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Subject: "Latest Review Links - wb 18 March 2002" Archived thread - Read only
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Conferences What's Happening Topic #2571
Reading Topic #2571

18-03-02, 06:35 AM (GMT)
Click to EMail Bruce Click to send private message to Bruce Click to view user profileClick to add this user to your buddy list  
"Latest Review Links - wb 18 March 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 - 18 March 2002 Bruceadmin 18-03-02 1
     RE: Monday Links - 18 March 2002 Bruce Madmin 18-03-02 2
     RE: Monday Links - 18 March 2002 Bruce Madmin 18-03-02 3
         RE: Monday Links - 18 March 2002 (4) Brendan McCarthymoderator 18-03-02 4
  Tuesday Links - 19th March 2002 Bruceadmin 19-03-02 5
     RE: Tuesday Links - 19th March 2002 (2) Brendan McCarthymoderator 19-03-02 6
         RE: Wednesday Links - 20th March Brendan McCarthymoderator 20-03-02 7
             RE: Thursday links - 21st March AnnWilliams 21-03-02 9
                 RE: Thursday links - 21st March (2) AnnWilliams 21-03-02 10
                     RE: Friday links - 22nd March AnnWilliams 22-03-02 11
                         RE: Friday links - 22nd March (2) AnnWilliams 22-03-02 12
                             RE: Friday links - 22nd March (3) AnnWilliams 22-03-02 13
                         RE: Friday links - 22nd March alison 22-03-02 14
                         RE: Friday links - 22nd March Jane S 22-03-02 15
                         RE: Friday links - 22nd March Bruceadmin 23-03-02 17
  Saturday Links - 23 March 2002 Bruceadmin 23-03-02 16
     RE: Saturday Links - 23 March 2002 (2) Brendan McCarthymoderator 23-03-02 18
         RE: Saturday Links - 23 March 2002 (2) alison 25-03-02 20
  Sunday Links - 24 March 2002 Bruceadmin 24-03-02 19

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18-03-02, 06:36 AM (GMT)
Click to EMail Bruce Click to send private message to Bruce Click to view user profileClick to add this user to your buddy list  
1. "Monday Links - 18 March 2002"
In response to message #0
East meets West with a story you can hum By Louise Levene
NBT Madame Butterfly
POB Hurlevent
by Louise Levene
"Madame Butterfly, by the new artistic director David Nixon, shows the company back on track. Prettily designed, coherently told and passionately danced, it is an ideal vehicle for the company's dramatic strengths. The ballet follows the opera scenario and uses some of Puccini's greatest hits intercut with traditional Japanese music. Ali Allen's set is a simple kabuki-style arrangement: a small paper house, a "willow pattern" bridge and a few branches of cherry and maple trees."

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

Lithuanian National Ballet & Mstislav Rostropovich
Romeo and Juliet - the dance
1 star
Barbican, London
by Judith Mackrell
"Maybe another choreographer and another company could overcome these limitations. But Vasiliev's choreography, all steroids and stamina, lacks musical and dramatic sophistication. Much of the supporting dancing is as scrappy as the acting, although Egle Spokaite could be a more interesting Juliet in another production. This is a Romeo and Juliet to enjoy with your eyes shut. "

and there is a companion review of the music...

Lithuanian National Ballet & Mstislav Rostropovich
Romeo and Juliet - the music
Barbican, London
By Andrew Clements
"The death of Tybalt at the end of the second act was balefully dark, but much of the fine detailing of the score went astray, reminding those who know the suites better than the complete work just how much second-rate music the score contains. "

Unrushed Tour of Dance, Courtesy of Mark Morris
"Dance is an intensely visual form of theater," Mark Morris says tonight in the first of six programs in "Mark Morris Dance Week," the latest celebration of dance and dance artists on MetroArts Thirteen, the noncommercial cable arts service of WNET in New York. Once again MetroArts offers a quick but unrushed tour through new and timeless New York dance performances."

