His career extends to collaborations with the Mark Morris Dance Group, The Metropolitan Opera Ballet, Dances Patrelle, and the Houston Grand Opera. Additionally, he has appeared in the films Across the Universe and Julie and Julia. Mr. Brady has staged Tharp’s repertoire globally and taught technique and repertory at many institutions including Barnard College, the Laban Institute, University of North Carolina School of the Arts, Marymount Manhattan College, and Indiana University.

He served as Company Manager for Twyla Tharp Dance for three years and has choreographed works for UNCSA, St. Paul’s School Ballet Company, Concord Academy, and Pittsburgh Ballet Theater School’s Company Experience. Recently, Mr. Brady was Co-Director of the dance department at Concord Academy in Concord, MA, and a faculty member at Boston Ballet School and the Professional Division at Walnut Hill School for the Arts.

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In addition to performing, Korkos teaches and choreographs at various schools including the LINES Ballet School B.F.A. and Training programs, Gibney Dance and Peridance Center in NYC. In 2021 he conceived, directed, choreographed, performed in and crowdfunded for the dance film Being Alive, a Dance. As a photographer Korkos has photographed for Opera Philadelphia, the Cincinnati Symphony Orchestra, Opera Paralléle, and various dance companies, and his work has been seen in numerous publications including The New York Times.

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His versatility extends beyond ballet; he has performed in four musicals, including the Broadway National tour and Australian tour of An American in Paris by Christopher Wheeldon (Tony winner), New York City Center Encores show, I Married an Angel by Joshua Bergasse (Emmy winner), The Wiz by Gerry McIntyre with Broadway Sacramento, and West Side Story by Parker Esse with The Muny. Francis has also appeared in two movies, Tyler Perry & Debbie Allen’s A Jazzman’s Blues, and Hallmark’s Sugarplum Twist, as well as a TV episode of Law & Order.

Francis currently works as a freelance artist and dedicated teacher in New York City.

Class Description
Francis’s ballet class is thoughtfully crafted, from a barre that incorporates both slow and fast combinations to a center that is dynamic and musical. His combinations include elegant waltz turns, strong petit allegro, and flowing grand allegro sequences. With a background in choreography, Francis designs exercises that not only build technique but also feel rewarding to dance.

His combinations often draw from full-length classical ballets, while also introducing creative steps that are less commonly taught. Known for his precise corrections and technical expertise, Francis ensures every dancer leaves class with something new to work on and a sense of accomplishment.

Photo: Jessica Osber

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Kate currently teaches in New York City at Broadway Dance Center, Ballet Arts, Peridance Center, and is a company teacher for Ballet Hispanico. She privately coaches professional and pre-professional students and is Ballet Mistress for the New York City-based, CelloPointe. @klo120

Class Description:

Kate’s classes work to achieve strength, coordination and precision, while also emphasizing the importance of musicality and artistry. There is a careful attention to detail and execution, but also a positive environment that encourages each and every dancer to succeed.

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Mrs. Sims has been featured on the cover of Dance Magazine, New York Amsterdam News, Refinery29 and on So You Think You Can Dance, Dancing with the Stars, The Ellen DeGeneres Show, The Mo’Nique Show, LIVE with Kelly and Michael, and The Today Show. She has appeared at the White House Series, Youth America Grand Prix, Vail International Dance Festival, Evidence Dance Company. Galas in Budapest, Vienna and Rome.

Mrs. Sims originated featured roles by Judith Jamison, Donald Byrd, Alonso King, Dwight Rhoden, Ronald K. Brown, Mauro Bigonzetti, Jennifer Muller, Karole Armitage, Lynn Taylor Corbett, Rennie Harris, Christopher L. Huggins, and Azure Barton. She teaches master classes worldwide, in Ballet and Modern dance for levels k-12 and Universities; at Marymount College, Ballet Hispanico, and Ailey Extension, and is a certified Zena Rommett Floor-Barr® instructor.

Mrs Sims was the rehearsal director for pieces set on the Ailey Company, Twyla Tharp’s “Golden Section”, George Faison “Suite Otis”, and Ron Brown “Open Door”, “Four Corners” and “Grace”. Mrs. Sims was an Alvin Ailey Company member from 1996-2020, and was the Assistant to the Rehearsal Director. Mrs. Sims was the Rehearsal Director of Ballet Hispanico Company in 2021-2022.

