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Tuesday, October 22


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#1 dirac

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Posted 22 October 2013 - 11:10 AM

'Tis the season for "Dracula": Grand Rapids Ballet Company brings back its production.

Stephen Sanford returns in the title role as the villain whose hypnotic power leads to mesmerizing horrors set in a haunted, Transylvanian castle.

 

Choreographers Wes Chapman and Roger Van Fleteren created the production, featuring original music by Thomas Helms, in 1997 for Alabama Ballet. Chapman has described "Dracula" as a "dance drama" based faithfully on the 1897 Gothic horror novel by Irish author Bram Stoker.

 

 



#2 dirac

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Posted 22 October 2013 - 11:15 AM

Q&A with Allison DeBona and Rex Tilton.

 

What is your favorite role you've done? (Rex finally joined in the conversation!)

 

Allison: I always like doing contemporary work, but I could do Swan Lake everyday and not get bored.

 

Rex: Swan Lake is the best full-length ballet. Cinderella and Sleeping Beauty are very trite. If we did Romeo and Juliet and I got to be Tybalt, that is my dream role. I think he's a bad ass.

 

Allison: I've never dreamt about doing roles, because you're just sad if you don't get it. Most little girls want to be Cinderella or Aurora, because I don't think I embody either of them. I can't relate to either of them. But Giselle or Odette I would love to do.

 



#3 dirac

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Posted 22 October 2013 - 11:30 AM

A review in brief of the Royal Ballet in "Romeo and Juliet" by Siobhan Murphy for Metro.

 

The only slight niggle is Federico Bonelli’s Romeo seems too sweet to provoke such a response. His technique is gorgeous – those whipping spins have an ethereal lightness – but his endearing tenderness leaves him stuck looking like a boy beside Cuthbertson’s burgeoning woman.

 

 



#4 dirac

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Posted 22 October 2013 - 11:38 AM

The trial of Pavel Dmitrichenko starts....and stops.

 

The Independent

 

The dancer accused of plotting the acid attack on the director of the Bolshoi Ballet denied he was guilty in a Moscow court yesterday, as the judge then delayed the start of the trial until next week.

 

Reuters

 

"I do not admit that I am guilty," Dmitrichenko, who had dark rings under his eyes, told journalists after officers led him and two co-defendants into a metal courtroom cage. He looked at his parents and gave them a brief smile.

 

Los Angeles Times

Neither Filin nor his lawyer was in court Tuesday.

 

Last week Dmitrichenko's lawyer complained that his client had been beaten up by masked guards after a preliminary hearing, an allegation denied by the authorities.

 

 

The Guardian

 

The hearing was quickly adjourned because the lawyer for Zarutsky was not present. Dmitrichenko and his two co-defendants were led back out of the courtroom in handcuffs.

 



#5 dirac

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Posted 22 October 2013 - 11:41 AM

Another story on the trial by Natalya Krainova for The Moscow Times

Also missing on Tuesday were Filin, who failed to provide an explanation for his absence, and his lawyer Tatyana Stukalova, who was on a business trip. Some witnesses also failed to appear in court. Maximova said procedural rules required all the parties to be present in order to start the trial.

 

About 100 Russian and foreign reporters waited more than two hours for the hearing, which opened after a 90-minute delay and lasted just 15 minutes.

 


 



#6 dirac

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Posted 22 October 2013 - 11:45 AM

A Sacramento Ballet photo gallery.

 

Ballet dancer Alexandra Cunningham backstage preparing for a scene from the Sacramento Ballet's upcoming production of "Cinderella" at the dance company's offices in Sacramento, Calif., on Friday, October 4, 2013.

 


 


#7 dirac

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Posted 22 October 2013 - 11:49 AM

A review of the Joffrey Ballet by Catherine L. Tully in The Huffington Post.

 

Welch's choreography is both brilliant and difficult with demanding lifts, whiplash turns and unexpected combinations. In the first act, the dance for the four men was especially impressive, but the group dancing was also a joy to watch. Instead of tutus, tights and tiaras there are dazzling bras and colorful, flowing fabrics everywhere. The bright, jeweled costumes and lush scenery by Peter Farmer add quite a bit to the visual appeal of this ballet; Scott Speck and the Chicago Philharmonic added depth and drama with their mastery of the musical score by Minkus.

