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Subject: "Latest Review Links - wb 18 February 2002" Archived thread - Read only
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Conferences What's Happening Topic #2508
Reading Topic #2508
Bruce Madmin

18-02-02, 06:52 AM (GMT)
Click to EMail Bruce%20M Click to send private message to Bruce%20M Click to view user profileClick to add this user to your buddy list  
"Latest Review Links - wb 18 February 2002"
   Each day we add the latest links to reviews and interviews that we find on the major newspaper web sites around the world. If you find a link that we have missed do please post it up, preferably as a URL link.

For convenience here is a link to last weeks thread:

Bookmarking this page.
Click on the following link and then bookmark the links page that comes back - it's a special URL that will always bring you to the thread with the latest reviews:

The bookmarks we go off and find are being taken again.... 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  
  Monday Links - 18th February 2002 Bruce Madmin 18-02-02 1
  Tuesday Links - 19 February 2002 Bruce Madmin 19-02-02 2
     RE: Tuesday Links - 19 February 2002 Brendan McCarthymoderator 19-02-02 3
         RE: Tuesday Links - 19 February 2002 sylvia 19-02-02 4
     RE: Tuesday Links - 19 February 2002 pmeja 19-02-02 5
         RE: Wednesday links - 20th February 2002 AnnWilliams 20-02-02 6
             RE: Wednesday links - 20th February 2002 Brendan McCarthymoderator 20-02-02 7
                 RE: Wednesday links - 20th February 2002 (2) AnnWilliams 20-02-02 8
                     RE: Wednesday links - 20th February 2002 (2) AnnWilliams 21-02-02 9
                         RE: Thursday links - 21st February 2002 AnnWilliams 21-02-02 10
                             RE: Thursday links - 21st February 2002 (2) AnnWilliams 21-02-02 11
                         RE: Wednesday links - 20th February 2002 (2) alison 21-02-02 12
                         RE: Thursday links - 21st February 2002 Bruceadmin 22-02-02 13
                             RE: Friday links - 22nd February 2002 AnnWilliams 22-02-02 14
                             RE: Friday links - 22nd February 2002 (2) AnnWilliams 22-02-02 15
  Saturday Links - 23rd February 2002 Bruce Madmin 23-02-02 16
  Sunday Links - 24th February 2002 Bruce Madmin 24-02-02 17
     RE: Sunday Links - 24th February 2002 Bruce Madmin 24-02-02 18
     RE: Sunday Links - 24th February 2002 Bruce Madmin 24-02-02 19
         RE: Sunday Links - 24th February 2002 Tomoko.A 24-02-02 20
             RE: Sunday Links - 24th February 2002 Bruce Madmin 25-02-02 21

Conferences | Topics | Previous Topic | Next Topic
Bruce Madmin

18-02-02, 06:54 AM (GMT)
Click to EMail Bruce%20M Click to send private message to Bruce%20M Click to view user profileClick to add this user to your buddy list  
1. "Monday Links - 18th February 2002"
In response to message #0
For those who rush in and may have missed dept... some reviews/discussions on Ballet.co:

Enduring Images - Present Realities. RB Study Day

Kobborg ROH talk:

RB Bayadere

ABT Swan Lake, Orange County, California

Wayne McGregor
A strange and super trouper
Disturbing visions of the future or the way we live now? Wayne McGregor, the country's hottest choreographer, talks about his most ambitious production yet
by Debra Craine
"Only 32, he has already lit a fire under the Royal Ballet; he’s established an ongoing relationship with Rambert Dance Company; and he’s even been courted by the Kirov, the ultimate repository of classical tradition. Still to come are planned collaborations with the Gottenburg Ballet in Sweden and the Stuttgart Ballet in Germany. Not bad for a former ballroom dancer from Manchester who never quite fitted into any of the traditional moulds.
    "Wherever McGregor goes he leaves behind a vision of alien shapes and constantly redefining energies that suggest a landscape burning with transition. Audiences like the way his work feels so contemporary, as if all the hassle and hope of the streets has somehow found its way on to the stage. His dancers like the way he makes them move — fast and furious — and look — fantastic. No wonder everyone wants him."

Julio Bocca
A showcase for Spanish steps
Julio Bocca is a man on a mission: to prove there's more to Argentina than Evita and football. John Percival meets a star of Latin American dance, who shines on the world stage
by John Percival
"Why does he bother? For two decades Julio Bocca has been an international star. At 35 he is still top dog among the many excellent male dancers of American Ballet Theatre (ABT), and is offered plenty of engagements elsewhere. Mark Morris and Twyla Tharp have both created roles for him. In London he has guested with the Royal Ballet and English National Ballet. He has just danced Swan Lake with Nina Ananiashvili in Los Angeles and is going to La Scala for Romeo and Juliet with Alessandra Ferri. Nice pickings, but instead of resting on his laurels and counting the dollars, he is bringing his own Ballet Argentino to London.
    "When I ask why, he smiles and says, "To show that we've got dancers in Argentina. To show we have something else besides footballers and Evita." He expects to be out of pocket on the deal – tickets are selling well for a company unknown in the UK, but they cannot meet the costs, any more than when he takes his young dancers to New York, where "the rent is so sky-high at City Center that even if you sell every seat that's not enough to pay it". Yet he has been there three times, and been very well received. He knows it is good for the dancers to experience New York and London, and he wants us to enjoy them and to see him in a different range of work."

La Bayadère
Royal Ballet
Royal Opera House, London
by Judith Mackrell
"Much of the Royal Ballet's season so far has looked like a two-horse race, with its cast lists dominated by the company's newest stars, Alina Cojocaru and Tamara Rojo. With Darcey Bussell only recently back from maternity leave, Cojocaru and Rojo have been taking it in turns to make their debuts with almost every ballet that's entered the programme.
    "But, ubiquitous as they are, comparisons between the two have been exaggerated by their recent arrival in the company, by their relative youth (Rojo is 27, Cojocaru 20) and by their diminutive stature. Their talents are very dissimilar, and it is unfair to either dancer to turn their careers into a competition."

