DEBUTS

February 12–13, 2022

Edmonds Center for the Arts

Taylor Lim
Oleg Gorboulev, Cello Concerto
Into Dust Photography

An exciting addition to OBT’s performance season, Debuts present new works by talented contemporary choreographers. This production features:

Til the Siren Drags You Under

by Norbert De La Cruz III

Borderland

by Price Suddarth

She travels softly (through midday light)

by Emily Schoen Branch

PERFORMANCES

February 12, 2022, 7 p.m.
Edmonds Center for the Arts

February 13, 2022, 5 p.m.
Edmonds Center for the Arts

COVID-19 POLICY NOTICE:

By buying tickets to Olympic Ballet performances, you and all members of your group agree to follow the Edmonds Center for the Arts COVID-19 safety policies. As of January 2022, these policies include the following:

• Face masks are required. Children ages 2 and under are exempted from wearing face masks.

ALL patrons must have current photo ID* and either proof of full vaccination (2 weeks after second shot of 2-dose vaccine or first dose of one-dose   vaccine) or a negative COVID-19 PCR test result, or a test taken within 72 hours of the performance. This policy applies to ALL patrons, including children of all ages. Yes, this includes babies and infants.

  • COVID-19 PCR tests for unvaccinated patrons: Antigen tests cannot be accepted. Self-reported negative test results that are not from a test provider, a laboratory, or a health care provider cannot be accepted. Please review ECA safety policies for details on accepted tests.

  • There will be no separate sections for vaccinated/unvaccinated patrons. ECA reserves the right to turn away ticket-holders who do not comply with COVID-19 safety policies.

*Children younger than 18 who do not have school or government photo ID can be vouched for by an adult in the group. However, all children must still have either proof of vaccination or a negative COVID PCR test taken within 72 hours of the performance.

Thank you for helping us create a safe performance experience!

Before buying tickets, especially if your group involves unvaccinated members, PLEASE visit the Edmonds Center for the Arts website to familiarize yourself with these policies, and learn more about testing sites and vaccinations in Snohomish County:

Edmonds Center for the Arts COVID-19 Safety Policies

For specific questions regarding ECA COVID-19 safety policies, please email: covidresponseteam@ec4arts.org

OBT Performances may be subject to change or cancellation, due to COVID-19.

MEET THE CHOREOGRAPHERS

Emily Schoen Branch

Emily Schoen Branch is a sought-after performer, choreographer, educator, and Dance Magazine “Top 25 to Watch” artist.

Baryshnikov Arts Center (NYC) chose her as their Martha Duffy Resident Artist for their BAC Space Residency. She’s also won the Gibney Dance boo-koo grant for emerging artist in NYC, a Princess Grace Fellowship nomination by METdance (Texas), and various domestic and international residencies including at the Tunisian National Theater in Tunisia. She has been Artist-In-Residence at multiple organizations, including for Jamaica Center for the Arts and Learning’s Choreographers and Composers series (NYC). She’s won 17 commissions for companies and university programs throughout the country including Santa Barbara Dance Theater (California), METdance, Ormao (Colorado), Columbia Ballet Collaborative (NYC), among others.

Emily’s group, Schoen Movement Company, is home to her collaborative and creative endeavors. Their recent work–a 2 year collaboration with dancers from Tunisia–culminated in an evening-length premiere in New York, titled “See me in your eye.” Through this project, they successfully acquired visas for 5 Tunisian dancers, and received support from Baryshnikov Arts Center, Dance Motion USA / Brooklyn Academy of Music, Queens Council for the Arts, LaGuardia Performing Arts Center, and the US Embassy in Tunis.

Her work has additionally been presented at the historic Judson Memorial Church, WestFest, Jamaica Performing Arts Center, Liberty Hall Museum, and Joe’s Pub / DanceNOW.

Beyond the stage, Emily conceived and created “A Movement Flight”–a site-specific, happy hour dance performance, crafted for breweries. It has since been adapted for 5 breweries: in New York, Pennsylvania, New Mexico, and California.

As a freelance dancer, Emily worked for Kyle Abraham/AIM; the Metropolitan Opera in works by Doug Varone, Mark Morris, and Carolyn Choa; the Rolling Stones in their 50th Anniversary reunion tour; and for 8 years with KEIGWIN + COMPANY. With Larry Keigwin, she was privileged to tour extensively, collaborate on a dozen new works, serve as repititeur, and assist in commissions for The Juilliard School, Marymount Manhattan, and Keigwin’s “Bolero” community series, reenacted throughout the US. She received her BFA, Summa Cum Laude, from the University of Arizona.

Norbert De La Cruz III

Born in Bayombong Nueva Vizcaya, Philippines and raised in Los Angeles, CA Norbert De La Cruz III is recognized for his versatility in performance and choreography. He is a performing and collaborative artist with roots in classical and contemporary dance. After moving to New York, he received a BFA in Dance from the Juilliard School followed by an MFA in Dance from Hollins University. He is a New York and Los Angeles based freelance dance artist.

