Kargman and her team were granted exclusive, behind-the-scenes access to the 2010 YAGP, a competition that awards top dancers with scholarships and contracts to the world's top ballet companies and training schools.
Thursday, May 17
Posted 17 May 2012 - 02:46 PM
Posted 17 May 2012 - 02:48 PM
Damian Woetzel’s programming this summer runs the gamut. There will be ballet, of course, with the New York City Ballet chamber ensemble, Moves, opening the festival. There will be works drawn from the arc of modern dance, including classics from the Martha Graham Dance Company as well as “One of Sixty-Five Thousand Gestures,” a delicious recent collaboration between Jodi Melnick and Trisha Brown. Liana Churilova and Emmanuel Pierre-Antoine will be M.C.s for a “Ballroom Spectacular” evening. And closing the schedule is “Dance TV,” featuring reality television competitors and special guests...
Posted 17 May 2012 - 02:50 PM
....Ballet Theater’s second week brings “La Bayadère,” with another slew of superb casts. Balletomanes will want to see the New York debuts of Hee Seo as Nikiya and Isabella Boylston as Gamzatti, rivals for the love of Solor, danced by the Russian-born English National Ballet principal Vadim Muntagirov on Wednesday night.
Posted 17 May 2012 - 02:52 PM
A clip of Shawn’s 1934’s male dancers’ “Mechanized Labor” is directly followed by the Bad Boys of Dance performing a nearly identical routine. Charles Yurick is responsible for the crisp editing throughout; when precious archival footage is used, such as a clip of José Limon or of Martha Graham, it is never didactic. The influence of Shawn still reigns, underscored by talking-head bits from first-tier dancers and choreographers Paul Taylor, Mark Morris, Suzanne Farrell and Merce Cunningham (his last onscreen interview), all of whom have appeared or taught at Jacob’s Pillow. Taylor observes that dancing is a tough life, Cunningham says it’s not for the timid, Morris explains the appeal of his own work—“it’s not for everyone; it’s for anyone.”
Posted 17 May 2012 - 02:54 PM
ARB joins the theater’s other Artistic Affiliates: American Theatre Group, Ballets with a Twist, Nai-Ni Chen Dance Company, StrangeDog Theatre Company, and Vital Theatre Company, who were all selected through a competitive RFP process begun last summer.
Hamilton Stage for the Performing Arts, located at 360 Hamilton Street just around the corner from UC PAC in the Rahway Arts District, represents a significant expansion of UC PAC and will open in September 2012. As an Artistic Affiliate, ARB will present three programs at the intimate 199-seat Mainstage Theater at Hamilton Stage over the course of the 2012-2013 season. Tickets for these programs will go on sale this summer.
Posted 17 May 2012 - 02:56 PM
Hee Seo's Giselle was equally nuanced, and full of glorious details. I loved the way she carefully selected the prophesying daisy. She was spunky and fun-loving, hiding from her mother (Nancy Raffa, who gave a chilling version of the wili's story) and gently teasing Albrecht, but there were hints of fragility, too. During the confrontation between Albrecht and Hilarion, she hid her ears, as if she couldn't stand any conflict, prefiguring her final breakdown. Her mad scene, too, was very effective. She was quiet and still at the beginning, her face frozen and white, and gradually she lost control, cowering away from everyone until that last final run.
Posted 17 May 2012 - 02:57 PM
But most enchanting is the first moment we encounter Odette, danced by Maria Aleksandrova, with her swan-tourage in the second scene. The fluidity and flexibility of her limbs really seem other-worldly and we’re swept away into the realm of fairy tale. Later, when she plays the part of Odette’s double Odile (the black swan), Aleksandrova really comes into her element — her movements become sharper, bolder and even more expressive, and she smoulders in the pas de deux with Skvortsov — the dance during which Odile seduces Siegfried into choosing her as his bride.
The show closed to a well deserved standing ovation, but we couldn’t help feeling a little sad to notice the theatre was about third empty. Seriously, people — get out and see this ballet. It’s only here for three more nights and it could be another 33 years before the Bolshoi bourrée back into town.
Posted 19 May 2012 - 03:18 PM
The national ballet company posted a $1.36 million deficit, its first in three years, and the company's executive director, Valerie Wilder, expects to report another deficit this calendar year, the company's 50th year. Ms Wilder said last year's loss was anticipated and, returns the ballet to its "historic business model".
The deficit was partly the result of the hefty costs associated with Murphy's new Romeo and Juliet and from refurbishing productions of The Merry Widow and Madame Butterfly.
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