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Lainey Logan
Ballet Instructor

Growing up in Georgia, Lainey began dancing with the Atlanta Ballet School where, at age 10, she was chosen by John McFall, director of Atlanta Ballet, to be featured in his world premier of Prisma alongside four of his company’s dancers. This performance led to her being featured in Dance magazine. Through continued training, she joined the Atlanta Ballet Company at age 15 where she had the great opportunity to tour London with John McFall’s Peter Pan and perform throughout the United States such classics as Balachine’s Allegro Brillante as well as Stanton Welch’s Garden of Mirth and Madame Butterfly.In 2004, she joined Texas Batter Theater under Ben Stevenson where over her 11 year tenure she enjoyed performing corps de ballet, soloist and principal roles such as Myrtha in Giselle, Sylvia Pas de Deux, and Theme and Variation, as well as represented Texas Ballet Theater at the grand opening of the Winspear Opera House performing Flames of Paris.
It was at Texas Ballet Theater that she met and danced alongside Chung-Lin and Enrica Tseng.
Over her career, Lainey has worked with world renowned directors, choreographers and teachers such as Violette Verdy, Fernando Bujones, Lila York, Margo Sappington, Jonathan Watkins, Mark Morris, Jean-Pierre Bonnefoux, Patricia McBride, Robert Barnett, Sharon Story, Rosemary Miles, Li-Chou Cheng, as well as the terrific staffs at Jacobs Pillow, Mark Morris, Vail International, Atlanta Ballet and Texas Ballet Theater. She’s enjoyed performing in amazing works like Carmina Burana, Steven Mill’s Hamlet, Septime Weber’s Carmen, Michael Pink’s Romeo & Juliet and Dracula, many world renowned works by Ben Stevenson, such as Nutcracker, Sleeping Beauty, Swan Lake, Coppélia, Cinderella, Alice in Wonderland, Cleopatra, Peer Gynt, and Four Last Songs and many Balanchine classics including Serenade, Symphony in C, Rubies, Concerto Barocco, and Apollo, among others.
With years of performing experience and training in classical, neoclassical, and contemporary dance as well as the syllabuses and style of Vaganova, Cecchetti, RAD, and Balanchine, Lainey retired from the stage in 2015 and is thrilled to reconnect with Chung-Lin and Enrica Tseng by joining Ballet Frontier as the Assistant Artistic Director. She is excited to pass down her wide range of experience and style to the next generation of dancers.
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