State Street Ballet’s Gala and a New Chapter of Inspiration

Santa Barbara is often described as a city that draws the world in – international artists, performers, and audiences alike, all arriving to bask in its beauty and culture. But State Street Ballet reminds us that the relationship is not one-sided. As much as this coastal town welcomes the world, the company carries Santa Barbara outward, into theaters and communities far beyond the Pacific horizon. This fall, as State Street Ballet prepares for its annual gala, Executive Director Cecily MacDougall and Artistic Director Megan Philipp are setting the stage for a season that is both a gift to the community and a bold message to the wider world: ballet is alive, evolving, and ready to inspire the next generation.

A Carnival of Celebration

On October 4, at the Music Academy of the West’s Hahn Hall, State Street Ballet (SSB) will host its 2025 gala, La Fête du Carnaval. Inspired by Camille Saint-Saëns’ Carnival of the Animals and choreographer Alexei Kremnev’s playful staging, the evening promises to feel like a step back into Belle Époque Paris. As guests enter the magic of Miraflores in their finest Parisian attire, they will encounter stilt walkers, jugglers, and an eclectic program of dance as they sip on cocktails and dine under the stars. 

As a special treat for the readers, State Street Ballet and the Montecito Journal partnered with several artists to illustrate some of the fashion and faces that will be gracing this year’s gala. The sparkling red duo, gala Co-chairs Alex Nourse and Nicole Callahan – wearing a custom gown made by NY fashion designer Naeem Khan – were depicted by Claire Wentzel and Kaya Oktayuren respectively. The stylings of guests Lily Hahn Shining and Belle Hahn have been imagined by photographer/artist Kim Reierson. Fashion designer Catherine Gee gracefully offered to dress any of the SSB cast for the evening’s attendance, and drew SSB’s own Aimee Le in a piece from Gee’s eponymous brand and store in La Arcada. 

The gala will also carry a sense of history and continuity. Now in its 31st season, State Street Ballet has long balanced elegance with imagination, sophistication with whimsy. This year, MacDougall and Philipp are steering the celebration as much toward the future as toward the past, using the gala as both a fundraiser and an expression of intent: Santa Barbara’s ballet company is growing, daring, and ready to meet new audiences where they are.

Leading with Care and Curiosity

It has been nearly two years since State Street Ballet’s founder and visionary, Rodney Gustafson retired, placing the reins of the company in Cecily and Megan’s hands. Both leaders are seasoned insiders – Cecily with over 15 years at the company, Megan with more than a decade. They know the institution’s DNA because they’ve lived it, danced it, and now, reimagined it. Their dual leadership is less about dividing responsibilities than about blending strengths. MacDougall brings financial acumen and organizational vision, while Philipp infuses choreographic insight and a keen sense for what will excite both dancers and audiences.

One of their first acts after stepping into leadership was to ask the dancers what they needed most. “What would make your life better?” was the question en pointe – continuing Rodney’s leadership style rooted in care, collaboration, and respect for the artists who animate the stage. From there, the pair have steadily expanded the repertoire, improved conditions for company members, and invested in original works that allow dancers to be not just interpreters but innovators. With a grant from the Manitou Fund last year (which was also renewed this year), SSB was able to bring live music to every performance, and include a live pianist in the studio each day – with Cecily and Megan adding that this small addition in the studio has a big impact on the performers during rehearsal. The feeling of live music can’t be replaced by a recording. 

Lessons from a Mermaid, Dreams for the Playground

Last season’s Little Mermaid original performance offered both leaders a crucible and a canvas. The production may have been built off a children’s story, but it’s high-level choreography and Christina McCarthy’s mesmerizing puppets left adults just as enchanted as their children. Many audience members arrived expecting a simple “kids’ show,” only to find themselves riveted by the sophistication of the choreography and the richness of the storytelling. That response confirmed the guiding philosophy that children’s programming does not need to be simplistic. When done well, it can captivate seasoned art lovers or spark lifelong appreciation for dance in a freshened mind. 

