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Subject: "Latest review links w/b October 29" Archived thread - Read only
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Conferences What's Happening Topic #2219
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Jane S

29-10-01, 11:12 AM (GMT)
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"Latest review links w/b October 29"
   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: Latest review links w/b October 29 Jane S 29-10-01 1
     RE: Tuesday links, October 30th. Brendan 30-10-01 2
         RE: Wednesday links, October 31st Ann Williams 31-10-01 3
             RE: Wednesday links, October 31st Brendan 31-10-01 4
  RE: Latest review links w/b October 29 Bruce Madmin 01-11-01 5
     RE: Thursday links, November 1st Ann Williams 01-11-01 6
         RE: Thursday links, November 1st (2) Brendan 01-11-01 7
             RE: Friday links, November 2nd Ann Williams 02-11-01 8
  Saturday Links - 3rd Bruce Madmin 03-11-01 9
  Sunday Links - 4th Bruce Madmin 04-11-01 10

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Jane S

29-10-01, 11:15 AM (GMT)
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1. "RE: Latest review links w/b October 29"
In response to message #0
   Donald Hutera rounds up recent Dance Umbrella events in The Times:

"RENNIE HARRIS'S Rome & Jewels, a canny fusion of Shakespeare and hip hop, is one of the most exciting dance productions to hit Britain's shores this year."


Louise Levene talks to Tamara Rojo about her role in Don Q:

"It's very difficult for a Spanish person to see somebody do an impression of a Spanish dancer. It's never going to be good enough. Basically Spanish dancing is about an inner world, about proudness, about self-respect and a sense of drama that Spanish people have about life and death. It's not really that lively. It's much darker."


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30-10-01, 07:29 AM (GMT)
Click to EMail Brendan Click to send private message to Brendan Click to add this user to your buddy list  
2. "RE: Tuesday links, October 30th."
In response to message #1
   Judith Mackrell on Russell Maliphant at The Place: "Maliphant's choreography looks more assured in this programme than ever before. His trademark combination of classical definition and fluid improvisation generates a mesmerisingly eloquent range of movement, and finds a dance rhythm that is both formally musical and touchingly intimate".

Jenny Gilbert of the Independent on Michael Clark and on the RB's Don Q: "Parts of this Don Q, with its pantomime posturings, its Crackerjack! slapstick and brainless scamperings, are as dire as anything I have seen on the Opera House stage".

As new figures show an increase of 50% in Scottish Ballet's audiences last year, Robert North calls on the company's board to abandon its proposed change of direction. According to the Scotsman, the latest figures, from the Scottish Arts Council, show an increase from 43,000 to more than 66,000 in the last financial year. At the same time, contemporary dance companies in Scotland attracted an audience of little more than 3,000 between them.

In an editorial on the subject, the papers argues that Scotland needs to decide consciously whether or not it wants a national ballet company - or else it will be in danger of paying for the name but being cheated of the substance.

Why Michael Clark thinks he can run Scottish Ballet (from Scotland on Sunday)

The Irish Times reviews Ballet Ireland's Nutcracker

Stanton Welch's 'Clear', is the hit of ABT's new season, according to Anna Kisselgoff of the NY Times

Jennifer Dunning of the NY Times on ABT's performance of Antony Tudor's 'Dim Lustre'

Bangarra Dance Theatre tones down its production Corrobee for audiences in the US Midwest, the Sydney Morning Herald reports.

An assessment of the National Ballet of Canada 50 years after its foundation, from the Toronto Star

a second article on the same subject

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Ann Williams

31-10-01, 10:32 AM (GMT)
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3. "RE: Wednesday links, October 31st"
In response to message #2
   John Percival in the Independent is approving of the Dance Umbrtella programme at The Place:
Russell Maliphant/ Charles Linehan, The Place, London
Charleroi Danses, Queen Elizabeth Hall, London
'London's rebuilt powerhouse of contemporary dance, The Place, is contributing strongly to this year's Dance Umbrella festival, and the interesting thing so far has been how much more worthwhile the British events have been than those imported from far away.'

