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Friday, May 28


dirac

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An inquest opens in the death of Liam Scarlett.

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“Liam was treated in Ipswich hospital. However, following discussions with his family, it was decided that it was in Liam’s best interest to stop active treatment and keep him comfortable, due to the poor prognosis. He sadly passed away on 16 April 2021.

 

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A story on the retirement of Victoria Morgan from Cincinnati Ballet.

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A former principal dancer for the San Francisco Ballet and Ballet West, and choreographer for the San Francisco Opera, Morgan started her tenure with the Cincinnati Ballet in 2008 as both artistic director and CEO. When Scott Altman stepped in as president and CEO, she turned her vision to artistic director full-time.

 

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An interview with Darcey Bussell by Annabel Sampson in Tatler.

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A testament to Bussell, she is patient and receptive when I ask her questions she must surely have been asked hundreds of times before. When she watches it on TV these days, post-Strictly, is she still judging? ‘As a professional dancer, I will always judge, that's just in my DNA. It's really hard now to really enjoy any performance because I'm constantly looking at the technical difficulties. It's just in your system, you can't help it...."

 

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An obituary for Carla Fracci by Marina Harss in The New York Times.

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A major figure in 20th-century dance, she was acclaimed for her directness and emotional naturalness onstage, especially in the title role of “Giselle.”

Vatican News

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Archbishop Mario Delpini of Milan sends his condolences for the death of iconic prima ballerina Carla Fracci and recalls the gifts she had to communicate love and spirituality through dance.

 

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An interview with Phil Chan and Georgina Pazcoguin.

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But her outspokenness has had its costs. As Chan points out, Pazcoguin is the only ballerina in the upper ranks at City Ballet who has never been given the opportunity to perform the iconic role of the Sugar Plum Fairy in The Nutcracker, which is one of the most popular ballet productions in the world. Nonetheless, “Georgina is an amazing ballerina—and I’m not saying that because she’s my friend,” Chan said. “That’s why she’s consistently handpicked by guest choreographers when they work with the company.”

 

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Mikhail Baryshnikov plays Chekhov with the Arlekin Players Theatre.

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At least, that is the opinion of Natasha Prozorov (Darya Denisova), one of the sisters from The Three Sisters and our guide through ChekhovOS /an experimental game/, the latest production of Arlekin Players Theatre's Zero Gravity Lab, founded during the pandemic to merge theater, cinematography, and video games into an exciting new form. Under the visionary direction of Igor Golyak, the troupe largely succeeds — if not in forging an all-new namable form, at least in deploying several preexisting ones to create a memorable 75 minutes of theater.

 

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A review of Pennsylvania Ballet by Nancy G. Heller for The Philadelphia Inquirer.

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Encounters is, simply, exquisite. It is difficult to believe that this seamless, lyrical yet emotionally wrenching piece was created via Zoom, with the Brazilian choreographer Juliano Nuñes communicating with PAB dancers from Germany, where he was working on another commission.

 

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Ballet Wyoming returns after a year long break.

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Although Ballet Wyoming typically performs a storybook ballet every spring, this year – to nobody’s surprise after the pandemic changed everything – will be different. On June 4 and 5, the company will stage “Con Classica,” an original contemporary ballet by former company dancer and guest choreographer Bailey de Vries.

 

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Australian Ballet feeling financial pain from the ongoing lockdown.

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The news comes as Victoria’s latest lockdown forced the company to cancel the Melbourne opening night of its hotly-anticipated New York Dialects, which had been due to run June 3-12. The company suspended bookings for the entire season and may postpone New York Dialects until October.

 

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A review of Northern Ballet by Joy Sable in The Jewish Chronicle.

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The ballet only needs a small cast, which makes it ideal material for this touring company, but it requires high technical ability as well as emotional commitment to pull off all the tricks in the passionate pas de deux. The dancers give impressive performances and acquit themselves well. At the performance I saw, Abigail Prudames was a cold-hearted Marquise de Merteuil, with Joseph Taylor as a powerful Vicomte de Valmont. He is a tall dancer with a lovely jump and strong stage presence.

 

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