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Saturday, June 9

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The 2018 USA International Ballet Competition gets underway.

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Medals, company contracts, apprenticeships, scholarships and more than $150,000 in prizes will be awarded. All dancers who advance to Round 3 will receive $1,500. The June 10 USA IBC opening ceremony will honor the late Robert Joffrey, jury chairman for the first three Jackson competitions, and feature Joffrey Ballet dancers in performance.......

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"Most of this could not happen without volunteers," said Volunteer Coordinator Mary Schiele Scanlon. "We need transportation volunteers to transport from the airport, production volunteers, production monitors, volunteers, coaches lounge."

 

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A profile of dancer and teacher Terri Charlesworth.

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She eventually made her way to Moscow, where her stunning performance of The
Brolga
 won her the coveted Ulanova Laureate Prize, awarded and presented by renowned ballerina Galina Ulanova herself.

During her time in Russia, Terri studied the teaching methods of the world renowned Bolshoi Ballet where she became familiar with the Vaganova method, which she brought back to Australia and took internationally as she toured and taught.

 

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A review of Houston Ballet by Natalie De La Garza for Houston Press.

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The first of three world premieres from Welch, titled class, follows after a 25-minute intermission. To a selection from Johan Sebastian Bach’s Goldberg Variations, played effortlessly by pianist Katherine Burkwall-Ciscon, a “class” of 18 in tights, leotards, fitted tees and shorts skip the barre and go straight into center work. Welch’s choreography shows the simple beauty found inside the ballet studio, from the controlled strength of classical positions to agile pointe and partner work, with Burkwall-Ciscon’s serene, almost melancholy playing only enhancing the work’s delicate fragility. Though like Play in its attempt to represent a very specific world, it’s completely different in technique and mood, and side by side on the program, the juxtaposition allows you to appreciate them both all the more.

 

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A review of American Ballet Theatre in 'Harlequinade' by Gay Morris for danceviewtimes.

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Shayer has only been in the company a little more than five years, but is likely to have promotions in his future. He dances with both technical virtuosity and elegance, and he has a stage personality that is outgoing, attractive and sure. As Harlequin he was mischievous on the one hand, but heartfelt in his love for Columbine. When he pleads for help from the Good Fairy in order to win Columbine’s hand, you never doubt his sincerity.


 

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A review of the School of American Ballet workshop performance by Carol Pardo for danceviewtimes.

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.............In the opening allegro, which can look like straightforward exposition, Lily Zerivitz and Davide Riccardo brought out the teasing flirtatiousness of the couple, giving it texture, intimacy and, in consequence, depth. In addition, Riccardo already knows how to use his gaze to show the audience what he sees. In the final rondo, KJ Takahashi, who can soar at any speed, the faster the better, did not just leave it at that but shaped the steps and made them musical. A final note for the corps of "Western Symphony". Their joy and energy are the envy of any company these dancers may hope to join in the future.

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A review of Ballet Black by Kirsty Morgan for Bachtrack.

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After the heavy subject matter of The Suit, the upbeat and fun A Dream Within A Midsummer Night’s Dream (ch:Arthur Pita) provides some much-needed relief. Gorgeously bookended with stately classical balletic exercises to Handel’s Sarabande, the bulk of the action takes place after the dancers pass under a curtain to enter a bizarre dreamworld. A crazy caricature of Shakespeare’s A Midsummer Night’s Dream unfolds, reminiscent of the Satyr plays that followed tragedies in Ancient Greece.

 

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