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Studio Series

Experience the creativity of the company dancers as they express themselves as choreographers.
Saturday, March 16 at 8:00pm Sunday, March 17 at 2:00pm Esther Simplot Performing Arts Academy 501 South 8th Street, Boise

Please call for tickets


Sponsored By: brand

Tea For Tutus



Tea for Tutus presented by Ballet Idaho Academy Saturday, March 9th at 11:00am and 2:00pm

Esther Simplot Performing Arts Academy 516 South 9th Street, Boise, Idaho Tickets $40 each

Please call for tickets: 208-343-0556

A day in the life of two Ballet Idaho dancer. A behind the scene look at Phyllis Rothwell Affrunti and James Brougham life as dancer at Ballet Idaho.  

Ballet Idaho’s 2010 The Nutcracker Photo Gallery

Photos property of Ballet Idaho Photographer: Idaho Exposure, Tom Oetzell [flickr-gallery mode="photoset" photoset="72157625771858672"]

Paul Kaine named new Executive Director for Ballet Idaho

(Boise, Idaho) January 6, 2011 Ballet Idaho Board Chairman Pat March named Paul D. Kaine as its new executive director of Ballet Idaho, effective January 10, 2011. Paul is currently the Principal Partner of KPK Consulting, LLC, in Nashville, TN. Arts Consulting Group (ACG), a national arts management firm, coordinated the national search process to hire Kaine. As was planned when she joined Ballet Idaho, current Executive Director Julie Numbers Smith is concluding her interim tenure after serving transitionally to help shape Ballet Idaho as its own independent Company under Peter Anastos’ artistic direction. In his role as Executive Director, in partnership with Artistic Director Peter Anastos, Kaine will develop a strategic vision that grows Ballet Idaho’s Company and Academy. He also will provide managerial direction to the organization to achieve the artistic and entrepreneurial goals established in tandem with the Board and Anastos. “Paul will serve as the chief translator of Ballet Idaho’s strategic, artistic and educational goals into a language of best business practices that drives institutional vibrancy and sustainability,” said March. “His extensive experience will help broaden the dialogue about why it is imperative to embrace Ballet Idaho as a vital component of the quality of life in Boise.” Kaine has been actively involved in performing arts management and leadership since the early nineties. In all of his leadership roles at various ballets around the U.S, he has made lasting operational, marketing and fund development changes. His performing arts career started when he served as a stage and production manager: His first lead administrative role was with Ballet Austin, which led to Executive leadership roles with the Sarasota Ballet of Florida, Nashville Ballet and the Cincinnati Ballet., In his most recent job as a principal partner in KPK Consulting, LLC, in Nashville, Kaine provides operational assessments for non-profit organizations, as well as strategic business planning, board and fund development and marketing and public relations campaigns. During his career, Kaine has been successful creating and launching fund development campaigns and providing stable financial leadership. At the Cincinnati Ballet, Kaine reduced expenses by more than $100,000 and launched the Cincinnati Ballet’s first endowment campaign. He also increased young audience involvement in the ballet and drove net ticket income up by ten percent. While in Nashville, Kaine increased the operating budget by nearly 30 percent and established a reserve account of more than $200,000. He also increased ballet school enrollment by 15 percent during his tenure and launched a $2 million capital campaign to underwrite a new Nutcracker. “My wife and and I are excited about the move to Boise and contributing to Ballet Idaho’s continued evolution under Peter Anastos’ artistic and creative leadership,” said Kaine. “It is clear, from our interactions with volunteer leadership, Academy parents and students, donors and the talented Company dancers, that Ballet Idaho is a well respected organization that touches thousands of lives in the Treasure Valley. To increase the size of the family of supporters and Ballet Idaho’s impact is an amazing opportunity,” Kaine said.

