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Friday, July 28

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Reviews of the Mariinsky Ballet in "Swan Lake.

The Evening Standard

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Overall, though, this production feels sluggish from the first fall of the baton, making what is already an overlong opening act (bloated by the unnecessary characters of the tutor and the jester) drag just that bit more.

 

The Daily Telegraph

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He was also strong in the lakeside Scene 2, conveying his burgeoning love for Odette not through facial mugging or exaggerated phrasing, but above all through the intimacy and attentiveness of his partnering. Only in Act II, in the famous and particularly demanding Black Swan pas de deux, did nerves seem to creep in, with a couple of fudged finishes after more elaborate jumps. And he would ideally have brought more unbridled passion to Act III, more fury to his exchanges with the villainous Von Rothbart.

 

The Independent

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Parish dances with expansive warmth and presence. He has a velvety flow of movement: plenty of power, but no strain in showing it off. His jumps are high and clean, his feet beautifully stretched. He’s a tender partner for Viktoria Tereshkina’s assured Swan Queen.

 

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A review of Claudia Schreier & Company by Martha Sherman for danceviewtimes.

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The opening work, “Wordplay,” was danced by New York City Ballet principal Jared Angle and soloist, Unity Phelan, both in elegant form, beautiful fluid partners, who were partnered throughout the evening in other works, as well. This first duet was almost entirely framed in a small central section of the stage, flowing angular lifts and partnering, crisp and often jazzy, danced to a modern score played by a live quintet. The music was literally translated, as a violin line was morphed into Phelan’s long angled leg, hooked as if an instrument string. Late in the piece, two very quick musical rests were danced as two sharp twists of Phelan’s head – look, pause, turn – a short, clever trick. A graceful focus on the dancers’ arms echoed Balanchine; Shreier’s homage to Balanchine arms could be traced through every piece of the evening.

 

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A review of the Mariinsky by Hanna Weibye in The Arts Desk.

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Now I like a good rags-to-riches trajectory as much as the next person, and I would love to be able to rave about Parish now and say it's all true. But the performance I saw on stage last night simply does not warrant it. Parish has a splendid figure, yes. He holds himself well, and he partners extremely well. He can jump high and big with those long, slender, oh-so-elegant legs. He has clearly worked like crazy during his six years of intensive Mariinsky training. But these things alone do not a principal make, or at least not a world-class one. It has to come from inside: without that spark of wildfire at the heart, you are only ever a good dancer, not a great one.........

 

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A review of Emery LeCrone Dance at the Joyce by Elizabeth Zimmer in The Village Voice.

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Emery LeCrone Dance, a hit at the inaugural festival two years ago, opened this year’s edition last Tuesday with three short works and two substantial ones. Ms. LeCrone, thirty, has won many awards and commissions, and has produced a catalog of more than two hundred ballets for schools and ensembles across the country, while performing with the Metropolitan Opera Ballet. She has also worked in commercial situations, collaborating with Nike and Vogue. She has an eye for costume and enormous musical ambitions, but she’s not good with titles (would you sit still for a piece called Time Slowing, Ending?), and her lighting designer, Brandon Stirling Baker, seems reluctant to let us see her good dancers at work, leaving them frequently half in shadow.

 

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