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Friday, July 13

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A feature on Matthew Ball.

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The Royal Ballet director, Kevin O’Hare, hoped he would inspire a younger generation of male dancers and become an ambassador for his peers. “We do feel that there has been a Billy Elliot effect,” said Mr O’Hare. “But there is much more that needs to be done. He is such an ambassador for male dancers.”

 

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On ballet wear and dancers of color.

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“But Arthur Mitchell changed course as he believed pink tights visually interrupted his dancer’s lines. The wardrobe staff worked with each dancer to combine the correct amount of Rit dyes to match their individual skin tone, then applied pressed powder to their ribbons and shoes to seamlessly blend the color. Now, matching tights and toe shoes to skin tone became a trademark of Dance Theater of Harlem.”

And with that, Mr. Mitchell broke a 300-year-old tradition.

 

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Tiler Peck appears in a new documentary.

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The film, produced by Vulcan Productions, which is committed to introducing more dance programming to the general public, will be available to stream on Hulu on July 20. It tracks Ms. Peck, who in less than a week put together an eclectic program of ballet, tap, hip-hop and mime, featuring choreography by George Balanchine, Justin Peck (no relation), Bill Irwin, Michelle Dorrance and others; she oversaw dancers, choreographers, the orchestra and every other last detail. Of course, she danced, too.

“It was such a huge turning point for me,” she said, adding that it brought on an important realization: “I know I could run a company. And I could do it really well.”

 

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

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This would not matter if Ms. Saunders were a cliché maker. But her “Rock-a-Bye,” one of three world premieres on the BalletX’s Summer Series program, suggests that she is a remarkably fresh mind, with talents for suspense and surrealism. In this, she has found an ideal composer in Rosie Langabeer (a New Zealand composer now living in Philadelphia), whose original music for this work — Ms. Langabeer also sings and performs, with two other musicians — casts one spell after another.

 

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Q&A with Daniel Roberge of the Washington Ballet.

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BLADE:  And do you have a favorite ballet?

ROBERGE: I like doing anything that makes me feel good whether that means the process or the music. I do what I do because I love it. That’s the only way I can put it. Each piece is unique. I feel different things for different pieces. I love contemporary work and I love classical ballet too although it can be a little rigid sometimes. Working on Chamber Dance Project’s “Chant” allowed us all to bring what we have to the table. And when you do that it doesn’t feel like work.

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