There’s plenty of room for imaginative twists that remains unfilled. Given an opportunity to create a whole new production, Nissenen’s decision to play it so safe seems like a missed opportunity. What the show lacks in ingenuity, though, this new “Nutcracker” makes up for in skill and professionalism. Robert Perdziola’s new costumes, as well as the understated set he designed, are sleek and gorgeous. Sunday’s cast showcased them brilliantly. The dancers’ technique throughout begs no criticism. The company’s corps de ballet excelled under a forest of birch trees, and the company artfully produced falling flakes in the famous snow scene at the end of the ballet’s first act and again in various capacities after intermission. Led by Jonathan McPhee, the Boston Ballet’s Orchestra provided the dancers with a spritely interpretation of Tchaikovsky’s score.
Friday, November 30
Posted 30 November 2012 - 12:21 PM
Posted 30 November 2012 - 12:22 PM
This year, the longtime holiday favorite will feature guest artists Katia Garza and Israel Rodriguez of the Orlando Ballet. The couple will be performing the roles of the Cavalier and the Sugar Plum Fairy. The role of Clara will be played by junior company dancers Annie Cooper, and Molly Flood while Eddie George will be featured in the role of the Nutcracker Prince.
Posted 30 November 2012 - 12:23 PM
The Arabesque Dance Company has been putting on terrific dance productions of "The Nutcracker" for more than 30 years. Staged by Ginger Freint (daughter of founding director Marcia Lachman, Columbia's first dance teacher) and directed by Maureen Wheeler, this rendition has been adapted for children. Students and professional dancers will share the stage, including the Nutcracker Prince, performed by Graham Pitts, who got his start at the Columbia studio.
Posted 30 November 2012 - 12:25 PM
There are other holiday options though, that still show off the holiday spirit. Here are a few. Some were created with children in mind. Some are rated PG-13. Some tell the true meaning of Christmas while others just want to make you laugh.
Posted 30 November 2012 - 12:27 PM
Morgan describes the appeal of "The Nutcracker" in the accompanying behind-the-scenes video that shows a bit of the hard work that is going into readying the production. A gallery of photographs also reveals some of that hard work being led by Mobile Ballet artistic director Winthrop Corey.
Posted 30 November 2012 - 12:47 PM
Our Giselle, Antonia Hewitt, was everything a ballerina should be; controlled and precise; passionate and emotive......
Andrew Bowman danced the role of her lover Albrecht, making his welcome return to the New Zealand stage after decades away on the world scene. His partnering was expressive and strong, and his longing easy to spot in Act Two, when happy village life is left far behind and the audience are taken to a menacing forest scene.
Posted 30 November 2012 - 12:49 PM
The film is also an opportunity to reach new audiences. "This may be seen by more people than the Royal New Zealand Ballet's ever been able to share its performances with," Stiefel said.
Fraser is filming the ballet's performances of Giselle this week, before heading to China and New York next year.
Posted 01 December 2012 - 03:09 PM
Teresa Reichlin and Ask LaCour, principal dancers from the New York City Ballet, will play Sugar Plum Fairy and Cavalier for the New Paltz Ballet Theatre's 15th season of "The Nutcracker." Regional artists and children, the bulk of whom range in age from 7 to 18, will join them. Expect new choreography, a new snow set and some new costumes as well.
Posted 01 December 2012 - 03:10 PM
This production, with choreography split between Lisa Slagle, Clarence McDorman, Tammie Reinsch and Allison D'Auteuil Whitfield (and the Grand Pas de Deux uses the classic Marius Petipa choreography), might not blow you away, but it's solid.
Posted 01 December 2012 - 03:17 PM
His journey to “Rodin” began in 2009, shortly after he’d created “AfterLight,” a piece inspired by Nijinsky’s drawings and photographs, in which, Mr. Maliphant said, he saw “this great flow of arcs, lines” that he “wanted to recreate in the movement.” That choreographic process was one he felt “warranted trying again and again.”
Posted 01 December 2012 - 03:19 PM
Overall, the calibre of the dancing was excellent and the judges (Karen Kain, Nikolaj Hübbe, Kevin McKenzie, John Neumeier, and Kevin O'Hare) certainly did not have an easy job selecting the winners. In the end, the Danes swept all three prizes with compelling performances in both rounds. This is the first time that the male and female winners have come from the same company since 1995, when Jaimie Tapper and Johan Persson (then with NBoC) won. Audiences can hopefully look forward to seeing more of the participating dancers as they grow and develop from this experience.
Posted 01 December 2012 - 03:20 PM
Dramatic detail and credibility is lost as Hübbe struggles to solve the inconsistencies of his idea, from explaining why Lady Emma (Gamzatti) and Sir William happily appear in Indian dresses in Act II to William’s effete suicide by pistol at the beginning of Act III: changing the dramatic premise for the Kingdom of the Shades from an opium dream to the afterlife should, of course, change the whole dynamic of the Shades scene but doesn’t.
Posted 01 December 2012 - 10:35 PM
An inquest at South London Coroner’s Court, in Croydon, yesterday heard the teenager was convinced she was overweight and had scratched the word “fat” on her stomach in one of a series of episodes of self-harming.
She weighed just over five stone at the time of her death and had been referred to a specialist eating disorder unit at King’s College Hospital in London.
Posted 01 December 2012 - 10:39 PM
In larger companies, especially those with a heavier reliance on the 19th-century classics, women are often chosen to provide visual uniformity in corps work but, as National Ballet artistic director Karen Kain explains, that’s not the case in a company such as hers with a female corps of less than 20 (compared with the Russian Mariinsky’s almost 60) and a repertoire that embraces modernism as much as tradition.
“This company has to have dancers who are incredibly versatile, where they might be in the corps in a classic work but also featured in contemporary choreography,” says Kain. “We have so many sizes and shapes, and I see it as a bonus to have so many unique talents, but I’m afraid it doesn’t make Mandy’s job any easier.”
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