Enduring Images
brief review of reviews piece that is not on the Guardian site

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Bruce Madmin

18-03-02, 08:05 AM (GMT)
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2. "RE: Monday Links - 18 March 2002"
In response to message #1
   RB Tour to Aus
Ross Stretton interview
Aussie leads the Royal Ballet tour
"The program we are bringing to Australia will show off the extraordinary classicism of the Royal Ballet," he explains.
    "These are great dancers. They have such purity of classical line and form and the classicism exists right through all the ranks of the company, not just with the principals."

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Bruce Madmin

18-03-02, 08:14 AM (GMT)
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3. "RE: Monday Links - 18 March 2002"
In response to message #1
   all happening in Aus today...

Australian Ballet
True grit makes the final cut
A revealing series of ABC programs on the Australian Ballet is not just tears and tiaras, writes Valerie Lawson.
"In an avalanche of dance on ABC-TV over Easter, the most intimate moment comes when the Australian Ballet dancer Olivia Bell breaks down in tears during a rehearsal for The Vertiginous Thrill of Exactitude.
    "All dancers know how she felt that day, when, despite her efforts, there was no thrill in the exactitude of the killingly difficult steps.
    "The most surprising moment comes when a former corps de ballet dancer, Jason Duff, explains why life as a drag queen is better than ballet. For one thing, you have a longer career. Drag queens, he explains, look better as they age. Their dress sense improves as well.
    "The most truthful moment comes when the former ballerina Marilyn Rowe lists the attributes you need to be a professional dancer: "Self-discipline, tenacity, a lot of courage, grit, drive. You can't be a wimp."

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Brendan McCarthymoderator

18-03-02, 04:28 PM (GMT)
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4. "RE: Monday Links - 18 March 2002 (4)"
In response to message #3
   The Indie's music critic on the Rostropovich/LSO Romeo and Juliet with dancers from Lithuanian National Ballet.
"Slava himself served as conductor-narrator. His first entrance was spot-lit, and when at the end of the ballet the lovers lay lifeless on the ground, he left the rostrum and kneeled to join their hands together. Others would have made a cheesy spectacle of themselves, but not him".

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19-03-02, 07:20 AM (GMT)
Click to EMail Bruce Click to send private message to Bruce Click to view user profileClick to add this user to your buddy list  
5. "Tuesday Links - 19th March 2002"
In response to message #0
English National Ballet
Ballet dances in rival territory
Maev Kennedy, arts and heritage correspondent
"The English National Ballet is about to pirouette into the lion's den, the home of its arch rival, the Royal Ballet at Covent Garden.
    "... However in December impresarios Lilian and Victor Hochhauser saw the new English National Ballet mixed bill - of ballets by Balanchine together with a new piece, Double Concerto, choreographed for the company by Christoper Hampson - at the Coliseum. They liked it so much they bought the show, and snapped up a three performance gap at Covent Garden to bring the English National Ballet up the road."

Birmingham Royal Ballet + Australian Ballet
Revitalised swap program to bring top British dancer
By Valerie Lawson
"Monica Zamora, a principal artist with one of Britain's top ballet companies, is to appear in Spartacus next month as a guest artist with the Australian Ballet. Zamora, the Spanish-born principal of Birmingham Royal Ballet, arrives in Australia today to start rehearsals.
    "In October, Australian Ballet principal Lucinda Dunn is to appear as a guest with Birmingham Royal Ballet"

BBC standards
The Independent - United Kingdom; Mar 18, 2002
A letter to The Independent but via the FT site..
"The low profile enjoyed by opera, ballet, music and the arts generally is symptomatic of the decline in the level of cultural ambition that makes the very existence of the BBC, as it is now managed, difficult to justify. "

Paul Taylor
Paul Taylor works revel in imagination
By Anita Amirrezvani
"No one could accuse Paul Taylor, the celebrated New York choreographer, of failing to mine the depths of his rich imagination. Friday, his versatile company of dancers performed three works inspired by vaudeville, the secret life of insects and the seedy origins of tango.
    "All the dances displayed Taylor's brilliance at capturing distinct universes of movement, though they weren't equally successful. At Friday's show at Stanford University's Memorial Auditorium, the final dance of the evening, ``Piazzolla Caldera,'' stood out above the others for its vibrancy and intelligence."

