Join Ballet Hawaii for three exhilarating weeks of dedication, development, and delight beginning July 7-27, 2024. The annual summer intensive offers three levels of training: Advanced, Intermediate, and Young Dancers.
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 most evenings. Classes are offered in classical ballet technique, pointe, character dance, contemporary, jazz, hula, body conditioning, and more. The final week of the program will include technical and dress rehearsals for the culminating performance. Students experience the preparation and rehearsals needed to perform with professional dancers from nationally renowned dance companies in a professional quality production. Placement in the Intermediate and Advanced levels is by audition only.
This program is designed for students aged 7-10 years who are at the pre-pointe level and have been consistently training in ballet technique classes for 2+ times per week at a minimum. Classes meet Monday through Friday from 12:00 pm to 3:15 pm with rehearsals until 6:30 pm most evenings. Classes are offered in ballet technique, character dance, contemporary, jazz, musical theatre, hula, and body conditioning. The final week of the program will include technical and dress rehearsals for the culminating performance. Students experience the preparation and rehearsals needed to perform with professional dancers from nationally renowned dance companies in a professional quality production.
All levels may have the opportunity to participate in a performance at the culmination of 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 Pomaka’i Ballrooms.
2024 Summer Intensive Tuition
| Tuition for 3-Weeks | Apply by Feb 1 Commit by Feb 15 | Apply by Mar 1 Commit by Mar 15 | Apply after Mar 1 Commit after Mar 15 |
|---|---|---|---|
| Full-day (Currently Enrolled Ballet Hawaii Students) | $2,000 | $2,200 | $2,400 |
| Full-day (Non Ballet Hawaii Students) | $2,200 | $2,400 | $2,600 |
| Half-day (Currently Enrolled Ballet Hawaii Students) | $1,200 | $1,400 | $1,600 |
| Half-day (Non Ballet Hawaii Students) | $1,400 | $1,600 | $1,700 |
Pictured: Robert Barnett, Ginger Barnett, and George Balanchine.
Robert was born in Okanogan, Washington on May 6, 1925. Due to his father’s work opportunities the family relocated to Wenatchee, Washington in 1939, where he developed his interest in the arts, in particular dance. He attended Wenatchee High School, graduating in 1943, at which time he joined the Navy during World War II, serving until the summer of 1946. Using his knowledge of tap dancing, he appeared in several shows sponsored by the Army in Tokyo, Japan, while on temporary leave from his Navy duties. Upon completion of his service with the Navy in 1946, he began studying ballet seriously. Living in Los Angeles, CA, he studied under the tutelage of Bronislava Nijinska, made possible by the GI Bill of Rights. After a year and eight months of study, he was invited by the choreographer David Lichine to travel to Europe and join the original Ballet Russe, then performing in Spain and throughout Southern Europe and North Africa. When the Ballet Russe relocated to Paris, France in February of 1949, he continued his studies with two distinguished teachers, Lubov Igorova and Olga Preobrajenska. Returning to the US in the late spring of that year, he spent the summer performing at the Municipal Theater in St. Louis, Missouri and then moved to New York City, where by December he was invited to join the New York City Ballet. Within two years, he was made a soloist and went on to have the honor of having roles created especially for him by George Balanchine, Jerome Robbins and Sir Fredrick Ashton, director of the Royal Ballet in London, England. In 1958, at the request of Dorothy Alexander, Founder and Artistic Director of the Atlanta Civic Ballet since 1929, he and his wife Virginia Rich Barnett, relocated to Atlanta to become principal dancers and associate directors of what would later become the Atlanta Ballet. In 1962, at the time of Ms. Alexander’s retirement, Mr. Barnett was asked to assume the role of Artistic Director and he remained in that position until his retirement at the end of May 1994. Serving the company for 36 years, he was responsible for bringing the coming from pre-professional status to be not only the first professional ballet company in the Southeast, but one of the most respected companies in the country.
Since his resignation, Mr. Barnett is called upon to teach, coach and stage his own choreographic works, as well as being authorized by the George Balanchine trust to stage Mr. Balanchine’s works in this country and abroad.
