14 replies to this topic

[dirac]

Marin Ballet celebrates its fiftieth anniversary.

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Celebrations for the 50th anniversary began in October with the completion of a $1.3 million renovation of the organization’s 20,000-square-foot facility in San Rafael. Designed by the San Francisco-based Iboshi Architecture, the project includes a renovation of the school’s current building, a new entry façade and lobby, new bathrooms and new picture windows to showcase several of Marin Ballet’s six dance studios. A state-of-the-art theater is envisioned for the future as part of the company’s master plan.

[dirac]

An item on Ballet San Jose's gala by Sal Pizarro in The San Jose Mercury News.

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To be honest, I missed seeing Nahat and other longtime Ballet San Jose supporters there. But Elizabeth Hutter -- and the gala committee she headed -- succeeded in bringing many new faces to the event. The gala included an elegant dinner for more than 200 "ballet benefactors" that was designed by Plumed Horse Executive Chef Peter Armellino. During the dinner and a post-show party, I met several people from the Peninsula and noticed names on the sponsor list such as San Francisco and Palo Alto clothing store Wilkes Bashford. Both are good signs that Ballet San Jose is broadening its support.

[dirac]

Pittsburgh Ballet Theatre closes a real estate acquisition that will expand its headquarters.

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PBT's board of trustees approved the purchase at its July meeting.

Earlier phases have included the acquisition in 2009 of the Byham House in Lawrenceville for student housing and the installation of new Harlequin floors in the studios.

[dirac]

The National Ballet of Canadaand other arts organizations take changes with some big spending.

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“Alice is the biggest show we’ve done and I’m just as proud when we do a small program with less hoopla, but I’m happy to use all the technology that’s available to attract new audiences — people who might not think that they’d like the ballet,” says Kain of the production, which has been updated since its debut last year, with choreographer Christopher Wheeldon adding a third act to the piece.

[dirac]

A photo gallery from the de Young Museum exhibition "Rudolf Nureyev: A Life in Dance."

[dirac]

The Week rounds up the critical reaction to the Royal Ballet's new mixed bill.

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With the first triple bill of the season Kevin O'Hare has turned a spotlight on three tremendous British choreographers, says Debra Craine in The Times. Scarlett's Viscera has clarity, speed and elegance, McGregor's Infra features a "muscular and voluptuous" duet, and Wheeldon's Fool's Paradise, has both "romantic urgency" and "sheer prettiness".

[dirac]

An interview with Christopher Hampson.

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.........So what is it about Scotland’s national ballet troupe that appealed to him?

‘One of the privileges I had in my previous career as a freelance choreographer working around the world, is I often see the UK from an outside perspective,’ says Hampson. ‘And Scottish Ballet, right from way back when, has always had quite a unique voice on the UK dance scene. It’s forward-thinking and seeks collaboration in its creative process and, because of the broad choreographic vocabulary used here, they’re a very dynamic group of dancers.’

[dirac]

Dancers of the Pacific Northwest Balletare featured in a new book of photography.

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The book collects images of ballet dancers leaping, twisting and looking generally fabulous in public places, such as subways, sports stadiums and parks. PNB dancers Kyle Davis, Angelica Generosa, Eric Hipolito Jr., Sarah Pasch, Sean Rollofson and Ezra Thomson are in the mix.

[dirac]

Kevin McKenzie visits his hometown.

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The youngest of Ruth and Raymond McKenzie’s 11 kids, McKenzie ranked among the top male dancers in the world in the ’70s and ’80s. After he stopped performing, he switched roles — from dancer to director of American Ballet Theatre. The company was on the brink of financial disaster when McKenzie took over in 1992. In the 20 years since, he has deftly led ABT through crushing debt, recession — and all too many Nutcrackers — to solvency. He helped the company establish a new school and saw Congress pass a resolution recognizing ABT as “America’s National Ballet Company.”

[dirac]

Gwinnett Ballet Theatre opens its new studios with a gala.

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This year has been a busy year for the dancers, staff and parents at Gwinnett Ballet Theatre. The nonprofit school and company, Gwinnett’s oldest performing nonprofit organization, has brought on a new artistic director, a new school director, and moved to a new location.

[dirac]

A review of Satellite Ballet by Leigh Witchel for danceviewtimes.

http://www.danceview...laboration.html

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So far, it’s the process, and the honest effort of the experiment that makes Satellite worth the time. The music and the photos have been lovely. The ballets are interesting. If they’re sometimes light on dancing, they still have a distinct voice that owes a debt to Robbins more than Balanchine. It’s a pleasure to get to see more of Wellington or Gerrity, and King or Laracey in a new light. Though he’s green, Schumacher is willing, like Robbins, to take risks that might not pay off until two or three ballets down the line. If the concepts are pretentious, at this point in ballet, a pretentious idea is better than none. There’s an appeal to honest attempts not covered in an impenetrable coating of ingenuity. He’s in the minority today as a ballet choreographer who isn’t trying to solve every problem by making the trickiest steps in town.

[dirac]

An item in brief from The Atlantic on New York City Ballet's series of promotional videos.

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It's hard to comprehend the sheer size and scope of the world-renowned dance company, but this recent promotional documentary reveals the many moving parts that come together. From the orchestra pit to rehearsal studios, it's a virtual back stage tour. The film was directed by Nick Bentgen for N.Y.C. Ballet, following on the heels of documentaries about the costume shop, the perfect pair of ballet slippers, and how to dance a pas de deux. For ballet fanatics and laypeople alike, the series is a visual treat.

[dirac]

Addenda from Deborah Jowitt re "Winterbranch" and her review of L.A. Dance Project.

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As of November 2, my post (http://www.artsjourn...o-west-to-east/) reflects what I learned from a correspondence with two remarkable women involved in Winterbranch’s history. And, with their permission, I reprint below some of the information and insights they provided.

On October 31, having fled the city, I discovered the following exasperated letter from a friend, written the day before. The friend was Carolyn Brown, the unforgettable Cunningham dancer who appeared in Winterbranch at its premiere and subsequent performances.

[dirac]

A review of the Royal Ballet by Judith Cruikshank for danceviewtimes.

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.......congratulations to Kevin O’Hare for his courage in the programming of the first mixed bill of his regime. Whether this is a sign for the future only time will tell and it has to be remembered that the season opened with a long run of Anthony Dowell’s ill-conceived production of “Swan Lake”.

On the other hand all the "Swan Lake" performances were effectively sold out, even at the high prices charged and although this mixed bill appears to be proving popular with audiences, the ticket prices have been reduced significantly; roughly speaking £120 ($192) top price for “Swan Lake” as against £37.50 ($60) for the mixed bill. So, you have to wonder.

[dirac]

A review of the Royal New Zealand Balletin 'Giselle' by Jack Yan for Lucire.

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Opening night saw American Ballet Theatre prima ballerina Gillian Murphy, RNZB Principal Guest Artist, in the title role, in a stand-out performance; while Qi Huan danced the role of Albrecht and was on top form. Jacob Chown, as Hilarion, and Abigail Boyle, as Myrtha, should be noted for their supporting roles.