Perfect Blend
The Times' Debra Craine on Russell Maliphant and the RB's Don Q:
'.....But it was Sheer, a long duet for Maliphant and Fouras, which took the breath away. Like a tango stripped of its pride and posture, Sheer got to the heart of its dancers, moving ever closer in a desperate, elongated connection. The way Maliphant and Fouras melted into one another spoke of shared fears and aching dependency, two like minds seeking solace in a troubled world. '

A diamond with plenty of heart
Clement Crisp discovers an elixir of youth in Roland Petit's stunning new 'Queen of Spades' in Moscow:
'The ballet was danced with marvellous dedication by the Bolshoi's artists, who provide the frame - the gambling scenes, a ball - for the drama, with Svetlana Lunkina a beautiful Lise. The staging, which had its premiere on Friday night, was ecstatically received.'

Susan Mansfield in The Scotsman talks to Michael Clark:
"I think the older you get, the more you realise that your time is limited and you have to use it as wisely as possible. Now that I'm older, it's more about choosing how to spend the time that I have here. Not just wisely for my own benefit, I don't think like that, it's not really in my nature. It's 'can I do anything useful?', really."

The Scotsman on the fate of Scottish Ballet Junior Associates who cannot now look forward to a future in a classical company

Luke Jennings in the Evening Standard on Ricochet Dance Company

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31-10-01, 10:48 AM (GMT)
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4. "RE: Wednesday links, October 31st"
In response to message #3
   Supplementary URL for the Scotsman piece on SB Junior Associates. It is http://www.thescotsman.co.uk/text_only.cfm?id=120110 .

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Bruce Madmin

01-11-01, 01:58 AM (GMT)
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5. "RE: Latest review links w/b October 29"
In response to message #0
   I stumbled across a couple of Ismene Brown/Telegraph pieces we may have missed earlier:

Maliphant, Mantsoe
Masterclass from the Schubert of modern dance
Ismene Brown reviews Russell Maliphant & Vincent Sekwati Mantsoe at The Place, WC1
"Of that rarely talented band of British choreographers born around 1960, Russell Maliphant has an extraordinary gift for making dances for private, intimate places. Whereas with Jonathan Burrows I feel as if I am a rating on an explorer's ship, and with Michael Clark I tremble while awaiting his next piece of theatrical lateral thinking, Maliphant is, perhaps, the Schubert of modern dance, a supreme melodist of the body."

The body artist
William Forsythe is one of only a handful of key figures in the evolution of classical ballet: a daring, thrilling talent who has pushed the human form to new physical extremes. Ismene Brown meets a great iconoclast.
"But is he indeed searching to push ballet ever onwards, into new physical territory? "Oh absolutely." As for choreographers who work with existing vocabulary, Forsythe blows a raspberry. "That's up to them. We all do what we like. Ballet is an examination of ballet. It's not just ballet being repeated in an acceptable, a habitual way. As Virginia Woolf says in Mrs Dalloway, the interesting thing is the 'downfall of habit'. So if I could propose 'ballet' and the 'downfall of habit' in the same breath, that's what I'd like to do."

also thought I'd slip in a link to last weeks links:

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Ann Williams

01-11-01, 09:16 AM (GMT)
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6. "RE: Thursday links, November 1st"
In response to message #5
   As always,if we find other stories we'll post them later:

The Age on Guillem and Hilaire in the AB's Manon at the Melbourne Festival. "Hilaire gave a subdued performance. This role does not have the range of interpretive options available to Manon, the key moments being in a series of pas de deux that impose an emotional tone. Hilaire danced with exceptional care to the point of caution, apparently working through injuries. Nevertheless, one was aware of just what an exceptional partnership Guillem and Hilaire share, with perfect coordination giving their pas de deux a wonderfully dynamic fluidity".

