The Four Seasons /  Morpheus’ Dream / The Leaves Are Fading

British choreographer David Dawson is one of the leading dance makers working in classical ballet today. His choreographic style transforms classical ballet in new ways and his signature works have been praised by critics and audiences worldwide. He has been Associate Artist with Dutch National Ballet since 2015. Between 2004 and 2012 he was Resident Choreographer for Dutch National Ballet, Semperoper Ballett and Royal Ballet of Flanders.

He was honoured with the Prix Benois de la Danse Award for choreography for The Grey Area. He created Reverence for the Mariinsky Ballet, for which he was awarded the Golden Mask Award, becoming the first British choreographer to create a ballet for this legendary company. He received the Choo San Goh Award for The Gentle Chapters and was nominated for The Golden Swan Award for both 00:00 and Overture. For his re-imagining of Faun(e) he was nominated for the UK Critics’ Circle National Dance Award and the Prix Benois de la Danse Choreography Award. Most recently his Four Last Songs was nominated for the UK Critics’ Circle National Dance Award.

Born in London, he trained at the Rona Hart School of Dance, Arts Educational School and The Royal Ballet School. In 1991 he won the professional prize at the Prix de Lausanne and the same year, he joined the Birmingham Royal Ballet. He went on to perform with English National Ballet, Dutch National Ballet and Ballet Frankfurt before deciding to devote his time to creating his own new works.

Dawson has created over 40 ballets that have been performed in more than 30 countries including his full-length creations of Romeo and Juliet, Swan Lake, Tristan + Isolde and Giselle. Other significant works include Symphony No.2, Legacy Variations, Affairs of the Heart, Voices, Requiem, Anima Animus, Metamorphosis, The Four Seasons, Citizen Nowhere, Empire Noir, On the Nature of Daylight, and his highly acclaimed A Million Kisses to my Skin. 

His creations are part of the repertoires of many companies including Berlin StaatsBallett, Boston Ballet, Ballet National de Marseilles, Bayerisches Staatsballett, The National Ballet of Canada, Dutch National Ballet, English National Ballet, Teatro alla Scala, Lyon Opéra Ballet, National Ballet of Japan, Mariinsky Ballet, Pacific Northwest Ballet, Paris Opéra Ballet, Philadelphia Ballet, Ballett am Rhein, Teatro dell Opera di Roma, The Royal Ballet, San Francisco Ballet, Stuttgart Ballett and Vienna State Opera Ballet.

Born in Sydney, Australia, Rebecca Gladstone trained with Marie Walton-Mahon and graduated from English National Ballet School, London. She danced with the Deutsche Oper Ballett Berlin, Vienna Ballett and Dresden Semperoper Ballett performing soloist and principal roles in both classical and contemporary works. In 2010, Rebecca became Ballet Master with Dresden Semperoper Ballett working on a wide range of repertoire and assisting many of today’s leading choreographers. Since 2016, she has worked internationally as a stager for the works of David Dawson, both staging his pieces and assisting him on new creations in numerous companies throughout the world. These companies include Het Nationale Ballet, Dresden Semperoper Ballet, Pacific Northwest Ballet, Royal Swedish Ballet, San Francisco Ballet, Teatro alla Scala, The National Ballet of Canada and Stuttgart Ballet. She also works as a guest teacher with many companies and both teaches and gives Dawson Workshops at several summer school programmes.

Christiane Marchant has been a stager of David Dawson’s choreography since 2017 and works as his assistant on productions internationally. She is also a resident Ballet Master and Talent Scout at European School of Ballet. In 1977, she joined Maurice Béjart’s Ballet du XXe siècle and in 1980, Hamburg Ballet. Between 1993 and 2005, she was a Ballet Mistress at Semperoper Ballett, Hamburg Ballet, Les Ballets de Monte Carlo and MaggioDanza in Florence and from 2005 to 2017, she was at Royal Ballet of Flanders. Christiane has been a guest teacher at Stuttgart Ballet, Teatro alla Scala, Wiener Staatsballett, The Royal Danish Ballet, Royal Swedish Ballet, Ballet de Santiago, Béjart Ballet Lausanne and Rome Opera. Christiane translated Suki Schorer on Balanchine Technique into French and Italian and the Basic Principles of Classical Ballet by Agrippina Vaganova into French. Christiane assisted on David Dawson’s new creations for companies including: Aalto Ballet Essen, Dutch National Ballet in Amsterdam, Philadelphia Ballet, Badisches Staatstheater Karlsruhe, Bayerisches Staatsballett in Münich, La Scala in Milan, Dresden Semperoper Ballett, The National Ballet of Canada and Stuttgart Ballet.

