Registration is in progress for the school year! Please call the office at (972) 985-1374 to register. Also, please read the following Registration Guidelines and checkout the programs available.
We encourage you to return your registration (with a $35 non-refundable deposit) as soon as possible for the best opportunity of obtaining your first choice of class time.
We encourage you to visit the appropriate Programs page for your student. You may print out a registration form and return (with a $35.00 non-refundable deposit) by mail or in person to 3003 West 15th Street, Plano TX 75075.
Students are evaluated individually and placed in appropriate levels based on a variety of criteria including age, knowledge and execution of ballet technique, physique, personal strength development and regular attendance. Highly qualified instructors assess class placement as to the best interest for the child’s potential growth, and the child’s social circles are not always the priority. New students who wish to enroll after the start of the new school year must schedule a placement class with the School Administrator. Students will be evaluated during these classes and placed in the appropriate level.
Fees must be paid and appropriate forms must be completed prior to continuing class. Please contact the School Administrator at 972-985-1374 for further details.
There will be no observation allowed in the studios. Siblings and parents peering through the windows and doors can easily distract young children. There is also no need to enter the studio to assist your child with shoe changes or bathroom breaks. If an instructor needs your assistance, he or she will come to the lobby to get you. We hold a parent observation week each semester for parents and families.
Versatility is demanded by current trends of the professional dance world. While based in the tradition of the ballet art form, the school is progressive and in keeping with those trends. An expansive multi-disciplined program is offered including classical ballet, pre-ballet, tap, jazz, modern, creative movement, composition, musical theatre dance, and an open teen/adult ballet program. The goal of our program is to encourage self-confidence and appreciation as well as a love for dance that will last a lifetime.
Dance clothing and costumes are considered inappropriate street wear. Both young dancers and adult students are asked to wear street clothes and shoes to and from the studio. Shoes must be worn in and around the building. Students will not be allowed to participate in class without proper attire. In order for the faculty to offer the highest quality of injury free and anatomically correct instruction, the full anatomy must be seen; therefore no rubber pants, leg warmers, or sweat pants are permitted in any class. Also, no jewelry, other than pierced ear studs, may be worn in class.
Students have the opportunity to audition for Chamberlain Performing Arts’ annual production of The Nutcracker at Eisemann Center in Richardson. However, roles are limited. For more information on Nutcracker auditions, please click here to visit the Chamberlain Performing Arts’ website..
Class Observation Weeks are scheduled throughout the year during which time parents are invited to watch class. Dates and times will be provided to parents.
Each year Chamberlain School of Ballet’s recital is scheduled for the spring. Performances are held at the Eisemann Center in Richardson. This gives all our students the experience of being on stage in a wonderful performance hall. Every year, hundreds of students come away from recital weekend happy and fulfilled by the experience of performing.
The School advises parents and students that participation is critical to each performer’s development. A decision to participate in a production is a commitment to faculty and classmates and should be made only after considering the student’s ability to attend all the required rehearsals.
It is highly recommended that all students enrolled in Chamberlain School of Ballet attend at least one of the Chamberlain Performing Arts Company’s various performances. Students and parents are both able to witness how much growth is possible for each dancer, and the experience serves as an inspiration and education in the arts.
Adam Sklute was named Artistic Director of Ballet West in 2007. Since then, he has expanded Ballet West’s repertoire, visibility, and overall outlook with exciting company premieres; increased touring and public exposure and greater focus on Ballet West Academy.
In eight years Sklute has presented over fifty-five world/Utah premiers, twenty-three works of which were never before performed by Ballet West by such renowned historical choreographers as Sir Frederick Ashton, George Balanchine, Bronislava Nijinska, and Michel Fokine and contemporary masters Jiri Kylian, Mark Morris, and Twyla Tharp to name a few. He has commissioned ten world premieres by leading choreographers of today such as Val Caniporoli, Nicolo Fonte, Matthew Neenan, and Helen Pickett. In 2012 Sklute named Nicolo Fonte Resident Choreographer for Ballet West.
Sklute reintroduced lost elements of BW founder Willam Christensen’s beloved production of The Nutcracker, and produced the reconstruction of Christensen’s 1967 The Firebird. He has conceived and produced critically acclaimed new productions of Swan Lake (2010) and The Sleeping Beauty (2011), and Giselle (2014) and introduced BW’s Family series featuring BWII and Academy dancers. Notably, Sklute developed Ballet West’s wildly successful annual Innovations program, designed to nurture and present new creations by Ballet West Artists and emerging Utah, national, and international choreographers. To date Innovations has introduced an unprecedented 32 world premieres by twelve different BW Artists and nine different up-and-coming outside choreographers.
