Friday, July 30

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A review of the Royal Ballet by Jann Parry for DanceTabs.

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The new title refers to the four gods of the winds in Greek mythology, bringing the changes of the seasons. Perhaps the sprightliest of the young men, Daichi Ikarashi, is Zephyrus, herald of spring. His buoyant solos are seen off by a phalanx of young women who take over the stage as he retreats into the wings. Leticia Dias is their tempestuous leader, a force in her own right. Outstanding among the men are tall Leo Dixon and Lukas Bjørneboe Braendsrød, who both partner Mariko Sasaki as the principal woman. By the final section, the speedily alternating duets, solos and ensembles have resolved into an extended pas de deux for Sasaki and Braendsrød with extravagant lifts to soaring violins. Silhouetted at the rear are six couples, the women held across the men’s bodies, limbs bent like scorpions’ pincers: memorable, if bizarre.

 

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A WBUR story on the charges filed against Mitchell Taylor Button, Dusty Button's husband.

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One of the plaintiffs, Sage Humphries, is currently a dancer with the Boston Ballet. In 2017, she was a member of Boston Ballet II, the company’s apprenticeship program. The suit says that Dusty Button, then a principal dancer with the Boston Ballet, lured Humphries into an increasingly abusive and controlling relationship with herself and her husband. According to the suit, Mitchell Taylor Button sexually assaulted Humphries on a regular basis over the course of some months and performed violent sex acts on her without her consent. It says that on several occasions, Dusty Button held Humphries down while her husband sexually assaulted the young dancer. The lawsuit also accuses Mitchell Taylor Button of verbal and physical abuse.

 

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A review of the National Ballet of Japan by  for Bachtrack.

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The Tokyo Olympics opened last week, but the opening ceremony was lacklustre, without a spectacle or coherent concept, failing to deliver a message amid the pandemic. Many in the audience of Ryuuguu: The Turtle Princess at the National Ballet of Japan that opened the following day thought that this charming ballet could have been a great replacement for that Olympic opening ceremony.

 

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Q&A with Martha Ullman West about her new book, “Todd Bolender, Janet Reed, and the Making of American Ballet.”

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Q: Why focus specifically on Todd Bolender and Janet Reed?

A: Years ago, I wrote some essays about what makes ballet American, dance American, for The Chronicle of Higher Education Review and the Library of Congress’ exhibition of 100 treasures of American dance and concluded that it was primarily American dancers -- their fearlessness, athleticism, willingness to try anything and their work ethic -- who made ballet American, as well as Willam Christensen, who founded that early Portland company, his brother Lew, George Balanchine, Jerome Robbins, Eugene Loring, Agnes de Mille, Catherine Littlefield and several other choreographers. Reed and Bolender originated roles in the work of all of them.