Tuesday, May 16

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Trouble between management and the board at Cape Town City Ballet.

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But as the dispute between the dance company’s board and Chief Executive Officer (CEO) Debbie Turner drags on, the seams are seemingly coming undone.

Last week, the CTCB dancers went on record, urging the two parties to find a “timeous” resolution.

 

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A preview of the Joburg Ballet's "Romeo and Juliet."

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Which is where the beauty and art of movement comes into play. And what better way to communicate this age-old tale than through ballet. After a seven-year hiatus Joburg Ballet is presenting Romeo and Juilet this winter season with eight performances at the Joburg Theatre. 

“Dance is not just about learning steps; you’re playing a role without any words. Same as an actress, it’s all about your mannerisms, how you look at someone, how you touch someone,” said principal dancer Shannon Glover, who plays Juliet, during an interview with CNN Africa. 

 

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Eugene Ballet presents "The Little Mermaid."

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When considering a story to choreograph, Toni Pimble was looking for something that appealed to all ages, but didn’t want to pander to children. “They are so very open to a sophisticated presentation of a fairy tale. Our classical ballets ‘Sleeping Beauty’ and ‘Swan Lake’ are great examples of this genre,” says Pimble. “The more I delved into the music of Debussy, the more convinced I became that ‘The Little Mermaid’ had the potential to be a sophisticated, beautiful work of art.”

 

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A review of Ballet West in "Les Noces" by Leigh Witchel for dancelog.nyc.

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The company’s men and women, working separately and finally together, took the ballet seriously.  You could see them trying to absorb it all the first show. There was a big jump in synchronization after just one performance.

There are moments in “Les Noces” that have influenced art for a century. The bride standing still, her friends at her sides, her braids trailing across the stage. The women creating a totem pole of faces staring impassively at us. The thrilling hunched circle of jumping men that seems to continue even after the lights fade, perhaps forever. Unison, split stage and counterpoint are all used brilliantly, with incredible restraint and hermetic focus.

 

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Ballet Taos presents "La Belle et la Bête."

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There is immense freedom telling a great story anew with inspiring choreography, an invested cast and enchanting music. Jock Soto, principal dancer New York City Ballet and Ballet Taos guest faculty said to the dancers in rehearsal last week, "Dancers, believe in what you’re doing or the audience won’t believe you!” Ballet Taos has imagined their "La Belle et la Bête" as brilliant and believable —Yackovich's seamless choreography set with music from composer Max Richter — make this a must-see performance.