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dirac

Thursday, March 16

5 posts in this topic

More reviews of Project Polunin.
The Times (registration or subscription)

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The programme is a showcase for the former Royal Ballet star but what it says about him isn’t encouraging. Dancing two of the three ballets, with his offstage partner Natalia Osipova,Polunin, still only 27, looks sluggish, worn out and uninterested, while his choice of choreography is dispiriting......

 

The Guardian

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This is the background to Project Polunin, the ambitious scheme through which the dancer wants to forge a new and more creative relationship with ballet. His plan is to set up a management agency to assist freelance dancers like himself, and to promote an innovative brand of classical dance that will engage a younger, more hip and contemporary audience. That Polunin’s ideas are sincere is not in doubt, but it’s disappointing to report that the dance programme with which he’s launching them turns out to be so uneven, so very odd, that it’s hard to judge what kind of future his project can have.

 

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Atlanta Ballet announces its 2017-18 season.

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After 21 years, the Atlanta Ballet’s traditional holiday production of “Nutcracker,” as choreographed by former artistic director John McFall, will have its final run this year. New artistic director Gennadi Nedvigin has commissioned Yuri Possokhov, resident choreographer with San Francisco Ballet, to create a new version of the holiday classic, set for a 2018 premiere.

 

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A review of Tom Gold Dance by Mary Cargill for danceviewtimes.

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Tom Gold, a former soloist with the New York City Ballet, has been choreographing for his small company (made up of a revolving group of dancers, several from is old home company) and for his sixth New York season he presented one premiere and two works from 2016, an impressive output. His choreography is musical, light-hearted and very enjoyable and his dancers look like they are having a wonderful time.

 

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A review of American Ballet Theatre in "Whipped Cream" by Alastair Macaulay in The New York Times.

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There’s so much to say that one could almost overlook the way that Wednesday’s performance gave David Hallberg, the American star dancer long absent with injury, his first ballet appearance in the Northern Hemisphere since July 2014. As Prince Coffee, he looked as if he’d never been away: jumping, turning and partnering with ease, an effortless source of singing line. His first appearance was applauded, as were his later appearances. But “Whipped Cream” is not a Hallberg vehicle, and waves of applause, reasonably, greeted much else throughout the evening.

 

Paul Hodgins' review in The Orange County Register.

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But the man who stole the show on Wednesday wasn’t a dancer or choreographer. When the ecstatic ovations washed over the performers and creators as they took their bows, set and costume designer Mark Ryden got the biggest whoops and whistles.

 

The adulation was both well deserved and remarkable: “Whipped Cream” is Ryden’s first theatrical credit.

 

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The Trocks visit Washington, D.C.

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All 16 members of the current ensemble identify as gay, and Dobrin can only recall two straight members in the group. And while the audience has certainly grown, the makeup is still largely the same — a “sophisticated” mix of gays and gay-friendly aficionados of dance and theater. The biggest difference? “When I joined there were no children in the audience,” he says. “And now we have a lot of children.”

 

The biggest change, however, has been the venues the troupe now fills.

 

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