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Monday, February 24


dirac

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A review of New York City Ballet by Juan Michael Porter II for Broadway World.

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Regarding the need for speed, both Concertino and Episodes were rendered mute by their reduced tempos. The former offered impressive solos and a Robbins' pas de trois in a steely vein. Sounds interesting enough, and compositionally it was, but at the musical andante conducted by Daniel Capps, the audience was treated to a placid affair. Concertino's undergirding excitement manifested solely through Jovani Furlan's performance, who imbued his every step with a smoldering tension. Despite their excellent dancing, Teresa Reichlen and Adrian Danchig-Waring were wan in contrast.

 

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A review of the cinema transmission of the Bolshoi Ballet in "Swan Lake" by Aliya Al-Hassan for Broadway World.

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Under Soviet rule, the ballet had to have a happy ending, which seems almost impossible to British audiences, who prefer to sob into their hankies when the lovers throw themselves into the lake. Grigorovich's version has no happy ending, but lacks drama as Odette seems to die behind a gauze curtain and the Prince simply sinks dejectedly to the stage. It is too muted, lacks resolution and does no justice to the swell of passionate emotion in the score.

However, the dancing is so mesmerising that it is understandable why the company have stuck with this version of the ballet for so long, despite its flaws.

 

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Reviews of the new Netflix movie "Yeh Ballet."

Masala!

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Subtlety is a leading casualty in the flurry to project the two protagonists in all their aspirational glory. Nishu (Manish Chauhan) and Asif (Achinyta Bose) come across well as two squares in a circle. These actors clearly enjoy their dancing far more than the trite narrative allows them to. Their initiation into ballet has a quality of crude irony to it. I mean, who associates ballet with slumboys?  It’s like feeding caviar to urchins, champagne to hooch drinkers, or whatever.  Ms Tarapore never really gets over the irony of it. Almost every frame is clothed in the glow of wondrous amusement. The tone suggests a kind of incredulity we feel when we fund our house help’s child’s education and can’t stop feeling saintly about it.

Arab News

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 Sooni Taraporevala gained immense fame by writing for Mira Nair’s films, such as “The Namesake,” “Mississippi Masala” and the Oscar-nominated “Salaam Bombay.” In 2009, Taraporevala stepped behind the camera to helm a small movie called “Little Zizou” about the Parsi community. It was a hit, and three years ago, she took up the camera again to create a virtual reality short documentary about two boys from Mumbai’s slums who became renowned ballet dancers. 

The Wire

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.......Both Asif and Nishu land up at the Mumbai Dance Academy, where the chief instructor, Saul Aaron (Julian Sands), has recently arrived from the US. Temperamental, impatient and demanding utmost dedication to the craft, Saul cuts a Terence (J.K. Simmons)-like figure, the fiery instructor in Whiplash. But for Andrew, the hero of Whiplash, an abusive teacher was the main worry. Contrast this to Asif, whose close friend died carrying out a job for a local gang. Or Nishu, whose father, a taxi driver, keeps scolding him to not forget his real obligation. Amid these obstacles, how much of a threat can a rude teacher be?

 

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