The Many Faces of Sleeping Beauty
By Alexandra Tomalonis
Sleeping Beauty" -- with its bureaucratic ineptitude and buck-passing, crises of protocol and balance of power, and eventual resolution of harmony through goodness and mercy -- is a perfect ballet for Washington. The Kirov-Mariinsky Ballet's mammoth revival of the turn-of-the-last-century production had jelled by Friday (after a messy opener), and the weekend was full of good dancing.
    "So much care has been taken with the sets and costumes, the restoration of trimmed mime scenes and processions, it seems odd that each ballerina dances the role of Princess Aurora, the sleeping beauty of the title, in a different style. Friday night, Svetlana Zakharova was more the Visiting Guest Ballerina From the Future than a fairy tale princess. She's a gorgeous dancer; her ronds de jambe described perfect circle after perfect circle. But her gigantic extensions are jarring here; Aurora just shouldn't spend a lot of time whacking the side of her face with her leg. Zakharova also seemed to dance in her own little world, ignoring her parents, the rest of the court and her suitors.

The Kirov and Balanchine: A Work in Progress
"Alas, the Kirov has heeded its Balanchine- trained coaches either too well or not enough. Certainly the performance it presented on Thursday night at the Kennedy Center Opera House was, with few exceptions, a study in carefulness to the point of petrification.
    "It did not help that the Kirov's original principals in "Diamonds," the last section, were not present: very likely, Uliana Lopatkina and Igor Zelensky would have made a difference.
    "The Kirov also had the misfortune to play in the same theater where Edward Villella's Miami City Ballet has made "Jewels" its signature piece and a big hit. Anticipating the dynamism of the Miami production, which was part of the Balanchine festival at the Kennedy Center last year, the audience seemed nonplused by the emphasis on cautious dancing."

Dance Videos
Dancing in the Dark
Some letter in response to Lewis Segal's recent piece about trading in bootleg videos:
    the original piece:
    and a Ballet.co discusssion on videos:

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Bruce Madmin

19-02-02, 08:47 AM (GMT)
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2. "Tuesday Links - 19 February 2002"
In response to message #0
   For those who rush in and may have missed dept... some reviews/discussions on Ballet.co:

"What to look for in William Forsythe: ROH Linbury 18th February"

"Bolle & Cullum at the Teatro dell'Opera in Rome"

ABT Soloists Embrace 'Swan Lake's' Passion
Orange County, California
"In creating a new production of "Swan Lake" for American Ballet Theatre two years ago, artistic director Kevin McKenzie borrowed innovations from a number of previous stagings.
    "During the prelude, for instance, he showed Rothbart turning Odette into a swan--an idea from the celebrated, influential Vladimir Bourmeister version of the 1950s.
    "McKenzie even recycled a concept from the radical Matthew Bourne modern dance "Swan Lake" of 1995: a nasty, sensual youth seducing all the women at the ball, including the Queen Mother.
    "But, at the Orange County Performing Arts Center on Friday, McKenzie's patchwork edition proved far less noteworthy than his casting: international stars Nina Ananiashvili and Julio Bocca dancing together for the first time on any local stage."

Dance: Madame Butterfly
Northern Ballet Theatre
A good old crowd-pleasing tragedy
by Donald Hutera
"NORTHERN BALLET THEATRE must be breathing a collective sigh of relief. The Leeds-based touring company has just premiered the new artistic director David Nixon’s Madame Butterfly. Judging by his solidly-crafted piece of dramatic dance entertainment, it seems that the Canadian-born Nixon will provide NBT with the kind of artistic leadership it has lacked since the death of its guiding light, Christopher Gable, in 1998.
    "... This is the “danciest” NBT show in a while. The sheer amount of movement bodes well. The strength and articulation required to negotiate the fluid speed of Nixon’s writing is likely to raise the company’s performing standards."

Madame Butterfly
Northern Ballet Theatre
Grand Theatre, Leeds
by Judith Mackrell
"For choreographers hunting out ideas for a new story ballet, Madame Butterfly sounds like the obvious steal. Not only does its story line hit all the big, danceable emotions, but it comes ready-scored with its own fabulous music. The down side, however, is that Puccini's opera is such a hard act to follow. Why would anyone bother making a ballet of Madame Butterfly when it already exists in sublime theatrical form?
    "So the first tribute to pay David Nixon's ballet (his first as director of Northern Ballet Theatre) is how genuinely it succeeds in putting a new spin on the opera. During the opening scene, when Butterfly's father commits suicide, and during the staging of Butterfly's own terrible death, Nixon doesn't use Puccini at all. He goes back to the music-and-theatre ritual of kabuki, and at a stroke puts the conflict between Butterfly's Japan and Pinkerton's America at the heart of the tragedy. His lovers may meet for a perfect night, but they come from such different backgrounds they never have a chance to understand each other."

La Bayadère
Covent Garden
by Debra Craine
"One of those eager rivals is the 20-year-old Romanian Alina Cojocaru. Her debut as Nikiya was as impassioned as we have come to expect from this exceptional dancer. Whether horrified at the High Brahmin’s declaration, riding the wave of Solor’s love with girlish vivacity or crushed into plangent backbends at Solor’s betrayal, Cojocaru hummed with ardour.
    "Most surprising, however, was the way Petipa’s rigorous classical writing in the Kingdom of the Shades brought out the Russian training in her dancing. Gloriously articulated arms on top of splendid balances presented a comely classical package.
    "Angel Corella, a guest from American Ballet Theatre in New York, partnered Cojocaru for her debut performance. His Solor was a little too self-regarding for my taste, and he tends to deliver his pirouettes like a spray of Uzi bullets, but there’s no doubting the confidence he gave Cojocaru in their duets."

La Bayadère, Royal Opera House, London
Blackmail and sleaze - crucial for the corps
By Jenny Gilbert
"But the revelation of this cast was new girl Marianela Nunez as the rich bitch Gamzatti. Easy enough to act proud and petulant, but the character spilled into her dancing too, in solo after solo that exulted in her grisly supremacy. Watch out for Nunez: that creamy strength and gorgeously leggy line is something we'll be seeing a lot more of.
    "Finally, a brief recommendation of a very different Royal Ballet enterprise, which at £5 a ticket is surely the best dance bargain around. Upstairs in the intimate Clore Studio the work of aspiring RB choreographers gets an airing. Best of the recent batch was Vanessa Fenton's Knots, which explored the circular poems of R D Laing re-imagined as mobile phone txt msgs: clever, provoking, and full of dance ideas."

