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Friday, November 29

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An article poses the question, "Is Instagram Now a Ballet Dancer’s Best Pathway to Fame?"

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Now with a devoted following, Boylston and Whiteside have extended their use of the app to promote their creative projects and connect more personally with fans: Boylston hosts a #BallerinaBookClub on her profile and Whiteside creates skincare/makeup tutorials on his. Together, they post videos of mini, choreographed numbers set to recognizable pop songs. Dancers from the Pacific Northwest Ballet Steven Loch and Madison Taylor Sugg have a similar collaboration with their signature #sassyfriday videos. And when Best Pop Star Ever, Lizzo, tweeted “Someone do a ballet routine to truth hurts pls,” they all answered the call (what Lizzo wants, we do).

 

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A new Helmut Newton exhibition in Berlin includes previously unpublished shots of ballet dancers.

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The following year Newton took the dancers outside and started posing them differently, outside landmarks he knew well, like the Monte Carlo casino. Some of the poses he first tried with the dancers would be re-created with fashion models.

“That’s the thing he did love about working with the dancers,” Serieys explained, in front of a photograph highlighting the skeletal backbone of a ballerina in front of a mirror. “Their bodies, their muscles and the light on the muscles. I had to change the lighting on this one about 10 times!”

 

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South Shore Ballet Theatre presents its Nutcracker.

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“We just keep growing and hoping we have enough room,” McKeon said. This is the school’s third year putting on a full-length “Nutcracker” show. “The choreography has increased because the skill of the dancers has increased.”

 

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The El Paso Ballet Theatre will have live music for its Nutcracker.

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For the first time in years, a symphony orchestra will perform Tchaikovsky’s classic music live alongside the 11-year-old ballet company.

 

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A review of Atlanta Ballet's Nutcracker by Maria Di Mento for DC Theatre Scene.

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The Act I party scene at the Stahlbaum’s home was not the usual stodgy affair seen in most Nutcrackers. Here, the parents were the main attraction instead of the children or the dancing dolls. These adult guests were interested in two things only – enjoying the champagne and canoodling as much as possible. Possokhov’s intelligent use of mime in this section and throughout Act I helped create a sense of goofy fun and grown-up romance.

 

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 Mini-profiles of four young Houston Ballet dancers.

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This season Tyler Donatelli will dance the Sugar Plum Fairy for the first time, in three performances, after covering it in rehearsals the past two years. She has already performed one of the other leads, Clara, and loved it. “I like trying to carry the audience along with the story,” she says.

 

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Reviews of the Royal Ballet's "Coppelia."

The Guardian

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Spread over three acts, there’s very little to work with. But if anyone could make this twee set-up worth watching it’s Francesca Hayward, a natural actor with luminous presence on stage. As Swanilda, she is spiritedly teenage, jumping down steps, huffing at Alexander Campbell’s Franz and his wandering eye, and conning Coppélius with her own doll-like act. She is full of personality – the very opposite of inanimate doll Coppélia. There should be no contest in Franz’s affections, but this is a story of grass-is-greener idealism, the “perfect” woman versus a feistier reality.

The Independent

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Swanilda is a boisterous role, which isn’t an obvious fit for Hayward’s delicacy, but she creates a very personal take on it. Her doubts over Franz are unusually sensitive, sorrow and hope flitting across her face and through her steps. There are touches of strain in the hops en pointe, but she’s always nuanced and musical. When Swanilda is in doll disguise, Hayward makes a wonderfully jiggly automaton, with a mechanical bounce so clear you can almost hear the sproing.

The Evening Standard

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Alexander Campbell, in another Coppélia debut, brought a nicely judged boyish charm to Franz’s roving eye, keeping the audience firmly on side, while Gary Avis, swapping his annual cape-swirling antics as Drosselmeyer, less acted out the role of Dr Coppélius than inhabited it. It’s not unusual for ballet fans to book tickets on the back of Avis’s performance dates alone — this is why.

The Stage

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Campbell’s Franz is like an 18th-century Galician version of an amiable jock: bollock-brained and susceptible to booze, dim-witted enough to fall for a doll, he nonetheless has enough simple swaggering charm to make a compelling – if not entirely forgivable – love interest. Campbell and Hayward have a sparky partnership and though there’s a touch of tension in the final pas de deux, with its demanding balances and hops on pointe, the sense of fun remains undiminished, while Fumi Kaneko brings a flashing attack to her Aurora solo in the third act’s allegorical divertissements.

 

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