 



#8 dirac

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Posted 22 October 2013 - 11:50 AM

The Royal New Zealand Ballet takes "Tutus on Tour."

The dancers perform in community theatres, town halls and school gyms. It's all about reaching as many audiences as possible.

 

The extensive tour, celebrating its 60th birthday this year, presents a platter of ballets, from the breathtakingly technical Don Quixote to the intimate Little Improvisations, with dancers Harry Skinner and Yang Liu dancing as children playing in an attic.

 



#9 dirac

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Posted 22 October 2013 - 11:51 AM

Louisville Ballet presents a program in its studio.

 

Studio Connections opens Wednesday in the ballet's rehearsal studio on East Main Street. It's an intimate, up close and personal program, a mix of classical ensemble and pas de deux work and original pieces choreographed by company members. In the relaxed atmosphere of the rehearsal studio, the company can try out their new moves.

 



#10 dirac

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Posted 22 October 2013 - 11:55 AM

A preview of "Matthew Bourne's Sleeping Beauty" by Robert Johnson in The Star-Ledger.

 

Followers of "Twilight" and "True Blood" will be happy to learn that in this "Sleeping Beauty" the benevolent Lilac Fairy has become Count Lilac, a vampire whose ultimate gift to Aurora is seducing her boyfriend. Leo becomes immortal, enabling him to pass the time until Aurora wakes. Touchingly, after 100 years, Leo is just as smitten with her as he was initially. "True love wins out," Bourne says with satisfaction.

 



#11 dirac

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Posted 23 October 2013 - 03:09 PM

Edward Villella makes a new piece for Ice Theatre of New York.

 

Mr. Villella and Mr. Webster worked closely to map out the work on paper before experimenting with movement and spatial patterns on the ice. “I would show Edward a lift and ask, ‘Are you comfortable with the way that this looks?’ ” Mr. Webster said. “He doesn’t know counters, rockers, brackets — the vocabulary of skating — but every step that we created was directly coming out of the story.”

 

 



#12 dirac

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Posted 23 October 2013 - 03:13 PM

A review of San Francisco Ballet and The Forsythe Company by Robert Gottlieb in The New York Observer.

 

.....Well, there’s nothing to stop an artistic director from presenting his own work, and nothing has stopped Tomasson. The first ballet of his I remember seeing was a pretty, fluent piece called Ballet d’Isoline, which he made for the School of American Ballet in 1983 when he was still dancing for City Ballet. It had nothing to tell us, but it deployed the kids pleasingly. Thirty years later, he’s given us his recent Trio (Tchaikovsky), which is pretty and fluent, deploys his dancers pleasingly—the first duty of a house choreographer—and has nothing to tell us. He has made almost 50 ballets, and he has made no progress at all. There’s no sign of a choreographic personality; Trio is implacably generic.

 



#13 dirac

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Posted 26 October 2013 - 11:50 AM

An Al Jazeera America TV report on the Dmitrichenko trial.

 

The Bolshoi Ballet is an internationally renowned classical ballet company based in Russia. But the drama on the stage has spilled over into the courtroom. One of the dancers is accused of orchestrating an acid attack against his boss. David Chater reports from Moscow.

 

 



#14 dirac

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Posted 26 October 2013 - 11:56 AM

A review of San Francisco Ballet by Deborah Jowitt in her blog, "DanceBeat."

 

Can Kochetkova shoot one leg up to point at high noon?  That’s nothing for her; she hits 1 P.M. The 2005 AtaXia revealed McGregor’s interest in people with neurological difficulties, and that interest has carried over into some of his other works. Such as Borderlands. In this piece, the dancers employ their marvelous physical intelligence as if movement were snaking along neural pathways and suddenly shifting to other tracks—often without loss of flow, sometimes jerky. Their hips jut out and swing; their limbs knot; their shoulders, elbows, head, and chest indulge in separate, simultaneous conversations. A wordless cocktail party taking place in a single body.

 




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