For a quarter century Ann Marie DeAngelo has been an artistic director, choreographer, teacher, and producer. A former principal dancer of the Joffrey Ballet, she has extensive experience within and beyond the dance world as an artistic leader. She has worked internationally, most notably as the founder of the Ballet de Monterrey in Mexico.  She is also a former Associate Director of the Joffrey Ballet, returning to the company when it was in crisis and overseeing its stabilization.  Among the dance organizations she has lead is her own experimental troupe, Ballet D’Angelo.

Forward-thinking Vision and Hands-on Experience

I consider myself an artistic producer who uses my “vision” in forward-moving ways, both creatively and organizationally.

My first experience as a director came when I founded Ballet D’Angelo in 1984, creating ground-breaking and eclectic full-evening shows.  Later I became the founding artistic director of Ballet de Monterrey in Mexico, where I produced programs of the Americas, including classical ballets such as Cynthia Gregory’s SwanLake, and Alicia Alonso’s Giselle.

As an artistic leader, I have contributed my expertise to organizations that were in start-up mode, as well as others in transitional situations. I have collaborated with directors and companies to define their artistic expansion, and handled crisis management.  As artistic director of Ballet Omaha, I guided the Board to transform the organization into a presenting entity.  As Associate Director of the Joffrey Ballet, I played a crucial role in it the company’s reinvention of itself in Chicago.

I am also an experienced fundraiser who has created and produced independent dance projects. I have crafted programs for numerous gala benefits, including one that raised $1.2 million in a single evening.  As a producer, I call upon the same organizational skills that an artistic director employs: developing concepts, programming, marketing; and selecting and managing dancers and other artists from major dance companies.  I have recruited and worked with many celebrities, including Chevy Chase, Liza Minnelli, Bebe Neuwirth, Chita Rivera, and James Earl Jones.

The Dance World and Beyond

In addition to my work as an artistic consultant to dance companies, I have collaborated with organizations in other fields.  One example: In 2002 the Rodgers and Hammerstein Organization invited me to create and direct the dance project for the Richard Rodgers Centennial.  I solicited over 50 dance companies and choreographers to participate in the centennial by producing original work to music by Richard Rodgers.  Participating companies included New York City Ballet, American Ballet Theatre, Royal Winnipeg Ballet, Ohio Ballet, Nevada Ballet Theater, Jennifer Muller The Works, Lar Lubovitch, Doug Elkins, and Anti-Gravity.  As a result of my effort, those companies created many new works involving Rodgers’ music, and continue to do so.

As a producer, an artistic director, a teacher, a coach, and a ballet master, I have developed a vast body of knowledge and experience. I have taught for numerous dance companies, universities and summer courses around the world.  I give workshop to non-dancers at high-end resort spas such as Rancho La Puerta, and will return there in September of 2007.  I developed my program “MOVE! Get Out of Your Own Way” while teaching private classes to Bette Midler as she prepared her show Kiss My Brass.

Artistic Director

When dance companies falter, their inability to attract audiences increases in direct proportion to their lack of vision.  My vision moves beyond what most dance companies are programming today. 

Vision and Responsibility
I can offer safe ways of programming; but more important, I can bring innovative programming to the table.  This involves presenting dance to a community in different packages, formats, and collaborations, both artistic and commercial.  I understand the value of arts partnerships within a given community, as well as the necessity to reaching outside of our field through creative multi-disciplinary ventures. Both are essential if we are to expand our audiences.  Because the arts can only thrive in a community of individuals and institutions that are committed to supporting it, I have tailored my vision differently for each different person, organization, situation or community I have worked in.

As an artist I am both creative and fiscally responsible.  I have a certificate in Arts Administration from New York University, and a proven track record of management skills.  As the director of a ballet company, I might create one work a year, if that. Instead I would focus my energy on artistic growth, education, collaboration, and audience development.

I have led and taught at numerous major dance companies around the world.  From 1984 to 1989 I had my first experience as an artistic director with the creation of Ballet D’Angelo, where I explored dance fusion in a format that would make dance more accessible to audiences. The company performed throughout the US, in Cuba, and played to sold-out houses in 25 major European cities.  Our 70-minute shows were fun and fast-paced. They featured multi-talented dancers in a variety of dance and entertainment styles.  Profits from this venture were invested in The Americas Project, which raised funds for collaborative ventures of artists throughout North and South America. 