Black Choreographers Showcase 2002
Feet Propel 'Black Choreographers' Feats
Los Angeles Theatre Center
The Saturday program at this year's event proves to be a better showcase for the dancers than for the dance-makers.
"Although the program booklet at the Los Angeles Theatre Center read "Black Choreographers Showcase 2002," the Saturday installment of this four-performance series belonged body and soul to dancers rather than dance-makers.
    "Most of the new works leaned heavily on writings by Langston Hughes, Maya Angelou, Jerry Quickley and others, with the choreographers providing little more than a gloss on the spoken word: a light show, if you like, decorating the writers' profoundly expressed insights and feelings.
    "Moreover, none of the showcased choreographers invented the movement styles they explored, and none developed, extended or personalized them significantly. So their pieces looked imitative, even generic"

Ballett Frankfurt
Somewhat Elevated, But Mostly As It Was
Sadly, the choreographies William Forsythe presented as a premiere performance at the Frankfurt opera house were but an old trio of dances reinvented
By Jochen Schmidt
"Whenever William Forsythe proclaims his intention to incorporate some of the pieces he choreographed for other ballet ensembles into his own troupe's repertoire, one may be certain that something altogether different and new will emerge instead. In December, Ballett Frankfurt -- which Forsythe has led as artistic director since 1984 and as general director since 1999 -- announced that the program for a Forsythe production in February at the city's opera house would consist of three pieces which he originally created for the opera in Paris: "Pas./Parts," "Woundwork 1" and "In the Middle, Somewhat Elevated."
    "The finished product that premiered in Frankfurt on Thursday does indeed consist of three pieces, but all that remains of the original plan is the masterpiece "In the Middle, Somewhat Elevated," which the Frankfurt ensemble has had in its repertoire since 1988. The other two pieces have been replaced by "Approximate Sonata," choreographed for Frankfurt in 1996, and a premiere, which changed its title twice in the last few days until it was finally calledd "The Room as It Was."
Frankfurter Allgemeine link
{and ta to Brendan}

New York City Ballet
Using Russian Pictures to Tell a Bible Story
Prodigal Son bill
New York
"George Balanchine's "Prodigal Son" has always been a problematic classic. A somewhat willing 1929 collaboration by Balanchine, Prokofiev and Georges Rouault, engineered by Diaghilev for his Ballets Russes, "Prodigal Son" is a rough-edged evocation of the biblical story as depicted in a series of Russian pictures.
    "The ballet received mixed reviews when it was revived by the New York City Ballet in 1950, and was described by some as old-fashioned. "Prodigal Son" certainly looked as if it had outlived its time in a performance by City Ballet on Wednesday night at the New York State Theater."

Mark Morris
Schumann in the Key of 'V'
From Mark Morris, a Composer Soothingly Transposed
Washington, George Mason University Center for the Arts
By Sarah Kaufman
"Robert Schumann's Quintet in E-flat for Piano and Strings is rich, deeply textured music: The piano at times murmurs, at times races, while the strings build to an insistent clamor like cicadas in summer. It pulses with more emotions than one can comfortably experience. Mark Morris's "V," which he created to this work, is like a cool cloth to the forehead.
    "V," the finale of the Mark Morris Dance Group program presented this weekend at the George Mason University Center for the Arts, is easy on the eye. The colors -- half the group of 14 wear peacock blue, the other pale celery green -- are cool and restful. Much of the movement vocabulary in this new work, which received its local premiere, is loose and pedestrian: running, gentle knee bends, crawling on all fours. Lines of dancers merge and break off and coalesce again with pleasing regularity, following Schumann's melodies."

Bill T. Jones
Blur of Notion
From Bill T. Jones/Arnie Zane, New Works in Soft Focus
Washington, Kennedy Center Eisenhower Theater
By Sarah Kaufman
"Bill T. Jones has built a reputation as a provocateur, widely known for outspokenness onstage, for searing comment on the disenfranchised, for frank discussion of AIDS, for occasional nudity. Lately, his work has become quieter, more cerebral and less emotional. This weekend's program of new works by the Bill T. Jones/Arnie Zane Dance Company at the Kennedy Center Eisenhower Theater was nuanced and thoughtful but, lacking the strong focus of his earlier pieces, these works made less effective statements. "

Wim Vandekeybus - Ultima Vez
Scratching the Inner Fields
Tramway, Glasgow
by Alice Bain
"Belgian choreographer Wim Vandekeybus's latest piece works over a female cast like a beast, beating their bodies until blood is spilled. Soaked in an outpouring of furious story-telling, the women - five dancers and two actresses who dance well - blasted through a dark visceral view of life and death and birth and back again. One and a half hours fly by - this is a little miracle of modern dance.
    "The show was part of Glasgow's New Territories season, the umbrella title for the newly amalgamated festivals New Moves International and National Review of Live Art. Vandekeybus's company, Ultima Vez, returned to the city for the first time in 14 years. His work is serious and dense. Images pour from the stage, using words, dance, sound and music in a sampling technique that blends all four and remoulds them as one. Bodies become sound."

Alfred Rodrigues
by Mary Clarke
"The career of the South African dancer and choreographer Alfred Rodrigues, who has died aged 81, started in postwar London after his arrival on a troopship. He studied with the Russian Vera Volkova - Margot Fonteyn was a fellow pupil - and then joined the Sadler's Wells (now Royal) Ballet at Covent Garden, becoming a soloist in 1949 and ballet master from 1953-54..."

William Trevitt: Answer the questions!
Bring on the dancing boyz
"Question: Do you and Michael ever fall out over artistic differences?
"Answer: Never. One of us is always right and the other knows it."

Ian Albery and Sadler's Wells
SURVEY - CREATIVE BUSINESS: Bums on seats - by bus Sadler's Wells has harnessed oddball marketing to bring audiences over to dance
"WHEN Ian Albery, the outgoing chief executive of Sadler's Wells, looks back on his eight-year tenure, he will not only be pleased by the north London theatre's brand new building, its Pounds 42m Lottery grant and an enviable artistic and financial turnaround, but also by the way he has given the Wells, as it is known to aficionados, a new visual identity and strengthened its marketing capabilities.
    "Albery hired the design consultancy Spencer Landor to devise a logo that embodied the new theatre's brand values and helped take it from a "busted flush", as he puts it, to one of the most recognised dance theatres in the world."

Al Cielo con Ella
Moments of Fiery Flamenco Can't Save Disjointed 'Cielo'
Santa Monica's Morgan-Wixon Theatre
"In one of the odder attempts at an evening-length flamenco dance-theater piece (think fusion), "Al Cielo con Ella" (Toward Heaven With Her), under dancer-choreographer Abigail Caro's artistic direction, misfired Friday in the first of three weekend performances at Santa Monica's Morgan-Wixon Theatre. At times it seemed more like flamenco meets the Fillmore, with Jimi Hendrix-type electric guitar noodlings--albeit technically bright--emanating from the ax of Miroslav Tadic as he cranked out the late rocker's classic "The Wind Cries Mary."

