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Wednesday, May 22


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John Lam gives his last performance at Boston Ballet.

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This next chapter is not a retirement, it’s a rebirth. Lam is passionate about expanding the culture of dance in Boston. He recently received his masters from Northeastern University in nonprofit management and intends to continue on to receive his PhD or EdD in education. He dreams of starting an organization to make art more accessible and bridge the gap that he experienced as a child. He wants to explore his own practice and bring different choreographers to Boston who can use him as a vessel to create work. He envisions creating a weekend dance festival, perhaps in the SOWA district, where dance would be free and open to the public.

TV news story on Lam's retirement.

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John Lam was the first Vietnamese American to become a principal dancer with a major ballet company. The son of refugees, Lam looks back on his journey to the Boston Ballet. NBC's Vicky Nguyen reports.

 

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A story on the former Naples Ballet office manager charged with stealing from the company.

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Police report Saunders conducted 298 fraudulent transactions between 2019 and 2022, totaling $153,969.84 that were credited to a PayPal account she controlled. Saunders then used the PayPal account to obtain cash advances at a casino totaling $134,643.19.

 

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Alonzo King LINES Ballet performs at the Kennedy Center.

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It’s hard to believe that in over 40 years of performing, their appearance last week in the Eisenhower Theater marked San Francisco-based Alonzo King LINES Ballet’s Kennedy Center debut. King is widely regarded as one of the most innovative, sophisticated, and influential choreographers in the history of American contemporary dance and “Deep River” is crafted with as much depth of thought and thoroughness of investigation as I have ever seen. Created over three years in a variety of isolated spaces during the pandemic, “Deep River” unfolded in a trance-like state, woven out of the logic of its own creation. 

 

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Hong Kong Ballet commissions a new "Swan Lake" from Yuri Possokhov.

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The previous productions were “beautiful, but quite standard”, says Webre, and it’s difficult for a company of 50 dancers (even with extras brought in) to compete with the grand scale and unanimity of the corps de ballet productions by companies like the National Ballet of China and Shanghai Ballet.

For context, medium-sized companies like the Hong Kong Ballet usually have around 70 dancers. National companies have a lot more. The National Ballet of China has 109 dancers plus a reserve troupe. The Bolshoi Ballet has more than 200.

 

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