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Subject: "Latest Review Links - wb 25 February 2002" Archived thread - Read only
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Conferences What's Happening Topic #2521
Reading Topic #2521
Bruce Madmin

25-02-02, 06:57 AM (GMT)
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"Latest Review Links - wb 25 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.

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:

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 - 25 February 2002 Bruce Madmin 25-02-02 1
  Tuesday Links - 26th February 2002 Bruce Madmin 26-02-02 2
     RE: Tuesday Links - 26th February 2002 Bruce Madmin 26-02-02 3
         RE: Tuesday Links - 26th February 2002 Viviane 26-02-02 4
             RE: Wednesday links - 27th February 2002 AnnWilliams 27-02-02 5
                 RE: Wednesday links - 27th February 2002 Brendan McCarthymoderator 27-02-02 6
                     RE: Thursday links - 28th February 2002 AnnWilliams 28-02-02 7
                         RE: Thursday links - 28th February 2002 Brendan McCarthymoderator 28-02-02 8
                             RE: Thursday links - 28th February 2002 (3) Brendan McCarthymoderator 28-02-02 9
         RE: Tuesday Links - 26th February 2002 PhilipBadmin 28-02-02 10
             RE: Friday links - 1 March 2002 AnnWilliams 01-03-02 11
  Saturday Links - 2 March 2002 Bruce Madmin 02-03-02 12
  Sunday Links - 3 March 2002 Bruceadmin 03-03-02 13

Conferences | Topics | Previous Topic | Next Topic
Bruce Madmin

25-02-02, 07:01 AM (GMT)
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1. "Monday Links - 25 February 2002"
In response to message #0
   Not a great start to the week, but some of the papers are slow today - will check again later...

RB + Ballet Argentino + Carmen
Deafening Hispanic angst
La Cuadra de Sevilla's Carmen. London, Sadler's
Ballet Argentino, London Peacock
Royal Ballet La Bayadere
Royal Opera House Artists' Development Initiative
By Louise Levene (on the Tiscali site)
On Carmen..."Taking the full blast from Sadler's Wells stalls was pure ear-melt but entirely typical of the show's relentless and unvarying misery: no laughter; no sensuality; no pathos, just a sustained blast of Hispanic angst, intensified by the yowling, mozarabic melisma of the three fine singers.
    "The dancing is bashed out with the same kind of dogged fury. Flamenco is not an ideal narrative medium but a sexy, violent melodrama such as Carmen is tailor-made for its pride and sensuality. Unfortunately Tavora doesn't give the dancers any room to breathe. Carmen and Don Jose mostly articulate their frustrations in a monotonous, heavy-footed style that is no more expressive than the practised clatter of the horse's hooves."

Modern and less modern art
Finding meaning in modern art's methods
An interesting piece that is primarily about the visual arts but the parallels with dance are there and it includes the Yvonne Rainer, '65 dance manifesto: 'No to spectacle no to virtuosity no to transformations and magic and make-believe''
By Christine Temin
"Connoisseurship in art history involves intricate visual analysis, often of two related works placed side by side, stimulating the curatorial mind to make calls on matters such as whether a painting is by a master or is ''school of.''
    "There are other ways of approaching art: Scholars focused on iconography, for instance, can do much of their work from slides and books. But connoisseurship relies on the real thing, not reproductions.
    "Connoisseurship looks at the end product, while much contemporary art is process-oriented. Some contemporary works are the result of artists inventing and then following a set of instructions, or unraveling traditional representation, or limiting an artwork to a strategy such as moving around the perimeter of a field. In this sort of art, audiences need to know the rules of the game, not just what the result looks like.

Artus (mixed media)
LIVE REVIEWS: Hungary for a narrative line
Noah Trilogy
Tramway, Glasgow
by Mark Brown
"HUNGARIAN culture is famed for its rich folk tradition and its place in the development of European classical music. Both appear in the Artus company’s three-and-a-half hour long mixed media extravaganza...."

Maureen Fleming
Childhood accident shapes choreographer's 'Eros'
Boston, Emerson Majestic Theatre
By Catherine Foster
"Asked why she sometimes performs nude, Fleming says, ''The female body has been a potent image throughout the history of art. One of the reasons it's a strong and expressive image is that it's universal. As soon as clothes are put on, there's a time and place.
    "''I've always looked for those elements in dance that point toward what is universal about the journey of the soul,'' she adds. ''I do this in the hope that at some point in our evolution we can understand that we as humans share more than we are different.''

