"I’m glad that it came across the way it did because it could have come across very different; it could have come across like, ‘Oh, now they’re becoming Fame'," she laughed. "Not that I’m putting down Fame; I actually watched Fame as a kid. Now, 'They’re going to be doing dance numbers for dance numbers sake,' which is never what I wanted the show to be. But it did work very well and it did open us up to the being able to do within dramatic context more dancing. And the dancing is just fun. I mean, it’s just, it’s fun to do."
Wednesday, February 20
Posted 20 February 2013 - 11:03 AM
Posted 20 February 2013 - 11:04 AM
In the fairly basic scenery, Dr Coppelius’s home was perched on one side of the stage in such a position that a section of the audience couldn’t see Coppelia in her window seat, so if they didn’t know the story they wouldn’t understand what the men in the cast were ogling.
Posted 20 February 2013 - 11:08 AM
As if responding to the heartbeat in Tchaikovsky’s score, which describes Aurora’s entrance as a rush of youthful energy, Ashley Bouder gives an exceptionally vivid performance with triumphant balances and a sprightly "ballon." She is not a natural ingénue; and the more subdued virtuosity of the Vision Scene may suit her best.
Posted 20 February 2013 - 11:13 AM
As a dancer for the Brussels Royal Opera, Andre Van Damme carried many lead roles. One of his costume designers was a French artist named Jacqueline Fovel. In collaborating with Van Damme, Fovel created watercolor renderings of costumes that became the blueprints for the finished pieces.
Van Damme brought the renderings - and the costumes that resulted - to West Virginia when he formed the Charleston Ballet in 1956. He served as its director and choreographer until his death in 1989.
Posted 21 February 2013 - 10:44 AM
“We’re ranging across three generations in the New Orleans program,” Malaty said. “With Kylian you get a grand master of ballet – an artist as influential as Balanchine. Elo trained in Russia at the Kirov Ballet and draws on everything he learned to make utterly personal work. With Norbert De La Cruz, we’re taking a risk on Julliard graduate whose work caught our eye.”
Posted 26 February 2013 - 12:22 PM
Like any true allegro dancer she has the ability to never seem to be in a hurry but always gets where she's going on time. Even as the orchestra set some blistering tempos, Scheller remained light and airy. Her upper body was always graceful and at ease with cool elegance in her port de bras. Of the many things that she does well, grace is her defining virtue. With a convincing portrayal of Princess Aurora safely behind her, Scheller looks ready to move on into other great leads like Juliet and Odette/Odile.
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