2019-20 Dancer Profile: Sidney Haefs

Sidney Haefs, a Santa Clarita, Calif. native, started as a Trainee in 2018-19 and was invited to become an apprentice with Kansas City Ballet this season.


A: I started dancing at the age of 3 1/2. My mother danced growing up and she always loved it so she enrolled me in ballet classes to see if I would enjoy it. I honestly did not like it very much at first! I think because I was a talkative child and this would get me into trouble during class! However, I really started to enjoy it as I kept up with it and from there I fell in love. It gave me confidence and pushed me to work hard to achieve my goals. I became a dancer because it was a language that spoke to me.

Sidney Haefs and Wojciech Ogloza performing in the Second Company @HOME in the spring of 2019. | Photography by Brett Pruitt & East Market Studios


A: I find inspiration more from the dancers I work with rather than just one specific person. Being able to watch these artists push their boundaries and strive to grow as movers and story tellers is a

beautiful thing to be able to experience. Each and every dancer in this company is unique and brings something different to the table and I think that in itself inspires everyone to work and grow not only as artists but as human beings.


A: Everything! This season’s repertoire is very exciting. There is a mix of contemporary, classical, and neoclassical works. It is amazing to see the company pushed in so many different ways. As dancers, I believe we all love a challenge and this is a season that allows everyone to push their boundaries not only physically but artistically.


A: I try and incorporate Pilates as well as some weight training and cardio outside of our regular dance day. As ballet dancers, our bodies are expected to do a lot that isn’t always natural. Cross training allows us to work our muscles in a different way in order to help us stay strong. It allows us to keep our bodies balanced and not overwork our muscles in just one kind of way.

Top Photo by Tom Styrkowiz


Kansas City Ballet Dancers in The Nutcracker | Photo by Brett Pruitt & East Market Studios

Since Kansas City Ballet debuted Devon Carney’s new Nutcracker production in 2015, more than 15,400 school children and teachers have attended the production. In 2019, that number will increase by 4,836.

Why would a company put on a production that only receives $12 per seat? Simple. Educating the next generation is important. Ask many KC natives and you may be surprised at how many remember attending The Nutcracker as a kid. For many, these field trips are their first experience with the art form of ballet.


Kansas City Ballet Dancer Joshua Bodden at age 12 (pictured right).

Company dancer Joshua Bodden knows all too well. As a 10-year-old boy in Florida, attending a field trip matinee of The Nutcracker opened him up to future career aspirations. That afternoon when he returned home, he contacted the Miami School of Ballet himself to inquire about taking ballet classes. He’d found their information in the program he’d received. He was accepted on full-scholarship.

All these years later, he’s here dancing in more performances of the production than he could have ever thought imaginable. As a professional dancer he has danced with Miami City Ballet, Dance Theatre of Harlem, and Cincinnati Ballet—all before joining Kansas City Ballet where he’s been a member of the company for the past six seasons.

It’s true that most children will not be inspired to become professional dancers, but exposing them to the arts still can be a pivotal moment for them.

“I often wonder if the next ballet dancer or musician or choreographer is in the audience,” Joshua admits. “I hope to inspire and give that audience member the same feeling to dream and possibly hope of a life or a career in the arts.”

And if one of them feels inspired to become a dancer, as he once was, he’d encourage them to take that chance and go for it.


Kansas City Ballet presents full-length morning performances for schools designed to enhance interdisciplinary learning, integrating dance with English Language Arts, Social Studies, and Music. Students will experience stunning choreography, elaborate sets, beautiful costumes, and the Kansas City Symphony!

Kansas City Ballet’s production of The Nutcracker is the most popular and consistent student matinee opportunity, but there have been others over the years. Most recently, The Wizard of Oz in October 2018, saw more than 1,289 students and teachers in attendance.

Still other matinees have included: New Moves (annually since 2018), Swan Lake (2015 and coming again in 2020), Romeo & Juliet (2017), The Sleeping Beauty (2017), Alice (in wonderland) (2014), Dracula (2014), Cinderella (2014), and more.

2019-2020 Student Matinees

The Nutcracker: Dec. 6, 12, 13 (ALL SOLD OUT)

Swan Lake: Feb. 14

New Moves: March 27


“The benefits to school children who have the opportunity to attend a live performance, such as KC Ballet’s Student Matinees, are enormous,” says April Berry Kansas City Ballet’s Director of Community Engagement and Education. “Studies have shown that there are a range of benefits from exposing a student to cultural experiences including: increasing tolerance, empathy, compassion, and the ability to understand life in another time and place. Cultural activities, such as a ballet performance, are like looking through a window into a broader world filled with different people and ideas. The effects are even stronger for disadvantaged students because it is usually their first exposure to a live performance.”