Scottish Dance Theatre
by Donald Hutera
Dance: The Place, London WC1
"Last autumn Janet Smith’s Dundee-based repertory company grew from six to eight dancers, all of whom will be on permanent contracts from the end of June. This appealingly individual group visited The Place in London as part of a UK tour that finishes in May.
    "Smith, who is English, has held SDT’s artistic reins since 1997. High Land is her gently satirical yet celebratory take on aspects of Scottish culture. She pokes good-natured fun at some of her adopted nation’s enduring clichés and commercial myths, while at the same time imparting respect for its history and fighting spirit."

Scottish Dance Theatre
From Nessie to messy
London, The place
Not on The Independent site yet so this via the FT site..
"... Either way, Jan De Schynkel's dysfunctional family is earnestly advertised as inspired by Sophocles, Aeschylus, Francis Bacon and TS Eliot, and portentously accompanied by snatches of Bach's "St Matthew's Passion".
    "The goings-on make life with the Addams family look healthy, and half- way through, I started to think it was a comedy, but not so. A victimised son, a daughter and their parents engage in cycles of torment and comfort through ponderously literal choreography and clunking metaphors. We all knew from previous pieces that De Schynkel had an eccentric imagination, but with this aberration his ambition outstrips his skills."

Scottish Dance Theatre
Robin Howard Dance Theatre, London
by Judith Mackrell
"Eight kilted dancers alight fleetingly on various Scottish motifs as they wind through Smith's fluent choreography. Dressed in plastic macs (which do momentary duty as tents), they swat midges and shelter from the rain; humped into a serpentine line they make the necessary passing reference to Nessie. There is a wonderfully wild and quirky ceilidh and a drunken dance, adroitly performed by a woman.
    "More interesting is the emotional history with which Smith infuses her more abstract dance passages. The actual moves, as well as the dancers' demeanours, combine stoicism with turbulence, sturdiness with wit. The entire piece is a fine showcase for the company's peculiarly self-contained, cheerful grace."

Neo-Classic- Dance Company
The Tang Dynasty's Harmonious Formality
"In "Tang Court Music and Dance," a program seen on Saturday night, Dr. Liu combined her experience as a modern-dance choreographer with her extensive knowledge as a dance scholar and notation expert.
    "Although original choreography from the Tang dynasty (618-907) has not been passed down over the centuries by performers, both court music and dance were described and notated in Chinese collections or archives. These records were lost or destroyed in years of turmoil, but copies were preserved at the Japanese court, thanks to notation brought over by Japanese diplomats and Buddhist monks."

Wil Swanson
Shimmering, Sensuous and Brainy, Too
"Wil Swanson celebrated movement itself in all its lush and shimmering glory in the final program of the 92nd Street Y Harkness Dance Project's ambitious, provocative monthlong "92 on 42" festival. New and recent pieces, performed by Mr. Swanson's company on Wednesday night at the Duke on 42nd Street, spilled over with dance that was a sensuous pleasure but also surprisingly human, given the abstract nature and brainy inventiveness of the choreography.
    "Mr. Swanson danced with Trisha Brown for 10 years, and her influence shows. But he roots her flyaway moves and gestures, giving them extra emotional and physical weight, in "Torse" and "Naked Singularities." "Torse," created in 2000 and set to Corelli concertos whose richness it embodies, begins with a line of six standing dancers who soon stride forward. Until the similar closing moment, that is the last time Mr. Swanson allows the eye comparative rest."

Glasgow's New Territories dance festival
A challenging curtain call
By Mark Brown
"The final week of the New Territories live art/contemporary dance festival saw another set of one solo work and two brilliant ensemble pieces. As in previous weeks, however, one couldn’t help but reflect audiences might have been bigger if the programme had looked more like the outline of the accessible arts festival that this is, rather than a brochure for a rather exclusive series of academic seminars.
    "To compare the performance by Australian dancer Cazerine Barry with the work of her compatriot Lisa O’Neill, who appeared in the previous week, is to leave Barry’s Reel Escape Solos looking rather skimpy. Apparently concentrated on what the programme notes tell us are "elastic truths" regarding housing as a "metaphor for protection", the piece both stretches our credulity too far and the performer’s abilities too little."

