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Saturday, November 23


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#1 dirac

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Posted 23 November 2013 - 12:14 PM

Q&A with Kitty Lunn of Infinity Dance Theatre.

You sued Radio City Music Hall and Lincoln Center for not having facilities that were friendlier to disabled people. What was the resolution of those lawsuits?

I won! and they made improvements in their venues to make it easier for disabled people.

 

 

When did you first create your company?

In 1995 I was having dinner in a Chinese restaurant with a friend, talking about my continuing to dance and creating a company for disabled and nondisabled dancers. It was there that I made a commitment to the idea. I hired two nondisabled male dancers, and we started working in a studio. That was the beginning of my company Infinity.

 

 



#2 dirac

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Posted 23 November 2013 - 12:19 PM

A review of the Sarasota Ballet in a Balanchine/Ashton program by Carrie Seidman in The Sarasota Herald-Tribune.

 

Personally, I was intrigued by "Illuminations," and not only because it was a radical departure from Ashton's usually refined and elegant fare. But those looking for a simple explanation of his interpretation of the life of the enfant terrible of French poetry, Arthur Rimbaud, are out of luck. Even a native French speaker, listening to the song cycle created by composer Benjamin Britten and sung by tenor Matt Morgan, picked out only one discernable Rimbaud line: "I alone have the key to this savage parade," the poet's sardonic stance on his creative genius.

 



#3 dirac

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Posted 23 November 2013 - 12:21 PM

An interview with Carlos Acosta by Claire Black in The Scotsman.

 

As his success gave him clout, and financial rewards, so he further became alienated. “There was a stage that I became like my parents’ parent,” he says. “I was getting so much respect from them. I wanted my parents to sit me down and give me advice about life but I was in the position of telling them what to do with their lives. It was very weird. I got so much respect, I felt untouchable. I felt so alone. It was no good.” He pauses. “Most of my family is dead now. My mother, my father, my sister. It’s very painful. I try to dissolve that cloud and just to think of the poster, you know.” He looks back across the room to the cardboard prop. He shakes his head and laughs but it sounds sad.

 



#4 dirac

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Posted 23 November 2013 - 12:27 PM

A review of the Royal Ballet in "Romeo and Juliet" by Sarah Crompton in The Telegraph.

It is in the central relationship with Carlos Acosta’s Romeo that her performance falters. Her movement is consistently sumptuous, but in both the balcony scene (which looked under-rehearsed) and the final parting, she only intermittently finds the abandon that the part requires. In MacMillan, a preparation for a step can seem like a sigh; all too often here it remains a preparation, glorious but never quite fully engaged.

 

In fairness, this may be partly Acosta’s fault. He has talked for some time of the day he gives up dancing Romeo and it may be arriving: his dancing for the first time looked to me like the vapour trail left by the comet he used to be....

 



#5 dirac

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Posted 23 November 2013 - 12:30 PM

A review of the Stuttgart Ballet by Laura Dodge for Londonist.

 

The Stuttgart Ballet is undoubtedly a talented troupe. On Monday and Tuesday of this week, they entertained with 13 different works – all created in Germany – in a fascinating programme demonstrating the company’s versatility and strength. But this weekend’s fare – a ballet inspired by and named after Shakespeare’s The Taming of the Shrew – has much less to impress.

 



#6 dirac

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Posted 23 November 2013 - 12:33 PM

Queen City Ballet presents its Nutcracker.

Now in its 13th year, the Queen City production also features guest artists from Ballet West (the Ballet Company featured in the TV series “Breaking Pointe”). They are trainees Matthew Cunningham and Jakob Pringle, both were finalists in the Youth America Grand Prix.

 

“It has been a great year,” Midgley said. “We had a big audition process, and I was able to add parts and additional role opportunities.”

 

 



#7 dirac

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Posted 23 November 2013 - 12:43 PM

A review of the National Ballet of Canada by Michael Crabb in The Toronto Star.

 

There follows a pièce d'occasion genre solo, Being and Nothingness (Part 1), choreographed by 32-year-old company principal dancer and choreographic associate Guillaume Côté for senior ballerina Greta Hodgkinson. Beneath a hanging lamp, the ever versatile dancer enacts a tightly constrained solo of fraught anxiety, constantly turning in on herself as if questioning her very existence. The structured repetitions of the fourth Metamorphosis from Philip Glass’s 1989 solo piano album, here performed live by Edward Connell, reinforce the theme of endless self-questioning.

 



#8 dirac

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Posted 23 November 2013 - 12:45 PM

A review of the West Australian Ballet in "Peter Pan" by Kristy Symonds for Perth Now.

The production, based on the children's classic by J.M. Barrie and choreographed by Russell Kerr, simply enchanted as it brought to life the whimsical world of the carefree, mischievous child who will never grow up.

 

Demi-soloist Andre Santos dazzled in the role of Peter Pan, bringing an incredibly joyful and lovable touch to the character.

 



#9 dirac

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Posted 25 November 2013 - 12:22 PM

Behind the scenes at Australian Ballet rehearsals of Ratmansky's "Cinderella."

 

''I'm using some material,'' the choreographer says. ''But it was really one of my first big works and I'm just a different choreographer now. I re-choreographed some sections, some keep the same, and it's new designs, so I thought that it's a very good chance for me to rework it.''

 

In the studio, Ratmansky certainly seems to be working as he goes, his eyes on the floor and head tilted to one side as he thinks of the next series of steps. To then see what he can see, so to speak, is rather awesome, his particular aesthetic and sensibility overlaid onto athletic bodies.

 

 



#10 dirac

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Posted 25 November 2013 - 12:28 PM

An interview with Alina Cojocaru.

 

In person, Cojocaru is tiny, with fine features and a quizzical amber gaze. Her voice, still Romanian-accented, is almost a whisper. But this delicacy masks a steely will and, on occasion, a volatile temperament. In 2008, during rehearsals she suffered a whiplash injury that almost ended her career and required surgery and months of rehabilitation. There were cancellations and run-ins with management, particularly over the issue of balletic style. "I can't do the same thing twice, even if I try. But at the Royal there was one way of doing things – the Royal Ballet way. Now I've cut the ropes that were holding me, I can experiment, and I'm not afraid to fall."

 



#11 dirac

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Posted 25 November 2013 - 12:32 PM

Dancers from the Royal Ballet perform at Buckingham Palace at an event paid for by JP Morgan.

 

The Royal Household last night defended hiring out the ballroom at Buckingham Palace to investment bank  JP Morgan for a lavish dinner hosted by the Duke of York.

 

The bank paid an undisclosed fee to hire the ballroom and made donations to the Royal Philharmonic Orchestra and the Royal Ballet, which provided entertainment.

 

 

 

 



#12 dirac

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Posted 27 November 2013 - 07:44 PM

An interview with Petra Conti and Eris Nezha.

 

The two have been a couple for three years, and La Scala ballet director Makhar Vaziev, long a champion of Conti, had been grooming her and Nezha as partners for several seasons. They had lifetime principal contracts with La Scala, making their decision to leave surprising. However, they say Boston Ballet will offer them more opportunities to dance. “La Scala has lots of guests,” Nezha explains. “For every first performance, big guest names [perform] before our time onstage. Here is good repertoire, new work, big roles.”

 

 




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