The show follows a handful of dancers for Salt Lake City's acclaimed Ballet West as they learn complex choreography while juggling romantic entanglements and the physical demands of doing a job that requires as much physical training as world-class athletes. Getting the high-profile treatment is Ronnie Underwood, who was a principal dancer for five seasons at OBT before he left the company in 2010. After dancing one year in Oklahoma City, Underwood joined Ballet West as a soloist in 2011.
Wednesday, June 6
Posted 06 June 2012 - 09:52 PM
Posted 06 June 2012 - 09:53 PM
Students prepare for their performance during the 18th annual DanceChance Observation day at Pacific Northwest Ballet on Tuesday, June 5, 2012. DanceChance students from 26 Seattle and Bellevue public schools showcased what they learned during their twice-weekly PNB classes. The program offers a chance for students in public schools to pursue a dance career. The program provides transportation, clothing and scholarships for students, some that would otherwise be unable to take dance classes. Over 1,500 students auditioned for spots in the program.
Posted 06 June 2012 - 09:55 PM
If you're a classical dance lover and a little surprised that Ballet Frontier of Texas just ended its 10th season -- does anyone remember the first five or six? -- rest assured that after Tuesday night's season finale, this group shouldn't fly under the radar anymore.
Some of the success of this performance, the strongest from the group since I've been viewing its work, is due to dancers on loan from the Texas Ballet Theater (Paul Adams, Max Caro, Kathelyn Clenaghan and Lainey Logan). But an equal part of that success is the addition of two dancers from the defunct and much-missed Metropolitan Classical Ballet, Marina Goshko and Andrey Prikhodko, now Ballet Frontier principals; and regulars Daniel and Kerri Westfield.
Posted 06 June 2012 - 09:57 PM
The New York Times
Less Shakespearean yet is the cavalier Balanchine provides for Titania in Act I: a squire who, with no hint of adulterous intention, partners her as she displays her wild, capricious, mighty, self-contradictory impulsiveness. (Shakespeare’s women never get this easy a ride even from their servants.) Tuesday’s Titania was Maria Kowroski: although there is more power and voluptuousness to this choreography than she shows, it always does this dancer good to be part of a comedy. Her physical beauty is breathtakingly showcased here, but she plays much of the action with a touch of self-amusement, as if she knows she too is wonderfully absurd.
The Financial Times
In Balanchine, arms and hands tell you everything about a couple. As the spurned Helena, Janie Taylor wound her arms around Amar Ramasar’s Demetrius like ivy. He kept breaking the chains. Later when he was pursuing her, she pushed and he pulled, wrists grasped. Together their arms formed a square – a strongbox of opposing wills. In the plotless second act that celebrates happy unions, Wendy Whelan and Jared Angle let hand hover over hand as, side by side, they pinwheeled their arms.
Posted 06 June 2012 - 09:59 PM
Balanchine created "Cortege Hongrois," which mixes ethnic Hungarian dance with classical ballet to the music of Glazounov, as a parting gift in 1973 for one of his stars, Melissa Hayden, when she announced her retirement. It was performed here by 36 dancers, with two main couples — the "character" couple, in boots, and the "classical" couple, Farley and Mikayla Lambert. Lambert's grace and maturity occasionally brought to mind a current NYCB star, Sara Mearns.
Posted 06 June 2012 - 10:01 PM
He and Vishneva were at their best in the final, no-holds-barred duet. As Onegin, who’d rejected Tatiana years before, pleaded for her love, Gomes threw himself at Vishneva’s feet and then tossed her overhead, where she collapsed into his arms in conflicted desire.
Yet it all appeared premeditated. Despite a wealth of beautiful details, Vishneva knew all too well how she wanted to look, and never departed from her script. Gomes hadn’t entirely figured out Onegin, and banked on a showy display.
Posted 06 June 2012 - 10:05 PM
The Financial Times
At this performance the Royal Ballet showed us its newly revised version of Kenneth MacMillan’s The Prince of the Pagodas, his last full-length ballet, first seen in 1989. MacMillan, seeking to restore this important dance-score to the stage, was allowed to edit, but not enough. His choreography, a homage to the Petipa ballets which had formed him as a dancer, was hobbled by Britten’s over-abundant if dazzling music. Now, with the sanction of the Britten Trust, further cuts (some 20 minutes) mean that the Royal Ballet has been able to delete stretches of writing for the corps de ballet (the second act is now lean, dramatically purposeful) and to trim the action. The result is honourable as an account of MacMillan’s vision, and a not inconsiderable reminder that he was grandly skilled in making pur-sang academic dances.
Yet for all its narrative problems, there is a fractured enchantment on stage, especially in the visionary second act. Some of the performances are excellent: Marianela Núñez etches a sharp, radiant clarity out of her pink-princess choreography; Tamara Rojo is all black, malevolent glamour (her glance of contempt slices like a dagger through Núñez's pleadings). Steven McRae offers pure foppish nastiness as the King of the West; Ricardo Cervera is unexpectedly scary as the simian King of the South; Nehemiah Kish embodies the salamander prince with a slithery desperation. All these elements make Pagodas worth reviving. They just don't add up to a ballet.
Posted 07 June 2012 - 08:57 PM
Avant Chamber Ballet had a successful weekend of performances in Grapevine. And while the troupe has more than tripled its donations on the crowdfunding website Kickstarter.com, it is still more than $1,200 short.
If Katie Puder's dance company doesn't reach the $2,000 target by 11:59 p.m. Sunday, it gets zilch.
Posted 11 June 2012 - 10:12 AM
Comparisons between “Gilmore” and “Bunheads” — which also share an occasional director, Kenny Ortega, and actress Kelly Bishop — are inevitable, Sherman-Palladino says.
“Stylistically, I write a certain way . . . I like shooting a certain way, I like space, I like air, I like movement, and I like the quirky side of people,” she said. “It’s going to have a ‘Gilmore’ kind of feel and bounce to it, but it’s not ‘Gilmore.’ ”
0 user(s) are reading this topic
0 members, 0 guests, 0 anonymous users
Help support Ballet Alert! and Ballet Talk for Dancers year round by using this search box for your amazon.com purchases (adblockers may block display):