Clement Crisp reviews English National Ballet in Le Corsaire:
ENB’s Corsaire, despite severe prunings dictated by the need to tour and the forces available, is a roaring success.
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Posted 21 October 2013 - 12:07 AM
Ashley Page speaks to Judith Mackrell of The Guardian:
He admits to being "disappointed" about his experience in Scotland, but seems to be excited by the possibilities of being a freelance operator – his first period of professional freedom since joining the Royal Ballet in 1976 as a young dancer. "I'm really enjoying myself," he says. "Travelling to all these different places, focusing on the creativity of each project as it comes up."
Posted 21 October 2013 - 12:11 AM
A report on problems with the flooring during the run of the Royal Ballet's "Don Quixote." Story by Jasper Copping in The Telegraph.
The second interval was extended while the green flooring was removed and another, plain, grey linoleum was laid on top of the offending cobble design. The new surface had to be cleaned with water and dried, before the performers returned.
As for the cobbles, there are currently no plans to use the flooring. But exactly why it proved so difficult for performers is mystifying the company.
Posted 21 October 2013 - 12:18 AM
Texas Ballet Theatre's Lucas Priolo is retiring:
For more than eight years Texas Ballet Theater principal dancer Lucas Priolo has been wowing audiences with his grace and athleticism onstage in works including Ben Stevenson’s Romeo and Juliet, Swan Lake, Peer Gynt and Three Preludes. So, it may come as a surprise for many TBT fans to hear that Priolo will be hanging up his pointe shoes at the end of this season.
Posted 22 October 2013 - 11:03 AM
A review of the Birmingham Royal Ballet in "The Sleeping Beauty" by Judith Cruickshank for danceviewtimes.
Her Florimund was Chi Cao who is described in the programme as ‘a classical virtuoso’ and I can’t say better than that. There doesn’t appear to be a step he can’t do with ease and his lovely classical line is something rarely seen these days. Cao and Sakuma are an established, (though not exclusive), partnership and they complement each other beautifully. And most importantly they seem to understand the differing styles required by the choreography as the story develops.
Another review of the BRB by Cruickshank.
The programme had a deservedly enthusiastic reception and it was a timely reminder of Bintley’s considerable and wide-ranging skills as a choreographer. Audience demands and financial constraints mean that much of his recent work has concentrated on full-evening works with an obviously popular appeal. Next to come is “The Prince of the Pagodas”, which will be a completely new take on Benjamin Britten’s only ballet score. But it is to be hoped that circumstances will allow him to explore new forms and subjects which will allow him to expand his talents still further.
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