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Tuesday, May 14

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A new principal and ranking structure announced by Pennsylvania Ballet.

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Artistic director Angel Corella promoted Zecheng Liang to the principal spot vacated by Ian Hussey, who retired on Sunday.

Related.

 

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A review of Boston Ballet's "Cinderella" by Jed Gottlieb in The Boston Herald.

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Instead of finding contrast between big and small, Ashton plays Cinderella’s grace against the bumbling, buffoonish wicked stepsisters (played, as tradition dictates, by male dancers, Roddy Doble and John Lam). The sisters got giggles from the kids and full belly laughs from the adults as they added vaudeville slapstick to the show. They pecked and poked at each other like a pair of Stooges and awkwardly flirted with stuffy, pompous versions of Napoleon and Lord Wellington at the ball. The duo’s clowning provided a welcome counterpoint to elegance and understatement of the leads.

 

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The Royal Ballet announces new works by Cathy Marston and Wayne McGregor.

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The most epic production of the season will come from the Royal Ballet’s resident choreographer Wayne McGregor, whose Dante Project has an all-star cast of collaborators with a score by composer Thomas Adès and designs from artist Tacita Dean. “The drawings I’ve seen so far are beautiful,” says O’Hare. “The first act is the underworld – it’s as if you’re seeing everything in mirror image; a beautifully drawn mountainscape in reverse.” The first act, the Inferno, will premiere in Los Angeles in July as part of the Royal Ballet’s tour, but the complete work will not be seen until May 2020 in London.

 

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Kathleen Breen Combes retires from Boston Ballet to become the executive director of Festival Ballet Providence.

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During her tenure at Boston Ballet, Breen Combes received a bachelor’s degree in organizational communication and a graduate certificate in nonprofit management from Northeastern University. She had always been interested in the organizational and administrative side of Boston Ballet, she said, and while on maternity leave in 2015-16 she began to work with the company’s artistic administrative staff.

 

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An interview with Ana Paula Oioli, Coastal City Ballet's Odette/Odile.

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Q: You’re also company director. What does that mean?

A: I’m helping Katie (Katrina Bois, Coastal City Ballet’s new artistic director) with classes and rehearsals. We have two groups of rehearsals. I’m also helping with advertising and promoting the show and the company. And because I’m from Brazil, I bring Brazilian dancers to the company. I go back to Brazil in July for a festival and try to find good dancers and send videos to Katie.

 

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A review of American Ballet Theatre by Ivy Lin for Bachtrack.

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A year later, some of the shine has already worn off this reconstruction. Last night's performance (which was also the opening performance of the 2019 American Ballet Theatre Spring Season) looked well-danced and well-rehearsed. But the joy and spark that is so necessary for these commedia dell'arte tales to work was missing. For one, why did the extended mime sequences in the first act become so cartoonish? The mime between Colombine's father (Alexei Agoudine) and his servant Pierrot (Thomas Forster) was so exaggerated it looked like silent movie acting. Why did the group dances for the masked couples look so formulaic? Why did the Good Fairy (Tatiana Ratmansky) look somewhat bored as she mimed about the powers of Harlequin's magic stick?

 

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A review of San Francisco Ballet by Rita Felciano for danceviewtimes.

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Ratmansky wants these three pieces to be seen as a unit. But a second viewing again suggested that each of them is so closely tied to its so very individual score that, I think, they could stand on their own. This viewing also highlighted the quality of SFB’s current roster of female dancers -- all of them excellent and yet so different. Jennifer Stahl keeps surprising me with the depth of her interpretations; Sasha de Sola can look almost innocent despite her fierce technique; Mathilde Froustey can step almost voluptuously out of extreme reserve. And there was Yuan Yuan Tan, still SFB's prima, in a very small part -- warm, giving, generous.

 

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