O Vertigo
Tramway, Glasgow
by Alice Bain
"Dressed in T-shirt and trousers, Luna seems at first sight a little old-fashioned. But as 11 dancers move with the flow of ideas, 21st-century technology brings the show comfortably up to date. Choreographed by Canadian Ginette Laurin and performed by O Vertigo, the Montreal-based company she founded in 1984, Luna breathes on you gently and in just over an hour covers light years in dance.
    "The movement is abstract, but this is a piece underlined in words. Galaxy, pulsar, constellation, eclipse, gravity - all conjure the romance of science and heaven. To a soundtrack of church music and scientific noises, a female narrator offers tempting titbits about the stars. The audience freefalls between the possible connections."

Diablo Ballet
Diablo Ballet dazzles in new works
Company falters in challenging Balanchine piece
Dean Lesher Center for the Arts in Walnut Creek
by Octavio Roca
"New works made to order showed Diablo Ballet at its best this weekend, while a minor George Balanchine masterpiece gave a blueprint for the work that lies ahead.
    "The East Bay company celebrated its eighth anniversary at the Dean Lesher Center for the Arts in Walnut Creek with two commissions, Christopher Stowell's "A Revealing Glimpse Into the Obvious" and Nikolai Kabaniaev's "La boutique fantasque." By way of prologue came Balanchine's 1956 "Allegro Brillante." It was a lively, satisfying program.
    "Stowell's ballet dazzled on first impression Friday night and, I suspect, will yield even more pleasure with repeated viewings. It is very much a "Revealing Glimpse" into the music of Bach and Britten, set to cello suites by the two composers and alternating musical sensibilities across the centuries to unveil the humanity within.!

River North Chicago Dance Company
River North Projects Heat as Dancers Sizzle, Preen
L.A.'s Luckman Theater
"Sex, thy middle name is River North Chicago Dance Company. Talk about bodies in motion. This 13-member troupe gives new meaning to the word exhibitionism. And what stuff was on display. Under the artistic direction of Frank Chaves, the company ran riot in a nine-part program of old and new works at Cal State L.A.'s Luckman Theater on Saturday.
    "Which isn't to say that all the choreography was as dynamic as the dancers; it wasn't. But for a high-octane, pop culture preen-and-parade-on-stage experience, this company packs a Britney Spears-type punch, with jazz, modern, salsa and ballroom blending in a commercial blur."

Compania Espanola de Antonio Marquez
Marquez Sets Flamenco Sizzling
Cerritos Center for the Performing Arts
"Compania Espanola de Antonio Marquez arrived in Southern California over the weekend trailing some of the strangest rave reviews ever published about flamenco dancing.
    "One Italian critic, for instance, called Marquez "the last Narcissus," and another lamented that his dancing showed how Spaniards, "our Latin-Mediterranean cousins," have kept "all of those mythical sexual and sensual qualities of seduction that seem so important to us and that we have partially lost...."

Jo Kreiter - dancing in the sky...
Aerial dancers challenge limits of heaven and Earth
By Anita Amirrezvani
"A few years ago, Jo Kreiter climbed an 80-foot crane at San Francisco's Hunter's Point. When she got to the top, a fierce wind was blowing and the waters of the bay were churning a long, long way below. At first, all she could do was sit there. The second day, she gathered enough courage to release one hand. The third day, she stood up. Little by little, Kreiter felt free enough to create a new dance in the sky.
    "Kreiter is one of a growing group of choreographers in the Bay Area who are liberating dance from the ground. In recent years, these artists have been dancing on window ledges, rooftops, clock towers, grain elevators and mountain peaks, not to mention suspending themselves over stages. They have achieved these dramatic feats by exploiting rock-climbing gear, by creating new hanging devices to dance on and by pioneering new ways of moving."

