Monday, October 18

[dirac]

An interview with Kamal Singh, the first Indian student to be accepted at the English National Ballet School.

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“I went for my first class under Master Fernando Aguilera and he was the one who saw my condition and my potential. I only knew that I was very flexible, but I had no idea that I could reach so far; he was the one who discovered my talent and offered me a full scholarship to become a classical dancer,” recalls Singh.

 

[dirac]

Q&A with Sidra Bell.

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You’ve got Nicholas Britell, Oliver Davis, Christopher John Rogers, and more on your team. What appealed to you about each of their work and how did you go about choosing your collaborators for your piece?

BELL: When I saw Christopher John Roger’s work, the joy and optimism were just so apparent, and it was something that I really wanted to do with this work topically, coming out of this challenging time in history where we’re disconnected from each other. I wanted this surge of optimism and joy. When I saw his creations, I was just like, “This is it. This feels very fresh and new and joyful, and the shapes are exaggerated and fun and just a translation.” I think a lot of his work is rooted in his faith and history, which also is my work as well. I feel that my work has really like an homage to my mentors and teachers..........I knew I wanted something really theatrical too, and I know that he’s a risk-taker and would lean into bending ideas and was that drama bending in fashion. When we came to the table together, we just had this mood board and it was a lot to choose from and work with. When I think of him, I think of this abundance.

 

[dirac]

New York City Ballet's Jenelle Manzi talks about her snack business and skin care.

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On skin care: We wear full theatrical makeup for performances because we’re performing in a very large theater under hot lights. We start with a grease concealer under our eyes and then a liquid foundation that’s waterproof (it’s by the brand Mehron), and your pores cannot breathe at all. We add powder on top of that — because of the pandemic and because we’re wearing a face mask at all times unless we’re on the stage, I typically use M.A.C’s Studio Fix (I’m shade N4) so everything stays in place. Then I do a full contour, blush, eyeliner, and false lashes.

 

[dirac]

A review of Miami City Ballet in 'A Midsummer Night's Dream' by Robert Greskovic in The Wall Street Journal.

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Fully rewarding is the scrupulous staging of Balanchine’s choreography by Ms. Jennings, a former New York City Ballet dancer, whose efforts re-create the work’s alternately comedic and classically complex mix concerning confounded lovers and scheming fairies. While there are standouts among the MCB male and female dancers showcased here, there are no misses amid the hits. From seasoned company members to Miami City Ballet School student performers, it is clear that MCB fulfills Balanchine’s often demanding choreography with beautifully trained and rehearsed dancers. While Ms. Oka Doner’s unitard costuming makes it tricky to identify Balanchine’s individual characters, her simple, body-baring designs reveal the sharp and clean foot- and legwork that distinguishes MCB’s confident way with ballet’s demands.