Rose Caiola, Executive Artistic Director
Rose Caiola, Founder and Executive Artistic Director of Manhattan Youth Ballet and Manhattan Movement & Arts Center received her education at New York University’s Tish School of the Arts as well as was mentored by Maestro Zsednyi, Principal Dancer with the Royal Hungarian Opera Ballet. She performed in a variety of stage and screen productions both as an actress and as a dancer. Ms. Caiola is a member of the Broadway and Off Broadway League of Theaters and Producers as well as a member of the Screen Actors Guild. She has produced a variety of concerts and benefits over the last 15 years including “Hope for Haiti” a dance benefit for the Haiti Relief Efforts. She is the co-author and producer of the Outer-Critics nominated production “Freckleface Strawberry the Musical”. Last season, she produced Godspell on Broadway. This season, she is producing Glengarry Glen Ross, The Anarchist and The Heiress on Broadway. Ms. Caiola is also the Executive Producer of the critically acclaimed ballet documentary, First Position. It is and has always been Ms. Caiola’s goal to provide both cultural and educational opportunities for the youth of New York City.
Daniel Ulbricht, Artistic Advisor
Daniel Ulbricht was born in St. Petersburg, Florida, and began his dance training at the age of 11 at the Judith Lee Johnson Studio of Dance, studying with Lenny Holmes. He also studied at Les Jeunes Danseurs with Javier Dubraq and attended the Chautauqua Summer Dance Program, training with Jean Pierre Bonnefoux and Patricia McBride. In 1999, Mr. Ulbricht was invited by the School of American Ballet (SAB), the official school of New York City Ballet, to continue his training during their Winter Program. As a student at SAB, Mr. Ulbricht performed with New York City Ballet as a Jester in Peter Martins' The Sleeping Beauty. In December 2000, he became an apprentice with New York City Ballet and in November 2001 he joined the Company as a member of the corps de ballet. In January 2005, Mr. Ulbricht was promoted to the rank of soloist and principal dancer in May 2007.
Deborah Wingert, Head Faculty
Ms. Wingert began her training at the Central Pennsylvania Youth ballet under Marcia Dale Weary and became a scholarship student at the School of American Ballet in New York. At the age of sixteen, she was selected by George Balanchine to join New York City Ballet. During her fifteen years with the company, Ms. Wingert danced over twenty-five principal, soloist, and featured roles in productions that include Balanchine’s A Midsummer Night’s Dream, Coppelia, Orpheus, Symphony in C, Jewels, Who Cares?,La Valse, Stars and Stripes, Prodigal Son, Bourree Fantastique, Brahms-Schoenberg Quartet, The Nutcracker, The Four Temperaments, and Mozartiana, Jerome Robbins’ The Concert and Antique Epigraphs, and Peter Martins’ The Sleeping Beauty. A principal and soloist with numerous nationally acclaimed companies, her film and television credits include The Nutcracker (Time-Warner), PBS “Great Performance” Dinner With Balanchine, “Dance in America” Balanchine - Serenade and Western Symphony, Peter Martins’ Concerto for Two Solo Pianos and “Live from Lincoln Center” A Midsummer Night’s Dream.
Deborah Wingert is a prize-winning choreographer, receiving third place in the Northeast Regional Festival for Emerging Female Choreographers for her work Six by Six: Opus 56 for the Cumberland Dance Company. She is one of a small group of artists selected by the Balanchine Trust to set his choreography. In this capacity she has traveled throughout the United States and Europe setting and staging the Balanchine repertoire for companies including the Vancouver Ballet Society, West Virginia Ballet Company, Boston Dance Company, Northeast Ballet, Ballet Center of St. Louis, and Central Pennsylvania Youth Ballet. She staged The Four Temperaments for Harvard University, and Tchaikovsky Pas de Deux for the New York International Ballet competition
Ms. Wingert has taught at the School of American Ballet, Central Pennsylvania Youth Ballet, Ballet Academy East, the Livingston Ballet, Boston Dance Company, and the Vancouver Ballet Society to name a few. She has been a guest lecturer and instructor for the New York City Public Library, the University of Wisconsin, and the Pennsylvania Governor’s School of the Arts, the Northeast Ballet, Princeton University and Harvard.