Under Sklute’s leadership BW has toured extensively, appearing three times at Washington DC’s Kennedy Center for the Performing Arts (2008 Ballet Across America – Serenade, and two week-long runs of The Nutcracker in 2012 and 2014); a 2013 engagement at Chicago’s famed Auditorium Theater with his The Sleeping Beauty and a mixed repertory program; twice at New York City Center’s Fall for Dance Festival (Les Biches, 2009; Grand Pas Paquita, 2012); and twice at the Chicago Dancing Festival (Serenade 2010; Sinfonietta 2011). In the past five years, the company has also appeared at Wolf Trap National Park for the Performing Arts in 2011; The Laguna Dance Festival in 2010; Las Vegas with Nevada Ballet Theater in both 2010 (Sinfonietta) and 2012 (Jewels in collaboration with NBT and PNB); and Aspen, CO., New York, NY, Victoria BC and Dallas Texas all during the 2014/15 season.
In 2009, Ballet West graced the cover of Dance Magazine for the first time in 25 years and again was on the cover in 2013. Since 2007, the company has garnered numerous reviews and articles in such publications as The New York Times, The Washington Post, Dance Magazine, Ballet Review, and Pointe to name a few. In 2012 and 2013 Ballet West was the subject of the BBC Worldwide Production’s docu-drama television series Breaking Pointe which aired on The CW channel.
Sklute conceived Ballet West’s Fusion and Couture in Motion fashion show fundraisers, the Viewpointe panel discussion series, and its Shoe-in project, a collaboration with Utah local artists. He has lectured at the Art Institute of Chicago and Salt Lake Community College and has served on the boards of Chicago’s Dance for Life, Salt Lake Community College, School of the Arts Advisory Board, and the Salt Lake County Cultural Facilities Master Plan Advisory Board. He currently serves on the Board of the Gerald Arpino/Robert Joffrey Foundation. As a finalist judge and international representative for numerous ballet competitions including the Youth America Grand Prix, Los Angeles’ Spotlight Awards, The International Ballet Competition, The Japan Grand Prix, and an adjudicator for the American College Dance Festival Association, Sklute was listed as one of the 25 Movers and Shakers of the Utah Arts Scene in 2007. In 2014 he was named one of Utah’s Enlightened 50 and he received the Utah National Guard’s Bronze Minuteman Award for outstanding service to Utah and to the nation.
Passionate about dance education and the development of young dancers, Sklute actively oversees Ballet West’s Academy, teaching regularly and developing and guiding its syllabus and programs with the Academy faculty. Sklute is also a guest teacher and coach for dance programs and workshops worldwide, including Brigham Young University, Jacob’s Pillow Dance Festival, The Berlin State Ballet School, The Joffrey Ballet Schools in New York, Los Angeles, and San Francisco, The Southwest Regional Ballet Festival, and The University of Cincinnati, to name a few. He is an adjunct professor for the University of Utah’s Ballet Department.
A native of Berkeley, California, Sklute began dancing at the age of 16. His early training was at the Oakland Ballet and San Francisco Ballet schools. After only two years of formal study he joined The Joffrey II Dancers (The Joffrey’s apprentice company). Two years later he was asked to join The Joffrey Ballet. Sklute was one of the last two artists chosen personally by Robert Joffrey.
Throughout his dancing career Sklute performed leading roles by such choreographers as Gerald Arpino, Sir Frederick Ashton, George Balanchine, John Cranko, Agnes DeMille, Robert Joffrey, Kurt Jooss, Jiri Kylian, James Kudelka, Leonide Massine, Jerome Robbins and Paul Taylor. Along with The Joffrey Ballet, he has performed with New York’s Metropolitan Opera Ballet, Dallas and California’s Diablo Ballet. Sklute’s television credits include The Joffrey Ballet’s “Dance in America” filmings of Vaslav Nijinsky’s Le Sacre du Printemps and Gerald Arpino’s production of Billboards, the role of The Old Soldier in WTTW’s filming of Kurt Jooss’ The Green Table and Herr Drosselmeyer in the WTTW one-hour special of Robert Joffrey’s The Nutcracker. In 2003 he assisted with and appeared in Robert Altman’s feature film The Company; and in 2012 he appeared in The Joffrey Ballet: Mavericks of Dance, a documentary chronicling the history of The Joffrey Ballet, and First Position a documentary about YAGP; He both appeared in and was Creative Consultant for both seasons of the CW channel’s “Breaking Pointe.”
