J.M. Barrie's turn-of-the-century tale of Wendy, Peter Pan and his sidekick Tinker Bell isn't new to PBT audiences, who were treated to it during the company's 2006-07 season. This time, artistic director Terrence Orr selected an adaptation new to Pittsburgh by choreographer Jorden Morris, who formerly danced with Canada's Royal Winnipeg Ballet.
"This is a much more sophisticated kind of production," Mr. Orr said, noting the heightened difficulty of choreography.
Sunday, October 23
Posted 23 October 2011 - 02:40 AM
Posted 23 October 2011 - 02:44 AM
A good story will be told often. Peter Pan, for example, has had more lives than a cat.
When Pittsburgh Ballet Theatre last presented a Peter Pan in 2007, the production's many charms did not include a Tinker Bell. That will be corrected with flair when the company mounts a different production next weekend.
"Tinker Bell is a fun role, definitely humor spiked," says principal dancer Julia Erickson. "She has spunk. She's a fairy, so she's got those ethereal qualities. She quirky, easily distracted, definitely has a good heart but gets her bun ruffled every once in a while."
Posted 23 October 2011 - 02:49 AM
The year 1954 was not a very good year for ballet, especially not for aspiring ballerinas. By an edict from the Archbishop of Manila himself, any Catholic school student caught in violation was to be expelled.
The edict is said to have been provoked by a tabloid picture of a young famous ballerina in a dance pose suggesting that underneath her tutu was nothing but herself. The picture itself was said to have been manipulated, precisely to either provoke or justify a clampdown on a dance art too revealing for the fanatical Filipino Roman Catholic standards of the era.
Posted 23 October 2011 - 02:55 AM
The reward for six months of pain, struggle, despair and doubt is that she is about to dance the role of her dreams.
“A lot of times people said to me, ‘Sarah, there will always be another ‘Giselle.’ There will always be another moment for you to dance ‘Giselle.’ ”
“But one of the things I’ve realized throughout this injury, especially in this kind of profession, is that you can’t live like that. You don’t know if the next time is going to come. I don’t live for tomorrow. I live for now.”
Posted 26 October 2011 - 05:41 PM
And yet…..what the dancing showed was what we’ve been seeing from this small troupe for the ten years of its short life. Suzanne Farrell’s great gift is working with gifted dancers; she opens their imaginations and makes them bloom, and this was shown very clearly in her early performances, when a small group of dancers was augmented by stars, or at least dancers of principal level. However, the present company has only a few able soloists, and a small corps that is often not up to the challenges set for it. Whether this is because of the necessarily short rehearsal time and that, because of budgetary constraints, the company is only together for a few weeks out of the year, I cannot say, but the result is that the company always seems to have bitten off more than it can dance.
Posted 26 October 2011 - 05:42 PM
Neumeier, however, still intended to use “Apollon musagète “ and “Orpheus” as part of a full-length two act ballet, which he started with “Apollon musagète” as the birth of Orpheus as the son of Apollo and Kalliope. He is destined to become a musician, and for this he is bestowed not with a lyre but with a violin, which he learns to play, instructed by a fiddler who appears on the stage, intoning one of the ´Rosenkranz sonatas´ of Heinrich Ignaz Franz Biber (1644-1704), which goes very well as an insert to Stravinsky´s “Apollo” music. From there he progresses on earth as a street musician, an immensely successful artist of our times, idolized by a huge flock of fans. among them Eurydice, and they fall in love....
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