serving eight years as Houston Ballet's Choreographic Associate. In 1995, Cecil C. Conner, Jr., was appointed as Managing Director bringing to Houston Ballet a professional background in law and several years managing Joffrey Ballet. Under Conner's leadership, Houston Ballet retired its accumulated deficit and quadrupled the company's endowment. [citation needed] During his 17-year tenure, Conner organized 12 tours both within the United States and internationally, greatly raising the company's artistic profile and leading the effort to build Houston Ballet's state-of-the-art facility, the Center for Dance. Following his retirement in 2012, Conner continued in an advisory capacity as Managing Director Emeritus. Personal recognition from Great Britain came to Stevenson in 2000, when Queen Elizabeth II named him an Officer of the Order of the British Empire (OBE). In July 2003, Stevenson stepped down as Artistic Director, assuming the title of Artistic Director Emeritus of Houston Ballet. Stanton Welch AM became Houston Ballet's fifth Artistic Director. Ben Stevenson now serves as the Artistic Director of Texas Ballet Theater in Fort Worth, Texas. Li Cunxin and Janie Parker Janie Parker joined the company in 1976, Stevenson's first season as Artistic Director. She would quickly rise to Principal and danced with Houston Ballet for the next 20 years. She performed all of the title roles and had several ballets created on her. When Li Cunxin joined the company, Stevenson regularly paired them together. They were the leading partner of the Houston Ballet during their time. Li Cunxin became one of Houston Ballet's shining stars, dancing with the company for 16 years. In 1979, Stevenson had travelled to China on behalf of Columbia University’s Cultural Exchange Center to teach a month of classes at the Beijing Academy of Dance. Upon his return, he invited two Chinese students, Li Cunxin and Zhang Weiqiang, for summer classes at Houston Ballet Academy. Li's strong technique won him an extended stay, but his sudden marriage to a fellow Academy student and his refusal to return to China when his visa expired briefly caused an international incident. When the issue was resolved in Li's favour, he was permitted to join Houston Ballet and quickly rose to become the company's most popular Principal male dancer of his time. The incident is recounted both in Li's 2003 autobiography, Mao’s Last Dancer, and the feature film based upon it. Carlos Acosta and Lauren Anderson Lauren Anderson began her training at the age of