Deborah Wingert is a prize-winning choreographer, receiving third place in the Northeast Regional Festival for Emerging Female Choreographers for her work Six by Six: Opus 56 for the Cumberland Dance Company. She is one of a small group of artists selected by the Balanchine Trust to set his choreography. In this capacity she has traveled throughout the United States and Europe setting and staging the Balanchine repertoire for companies including the Vancouver Ballet Society, West Virginia Ballet Company, Boston Dance Company, Northeast Ballet, Ballet Center of St. Louis, and Central Pennsylvania Youth Ballet. She staged The Four Temperaments for Harvard University, and Tchaikovsky Pas de Deux for the New York International Ballet competition
Ms. Wingert has taught at the School of American Ballet, Central Pennsylvania Youth Ballet, Ballet Academy East, the Livingston Ballet, Boston Dance Company, and the Vancouver Ballet Society to name a few. She has been a guest lecturer and instructor for the New York City Public Library, the University of Wisconsin, and the Pennsylvania Governor’s School of the Arts, the Northeast Ballet, Princeton University and Harvard.
Marina Stavitskaya, Head of Classical Repertoire
Ms. Stavitskaya graduated from the Kirov School in St. Petersburg, Russia in 1960 and was accepted as Soloist in the Kirov and Maly Theatre Companies. During her fifteen-year performing career, she danced many principal and soloist roles from the classical ballet repertoire. In 1970, upon completing the pedagogical training course under Vera Kostrovitskaya, she joined the faculty of the Vaganova Choreographic School in St. Petersburg where she taught classical technique, repertoire and character dance.
Ms. Stavitskaya immigrated to the United States in 1976 and continues an illustrious teaching career. Among her positions, she has been a faculty member of the School of American Ballet, the American Ballet Theatre School, Studio Maestro and an instructor with Ballet Arts, Carnegie Hall and the Harkness Ballet School. She has been a teacher with the Metropolitan Opera Ballet Company, the American Ballet Theatre Company, American Ballet Theatre II, and guest teacher for the Vienna Ballet Company, the Royal Swedish Ballet, the Cullberg Ballet, Stockholm, Sweden, the Finnish National Opera, Helsinki, HET National Ballet, Amsterdam, the Stuttgart Ballet, Germany, and Le Groupe de Huit in Paris. She has taught master classes for the Southwest Regional Ballet Festival, the Pacific Regional Ballet Festival, the Academie de Danse Classique, Princess Grace, Monte Carlo, the Kuopio Dance Festival, Finland, the Mid-States Regional Ballet Festival, and the Southwestern Regional Ballet Festival.
In addition to her teaching career, Ms. Stavitskaya has staged works from the classical repertoire worldwide, including the Coteburg Ballet Company, Star Dancers Company, Japan, the Tampa Ballet Company, and for the Studio Maestro Gala Concerts. She staged Les Sylphides for the Nureyev Festival at the London Coliseum. Ms Stavitskaya has received recognition as a gifted choreographer of ballet and character dance. Marina can also be seen in the feature film, Black Swan
Ms. Stavitskaya immigrated to the United States in 1976 and continues an illustrious teaching career. Among her positions, she has been a faculty member of the School of American Ballet, the American Ballet Theatre School, Studio Maestro and an instructor with Ballet Arts, Carnegie Hall and the Harkness Ballet School. She has been a teacher with the Metropolitan Opera Ballet Company, the American Ballet Theatre Company, American Ballet Theatre II, and guest teacher for the Vienna Ballet Company, the Royal Swedish Ballet, the Cullberg Ballet, Stockholm, Sweden, the Finnish National Opera, Helsinki, HET National Ballet, Amsterdam, the Stuttgart Ballet, Germany, and Le Groupe de Huit in Paris. She has taught master classes for the Southwest Regional Ballet Festival, the Pacific Regional Ballet Festival, the Academie de Danse Classique, Princess Grace, Monte Carlo, the Kuopio Dance Festival, Finland, the Mid-States Regional Ballet Festival, and the Southwestern Regional Ballet Festival.