Blaine Quine, a native of Richardson, TX, began his dance training at age 9 with Brent Klopfenstein at the Dallas Ballet Center. He spent summers studying with The School of American Ballet, Boston Ballet, Houston Ballet and Fort Wayne Ballet. He attended the Houston Ballet Academy’s Pre–Professional program on scholarship for two years.
Blaine also spent a year studying Ballet and Modern Dance at Die Palucca Schule: Hochschule Tanz, in Dresden, Germany. Blaine danced professionally with the Fort Worth/Dallas Ballet and Texas Ballet Theater, under the direction of Bruce Simpson and Ben Stevenson respectively before moving to New York City for seven years. While in New York, Blaine trained with many of the greatest teachers in the world, including Wilhelm Burmann, David Howard, Nancy Bielski, Micheal Vernon, Finis Jung, Gelsey Kirkland, Edward Ellison, Fabrice Herrault and many others.
Blaine has also worked extensively as a free–lance guest artist for regional companies from across the U.S. Blaine has performed with Houston Ballet, Ballett Dresden – SemperOper and Texas Ballet Theater; he is currently dancing as a member of the Dallas Metropolitan Ballet, with whom he has performed for the past ten years. Blaine has performed the works of many wonderful choreographers, including: George Balanchine, Marius Petipa, Ben Stevenson, Hans van Manen, Jiri Kylian, Kent Stowell and Ann Etgen.
Caroline Arnold recently completed her first season with Kansas City Ballet where she enjoyed performing in Carmina Burana, the Nutcracker, A Midsummer Night’s Dream and Karole Armitage’s Energy Made Visible. Prior to joining KCB, Ms. Arnold attended Indiana University Jacobs School of Music working toward her Bachelor of Science degree in Ballet, and with such notable teachers as IUBT Artistic Director Michael Vernon, and Distinguished Professor of Ballet, Violette Verdy. Ms. Arnold danced many principal and soloist roles with Indiana University Ballet Theater including the Lilac Fairy in Sleeping Beauty, Arabian pas de deux, Waltz of the Flowers soloist, and as a soloist in Balanchine’s Who Cares?, as well as in Balanchine’s Concerto Barocco, among others. While at IU Ms. Arnold was the recipient of a Music Faculty Award, a Music Dean’s Scholarship, and the “Kenneth C. Whitener Scholarship for Ballet Excellence”. Her academic honors include National Society of Collegiate Scholars, Alpha Lambda Delta National Academic Fraternity, and as an Indiana University Founder’s Scholar. Ms. Arnold looks forward to her second season with Kansas City Ballet under the direction of new Artistic Director Devon Carney.
Devon Carney was born in New Orleans, Louisiana, where he began his dance training with Harvey Hysell. He later joined the New Orleans Ballet, where he danced his first leading roles. In 1978, Mr. Carney was invited to join Boston Ballet. While a corps de ballet member, Mr. Carney was chosen by Choo San Goh to dance the title role of Romeo in Goh’s first and only full-length ballet, Romeo and Juliet. Mr. Carney was promoted to principal in 1986.
During his 21 year professional dance career, Mr. Carney was able to perform many leading roles in well-known classical ballets such as Giselle, Swan Lake, Don Quixote, The Sleeping Beauty and Raymonda Act III. Mr. Carney had the opportunity also to perform leading roles in 20th century classical works such as John Cranko’s Oneginand Taming of the Shrew, Ben Stevenson’s Cinderella, Bruce Wells’ A Midsummer Night’s Dream, Harald Lander’s Etudes, and Anthony Tudor’s Lilac Garden.
He also was able to dance roles choreographed by cutting-edge choreographers. These roles include Maurice Bejart’s Le Sacre du Printemps, Paul Taylor’s Company B, Merce Cunningham’s Breakers, Sir Frederick Ashton’s Monotones 1, Elisa Monte’s VII for VIII, Mark Morris’ Mort Subite, Susan Marshall’s Overture, and Daniel Pelzig’s Nine Lives: Songs of Lyle Lovett. His George Balanchine repertoire includes principal roles in Square Dance, Serenade, Agon, Who Cares?, Allegro Brillante, Mozartiana, Tchaikovsky Piano Concerto No. 2, Tchaikovsky Pas de Deux, Rubies, La Sonnambula, The Four Temperaments, and Theme and Variations.
