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[Mme. Hermine]

Sarah Crompton writes on legacy in dance for the Telegraph:

http://www.telegraph...-the-dance.html

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The Royal Ballet’s founder choreographer, Frederick Ashton, followed a similar strategy, leaving his ballets to his friends in the hope that they could make a bit of money out of them. This policy served him well when the ballets lay in the hands of the people who danced them, such as Michael Somes, Margot Fonteyn and Brian Shaw. But the death of Alexander Grant last week is a reminder of its perils: he owned La Fille mal gardée, one of Ashton’s greatest works. No one knows who will be left it in his will. Once the works pass out of the hands of dancers who understand Ashton’s legacy, they are in need of extra care.

[Mme. Hermine]

Diane Haithman of the Los Angeles Times interviews Ashley Page of the Scottish Ballet:

http://www.latimes.c...0,4469208.story

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When the Scottish Ballet takes the stage at the Dorothy Chandler Pavilion from Friday to Oct. 16 — the first time the troupe has appeared in the United States in more than 20 years — expect a lean, clean contemporary ensemble comparable to one of Page's favorite companies, the San Francisco Ballet, which just completed a weeklong stay in Costa Mesa. (Scottish Ballet's U.S. tour continues to Davis, Calif., and Minneapolis.)

[Mme. Hermine]

Dancers from multiple countries participated in the first production of Don Quixote in South Africa in 17 years:

http://www.timeslive...ely-don-quixote

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Exchanges and visits from Cuban students and teachers began in 2008 and have culminated in this production, which includes dancers from two Cuban schools and three professional companies, as well as professional dancers from Canada, Australia and (homeboy Andile Ndlovu) from The Washington Ballet.