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Thursday, July 13

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Three ballerinas from different companies talk about dancing "Jewels."

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“The woman in this solo has a sparkle,” Dorothée Gilbert said by phone from Paris, using a French word you might use to describe Champagne (“pétillante”). “She loves life.”

Wherein lies the ballet’s Frenchness? “‘Emeralds’ is a very pure dance,” Ms. Gilbert answered, “in which elegance and refinement are important, particularly emphasizing the arms and the lower leg. And to me, the French school of ballet is about that articulation of the lower leg and feet.”

 

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A fashion pages profile of Eric Underwood.

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All of these are established elements of the 33-year-old Mr. Underwood’s reputation as an immensely likable if impious outlier in the rigid world of classical ballet. The shocking thing about him is what he does at home.

 

On those evenings when he is not performing at the Royal Opera House, or on stages around the world, he can often be found on the sofa at his house in Camden conducting one-sided geezer-type arguments with the judges on “Strictly Come Dancing,” the BBC One equivalent of ABC’s “Dancing With the Stars.”

 

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A review of New York City Ballet by Tresca Weinstein in The Albany Times Union.

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Just beneath the surface of "Odessa," Alexei Ratmansky's new work for New York City Ballet, is a tantalizing and mysterious story — or maybe 8 million stories. As lush and textured as the dancers' velvet dresses, the ballet — which premiered in May and was onstage at SPAC Wednesday night — feels like an adaptation of a Russian novel, rife with romance and intrigue.

 

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A review of American Ballet Theatre by Carol Pardo for danceviewtimes.

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Marcelo Gomes is so deeply beloved as a dancer that one wants to love him just as much as a choreographer. But with "AfterEffect", his first large-scale ballet for the company initially presented in 2015, he has, like many a newbie before him, bitten off more than he can chew.  This a big ballet with weighty dedication "To those who have fallen ... and those who prevail" and a big cast, three principals, eight demi-soloist and four corps couples. In addition, the principals are personifications: A Man (Cory Stearns as Everyman), His Loss (Cassandra Trenary), His Hope (Jeffrey Cirio). To make it all come together, the choreographer has to illuminate the theme, find a way to show abstract ideas in three dimensions and move a lot of people--for thirty-five minutes.

 

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Cole Haan hires Justin Peck.

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Peck, flanked by corps de ballet member Gretchen Smith and principal dancers Amar Ramasar, Megan Fairchild and Sara Mearns, leap and bound in branded GIFs and still images — portraying the brand’s Grand Evolution, Grand Motion and Studio Grand collections.

 

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