In addition to her teaching career, Ms. Stavitskaya has staged works from the classical repertoire worldwide, including the Coteburg Ballet Company, Star Dancers Company, Japan, the Tampa Ballet Company, and for the Studio Maestro Gala Concerts. She staged Les Sylphides for the Nureyev Festival at the London Coliseum. Ms Stavitskaya has received recognition as a gifted choreographer of ballet and character dance. Marina can also be seen in the feature film, Black Swan
Brian Reeder, Choreographer-in-Residence
Brian Reeder was born in Sunbury, Pennsylvania, and began his dance training with Marcia Dale Weary at the Central Pennsylvania Youth Ballet. After attending American Ballet Theatre’s Summer Program, he studied at the School of American Ballet. Before joining American Ballet Theatre (1994-2003), Brian performed as a soloist with William Forsythe’s Ballet Frankfurt (1990-1993), and also danced with New York City Ballet (1986-1990).
Over a four-year period, Brian created five original works for American Ballet Theatre’s Studio Company. In 2005, he choreographed a full-length Nutcracker for Ballet Pacifica. In collaboration with the Washington Ballet, Mr. Reeder was the recipient of the New York Choreographic Institute Fellowship Grant (2005). He has created works for the Washington Ballet and it’s Studio Company, including a production of Peter & the Wolf. In 2006, he was commission by the Guggenheim Museum in NYC to create two new works for their "Works & Process" series. Mr. Reeder was artist in residence at Brown University, Emory University, and St. Paul’s School where he taught and created works for student dance companies. He was involved with the ABT Education Department’s "Make a Ballet" program (2004-2006), and is currently on staff at ABT’s Summer Intensives in NYC. He served as the Coordinating Director of the ABT International Summer Dance Intensive in Bermuda (2006) and has been a guest teacher at the Alvin Ailey School and Icelandic National Ballet Company and school.
Brian has been recognized by Time Out New York as one of it’s “ten best” in dance for 2002, and was selected as a “25 to watch" in 2005 by Dance Magazine. His ballets have been viewed by dance-going audiences world wide, in places such as London, Costa Rica, Bermuda, and throughout the United States.
Over a four-year period, Brian created five original works for American Ballet Theatre’s Studio Company. In 2005, he choreographed a full-length Nutcracker for Ballet Pacifica. In collaboration with the Washington Ballet, Mr. Reeder was the recipient of the New York Choreographic Institute Fellowship Grant (2005). He has created works for the Washington Ballet and it’s Studio Company, including a production of Peter & the Wolf. In 2006, he was commission by the Guggenheim Museum in NYC to create two new works for their "Works & Process" series. Mr. Reeder was artist in residence at Brown University, Emory University, and St. Paul’s School where he taught and created works for student dance companies. He was involved with the ABT Education Department’s "Make a Ballet" program (2004-2006), and is currently on staff at ABT’s Summer Intensives in NYC. He served as the Coordinating Director of the ABT International Summer Dance Intensive in Bermuda (2006) and has been a guest teacher at the Alvin Ailey School and Icelandic National Ballet Company and school.
Brian has been recognized by Time Out New York as one of it’s “ten best” in dance for 2002, and was selected as a “25 to watch" in 2005 by Dance Magazine. His ballets have been viewed by dance-going audiences world wide, in places such as London, Costa Rica, Bermuda, and throughout the United States.
Natalia Boesch, Head of Primary Levels
Ms. Boesch began her training at the School of American Ballet. During her ten years there she danced with the New York City Ballet in nearly every role for children in their repertoire. In SAB workshops she danced works by Balanchine, most notably Harlequinade and Le Tombeau de Couperin, as well as ballets by Jerome Robbins and Christopher Wheeldon. Ms. Boesch completed her training on full scholarship at the Pacific Northwest Ballet School, and joined the Pacific Northwest Ballet as a corps member after less than a year.
