5-Week Intensive

June 15 - July 17, 2026
Salt Lake City, Utah

Dancers ages 13-20
Acceptance by audition or special invitation

The Frederick Quinney Lawson Ballet West Academy Summer Intensive is recognized as one of the top programs in the nation, attracting the highest caliber of dancers. Under the supervision of Ballet West Artistic Director Adam Sklute and Academy Director Evelyn Cisneros-Legate, dancers are provided the opportunity to learn from principal faculty, guest artists, choreographers, and ballet masters from throughout the world.

The BWA Summer Intensive focuses on developing well-rounded dancers through exposure to a wide variety of disciplines with an emphasis on classical ballet technique and key elements.

Artistic Leadership & Academy Faculty

2026 Guest Artists

  • Charmaine Hunter began her formal dance training at the Hartford Ballet School under the leadership of Artistic Director, Michael Uthoff and teacher Truman Finney. Her education continued at the Professional Children’s School of Dance Theatre of Harlem. There she studied under teachers such as Karel Shook, Frederick Franklin, Suzanne Farrell, Alvin Ailey, and many more. As one of the company’s leading ballerinas and finally their Ballet Mistress, Ms. Hunter is best known for her roles as The Firebird, by John Taras and Medea, by Michael Smuin. During her career with DTH, she launched programs for young people with no access to the arts. In 1988, she traveled to Russia as part of the United States Cultural Exchange and in 2000, conducted outreach programs in China.

    Ms. Hunter also served as Ballet Mistress and teacher at the Jones-Haywood School of Dance in Washington D.C. Charmaine then directed Disney’s “The Lion King” at the Princess of Wales Theater for over 3 years. Then she took the position of casting director and talent scout with the Cirque du Soleil on the Las Vegas Strip. While there, she launched the Las Vegas Contemporary Dance Theater. Charmaine Hunter became the teaching artist with Disney Musicals in Schools, training teachers to incorporate dance in early childhood curriculum and the STEAM programs.

    Returning to the concert dance world, Ms. Hunter accepted the position as Upper School Principal and Co-Director with Texas Ballet Theater under leadership of Ben Stevenson O.B.E. Now thrilled to be home with her family in Orlando, Florida, Charmaine looks forward to an amazing future teaching at the Orlando Ballet School and serving as the organization’s Director of Community Engagement.

  • Karin Averty was born in France on February 25. 1963. Her ballet training began in 1972, at age 9, with Yvonne Goubé at the Centre de Danse de Paris. One year later, in 1973, she was admitted to the Paris Opera Ballet School and joined the company in September 1979 at age 16.

    In July 1980, she received international recognition early in her career when she won the Grand Prix, junior category, at the International Ballet Competition in Varna. In June of 1983, at the Paris Opera Ballet. she rose to Premiere Danseuse.

    Starting in 1984, under Artistic Director Rudolf Nureyev, Karin performed leading roles in his versions of Raymonda, Swan Lake, Don Quixote, Cinderella, Sleeping Beauty, and La Bayadere.

    She danced in masterpieces by prestigious choreographers such Frederick Ashton, George Balanchine, Patrice Bart, August Bournonville, Nils Christe, Agnes De Mille, Michel Fokine, Martha Graham, James Kudelka, Pierre Lacotte, Harald Lander, Serge Lifar, Kenneth McMillan, John Neumeier. Vaslav Nijinsky, Jerome Robbins, Leo Stats, Paul Taylor, Twyla Tharp, Antony Tudor et Hans Van Mannen.

    In 1986, the Paris Opera Ballet Friends Association (AROP) awarded her its Prix du Public. The following year, William Forsythe chose Karin to be in the original cast of Somewhere in the Middle.

    In August 1987, Karin took a one-year leave of absence from the Paris Opera Ballet to become a Principal Dancer with the San Francisco Ballet under Artistic Director Helgi Tomasson. She returned to the Paris Opera Ballet the following year, but remained a Guest Artist with the SFB for its 1988-1989 season.

    In 2003, Karin received her official ballet teaching diploma, the Diplöme d'Etat de Professeur de Danse. In 2004, the Prime Minister of France honored her with the National Merit Order as a Chevalier (Knight).

    For her farewell performance at the Bastille POB on July 9. 2005 Karin danced Juliet in Rudolf Nureyev's version of Romeo and Juliet. In February 2009 her last appearance as a guest artist was in Tokyo. There she performed in Bronislava Nijinska's Les Biches with the NBA Ballet Company to celebrate the 100th Anniversary of Serge Diaghilev's Ballets Russes. Since 2009, Karin has been a free-lance ballet teacher and coach for ballet companies, universities and ballet schools. She has taught in France, Korea, Japan, Canada and Israel.

