Meet Two of Our ROAD Teaching Artists

Left–R.O.A.D. Teaching Artist Olivia Shaw at Crossroads Academy | Photography by Andrea Wilson. Right–R.O.A.D. Teaching Artist Jenna Wurtzberger at a R.O.A.D. Rally at Hartman Elementary School | Photography by Elizabeth Stehling
Left–R.O.A.D. Teaching Artist Olivia Shaw at Crossroads Academy | Photography by Andrea Wilson. Right–R.O.A.D. Teaching Artist Jenna Wurtzberger at a R.O.A.D. Rally at Hartman Elementary School | Photography by Elizabeth Stehling

Kansas City Ballet’s Reach Out And Dance (R.O.A.D.) Residency Program has been in community schools since the year 2000. But under April Berry, KCB’s Director of Community Engagement and Education, this program has expanded considerably over the last two years.

WHAT IS R.O.A.D AND ITS GOALS?

R.O.A.D. Residency programs use movement/dance to support the academic curriculum taught in many 3rd and 4th grade classrooms throughout the metro. The program currently serves over 20 schools in urban, suburban, and rural school districts in Missouri and Kansas.

Teaching artists from Kansas City Ballet’s Community Engagement and Education department teach weekly movement classes to hundreds of local 3rd and 4th grade students in their schools. Live music is provided in these classes by pianists from KC Ballet. The result is that students learn and retain new information and a different learning paradigm is created to support academic instruction.

The program has many goals. The introduction of various styles of movement and music is one goal; another is to incorporate basic principles found in dance such as: space, time, effort, cooperative learning, and self-discipline into the learning environment. Yet another is to incorporate exercises and games that support Language Arts, Social Studies, Math and Science curriculum.

WHAT IS A TEACHING ARTIST?

A Teaching Artist is different from a dance instructor. KCB Teaching Artists, also called artist educators or community artists, are responsible for teaching students in a wide range of community settings, the fundamentals of dance, and integrating dance concepts and principles related to movement with National and State Education Standards.

Two of our four R.O.A.D. Teaching Artists, Jenna Wurtzberger and Janie Olivia Shaw,  have been working in KCB’s R.O.A.D. Residency program for the past two years. Jenna and Olivia collaborate with KCB’s R.O.A.D. director and with classroom teachers to advance learning for their students. Both use the art of dance to reinforce academic studies within the classroom. They also stress the importance of creativity, critical thinking, improvisation, and communication.

Jenna is a dancer, choreographer, and dance educator. She has an undergraduate degree in dance and psychology from the University of Nevada and a master’s degree in dance from Temple University in Philadelphia.  Olivia has a degree in performance and choreography from Coker College in South Carolina. They have both studied dance and performed.

ON THE JOB

We asked them to talk about why they love their jobs as teaching artists at Kansas City Ballet.

Jenna has taught dance in many different settings; in dance studios, community centers, other dance residency programs in schools, and college dance programs. But she has never encountered a program like R.O.A.D. “The unique structure and approach to dance education are what makes this job at KC Ballet so wonderful. The curriculum is flexible enough to be able to incorporate my teaching philosophy while also valuing what the students have to offer. I get to share a room with expressive, talented, funny and loving students each and every day. I am beyond humbled to be able to share my knowledge and love of dance with this community,” she says.

“There are so many rewarding aspects of this job,” Jenna continues. “Some are small, such as a student with a huge smile walking into the room and telling you that they ‘love to dance!’ or telling you that they have been practicing the R.O.A.D. Chapter Dance in their backyard while their parents are watching. Some are much bigger, such as working with students who are non-verbal and they are communicating with their body just as effectively as their verbal peers or seeing the transformation of a student who is extremely shy and self-conscious to being the center of attention with confidence.”

R.O.A.D. Teaching Artist Olivia Shaw at Crossroads Academy | Photography by Andrea Wilson
R.O.A.D. Teaching Artist Olivia Shaw at Crossroads Academy | Photography by Andrea Wilson

Olivia notes that for her the most rewarding part about being a teaching artist is being able to give back to the community. “I am able to share my experience, training, and passion for dance with a diverse range of students and create relationships with the children I teach. The R.O.A.D. program provides an outlet for these kids through dance and helps them build confidence.”