This was also true for Berry. Her first experience with ballet also was on a school field trip to the ballet. That experience truly transformed her view of the world and led her down a career path in ballet including as an Alvin Ailey principal dancer and now as a dance administrator, faculty member in the Kansas City Ballet Academy and a Kansas City Ballet teaching artist.

Joshua Bodden in The Four Temperaments by George Balanchine | Photography by Brett Pruitt & East Market Studios

These shows are a labor of love. And they require support from the community.

Joshua says: “If you are thinking about supporting student matinees, please do it. For me, growing up in the inner city of Miami, ballet and the arts were not on my radar or even a thing I considered until I saw that student matinee of The Nutcracker. That was the jumping off point that really changed my life and pointed me in a direction I didn’t even know was possible for a life or career. Supporting and funding student matinees literally can be life-changing for a child. I am living proof.”



To learn more about Community Engagement and Education programs or to book tickets to a student matinee, please contact the Director of Community Engagement and Education April Berry at aberry@kcballet.org or 816.216.5609.


If you are interested in supporting Kansas City Ballet’s Community Engagement and Education programs, including Student Matinees, please contact Director of Individual Giving Brent Kimmi at bkimmi@kcballet.org or 816.216.5608 or make a gift online.

Richard and Gay Found a Tax-savings Way to Help Kansas City Ballet

Professors Richard Jensen and Gay Dannelly recently moved to Kansas City after retiring from academia at the University of Notre Dame.

For Richard, he was finally returning to his hometown after decades away. For Gay, who grew up in California and spent much of her adult life in the northern Midwest, Kansas City promised a new adventure with exciting new cultural offerings such as a resident ballet company and a symphony.

Gay taught Richard about the importance of ballet. “I love the music and the grace,” she says. “The way it brings everybody in the audience practically into the process.”

Her enthusiasm was contagious.

Having a background in gymnastics as a kid, Richard could appreciate the ballet and especially the athleticism involved. So, the arts became a natural focus for supporting both in attendance and financially. And the Kansas City Ballet quickly captured their attention.


“We have always had a long-standing commitment to generosity,” Richard says. “We came from not-wealthy backgrounds and inherited nothing. As most people know being academics is not really a way to build wealth, but we were more successful than average. We felt it was appropriate to give back and we essentially have long had the policy of donating 10% of our take home pay.”


“In our case we’re currently giving most of our charitable donations from the IRA because they won’t be taxed,” Richard admits. “Once you’re required to take a distribution, it makes more sense to donate directly from your IRA than to take the distribution, pay taxes, and have less left to donate.”

Before they retired, Richard says they were clueless about donating IRAs to avoid taxes. “We were busy working. And I wasn’t aware that you could make an IRA donation directly, without paying the taxes until a friend told me,” he says.  “The light bulb went on. We’ve been doing it that way since then.”

“If the government said: This is your tax obligation, pay us or give it to some charity,” Richard says, “then I want to make the choice. I just want to support what I want to support. I’m sure I’m not alone. Many people would rather make that decision themselves.”


After spending 45 years as an economist, Richard felt he was capable of doing his own planning. Though he admits it was complicated even for somebody like himself.

“I remember when we first moved into retirement, I spent weeks trying to figure out what we were going to be earning and what tax bracket it was going to put us in and what we needed to do to avoid penalties,” he says. “I have a PhD in Economics and it took me weeks to do this! What does an ordinary person do?”

He suggests reaching out to your Financial or IRA Advisor but notes that donations out of IRAs don’t have to be limited to the required minimum distribution, they can be up to $100k per year, per person.


The couple admits they just liked the people they met, the things the ballet was doing and the atmosphere. It was a perfect fit.

They attended a presentation on “The Business of Ballet” which pointed out that programming a season is a trade-off between what Devon, as the artistic director, would really like to do and what the organization can afford to do. Richard and Gay see their role is to help the ballet with what they can afford to do so they can perform what they want to.

“Artistic rights are part of it. They’re not cheap,” Richard says. “It was clear from Devon that was a constraint for him. You don’t want your artistic director to be any more constrained than necessary. Devon also described that to keep the best dancers you have to perform more than just the classics.”

