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Friday, November 15


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#1 dirac

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Posted 15 November 2013 - 02:10 PM

A preview of Grand Rapids Ballet Company's Nutcracker, with photo gallery.

 

"Sugar Plum Parades" follow each matinee performance in Grand Rapids. Go on stage, meet some of the characters, take photos and get autographs. Tickets are $5 per person, available in the lobby at the show.

 

 



#2 dirac

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Posted 15 November 2013 - 02:12 PM

A listing of North Texas Nutcrackers and other dance offerings of the season by Katie Dravenstott for TheaterJones.

 

And, because there are a few brave dance companies out there willing to do a holiday dance production sans the Snow Queen, we've also included the few non-Nut shows.

 



#3 dirac

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Posted 15 November 2013 - 02:17 PM

A story on Joy Womack's allegations against the Bolshoi by David Ng in The Los Angeles Times.

 

Womack said this week that she resigned her position at the Bolshoi because company leaders were demanding $10,000 from her for a solo role, according to initial reports from the Russian news organization Izvestia. She is reportedly joining the Kremlyovsky Ballet Company in Moscow.

 



#4 dirac

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Posted 15 November 2013 - 02:23 PM

The Sarasota Cuban Ballet School presents its Nutcracker.

 

The show, conceived and choreographed by Serrano, Hernandez and Delia Ballart Arcia, a master teacher, will feature three Youth America Grand Prix competition medalists: Adriana Hitchcock, Gabriella Stilo and and Serrano and Hernandez's son, Francisco Serrano.

 



#5 dirac

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Posted 15 November 2013 - 02:24 PM

Sarasota Ballet dancers and management talk about the importance of live music.

 

Which is why Barbieri and artistic director Iain Webb have pushed for having live music as often as it is financially and logistically possible. (The ballet's home theater at the FSU Center for Performing Arts does not have an orchestra pit.) A live music endowment fund allows for a few performances a year with an orchestra, including "Balanchine and Ashton" next weekend at the Sarasota Opera, for which the Sarasota Orchestra will play under the baton of Ormsby Wilkins, the musical director for American Ballet Theatre in New York City.

 



#6 dirac

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Posted 15 November 2013 - 02:26 PM

Benjamin Millepied choreographs a new Nutcracker-themed advertisement for Baileys.

 

Far from the dark and twisted scenes of Black Swan, the Baileys ad sees Royal Ballet dancers give the classic fairytale a modern twist. In a winter wonderland bar, The Nutcracker Prince and The Mouse King fight for the attentions of the beautiful Clara, who in the end decides to ditch them both in favour of a festive night out with the girls. Quite right too.

 

Related story with video.

 

The main parts in the ad are played by Steven McRae and Thiago Soares, both principal dancers with The Royal Ballet, and Iana Salenko, guest principal with The Royal Ballet.

 



#7 dirac

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Posted 15 November 2013 - 02:35 PM

A review of Alberta Ballet by Janet Smith for Georgia Straight.

 

The Sarah McLachlan fans were clearly drawn to the rhythms of a new ballet set to her music—and not just to watch the dance performance. At opening night for Alberta Ballet’s Fumbling Towards Ecstasy, the star songstress was in attendance, and she was greeted not only by deafening applause when she walked up the aisle from front of house to her seat, but by the iPhone-toting, Instagram-obsessed masses at intermission.

 



#8 dirac

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Posted 15 November 2013 - 02:42 PM

An interview with designer Stevie Stewart on making costumes for dance.

 

Preceding them all, however, was Stevie Stewart, who started making costumes for dancer and choreographer Michael Clark in 1984, when she was half of London design duo Bodymap. The working partnership has endured and will be on view again next week when Clark’s Triple Bill opens at the Barbican in London.

 

Stewart has considered carefully the difference between working for the stage and for re­tail. “You have to create solutions to problems,” she says. “The choreography is very challenging, very technical and precise, so even if the costume is theatrical or tailored, it has to be able to move easily.”

 



#9 dirac

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Posted 15 November 2013 - 04:15 PM

Another Joy Womack story.

 

Womack has refused to comment on the interview. Journalists from the newspaper Metro contacted her shortly after the story came out, and were told that she was on a tour and preparing for a performance. “I do not have access to the Internet, and so I cannot read this interview to comment on what is written there,” she is said to have replied

 



#10 dirac

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Posted 15 November 2013 - 04:17 PM

An interview with Lourdes Lopez.

“Mr. Balanchine believed that ballet was akin to a religion. He always made us feel that we were great—not that we were great dancers, but as dancers we were already gifted, that we were already special," she says.

As a female artistic director, Lopez is, in fact, special. Of the 20 largest ballet companies in America, only two are led by women. “I’m a very lucky case,” Lopez says. “But I don’t wake up in the mornings and think, ‘I’m one of the few female artistic directors.’ I wake up thinking, ‘What am I going to do for this company?’” 

 



#11 dirac

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Posted 16 November 2013 - 12:06 PM

A review of Pacific Northwest Ballet by Helene Kaplan for danceviewtimes.

 

"Sechs Taenze" is structured as a humorous romp sandwiched between the anxiety-ridden opening and closing slow-moving tableaus set to Mozart's upbeat "Six German Dances." Individual snippets of duels, vanity, and a beheading intersect with the Cherubinos, the Petras and Frids from "Smiles of a Summer Night," and the aristocratic players in "Dangerous Liaisons" in britches and powered wigs for the men and petticoats for the women. The work, equally sexy as "Petite Mort" in a very different way, requires expert comic timing, clear physical humor, and exceptional core strength (particularly in an early pas de trois) and both casts were spot on: the young kids in the audience around me guffawed and were having a spectacular time, like kids playing in the rubble of war. (A third cast is in the wings for second weekend.) 

 

 



#12 dirac

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Posted 16 November 2013 - 12:14 PM

Dancers from the Australian Ballet talk about the importance of Pilates to preparation and rehabilitation.

 

Darren Spowart, a former dancer with the AB and Sydney Dance Company, takes AB dancers for Pilates when the company is in Sydney. It is vital preparation, says Rohan Furnell, 26, who "simply wouldn't be able to perform at the required level if not for Pilates". As a member of the corps, the largest and busiest rank in a ballet company, he is likely to be dancing in every show. Like Burnett and Knight, Furnell does Pilates daily. "It gives me a confidence in my ability. I never feel as secure in what I'm trying to achieve on stage and in rehearsals when I haven't done Pilates," he says.

 

 




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