Provocative ads cause a stir in New Zealand
"Arty adverts for theatre and dance, one featuring a pair of vertical lips and another a dancer's voluptuous bare bottom, have caused a furore in New Zealand art circles."

City Lap-dancer's fury at killjoys
By Staff Reporter
"Birmingham lap-dancer Daniella is mad that Birmingham churchmen and planners see lap-dancing as a cheap and tawdry death knell for the city's hopes of becoming European Capital of Culture...."

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Brendan McCarthymoderator

19-02-02, 10:08 AM (GMT)
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3. "RE: Tuesday Links - 19 February 2002"
In response to message #2
   LAST EDITED ON 19-02-02 AT 10:18 AM (GMT)

Some dance critics are trying to claim ice skating as an art form, but it's hard to get past the frozen smiles and smug cuteness, writes Michael Seaver of the Irish Times. "Restricting development with constant rule changes makes a mockery of dance critics' attempts to legitimise ice dance on artistic grounds. What's even worse is the face glitter, silk shirts and cheap showbiz. So why are critics so eager to review these works?"

And from the LA Times Jennifer Fisher on ABT's Swan Lake. "Kevin McKenzie's version of this classic grows on you--despite a few trouble spots; his streamlining often works; the added scenes that expand upon the creepiness of the sorcerer Von Rothbart make evil a more tangible presence than in mustier productions".

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19-02-02, 11:25 AM (GMT)
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4. "RE: Tuesday Links - 19 February 2002"
In response to message #3
   The ice-dance article raises some interesting points but the writer doesn't do much for his credibility when he pits the Chinese PAIRS skaters and their quad salchow throw against the Italian ice-DANCERS. I wish some of these reporters would leave it up to writers who actually know what they're talking about. With all the controversy this week, the newspapers have been spewing out one inaccurate article after another.

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19-02-02, 12:20 PM (GMT)
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5. "RE: Tuesday Links - 19 February 2002"
In response to message #2
   without a doubt i think jennifer dunning is cracked about the prodigal son. that ballet rates an entry in the 'what makes me cry' section...

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20-02-02, 09:24 AM (GMT)
Click to EMail AnnWilliams Click to send private message to AnnWilliams Click to view user profileClick to add this user to your buddy list  
6. "RE: Wednesday links - 20th February 2002"
In response to message #5
Today's links, with Brendan's assistance (they are getting harder and harder to do):

Ismene Brown reviews Madame Butterfly performed by the Northern Ballet Theatre at the Grand Theatre, Leeds
talk about damning with faint praise....
link to article

John Percival in the Independent on the African dance group Adzido at the Queen Elizabeth Hall '.... it is often the little things that prove most striking, such as the way the three principal women remove their shoes and lie down curled as if for sleep to suggest the heroine's death: so simple but so vivid. A comical way of marching marks out the British as much as the white half-masks on their faces.'

TheWashington Post on a mixed opera-ballet Kirov event:
The Kirov's Tchaikovsky Triple Delight
By Tim Page
Washington Post Staff Writer

This piece from the Sydney Morning Herald is about opera rather than dance, but I don't think I need an excuse for posting it. I loved the female conductor saying 'I refuse to try and dress up like a bloke' (try saying that in an Aussie accent....)
Opera gets sexy

The Frankfurter Allgemeine reviews Joachim Schlömer's "The Tears of Heaven", a synthesis of Baroque tragedy and contemporary dance. "Those prepared to abandon themselves to the long, uninterrupted flow of music and images will be rewarded by one of the most beautiful productions European theater currently has to offer".
Link to article¸ÿª3®3²3¶3º3¾3Â3Æ3Ê3Î3

The Business Day. published in Johannesburg reviews South Africa Ballet Theatre's Coppelia. "The company's survival is little short of a miracle. Principal dancers maintain high standards Anya Carsten's neat technique and demure looks are perfect for the soubrette role of Swanhilda. With money tight, ballet lovers should expect a fairly solid diet of classic works in the public domain, which cost little in the way of performance rights.".

And from the Nairobi paper the Daily Nation, this.
"For a muscular, athletic Afro-Brit of 22, Daniel Caines felt distinctly out of place. There he was at the Royal Ballet theatre in Birmingham surrounded by lithe male dancers in tights and little girls in tutus. I wondered what on earth I was doing, Daniel recalled. But 15 minutes later, he, too, was dancing, at least figuratively, a jig of joy and gratitude". It's actually a piece about their physiotherapy unit.

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Brendan McCarthymoderator

20-02-02, 10:54 AM (GMT)
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7. "RE: Wednesday links - 20th February 2002"
In response to message #6
   Try this for the Frankfurter Allgemeine
Link to article

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20-02-02, 11:14 AM (GMT)
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8. "RE: Wednesday links - 20th February 2002 (2)"
In response to message #7
   Sanjoy Roy in the Guardian on La Cuadra de Sevilla's 'Carmen' at Sadlers Wells:


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21-02-02, 08:50 AM (GMT)
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9. "RE: Wednesday links - 20th February 2002 (2)"
In response to message #8
   LAST EDITED ON 21-02-02 AT 09:52 AM (GMT)

LAST EDITED ON 21-02-02 AT 09:48 AM (GMT)

Rather a lean day today, but we'll keep on looking.

From the Independent (via the FT), more faint praise for NBT's Madam Butterfly:
'....I'm still not sure how justified this picture- book view of oriental exoticism is now: there would be outrage if anyone tried the same approach on an African subject. Also, I must confess that Puccini's music, although effectively arranged by John Longstaff, reminded me why I long ago stopped going to this opera.'

Rachel Howard in the San Francisco Examineron SFB's 'Dances at a Gathering'

'Opening night brought a peculiar combination of untouchable stars and safe bets. Hence we got Lucia Lacarra, SFB's controversial -- and soon-departing -- princess of the glamour smile and double jointed extension, as the Girl in Pink. And we got Roman Rykine, an inoffensive but emotionally constrained dancer -- when he tries to affect a sigh of contemplation, it comes across as a sigh of relief, so sympathetic are you to his obvious self-consciousness -- as the Man in Brown.'

Deborah Jowett in the Village Voice on the week's dance scene in New York.

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21-02-02, 10:57 AM (GMT)
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10. "RE: Thursday links - 21st February 2002"
In response to message #9
   Sorry, I forgot to change the date on these previous posting - those are today's (Thursday's) Links.

