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Subject: "Latest Review Links - w/b Monday 11th March " Archived thread - Read only
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Conferences What's Happening Topic #2552
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Brendan McCarthymoderator

11-03-02, 06:53 AM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
"Latest Review Links - w/b Monday 11th March "
   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  
  Links: Monday 11th Brendan McCarthymoderator 11-03-02 1
     RE: Links: Tuesday 12th Brendan McCarthymoderator 12-03-02 2
         RE: Links: Tuesday 12th (2) Brendan McCarthymoderator 12-03-02 4
             RE: Links: Wednesday 13th March AnnWilliams 13-03-02 5
                 RE: Links: Thursday 14th March AnnWilliams 14-03-02 6
                     RE: Links: Thursday 14th March (2) AnnWilliams 14-03-02 7
                         RE: Links: Thursday 14th March (3) Brendan McCarthymoderator 14-03-02 9
                         RE: Links: Thursday 14th March (2) AEHandley 14-03-02 10
                             RE: Links: Friday 15th March AnnWilliams 15-03-02 11
                             RE: Links: Friday 15th March (2) AnnWilliams 15-03-02 12
                             RE: Links: Friday 15th March (3) Brendan McCarthymoderator 15-03-02 13
                             RE: Links: Saturday 16th Brendan McCarthymoderator 16-03-02 14
                             RE: Links: Sunday 17th, St Patrick's Day Brendan McCarthymoderator 17-03-02 15

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Brendan McCarthymoderator

11-03-02, 06:54 AM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
1. "Links: Monday 11th "
In response to message #0
   LAST EDITED ON 11-03-02 AT 09:14 AM (GMT)

Alice Bain reviews ENB's Romeo and Juliet for the Guardian. "This ballet will find favour with its audiences simply for being big".

Joan Acocella in the New Yorker on Mark Morris at the Brooklyn Academy of Music. "Morris's concern with music has resulted in some choreographic curiosities. All his work hews close to its music, but every now and then he creates a piece so faithful to its score, and so devoid of any other reference, as to deserve the term "music visualization." The score in question is usually an old, structurally tight composition—often Baroque, often by Bach, whom Morris more or less worships".

The Boston Globe on Mark Morris's new studios in Brooklyn. "All I want is a big, empty room with windows that open and a good floor,'' he says. ''That's all I need to make up beautiful dances. Just light and air and space.'' It seems like a modest request, but dancers in New York are accustomed to studios with cracked mirrors, sealed windows, and awkward columns".

The NY Times on Cambodian classical dance. "For everyone who performs and teaches here, art and poverty go hand in hand. Almost penniless, the dance school can barely afford to pay them, and many live second lives as shop assistants, market vendors, seamstresses and motorcycle-taxi drivers".

The Washington Post on ABT's Le Corsaire. "Granted, the ballet is a pastiche of mixed lineage, clashing dance styles, patched-together music (by Delibes, Drigo and others) and confounding plot elements, but that doesn't mean it should be treated like a circus".

The Moiseyev Dance Company reviewed by the NY Times. "During the cold war the company was a prime cultural export: it was the first Soviet performing arts group to come here in the wake of the 1958 cultural-exchange pact. (The Bolshoi Ballet arrived a year later.) Today it is easier to separate the company's inherent artistic value from any political symbolism attached to that debut. Times change".

A Time Magazine feature on Gene Kelly's enduring appeal.

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Brendan McCarthymoderator

12-03-02, 07:12 AM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
2. "RE: Links: Tuesday 12th "
In response to message #1
   LAST EDITED ON 12-03-02 AT 09:59 AM (GMT)

Judith Mackrell of the Guardian on Dame Beryl Grey's birthday gala. "When Grey retired from the stage she took on the artistic direction of London Festival Ballet for 11 years and now deploys her huge reserves of stamina rehearsing dancers from around the world. On Sunday night, when she came onstage for her 75th birthday gala, she not only looked as racehorse rangy as a woman half her age, but dropped a full length curtsey of enviable elegance".

The Telegraph's Ismene Brown was also there. "This gala had an odd problem in summoning up Grey's memorable moments because - being such a big girl - she was more often linked with solo roles (Myrtha, Lilac Fairy) than romantic pas de deux, the usual gala fare. Her best roles were evoked in photographs and reminiscence, a bittersweet procession of ballets and parts many of which, by Ashton and de Valois, may not be seen again, given current trends".

John Percival writes for the Indie about the RB's Enduring Images. "I think we might begin to guess why Ross Stretton, the Royal Ballet's new director, is inventing fancy titles for the mixed bills this season. It could be to disguise the fact that he is not good at choosing which works go well together. He calls the latest programme "Enduring Images" (so enduring that it has only four performances) but might as well have written "Gloom and Doom", since once again he puts together works with such similarities as to detract from their effect".