Courtney Richardson is a retired Principal Dancer and renowned ballet educator, celebrated for her exceptional artistry and dedication to the art form. Born in Detroit, she trained at Canada’s National Ballet School before joining prestigious companies such as The National Ballet of Canada, Ballet BC, Royal Ballet of Flanders, and Semperoper Ballet, where she had a remarkable career spanning 23 years. Throughout her career, Courtney captivated audiences with her grace and precision, working with celebrated choreographers such as William Forsythe, David Dawson and Alexander Ekman. Her innovative approach to movement and storytelling made her a standout in the dance world. Now retired from the stage, Courtney is deeply committed to mentoring the next generation of dancers. She is passionate about empowering young talent and shares her expertise to help others reach their full potential. Courtney’s legacy in ballet continues to inspire both on and off the stage, encouraging others to embrace their unique abilities and push creative boundaries.

Max Richter stands as one of the most prodigious figures on the contemporary music scene, with a catalogue that boasts over three billion streams. Memoryhouse, Max’s 2002 debut, has been described by The Independent and Pitchfork Magazine as a “landmark”, while his 2004 album The Blue Notebooks was chosen by The Guardian as one of the best Classical works of the century. SLEEP, his eight-and-a-half-hour concert work, has been performed worldwide, including at the Sydney Opera House, Berlin’s Kraftwerk, Amsterdam’s Concertgebouw, the Philharmonie de Paris and at the Barbican, London. Max’s music has become a mainstay for many of the world’s leading ballet companies, including The Mariinsky Ballet, Teatro alla Scala Milan, New York City Ballet, Paris Opéra Ballet and American Ballet Theatre. Max has a longstanding relationship with Wayne McGregor, the two have worked together on numerous projects including 2015’s Woolf Works. Max has written award-winning music for over 50 film and TV projects including Mary Queen of Scots, HBO’s My Brilliant Friend and The Leftovers, Tom Hardy’s Taboo and Black Mirror. Max’s recent score for James Gray’s Ad Astra earned him his second Grammy nomination. 

Eno Henze, born in 1978, is a German artist and designer renowned for his innovative integration of art, science and technology. He studied art at Karlsruhe University of Arts and Design and Städelschule in Frankfurt, Germany. As an artist, Henze lived in Berlin for several years, exploring the intersection of digital and analogue processes, often involving generative design. His work delves into the mathematical foundations of aesthetics and the role of technology in contemporary art. In 2010, Eno met David Dawson leading to a continuous collaboration that has resulted in numerous stage designs for David’s ballets. Eno also runs NSYNK, a design studio for mixed reality experiences in Frankfurt, and HYPERBOWL, a film studio outside Münich focused on virtual production.

Born in Asahikawa, Japan, Yumiko Takeshima trained with Miharu Ishikawa and San Francisco Ballet School. She danced with Universal Ballet, Alberta Ballet, Feld Ballet and was a Principal Dancer with Dutch National Ballet and Semperoper Ballett. Yumiko has designed costumes for David Dawson, William Forsythe, Jorma Elo, Alexei Ratmansky and George Balanchine. She is the Founder and the designer of YUMIKO Dancewear since 2002.

Bert Dalhuysen is a lighting, set, multimedia, video and projection designer for ballet, theatre and opera productions worldwide. He has worked with stage designers such as Keso Dekker, Toer van Schayk, Paul Gallis, Jan Fabre, Eno Henze, John Otto and Tatjana van Walsum. As a long time collaborator with David Dawson, past works include lighting designs for Four Last Songs, Legacy, Romeo & Juliet, Voices, Metamorphosis, Requiem, The Four Seasons, Swan Lake, Tristan + Isolde, Faun(e), Timelapse/(Mnemosyne), Giselle, The Gentle Chapters, 00:00 and The Grey Area. For Hans van Manen, Variations for Two Couples, Dances with Harp, Without Words, Six Piano Pieces and Bach Pieces. For Juanjo Arqués, Manouevre, Ignite, Homo Ludens and Rewind. For Krzysztof Pastor, Scheherazade, Crossing Paths, Bolero and Nijinsky (also video and stage design). For Martin Schläpfer, Alltag, Lontano and Streichquartett. For Nicolo Fonte, Record of Joy and Inverse Form. For Ted Brandsen, Replay, Hallelujah Junction, Body and Carmen. For George Balanchine, Jewels and Who Cares?. For Aaron S. Watkin, La Bayadère.

