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[dirac]

The Charleston Ballet wraps up its season with a tribute to the late Senator Robert Byrd.

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David A. Corbin, author of the recently published book, "The Last Great Senator: Robert C. Byrd's Encounters with Eleven U.S. Presidents," will sign copies of his book at the performances.

[dirac]

A brief preview of Grand Rapids Ballet Company's new mixed bill, with photos.

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"Andrew Bartee was very specific when he said that at one point in his life he didn't like his arms so he always wore long sleeves," said Barker. "And someone said to him, 'if you don't like something, change it, work on it, make it better.'"


"So this is where 'Arms That Work' comes from," she said. "Now it's the theme for a ballet, it's beautiful," she said.

[dirac]

The Mariinsky Ballet appears in Abu Dhabi.

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“Homage to Fokine” is showcasing three of his most remarkable works: Chopiniana, the ballet known in the west as Les Sylphides, which is a Romantic ballet of the 1830s in which a poet dances with airy sylphs in a glade, to Chopin’s music; The Dying Swan, choreographed by Fokine in 1905 for the legendary Russian ballerina Anna Pavlova, who performed the dance about 4,000 times, depicts the last moments in the life of a swan; and Scheherazade, a colourful exotic ballet,

[dirac]

A review of Tulsa Ballet by James D. Watts Jr. for Tulsa World.

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Much like the Prokofiev Symphony No. 1 that is its score, Possokhov's work takes all the elements of classical ballet and presents them in a way that can be taken as a straight homage, or a modernist interpretation, or a flat-out parody.

Classical postures and combinations of steps get twisted suddenly, surprisingly out of shape. The angular, perpendicular line of the body is held off-kilter, or undulates in a very non-classical way. Common pirouettes become bizarre and fascinating feats of strength and balance.

[dirac]

A review of the Royal Ballet in 'Alice's Adventures in Wonderland' by Matthew Paluch for The Arts Desk.

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The best way to understand the epic quality of this production is to experience it for yourself, though tickets are few and far between. I believe the work will become recognised as a classic of its era and we'll see it return often, growing with more and more relevance each time. And if you close your eyes, Talbot’s masterpiece of a score enables you to conjure up all manner of things: clearly a master’s work.