- Studied with Willam F. Christensen at the University of Utah from age 11.
- Studied with Alexandra Baldina Koslov of the Kirov Ballet (1962-1970).
- Studied with Robert Joffrey, Richard Gibson, Sally Streets, Ronn Guidi, Fernand Nault, Finis Jhung.
- Performing ballet in good health and longevity.
- Proper use of alignment/maximizing extension.
- Finding the best manner for training your feet for optimum ballet work, power/flexibility.
Born in Salt Lake City, Utah, 1941
Began serious classical training in Salt Lake City, 1950
Began professional company work, first paid performance with University Theatre Ballet Company (precursor to Ballet West), 1956
Sister Dienhart (a.k.a. Tricia Kaye) has subsequently performed long term with:
*Pacific Ballet of San Francisco under Alan Howard, 1968-71, and later under John Pasqualetti, 1972-76
*Fremont Concert Ballet under Alexandra Baldina, 1962-71
*Oakland Ballet under Ronn Guidi, 1971-1983
Under the direction of Alexandra Baldina, Sister Dienhart toured as guest artist with partners Richard Faulkner and John Sullivan performing the Grand Pas de Deux for the classical ballet repertoire. These include:
*Giselle Act II
*Black Swan and White Swan from Swan Lake
*Don Quixote Pas de Deux
*Nutcracker Pas de Deux from Snow and Act II
*Bluebird from Sleeping Beauty Ballet
*Modern works including:
A Street Car Named Desire,
Escape Beyond Escape,
Blind Girl's Light on stage with Concert Grand Piano.
Sister Dienhart has held long term teaching assignments as well as teaching residencies which are associated with related performance dates across the United States of America and Canada. Her first teaching post was under Willam (not William) F. Christensen in Salt Lake City at the University of Utah.
She is well know on college campuses, a few of which are:
Purdue University and
San Jose State University
The most important and rewarding aspect of her career is the contributions which her students have made to dance companies globally. Sister Dienhart quotes Richard Rodgers: "It is by our students we are taught" and therein lies the joy of her on-going theatrical experience.
Further Documentation of Professional History:
Letter of Recommendaton from Jim Sohm, of the San Francisco Ballet, student of Sister Dienhart.
Letter of Recommendation from Nathalie Gleboff of The School of American Ballet.
Letter of Recommendati0n from Bonnie B. Thurber of Pacific Dance Center.
Letter of Recommendation from Adele Wenig, Coordinator for the Dance Program, California State University, Hayward.
Letter of Recommendation from Michael Smuin, Company Director of the San Francisco Ballet.
Letter of Recommenation from Laura Criscione, University of California, Berkeley.
Letter of Recommendation from Barbara Crockett-Gallo, Artistic Director of the Sacramento Ballet.
Letter of Recommendation from Patricia Lynn Whiteside, Principal Dancer, Oakland Ballet Company, appointed heir of the Eugene Loring Ballets.
Letter of Recommendation from Frank D. Tomasello, D.P.M., Chabot Medical Center, 10 year research specifically of feet, pointwork and the emerging dancer.
Letter of Recommendation from David Blood, Principal Dancer for Oakland Ballet and San Francisco Moving Co.
Letter of Recommendation from Lee Hinckley, Ed.D., Associate Dean of Instruction, Creative and Applied Arts, Chabot College.
Letter of Recommendation from Paul Hertelendy, Music Critic, Oakland Tribune (1964-1979)
Letter of Intent from Patricia Kaye Dienhart, 2006