Faculty Bios

  • Lauren Fadeley-Veyette: Week 1, July 3-7 (Technique/Pointe)

    Lauren Fadeley was born in Orlando, Florida, where she began her dance training at age four. She trained at the Orlando Ballet School and the School of Performing Arts in Florida. In 2000 at age 15, after attending SAB for three consecutive summers, Fadeley moved to New York City to study there full time. After a year at SAB, Fadeley was invited by Peter Martins to join New York City Ballet (NYCB). After two years with NYCB, she decided to further her academic and dance education by attending Indiana University. In May 2007, she graduated Cum Laude with a Bachelor of Science in Ballet Performance with an outside field in Kinesiology. From there, she went on to join the corps de ballet of the Pennsylvania Ballet in the fall of 2007. Fadeley was promoted to Soloist in 2011 and to Principal Dancer in 2012. During her nine seasons at Pennsylvania Ballet, she originated numerous featured roles for a variety of choreographers, and she performed principal roles in many of the company’s staples. Lauren joined Miami City Ballet in 2016 as a Soloist, and has just been promoted to Principal Soloist for the 2017-18 Season. Lauren started teaching while in college at Indiana University, working in their pre-college program. She was a full time and summer teacher at the School of Pennsylvania Ballet. Fadeley has guest taught around the country at such schools as Westside School of Ballet in Santa Monica, CA; School of Performing Arts in Orlando, FL; Virginia Regional Ballet in Williamsburg, VA; Indiana University Ballet Theater in Bloomington, IN; Pennsylvania Regional Ballet in Harrisburg, PA; and Swathmore Ballet and Budzinski School of Ballet in The Philadelphia area.
  • Meredith Rainey: Week 1, July 3-7 (Choreography)

    Meredith Rainey began dancing at 15 in his hometown of Fort Lauderdale, Florida. In 1985 he joined the Milwaukee Ballet. In 1987, he was invited to join the newly formed Pennsylvania-Milwaukee Ballet, remaining with the Pennsylvania Ballet when the collaboration ended—the majority of the time as a soloist—until his retirement in 2006. Among other awards and fellowships, Meredith has been the recipient of the Pennsylvania Council on the Arts Fellowship (1995 & 2002), the Mid Atlantic Arts Foundation Artist as Catalyst Grant (2001), the Independence Foundation Fellowship in the Arts (2002), a finalist for the Pew Fellowship in the Arts (2003), and a Pew Center for Arts and Heritage Grant (2010). Meredith has been commissioned to create works for Pennsylvania Ballet, Ballet X, Delaware Ballet, Hubbard Street 2, National Ballet De Cali, Danse4Nia Repertory Ensemble, Brandywine Ballet, and institutions such as The University of the Arts, Drexel University, and Swarthmore and Bryn Mawr Colleges. His work has been performed in North and South America and throughout Spain. In 2009 Meredith founded and directed Carbon Dance Theatre, a contemporary ballet company in Philadelphia. In 2014 after deciding to concentrate on more artistic projects, Meredith closed the company and remains a sought-after teacher, mentor, and independent choreographer.
  • Meredith Reffner-Callender: Week 2, July 10-14 (Technique/Pointe)

    Meredith Reffner was born in Annapolis MD, and grew up in the Baltimore/D.C. area. Her early dance training included ballet, tap, jazz, Hawaiian, and competitive Scottish Highland dancing. While studying with Ms. Edna Lee Kuhn, she studied the Cecchetti method of ballet and won numerous awards including the National Cecchetti Council of America scholarship two summer’s in a row. At age 13, Ms. Reffner decided to put her primary focus on ballet and attended the Washington School of Ballet, in Washington D.C. She spent her summers at the School of American Ballet in NYC and the Chautauqua Institute. After graduating high school, Ms. Reffner started her professional career with the Washington Ballet, where she had the opportunity to work with Ms. Suzanne Farrell and perform in the Kennedy Center’s 25th Anniversary celebration. She then moved on to work for Paul Mejia at the Fort Worth Dallas Ballet in Texas where she performed several soloist and principal roles. Later, Ms. Reffner moved back to the east coast to work with the Pennsylvania Ballet in Philadelphia, again having the opportunity to perform several soloist and principal roles. Ms. Reffner retired from the stage in 2010. In 2015 Ms. Reffner became a member of the Cecchetti Council of America and is continuing her education and certification of the Cecchetti method of ballet. She is also currently working within Philadelphia’s Main Line communities at the Philadelphia Studio Ballet and Bryn Mawr College. Between teaching her classes, Ms. Reffner can be found enjoying her free time with her husband, fellow dancer/teacher, Rick Callender and their two daughters.
  • Jesse Sani: Week 2, July 10-14 (Choreography)