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Bruce Madmin

26-02-02, 08:25 AM (GMT)
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2. "Tuesday Links - 26th February 2002"
In response to message #0
   Henri Oguike Dance Company
Ismene Brown reviews the Henri Oguike Dance Company, touring
By Ismene Brown
"YOU can go to the theatre for months, getting pleasure but without quite having that frisson of excitement that marks out the best evenings of your dance-going life. And then you find it in a tiny school theatre under the A40 flyover in London. Henri Oguike was an eye-catching dancer when he was with Richard Alston's company, his dark looks paired with a scything decisiveness about his way of moving.
    "But not until he launched his own company in 2000 did it become clear how rich his own imagination might be and, moreover, how musical. There are gifted movement-makers around, but the ear for great music is rarer, and even rarer the eye for what will look memorable as well as feel right. And here is Oguike, not just choosing Shostakovich and Bartok as his muses for his latest dances - two composers with whom you do not fool around - but insisting on live performance, of the Shostakovich at least. A man who thinks large, whatever the conditions, is someone interesting to know."

Wayne McGregor - Random Dance
Random Dance Company - Nemesis
by Luke Jennings
"In one of the most bizarre art events of the year, choreographer Wayne McGregor has teamed up with Jim Henson's Creature Workshop to transform a company of dancers into insects. In McGregor's futuristic ballet Nemesis, which premieres at Sadlers Wells next month, the 10-strong Random Dance Company will perform with prosthetic steel extensions fitted to their arms.
    "Modelled on the multiply-jointed arms of the praying mantis, these more than double the dancers' reach, and can be used both as pincers and as weapons.
    ""I am interested in altered states of humanity," says McGregor. "The piece is about mutation and change."

David Nixon - NBT
Off the right foot
Stepping into the shoes abruptly vacated by Stefano Giannetti, David Nixon has turned around one company's fortunes, says MARY BRENNAN
""My work is, I know, technically demanding. To do my work you have to be what we call 'on your leg'. That's different from what an audience might understand by that. I see it as being able to move on pointe in a contemporary way. I want contemporary smoothness, a liquid pointe-work, a suspension in the movement, a floating quality to the pas-de-deux. Pointe-work that has more to it than the girls just going up and down."
    "It's this approach that his wife, Yoko Ichino, has been teaching in class. Madame Butterfly was created for her, and it is her delicacy and musicality that Nixon choreographed into the central role. He's chosen to revive it - rather than create a newwork from scratch - partly because he's still getting to know the company.
    "And they're still getting to know him. "It's a bit of a gentler approach to my vocabulary than some of my other pieces," he says with a hint of a smile. "They're more difficult to dance in terms of pointe-work and partnering."

Sasha Waltz
An Abstract Megalomania of Aestheticism
By Wiebke Hüster
"BERLIN. Choreographer Sasha Waltz has always used the space at the Berliner Schaubühne theater very effectively. In "noBody," the final chapter in her trilogy about man and body, she again proves that a bare stage is the most powerful setting. The huge concrete apse of the Schaubühne lies open and visible, just as it did a little more than two years ago in Waltz's first ballet performed here, Körper (Bodies). The nine openings on the right and left sides and in the middle of the semicircle are sealed off by large frosted glass doors. Behind the windows of the upper two floors, dancers appear like silhouettes or colorful ghosts, and then enter the stage through the lower three gaps between glass and concrete."
Sasha Waltz interview

Ballet Argentino
Dance: Ballet Argentino, Peacock Theatre, London
How to disenchant the Latin lovers
Review by Nadine Meisner
"Ballet Argentino uses simple means – with lighting as the only décor and rather poor-quality musical reproduction – but it has youthful beauty on its side. Most of the 12 dancers are clearly starting their careers, and their predecessors have often moved on to international companies. (Inaki Urlezaga, now a Royal Ballet principal, is a former member.) They are an object lesson in how polished presentation can convincingly overcome an absence of virtuosity. You don't have how to be the next Guillem or Bocca to be eminently watchable."

Carolina Ballet
A Crowd-Pleasing Potpourri of Cabaret and Ballet
"Works & Process at the Guggenheim, an increasingly popular series produced by Mary Sharp Cronson, often gives the public a taste of the current in the performing arts.
    "On Sunday night, the Carolina Ballet, a lively four-year-old chamber company directed by Robert Weiss, was introduced to New York with a sampling from its work at the Guggenheim Museum. Titled "A Cabaret Evening," the program was a collaboration between the cabaret singer Andrea Marcovicci and Lynne Taylor-Corbett, choreographer not only of Broadway shows like "Swing!" but of works for various dance companies."

Flipping or Being Flipped, Worthy of Battle Pay
"fresh, buoyant breeze blew through the Kitchen on Thursday night when Henning Rübsam's Sensedance company presented the second program in a two-week celebration of its 10th anniversary. The dances may not have been cutting- edge or the highest of high art. But Mr. Rübsam has his own imaginative and coherent approach to choreography. He knows how to move his dancers around the stage excitingly. Even better, the evening brimmed with infectious fun, a commodity in very short supply these days in dance."

