Tuesday, April 9

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London City Ballet announces its new season.

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The dancers in the new company are: Alejandro Virelles (Freelance, formerly Staatsballet Berlin, ENB), Álvaro Madrigal Arenilla (Compañía Nacional de Danza), Isadora Bless (Orlando Ballet), Joseph Taylor (Northern Ballet), Miranda Silveira (Freelance, formerly San Francisco Ballet) and Ayça Anıl (Istanbul State Opera and Ballet).

 

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An interview with Nikisha Fogo.

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“We were also really connected to the opera house,” Fogo said of the Royal Ballet School in London. “So it was really easy to see my idols like Marianela Núñez, and Tamara (Rojo) was there. And I could watch them before and we could take a class with them … London was just such a hub of incredible dancers.”

 

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The Australian Ballet rehearses "Carmen."

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Back near the stage, the hubbub of the orchestra and dancers has fallen silent. Instead, the dancers have made a loose semicircle around the two principals and the choreographer, Johan Inger. The conductor looks ­intently at the stage and all the musicians, in turn, at him.

“Johan is bringing – I think – a grittiness, a raciness. Sensuality, sexuality,” Hallberg says. “What’s so amazing with this company is that we closed last year at the ­Sydney Opera House with Swan Lake, and this year, we opened it with Carmen....."

 

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Anthony Madu writes about his dance journey.

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From there, I joined a ballet school and really enjoyed it, and decided to carry on going.

Before the video of me dancing ballet in Nigeria went viral on social media back in June 2020, life was pretty normal, but focused on dancing. I'd go to school and then in the evenings and weekends I'd go to my dance lessons.

 

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James Yoichi Moore is retiring from Pacific Northwest Ballet.

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Reflecting on favorite roles, Moore singled out many, but noted that “Mopey” was the work that established him with PNB audiences. “I noticed people knew my name after that,” he said. “That ballet taught me a lot. It was my first taste of freedom on stage … almost like an out-of-body experience, you’re not controlling yourself.” He spoke affectionately of his “heroes” in the company, among them Jonathan Porretta, Seth Orza, Lesley Rausch, Carla Körbes, Lucien Postlewaite and Noelani Pantastico (with whom he co-founded Seattle Dance Collective in 2019).

 

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A review of Scottish Ballet by Kathy Elgin for Bachtrack.

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Dawson’s stripped-down production threw the impetus immediately on his choreography, whilst keeping the bones of the story clearly in sight. Siegfried (Bruno Micchiardi on this opening night in Glasgow) was a bit of a loner and, in the opening scene, clearly not enjoying the party being thrown by his best mate, Benno. Like Hamlet, he had of late lost all his mirth and not even Benno, despite his best efforts, could draw him into the fun. Which meant that for much of Act 1 Siegfried hovered about on the edge of the party, drawn into a half-hearted duet now and then with one of the girls, while the other guests – girls in bright frocks, T-shirts for the boys – caroused joyfully in solos and duets.

 

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Montgomery Ballet moves into temporary new digs because of safety concerns.

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It’s not the first safety concern for Watson properties in that area. In 2020 a roof collapsed at a vacant property owned by Watson on Fairview Avenue, not far from the ballet company’s former home. At the time, Watson said he had plans to transform Old Cloverdale into a Montgomery theater district. Having Montgomery Ballet there would become a part of that unfulfilled plan, which included an expansion with theater facilities the ballet company could use.

 

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 A review of Oregon Ballet Theatre by Amy Leona Havin for Oregon ArtsWatch.

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Rowe’s Wooden Dimes was a fun romp from start to finish. The first duet, performed by Carly Wheaton as Betty and Brian Simcoe as Robert, was full of young love and cheekiness; the narrative aided perfectly by assisted turns and light partnering. As the work progressed, saut de chats, bourres, unison, and jazz walks en pointe during the crowd-pleasing chorus girl scene added a lightness to the theatrical choreography until the midpoint of the work, where an unfortunate encounter left Simcoe’s character heartbroken. He then enters into a trio with the ‘Dark Angels’, an interwoven partnering piece danced with precision by Hannah Davis and Nicholas Sakai.

 

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BalletNext performs this weekend.

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The production, part of the Park City Institute’s Main Stage Season, will include a new work, “The Devil Wears Pointe Shoes,” which Park City’s history inspired, said Michele Wiles, BalletNext’s founder and artistic director.

 

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A review of San Francisco Ballet by Katie Sweeney for The Bold Italic.

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Gender fluidity isn’t traditionally associated with ballet, where the women wear point shoes and play princesses while the men lift the women and portray kings. However, with Dos Mujeres, SF Ballet is moving beyond stereotypical gender roles. Upon returning home to her family’s restaurant in Cuba after her mother’s death, Carmen, danced by principal Sasha de Sola, falls in love with a female chef. But she brought her husband with her. A love triangle emerges between Carmen, the knife-wielding chef, Escamillo, played by Jennifer Stahl, a powerful female figure, and Joseph Walsh, the husband, whose movements mimic toxic masculinity.

 

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A review of Swedish National Ballet by Maggie Foyer for Bachtrack.

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With Royal Swedish Ballet, it was a treat to watch two 19-year-old dancers, Maya Schonbrun and Darrion Sellman making their debuts in the lead roles. Schonbrun is an exceptional talent. She captured the two characters giving both Odette and Odile distinct, well-rounded interpretations; no mean feat, even for a seasoned ballerina. Technically her Odile was first rate. Her musicality and dramatic focus never faltered and she executed a faultless series of fouettés. Her Odette displayed the iconic arched back and sweep of neckline for a swan queen, beautiful classical line and effortless balance. Schonbrun is a joy to watch and a name we’ll be hearing more of.