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Wednesday, November 14


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#1 dirac

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Posted 14 November 2012 - 04:59 PM

A review of Complexions Contemporary Ballet by Gia Kourlas in The New York Times.

The five other works, all by Mr. Rhoden, deliver what audiences have come to expect from Complexions. “Subject to Change,” another premiere, is an overemotional, unremarkable affair for Christina Dooling and Edgar Anido, packed with hoisting, clasping and wrenching. “Pretty Gritty Suite” (2004) is a razzle dazzler set to Nina Simone songs. It’s Mr. Rhoden at his Broadwayesque best — and also his most predictable in its need to overachieve, overdrive, oversell.



#2 dirac

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Posted 14 November 2012 - 05:02 PM

Dancers and staff of Boston Ballet talk to The Boston Globe about what they wear to work.

Tell us about your outfit today.
Ryan Fotter: Most of what I’m wearing right now were presents from friends. A lot of my friends are the dancers and they have very good style.

Do you think working at the Boston Ballet changes the way you get dressed?
It’s very hard to work with 60 professional athletes with unique style and not think about how you look yourself.



#3 dirac

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Posted 14 November 2012 - 05:03 PM

A profile of the Denver Ballet Guild.

The earliest forms of the Denver Ballet Guild can be traced back to 1958, when it started out as the Denver Civic Ballet Association. For about twenty years various ballet organizations operated independently around town -- but in 1978, the Denver Ballet Academy, Denver Civic Ballet Guild and Denver Civic Ballet Association re-organized, with many of their former members joining what's now known as the Denver Ballet Guild.



#4 dirac

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Posted 14 November 2012 - 05:05 PM

Vero Beach Classical Ballet presents its Nutcracker.

Vero Classical Ballet provides the highest level of classical ballet training and promotes the art form through exceptional public performances and to place students into international level careers.



#5 dirac

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Posted 15 November 2012 - 12:17 PM

A review of the National Ballet of Canada by Paula Citron in The Globe and Mail.

The English choreographer’s biggest change is making Alice into a three-act ballet. Admittedly, the first act had been overlong. As Alice now stands, the division is 47 minutes, 29 minutes, 47 minutes. And the new format does work well.

The new break falls between the “Pig and Pepper” scene and the “Mad Tea-Party.” The former is so chaotic with the Duchess’s sausage-making, her surly cook, and her pig baby, that it is a good place to end the act. Wheeldon has also added in a pretty pas de deux for Alice (Elena Lobsanova) and the escaping Knave of Hearts (Keiichi Hirano), he of the stolen tarts.




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