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Thursday, June 23


dirac

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The founder of Ballet Philippines forms a rival troupe after a dispute with the board.

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And while ARDP is “new,” it will be composed of familiar faces. Ronelson P. Yadao, who was passed over as artistic director at BP despite Ms. Reyes’ recommendation, will serve in that capacity at ARDP. Forming the corps are dancers who used to be with BP, PBT, Ballet Manila, and Steps Dance Center. And behind all of them: Ms. Reyes herself.

 

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A review of American Ballet Theatre in "Of Love and Rage" by Mary Cargill for danceviewtimes.

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The score Ratmansky chose, a reworking by Philip Feeney of Aram Khachaturian's 1930s Soviet ballet "Gayane" (about treachery in an Armenian collective farm) is full of lyrical melodies and muscular folk tunes, and helps set the mood and focus the action.  So do the costumes by Jean-Marc Puissant, especially the delicately hued Grecian tunics worn by the female corps.  The turquoise spangled Babylonian outfits, though, made it look like Las Vegas had originated on the Euphrates.  Puissant's sets were suggestive rather than archaeologically solid, with wide vistas of Aegean blue, various painted scrims, and a few brilliantly effective props, which make the many scene changes seamless, as the ballet moves from Syracuse to Asia Minor then to Babylon.


 

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 A review of Washington Ballet by Sarah L. Kaufman in The Washington Post.

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This is not to say that the overall atmosphere was heavy. “Where Do We Go Now,” a well-paced musing on life after death by South African choreographer Mthuthuzeli November, led us through a vivid, fractured flashback of romances, anxieties and unresolved questions. Yet these mostly solitary experiences were framed by an ensemble, a sympathetic community observing in the background, making it a shared journey. November, a member of the London-based Ballet Black, merged the bent torsos and stamping feet of African dance with languid ballet rhythms, bringing the strength of ancestors to mind. With a free, confident hand, he mined the expressive possibilities of both dance styles and made winning new harmonies.

 

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What's in the current issue of Dancing Times.

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Elsewhere in the magazine, we talk to former Royal Ballet principal Federico Bonelli, who has just become the new director of Northern Ballet; celebrate the 25th anniversary of Birmingham Royal Ballet’s Dance Track programme that has introduced thousands of young children to dance; and interview Argentinian tango dancer and director German Cornejo on the eve of the London premiere of his new show, Wild Tango, at the Peacock Theatre. 

 

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A review of Pacific Northwest Ballet by Lora Strum in Broadway World.

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"Waiting at the Station" demands near-constant movement from its dancers. Even a moment of relative stillness features dancers being carried across the stage as if suspended. From the feet to the face, nothing ever truly stops. Pacific Northwest Ballet comes alive with this piece, particularly James Yochi Moore and Kyle Davis who, playing father and son, live in their characters. It is exhausting and exhilarating and brutally human.

 

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An article estimates Mikhail Baryshnikov's net worth.

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In 2017, it was revealed that Baryshnikov was relocating to Harlem after spending $1.4 million on a three-bedroom apartment there. The house has a large open living space and an open kitchen and is within a few streets of Central Park.

2018 saw Baryshnikov showcasing his Puntacana, Dominican Republic, residence to the media. This home has a dance studio, a sizable terrace, and an infinity pool. According to reports, he bought the house 20 years ago and thoroughly remodeled it.

 

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