dirac Posted February 21, 2022 Share Posted February 21, 2022 A review of Ballet West in "Romeo and Juliet" by Audrey Lockie for Utah Arts Review. Quote Just days before the ballet’s opening, the company announced that its popular longtime principal artists Chase O’Connell and Beckanne Sisk would be departing Ballet West at the end of this season to take up positions with the Houston Ballet. After performing with the company for over a decade, the real-life couple was aptly united in Michael Smuin’s staging of Romeo and Juliet for one of their final Salt Lake City performances. Link to comment
dirac Posted February 21, 2022 Author Share Posted February 21, 2022 A review of Miami City Ballet in "Swan Lake" by Gia Kourlas in The New York Times. Quote It’s a subtle difference that changes everything. As women, these swans are no longer creatures (that unfortunate word sometimes used to describe dancers), but something more empowered. And they’re lovely. Jérôme Kaplan’s designs bring a delightful, youthful air to the stage, particularly his graceful, rounded tutus for the swans that land just above the knee, and their white feathered caps and low, ringlet ponytails. Odette dons a crown instead of a feather headpiece. The details add up; they take “Swan Lake” out of a storybook, and bring it into focus. It’s still a fantasy but it’s not childishly fanciful. Link to comment
dirac Posted February 21, 2022 Author Share Posted February 21, 2022 Oklahoma City Ballet presents a mixed bill. Quote She was Stephanie Foraker when she started dancing with Ballet Oklahoma. "I joined the company in 2006. That was kind of a down period, but it was enough for me because I was just happy to be dancing professionally. But they definitely were riding the ups and downs," she said. "I really think Bryan was committed to audiences and trying to bring what he could here." Link to comment
dirac Posted February 21, 2022 Author Share Posted February 21, 2022 A review of New York City Ballet by Ivy Lin for Bachtrack. Quote The Tchaikovsky Pas de Deux got the strongest audience response. Tiler Peck and Roman Mejia were sensational. The audience ate all the virtuoso steps up – Peck’s multiple fouettés, Mejia’s cabrioles, the flying fish dives, the big exit lift. Mejia is taking the place left by Joaquin de Luz and the retiring Gonzalo Garcia as the strongest bravura dancer of the company. Peck’s technical strength is always a marvel – she truly makes everything look easy. The audience was roaring at the curtain call. Link to comment
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