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Thursday, November 1

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Reviews of "The Nutcracker and the Four Realms."

Tribune News Service

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“The Nutcracker and the Four Realms”? What in the cuckoo Christmas blasphemy is this? Disney, continuing on its inexorable death march to add more war to soft and beautiful classic childhood stories, has plucked all the feathers from Tchaikovsky and Petipa’s holiday ballet and tossed a bunch of glitter and circus clowns at its quivering carcass. This is your warning that if you have any affinity for the ballet, avoid this at all costs.

Associated Press

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Directors Joe Johnston and Lasse Hallstrom called on Misty Copeland, principal dancer for American Ballet Theatre, to play the main doll in a ballet within the movie, which was a wise move. But other poor decisions mar the film, including dressing Eugenio Derbez and Richard E. Grant in over-the-top costumes and telling them to act as if they just snorted a case of Snickers bars. And there’s a moment late in the film when you realize that some of the best acting has been delivered … by a digital mouse. (Hey, this is Disney, remember? The Mouse always rules.)

 

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Boston Ballet encourages the efforts of in-house female choreographers.

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Aware that “the best way to help is to provide an opportunity,” Nissinen established the new ChoreograpHER Initiative. It begins Thursday and Friday with sold-out performances in the company’s BB@home series — a showcase hosted at Boston Ballet’s South End headquarters — that, for the first time, will feature six emerging women choreographers who are dancers within the company. 

 

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A review of the first program of "Balanchine: the City Center Years" by Brian Seibert in The New York Times.

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As the company in which Balanchine was raised, the Mariinsky arguably belongs in the festival too. “Tschaikovsky Pas de Deux,” a 1960 supercharging of Russian tradition, is a show-off vehicle, and Kimin Kim, a Korean star with a modest manner, made the audience gasp with softly powered jumps that hung in the air. His partner, Viktoria Tereshkina, was lovely, correct and coy in a slightly haughty Russian manner, but I couldn’t help but miss the exciting sense of risk that City Ballet dancers bring to this piece.

 

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