Summer Intensive

Ballet Hawaii’s Summer Intensive 2026 | July 5 – August 1

Join Ballet Hawaii for FOUR amazing weeks of intense ballet training and performance experience beginning July 5 – August 1, 2026. Ballet Hawaii’s annual Summer Intensive offers three levels of training – Advanced, Intermediate, and Young Dancers – and concludes in a theater performance with internationally-renowned guest dancers.

Summer Intensive Program

This program is for Intermediate and Advanced levels. Classes meet Monday through Friday from 9:00 AM to 3:00 PM with rehearsals until 6:30 PM. Classes are offered in classical ballet technique and pointe with additional classes in contemporary, hula, body conditioning, and more. The final week of the program includes technical and dress rehearsals in the theater for the culminating summer intensive performance. Students experience what it is like to perform alongside professional dancers from internationally renowned dance companies in a professional-quality production. Placement in the Intermediate and Advanced levels is by audition only

Young Dancers Summer Program

This program is designed for students ages 7-10 years who are at the pre-pointe level and have been consistently training in ballet technique classes for a minimum of 2+ times per week. Classes meet Monday through Friday from 2:00 PM to 5:00 PM with rehearsals until 6:30 PM most evenings. Classes are offered in ballet technique with additional classes in theatre jazz, hula, modern, dance conditioning, and more. The final week of the program includes technical and dress rehearsals in the theater for the culminating summer intensive performance. Students experience what it is like to perform alongside professional dancers from internationally renowned dance companies in a professional-quality production.

Performance Opportunity

All levels may have the opportunity to participate in a performance at the completion of summer training (venue to be announced). Ballet Hawaii’s Summer Intensive draws students from throughout the state, across the mainland, and internationally. The Ballet Hawaii studios are located at 735 Iwilei Road on the 2nd floor in the former Pomaika’i Ballrooms.

 

  • Orientation for the Summer Intensive will be held the Sunday prior to the start of the intensive. A basic schedule for the first two weeks will be given on this day.
  • Rehearsal schedules will be given after the first day of classes.
  • If you are traveling, please schedule your departure AFTER August 1st if you wish to participate in the culminating performance.

Housing

Student housing arrangements are the responsibility of the student and their parents/guardians

APPLICATIONS

  • All students must complete our online application form and submit a non-refundable application fee of $50.
  • Application and required attachments (headshot, photo, and videos) are due by February 1, 2026 to avoid incurring additional tuition fees.

AUDITIONS

  • For those who are not currently Ballet Hawaii students, please submit a headshot and a photo in 1st arabesque, along with a link to a video audition with your application. The video should be no longer than 10 minutes of basic barre and center work. Please include:

 

    • Barre (side view, one side of each exercise):
      • Plies in 5th position only
      • Tendus in all directions from 5th
      • Adagio
      • Grande battements

 

    • Center:
      • Adagio
      • Pirouettes en dedans and en dehors
      • Petite allegro
      • Grand allegro

 

  • Female dancers who are already training en pointe should wear pointe shoes for the center combinations. Students may include a variation if applicable. (Current Ballet Hawaii students do not need to audition. No video is necessary)
  • Visiting dancers who wish to audition in-person for the Summer Intensive may arrange an audition time with our School Administrative Coordinator, Raven Matsushita-Garcia. Please email Raven@ballethawaii.org to schedule. Live audition fees apply.

Tuition (4-week program)

2026 Summer Intensive Tuition

  • Current Ballet Hawaii students must be enrolled and attending classes during the Summer Session to qualify for Summer
    Intensive.
  • Visiting students must be actively dancing to qualify for Summer Intensive. A letter of confirmation is needed from their current ballet teacher.
  • Upon acceptance, a non-refundable deposit of $500.00 is required to hold your place ($300 for the half-day Young Dancers program).
  • The final non-refundable tuition payment is due on May 1, 2026.
  • Deposit and tuition may be paid online once you have been accepted through our secure system.
  • An additional Production Fee will be charged according to your role if cast in the Summer Intensive production.
Tuition for 4-Weeks Commit by Feb 15, 2026 Commit by Mar 15, 2026 Commit after Mar 15, 2026
Full-day (Currently Enrolled Ballet Hawaii Students) $3,120 $3,330 $3,540
Full-day (Non Ballet Hawaii Students) $3,330 $3,540 $3,745
Half-day (Currently Enrolled Ballet Hawaii Students) $1,665 $1,875 $2,080
Half-day (Non Ballet Hawaii Students) $1,875 $2,080 $2,290

2026 Guest Faculty & Répétiteurs​

More Information TBA!

2026 PERFORMANCE

August 1st, 2026

More Information TBA!

