To enhance the step-back-in-time quality of “Serenade,” Westside will be using some of the components of the original ballet’s costumes.
“After she died, I was going through her things and found the original Barbara Karinska costumes in a trunk my mother used to travel the world with,” Clegg said. “Karinska was sort of the Edith Head of ballet. Balanchine had given the costumes to Mom. The bodices are too fragile to use, but our dancers will be wearing the skirts.”
Wednesday, May 15
Posted 16 May 2013 - 10:30 AM
Posted 16 May 2013 - 10:33 AM
While the drama unfolds with pinpoint directness, the music, a variety pack of Tchaikovsky pieces arranged by Kurt-Heinz Stolze, gives the ballet a patchwork quality. The repetitive movement is exhausting: a lift is executed once and then repeated; ditto for a sweeping turn. The choreographic pulse is as relentless as a metronome.
As Lensky, Mr. Simkin demonstrates what have become his usual partnering gaffes: clutching Ms. Lane too tightly in a spin, thrusting her awkwardly in an overhead press or yanking her arm during a finger turn. (She suddenly looked like a palm tree blowing in the wind.) Despite its sameness, Cranko’s choreography has an energetic flow, but Mr. Simkin has little feel for it. He’s a man with a mission: to get to the next trick.
Posted 16 May 2013 - 10:37 AM
The University of Canberra's professor of physiotherapy Gordon Waddington and Assistant Professor Jeremy Witchalls are working to give dancers extra "grip" and more control over their movements to prevent lower leg injuries.
"My research week sees me working with ballet dancers at one end and dealing with big rugby league footballers at the other," said Dr Waddington, who works across a number of sport disciplines. "All of these people are quite similar, believe it or not, as they rely on having a very good perception of surface and the ground they are moving over. They rely on having very good movement control to do the things they need to do safely."
Posted 17 May 2013 - 09:30 AM
Carolyn Clark, founder of New Jersey Ballet, points out that “Don Quixote” is a ballet that centers on story and character. “People respond to a story,” she says. “They get caught up in the situations and the characters.”
At the same time, a story-ballet such as “Don Quixote” puts special demands on the dancers. “It’s more than just technique,” says Clark. “The dancers have to play characters and be able to sustain those characters over the course of the ballet.”
Posted 18 May 2013 - 11:39 PM
Standouts in the superb ensemble include Michael Cerveris and John Glover as Balanchine and Stravinsky. At nearly 88, Alvin Epstein hasn't lost any of his acting mojo. And Blair Brown as Vera Stravinsky and Stephen Kunken, the much put-upon Nikolai, deliver lessons in the art of listening.
By the end, I felt as if I had just experienced a beautifully detailed novel about some fascinating historic figures. Yes, it's slow and some might say ponderous, but if you have the patience, "Nikolai And All The Others" have much to offer.
Posted 22 May 2013 - 01:57 PM
Choreographer Mark Godden's original work for Harid is called "Beautiful Dreamer," and "we'll do a whole ballet and it's a premiere for us," Wright said.
Adamcyk and Ward will dance the pas de deux from "Infra," a ballet Adamcyk described as "cutting edge."
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