    In 2012 she realized one of her dreams and relocated to New York. She began teaching at a number of well-known dance schools throughout the US, among them: Juilliard, Alvin Ailey, ABT/JKO, The Rock School, and the summer intensive programs of the Boston Ballet, Ballet West and Kansas City Ballet. She has served as a judge for international ballet competitions such as Varna and the Youth America Grand Prix. In September 2016-2019 Karin joined the ABT JK School as a Ballet faculty Pre- Professional division. In 2018 she staged Mikko Nissinen's Raymond 3rd Act at the Boston Ballet School and her own version of Paquita Grand Pas at the Joffrey Ballet Academy of Dance, Chicago. In 2018-2019 Karin was a Guest Ballet teacher with ABT Company.

    In January 2019 she was invited by Ballet West Artistic Director Adam Sklute to coach his principal dancers with his Spring production of Giselle. From September 2019- March 2020 Karin was appointed ABT Studio Company Ballet Mistress. Ballet West Academy and The Florida Ballet invited Karin to teach for their Summer programs 2020.

    On their Fall season 2021 and Spring season 2022 Boston Ballet welcomed back Karin as a Guest Rehearsal Director. In April 2022 Karin was invited to ADC/IBC Competition in Saint-Petersburg Florida to coach competitors.

    From June through August 2022 Karin was invited to various Summer Dance Programs as such as International Ballet Academy NC, Ballet West Academy, Boston Ballet School, The Dallas Conservatory. On their Fall Academy program 2022 Joffrey Ballet Academy of Dance Chicago invited Karin to teach and to stage Raymonda 3rd act Grand Pas Hongrois on their Studio Company and Trainee students.

    Karin is a Steps on Broadway Ballet Faculty teaching on Friday and Sunday In-Studio and Virtual Open classes.

  • PAVEL GUREVICH, born in Minsk in the Republic of Belarus, graduated with honors and a major in choreography from the Belarus State Ballet Academy, where he trained under Alexander Kolyadyenko. Following his graduation, he was invited to dance with the State Academic Bolshoi Ballet Theatre of Minsk as a Soloist dancer.

    In 1997, Mr. Gurevich came to the States and joined the Milwaukee Ballet and achieved the rank of Principal Dancer. He competed in the International Ballet Competition held in Jackson, MS in 1998 and was a semi-finalist in 2002. Mr. Gurevich joined Boston Ballet as a First Soloist in 2003 and was promoted to the rank of Principal Dancer in 2009. Mr. Gurevich was with Boston Ballet until 2012 and then went on to dance with the Suzanne Farrell Ballet as a Principal Dancer. During the span of his career he has been featured in many classics such as Swan Lake, The Sleeping Beauty, Giselle, Romeo and Juliet, Les Sylphides, Don Quixote, Paquita, Cinderella, Carmen, The Taming of the Shrew, The Lady of the Camellias, La Spectre de la Rose, Le Corsaire, La Bayadere, Anna Karenina, Scherezade, The Tempest, and Raymonda. Mr. Gurevich has danced featured roles in Balanchine’s Apollo, Allegro Brilliante, Concerto Barocco, Coppelia, Divertimento No. 15, Diamonds, Emeralds, Rubies, Tchaikovsky Pas de Deux, Duo Concertante, Four Temperaments, A Midsummer Night’s Dream, Stars & Stripes, La Valse and Serenade; and has danced in contemporary works by Kylian, Tharp, Morris, Elo, Pickett, Caniparoli, King, Sappington, Godden, Smuin, Canfield, Kudelka and others. He has appeared in Pointe as well as Dance Magazine, and was part of a PBS televised documentary, Dancing Anna Karenina.

    He has danced all over the world including in Japan, Taiwan, Mexico, Canada, Korea, Venezuela, and all throughout the United States and Europe appearing as a Principal Guest Artist with companies such as Cincinnati Ballet and Ballet Teresa Carreno. Mr. Gurevich serves as a fulltime faculty member at Boston Ballet School and has guest taught throughout the Boston area as well as around the country.

  • Sara Knight is a graduate of the Royal Ballet School (UK), an Associate of the Royal Academy of Dance (A.R.A.D.), graduate of the Royal Ballet School Teacher's Training Course ( R.B.S. Dip. TTC.) and was the first British dancer to graduate from Russia's Vaganova (Kirov) Ballet Academy. Sara is a recipient of the Royal Ballet School Award for Excellence, personally awarded by Dame Ninette de Valois (founder of the Royal Ballet). Whilst at the Royal Ballet School Sara was one of four dancers selected by John Field and Anne Heaton to work on the new syllabus for the British Ballet Organization (BBO) and demonstrated the new work.

