dirac Posted February 21, 2022 Share Posted February 21, 2022 A preview of Oregon Ballet Theatre's "Dracula" by Martha Ullman West for Oregon ArtsWatch. Quote Programming such an elaborate production at a time when the performing arts are just coming back to life is pretty risky. I asked Franc why he chose to do this one, rather than a revival of James Canfield’s Romeo and Juliet, or Stevenson’s Cinderella, which are already in OBT’s repertory. “That’s exactly why,” he told me. “I wanted to do something new, something the Portland audience hasn’t seen.” And it is clear that Franc – who, when he was dancing with Houston Ballet in 2004, performed the role of Renfield, Dracula’s bride-procuring assistant – adores the ballet. Link to comment
dirac Posted February 21, 2022 Author Share Posted February 21, 2022 An interview with Federico Bonelli. Quote Currently, he is a principal at the Royal Ballet, but with such a fantastic track record, it’s perhaps unsurprising that he is taking on an entirely new role as the new artistic director of prestigious company Northern Ballet, one of the leading ballet companies in the UK, in May of this year. Ahead of his tenure, Lorna Irvine caught up with him to find out what has been keeping him going during the unprecedented times of the pandemic, and what lies ahead. Link to comment
dirac Posted February 21, 2022 Author Share Posted February 21, 2022 An obituary for Henry Danton in The Hattiesburg American. Quote "It was absolutely ridiculous. I had 18 months behind me of training and I was dancing principal roles with a leading ballerina," Danton said. At 100, when he flew home to celebrate his centennial, he received the Genée competition medal he was supposed to receive in 1942. The Guardian Quote He regarded life as an adventure and loved teaching young people, which he continued to do until he reached 100. He attributed his longevity to his vegetarianism, adopted long before it was fashionable, and to his all-absorbing passion for dance. Mini photo gallery Related Link to comment
dirac Posted February 21, 2022 Author Share Posted February 21, 2022 A review of New York City Ballet by Brian Schaefer for Bloomberg.com. Quote In the Ailey tradition, Roberts’s prior work contained a grounded grace that serves story and theme. Over the past two years, he’s made powerful, intimate dances for stage and screen, responding to pandemic isolation, racism in America, and Black resilience. Emanon, in contrast, feels more interested in how the music moves the body than what the body means while moving. Here, drawing from Shorter’s orchestral effervescence and the possibilities of pointe shoes, Roberts finds new playfulness. In the context of his earlier work, this levity and joy, along with a light palette featuring costumes in shades of purple, can feel like its own statement—an act of self-care. Link to comment
dirac Posted February 21, 2022 Author Share Posted February 21, 2022 An interview with Teresa Reichlen on the eve of her retirement. Quote She wanted to be involved with A.G.M.A. because of frustration with a lot of things at City Ballet. “It was just the only way I could see to fix things or try to fix things,” she said. “When I first got in, we used to get our daily schedule at 7:30 p.m. the evening before. Which is insane. It’s insane. So that’s one of my proudest achievements — we get our schedule a day and a half in advance now.” Link to comment
dirac Posted February 21, 2022 Author Share Posted February 21, 2022 Mass resignations at the Toledo Ballet Guild. Quote The entire remaining leadership committee of the Toledo Ballet Guild resigned in a letter on Wednesday addressed to the board of Toledo Alliance for Performing Arts. Link to comment
dirac Posted February 21, 2022 Author Share Posted February 21, 2022 A review of Ballet Idaho by Alaina Uhlenhoff for Boise Weekly. Quote The show opened with the stylistically traditional “Serenade” by George Balanchine; each movement was graceful, executed with exquisite precision. Next, was an excerpt from Lar Lubovitch’s “Concerto 622.” It was a dreamy, intimate duet. Third was “Off Screen” by Alejandro Cerrudo, full of laughter and romance and story, in homage to classic cinema. And closing was an ethereal and otherworldly performance of Craig Davidson’s “Ghost (Light)” that may have genuinely lifted my soul from my body for a few moments. Link to comment
dirac Posted February 21, 2022 Author Share Posted February 21, 2022 Video of Darcey Bussell and Anna Rose O'Sullivan talking about dancing the role of Juliet. Quote Former Principal of The Royal Ballet Darcey Bussell and current Principal Anna Rose O'Sullivan discuss the challenges of the role of Juliet in Kenneth MacMillan's classic ballet. Link to comment
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