In 1977 she began her professional career with Dennis Wayne’s Dancers in NYC. Over the course of her twenty-two year performing career she also danced as a principal dancer with Cleveland/San Jose Ballet, Atlanta Ballet, Dayton Ballet and Ohio Ballet under the direction of Ian Horvath & Dennis Nahat, Robert Barnett, Dermot Burke, and Jeffrey Graham Hughes respectively. She also performed as a guest artist with small companies in the United States.

An artist recognized for her versatility, Ms. Reyman-Hughes has danced a range of roles, including Tzarina, Sugar Plum Fairy, Dew Drop, Dying Swan, Giselle, Juliet, Lizzie Borden in deMilles’s Fall River Legend, Emilia in Limon’s Moor’s Pavane, the Partisan in Jooss’ The Green Table, The Woman in His Past in Tudor’s Lilac Garden, Cinderella and the Fairy Godmother in Holder’s Cinderella. She danced principal roles in an extensive Balanchine repertoire including Tarantella, Square Dance, Minkus Pas de Trois, Agon, Apollo, Serenade, Four Temperaments and Nutcracker. Ms. Reyman-Hughes has also performed in works by Butler, Van Dantzig, Lubovitch, Byrd, Arpino, Flindt, Falco, Louis, Fokine, Massine, Nault and many others, including her husband Jeffrey Hughes. In 1990, she performed in Scotland at the Edinburgh Festival in Flemming Flindt’s The Overcoat with Rudolf Nureyev. As a principal dancer with Cleveland/San Jose Ballet, she had many roles created for her by Artistic Directors Dennis Nahat and Ian Horvath. She has also participated as a dancer in New Steps, a choreographic workshop in Ohio and in Festival of Life, a benefit for children and adults with AIDS in Atlanta.

Ms. Reyman-Hughes was ballet mistress for Ohio Ballet, interim ballet mistress for Hong Kong Ballet, and was on the staff of the Hong Kong Academy for the Performing Arts. She has guest taught throughout the U.S. and has choreographed two chamber ballets that have been performed in Ohio and Switzerland.

Locally, Ms. Reyman-Hughes has taught at Ballet Arts in Tucson and briefly worked as a part-time ballet mistress for Ballet Tucson. She has worked as Co Artistic Director of Tucson Regional Ballet . She has choreographed a number of ballets for Academy of Ballet and Tucson Regional Ballet and restaged all classical ballets for TRB including Paquita, La Bayadere, Act II Swan Lake and Giselle, among others. Currently she is on the faculty of BC Dance.

For the summers of 2015-2017, she was a guest teacher for Orlando Ballet School’s summer intensive. She is also a certified Gyrotonic® Expansion System Level I Instructor.

Ms. Reyman-Hughes is grateful to the many teachers who have inspired her throughout her career and would especially like to thank Maggie Black, Alonzo King, and Wilhelm Burmann.

Ms. Reyman-Hughes is married to Jeffrey Hughes, and they have a daughter, Maya Esperanza.

She ex- celled in her early dance training at the Metro Milwaukee Ballet Center under Rafael Delgado, and with Makaroff Youth Ballet under Jeanette Makaroff – both former principals with Milwaukee Ballet. Ms. Gatzke went on to study at Ballet West Summer Intensive, Central Pennsylvania Youth Ballet and BYU Summer Intensives, and is a graduate of the University of Utah with a BFA in Ballet Teaching. She has studied under many additional teachers, including Regina Zarhina – former principal with several international ballet companies, Jay Kim – former principal with Korean National Ballet, Calvin Kitten – former principal with Joffrey Ballet, and Maggie Tesch – former principal dancer with Ballet West. Ms. Gatzke is an American Ballet Theatre (ABT)® Certified Teacher, who has successfully completed the ABT® Teacher Training Intensive in Pre-Primary through Lev- el 3 of the ABT® National Training Curriculum. In her performing career, Ms. Gatzke has had the opportunity to dance many principal roles, including Sugar Plum Fairy, Dew Drop Fairy, and Snow Queen in The Nutcracker; and numerous additional solo variations in such classic ballets as Cinderella and The Sleeping Beauty. Alana is enthusiastic about working with young aspiring dancers and relishes the opportunity to share her love of dance with everyone who is willing to learn.

She’s the managing director for the BWPC Dance and Art Studio and former Art Academy and Roster Artist – Education based for the Arizona Commission on the Arts and the Tucson Pima Arts Council. Barbea has performed with, choreographed/costumed for Arizona’s top theatre companies:  Arizona Theatre Company, Black Theatre Troupe, Borderlands Theatre/Teatro Fronterizo, Invisible Theatre, Ododo Theatre and others.  Barbea lectures and offers residencies, workshops for UApresents, Tucson Arts Connections, and private, parochial, and state-wide school districts.  

Her studies have taken her to West and North Africa, Brazil, Costa Rica, Cuba, Italy, Mexico, and Venezuela.  Throughout the United States she studies with master instructors and renowned dance and theatre companies: KanKouran West African Dance Company in Washington, D.C. Debbie Allen Dance Studio and Lulu Washington Dance Theatre in Los Angeles, Ca., Mor Thiam West African Dance and Drum Conference in East St. Louis, Ill, Afri-Caribe’, Joel Hall, Muntu Dance Theatre, Najwa Dance Corps in Chicago, Ill., Dance Theatre of Harlem and Alvin Ailey’s in New York, Black Dance U.S.A. in St. Louis. She has studied with the Empress of Dance – Katherine Dunham and her protégé’s Tommy Gomez, Lucille Ellis, Archie Savage, Vanoye Aikens, Tally Beatty, Pearl Reynolds along with others and taught Dunham Technique for twenty-five years.