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Friday, May 11

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A review of Pennsylvania Ballet in 'Jewels' by Ellen Dunkel in The Philadelphia Inquirer.

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Wisely, artistic director Angel Corella — or perhaps Balanchine repetiteur Elyse Borne, who coached the dancers — chose mostly Balanchine-trained dancers for Thursday night’s Rubies, second of the three parts and the one that most evokes American modernism.

 

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Ballet West holds its second annual National Choreographic Festival.

https://www.deseretnews.com/article/900018292/long-the-domain-of-men-choreography-gets-a-female-boost-at-ballet-west-s-national-choreographic-fest.html

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“I felt strongly that there was a need to promote the strength of female leadership in the ballet world,” Sklute said. “For this year’s festival, all the companies we have invited are directed by women and all the works on both programs have been choreographed by women.”

 

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Ib Andersen makes a new piece for Ballet Arizona to be performed alfresco.

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For Andersen, that element is the rehearsal hall. Behind a desk, he’s taciturn. In the studio, he smiles, he cracks jokes, and he rushes out to his young dancers to demonstrate his ideas in motion.

 

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Manassas Ballet Theatre closes its season with "Colin."

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The production features Joshua Burnham, who plays Colin during the Marine’s life. Burnham was born in Lake Tahoe, Calif., and started his ballet training with the Santa Cruz Ballet. He continued training in Washington State and at age 13 he received full scholarships to San Francisco Ballet, American Ballet Theatre, Pacific Northwest Ballet and Houston Ballet. In 2004, he joined San Francisco Ballet, where he performed in such works as Helgi Tomasson’s “Meiston’s Mozart,” Balanchine’s “Stars and Stripes” and “The Four Temperaments.” In 2006 he joined Cincinnati Ballet, where he danced many lead roles. Since May 2012, he has been a principal dancer with Manassas Ballet Theatre and is a teacher and coach for Manassas Ballet Academy.

 

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Pix from American Ballet Theatre's "Giselle."

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American Ballet Theatre's 2018 Spring Season opens with eight performances of Giselle beginning Monday evening, May 14, led by Hee Seo in the title role, opposite Roberto Bolle as Albrecht and Gillian Murphy as Myrta. Guest Artist Natalia Osipova will perform the title role on Friday, May 18 opposite David Hallberg as Albrecht.

 

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Ballet B.C. announces the lineup for its 2018-19 season.

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The season kicks off with Program 1, November 1 to 3, with a Canadian premiere by the lengendary Forsythe, Molnar's mentor at the Frankfurt Ballet, where she once danced. Enemy in the Figure is a poetic and theatrical work, pushing traditional ballet to contemporary extremes and playing with an undulating wooden screen, a rope, and a floodlight on wheels. Joining it on the program is one of the most beloved pieces in Ballet BC's repertoire, Medhi Walerski's Petite Ceremonie, as well as a new, bluesy premiere by Molnar herself.

 

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Female principals at Houston Ballet talk about combining dancing and motherhood.

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The whole thing was planned, but it’s never a perfect time for a dancer, she [Karina Gonzalez] acknowledged. “I was in the thick of my career and age. I knew I was going to lose some ballets I wanted to do, and that in my position I needed to do.”

Weighing potential opportunities, she chose to miss much of the 2017-18 season because the schedule allowed her to perform in the company premiere of “Mayerling” in September (when she was three months’ pregnant); and gave her plenty of time to recover before next season’s premiere of “Sylvia.”

 

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The artistic director of Ballet Philippines talks about how his troupe keeps up with the times.

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One of their productions is about a woman who can’t leave a bad relationship. “There’s still no divorce in the Philippines,” says Morales. “Works like this can maybe help change that.”

 

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Ballet San Antonio conducts an internal investigation of charges leveled against the company's management.

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Specific allegations in the April 16 letter to the board – with what appears to be an introduction and seven separate accounts from former dancers – included verbal abuse, body-shaming, manipulation, and bullying by “those who are in positions of power within the organization.”

 

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A review of the cinema broadcast of "An American in Paris."

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The experience of watching theatre conceived for the stage, on screen, can be jarring. There was a moment towards the start when a joke garnered a laugh from the theatre audience that wasn’t echoed by the cinema audience; an alternate fourth wall slightly ajar. For me, this was the only point this happened. The experience was as immersive as normal cinema, with fantastic sound quality and well-judged camera work adding to the slickness.

 

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