Photo by Juliana Godlewski
  • Director of Recruitment, School Of Dance
  • Recruitment Director for the Ballet Program, School Of Dance
  • Assistant Professor, School Of Dance
  • Undergraduate Honors Thesis Advisor, School Of Dance
  • Honors Thesis Advisor, School Of Dance

Research Keywords

  • dance
  • Saint-Leon
  • Petipa
  • Ballet Repertoire
  • Ballet Pedagogy
  • Ballet History
  • Ballet

Creative Research

  • Aurora's Wedding, Act 3, Sleeping Beauty. Choreography by Marius Petipa, F. Louphokov, and Konstantin Sergeyev. Music composed by Tchaikovsky. The Research and staging involved 34 dancers. The production was performed at the Marriott Center For Dance, Hayes Christensen Theatre, University of Utah. The program can be seen here: Curatorial/Production, completed 10/27/2022.
  • Aurora's Wedding, Act 3, Sleeping Beauty, Choreography after Petipa, Alloways-Ramsey. I performed the character role of the King in the production performed onstage at the Hayes Christensen Theatre, Marriott Center for Dance, University of Utah. The program can be seen here: Performance, completed 10/27/2022.
  • Aurora's Friends Dance, Sleeping Beauty, Act 1. Choreography after Petipa, Music Tchaikovsky. The dance was arranged using 12 women from the Utah Ballet Summer Intensive, Marriott Center for Dance Curatorial/Production, completed 07/15/2022.
  • Peasant Pas de Deux, Giselle, Act 1, choreography by Konstantin Sergeyev. I was invited to stage this pas de deux at Santa Fe College in Gainesville, Florida. Two couples learned the pas de deux and one couple performed the staging in the Jackson Sassar Fine Arts Hall, Gainesville FL. Curatorial/Production, completed 07/07/2022.
  • Giselle's Friends Dance from Giselle, Act 1. Staged for Utah Ballet Summer Intensive using 12 dancers. Marriott Center for Dance Curatorial/Production, completed 07/01/2022.
  • Flower Festival at Genzano pas de deux, choreographed by August Bournonville in 1858. Music by Helsted. The pas de deux opened The Ballet Alliance Gala in the Abraham Chavez Theatre, El Paso, TX. capacity, 2500. The digital program can be found here: Curatorial/Production, completed 04/04/2022.
  • Flower Festival at Genzano Suite, choreographed by August Bournonville in 1858 with additional choreography by Marius Petipa for the corps de ballet. Flower Fest suite was Researched and staged using a principal woman and a principal man with eight corps de ballet women. The music is by Helsted.Performed at Kingsbury Hall. Dress Rehearsal Footage: Curatorial/Production, completed 03/31/2022.
  • La Vivandiere, choreography by Arthur Saint-Leon, 1848. Music: Pugni Assistant Professor Alloways-Ramsey was invited by The Florida Ballet Company located in Jacksonville, FL. to stage Saint-Leon's rarely performed ballet, La Vivandiere in August 2021. Assistant Professor Alloways-Ramsey has previously done extensive research and staging of this historically significant ballet for the University of Utah. Over a four-day period (three hours per day) the twelve-minute work was staged on a cast of five women and one man. The ballet was presented by the company for the Amelia Island Dance Festival and streamed live on local PBS affiliates Curatorial/Production, completed 09/11/2021.
  • Raymonda Suite, Choreography, Alloways-Ramsey after Petipa. Due to COVID protocols, much of the choreography used for this staging had to be adapted and choreographed to eliminate touching, partnering, or having too many dancers on stage at the same time. Some portions of the staging were conceived fresh and new to accommodate the technical level of the dancers. Other variations are strictly Petipa's 1898 choreography. The dancers used for the Raymonda Suite were Freshmen women and the men included 5 Freshmen, a Sophomore, and two Juniors. Music by Glazanov The Program can be seen here: Link to Jean de Brienne solo: Choreography, completed 04/24/2021.
  • The Prologue of The Sleeping Beauty, choreography Marius Petipa, Feodor Loupokhov, and Konstantin Sergeyev. Music Tchaikovsky. During the Utah Ballet 2 Performance Series, Assistant Professor Alloways-Ramsey staged two classical works over the six-week rehearsal period. The cast is composed of Ballet Majors in the Junior Class. Rehearsals were held two to three times per week, much less than a normal rehearsal period for a classical undertaking. Covid protocols were strictly observed. Petipa's 1892 Masterwork is regarded by historians and critics alike as his defining choreography highlighting balletic classicism, symmetry, and nuanced phrasing within Tchaikovsky's lush score. The Program can be seen here: Stage rehearsal: Curatorial/Production, completed 04/24/2021.
  • La Vivandière (or Markitenka), choreographed by Arthur Saint-Leon, debuted in 1848. I Researched using Saint-Leon's manual, Stenochoreography, or the Art of Writing Dancing Swiftly; Ann Hutchinson Guest's, La Vivandière; reviews from the 19th century of the work; lithographs, and finally embodied knowledge from learning the male variations in ballet school. The distinctive French style and technique from the early 19th-century is somewhat difficult for dancers in the 21st-century with the fast directional changes, gentle epaulement, and devious petit allegro The Research began in the fall of 2019 and performed during the Utah Ballet II performances of Feb.2020 Performance, completed 02/08/2020.
  • Giselle, Act 2. In Collaboration with Associate Professor Jay Kim, Principal Restager for the project, Professor Alloways-Ramsey researched the historical and symbolical inclusion of the demi-soloists within the second act of Giselle, Moya, and Zulma. Additionally, Professor Alloways-Ramsey staged, coached, and rehearsed the demi-soloists and corps de ballet for the Utah Ballet 1 performances. Curatorial/Production, completed 11/09/2019.
  • Le Jardin Animé from the full-length ballet Le Corsair, was researched, rehearsed, and performed using a cast of eighteen women within the School of Dance. This excerpt from Petipa's full-length, master-work highlights the choreography that was added in a later staging from 1860 using the music of Delibes. The work ran sixteen minutes and was performed for the 2019 Gala at the Hayes Christensen Theatre in the Marriott Center for Dance. Performance, completed 04/11/2019.


  • Presentation on the Style and Gendered Roles in Romantic and Classical Ballets. Escuela Nacional de Danza, Santo Domingo, Dominican Republic. Class of Prof. Stephanie Bauger. Invited Talk/Keynote, Presented, 05/27/2022.
  • Historical Importance of Giselle and the Peasant Pas de Deux Santa Fe College Dance Dept. Gainesville, Florida. Invited Talk/Keynote, Presented, 05/10/2022.

Geographical Regions of Interest

  • Dominican Republic
    Ongoing Research and Teaching with Ballet Nacional Dominicano and Escuela Nacional de Danza.
  • Eastern Europe
  • France
    Much of ballet history originates in Paris and the continued study guides much of my Research.
  • Puerto Rico
    In conjunction with Blanca Huertas Agnew, the founder, and director, of the Puerto Rico Classical Dance Competition, Professor Alloways-Ramsey, acts as an Artistic Advisor for the competition, and has helped in scholarship contributions through the University of Utah, but additionally extending professional contacts within major ballet academies that contributed to the new competition ensuring prizes and scholarship funds for prize winners.
  • South Africa
    Served as Ballet Master, Cape Dance Company and as Head of Ballet at Cape Academy of Performing Arts in Cape Town, 2014-2016.
  • South America