Richard insists that watching a recording is not the same as seeing it in person and Gay agrees.

“Seeing it in person is a remarkable experience in motion, especially if you haven’t been to ballet before,” Gay says. “I hope the ballet stays strong and continues to bring in the best dancers.”

We would gladly assist you with ways to make a gift that is meaningful to you and has a lasting impact for Kansas City Ballet. Please contact Rebecca Zandarski at 816.216.5597 or rzandarski@kcballet.org.

2019-20 Trainee Profile: Priyana Acharya

2019-20 Trainee Profile: Priyana Acharya

Priyana Acharya, a native of Libertyville, Ill., joins the Second Company as a Trainee.

2019-20 Trainee Profile: Priyana Acharya


A: I started dancing when I was 2 years old. However, I started to pursue ballet more intensely when I turned 13 and started attending summer programs. I became a dancer because I enjoy being able to share a story with others. Most people expect someone to only be able to share a story through words, but dance allows you to express yourself through movement. This is one of the many aspects of dance that makes me continue to want to pursue this profession.


A: Yasmine Naghdi is one ballerina who truly inspires me! Her strength and artistic choices are incredible. She is also a very versatile dancer! Nowadays, it is important to be able to do any form of dance and perform it to the best of your abilities, which is exactly what Yasmine does!


A: I love taking Pilates and yoga classes because they are really good forms of cross-training. Yoga and Pilates classes help to strengthen your body so that you are able to work to your fullest and healthiest potential in class and rehearsals.


A: I am very excited for the amazing repertoire this season! From The Nutcracker to Swan Lake to Serenade…there is so much to look forward to this season. Also, I love the environment here at Kansas City Ballet because all of the faculty and staff are so welcoming, kind, and supportive. Everyone is one big family!

Top Photograph by Savanna Daniels.

2019-20 KCB II Profile: Fiona Lee

Fiona Lee started dancing at 5 years old at a little ballet studio in rural Montana that used to be an old horse tannery. She joins KCB II.

2019-20 KCB II Profile: Fiona Lee
Fiona Lee featured in Bruce Well’s “Pinocchio” with the Pacific Northwest Ballet School Photographer: Lindsay Thomas


A: I decided I wanted to be a ballerina at age 10 when KCB Ballet Master Kristi Capps guested at my studio as “Giselle”. I had never talked to a professional ballerina before, and I was immediately enamored with her. She was just as graceful in everyday life as she was onstage! I aspired  to be both as glamorous and as generous as her one day. She helped me to realize my goals for dance. I have never looked back.


A: I love watercolor painting! It is such a great way for me to decompress while creating something beautiful in the process. My favorite thing to paint are ballerinas because their tulle skirts turn out beautifully using this ethereal medium. I also love to cook. I actually grew up with an industrial-sized wood-fire pizza oven in my kitchen. My dad would use it to make homemade pizzas and bread every week. I developed most of my cooking skills with his guidance. Now I enjoy hosting my own dinner parties and cooking for my friends.


A: I do yoga twice a week to keep my mind and body balanced. Outside of that, I supplement with Pilates-based strength training and cardio sessions for my stamina. I also make time for hiking, swimming laps, and rock climbing because I love varying my workouts and staying active.


A: I’m obsessed with the Kansas City art scene. I love going to museums and galleries. The Nelson-Atkins and Kemper Art Museums are some of my favorite places.


A: I am super excited for The Nutcracker! Even though I have performed in some version of it nearly every year of my life, there is always a new magic whenever I come back to the ballet.


Top Photograph by Brett Pruitt & East Market Studios.

Devon Carney Talks Carmina Burana

Kansas City Ballet Artistic Director Devon Carney discusses the Oct. 11-20, 2019 program: Carmina Burana.

Carmina Burana

Adam Hougland and I met more than 16 years ago in Cincinnati. Over the years, I’ve seen a lot of his work. One of the things I really admire about him is his bold sense of adventure. In fact, Kansas City Ballet performed his Rite of Spring to close out our 2015-2016 season. His ability to tackle large works with well-known scores and make them his own is fantastic. Other major works include: Firebird, Mozart’s Requiem and a contemporary Romeo and Juliet.

devon carney talks carmina burana
Dancers Danielle Bausinger and Liang Fu with choreographer Adam Hougland. Carmina Burana rehearsals. Photo by Elizabeth Stehling.

When I asked him to consider choreographing a world premiere of Carmina Burana during his time here four years ago, he was immediately excited by the thought. Now his vision of Carmina Burana is complete!

