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Monday, May 21


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#1 dirac

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Posted 21 May 2012 - 11:57 AM

A letter to the editor of The Washington Post regarding a review of Washington Ballet by Sarah
Kaufman.

......Sarah Kaufman, criticizing the choreography for being cliched, resorts to her own cliche, or worse, by stating: “[Edwaard] Liang, being Taiwanese, is at something of a disadvantage in creating a Latin dance, and it showed.”

Kaufman seems to be disadvantaged in her review, but not because she is or isn’t Latina. No, her disadvantage appears to be a disregard for the strong, affirmative reaction of the audience throughout the performance.....



#2 dirac

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Posted 21 May 2012 - 12:00 PM

Dance listings in the May 28 issue of The New Yorker.

In what may be a timely nod to the much lauded film “The Artist,” New York City Ballet brings back Susan Stroman’s “Double Feature” this week for five performances. A Broadway veteran who has made a handful of works for the company, Stroman is theatrically astute, with a zany sense of humor, and an ability to bring ballerinas out of their shells.....



#3 dirac

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Posted 21 May 2012 - 12:03 PM

An interview with Joseph Russillo by Ati Metwaly for Ahram Online.

In 2006, Russillo brought his choreography for The Rite of Spring to Cairo. Stravinsky's composition was combined with The Nile Bride to the music by Nader Abbassi.

"The Nile Bride and The Rite of Spring formed one story. The first one, based on Abbassi's music, was a legend that visually evolved towards The Rite of Spring, a story about how man destroys Earth. It's the concept of pollution and the dancers do not resemble men and women; they look like Earth. The dancers destroy Earth and one finds that they were the cause of this disaster," Russillo explains.



#4 dirac

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Posted 21 May 2012 - 12:05 PM

An interview with Heather Ogden.

Ogden is sorry she isn't able to perform at the anniversary gala—she's preparing for her role in the North American premiere of the ballet Hamlet—but said she sends her love and congratulations. She also shared some thoughts with The Review on the academy's milestone.

"The Richmond Academy of Dance was my second home growing up. I probably took at least 10 ballet classes a week and I loved it. I met so many of my friends through dancing at Richmond Academy, many of whom I am still close with today, 13 years later! I loved that I was able to go to a local dance school and receive first rate professional training that led me to the career of my dreams.



#5 dirac

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Posted 21 May 2012 - 12:08 PM

Q&A with Bess Kargman.

HollywoodChicago.com: Which of your young ballet subjects was the most like a kid and which one astounded you regarding how “adult” in attitude they were?

Kargman: This is a tricky question. Ballet is a mini-adulthood for young dancers. They are so poised and mature from a young age. It’s fascinating, I got an audience question in a recent festival screening that asked, ‘did any of the kid’s act out, and did you A) not want to show it, or (B) never got an opportunity to capture it with camera?’ No is the answer. No ballet teacher or gatekeeper of the ballet world wants a diva, or a kid with behavioral issues. You just don’t see it, because it’s not approved of, and even if you’re a problem child, good luck making it as a dancer. There’s no tolerance for it.



#6 dirac

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Posted 21 May 2012 - 12:09 PM

The Ziff Ballet Opera House is forced to evacuate because of flooding. Video.

Sunday night's performance of The Lion King was stopped around 8 o'clock and Arsht staff members went on stage to tell patrons to evacuate the building.

Scott Shiller, executive vice-president of the Arsht Center, stated that the heavy rains in Miami caused a drain line to leak with flooding in the lobby leading to the show being stopped.



#7 dirac

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Posted 22 May 2012 - 10:31 AM

Reviews of New York City Ballet.

The New York Times

Last performed in 2010, “Liebeslieder” returned to the New York City Ballet repertory on Friday night at the David H. Koch Theater. (A second cast performed on Sunday afternoon.) The revival has been lovingly rehearsed, though some important problems remain. In particular, the room is insufficiently transformed in the second part. In Balanchine’s original production the translucent walls revealed a sky full of stars; in this version, first staged in 1984, there are no stars.


The Faster Times

.....And then there is “In G Major,” set to Ravel’s Gershwin-like piano concerto in G and originally created for Suzanne Farrell and Peter Martins (in 1975). This sensual, Art-Deco-inflected ballet contains perhaps the most complete account of a summer romance—from flirtation to love in full bloom–ever seen in ballet. In one performance, Maria Kowroski was a sexy starlet at the beach; Tyler Angle her Adonis-like counterpart, a champion athlete perhaps, flirting with all the girls. The two sized each other up, in a series of sauntering walks toward and away from each other, then side by side, then hand in hand, until by the end of the pas de deux—the end of the summer—they were hopelessly in love. At another performance of “In G Major,” Sterling Hyltin and Robert Fairchild were the lovers; the two were less glamorous, but the crescendo of their attraction burned even more brightly.



#8 dirac

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Posted 22 May 2012 - 10:32 AM

A preview of Los Gatos Ballet's "Cinderella."

With 134 dancers from Los Gatos Ballet in the production--from the tiniest beginners to accomplished ballerinas--Cinderella promises to be a visual feast. "Each level of the school has different characters and actors," Ryken says. "You'll see the youngest levels, followed by the next, and the next and the next. So you can really see the progression in their skills as the students come out on the stage."



#9 dirac

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Posted 22 May 2012 - 11:01 AM

A review of New York City Ballet by Mary Cargill for danceviewtimes.

Experience isn't really the answer, as Kowroski has danced the Diana Adams/Suzanne Farrell role for a number of years. Her first act was somewhat emotionally blank, and it was impossible to tell from her face if her partner's whispered message was "I will love you forever" or "I would like a cup of tea." There is a reason the dancers are in that room, wearing those costumes, and hiking a leg up so that frilly underwear is exposed destroys the feeling the sets and costumes work so hard to create.



#10 dirac

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Posted 23 May 2012 - 10:34 AM

The Joffrey Ballet hosts an event co-sponsored by the State Department.


Following was a performance of two excerpts from recent Joffrey commissions, including Age of Innocence choreographed by Edwaard Liang, inspired by the social themes of Jane Austen’s novels, and Bells choreographed by Yuri Possokhov, inspired by Sergei Rachmaninoff’s Piano Concerto No. 2. The works were danced by four of Joffrey’s international dancers, including Victoria Jaiani and Temur Suluashvili (both from the Democratic Republic of Georgia), Christine Rocas (from the Philippines) and Olgucan Borova (from Turkey).



#11 Helene

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Posted 24 May 2012 - 09:03 PM

Gia Koulas interviews Joaquin De Luz for Time Out New York.

What has that done for your stamina?
Now, when I do things like Corsaire or Don Q on gigs, I don’t even sweat. [His eyes grow.] I don’t even sweat.




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