S625
director:
rachel prescott
rachel prescott
studio6twenty5 is fulfilling the timeless demand for classical performing arts.
Students are developed as individual artists through well-rounded, classical curriculums and are supported by a nurturing, positive, curated environment. studio6twenty5 ensures that both classical ballet & contemporary dance are taught, as well as presented, in a way that inspires our community and resonates within families. - RP
studio6twenty5 is proud to include the AMERICAN BALLET THEATRE® National Training Curriculum, a breakthrough 9 level program that combines high quality artistic training with the basics of dancer health and child development.
The ABT® National Training Curriculum consists of a comprehensive set of age-appropriate, outcome-based guidelines to provide the highest quality ballet training to dance students of all ages and skill levels.
Pre-Primary through Level5 will be taught by ABT® Certified Teacher, Rachel Prescott, who has successfully completed the ABT® Teacher Training Intensive in Pre-Primary through Level 5 of the ABT® National Training Curriculum.
classical ballet classes
Students are developed as individual artists through well-rounded, classical curriculums and are supported by a nurturing, positive, curated environment. studio6twenty5 ensures that both classical ballet & contemporary dance are taught, as well as presented, in a way that inspires our community and resonates within families. - RP
The ABT® National Training Curriculum consists of a comprehensive set of age-appropriate, outcome-based guidelines to provide the highest quality ballet training to dance students of all ages and skill levels.
Pre-Primary through Level
classical ballet classes
ages 2-8
teen-adult
Mon
︎Beginner Ballet
(Adult/Open)
1:00-2:30p.m.
Rachel Prescott
︎Pre-Primary C Ballet
(4-5 yrs)
3:45-4:25p.m.
Rachel Prescott
Tues
︎Barre+
(Adult/Open)
9:00-10:00a.m.
Shaye Smith
︎Intermediate Ballet
(Adult/Open)
12:00-1:30p.m.
Rachel Prescott
︎Pointe
(Adult/Open)
1:30-2:15p.m.
Rachel Prescott
︎Pre-Primary B Ballet
(3-4 yrs)
2:45-3:15p.m.
Rachel Prescott
︎Boys Class
(4-8 yrs)
3:45-4:30p.m.
Rachel Prescott
Wed
︎Beginner Ballet
(Adult/Open)
1:00-2:30p.m.
Rachel Prescott
︎Primary A & B Jazz/Lyrical
(5-8 yrs)
4:00-5:15p.m.
Shaye Smith
︎Lyrical
(Adult)
5:45-7:15p.m.
Shaye Smith
Thur
︎Pre-Primary B Ballet
(3-4 yrs)
10:45-11:15a.m.
Rachel Prescott
︎Intermediate Ballet
(Adult/Open)
12:00-1:30p.m.
Rachel Prescott
︎Pointe
(Adult/Open)
1:30-2:15p.m.
Rachel Prescott
︎Primary A & B Ballet
(5-8 yrs)
4:00-5:00p.m.
Rachel Prescott
︎Pre-Primary A Ballet
(2-3 yrs)
5:00-5:30p.m.
Rachel Prescott
︎Pre-Primary C Ballet
(4-5 yrs)
5:35-6:15p.m.
Rachel Prescott
Fri
︎Barre+
(Adult/Open)
9:00-10:00a.m.
Shaye Smith
︎Pre-Primary A Ballet
(2-3 yrs)
10:30-11:00a.m.
Rachel Prescott
Sat
︎Pre-Primary C Ballet
(4-5 yrs)
9:00-9:45a.m.
Rachel Prescott
︎Pre-Primary Tap
(4-5 yrs)
9:50-10:20a.m.
Claire Jacyshyn
︎Primary A Ballet
(5-6 yrs)
10:30-11:30a.m.
Rachel Prescott
︎Primary B Ballet
(6-8 yrs)
11:30-12:30p.m.
Rachel Prescott
︎Intermediate Ballet
(Adult/Open)
1:00-2:30p.m.
Rachel Prescott
︎Pointe
(Adult/Open)
2:30-3:15p.m.