    Jesse Lawrence Sani hails from the small town of Nazareth, Pennsylvania, but currently resides in South Philadelphia. He began his training at the Lehigh Valley Charter School for the Performing Arts where he majored in Dance. After graduating, he attended the New World School of the Arts in sunny Miami, and then headed back up North to study at the Ailey School in New York City. Sani has performed with various companies including Momentum Dance Company, Fusion Dance Company, PHILADANCO, BalletX, Ballet Hawaii in conjunction with Washington Ballet, and he has performed in various other projects including Jacobs Pillow and the Vail International Dance Festival. Jesse has taught and choreographed at the Pennsylvania Youth Ballet in Bethlehem, and for Ballet Hawaii, and he has choreographed on artists from Pennsylvania Ballet for Shut Up and Dance. This is Jesse’s first summer with the dancers of Brandywine Ballet and he couldn’t be more thrilled to work with such talented youth.
  • Diana White: Week 3, July 17-21 (Technique/Pointe)

    Diana White is an American-born Repetiteur and Master Teacher for the George Balanchine Trust. She began ballet lessons when she was four years old in Park Ridge, Illinois and made her professional debut at age ten as a bug in George Balanchine’s A Midsummer Night’s Dream during a New York City Ballet tour to Chicago. That experience set her on a lifetime course of studying, performing, staging, and coaching Balanchine’s works. When Diana was fourteen, she auditioned for Maria Tallchief’s newly formed Lyric Opera of Chicago Ballet and was accepted as its youngest member. Tallchief, as she shaped the new company, gave daily class and used her own Balanchine repertoire to teach and coach her dancers. In 1975, Balanchine came to Chicago to choreograph, and he invited Diana to study at the School of American Ballet. In 1977, she became an apprentice to the New York City Ballet, and one year later, at age eighteen, she entered the company. During her twenty-year career at NYCB Diana worked directly with Balanchine and Jerome Robbins. She danced corps de ballet, soloist, and principal roles in over fifty Balanchine and twenty Robbins ballets. Her repertoire included principal roles in Balanchine’s Agon, Apollo, Brahms-Schoenberg Quartet, Episodes, the Firebird, the Four Temperaments, Liebeslieder Walzer, Orpheus, the Nutcracker, Rubies, Serenade, Tchaikovsky Suite #3, Variations Pour une Porte et un Soupir, Vienna Waltzes, and Western Symphony, as well as Robbins’ Antique Epigraphs, the Cage, the Concert, Dances at a Gathering, Fancy Free, the Four Seasons, Glass Pieces, the Goldberg Variations, Ives, Songs, Moves, and Watermill. In addition to her work with both masters, she was mentored and coached by Suzanne Farrell, Violette Verdy, and Karin Von Aroldingen. Several years before retiring from the stage, Diana, encouraged by Suzanne Farrell, began to teach. She opened her own school in Scarsdale, New York in 1992, giving classes on her days off from the company. She continues as the studio’s Artistic Director and is also on the faculty of the Conservatory of Dance at SUNY Purchase College. Diana has used her intimate knowledge of the Balanchine repertoire to help develop dancers. Several of her former students are now dancing professionally in companies such as American Ballet Theater, Miami City Ballet, and San Francisco Ballet. The process of passing on Balanchine’s choreography, aesthetic, technique, musicality, and philosophy to her own students fuelled Diana’s passion to work with dancers around the world. Since 2004, she has taught master classes and staged Balanchine ballets on professional companies and schools from the United States to New Zealand. Diana has a deep understanding of the classical ballet traditions that shaped Balanchine. She has great respect for the dancers, artistic directors, teachers, and coaches of today who dedicate themselves to the preservation and continuation of ballet as a vital part of our culture. She is thrilled and honored to be an ambassador of George Balanchine’s incomparable legacy.
  • Michael Nickerson-Rossi: Week 3, July 17-21 (Choreography)

