Wednesday, November 2
Posted 03 November 2011 - 02:00 AM
The New York Post
Tuesday was out-of-town night at Fall for Dance, a sampler of far-flung companies New Yorkers don’t often get to see.
The Australian Ballet crossed the Pacific to perform Glen Tetley’s “Gemini,” a piece made for two couples, who shadowed each another in a marathon of leggy solo and partnering work. “Gemini” was made back in ’73 and looks it, particularly the retro, jet-age sleekness of the costumes -- shiny, mottled yellow unitards with the women’s pointe shoes dyed to match. The piece is supposed to be a hybrid of classical and modern movement, but the dancers did straight ballet. Even as Hans Werner Henze’s music built to a frenzy, the dancing stayed the same.
The New York Times
Steven McRae, a principal dancer with the Royal Ballet, presented “Something Different,” an unlikely but not unhappy union of tap and ballet. (In Christopher Wheeldon’s recent “Alice’s Adventures in Wonderland,” he played a tap-dancing Mad Hatter.) For “Something Different,” Mr. McRae started out slowly, with a self-conscious display of ball-and-heel taps, before the spotlight pulled back to reveal the entire stage. Benny Goodman’s rendition of “Sing, Sing, Sing (With a Swing)” filled the theater, and Mr. McRae answered with hops onto his toes and whiplash turns: a true crowd pleaser.
Posted 03 November 2011 - 02:01 AM
Many dance troupes are closely identified with the choreographer and artistic director leading them. But in the case of the Zurich Ballet, it seems that Heinz Spoerli has taken this tendency a step too far. His name appears together with the name of the troupe wherever possible, whether on billboards and in various notices at the troupe's home base, on the vest he wears, or on the Ballet's truck in the car park. Spoerli is everywhere, he can't be missed. Even on the home page of the troupe's website, among the changing photographs of dancers, his huge portrait suddenly appears.
Posted 03 November 2011 - 02:05 AM
Eager ticket buyers who lined up at dawn to purchase seats for late December performances of Tchaikovsky's holiday ballet first became frustrated after scalpers hired homeless men to purchase tickets, according to the Moscow Times. The hired ticket buyers then got out of hand, shoving fans in an attempt to get ahead to fulfill their charge. "This is shameful, the smell of alcohol, the homeless,” Zinaida Akchurina, who was in the line to buy tickets for herself and her daughter, told the paper.
Posted 03 November 2011 - 02:08 AM
After suffering a serious injury to his back prior to a performance in Latvia in December last year, Henry was forced to return to the UK for specialist medical treatment, and has been told by doctors that the injury could potentially spell an early end to his career as a dancer.
Unable to dance, and with no British academic qualifications, Henry sought financial support through the Employment Support Allowance, which provides assistance to those unable to work due to injury or illness. Following a medical assessment earlier this year however, he was told he was fit for work and that he would no longer be eligible for his current benefits, and would instead need to switch to Jobseeker’s Allowance.
Posted 03 November 2011 - 11:25 AM
Amodio begins his “Carmen” backstage at a theater where a performance of the opera has just ended. Stagehands and performers walking behind the curtain slowly begin to act out the drama until they are in the costumes — a violinist in the orchestra transforms into Carmen — reliving the heat and consequences of the tale.
Posted 13 November 2011 - 05:55 AM
With the dance drama Phantom of the Opera, choreographer Libor Vaculík has managed to create an exciting and colorful performance filled with romance and tension. The revived October premiere confirmed Vaculík, an unrivaled, prolific and successful domestic author of original full-length ballets, is the uncrowned king of Czech dance theater. The Prague State Opera Ballet company, in the last few weeks of its independent existence (before it merges with the National Theater), has presented itself as a formidable ensemble.
Over the past two decades, Vaculík has made a powerful impression as the creator of numerous ballets, usually interpretations of well-known historic literary or film works. He's enriched the repertoire of, among others, the national theaters in Prague, Brno and Bratislava, the Josef Kajetán Tyl Theater in Plzeň and the Prague State Opera.
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