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Friday, February 8

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Mel Tomlinson has died at age 65.

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In high school, Raleigh-born Tomlinson’s natural talent for gymnastics and unicycle-riding garnered the attention of a ballet studio owner who saw him perform during halftime at a football game.

Tomlinson — who was nicknamed “Rubber-Band Man” in high school because of his flexibility — began taking dance lessons and went on to complete his Bachelor of Fine Arts in dance at the School of the Arts in two years.

 

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New York City Ballet holds its annual lunch.

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Guests then migrated from the theater to the atrium of the New York City Ballet, which exhibited the works of Shantell Martin—the latest artist called upon to festoon the theater with custom works. Covering the walls were several dozen black and white canvases in Martin’s signature gestural figures; all were inspired by conversations she had with ballerinas amid their practices and performances of this most recent season of The Nutcracker—Balanchine’s, but of course.

 

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Pam Tanowitz will make a new piece for New York City Ballet's spring gala.

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Ms. Tanowitz’s ballet, set to Bartok’s String Quartet No. 5, will replace a previously announced commission from Emma Portner, who has withdrawn for personal reasons. The gala will also feature a premiere by City Ballet’s resident choreographer, Justin Peck, and George Balanchine’s “Tschaikovsky Suite No. 3.”

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A review of New York City Ballet by Carol Pardo for danceviewtimes.

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"In the Night" examines the ages of love: young love, possibly quite new; youthful though experienced love; mature love as conflict. Her lightness and his unfailing courtesy (almost to the point of chivalry) and generosity as a partner, would seem to make Sterling Hyltin and Tyler Angle perfect in the duet for the youngest of the lovers. But both seemed too strong, too fully formed to convey the uncertainty  of nascent attraction.

 

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A review of Ballet Zurich by Ilona Landgraf in her blog, "Landgraf on Dance."

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Zurich Ballet’s homage-program failed from two perspectives: it presents neither a stylistically-varied spectrum nor substantial pieces that will stand the test of time. Why, for example, did they fail to consider Kylían’s “Forgotten Land”? Or his “Symphony of Psalms”?

To make matters worse, the Zurich Ballet posted four dancers’ opinions on Kylían’s work in the program section of their German website for “Bella Figura”. They gush about the mystery of Kylían’s choreography and about how dancing his pieces feels like receiving a gift. It’s hard to believe that these remarks are born of the dancers’ own volition. Rather, they smell of: “He who pays the piper calls the tune.” Poor Zurich Opera House if it is in need of such objectionable marketing.

 

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