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21-02-02, 11:39 AM (GMT)
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11. "RE: Thursday links - 21st February 2002 (2)"
In response to message #10
   Luke Jennings in the London Evening Standard on a rash of Carmens (operatic and balletic):


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21-02-02, 01:12 PM (GMT)
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12. "RE: Wednesday links - 20th February 2002 (2)"
In response to message #9
   Ismene Brown's review of Carmen/Julio Bocca is available in the Telegraph today, as are Donald Hutera's and Clement Crisp's of Carmen in the Times and Financial Times, respectively. No idea whether any of them are available electronically yet.

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22-02-02, 00:06 AM (GMT)
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13. "RE: Thursday links - 21st February 2002"
In response to message #9
   just came acrosss this one. Nice to see and I do linke a good Giselle myself...

Boston Ballet
Passion flares in classic
Boston Ballet in ``Giselle,'' at the Wang Theatre
by Theodore Bale
"Since it was first shown in 1841, Coralli and Perrot's romantic ballet 'Giselle' has been performed thousands of times, by hundreds of companies. As presented by Boston Ballet last night at the Wang Theatre, though, it felt like a world premiere.
    "Maina Gielgud's intelligent staging of this beloved classic is elegant, cohesive, and full of passion. Her interpretation isn't a self-indulgent, revisionist one, but rather a carefully considered recognition of the story's fundamental truths.
    "The rehearsals must have been challenging ones for the dancers, because Gielgud has provoked them into a resulting performance that is both technically flawless and full of extraordinary acting."

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22-02-02, 09:32 AM (GMT)
Click to EMail AnnWilliams Click to send private message to AnnWilliams Click to view user profileClick to add this user to your buddy list  
14. "RE: Friday links - 22nd February 2002"
In response to message #13
Ismene Brown on Julia Bocca at the Peacock Theatre (this review appeared in the paper yesterday, but has only appeared online today.)

'Piazzolla Tango Vivo is a lot of fun, particularly when Bocca drives himself mad with lust on a black bed, getting into such a sweaty fuss that when the elegant lady does arrive, she wrinkles her refined nose and stalks away.'
link to article

Judith Mackrell in the Guardian (via an FT link) on Bocca's troupe:
'Julio Bocca may take centre stage in much of the repertory danced by Ballet Argentino, but he clearly does not run his small touring company as a vanity troupe. Bocca's career as principal with American Ballet Theatre could thrive without another group, and he seems committed to giving dancers from his native Argentina the chance to perform in some decent theatres and choreography'

Debra Craine in the Times on Bocca:
'The first half of the evening is either mildly entertaining or deadly dull, depending on your dance point of view. Robert Hill is responsible for Encuentros, a simpering tale of lyrical classicism made virtually unwatchable by the bad costumes, Kurt Atterberg's over-ripe score and a perfectly dreadful central duet. You can't put men in their underwear and then expect your ballet to be taken seriously.'

Anna Kisselgoff in the New York Times on NYCB in Jerome Robbins' 'Fancy Free'

'Leonard Bernstein's first ballet score remains evergreen, filled with jazz and Latin rhythms, as well as urban romance. Robbins's genius for psychological insight built into movement telegraphs the human warmth under the virtuosic brilliance. ,

Finally, a heart-warming story from the Ananova news service:

Jonathan takes to the dance floor despite handicap
An eight-year-old boy who had his leg amputated after catching meningitis has found he has a talent for ballet.


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22-02-02, 09:45 AM (GMT)
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15. "RE: Friday links - 22nd February 2002 (2)"
In response to message #14
Piece from 'The Scotsman' on Northern Ballet Theatre and its AD David Nixon

'DAVID NIXON admits he's demanding. He's demanding of his dancers and he's demanding of himself. He needs to be - he has recently taken over one of the most demanding jobs in British theatre. Appointed as artistic director of Northern Ballet Theatre last August, Nixon sits backstage at the Leeds Grand Theatre Opera House during a break in rehearsals for the first of his productions to be premiered in Britain - Madame Butterfly. '

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Bruce Madmin

23-02-02, 08:29 AM (GMT)
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16. "Saturday Links - 23rd February 2002"
In response to message #0
   .. a busy day...

Romeo and Juliet
Fatal attraction
It's been done as high art, as hip-hop, and even without the leading lady. Judith Mackrell explores ballet's fascination with Romeo and Juliet
by Judith Mackrell
"Shakespeare's tragedy of adolescent love and hormonally crazed poetry has inspired choreographers for centuries. One of the first recorded ballet stagings of Romeo and Juliet was Vincenzo Galeotti's for the Royal Danish Ballet in 1811. Yet we tend to think of Romeo and Juliet as a 20th-century work, thanks to the fantastically popular ballet score that Sergei Prokofiev composed in 1935. This monumental three-act work (with a libretto faithfully pinned to Shakespeare's text) has made Romeo and Juliet one of the worlds most frequently staged ballets .Proof of its status as "a warm-weather Nutcracker" will shortly be seen when two of Britain's major companies revive productions of the ballet."

Richard Alston
Gardner Arts, Brighton
by Donald Hutera
"RICHARD ALSTON’s troupe, midway through a spring tour, fared well this week in Brighton. The choreographer’s dances looked uncrowded and handsome in a venue not always known for showing a company off to its best advantage. The dancers who joined Alston last year have been broken in, the entire ensemble acquiring a unity absent from their autumn performances. Now it’s as if they are all breathing the same air...."

La Bayadere, Covent Garden
Druggy visions By Louise Levene (on the Tiscali site)
"There were ugly rumblings when the current Covent Garden season was first announced and spirits sank at the prospect of a solid diet of narrative ballets danced to musical lightweights such as Minkus and Adam. And yet, after last month's anaemic Memories programme (Ross Stretton's first stab at a three-course menu) it was a pleasure to savour the spiced ham of La Bayadere and to relish how well the company can dance this delicious old ballet. "

Madame Butterfly, Grand Theatre, Leeds
An American in Nagasaki
By John Percival
"David Nixon, NBT's new artistic director, clearly has a facility for stringing steps together and keeping the dancers applause-catchingly busy; but it was in quieter passages, starting with Pinkerton's reflective solo before his wedding night, that he revealed both more originality and more expressiveness of movement."

