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Monday, October 24


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#1 dirac

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Posted 24 October 2011 - 04:36 PM

A review of Kansas City Ballet by Alastair Macaulay in The New York Times.

http://www.nytimes.c...eview.html?_r=1

Before arrival, I kept wondering, what does Twain’s story have to do with dance, let alone ballet? The ballet’s authors, however, had plainly asked the same question, since much of the restructuring’s effect is to supply enough dances. Yet the two scenes that come nearest to triteness are its two chunks of standard ballet formula: an extended dance suite for fireflies and supernatural beings (goblins, ghosts, sprites) in Act II and a pas de deux for hero and heroine (Tom and Becky in the cave) in Act III — though the fireflies have some poetry and virtuosity; the spooks have some comedy and bravura; and the love duet is tender, plot-led and unshowy.



#2 dirac

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Posted 24 October 2011 - 04:39 PM

Huntsville Ballet presents a program "Unplugged."

http://blog.al.com/e...es_unplugg.html

The smaller auditorium should offer a more personal experience where the audience will feel more engaged. Dancers will be closer to the audience, even performing a little off the stage. “You’ll feel like you’re part of the dance,” Otto said. “You’ll see the dancers sweat, and see more of the hard work that goes into it.”

The 90-minute, three-act show will include some Spanish flamenco, Balanchine-influenced choreography, a little hip-hop, an edgy piece called “Ballet X” and a segment called “Stage Door Canteen.”



#3 dirac

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Posted 24 October 2011 - 04:40 PM

A review of the Royal Ballet in "The Sleeping Beauty" in The Evening Standard.

http://www.thisislon...den---review.do

The flame-haired McRae is the kind of leading man most ballet companies, or fairytale princesses, would kill for. In the breadth of his leaps and the speed of his turns he attempts the near-impossible with the cockiness and calm insouciance of someone convinced that, whatever happens, he will be able to rescue himself, like a cross between Derren Brown and Captain Jack Sparrow.

If the dancing around the stars is on a smaller scale, it is every bit as joyous and stamped with personality. Emma Maguire, Melissa Hamilton and Hikaru Kobayashi show grace, versatility and stamina as fairy godmothers and, later, celebrants at the wedding banquet.



#4 dirac

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Posted 24 October 2011 - 04:43 PM

A review of Carolyn Brown's "Chance and Circumstance" by Sarah Kaufman in The Washington Post's blog.

http://www.washingto...r75CM_blog.html

But that’s not all--more pleasures abound. Brown does not limit her writing to Cunningham; she was partaking of many dance opportunities in those early years. One was to be a “walk-on” in a Royal Ballet production of “The Sleeping Beauty,” where she could observe the ballerina Margot Fonteyn at close range.

Fonteyn, she writes, “was modest (almost to a fault), utterly disciplined, self-critical, generous and never given to histrionics or temper tantrums backstage, and she seemed to be incapable of making a flashy or applause-catching gesture onstage. Her kindheartedness extended to stagehands, even to the loweliest super.”



#5 dirac

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Posted 24 October 2011 - 04:43 PM

A review of Carolyn Brown's "Chance and Circumstance" by Sarah Kaufman in The Washington Post's blog.

http://www.washingto...r75CM_blog.html

But that’s not all--more pleasures abound. Brown does not limit her writing to Cunningham; she was partaking of many dance opportunities in those early years. One was to be a “walk-on” in a Royal Ballet production of “The Sleeping Beauty,” where she could observe the ballerina Margot Fonteyn at close range.

Fonteyn, she writes, “was modest (almost to a fault), utterly disciplined, self-critical, generous and never given to histrionics or temper tantrums backstage, and she seemed to be incapable of making a flashy or applause-catching gesture onstage. Her kindheartedness extended to stagehands, even to the loweliest super.”



#6 dirac

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Posted 24 October 2011 - 04:44 PM

A review of Ballet Maribor in 'Radio and Juliet' by Brian Seibert in The New York Times.

http://www.nytimes.c...ter-review.html

Judging by the young crowd that filled the Skirball Center for the Performing Arts at New York University on Friday night, the choreographer Edward Clug has found a formula for selling tickets. The “Radio and Juliet” he created for the Slovenian company Ballet Maribor has been touring since 2005. It’s a hit, but more of a programming success than an artistic one.

Mr. Clug’s choreography is detailed and sharply defined. Its most distinguishing feature, however, is twitchiness. Bodily extremities flick and jerk so frequently that it seems the entire cast has a nervous disorder. Perhaps that’s by design, to illustrate modern anxiety, but it becomes silly.