Rachel Prescott
Pre-Primary A, B, & C (2-5 yrs)
Primary A & B (5-8 yrs)
Adult/Open Ballet & Pointe (12+)
barre+
Pre-Primary A , B, & C Ballet (2-5 yrs)
Pre Primary Ballet is part of the ABT® National Training Curriculum for the youngest dancers, instilling foundational elements of movement through creative experience, expression and play. Basic concepts are informally introduced throughout these levels, and students are encouraged to explore movement through imaginative ideas. Emphasis is placed on correct posture, musicality and coordination. Both boys and girls are highly encouraged.
These classes runs through the academic school year and require registration.
Pre Primary A Ballet [Ages 2-3]
Pre Primary B Ballet [Ages 3-4]
Pre Primary C Ballet [Ages 4-5]
Instructed by Rachel Prescott.
Primary A & B Ballet (5-8 yrs)
Primary Ballet for ages 5+ is part of the ABT® National Training Curriculum and begins to introduce class in a more structured nature, with defined floorwork and center exercises. Creativity and imaginative ideas continue to be encouraged for movement exploration within these levels. New concepts at this level include understanding spatial instructions, spacial relatively and performing movement to a defined musical phrase. A pre-requisite of the Pre Primary Ballet program prior to Primary A ballet is suggested. Both boys and girls are highly encouraged.
These classes runs through the academic school year and require registration.
Primary A Ballet [Ages 5-6]
Primary B Ballet [Ages 6-8]
Instructed by Rachel Prescott.
Adult/Open Division
We offer a variety of Adult/Open Ballet and Pointe classes at beginner and intermediate levels.
Adult/teen students ages 12+ are welcome to attend.
Instructed by Rachel Prescott.
barre+
Barre+ is a ballet/fitness-focused class using foundations of ballet combined with other workout styles that support the balletic movement like body-weight exercises, intervals, and basic Pilates-style movements. Expect a full-body workout, sweat, and fun with high-energy music in 60 minutes. The ultimate "hybrid" class for both new and seasoned students is sure to tone, lengthen and strengthen a lean physique.
Barre+plus classes are held every Tuesday and Friday from 9:00-10:00am.
Instructed by Shaye Smith.
Dress Code For students under 12 Years Old.
Young Ladies: Class assigned leotard dress, pink tights, pink ballet shoes (no string ties), hair in a bun at the crown of the head.
Young Men: White cotton crew neck t-shirt, black biker shorts and white fold over ankle socks or black boy’s tights, black ballet slippers.
︎ (contact us)
Upcoming Events
Featuring the studio6twenty5 Children's Program, as well as Adult/Open Division dancers.
Staging, arrangement and choreography by artistic director Rachel Prescott.
With original choreography by Shaye Smith.
100% of performance proceeds directly benefit the studio6twenty5 Children's Program.
Donation opportunity available upon check-in.
Purchase Tickets
ABOUT
“Just as Giselle is ballet’s great tragedy, so Coppélia is its great comedy.” - George Balanchine on the importance of Coppélia
Our story takes place in a small village of Galicia, a province of Austria-Hungary, with today’s map finding Galicia in western Ukraine and southeastern Poland. The “color” of the region can be seen in the brilliant colors, heavy embroidery and elaborate trimmings of the costumes. It can also be heard in the rich nationalistic melodies and complex folk dances of the composer. This was the first use of the Hungarian czardas to be performed in a ballet, which is a very complex national dance; both the czardas and mazurka dances in Coppélia were the culmination of the region’s folk dances.
At the age of 33, Delibes was commissioned by the Paris Opera to write his two large‑scale ballets, Coppélia and Sylvia. Coppélia is based on a story by E. T. A. Hoffmann – the same tale that sparked Offenbach’s brilliant “Doll Act” in his opera, The Tales of Hoffmann.
It is thought that the third act score of Coppélia was the model for “Aurora’s Wedding,” the third act of Tchaikovsky’s The Sleeping Beauty. Tchaikovsky was a great admirer of Delibes, and there is evidence that Tchaikovsky himself also felt the score of Coppélia was superior to that of Swan Lake, a matter for historic interpretation and personal preference.
