skip navigation

March 20-22, 2015 The Company at The Cowles




Excerpts from the upcoming performance
Please stop by between 2:00 and 4:00pm on Sunday afternoon to see the company at work as they polish their program.
655 Fairview Ave. N., St. Paul, MN 55104
Ample FREE parking the length of the warehouse building on the south side


Order Tickets for The Company at The Cowles

Adult $35, Senior/Student $25 all fees included
Student rush available if not sold out 30 minutes prior to performances: $15.00 cash or check only, 2 per student ID

Screen Shot 2014-01-19 at 7.48.23 PM


The five choreographers

Lirena Branitski

Capriccio Espagnol

About Lirena Branitski: Branitski was born and trained in the former Soviet Union. M. Branitski was first soloist of the Kiev State Theatre of Opera and Ballet and a frequent guest performer on the stage of the famed Bolshoi Theatre. She became a touring member of the Bolshoi Theatre concurrently with renowned ballet dancer Mikhail Barishnikov. She has performed on stages throughout Europe, Canada and South America. M. Branitski has a vast performance repertoire of soloist and principal roles in both classical and contemporary ballets. She has performed under all the master Russian choreographers, including the world-renowned Peter Gusev, Vakhtang Tchabukiani, Raisa Struchkova, and Alexander Lapauri. After emigrating to the U.S. in 1980 M.Branitski taught at her own school as well as Minnesota Dance Theater. From 1989 to 2006 M.Branitski taught and choreographed at Ballet Arts Minnesota. At Minnesota Dance Theatre & the Dance Institute, she teaches technique class, and coaches company dancers in classical repertoire. Her direct link to Russian classical ballet technique, repertoire and character dance is a rare privilege for SPB this summer. In 2012, she was the recipient of the Special Citation at the 2012 SAGE Awards.




Three of the renown compositions from Bach’s Cello Suites are the driving backbone for the choreography “Shifts”. The dynamics, strength and poeticness of each of the compositions set the surface on which the dancers movements are constructed. But even more importantly, the physical movements of the cellist playing and the form of the instrument itself are at the center of inspiration for this work. The addition of black chairs and costumes to the piece reflects the Cellist and makes reference to musicians of an orchestra who traditionally wear black attire and perform while sitting. Throughout the work the orchestra of dancers move the chairs in various configurations to create different spaces allowing for a change of direction and focus on the choreography while reflecting the change of atmosphere in each composition.


Shifts in performance 2011


About Kinsun Chan: He began his studies in Art and Graphic Design, entering the ballet world at a late age. He started his professional dance career in America and was a finalist at the Varna International Ballet Competition. Kinsun came to Europe when he was invited to join the Zürich Ballet and Basel Ballet, dancing many soloist roles from renown choreographers such as Kylián, Forsythe, Duato, Spoerli, Van Manen, Wherlock and Wubbe. His first choreography was created at the Zürich Ballet. He was then invited by Reid Anderson to choreograph for the “Noverre Society” at the Stuttgart Ballet. His choreographies have been performed by the Basel Ballet, Singapore Dance Theater,Tiroler Landestheater, Tanz Luzerner Theater, Hong Kong Ballet, Hannover Ballet, Staatstheater Kassel, Royal Ballet School of Antwerp, John Cranko Ballet School, Hong Kong Academy of Performing Arts and the Tanz Akademie Zürich. He has worked with Opera and Musical Directors, Jens-Daniel Herzog, Michael Sturminger, Goetz Friedrich, Bernd Mottl, Dominique Mentha and Tatjana Gürbaca. Kinsun’s dance films have been shown at the WestFest Dance Festival (NYC),Jumping Frames Dance Video Festival (Hong Kong) and Act Festival (Spain). His creation for the Hong Kong Ballet was invited to the Jacobs Pillow Festival (USA) and Festival des arts de Saint-Sauveur (Quebec, Canada). Kinsun’s choreography bring full circle his work in Art and Design, encompassing a dynamic visual language.



