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Subject: "Latest review links w/b 22 October" Archived thread - Read only
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Conferences What's Happening Topic #2194
Reading Topic #2194
Ann Williams

22-10-01, 09:42 AM (GMT)
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"Latest review links w/b 22 October"
   Each day we add the latest links to reviews and interviews which we find on major newspapers websites. If you find a link that we have missed, do please post it up, preferably as a URL link.

We should not need to state this, but these links are for our readers use and not for other websites to take and pass off as their own. We ask all visitors to respect Ballet Co's site and the way it operates

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  Subject     Author     Message Date     ID  
  RE: Monday links - 22nd Oct. Ann Williams 22-10-01 1
     RE: Tuesday links - 23 Oct. Ann Williams 23-10-01 2
         RE: Tuesday links - 23 Oct. Anneliese 23-10-01 3
             RE: Wednesday links - 24th Oct. Ann Williams 24-10-01 4
                 RE: Wednesday links - 24th Oct. Carly Gillies 24-10-01 5
                     RE: Wednesday links - 24th Oct. Ann Williams 24-10-01 7
                 RE: Wednesday links - 24th Oct. Jane S 24-10-01 6
                     RE: Thursday links - 25th Oct. Brendan 25-10-01 8
                         More links for Thursday Brendan 25-10-01 9
                             RE: More links for Thursday (3) Brendan 25-10-01 10
                             Re. Friday links 26th October Ballet.comoderator 26-10-01 11
                             RE: More links for Friday jhanner 26-10-01 12
                             Re: Saturday links, 27th October Brendan 27-10-01 13
                             RE: Re: Sunday links, 27th October Jane S 28-10-01 14

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Ann Williams

22-10-01, 09:48 AM (GMT)
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1. "RE: Monday links - 22nd Oct."
In response to message #0
   Flimsy fare from a fallen man

Is Michael Clark saying that creativity is as pointless as masturbation, asks Ismene Brown?
'The five women of Clark's company bare their wobbly parts with panache, and cope with the risks of ballet-dancing in eight-inch platform boots, but they look rather like a dance-school end-of-year show. Clark, in a sober grey suit, acts out a brief scene of incapacity, but one imagines the second act may show him moving on, having exposed the inconsequentiality of the demons,

Hip-hop Romeo needs a Juliet
Judith Mackrell on Rene Harris' 'Rome & Jewels'at the QEH
'Puremovement push hip-hop as far as I have seen the dance go, not just in their jaw-dropping coordination of head, shoulder and hand spins, but in the elaboration and reinvention of its basic moves. This is much, much more than simply dancing to records - just as the live DJ act that accompanies them is much more artful than simply spinning vinyl.'

THE ARTS: Boyz show uncompromising faces:
Financial Times; Oct 22, 2001
Clement Crisp on George Piper
'. . . But how good the first piece of the evening, a viciously true account of Forsythe's Steptext. It is far better danced and shown than at Covent Garden. Its cussed energies and alienated ferocity hit us like a mugging (which it choreographically is). Nunn and Trevitt, Oxana Panchenko and Matthew Hart, arc-weld its shapes on to our understanding. Hart, who cannot bat an eye without making it count, theatrically and emotionally, is especially fine. He is an extraordinarily good dancer.'

One I missed yesterday, the Independent's Jenny Gilbert on George Piper Dances and Mark Morris. GPD, she says, are 'ballet's answer to Jamie Oliver' and of Mark Morris 'The heavy, the squat, the gangly, even the formally untrained, brought their distinct qualities to movement that managed to look joyously easy. Hell, he made you think, even I could do that!'
(This link is via the FT)

From the New York Times:
Stanton Welch: A Latecomer Whose Heritage Finally Won Out
'His father, Garth Welch, and mother, Marilyn Jones, were esteemed former dancers and artistic directors of Australian companies. But for Mr. Welch, as a teenager observing his parents, the backstage drama of running a ballet company was far from enticing'

Facing Hard Truths Unflinchingly
Lewis Segal, Los Angeles Times
'Dance had already changed by Sept. 14, when I reviewed American Ballet Theatre in San Diego and watched international star Ethan Stiefel hold up an American flag during the curtain calls. Clearly, it wasn't enough anymore for Stiefel to earn applause by displaying his technical and interpretive skills in someone else's choreography. He needed to make his own statement--not in speech but through movement.'