Jan de Schynkel
He's the Daddy of the dance
Choreographer Jan de Schynkel's career has taken great steps.
MARY BRENNAN talks to him about his new work which first foots in Dundee
"For some choreographers, thinking up the title for a new piece can be as taxing as making the actual steps. Should it - like the varnish that does what it says on the tin - tell audiences what they should expect to see? Should it be a joke they won't get until the end? Or - and this is Jan de Schynkel's forte - should it make you curious, intrigued . . . like the forthcoming Daddy I'm Not Well, which receives its premiere in Dundee tomorrow night.
    "De Schynkel describes it as "a phrase which could have resonance on many levels, a phrase that is meant to ring a bell with people but also make them think 'what could that be'. And yes, the title was there before I started working." As was his choice of music, most especially a section of Bach's St Matthew Passion that had been in mind for quite some time - "always, when I heard it, I imagined a duet with two men," he says, adding that the rest of the piece has grown from, and around, it."

Royal Winnipeg Ballet
Secret of Giselle's heart
thanks to BalletAlert for sluthing this one...
England's greatest living choreographer, Sir Peter Wright, has been directing ballet's tragic sweetheart Giselle for decades but he insists on finding a fresh approach for a contemporary audience
by Michael Scott
"In many productions, Giselle, maddened by the betrayal of Count Albrecht, dances herself into a kind of dementia, and then drops dead of a variety of broken heart.
    "This doesn't wash with Sir Peter, who insists that his Giselles snatch up Albrecht's sword during the dancing scene, and do themselves in.
    ""I'm quite impatient with people who go on about Giselle's mad scene," he says, "To me, madness is about mental illness and she's just simply not mad in that sense. For me, Giselle is a very, very young girl, who is suddenly overcome by the misery of being disavowed. Let's face it, it wouldn't make her go mentally sick. It might unseat her reason, but it wouldn't make her go berserk."

Making a crisis out of a drama
Critics always make a fuss about radical retellings of the classics
by Mark Lawson
A interesting piece though from a man of culture if not a man fully convinced of ballet and dance - his earlier 'Whats the point of ballet?' was a stimulating read too.
"The reason that dance manages to sidestep the imposition of preservation orders on the classics is that ballet is formally divided into two styles - classical and modern - with choreographers and audiences tending to opt for one or the other. In theatre and opera, ticket-buyers frequently observe the same divide - booking for Mozart but not for Birtwistle - but directors move between new work and venerated texts, often bringing to the latter the techniques of the former. Unless this expectation of a conservative approach to old works can be eradicated, operas and theatres will suffer these fusses...."

Australian Ballet
At 40, let the party begin
By Robin Usher
"The Australian Ballet's artistic director, David McAllister, has few illusions about why the company has made an impact on the national consciousness.
    "``Having a good standing overseas always seems to go down well in Australia,'' he says. ``People seem to know we're here, whether they come to support us or not.''
    "But that international standing and impact at home has been achieved in a relatively short time - the company is celebrating its 40th anniversary this year."

Alvin Ailey American Dance Theater
High energy from Ailey dancers
Troupe's steady growth is striking
by Octavio Roca
"Somewhere in dance heaven, where surely he must be, Alvin Ailey is smiling with pride.
    "Under Judith Jamison's watch, his Alvin Ailey American Dance Theater is looking as good as ever. And Wednesday night's varied and vastly entertaining program at Zellerbach Hall, the company's second in this latest run, showed that the Bay Area's love affair with the Ailey dancers only grows stronger with each season. The cheers were long, and they were deserved.

Washington Ballet
Washington Ballet's Worldly 'Icons!'
Kennedy Center, Washington
By Sarah Kaufman
"The Washington Ballet chose "a quintessentially American program" for its winter series, Artistic Director Septime Webre told the audience Thursday night at the Kennedy Center's Eisenhower Theater.
    "Titled "Icons!", it featured works by Twyla Tharp, Antony Tudor and Paul Taylor, icons indeed. But Webre's comment must have left a few folks scratching their heads, since the evening's centerpiece, "Dark Elegies," was created in England by the London-born Tudor a few years before his move to the States. It is accompanied by Mahler's mournful "Kindertotenlieder," sung, of course, in German."http://www.washingtonpost.com/wp-dyn/articles/A55486-2002Feb23.html

Washington Ballet
Washington Ballet artfully versatile at KenCen
Kennedy Center, Washington
By Jean Battey-Lewis
"One of Antony Tudor's greatest works, "Dark Elegies," is the centerpiece of the Washington Ballet's not-to-be-missed program being danced this weekend at the Kennedy Center.
    "The company rises to the challenge of Mr. Tudor's starkly beautiful and moving meditation on loss and bereavement, set to Gustav Mahler's "Kindertotenlieder (Songs on the Death of Children)."

RJC Dance Productions
J to R&B
Contact Theatre, Manchester
by Stephanie Ferguson
"The latest showcase from RJC Dance Productions (it stands for reggae, jazz and contemporary) rounds off three years of club dance projects aimed at young people. The dancers - De-Napoli Clarke, Douglas Thorpe and artistic director Edward Lynch - home in on jazz, taking inspiration from the hoofing Nicholas brothers, among others. "

Pascal Rioult Dance Theatre
Rioult's company dares to dance with familiar scores
New works use Ravel pieces
by Allan Ulrich
"One of the more gratifying surprises of this dance season, the Pascal Rioult Dance Theatre, arrived without much advance ballyhoo and drew a pitifully meager audience Friday evening during the first of its two-night Bay Area debut run at the University of California at Berkeley's Zellerbach Hall. Absent parties fooled only themselves. Rioult proved extremely daring simply by going where many choreographers have gone before him."

Poking Fun at Social and Sibling Customs
New York dance
"eely Garfield calls her dance company Sinister Slapstick. It is an inspired name, considering her deftly subversive outlook. But the slapstick has diminished considerably in recent years and was almost nonexistent in a program of new dances Ms. Garfield presented on Wednesday night at the Duke on 42nd Street.
    "Wild imagination and a shrewd and comical sense of social custom are other ingredients in Ms. Garfield's distinctive choreography, and all were evident on Wednesday. Now she is working with a palette of restricted colors: grays and light red- blues, perhaps, shot through occasionally with her obsidian wit. One misses the bright brief scarlet eruptions of earlier days."

3 Premieres for a Juilliard Anniversary
New York dance
"The Dance Division of the Juilliard School could hardly have offered a better 50th-anniversary program than the bill of new works by Robert Battle, Lar Lubovitch and Ohad Naharin that it is presenting through tomorrow afternoon."

Sylvia Soumah
Dancing Their Stories
"The Year of the Griot."
By Lisa Traiger
"SYLVIA Soumah came to love African dance because the drums were loud enough to drown out her infant son's noise during dance classes. That baby is now a teenager who drums with Soumah's Washington-based Coyaba Dance Theater, one of the region's flourishing African dance and musical ensembles.
    "Soumah and her troupe of 11 dancers and four drummers celebrate the African tradition of storytelling this weekend at Dance Place in a performance of instrumental music, song and dance she has titled "The Year of the Griot."

