Sign in to follow this  
Followers 0
dirac

Saturday, June 29

6 posts in this topic

Marianela Nunez and Thiago Soares help launch a new center for the treatment of eating disorders.


The eating disorder services treat patients with eating disorders such as anorexia nervosa and bulimia nervosa from across Leicestershire.

It is also the specialist in-patient unit for people with anorexia nervosa living in the Midlands and East region.

Share this post


Link to post

A review of American Ballet Theatre's spring season by Robert Johnson in The Star-Ledger.

Making a notable debut as Kitri, Isabella Boylston brings lightness, fine lines and solid balances to the role. Her “sisonne” jumps into “penché arabesque” are thrilling in the dream scene. Kitri’s rascally energy, however, belongs to Veronika Part, a more vivid actress intrepidly partnered by James Whiteside. Boylston’s partner, Daniil Simkin, has an extraordinary, silken technique. Yet his juvenile appearance and saccharine mannerisms make him unconvincing as the guitar-slinging heartthrob, Basilio. Two dynamic roles in “Le Corsaire”—Lankendem and Ali—fit Simkin better. Similarly Ivan Vasiliev’s rude line is inappropriate for most classical leads. Forcing her turn-out and striving for effects, Natalia Osipova is a mechanical Kitri.

Share this post


Link to post

A review of Ballet Concerto by Margaret Putnam for TheaterJones.

And so it was Thursday night at the outdoor Trinity Park Pavilion, where the breeze was so tepid it never rustled a lightweight skirt. Not that the opening work, Marius Petipa’s Paquita, offered a skirt to rustle: this was tutu country, with all the defining sharpness that only a tutu demands. For the most part, the six dancers in red tutus and the four in blackas well as soloists Michele Gifford and Shea Johnson and demi-soloist Justin Hoganprovided the crisp footwork and turned-out legs that this demanding ballet requires. Set to Ludwig Minkus’s jaunty score, the variation gave only a hint of the convoluted plot but instead concentrated on geometric patterns, quick shifts in body positions, tilted heads, and an overall atmosphere of delight.

Share this post


Link to post

Q&A with Sarah Lane.

Does it feel like a lot of pressure since you only get one performance of Sleeping Beauty?
I am struggling with the fact that it feels like more pressure because I haven't done it in five years and I got some negative feedback about it in the past. I got some really amazing feedback initially and then all of a sudden I got some negative feedback that I didn't see coming. So I kind of had to deal with that and the whole underlying principle of criticism.

Share this post


Link to post

A review of the National Ballet of Canada by Denise Sum for danceviewtimes.

The mixed program which closed the National Ballet of Canada's 2012-2013 season was a great success. The four short pieces showed the best of the company and left the audience wanting more. Karen Kain's interesting programming took the viewer on a journey from tutus to cowboy boots and back, with a mix of both homegrown talent and choreographers from abroad.

The first, and in many ways, weakest work was Jorma Elo's "Pur ti Miro". It is a light, cheeky play of the ceremony and formality of classical ballet but the choreography is not particularly inventive or memorable...

Share this post


Link to post

A review of "A Dancer's Dream" by Tom Phillips for danceviewtimes.

Another drawback was the absence of a corps de ballet. Mearns stands out in a crowd. She is a Balanchine dancer, the crown jewel in the formal elegance of say, Emeralds or Diamonds. There, her maximal gestures provide a focal point, they energize the whole structure. Here, mostly alone in the spotlight, it just looked like she was trying too hard to make something of the uninspiring steps.

Share this post


Link to post
Sign in to follow this  
Followers 0