westenra in Stewart Sebastian's Dracula. Oren has been a guest artist with Verb Ballets, Motion Dance Theatre, and Performa/Dance. Since returning to Austin, she has been featured in works by Nicolo Fonte, Annabelle Lopez Achoa, Loni Landon, Jennifer Hart, and James Gregg as well as in director Stephen Mills’ Angel of my Nature, Luminaria, and One/the body’s grace. Oren has recently enjoyed the role of Princess Florine in The Sleeping Beauty, and the iconic pas de deux in George Balanchine's Agon. @shop_soft_altars