Blind Contour was originally a walk-through installation set on 3rd Law Dance/Theater that was then performed at the American Dance Festival. The movement was constructed by using a series of blind contour drawings that were combined into one sixty foot line that was then used as a choreographic score.  The intention of the process was to find movement in a space between perception and inscription with a line that described rather than divided. The original piece was in collaboration with electronic media artist Darwin Grosse who translated the drawing into a digital format. Many thanks to the SPB dancers for their contribution to this piece.

About Katie Elliott: Elliott’s company is 3rd Law Dance/Theater in Boulder Colorado. She has created, produced and choreographed original evening-length dance/theater works that embrace diverse movement vocabularies, visual styles and musical sources. With her husband and co-director, Jim LaVita, she has constructed works that speak to human universals with a thoughtful and socially aware vision. Through her art she attempts to awaken the widest and most diverse audience to timely issues through original works of dance/theater art. Her major works have addressed issues of migration, age, faith, tradition, personal psychology, and natural disaster.

Her works have appeared on the stage in Colorado, where the company is based, as well as at the International Dance Festival in Hong Kong, in Taipei, Taiwan, at the American College Dance Festivals in Washington D.C. and Tempe, Arizona, on campuses such as Colorado State University, Middle Tennessee State University, the University of Colorado, Utah State University and the University of Utah. Elliott has also collaborated on numerous works in different genres including stand alone pieces and site-specific works. She has worked with Grammy-nominated musician Art Lande on an improvisatory music/dance concert in five movements (Objects In Mirror…), with Hannah Kahn Dance Company, with nationally-known jazz choreographer, Nancy Cranbourne, and her company, “40 Women Over 40,” and with companies such as Boulder Ballet and Ballet Nouveau Colorado. This past summer Elliott taught and choreographed for the Boulder Jazz Dance Workshop and Interweave Dance Company.

Site-specific works and installations have appeared at the Denver Art Museum, SPARK Gallery in Denver, the Boulder Museum of Contemporary Art and the University of Colorado Art Institute. Elliott created a work around the Laser Harp, constructed by visual artist Jen Lewin, and for the opening of the visual arts project, The Veil: Visible and Invisible Spaces, curated by author Jennifer Heath at The Dairy Center for the Arts.

She and her husband and co-director, Jim LaVita, are the recipients of the 2009 Colorado Dance Alliance “Cutting Edge” Award, and, in 2008, in recognition of her art, she received a Neodata Endowment Fellowship for Dance (awarded every three years) for the artistic excellence of her accumulated body of work in dance.

Elliott teaches professional classes in modern dance technique through the company. She has been invited to teach Master Classes in Santa Fe, Albuquerque, Denver, and across the country. She began her teaching career as an instructor for the University of Utah Liberal Arts Dance Program and as a guest artist at Utah State University. In Colorado, Elliott has been a faculty member at the School of Boulder Ballet and the Colorado Repertory Dance School, where she taught beginning to professional level modern technique and composition classes.

Elliott graduated from the BFA program at the University of Utah, where she was awarded the Dee R. Winterton Award for outstanding choreography. At Utah she studied with Abby Fiat. She also holds an MFA in Dance from the ADF-Hollins MFA Program, and there studied with Jeffery Bullock.

She trained and performed in London where she was on full scholarship with the London Contemporary School of Dance, and in New York as a full scholarship student with the Jennifer Muller Dance Company, and for two years at the School of the Chicago Ballet. Elliott had also been awarded scholarships to The Graham School and the Cunningham Studio and studied with M. Darvash, at Darvash Ballet Studio in New York, and Finis Young. Previously she trained in Colorado with Barbara Demaree and Larry Boyette at Ballet Arts Studio. A native of Boulder, she returned to the Denver/Boulder area, where she danced with the Hannah Kahn Dance Company, Colorado Repertory Dance and other independent choreographers before founding 3rd Law Dance/Theater to perform her own work and the work of her collaborators.



