BEVERLY’S PROFESSIONAL TRAINING BEGAN AT 10 WITH TATJANA-GSOVSKY, BALLETSCHULE DER DEUTSCHEN OPER, BERLIN.
HER TRAINING CONTINUED IN NEW YORK, ON FULL SCHOLARSHIP, WITH THE SCHOOL OF AMERICAN BALLET (SAB). BEVERLY WAS TAUGHT THE RUSSIAN CLASSICAL METHOD, THE NEO-CLASSICAL STYLE OF BALANCHINE, AND THE DANISH METHOD (BOURNONVILLE).
DURING THE SUMMERS OF 1971 AND 1972, BEVERLY’S TRAINING CONTINUED WITH TATJANA-GSOVSKY AND SHE WAS INVITED TO JOIN THE BERLIN OPERA BALLET.
IN NOVEMBER 1972, BEVERLY WAS SELECTED BY LUCIA CHASE, AFTER ONLY ONE AUDITION, TO JOIN AMERICAN BALLET THEATRE. SOME OF BEVERLY’S REPETOIRE INCLUDED ROLES IN:
GISELLE (DAVID BLAIR), COPPELIA (ENRIQUE MARTINEZ), SWAN LAKE
(DAVID BLAIR), LA FILLE MAL GARDEE (DIMITRI ROMANOFF), LA SYLPHIDE
(ERIK BRUHN), PETROUCHKA (MICHEL FOKINE), GRADUATION BALL (DAVID LICHINE), MONUMENT FOR A DEAD BOY (RUDI VAN DANTZIG),
THE RIVER (ALVIN AILEY), RODEO (AGNES DE MILLE), AT MIDNIGHT
(ELIOT FELD), THEME AND VARIATIONS (BALANCHINE).
IN AUGUST, 2000 BEVELRY BEGAN TEACHING WITH THE ORLANDO BALLET SCHOOL (OBS). WHILE AT OBS BEVERLY ENHANCED THE CREATIVE MOVEMENT PROGRAM, ASSISTED WITH RE-WRITING THE OBS SCHOOL SYLLABUS, WAS PROMOTED TO PRINCIPAL TEACHER, AND FINALLY AS DIRECTOR OF THE LONGWOOD SCHOOL.
BEVERLY PERFORMED IN THE FOLLOWING ORLANDO BALLET PRODUCTIONS: DON QUOITE, GISELLE, THE NUTCRACKER, AND SWAN LAKE.
BEVERLY HAS CORORGRAPHED WINNING BALLET PIECES FOR NATIONAL COMPETIONS.