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Saturday, October 19


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#1 dirac

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Posted 19 October 2013 - 10:56 AM

A review of the Pennsylvania Ballet in "Jewels" by Ellen Dunkel in The Philadelphia Inquirer.

 

Diamonds, emeralds, and rubies, like a company marking 50 years, are rare and majestic, worthy of celebration. But this one was a little low-key. After a half-century, a piece d'occasion, the presentation of founder Barbara Weisberger, or a parade of past and present dancers would have been fitting.
 

 

 



#2 dirac

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Posted 19 October 2013 - 10:59 AM

A review of Miami City Ballet by Jordan Levin in The Miami Herald.

 

Miami City Ballet added a striking new facet to its profile with the startling, off-kilter architecture of Christopher Wheeldon’s Polyphonia on its season-opening program. But it was Serenade, the nearly 80-year-old Balanchine work that has been a company mainstay, that got the strongest applause Friday night at the Adrienne Arsht Center’s Ziff Ballet Opera House.

 


 


#3 dirac

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Posted 19 October 2013 - 11:01 AM

A review of Orlando Ballet by Matthew J. Palm in The Orlando Sentinel.

It would be theatrically satisfying to put a happy ending on the company's recent travails by reporting that "Tribute" showed the ballet at its best. But real life, alas, doesn't always mimic an inspirational movie or feel-good musical.

 

On Friday's opening night, "Tribute" reached for the proverbial brass ring, but it just never quite got there. The ballet displayed its usual athletic thrills — leaps, pirouettes, the works — but there was a raggedness around the edges.

 



#4 dirac

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Posted 19 October 2013 - 11:18 AM

A photo gallery of San Francisco Ballet's 'Cinderella' and Matthew Bourne's 'Sleeping Beauty.'

 

It's a toe-to-toe match-up: 'Cinderella' and 'Sleeping Beauty' are opening for limited runs on Oct. 23. The fairy-tale fracas pits choreographer Matthew Bourne's vampiric 'Sleeping Beauty' against Christopher Wheeldon's updated 'Cinderella,' danced by San Francisco Ballet, shown here.

 



#5 dirac

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Posted 19 October 2013 - 11:38 AM

A "dance renaissance"? wonders Hedy Weiss in The Chicago Sun-Times.

 

Earlier this month, as Salt Lake City’s Ballet West performed both its lavish production of “The Sleeping Beauty” and an adventurous mixed bill program at the Auditorium Theatre, the company’s artistic director, Adam Sklute, found himself mobbed in the aisles by girls of every age (and more than a few mothers).

 

How did Sklute, who for years was known only to Chicago’s dance insiders for his role as associate artistic director of the Joffrey Ballet, suddenly become a rock star? And how was the Auditorium Theatre able to turn a strong, yet hardly “brand name” regional ballet company into a box-office success?

 

 



#6 dirac

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Posted 19 October 2013 - 11:39 AM

An interview with Nicole Teague.

 

"I had been dancing in Colorado," she said, " and I just didn't know if I was ready to commit to this career and all that it takes. But during that year, it was like withdrawal. I felt like I was out of shape and wanted to move again. It's a passionate outlet that gets a grip on you."

 

Teague spent two years as a trainee with the Milwaukee Ballet and then became an artist with the company. Just recently, she was named a leading artist, one of just two women in the company. Luz San Miguel is the other.

 



#7 dirac

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Posted 19 October 2013 - 11:42 AM

A review of Craig Salstein's new troupe Intermezzo by Mary Cargill for danceviewtimes.

 

Salstein, perhaps realizing that a complete string quartet would be a bit challenging for one choreographer, had different ones for each movement, tying them together with the dancers who wove in and out of different sections in the same grey leotards. This experiment worked well, with a different accent for each section. Marcelo Gomes got the opening Allegro, lining up his six dancers in two straight lines, then mixing things up. As in other works of his I have seen, he tends not to trust stillness (as a dancer, of course, he can dominate the stage just by standing on it), and his choreography tends to be a bit jittery.

 



#8 dirac

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Posted 22 October 2013 - 11:07 AM

A review of Dance Theatre of Harlem by George Jackson for danceviewtimes.

 

At last! Harlem’s ballet company is blossoming again. Fresh, precise, elegant dancing and demeanors hinting at pride marked Friday’s performance. The program began with the challenging “Agon” - a ballet about art and life. Is it? Isn’t “Agon” abstract, an exercise in timing and honing movement, a test of dance technique that ought not to be burdened by extraneous meanings? Different companies at different times have told George Balanchine’s “Agon” in distinct ways. As staged by Richard Tanner and delivered by Harlem, the four men we see initially seem to move and stop moving with soldierly cohesion. Nonetheless, they aren’t interchangeable but emerge as distinct individuals.....

 



#9 dirac

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Posted 22 October 2013 - 11:12 AM

The Boston Ballet corps gear up for "La Bayadere."  Story by Karen Campbell in The Boston Globe.

 

Its simplicity belies its difficulty. “Of the big story ballets, this is the hardest piece for the corps de ballet to perform,” says ballet master and artistic coordinator Shannon Parsley of Boston Ballet. “Twenty-four girls enter doing the same combination of steps, and it’s a long time until they zigzag and wind their way around and all get onstage. The repetition, staying together, technically finishing everything the way they’ve been taught is so challenging. They have to do this whole section completely 100 percent together. Then in the adagio, the actual steps are difficult to perform as one person. To get 24 completely together during a performance is so hard. Mentally you have to prepare so you don’t let nerves get the better of you.”

 

 



#10 dirac

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Posted 22 October 2013 - 11:23 AM

A review of the English National Ballet in "Le Corsaire" by Luke Jennings in The Observer.

 

This luscious exotico kitsch sets the tone for a ballet whose touch is light and whose pleasures come thick and fast. Alina Cojocaru, who recently and sensationally decamped from the Royal Ballet to join Rojo at ENB, is a blissful Medora, flying through the choreography with sparkling, flirtatious élan. It's wonderful to see her enjoy a role so much. A weight seems to have lifted from her slender shoulders since leaving Covent Garden, where she says that she was told that her dancing was no longer "Royal Ballet style", and that the principal role of Aurora in The Sleeping Beauty was to be taken away from her.



#11 dirac

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Posted 26 October 2013 - 05:54 AM

A review of Carlos Acosta's novel "Pig's Foot" by Eileen Battersby in The Irish Times.

 

It doesn’t take long for the reader to begin noting the similarities with The Tin Drum. Acosta’s Oscar shares the crazed bluntness of Günter Grass’s wilful little Oskar Matzerath. Acosta quickly establishes the voice of his Oscar: sharp, streetwise and given to seeing the funny side of most of the horrors, of which there are plenty.

 

 




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