2025 Performance – Reflections in Motion

2024 Performance – Balanchine To Broadway

2023 Performance – Urashima Taro & By George

2022 Performance – Dancing Among the Stars

  • Ballet Hawaii’s Summer Intensive program offers students a pre-professional experience with outstanding faculty. Students have the opportunity to work with exceptional guest artists who come to participate as teachers and performers in Ballet Hawaii’s summer production. Auditions for the performances are held during the first week of the Summer Intensive.
  • Very few summer intensive programs provide students the opportunity to perform on stage with professional dancers. Ballet Hawaii’s Summer Intensive program draws dancers from around the state, the mainland, and other countries.  The summer production is a chance for students to showcase their hard work. In Summer 2018, Ballet Hawaii presented Kansas City Ballet’s The Sleeping Beauty with choreography by Artistic Director, Devon Carney.  Dancers from Kansas City Ballet, Pacific Northwest Ballet, and Eugene Ballet shared the stage with students of the Summer Intensive program.
  • In 2015 and 2012, Ballet Hawaii presented Alice (in Wonderland), which showcased innovative choreography by Septime Webre, Artistic Director of Hong Kong Ballet, with music by Matthew Pierce.  Design included spectacular costumes by Liz Vandal, amazing sets by James Kronzer, and puppet work by Eric Van Wyk and Flying by Foy.
  • In August 2014, Ballet Hawaii was delighted to share Septime Webre’s Peter Pan with a musical score by Carmen DeLeone and guest artists from Washington Ballet, Carolina Ballet, and Eugene Ballet
  • In August 2013, Ballet Hawaii concluded the Summer Intensive program with Cinderella, choreographed by Septime Webre. Guest artists from Washington Ballet, Carolina Ballet, Eugene Ballet, and American Ballet Theatre graced the stage in principal roles alongside students of Ballet Hawaii’s Summer Intensive.
  • Past productions have also included Cinderella with Cincinnati Ballet staged by Victoria Morgan, Romeo and Juliet with Carolina Ballet, Giselle with New York City Ballet, and Serenade staged by Robert Barnett, Artistic Director emeritus of Atlanta Ballet.

Faculty

List of past guest artists

Lainie Sakakura is a classically trained (San Francisco Ballet) NYC-based multi-hyphenate theatermaker and award-winning choreographer (2002 Joseph Jefferson Award for Best Choreography and 2015 Joe A. Callaway Award for Outstanding Choreography). Broadway Credits: FOSSE Dance Reconstructor and Onstage Dance Captain (1999 Tony Award Best Musical), Original Cast Member of 6 Broadway shows including CHITA RIVERA THE DANCER’S LIFE, FLOWER DRUM SONG (starring Lea Salonga), and the Legacy Robe recipient for THE KING AND I (starring Ken Watanabe). Other NYC performing credits: Ballet Hispanico, Metropolitan Opera, Radio City Music Hall Rockettes (2nd AAPI Rockette after Setsuko Maruhashi), City Center Encores! Tony Awards. NYC Creative: THE FROGS (Choreographer) Rose Theatre at Jazz Lincoln Center; CORNER OF BITTER AND SWEET (Book/Dir) musical adaptation of ‘Hotel on the Corner of Bitter and Sweet’ by Jamie Ford, Theatre 71; THE LITTLE DANCER (Chor), Theatre 71; ALVIN ING (Writer/Dir), The Duplex, Don’t Tell Mama; GEORGINA PAZCOGUIN (Fosse Reconstruction/Dir), Joyce Theater; A TRAIN PLAYS (Dir), Peter Jay Sharp, Neighborhood Playhouse; MY AAPI BROADWAY STORY: BREAKING BARRIERS (Concept/Dir), Lincoln Center Library for the Performing Arts Bruno Walter Auditorium; BCEFA RED BUCKET FOLLIES 60th ANNIVERSARY FLOWER DRUM SONG (Co-Concept/Writer) featured 46 AAPI Broadway performers. AFTERMATH (Dir), Cherry Lane Theatre. Regional Creative: LIZZIE (Dir), TheaterWorks Hartford 2023; CABARET, Goodspeed Musicals (2022 CT Critics Circle Award nomination); HOT MIKADO (2003 Joseph Jefferson Award nomination); CASPER THE MUSICAL starring Chita Rivera, Pittsburgh CLO; Jimmy Buffett Concerts. Ms Sakakura is a Verdon Fosse Legacy Dance Reconstructor/Director/Teacher. She has spent hundreds of hours working on every incarnation of FOSSE with Gwen Verdon between 1994-2000 and reconstructed approx 70 Bob Fosse dances. Classically trained at San Francisco Ballet 8 years and 35 years teaching experience includes adjunct professor at NYU and Pace University. Guest teacher, director and/or choreographer at 12 universities and many schools including ABT, Joffrey, Lines Ballet. Longtime advocate for diversity and inclusion in the performing arts. Co-Founder and Co-Chair of ROCKETTES OF COLOR ALUMNAE and SAKACHEZ® fiscally sponsored through New York Live Arts. Currently Co Producing two new Broadway shows with Theatre Producers of Color, SUFFS and CABARET.