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Brendan McCarthymoderator

19-03-02, 09:38 AM (GMT)
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6. "RE: Tuesday Links - 19th March 2002 (2)"
In response to message #5
   Jenny Gilbert from the IoS on NBT's Madam Butterfly. "In best NBT fashion, Madame Butterfly tells a good story simply and well. You may argue that it's a story we know, but Nixon's ballet goes beyond straight recycling of Puccini's opera. In relaying the narrative purely through dance and dancers, it lights on new aspects of Butterfly's tragedy and delivers the experience afresh.

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Brendan McCarthymoderator

20-03-02, 07:42 AM (GMT)
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7. "RE: Wednesday Links - 20th March "
In response to message #6
   LAST EDITED ON 20-03-02 AT 08:23 AM (GMT)

Sarah Frater reviews Enduring Images for The Stage: "The mixed bill is clearly the Royal's way of giving its dancers something challenging to dance. However, a little Forsythe goes a long way and not everyone believes that Duato deserves this much time. Substitute an Ashton for the second Duato and Forsythe pieces and you have an almost perfect evening".

A rather offbeat obituary in the Telegraph for its night telephonist Paul Rising. "From the age of six, at weekends Paul attended a dance school at which his teacher would dress him as a girl for ballet classes, instilling in him a love of female impersonation. ("I always use Estee Lauder - very good slap"). He was still attending drag balls when he was more than 80".

The Birmingham Post on BRB's triple bill. "In this revival by Birmingham Royal Ballet Facade might as well have been created yesterday, so fresh and at ease does its humour seem. It is odd to think that Ashton was sending up the youth culture of his day in the Fox Trot.

The Telegraph scathingly reviews the Mario Testino exhibition at the National Portrait Gallery (Testino's photographs of members of the RB are available on the ROH website). "The National Portrait Gallery should be ashamed of its current exhibition of celebrity photographs by Mario Testino, not because the Vogue photographer is so second-rate but because the exhibition has no point or purpose".

From the Village Voice, Deborah Jowitt on the Irish-American choreographer Sean Curran. "Watching Seán Curran's work, I think that community must matter more to him than anything else in the world. The people in his dances are bound together by his zest for patterns and lively rhythms, and by the crisp lines of his movement style".

According to the Boston Globe the Reader's Digest is giving $450,000 to the Jacob's Pillow Dance Festival to support its programme of free outdoor events.

The Guardian has a story on the West End practice of charging virtually full prices for preview performances. ""The preview audience aren't getting a cut-price product," says Chitty Chitty Bang Bang's producer Michael Rose, attempting to justify the preview tickets' £2.50 discount - barely enough to buy an ice cream at the interval. "Every aspect of the show is of the same quality as those in the finalised version."

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21-03-02, 08:41 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  
9. "RE: Thursday links - 21st March "
In response to message #7
   Judith Mackrell in the Guardian on the history of 'Giselle':

'As ballet went supernatural, the magical effects of its storylines were heightened by the gas lighting that had recently been installed in theatres. Stages were cast in pools of moonlight and mysterious shadows, while the new fashion for drifting white frocks turned ordinary, well-muscled young women into eerie sprites. (As the poet Théophile Gautier observed, Romanticism brought about "a great abuse of white gauze, of tulle and tarlatans".)'

Ismene Brown in the Telegraph on Arc Dance Company:

'Modern choreographers nowadays have the unhealthy habit of holding post-show discussions of their performances, as part of meeting their "accessibiity" brief for getting funded. Is anyone else with me in thinking that this is likely to foster an obscurantist approach in creators? After all, if it's all good and clear, and there aren't enough dissatisfied ticket-buyers afterwards to stay behind with their questions, there can be no chat-in. And then, where will next year's grant application be?'
link to article

Jennifer Dunning in the New York Times on 'Urban Tap':

'Herbin (Tamango) Van Cayseele burst onto the New York dance scene three years ago with a Bessie Award-winning show called "Urban Tap." Tamango, as he is now known professionally, was already known as a tap dancer of special elegance, delicacy and virtuosity — in ballet terms, Erik Bruhn to Savion Glover's Nureyev. "Urban Tap" established him as a savvy producer, putting together dancers and musicians who, like him, had honed their art performing on European streets.'