Jenna admits there can be challenges. Keeping students interested in class and particularly students who think they do not like to dance are examples. “However,” Jenna notes, “these challenges of the job have pushed me to become a more creative and effective educator.”

Olivia feels this position has provided her an opportunity “to do what I love.”

EXCITING MOMENT

Engaging community schools, teachers, students, and their families, and igniting a passion for dance are other benefits of this program. This past December Jenna attended KC Ballet’s The Nutcracker and had an emotional experience. “I saw some of my R.O.A.D. students on stage at the Kauffman Center,” she said. “To see them sharing the stage with other talented dancers from Kansas City Ballet made my heart melt and was something I will never forget.”

2018-19 Trainee Profile: Grace Reed

2018-2019 KC Ballet Trainee and Second Company Member Grace Reed. Photography by Savanna Daniels.

Trainee and member of Kansas City Ballet’s Second CompanyGrace Reed was born in New Mexico but grew up in Texas and Kansas City. She was invited to become a KCB Trainee while attending Kansas City Ballet School. 

Q: TELL US WHY YOU BECAME A DANCEr.

A: Growing up, my brother (who now has a major in Piano Performance) was constantly practicing his piano pieces. You could always find me dancing around behind him as he played. Because my mom saw how inspired I was by my brother’s music, she decided to enroll me in ballet classes. Since then, I am still finding inspiration to dance.

Trainee Grace Reed front left with Kansas City Ballet Dancer Courtney Nitting front right in "The Nutcracker". Photography: Brett Pruitt & East Market Studios.
Trainee Grace Reed front left with Kansas City Ballet Dancer Courtney Nitting front right in “The Nutcracker”. Photography: Brett Pruitt & East Market Studios.

Q: WHAT DO YOU LIKE TO DO WHEN YOU’RE NOT DANCING? 

A: When I am not dancing, I love to spend my time reading, knitting, exploring nature, or watching movies with my family. I love getting to dance, but sometimes you have to do “normal people” things to help you enrich what you get to do in the studio.

Q: WHAT IS SOMETHING MOST PEOPLE WOULDN’T KNOW ABOUT YOU?

A: A current FBI agent once recommended that I look into pursing a career as an agent after viewing my marksmanship at the shooting range.

Q: WHAT DO YOU LOVE MOST ABOUT BALLET?

A: I always find new things to enjoy about ballet, even if I have seen a certain piece a hundred times. Ballet itself is always challenging me to accomplish things I never thought I could.

Q: WHAT WAS THE BEST ADVICE YOU EVER RECEIVED?

A: The best dancing advice I have ever received is from one of my teachers, Claudio Munoz. He once told me to “Dance like you’re wearing a Versace or Oscar de la Renta gown.” Because I love looking at gowns from those designers, it immediately made sense to me how I should carry myself during the certain piece he was coaching me on at the time. Since then, I have reminded myself of those words whenever I have felt unsure of myself while dancing.

 

Top Photo by Savanna Daniels.

Devon Carney Talks Lady of the Camellias

Kansas City Ballet’s Artistic Director Devon Carney shares some thoughts on the company’s upcoming performances of Val Caniparoli’s Lady of the Camellias Feb. 15-24 at the Kauffman Center.

The Choreographer

It’s a privilege for Kansas City Ballet to perform this landmark creation by the world-class choreographer Val Caniparoli—one of his signature works.

Caniparoli is no stranger to Kansas City Ballet. In February 2010, the company presented his Lambarena with its striking music, a mix of Bach and African rhythms. Then in May of 2017, our company performed his dramatic and intense ballet, The Lottery, based on Shirley Jackson’s shocking short story by the same name.

The Ballet

For Lady of the Camellias, his choreography demands a physical technicality and profound artistry from the dancers to express the breadth of emotion in this compelling story. It’s an intense artistic challenge and an opportunity for our dancers to develop true three-dimensional characters. We continue to raise the level of artistic content and thus, the quality of our artists. Building on this momentum keeps moving them forward, as we continually find productions to benefit both you, our audience, and our dancers alike.

In this particular ballet, our journey includes experiencing romantic interludes with Armand, a young countryman, and Marguerite, a famous courtesan as they become entangled in a forbidden affair. These two come from differing backgrounds and socio-economic levels, but they discover true love. At its heart, this is a story of love at its deepest and most sincere. And this strong romantic connection between these two characters makes this such a great story ballet—one that will surely endure for the ages.