Maiqui Mañosa joined the Atlanta Ballet in 1980. She advanced to principal dancer where she was recognized for her performances in Nutcracker, Sleeping Beauty, Giselle, Swan Lake, Dennis Nahat’s Copella as Swanilda, Midsummer’s Night Dream as Tatania, Eugene Loring’s Billy the Kid as the Sweetheart, Lyn Taylor Corbett’s Escape, Fernand Nault’s world renowned Carmina Burana and La Fille Mal Gardee as Lizette. Ms. Mañosa received wide acclaim for her interpretation of Tom Pazik’s Romeo and Juliet and his world premiere of Madame Butterfly with the Philippine Ballet Theater in the role of Cio-Cio-San. Pazik created this ballet for Maiqui. Atlanta Ballet’s Director, Robert Barnett featured Maiqui in several Balanchine, including the Dark Angel in Serenade, the Siren in Prodigal Son, Tchaikovsky’s Pas de Deux, Four Temperatments, Allegro Brillante, Concerto Barrocco, Scotch Symphony, Square Dance, Stars and Stripes and Tarantella and Themes & Variations. Ms. Mañosa was chosen to represent the Philippines in a cultural exchange program with China. Performing with the Central Ballet of China, she was warmly received and widely acclaimed by Chinese audience and critics. Ms. Mañosa was invited to work with the Singapore Dance Theater (SDT) as ballet mistress, where she staged Graham Lustig’s Cinderella and works of the late Choo San Goh. Maiqui also worked with internationally renowned choreographers such as Val Caniparoli and John Paul Comelin. She returned to the United States and joined the faculty of Rock School for Dance Education where she became Principal Teacher. She worked at the Rock School for four years and now guest teaches, time permitting. Currently, Ms. Mañosa stages ballets for Val Caniparoli both in the US and internationally. She has staged Mr. Caniparoli’s works with American Repertory Ballet, Ballet West, Boston Ballet, Cincinnati Ballet, Louisville Ballet, Kansas City Ballet, Milwaukee Ballet, Nashville Ballet, Nevada Ballet Theater, Oregon Ballet Theater, Orlando Ballet, Pennsylvania Ballet, Richmond Ballet, Sacramento Ballet, San Francisco Ballet, Singapore Dance Theater, Texas Ballet Theater and Tulsa Ballet. One of her more memorable experiences was in Moscow coaching Bolshoi Ballet’s ballerina Anastasia Volochkova in Val Caniparoli’s ballet “Lambarena.”

Ms. Fairchild is a principal dancer with the New York City Ballet. She was born in Salt Lake City, Utah, and began her dance training at the age of four, at Dance Concepts in Sandy, Utah, and at the Ballet West Conservatory in Salt Lake City. She moved to New York City to train at the School of American Ballet, the official school of the New York City Ballet, in 2000, and was hired as an apprentice with NYCB the following year. Ms. Fairchild was promoted to the rank of soloist in 2004, and to principal in 2005. Ms. Fairchild’s expansive repertoire with New York City Ballet includes principal roles in classical full-length ballets such as Swan Lake, Coppelia, Sleeping Beauty and La Sylphide, as well as principal roles in ballets choreographed by George Balanchine, Jerome Robbins, Peter Martins, and Alexei Ratmansky. She was featured as the Sugar Plum Fairy in the 2011 telecast of George Balanchine’s The Nutcracker streamed in movie theaters worldwide. In 2014 she made her Broadway debut as Miss Turnstiles in the revival of On the Town, for which she was nominated for an Outer Critics Circle Award and received a Theatre World Award for Outstanding Broadway debut. In addition to performing full time with the New York City Ballet, Ms. Fairchild is currently on the faculty at the School of American Ballet and is working on completing her MBA with NYU’s Stern School of Business. Her first book came out December 2021 titled, The Ballerina Mindset, with universal advice for dancers and non-dancers alike on how to take care of your mental health while striving towards excellence. She is the proud mother of three beautiful girls.

Born in Portland, OR, Wyatt McConville-McCoy began his ballet training at Oregon Ballet Theatre. In 2017 he joined Boston Ballet II, under the tutelage of Peter Stark, where he performed Harlequinade in Boston Ballet’s At Home Series and alongside the main company in Jerome Robbin’s West Side Story. Two years later he joined Atlanta Ballet II where he had the privilege of performing in ballets such as La Bayadere and in featured roles of The Nutcracker while on tour to the Kennedy Center. Wyatt joined Sacramento Ballet in 2021 where he has graced the stage in roles such Gnome in The Nutcracker, the Men’s Trio in Val Caniparoli’s Tutto Eccetto il Lavandino, and the featured pas de deux in Isaac Bates-Vineza’s Rumor as well as in Jennifer Archibald’s Soar.

