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Wednesday, April 6


dirac

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A review of the Australian Ballet's "Anna Karenina" by Jill Sykes in The Sydney Morning Herald.

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Robyn Hendricks is a beautiful, mature Anna, dancing with great skill and moving smoothly between emotions of delight and disaster. Callum Linnane, as her lover Vronsky, is tall, handsome and a strong dancer – which he needs to be with all the complex partnering and high lifts.

Chantal Nguyen reviews the production for Bachtrack.

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Elements of Russian character dance were also woven into what was otherwise predictable classical choreography, which sat oddly over Demutsky's score. For me, this is where the production began to fall apart – I admit I got bored. I I couldn’t find much synergy between the cinematic musical dissonance and the movement, and this mismatch made everything feel a bit gimmicky. Anna’s dramatic gestures (spasming legs, anguished hand-reaching, hair falling out like Giselle) felt superficial. Kitty similarly got the clichéd ingénue gestures of foot-stamping, dress-smoothing, and being kissed on the forehead by concerned parents, almost indistinguishable from Clara in Act 1 of The Nutcracker.....

 

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Ballet 5:8 presents a mixed bill.

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Ballet 5:8 closes its 2021-22 season with 10FOLD April 23 and 24 in Orland Park. Billed as celebrating a decade of beauty and innovation, the program features works choreographed by {Julianna Rubio] Slager and a talkback with artists following each performance.

 

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A Seattle Times reader complains about the behavior of audience members at Pacific Northwest Ballet's performances.

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Rant to the patrons of Pacific Northwest Ballet who behave as if they are at a sporting event, hooting and hollering during the performances; you distract from the dancing and the music. Rave to PNB and its dancers for creating beautiful, creative and exciting programs that deserve our attention, applause and, often, a standing ovation. 

 

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