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Monday, July 31

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Makeup tips from Misty Copeland.

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To celebrate Copeland's exciting news with Estée Lauder, Glamour asked her to let us in on some insider ballerina beauty hacks, you know, just in case we ever need to apply mascara while on pointe, or blot our lipstick in the middle of a standing split. Grab your ballet slippers and beauty blender and watch the full video below.

 

Copeland writes a letter to a younger self.

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Misty Copeland is American Ballet Theatre's first African American principal dancer, and the newest face of Estée Lauder's Modern Muse fragrance. The below is an exclusive letter the 34-year-old wrote to her 13-year-old self on the topic of beauty.

 

 

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Oklahoma City Ballet turns a fitness center into a dance center.

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Like many classical ballets, The Turning Pointe Campaign is divided into three acts, although the first one was almost entirely improvisational. The curtain came up on the campaign in December when board members took a tour of the former AEP Fitness Center, put up for sale after the 2016 death of Aubrey McClendon.

 

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The Los Angeles County Museum of Art presents an exhibit of Marc Chagall's designs for the stage.

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Even on posed mannequins, the costumes thrum with movement. Some, on rotating platforms, actually do move. The costumes for Aleko, in particular, have the ethereal softness of watercolors rendered in three dimensions, but are bold and illustrative enough to be viewed from afar and to wordlessly communicate character cues. Commissioned by the Ballet Theatre of New York, Aleko was Chagall's first experiment in costuming and design for the stage. Because union rules prevented him from hand-painting the backdrops in New York, Chagall, who'd just fled Nazi-occupied France with his family, temporarily relocated to Mexico. It's a Russian ballet, but Mexico became woven into the fabric of the production design. The costumes were sewn by Mexican seamstresses and Chagall's wife sourced materials from local markets.

 

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A review of the Bolshoi Ballet in "The Taming of the Shrew" by Sondra Forsyth for Broadway World.

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Once I realized that trying to comprehend the story line was a futile distraction from the pleasure of watching the Bolshoi dancers and listening to the New York City Ballet Orchestra's fine rendering of the music, I gave myself over to enjoying the rest of the evening. In retrospect, I'm wondering why the company brought this ballet to our shores. Perhaps the intent was to show how inventive the troupe's repertoire is in the post-Soviet era. If so, there surely must have been more felicitous choices available than this one.

 

Lauren Gallagher's review for DanceTabs.

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Maillot created Shrew for the Bolshoi and in many instances it shows. The men have it good in the sense that it is a showcase (albeit a sporadic one) for big, bold, ballsy, Grigorovich-style leaps. Lantratov, Chudin, Igor Tsvirko (Hortensio) and Vyacheslav Lopatin (Gremio) flung their lithe, limber legs around with miraculous ease and vigor. Some jumps – arms and hands outstretched, mops of hair flying – looked they came straight from Spartacus. The corps’ choreography is a little lacking, though the best section, a ballroom-like scene in the first act, was difficult to concentrate on thanks to the fire alarm. For all of the sensationalist steps, much of Maillot’s choreography focuses on drama more than dancing, leaving a sense of vacancy, all fancy flourishes and little framework or structure.

 

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A review of Gemma Bond Dance by Rose Marija for Broadway World.

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Second on the program was a pas de deux, The Giving, performed by Christine Sevchenko and ABT principal dancer Cory Stearns, wearing flattering beige/grey/ivory costumes designed by Ruby Canner. The lighting design, important to the meaning of this piece, was created by Serena Wong, who did the lighting design for all three pieces on the program. The stage was, at times, divided by a square of light. This work to beautiful music of Lori Scacco, The Giving, is a vehicle for the ballerina. Stearns partnered Sevchnko well, but it was Sevchenko who shone, giving a moving performance. It seemed like an unfulfilling relationship, although there were no program notes assuring that this was intended.

 

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Marija reviews the Cirio Collective for Broadway World. Thanks to it's the mom for the link!

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I was fortunate to see the Cirio Collective on Monday, June 24, 2017, a part of The Joyce Theater's Ballet Festival, July 18 - 29. Drawn to see the company of extraordinary American Ballet Theatre principal dancer, Jeffrey Cirio, the artistic director of his own company, I was not disappointed. Cirio's associate artistic director is his sister, Lia Cirio, principal dancer of the Boston Ballet, also a remarkable dancer.

 

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A review of the Lincoln Center "Jewels" by Joan Acocella in The New Yorker.

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But the greatest demonstration of native instinct in this “Jewels” was unquestionably the Paris Opera Ballet’s “Emeralds.” All the nuances, the beautiful smudge of emotion that seemed to have fled from the ballet, returned. (And on newcomers! At the festival, three out of four of the lead ballerinas were performing the piece for the first time.) Nothing was too blunt; nothing was too pointed. In her solo, Léonore Baulac peeked out at us from behind her raised arms. She seemed surprised to see us; she thought she was doing something private. In the famous walking pas de deux—most of which the ballerina spends, yes, just walking on pointe as she holds her partner’s arm—Myriam Ould-Braham put those feet forward, one by one, softly, but still with decision, as if, going to her doom, she didn’t really mind. Here it is hard not to see French subtlety, French chic.

 

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A piece on Misty Copeland's deal with Estee Lauder by Michael Cooper in The New York Times.

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Her selection underscored the extent to which, even at a moment when many ballet companies have struggled to sell tickets, individual dancers are still seen as bankable. Since ballet careers tend to be short, dangerous and not particularly well-paid compared with other fields of entertainment, many dancers have worked hard to build their own brands. It does not hurt that they tend to be young, extremely fit and attractive — which puts them in line for endorsement deals that might otherwise go to athletes or models.

 

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Marcelo Gomes will guest with the Sarasota Ballet in New York.

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“The Sarasota Ballet — Classical and New Voices” will feature a segment from the leading role in Sir Frederick Ashton’s “The Two Pigeons” that Gomes danced with the company last March, as well an excerpt of a new work commissioned from Gomes by Webb, which will have its world premiere in Sarasota in early December. Gomes and Webb will also participate in a conversation exploring Ashton’s historic choreography and the voices of today’s dance makers.

 

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Seth Orza's fitness routine.

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To change both his physique and his stamina, Orza decided to step up his regular conditioning routine. This meant running and working out longer and with more intensity. "You have to keep your goal in mind," says Orza, "but achieve it the healthiest way you can: through diet and conditioning rather than drugs and food restriction. Otherwise, you get injured."

 

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