Jenny Gilbert's piece for the IoS is only now online. On: Enduring Images, "Forget the endurance test, but don't dismiss this programme for its title: it's the most diverse and spirited evening the company has presented in ages". She briefly notices Wayne McGregor's Nemesis.

According to the Glasgow Herald (via the FT), Scottish Ballet has now drawn up a shortlist of candidates for Artistic Director. They include Ashley Page and John Alleyne, artistic director of Ballet British Columbia.

The Age on "The Prime of Miss Gielgud". The big news is that Maina Gielgud is collaborating with Maurice Bejart on a text with dance version of Samuel Beckett's 'Happy Days'.

The Times records the memorial service for Richard Buckle as follows:

"A memorial service for Mr Richard (Dicky) Buckle, ballet critic, exhibition designer and author, was held on Friday at St Paul’s, Covent Garden. The Rev Mark Oakley, parish priest, officiated. Mr Alexander Schouvaloff read from The Adventures of a Ballet Critic by Mr Buckle. Mr Julian Barran and Mr David Dougill, Sunday Times ballet critic, paid tribute. During the service Dr Brian Blackwood, piano, played Chopin’s Opus 32 No 2. Members of the family, friends and colleagues were present".

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Brendan McCarthymoderator

12-03-02, 10:07 AM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
4. "RE: Links: Tuesday 12th (2)"
In response to message #2
   LAST EDITED ON 12-03-02 AT 10:31 AM (GMT)

According to the Copenhagen Post, Denmark's first ballet school for boys will open under the direction of Ole Just of the Danish Royal Ballet. "I hope to reach those boys who are, first and foremost, motivated by their love of dancing and movement, and not those whose parents have ambitions for them to make it into the Royal Ballet School. Maybe some of them will end up as professional dancers, and I'd be very pleased about that. If there's a real talent among them, I'm well-qualified to pick them out and send them further".

There is a very hostile review in the Mail on Sunday of the Mario Testino exhibition at the National Portrait Gallery. Pictures by Testino grace the ROH's current advertising campaign and the RB website will soon feature an online exhibition of portraits of company members. Philip Hensher of the MoS is deeply unimpressed. "Testino's natural place is with the most routine, unresisting, uncritical products of the celebrity machine. He gives everyone exactly what they want, and the result, when taken en masse, is almost inhuman".

Online Review on Wayne McGregor's Nemesis.

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13-03-02, 09:48 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  
5. "RE: Links: Wednesday 13th March"
In response to message #4
   Clement Crisp in the FT on the Maryinsky Festival in St.Petersburg:
'....exquisite dancing; wildest passion; crowds of revellers; eunuchs and sylphs and a nicely timed massacre, plus the Admiralty spire and falling snow - came with the next evening. It was, as you may surmise, devoted to Ballets of Mikhail Fokine, though there should have been the subtitle "Well, up to a point Lord Copper". '


From the New York Times, Jennifer Dunning reviews the NY dance scene:

On Sean Curran - 'Time spent with Sean Curran, his choreography and his dancers is usually the dance equivalent of a night of invigorating conversation. Over his long and reflective career, Mr. Curran has learned how to share his ideas with audiences rather than bombard them with cerebral constructs. He has also developed a feel for movement and music that is comfortable with letting both be as finicky or as lush as required. '


Deborah Jowett in the Village Voice very amusingly describes the New York Baroque Dance Company:

'Being comtesse for an evening can be a heady experience. The New York Baroque Dance Company celebrated its 25th-anniversary season with a concert plus costume ball at Danspace, and I—bejeweled and laced into a brocade gown—surveyed the evening as a guest of honor.'


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14-03-02, 09:39 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: Links: Thursday 14th March"
In response to message #5
   The Glasgow Herald talks to Sarah Wildor as she prepares to guest with Scottish Ballet. "Ashton brings out two sides of my character. The work's romantic, very romantic. But it also tends to have a very funny side. Even if it's not outrageously funny, there's wit. And an incredible musicality which I love. And a feeling of courtesy. A very British sense of manners in there, with the romance. I think of MacMillan as being deeper, and darker. Very honest about desires and motivations. And both of them, equally, are very real".


Jill Sykes in the Sydney Morning Herald on the Trocs:
'When I first saw (the Trocs) in New York in the 1970s, they were new, raw and not as brash as they are now in their polished institutionalised state, which is as much about broad comedy as dance parody. I laughed more then than on Tuesday.'