And we get to enjoy the journey of one person’s life: the good, the bad, and the ugly.

Adam’s star is on the rise as a well-known choreographer continuing to make his name in both America and Europe. That makes it an exciting moment to launch this world premiere.

Tulips and Lobster

Kansas City Ballet Dancers Kaleena Burks and James Kirby Rogers. Photographer: Mike Strong. Choreographer: Annabelle Lopez Ochoa.

And yet there is even more to enjoy on this ballet program including Annabelle Lopez Ochoa’s Tulips and Lobster which dazzled audiences at Johnson County Community College’s New Dance Partners performances last fall. There is a lightheartedness to her piece that allows us to sample her wit and whimsy, as she’s often known for intense works.

Recently, Annabelle earned the 2019 Jacob’s Pillow Dance Award—a significant recognition in the world of dance! She’s created over 90 works for more than 50 major dance companies in just 15 years. Tremendous!


devon-carney talks carmina
Petal Choreography by Helen Pickett. Kansas City Ballet Dancers Laura Hunt, Lamin Pereira dos Santos, and Ryan Jolicoeur-Nye. Photographer Brett Pruitt & East Market Studios.

Our final ballet on the program is back by popular demand—Helen Pickett’s color-infused Petal. Her work has such a wonderful energy to it. Audiences loved it when KCB performed it in the spring of 2016.

It’s been interesting to revisit this vibrant ballet, especially to consider how much more deeply the dancers can interpret her choreography four years later. They have only grown in intensity. So this ballet is sure to please!

Moving Into the Future

I came to a realization recently: more than half of our works this season are from the female choreographic voices, an often under represented group. We are happy to move the needle forward in supporting great female choreographers by creating unforgettable performances for you.

Please enjoy!


Photo of Devon Carney by Brett Pruitt & East Market Studios.

2019-20 Dancer Profile: Taryn Meija

Dancer Taryn Mejia. Photography by Tom Styrkowiz

Independence, Mo., native, Taryn Mejia, grew up dancing on scholarship at Kansas City Ballet School. She realized at age 11 she wanted to make dance a career.

“Tulips and Lobster” will be performed Oct. 11-20, 2019. Kansas City Ballet Dancer Taryn Mejia with Company Dancers. Photographer: Mike Strong. Choreographer: Annabelle Lopez Ochoa.


A: I retired from ballet for six years before joining KCB in 2012. I needed a break and fresh start. So, I went to college and gave birth to my two daughters. After six years I decided to try again and have loved every second since!


A: Lisa Choules, former KCB dancer and owner of Elevé Dancewear. She forged the way for me to be able to handle single motherhood of two daughters while dancing. I watched her do it and know I can, too. She is incredibly successful and a caring friend.


A: My family is incredibly supportive. Not only are they season ticket holders but they help care for my two daughters after school and on performance weekends.


A: George Balanchine’s Serenade. I performed the role of “Waltz Girl” when I graduated from School of American Ballet and joined New York City Ballet. I haven’t performed the ballet since.


2019-20 Guild Kick Off Party

2019-20 Guild Kick Off Party
Lisa Sirridge, Chris Sirridge, Dancer Goldie Walberg, MaryBeth Hershey, Hank Hershey | Photography: Larry F. Levenson

On Sunday, August 25, 2019, Kansas City Ballet Guild hosted their Kick Off Party at Lydia’s in Kansas City Crossroads’ historic Freight House. Over 100 ballet enthusiasts and dancers mingled and enjoyed cocktails and hors d’oeuvres while Guild President John Walker and Artistic Director Devon Carney spoke of the exciting new season ahead. Proceeds raised by the Kansas City Ballet Guild help support the company’s repertory, its engagement and educational programs, as well as the Kansas City Ballet Archives.


