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Tuesday, June 3


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#1 dirac

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Posted 03 June 2014 - 05:11 PM

A review of "Draft Works" by Louise Levene in The Financial Times.

 

 

Kristen McNally, Ludovic Ondiviela and Valentino Zucchetti are already on their third or fourth Draft Works but there were a couple of promising apprentice pieces from absolute beginners. Marcelino Sambé’s Preparations for the Last TV Fake was a larky trio for Mayara Magri, Matthew Ball and the free-spinning Luca Acri. The action (apparently based on Sambé’s dreams) lost focus occasionally, and the three-way manhandling of Magri was a little like a fight with a deckchair at times, but it was a triumph given the minimal rehearsal available and supplied a welcome showcase for three young dancers. Events such as these are an excellent opportunity for the audience to put names to faces – Royal Ballet programmes have always scorned to include mugshots of the rank and file.

 

 



#2 dirac

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Posted 03 June 2014 - 05:12 PM

A review of American Ballet Theatre by Gia Kourlas in The New York Times.

Parts of “Manon” drag, and Ballet Theater’s endless intermissions don’t help. (During the second one, it felt as if the dancers had actually traveled from France to Louisiana.) But the plot is less complex than it seems because dancing carries it along.

 

Mr. Bolle, who made his Ballet Theater debut in 2007 as Des Grieux opposite Alessandra Ferri — she was a ravishing, wild Manon — elaborates on his flawless partnering.

 



#3 dirac

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Posted 03 June 2014 - 05:18 PM

A review of the National Ballet of Canada by Denise Sum for danceviewtimes.

 

The evening ended with William Forsythe's "the second detail" which was created for the NBoC in 1991. Principal dancer Aleksandar Antonijevic made his last appearances with the NBoC in this ballet, after 23 years in the company. For someone who is known not just for his brilliance as an artist, but also for his humility, it seemed fitting that he would say farewell in an ensemble piece like this one. The beauty of "the second detail" lies in its lack of formality or hierarchy. Each dancer has their moment in the spotlight, moving seamlessly between foreground and background. The work has an air of spontaneity, with stops and starts, like a group of friends jamming in a basement. At times the dance gathers a hypnotic momentum and the dancers appear as if in a trance state. Throughout, Antonijevic moved with vigor and style, showing off his incredible plastique and attuned musicality. He looked thrilled to be dancing alongside his fellow company members for the last time. He will most certainly be missed.

 



#4 dirac

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Posted 04 June 2014 - 11:30 AM

A review of the new Charleston City Ballet in "Firebird" by Eliza Ingle in The Post and Courier.

 

Charleston City Ballet presented a manageable rendition of this classical production with costumes and lighting to support the timeless tale, but there is much work cut out for them as they forge a new presence in a town that expects a great deal from its cultural organizations.

 



#5 dirac

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Posted 04 June 2014 - 11:33 AM

Christopher Buckley says that Ron Reagan's ballet dancing caused Ron Senior some anxiety.

'My father and Reagan were close, and my dad had always acted as a kind of godfather to the Reagan children, so Reagan called up my dad and expressed to him his worry that this meant that his son played for the other team,' Buckley said.

 

'My dad ventured the opinion that all people in the arts might not be gay, but there wasn’t much he could really say about this, and, of course, we now know Ron’s not gay.'

 

 

 

 

 

 



#6 dirac

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Posted 04 June 2014 - 11:39 AM

A review of John Jasperse by Martha Sherman in danceviewtimes.

 

Jasperse’s use of a quartet of three men and one woman kept the classical movement from being typical; he didn’t choose the usual two couples. Having moved through a series of perfect poses, suddenly mid-jeté, more traditional expectations were shattered, as the dancers’ faces twisted into gurns, with thick protruding lips jutting diagonally down. Their eyes, up to now calm and neutral, widened and bugged out – in shock or surprise, as their poses crinkled, arms and hands twisted, fingers wriggled in a kind of anti-ballet. It took very little to twist the classical to the contorted.

 



#7 dirac

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Posted 05 June 2014 - 06:08 PM

Reviews of Pacific Northwest Ballet in 'Giselle.

 

 

Seattle P-I.com

 

In a series of dazzling leaps and scissorlike entrechat jumps, Tisserand established himself as PNB’s most exciting and most refined male dancer. He jumps higher and leaps farther than any other male in the company, maintaining the purity of line that is the hallmark of the finest ballet dancers.

 

 

Seattle Weekly

 

Pacific Northwest Ballet’s new set and costume designs for Giselle reflect two different facets of the same period. Jérôme Kaplan’s sets, inspired by lithographs illustrating the original 1841 production, evoke the timeless fantasy world of romantic ballet. Yet his costumes, many of them drawn from fashion plates of the mid-19th century, anchor the production in that specific era. The contrast supports the dramatic crux of the ballet, where the dead and the living meet in a struggle between love and revenge.

 

 

 




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