    Michael Nickerson-Rossi, a dynamic dancer/choreographer/master teacher due to his training in modern, jazz, ballet, and hip-hop founded Nickerson-Rossi Dance in 2012. He has since premiered work in San Diego, San Francisco, Salt Lake City, Tempe, Miami Beach, Palm Springs, Philadelphia, Massachusetts, Los Angeles, New York. Internationally, the company's repertoire performed in Belize and Italy. In July 2014, Nickerson-Rossi Dance was commissioned to perform “Deeply Rooted” in the Cape Dance Festival in Provincetown, MA alongside the Martha Graham Dance Company, Paul Taylor, American Ballet Theater, Boston Ballet and others. In February 2015, the company premiered “CHECKMATE”, their newest evening length work at the Helene Galen Performing Arts Center in Rancho Mirage, CA. His latest and most powerful works “Past and Present” were performed at the Annenberg Theater at the Palm Springs Art Museum in 2016 where he served as Creative Director of Dance. Most recently Michael has been named the Creative Director of Dance at the Knauer Theater for the Performing Arts in West Chester, Pa. Nickerson-Rossi is grateful for the company’s bi-coastal & international recognition and the opportunity to teach master classes in universities and with professional companies and studios. Michael is ardent about the company’s outreach program, entitled uNdeRstanD, which is a platform of education for youth designed to provide both physical and emotional liberty through the medium of dance. This project culminates with a unique theater presentation, with students in performance alongside professional dancers. Michael’s work has been recognized as profound and it is with this passion he is building the Palm Springs Dance Festival, with the aim of making it the most sought out dance venue in the west coast.
  • Martha Chamberlain: Week 4, July 24-28 (Technique/Pointe)

    Martha Chamberlain started dancing at age 5 at the Media Fellowship House and later at the Dance Center in West Chester, PA. She attended summer courses at the School of American Ballet from 1984 to 1987. She began studing at the Pennsylvania Ballet School in 1987 and was given an apprenticeship with the Pennsylvania Ballet in the fall of 1989. After a month, she was promoted to the corps de ballet and from there, rose through the ranks to become a principal dancer after her debut as Juliet in John Cranko's “Romeo and Juliet” in 2000. She retired from dancing in April of 2011. In her 21 years at Pennsylvania Ballet, Chamberlain danced a wide variety of leading roles, from classic full-length story ballets to iconic works by George Balanchine to cutting-edge contemporary ballets. In addition to her dancing career, she also started a career in costume design. Her first professional experience was designing for Christopher D'Amboise when he was the artistic director for the Pennsylvania Ballet. Over the past 20 years, she has designed for many choreographers such as Jorma Elo, Matthew Neenan, Helen Picket, Nicolo Fonte, Annabelle Lopez Ochoa and Meredith Rainey. She also has a dancewear business, Chamberlain Goods. Ms. Chamberlain began teaching ballet at the University of the Arts in 2013 and is also currently the wardrobe supervisor for the dance department at the University. She also teaches at Philadelphia Dance Theatre located in the Mount Airy section of Philadelphia, and has taught for The Dance Center and Brandywine Ballet in the past. In the summer Ms. Chamberlain teaches master classes at Swarthmore Ballet Theatre and at Eastern Connecticut Ballet.
  • Nancy Page: Week 4, July 24-28 (All Choreography Review)

    A native of West Chester, PA, Ms. Page trained at a young age at The Dance Center under the direction of Donna Muzio and was promoted to principal dancer with the Brandywine Ballet during high school. She won full scholarships to train with the Milwaukee Ballet, Pacific Northwest Ballet, and Joffrey Ballet upon graduation. She apprenticed with the Pittsburgh Ballet before accepting a company position with Florida Ballet, where she danced the Gold Medal Pas de Deux choreographed by world-renowned choreographer Norbert Vasak. She later became a member of the Tampa/Colorado Ballet, dancing solo and principal roles in classical and contemporary works. Ms. Page eventually accepted principal positions with Sarasota Ballet and Ballet Eddy Toussaint USA, dancing many original, contemporary ballets that were set on her as well as performing the various classics, such as Paquita, Sleeping Beauty, and The Nutcracker. Ms. Page returned home in 1993 to perform as Principal Dancer with Brandywine Ballet. While dancing full-time with Brandywine Ballet, Ms. Page continued to guest alongside professional dancers from Ballet West and Joffrey Ballet and also performed with the Pennsylvania Ballet. In 1998, she was the first Principal Dancer in the newly formed Brandywine Ballet Theatre, the professional arm of the company, dancing alongside Zdenek Konvalina (presently with the English National Ballet) for two years. In 2000, she had the pleasure of working with the Samuel Barber Foundation to set one of her first ballets, Voices, to his magnificent score Adagio for Strings. In 2008, the Brandywine Ballet collaborated with the Brandywine Singers, and Ms. Page choreographed Mozart’s Requiem, bringing together a powerful array of dancers, vocalists, and musicians. Ms. Page has also choreographed several full-length ballets including Dracula, The Wonderful Wizard of Oz, and is currently working on a new Beauty & The Beast. In addition, Ms. Page is a principal teacher at The Dance Center, Official School of Brandywine Ballet, and she teaches Partnering class for Brandywine Ballet Theatre.