Mr. Carney has toured extensively throughout Europe, the United States, Mexico and Asia with such greats as Rudolph Nureyev, Fernando Bujones and Cynthia Gregory. In 1994, Mr. Carney was the non-competing partner of the Senior Division Bronze Medalist at the Jackson International Ballet Competition.
Mr. Carney served as Ballet Master for Boston Ballet from 1998 to 2003. During this time he worked closely with choreographers Ben Stevenson, Christopher Wheeldon, Michael Corder, Michael Pink and Bruce Wells. Furthermore, he has worked very closely with Anna-Marie Holmes in the staging of several of her world renowned productions of the great classics of ballet including Le Corsaire, Sleeping Beauty, Don Quixote, La Bayadere and Giselle.
Mr. Carney was appointed Artistic Director of Boston Ballet Summer Dance Program in 1994 and served in this capacity for nine years. Teaching credits include Alvin Ailey Dance Theatre, Arizona Ballet Summer Program, Austin Ballet, Boston Ballet, BalletMet, Cincinnati Ballet, Guangzhou Ballet of China, Hartford Ballet, Houston Ballet Summer Program, Pittsburgh Ballet Theatre, University of North Carolina School for the Arts, Texas Christian University, Boston Conservatory, Butler University, University of Cincinnati College Conservatory of Music Dance Department and various regional ballet companies and schools across the United States and Europe. He also has served as a judge on the juries of the 2002 Youth America Grand Prix Ballet Competition finals in New York City and the 2005 and 2006 American Ballet Competition.
In addition, his choreographic endeavors include the ballets Opus II and Interlude for Boston Ballet, Cascades and Daystar for Boston Ballet II. Through the years, he choreographed Symphony #1, Awakenings and Wonderful Landfor the Boston Ballet Summer Dance Program, as well as staged several classical ballet excerpts. He choreographed a work for BalletMet in August of 2007 titled Speaking In Tongues. He also has worked very closely with the Cincinnati Opera for the past six seasons choreographing works in Aida, Un Ballo in Maschera, Lucie de Lammermoor, Die Meistersinger, La Traviata and many others. In addition, Mr. Carney has choreographed several ballets for Cincinnati Ballet including U Too?, Just You and Me, Another Time Another Space, Blue Rondo and in September of 2007 Convergent Sight. Also, in February of 2006, Mr. Carney choreographed Acts 2 and 4 of the full-length Swan Lakefor Cincinnati Ballet. Then, in November of 2006, he choreographed his full-length version of Giselle for Cincinnati Ballet to rave reviews. Also, he presented his full-length world premiere of Dracula in October of 2008 and then subsequently choreographed his world premiere of World Citizen in March of 2009 with a review stating, “Carney’s work is not only well crafted but moody and intense with a palpable sense of loneliness. His work grows more confident and more skillful with every piece he creates” (David Lyman, Cincinnati Enquirer).
Mr. Carney was most recently the Associate Artistic Director of Cincinnati Ballet and had been with the Cincinnati Ballet since 2003. He had the opportunity to work closely with choreographers such as Donald Byrd, Lynn Taylor Corbett, Jorma Elo, Victor Kabanieav, Trey McIntyre, Donald McKayle, Darrell Grand Moultrie, Kirk Peterson, Viktor Plotnikov and many others during this time.
He recently created a new version of the full-length version of the world renowned Sleeping Beauty to great critical acclaim. In addition he choreographed in the spring of 2011 a world premiere, Thrive On Here, set to the live music of the nationally known hit group Over the Rhine. In the summer of 2011 Mr. Carney again had the opportunity to choreograph for the Cincinnati Opera for the recently written opera A Flowering Tree by John Adams. In the Spring of 2012 he choreographed a world premiere version of the Hans Christian Anderson story of The Steadfast Tin Soldier. In the spring of 2013 he had the opportunity to choreograph two works back to back for Cincinnati Ballet. The first was Concerto #4 in March of 2013. The second, which closed the 2012–2013 season, was Boot It Up! This was performed with the live musical accompaniment of rock-and-roll legend Peter Frampton and his entire band and hailed as a tremendous high point in the Cincinnati performing arts scene for the season.
