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Wednesday, May 23

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An update on the search for a new leader for New York City Ballet by Michael Cooper in The New York Times.

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The search team is in no rush, Mr. Friedberg and Ms. Vogelstein said in a joint phone interview, noting that the company is being ably run by an interim team led by Jonathan Stafford, a ballet master and former principal dancer.

But one matter has been settled: The next leader will continue to serve as the artistic director of both City Ballet and the School of American Ballet, a plan made by the institutions’ boards more than a decade ago.

 

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An interview with Sarah Lane and Isabella Boylston about their work as dance doubles in "Black Swan" and "Red Sparrow."

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For the body double work, Boylston danced a version of The Firebird choreographed for the film by Justin Peck. While Russian ballet style is somewhat different than ABT’s, Boylston said she simply tried to convey the character: “Jennifer Lawrence was playing a prima ballerina so I just had to be a prima ballerina. I tried to make it authoritative.”

In the dance sequence, the viewer sees Boylston’s body and Lawrence’s head and shoulders. But still, the actor had to train for nearly four months and learn to dance the entire sequence. That way, her upper body could be added by technology to Boylston’s to make for a believable, convincing scene

 

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An obituary for dancer William Perrie, who has died at age 78.

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After leaving the Royal Ballet in 1978, Bill formed Q Naturalist Enterprises from his home in Kew, and dedicated himself to his entomology. He became one of the country’s foremost dealers in beetles, leading expeditions to the Amazon and Botswana to collect rare specimens. In 1981 he founded the London Butterfly House at Syon House in Isleworth, west London. It closed in 2007 to make way for a hotel development.

 

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A review of American Ballet Theatre in Wayne McGregor's new piece by Apollinaire Scherr in The Financial Times.

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McGregor offers a smart parallel to the abrupt alternation between hypnotic mulling and strident advancing in a score that refuses anything so conventional as development. Taking a cue from the music’s circling, the movement is softer and more exploratory than the hyperextended and declarative McGregor norm. But in the silences between sections the dancers arrive onstage with great urgency, as if called.

 

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A peek at Stanton Welch's office.

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One wall of his fourth-floor office is floor-to-ceiling windows that allows natural light to shine onto a built-to-scale model mockup of the Wortham Center Stage. The model depicts next year's production of "Sylvia," the story of the titular mythological heroine, set to Léo Delibes' score. The model, which sits on small, round table near his desk, is the fanciest diorama you have ever seen. Even a set of model stairs for the stage, able to fit in the palm of your hand, is just as it will be when it's life-size down to the jagged hand rails.

 

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A review of Ballet Dallas by Cheryl Callon for TheaterJones.

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The slow metamorphosis that Contemporary Ballet Dallas has demonstrated artistically comes to fruition with a complete rebranding as Ballet Dallas. Their home theater, the Latino Cultural Center, welcomes this change with the official launch of the new name for their spring concert. Valerie Shelton Tabor still helms the troupe and promises exciting things in store.

 

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