Monday, March 9

[dirac]

A review of the Joffrey Ballet by Heather Desaulniers for DanceTabs.

Quote

Led by Artistic Director Ashley Wheater, the Joffrey is in the middle of a multi-year artistic exchange with Cal Performances – a six-year conversation that began during the 2017-2018 season. Each time the company journeys from Chicago to the UC campus they engage in a mini-residency of lectures and classes, incubate new commissions and of course, present a series of performances. Friday night, they brought a program of four diverse works. Peck’s Times was a hit as was Christopher Wheeldon’s Commedia. The other two works weren’t misses per se, though in each case, there was one element that seemed to get in the way of the choreography.

 

[dirac]

A review of Les Ballets Trockadero de Monte Carlo by Joseph So for Ludwig Van.

Quote

Based on audience reactions last evening, this tried-and-true formula remains as successful as ever. The sold-out Winter Garden had a festive atmosphere, and the audience really whooped it up, especially the younger people in the audience. Perhaps it’s a bit of a novelty for those who have not seen the Trocks before. To the old fogeys in the audience — and I include yours truly — it’s nothing new.

 

[dirac]

 A review of the Royal Ballet in "Swan Lake" by Jann Parry for DanceTabs.

Quote

Royal Ballet director Kevin O’Hare had justified faith in Liam Scarlett as the producer and co-choreographer of a new version of Swan Lake in 2018.  Two years on, Scarlett’s reputation has been sullied by allegations of sexual misconduct with Royal Ballet School students. He was suspended as the company’s artist in residence seven months ago; an investigation is still ongoing. Although Scarlett’s own creations have been shelved by the Royal Ballet and other companies, the revival of Swan Lake has gone ahead, its re-staging accredited to O’Hare.

Graham Watts' review for Bachtrack.

Quote

Marianela Nuñez and Vadim Muntagirov could have been dancing a threadbare production in a village hall and it would still have been magnificent. Nuñez has always been a special ballerina, but she has matured into a performer of other-worldly quality, one for whom time seems to stand still. She has acquired a distinctive Russianness, the shimmering grace of an icicle melting into her Argentine passion. Her expressiveness is palpable, especially when conjuring the magic to make Siegfried believe that, as Odile, she is Odette; and her dancing is of the finest quality imaginable. In Muntagirov, Nuñez has acquired the ideal partner. He exudes lonely nobility and his dancing is equally impeccable: fluid transitions, soft landings and effortless hanging jumps. In his Black Swan variation, Muntagirov repeated the mighty trick of doubling up in the succession of three double tours en l’air down the centre. In partnering, Nuñez folds over his arm like warm marzipan enveloping a spoon.   

Anna Winter's review in The Stage.

Quote

Deluxe casting ensures dreamy dancing throughout. Marcelino Sambé, Mayara Magri and Fumi Kaneko provide two thrilling pas de trois, while Marianela Nuñez and Vadim Muntagirov once again display a partnership that’s beyond special.

 

[dirac]

A review of Acosta Danza by Barbara Michaels for The Reviews Hub.

Quote

Cuban sizzler Carlos Acosta created his own dance company, Acosta Danza, when he left the Royal Ballet Company, retiring from a meteoric dance career to form a company promoting young talent from his own country. Five years on it ticks all the boxes and more. Modern and contemporary dance are bonded together, with the occasional nod to classical ballet, under the banner of a programme title Evolution. The result? Electrifying.

 

[dirac]

An obituary for former Royal Ballet dancer John Travis.

Quote

On retiring from performing, his avid interest in the history of dance led him to re-train as an archivist at Manchester University, during which he created an archive for Northern Ballet Theatre. He did the same for London Festival Ballet, where, as its head of education, he was an active and persuasive proselytiser for dance throughout the UK.