    Upon graduation from the Vaganova Academy Sara remained in Russia as a soloist with the Leningrad State Ballet Theatre and the Russian Ballet of St. Petersburg. In Western Europe she danced with Northern Ballet Theatre (UK), Ballet Russe and was principal dancer with European Ballet, whilst in the USA Sara was a Guest Artist with Boston Ballet and Principal Dancer with Configuration Dance and Rebecca Rice Dance Company. She was Ballet Mistress for Ballet Central (London), Ellison Ballet (NYC), and the Ballet School of Stamford as well as co-Founder and Artistic Director of the Greenwich Ballet Academy (USA).

    Sara founded both SLK Ballet School (2010) and Chevalier Ballet Company (2017) in New York City. As well as theaters, the company tours the East Coast of America and Europe to bring dance to communities with limited access. Committed to outreach, the company conducts workshops in schools and hospitals both in the USA and Europe on a regular basis under her direction. Sara remains in demand as a teacher and choreographer worldwide. In 2022 Sara was invited by the United Ukrainian Ballet to stage their international touring production of Swan Lake.

    In 2023 she introduced Chevalier Ballet’s Professional Trainee Program (CBPTP), a three year program for dancers to experience company life whilst continuing their technical development.

    In 2025 Sara became the first licensed Royal Academy of Dancing Silver Swans instructor in NY bringing this unique ballet program for the over 55s.

    Guest teaching positions include: Ballet West Academy, Boston Ballet Company, Boston Ballet School, Boston Conservatory, Tulsa Ballet Center for Dance Education, Cincinnati Ballet School, Laban Centre London, Northern Ballet Theatre (UK), Arts Educational School (UK), The International Festival of France, Masters of Ballet at Sadler’s Wells Theatre (London UK) and the English National Ballet School.

  • Born in Medellin, Colombia, Ricardo Bustamante began his dance training at the age of eight, at the Academia de Ballet de Medellin. At the invitation of Michael Smuin during Lew Christensen’s leadership of San Francisco Ballet, he joined the company in 1980. He joined American Ballet Theatre in 1985, at the invitation of Mikhail Baryshnikov. Sir Kenneth McMillan, Antony Tudor, Agnes DeMille, Twyla Tharp, Martha Graham, Jerome Robbins, Carole Armitage, and Natalia Makarova are just a few of the high-profile choreographers he has worked with directly through his dance repertoire. In addition, he was a frequent international guest artist, toured twice with “Rudolf Nureyev and Friends,” and starred in two productions that aired on PBS’ Dance in America series.

     

    In 1994, he joined the SF Ballet School faculty where he choreographed three works for the School. From 1998 to 1999, Bustamante successfully served as artistic director of Argentina’s famed Ballet Teatro Colón. From 2000–03, Bustamante directed and choreographed for the Ballet de Santiago in Chile, creating his own version of The Nutcracker and Le Corsaire. In February 2019, along with Rachel Beaujean of Het National Ballet, Bustamante set his own production of Giselle in Amsterdam at Het National Ballet for Holland’s Dutch National Ballet in 2009.

     

    In 2004, Bustamante returned to the San Francisco Ballet as a rehearsal director and principal character dancer, worked as assistant to the artistic director (Helgi Tomasson), from 2009 to 2021, and currently serves as a rehearsal director.

  • Sofiane Sylve is an internationally renowned artist whose career spans principal roles with the Dutch National Ballet, New York City Ballet and San Francisco Ballet. As a celebrated dancer and artistic director, Sofiane brings a wealth of experience in performance, leadership, and mentorship to her new role as Artist-in-Residence with The National Ballet of Canada.

    Her vision is rooted in fostering both emerging and established talent, while celebrating the rich Canadian heritage that defines the company. Working closely with Artistic Director Hope Muir, Sofiane is dedicated to advancing the company’s mission and artistic legacy, both within Canada and on the world stage. Through collaboration, innovation and a deep respect for tradition, she aims to inspire the next generation of artists and audiences, helping the National Ballet continue its vital role in the cultural landscape.

Summer Intensive Pricing

2026 Tuition

$3,300


  • June 15 - July 17, 2026

  • To secure enrollment, a deposit of $500.00 must be made within two weeks of acceptance. Deposits are non-refundable under any circumstance.

2025 Optional Housing & Food Plan

$3,400


  • Available for students 13-20

  • Provided by Westminster University

  • Food Plan includes Breakfast, Lunch, and Dinner

  • Move-in date is one day prior to the start of the intensive. Move-out date is one day after the conclusion of the intensive.

  • To secure housing, a deposit of $250.00 must be made upon enrollment. Deposits are non-refundable under any circumstance.

  • Please note the number of accepted applicants surpasses the number of places available for programs and housing. Registration is on a first-come, first-serve basis.

  • Full tuition and housing (if applicable) payments are due by May 1, 2026 .  If we do not receive a drop request, your card on file will be charged and late fees will be processed after Friday, May 1, 2026.