Professionally, Norbert has performed as a soloist with the Metropolitan Opera’s production of Aida, Aszure Barton & Artists in Germany & Austria (Blue Soup & Busk), Balletto Teatro di Torino (Italy), Joe Goode Performance Group, Sydney Skybetter & Associates, Santa Clarita Ballet, Lustig Dance Theatre, Aspen Santa Fe Ballet, Complexions Contemporary Ballet, and Boca Tuya with Omar Román De Jesús. As a pre-professional, he was honored the Music Center’s 17th annual Spotlight Award, the Emerging Young Artist Award, Youth America Grand Prix 2nd place in non-classical, and represented the Juilliard School at Kodak Theatre’s first annual Dizzy Feet Foundation Gala in Hollywood, CA. Norbert recently been casted in Warner Brothers Pictures film adaptation of Tony-winning musical In The Heights.

Norbert’s choreographic career was further mentored by esteemed Aspen Santa Fe Ballet (ASFB) Directors, Tom Mossbrucker and Jean-Philippe Malaty. His early career was recognized through the support of the Jerome Robbins Foundation’s NEW Essential Works Grant (2012), commissioning his first large-scale ballet, “Square None” (2012) with ASFB. He was then a finalist of Hubbard Street’s National Choreographic Competition (2013), a Princess Grace Foundation-USA Award under the choreography fellowship (2012), Alvin Ailey New Directions Choreography Lab (2013), finalist for the Joffrey Academy of Dance’s 2014 Winning Works and a recipient for the 2015 National Choreographic Initiative in Irvine, CA. He was selected for the 2017 and 2018 Spring Sessions at the New York Choreographic Institute, an affiliate of New York City Ballet, where he created his “Lunar” and “Traces” ballet alongside Juilliard composer and esteemed collaborator, Nathan Prillaman. Additional honorable mentions include the Asian Arts Alliance Jadin Wong Award, McCallum Theatre Choreography Festival Award, and was featured in Dance Magazines Top 25 to watch.

He has since been commissioned to create and premier new works for companies such as Aspen Santa Fe Ballet, Hubbard Street 2, Joffrey Academy of Dance, James Sewell Ballet, Tulsa Ballet II, Barak Ballet, Grand Rapids Ballet, Ballet Florida, Peridance, Golden State Ballet, Attack Theatre, Ballet X, Olympic Ballet Theatre, and Periapsis Music & Dance.

Price Suddarth

Price Suddarth is an American Choreographer/Dancer currently based out of Seattle WA. Price began his dance education first with the Central Indiana Dance Ensemble [2005-2007], followed by the School of American Ballet [2007-2009], and finally on scholarship with the Pacific Northwest Ballet School [2009-2010] where, upon graduation, he received a contract with the Pacific Northwest Ballet. In 2018 Price was promoted to the rank of Soloist with the company. In 2011, Price was nominated for a Princess Grace Award in dance, and in 2012, he was chosen as one of Dance Magazines Top 25 to watch. Since joining the company, Price has originated leading roles in works by choreographers such as Marco Goecke, Victor Quijada, and Twyla Tharp. Additionally, he has performed featured and leading roles in works by William Forsythe, Crystal Pite, Annabelle Lopez Ochoa, Alejandro Cerrudo, Justin Peck, Mark Morris, Christopher Wheeldon, Kent Stowell, and George Balanchine.

His choreographic career began at the School of American Ballet’s student choreographic workshop in 2007. He has worked with regional companies in various parts of the United States. He has also participated in the Pacific Northwest Ballet’s 2011, 2013, 2014, and 2015 Next Step performances [formerly the Choreographers Showcase]. In 2012, Price was commissioned to create a ballet for the PNB School’s Annual School Performance. In November 2015, Pacific Northwest Ballet premiered Signature, the company’s first original mainstage work by Suddarth that made its return in June of 2019. In June 2016, the Central Pennsylvania Youth Ballet premiered its first work by Suddarth, limit[LESS]. Price was invited to participate in the 2016 Fall session of the New York Choreographic Institute, where he created Holding Pattern.

In 2016, he created one of the first works made solely for Virtual Reality through a partnership between PNB and pioneering VR software company PIXVANA. The VR film Silent Resonance was featured at the San Francisco Dance Film Festival and noted as one of YouTube’s top videos of 2017. In August 2017, Price created a site-specific premiere with the dancers of Seattle’s TheYC for PNB and The Seattle Art Museum’s sculptured dance. In March 2019, Kansas City Ballet premiered its first original work from Suddarth, titled White Noise. In April 2019, Tulsa Ballet premiered First Light. He has been asked to present his works at the 2012 Regional Dance America Gala, the 2014 Chop Shop: Bodies Of Work Contemporary Dance Festival, the 2015 Seattle International Dance Festival, as well as various showings at Seattle’s Marion Oliver McCaw Hall. 

Debuts was made possible by: