The expanded new spaces will not only accommodate larger audiences while still retaining its up-close-and-personal intimacy, but also bring further resources to LADP’s support of world-class dance in L.A. though residencies, educational outreach, and other collaborative programs. It’s precisely this kind of thinking that brings artists of all stripes together, something continually needed in L.A.’s so-called, “car culture,” where makers can sometimes be siloed. 

Far from being isolated, award-winning choreographer, dancer and director, Debbie Allen, took to the stage to introduce superstar and L.A. native, Misty Copeland. Allen also announced Dance Pass, a new initiative offering members of the Boys & Girls Club of Los Angeles the chance to attend LADP performances at their studio space free of cost. 

It was Copeland, Allen pointed out, who was introduced to dance through the Boys & Girls Club when she was 13. In addition, Dance Pass will continue to demonstrate LADP’s dedication to the next generation of dancers in L.A., a concept that aligns with Copeland’s ongoing efforts to build a more inclusive artistic community through access to dance. The ballerina noted that a mere twenty-five years ago, “L.A. did not have a company of this caliber and few professional opportunities for [concert] dance,” before thanking Millepied for his passion and continuing efforts to push the art form forward.

And pushing the art form forward were a number of LADP dancers. Beginning with an excerpt from Bobbi Jene Smith + Or Schraiber’s “The Missing Mountain,” performers Lorrin Brubaker, Jeremy Coachman, Courtney Conovan and Daphne Fernberger rocked to the music of Bach, notably his Chaconne BWV 1004. The perfect complement to the cathedral’s high ceiling, the movers exulted in jaw-droppingly gorgeous backbends (hello, Ms. Fernberger!), articulated footwork and unison groupings, as if called upon by Bach himself to revel in his own musical splendor.