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Tuesday, November 16


dirac

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A review of the National Ballet of Canada by Paula Citron for Ludwig Van.

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The mixed program that the National presented, sans intermission I may add, was very clever. George Balanchine’s Serenade (1934) showed off the company’s classical chops (or I should say neoclassical), while Crystal Pite’s Angels’ Atlas (2020) was pure contemporary movement. Pite’s piece also has a huge cast, so we got to see a big chunk of the National’s dancers. A short filler was Jera Wolfe’s lyrical dancefilm Soul. Thus, the program was designed to show a range of dance that demonstrated the company’s versatility.


 

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Former students of the University of Utah's ballet program level accusations of body shaming, racism, and abuse.

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Hunter, who now teaches at a nonprofit dance school in the Salt Lake Valley, recalled one critique in which she “was told that my thighs were ruining my line, they were shortening it. And I needed to figure out how to lengthen them,” she said.

That’s coded language, Hunter said, “because they’re not allowed to tell us to lose weight any more.”

 

 

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Northern Ballet takes its "Pinocchio" on the road next year.

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Pinocchio follows in the footsteps of the Company’s seven previous children’s ballets, which have achieved huge popularity live on stage, in CBeebies TV adaptations and in cinemas nationwide. With a choreographic debut by Northern Ballet’s Junior Soloist Gavin McCaig, Pinocchio will be performed to music by Ian Stephens, played live by members of Northern Ballet Sinfonia at every venue. Sets are designed by Frankie Bradshaw, lighting by Abbi Fearnley, and costumes designed by Carley Marsh and Kim Brassley.

 

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