Mr. Carney was appointed Artistic Director of Kansas City Ballet starting with the 2013–2014 season. He created Opus I, a production that encompassed the entire company, in October 2013. He provided choreography for the Lyric Opera of Kansas City’s Die Fledermaus in April 2014.
Meredith Strathmeyer trained with Chamberlain School of the Performing Arts and attended summer programs on full scholarship at School of American Ballet, Houston Ballet, Ballet Austin and Pacific Northwest Ballet. She graduated Magna Cum Laude from the celebrated Jacobs School of Music at Indiana University, where she earned a Bachelor of Science in Ballet Performance and an Outside Field in Comparative Literature. In college, Meredith performed noted roles such as Choleric in Balanchine’s The Four Temperaments and the Lilac Fairy in The Sleeping Beauty. Since joining Wonderbound – Ballet Nouveau Colorado, Meredith has been nominated for the Princess Grace award and has danced leading roles in Garrett Ammon’sÂ and tomorrow came, Love of My Life, Moulin Rouge, and An Occasional Dream, as well as world premiere works by Lauri Stallings, Ma Cong, Maurya Kerr, and Amy Seiwert. Meredith is a certified Pilates instructor and has been serving as Wonderbound’s communications manager while on leave from dancing for the 2012–13 season.
Michael Vernon started dancing at the Nesta Brooking School of Ballet in London before going on to study at the Royal Ballet School in London with such legendary teachers as Dame Ninette de Valois and Leonide Massine. He performed with the Royal Ballet, the Royal Opera Ballet, and the London Festival Ballet before coming to New York in 1976 to join the Eglevsky Ballet as ballet master and resident choreographer. He became artistic director of the Long Island–based company in 1989 and remained in that position until 1996.
Vernon choreographed numerous ballets for the Eglevsky Ballet, in addition to ballets for many other professional companies in the United States and worldwide, such as BalletMet of Columbus, Ohio, and North Carolina Dance Theatre. Mikhail Baryshnikov commissioned him to choreograph the successful pas de deux In a Country Garden for American Ballet Theatre (ABT). His solo S’Wonderful was danced by ABT principal Cynthia Harvey in the presence of President and Mrs. Reagan and shown nationwide on CBS television. He also served as the assistant choreographer on Ken Russell’s movie Valentino, starring Rudolph Nureyev and Leslie Caron.
Vernon taught at Steps on Broadway in New York City for many years, working with dancers from New York City Ballet, ABT, and many other high–profile companies. He is an integral part of the Manhattan Dance Project, which brings New York–style master classes to all regions of the United States. He has been involved with the Ballet Program of the Chautauqua Institute since 1996 and is the artistic advisor for the Ballet School of Stamford. In addition, he is permanent guest teacher at the Manhattan Youth Ballet and has a long association with Ballet Hawaii.
Vernon has been a company teacher for ABT, Dance Theatre of Harlem, Metropolitan Opera Ballet, and the Alvin Ailey American Dance Theater. He has guest taught in companies all over the world, including Western Australian Ballet, National Ballet of China, Hong Kong Ballet, Birmingham Royal Ballet, Berlin Ballet, Royal Swedish Ballet, and the Norwegian Ballet. He has been a guest teacher for The Juilliard School and The Ailey School, and recently joined the panel of judges for the Youth of America Grand Prix regional semi–finals.
At Indiana University, Vernon has presented his ballet Endless Night Cathedral. He has staged and provided additional choreography for the full–length classics Swan Lake and The Sleeping Beauty. Additionally, he has choreographed for many IU Opera Theater productions, such as Faust and the world premiere of Vincent.
Born in Houston, Texas, Ms. Pamela Royal trained with Margo Marshall and performed with Greater Houston Civic Ballet. During the summers, she trained with world reknowned teachers such as Anna Marie Holmes, Robert Joffrey, David Howard and many others in New York and Europe. At 18, she joined Boston Ballet in the corps de ballet. She was soon promoted to soloist and performed with Boston Ballet for 13 years. She had the opportunity to perform in all the great classics of ballet such as Swan Lake, Giselle, Sleeping Beauty, Don Quixote and toured all over the world, including China, Hong Kong, Isreal, Italy, France, England and many other cities in Europe, Mexico and the US. After retiring, Ms. Royal and her husband, Devon Carney, had two wonderful children, Lauren and Ryan.
Ms. Royal taught for many years with Boston Ballet School and since moving to Cincinnati for Cincinnati Ballet Academy and other area schools.