Creating Organizational Structure
Ballet de Monterrey (1990-1994)
 
In 1990 Yolanda Santos Garza de la Guerra invited me to be the founding Artistic Director of Ballet de Monterrey, the first privately funded arts organization in Mexico.  I selected dancers and artists from Mexico, South America, Cuba, and the US; established a board of directors and administrative staff; created a relationship with the National Ballet Cuba for an exchange of dance talent, choreographers, and teachers; and created the first outreach program and choreography workshop for emerging talent.  ‘The Americas Project’ Ballet de Monterrey’s repertory of classical ballets included Cynthia Gregory’s one-act Swan Lake; Alicia Alonso’s Giselle, Coppelia by Jeffrey Graham Hughes, and the Nutcracker,as well as several of my own works.  The company introduced masterworks by Balanchine and Tudor, as well as revivals of such ballets as La Vivandiere by Arthur St. Leon and La Luna by Carla Merida, with original sets by Tomayo.  Ballets by Latin American choreographers included Vincente Nabrada (Venezuela) and Jose Martin (Cuba).I hired Alejandro Colunga, Julio Galan, and other well-known Mexican painters for scenic designs, and initiated a project with writer Laura Esquivel (Like Water for Chocolate).

Using vision to keep dance alive in a community   
Ballet Omaha (1994-1995)

My season with Ballet Omaha included revived works by Lew Christensen and Lynne Taylor-Corbett; a Hollywood Nutcracker; contemporary works by Laura Dean,Charles Moulton, and one of mine; collaborative projects with Emmy Gifford Children’s Theater; and a themed evening with the opera, symphony and ballet.  I learned the value in partnering with other organizations for building audiences. 

Because of a prior deficit the Board decided to suspend the company during my tenure. I suggested that the organization reconfigure itself as a presenting entity.  This change enabled Ballet Omaha to continue to fulfill its mission of bringing dance to its community.  I successfully negotiated to bring the Joffrey Ballet to Omaha, in their inaugural season of the Nutcracker.  Ballet Omaha went on to present many other companies, including the Dayton Ballet. 

Producer/Director

2000-present

Producing high-profile special events requires the same skills as serving as an artistic director, as well as others. These include creating the artistic concept; selecting and managing talent; hiring staff; overseeing all aspects of production, marketing, and graphic design; developing budgets; and allocating fees. 

I created D’Angelo Productions in 2000 to mount independent dance/theater shows and dance benefits.  The mission of its non-profit wing, Projectdance, Inc., is to develop, create and promote collaborative projects between artists, through workshops, performance, lecture demonstrations, and festivals. 

The first show I conceived, directed and produced was  “The Variety Show – Jugglin’ Styles” featuring award-winning artists such as juggler/illusionist Michael Moschen, environmental visionary Joanna Haigood, performance artist Ann Carlson, Hip Hop pioneer Steve “Mr. Wiggles” Clemente, US Team rhythmic gymnast Charlene Edwards, Sarah East Johnson’s circus performers, Frankfurt Ballet’s Jodie Gates, and percussionist Marty Beller. 

Benefit evenings include “An Evening of Jazz and Dance” for Boys Harbor in East Hampton (2000), hosted by Chevy Chase.  Gala benefit events for Career Transition for Dancers:  Shall We Dance (2002); Dancing on Air (2004); That’s Entertainment (2005), One World (2006),and the upcoming Dance Rocks!  The 2006 CTFD benefit raised $1.2 million.

Case Study:  “The Spirit of the Joffrey Wants to Live!”
Crisis and Rescue: The Joffrey Ballet, 1994-1999 

In 1994, Gerald Arpino visited Ballet de Monterrey and was impressed with the high level of professionalism and artistic standard I had set in such a short time, as well as how I had worked creatively within a strictly limited budget.  He invited me to join the artistic staff of the Joffrey Ballet that summer.  Unaware of the company’s financial struggles, I found myself in the middle of the Joffrey’s collapse. 