In the past, he has served as head coach for the American delegation at the International Ballet Competitions in Varna, Bulgaria in 1980 and in Moscow Russia in 1981. He was a panelist for the Benoise de la Dance Competition at the Bolshoi Theater in Moscow in 1992. He was on the Competitor Selection Committee, as well as a master teacher, for the sixth USA International Ballet Competition in Jackson, Mississippi in 1998. He also served as Master of Ceremonies with Anna Marie Holmes for this competition in the year 2000. He has served on the Advisory Board for the National Endowment for the Arts, in Washington, DC, the Fulton County Arts Council for the state of Georgia and the Meet the Composer Foundation Panel in NY City. He continues to serve on the Advisory Committee for the International Dance Competition in Jackson,Mississippi, the International Dance Alliance LTD and on the National Board for Regional Dance America. Up until this year, he was Master Teacher and advisor for the SC Governor’s School for the Arts and Humanities Dance Department. Mr. Barnett has been honored by many dance organizations in this country and been an adjudicator or teacher in all five regions represented by Regional Dance America. He was the proud recipient of the State of Georgia’s Governor’s Award in the Arts for 1987. In 1996 he was presented with the ABBY Award for distinguished service in the Arts, presented by the Coca-Cola Company and the greater Metropolitan Chamber of Commerce of Atlanta, GA.
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.”
She continues her guest teaching in summer workshops around the country.
Photo Cred to Erin Baiano
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.
Native New Yorker John Selya trained at the School of American Ballet from 1980-1988. In his final year, he received the Mae L. Wien award for outstanding promise. John was then invited by Mikhail Baryshnikov to join American Ballet Theatre, where he performed and created works by Balanchine, Robbins, Tharp, and Mark Morris, Tetley, Kudelka, and Kylian as well as the classical repertoire. In addition to making a name for himself as a dancer, John choreographed three works for the company: Moondance, Disposition and Don’t Panic. Since that acclaimed first work, Mr. Selya has gone on to create choreography for A.B.T., Houston Ballet, Oregon Ballet Theater, Sacramento Ballet, American Ballet Theatre Studio Company, and the School of American Ballet.
Following his departure from A.B.T., John created and performed the central role of Eddie in Twyla Tharp’s Tony-winning Broadway show, “Movin’ Out.” His performance earned him a Tony nomination for best actor in a musical, an Astaire award for outstanding dancing on a Broadway stage and a Theater World Award for outstanding Broadway debut. Since then Mr. Selya has appeared as the Mambo dancer in “Damn Yankees”, Scranton Slim in “Guys and Dolls” and Sid in “Come Fly Away.”
Mr. Selya has also acted as director for Twyla Tharp, staging productions of “Come Fly Away” and “Nine Sinatra Songs” and “Sinatra Suite.”
In addition to appearing on stage, John also has appeared on screen in the movies “Everyone Says I Love You”, “Across the Universe” and “Romance and Cigarettes.
In 2008 Mr. Selya was named “artist-in-residence” at the Joyce SoHo where he created two works: “La Voix Humaine” and “Tweaker.”
Mr. Selya continues to perform on stages across the globe as a member of Twyla Tharp Dance. He also is slated to stage Ms. Tharp’s works for Pacific Northwest Ballet in the fall of 2017.
Recently, Mr. Selya was awarded a fellowship with NYU Center for Ballet and the Arts where he continues to create and develop new choreography.
Danielle received her early training from Connecticut Dance School and attended the University of Utah where she graduated with a BFA in Ballet Performance and a BS in Business Management. She joined Eugene Ballet Company in 2008 as an apprentice, was promoted to the corps de ballet in 2011, and principal in 2015. During her time with EBC, Danielle has performed numerous lead roles including Aurora, Juliet, Myrtha in Giselle, the Sugar Plum Fairy, Carmen, The Snow Queen, and Anitra in Peer Gynt. She has also been showcased in various contemporary ballets such as Stephanie Martinez’s Wandering On, Amy Seiwert’s White Noise, Jessica Lang’s Solo in Nine Parts, and Val Caniparoli’s Tutto Eccetto Il Lavandino. Danielle is an instructor for Eugene Ballet Academy and also performs and teaches throughout the northwest. She has had the opportunity to perform as a guest artist with Ballet Hawaii in Septime Webre’s Alice in Wonderland, Cinderella, Peter Pan, and as the Dark Angel and Waltz Girl in George Balanchine’s Serenade. Danielle is the proud mom to her son Luca whom she shares with her husband and fellow principal dancer Mark Tucker.