2019-20 Guild Kick Off Party
Dancer Priyana Acharya, John Walker (Guild President), Dancer Jessica Ousterhout | Photography: Larry F. Levenson
2019-20 Guild Kick Off Party
Dancer Emma Pennell, Dancer Georgia Fuller, Ball Chairman Peggy Beal, Andy Beal | Photography: Larry F. Levenson
2019-20 Guild Kick Off Party
Megan Bubb, Susan Bubb, Jeffrey J. Bentley, Carrie Kruse | Photography: Larry F. Levenson
2019-20 Guild Kick Off Party
Cyndi James (Kick Off Party Chair), Jo Anne Dondlinger | Photography: Larry F. Levenson
2019-20 Guild Kick Off Party
Angelo Brisimitzakis, Dancer Zachary Boresow, Dancer Dillion Malinski, Joan Brisimitzakis | Photography: Larry F. Levenson
2019-20 Guild Kick Off Party
Sabrina Lee, Francie Mayer, Dancer Fiona Lee, Juliette Singer, Ian Spinks | Photography: Larry F. Levenson
2019-20 Guild Kick Off Party
Loren Ruud, Christopher Ruud, Pam Carney | Photography: Larry F. Levenson

Second Company Manager Profile: Christopher Ruud

In late July, a new addition joined Kansas City Ballet. Christopher Ruud became the Second Company Manager and Ballet Master.

You could say Christopher was born to be a dancer…it’s in his blood.

Dance Roots

His parents were both ballet dancers that met and got their start in Utah at the Utah Civic Ballet. They were later invited to dance with William Christensen’s Ballet West. His father Tomm Ruud and his mother Mary Bird (later Wood) became principal and soloist dancers there. In 1975, Tomm was invited to San Francisco Ballet by Michael Smuin. And in 1986 he became a principal dancer with SFB while Mary taught ballet classes. Tomm also became a choreographer while at SFB with his best known ballet being Mobile.

Christopher grew up watching his father perform in front of audiences from the wings of the stage. He began ballet at age 8 but quit during high school to play other sports.

When his father died in 1994, Christopher decided by attending the University of Utah and studying theatre like his father he could get to know him better. Following in his father’s footsteps helped him through his grief and to solidify his paternal connection. However, like his dad, he switched his major to dance and received a scholarship. Though he never finished his degree, it was the jumping off point he needed.

The Next Step

In April of 1998, he was invited to take ballet classes by Jonas Kåge, then the artistic director of Ballet West. For two weeks he attended class and Kåge only watched him once. He told Christopher he had no open contracts. But the next day on Christopher’s birthday, Kåge offered him a job.

Christopher went on to dance with Ballet West for 21 years—15 of those as a principal dancer. He even had the opportunity to dance his father’s role of ‘Ferdinand’ from The Tempest in his same costume. It was a role he’d watched his dad perform from backstage as a child.

“Legacy, emotion, life experience. Dance is reaching out and communicating these things. That’s what I learned from my dad and what I witnessed growing up. I have a soulful need to connect and dance,” Christopher says.

“My mother had an enormous role in mentoring me as well,” he remembers. “She is a ballet historian, lecturer and definitely a resource for me.”

Teaching the Next Generation

After a fulfilling dance career, Christopher decided to take his love for dance to a different level and teach. “For me it’s about watching the light bulb go on as I teach them,” he says. Inspiration, he explains, can come in so many ways: from figuring out new ballet steps and learning to partner to the emotional side of ballet that can tap into the soul and cultivate joy and meaning beyond the movements.

For Christopher, partnering is the most fulfilling part of dance. “It’s two people connecting, trusting and relying on each other completely to accomplish something so beautiful. That’s such a rich experience,” he explains. “It goes beyond learning steps and repeating them. You have to be in tune with others. That human connection with a partner is my favorite part of what we do. I hope to inspire that with any dancer I work with. An unbroken connection with your partner is a shock wave to the audience and onstage. It’s palpable.”

He strives to be a mature and professional resource to young dancers. His goal is to guide them in a healthy way to be better dancers, professionals and people. If he’s being honest, which he always is, he hopes to help cultivate the best human souls who are dancers.

“I like to talk a lot about my own experience as a dancer to try and find a way to convey to them what we do. The work and fatigue… right up to going onstage… it all comes together to prove every moment of our effort and struggle is more than worth it—especially when you know you have the audience hooked. It’s different for every dancer and so I must teach it differently,” Christopher says.


As early as his first year as a Ballet West dancer he knew he wanted to be a choreographer. It would be 10 years into his career before Ballet West Artistic Director Adam Sklute would start an annual new works program called “Innovations”. That very first year Christopher submitted an idea. Three works were chosen to develop and perform on the program. Christopher’s pas de deux (dance for two) was one. Reviewers called his work Neo Neo Classical style. It was very athletic and demanded a high level of partnering.

“I always try to have a deeply emotional message,” Christopher admits. “I hope to elicit an emotional response from the audience. So I bring a wide array of experiences to the table. There is no end of gratitude for those I have worked with. These gifts I’ve been given, I must pass on.”

