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Monday, March 24


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10 replies to this topic

#1 dirac

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Posted 24 March 2014 - 05:43 AM

A review of the Los Angeles Ballet by Victoria Looseleaf in The New York Times.

 

Tayeh's misguided, 18-minute opus, "Beneath One's Dignity," lived down to its name, with 10 dancers in "Walking Dead" mode, including five gals tossing their hair as if touting L'Oréal. Tayeh, a TV favorite ("So You Think You Can Dance"), recently choreographed "Kung Fu," the life of Bruce Lee now running off-Broadway. She set this work, her fourth Los Angeles Ballet commission, to Valgeir Sigurðsson's popping sounds and eerie vocals. The piece also had stomping, crawling and a vampiresque conga line (where's the garlic?), with Marianne Parker's black, see-through garb, including man-skirts, contributing to the work's painful doom-and-tomb milieu.

 

 

 

 



#2 dirac

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Posted 24 March 2014 - 05:45 AM

A review of the Australian Ballet by Grace Edwards for Limelight.

 

Lana Jones’ Manon begins her journey from a place of almost Eden-like innocence. She seems out of place in the worldly courtyard of the inn outside which she makes her entrance. Her performance is powerful in its subtlety, allowing MacMillan’s choreography to carry some of the communicative burden. The lightness of her performance retains some of Manon’s early innocence even as she becomes aware of her own sexuality and the lavish lifestyle it makes open to her.

 

 



#3 dirac

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Posted 24 March 2014 - 05:47 AM

Judith Mackrell solicits views from readers as to which outside choreographers should be brought in to make pieces for the Royal Ballet.

 

The Royal Ballet will shortly be announcing details of its 2014-15 season. Already, director Kevin O'Hare has promised us a new work from Liam Scarlett, and there's possibly a new Wayne McGregor in the mix too. But there are no smoke signals yet about any works from outside choreographers.

 

 



#4 dirac

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Posted 24 March 2014 - 05:49 AM

A review of Manhattan Youth Ballet by Marjorie Liebert for Broadway World.

 

The program opened with the pas de deux from George Balanchine's Harlequinade, staged by Deborah Wingert and danced, at this performance, by Brian Casey and Brianna Stankus. Stankus conquered her choreography. At first, I had the impression that Casey was a boy they were fortunate to have as a partner, as he gave nothing away in the opening pose that would lead one to believe that he possessed talent. However, once he began to move his clean lines and well-executed technique excited me. I look forward to seeing him mature into a dancer of real self-assurance and distinction.

 

 

 

 



#5 dirac

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Posted 24 March 2014 - 05:50 AM

The New Orleans Ballet Association will offer tuition-free summer dance camps

 

In 1992, NOBA established a partnership with the New Orleans Recreation Department, making it possible for any child to study high quality dance instruction. Over the past 20 years, these nationally award-winning education programs have provided over 40,000 tuition-free dance classes to more than 13,000 families. The after-school programs are designed to cultivate a child’s appreciation for the arts, while building life skills, including self-esteem, discipline, confidence and team work that speak to the child’s individual growth....

 



#6 dirac

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Posted 24 March 2014 - 05:54 AM

Karen Kain will be part of a symposium on the effect of the Massey Report on Canadian arts.

 

More than 60 years ago, the Massey Report started a cultural revolution, leading the federal government to create the Canada Council and make investments that turned the arts into a growth industry. 

 



#7 dirac

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Posted 24 March 2014 - 06:03 AM

An interview with choreographer Gideon Obarzanek.

 

By his teens, Obarzanek was dance-mad and ended up deferring his plans to study marine biology when he was accepted into the Australian Ballet School. After graduating in 1987, he danced with the Queensland Ballet and SDC, then performed with various companies including the Nederlands Dans Theater, whose daring, innovative repertoire influenced him powerfully.

 



#8 dirac

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Posted 24 March 2014 - 12:53 PM

A review in brief of Northern Ballet’s ‘Cinderella’ by Mary Brennan in The Herald.

 

There is a tremendous depth to what Nixon suggests here, in terms of what love is, and how it drives human behaviour for good or ill. At the same time, however, the production isn't short of fun, spectacle or swooshy illusions with an oriental Magician (intriguingly the same dancer as Cinders' late father) whose conjuring tricks include a bold on-stage transformation of kitchen range to sleigh complete with rollicking dog team.

 



#9 dirac

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Posted 26 March 2014 - 04:44 PM

Grand Rapids Ballet brings back "Movemedia."

The common denominator between the two is artist-in-residence Annabelle Lopez Ochoa, a Columbian-Belgian choreographer whose work has taken her all over the world, who is choreographing for both programs.

 

Grand Rapids Ballet artistic director Patricia Barker said she's admired Ochoa's work for many years with companies including Dutch National Ballet, Geneva Ballet, Finish National Ballet and Pacific Northwest Ballet, where Barker formerly danced professionally.

 

 



#10 dirac

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Posted 26 March 2014 - 04:45 PM

Cincinnati Ballet and Ballet MetColumbus will jointly present "Symphony in C."

But Cincinnati Ballet has just 25 on its company roster, so for the second time this season, the company is collaborating with BalletMet Columbus, which has 26 full-time dancers.

 

Neither company has enough dancers to pull off a piece of this scope on its own. But together – BalletMet has 26 fulltime dancers – the companies have sufficient human resources to stage pieces that would normally be out of their reach.

 



#11 dirac

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Posted 26 March 2014 - 04:50 PM

A review of Miami City Ballet by Jordan Levin in The Miami Herald.

 

Catoya, who has been on maternity leave this season, is back with astonishing verve for a woman who gave birth just seven months ago. Except for a few tense wobbles, Catoya was mostly her old confident self in Kitri’s many pyrotechnical variations: sharply outlining purely classical arabesques and coy Spanish twists of her back; reaching into long, proud balances; whipping off spectacular sequences of fouettes and pirouettes; prancing effortlessly on pointe. Catoya has often looked uncomfortably strained in recent performances, and so it was a pleasure to see her again as an adroit comedienne, an impulsive, sparkling and defiant girl.

 




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