Despite everything they experience, Marguerite has faith in Armand and hope for their life.
Love is indeed the greatest power one can experience in life.

Ultimately though, the forces working against them lead to heartbreak and loss. Of course, the
final scene rips your heart apart with such romance and compassion and yearning for what might have been.

Through it all, I’m reminded of this famous quote from George Sand: There is only one happiness in this life, to love and be loved.

I couldn’t agree more.

 

Top photograph by Brett Pruitt & East Market Studios

Event Recap: An Evening with Ramona Pansegrau

Photography by Larry F. Levenson
Photography by Larry F. Levenson

Kansas City Ballet Bolender Society attended Lady of the Camellias or How I Fell in Love with Chopin at Age 4 with Music Director Ramona Pansegrau on January 24 hosted at the Carriage Club by Mike and Melanie Fenske.

The evening included special performances by mezzo-soprano Sarah Curtis and Second Company dancers with a cocktail and dessert reception.

SPECIAL ANNOUNCEMENT

Attendees enjoyed the musical portion of the evening and then heard Artistic Director Devon Carney’s exclusive announcement of Kansas City Ballet’s 2019-2020 season, which features Adam Hougland’s WORLD PREMIERE Carmina Burana, Devon Carney’s Swan Lake, Lila York’s Celts, George Balanchine’s Serenade, and Edwaard Liang’s Wunderland.

For tickets or more information click here.

EVENT Photos

Kansas City Ballet's Second Company performed. Photography by Larry F. Levenson
Kansas City Ballet’s Second Company performed. Photography by Larry F. Levenson.
Angela Walker, Barbara Storm, and Ramona Pansegrau. Photography by Larry F. Levenson.
Angela Walker, Barbara Storm, and Ramona Pansegrau. Photography by Larry F. Levenson.
Joan Locke, George Langworthy, Ramona Pansegrau. Photography by Larry F. Levenson.
Joan Locke, George Langworthy, Ramona Pansegrau. Photography by Larry F. Levenson.
Doug and Karen Downing, Mathew and Jane Webster, Devon Carney, and KCBII Dancers. Photography by Larry F. Levenson
Doug and Karen Downing, Mathew and Jane Webster, Devon Carney, and KCBII Dancers. Photography by Larry F. Levenson
Diana and Rick Poccia and Ramona Pansegrau. Photography by Larry F. Levenson.
Diana and Rick Poccia and Ramona Pansegrau. Photography by Larry F. Levenson.
Steve and Cathy Doyal, Artistic Director Devon Carney and Pam Royal Carney. Photography by Larry F. Levenson.
Steve and Cathy Doyal, Artistic Director Devon Carney and Pam Royal Carney. Photography by Larry F. Levenson.
Executive Director Jeffrey J. Bentley and Bill and Ginny Shackelford. Photography by Larry F. Levenson.
Executive Director Jeffrey J. Bentley and Bill and Ginny Shackelford. Photography by Larry F. Levenson.

 

2018-19 Dancer Profile: Taryn Mejia

Kansas City native, Taryn Mejia, began taking lessons at Kansas City Ballet School at age 3. She studied ballet at KCBS and The School of American Ballet before joining New York City Ballet. She joined Kansas City Ballet in 2012

Q: WHY DID YOU BECOME A DANCER?

A: I was always dancing around my house as a kid.

JCCC’s New Dance Partners September 2017 – Kansas City Ballet performing “The Uneven” choreographed by Matthew Neenan. Photo, Copyright 2017 Mike Strong, kcdance.com with full usage permissions for the companies and dancers

Q: WHAT IS YOUR FAVORITE DANCE BAG ITEM AND WHY?

A: My foam roller. So many little aches and pains are from tight muscles that can be easily rolled out.

Q: WHAT IS SOMETHING MOST PEOPLE WOULDN’T KNOW ABOUT YOU?

A: I took six years off dancing to go to college and have children.

Q: WHAT DO YOU LIKE TO DO WHEN YOU ARE NOT DANCING?

A: I like to go on outings with my children. We love Science City, Deanna Rose Farmstead, Powell Gardens, the Kansas City Zoo, The Nelson-Atkins Museum of Art, and Kaleidoscope to name a few. There is so much to do in this city and it’s a way to connect with my kids and the community.