Marco Goecke completed his ballet training in 1988 at the Heinz-Bosl-Stiftung ballet academy in Münich as well as at the Royal Conservatoire of the Hague, where he received his diploma in 1995. Engagements followed at the Berlin State Opera and Theater Hagen. In 2000, Marco created his first choreography, Loch. There followed several works for Noverre-Society with dancers from Stuttgart Ballet and an invitation to New York Choreographic Institute. In 2003, Marco won the Prix Dom Pérignon in Hamburg with the piece Blushing. In the years that followed, he received numerous commissions for international companies such as Les Ballets de Monte Carlo, The Norwegian National Ballet, Pacific Northwest and Staatsballett Berlin.

In the 2005/06 season, Marco was appointed Choreographer in Residence at Stuttgart Ballet and during this season, he created his first narrative ballet, The Nutcracker, which was later filmed for the ZDF theatre channel. From 2006 to 2012, he held the post of Choreographer in Residence at the Scapino Ballet Rotterdam. He has been Associate Choreographer at Nederlands Dans Theater since the 2013/14 season and from 2019 to 2023, Artist in Residence with Gauthier Dance Stuttgart and held the position as Artistic Director of the State Ballet Hannover.

Over 90 of Marco’s works are performed around the world, including in Tel Aviv, Sao Paulo, at Les Grands Ballets Canadiens de Montréal, The National Ballet of Canada, Bayerisches Staatsballett, Finnish National Ballet, Stanislavski Theatre, Ballett Zürich, The Deutsche Oper am Rhein and Wiener Staatsoper.

Marco has received several international awards, including the Culture Prize of the State of Baden-Württemberg in 2005, Nijinsky Award in Monte Carlo in 2006, Choreographer of the Year in the critics’ survey by the magazine tanz in 2015, Dutch dance prize Zwaan as well as the Italian prize Danzadanza for the best choreography of the year in 2017. This award was for the full-length work Nijinski, which he created in 2016 for Gauthier Dance in Stuttgart.

Marco has been appointed Artistic Director and Resident Choreographer of the Ballet at Theatre Basel beginning the 2025/26 season.

Ludovico Pace, born in Rome, began his ballet journey at nine at Académie Chaptal in Paris. He later trained at the Ballet School of the Paris Opera and the Conservatoire National Supérieur de Musique et de Danse, culminating in graduation from the John Cranko Schule in Stuttgart, Germany. As a member of Stuttgart Ballet, Ludovico performed a diverse repertoire, including works by John Cranko, Maurice Béjart, Edward Clug and William Forsythe, and collaborated with choreographers such as Sidi Larbi Cherkaoui, Christian Spuck and Marco Goecke. His career extended to staging Goecke's works for companies such as Paris Opéra Ballet and Nürnberg Staatstheater to name a few. From 2019 to 2024, Ludovico served as rehearsal director at Staatstheater Hannover. Currently, he stages Goecke’s works globally while preparing for his role as Managing Director of Ballet Basel from starting in 2025/2026 season, working alongside Goecke as Artistic Director.

Keith Jarrett, born in 1945 in Pennsylvania, is one of the great pianists of our times. Before achieving worldwide fame for his solo improvisations, he had already collaborated with Art Blakey, Charles Lloyd and Miles Davis. His twentieth album, Köln Concert (1975) has sold four million copies and is the most successful solo recording in jazz history. His interpretations of the music of Bach, Händel, Bartók and Shostakovich have also received much acclaim. His discography, largely recorded for ECM Records, embraces solo improvisation, duets, trios, quartets, original compositions, multi-instrumental ventures, masterpieces of the classical repertoire and wide-ranging explorations of the Great American Songbook. Keith’s association with the ECM label dates from 1971, when he and producer Manfred Eicher first collaborated on the hugely influential solo piano album Facing You and the album prefigured the solo piano concerts which would be such a defining aspect of Keith’s career.