Belly Dancing (don't say we don'y try!)
From the belly of a belly dancer to the stage
By Joanna Weiss
"Now 32, with a PhD in French literature and a 2-year-old of her own, she operates a belly-dancing studio out of her home in Newton Highlands. She also performs several times a month at the Newtonville restaurant Karoun, using the name Melina. (''In the belly-dance world, everybody uses their first name, like Cher,'' she explains.) She and her sister have also cofounded Daughters of Rhea, a belly-dancing troupe with chapters in the cities where they live, Boston and Baltimore."

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Bruce Madmin

26-02-02, 03:46 PM (GMT)
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3. "RE: Tuesday Links - 26th February 2002"
In response to message #2
   some straight talking here...

Carlos Acosta
Man from Havana we must keep
The Royal Ballet, La Bayadere
by Luke Jenings
"For Carlos Acosta, the charismatic Cuban-born star of the Royal Ballet, light has appeared at the end of the tunnel. In recent months, despite a run of performances which have won him standing ovations and cheering curtain calls, he has felt deeply unappreciated by the powers that be at Covent Garden.
    "Specifically, he felt he was being sidelined by the company's artistic director, Ross Stretton, who replaced Sir Anthony Dowell last autumn. When Stretton arrived, says Acosta, "there were new rules. He wanted to make his mark, and in his ideas there wasn't much room for me...."

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26-02-02, 04:05 PM (GMT)
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4. "RE: Tuesday Links - 26th February 2002"
In response to message #3
   Oh dear....Tortie, you've talked only recently about 'Carlos feeling at home here'... do you think a 'flower-throw' could be of any help ?

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27-02-02, 09:14 AM (GMT)
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5. "RE: Wednesday links - 27th February 2002"
In response to message #4
   In great haste, today's links (hope I haven't missed any..)

From the Times, Donald Hutera on Vincent Dance Conmpany at the Purcell Room:
'Leaning on the wall, the sweaty women lift their skirts and expose their backsides. The first time might be comic. But as they continue to adopt the exaggerated poses of bored sex workers, the link between pornography and war is laid bare. The audience chokes on its own laughter. '


From the Guardian:

My One and Only
'Context is everything. On a hot summer night in Chichester this composite Gershwin musical seemed utterly beguiling. On a wet, wintry night off Piccadilly Circus it comes across simply as charming. The show, in all essentials, is the same; what has altered, along with the stage space, is the ambience. '

Via the FT link, from the Glasgow Herald, Mary Brennan on NBT::
Dancing like a butterfly;Stepping into the shoes abruptly vacat ed by Stefano Giannetti, David Nixon has turned around one com pany's fortunes...

Also via the FT:
Pamela B. Strobel, Chief Executive Officer, Exelon Energy Delivery Company, Elected as Chair of the Joffrey Ballet of Chicago

Valerie Lawson in the Sydney Morning Herald reports on the RB's impending tour of Oz:
'The artistic director of the Royal Ballet, Ross Stretton, is to travel to Australia next week to promote the three-city tour of Brisbane, Sydney and Melbourne. Stretton, former artistic director of the Australian Ballet, will also attend the last night of the Australian Ballet's Beyond 40 anniversary gala in Melbourne where there are plans for him to take a curtain call with the current artistic director, David McAllister, and two predecessors, Marilyn Jones and Maina Gielgud'

From Melbourne's 'The Age' a report on a Flamenco masterclass:

'Johnny Tedesco, who has taught for five years at the Flamenco Performing Arts Studio in Fitzroy, said perceptions of flamenco were often inaccurate."I think a lot of people are not really sure what flamenco is," he said. "I think they tend to think it's polka dots and all this sort of thing, when it's a lot deeper than that. It's a style, a way of life."


The Boston Globe's Geoff Edgers reports on the plans of Boston Ballet's incoming AD Mikko Nissinen.
'Mikko Nissinen won't arrive in town for good until April, but the Boston Ballet's incoming artistic director is already working to put his team in place. Nissinen has let go of six of the company's 43 dancers and decided not to renew contracts for three of its four instructors. The fourth, chief ballet master Jorden Morris, will leave for another company. This is less turmoil than there was last year, when 15 dancers were laid off. Only a week later, Maina Gielgud, hired to take over as artistic director, resigned abruptly, complaining that cuts had been made without her involvement.'

The Irish Times on Trįth na gCos, a three day festival of world dance at the University of Limerick. ""I'm not interested in performing step dances from the last century," says Catherine Foley, "but I do have a deep understanding and respect for those dances. What I want to do is take that knowledge, the knowledge of those people who made those dances, and allow that filter into contemporary practice. We need to create a contemporary culture out of tradition. What do I need from the past and the present to make my future?"