For the next nine months I became closely involved with the company’s rescue and transformation.  As a member of the Joffrey’s Transition Committee, I worked closely with Arpino and Board members to secure the future of the company.  We made difficult decisions that ultimately enabled the company to survive and grow.  We moved the company from New York to Chicago. We discussed a proposal to merge with the Chicago Ballet.  In the end we opted to remain independent, a move that helped guaranty the organization’s unique identity and artistic independence.

After nine months of consulting, I became the Joffrey’s Associate Director.  Our challenge was to maintain the quality and artistic standards of the company with one third of the New York budget, 30 dancers and a 26-week contract.  My contribution included hiring dancers and other artistic talent; programming; developing an artistic infrastructure and implementing policies; establishing a budget system for the artistic product; creating outreach programs; initiating the “seasonal dancer” and apprentice program; teaching company class; running rehearsals; coaching dancers; and staging works. 

Joe Wender, former Joffrey Ballet Executive Board President said, “DeAngelo is skilled at complex problem resolution, and an asset to the company starting up again in Chicago.” 

Our artistic plan was to return to the heart and soul of the Joffrey, bring back the character that defined it, and serve the community of Chicago.  We achieved this by mounting revivals as classic works by Robert Joffrey and Gerald Arpino; master works The Green Table by Kurt Josse; Rodeo by Agnes DeMille; Parade by Massine; works by George Balanchine; story ballets by John Cranko and Frederick Ashton; and contemporary works including works by Jiri Kilian, Moses Pendleton, Laura Dean, Charlie Moulton, David Parsons, Peter Pucci, Margo Sappington, Mehmet Saunders, Alonso King, and Chicago’s Randy Duncan.

Background

Choreographer
1980-present

Through I come from a ballet background, my esthetic mixes styles and forms.  I have created 50 works including Paradise, Mademoiselle de Maupin, A Glimpse, Le Papillon, Crisis, Blackberry Winter, Successful Worry, Midler Medley, Walk On (starring Mr. Wiggles), 3 Balls (East Berlin Festival with Michael Moschen), Empty Cup (with Martine Van Hamel), Opening Number (CTFD Gala with the New Jersey World Cup Cheerleaders), and Out of Silence for the National Ballet of Cuba. I have created works for such companies as the Joffrey Ballet of Chicago, Joffrey II, Ohio Ballet, Pittsburgh Ballet Theater, Oregon Ballet Theater, Ballet Pacifica, Nevada Ballet Theater, BalletNY, Goucher College, Marymount Manhattan College, ABT Studio Co., Boys Harbor, and Rosie’s Broadway Kids. 

My one-act ghost story based on The Bell Witch with original music by Conni Ellisor might be called the perfect Halloween ballet. It featured a 3-D scenic design, with 3-D glasses for the audience.  The piece received a nomination for aBenois de la Danse Award in 1994, and a segment was performed at the Bolshoi Theater in Moscow.

In 1995 I participated alongside Lynne-Taylor Corbett, Peter Pucci, and James Sewell in the inaugural season of the National Choreography Initiative.  In 2006, I was selected to participate in Dance Break (www.DanceBreak.org), a high-profile showcase for choreographers in the Broadway community.  For Dance Break I choreographed an original work with an original song called Mystical Undines,and a second work from the show Personals.  

Dancer
1972-1997

As a dancer, I was known for my phenomenal technique, winning a special medal for technical excellence at the prestigious Varna Competition. Time magazine featured me as “one of America’s most promising ballerinas.”

I grew up in Los Angeles and was Cecchetti-trained.  I earned a scholarship with San Francisco Ballet and danced with the San Francisco Opera Ballet before joining Joffrey II in New York.  As leading ballerina with the Joffrey Ballet, I performed in works by major choreographers including Arpino, Balanchine, Cranko, DeMille, Joffrey, Joose, Massine, St. Leon, Tudor, and Tharp.  I have worked with William Forsythe in the Frankfurt Ballet, and made guest appearances with the Royal Winnipeg Ballet, National Ballet of Cuba, Ballet Nacional de Belles Artistes, Antwerp Ballet, and several regional ballet companies in the US.  I performed with “Stars of World Ballet” starring Margot Fonteyn.

My film and television credits include: dancer/choreographer, “Sesame Street”; Fashion TV; and choreography and the lead role in the Canadian Broadcasting Company film Pavlova. Upcoming: a documentary on my dance/theater work called “The Empty Cup,” starring Martine Van Hamel.