Scottish Ballet refuses to rule out request for extra £1m public money
Tracey Lawson, The Scotsman
'SCOTTISH Ballet was criticised again last night after reports that it wants a further £1 million of public money to fund its controversial transformation into a contemporary dance company. '

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Ann Williams

23-10-01, 09:13 AM (GMT)
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2. "RE: Tuesday links - 23 Oct."
In response to message #1
   One step at a time

Ismene Brown on the opening of the new RB season:


A new spin on Shakespeare
Ismene Brown reviews Rome and Jewels performed by Rennie Harris Puremovement at the Queen Elizabeth Hall
'Every broad-minded school studying Romeo and Juliet should book up to see Rome and Jewels and be thrilled and illuminated. Everyone else should go for no better reason than to enjoy one of the most off-beat triumphs in dance-theatre for years.'

It's time to get fresh
Allen Robertson (The Times) interviews Tamara Rojo
'Fiery and technically adept, she has a charismatic personality that gives her dancing a special impact. Rojo is Spanish for red, and few words so succinctly sum up her bravura powerhouse style. Whether dancing Giselle or Juliet, she has torn herself to shreds, dared to offer up her soul for our gratification'

From the New York Times:
A Ballerina Moves On Vicariously
'Despite her all too familiar reputation as George Balanchine's muse and a thorny would-be inheritor of the New York City Ballet's directorship, Ms. Farrell sounds blessedly, sensibly agenda-free in interviews about this latest venture. Sunday's program suggested simply that she is continuing her long and productive life in dance by bringing cherished works and interesting dancers to the public eye. She is moving on.'

A book review from the New York Times:
The Ballerina of the Century Recalls Soviet Oppression
'Like the swans she danced so often — 800 performances of "Swan Lake" and unnumbered renderings of the Dying Swan — Maya Plisetskaya, one of the great ballerinas of the last century, mingled beauty and fierceness. Her talent was not classical grace but heart-stopping emotion. Galina Ulanova, her peer and contemporary, floated with what seemed like the evasion of gravity. When Ms. Plisetskaya hung in the air, seemingly motionless, it was not evasion but sheer defiance.'


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23-10-01, 11:07 AM (GMT)
Click to EMail Anneliese Click to send private message to Anneliese Click to add this user to your buddy list  
3. "RE: Tuesday links - 23 Oct."
In response to message #2
   We have now had two looks at Ross Stretton in the broadsheets this week (three if you include Tamara Rojo's comments) - is anyone going to comment at all on the views and interviews?

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Ann Williams

24-10-01, 08:37 AM (GMT)
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4. "RE: Wednesday links - 24th Oct."
In response to message #3
   Don Quixote
Judith Mackrell
Wednesday October 24, 2001
'...Ross Stretton launched his first season as the Royal's artistic director with a production that was less a display of modernising ambition than a reassurance of his classical loyalties. Don Quixote is a sprawling 19th-century comedy whose mix of nonsensical farce and Spanish flavoured classicism would seem perfectly pitched for the Royal's most conservative audiences.'

From the Independent:-
Don Quixote, Covent Garden,
By John Percival
24 October 2001
'Whatever the long-term result may be, Ross Stretton has made an excellent start in the job. First, by choosing to open with the liveliest and most cheerful of the old classical ballets, Don Quixote. And then by ditching the miserable, half-baked version inflicted on us a few years back by his predecessor, in favour of Rudolf Nureyev's highly enjoyable production; much more rewarding all round.'

'Watching, you are struck by the ancient street-theatre flavour of Peking Opera as tumblers somersault through the air, paper dragons weave and dip, and an invincible warrior woman, dressed in tinselled finery, parries the rain of wooden poles from her aggressors.'

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Carly Gillies

24-10-01, 01:53 PM (GMT)
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5. "RE: Wednesday links - 24th Oct."
In response to message #4
Michael Clark for SB's next AD ?
Do you think he's serious ?


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Ann Williams

24-10-01, 03:20 PM (GMT)
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7. "RE: Wednesday links - 24th Oct."
In response to message #5
Thanks for posting this interesting article - I've taken the liberty of posting it separately because I feel it merits special attention.

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Jane S

24-10-01, 03:19 PM (GMT)
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6. "RE: Wednesday links - 24th Oct."
In response to message #4
   Luke Jennings on the opening of Don Quixote

" While this production was not the
perfect choice for the 21st century, Ross Stretton has inspired a
fine spirit of attack in his dancers. Long may it last."