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Brendan McCarthymoderator

27-02-02, 11:24 AM (GMT)
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6. "RE: Wednesday links - 27th February 2002"
In response to message #5
   From the Evening Standard: Luke Jennings on "A Celebration Of 10 Years: Gala Programme" at the Place.

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28-02-02, 07:57 AM (GMT)
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7. "RE: Thursday links - 28th February 2002"
In response to message #6
   Donald Hutera in the Times on the Russian Cossack Ensemble at the Peacock Theatre: 'The sexes dance by turn. Expansive yet intricate, the fleet-footed males noisily accompany their own expansive yet intricate routines. The women, in almost psychedelically layered silks and golden headscarves, silently sway hips and arms while stepping at a more measured pace.'


From the Telegraph:
Rupert Christiansen says that English National Opera fails to live up to its name and its remit. Here its music director, Paul Daniel, responds


Anna Kisselgoff in the NY Times on Mark Morris' 'V' (which had its world premiere here in London last year): ' 'V'is a life-affirming new dance by Mark Morris, not only one of his best pieces in many years but also one of the few great works that modern dance has produced in a decade.'


The NY Times on modern dance pieces at the Merce Cunningham Studios. One is a piece on disablement: 'Edisa Weeks and Homer Avila addressed life issues in varying degrees on Saturday night in "Without Words," a program of new and recent modern-dance pieces presented at the Merce Cunningham Studio. In April Mr. Avila's cancerous right leg was amputated. His two-part solo, called "Not/Without Words" and set to music by Evelyn Glennie, the acclaimed percussionist, who is hearing impaired, addresses head-on what would normally be an infirmity in dance and makes something new and valid of it. The first section opens with Mr. Avila huddled on the floor, his bare back to the audience. Well-muscled and lithe, that back is a statement in itself that dance is about more than the dancer's two legs.'


Sarah Kaufmann in the Washington Post on the Joffrey Ballet's Nijinski programme ('Jeux', 'L'Apres Midi d'un Faune', 'Rite of Spring'). On Jeux: 'What this work does suggest is further evidence of Nijinsky's musical prowess, which was more of a revolutionary and lasting innovation than the much-talked-about sensuality of his subject matter. Debussy is not easily danced; his work is all flowing liquid and light, there is no steady rhythm, no predictable climaxes or lulls. Nijinsky's movement travels over the music, rather than to it, in the way, for example, Antony Tudor and even Frederick Ashton would choreograph decades later.'


Robert Gottlieb in the New York Observer on a dilemma at the heart of the Kirov's artistic policy. "On the evidence of its recent season at the Kennedy Center, though, the company is in a state of confusion, rushing pell-mell in two different and opposite directions at once. In fact, the Washington program—Petipa's Sleeping Beauty paired with Balanchine's Jewels—can serve as an exact metaphor for the Kirov today".

Deborah Jowitt in the Village Voice on two companies run by former Martah Graham dancers: 'Occasionally, in both companies, the choreography is marred by an unquestioning acceptance of dance clichés, and by that I don't mean Graham traditions....... as they dance to Marc Feldman's music—thrusting legs high, exploding into the air, curling sensually around one another—I begin to notice the physical equivalent of overacting. A dancer laying his cheek against another's torso first pulls his head back in order to accentuate the forward movement.'


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Brendan McCarthymoderator

28-02-02, 09:18 AM (GMT)
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8. "RE: Thursday links - 28th February 2002"
In response to message #7
   The Toronto Globe and Mail has a profile of the Royal Winnipeg Ballet's Evelyn Hart. It quotes our interview with Clement Crisp from the Christmas ballet.co magazine. "One of the most transcendent moments of my entire career was watching Evelyn Hart dance Giselle in Vancouver", the critic Clement Crisp told the British e-zine. "If I talk about great Giselles, I say there were three or four. Like Markova, Makarova and Evelyn Hart too".
Link to feature

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Brendan McCarthymoderator

28-02-02, 01:08 PM (GMT)
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9. "RE: Thursday links - 28th February 2002 (3)"
In response to message #8
   Luke Jennings, Evening Standard, on the The Russian Cossack State Song And Dance Ensemble. "To win a Cossack girl's heart, it seems, you leap high in the air, crack a 12-foot whip, and point your moustache at her. Alternately - and this is a good one to try at home - you simply bite her ear and then deploy the whip. If it doesn't work, it proves that at least one of you isn't a Cossack".

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28-02-02, 07:54 PM (GMT)
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10. "RE: Tuesday Links - 26th February 2002"
In response to message #3
   ooh, goss!
Perhaps love will bind Acosta to London. "I'm open to any opportunity that might arise," he says, and speaks fervently of two of his recent ballerina partners. "You never know - someone might steal my heart."