Under the direction of Francia Russell, Ms. Boesch performed in many of Balanchine’s most famous ballets, including Agon, Serenade, Concerto Barocco, Western Symphony, Ballet Imperial, and La Valse. Her repertory there also included classics such as Paquita and Ronald Hynd’s Sleeping Beauty, and newer works by Peter Martins, Kent Stowell, and Lynn Taylor-Corbett. In 2003 Ms. Boesch joined the corps of American Ballet Theatre, where she danced for three years in all the great classics, including Swan Lake,Romeo and Juliet, Le Corsaire, Don Quixote, Giselle, and La Bayadere. She also performed in Agnes DeMille’s Rodeoand in the premiere ofKaleidoscopeby choreographer Peter Quanz. With ABT she toured all over the country as well as to Japan. In 2008 Ms. Boesch joined the Staatsballett Berlin, under the direction of Vladimir Malakhov. As a corps member there she performed in John Cranko’s Onegin and in the premiere of Malakhov’s La Peri, among others. In 2010 Ms. Boesch staged and danced as a soloist in the Jen DeNike art piece Scrying, choreographed by Melissa Barak. Throughout her professional life Ms. Boesch has also appeared as a soloist with Dances Patrelle in Manhattan. She teaches in New York at Manhattan Youth Ballet.
Under the direction of Francia Russell, Ms. Boesch performed in many of Balanchine’s most famous ballets, including Agon, Serenade, Concerto Barocco, Western Symphony, Ballet Imperial, and La Valse. Her repertory there also included classics such as Paquita and Ronald Hynd’s Sleeping Beauty, and newer works by Peter Martins, Kent Stowell, and Lynn Taylor-Corbett. In 2003 Ms. Boesch joined the corps of American Ballet Theatre, where she danced for three years in all the great classics, including Swan Lake,Romeo and Juliet, Le Corsaire, Don Quixote, Giselle, and La Bayadere. She also performed in Agnes DeMille’s Rodeoand in the premiere ofKaleidoscopeby choreographer Peter Quanz. With ABT she toured all over the country as well as to Japan. In 2008 Ms. Boesch joined the Staatsballett Berlin, under the direction of Vladimir Malakhov. As a corps member there she performed in John Cranko’s Onegin and in the premiere of Malakhov’s La Peri, among others. In 2010 Ms. Boesch staged and danced as a soloist in the Jen DeNike art piece Scrying, choreographed by Melissa Barak. Throughout her professional life Ms. Boesch has also appeared as a soloist with Dances Patrelle in Manhattan. She teaches in New York at Manhattan Youth Ballet.
Erin Fogarty, Director of Programming
Erin Fogarty studied both theatre and dance at Marymount Manhattan College. After graduating with a BFA in Dance in 2005, she joined Carolina Ballet where she performed roles in a number of George Balanchine’s most famous works as well as works by Lynne Taylor-Corbett and Robert Weiss. After moving back to New York City in 2009, she joined Ballet NY under the direction of Judith Fugate and Medhi Bahiri. Ms. Fogarty has been on faculty at the New York State Summer School of the Arts since 2004. She also serves as assistant to Damian Woetzel for the Vail International Dance Festival.
Peter O'Brien, Ballet Faculty
Peter O’Brien was born in Sunderland, County Tyne and Wear, in 1948. His early dance education was with Lycett Fearn in Sunderland. He won a scholarship to the Royal Academy of Dancing, and, in 1962, he joined the Royal Ballet School in London, later graduating with a contract into the Royal Ballet Company.Very early in his career, Dame Margot Fonteyn and Rudolph Nureyev gave Mr. O'Brien opportunities to dance in many ballets by guest choreographers, performing in works by Sir Fredrick Ashton, John Cranko, Dame Ninette de Valois, Sir Kenneth Macmillan, and George Balanchine. Works were created on him by Anthony Tudor, Jack Carter, and experimental choreographers such as Glen Tetley, who produced the first modern piece (Field Figures) for the Royal Ballet in 1971. In 1972, Peter joined the Sadlers Wells Royal Ballet, dancing all of director Peter Wright’s former leading roles.