Gray Matter

A work built upon René Descartes’ meditations and current scientific research on human consciousness. Does the mind control the body? Does the body control the mind? Are the two even separate entities? Does control of self exist or do outside entities control all bodies?


“I’m a woman. Phenomenally. Phenomenal woman, That’s me.” – Maya Angelou

About Zoé Emilie Henrot: Henrot graduated summa cum laude from Mount Holyoke College in 2012 with a double major in Dance and Biological Sciences. Having grown up in Boulder, Colorado, Zoé received most of her dance training from Boulder Ballet, becoming an apprentice with the company in the 2007-2008 season. In addition to her training in Boulder and at Mount Holyoke College, Zoé has trained with Kansas City Ballet, American Ballet Theatre, and Joffrey Ballet. Working with prominent choreographers such as Peter Davison, Ana Claire, Jim Coleman, Terese Freedman, Rose & Charles Flachs, Kinsun Chan, and Diane Coburn-Bruning has very much influenced her artistry and choreography. In 2011 she started choreographing ‘Becoming Undone,’ her largest work, which premiered in March 2012. In November 2012, Ms. Henrot was invited to be a guest choreographer for the Five College Dance Department in Massachusetts. ‘Gray Matter’ premiered at the Southern Theater as part of the Minnesota Fringe Festival in August 2013 followed by her most recent work, ‘Nadine’ in 2014. This is Zoé’s second season with Saint Paul Ballet serving as the Artistic Director.



Mein Weg

A fast-paced piece with two men and three women, Mein Weg is made up of several contemporary pas de deux.


A pas de deux in which two bodies become one.

About Joseph Morrissey: is currently the Director of Artistic Planning and Touring for The Hong Kong Ballet. He has danced with the Bavarian State Ballet in Munich, Germany, the Boston Ballet and the Charleston Ballet Theatre. Joseph holds a Master of Arts in Performing Arts Administration from New York University where he completed his graduate practicum with Emerging Pictures, the film distributor responsible for live broadcasts of the Bolshoi Ballet in cinemas across North America.

In 2009 and 2010 Joseph was invited to choreograph for the Stuttgart Ballet’s Noverre Society, a platform for emerging choreographers where he worked with dancers of the Stuttgart Ballet company. He was further selected to participate in the New York Choreographic Institute, an affiliate of the New York City Ballet where he worked with students at the School of American Ballet to a commissioned score by Michael Ippolito of the Juilliard School. In July 2013, his choreography was featured with the Roberto Bolle and Friends from American Ballet Theatre galas throughout Italy and Sicily, performed by soloists of the American Ballet Theatre. And, in September 2014, his piece Poised was performed for the Ballet Philippines 45th Anniversary gala performances at the Cultural Center’s National Theater in Manila. Joseph has also choreographed for the Festival Ballet d’Adriatico held in Ascoli Piceno, Italy and for the Inside / Out performance series presented by the School of Ballet at Jacob’s Pillow, a program of which he is a two-time alumnus.

From 2012-2013 Joseph served as the Director of CORPS, a pre-professional program for select high school students pursuing careers and higher education in classical ballet in exchange for academic credits with their educational institutions. He has instructed classes for Ballet Preljocaj and Spellbound Contemporary Ballet and is a member of the International Vaganova Method Society, having completed the Vaganova Ballet Academy’s annual methodology seminar in St. Petersburg, Russia. Joseph also serves as a guest instructor for the Harid Conservatory’s annual audition classes in New York and has been a guest instructor for the Saint Paul Ballet since 2011. A graduate of the Harid Conservatory, Joseph also holds a Bachelor of Science in Classical Ballet from the Jacob’s School of Music at Indiana University where he was a recipient of the Kenneth C. Whitener Award for Ballet Excellence and the Jacob’s School of Music Dean’s Award.

Joseph currently sits on the Executive Committee Board of the Hong Kong Dance Alliance, the official Hong Kong organization of the World Dance Alliance.

 female escort websitesчехол силиконовый для iphone 5