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01-03-02, 08:45 AM (GMT)
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11. "RE: Friday links - 1 March 2002"
In response to message #10
   Nadien Meissner in the Independent has some thoughts on the RB's La Bayadere:
'OK, Minkus's beer-garden score is no Tchaikovsky masterpiece. OK, the setting is ersatz India, crudely cliched and inaccurate. But the story - an Eastern Giselle - is rather good, a meaty, adroitly constructed triangle in which the hero is truly in a dilemma, and a wonderfully flawed Brahmin priest acts as a catalyst. If we can accept Giselle's Wilis, we can see beyond La Bayadere's bare-midriff kitsch and appreciate the magnificent span of the choreography.'

Ismene Brown reviews the Robin Howard Foundation concert at The Place, WC1
'Even with its recent make-over, The Place retains a studenty air, which brands much of the work shown there. The 300 seats and the tiny stage often encourage limited thoughts, as the little, sheepish dances by Charles Linehan and Fin Walker marked more emphatically than one could wish.'

Valerie Lawson in the Sydney Morning Herald on Grahame Murphy's new work 'Ellipse' for the Sydney Dance Company: 'He's played with fire. He flew through air. He's dreaming of the lake. But for the moment, Grahame Murphy is bedazzled by light. The choreographer's next big piece for the Sydney Dance Company is all about light, "the transit of light, the orbit of light", and it's all to be lit with one big light.'


Anna Kisselgoff in the NY Times on the Paul Taylor Dance Group at City Centre performing, amongst others, 'Black Tuesday': 'Mr. Taylor's deceptively merry musing on recordings of Depression-era songs, was seen earlier this year with American Ballet Theater. It would be easy to say that the Taylor group, performing "Black Tuesday" for the first time in New York, was more at ease than Ballet Theater. There is, in particular, a sensational performance by Annmaria Mazzini as a fallen woman, thoroughly worthy of a Brecht-Weill star. Yet Ballet Theater did a remarkable job of assimilating the Taylor style, and there are times when the choreography makes use of ballet technique.'


Bernard Weintraub in the NY Times on an upcoming PBS documentary "Gene Kelly: anatomy of a Dancer": "I guess the two hardest things I ever did in my life was childbirth and `Singin' in the Rain,' " said Debbie Reynolds, who added that her feet bled at times because she rehearsed so much. But Ms. Reynolds also said she owed her career to Kelly, who in his prime starred, directed, choreographed and even helped write some of his movies. Cyd Charisse, who appeared with Kelly in "Singin' in the Rain," and "Brigadoon," and also danced with Fred Astaire, said her husband always knew which dancer she was working with. "If I was black and blue, it was Gene," she said. "And if it was Fred, I didn't have a scratch."


From the English-language St Petersburg Times:
'The Imperial Russian Ballet was created eight years ago by Gediminas Taranda especially to participate in jubilee celebrations honoring Maya Plisetskaya. Since that time, the great ballerina has taken the troupe under her wing, and signs promoting the company in Moscow describe the one-time prima donna as "the president of the Imperial Ballet." '

The St Petersburg Times also previews the Mariinsky Theater's Second International Ballet Festival which opens next week. According to the Artistic Director Valery Gergiev, the aim of the festival is "to agitate souls."

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Bruce Madmin

02-03-02, 07:37 AM (GMT)
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12. "Saturday Links - 2 March 2002"
In response to message #0
Big day at the New York Times obviously - what a show they've put on...

Mark Morris Dance Group
In a Premiere, Lunging, Bouncing and Gazing
"Mark Morris gave his engaging new "Foursome" a casual name. And this dance for four men, which received its world premiere on Wednesday night in a performance by the Mark Morris Dance Group at the Brooklyn Academy of Music, looks as casual as its title. Or perhaps it is two casual dances in one.
   "The first section of this suite of short dances is set to the first three of Satie's "Gnossiennes" and has something of the music's limpid quality. The moves and gestures are spare and complete in themselves. Easy walks and small pivots, lunges and bounces get each of the men from the beginning to the end of each particular dance, as distinctive as facets on innumerable small jewels."

New York City Ballet
Polyphonic Complexity Made Lucid by the Steps
"Complexity need not be intimidating. That is the lesson taught by "Episodes," which the New York City Ballet offered on Sunday afternoon at the New York State Theater.
   "George Balanchine set this work to extremely complex scores by Anton von Webern. Yet the choreography, though complicated, never grows confusing.
   "Lucidity dominated the first sequence, to the Symphony (Op. 21), which was led by Kathleen Tracey and Philip Neal. The next two episodes are rich in emotional implications, as well as formal ingenuity. Helene Alexopoulos and James Fayette danced the Five Pieces, (Op. 10), in which two people make choreographically grotesque attempts to be united. Whereas some dancers are faintly comic in these fumblings, Ms. Alexopoulos and Mr. Fayette were always serious.