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25-10-01, 06:39 AM (GMT)
Click to EMail Brendan Click to send private message to Brendan Click to add this user to your buddy list  
8. "RE: Thursday links - 25th Oct."
In response to message #6
   More reviews of the Royal Ballet's Don Q: It didn't quite work for Debra Craine of the Times: "Rojo has all she needs to make this ballet a spectacular success: a supremely confident technique, a truly beautiful style and a strong personality naturally suited to Kitri. But Rojo just didn’t catch fire, and as a result neither did the ballet".

Ismene Brown of the Telegraph is more caustic: "Huzzas for regeneration will have to wait awhile. Instead of being the inaugural firework display resounding into the future, Ross Stretton's first production as director, Don Quixote, is a provincial-looking squib".

For Clement Crisp of the FT, this Don Q lacked vitality: "There is no flair, no pimento, and though we have learned over the years that Royal Ballet premieres are more like dress rehearsals, this limp event needs galvanising with stellar dancing and a sense of abandon. To hell with dainty mumming, let everyone on stage kick their heels up, and maybe take a slug of fire-water before hitting the stage".

Meredith Monk is profiled by the Irish Times

An Irish Times feature by Michael Seaver on "The White Space" at the University of Limerick's Dance Department.

Joanna Berman, Principal with SFB is to retire, the SF Chronicle reports.

Nacho Duato is interviewed by the Boston Herald about his latest work "Jardi Tancat'' :

Jennifer Dunning of the NY Times on the opening night of ABT's fall season:

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25-10-01, 10:04 AM (GMT)
Click to EMail Brendan Click to send private message to Brendan Click to add this user to your buddy list  
9. "More links for Thursday"
In response to message #8
   Luke Jennings of the Evening Standard on Michael Clark at the Place. "Clark is not so much taking his revenge on traditional ballet as celebrating its form, discipline and limits. The dancer on stage may be wearing a baby-doll nightie and a strap-on dildo, but she is bang on the beat and performing a perfect entrechat quatre. Second time around, it's the outrageous purity of the step that hits you between the eyes".

From yesterday's Guardian, Michael Clark on his collaboration with the artist Sarah Lucas. (There is also a review of the performance at the Place by Judith Mackrell in today's paper, not unfortunately online).

The NY Post's Clive Barnes on ABT's opening night.

Deirdre Jowett of the Village Voice on Garry Stewart's Birdbrain, a take on Swan Lake danced by Australian Dance Theatre. "In this deconstructed world, the choreographer relies on labels to signify plot and character, but of course they can't make us feel much beyond the choreographer's cleverness and the dancers' stamina and virtuosity. Quite a while before the piece ends, I'm sated".

Also from the Voice, a short review of Lar Lubovitch's My Funny Valentine, a tribute to composer Richard Rodgers.

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25-10-01, 01:57 PM (GMT)
Click to EMail Brendan Click to send private message to Brendan Click to add this user to your buddy list  
10. "RE: More links for Thursday (3)"
In response to message #9
   Judith Mackrell's review of Michael Clark is now on the Guardian site. "Traces of the old campy extravagance might linger in the foot fetishism and cut away nudity of Trojan and Leigh Bowery's revived designs. But the mix of slutty eroticism, fierce linearity and nervy invention that is unique to Clark's choreography, sings with wonderful assurance in its newly uncluttered context. Clark may hardly be dancing now, but we remember why we used to go to all his shows".

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26-10-01, 04:23 PM (GMT)
Click to EMail Ballet.co Click to send private message to Ballet.co Click to add this user to your buddy list  
11. "Re. Friday links 26th October"
In response to message #10
   Debra Craine of the Times on Michael Clark. "His choreography, first seen in the 1980s, was rebellious and prankish yet filled with a contrary beauty, as if the Royal Ballet School graduate couldn’t help bewitching us with pure steps. Almost 20 years have passed since Clark’s first public concert and much has happened since then. His new show, Before and After: The Fall, which came to Sadler’s Wells on Wednesday, charts the changes. Is he still making the body dance? Yes. Is he still perverse? Most definitely so".

For Clement Crisp of the FT, Clark's programme was a "sad and grubby exhibition". He continued "The audience cheered and screamed. Well, to paraphrase Mandy Rice-Davies, they would, wouldn't they. I thought it an occasion for tears. The Arts Council of England supports the Michael Clark Company. Hmm!"

