California Classical Youth Ballet

Repertoire

Seasons Americana    This is a new ballet for CCYB's June 2016 performance.  It is based on Ragtime music and celebrates the spirit of the turn of the century.

Nutcracker    We've performed 8 seasons! Tchaikovsky's classic music accompanies Drosselmeier's visit with magical toys, the prince, a rat king, a sugarplum fairy, and a kingdom of sweets. Our lavish production  has allowed us to bring the talents of the lovely dancers from Pacific Ballet Academy and the Pasadena Civic Ballet to share the stage.  Our 2014 production took place in the 1920s, giving CCYB performers a chance to expand their interpretations of this classic into another decade.

Pas de Quatre  In 1845 Benjamin Lumley (the manager of the London Theater) came up with what seemed at first to be an impossible scheme: he suggested that Jules Perrot and Carlo Pugni devise a ballet that would star the four greatest ballerinas of the day--Taglioni, Grisi, Cerrito and Grahn--together on one stage. It was a fantastic idea; British enthusiasm for ballet was at its height and each of the four had her own group of fierce partisans. But, how to get the four spoiled, temperamental stars to work together at all, much less dance harmoniously in the same piece? The biggest battle was over the penultimate solo (all four ballerinas having decided that Taglioni deserved the honor of dancing last); Lumley, thinking fast, ordered that they appear in order of age, with the youngest first, and from then on the production ran smoothly.

Pas de Quatre, a divertissement with no story line, was an instant, overwhelming success. The ballet was only danced five times by the original cast, but it was the talk of London. Pas de Quatre has been recast and performed many times since its debut.

Sleeping Beauty  Choreography by Marius Petipa, adapted for students by Marielle Reyes, Ilona Missakian

Our past version of the tale depicts Aurora's 15th birthday party rather than a wedding but features distinguished fairy tale guests such as Puss in Boots, Red Riding Hood, Lilac Fairy, Blue Bird, and various dolls from around the world.  The 2008 production featured a full wedding-version of this beloved ballet complete with Carabosse and her brood, four suitors, and all the fairies and princesses that come to celebrate Aurora's survival through Carabosse's curse.

Spring  Choreography by Marielle Reyes

Glazunov's music brings an atmosphere of vivid and vibrant color to life as blooms and bouquets dance together.

Enchanted Toy Shoppe  Choreography by Marielle Reyes, Ilona Missakian, Krisitina Newcomer

A Victorian toy shop is visited by a demanding young customer who separates a pair of dolls with interesting results for the enchanted evening as the dolls puzzle about their missing friend.  The magical fairy helps everyone dance through the evening to a new day.

A NEW production of Toy Shoppe for May 2012 took place in the dollmaker's workshop where the unsuspecting apprentice was surprised by the dolls who came to life!

Gems  a piece inspired by George Balanchine's Jewels for New York City Ballet. His trio of Emeralds, Rubies, and Diamonds performed to the music of Faure, Stravinsky, and Tchaikovsky. Our Gems highlights our intermediate and advanced dancers becoming the various personalities of the brilliant stones they represent, highlighting a specific instrument in the orchestration of their music.

Strings of Pearls  Choreography by Ilona Missakian             

Suggesting the underwater serenity of the deep sea, our lyrical, luminescent Strings of Pearls features the entire cast swaying to the fluid rhythms of waltzes, holding globes of many colors and moving in formations both formal and playful.

A Faerie Tale  Choreography by Ilona Missakian        

This delightful piece is a  story ballet for CCYB. It brings classical and Celtic music together, reminiscent of ancient stories and recent dreams.

Taking us to the world of imagination and fantasy, faeries of various elements dance harmoniously with and for each other. Flowers, lead by their lavender orchid, Flora, begin the day's celebration dances, followed by Berry with her calming forest leaves, grasses, and Fern. Dew then brings her water sprites to keep the faerie village refreshed, and Glow with her fire gnomes and flames stand steady watch to ensure that light and warmth keep the faeries through the night.

Away in the mountain caverns and crevasses, Glacia and Gust compete in alternating dances of grace and force with each other and with the icicles. Deciding to descend the mountain after the commotion they raised, they happen upon the sleeping faerie village, filled with wonderful creatures they have never seen in the mountain caves. Noticing the faerie fire could be dangerous to her fellow ice dwellers, Glacia orders Gust to remove the fire.

Formed instantly from the cooling, Dew awakens everyone before they freeze! In trying to protect all their faerie families, Flora and Glow attempt to restore stability as the fire gnomes try to find the fire and chase the frosty visitors across the glen. Glacia refuses to reveal where the fire has been taken.

Hearing the disorder and confusion in the realm, Mother Nature enters to bring peace. She patiently guides the faerie elements to dance together, reuniting them with grace and beauty. In her wisdom, Mother Nature has the fire brought back and shows them how to work together with their differences and appreciate each others' identities.

Gypsy, Paquita, and Spanish Festival  Choreography by Marielle Reyes and Ilona Missakian

At various times, CCYB has explored the exuberant Latin and Spanish tones in music by composers such as Bizet, Rodrigo, and Tchaikovsky, bringing the various themes to the stage in colorful patterns and strong emotions. 

Jungle Book             Choreography Ilona Missakian

Costumes original design and construction Kristina Newcomer

CCYB’s original production brings Rudyard Kipling’s tale and its many characters to the world of dance. 

