dirac Posted July 7 Share Posted July 7 A review of New York City Ballet by Leigh Witchel for dancelog.nyc: Quote Unity Phelan was cast against type in fourth movement, but what is her type? The company seems to see her doing everything. Her technique is impeccable but who knows whether you will get a performance or not. Well, we got one. She went for broke, burst onstage and took risks, pushing the movement all the way. With big arm gestures and full projection and expression, she was vibrant walking with pride and attitude round the stage. It looked as if someone lit a fire under her. Partnering her, Andrew Veyette looked delighted to complement her, also taking risks in turns (but he always does) and smiling when they met. This part is good medicine for her. Link to comment
dirac Posted July 7 Author Share Posted July 7 A review of American Ballet Theatre in "Woolf Works" by Ivy Lin for Bachtrack. Quote The best part of I Now, I Then is the solo for Septimus. It is straightforward, and an anguished depiction of PTSD. Calvin Royal III is astonishing in the solo. But the other dancers are wasted, including the always amazing Herman Cornejo. He serves primarily as a partner for Old Clarissa, Young Clarissa and Sally. Why? The two characters are unconnected. Alessandra Ferri is also fairly wasted. The dance moves are repetitive. Hunched neck and shoulders, frantic arm waving, extreme crotch-splitting extensions, off-center lifts. Link to comment
dirac Posted July 7 Author Share Posted July 7 A review of "Ballet Nights" by Chris Omaweng for LondonTheatre1. Quote The other issue remains the same as it was for the first Ballet Nights event I attended: the sightlines are not the best, given that the performance space is on the same level as the front row – that is, it is not a raised stage. There is, therefore, some fancy footwork that a substantial number of people in the audience missed out on seeing in full. Link to comment
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