Thursday, July 28

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The Bossov Ballet Theatre presents "Giselle."

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These performances will mark the second time the Bossov Ballet Theatre has performed at the Collins Center for the Arts. 

“This is all part of our summer intensive at Bossov Ballet that we do every year ... Bossov Ballet has existed for more than 25 years ... I think the quality of performances are improving from year to year," Getman said.

 

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Aspen Santa Fe Ballet presents free performances.

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Nature’s resilience to drought, harmful microbes and cyclical freezing is perpetually inspiring, but it’s not the only living system that continues to persist in the face of challenges. Aspen Santa Fe Ballet has encountered its share of setbacks, from the pandemic to losing its theater space this summer. Still, it’s emerging strong with upcoming presentations — one specifically celebrating the splendor of wildflowers.

 

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A review of Les Ballets de Monte Carlo in 'The Taming of the Shrew' by Ilona Landgraf in her blog, "Landgraf on Dance."

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Maillot choreographed extensive pas de deux and solos to deepen our understanding of the protagonists’ personalities. Bustling group scenes (featuring disrespectful servants and a gang of robbers) frame and carry the action. A compilation of music by Shostakovich weaves from the romantic to the satiric. While Ernest Pignon-Ernest’s white set (two movable staircases, pillars and cubes) is modern and timeless, the costumes by Maillot’s son Augustin (a senior designer at Chanel) recall the Hollywood chic of the 1930s.

 

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Taylor Stanley performs at Jacob's Pillow.

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Observers were struck by Stanley’s quality of movement throughout that dance, which revealed deeper nuances within this already notably sensitive dancer. It was a watershed moment; Stanley has called this role, this expansion of movement possibilities, a “gift.” And so, with Abraham serving as artistic adviser to the project, Stanley stars in a program that, with recent or new works by choreographers Jodi Melnick, Andrea Miller, and Shamel Pitts, scratches this new itch of artistic exploration. The past, however, is present here too, in excerpts from George Balanchine’s 1957 “Square Dance” and Talley Beatty’s 1947 “Southern Landscape.”

 

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A profile of Chun Wai Chan by Javier C. Hernandez in The New York Times.

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Chan, who was trained in the Russian Vaganova method, initially struggled to master Balanchine’s choreography.

“It felt like everything I had learned was questionable — that it meant nothing,” he said. “They broke me into many pieces and rebuilt me. And after a few weeks, I felt much more comfortable, like there was more musicality and more freedom.”

 

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Boulder Ballet names a new artistic director.

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Needham-Wood — who before the age of 6 started ballet training at Massachusetts’s L’ecole de Ballet — brings years of experience and unrelenting passion for the art form to his new role. For more than 10 years, Needham-Wood has been innovative in shaping San Francisco’s dance scene as a performer, filmmaker, arts educator and creator of ground-breaking performances.