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Mme. Hermine

Sunday, March 16

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Gia Kourlas reviews Les Ballets de Monte Carlo's "Lac":


In “Swan Lake,” the timeless ballet about a swan queen, the prince who loves her and the black swan who seduces him, the real tragedy happens when choreographers try to sex it up. The music, the story, the swans: It’s already there.

But here we go again. In the world according to “Lac (After Swan Lake),” a trashy reinterpretation by Jean-Christophe Maillot for Les Ballets de Monte Carlo, there are two types of women: the kind you marry and the kind you sleep with. Anja Behrend’s White Swan is pure, modest and mute. She can’t emote with her hands, which are deformed by white feathers: They don’t flap, they flop. April Ball’s primal Black Swan is a predator. Her mother, known as Her Majesty of the Night (Maude Sabourin), is even more overheated.

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The Mayor of Philadelphia made an appearance in Pennsylvania Ballet's Coppelia (video is included)


It's Philadelphia's Mayor Nutter like you have never seen him before. Nutter made a guest appearance in Pennsylvania Ballet's Coppélia Sunday afternoon.

Coppélia is the story of a toymaker, his doll, and a young couple in love.Mayor Nutter had a walk on role as the town's mayor of course! He greets the villagers in Act One. Fox 29 cameras were rolling as Nutter graced the stage.

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Ann Murphy reviews the Smuin Ballet's spring program:


I admit I was surprised. I remembered Michael Smuin's "Carmina Burana," performed suggestively to the Carl Orff score, and expected that the program would repeat the pattern of recent years, where new work that steered clear of the tawdry would get rounded out by a sentimental Smuin dance or one stuffed with a kind of corny sleaze.

Instead, the company of 16 danced the afternoon away with wit, passion and real, rather than simulated, sexiness. Performing three works with strong structural similarities yet compelling differences and tackling them with confident artistry, the troupe had no problem turning its backs on adolescent antics.

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An article in the New York Times by Apollinaire Scherr about new memoirs by Jenifer Ringer and Misty Copeland:


As for this memoir’s grace, it lies in the luminous descriptions of the ballets, which did not save Ms. Ringer but did prove soul-enhancing. “There is a ballet that is like an ocean,” she writes of Balanchine’s “Serenade.” “It seems to stretch beyond the horizons of the stage.” The first time she danced it, she felt “a light taking up residence in my chest.”
Many professional ballet dancers have had stage mothers; Ms. Copeland had an anti-stage mother, who turned down year-round scholarships for her daughter from the best schools in the country to keep her home. She enforced a crippling either/or logic: either family or ballet, either be black or be a ballerina.

Thank you to a heads up from a Ballet Alertnik!

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