Sponsor Profile: Performance Rehab

Dancer: Taryn Mejia. Photographer: Brett Pruitt & East Market Studios
Dancer: Taryn Mejia. Photographer: Brett Pruitt & East Market Studios

Injuries are the yin to the yang of incredible dance. Prevention is key.

 Kansas City Ballet Dancer Taryn Mejia believes, “The most important part of physical therapy for me is quick treatment of minor injuries, aches and pains. These small ailments, more likely than not, become much larger injuries if left untreated. Dancers are so aware of their bodies that we notice immediately when something is wrong.”

 She’s not alone.

 Since August of 2017, Performance Rehab has had their team working to keep Kansas City Ballet Dancers rehearsing and performing. Performance Rehab is a valued Kansas City Ballet Business Council company and is The Official Physical Rehabilitation Provider to Kansas City Ballet.

Kendra Gage from Performance Rehab
Kendra Gage from Performance Rehab

The Performance Rehab Team

Lead therapist Kendra Gage grew up dancing and studied it in college. And though she never danced professionally she has a love for the art and knowledge of dance language. Her undergrad is from KU. Liz Trevino teaches Pilates and wellness and dance technique enhancement at Performance Rehab and is also a member of the faculty in Kansas City Ballet’s Studio program. Anjali Tata-Hudson is a physical therapist assistant with an extensive dance background and a masters in dance. And Kelly Meiners is a contract therapist. She has worked with KCB in the past and also is with Rockhurst’s PT department.

 “Physical Therapy for dancers is unique because most dancers must continue to be physically active while they have an injury,” says Gage. “Dancers can’t always stop the painful or aggravating activity. So, we establish an individual treatment plan and provide them instructions for dancing, even while injured.”

What Performance Rehab Provides

Here are some types of help Performance Rehab provides: advice to change their warm-up routine or instructing dancers on strategic use of ice or heat, or even giving them certain exercises to do outside of the studio. There are a lot of educational tips and manual techniques the therapists provide that can help dancers while they heal.

Performance Rehab therapists are available for triage or maintenance-type work on both new and existing ailments on rehearsal days during the dancers’ lunch hour, backstage at performances and on Mondays when the dancers are off. Gage says they will see five to six dancers on an average lunch break and they see several on Mondays and are busy backstage the whole show.

The Results

According to Mejia, “Performance rehab has been game changing for this company. The daily accessibility and knowledgeable therapists can diagnose and treat us quickly. Allowing us to dance our best.” 

“It’s really fun to see a dancer overcome an injury to put something on stage for the city to enjoy,” Gage says. “We are proud and honored to be able to help facilitate amazing ballet.”

Event Recap: Mobank Sponsors New Moves Reception

Molly Kerr with KCB Artistic Director Devon Carney. Photography by Larry Levenson.
Molly Kerr with KCB Artistic Director Devon Carney. Photography by Larry Levenson.

A special thank you to Mobank Private Wealth as the Supporting Sponsor of Kansas City Ballet’s 2018 New Moves performances Feb. 15-18. As part of their sponsorship, they received a pre-performance reception on opening night. For the past five years, Mobank Private Wealth has been a valued Ballet Business Council member and a generous annual contributor. They support the ballet’s mission to establish Kansas City Ballet as an indispensable asset of KC through exceptional performances, excellence in dance training and community education for all ages. It’s partnerships like these that help the ballet bring a love of dance to children and adults alike through educational programs like Reach Out And Dance (R.O.A.D.), performances, and more.

Molly Kerr and her guest Hal Higdon. Photography by Larry Levenson.

Kansas City Ballet also would like to congratulate Molly Kerr for her new role as Kansas City Ballet’s 2018 Business Leadership Council Co-Chair! Molly is the Senior Vice President and KC Market Executive for Mobank Private Wealth, a division of Mobank/BOK Financial. Molly has worked in this field for nearly 30 years overseeing investments, and trust and private banking. 

Molly Kerr with her Mobank Private Wealth Team and guests. Photography by Larry Levenson.

Learn more about 2018 New Moves here:

New Moves Delivers

Behind the Scenes: New Moves 2018

Mass™ Medical Storage Sponsors Romeo & Juliet


Aubrey and Penelope Guezaraga
Aubrey and Penelope Guezaraga

MASS™ Medical Storage Owner Aubrey Guezuraga is not your typical corporate sponsor. In fact, before his daughter Penelope was born it’s pretty safe to say he would never have predicted his company would be donating to Kansas City Ballet.

Penelope was born unilaterally deaf on her left side and wears a hearing aid. The doctors at Children’s Mercy told the Guezuragas she would have a hard life. They said she would have a lack of coordination; an inability to pay attention to more than one thing at a time; and that down the road, dyslexia and reading, learning, and behavioral issues would likely follow. That’s a tough prognosis for any parent to hear. They also made suggestions. They recommended she get involved in activities that would provide full-brain stimulation like music, art, and dance.


Penelope Guezaraga in 2014
Penelope Guezaraga in 2014

So at age 3, Penelope was enrolled in creative movement classes at Kansas City Ballet School. And although at a young age dance may not have come naturally, she continued to take classes year after year.

“Being good at ballet wasn’t the point for us,” Guezuraga says. “We just wanted to give her a chance to challenge her brain and help her development. But a funny thing happened as time went by… she loved it. We found everyone was so supportive and eventually something clicked. She began to have leadership opportunities in class and her confidence really grew.”

This progress spilled over into other aspects of Penelope’s life as well.

When she was in first grade she was testing in the bottom for reading skills. So, the Guezuragas got her a tutor. And using the same process of focus, determination, and persistence she’d been using for dance, Penelope improved.