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As a dancer, Ms. Clark was a founding member of Robert Battle’s Battleworks Dance Company, where she also served as Company Manager and Mr. Battle’s assistant. Additionally, she was a featured member of Alvin Ailey American Dance Theater, Lar Lubovitch Dance Company, and Mark Morris Dance Group, and performed with Nederlands Dans Theater and The Metropolitan Opera, in works by Jirí Kyli´n, and Crystal Pite, respectively. Since 2019 she has performed alongside Monica Bill Barnes with Monica Bill Barnes & Company in Happy Hour. Her extensive performing career has also included appearances in the Off-Broadway production of Rogers & Hammerstein’s Oklahoma!, as an actor in several Samuel Beckett plays, directed by Mark Morris for Northern Ireland’s Happy Days Festival, and in an original film directed and choreographed by Breton Tyner-Bryan.

As an educator and mentor, she has held residencies and faculty positions at the Ailey School/Fordham University, Alabama School of Fine Arts, American Dance Festival, Bard College, Brown University, George Mason University, Indiana University, Jacob’s Pillow, Marymount Manhattan College, MOVE NYC, University of North Carolina School of the Arts, New World School of the Arts, University of Oklahoma, Princeton University, and the University of the Arts. She is currently on faculty at the Ailey School and at Gibney. Furthermore, she has taught company class for Alvin Ailey American Dance Theater, Ailey II, Ballet Hispanico, the Gibney Company, Hubbard Street Dance Chicago and Mark Morris Dance Group. As a repetiteur and rehearsal director, Ms. Clark frequently restages the works of Mr. Battle and Mr. Morris, and serves as Mr. Battle’s artistic assistant for new and existing dances. Ms. Clark is a Princess Grace Award Winner and a certified Life Coach, often leading seminars, empowering artists to navigate their respective field. www.elisaclark.com Instagram: @elisakclark

Contemporary Modern class with Elisa Clark is a modern technique class that focuses on anatomical alignment and finding space within the body, and explores musicality and rhythmic clarity, by drawing upon the foundations and principles of the techniques and styles of Jose Limón, Martha Graham and Paul Taylor, amongst others, all while cultivating self awareness and presence. Class will culminate by learning repertory phrases by Robert Battle!

Photo: Andrew Eccles

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Joining American Ballet Theatre in 1994, Mr. Beloserkovsky was made a soloist in 1995 and was appointed principal dancer in 2000, following a brilliant season in which he was repeatedly cited for his superior artistry, “(adding) virtuosity to his pure classical style.” (Anna Kisselgoff, The New York Times.) His performance as Basilio in Don Quixote was a triumph: “The last Don Quixote of the season … had (partner and wife) Irina Dvorovenko and Mr. Beloserkovsky in a stunning display of integrated artistry and technique, a truly flawless and exciting performance.” (Kisselgoff, The New York Times.) Ms. Kisselgoff’s review of his 1999 Don Quixote hailed his performance as “perfect, and danced in sublime harmony and with breathtaking stylistic unity.”

Mr. Beloserkovsky’s Siegfried in Ballet Theatre’s new Swan Lake also brought critical acclaim: “To see Irina Dvorovenko and Maxim Beloserkovsky step into the leading roles of Swan Lake was to see two outstanding dancers outdo themselves and enhance a 19th century classic with a splendid and mature performance.” “It is up to the principals to bring depth to the plot through their dancing. This is what Ms. Dvorovenko and Mr. Beloserkovsky did with unusual technical polish.” (The New York Times.) Jennifer Dunning, reviewing Etudes in The New York Times, cited Mr. Beloserkovsky for his “forceful Russian-style attack, mixed here, characteristically, with a winning clarity of line and shape.”

Equally confident in both classical and contemporary works, Mr. Beloserkovsky brings graceful dignity and elegance to his many roles. His repertoire with ABT includes Basilio and Espada in Don Quixote; Prince Desiré and Bluebird in The Sleeping Beauty; Siegfried in Swan Lake; Romeo in Romeo and Juliet; Albrecht in Giselle; Jean de Brienne in Raymonda, Oberon in The Dream; the lead in Theme and Variations; Conrad and Lankendem in Le Corsaire; Camille in The Merry Widow; Colas in La Fille mal Gardée; Lensky in Onegin; Misgir in The Snow Maiden; James in La Sylphide; Franz in Coppelia; the Cavalier in The Nutcracker; Aminta in Sylvia; and the Prince in Cinderella. He has also danced leading roles in The Leaves are Fading, Lilac Garden, Dim Lustre, Bruüch Violin Concerto, Mozartiana, Symphony in C, Symphonic Variations, Les Sylphides, Etudes, Apollo, Pas des Déesses, La Bayadère (Act II), and Variations for Four, as well as Sylvia Pas de Deux, Tchaikovsky Pas de Deux and Paquita. His athleticism and style have also earned him leading roles in important contemporary works: Twyla Tharp’s Push Comes to Shove, The Elements and The Brahams-Haydn Variations; Nacho Duato’s Without Words and Remanso; Natalie Weir’s Hereafter; Mark Morris’s Drink to Me Only With Thine Eyes; Jiri Kylian’s Sinfonietta; John Neumeier’s Spring and Fall; Christian Spuck’s Le Grand Pas de Deux; Stanton Welch’s Clear; Peter Quanz’s Kaleidoscope; Martha Graham’s Diversion of Angels; and Jerome Robbins’s Afternoon of a Faun.