“Delibes is the first ballet composer, Tchaikovsky and Stravinsky are his successors.” - George Balanchine
Premiering on May 25, 1870 at the Theatre Imperial de l’Opera in Paris, this story is a delightful tale of fantasy with a happily-ever-after ending for Swanhilda, a young village girl who becomes fascinated by the eccentric Dr. Coppélius and his unresponsive “daughter,” Coppélia.
“Just as Giselle is ballet’s great tragedy, so Coppélia is its great comedy.” - George Balanchine on the importance of Coppélia
Our story takes place in a small village of Galicia, a province of Austria-Hungary, with today’s map finding Galicia in western Ukraine and southeastern Poland. The “color” of the region can be seen in the brilliant colors, heavy embroidery and elaborate trimmings of the costumes. It can also be heard in the rich nationalistic melodies and complex folk dances of the composer. This was the first use of the Hungarian czardas to be performed in a ballet, which is a very complex national dance; both the czardas and mazurka dances in Coppélia were the culmination of the region’s folk dances.
At the age of 33, Delibes was commissioned by the Paris Opera to write his two large‑scale ballets, Coppélia and Sylvia. Coppélia is based on a story by E. T. A. Hoffmann – the same tale that sparked Offenbach’s brilliant “Doll Act” in his opera, The Tales of Hoffmann.
It is thought that the third act score of Coppélia was the model for “Aurora’s Wedding,” the third act of Tchaikovsky’s The Sleeping Beauty. Tchaikovsky was a great admirer of Delibes, and there is evidence that Tchaikovsky himself also felt the score of Coppélia was superior to that of Swan Lake, a matter for historic interpretation and personal preference.
“Delibes is the first ballet composer, Tchaikovsky and Stravinsky are his successors.” - George Balanchine
Premiering on May 25, 1870 at the Theatre Imperial de l’Opera in Paris, this story is a delightful tale of fantasy with a happily-ever-after ending for Swanhilda, a young village girl who becomes fascinated by the eccentric Dr. Coppélius and his unresponsive “daughter,” Coppélia.
Act I
A village Square in Galicia
The curtain rises on the village and a lovely young girl, Coppélia, is seen sitting on a balcony reading a book as Swanhilda enters. Swanhilda looks up at the girl, tries to attract her attention, but receives no reply.
The villagers are preparing for the Harvest Festival. The official party, led by the Bürgermeister, commences the celebration with the ringing of the bells. The celebration is momentarily interrupted by Dr Coppélius, whose mysterious "daughter" causes a quarrel of confusion. The villagers, after continuing the celebrations with a mazurka, disperse among a thunderstorm and await the Harvest Festival to resume the following morning. Meanwhile, Swanhilda and her friends investigate the strange house of Dr Coppélius.
Act II
Inside Dr Coppélius’ house and workshop – that evening
The curtain rises on the dimly‑lit interior of Dr. Coppélius’ workshopshop ‑ a room full of life‑like, life‑size dolls. Swanhilda’s friend pokes her head into an alcove to discover Coppélia. The amazed young intruders wind up all the dolls, who dance as the friends watch, enchanted. Suddenly, a furious Dr. Coppélius enters and all of the culprits flee, except for Swanhilda, who runs into the alcove where Coppélia is kept and puts on her dress. Dr Coppélius is fooled by Swanhilda and thinks his mechanical doll has come to life. When Swanhilda reveals she has changed places with the doll, Dr Coppélius is left broken-hearted and angry.
Act III
The Harvest Festival – the next morning
The storm has cleared and the celebration has resumed. The gathered villagers celebrate the pageant day with joyous dancing.
Dr. Coppélius storms in, accusing Swanhilda of destroying his life’s work. Realizing his anger she tells the Bürgermeister her harrowing story, who then takes matters into his own hands buy giving Dr. Coppélius a bag of gold. The Bürgermeister then send him off. All is well in Galacia, and the villagers honor Swanhilda for her honesty and wit. The Harvest Festival continues as the villagers celebrate the hours of the day.
