Friday, April 27

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A review of BRB2 in "Carlos Acosta's Classical Selection" by Graham Watts for DanceTabs.

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Two BRB2 dancers opened the programme with the pas de deux from Frederick Ashton’s Rhapsody, a ballet that Acosta performed many times but surprisingly new to BRB. Frieda Kaden and Kempsey-Fagg gave a creditable performance of a duet that one would normally expect only principal dancers to perform (the first pair to dance it was Mikhail Baryshnikov and Lesley Collier). Later in the first act, two other BRB2 members, Katoch and Mason King performed an enchanting White Swan pas de deux from Act 2 of Swan Lake. Katoch’s port de bras, line and phrasing were a delight and King’s partnering was attentive and solid.  

 

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 The Birmingham Royal Ballet rehearses "Black Sabbath: the Ballet."

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The ballet will be split over three acts and features eight of the band’s songs, including their most famous hits such as Paranoid and Iron Man, all of which will be played live by the Royal Ballet Sinfonia.

 

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Ballet Des Moines presents a program by female choreographers.

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"She" features a trio of renowned choreographers — Chicago-based choreographer Stephanie Martinez, Chicago based ballerina and choreographer Shannon Alvis, and New York City-based artistic director of Arch Dance Co. Jennifer Archibald — who will present works exploring identity, sense of place, self-expression, and belonging.

 

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Philadelphia Ballet closes its season with "Coppelia."

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Corella choreographed the ballet and calls it one of the most child-friendly ballets in the repertoire.

It's the final ballet in a season that's been dedicated to audiences, and getting them back to the theater post-pandemic.

 

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 A preview of Alberta Ballet's "Botero."

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The Internet’s infamous “y tho” (why, though?) meme has made a painting by the Colombian artist Fernando Botero famous even among adolescents. The whimsical work of the 91-year-old artist will once again transcend format when choreographer Annabelle Lopez Ochoa’s ballet, Botero, is presented by Alberta Ballet. 

 

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 A sponsored article previewing Carolina Ballet's "The Sleeping Beauty."
 

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Melissa Podcasy, a founding principal dancer for Carolina Ballet, and Weiss collaborated to create a role that would bring Carabosse menacingly to life. "The role we created with Carabosse tells the story very, very clearly. It became a significant role and it was just fantastic. The audience loves every minute of it because it’s someone they could ‘boo.’ They don’t want her to succeed in her evil quest," said Podcasy.

In addition to expanding that role, Weiss commissioned Paperhand Puppet Intervention to create a monumental dragon puppet that the evil fairy, ‘transforms into,’ when the prince is trying to save his princess. "Carabosse turns into that dragon and manipulates it above her head. It grows to 20 feet tall. The audience gasps when the dragon reaches its full height," said Weiss.