RWB's version, in the repertoire since 1982, is by England's Peter Wright. Remounting the work for the first time in a decade, the company has spruced it up with fresh replicas of the original sets and first-act costumes. The troupe is expanded with senior students and retired dancers to a cast of more than 40. Retired star Tara Birtwhistle, in the non-dancing role of Giselle's fretful mother, is a master of body language as always.
The rustic Rhineland village set is charming, like an autumn-toned illustration from a folk-tale book. The costumes are lovely, and when the royal party arrives they're opulent, with gorgeous plumed hats, gowns, capes and tunics. The colour palette of browns, rusts, oranges and golds verges on monotonous, though.
Friday, March 9
Posted 09 March 2012 - 10:44 AM
Posted 09 March 2012 - 10:46 AM
At least that’s how it happens ideally. Since N.C. Dance Theatre can’t afford an orchestra, the company’s first staging of "Sleeping Beauty" – which opened Thursday – relies on a recording to produce Tchaikovsky’s music. That just doesn't have the same power. It signals that NCDT’s "Sleeping Beauty" won’t really be about the opulence and grandeur of classical ballet. Instead, NCDT is offering ballet’s poetry, warmth and dancer-by-dancer drama.
Posted 09 March 2012 - 10:52 AM
"Our audience has expanded by dozens of times over the past two years. The audience of an online broadcast is 70 times that of the Bolshoi’s seating capacity. The enlightenment purposes, humanitarian values and integration interests we have been pursuing have fully justified themselves. When we were launching this project, I was asked: ‘Aren’t you afraid that people will stop buying theater tickets because they can now watch a performance live on a movie screen?’ But nothing of the sort has happened. The trend is just the opposite. Last March, we broadcast the Flames of Paris live to France. Two years later, we showed it in Paris, while on tour, and the tickets had been sold within a couple of days."
Posted 09 March 2012 - 10:54 AM
Raher was a dancer and soloist with the Ballet Russe de Monte Carlo and danced for choreographers including Nijinska. He appeared in several Broadway shows, including Bloomergirl, The New Moon, and Carousel and once performed at the Museum of Modern Art with Merce Cunningham as well as in David Ross' The Dybbuk. As a drama and English literature professor, Raher spent two years in Japan at Doshisha University in Kyoto.
Posted 09 March 2012 - 10:55 AM
Keiko Amemori was the new girl on the Northern Ballet block in 2002 and she returns to Leeds this season as a guest artist to dance the role of the Japanese geisha girl, the Butterfly broken on the wheel of naval officer Pinkerton’s American arrogance.
Posted 09 March 2012 - 11:12 AM
"It's interesting that such a small city, and what in some ways is a depressed region financially and in other ways, would actually have so much creative spirit. It's kind of friendly to start-ups with an interesting idea."
Along with soul, rock, blues and other styles that long have flourished in Memphis, the city has opened its arms to Ballet Memphis' refined and vibrant artistry. Part of the reason is the feisty, vivacious Pugh, who recognized from the start that her company would have to reach out to a diverse community.
Posted 09 March 2012 - 11:14 AM
Returning to the repertoire after only two seasons -- SFB will take "Romeo" to the Kennedy Center in November -- the current version offered few surprises. No first-time interpretations added a note of expectancy. Everyone was right on cue, and the show ran as smoothly as a well tuned piece of machinery. If some of the excitement surrounding the unknown was missing, what stood out perhaps more clearly than before was Tomasson's balancing act. This "Romeo" is as dramatic as it is lyrical; the tragedy, though focused on the two lovers, is social as well as personal......
Posted 10 March 2012 - 05:16 PM
This production represents a comeback for [Kathryn] Morgan, who spent the past year and a half in treatment for a thyroid condition that left her unable to dance. She took the stage Friday morning, March 9, before a sparse audience of schoolchildren, teachers and parents, and she did not disappoint.
Morgan handled the challenge of dancing the roles of Odette/Odile (White Swan/Black Swan) with energy and style, and she was ably partnered by her former NYC Ballet colleague, Seth Orza, who danced Prince Ziegfried as though to the manner born.
Posted 10 March 2012 - 05:21 PM
For someone who’s become a star of Germany’s renowned Stuttgart Ballet and, to date, the only Canadian invited to dance as a guest of the Paris Opera Ballet, you could say McKie’s homecoming is somewhat overdue.
“I always wanted to come back and just be here,” says the handsome 6-foot-3 dancer who, after almost 14 years in Germany, stills considers himself “totally Canadian.”
Posted 11 March 2012 - 10:41 AM
The Globe and Mail
The three works on Ballet BC’s latest mixed bill don’t have a lot in common – which is a good thing in terms of keeping an audience engaged over a whole evening. The bill opened with two premieres: artistic director Emily Molnar’s between disappearing and becoming, which was urgent and sexy, followed by Aszure Barton’s lively, folk-dance inflected Vitulare. The final piece – Johan Inger’s Walking Mad – dared something quite complex: It made us laugh and then, as a subtext of madness and sorrow slowly played out, it made us cry.
A sheer sense of joy also marked the world premiere of Vitulare, an ensemble piece by Aszure Barton. The New York choreographer uses cultural and choral songs from Bulgaria to Quebec to Czechoslovakia. Wearing flowy tops and pants with big slits in them, the performers resemble the cast of Fame putting the funk into folk dance.
They kick their ankles inward, quickly tap their toes on the ground, and travel across the stage in deep walking lunges. What stands out most is a sheer sense of joy. Seeing the big smiles on the dancers’ faces, it’s sometimes easy to forget just how technically demanding and physically punishing Barton’s moves are.
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