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dirac

Tuesday, December 31

7 posts in this topic

An SUV crashes into the window of Kansas Ballet Academy.

Shawnee County Sheriff's deputies told 13 news that an elderly woman was trying to park her Chevy Equinox, but instead drove through the window of the business.

Related.

No one was injured when a woman accidentally drove a sport utility vehicle into the front of Kansas Ballet Academy on Tuesday morning.

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Carlos Acosta, CBE.

Acosta said: "I am very excited and thrilled about this news. I never expected to receive an honour such as this, and am both delighted and very proud to be given such recognition for my work in the dance world.

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An overview of the dancers in New York City Ballet and American Ballet Theatre's Nutcrackers by Alastair Macaulay in The New York Times.

Ashley Laracey and Russell Janzen made their debuts as the Sugar Plum couple on Dec. 22; I caught their second performance in the lead roles at Saturday’s matinee. Ms. Laracey, who joined the company in 2003 and reached soloist rank last February, has left a general impression of stylish grace in a number of parts, but the Sugar Plum role makes all her qualities newly distinctive. She has delicacy, authority, refinement: sweetness among the child angels, graciousness to the child visitors, rapture and serenity combined in the great adagio. Like Teresa Reichlen and Laura King, she does unsupported double pirouettes to both left and right during the adagio. She carries her head with distinction; her figure is ravishing, with slender, tapering limbs.

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A review of the Royal Ballet's Nutcracker by Sarah Crompton in The Telegraph.

In her hands, the Sugar Plum Fairy is a surprisingly flirty creation – there was a wonderful moment when she was listening to the Nutcracker tell his story and reacted with real interest and emotion, gazing up at Bonelli as if for affirmation. Her jumps were effortlessly light, her arms – such soft elbows and wrists – almost impossibly graceful, her flashing turns around the stage breathtaking. But here and there her portrayal had peculiar inflections: she took the pas de deux very slowly, and the solo very fast.

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Kevin Garland, the executive director of the National Ballet of Canada, will leave in mid-January.

Garland would have preferred to have been long gone. She told the National Ballet’s board of directors in October 2012 of her wish to retire at the end of the season. She figured eight months would be plenty of time for the company to find a replacement. The company even held an official farewell party in June.

But, as several of Canada’s big non-profit arts organizations have discovered in recent years, the talent pool of experienced arts executives is small and shrinking.

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A best-of-2013 roundup by Gia Kourlas in Time Out New York.

It's slightly disconcerting when the best dance of the year occurred early on, but that was the case with Jennifer Monson's Live Dancing Archive, which drew on her blessedly long career as one of New York's finest dance artists. New ballets by Justin Peck, Alexei Ratmansky and Robert Garland—Dance Theatre of Harlem's resident choreographer and one of the ballet world's most valuable, if underutilized, choreographers—were in full swing, and Thomas Benjamin Snapp Pryor's Festival TBD: Emergency Glitter placed a well-deserved spotlight on the work of a younger generation. Here are some highlights of 2013.

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Voice of Russia reviews its coverage of the Bolshoi over the past year.

The world-famous Bolshoi Theatre hit the headlines in a big way over the course of 2013. Here, VoR’s Alice Lagnado takes a look at her exclusives on the Bolshoi: She spoke to Lilian Hochhauser, who, with her husband Victor, has been bringing the theatre to the UK for decades, and went behind the scenes with the Bolshoi tour at Covent Garden.

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