Jack Anderson in the New York Times on Flamenco Vivo Carlota Santana. Sounds ike a decent enough piece of stamp-and-pout.............


From the Washington Post, a report by Darragh Johnson on teaching children the art of ballroom dancing:

'The kids do their best to keep up with a woman who once trained with Fred Astaire and kicked up her heels in Hollywood movies.For 42 years, Huckenpoehler has run the Annapolis Cotillion with the unflagging energy of a drill sergeant.... Sporting a white beehive and blue goggle-size eyeglasses, she bosses kids around with abandon, teaching them the social graces and making sure they can waltz, fox trot, jitterbug and swing.'


Cork's Ballet Spectacular is reviewed by the Irish Times. "Considering that this is ballet taken with beer, wine, gin-and-tonic or whatever you're having yourself at the Opera House, the Cork City Ballet Spectacular 2002 offers a cocktail in which skill is blended with excitement.


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14-03-02, 09:47 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  
7. "RE: Links: Thursday 14th March (2)"
In response to message #6
   This piece by Louise Levene in the Daily Telegraph has already appeared, but has only just come online. It bears repeating.

'Ballet shoes are as individual as false teeth. Even the humblest student is offered half sizes and four width fittings (XXX, XX, X and the super-elegant "USA narrow"). Professional dancers are pickier still and their shoes will be made to their individual specifications. Tiny, all-important differences in the height of the vamp, the length and thickness of sole and insole, the width and hardness of the block are all docketed on a little pink slip.'


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Brendan McCarthymoderator

14-03-02, 02:36 PM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
9. "RE: Links: Thursday 14th March (3)"
In response to message #7
   The website www.danceinsider.com is running an interview with Ethan Stiefel that originally appeared in Ballet Review. He has much to say about the Royal Ballet and, in particular, Anthony Dowell:

"He's truly a gentleman and a class act. When you come into the studio to work with him, he has a great sense of humor. You know you're going to get work accomplished. And he will physically show you. He won't just tell you; he can stand up. It's in his body. It comes to life so quickly that you can't help but take something from what he shows. You can learn a ballet from someone, someone who perhaps knows the notation, you can know the ballet, know the steps, and then Dowell comes in and completely puts air into it and breathes life into the ballet". http://www.danceinsider.com/f2002/f0314_1.html

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14-03-02, 09:49 PM (GMT)
Click to EMail AEHandley Click to send private message to AEHandley Click to add this user to your buddy list  
10. "RE: Links: Thursday 14th March (2)"
In response to message #7
   Well at least now I know the answer to how Sylvie keeps her pointe shoes on. I couldn't spot the elastic through my binoculars but this article says there's so much that it looks like a surgical bandage!

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15-03-02, 09:02 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  
11. "RE: Links: Friday 15th March "
In response to message #10
   From the Telegraph, Ismene Brown reviews Tombeaux, Sanctum and Faade performed by the Birmingham Royal Ballet at the Birmingham Hippodrome:

'I think the inky Tombeaux, (Bintley's) farewell piece for the Royal Ballet in 1993, is one of the best classical ballets made in Britain in the last decade. It's only with pieces such as Tombeaux or his latest, The Seasons, that Bintley reminds you that he has a very rare ability to create pure, classical ballet that's alive with music and invention.)
click here

Donald Hutera in the Times on the BRB's triple bill:
'Ashton is the evening's other sure link. His Façade is a jaunty treat dating from 1931 and cued to Walton's setting of Edith Sitwell's nonsense poems. It sends up such popular dance styles as the polka, fox trot, tango and waltz with a camp effervescence guaranteed to please.'


Judith Mackrell on the BRB programme:

'Walton's fantastical setting of Edith Sitwell's poetry inspired Frederick Ashton to create his own gleefully parodic ballet in 1931. Its cast of deadpan, dapper Eton boaters, debutantes and ever-so-slightly soiled tango-dancers is now a much cherished route back to the dance fashions of its era, as well as to the early days of British ballet.'


Judith Mackrell also on an LSO performance of Prokofiev's Romeo & Juliet score with the assistance of dancers from theLithuanian National Ballet:


Clement Crisp in the FT on NBT's Madam Butterfly:
'David Nixon, as choreographer and artistic director, has given Northern Ballet Theatre a welcome new work as his initial production for the troupe. Not, perhaps, a roaring masterpiece, but something very encouraging in the context of the misbegotten offerings of recent years (Jekyll and Hyde still lurks in the memory).'


From yesterday's Evening Standard' Luke Jennings on NBT's Madam Butterfly. "David Nixon's dance version of the Belasco play is touching and attractive".

