Sunday, October 16

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Crystal Pite is interviewed by David Jays for The Sunday Times.

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Why is she going back to Flight Pattern — did she feel she had unfinished business with it? “Absolutely,” she says. “It’s set to just the first movement of Gorecki’s Symphony No 3. There’s the whole rest of the symphony. I wanted to expand the ideas of passage, threshold and borders into different human experiences.”

 

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The Colorado West Performing Arts. Co. presents "Cinderella."

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Wright: What prompted you to start a professional ballet company?

[Theresa] Kahl: There are several reasons. The fact that western Colorado has grown so much and we’re able to support a minor league baseball team, it just felt like why don’t we have a ballet company on the Western Slope? There are probably 10 professional companies in Denver that sustain themselves, and we don’t have one? That’s sad.

I want to see the performing arts grow in western Colorado and I just felt that if I didn’t start it, it wouldn’t happen.

 

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An interview with Veronica Louw of Mzansi Ballet.

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Because of the physical intensity of dance, particularly ballet, dancers tend to have a limited career lifespan. Veronica is studying psychology part time for that reason and is considering specialising in dance psychology. She said that it’s incredibly tough for dancers to see themselves in the mirror every day, to be continually self-critical about appearance, as it matters so much in performance art.

 

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The Philippine Ballet Theatre visits the United States.

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Plans are under way for a 2023 US tour scheduled in October, which will see PBT touring Washington, Virginia Beach, Portland Oregon, Fort Lauderdale, San Francisco, San Jose, Seattle and Orange County.

 

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Lone Star Ballet presents "The Legend of Sleepy Hollow."

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According to Seaton, many of the cast includes individuals whom were a part of the previous performance portraying school children, whom have graduated into performing townspeople and leading roles, with the addition of Anna Martin portraying Katrina Van Tassel.

 

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A review of Kansas City Ballet by Hilary Stroh for Bachtrack.

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Kaleena Burks, tonight’s Giselle, was admirable in her role, or rather roles – first as skittish, coy peasant girl, then as deranged woman with loosened hair and technique, bumping into people, and lastly as strong, gracious, protective spirit, a new archetype of femininity, meeting the Wilis’ terrible implacability with her own implacability in the service of the man she loved in life and still loves from beyond the grave. It’s no mean feat to dance and act this metamorphosis in the space of two-and-a-half hours, where you are on the stage a lot of the time.