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dirac

Wednesday, January 15

5 posts in this topic

A story on Iain Webb's new contract with the Sarasota Ballet by Brian Seibert in The New York Times.

Much of the company’s recent success can be seen to derive from its focus on the ballets of Frederick Ashton, the Royal Ballet’s founding choreographer. The Sarasota Ballet performs more Ashton works than any other American troupe, and the New York Times critic Alastair Macaulay has called the company “America’s foremost exponent of Ashton ballets.” It was in performing Ashton’s “Les Patineurs” that the company became the critical hit of the Kennedy Center’s Ballet Across America festival in June. And this April, it will honor the 25th anniversary of the choreographer’s death by presenting no less than 11 Ashton ballets, several of them extremely rare.

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A new book claims Rudolf Nureyev and Jacqueline Kennedy Onassis had an affair.

Nureyev, who defected to the west from the Soviet Union in 1961, made no secret of the fact that the Kennedys fell under his spell.

‘I am the sexiest man alive,’ he told a Danish newspaper before his death from AIDS in 1993. ‘Just ask Lee Radziwill. Just ask Jackie Kennedy. And if you don’t believe me, ask Bobby and John-John Kennedy. Nobody can resist me. Everyone who has gone to bed with me has fallen in love with me,' he added.

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An interview with Amanda Green, who is dancing Juliet in the Royal Winnepeg Ballet's production.

She affectionately calls the Danish dancemaker and writer “a kindred spirit,” although he died in 2012 before she had the chance to work with him. Green has gleaned what insights she can from[Tara] Birtwhistle, who did have the opportunity to learn Juliet from the choreographer first-hand.

“From what I understand, he was an amazing, spirited person and it comes across in his choreography. It is really organic and true and powerful. I’ve seen lots of versions of Romeo and Juliet, but there’s something really special with what Rudi has done with it.”

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CW cancels "Breaking Pointe."

“I wish it did better,” Pedowitz lamented. “Docusoaps are very hard for broadcasters to get going versus cable.

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A review of Les Ballets Jazz de Montréal by Jean Lenihan in her blog, "Fresh Pencil."

..... Cassone shot through the air, dropping and soaring through split-second elevation changes, her long, scissoring legs both propelling and braking her. Extended legs and feet were everything in this piece; Millepied used barely any arm gestures, barring a soft, low responsiveness as the bodies were moving. Thus the powerful shift in the third section when Hille tugged Cassone across the stage by her shoulder — he might as well have been clutching her heart or throat — her arms had been such a privately held area til then. That intimacy doubled again when the pair dove to the floor, and later wove and rewove their legs into a tightening clench. Aided tremendously by the heartening Glass score, this was surely the most creative and coherent Millepied choreography I’ve seen to date.

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