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[dirac]

A review of San Francisco Ballet by Sarah Kaufman in The Washington Post.

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More than any single work, what stood out on this program was breadth and the depth of talent. The evening did not rest on the strengths of a single ballerina and a few soloists, as a full-length production might. Instead, here was the proof of a great artistic organization: range and ability. In four vastly different pieces, we saw dancers of all ranks fill the stage with terrific momentum, with speed, energy, a refined finish to the steps and — even better — a shared esthetic. With its range of backgrounds and nationalities, the San Francisco Ballet is nonetheless cohesive. Its members are well rehearsed, technically polished, united even in their lean, ribbony physicality.

[dirac]

A review of the Royal Danish Ballet in "La Bayadère" by Roslyn Sulcas in The New York Times.

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It’s a potentially intriguing recasting of the narrative, since it intensifies the theme of forbidden love (Nikiya, as a temple dancer, is a holy virgin of sorts) and — at least in theory — infuses the drama with issues of race and social class.

But Mr. Hubbe’s production doesn’t go much further than aesthetic window dressing. Sir William’s fellow soldiers are Brits in khaki shorts; the engagement celebrations take place at a garden party; Sir William and Lady Emma dress up in Indian costumes to dance for their guests. This seems rather unlikely, but it’s another chance to show off some of Richard Hudson’s delightfully eye-popping, colorful costumes.

[dirac]

The Midwest Regional Ballet presents its Nutcracker.

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“We do ‘The Nutcracker’ every other year,” said Kaye Lewis, MRB artistic director. "It’s a real audience pleaser, but also requires a lot of work and a lot of dancers.

“There’s a lot of show there,” Lewis said. She choreographed the show, and, as usual sewed all the costumes.

[dirac]

A preview of Ballet B.C.'s new season.

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After four years of careful rebuilding with Molnar at the helm, Ballet B.C. is getting ready to launch its most ambitious season since its financial near-death in 2008. For the opening mixed program, called In/Verse, Molnar has scored a coup: her own work will debut alongside that of two red-hot contemporary choreographers: American Nicolo Fonte, as well as Euro sensation Jacopo Godani in his first Canadian appearance. The ensuing season will also bring an Ontario tour that hits the National Arts Centre, a trip to Portland’s prestigious White Bird Dance series, and the debut, in April, of its first full-length story ballet since its rebirth: a contemporary revisioning of the ultimate tutu ballet, Giselle, created by choreographer-in-residence and new audience favourite José Navas. Meanwhile, a new executive director brought in from Britain, Branislav Henselmann, is working hard to forge international connections and secure future tours for a troupe that has been largely Vancouver-bound for the last several years.

[dirac]

A documentary featuring Indianapolis City Balletwill be televised.

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The hourlong documentary offers a positive view of the trials and joys of taking up ballet from an early age. With talent supplemented by rigorous and positive training, progress is almost certain for these determined dancers, even if eventual stardom is open to question.