Thomas Lempertz is a German visual artist, choreographer and costume designer, whose practice is firmly rooted in dance. Following a successful career as a Soloist at Stuttgart Ballet, he launched a fashion studio and received a 2011 New Faces Award Fashion nomination for creations inspired by haute couture and dance costumes. Since 2013, Thomas has collaborated with renowned choreographers, merging traditional craftsmanship with modern innovation in his costume design. His wide-ranging interests led Thomas to further his studies in Intermedia Arts at the Academy of Fine Arts in Stuttgart from 2015 to 2017, where he currently teaches art and movement workshops. As a visual artist, he creates work with an emphasis on performance installations and has had solo exhibitions including Liquid Skin (2019), Motion is Solution (2021) and Fluid Gravity (2023). In recent years, Thomas also developed his choreographic work, with recent highlights including Not in my hands (2021), Soul Threads (2024) and Ecorché Anatomie des Tanzes (2024), which he co-created with ballet dancer Friedemann Vogel

Udo Haberland initially worked as a photographer in Berlin. In 1988, he started working in the film and television industry in charge of lighting design for Arte, MTV, VIVA, ARD, ZDF and NDR, Deutsche Telekom, Daimler-Chrysler, Toyota and Kodak. He created the lighting design for fashion shows by Hugo Boss and Strenesse. He began his career as a lighting designer for the theatre in 1988 at Stuttgart State Theater and continues to create lighting designs on major stages worldwide for ballet, dance, opera and drama. Udo has had a close collaboration with Marco Goecke since 2003, working for the Stuttgart Ballet as well as Scapino Ballet Rotterdam, Nederlands Dans Theater, Staatsballet Berlin, Hanover State Opera, Den Norske Opera & Ballett and Les Ballets de Monte-Carlo. In 2019, he created the lighting design for Marco’s premiere at Paris Opera Ballet, in 2021, for Vienna State Ballet and 2022, at Bavarian State Ballet. He has also worked with choreographers Bridget Breiner at MIR in Gelsenkirchen, Jérôme Delbey at the Gothenburg Opera Ballet, Cayetano Soto at the Dortmund Ballet and Giovanni Di Palma at the Sao Paulo Companhia de Danca.

Antony Tudor was born in London in 1909 and grew up close to Sadler's Wells Theatre. He began to study dance in 1928. In 1930, Marie Rambert established her Ballet Club (later to become Ballet Rambert) and hired Tudor as caretaker, secretary, dancer, stage manager, pianist and later as a teacher at her Ladbroke Road Studio.

His first ballet was Cross-Garter'd in 1931, inspired by episodes from Shakespeare's Twelfth Night, and within a few years he had created several successful ballets. In 1936, he created his first masterpiece, Jardin aux Lilas, in which he revealed his ability to convey subtle nuances of feeling through dance. This was followed in 1937 by Dark Elegies, set to Gustav Mahler's Kindertotenlieder.

Later in 1937, Tudor left Ballet Rambert to form Dance Theatre, a company with choreographer Agnes de Mille. This was short-lived and he subsequently established London Ballet. It was in 1938 that he created Judgement of Paris, Soirée Musicale and Gala Performance. These entered Ballet Rambert's repertoire in 1940 when Ballet Rambert and London Ballet amalgamated during World War II. By this time Tudor had left England for the US to join Ballet Theatre (later American Ballet Theatre). He maintained a nearly 50-year association with the company, choreographing iconic narrative works that are now considered the company’s artistic “conscience”. He was also a gifted teacher and devoted himself by carrying on a tradition of excellence that has influenced generations of dancers and choreographers.

In his final years, he received numerous awards and honours including the Capezio Award, Handel Medallion of the City of New York, Kennedy Center Honor and the Queen Elizabeth II Coronation Award from the Royal Academy of Dance.

Antony Tudor died in New York City, NY on April 19, 1987.

Amanda McKerrow has the honour of being the first American to receive a gold medal at the International Ballet Competition in Moscow in 1981. Since then, she has been the recipient of numerous other awards, including the Princess Grace Dance Fellowship. She had the honour of training with Mary Day at the Washington School of Ballet and was a member of the company until she joined American Ballet Theatre under the direction of Mikhail Baryshnikov in 1982. She was appointed to the rank of Soloist in 1983 and became a Principal Dancer in 1987. Amanda danced leading roles in all the major classics and had numerous works created for her by many of the great choreographers of the 20th century. She has also appeared as a guest artist throughout the world. Amanda is now the sole Trustee of the Antony Tudor Ballet Trust and together with her husband John Gardner stages his ballets around the world. Amanda is also in demand as a master teacher for both students and professional dancers and has also enjoyed staging numerous ballets for professional companies and universities both in the US and abroad. She is currently Co-Director of the Colorado Ballet Academy Summer Intensive.

