June 10, 2021 - August 22, 2021

Second Company @ Home: Episode 1

Second Company @ Home: Broadcast Series showcases many of the works learned and performed by the Second Company during the 2020-2021 season. These three, 20-minute episodes each include an introduction from Kansas City Ballet Artistic Director Devon Carney, two pieces performed by members of the group, and interviews with company members, as well as other behind-the-scenes footage. Click here for full list of episodes.

Kansas City Ballet Second Company is an emerging professionals’ program which gives extraordinarily talented young dancers a professional company experience as a prelude to their joining a professional company. KCB’s Second Company performs throughout the region through public performances, lecture demonstrations, residencies, and workshops, enabling the community to experience live dance in a public setting.

Watch the full episode of Tomm Ruud’s Mobile and Christopher Ruud’s Jupiter’s Court on this page (scroll down) from Thursday, June 10 through August 22. It will also be available to stream by Facebook and Vimeo.

About KC Ballet’s Second Company: Episode 1

Choreographed by Ruud in 1969 and set to Khachaturian’s Adagio from Gayne Suite, Mobile takes its title from the initial letters of the concept which inspired it: Moving Objects Behaving In Linear Equipoise. “A work for three dancers who move in slow parallelograms, literally mobiles that evolve into other mobiles; fascinating, striking, exquisitely conceived,” (San Francisco Chronicle), the “sheer engineering feat of it is reason to see it time and time again.” (Blake A. Samson, Fine Arts News Service). Mobile was a highlight of San Franciso Ballet’s Fiftieth Anniversary Gala in January, 1983 and is the subject of the film Balances, released in 1981. Mobile continues to stand the test of time recently delighting the audiences of Kansas City Ballet, Ballet West, Aspen/Santa Fe Ballet, Joffrey Ballet Co., San Francisco Ballet and The Stuttgart Ballet.


We would love to hear from you regarding this performance. Please visit our Facebook post showcasing this video to leave a comment.

Watch This Content on Your TV


Your video may need a minute to load. If it is not playing continuously, try pausing it and stepping away for a few minutes and then continuing the show once it’s had a chance to pre-load more of the performance. If you are experiencing connection issues, it may be related to your browser settings, internet bandwidth, or it’s a device-specific issue. While we can’t guarantee and may not be able to troubleshoot the performance of your specific hardware setup, we have a few recommendations that we hope will help:

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If you continue experiencing troubles, please email Karen Badgett.

Meet the Choreographers

Tomm Ruud attended the University of Wyoming for one year and briefly studied modern dance.  When he transferred to the University of Utah’s Ballet Department, he came under the mentorship of William Christensen.  While in Christensen’s choreography class, Tomm developed his signature work Mobile, to music from Khatchaturian’s Gayane ballet.  He also studied men’s technique and partnering and eventually performed the role of Franz in Utah Civic Ballet’s Coppelia in 1966.  Tomm graduated with a BFA in ballet, immediately joining the Utah Civic Ballet and participated in tours throughout the American West and Europe.  He completed his MFA in 1970. Tomm continued to choreograph several works, including a commission from American Ballet Theater, with support from the National Endowment for the Art’s Choreographer Fellowship program.  In 1975, Tomm became a principal dancer with San Francisco Ballet in May 1975.  With San Francisco Ballet, Tomm continued to choreograph as a resident choreographer.  In 1981, a short film titled Balances was created based on his work Mobile. Tomm also performed roles choreographed by Michael Smuin and Lew Christensen, notably as Romeo in Smuin’s Romeo and JulietThe Tempest, and others.  Tomm also contributed to the production of San Francisco Ballet’s Nutcracker as a coach and performed the role of Drosselmeyer with his son, Christopher.  Tomm eventually joined the artistic staff at San Francisco Ballet.

Christopher Ruud has been a part of the performing arts since birth. Growing up backstage at San Francisco Ballet he was immersed in the art of professional dance, performance, and stagecraft. Receiving the majority of his dance training at San Francisco Ballet School he began his performing career on the War Memorial Opera House stage at the age of 9. Mr. Ruud was hired into Ballet West in 1998. Quickly moving through the ranks, he was named Principal Dancer in 2004. He spent the last 21 years as an artist for Ballet West performing a huge range of classical and contemporary repertoire. Mr. Ruud is grateful to have seen sold out houses at home, all over the United States and internationally most notably in China, Cuba, New York and at the Kennedy Center receiving glowing reviews. In his time with the company, he has danced major roles in the great works of Balanchine, Kylián, Forsythe, Ashton, Tudor and Cranko to name a few. He has worked personally with some of the great names in the ballet world such as Sir Anthony Dowell, Cynthia Gregory, Hans Van Mannen and Bruce Marks. Mr. Ruud has seen success as a choreographer having his ballets performed in the Ballet West Innovations program and at the annual gala performance garnering such awards as a New York Choreographic Institute Fellowship as well as several NEA grants. He spent two years as the Director of Ballet West 2 teaching, coaching, and choreographing for a group of 10-12 young dancers, most of whom were hired into the main company. For the past seven years, Mr. Ruud has directed his own small company, RUUDDANCES, performing in the Annual Utah Arts Festival and touring to Jacobs Pillow.

The Second Company, which includes KCB II and Trainees, performs throughout the region through public performances, lecture demonstrations, residencies and workshops, enabling the community to experience live dance in a public setting.

Learn More


Now more than ever, Kansas City Ballet is depending on supporters like you.

If you are able, we ask that you consider making a gift to Keep Kansas City Ballet Strong through our 2021 Relief and Recovery Fund. Our goal of $1,000,000 for this fund will help provide the resources the Ballet needs to get back on stage for you when it is safe to do so.

Check out the heroes who have helped us in the last year! 

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