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Tuesday, March 11


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#1 dirac

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Posted 11 March 2014 - 11:13 AM

Tamara Rojo, Liam Scarlett, Russell Maliphant, and Akram Khan talk about their new project Lest We Forget. Story by Judith Mackrell in The Guardian.

 

Liam Scarlett: When I first went into the studio I began looking for movement images that would have the same kind of emotional resonances as these objects. I didn't want the piece to be literal. My designer John Macfarlane and I thought about all the images that epitomised the war, from the factories to the landscape of the trenches, then we let them explode into another place.

 

 



#2 dirac

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Posted 11 March 2014 - 11:14 AM

A television preview of Mobile Ballet's 'Coppelia.' Video.

 

“Coppelia,” one of the famous “story” ballets that can be enjoyed by both children and adults is closing the season March 15th and 16th. Mobile Ballet Artistic Director Winthrop Corey tells Cherish Lombard this ballet hasn’t been seen in Mobile since 2008, and this production will feature exciting new sets! Mobile Ballet’s own Principal Dancers Noel Hanley and Lauren Woods will alternate the role of Swanilda, with Noah Hart, Principal Dancer with Alabama Ballet as Franz, and David Beech of Mobile as Dr. Coppelius.

 



#3 dirac

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Posted 11 March 2014 - 11:15 AM

A preview of Tulsa Ballet's new program by James D. Watts Jr. for Tulsa World.

 

"Rooster" has been so popular that Bruce has been thinking seriously of putting an embargo on the ballet for at least a few years. This means that Tulsa Ballet audiences may be some of the last people who get to see "Rooster" performed live, when the company opens its triple-bill production "Paint It Black" on Friday.

 

In addition to the Oklahoma premiere of "Paint It Black," the evening will also include another premiere piece, Alejandro Cerrudo's "Extremely Close," created for Hubbard Street Dance Chicago, along with the return of William Forsythe's groundbreaking "In the Middle, Somewhat Elevated."

 



#4 dirac

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Posted 11 March 2014 - 11:16 AM

American Repertory Ballet presents a Ballets Russes-inspired program.

 

Martin’s choreography for "Firebird" employs one of Stravinsky’s suites rather than the full ballet score. While Martin has preserved the outline of the fairy-tale libretto, he has also taken liberties. In his version, for instance, the Firebird who saves a wandering Prince from the clutches of a Sorcerer is a man and the sorcerer is female. Alexander Dutko plays the Firebird, and Stephen Campanella is the Prince who snares him with a golden lariat. Their pas de deux involves a delicate threading of rope, wings and a feathered headpiece.

 



#5 dirac

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Posted 11 March 2014 - 11:19 AM

An Australian Ballet photo gallery (advertisement).

 

As the Australian Ballet begins its glorious 2014 season with Manon in Brisbane, we look back at rarely seen recent highlights, including last year's triumphant Bodytorque, and forward to some forthcoming treasures. Click through for images.

 

 



#6 dirac

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Posted 12 March 2014 - 05:58 AM

A review of Pittsburgh Ballet Theatre by Jane Vranish in The Pittsburgh Post-Gazette.

She also was eminently musical, accentuating the "hiccups" in the score and taking note of the sinuous slides that are so alluring in klezmer music. The dancers, led by Caitlin Peabody and Cooper Verona, fit nicely into the beautiful structure of the choreography, the best of the night, although they had yet to find the real inner intensity of this Eastern European excursion.

 

If Ms. Adam favored structure, Viktor Plotnikov was the flower child among the choreographers in the world premiere of "In Your Eyes." While he embraced a totally creative approach, it was hard to find the focal point in this ballet.

 

 

 

 



#7 dirac

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Posted 12 March 2014 - 06:01 AM

The Birmingham Royal Ballet presents a mixed bill featuring Bintley, Balanchine, and MacMillan.

 

Set amidst a backdrop of skyscrapers fashioned as women’s legs a cast of Al Capone’s look-a-likes sit watching a female table dancer perform in a fishnet one-piece. Callie Roberts as the Striptease Girl moves with a water like fluidity glueing the audience both on and off stage to her. Meant as a whimsical piece the police’s sequences bring big laughs as they fumble around the stage not dissimilar to the penguins we saw them as previously.

 



#8 dirac

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Posted 12 March 2014 - 06:02 AM

A review of the National Ballet of Canada in "Swan Lake" by Denise Sum for danceviewtimes.

 

McKie and Lunkina got off to a bit of a shaky start in the Act II adagio. The back bends were careful and promenades were slightly wobbly. Intentional or not, they looked believable as two individuals who were dancing together for the first time, unsure of what to expect and how much to trust the other. As the ballet progressed, they looked more comfortable together but their partnership is still very green and they have very different styles.

 



#9 dirac

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Posted 12 March 2014 - 06:05 AM

Darcey Bussell presses for dance to be added to standard school curriculums.

Aren’t there more pressing educational concerns?

 

Not as far as Bussell’s concerned. Earlier this year, the one-time Principal Ballerina for the Royal Ballet said: “Dance has always been part of after-school projects, but it should be part of the curriculum.”

 




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