#7 dirac

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Posted 24 October 2011 - 04:48 PM

A story on Canada’s Dancer Transition Resources Centre(DTRC) by Michael Crabb in The National Post.

http://www.toronto.c...eyond-the-stage

To have it all taken away at an age when those in many other professions are just shifting into high gear comes as a cruel blow.

Yet, for years, nobody was willing to talk openly about it, let alone suggest dancers should confront the inevitable and make a plan. Sidimus, having witnessed the consequences of denial — — depression, substance abuse, even suicide — determined to effect a sea-change. Having broadly surveyed the country and won the support of many company artistic directors, she proposed a member-based organization that would offer career counselling and access to retraining programs.



#8 dirac

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Posted 24 October 2011 - 04:50 PM

A "Day of Master Classes" will be held in Baltimore next weekend. (Scroll down.)

http://www.baltimore...0,1122047.story

Here’s a short lift of teachers who will be taking part: Marcia Dale Weary, revered teacher and artistic director of the Central Pennsylvania Youth Ballet;
• Laszlo Berdo, former Boston Ballet principal dancer, now working locally;
• Ballet luminary Rhodie Jorgenson; and
• Other distinguished faculty.



#9 dirac

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Posted 24 October 2011 - 04:52 PM

More on the re-opening of the Bolshoi Theater.

http://themoscownews.../189147448.html

The price for sneaking into the first show after six years of restoration was up to 2 million rubles on some online ticket sales websites, although the theater’s administration had repeatedly said attending the event would be possible only by named invitation.

“We need to sort this out,” Alexander Avdeyev, Russia’s culture minister, was quoted by Itar-Tass as saying.



http://themoscownews.../189147353.html

With the Bolshoi’s regal sound and looks restored, it remains to be seen whether its repertoire will remain rooted in the 19th century. Although the Bolshoi has fielded criticism for staying too faithful to its classical repertoire, recent attempts at producing experimental new work haven’t been greeted with open arms. Last year, Dmitry Chernyakov’s production of Alban Berg’s avant-garde opera “Wozzeck” garnered critical admiration but public disdain; Angelin Preljocaj’s modern ballet “And then, One Thousand Years Peace. Creation 2010” met a similar fate.



#10 dirac

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Posted 24 October 2011 - 04:53 PM

Scottish Ballet puts its best fashion foot forward:

http://www.scotsman....shion_1_1927474

And now Scottish Ballet dancer Daniel Davidson may well have his own fashion moment at Saturday’s Scottish Style Awards, having been nominated for Most Stylish Male alongside more predictable nominees Andy Murray and creative director of Harris Tweed Hebrides Mark Hogarth.

Scottish Ballet have been among the most savvy of dance companies to capitalise on fashion’s interest in the ballet world, courting increasingly-influential bloggers, most of whom would previously have been unlikely to post the breathlessly anticipatory countdowns and detailed costume analysis that are now requisite pre and post-performance blog entries, given that ballet had previously been an art form considered somewhat exclusive.



#11 dirac

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Posted 24 October 2011 - 04:55 PM

A report on an event last weekend held in memory of David Y.H. Liu.

http://www.vancouver...5976/story.html

Singers, dancers and former colleagues took to the stage at the free event to perform, tell stories and reminisce about the man who is widely credited with bringing world-class productions and performers to Vancouver's arts scene in the '70s and '80s.

Ballet icon Evelyn Hart and former Vancouver Sun dance and arts writer Max Wyman hosted the event, which followed the progress of his life, beginning with his time as a 'Boy Impresario' producing musicals, then on to his work in the dance scene and then to his philanthropic and community activities.



#12 dirac

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Posted 25 October 2011 - 05:32 PM

Ballet Philippines presents 'The Sleeping Beauty.'

http://www.philstar....ubCategoryId=79

Ballet Philippines’ production will be restaged by BP ballet master Victor Ursabia, best known for coaching the company’s successful delegations to international and local ballet competitions.

Top-billing the show are principal dancers Katherine Trofeo, Carissa Adea, and USA International Ballet Competition silver medalist Candice Adea dance as Princess Aurora. Prince Desire will be portrayed by USA IBC semi-finalist Jean Marc Cordero, alternating with special international guest artist Nobuo Fujino, former principal dancer of Hong Kong Ballet.



#13 dirac

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Posted 25 October 2011 - 05:33 PM

A mural honoring the memory of Elena Bright Shapiro is stolen from her mother.

http://www.wyff4.com...355/detail.html

The mural -- which was made of tile, weighs more than 100 pounds and was bolted to brick -- was given to Shapiro in honor of her daughter, Elena Bright Shapiro, police said.

Elena Shapiro was in Raleigh working with the Carolina Ballet when she was struck and killed by a vehicle being driven by a doctor who was driving drunk.




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