Penelope Guezaraga with her KU Engineering Fair Medal
Penelope Guezaraga with her KU Engineering Fair Medal

Penelope has continued to exceed expectations. She placed 5th in KU’s engineering fair for 8th graders when she was only in the fifth grade. Adding to her dancing, last year she participated in The Nutcracker, The Sleeping Beauty and in the regional and national Youth American Grand Prix ballet competitions… and her lowest grade was a 98%.

Penelope is currently 11, in 6th grade, and the president of her class. She’s in Level 5 at KCBS and is still participating in Youth American Grand Prix. She’s a leader and a well-rounded person.

“The Ballet gave her a straight forward method of addressing problems and improving herself in part because there, she has always been treated as a capable person. She is humble and hard working. I thank the Ballet for giving her the tools and life lessons to help her to be the best she can be in all aspects of her life,” Guezaraga says.


Knowing how much Penelope has been helped, Guezaraga is grateful to the organization and also to all of the donors that see the value in supporting the mission of Kansas City Ballet and School. For that reason, he hopes his sponsorship shows his appreciation of both Kansas City Ballet and its supporters. But he also hopes he inspires other growing businesses to start on this path as well: Growing a community to support the arts to drive excellence and new thought and to drive inclusiveness.

“It’s a gift to me to be a part of helping bring Romeo & Juliet to Kansas City. And it’s only fitting since it is also the favorite score of my daughter and I,” Guezaraga says.



To become a Kansas City Ballet Corporate Sponsor, please contact Patty Bowen at 816.216.5584. Click here to learn more about 2017-2018 corporate sponsorship opportunities.

Sponsor Profile: Elevé Dancewear and Owner Lisa Choules

Elevé Dancewear Owner Lisa Choules

Lisa Choules’ name may sound familiar if you’ve been attending the Ballet for a while. She is a former Kansas City Ballet company member. Choules danced with KCB from 2000 until retiring at the end of the 2008-2009 season. Flash forward to 2017, Choules is a successful entrepreneur and owner of Elevé Dancewear. This Kansas City-based company employs upwards of 25 employees, most of them full-time.

Elevé has made quite a name for itself among dancers and dance communities. The creative and high-quality leotards and dance skirts definitely capture attention in and out of the studio.

ElevÉ’s Support for KCB School

The company has been a supporter of Kansas City Ballet’s School for the past two years—sponsoring deserving students with Elevé scholarships.

What motivated Choules to make this possible?

“I love performing. I nearly quit dancing when I was young, but then I attended my school’s performance. I realized I wanted to be up there on the stage. That desire is what brought me back to dance. That is why I want to help students have more opportunities to perform, especially those who work hard and need financial assistance,” she said. 

In 2015-2016, Elevé became the Official Leotard Provider for Kansas City Ballet School. Why would KCBS choose Elevé as a uniform partner?

“Elevé is a local company with lots of experience and with a love for the art form and especially education. We were able to customize the leotards with the colors they selected,” said Choules. “We have a lot of experience with ballet schools since we make the official uniforms for Ballet West Academy and other dance schools across America.”

How Elevé Began

When asked about her transition from company dancer to business owner, Choules shared a bit about what drives her. She joined Ballet West as a dancer at 18. While there she started making her own ballet skirts. Later she even made her own practice tutu. After her two daughters were born, she began making leotards for herself.

“I had a hard time finding leos that fit my body,” she said. She would get creative by looking for older leotards at thrift shops, breaking them down and making patterns from them. In fact, she was wearing one of her own creations when she auditioned for KCB and even remembers other dancers asking her where she got it. “As a single mother of two, I made custom leotards for my friends as a way to earn some extra side money.”

For a while she even dabbled with costuming. She remembers when the company was performing Paquita, it frustrated her how poorly the rented tutus fit. She had trouble feeling confident about her dancing because she was so concerned about her costume twisting and bouncing funny because it was too big around and falling out on top because it was too short.

The first costuming she did was for KCB dancer Russell Baker’s summer festival and his ballet Cloud Chamber which was choreographed for KCB’s In the Wings and was later preformed as part of the 2001/2002 season. Later, she designed for former KCB Artistic Director William (Bill) Whitener, Quixotic, Owen/Cox, Jessica Lang (for KCB, Ballet San Jose, and her own company), and Nashville Ballet to name a few. “The first piece I did for Whitener was Jaywalk, a jazzy piece with pants. Keelan Whitmore was the lead. Bill thought I had decent taste and I was flattered he trusted me to design the costumes for him.” Choules said.

Another one of Bill’s pieces “I didn’t design, but made the costumes for, was Caprice. The dancers wore nude colored unitards.” Out of frustration, I remade the bodice of the Snow Queen costume from The Nutcracker because it didn’t fit well and was difficult to move in,” Choules remembered. She did design and build the costumes for two more of Bill’s ballets, First Position: A Reminiscence which the company performed during their 50th Anniversary Season and Salute!, a ballet meant to commemorate Christopher Barksdale’s retirement after 20 years in the company.  

After retiring in 2009, she received a grant from the Career Transition for Dancers and used it to attend the Fashion Institute of Technology‘s summer session in NYC. Then she started Elevé in the basement of her home. Initially she hired one employee to cut out leotards and help design the look of the website.

Soon after, disaster struck.

Coming back from the Brink

A fire started in her cutting room and she lost a majority of her patterns as well as supplies and even some completed orders. Not to be held back, Choules with the help of other seamstresses, began remaking her patterns based on past leotards and costume designs she’d made for KCB and any unsewn pieces that were not destroyed by the fire.

“It was hard work, but I was determined. There was no plan B. I had to make this work,” she said.

Elevé Dancewear

And boy has she made it work. Elevé is now located in the Crossroads in 5,200 square feet of space with orders shipping all over the globe!

This Arizona native has come a long way and there is no end in sight.