Martha Graham Dance Company
Despite Suit, Dancers Will Dance
"The Martha Graham Dance Company will perform for the first time in two years of heated legal battles, presenting a program of Graham dances on May 9 at City Center. The program, called "Indisputably Martha," will be presented by the Martha Graham Dance Center, the umbrella organization for the company and its school."
Brendan posted about these legal battles earlier:

Paul Taylor Dance Company
Wind-Up Dolls Creakily Evoke a Puritan Soul
"Antique Valentine," Paul Taylor's new dance piece, is delightful and deep. Its world is inhabited by turn-of-the- century music-box figurines, surrogates for ourselves. When a doll-like dancer stiffly offers a posy to his sweetheart, she proves allergic: the human condition summed up in one big sneeze.
   "Hopes are deflated but even mechanical creatures manifest a spirit that tries to rise up repeatedly in this witty little existentialist allegory.
   "Given its New York premiere on Wednesday night at City Center by the Paul Taylor Dance Company, "Antique Valentine" came across as a work in miniature but not a minor work. It held its own in a program that included "Dandelion Wine," a lovely and sunny pure-dance piece, and a major revival of "Speaking in Tongues," Mr. Taylor's dark and take on sinning evangelists.!

Paul Taylor Dance Company
"THE Paul Taylor Dance Company, which returned to City Center Tuesday for its all too brief two-week season, showed once more that cunning diversity is the heart and soul of a dance repertory.
   "This year's gala opening offered Taylor's superbly structured and layered ballet of the Great Depression, "Black Tuesday," set to evocative, mostly poignantly upbeat Tin Pan Alley songs of the period. "

The Place
Robin Howard Foundation, The Place London
By John Percival
"Robin Howard was by far the most valuable benefactor of dance in the second half of the 20th century, because he contributed brilliant and generous ideas, as well as huge sums of money. Not only to dance, either; music and the visual arts benefited too. How right, then, that he should be remembered in the theatre he founded, with a programme by five choreographers who were helped by the foundation set up in his name.
   "....It's just too bad that the wonderful recent makeover of The Place so much improved front-of-house and backstage facilities, but left such poor sight lines in the theatre (exactly the same error as at Covent Garden). A tip to choreographers: if you want your dancers to be seen properly, don't put them down at the front of the stage."

San Francisco Ballet
Dancers on film
By Rachel Howard
"So everyone is making a fuss about casting in San Francisco Ballet's "Othello."
   "PBS is filming the ballet, co-produced with American Ballet Theater in 1997, later this week, and a modern dancer, Desmond Richardson, has been imported to play the Moor; not because he is a modern dancer and "Othello's" choreographer Lar Lubovitch is a modern choreographer, it seems, but because Richardson is black.
   "A highly unscientific poll reveals that Richardson, who won the role in the ABT premiere, is good. And that Yuri Possokhov, who performed the role in blackface when San Francisco Ballet first presented the work a year later, is better."

San Francisco Ballet
Lubovitch's 'Othello' a tragedy in more ways than one
by Allan Ulrich, Chronicle Dance Critic
"Lar Lubovitch's "Othello" is back at the San Francisco Ballet, looking a lot the worse for wear.
   "Musical satisfactions were few, dance values were impoverished and the performance was oddly skewed Tuesday evening at the War Memorial Opera House, where modernist Lubovitch's first attempt at a full-length narrative offered plenty of huffing and puffing, gesticulating arms and dramatic extensions, but very little evidence that the tragedy (based on Cinthio's original story, rather than Shakespeare's version) had been coherently translated into choreography. Originally a co-production with American Ballet Theatre in 1997- 98, the revival will run through the weekend, when it will be taped during performance by KQED for telecast on Public Broadcasting's "Dance in America" later in the year."

Joffrey Ballet
Joffrey plunges into 'Spring'
By Jean Battey Lewis
"The Joffrey Ballet, now called the Joffrey Ballet of Chicago, excels in at least two distinct styles. The two programs the company is dancing at the Kennedy Center this week are vivid examples.
   "At its opening evening earlier this week, the Joffrey offered a fascinating look at important dance history — with three works by the legendary dancer and controversial choreographer Vaslav Nijinsky."