 

Top Photo by Brett Pruitt & East Market Studios

2018-19 Dancer Profile: Tempe Ostergren

Tempe Ostergren joined Kansas City Ballet in the fall of 2010. She had studied at The School of American Ballet and Pacific Northwest Ballet, both known for their George Balanchine influences. Next she danced with Boston Ballet, known for their classical ballet style. Her experiences with these entities would shape her for her next position with Kansas City Ballet. Uniquely positioned for a growing company, Tempe was ready for the change.

Kansas City Ballet Dancers Tempe Ostergren and Liang Fu in the roles of Titania and Oberon in Bruce Wells’ A Midsummer Night’s Dream. Photography by Brett Pruitt and East Market Studios.

She’s danced many coveted roles including Juliet in Romeo & Juliet, Aurora in The Sleeping Beauty, the title role in Giselle, Titania from A Midsummer Night’s Dream (both William Whitener’s and Devon Carney’s versions), Mina in Michael Pink’s Dracula and one of her favorite, Odette/Odile in Swan Lake. Any one of these roles is an accomplishment and part of a ballerina’s bucket list. But Swan Lake holds a place in her heart. “Dancing this role felt like I was connected to all the generations of previous ballerinas who’d danced this role. It’s a special accomplishment—a bond.” Tempe says.

Working with the legendary Cynthia Gregory was one of her career highlights. “She helped me make the role my own. Her focus was on expressing the emotion of the scene. By getting that right you enrich the experience for everyone,” Tempe says.

Dancer Tempe Ostergren | Photography by Elizabeth Stehling
Dancer Tempe Ostergren | Photography by Elizabeth Stehling

SWAN SONG

Tempe will retire after 20 years as a professional ballerina.

Of Kansas City, Tempe shares her appreciation of the audiences. She considered them accepting, nurturing even. They empowered her to have freedom to perform onstage without fear and judgement. She appreciates the quality of life that KC has offered. “It’s a big city with lots of arts offerings, but without the steep costs and traffic. And the supporters are loyal and easy to talk to.”

She feels lucky to have been in the right place at the right time. She never felt pegged as one type of dancer. And having danced for two decades without a major injury, she beat the odds. Her whole career was spent with her nose to the grindstone. She’s proud that she stayed true to herself and worked diligently on her technique. She is grateful for the faith she had in herself and her rich collection of experiences both in the studio and on stage.

Tempe Ostergren | Photography Elizabeth Stehling
Tempe Ostergren | Photography Elizabeth Stehling

NEXT STEPS

Not one to ever stop progress. Tempe will continue to teach ballet classes at Kansas City Ballet School as her schedule allows. But she’s excited for her next role: mother. Her son is due this summer.

“I’ve heard that as one transitions from dancing, you never know how you will feel. It’s a totally different chapter ahead,” she says. She fully expects to immerse herself in motherhood. But down the road she imagines her interests in gardening, going back to college and teaching or coaching ballet students will come to the forefront.

“With ballet I cannot say goodbye. Never goodbye,” she says with a smile.

 

2018-19 Dancer Profile: Emily Mistretta

Kansas City Ballet Dancer, Emily Mistretta, joined the company in 2016. She is thrilled to debut as the ravishing courtesan, Marguerite, in Val Caniparoli’s Lady of the Camellias Feb. 15-24, 2019 at the Kauffman Center for the Performing Arts.

Dancers: Emily Mistretta & Lamin Pereira dos Santos. Photography: Kenny Johnson.
Dancers: Emily Mistretta & Lamin Pereira dos Santos. Photography: Kenny Johnson.

Q: WHAT WERE YOU FEELING/THINKING WHEN YOU FOUND OUT YOU’D BE DANCING THE ROLE OF MARGUERITE? 

A: I was so excited  when I heard I was being considered for the role of Marguerite. I performed in Val Caniparoli’s Lady of the Camellias when I was still dancing with Boston Ballet and fell in love with the ballet and especially her character. I would watch every night from the wings the end scene of Marguerite in her room alone. It’s so transporting.

Q: WHAT ARE YOU MOST LOOKING FORWARD TO WITH REGARDS TO LADY OF THE CAMELLIAS?

A: I’m most looking forward to the acting aspect of the ballet. I have always loved the side of ballet that tells a story and lets you really become somebody or something else. It’s exciting getting into her character and persona, trying to find the different layers of her and attempting to portray that to the audience.

