Saturday, July 18

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Tallahassee Ballet presents Performance Fridays.

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The Tallahassee Ballet made a swift adjustment to COVID-19, providing online and Zoom classes for students in March. Though the May recital was cancelled, many parents opted to donate their performance fees to support the school and company. The next two weeks will be filled with camps and a summer intensive, which enforce handwashing, temperature checks, limited class sizes, and sanitization. 

 

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A review of Zurich Ballet's "Romeo and Juliet" by Oksana Khadarina for Fjord Review.

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With a perfect physique and movie-star looks, William Moore made a swoon-worthy Romeo. His dancing and his acting were electrifying: in his performance, he projected an intense physical magnetism that was irresistible. His love for Juliet felt rapt and earnest; the two lovers growing affection was beautifully translated through their glances, touches and their dancing (through a multitude of dizzying spins, ardent holds and euphoric lifts that Spucks’ choreography supplied in abundance)—as a result, their love story ultimately acquired that burning urgency that the love between Romeo and Juliet is all about.

 

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A review of the Royal Ballet in "Woolf Works" by Róisín O'Brien for the Fjord Review.

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McGregor’s self-defined “alien” movement often sees the Royal Ballet dancers staying on their toes longer than you expect, switching position mid-balance, or having their legs scissored overhead. They walk with purpose to meet each other, then launch into a wiggle, dive, or flurry of fluttering hand gestures: the dance becomes a conversation, an insistence to communicate. In the final part of “Becomings,” the dancers lunge, leap, and sashay through the multiplying circles of light on stage, wanting that moment in the spotlight: they are moments in time, a succession of eras, inhabiting one world out of many possible other worlds.

 

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 An obituary for Zizi Jeanmaire by Phil Davison for The Washington Post (via The Boston Globe)

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The next year, Ms. Jeanmaire was again upset when her husband was asked to choreograph a Hollywood musical, ‘‘Daddy Long Legs,’’ starring Fred Astaire. Instead of selecting his new wife, Petit persuaded Astaire and the studio to pick the French actress and dancer Leslie Caron for the role opposite Astaire.