They all dance into the night.
A village Square in Galicia
The curtain rises on the village and a lovely young girl, Coppélia, is seen sitting on a balcony reading a book as Swanhilda enters. Swanhilda looks up at the girl, tries to attract her attention, but receives no reply.
The villagers are preparing for the Harvest Festival. The official party, led by the Bürgermeister, commences the celebration with the ringing of the bells. The celebration is momentarily interrupted by Dr Coppélius, whose mysterious "daughter" causes a quarrel of confusion. The villagers, after continuing the celebrations with a mazurka, disperse among a thunderstorm and await the Harvest Festival to resume the following morning. Meanwhile, Swanhilda and her friends investigate the strange house of Dr Coppélius.
Act II
Inside Dr Coppélius’ house and workshop – that evening
The curtain rises on the dimly‑lit interior of Dr. Coppélius’ workshopshop ‑ a room full of life‑like, life‑size dolls. Swanhilda’s friend pokes her head into an alcove to discover Coppélia. The amazed young intruders wind up all the dolls, who dance as the friends watch, enchanted. Suddenly, a furious Dr. Coppélius enters and all of the culprits flee, except for Swanhilda, who runs into the alcove where Coppélia is kept and puts on her dress. Dr Coppélius is fooled by Swanhilda and thinks his mechanical doll has come to life. When Swanhilda reveals she has changed places with the doll, Dr Coppélius is left broken-hearted and angry.
Act III
The Harvest Festival – the next morning
The storm has cleared and the celebration has resumed. The gathered villagers celebrate the pageant day with joyous dancing.
Dr. Coppélius storms in, accusing Swanhilda of destroying his life’s work. Realizing his anger she tells the Bürgermeister her harrowing story, who then takes matters into his own hands buy giving Dr. Coppélius a bag of gold. The Bürgermeister then send him off. All is well in Galacia, and the villagers honor Swanhilda for her honesty and wit. The Harvest Festival continues as the villagers celebrate the hours of the day.
They all dance into the night.
ABOUT STUDIO6TWENTY5
studio6twenty5 is fulfilling the timeless demand for classical performing arts.
Students are developed as individual artists through well-rounded, classical curriculums and are supported by a nurturing, positive, curated environment. studio6twenty5 ensures that both classical ballet & contemporary dance are taught, as well as presented, in a way that inspires our community and resonates within families.
studio6twenty5 is proud to include the AMERICAN BALLET THEATRE® National Training Curriculum, a breakthrough 9 level program that combines high quality artistic training with the basics of dancer health and child development. The ABT® National Training Curriculum consists of a comprehensive set of age-appropriate, outcome-based guidelines to provide the highest quality ballet training to dance students of all ages and skill levels. Pre-Primary through Level 5 will be taught by ABT® Certified Teacher, Rachel Prescott, who has successfully completed the ABT® Teacher Training Intensive in Pre-Primary through Level 5 of the ABT® National Training Curriculum.
artistic director Rachel Prescott
studio6twenty5 - 625 Harbor Blvd, Destin - studio6twenty5.com
studio6twenty5 is fulfilling the timeless demand for classical performing arts.
Students are developed as individual artists through well-rounded, classical curriculums and are supported by a nurturing, positive, curated environment. studio6twenty5 ensures that both classical ballet & contemporary dance are taught, as well as presented, in a way that inspires our community and resonates within families.
studio6twenty5 is proud to include the AMERICAN BALLET THEATRE® National Training Curriculum, a breakthrough 9 level program that combines high quality artistic training with the basics of dancer health and child development. The ABT® National Training Curriculum consists of a comprehensive set of age-appropriate, outcome-based guidelines to provide the highest quality ballet training to dance students of all ages and skill levels. Pre-Primary through Level 5 will be taught by ABT® Certified Teacher, Rachel Prescott, who has successfully completed the ABT® Teacher Training Intensive in Pre-Primary through Level 5 of the ABT® National Training Curriculum.
artistic director Rachel Prescott
studio6twenty5 - 625 Harbor Blvd, Destin - studio6twenty5.com