Mark Tucker is honored to be taking part in his twelfth season with Eugene Ballet. Mark began his training in his home state of Hawaii. As well as continuing his training in Miami, Houston, and Washington DC, Mark attended The North Carolina School of the Arts where he graduated high school and obtained a BFA in Classical Ballet with a minor in Modern Dance. Mark joined Eugene Ballet in 2008 and was promoted to Principal Dancer in 2015. Mark has defined his career as a strong partner and has had the opportunity to be a part of the creation of some of Toni Pimble’s more modern ballet’s including Pink Floyd’s Dark Side of The Moon and “I Want You” in Pimble’s All You Need is Love. Over the course of his career, Mr. Tucker has had the opportunity to dance an expanding range of roles with choreographers and directors both internationally and from across the country. Septime Webre’s Alice in Wonderland, Mauricio Wainrot’s Anne Frank, Val Caniparoli’s Tutto Eccetto il Lavandino, Salvatore Aiello’s Journey, Head Wrangler in Agnes De Mille’s Rodeo, Heather Maloy’s Stranger, as well as works by Jessica Lang, Amy Seiwert, Stephanie Martinez, Devon Carney, Victoria Morgan, Stanton Welch, and EB’s Suzanne Haag to name a few. In 2017, as a guest artist with Ballet Hawaii, he was featured as Waltz Boy in George Balanchine’s Serenade.
Mark began dancing lead roles with EBC in 2012 as the head male in Rite of Spring with, now, Associate Artistic Director Jennifer Martin. He has been featured as the lead male in Gerald Arpino’s Light Rain and more recently premiered the role of Fear in resident choreographer Suzanne Haag’s Firebird. He also enjoys bringing characters to life onstage in roles such as Lord Capulet in Romeo and Juliet, Von Rothbart in Swan Lake, and the sultan in Scheherazade. In 2015 Mark starred alongside his wife, EBC Principal Dancer Danielle Tolmie, in Pimble’s Carmen. “Dancing the role of Don Jose across from my wife was one of the most memorable and powerful moments I have ever experienced on stage.” In the 2021-2022 season Mr. Tucker looks forward to being apart of Toni Pimble’s world premiere of Taming of the Shrew and celebrating his son Luca’s second birthday.
Follow him and Danielle on Instagram @markdani8688
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.
Photo by Tony Nguyen
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.
Nataliya is originally from Ukraine and has been dancing since she was 9 years old. Nataliya received her choreographic education from Kherson Cultural College in Ukraine where she studied ballet, historical ballroom, modern, and character folk dance. Since 1993 while under contracts with many entertainment agencies she has performed with various venues in Ukraine, Bulgaria, Lebanon, Greece, and Macedonia. Before moving to Hawaii in 2001, she has been a ballet dancer at Kherson Musical Dramatic Theater in Ukraine. In Honolulu Nataliya has been involved as a dancer and or choreographer with the Mardi Gras Follies, the Honolulu Academy of Arts, HOT, and ACT. Since 2004 she has been teaching Ballet, Tap, Jazz, Character dance classes for children privately and as a faculty staff member at the Academy of Performing Arts in Ewa Beach, the NIX Performing Arts, and currently is delighted to continue working with Ballet Hawaii.
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.
Kumu Kaliko was born in New York City but her formative years were spent in Europe and Canada. In 1972, she graduated from the University of Miami with a bachelor’s degree in Special Education. She has been a Pan American World Airways flight attendant and a United Airlines purser and has lived in Honolulu for the past forty years. Her introduction to ballet at the age of five in Stockholm, Sweden sparked a passion for dance that has continued to the present day. In 2003, she began studying hula `auwana and hula kahiko with Kumu Edward Kalāhiki at Nā Punahele o Hāluakaiamoana. She accomplished the three major trials of hula kahiko. Hula ūniki as Kumu Hula Papa Kukui November, 2014. Permission to teach hula `auwana class was granted by Kumu Kalāhiki, Nā Punahele o Hāluakaiamoana, 2015.
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. Now, she enjoys sharing her love of hula with others through teaching.
