But accepting that there are failures and blindspots to address, it's also important to question how British we really want the Royal or other dance companies to be. Brind herself was performing during the 80s, at a time when foreign artists were in a minority in the Royal: yet while she and her fellow principal Fiona Chadwick were rightly hailed as examples of new British talent, I remember the overall standard of dancing as relatively lacklustre. Certainly, there has been a very different excitement attached to the Royal in the following decades, with the importation of world-class talents such as Sylvie Guillem, Tamara Rojo, Alina Cojocaru and Marianela Nuñez alongside British ballerinas such as Bussell and Sarah Wildor.
Wednesday, May 15
Posted 15 May 2013 - 10:18 AM
Posted 15 May 2013 - 10:22 AM
The anniversary program included a costly tour to New York, but the Ballet says donors dug deep last year and philanthropy rose to $7.3 million from $5.7 million in 2011.
''I was optimistic because an ongoing goal was to expand the community of donors, but $7.3 million is an extraordinary amount,'' said executive director Valerie Wilder.
Posted 15 May 2013 - 10:27 AM
Actually, Eifman needs little help to describe the motivations and materials churning in his soul. His repertoire consists primarily of “psychological ballets” based on larger-than-life literary, historical, artistic and mythological figures. Eifman considers Rodin — and the other characters who’ve served as thematic foundations — not so much inspiration, as information. “Literature and art can only give you a secret to open,” he said. “The inspiration must come from within.”
Posted 15 May 2013 - 10:33 AM
Fitzgerald’s prose evokes a self-indulgent world of illusions, disillusion. David Nixon’s earnest realisation of its narrative in choreography is laborious – and about an extinguishing hour too long – and turns the mystery of Gatsby’s passion for the tedious Daisy into un-mysterious dance. And the social milieu of the madcap 1920s is as papery as movement can make it.
Posted 15 May 2013 - 10:35 AM
Where are you going?
Leave New York? Are you insane? In terms of figuring out what I want to be when I grow up, I’m hoping to do some more dance review (I have a piece in the next issue of Ballet Review magazine, and I post my recent reviews and essays here). I’ve also been working on a few television scripts, including an adaptation of my book (no, that ABC Family show has no relation to my novel, other than the extremely clever title…) that I’d like to put into the ether and see what happens.
Posted 15 May 2013 - 10:37 AM
And for the second time this season, the NYCB has gathered together dances that run from ingenious to ill-advised to everything in between. Again, Robbins could pull off big compositions, but he couldn't pull them off with extraordinary results. The first selection of the night, Interplay, strains to fill the soaring David H. Koch Theater with sequences that, essentially, are glorified studio exercises. But both Interplay and the feature that follows it, the sublime Robbins-and-Leonard Bernstein collaboration Fancy Free, allow Robbins to display his highly individual talents. It's the final selection of the night-I'm Old Fashioned, a balletic homage to Fred Astaire-that over-extends itself the most, simultaneously grasping for reverence, humor, and romance and not seizing hold of any of these qualities. Despite the Broadway reputation, Robbins works best when he works in miniature.
Posted 15 May 2013 - 10:41 AM
I asked Morra how the technical and artistic awesomeness of the all-male ensemble melds with the en travesti gimmick. Was this drag with a classical ballet bent? "Oh no!" he said. "We are not drag, because we do not try to be women. We keep the male technique and do girls' variations, but we jump as high as we can. It's a transformation."
Posted 15 May 2013 - 10:43 AM
After performing ensemble parts for nine years, Barak, not yet 30, decided to move on. She joined the just-launched Los Angeles Ballet and danced lead roles, most notably the sultry Siren in "Prodigal Son," an esteemed work by the legendary George Balanchine.
After four years, in 2011, came unexpected news. "I was notified via email I would not be hired any longer," Barak says. "I think the directors have a vision of what they want their dancers to look like, act like, perform like ... and it didn't seem I fit into that vision any longer."
Posted 15 May 2013 - 10:49 AM
He later appeared with the Kirov at the Coliseum and with the Mariinsky and Bolshoi ballet and opera companies in their first seasons at the Royal Opera House. But his career was ended seven years ago when he became disabled after being affected by the MRSA super-bug during a routine operation in hospital.
Posted 15 May 2013 - 11:10 AM
Bitesized Ballet had A Midsummer Night’s Dream rubbing shoulders with three extracts from Walton’s Façade and the big pas de deux from Giselle. Joseph Caley’s supremely athletic Count was daintily partnered by Elisha Willis’s Giselle, with Carmen Flores’s viola a succulent ally.
Posted 15 May 2013 - 11:12 AM
Flashes of Highland dance appear in bars (male legs standing in for swords), while this version of a fairytale forest is a suburban wasteland peopled by impish fairy-winged Goths who pump their hearts feverishly at James as he dances with his Sylph. But there's an ugly twist to James' fantasy escape, and the arch melodrama of all that has gone before makes the gruesome climax all the more poignant. In a ballet that will appeal to lovers and non-lovers of the form alike, Bourne gives us a true fairytale in all its dark beauty.
Posted 15 May 2013 - 11:17 AM
David Nixon's production moves at a pace but the feel is less raw and roaring decadence, more politely Poirot — the flapper look is elegantly understated and the soundtrack a patchwork of jazzy Richard Rodney Bennett. Nixon glides through scenes (read the book, or at least the synopsis, if you want to keep up), weaving in Gatsby’s memories of lost love with the party-centric here and now.
Video of some of the opening night audience.
Actors, models and TV personalities, including Sir Ben Kingsley, Eddie Redmayne and Gok Wan turned out for the opening night of the Northern Ballet's take on F Scott Fitzgerald's novel at the Sadler's Wells theatre.
Posted 16 May 2013 - 10:09 AM
The New York Times
The casting for “Barber Violin Concerto” (1988), however, could hardly be better. The dance’s conceit juxtaposes a classical ballet couple (Ask la Cour and Sara Mearns) with a modern-dance one (Jared Angle and Ashley Bouder), then has them change partners. The classical man ignores then dominates the willful modern woman, who’s become a kind of farcical pest; the classical woman and the modern man seem more compatible. It’s tempting to read this allegorically.
The New York Post
“Barber Violin Concerto” (1988) was originally for two couples, one from the company and another of Paul Taylor-trained modern dancers. It’s now done only by company members. The first ballerina to dance it, Merrill Ashley, was a taut virtuoso. The original, if hokey, idea — she loosened up by doing angular poses with the modern guy — forced Martins to experiment. The current dancer, Sara Mearns, moves so lushly that the original point is lost in the glamour.
Posted 16 May 2013 - 10:12 AM
Helen Pickett’s “Petal,” an anticipated West Coast premiere, is fervid and furious. Pickett, a California native who danced with William Forsythe’s Ballet Frankfurt for more than 10 years, reflects both his influence and her individual ambition in the work.
Dancers watch each other like voyeurs, and between the swift, bustling flurry of movement to music by Philip Glass and Thomas Montgomery Newman, inflict both pleasure and pain. With a flick of a foot, a female pushes a male down — her foot pressing on his calf, disabling his knee.
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