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dirac

Wednesday, August 20

7 posts in this topic

Scottish Ballet will bring its Nutcracker to Edinburgh in December.

Scottish Ballet is decamping from the Theatre Royal – where every December for the last decade it has performed its sumptuous “fairy tale” inspired festive ballets – in favour of a three-week Christmas run at the Festival Theatre.

It means Edinburgh audiences who would normally have to wait until mid-January for their first glimpse of the Christmas show will now be able to enjoy the sparkling costumes and stunning scenery at the very height of the festive season.

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A preview of West Australian Ballet's "La Fille Mal Gardee."

Crucial to [Marc] Ribaud's re-imagining of the story in a mid-century context is the costuming. Along with set designer Richard Roberts, Melbourne-based costumer Lexi De Silva has created a romantic, nostalgic mood with a bit of rock'n'roll attitude thrown in.

"The 1950s was a period when the young were spirited and rebellious," De Silva says. "That was reflected in the swing dance costumes and movie stars like James Dean....."

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An interview with Ketchikan Theatre Ballet’s new artistic director.

[Desiree} Roan said she has worked as a professional dancer all of her adult life, working in Oklahoma, New Mexico and also touring “all over” with her own company. She said she and her husband, Charles, are retired, but they saw an opportunity when she discovered KTB’s search for a new director.

“He and I have always wanted to be in Alaska,” she said.

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An interview with ballet student Lily Campbell.

“I am really grateful for this opportunity to train at the Kennedy Center. It’s always been a goal of mine and I am thrilled to be there with Ms. Farrell.” Lily said. Last year at 14, Lily first auditioned for the program and was lucky enough to be invited back for a second session. “Working with Suzanne Farrell who is a legend in the ballet world is truly amazing. Her classes are very challenging and very fun but very hard.” When asked about her dedication and passion for dance, Lily said, “It’s a real way to express myself through movement and it’s something that we all dream of when we are really little… and I just never stopped.”

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The Chicago Dancing Festival gets underway.

The highly-anticipated annual festival, co-produced by internationally renowned choreographer Lar Lubovitch and Chicago dancer Jay Franke, features top ballet, modern and hip-hop dancers from Chicago and across the country.

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A preview of Cincinnati Ballet's Kaplan New Works Series.

This year, four of the five New Works choreographers are women, each of whom is creating a world premiere. The sole male choreographer is William Whitener, former Kansas City Ballet artistic director. Whitener will present the program’s most classical work, a duet set to piano music performed live by Marcus Kuchle, Cincinnati Opera’s director of artistic operations.

There’s also a venue change. Since its inception nearly a decade ago, one unique aspect of the annual season opener has been that the performances have always taken place in the intimate space of Cincinnati Ballet’s largest rehearsal room, the Mickey Jarson Kaplan Performance Studio, which seats just a little more than 250.

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A review of Stars of American Ballet by Margaret Putnam for TheaterJones.

Mr. Ulbricht put this show together, bringing mostly principal dancers from New York City Ballet, two dancers from Boston Ballet and one from San Francisco Ballet.

The first surprise came in Christopher Wheeldon’s excerpt from Mercurial Manoeuvers, performed with flawless control by Tiler Peck and an attentive partner in Robert Fairchild. Set to the music of Dmitri Shostakovich’s Piano Concerto No. 1 in C minor, Op. 35, it involved tricky partnering, devilish fast lifts and releases, and then, in the adagio movement, long-held arabesques and wonderful pauses that gave the work a hushed beauty.

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