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Saturday, June 30


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#1 dirac

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Posted 01 July 2012 - 03:49 AM

A CBS News story in brief on the firing of Nicholas Goldsborough from the executive directorship of Miami City Ballet.

Past financial records have shown the ballet is about $2 million in debt, but no financial information was revealed Friday.



#2 dirac

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Posted 01 July 2012 - 03:51 AM

William Forsythe is honored at the American Dance Festival.

The week concluded Saturday with Hubbard Street Dance Chicago’s second performance at Durham Performing Arts Center.

Before this performance, William Forsythe received the $50,000 Samuel H. Scripps/American Dance Festival Award for Lifetime Achievement.



#3 dirac

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Posted 02 July 2012 - 10:25 AM

An interview with Jennifer Whalen.

Of the foreign countries she's visited, Cuba was her favorite, Whalen said. The dancers performed in Havana two years ago, and Whalen said the people were warm and welcoming. The country, she noted, seemed to be in a "time warp." Buildings were run down and the electricity went out at one point.

Still, "They really rolled out the red carpet. It was beautiful. We were at the beach during the day. Our performance was televised. They love the ballet there. Everything was so cool. There is natural beauty, the water and beaches. It was really special," she said.



#4 dirac

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Posted 03 July 2012 - 10:32 AM

An interview with Allison DeBona and Rex Tilton of "Breaking Pointe." Video clip included.

What viewers did not know was that Ms. DeBona's partner for her first principal role, Michael Bearden, had been in Scotland for about a month during the first part of rehearsals. Or that another partner, Adrian Fry, was missing for two weeks. She had reason to be stressed.

"So here I am with all these amazing roles and for two weeks, no men. And I'm sitting on the floor at the back of the room, twiddling my thumbs."




#5 dirac

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Posted 05 July 2012 - 03:35 PM

A review of American Ballet Theatre in "Swan Lake" by Tobi Tobias in her blog, "Seeing Things."

Nevertheless, the amazing part of the evening was Corella’s demonstration of his artistry in playing Siegfried. He remains as compelling as ever—you might say even more now that his physical virtuosity is diminished—in sheer theatrical know-how (timing and tone, for instance), and especially in creating a character who is alive at every moment. When his mother, the monarch of the realm in which their story takes place, tells him that, having reached his majority, he’s obliged to marry, he makes it clear and keeps it clear that she has sounded his death knell. He doesn’t go back to the upbeat company of his friends but continues to be shrouded in a dark cloud of gloom. He’s not angry or sulky but rather in what the medicine men of the 20th century would have called a chronic depression.




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