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dirac

Wednesday, August 21

7 posts in this topic

Cincinnati Ballet celebrates its fiftieth anniversary.

And The Kaplan New Works Series, now in its ninth year, demonstrates that reputation when it opens the season in the company’s own intimate Mickey Jarson Kaplan Performance Studio, where audiences sit in close proximity to the performers and choreographers take advantage of the quick lead time and small venue to stretch their chops. From Sept. 12-22, the ballet will present 10 matinee and evening performances of four world premieres plus The Man in Black, set to the music of Johnny Cash, in the studio. These shows generally sell out quickly.

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A few Australian Ballet sylphs pose out-of-doors.

Three of the 20 sylphs, or fairies, in the ballet found their way to the Royal Botanic Gardens yesterday before the production opens at the State Theatre on August 29.

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A recap of last night's episode of "So You Think You Can Dance."

......Jenna Elfman, who they tell us used to dance professionally with the Pacific Northwest Ballet among others (and showed some impressive pics), called Aaron a “money dancer: When it’s on, you bring it.” He charmingly fixed the popped-open button on his shirt, too, and was the perfect height for Cat to snooze on. So cute.

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Ballet Manila postpones performance because of bad weather.

“Tatlo Pang Kuwento ni Lola Basyang” is Ballet Manila’s initial offering for its 18th season. Based on Anvil Publishing’s “Ang Mga Kuwento ni Lola Basyang” ni Severino Reyes, the production is the much-awaited follow-up to the all-Filipino blockbuster ballet “Tatlong Kuwento ni Lola Basyang” which premiered in 2008.

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A review of O Vertigo Danse and Jessica Lang Dance at Jacob's Pillow by Andrew Boynton in The New Yorker's blog.

“Within the Space I Hold” was only fifteen minutes long; like all good dances, it left us wanting more. The other pieces that Lang presented were just as brief, but each succeeded in presenting a whole world, fully formed. “A Solo in Nine Parts,” for the entire company, was a Paul Taylor–esque exercise, to Vivaldi, in which group sections gave way to solos for each of the dancers; “Aria” was a calligraphic, soul-baring trio for Mead, Claudia MacPherson, and Kana Kimura, set to music from Handel’s “Radamisto.” In “White,” a “dance on film,” Lang and the artist Shinichi Maruyama spliced together phrases filmed at varying speeds to produce scenes in which languid movement coexisted with hectic pace. Using a more folky, weighted vocabulary, Lang conveyed the poignancy of dance—the heartbreaking desire for moments to stretch for as long as possible.

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The Jacob's Pillow season concludes. Story by Kris Wilton for WBUR, with photos and video clips.

Saturday night, as dance lovers mingled among charming summer camp-like barns and theaters for the season’s penultimate weekend, those sentiments were in the air, along with a palpable, spoken sadness that the summer — and the festival — were coming to an end. Additionally, I felt, as I do every year, disbelief and regret that so few young folks — and let’s go the Boston Ballet route and define “young” here as under 40 — were in attendance. Along with Tanglewood, Jacob’s Pillow is simply one of the richest, loveliest, yes, magical experiences New England has to offer.

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A review of "Balanchine and the Lost Muse" by Lewis Whittingham for Concerto.net.

Ivanova was 16 when she was planning to go on tour, a ruse actually to defect in the west with several dancers including Balanchine, but she was killed in a boating incident the night before they were to leave. Kendall dissects the different theories about the dancer’s death, but ultimately, it remains a mystery shrouded in conspiracy theories. Otherwise, Kendall has rescued the almost bio-history of these dance artists with nothing less than heroic scope.

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