  • All students registered to attend Ballet West Academy’s Salt Lake City Summer Intensive are required to complete a Physician’s Statement of Good Health and all Liability Waivers. Forms will be emailed with acceptance letters.

  • COVID-19 protocol will align with state and county mandates.

  • In acknowledgement of those who serve our county, Ballet West Academy is thrilled to announce a military discount for our Summer Programs, including Summer Camps and Summer Intensives. 

    • 10% discount on the cost of tuition to dependents of active duty US military personnel, National Guard, and Reservists.  

    • 50% discount to Gold Star families.  

    • In order to access the Military Discount, please send a copy of a DEERS card or most recent LES as proof of military status to academy@balletwest.org. This discount does not apply to the cost of the non-refundable deposit amount and is not applicable to housing expenses for summer programs. 


Summer Intensive Activities

We offer a well-rounded experience for our students not only in the studios, but also outside of the studios. Dancers will have the opportunity to join us at social events, as well as workshops to promote professional development. Past events include:

  • Lagoon Amusement Park

  • Karaoke Night

  • Mountain Hike

  • Ballet West Prom

  • Baseball Game

  • Utah’s Hogle Zoo

  • 4th of July Field Day

Frequently Asked Questions

  • Students are highly encouraged to attend the 5-Week Program, whenever possible. Dancers will have more opportunities to work with Ballet West Artistic Staff and Principal Faculty of the Ballet West Academy, when attending all five weeks. The repetition and the rapport dancers can develop working with our faculty over a longer period of time will encourage greater progress throughout the summer. It will also provide additional consideration for year-round programming within the Ballet West Academy. 

  • Every level has the same number of instructional hours throughout the course of the program. Classes are offered 6 days a week, Monday thru Saturday. All levels have a two hour technique class, a one hour additional ballet class (such as pointe, men’s technique, pas de deux, variations, or repertoire) and a one hour class of a different dance genre (jazz, modern, contemporary, character, flamenco, Irish) each day. In addition, every level has a cross training class (such as Pilates, yoga, conditioning, or a seminar) each day. Within these instructional hours the program is tailored to the needs and developmental progress of each group. For example, a dancer in Level 1 who is 13 and has danced en pointe for 1 or 2  years will work on a beginning variation. Whereas, a dancer who is 18, is in Level 5 and ready to launch to a professional career, would work on a more advanced variation. Seminars and workshops are also designed with the learning needs of each level in mind. Younger dancers may have seminars relating to care of pointe shoes, dance history or growth mindset; while upper levels may have seminars relating to career and college preparation.  Every level works with a variety of the guest faculty and Ballet West’s Principal faculty. 

  • Yes. All levels will have an opportunity to participate in pas de deux. The two men’s levels will rotate thru the ladies levels over course of the summer, to ensure developmentally appropriate instruction. Pas de deux classes are not offered at St. George or YDSI.

  • Because each individual dancer develops at their own pace, many of our levels overlap in age range. Dancers are grouped by a general age range to facilitate a cohesive class, however, a balance of age and ability is always considered when creating placements. 

  • We believe a strong foundation is important to a successful future for our dancers. Levels 1 and 2 accommodate students of a similar age, while enabling each level to progress and build strength.  Dancers who are placed in Level 2 may have more experience dancing en pointe or may have trained intensively previously. 

  • Summer intensive auditions may occur up to 5 months before the start of the program. Dancers can change tremendously during this time. For example, young dancers may progress from a beginning to an intermediate pointe level. Some dancers may increase the amount or intensity of training. In addition, some dancers may reduce their training due to injury or other unforeseen circumstances. For these reasons, our faculty re-evaluates all students during the first few classes of the program to ensure that every student is receiving the instruction that is appropriate for their current level. Because the program is just a few weeks long, instructors make level adjustments as early in the program as possible. 

    In general, the faculty tries to avoid moving students ‘down’ a level, unless there is a risk of injury. Most often students remain in the level in which they were placed during the audition process, and occasionally students are moved up a level when re-evaluated. 

  • The level placement is made by the faculty, not by students or parents. We appreciate when dancers can respect and understand the professional opinion of the faculty and work their hardest in the level deemed appropriate. The faculty invites parents to partner with us in encouraging students to strive to reach their individual potential, instead of comparing themselves to peers. 

  • Within each level, dancers are divided into groups so that every class has an appropriate number of students for the space in which they will dance. For example, a level may be divided into groups such as 1A and 1B - so that dancers receive individualized attention in class. There is no difference in placement between these groups- all students of the same level receive training aligned with the curriculum for that level. Students follow the schedule of their group as designated by the faculty.

  • Please direct summer intensive audition and program-specific questions to Summer Intensive Coordinator, Jordan DeBona, at summerintensive@balletwest.org or by phone at 801-869-6966.

Thank you to our summer intensive sponsors: