Tuition Rates & Policies
At West Hawaii Dance Theatre, we welcome students of all skill levels, ages, and backgrounds. The majority of our dance classes are part of our comprehensive, technique-based graded dance, theatre, and injury prevention curriculum. We also offer on-going, pop-up, and workshop classes throughout the year.
Students should enroll in classes appropriate to their skill level with consideration to the noted recommended ages for a class. If a student enrolls in a class that is not a match to their skill level, we work with the student to find a more suitable class. We want students to feel excited about dance, not frustrated that they may not be able to keep up!
Students are automatically re-enrolled into the same classes each billing period. If you’d like to make a schedule change or end enrollment, please contact us at least 3 days before the next billing period (see Tuition below).
ANNUAL ENROLLMENT FEE
The first time a student enrolls during the calendar year, an annual enrollment fee of $30 is required. This fee helps to offset costs related to administration of our enrollment systems and processes.
Families with more than one student enrolled receive a discount of 50% on the annual enrollment fee beginning with the second student. Students who enroll for the first time between September 1 and December 15 will receive a 50% discount on the annual enrollment fee the following year.
Annual enrollment fees are non-refundable.
TUITION
Tuition is due every 4 weeks and is based on the number of classes a student is enrolled. We offer generous discounts when enrolled in multiple classes, as well as a 5% discount to families with more than one student enrolled.
Discounts generally do not apply to “value” classes or classes taught by guest instructors.
2023 Tuition Rates Per Student
(Enrolled classes per 4-week billing period)
1 – $74
2 – $136
3 – $192
4 – $240
5 – $280
6 – $312
7 – $336
8 – $384
9 – $432
10 – $480
11 – $528
12 – $576
A payment card or banking information must be kept on file with the studio for billing. If a payment method fails and payment is not received by the fifth day after notification is made, a one-time fee of $25 will be added to the total due. Returned checks will result in a $25 fee.
To withdraw from a class, please let us know at least 3 business days prior to the next billing cycle. Tuition is non-refundable and non-transferable.
ABSENCES
We get it! Life can be unpredictable! If you must miss a class, please try to let us know prior to class when possible. We will do our best to provide an option for a make up class within the same billing period. Availability of a make up class is not guaranteed.
Tuition is non-refundable and non-transferrable. Tuition will not “roll forward” for missed classes.
If you experience a prolonged illness, please provide a note from your primary care physician. We will work with you to determine a suitable resolution.
HOLIDAYS & MOTHER NATURE
Classes are not held on New Years Day, Ironman Race Day, Thanksgiving Day, or Christmas Day. Classes that fall on these days will be rescheduled to another day in the same week, studio schedule permitting. If you are unable to attend the alternate class day/time, please let us know as soon as possible so we may provide other options.
This is Hawaii and sometimes Mother Nature, or usually Madame Pele, reminds us who is in charge. In times of inclement weather, earthquakes, eruptions, hurricanes, etc., we will notify you of studio closures as soon as possible. Please follow us on Facebook or Instagram for the most timely alerts.
DROP-INS
SINGLE BALLET CLASS
$20
SINGLE BALLET CLASS
w/ PIANIST
$21
VALUE CLASSES
$12
(Family Discounts do not apply to Value Classes and Special Rates)
CLASS CARDS
(Expire 3 months from purchase date, and non-transferable)
5 CLASS – $95
10 CLASS – $175
20 CLASS – $335
Called “one of San Francisco’s leading dance teachers”, Henry Berg has, according to the San Francisco Chronicle, “carved a strong artistic niche as a teacher”. With a career that spans over three decades in dance, film, television, theatre, and academia, Mr. Berg has established himself as one of the foremost dance teachers in the country. His guest teaching engagements now include annual seminars for the Boston Ballet, the Academia Anna Pavlova in Bogata, Columbia, Joffrey Ballet, Dance Educators of America, Oregon Dance Academy, and the Village Dance Arts in Los Angeles. Mr. Berg traveled to Japan where he taught seminars in Tokyo and Nagoya, staging “American Ballet Selections” in 1994 for several companies there. Mr. Berg began his dance career in Hollywood, California, appearing in such films as “State Fair”, “How The West Was Won”, and “Babes In Toyland”. In 1962, he joined the San Francisco Ballet. Subsequently, he danced for over seven years with the Joffrey Ballet and assisted choreographer Twyla Tharp in New York City. In 1975, Mr. Berg created the Pacific Ballet Company with co-founders John Pasqualetti and Sue Loyd. He also joined the faculty of the San Francisco Ballet. The list of directors, dancers, and choreographers Mr. Berg has worked with include: George Balanchine, Robert Joffrey, Gerald Arpino, Lew Christensen, Ann Sokolov, Kurt Joos, Jon Hart, and Margaret Jenkins. Additionally, he has worked with skaters John Curry and Peggy Fleming, cartoonist Charles Schultz, and has appeared on the Ed Sullivan Show.
Leo Ahonen was accepted to the Ballet Academy of the National Opera House in Helsinki Finland at the age of six. He joined the National Ballet of Finland at the age of 14, and at age 17 guest performed with the Kirov Ballet in Leningrad and the Bolshoi Ballet in Moscow. At the famed Vaganova Choreographic Institute in Leningrad, Mr. Ahonen became a private student of Mr. Konstantin Shatilov and received the “Kirov Trained” Certificate at graduation. Mr. Ahonen won a Bronze Medal in the Men’s Senior category at the Second International Ballet Competition in Varna, Bulgaria. He was a principal dancer and company teacher for the National Ballet of Holland, Royal Winnipeg Ballet, and the National Ballet of Finland. With his wife Soili Arvola, he danced as a principal dancer with the San Francisco Ballet and was hailed by critics as The Flying Finn, West Coast Nureyev, and the Fantastic Finn.
Soili Arvola was accepted to the Ballet Academy of the National Opera House in Helsinki Finland at the age of eight. After graduating from the Academy at age 17, she was invited to join the National Ballet of Finland, touring with the company around the world. Among her numerous honors, Ms. Arvola won a Bronze Medal and Diploma for High Artistic Achievement in Women’s Senior (Professional) Category at the prestigious International Ballet Competition in Varna, Bulgaria. She has appeared as a guest ballerina with the Finnish National Ballet, Royal Winnipeg Ballet, Chicago Ballet, Houston Ballet, London’s Royal Ballet Choreographic Group, Indianapolis Ballet Theatre, Ballet international de Ochi of Japan, and with many symphony orchestras, opera companies, and civic ballet companies throughout the U.S. and abroad. Ms. Arvola has performed as Odette/Odile in Swan Lake, Princess Aurora in Sleeping Beauty, the title roles in Giselle and Cinderella, Swanhilda in Coppelia Kitri in Don Quixote and many others.
Alaine Haubert, a fourth generation Californian, has the unique distinction of having been associated with America’s three major companies. She received her training from age fifteen at the School of American Ballet in New York City where she studied with George Balanchine and his illustrious post-Diaghilev faculty. After graduation from high school, she performed with San Francisco’s Pacific Ballet and then joined the national touring company of Camelot. In 1965, after a year on the road with Camelot, Alaine joined American Ballet Theatre, where she performed corps de ballet, soloist and principal roles. She was coached, during this period by such diverse and exciting choreographers as Tudor, DeMille, Robbins, Feld, Culberg, Lander, and Tetley, and also danced the classics. 
Jamy Woodbury received his formal training with Denver-based Cleo Parker Robinson dance ensemble, where he trained extensively in such forms as Graham Norton and Dunham intermixed with a rigorous schedule of ballet. Seeking to broaden his classical understanding, Jamy did a year stint with the Boston Ballet.