In 1976, Mr. O'Brien was promoted to principal dancer. By 1979, he had danced all the leading roles in the Royal Ballet repertoire and decided to broaden his horizon. He was invited to join the New London Ballet and performed with the Zurich Ballet. He continued to guest with companies such as Bat Dor, Northern Theatre Ballet in Manchester, Alta Balletto, and Ballet Theatre Francaise de Nancy. He also performed with Nureyev and Friends. It was during this time that Mr. O'Brien became interested in teaching and often coached young company dancers. After retiring in 1985 due to injury, he continued teaching and directing all over the world.
In 1976, Mr. O'Brien was promoted to principal dancer. By 1979, he had danced all the leading roles in the Royal Ballet repertoire and decided to broaden his horizon. He was invited to join the New London Ballet and performed with the Zurich Ballet. He continued to guest with companies such as Bat Dor, Northern Theatre Ballet in Manchester, Alta Balletto, and Ballet Theatre Francaise de Nancy. He also performed with Nureyev and Friends. It was during this time that Mr. O'Brien became interested in teaching and often coached young company dancers. After retiring in 1985 due to injury, he continued teaching and directing all over the world.
Karen Lacy, Ballet Faculty
Karen Lacy is a teaching artist in the New York City public schools with American Ballet Theatre and teaches ballet and modern dance classes to ages 3 through adult. She graduated from Skidmore College with a B.A. in dance and English. Selected dance credits include work with the Metropolitan Opera Ballet, New York City Opera, Neville Dance Theatre, Eglevsky Ballet, John Passafiume Dancers, and Covenant Ballet Theatre. Her choreography credits include La Traviata, Once Upon A Mattress, Romance Romance, The Big One, and 14 years of work with the School of the Garden State Ballet in New Jersey. Karen also choreographs each summer at the LucyMosesSchool for Music and Dance in Manhattan. Karen enjoys her work as a senior fitter and dance teacher liaison at Gaynor Minden.
Attila Joey Csiki, Contemporary Faculty
Attila began his dance training at the Canadian Dance Company in Toronto to subsequently join the National Ballet of Canada Academy. Upon receiving a scholarship to the School of American Ballet, Attila moved to New York City and danced under the direction of Peter Martins. Attila’s professional experience transitioned him Tokyo, Japan to work with some of the world's most recognized choreographers, including Jiri Kylian, Sir Peter Wright, William Forsythe, Nacho Duato, Mauro Bigonzetti and Anthony Tudor, and Kenneth McMillan. In Japan Attila danced with such companies as Noism Jo Kanamori, K Ballet, New National Ballet, and the Japan Ballet Association.
After returning to the U.S., Attila has danced as a guest artist with companies such as Ballet Concierto de Puerto Rico, Peoria Ballet Illinois, Dance Form Productions, Thomas/Ortiz Dance, and Rasta Thomas' Bad Boys of Dance. In 2008 Attila joined the Lar Lubovitch Dance Company. In addition to his current season with Lar Lubovitch, Attila continues to guest perform internationally with Dresden Semper Opera, Hong Kong Ballet, and Tokyo City Ballet. His gala repertory includes Lubovitch’s Little Rhapsodies and Elemental Brubeck. Until now Attila has created 5 works with Lar and has danced nearly a dozen.
Throughout his career, Attila has developed his skills as a choreographer. In 2001, Attila choreographed his critically acclaimed ballet Under the Maroon Tree. The ballet was recognized by Jiri Kylian and set on the Tokyo Ballet’s first company, and performed by dancers of the Cullberg Ballet and Nederlands Danz Theatre. In 2006, Attila was invited to Guatemala by President Alvaro Arzu to collaborate with international artists. Fusion, a production he both choreographed and directed. The production involved 215 artists and was a collaboration of all possible art forms. Fusion featured a number of Attila’s choreography, including Fragments of a Dream, which was danced by principals of the Houston Ballet Company. Most recently, Attila has completed residencies at Americas leading Universities and conservatories where he taught Lar Lubovitch repertory classes and his own master classes.