Dancers Emily Mistretta and Lamin Pereira dos Santos. Photography by Elizabeth Stehling.
Dancers Emily Mistretta and Lamin Pereira dos Santos. Photography by Elizabeth Stehling.

Q: HAVE YOU EVER DANCED IN ANY OF vAL cANIPAROLI’S BALLETS?

A: I danced in Val Caniparoli’s The Lottery during my first season with KCB. I played the role of Mrs. Summers who struggles to go against the grain of the rest of society. It was a somewhat dark ballet to dance. I really enjoyed that intensity.

Q: WHAT DO YOU ENJOY MOST ABOUT REHEARSALS?

A: I enjoy the work itself. Getting into the gritty details and figuring out what works best for me. It’s a discussion and a discovery that kind of unfolds. I kind of have to go through the muck and figure it out, but when I do it feels so rewarding.

 

Top Photo by Brett Pruitt & East Market Studios

Behind the Scenes: Lady of the Camellias

Dancers Kaleena Burks and James Kirby Rogers with Emily Mistretta and Lamin Pereira dos Santos. Photography by Elizabeth Stehling.
Dancers Kaleena Burks and James Kirby Rogers with Emily Mistretta and Lamin Pereira dos Santos. Photography by Elizabeth Stehling.

Kansas City Ballet dancers are busy rehearsing in the studios. They perform Val Caniparoli‘s Lady of the Camellias Feb. 15-24 at the Kauffman Center for the Performing Arts.

Set to Frédéric Chopin’s romantic score, Alexandre Dumas’ love story makes its triumphant Kansas City premiere. The story inspired popular adaptations including Baz Luhrman’s movie Moulin Rouge! and Verdi’s opera La Traviata.

REHEARSAL FOOTAGE

REHEARSAL PHOTOS

Dancers Emily Mistretta and Lamin Pereira dos Santos. Photography by Elizabeth Stehling.
Dancers Emily Mistretta and Lamin Pereira dos Santos. Photography by Elizabeth Stehling.
Dancers Emily Mistretta and Lamin Pereira dos Santos. Photography by Elizabeth Stehling.
Dancers Emily Mistretta and Lamin Pereira dos Santos. Photography by Elizabeth Stehling.

DANCER PROFILES

Learn more about the dancers in the lead roles of Armand and Marguerite.

“The greatest thing you’ll ever learn is just to love and be loved in return.”

2018-19 Dancer Profile: Lamin Pereira dos Santos

Kansas City Ballet Dancer, Lamin Pereira dos Santos, joined the company in 2014. Since then, he’s performed a number of principal roles in ballets from Albrecht in Giselle to Prince Desire in The Sleeping Beauty. This will be his second time performing in a ballet by choreographer Val Caniparoli. In 2017, he performed in Caniparoli’s The Lottery, based Shirley Jackson’s short story by the same name. He is thrilled to debut as Armand in this production of Lady of the Camellias Feb. 15-24, 2019 at the Kauffman Center for the Performing Arts.

Q: WHAT ARE YOU MOST LOOKING FORWARD TO WITH REGARDS TO LADY OF THE CAMELLIAS?

A: I am definitely looking forward to performing this beautiful ballet with the most amazing piece of music composed by Chopin. Really, it’s a dream come true and I could not ask for better.

After being a super in ABT’s Lady of The Camellias back in 2010 and being fortunate enough to watch the company rehearsals performed by super stars Julie Kent, Marcelo Gomes, Roberto Bolle and Diana Vishneva in the principal roles of Marguerite and Armand I completely fell in love with the ballet and its story. But overall the acting and drama play a big part in it. And that’s why I love it so much.

During those rehearsals I witnessed so much emotion, love, drama and sadness. It helped me see ballet in a different way. At the end of rehearsals fellow dancers were in tears because the were touched by what they saw and felt. Right away I wanted to do the same and touch people’s heart and inspire them.

Dancers Emily Mistretta and Lamin Pereira dos Santos. Photography by Elizabeth Stehling.
Dancers Emily Mistretta and Lamin Pereira dos Santos. Photography by Elizabeth Stehling.

Q: HOW WILL THIS ROLE STRETCH YOU AND HELP YOU GROW AS A DANCER? 