John Gardner has distinguished himself in two major dance companies, American Ballet Theatre and White Oak Dance Project. He joined American Ballet Theatre in 1978 and was promoted to the rank of Soloist in 1984. John’s diverse repertoire included many soloist and principal roles which afforded him the opportunity of working with many of the master choreographers of the 20th century. He is currently working for the Antony Tudor Ballet Trust as a Répétiteur and as the Director of the Antony Tudor Dance Studies and together with his wife, Amanda McKerrow, stages many of the Antony Tudor ballets around the world. During the course of his career, John has achieved an excellent reputation as a master teacher and coach for ballet on both the professional and student levels and has enjoyed choreographing numerous ballets for companies and universities in the US and abroad. At present, he is the Co-Director of the Colorado Ballet Academy Summer Intensive in Denver, Colorado.

Award-winning designer Patricia Zipprodt made her debut with The National Ballet of Canada with her designs for the company's premiere of Antony Tudor's The Leaves Are Fading, which she originally designed in 1975 for American Ballet Theatre. Patricia is known for her Tony award-winning designs of Broadway revivals of Cabaret, Sweet Charity and Fiddler on the Roof. She has ten Tony nominations, three Tony wins and a Drama Desk Award. Her film credits include the design of The Graduate. Well known in the world of dance, Patricia has designed Coppélia and Lym Taylor-Corbett's Estuary for American Ballet Theatre, Dances from The Sleeping Beauty for New York City Ballet, William Whitener and Ann Reinking's Sondheim Suite for Pacific Northwest Ballet, Jerome Robbin's Les Noces, Dybbuk Variations, Dumbarton Oaks and Watermill, The Sleeping Beauty for New York City Ballet and works by Anna Sokolow and William Whitener for Ballet Hispanico. Patricia has designed Tannhauser and The Barber of Seville for the Metropolitan Opera, Naughty Marietta, Katerina Ismailova and The Flaming Angel for the New York City Opera and Lord Byron for the Juilliard Opera. For the National Theatre for the Deaf, of which she was a founding member, Patricia has designed both sets and costumes. In 1988 she designed The Fall of the House of Usher for the American Repertory Theater. Patricia received distinguished Alumni Awards from both Wellesley College and the Fashion Institute of Technology and taught at Brandeis University of Massachusetts. Patricia Zipprodt passed away July 17, 1999 in New York City, New York.

Ming Cho Lee was considered one of the finest stage designers in the world. Born in Shanghai, China, Ming’s curiosity in the theatre was sparked by the operas his mother took him to see. He arrived in Los Angeles on a student visa in 1949 and enrolled as art major at Occidental College, from which he graduated with a Bachelor of Arts degree in 1958. In graduate school, Ming transferred from painting to theatre studies; he made the transition, he said, because he believed in the visual interpretation of ideas and found it increasingly difficult to create paintings without a subject. Along with one year of formal graduate work, Ming’s informal studies included Chinese landscape painting in Shanghai, where he had a private tutor, as well as five years with Jo Mielziner in New York, first as an apprentice and then as assistant designer. Ming’s career was launched in 1962, when he was appointed principal designer for Joseph Papp's Public Theater and the New York Shakespeare Festival, a position he held for 11 years. His prolific output led to his design of all but three of Shakespeare's plays. On Broadway, Ming designed The Moon Besieged in 1962 and For Colored Girls, Hair, Mother Courage and Conversations in the Dark in 1963, Little Murders in 1967, Here's Where I Belong in 1968, Billy in 1969, Lolita and Two Gentlemen of Verona in 1971 and Much Ado About Nothing in 1972. For opera, Ming first designed Boris Godunov and Lohengrin for the Metropolitan Opera and later Idomeneo for the New York City Opera. He won many awards including, in 1965, the first Joseph Maharam Award for Electra, which he had designed for the 1964 New York Shakespeare Festival. In 1968, he again received a Joseph Maharam Award, this time for Ergo, which was designed for the same company at the Anspacher Theater. In 1969, he won the Show Business Off-Broadway Award and in 1970 was nominated for a Tony for Billy. Ming Cho Lee passed away on October 23, 2020 in New York City, New York.

