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Wednesday, January 22


dirac

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An interview with Joseph Gordon.

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He dances as if he were moving through it. At 27, Mr. Gordon is youngest principal at New York City Ballet where, in February, as part of its winter season at Lincoln Center he will make his debut in “Swan Lake” as Prince Siegfried. “I think I want to play him more as who I am, which is youthful,” he said. “Feeling like my whole life is ahead of me. When you’re young, you don’t think about the repercussions of anything. You just do.”

 

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Not everyone is happy with Amar Ramasar's reappearance on Broadway.

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Chris Peterson, founder and editor-in-chief of OnStage Blog, has advocated for theatergoers to boo Ramasar during his bows. “If one person boos, not only will Amar Ramasar hear it, but everyone around you will hear it, and it becomes a palpable, effective, impactful protest,” Peterson told the Guardian.

 

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A review of San Francisco Ballet by Steven Winn in The San Francisco Chronicle.

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None of the sweetness and light is preordained. Cinderella and her Prince have obstacles to vanquish. Chung and Walsh (headlining the first of four casts) conveyed tenderness and tenacity on opening night. She, with a self-possessed stillness on point and lovely buoyant arms, was dainty but determined. He danced with an open, yielding manner, especially in the pas de deux. Hernandez was springy and infectiously likable as the Prince’s friend Benjamin. All three were prefigured in childhood backstory scenes carried off by lively student dancers — yet another of this production’s canny moves that deepened and brightened the tale of “Cinderella.”

Terez Rose's review for Bachtrack.

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Composer Sergei Prokofiev’s prologue in his 1944 Cinderella score lasts a mere two-and-a-half minutes, but in Christopher Wheeldon’s eponymous production, an entire story gets delivered in that time, one of love and loss, a mother’s death, a father and young daughter’s inconsolable grief, the magic of a tree that sprouts and grows from the girl’s tears. Wheeldon’s production, a 2012 co-commission by Dutch National Ballet and San Francisco Ballet, opens SFB's 2020 repertory season, and on Tuesday night at the War Memorial Opera House, the magic flowed from start to finish.

 

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Ballet Northwest celebrate its fiftieth anniversary.

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Its first production of the “Nutcracker” — the beloved holiday ballet that is now the anchor of the company’s yearly season that also includes a spring ballet and the 10-year-old Olympia Dance Festival — was in 1983 at the Experimental Theater at Evergreen.

Prior to that, Johansen said, he was taking a break from the Tchaikovsky classic. “I was fed up with the ‘Nutcracker,’ ” he said. “I had done it for so many years, and I thought, ‘Let’s do some other stuff.’ ”

 

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A review of New York City Ballet by Gay Morris for danceviewtimes.

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The finale of the work shifts mood, becoming a light-hearted romp, with everyone having fun. Lovette, with her gamine features and cheerful personality, looked totally at home in this segment. Gordon has grown in artistry over the last several years, and is technically impeccable, but so far, he doesn’t do fun. He inevitably looks serious and introspective. Perhaps a lighter heart will come with more experience and confidence. For now, seriousness of purpose and pristine execution will have to suffice.

Carla Escoda's review for Bachtrack.

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A shoutout to the ensemble who saved the final moments of Violin Concerto after they lost one female warrior to injury and her male counterpart discreetly withdrew. The seven remaining couples managed to create a new symmetry of their own, on the fly.

 

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A review of San Francisco Ballet's "Cinderella" by Steven Winn for The San Francisco Chronicle.

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There was lots more in that second act, including a flurry of dancers from around the globe — Russia, Spain and Bali — and a sudden visitation of grace for the bespectacled and not-quite-so-awful-after all stepsister Edwina (Elizabeth Powell) and the Prince’s bestie and fellow prankster Benjamin (Esteban Hernandez). Nothing, thanks to the blending of movement and design, felt episodic or superfluous, with the possible exception of the stepmother’s drunken tottering.

 

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