Tess de Quincey
Nerve 9 on the edge of the arcane
Dancehouse, Melbourne
Bodyworks Program 4 - Tess de Quincey
by Vicki Fairfax

Noche Flamenca
Music and movement, beautiful and dark
NOCHE FLAMENCA, Athenaeum Theatre, Melbourne

Julio Bocca
by Judith Mackrell
Heres the Guardian link rather then the via FT one:

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Bruce Madmin

24-02-02, 07:47 AM (GMT)
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17. "Sunday Links - 24th February 2002"
In response to message #0
For those who rush in and may have missed dept... some reviews/discussions on Ballet.co:

Outside In, Clore Studio, ROH, 22nd February

NBT Madame Butterfly, Leeds Grand, 18th February 2002

Dance: She floats like a butterfly
Madame Butterfly, Leeds Grand
At times they lose the plot, but NBT’s adaptation of Puccini’s opera is ravishing to look at, says David Dougill
By David Dougill
"Neil Westmoreland’s Pinkerton is a fresh-faced, cheery chap, but his character feels thinly developed. Chiaki Nagao (who is authentically Japanese) does find depths to her role: charmingly giggly at suitable moments, palpably falling more and more in love with Pinkerton in the course of a long and passionate duet, and completely convincing in her tragedy. Her relationship with the maid Suzuki (Pollyanna Th’ng) is expressed with subtle tenderness."

RB, Ballet Argentino, La Cuadra de Sevilla
How to flog a dead horse
The stallions are the only spontaneous thing about this Carmen - and even they could be whipped into shape
Carmen La Cuadra de Sevilla, Sadler's Wells, London EC1
Ballet Argentino Peacock Theatre, London WC2,
La Bayadère Royal Ballet, Royal Opera House, London WC2
by Jann Parry
"The problem with flamenco is that it cannot carry narrative. In this production, story and emotions start at fever pitch. Carmen (Lalo Tejada) is already in a state when we meet her. She clutches her head, shakes her fists, lashes the top layer of her skirt and pounds her feet. Don José (Marco Vargas) conveys his love and sympathy by throbbing his heels, slapping his thigh and flicking his long, unsoldierly hair.
    "Then they get really upset. Carmen throws a political tantrum on behalf of Andalusia. Don José goes berserk when he catches her dancing with a stallion. He stabs her, the military shoots him and the horse opera ends in a thunder of blood, roses, church bells, incense and braying bugles. Performances remain undimmed since the production last appeared at the Wells three years ago. Plenty of conviction but no spontaneity, unless the horse gets spooked."

Comment: Television: BBC4: What about the big picture?
The launch of BBC4 will bolster the corporation’s flagging coverage of the arts. But is it a sign of the BBC’s commitment to catering for all tastes, or a dumping ground for programmes that lack mass appeal? Bryan Appleyard reports.
"Hambley is upset because the channel represents the use of public money to compete against established commercial stations like Artsworld. Financially, BBC4 is — like the BBC’s two new digital channels for children — the fruit of Greg Dyke’s regime of management cost-cutting at the corporation. By, among other things, stripping out John Birt’s consultants, Dyke has made more money available for actual broadcasting. In addition, he has the bonus of a licence-fee settlement well above inflation, at a time when his commercial competition is being slaughtered by an advertising recession. As a result, BBC4 has £35m to spend on programmes in its first year. But, as an angry Hambley points out, the real-world cost of the channel is much more than that. “The real budget is at least twice that,” he says. “Once you factor in cross-promotion, marketing and other overheads.”
    "What we get for that money is an odd, though promising, hybrid. It starts at 7pm and ends in the early hours of the morning. It is free (Artsworld costs £6 a month). There will be a half-hour news bulletin at 8pm, anchored by George Alagiah, followed by a half-hour talk show, profile or books show. A documentary or performance will form the 9pm centrepiece. Elsewhere, there will be current affairs, films (largely non-Hollywood) and a documentary series under the old BBC2 name of Storyville. The motto tying the whole thing together is: “Everybody needs a place to think”.

Paul Taylor
Paul Taylor: Loving America, and Voting With His Feet
"PAUL TAYLOR likes American flags, especially the ones that have been flying all over New York since Sept. 11. "Aren't they something?" he said cheerfully. "When you used to see a flag on a car, it usually meant a redneck. Now everybody's doing it. It's kind of nice!"
    "Mr. Taylor, who is 71, started putting out more flags long ago — onstage, and with his fingers crossed. In 1965, he choreographed "From Sea to Shining Sea," a "Waiting for Guffman"-like dance pageant gone wrong whose all-American cast included such not-quite-familiar faces as a frazzled, anxious Miss Liberty and a slightly camp Hell's Angel. Sometimes he expresses his fascination with American history directly, as in "Company B" (1991), a wrenching portrait of love and death in World War II set to peppy 78's by the Andrews Sisters, or "Oh, You Kid!" (1999), in which a chorus line of Ku Klux Klansmen cavorts to ragtime. At other times he makes his points by stealth, perhaps most alarmingly in "Big Bertha" (1970), in which a squeaky-clean nuclear family is blown to smithereens by a chance encounter with the malevolent mechanical woman who inhabits a nickelodeon.

Feel the noise
Ten million people in 36 countries have seen it. Now Stomp, the unique blend of high-energy dance and percussion, is coming home, writes Vanessa Thorpe
By Vanessa Thorpe
"They should have gone on to get responsible jobs. Clearly, those dungarees with rolled-up trouser legs and that noisy street performing would not lead anywhere. But Steve McNicholas and Luke Cresswell never shook off their obsession with entertaining people and now they are sitting at the heart of an international empire.
    "Stomp, the high-precision, high-energy dance and percussion show they created together, is one of Britain's most successful entertainment exports. Ten million people in 36 countries have seen it, five casts perform it in five cities (a sixth company arrives this year) and it plays to 90 per cent average box-office. Unlike other major British entertainment exports - Andrew Lloyd Webber or Mr Bean - the Stomp brand has a low profile at home. McNicholas and Cresswell control their global business from tiny offices in Brighton."

