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Monday, August 4


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#1 dirac

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Posted 04 August 2014 - 09:07 AM

"The Man Who Loved Redheads," starring Moira Shearer, is released on DVD in the U.K.

 

After working class Daphne, he encounters Russian ballet dancer Olga (again played by Shearer). This character gave prima ballerina Shearer ample opportunity to show off her various dancing talents, with fabulously choreographed ballet and foxtrot sequences. Olga’s demands to Mark for holding society parties already spells trouble as unbeknownst to him, friends and colleagues from work turn up to the bashes. However, things get worse still when next redhead, Collette (Shearer again) bounces into Mark’s live… for she turns out to be an acquaintance of his actor son Dennis (Denholm Elliott). As the noose tightens around Mark’s neck, he finally confesses his various affairs to his loving wife Caroline (Gladys Cooper) – only to discover she knew all along!

 

 

 



#2 dirac

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Posted 04 August 2014 - 09:17 AM

Reviews of the Mariinsky Ballet in "Swan Lake."

 

The Guardian

 

Even if western audiences are apt to jib at certain elements of Konstantin Sergeyev's 1950 production – the Soviet-imposed happy ending, the relentlessly perky jester – this is a Swan Lake that allows the lyric sweep of Tchaikovsky's music and the poetic nuances of the Petipa-Ivanov choreography to take centre stage.

 

 

 

The Independent

 

There’s a changing of the guard at the Mariinsky Ballet. In this London summer season, the celebrated St Petersburg company is promoting its young artists, showing off a new generation of Swan Queens and princes alongside the established stars. On the first night of Swan Lake, first soloist Oxana Skorik was distinctive but not yet secure as Odette-Odile.

 

 

 

The Financial Times

 

 

 


There is, in this continuing life of Swan Lake, something vitally true about St Peterburg’s ballet which speaks of the city’s formal grace, its grand yet harmonious aspect, and the aristocratic lineage of its dancers. So, on Friday night, it took the Covent Garden stage in splendour. An impeccable legion of swans. The dances of the first scene shaped with an unfailing elegance. A Siegfried (Timur Askerov) of quietly dignified presence, of commanding technical resource, of dramatic sincerity. And an Odette/Odile from Oxana Skorik of fine-drawn beauty. She possesses exquisite line – eloquent for Odette; dazzling for Odile – and an intriguing air of mystery, of an inner passion. I thought her fascinating.

 

The Evening Standard

 

 

You can see why the Russians saw potential: the long elegant limbs, handsome face, natural sense of line; he certainly looks like a prince (whatever that means — not Wills or Harry). He’s good, but he’s not yet the finished article.



#3 dirac

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Posted 04 August 2014 - 10:01 AM

An interview with Andrew Pfieffer, the Royal New Zealand Ballet's wardrobe manager.

 

Pfieff feels at home here. He says working with the other young machinists keeps him young and the drama that comes with the job is just part of it.

 

The back rooms of the RNZB are his haunt, full of boxes labelled with ridiculously wonderful names: frogging, bubble braid, guipure lace and Guyot Brothers metal stampings. There is a corner dedicated to sequins and sparkle, another to wigs. It is a place where magic and fairytales are made with a needle and thread, sweat and tears, glue guns and a fine eye.

 

 



#4 dirac

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Posted 05 August 2014 - 09:27 AM

The Mariinsky Ballet’s Wednesday class will be live streamed on the website of The Daily Telegraph.

 

The basics of class are what preserves and extends that astonishing technique. Wednesday's class will be taken by Igor Petrov, an outstanding teacher and coach. If you want to understand how Russian men jump so high - the basics of bending and propulsion that push them so far into the air - watch till the end of the class and see them fly across the room at his command. You won't regret it.

 



#5 dirac

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Posted 05 August 2014 - 11:31 AM

Sacramento Ballet hires a new executive director.

She [Caty Solace] starts her new position immediately. She replaces Greg Smith, who left the organization in June to take a position with the Scandinavian Heritage Foundation.

 

During her five years with the Trey McIntyre Project, the company won several grants, and her work also received a lot of media coverage, according to a news release.

 



#6 dirac

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Posted 06 August 2014 - 08:55 AM

A review of Charlotte Ballet by Steve Sucato in The Buffalo News.

 

Energetic then turned to enthralling in Charlotte Ballet resident choreographer Dwight Rhoden’s thought-provoking and moving civil rights era-themed ballet “Sit In Stand Out.” The ballet, set to a mix of music and sound from Max Roach to samples of Martin Luther King reciting the U.S. constitution, began with the projected images of photographs depicting the period and African-American struggle for civil rights. Emulating one of the photos of black activists at a lunch counter, six of Charlotte Ballet’s dancers took seats in chairs lined up across the back of the stage and began a series of emotionally charged and anguished movements that mirrored the sharp and dissonant piano music they were performing to. Rhoden’s smart and well-crafted ballet avoided preachiness while leveling a critical gaze back on a turbulent and troubled time in this country. The emotionally gripping ballet full of superior dancing climaxed in a riveting pas de deux danced by Harkins and Walker to Nina Simone’s searing song “Strange Fruit”.

 

 



#7 dirac

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Posted 06 August 2014 - 08:57 AM

A story on Sarasota Ballet's new visibility by Carrie Seidman in The Sarasota Herald-Tribune.

"We're very aware of people in the dance world looking at the company and what we're doing," says Webb, noting the visitors and critics from Europe who attended the Ashton Festival. "People all around are realizing this isn't a small, little ballet company. They can see the caliber of the choreographers and ballets I bring in and they can appreciate that they're not getting a watered-down version, but a proper version."

 

The higher profile has helped feed the company's coffers and allowed it to add a few additions to its previously skeletal managerial staff. Its financial foundation is now sounder than at any time in its history and ticket sales continue to climb. Moreover, the attention has begun to open doors for potential expansion into other endeavors, such as touring.

 



#8 dirac

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Posted 07 August 2014 - 11:42 AM

A review of Alabama Dance Theatre by Randy Foster in The Montgomery Advertiser.

 

This version for ADT was staged by Marianna Tcherkassky, assisted by Shawn Black as rehearsal mistress. Both Tcherkassky and Black have extensive personal experience with this work and with its style. Tcherkassky was a principal dancer with American Ballet Theatre, dancing many of the greatest ballet roles, known for her beautiful technique and lyrical phrases. Black, an Alabama native, trained at Alabama School of Fine Arts and was a soloist at American Ballet Theatre. How fortunate these ADT dancers are to be afforded the chance to work with such renowned and caring artists.

 



#9 dirac

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Posted 11 August 2014 - 09:56 AM

A story on Daniel Ziff's new philanthropic interest: dance.

 

 

The Leslie and Daniel Ziff Foundation (formerly the Daniel Ziff Foundation) held around $3.6 million in assets at the close of 2013 and in recent years has zeroed in on dance. The foundation has generally been supportive of the performing arts, but this more specific interest is something new. Part of this shift seems to be centered around Ziff's wife Leslie who assumed the role of director of the foundation after the couple got married. Leslie is on the boards of American Ballet Theatre and Rosie's Theater Kids. She has a clear interest in dance and in fact received her BFA in dance.




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