Mr. Beloserkovsky has appeared as a guest artist with numerous companies, including the Hamburg Ballet, the Finnish Ballet, the Rome Opera Ballet, Verona Ballet, the Universal Ballet, and with Stars of the Bolshoi Ballet, and has been a guest with Asami Maki and at the National Theater in Tokyo. He has also appeared in several videos and television arts programs, including the PBS broadcast of the opening of the New Jersey Performing Arts Center, partnering his wife, ABT principal dancer Irina Dvorovenko, in the Swan Lake Act II Pas de Deux. He has been featured on the cover of Dance Magazine, Japanese Dance Magazine, New York Dance Fax and Pointe as well as in articles in People, Dancing Times, Dance Review, Gotham, Good Housekeeping and Talk.

With his polished technique and confident stage presence, Mr. Beloserkovsky easily met the technical challenge of both the classical and contemporary repertory, making him one of American Ballet Theatre’s most versatile dancers.

In the spring of 2012, Maxim retired from the ABT stage and became a faculty member of Ballet Academy East where he employed his extensive knowledge and experience to teach ballet to the next generation. In 2015 he also became a guest teacher for ABT’s Studio Company./

Since 2013, Maxim and Irina have been directing their own International Ballet Summer Intensive programs in New York City and Panama City. They also launched a successful line of ballet wear, “Irina&Max” by Bloch, in 2005.

Maxim appears in the film John Wick 3.

He and Ms. Dvorovenko are the proud parents of daughter Emma Galina, born in 2005.

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Laura is excited to share her love of ballet at Steps and can’t wait to watch each student grow and find their own unique way of moving. She believes that when a safe space is cultivated, and a dancer feels a true sense of freedom, only then can they reach their ultimate potential and grow into their truest self as an artist.

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Ms. Saund has performed soloist and principal roles in every full-length ballet in the classical repertoire. She has performed leading roles in the works of George Balanchine, Mikhail Fokine, Anthony Tudor, Sir Kenneth MacMillan, Michael Corder, Jerome Robbins, Sir Frederick Ashton, and John Cranko, and has worked with and created roles for many of the greatest living choreographers, including Twyla Tharp, John Neumeier, Kevin McKenzie, Paul Taylor,Mark Morris, Jiri Kylian, Dwight Rhoden, Lar Lubovitch, James Kudelka, Benjamin Millepied, Christopher Wheeldon and Alexei Ratmansky.

Ms. Saund worked for many years with her mentor and coach David Howard. In addition to performing as a guest artist with several U.S. ballet companies, Ms. Saund has been featured in major campaigns for Barney’s New York, Vogue, Glamour, YSL, Seiko, and Bloch Ballet in both print and television advertisements.

Ms. Saund has been a guest teacher at ABT studio company, English National Ballet, ABT summer intensive,Complexions Contemporary Ballet, Steps on Broadway, Ballet Arts NYC, Regional Dance America Guest instructor, and ADC International Ballet Competition coach and Jury member

Ms Saund’s private students are currently dancing with American Ballet Theatre, The Stuttgart Ballet, English National Ballet, National Ballet of Canada, and The Royal Danish Ballet.

Class Description
Ms. Saund’s class is driven by music, timing and rhythm. A class for all levels to experience the freedom of movement and the joy of dance.

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In 2016, she had the pleasure of joining the cast of Isaac Mizrahi’s Peter and the Wolf with choreography by John Heginbotham. Temple has had the honor of performing at such revered venues as Kaatsbaan International Dance Center, Jacob’s Pillow Inside/Out Festival, New York Fashion Week, the Guggenheim Museum, and Alice Tully Hall of Lincoln Center. In 2015, she co- founded the Higher Ground Festival in NYC with Pablo Francisco Ruvalcaba, HGF has brought over 150 Northern Manhattan artists together through its Meet & Greet Series and performances and has produced 38 interdisciplinary collaborations presented free to the uptown community. www.creatinghigherground.com

Temple’s approach to teaching is influenced by the Vaganova technique however additionally utilizes concepts of achieving natural alignment of the body without force. She chooses this approach to build correct classical form that is accessible to all body types. Also important in her teaching is the emphasis on musicality being the foundation for the classical technique.

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