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APRIL 2018
CONTACT bostonballet.org
Somerville, matriculate from the Boston Ballet School to the
Boston Ballet's second company apprentice program, and
accompanied Clark on a trip to e National Ballet of
Canada last year, where he performed alongside peers from
Brazil and London. "To be able to see him enter his profes-
sional career after pursuing ballet from his younger years—
from a semi-weekly to weekly to daily basis—is absolutely
thrilling," he says. "at's what it's about: seeing education
take him places he probably never imagined he would go."
ose kinds of stories reinforce Czesniuk's goals around
the Boston Ballet School: to expand access to education and
programming at the Opera House. He thinks back on the
rst time he saw the ballet at 37 years old. "Before I went, I
wouldn't have necessarily expected to walk out of the Opera
House energized," Czesniuk says. "But I did."
/ I N D E P T H /
PHOTOGRAPH BY, TOP TO BOTTOM,
ROSALIE O'CONNOR, LIZA VOLL
Top to bottom, Boston Ballet's Misa Kuranaga and Nelson Madrigal in John
Cranko's Romeo and Juliet; Paulo Arrais and Misa Kuranaga in Marius Petipa's
The Sleeping Beauty
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