Octavia Roca in the San Francisco Chronicle on SFB's production of Balanchine's 'Jewels':

On 'Rubies': 'The moment when the four male soloists effectively grab the ballerina's limbs and manipulate her every move was transformed -- as it should be -- by (Muriel) Maffre as if to make the audience believe it was she who commanded (them). Maffre was a dominatrix caught in the act of seduction, possessed by the rhythm of the throbbing score'.

...and from the Bay Area 's 'Mercury News', another take on that performance:

'The big payoff of the evening came with ``Diamonds,'' .....The corps de ballet conveys a deep love of the beauty of dance that flourishes as the work progresses. Roman Rykine, in his partnering of the elegant Yuan Yuan Tan, performed with all the flawlessness the part demands. It was a lavish performance by a company that is becoming more and more of a treasure.'

Jack Anderson the the New York Times on the New York Baroque Dance Company:
'...the cast often left the stage to dance with spectators. Honoring that precedent, the audience was invited at the beginning and end of this performance to join Ms. Turocy's group in Baroque dances. Many people did so, and it was charming to see wigs and long gowns paired with T-shirts and sneakers. '


From Canada's National Post, a report on the appointment of Valerie Wilder as Executive Director of Boston Ballet:


The English-language St. Petersburg Times on The Kirov's new 'Cinderella':
'For a full-scale production such as this, (Ratmansky) lacks breadth, scale and an imperious air of command...... the central ball scene is notably under-populated and aristocratic. It also explains why the heart of the ballet is its duets, which are refined to the point of choreographic perfectionism".


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15-03-02, 10:28 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  
12. "RE: Links: Friday 15th March (2)"
In response to message #11
   I've just found this Nadine Meisner piece on Kim Brandstrup in the Independent. She obviously isn't (or wasn't) a fan:

'A choreographer is what he set out to be, and in this capacity he undeniably has his supporters. Incredibly, I toyed with the idea of becoming one myself last year, when for the first time ever I broke my rules and practically enthused about his company's last programme.'


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Brendan McCarthymoderator

15-03-02, 11:00 AM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
13. "RE: Links: Friday 15th March (3)"
In response to message #12
   The Birmingham Post profiles Michael Revie of BRB. "At the age of 14 or 15, Michael Revie was given an opportunity originally intended for someone else. It was by chance, not by design. He didn't push himself forward for it, he just got lucky. As a young dancer at the Royal Ballet School in London, he was asked to perform a piece created by an important visitor, a man called David Bintley. He shouldn't really have been in the performance at all, it was just that someone fell sick.

Luke Jennings on the Cojocaru/Corella/Galeazzi cast in Bayadere: "Alina Cojocaru has the habit of redefining every role that she dances, and the Royal Ballet's current run of La Bayadère has seen her make the role of Nikiya, the Indian temple dancer, triumphantly her own".

John Percival in the Indie on the Beryl Grey Gala. "It was too bad, however, that these juniors, plus some members of the Royal Ballet School turned out to be, through some unexplained mess-up, the only participants from the company at Covent Garden that she illuminated for so long. A big, black mark there for the present management".

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Brendan McCarthymoderator

16-03-02, 07:26 AM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
14. "RE: Links: Saturday 16th"
In response to message #13
   LAST EDITED ON 16-03-02 AT 08:15 AM (GMT)

According to the Telegraph's News in Brief, the Royal Ballet admitted yesterday that 12 out of 82 dancers are on injury leave: the higher than usual number is, a spokesman says, 'just fate'.

Giannandrea Poesio's review of the RB's Enduring Images for the Spectator is not available online. He is kinder than are most of his fellow critics. "A mixed bill with only modern and postmodern works is bound to cause some controversy. It is simply a matter of taste, though. In my view, Enduring Images is a fairly good programme and is not inferior to the modern ones to which other prestigious international ballet companies have been trying to attract new audiences and to provide their dancers with new artistic challenges. After all, there is more to ballet than fairies, tutus and star-crossed lovers".

Richard Morrison in the Times on the Rostropovich/LSO Romeo and Juliet. "That doesn’t excuse the dated and hammy choreography by Vladimir Vasiliev, the old Bolshoi star. Nor would its execution have gladdened the hearts of watching balletomanes, though Egle Spokaite’s Juliet did manage an affecting death-scene. But none of that really mattered. We weren’t there to assess Lithuanian jetés. We had come to celebrate the man in the middle, and Rostropovich was in terrific form".

Frank Johnson of the Telegraph was at Richard Buckle's memorial service and remembers his writings: "He concluded a paragraph, complaining about the disposition of the peasants in Giselle or perhaps act one of Swan Lake: "Anyway, I hate peasants."

