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Monday, February 20


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#1 dirac

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Posted 20 February 2012 - 12:07 PM

Wayne Eagling is leaving the English National Ballet.

Sudden and disconcerting news from English National Ballet where it's just been announced that artistic director Wayne Eagling is to step down this summer. The company gives no reason for this exceedingly short notice, which leaves them having to advertise the third most significant job in British ballet within the next few days, and a precipitate appointment procedure only weeks after the departure of their managing director.



#2 dirac

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Posted 20 February 2012 - 09:29 PM

Diablo Ballet performs next month. Preview by Andrew Gilbert in The San Jose Mercury News.

There is nothing like experiencing ballet up close and personal, hearing the dancers breathe, watching their muscles flex and tremble, feeling the vibrations of the music. For Diablo Ballet, offering an intimate look at dancers in action has turned into a savvy outreach strategy. Presented March 2-3 at Walnut Creek's Shadelands Arts Center Auditorium, the company's third annual Inside the Dancer's Studio program seeks to break down the fourth wall, offering exhilarating, immersive performances followed by casual interactions with the artists. The program is the result of the company's concerted effort to turn on new audiences on to dance, while giving ballet aficionados an opportunity to meet with dancers on their own turf.



#3 dirac

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Posted 21 February 2012 - 11:41 AM

A review of Jose Mateo Ballet Theatre by Iris Fanger.

His latest program, “Classical Lovers,” currently running weekends at The Sanctuary Theatre, offers three of his ballets, premiered between 1991 and 2003. While the scores by Joseph Haydn, Franz Schubert, and Johann Sebastian Back were written for orchestra halls rather than dance theaters, they provide evocative backgrounds for Mateo’s abstract choreography. However, the downside of this particular program, accompanied by pre-20th century pieces of music, is a sense of watching one long ballet. Each of the works is centered by a pas de deux between an alluring female dancer and the man who is pursuing her, surrounded by the corps de ballet that enter and exit around them.



#4 dirac

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Posted 21 February 2012 - 11:45 AM

Diablo Ballet performs next month. Preview by Andrew Gilbert in The San Jose Mercury News.

There is nothing like experiencing ballet up close and personal, hearing the dancers breathe, watching their muscles flex and tremble, feeling the vibrations of the music. For Diablo Ballet, offering an intimate look at dancers in action has turned into a savvy outreach strategy. Presented March 2-3 at Walnut Creek's Shadelands Arts Center Auditorium, the company's third annual Inside the Dancer's Studio program seeks to break down the fourth wall, offering exhilarating, immersive performances followed by casual interactions with the artists. The program is the result of the company's concerted effort to turn on new audiences on to dance, while giving ballet aficionados an opportunity to meet with dancers on their own turf.



#5 dirac

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Posted 21 February 2012 - 11:47 AM

A review of San Francisco Ballet by Rita Felciano for danceviewtimes.

Quite disappointing was Yuri Possokhov's grand but badly realized story of illicit love, "Francesca da Rimini". At half an hour, the format should have a place in the repertoire at a time when audiences long for narratives. There is no reason why choreographers need to create three acts to satisfy that desire. Story ballets can become an attractive component in a mixed program. Both Fokine and Balanchine knew that.



#6 dirac

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Posted 21 February 2012 - 11:48 AM

A review of Dance Theatre of Harlem II by Carol Pardo for danceviewtimes.

The evening ended with Donald Byrd's interminable "Contested Space" one of those attempts to bring together modern dance and ballet. It began with an extended demonstration of floor work and included a duet in which a fish dive, straight out of "The Sleeping Beauty" devolved into a split on the floor and ended with the woman doing an arabesque penché in which her head landed in her partner's groin.

To thrive, a company needs good will and money. But it also needs a vision and a repertory that expresses that vision. DTH has the good will and the vision since it was founded. The necessary monies are being gathered. But the repertory is not yet carrying its weight.




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