The Age interviews Sylvie Guillem who is to appear in the AB's Manon at the Melbourne Festival

Nadine Meisner of the Independent on Rennie Harris Puremovement at the QEH. "It wasn't the dance, though, that I found tedious. It was the narrative structure of this multimedia Romeo and Juliet story, reworked and updated to urban gangland in modern America. Romeo becomes Rome; Juliet is Jewels, but she never appears, remaining some invisible ideal. That was probably just as well, since I found it hard enough to distinguish the other characters in a staging so amorphous and garbled that it would make a riot look orderly".

The Irish Times on Perm Ballet's Giselle (Scroll down the page)

The NY Times on Bangarra Dance Theatre

The Boston Phoenix interviews Boston Ballet's new AD Mikko Nissinen

The Houston Chronicle previews Dance Theater of Harlem's visit to the city. Arthur Mitchell, its founder, tells the paper: "It is time for artists to step forward. What we bring to society, a businessman can't do, a politician can't do.The arts are a healing balm. They give you the chance to dream and to hope, and that's what we need right now."

According to the St Petersburg Times, the Bolshoi and the Mariinsky Ballets are to make reciprocal visits to each other's theatres, the Bolshoi with Swan Lake, the Mariinsky with Sleeping Beauty.

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26-10-01, 04:25 PM (GMT)
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12. "RE: More links for Friday"
In response to message #10
   michael Clark's "my london" from the Evening Standard


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27-10-01, 05:24 AM (GMT)
Click to EMail Brendan Click to send private message to Brendan Click to add this user to your buddy list  
13. "Re: Saturday links, 27th October"
In response to message #12
   The FT has an interview with William Forsythe by Sarah Fraterhow about, among other things, his recent collaboration with the Kirov. He speaks of his respect for ballet's traditions "I love what tutus do to the body. They show off the legs and accentuate the hips. I don't know how it works, but they seem to make them semaphoric somehow. And they give just enough shadow, just enough curve."

Nadine Meisner of the Independent writes approvingly of the Michael Clark Company. "You might feel that it's time they acted their age. Or that the extraordinary orchestration of choreography, design and music has a baroquely grandiose scale that is actually funny. Personally, I'd go for the latter".

Debra Craine profiles Mark Morris for the Times "Morris has quietened down a little, but he is still prone to delivering extravagant opinions, and audiences love his repartee in meet-the-choreographer sessions. He is passionate about his work, though he will never tell you what one of his ballets is about. That is for you to decide".

Arabella Weir of the Guardian on ballet as keep-fit. ("Balletone"). "Remember, everything is beautiful at the ballaaaay. While the class is tough, for me it was pure joy from beginning to end."

A Guardian editorial on the case for shedding the word "Royal" from such institutions as the ROH.

Twyla Tharp is interviewed by the Seattle Post-Intelligencer. "At one time, you had a choice: either a modern dancer or a ballet dancer. Those worlds did not mix. It was two divisions of forces and two different styles and techniques. 'Deuce Coupe' changed a good deal of that."

The Boston Globe on the opening night of Boston Ballet's new season.
Link to article

Boston Ballet's opening - a view from the Boston Herald.

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Jane S

28-10-01, 12:20 PM (GMT)
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14. "RE: Re: Sunday links, 27th October"
In response to message #13
   Clifford Bishop talks to William Forsythe in the Sunday Times: "Yes, it's complicated, but we live in times of detail and intricacy, and the richer ballet is, the more we'll like it. I don't think anyone likes simple ballet any more. Do they?"


David Dougill on the RB's Don Quixote: "I had expected rather more of a buzz in the house for the first night of the Royal Ballet's new season at Covent Garden last Tuesday, under the new directorship of Ross Stretton".


There's also a large photo of Alina Cojocaru in the Magazine section (entitled 'The Next Big Thing'!) but I can't find it in the online version.

Sarah Frater in the Observer on Michael Clark: "This may raise a few laughs, but is it fitting artistic inquiry for a man approaching middle age (Clark is nearly 40)? What is he saying? .....If Britain had a William Forsythe or Mark Morris, you suspect, Clark would have been sidelined long ago".

and on Don Q: "The ... ineffectual swordfight in Act III was a sweet comedy of men and manners, and a gentle dig at the true longings of the heart".


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