Thursday, June 6

[dirac]

A review of the Royal Ballet's second Ashton program by for Teresa Guerreiro in CultureWhisper.

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On opening night, Oberon and Titania were danced by Vadim Muntagirov and Lauren Cuthbertson; proficient technicians both, there seemed to be no chemistry between them, which means the climactic reconciliation pas de deux fell flat. Liam Boswell was an engaging Puck, and Thomas Whitehead was excellent in the character role of Bottom, the rustic who is temporarily turned into a donkey.

 

[dirac]

A review of the Hungarian National Ballet Institute and Hungarian National Ballet by Ilona Landgraf in her blog, "Landgraf on Dance."

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The best way to nurture young talent and groom a new generation of dance enthusiasts is a concern for many ballet companies. The Hungarian National Ballet and its affiliated Ballet Institute have pursued an impressive strategy to address this issue. Last weekend, they premiered the third children’s production in a row, Little Corsaire, at Eiffel Art Studios. The first series of four performances gave students of various ages ample opportunities to present their skills to the public, which at this premiere consisted of family, friends, and many young children with their parents. The scenes that I observed in the atrium during the break proved that the project has yielded the desired results. Toddlers copied dance steps, and girls—already wearing tutus upon arrival—bounced about excitedly. In a corner behind the old steam locomotive (reminiscent of the venue’s historic role as Northern Railway Maintenance and Engineering Works), the young artists posed for photos with even younger admirers. Some children’s eyes were shining, and hopefully, some of those youngsters will be drawn to the ballet barre too.

 

[dirac]

A review of the New Jersey Ballet by Leigh Witchel for dancelog.nyc.

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Whether true or not, Purcell Suite looks as if it were commissioned to specifications: please make a work to recorded music that uses all the women, isn’t too exposing, so let’s do it in soft slippers instead of pointe shoes, and please make the dancers look good. Props to Ball for acing the assignment by delivering slightly more; the work was also both kinetic and glamorous.

 

[dirac]

A review of the L.A. Dance Project by Katie Lawrence for Bachtrack.

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It’s a bit like stepping into the famous MC Escher staircase drawing, or its 1980s homage in Jim Henson’s Labyrinth, watching Benjamin Millepied’s Romeo and Juliet Suite by L. A. Dance Project. Escher was a master of illusion and a pioneer of psychedelic art – not to mention a fierce defender of his copyright, once complaining bitterly to a friend, ‘The hippies of San Francisco continue to print my work illegally’. Continue! Minus the justifiable copyright outrage, Millepied’s retelling of Romeo and Juliet likewise rips the rug of reality from under the viewer’s feet, somersaults orientation through the proverbial washing machine, and takes a wrecking ball to the fourth wall, as it blurs the lines between dance, cinema and theatre.

 

[dirac]

Reviews of New York City Ballet in "Jewels" at the Kennedy Center.

The Georgetowner

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Adorned in a flowing, romantic tutu which swirls like stream water with each spin, Indiana Woodward stuns in this jubilant garden scene, complete with crisp lines and a beaming smile to match. Her partner, Tyler Angle, sustains this radiant joy, gracefully jumping around the stage like a grasshopper as the orchestra swells with bright, citrusy strings. “Emeralds” is upbeat yet soothing, sweet yet never too sugary—a marvelous number which starts “Jewels” off on a high note.

MD Theatre Guide

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The performance of the ballet, ”Jewels” at the Kennedy Center Opera House was a trip down memory lane—a journey through the brilliance of George Balanchine’s choreography and the artistry of the New York City Ballet, celebrating its 75th anniversary. It was a history lesson from one of the golden eras of ballet, specifically the late 20th century.

Broadway World

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At times the pacing seemed to drag, as the corps struggled in moments to fully articulate the steps with the necessary crispness, but the finale was outstanding. Each plié was grounded and created a compelling contrast with its paired arabesque en relevé or other elevated step. Watching this section one sees what, for a typical choreographer, would be an impressive range. But Balanchine was anything but typical. 

 

[dirac]

A new documentary explores the life and work of George Platt Lynes.

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It’s worth noting that the photographer was far from being a marginal figure in that decade. His portraits of notable cultural figures from the 1920s and 1930s led to exhibitions including a solo show at the Julian Levy Gallery. Lynes’ work was also featured in MoMA’s seminal “Murals by American painters and photographers” exhibition in 1932. Additionally, his private practice of male nude photography took off after he started shooting for the New York City Ballet, which provided him with plenty of models.

 

[dirac]

The Rochester City Ballet receives a grant to further its "accessible dance initiatives."

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Since its founding in 1987, RCB has made dance accessible through education and community outreach activities offered at little to no cost. It is the only professional ballet company in Western New York and creates sensory-friendly productions that allow families with special needs to enjoy live dance.