A: This role will help me grow in many different ways. This time the challenge is a bit different and it goes beyond pirouettes and double tours. We all have technique, we all can do those things. But can you do that and act at the same time? I am so looking forward to performing a role different from the ones in classical ballet.

Q: HOW DO YOU GET INTO CHARACTER FOR THESE PRINCIPAL ROLES?

A: I get into character for these principals roles by listening to what the stager is passing on to me throughout the rehearsal process. I also do my own research by watching videos of dancers that I look up to and by recording my rehearsals whenever is possible so I can look for mistakes and for details that can add to telling the story perfectly. Finding the right resource is crucial to expending my knowledge.

Q: WHAT GOES THROUGH YOUR HEAD WHEN YOU ARE PARTNERING?

A: To be honest, I think about what is happening exactly at that moment in the drama. It helps to not think about what’s going to come up next in the ballet such as the next scene or next act. It will all happen naturally.

Dancers Emily Mistretta & Lamin Pereira dos Santos. Photography: Kenny Johnson.
Dancers Emily Mistretta & Lamin Pereira dos Santos. Photography: Kenny Johnson.

Q: WHAT HAVE YOU DONE OUTSIDE OF THE STUDIO TO PREPARE FOR THIS ROLE?

A: As part of my physical training for this role, I am at the gym at 6:00 a.m. for a workout designed to improve my strength and stamina. When the show opens, I’ll perform a ten-minute pas de deux with lots of lifts, so I have added more to my routine in the gym to prepare. A lot of times people don’t realize what it takes to be a male ballet dancer and make everything look graceful, effortless and lift ballerinas over our heads.

Q: WHAT NEEDS TO HAPPEN FOR YOU TO BE SATISFIED WITH YOUR PERFORMANCE?

A: It is hard to be completely satisfied because every performance will be different. It’s never going to be perfect every time! But going on stage with confidence, commitment and passion will make me satisfied. You just have to embrace the role 100% for sure and let your experience and artistry take over the stage and the moment. Everything will fall into the right place.

 

Top Photo by Brett Pruitt & East Market Studios

2018-19 KCB II Dancer Profile: Divya Rea

Divya Rea is in her second season as a member of KCB II, part of Kansas City Ballet’s Second Company.  Originally from Wheaton, Ill., Divya has enjoyed getting to know KC. When she’s not in the ballet studio, you might find her at the River Market shopping for produce or perusing art during First Fridays.

Q: TELL US WHY YOU BECAME A DANCEr.

A: When I was three years old, my mom enrolled me in a beginner’s ballet class. I loved (and still love) the freedom of dancing. I am able to express emotions I otherwise couldn’t describe, and in the studio, I can escape my worries and focus solely on my craft.

Q: WHAT DO YOU LIKE TO DO WHEN YOU ARE NOT DANCING? 

A: When I have free time, I enjoy playing the piano, writing, or watching TV—essentially anything relaxing after a day of rehearsals! On the weekends, I enjoy walking around Kansas City. I’ve happened upon multiple festivals and fairs by simply taking a walk.

From 2017-18 as KCB II members, dancers Divya Rea and Angelin Carrant. Photography by Brett Pruitt & East Market Studios.
From 2017-18 as KCB II members, dancers Divya Rea and Angelin Carrant. Photography by Brett Pruitt & East Market Studios.

Q: WHAT QUESTION DO YOU GET ASKED MOST ABOUT YOUR JOB AS A DANCER?

A: I often get asked how I stand on my toes, and I always say practice. Every day I work on perfecting my technique and gaining strength. Ballet is not easy, but through repetition and rehearsal it becomes easier.

Q: HOW DO YOU STAY FIT AND HEALTHY OUTSIDE OF THE STUDIO?

A: Cross-training is important to me. Outside the studio, I alternate my workouts. Some days I elliptical or power walk, other days I lift weights. I incorporate Pilates to lengthen my muscles. I also cook often. I love trying new, healthy recipes.

Q: WHAT WAS THE BEST LIFE ADVICE YOU EVER RECEIVED?

A: One of my first ballet teachers would always remind me that everything is “90% mental.” While that exact percentage may vary, this phrase has shaped my attitude in life. Before I approach a challenge, I must believe it is possible.

 

Top Photo by Brett Pruitt & East Market Studios