The Smallest Dancers Steal Their Own Show

The New York Times Critic's Notebook By: Alastair Macaulay Published: 12/23/2010 ...In comic episodes like that “The Nutcracker” becomes the American equivalent of the traditional British Christmas pantomime, a show with all kinds of character numbers telling a serious, noble story with lots of comedy and vulgarity. Some versions of “The Nutcracker” are actually more Las Vegas than the one I saw there on Sunday, but that one, well danced (though to taped music) by Nevada Ballet Theater with choreography by Peter Anastos, always showed a sure instinct for rapid changes of tone and color. (Among the many children the two little Spanish-dance girls, in frothing skirts and mantillas matching those of their adult companions, gave the most gleefully assertive performances of the show.) Mr. Anastos’s “Nutcracker” is often remarkably formal. Was any Snow choreography ever more classically hierarchical and imperially regimented than this? Read more

Nutcrackers Around the Nation Display Regional Flair

When creating his version of the Nutcracker, Ballet Idaho Artistic Director Peter Anastos wanted both a life-size Nutcracker doll and mechanical Mouse doll to entertain the party guests. "In the scene the Nutcracker doll and the Mouse doll have a fight and the Nutcracker is broken," he said. "This gives a rationale for the battle scene later on in the ballet between mice and soldiers."

The Nutcracker Chronicles: Vegas but No Showgirls

The New York Times ARTS BEAT The Culture At Large Published: December 23, 2010 By: Alastair Macaulay LAS VEGAS — “All is calm, all is bright, Round yon Virgin …” Sinatra sings ill-advisedly amid the hubbub of my hotel lobby. In what’s said to be Las Vegas’s quiet season, this is one of the busy days. In the vast pool in front of the Bellagio, hundreds of fountains are dancing like Rockettes to the “Hallelujah” chorus. Paris Las Vegas has whole streets, boulevards, precincts, as well as innumerable shops and restaurants. Fortunately it’s easy, within this, to find the Théâtre des Arts – lined with reproductions of Madame de Pompadour and other Parisian celebrities (as well as Barry Manilow). The Nevada Ballet Theater has been dancing one “Nutcracker” or another here for several decades, and if the times didn’t clash I could also catch another production in the city this day, by Anaheim Ballet. People who meet me in the lobby laugh at their own surprise to have found that Las Vegas contains two productions, and they assure me too that within this brash noisy city there’s a friendly small town. The production here is by Peter Anastos, artistic director of Ballet Idaho. His company danced it earlier this month in Boise, but I wasn’t able to see it then and since I’ve never visited Las Vegas either, this is my opportunity to catch both the city and the Anastos “Nutcracker.” He is enduringly celebrated as founding director-choreographer (and a lead ballerina) of Les Ballets Trockadero de Monte Carlo, but has also been choreographing non-drag and classical ballets around the nation for 30 years. And there’s no drag in this “Nutcracker” – not even a Mother Ginger. His Snow scene is the most collectedly classical response to the music I’ve ever seen, with the Snow Queen and Snow King and male and female Snowflakes much more concerned with maintaining a calmly imperial order than in surrendering to the whirl and gathering storm of Tchaikovsky’s music drama. Despite some reordering of music in both acts and an interpolation from “The Sleeping Beauty,” this is a clear, efficient production. The Stahlbaums live in a minor palace (but with a painted Christmas tree); the Nutcracker is an adult even when he’s presented to Clara in doll form; she’s an adult too. It all works. Admittedly, it’s not very Vegas – several “Nutcrackers” are more over the top than this — but Mr. Anastos’s professional skill shows best in the lively individuality of all the Act 2 divertissements. There are some child bakers who assemble a three-tier cake, and each of the national dances arrives with its own retinue of children. But the adult Nevada dancers are warm, clean, and strong. I must confess I had expected a much less accomplished trouple. And here’s a touch that’s not just Vegas but basic showbiz: They and Mr. Anastos know – amazingly few do – how to make the ballet’s finale the real climax of all that has gone before. When they return to the stage, it’s not just more of the same. They seem recharged.
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