KAY MAZZO, School of American Ballet's Chairman of Faculty. Mazzo became a member of the New York City Ballet in 1961 and was promoted to soloist in 1965 and principal dancer in 1968. George Balanchine created principal roles for her in Tschaikovsky Suite No. 3, Stravinsky Violin Concerto, Duo Concertant, Scherzo à la Russe, Union Jack, Vienna Waltzes, and Robert Schumann's "Davidsbündlertänze", among others. She originated principal roles in the Jerome Robbins masterworks Dances at a Gathering and In the Night. She and Peter Martins have coached their roles in both Stravinsky Violin Concerto and Duo Concertant for the Interpreters Archives.

BART COOK, NYCB principal dancer, choreographer and ballet master, joined NYCB in 1971 and in 1979 was promoted to principal dancer. Shortly thereafter NYCB appointed Cook Assistant Ballet Master to Jerome Robbins. Cook excelled in Balanchine's "black and white" leotard ballets. In addition, his interpretations of Balanchine's romantic protagonists were as natural a fit as were those of his character and demi-character roles. In 1993 Cook retired from dancing. He has staged Balanchine and Robbins ballets for over thirty years for a wide range of companies including The Royal Ballet, Paris Opera Ballet, Stuttgart Ballet, La Scala Opera, and San Francisco Ballet. Cook has recently been recorded coaching "Melancholic" from Four Temperaments, the "Sarabanda" from Square Dance and the "Concerto" section of Episodes with Allegra Kent for the Interpreters Archives.

MIRIAM MILLER, a member of New York City Ballet's corps de ballet. While still an apprentice with NYCB, Miller performed the role of Titania in George Balanchine's A Midsummer Night's Dream, as well as featured roles in Balanchine's Harlequinade (La Bonne Fée) and Peter Martins' Swan Lake (Princess). Ms. Miller is a recipient of a 2017 Princess Grace Award.

PRESTON CHAMBLEE, since 2015, a member of New York City Ballet's corps de ballet. Chamblee has been featured in several Balanchine ballets, notably Episodes, Serenade, Slaughter on Tenth Avenue, and George Balanchine's The Nutcracker®.

ELIZABETH KENDALL is a dance and culture critic and an associate professor of Writing/Literary Studies at New York's New School (Eugene Lang College and Liberal Studies graduate faculties). Her book Balanchine and the Lost Muse: Revolution and the Making of a Choreographer was published in July, 2013, by Oxford U. Press (paperback summer 2015). She has also written Where She Danced, (Knopf & U. of California Press); The Runaway Bride: Hollywood Romantic Comedy of the l930's (Knopf & Cooper Square Press), two memoirs, American Daughter (Random House, 2000) and Autobiography of a Wardrobe (Pantheon and Anchor/Doubleday, 2006), and magazine, newspaper and journal articles. She has received fellowships from the Rockefeller, Guggenheim, and Fulbright Foundations, NYPL's Cullman Center for Scholars and Writers, the Likhachev Foundation of Russia, and the Leon Levy Center for Biography. She is at work on an experimental biography of Balanchine.

NANCY REYNOLDS, a former dancer with New York City Ballet, has been the Director of Research for The George Balanchine Foundation since 1994. She conceived and continues to direct the Video Archives program. Among her books are Repertory in Review: Forty Years of the New York City Ballet; No Fixed Points: Dance in the Twentieth Century (co-authored with Malcolm McCormick); and Remembering Lincoln. In 2013 she received a "Bessie" award for "outstanding service to the field of dance."

PAUL BOOS is a former dancer with NYCB and répétiteur for the George Balanchine Trust. His work for the Trust has been presented at several theaters, including the Mariinsky, Bolshoi, Paris Opera, La Scala, Pacific Northwest Ballet and Boston Ballet. He also guest teaches abroad and locally.