Why Kansas City Ballet

Ballet West had toured to KC to perform at the Music Hall in 2002-2003, but Christopher’s first real experience with Kansas City Ballet was in 2006, when he staged his father’s ballet Mobile on the company. There are these tiny threads and connections that have been stitched over the years.

Then a while back, he met KCB Artistic Director Devon Carney by chance and afterwards started to notice stories online about KCB doing amazing things. At some point, Christopher reached out to Devon directly about whether there were any openings as a Ballet Master or Second Company Manager. At that time those positions were filled. But when a spot opened up, Devon reached out to Christopher to apply. The rest is now history.

Christopher has been impressed with the warm welcome he has received.

He and his wife, Loren, are about to buy a home in Mission, Kan., and have a list of places to visit around the metro, including a number of barbecue restaurants. They, along with their two dogs, are ready to make KC home.

Second Company

Wasting no time, Christopher has lead Kansas City Ballet’s Second Company to perform three performances at Second Company @Crossroads Hotel on Saturday, Sept. 7th at the Crossroads Hotel. See more from this event here.

This group will perform alongside the professional company during the Kansas City Ballet season. In addition, they will be part of Lecture Demonstrations and other public events that are TBA. Learn more about the Second Company.


Top Photo by Brett Pruitt & East Market Studios.

BARRE KC and Second Company @Crossroads Hotel

BARRE KC and Second Company @Crossroads Hotel
Kansas City Ballet’s Second Company @Crossroads Hotel Performance | Photo by Elizabeth Stehling

Kansas City Ballet’s Second Company @Crossroads Hotel performances were held on Saturday, Sept. 7, 2019 in the lobby of the Crossroads Hotel. There were three showings: 4:30 p.m., 5:30 p.m. and 6:30 p.m. The Second Company, led by Christopher Ruud, features outstanding, classically trained dancers on the cusp of their professional careers. This intimate and informal performance was the perfect opportunity to introduce these emerging dancers. The group performed unique and cutting edge choreography including Mobile, a ballet choreographed by Tomm Ruud, Christopher’s late father, along with other works.

BARRE KC Streetcar Crawl

BARRE KC kicked off the Kansas City Ballet season with their KC Streetcar BARRE Crawl through Downtown. Each stop was themed with one of this year’s ballet performances!

The journey began by watching an open rehearsal of Carmina Burana at the Todd Bolender Center at 3 p.m. Then, parties converged at the Crossroads Hotel where a Tulips and Lobster inspired drink and a special performance by Kansas City Ballet’s Second Company did not disappoint.

From there, the group hopped on the streetcar to enjoy more drinks and bites with stops along the line including The Chesterfield for a Swan Lake-inspired spritzer, followed by Harry’s Country Club in the River Market for a Celtic cocktail, where they may or may not have departed with an Irish goodbye.

BARRE KC and Second Company @Crossroads Hotel
Kansas City Ballet’s Second Company @Crossroads Hotel Performance | Photo by Elizabeth Stehling
BARRE KC and Second Company @Crossroads Hotel
Kansas City Ballet’s Second Company @Crossroads Hotel Performance | Photo by Elizabeth Stehling
BARRE KC and Second Company @Crossroads Hotel
Kansas City Ballet’s Second Company @Crossroads Hotel Performance | Photo by Elizabeth Stehling
BARRE KC and Second Company @Crossroads Hotel
BARRE KC Members at Crossroads Hotel | Photo by Karen Badgett

Rooftop Photos at Crossroads Hotel

BARRE KC and Second Company @Crossroads Hotel
BARRE KC Board of Directors | Photo by Karen Badgett
BARRE KC and Second Company @Crossroads Hotel
BARRE KC Members at Crossroads Hotel’s Rooftop Bar | Photo by Karen Badgett
BARRE KC and Second Company @Crossroads Hotel
BARRE KC Members at Crossroads Hotel’s Rooftop Bar | Photo by Karen Badgett
BARRE KC and Second Company @Crossroads Hotel
BARRE KC Members at Crossroads Hotel’s Rooftop Bar | Photo by Karen Badgett
BARRE KC and Second Company @Crossroads Hotel
BARRE KC Members at Crossroads Hotel’s Rooftop Bar | Photo by Karen Badgett
BARRE KC and Second Company @Crossroads Hotel
BARRE KC Members at Crossroads Hotel’s Rooftop Bar | Photo by Karen Badgett