Courtney Schenberger began her formal training at age 8, at The Ayako School of Ballet in Okinawa, Japan. At age 10, she continued her training at Ballet Hawaii. While attending she competed at Youth America Grand Prix (YAGP) San Francisco and won 3rd place bronze in the Junior Women Classical category. She also competed at the World Ballet Competition where she achieved the 3rd highest score in the Pre-Professional category as well as receiving the Jury’s Award. At age 15, she attended the Washington School of Ballet’s professional training program and then the University of North Carolina School of the Arts (UNCSA). Ms. Schenberger has also attended summer programs at The Washington School of Ballet, Ballet West, Central Pennsylvania Youth Ballet and Boston Ballet. Ms. Schenberger’s featured roles with Carolina Ballet include Lead Couple in George Balanchine’s Valse Fantasie, Cinderella in Robert Weiss’ Cinderella, and August Bournonville’s Flower Festival.

Lucien Postlewaite (he/him) is from Santa Cruz, California. He trained on scholarship at the School of American Ballet and Pacific Northwest Ballet School. While a Professional Division student at PNB School, he received a Level II Award for ballet in the National Foundation for the Advancement in the Arts’ 2003 Arts Recognition and Talent Search. Mr. Postlewaite joined Pacific Northwest Ballet as an apprentice in 2003, was promoted to corps de ballet in 2004, soloist in 2007, and principal in 2008. He was a 2008 recipient of a Princess Grace Award. In 2012, Mr. Postlewaite joined Les Ballets de Monte-Carlo, and in 2017, he re-joined to PNB as a principal dancer. While at Les Ballets de Monte-Carlo, Mr. Postlewaite performed leading roles in Forsythe’s New Sleep; Kylian’s Bella Figura and Gods and Dogs; and Maillot’s Altro Canto, La Belle, Cendrillon, Faust, LAC, Scheherazade, and Vers un Pays Sage. He originated leading roles in Pontus Lidberg’s Summer’s Winter Shadow and Maillot’s Casse Noisette Compagnie, Choré, and Entrelacs. Mr. Postlewaite has performed as a guest artist with New York City Ballet on seventy-fifth anniversary gala for the School of American Ballet. He is featured in the film Casse-Noisette Compagnie by Jean Christophe Maillot. In 2019, Mr. Postlewaite was invited by the Fire Island Dance Festival to organize a commission for its annual gala (Garrett Smith’s Continuum). In addition to performing on galas worldwide, Mr. Postlewaite has performed Petipa’s Paquita and Wevers’ A Midsummer Night’s Dream with Reiko Yamamoto Ballet Company in Japan, and Balanchine’s Tarantella with Los Angeles Ballet. He is an original member of Olivier Wevers’ Whim W’Him.

Christine Kaminski began her training at Harbor Ballet Theatre in Port Jefferson, NY. She holds a BFA in Ballet Performance from the University of Cincinnati College Conservatory of Music. She danced principal roles in the University’s productions of Ondine, Paquita, and La Bayadere. Christine then danced as a soloist with the Kentucky Ballet Theatre for four years, where she was featured in Dracula, The Nutcracker, The Sleeping Beauty, Saerpil, and The Wizard of Oz. In 2006, she moved to Newport, RI, where she danced for Island Moving Company for 12 seasons. Christine danced leading roles in IMC’s productions of The Nutcracker, Dracula, and Peter Pan, and had the opportunity to work with a wide variety of choreographers. In addition to dancing, Christine was the Director of Education for five years. She developed and implemented curriculum for various school programs, and directed IMC’s Junior Company. Christine has recently relocated to Honolulu with her husband and is looking forward to working with the students at both Ballet Hawaii locations.

Elisha began dancing at the age of 3. She joined ‘Iwalani School of Dance at the age of five where she trained in hula, Tahitian, and Māori styles of dance. During this time, she danced for four years and performed for many different events around the island. When she was 13, she joined Hula Halau ‘O Kamuela to broaden her hula technique and learn a more traditional standard of hula. In college, Elisha joined the hula club and performed for two semesters under Kumu Lilinoe Lindsey. She also landed her first professional hula job in college with Malu Productions. She was able to perform for the Diamond Head Luau as well as in the terminals at the Pride of America Cruise Ship for the Norwegian Cruise Line in Waikiki.

Neal Blaisdell Concert Hall

July 25th, 2025. 7:30pm

The program culminates in a professional-quality production, with technical and dress rehearsals during the final week. Students will gain firsthand experience in preparing and rehearsing alongside professional dancers from nationally renowned companies, culminating in a performance that showcases their hard work and growth.

Ticket info

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