The Telegraph on William Walton. ""They want us to write bad Russian ballet music," Walton whispered to choreographer Frederick Ashton when the two artists were asked to collaborate on Escape Me Never in 1935. "Let's do it."

The Boston Herald on Mark Morris's V, "a work of brilliance, placing him on a par with two other choreographers of the deepest musical understanding, George Balanchine and Twyla Tharp".

Ohad Naharin of the Bathsheva Dance Company talks to the NY Times about his 'Naharin's Virus'. "Some people see it as very political. Some people totally connect to other things in it. Some people also get very offended by it. Some people leave".

The SF Examiner on SFB's 2002-3 season, which will include MacMillan's "Elite Syncopations".

Some views of Christopher Wheeldon's choreography for the Broadway show 'Sweet Smell of Success'

First the NY Times: "The talented Mr. Wheeldon, in his Broadway debut, is also obviously aiming for a symphony-of-the-city effect, with mixed variations of period dance styles for the club-hopping sequences and a misfired Fosse-esque vaudeville routine for Hunsecker. But what one remembers most, unfortunately, is the members of the chorus leaning in and out (and in and out and in and out) in their mystic circle as they repeat gossip and prophesy doom.

According to The NY Post "What makes the musical a must-see for anyone interested in musical theater is partly the concept; then, Guare's pushy, pushing and damnably clever book; the immeasurably suave yet exciting staging by director Nicholas Hytner and choreographer Christopher Wheeldon - it's often difficult to see where one starts and the other ends".

The Washington Post notes "Christopher Wheeldon's generic but fast-moving choreography"

According to the San Francisco Chronicle, "Choreographer Christopher Wheeldon, making his Broadway debut, infuses the action with a propulsive, desperate urban energy, quoting bits of period dances and Jerome Robbins in his chorus of hungry press agents and showgirls.

According to the Sydney Morning Herald diarist, members of the Trocks took class with dancers of the Australian Ballet and with Maina Gielgud. who is visiting the AB.

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Brendan McCarthymoderator

17-03-02, 07:31 AM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
15. "RE: Links: Sunday 17th, St Patrick's Day"
In response to message #14
   David Dougill of the Sunday Times on ENB's Romeo and Juliet. " I wish that Patricia Ruanne and Frederic Jahn (Nureyev’s original Juliet and Tybalt), who have restaged the work, had been persuaded to make cuts". Also the Beryl Grey Gala.

Sunday Times Style has a feature on tap dance, together with a side-bar on where to learn. "According to a study by Bruno Repp, of Haskins Laboratories, Connecticut, our bodies are subliminally much more perceptive of rhythm than was previously thought. This means that the beats that tap-dancers’ feet create could play an important role in helping to free the mind. So, tap could be the new t’ai chi".

Jann Parry in the Observer. "David Nixon has restored Northern Ballet Theatre's reputation for performing stirring narrative ballets with his Madame Butterfly". Also BRB's triple bill, which will be shown on BBC4 twice this evening. "A versatile dancer with cheekbones as sharply honed as his grands jetés, Michael Revie is an asset to the company".

Ann Kisselgoff of the NY Times reflects on some of the dilemmas involved in the restoration of old ballets. Her essay is prompted by the recent Joffrey season in Washington. "Millicent Hodson's justly acclaimed 1987 "reconstruction" of "Sacre" and her recent "reconstruction" of "Jeux" are different. Each was based on extensive research and was put onstage with choreography not directly attributed to Nijinsky as in "Faune." Instead, the Joffrey credits read "Choreography after Vaslav Nijinsky," by Ms. Hodson. One can debate the authenticity of every step and pattern in "Sacre" and it may not be the real thing. But it certainly iluminates Nijinsky's neo- primitive images and explains what his fertility ritual was about".

The NY Times on Eliot Feld's Lincoln Portrait. "There is no specific narrative, but the performers will wear costumes that range in period from the 1860's to today. "So there's a sense of motion, of time, of who we are," Mr. Feld said. "We're part of a continuum of what America is. Maybe the fact that we've been under attack since Sept. 11 made me want to look at who we are and what we're like, what our history is."

For holiday planning, the NY Times also has a useful pull-together of European music festivals this summer.

The Boston Globe reviews the group Urban Tap. "With just a scrape of a shoe across sand, Tamango can transport an audience to an African ceremonial. With a simple motion of his hands, he can pull it - literally - into the onstage dialogue. Rhythms speak so much louder than words".

There's also a Boston Herald review of Urban Tap.

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