Shaina Leibson has had an over fifteen-year career as a professional ballet dancer. She has been a dancer with several companies including Alberta Ballet, Ballet Austin, and Ballet San Jose where she performed for eight years. Shaina was a soloist dancer with Ballett im Revier in Germany and spent five seasons as a Principal Dancer with Bay Pointe Ballet which was based in the San Francisco area. Shaina received her ballet training from the renowned San Francisco Ballet School.
Fredrick Davis studied at the prestigious Joffrey Ballet School. He attended summer intensives at American Ballet Theatre, Boston Ballet, and North Carolina Dance Theatre. He danced with the Roxey Ballet Company in New Jersey and eventually Dance Theatre of Harlem. While at Dance Theatre of Harlem, Davis danced in many roles including the male lead in New Bach, the Pas de Deux from Act III of Swan Lake, in Robert Garland’s Return, in George Balanchine’s Agon and Alvin Ailey’s The Lark Ascending. He performed Agon and The Lark Ascending with Dance Theatre of Harlem at Jacob’s Pillow Dance. After leaving Dance Theatre of Harlem in 2015, Davis participated in a Dance for America tour, was a featured artist with Dallas Black Dance Theatre, danced at the Kennedy Center Honors in Washington, D.C., danced in the Donald McKayle Tribute in Irvine, California, and danced for the Indiana Ballet Theatre. As a freelance artist, he has also performed with various ballet companies including Roanoke Ballet Theatre, Greensboro Ballet, San Antonio Metropolitan Ballet, and Dissonance Dance Theater. He is a principal guest artist at Ballet Tennessee and at Ballet Tucson. Davis returns to Chattanooga every summer as a guest artist in the Dance Alive program that first inspired his love of dance. He is featured in the film, From the Streets to the Stage: The Journey of Fredrick Davis. The documentary was created by Ann Cater of PBS and was filmed by the Emmy Award-winning crew from WTCI.
A Mauka Lani Graduate, Marina began training with WHDT when she was 5. Ms. Terwilliger went on to become Miss Kona Coffee 2002, attended UH Manoa as a Dance Major for 2 years, and returns to the Big Island of Hawaii after pursuing a commercial print modeling career in New York City.
Miho Morinoue is an acclaimed dancer and a visual artist. As a member of the Complexions Contemporary Ballet Company she performed extensively in the United States and Europe. As a visual artist, she collaborated on numerous projects, designing costumes and setting ballets for Complexions, the Alvin Ailey American Dance Theater, Oakland Ballet, Philadelphia Ballet and many others. She has shown her paintings in Hawaii, New York and Seattle.
Timour began his professional education with the Moldavian Opera House and the Bolshoi Ballet. Upon coming to America he danced with the Pennsylvania Ballet, New Jersey Ballet, and the New York-based Daring Project. In 1998, Mr. Bourtasenkov joined Carolina Ballet as a Principal dancer and founding member of the company. Mr. Bourtasenkov has choreographed works for Carolina Ballet, Infinity Ballet, New Jersey Ballet and most recently, the New York Choreographic Institute, using New York City Ballet members. His ballets include Light and Dark, sections of Messiah, Rag House, Elements, Memories, Visions, Intrigue, Dance of the Spirits, Fallen Dreams and Tango! Tango! Tango! Mr. Bourtasenkov won the Bronze Medal in the VII Massako Ohyo World Ballet Competition of Osaka, Japan and the V International Competition of Paris, France. He was awarded a jury prize at the 2nd Luxembourg International Ballet Competition. Mr. Bourtasenkov has appeared in two USSR movies: The Long Way and The Magic Star. In 1996, he filmed Little Red Ridinghood, directed by Davis Koplan and choreographed by Elena Tchernichova. In 1996, Mr. Bourtasenkov became the Artistic Advisor of Infinity Ballet and in 2005 he was named the Artistic Director of Carolina Performing Arts Center in Pinehurst, North Carolina.