Lori Nichol (who!?)
Creating New Moves for the Ice
"LORI NICHOL created the choreography for 11 different programs skated during the Winter Olympics. But few people watching ever heard her name — except when Jamie Salé and David Pelletier, the Canadian pairs skaters with whom she works, made headlines after they were involved in a dispute that resulted in their sharing a gold medal with a Russian pair.
    "Though she is one of the world's leading figure- skating choreographers, Ms. Nichol is rarely acknowledged in the way choreographers working with dancers often take for granted. She is well-known within the insular world of skating, whose devotees conduct lively online debates about "who is the best choreographer?" But even at a time when there are so many showcases for figure-skating choreography — in addition to amateur and professional competitions, there are frequent television specials, touring shows and nonprofit skating troupes that operate much like dance companies — not much attention is paid to those behind the moves.

ODC/San Francisco
ODC's 'Light' makes for serious gala
"Dancing Downtown" season, Yerba Buena Center, San Francisco
by Allan Ulrich
"Remember when galas were supposed to be all sweetness, merriment, light and glitz? ODC/San Francisco, one of the area's leading modern dance repertory companies, is having none of it.
    "The troupe launched its annual "Dancing Downtown" season Thursday evening at Yerba Buena Center for the Arts Theater with an exuberant outing for an associated teenage company, Dance Jam, and a couple of jolly oldies. However, in their midst, artistic director Brenda Way introduced her "Raking Light." Sweet and merry it definitely is not, and the light is debatable, too. An intense, 22-minute opus made for the entire company and set to "Eleven Windows, " Jay Cloidt's fascinating tape-cum-live string quartet score (composed for the Kronos Quartet), it lent new meaning to partying."

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Bruce Madmin

24-02-02, 08:12 AM (GMT)
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18. "RE: Sunday Links - 24th February 2002"
In response to message #17
   Some more Boston Ballet, Gielgud "Giselle" links. Watch out Peter Wright!

Boston Ballet
Boston Ballet injects big dose of passion to the classic ‘Giselle’
By IRIS FANGER, The Patriot Ledger
"Gielgud has sharpened the story of the peasant girl who is unlucky in love by clarifying the mime sections and encouraging the dancers to endow the characters with an outsized passion. She has looked to the 19th century manner of dancing, particularly in directing the women’s ballet technique to suggest a skimming over the earth, as if gravity could hardly hold them, rather than an emphasis on virtuosity.
    "The look-how-high-I-can-raise-my-leg school of dancing has been exchanged for a sweet tilt to the women’s heads peeking out from under curved arms and a quickened pacing, except in the adagio or slow passages when the dancer is allowed to sink into the music. There’s no absence of breath-stopping passages, but they are always in the service of the overall effect.
    "Moreover, Gielgud underlined the supernatural aspects of Act II, when the Wilis - women who died before their bridal day and turned into spirits - come out to dance in the moonlit forest. She brings them on and off stage as if they were materializing from the mists and shadows, then fading back again."

Boston Ballet
Cabrioles at dawn
Maina Gielgud returns to Boston Ballet with Giselle
"This is about as traditional a Giselle as you’re likely to see anywhere. Gielgud even restores some of the assets that have gotten excised from the ballet in the interest of modernizing. The tasteful sets and costumes by Peter Farmer, borrowed from the Australian Ballet, where Gielgud first did this revival, suggest the rustic village and neighboring forest. A front curtain depicts a dreamy landscape framed by Greek pillars with a gauze curtain draped around the edges, thus establishing the whole ballet as a kind of theatrical genre painting.
    "There’s no way to recover the authentic original Giselle, or even to identify the specific contributions of the formative choreographers, Jean Coralli, Jules Perrot, and Marius Petipa. Like all historic ballets, Giselle is a mutable object, shaped by what worked and who danced it, what was forgotten and how new things were pasted in, and a thousand other accidents over time. But there’s a greater degree of consensus about Giselle than there is for other classics; the steps and the music seem as if they could fit together in no other way.
    "My one reservation about the Boston Ballet production is that it has " romance " but no sex. It’s unfortunate that the contemporary idea of romanticism is so sugary and innocent. The Romantic movement seized the imagination because it included what was forbidden as well as what was morally approved. In Giselle, death, sex, and the unknown determine the main characters’ lives as much as their station in life and their virtue."

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Bruce Madmin

24-02-02, 12:23 PM (GMT)
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19. "RE: Sunday Links - 24th February 2002"
In response to message #17
   I've learned a bit more about the Scottish papers this morning!
(but probably not everything!!)

NBT + Narrative dance
Let me dance you a story
Great choreographers don’t want, writes Christopher Bowen, overly concern themselves with narrative. The only problem comes when that’s exactly what crowds

Win Vandekeybus
Scratching the Inner Fields
Ultima Vez, Tramway, Glasgow
By Christopher Brown
"THERE is an edgy desperation to the work of Win Vandekeybus. Glasgow audiences first witnessed this in 1988 in the Flemish choreographer’s celebrated debut piece What the Body Does Not Remember in which Vandekeyus’s dancers, like a gang of overgrown street urchins, played games with flying bricks. Back in Glasgow for the launch of New Territories, it is clear that while the setting may have shifted for the choreographer’s latest work, Scratching the Inner Fields, life in Vandekeybus’s world is still dangerous.
    "No one runs the risk of being felled by a brick in Scratching, but as the all-female cast emerge from the shadows at the opening, they do so to collect damp, fleshy membranes that fall from the sky and land with a ‘splat’ on the floor. Scrambling about the stage and squabbling as they gather this hoard, the women seem more like a tribe of scavengers in a Discovery Channel special."

Scottish Arts
Scots getting theatre ‘on the cheap’
{No mention of Scottish Ballet or dance but useful background material on some of the issues around SAC and the Scottish arts in general}
"KENNY Ireland, the outgoing director of the Royal Lyceum Theatre Company, has launched a stinging attack on Scotland’s arts establishment for providing "theatre on the cheap".
    "Ireland, in an exclusive interview with Scotland on Sunday, warned that the country’s under-funded theatres were in danger of being "swamped" by better funded English companies.
    "The Scottish Executive also comes under fire from Ireland for not having a dedicated minister for culture with a seat in cabinet."

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24-02-02, 01:02 PM (GMT)
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20. "RE: Sunday Links - 24th February 2002"
In response to message #19
   Darcey Bussell is featured with her business partner Lindsay Taylor in the Independent magazine and Yosvani Ramos of the ENB is in the Sunday Times magazine.

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Bruce Madmin

25-02-02, 06:07 AM (GMT)
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21. "RE: Sunday Links - 24th February 2002"
In response to message #20
   alas neither seems to be available electronically

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