Jennifer Tipton is well known for her work in theatre, dance and opera. Her recent work in theatre includes To Kill A Mockingbird for London and on tour, Samuel Beckett’s First Love for Zoom and all of Richard Nelson's Rhinebeck plays. Her recent work in opera includes Ricky Ian Gordon's Intimate Apparel with libretto by Lynn Nottage, based on her play by the same name, at the Lincoln Center Mitzi Newhouse Theater. Her recent work in dance includes Liz Gerring’s Harbor at the Institute of Contemporary Art in Boston and Amy Hall Warner’s Somewhere in the Middle for the Paul Taylor Company. Among many awards she has received the Dorothy and Lillian Gish Prize in 2001, Jerome Robbins Prize in 2003 and in 2008, she was awarded the USA “Gracie” Fellowship and a MacArthur Fellowship.

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Jeff Morris joined The National Ballet of Canada in 1995. Born in Toronto, he studied technical theatre production and administration at Ryerson’s Theatre School (now Toronto Metropolitan University). From 1990 to 1995, he was Production Stage Manager for Toronto Dance Theatre, including the company’s debuts in Berlin, Warsaw, Tokyo and at the Joyce Theater. He was Production Stage Manager for Dancers for Life (1991 – 1997), Stage Manager for Theatre Passe-Muraille (Never Swim Alone) and for the Fringe Festival of Independent Dance Artists. Since joining the National Ballet, Jeff has stage-managed a wide range of the company’s unique classical and contemporary repertoire, including the world premieres of James Kudelka’s The Four Seasons, Cinderella and An Italian Straw Hat, Crystal Pite’s Emergence and Angels’ Atlas and Guillaume Côté’s Le Petit Prince and Frame by Frame (with Robert Lepage). Company premieres include John Neumeier’s The Seagull, A Streetcar Named Desire, Nijinsky and Anna Karenina and Christopher Wheeldon’s Alice’s Adventures in Wonderland and The Winter’s Tale. He is a board member and instructor for SMArts and Festival CoDirector for dance:made in Canada/fait au Canada.

Alex Wommack (she/her) was born and raised in Waco, Texas and holds a Bachelor of Arts in Theatre from Samford University in Birmingham, Alabama. Her passion for ballet led her to work with Alabama Ballet while completing her undergraduate degree. At Alabama Ballet, she stage-managed works by Jiří Kylián, Agnes de Mille and Sir Frederick Ashton. Following graduation, she moved to Seattle and joined the Stage Management team at Seattle Opera, where highlights included Porgy and Bess, The Barber of Seville and Flight. In 2017, she worked with Pacific Northwest Ballet as an Assistant Stage Manager for George Balanchine's The Nutcracker and then joined the company as Stage Manager in 2020. She is a member of AGMA and served two terms as the staging staff representative for the Northwest area on the National Board of Governors. Outside of her professional work, Alex is actively involved with Books to Prisoners, an organization that fosters a love of reading and help break the cycle of recidivism in American prisons.

Former Stage Manager with The National Ballet of Canada from 2015 to 2023, Liliane Stilwell has stage managed The Merry Widow, Onegin, Giselle, Swan Lake, The Sleeping Beauty and Pinocchio. Previously she served as stage manager for the Canadian Opera Company for 22 years. Highlights include Don Quixote, Barber of Seville, Lucia di Lammermore, La Cenerentola, Otello, Marriage of Figaro, Götterdämmerung (complete Ring Cycle), Macbeth, La Bohème, Eugene Onegin, Madama Butterfly and was part of the team that took Oedipus Rex to the Edinburgh International Festival. Liliane was production stage manager for Grease and stage manager for Robin Hood and Cinderella at the Elgin Theatre, Dirty Dancing at the Royal Alexandra Theatre and Hairspray at the Princess of Wales Theatre. Other credits include Tom Jones, Speed –The-Plow, Romeo and Juliet, Midsummer Night’s Dream, Big River, Carousel, Me and My Girl and Roar of the Greasepaint-Smell of the Crowd. Liliane has stage managed several industrial shows in Canada and the US. Prior to stepping to the other side of the production table as stage manager, Liliane spent many years as a performer for television and the stage, culminating in a run of Buddy Holly at Shubert Theatre on Broadway.