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Saturday, June 18


dirac

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A review of the Australian Ballet in “Kunstkamer”  by Ilona Landgraf in her blog, "Landgraf on Dance."

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Why is Lucien Wu the only one wearing white? The sad, white-faced clown (Adam Elmes) is easier to assess: a well-meaning guide for Hallberg, he also nudges others in the right direction. The stylish Annabelle Watt appears to spend some time as a window mannequin, advertising – I assume – the threateningly tall stilettos that she immediately takes off when strolling offstage. Dana Stephenson and Timothy Coleman flit back and forth between domestic quarrel and intimate affection in a witty pas de deux by Goecke, who delivered prime choreography throughout.

 

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Q&A with Misty Copeland in the Harvard Business Review.

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That’s a lot of pressure for a 13-year-old, particularly when you’re dancing with kids who started at age three. How did you cope?

I never saw it as pressure, I think because I was so naive about the ballet world. My family was, too. We were all new to it. But once I was introduced, I thought, There’s no way I can go on without having this in my life. I was so immersed in it daily, and I was gaining things that I hadn’t had access to before, like stability and a release for things I couldn’t communicate. It allowed me to blossom and grow, feeling that I was good at something for the first time. It was fun, never like a daunting task. I think I was 14 the first time I saw ABT perform live in Los Angeles, and it was just OK, that’s it. That’s my future. I was so in love with it that it became something I felt I had to do.

 

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A preview of the new season at Jacob's Pillow.

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On the heels of its June 11 ribbon-cutting, celebrating the reopening of the renovated Ted Shawn Theatre — its flagship performance space — is its 90th anniversary season, one that also marks a return to indoor performances after two years of outdoor-only spaces. The first performances of the season, "America(na) to Me," (June 22-26) follow its gala on June 18, begin on June 22.

 

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