After returning to the U.S., Attila has danced as a guest artist with companies such as Ballet Concierto de Puerto Rico, Peoria Ballet Illinois, Dance Form Productions, Thomas/Ortiz Dance, and Rasta Thomas' Bad Boys of Dance. In 2008 Attila joined the Lar Lubovitch Dance Company. In addition to his current season with Lar Lubovitch, Attila continues to guest perform internationally with Dresden Semper Opera, Hong Kong Ballet, and Tokyo City Ballet. His gala repertory includes Lubovitch’s Little Rhapsodies and Elemental Brubeck. Until now Attila has created 5 works with Lar and has danced nearly a dozen.
Throughout his career, Attila has developed his skills as a choreographer. In 2001, Attila choreographed his critically acclaimed ballet Under the Maroon Tree. The ballet was recognized by Jiri Kylian and set on the Tokyo Ballet’s first company, and performed by dancers of the Cullberg Ballet and Nederlands Danz Theatre. In 2006, Attila was invited to Guatemala by President Alvaro Arzu to collaborate with international artists. Fusion, a production he both choreographed and directed. The production involved 215 artists and was a collaboration of all possible art forms. Fusion featured a number of Attila’s choreography, including Fragments of a Dream, which was danced by principals of the Houston Ballet Company. Most recently, Attila has completed residencies at Americas leading Universities and conservatories where he taught Lar Lubovitch repertory classes and his own master classes.
Jennifer Damsky, Pilates
Jennifer trained at the School of American Ballet and the North Carolina School of the Arts. Upon completion of her training, she danced with Los Angeles Ballet and Ballet Internacial de Caracas. Jennifer is currently a certified Pilates instructor through Power Pilates. Jennifer has studied Pilates with master teacher Phoebe Higgins, Peter Roel, Bob Liekens, Carrie Cambell and Juliet Harvey. Throughout her training Jennifer has studied anatomy and rehabilitation injury prevention. Jennifer has taught for Peter Roel at the Pilates Shop Yoga Garage and at Ballet Academy East. She owns her own studio teaching over 40 clients ranging from their teens to their 90’s. Jennifer has also launched a website that offers instructional Pilates videos for people of all skill levels. Jennifer now is pleased to teach at Manhattan Youth Ballet.
* To see more about Jennifer's videos, go to www.pilates500.com
* To see more about Jennifer's videos, go to www.pilates500.com
Rupa Mehta, Nalini Method
Rupa Mehta began her entrepreneurial business venture at the age of 23 with the vision of creating an environment that emanated the feeling she had around her mom– a feeling of being accepted, encouraged, nurtured and challenged. After graduating from NYU’s Stern School of Business and studying Pilates, Yoga and Lotte Berk, Rupa’s signature fitness class was born. With her vision in mind, Rupa developed a fun and challenging class that fuses the results and attention of a personal trainer session with the dynamic energy of a group atmosphere.
In 2010, Rupa wrote her first book Connect to Your One. After years of training New Yorkers, many with an obsession about their physical weight, she felt compelled to address the discrepancy between physical and emotional weight. “How can so many people be physically light and fit, but emotionally heavy and weighed down?” she asked herself. In Connect to Your One, Rupa introduces the simple concept of ‘losing the weight of words’ and connecting to the ONE WORD that inspires and drives your life.
With a deep desire to share her vision with the world, Rupa has partnered with Mayor Bloomberg and NYC Service to spread health and wellness with children in inner city schools. Rupa and her team now teach fitness classes and ONE WORD Workshops in two Brooklyn schools during school hours as a part of their curriculum. Rupa’s dream is to continue to grow her team and platform while launching a tween/teen wellness program nationally.
In 2010, Rupa wrote her first book Connect to Your One. After years of training New Yorkers, many with an obsession about their physical weight, she felt compelled to address the discrepancy between physical and emotional weight. “How can so many people be physically light and fit, but emotionally heavy and weighed down?” she asked herself. In Connect to Your One, Rupa introduces the simple concept of ‘losing the weight of words’ and connecting to the ONE WORD that inspires and drives your life.
With a deep desire to share her vision with the world, Rupa has partnered with Mayor Bloomberg and NYC Service to spread health and wellness with children in inner city schools. Rupa and her team now teach fitness classes and ONE WORD Workshops in two Brooklyn schools during school hours as a part of their curriculum. Rupa’s dream is to continue to grow her team and platform while launching a tween/teen wellness program nationally.
