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Wednesday, September 18


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Photos and video clips from the Australian Ballet's "Cinderella."

Although the story remains quite similar to the original fairytale romance where a woman with humble origins is rescued by the Prince charming with help of fairy Godmother's magic, but the director has made few simple changes to the script. The audience will not see any pumpkin cart and mouse of Cinderella but will instead have a spectacular view of the planets and stars on the stage.

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A review of LA Dance Project by Laura Cappelle in The Financial Times.

Detachment is the default position in Gat’s works, but the versatile LA dancers imbue his stop-start phrases with humanity. As Charlie Hodges (prodigious in all three works) whizzes through a combination and bounces back down to one knee, chin in palm, he gives the group a faint, amused smile, as if acknowledging our desire to see more. Elsewhere, a woman freezes as others continue the sequence she has started, briefly looking over her shoulder – only cautiously to dance the rest when no one is looking.

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A review of the Imperial Russian Ballet Company by Michelle Potter in The Canberra Times.

The second act, Bolero, danced to the well-known music of Maurice Ravel, had choreography by N.Androsov and was a strange mix of oriental-looking arm and hand movements, folkloric-style lines of dancers and a kind of Western contemporary mode of moving. Its odd storyline about darkness, light and the Godhead could have been dispensed with and the ballet left as an abstract piece of energetic dancing.

The best dancing came in the third act. I admired the fiery performance of a section from Don Quixote, especially the dancing of the leading man, Constantin Tcaci. In Gopak, a folk dance from Ukraine, Denys Simon also showed off a particularly Russian set of moves, and Carmen Suite was a feisty display from the female corps de ballet.

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Alabama Ballet kicks off its new season.

The company will introduce new members in 2013-14 -- Rostislav Dzabraev and Luiza Boaventura. Dancers Gillian Connor, Ariana Czernobil, Olivia Marie Powell and Elijah Crispen have been promoted from Apprentices to Company Members. New Apprentices are Grace Anli-Snyder, Leah Benoit, Heather Brustolon, Blair Ely, Carolina Marques, Madison Ryan, Jordan Schwinabart and Mai Uesaka.

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A review of New York City Ballet by Alastair Macaulay in The New York Times.

But when Erica Pereira, Brittany Pollack and Anthony Huxley rattle their way nimbly through the steps of the Act I pas de trois (an over-embellished version of Marius Petipa’s 1895 St. Petersburg version), and when Megan Fairchild, Tiler Peck, Abi Stafford and Joaquin de Luz prattle through the top-speed nonsense of Mr. Martins’s Act II palace pas de quatre, it’s like hearing Gilbert & Sullivan patter songs without the humor. Only Mr. Huxley and, especially, Mr. de Luz manage to retain elegance; the women are made to look accomplished and silly at the same time. The waste of the phenomenal Ms. Peck in this taxing but trifling role is especially disgraceful; yet hers is merely the worst case of Mr. Martins’s fondness for trivializing women with obstacle-course choreography.

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A preview of the new season in dance by Mark Kanny in The Pittsburgh Tribune-Review.

Pittsburgh Ballet Theatre and Pittsburgh Dance Council lead the field with mainly complementary offerings. The ballet presents the classic romantic ballets, sometimes with live orchestra, with the work of contemporary choreographers also integral to its repertoire. The Dance Council is a presenting organization that brings in the most adventurous and often edgy groups it can find from around the world.

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A preview of Texture Contemporary Ballet by Steve Sucato for Pittsburgh CityPaper.

Bartman's lone new work is a solo she will perform entitled "The Rose." Set to a melodic original score by Blake Ragghianti (performed live), the seven-minute ballet explores the tradition of rose-giving. "People are always longing to be given a rose or to give someone else a rose," says Bartman. "It is not the rose they want; it is the feeling of romance and love the rose symbolizes that they want."

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Patsy Swayze, dance teacher and mother to Patrick, is dead at 86.

Swayze died Monday evening at her home in Simi Valley, said publicist Annett Wolf. A cause of death was not given, though the Houston Chronicle reported Swayze suffered a stroke on Sept. 8.


Born in 1927, Patsy Swayze taught dance for decades, and her students included Tommy Tune and Debbie Allen. She taught at the University of Houston for more than a decade and also was a choreographer for the Houston Playhouse Center and the Houston Youth Symphony and Ballet Company.

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A preview of Ballets with a Twist in "Cocktail Hour."

Fourteen dances, full of humor, wit, glitz and drama will range from the burlesque-style Gimlet — where creator Marilyn Klaus says a soloist removes layers of her soul to Nancy Wilson’s You’ve Changed — to the White Russian, which pays homage to the Russian imperial court. The Martini becomes a James Bond-type dance, and the Manhattan is represented by a duet with a little dog on wheels being walked down Fifth Avenue.

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Boston Ballet celebrates its fiftieth anniversary.

The company has also made strides to represent America. In 1979, the company performed the opening number for the Nervi Festival, an annual international dance event held in Italy. Only a year later, the Boston Ballet became the first American dance company to perform in the People’s Republic of China. The company has retained consistent popularity in Spain. They first toured Spain in 1991, where they gained roaring praise and were begged to return again in the summer of 2007. The crowd could not get enough, and the company returned to Spain in 2010 for a five-city tour for a third time.

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Baryshnikov dances for his arts center (scroll down for item in brief).

At the dinner that followed, the word “family” was used many times to describe the organization. Individual donors account for $900,000 of the annual $2.5 million budget, said Georgiana Pickett, executive director of the center, located on far West 37th Street in Manhattan.
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