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Thursday, February 27


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#1 dirac

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Posted 27 February 2014 - 05:40 PM

Reviews of Ballet Black.

 

The Independent

After The Metamorphosis, his award-winning adaptation of Kafka, Pita’s star is rising. This time, he draws on the themes of A Midsummer Night’s Dream, without sticking to its plot. Three couples dance a classical setpiece to Handel, moving with courtly authority. Just as they’re reaching a solemn finale, Puck pops up and throws the switch, pitching the dancers into a starlit dreamworld of kitsch pop and unexpected pairings.

 

 

 

The Guardian

 

 

Not that the tutus stay grand, or even very clean, for long. Pita's Dream Within a Midsummer Night's Dream opens with the formal pomp and circumstance of a classical pas de six, danced to the dignified measures of Handel's Sarabande. But true to its Shakespearean origins, the work's leading couples are rapidly transported to a world of delirium by the mischievous magic of Puck. And true to Pita's own imaginative style, that world proves to be a rollercoaster of weirdness and surprise.

 



#2 dirac

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Posted 27 February 2014 - 05:41 PM

Video from Deutsche Welle: "A Young Man's Day at Ballet School."

 

Ballet is grace and perfection, but it's also twisted ankles and stinky flats. We meet two young male ballet dancers whose passion for performance led them all the way to the State Ballet School of Berlin. 

 

 



#3 dirac

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Posted 27 February 2014 - 05:47 PM

A preview of Sarasota's School of Russian Ballet production of "The Little Mermaid."

 

More than 50 students of Darya Fedotova and Sergiy Mykhaylov, founders of the school, will perform in the original ballet, based on the story by Hans Christian Anderson. The role of "The Prince" will be danced by David Martinez Coro, a former member of the Cuban National Ballet now guesting in the U.S.

 



#4 dirac

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Posted 27 February 2014 - 05:50 PM

A review of the National Ballet of Canada in "A Month in the Country" by Paula Citron in The Globe and Mail.

 

That said, Greta Hodgkinson, in a role debut as opening night’s Petrovna, painted an often affecting portrait of emotional longing through nuanced dancing of exceptional plasticity. Equally, Jillian Vanstone, as Petrovna’s ward, has all the fleetness of foot and expressiveness in the upper body that is an Ashton hallmark. Guillaume Côté, meanwhile, captures all the choreography’s folk inflections while playing Beliaev with a flirtatiousness that seems more calculated than naively innocent. 

 



#5 dirac

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Posted 27 February 2014 - 05:55 PM

A review of New York City Ballet by Mary Cargill for danceviewtimes.

"Walpurgisnacht Ballet" is quite another view of the underworld, as Balanchine pony-tailed dead souls prance through Gounod's irresistible confection.  The women rule here, as the man (Adrian Danchig-Waring) appears basically to catch the ballerina in the final, triumphant finale, as the woman poses on the man's shoulder like a magical figurehead at the prow of a human ship.  (Balanchine knew how to make lifts a dramatic highpoint.)  Sara Mearns, always a musically incisive dynamo, did not look quite at home in the quick changes of direction and little flicking moves of the Farrell role; for once she didn't look as if she owned all of steps.  But her windswept quality and full-blooded commitment gave the cotton-candy piece (all those pinks and purples swirling to that gloriously um pah pah music!) a joyful depth.

 

 



#6 dirac

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Posted 28 February 2014 - 03:52 PM

More reviews of Ballet Black.

 

The Evening Standard

 

Such midsummer madness is a daring departure for Ballet Black, the chamber company of black and Asian dancers that usually tends towards tasteful contemporary ballet. The choice reflects director Cassa Pancho’s ongoing commitment to new choreography, which is admirable, even if the results are sometimes uneven.

 

 

The Stage

 

Star of the evening is unquestionably Arthur Pita’s A Dream within a Midsummer Night’s Dream which manages to be magical, funny, beautiful and anarchic while distilling the essence of Shakespeare’s most popular comedy into a heady post-classical concoction. Robinson is an imperious Titania, strong and supple until she collapses like melting wax after falling in love with Bottom....

 




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