Lila de Nobili - Obituary
Theatre designer with a flair for romantic mystery and nostalgia
by David Jays
"A nother sensitive collaborator was Frederick Ashton at the Royal Ballet, working with composer Hans Werne Henze on Ondine (1958). A wistful ballet of a water nymph's impossible love, Ondine is a limpid, watery creation, its movement based on surge and swell. In costume, Margot Fonteyn's nymph glistened like a breath of foam, and swam among sea-green gauzes. A spectacular shipwreck was framed by an oval window; again, de Nobili herself painted many of the liquid brush strokes.
   "Ashton called her "Lila the beloved" - to cheeky young dancers she was "Knobbly Lil" - and wrote, "I must tell you how very sympathetic I found you on meeting you . . . I long for the three of us to make something beautiful and lasting". And Ondine has indeed lasted; though initially unsuccessful, it has re-entered the Royal Ballet's repertory, its mystery renewed."

Russian Cossack Ensemble
by Donald Hutera
"THERE’S nothing subtle about the three dozen dancers, singers and musicians of the Russian Cossack State Song and Dance Ensemble. But when a group is this giving, and well-drilled besides, to complain would be churlish.
   "Directed by Leonid Milovanov, the company celebrates the traditions of the legendary race of nomadic horsemen who protected imperial Russia’s frontiers in exchange for privileges and freedoms. The production (until March 16) is no worthy heritage package but rather a hearty salute to the hardy Cossack spirit"

Trinity Irish Dance Company
A Cheerful Celtic Storm
"or sheer good cheer, there's nothing quite like the Trinity Irish Dance Company. The program this Chicago-based troupe brought to the Joyce Theater on Tuesday night offered one choreographic smile after another.
   "Mark Howard, the group's founder and artistic director, has trained an ensemble that combines lack of pretension with technical confidence and precision. The casts ranged from children to young adults. And the accompaniments included both taped pieces and live music for voice, flutes, whistles, pipes and percussion by a trio of amiable musicians: Stone, Brendan O'Shea and Christopher Layer. Brian Holleran replaces Mr. Layer at other performances."

Maureen Fleming
Choreographer sets `Eros' in motion
Dance/by Theodore Bale
"Renowned choreographer Maureen Fleming will make her Boston debut tonight at the Emerson Majestic Theatre in an intriguing work titled ``After Eros.'' Fleming says it's a dance that has been evolving for the past 10 years, and when asked what the audience could expect to see, she gives an amazingly precise reply.
   "``The audience will see a seamless melding of art forms,'' said Fleming, ``where surreal movement images play with the rational mind in a multidimensional set and multimedia visual design. Water fills an egg-shaped crater, and inside a nude female body transforms through a series of nature images that resolve in crucifixion, falls down an 11-foot staircase in slow motion, and appears to float in the air suspended above the water.''

The Independent URL to Nadine Meisner's piece on Bayadere reported yesterday

The Children of Uganda
Still they dance
Ugandan children tour to support fellow AIDS orphans
By Louise Kennedy
something uplifting...

Dance Holiday?
Dance breaks for those with two left feet
Financial Times; Feb 23, 2002

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03-03-02, 07:32 AM (GMT)
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13. "Sunday Links - 3 March 2002"
In response to message #0
Strangely I can't currently find anything in either the Sunday Times or Observer today. However north of the border they are awake and in NY too of course...

NBT + Scottish Dance Theatre
Dance Review: Madame Butterfly Daddy, I’m Not Well / High Land
Northern Ballet Theatre, Madame Butterfly, Edinburgh Festival Theatre
Scottish Dance Theatre, Daddy I’m Not Well / High Land, Dundee Rep
by Christopher Bowen
"Telling a story in dance is obviously something Nixon does well - which will come as a relief to those of us who feared NBT had, well, rather lost the plot in that regard. His Madame Butterfly follows the familiar, tragic tale of the Puccini/Belasco opera, but with added visual clarification of key elements. In a Kabuki-style prologue we see Butterfly’s father, a disgraced Samurai, commit hari-kiri. We also see, in a brief scene, Butterfly’s conversion to Christianity prior to her mock marriage to Pinkerton; an action which brands her an outcast.
   "Nixon’s choreography is, for the most part, similarly focused in its dramatic intent. When Pinkerton turns up with his two buddies, they launch into an athletic display of laddish bravura with more than the odd reference to Jerome Robbins’s On the Town (well, they are a trio of American sailors on shore leave), and in a telling trio in the second act, Pinkerton’s anguished guilt, his wife’s tender stoicism and the American consul’s concern are clearly etched in their movement motifs.