The Sydney Morning Herald's view of Manon. "Guillem's performance - so long anticipated and watched in hushed silence by a packed house - seemed disappointingly understated at first.Not in her dancing, which is just beautiful to watch. With those incredibly flexible, long limbs tracing lines and arcs in every direction, her arms quite breathtakingly expressive in their fluency and phrasing, she brings an extra dimension to every move she makes.But dramatically, Guillem's transition from a convent girl to the mistress of a rich man was rather too subtle for its surrounding production values". Http://www.smh.com.au/news/0111/01/entertainment/entertain11.html

Don Quixote/ Royal Ballet, Royal Opera House, London
The Independent's Nadine Meisner is admiring:
'It must be Acosta's Cuban blood, but Basilio could have been tailor-made for his comic timing, outgoing personality and unbelievable dancing. He performed aerial display steps that we'd never ever seen before, so monumental we ended up laughing.'

Ricochet, The Place, London
Enigmatic and deadly as sin
John Percival
'There is the woman in a black minidress, stockings and shoes; another in a long red frock with bare feet, and so on. But these, I have to tell you, are the musicians, five in all, and once they have taken their places in a big half circle they stay put. Sometimes, during the performance, I thought they had the best of it.'

Deirdre Jowitt of The Village Voice on ABT's fall season, Akram Khan and Anna-Teresa de Keersmaeker

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01-11-01, 09:51 AM (GMT)
Click to EMail Brendan Click to send private message to Brendan Click to add this user to your buddy list  
7. "RE: Thursday links, November 1st (2)"
In response to message #6
   Times obituary for William Christensen, co-founder of San Francisco Ballet

An assessment of the National Ballet of Canada on its 50th birthday from the Toronto Globe and Mail.
link to article

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Ann Williams

02-11-01, 09:05 AM (GMT)
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8. "RE: Friday links, November 2nd"
In response to message #7
   Not much today, but we may find more later:

Forsythe plays his cards right
The Independent's Nadine Meisner sums up Forsythe:
'... but what makes Forsythe a valid innovator is the unerring eye he brings to his aesthetic, shaking out fresh configurations that startle with their sombre glitter and rhythmic logic.'

Enshrouded in Mysteries and Reveling in Oddity
The New York Times on ABT's newest programme:
'The program was completed by George Balanchine's "Sylvia Pas de Deux," .....danced by Nina Ananiashvili and José Manuel Carreño, both new in the roles. Theirs was a subdued but enjoyable enough performance of this virtuoso set-piece. Sadly, Ms. Ananiashvili is becoming so mannered that it is hard to see through to her dancing.'

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Bruce Madmin

03-11-01, 08:35 AM (GMT)
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9. "Saturday Links - 3rd"
In response to message #0
The Independent (and possibly the Times) seem to be having some problems this morning, but still am interesting crop for you I think...

Mark Morris Dance Group
Edinburgh Festival Theatre
***** by Christopher Bowen, Sunday, 4th November 2001(!)
"Morris’s ability to push an audience’s pleasure buttons is well known and he pulls off the same trick in a masterful new work, the serenely beautiful V...."

Vincent Sekwati Mantsoe
Place, London
by Judith Mackrell
"Mantsoe's vocabulary is clearly grounded in his native dance traditions, with a richly oiled articulation of torso, pelvis and shoulders unique to African dance. He is clearly trained in western modern dance too. Yet there is no sense of willed stylistic fusion here, no stitched-together borrowings. Mantsoe's steps come out of his own vision with a directness that makes you think of William Blake."

Michael Kaiser / Kennedy Center
Kennedy Center chief says in times of national crisis art groups should spend more, not less, on new shows.
"Michael Kaiser told the National Arts Council on Friday he hoped that by next summer Congress would approve the multimillion-dollar proposal he backs for an "arts campus" facing the Kennedy Center. It would bridge over the highways that cut the center from downtown Washington and include a museum of the performing arts. ..."

A Showcase of Stamina to a Film's Score
'American Ballet Theater's final novelty this season at City Center is Kirk Peterson's "Amazed in Burning Dreams," an athletic workout that makes the best of the score Philip Glass wrote for Paul Schrader's film "Mishima."'

From Russia with love dept...
Turning Dance Genres Upside Down With the Todes Troupe
By Alexander Bratersky
"While the glory of classical Russian ballet is known around the globe, its modern counterpart, the dance troupe Todes, believes it has found its own niche in the world of dance, especially in the world of Russian estrada, or popular stage dance...."