Act I: Waking to harmony in the jungle, Akela (head wolf) invites friends Baloo (bear), Bagheera (panther), and the other wolves to enjoy the good gift of being content, dancing with the peacocks and the Bandar-log (monkeys).  Kaa (python) wisely surveys the activities from a distance.  The young animals are all frightened by the sudden presence of Shere Khan (tiger) who has just shifted hunting grounds into the wolves’ realm, but they repel the tiger for the moment.  In the evening, one wolf finds Mowgli and brings him back to the pack to be raised.  Akela holds a wolf council to discuss Mowgli’s acceptance, and as Shere Khan reappears to demand that the wolves hand over the man-cub, Baloo and Bagheera speak up for Mowgli, convincing the pack to accept Mowgli and drive Shere Khan away.

Baloo and Bagheera both take on the task of instructing Mowgli in “right thinking,” enlisting the help of the other jungle creatures, too.  The Bandar-log trick Mowgli into thinking they are his friends, but they kidnap him and race to  Monkey City.  The peacocks make Baloo, Bagheera, and Kaa aware of what has happened, and the three join forces along with the wolves to pursue the monkeys.  In the Monkey city, the Bandar-log  dance and want Mowgli to teach them human ways, but they soon lose interest and throw him into a pit when Baloo, Bagheera, and Kaa catch up to them with a strategy.  Kaa performs a “dance of hunger” to mesmerize the Bandar-log, and they faint before the python’s power, thus releasing their captive, Mowgli.

Act II:  Over the years Mowgli has become good friends with Kaa, so he accompanies Kaa to see White Hood (guardian Cobra) who protects the King’s Treasure at  Monkey City.  White Hood welcomes the two, but Mowgli is not very interested in the treasures as they cannot feed him or keep him warm.  Only one item catches his eye:  a bejeweled ankus (elephant goad) that reminds him of his friend Hathi (head elephant).  White Hood vows to kill Mowgli when he views this treasure and Kaa tries to intervene--but Mowgli is able to subdue White Hood, revealing that the cobra no longer has any venom.  Mowgli leaves the city and White Hood in disgust. Returning to the jungle, Mowgli realizes there is a drought; Hathi enters to declare a water truce at Peace Rock, but Shere Khan returns and contaminates the water, creating apprehension once again.

Shere Khan’s presence begins to make an attractive impression on the young wolves who begin to turn on Mowgli and Akela to the point that Bagheera councils Mowgli to bring fire (“red flower”) back from the human village to chase Shere Khan away.  The ability to control fire is a shocking feat, and the creatures reject Mowgli, leaving him on his own.  Wandering alone near the human village, Mowgli is believed by Messua to be her long-lost son (taken by a tiger years before) and she tries to teach him how to speak, plant, and herd cattle, much to the dismay of other villagers.  She sends him to herd for the afternoon, and his wolf brothers and the pack appear to tell him that Shere Khan is near.  They help him defeat the tiger, and Mowgli proudly shows Messua the skin of the tiger.  But the villagers, thinking him a wizard, are horrified and banish him once again. 

Returning to the jungle, Mowgli is reunited with all his friends, but a new foe awaits them all:  the dholes (red-dogs) who drive through the jungle and destroy all they see.  Mowgli finds out from Kaa that the way to defeat the dholes is through the Little People of the Rocks (a swarm of bees) near the river, and he shares the plan with Akela, Bagheera, and Baloo. The group fights effectively and wakens the bees to defeat the dholes, but Akela’s injuries are fatal.  Akela’s final words to Mowgli are that must he return his people (mankind);  all grieve to lose their valiant leader, and Bagheera and Baloo do their best to console Mowgli over time.  Mowgli grows extremely restless, unsure of why he feels this way.  Bagheera echoes Akela’s words, and Mowgli takes a final survey of his life in the wilderness before walking into his future in the world of man.

Les Sylphides   Choreography  Mikhail Fokine; corps de ballet Ilona Missakian after Mikhail Fokine

Based on the music of Chopin, orchestrated by Roy Douglas, Mikhail Fokine choreographed a plotless work in which a poet, dancing with ghostly sylphs (magical figures) in the moonlight, searches for the ideal.Performed in white tutus, the piece is known as a “white” ballet in the romantic tradition from the early 20thcentury.Premieringon March 8, 1908 at the Maryinsky Theatre, St. Petersburg, Russia, the ballet featured the world- famous Olga Preobrajenska, Anna Pavlova, Tamara Karsavina, and Vaslav Nijinsky.CCYB is proud to present its dancers in adapted corps and authentic soloist roles for today’s audiences, a century after its original premier.

Stars and Stripes     Inspired by the music that Soussa and Kay created for marching bands and George Balanchine's work with New York City Ballet, CCYB's various regiments celebrate both the music and our troops!

Tango          Choreography Ilona Missakian after Lambros Lambrou

Inspired by Lambros Lambrou’s Tango ballet for Les Ballets Classiques de Montreal, CCYB’s production of Tango explores an evening at a dance hall where couples rehearse patterns and steps before they are interrupted by a group of friends out enjoying each others’ company.  The new group quickly takes over the hall, showing off new steps as they dance and innocently flirt.  An unannounced guest raises some concerns among the young ladies; an even more mysterious young woman’s arrival disturbs the otherwise peaceful friendships.  After a young couple exchange their frustrations through an angry pas de deux and solo, the ladies dance a reflective reverie before the ensemble unites to pledge their friendship through dance once again.