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Tuesday, October 16

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Jessica Lang makes a new piece for American Ballet Theatre.

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She’s one of the hardest working ballet choreographers on the scene, and yet it has taken her years to reach its upper echelons. “Garden Blue” is her 102nd dance and her second commission for American Ballet Theater, after six for Ballet Theater’s studio company and school.

 

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The trial of a former Ballet San Antonio dancer accused of sexual assault is delayed.

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State District Judge Catherine Torres-Stahl was about to let the jurors into court to start hearing testimony Tuesday afternoon when defense attorneys asked for a delay to review five hours of body camera footage from interviews with the victim, so she recessed until Wednesday morning.

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Darcey Bussell talks about early setbacks.

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"I got a shock because I was really rubbish, and I thought I was really good, and it did take me another two years to catch up with my peers," she said.

"I nearly did leave. I did feel sorry for myself for much of a whole year before I suddenly realised I had the courage and determination to catch up."

 

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Q&A with Benjamin Freemantle of San Francisco Ballet.

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You’ve danced the work of a remarkable range of choreographers – 17 at my last count. What are some memorable experiences

Lensky in Onegin: it was my first year as a corps de ballet dancer and I was handed this role by Reid Anderson. I really wanted to do this role even before I was cast. At the time, Norika Matsuyama was doing Olga and she didn’t have a partner. Reid came and picked me out from class to learn it. I loved every minute of the experience. Just thinking ahead to a time when all I would be doing were these types of roles was very exciting. Very thrilled to be at that point now, three years later.  

 

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A review of "Fall for Dance" by Robert Gottlieb for Observer.

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2) Sara Mearns brought her Dreams of Isadora Duncan—A Solo Tribute back to town. (We first saw it as part of the Paul Taylor season earlier in the year.) The choreography is attributed to Lori Belilove, “after Isadora Duncan.” The esteemed Cameron Grant, from City Ballet, was the pianist. What to say? Mearns, in billowy rose, floats, thrusts, scampers, scatters rose petals—all things Duncan did. Before Isadora self-destructed, she galvanized the world. Alas, there’s nothing in Mearns’s performance to galvanize the world. There’s hard work, there’s good intention, there’s repetition of the same effects over and over. It’s like one of Meryl Streep’s less inspired impersonations: all surface. Where is the unquenchable genius, the heroic flame of art, that made Isadora Duncan one of the supreme icons of her time? Not here.

 

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