This year, State Street Ballet builds on that thought with a daring new program titled Recess. A triple bill that playfully explores themes of childhood, games, and imagination, Recess brings together three distinct works: Alexei Kremnev’s internationally toured Carnival of the Animals and legendary West Side Story choreographer Jerome Robbins’ Interplay, which is set on a playground and is “all about fun and games.” Getting the rights to a Robbins piece was a feat in itself and the company has never performed one of his works before. The final work is a brand-new commission inspired by the world of video games – bringing themes and sounds off the screen and onto the stage.

The concept is as audacious as it is inviting. By blending classic choreography with pop culture references and interactive elements, Recess positions ballet not as a relic of the past, but as a living, breathing art form capable of speaking directly to young audiences raised on screens. It is designed to pull children into the theater with the promise of fun, while reassuring adults that they will witness art of the highest caliber.

“I think what Megan’s put together for Recess … kids are going to be super entertained, but the dancing is so high level, challenging, and athletic that for adults, it’s really going to be wonderful too,” Cecily said. 

With Megan adding, “And of course for our dancers, it’s about that balance of energy – doing something new for the next generation of audience members, while keeping themselves stimulated and challenged.” In other words, Recess is SSB’s recess – an interlude of joy, exploration, and creativity that might just convince a child to someday trade sneakers for pointe shoes.

Touring as Ambassadorship

Santa Barbara is blessed with cultural abundance: opera, symphony, arts festivals, and lecture series that rival those of far larger cities. Yet State Street Ballet is unique in its role as both host and traveler. Touring has been embedded in the company’s DNA from the beginning, while helping extend employment for dancers, it also shares Santa Barbara’s artistic identity with the world.

In recent years, the company has taken productions like The Jungle Book to audiences of thousands at the Redlands Bowl, staged The Nutcracker in Spokane, Washington, and Durango, Colorado, and planned international engagements that place them alongside world-renowned ensembles.

These tours serve a dual purpose: they allow dancers to fully live in the works they create – performing them repeatedly, refining them, deepening their artistry – and they transform Santa Barbara into not just a destination for art, but a place of origin, a birthplace of cultural exports.

In this way, State Street Ballet acts as both steward and ambassador: preserving the cultural riches of Santa Barbara while ensuring that its influence dances outward, far beyond the coastline.

Building Bridges Across Generations

The challenge of running a ballet company these days isn’t just about keeping the books balanced or the dancers in step – it’s about making sure the magic of ballet still feels fresh to those discovering it. For Cecily and Megan, that means finding ways to bridge the classics with the contemporary. 

Romeo and Juliet condensed into a 50-minute version with live symphonic accompaniment, Chaplin exploring the psyche of a silent film legend (and Santa Barbara resident), Recess playing with video game culture. Each program speaks in multiple voices at once—traditional enough to honor ballet’s roots but daring enough to capture the imaginations of new audiences.

At the same time, the company is expanding its educational reach. From academy training to outreach performances at community centers and YMCAs, State Street Ballet is cultivating future dancers and future audiences alike. They understand that today’s six-year-old in the back row may someday be tomorrow’s principal dancer—or tomorrow’s patron who makes the art possible.

La Fête du Carnaval: A Prologue

The upcoming gala is both a celebration and a signal of what’s to come. Beneath the autumn skies of Santa Barbara, amid music, laughter, and a touch of Parisian carnival, State Street Ballet will shine at its most dazzling. But the true magic lies in what follows – in the studios, classrooms, and distant stages where the company continues to grow its artistry and share it with the world. Under the leadership of Cecily MacDougall and Megan Philipp, the company is reshaping tradition with fresh energy, building programs that delight children, challenge dancers, and captivate audiences of every age. Touring nationally and internationally, they carry Santa Barbara’s cultural voice outward while ensuring ballet remains a living force at home. As the gala lights fade, the message endures: ballet is not an artifact but a spark – one that belongs to everyone, and one that State Street Ballet is determined to pass to the next generation.  

Visit https://statestreetballet.com/gala-rsvp for more info on La Fête du Carnaval