Scottish Dance Theatre + NBT
Family sliced like Bacon
Scottish Dance Theatre Dundee Rep
Run finished: Touring UK until May 25
NBT Madame Butterfly: Edinburgh festival theatre
Run finished, Touring Uk until June 29
Waterwall: Tramway, Glasgow run finished
By Ellie Carr
"In Janet Smith's High Land -- the accompanying piece, which has become SDT's calling card -- we see the company at its accessible, smile-clinching best. On second viewing, this wittily pointed travelogue through the clichˇs and truths about Scotland's 'culture' seems to have even greater depth: as if the dancers have learned the jokes and found new meaning in a well-worn piece.
   "David Nixon's Madame Butterfly has been nervously anticipated. The good news is that Northern Ballet Theatre's hoped-for saviour delivers with this dependable, pretty ballet of Puccini's opera -- with stunning sets and costumes; skilful use of traditional Japanese music and idiom; big, floor-sweeping classical dancing and hints that the company's dance-drama legacy is in for a kick up the tights.

Opera Into Dance?
Not as Simple as It Sounds
"LET'S make operas into dance. That's what many ballet companies are doing these days. Choreographers have been translating familiar plots and scores of operas and operettas into the language of dance, and they are not always finding the process easy.
   "Last month, Les Grands Ballets Canadiens de Montréal brought Kim Brandstrup's version of Tchaikovsky's "Queen of Spades" to the City Center. American Ballet Theater's repertory for its summer season at the Metropolitan Opera House includes Ronald Hynd's "Merry Widow," adapted from Lehar, and John Cranko's "Onegin," inspired by Tchaikovsky's "Eugene Onegin." Many companies, Ballet Theater among them, have performed Kenneth MacMillan's "Manon," derived from Massenet. Danced versions of "Carmen" abound."

La Cuadra De Sevilla
Neigh bother
Sex, passion, betrayal and a femme fatale -- it's all in there. But a social conscience, revolutionary politics and a white stallion? Meet the real Carmen
By Ellie Carr
"'I feel deceived about the image of my country that has been presented through Carmen,' says T‡vora, in an Andalusian echo of the Scots mantra, 'We wuz robbed'. And so, in a starkly-staged show , T‡vora reclaims not only the story of Carmen, but the authentic Andalusian music and dance that go with it.
   "In practice, this means a traditional bugle band (an acquired taste that thankfully I managed to acquire within 10 minutes) and drums; traditional flamenco singing (or wailing, depending on your point of view); and some gritty flamenco dance that bears little resemblance to the flashy, thrusting style of stadium star Joaqu’n Cortˇs."

Scottish Dance Theatre + NBT
Family sliced like Bacon
Scottish Dance Theatre Dundee Rep
Run finished: Touring UK until May 25
NBT Madame Butterfly: Edinburgh festival theatre
Run finished, Touring Uk until June 29
Waterwall: Tramway, Glasgow run finished
By Ellie Carr
"In Janet Smith's High Land -- the accompanying piece, which has become SDT's calling card -- we see the company at its accessible, smile-clinching best. On second viewing, this wittily pointed travelogue through the clichˇs and truths about Scotland's 'culture' seems to have even greater depth: as if the dancers have learned the jokes and found new meaning in a well-worn piece.
   "David Nixon's Madame Butterfly has been nervously anticipated. The good news is that Northern Ballet Theatre's hoped-for saviour delivers with this dependable, pretty ballet of Puccini's opera -- with stunning sets and costumes; skilful use of traditional Japanese music and idiom; big, floor-sweeping classical dancing and hints that the company's dance-drama legacy is in for a kick up the tights.

Sean Curran Company
Assembling Dances Meant to Move and Heal
"WHEN he was 8 years old, Sean Curran snipped images from Life magazine and pasted them into outrageous collages. One that he assembled for his parochial school class featured luridly colorful photographs of Jimi Hendrix and Janis Joplin from an article about rock stars who had died of drug overdoses. The nun in charge was so distressed that she sent him home with a reprimand. "I didn't mean to cause trouble," Mr. Curran said. "I was just making art."
   "Now, at 40, he choreographs collages, ones that combine steps, ideas, emotional imagery and design in a way that can dazzle the eye and embrace the soul. He draws on volumes of experience in both life and dance: trained as an Irish step dancer and later schooled in ballet and modern technique, he attracted attention during 10 years with the Bill T. Jones/Arnie Zane Dance Company with the fleet style and crisp technique that he now demands of his own dancers. From Wednesday through next Sunday, the Sean Curran Company will present two premieres and a revival at the Duke theater on West 42nd Street."http://www.nytimes.com/2002/03/03/arts/dance/03CARM.html

'An Almost Holy Picture' And Other Tests of Faith
By Terry Teachout
not a piece just about dance
"Later that week, I returned to Lincoln Center to drop in on the New York City Ballet and was lucky enough to see a performance of Christopher Wheeldon's "Variations Serieuses," the backstage ballet that was the smash hit of last year's spring season. Wheeldon, I discovered, had just tacked on a new epilogue based on the last scene of "All About Eve," thus adding an extra touch of high gloss to this wickedly witty comedy about a prima ballerina (Maria Kowroski) who gets a little too hoity-toity for her own good."

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