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Thursday, June 14


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#1 dirac

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Posted 14 June 2012 - 03:21 PM

Stories on the Australian Ballet's visit to New York from the Australian press.

The Australian

The company, performing at the Lincoln Centre as part of its 50th-anniversary celebrations, performed a three-act program billed Infinity, a series of divertissements and two one-act ballets by British choreographer Wayne McGregor and Bangarra Dance Theatre's Stephen Page. The performance began with a brief history of the company, accompanied by film relating to the AB's history. AB senior artist Reiko Hombo performed a pas de deux from Don Quixote with Chengwu Guo in a program that also featured excerpts from Giselle, Stephen Baynes's Molto Vivace and Stanton Welch's Divergence.


The Daily Telegraph

Hombo, a senior artist with the Australian Ballet, was on a high after her opening night performance at New York City's Lincoln Centre: "I've just come off stage and I can't wipe the smile from my face. I feel so lucky to be dancing in New York."



#2 dirac

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Posted 14 June 2012 - 03:40 PM

An interview with the director of "First Position," Bess Kargman.

"There are amazing dance documentaries out there, but the majority of them really only focus on the dancers dancing," Ms. Kargman said. "I wanted these characters to be three-dimensional. What do they do when they get home? What are their relationships like? What do they eat? What's their schooling situation like?"

In many ways, her path to producing the film mirrored the ups and downs the dancers faced on their road to the competition. First, Ms. Kargman had to go up against other production companies -- many with greater bodies of work to their names -- for exclusive rights to film the competition.



#3 dirac

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Posted 14 June 2012 - 05:51 PM

Rodrigo Almarales of the Cincinnati Ballet wins a silver medal in Helsinki.

The competition consisted of three rounds of judging and ran from March 29 – June 6, with the winners announced at the Gala on June 7. Almarales performed Diane and Acteon pas de deux and Don Quixote pas de deux with partner Mariya Oishi, a former CBII dancer with Cincinnati Ballet. Other competition pieces included Remix 03 and It’s not what it seems, a contemporary piece with choreography and music by Almarales. The winners were asked to perform at the Gala, and Almarales chose a variation from Don Quixote.



#4 dirac

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Posted 15 June 2012 - 09:50 AM

A feature on the puppet Aslan that will appear in Washington Ballet's co-production of "The Lion, the Witch and the Wardrobe."

He’s the centerpiece of this rehearsal at the Washington Ballet for “The Lion, the Witch and the Wardrobe,” a first-ever collaboration between the ballet company and Imagination Stage. Many characters are represented both by an Imagination Stage actor and a Washington Ballet dancer; the former handles the speaking and singing, the latter expresses emotion through movement.
Aslan seems especially golden against the gray-and-white backdrop of the dance studio. “In Edmund’s place, I offer myself,” booms Michael John Casey, the actor/puppeteer voicing Aslan. “My life for his.”



#5 dirac

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Posted 18 June 2012 - 09:36 AM

A BBC interview with Wayne McGregor. Video.

Wayne McGregor, the resident choreographer at The Royal Ballet says he first became interested in dance while growing up in the 1970s. It was seeing John Travolta in Grease and Saturday Night Fever that made him realise that was the type of dancing he wanted to do.



#6 dirac

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Posted 29 June 2012 - 02:55 PM

Reviews of American Ballet Theatre's "Firebird."

Tobi Tobias

I can’t imagine what Alexei Ratmansky was thinking of in creating his New Look Firebird. To begin with—and this is the first thing you notice–it‘s dressed for Las Vegas by Galina Solovyeva, with complementary décor (including a sci-fi forest with hints of porn) by Simon Pastukh. It wrests the fairy-tale narrative that Michel Fokine created for his 1910 LOiseau de Feu (in which good, abetted by generosity, duly conquers evil and is rewarded with love) into a tale that is sardonic at best, sleazy at worst.


Deborah Jowitt

Having so many firebirds, however, undermines the power of the titular one. When Natalia Osipova appears, she’s dressed exactly like the others, which makes sense in a way, but she’s clearly special— more extravagantly flexible, imperious, and limber-legged than they. Still, it seems purely accidental that she’s the one Ivan tries to capture and subdue; she’s just closer to stage right than her friends.




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