7 replies to this topic

[dirac]

A review of Miami City Ballet by Elizabeth Hanly in the Miami New Times' blog.

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After Balanchine, Scarlett unhesitatingly cites his fellow contemporary choreographer Kenneth MacMillan and his work with pas de deux as having a real influence of his own work. On Friday night many of the most astonishing moments of Scarlett's "Euphotic" came from the pas de deux -- or rather the pas de tres. Jeanette Delgado, whom Scarlett has called one of the world's great ballerinas, was the centerpiece of many of these partnerships. Even as she was lifted, her movements and those of her partners kept changing, becoming every time more beautiful.

[dirac]

A society pages report on the Poinsettia Ball benefit for Alabama Ballet.

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Nineteen debutantes were presented at the 45th Poinsettia Ball benefiting Alabama Ballet and hosted by the Ballet Women’s Committee at Vestavia Country Club.

[dirac]

Connecticut Ballet photo gallery.

[dirac]

Carlos Acosta's first novel gets some pre-publication recognition.

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Nor is Acosta's new book Pig’s Foot, an ambitious story encompassing a broad sweep of Cuban history, even his first successful literary venture. In 2007, his bittersweet autobiography No Way Home was published to a warm reception. It is, however, his first attempt at fiction, which – considering how very few novels by dancers there are – makes the achievement all the more remarkable.

[dirac]

The Russian National Ballet Theatre visits Oklahoma.

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For the first night, the theater will bring to life the full-length, three-act ballet, “Cinderella.” With music by Sergei Prokofiev and choreography by Rostislav Zakharov, the beloved fairy tale will include lavish sets and authentic costumes from the Bolshoi Theatre era.

[dirac]

A review of the Youth Ballet Festival hosted by Ballet Frontier of Texas by Cheryl Callon for TheaterJones.

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The Texas Ballet Theater School sent ensembles from their campuses in Dallas and Fort Worth, and we were also treated to an appearance of TBT's second company. The school ensembles performed with the technical clarity and skill that we've come to expect from their name. TBT II especially stood out with Ben Stevenson's Pas de Six.

Ballet Ensemble of Texas brought the best work of the evening with Lisa Slagle's Rhapsody, neo-classical ballet with black-and-white clad dancers. Dallas Blagg and Katie Cheng delivered an exquisite duet, in addition to their respective solos. Their performances, however, only completed an already outstanding picture. Elaborate floor patterns and precise pointe work did much to bolster the piece, but its biggest strength was that the dancers truly looked alive.

[dirac]

A review of Ballet Manila's'Sinderela' by Joseph Cortes for BusinessMirror.

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What distinguishes this production is Sabas-Gower’s choreography. Prokofiev’s music to the ballet is heavy, especially with its bold scoring in the first act. She instead directs the entire opening act with a light hand. Sinderela’s past is presented in a series of tableaux that recount her mother’s death, her father’s marriage to Traviesa, and his death, accomplishing in just a few minutes what would normally take so much more time. Sabas-Gower then works her magic by keeping things moving quickly.

[dirac]

Another story on Carlos Acosta's new novel.

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Acosta, who grew up in a cramped Havana apartment with 10 siblings and went on to perform as guest principal artist with most of the world's leading ballet companies, spent four years writing Pig's Foot in breaks between rehearsals after finding the process of writing his autobiography "very therapeutic".