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dirac

Thursday, December 12

27 posts in this topic

A story on Craig Salstein and his company by Carla Escoda in The Huffington Post.

Salstein reflects on the quandary of today's top-flight dancers: trained by modern methods that enable them to perform at a technical level far beyond the demands of the corps de ballet in the classics, they compete fiercely to get into the leading companies, only to spend a great deal of their time standing on one leg next to a piece of scenery. Dancers understand they have to pay their dues, and are mindful of the honor and prestige of dancing with a renowned company, but the economics of the ballet industry guarantee massive underutilization of the majority of the professionals who are in it.

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A profile of Alabama Ballet's Michael Fothergill.

During his time with Alabama Ballet, some of Michael's principal highlights include leads in Giselle, Swan Lake, La Sylphide, George Balanchine's The Nutcracker, Balanchine’sSerenade and Allegro Brillante, Antony Tudor's Lilac Garden, Agnes de Mille's The Other and Dracula by Alabama Ballet's Roger Van Fleteren. An active choreographer, Michael's works have been performed across the U.S. and internationally. Last season, Michael created Weighted Rhetoric and Laid to Wrest for the Alabama Ballet, both to popular acclaim.

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