dirac Posted February 11 Share Posted February 11 Q&A with Edwaard Liang. Quote Does your Chinese American identity impact your work as a ballet-company leader? I’m the first Asian American artistic director of a ballet company of this size. I think that representation is very powerful for our industry, and part of how dance is changing. And it absolutely impacts my craft and how I lead because who I am is a culmination of my experiences. Not just being genetically Chinese but how I was raised by two Chinese immigrant parents, my culture, history, and sense memory. Link to comment
dirac Posted February 11 Author Share Posted February 11 A review of New York City Ballet by Leigh Witchel for dancelog.nyc. Quote Daniel Ulbricht, who’s done the first sailor since the dawn of civilization, played it very broadly. In the first solo, Ulbricht opened by slamming from a tour into a split at top speed, and Coll slid across the stage in his solo. Everything top volume, but unmodulated. You could see it most in the improvised interludes. Sebastían Villarini-Vélez confronted Coll before he danced, and looked as if he was spoiling to land a punch. And you’d think he would swivel his hips in the Danzon, but everything was sharp and tight. The coiled anger Villarini-Vélez channeled so well in Love Letter (on shuffle) is of our time. To pull Fancy Free off, it needs to stay light. A review of NYCB by Ivy Lin for Bachtrack. Quote As for me, I’ve always loved [The] Four Temperaments and enjoy seeing it even when the performance is less than perfect. Last night, there were a few wobbles. Isabella LaFreniere stumbled out of a diagonal of pirouettes early in the “Sanguinic” variation and it seemed to unnerve her. She danced with visible hesitation afterwards, which is a problem when the entire variation requires a go-for-broke style. Preston Chamblee partnered her well, but there was little rapport between the two. Sebastian Villarini-Velez (Melancholic) did the steps, but without much actual melancholy. Link to comment
dirac Posted February 11 Author Share Posted February 11 A TV segment on Oklahoma City Ballet's "Giselle." Quote Ozzy and Rachael from the OKC Ballet joined us to talk more about their experience and how you can get tickets to the show. Link to comment
dirac Posted February 11 Author Share Posted February 11 The National Ballet of Ukraine performs in Calgary. Quote For the dancers, touring is nothing new of course. The renowned company has travelled the world. But Sukhorukov admits it is a difficult time to be away from home. Still, he said it’s important for the company to keep Ukraine and the war in the minds of people who support the country, including Canada. Link to comment
dirac Posted February 11 Author Share Posted February 11 Matthew Bourne presents "Edward Scissorhands" in Birmingham. Quote Matthew Bourne’s Edward Scissorhands is a ballet adaptation of the 1990 Tim Burton film of the same name. Given the nature of Scissorhands as a Frankenstein’s Monster-esque creation who moves unsurely, as though his body is connected by little more than hope and thread, the film makes an interesting challenge for renowned choreographer Bourne to translate into the medium of dance. However, it is a challenge that I believe he achieves magnificently, particularly in the strength of his casting for Edward (Liam Mower). Mower’s talent is evident in the way in which he manages to maintain the stilted movements of the character whilst still demonstrating the grace and fluidity of a skilled dancer. Link to comment
dirac Posted February 11 Author Share Posted February 11 Photo gallery of the Royal Ballet rehearsing Robert Binet's "Dark with Excessive Light." Quote The Royal Opera House’s Linbury theatre will be transformed for Canadian choreographer Robert Binet’s new show, where the audience can roam freely. Take a first look. Link to comment
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