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Thursday, May 31

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Seven dancers of the New York City Ballet earn their college degrees.

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All the same, it’s not for everyone. Dancers take most of their classes on Mondays, their only day off. It took Ms. Stafford eight years to earn her history degree. (Beginning in fall, she will attend St. John’s University School of Law part time.)

 

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A review of the Royal New Zealand Ballet by Jack Yan for Lucire.

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 Named for Mozart’s Divertimento No. 15 in B flat major, K. 287, Balanchine’s Divertimento No. 15, staged by répétiteuse Francia Russell, who had travelled to New Zealand to work with the RNZB’s dancers, was set against a bright blue background with chandeliers above. The mixture of dancers showed how much the company’s ensemble had changed recently; it served to highlight the poise and control of Mayu Tanigaito (who must deserve a lead again), while Alexandre Ferreira’s skill in the first ballet has come even further than when we saw him last in The Piano: the Ballet.

 

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A review of American Ballet Theatre in 'Giselle' by Emily Wells for DanceTabs.

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The performance’s audience was especially enthusiastic, though as a former dancer, I cannot help but wonder if the audience members who feel warranted in letting out a “Brava!” simply because a character has made an entrance — as many did — do not detract from appreciation for when a dancer has done something truly laudable...... 

 

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Christopher Wheeldon speaks at a Hong Kong Ballet "Salon Talk."

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When Webre asked Wheeldon if there were any changes in the last two days for the piece with the dancers, any adjustment or correction, Wheeldon further explained that for 'Rush', there is not a lot of room to change instead of the middle section for the principal couple to be more individual. 'Rush' really is a technique-driven piece which is really quick, that Wheeldon thinks for most of the part, precision work (on angles, footwork, lines, etc.) is more important.

 

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