Mariinsky, Bolshoi stage swap
by Raymond Stults
"At 7 p.m. on Saturday, the curtain will rise at the Mariinsky Theater on the Moscow Bolshoi Theater's production of Tchaikovsky's ballet "Swan Lake." In Moscow, at precisely the same moment, an audience at the Bolshoi will be hearing the opening strains of the Mariinsky's staging of the same composer's "Sleeping Beauty." Both performances will be repeated on Sunday...."

Russian theatre awards
Sofits again bring no surprises
by Galina Stolyarova
"Surprisingly, Eifman beat out John Neumeier's three ballets for the Mariinsky. It was hard enough to imagine Eifman even being considered in the same category with Neumeier, and the only possible justification for this embarrassing verdict is that only one of Neumeier's three productions was a premier staged specifically for the Mariinsky.
  "The award for the best ballet dancer went to Yelena Kuzmina, who danced Empress Catherine II in Eifman's "Russian Hamlet." Kuzmina's rivals - Mariinsky stars Ulyana Lopatkina and soloist Ilya Kuznetsov - went home empty-handed."

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Bruce Madmin

04-11-01, 06:21 AM (GMT)
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10. "Sunday Links - 4th"
In response to message #0
   Ricochet & RB
In honour of the dead of New York
By Jann Parry
Ricochet Dance Company, The Place, London WC1
Don Quixote, Royal Opera House, London WC2
"Ricochet's new piece from Stephen Petronio, House of Magnet, is fraught with catastrophe. A cluster of black-clad dancers clings together like iron filings. Their interlinked movements seem an abstract device until the emotional weight of their huddle bears home. They are in thrall of horror, hands over mouths, aghast."

Michael Clark
Size doesn't matter
Michael Clark's new choreography is big on risqué imagery, but fails to come up with the goods, says
by Clifford Bishop
"The ancient Egyptian god Atum was thought to have created the entire world through mastur- bation, although the precise mechanics were never made clear. Michael Clark's ambitions weren't nearly as grandiose - to make his first piece of dance in nearly three years - but he has gratefully seized upon the same methodology..."

Jobs for the boys

Pointe made: the Houston Ballet-trained Jai Williams in costume as Nadia Rombova
The Trockaderos are back in Scotland to woo audiences with their acclaimed dance show parodies. But despite the high camp associations, mastering the art of the ballet send-up is definitely man’s work, writes Christopher Bowen
"Oh it’s tough," Pribisco tells me during a break between rehearsals. "But it has to be. We spend a tremendous amount of time on technique. Without that you really only have a vaudeville show."

A new Irish movement that has legs
Dance Theatre of Ireland has accomplished a lot since its foundation,
reports Karina Buckley
"Far from being an elitist, minority interest, Yurick thinks contemporary dance has a ready-made market in Ireland. It is not the public that needs to be developed, more the dance practitioners themselves.
    "'Dance is very well perceived here. I think people are receptive if you give them a good product. I despair of movements that think Ireland needs to be developed in terms of audience. The audience is there. Generally people do grasp it, and if they don't it's maybe because the product isn't so clear.' "

Alicia Alonso tribute
A Cuban Master's Progeny Bear Her Art in Their Bones
"Everything Ms. Alonso had learned in her wide-ranging career, which included dancing in Broadway musicals in the 1930's and dazzling years with Ballet Theater, the Ballet Russe de Monte Carlo and other companies, was poured into the development of her dancers and their sense of style. At heart, however, the primary lesson seems to have been to connect, with their characters as human beings and with one another on the stage. Virtuosity has a purpose, and there is, as the historian Arnold Haskell observed of Ms. Alonso, a sense of power in reserve."

Choreographer Ellis Wood interviewed
Making a Dance Career With One Eye on a Gender Gap
"Ms. Wood follows in the tradition, as she put it, of "Isadora, Martha and my mom." (Her mother, Marni Wood, performed with Martha Graham throughout the 60's and then helped start the dance program at the University of California at Berkeley with Ellis's father, David Wood). Ms. Wood resembles Isadora Duncan and Graham not in her movement or her theatricality but in the influence her experiences as a woman have had on her work."

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