Deborah Jowitt in the Village Voice on this week's dance scene in New York. On Will Swanson:

'Falling and resting interest him. In his beautiful new Naked Singularities, sleeping bodies stud the dark stage, while Swanson dances on-screen above them, the slowed-down film feathering his gestures. Uta Takemura suddenly rolls to lie on Joshua Zimmerman, her head on his belly. Near the end, Takemura, Felicia Ballos, and Flora Wiegmann dive into the arms of Swanson, Zimmerman, and Kayvon Pourazar (they like this so much they do it again). Yet in all three pieces, Swanson treats dancing as an endless swath of material. People fall out of it into the wings and seconds later reappear linked to an ongoing pattern.'

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21-03-02, 08:47 AM (GMT)
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10. "RE: Thursday links - 21st March (2)"
In response to message #9
...and a story on the Guardian media site (not, I think, the paper) which reports Norman Lebrecht's plans for the Standard's arts coverage. Luke Jennings is replaced as dance critic by Judith Flanders and Sarah Frater.


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22-03-02, 08:45 AM (GMT)
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11. "RE: Friday links - 22nd March"
In response to message #10
   Judith Mackrell in the Guardian on the RB's Giselle, which opened last night:

'Cojocaru...... has been performing an astonishingly fierce schedule on an injured foot, and there was talk of her being ordered to rest. Yet while watchers of Cojocaru's meteoric career might worry about the possibility of early burn out, no one on Thursday could have wished that she was not on stage. For Giselle is unquestionably one of the roles for which she will go down in history.'

Debra Craine in the Times also raves about Cojocaru's Giselle, and has some fine things to say too about her partner:

'Kobborg's silky Albrecht looks well practised in the art of love, but to a young girl his Casanova Count is irresistible. Perhaps it's his gorgeous dancing, or the ardour of his partnering, or the way he pursues Giselle's ghost as if chasing a second chance at love. Whatever, you can understand why Cojocaru ultimately forgives him, an act of such sublime tenderness and devotion that it will melt your heart. '


From the Telegraph, a more prosaic story:

The Royal Ballet is suffering an injury crisis. Is it bad luck, asks Ismene Brown, or the result of excessive demands on a few dancers?

'Recently.. the brilliant leading man Johan Kobborg, 30, Cojocaru's chief partner at the Royal, complained openly at a public rehearsal about the overworking of the company, rehearsing too many different ballets at once for their health, and doing very long days at full stretch followed by performances in the evening. "Perhaps the Royal Ballet needs to have more dancers or to do fewer ballets," he said.'
link to article

Octavia Roca in the San Francisco Chronicle on the resignation of SFB's CEO:

San Francisco Ballet yesterday announced that Chief Executive Officer Arthur Jacobus will not renew his current contract and will leave his position in one year.


From Melbourne's 'The Age':

Qantas to sponsor Australian Ballet company

Don't get excited - it just means that Australian Ballet can fly (around Australia) for free (?) on Qantas (seems to me it's more like Australian Ballet sponsoring Qantas....).

The Boston Globe on Citydance, a Boston Ballet outreach programme:

'One of the program's prize pupils is Juan Carlos Amy-Cordero. He began in 1993, when he was a third-grader at the Agassiz School in Jamaica Plain. He made his debut later that year in - what else? - ''The Nutcracker,'' playing a doll in the battle scene. Now 17, he has reached the top level of the ballet school and hopes to pursue a career as a dancer. ''I had no idea what ballet was until after that day,'' he said yesterday. ''When I auditioned I had no idea what I was doing.''Now, he added, ''My whole life revolves around the Boston Ballet. It's given me a broader education. It's expanded my horizons. It's made me absolutely love music and love dance. And there are a lot of wonderful people here.'' '

Janet Descutner in the Oregon Register-Guard on'Riverdance':

'Although most of the program remains a showcase for Irish styles in dance and music, there has been an infusion of "otherness" from the Broadway production last year, increasing a thematic progression to new worlds. An imposing gong at the top of the set suggested Eastern forms of music, although none were overtly reflected in Riverdance's music.'


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22-03-02, 10:32 AM (GMT)
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12. "RE: Friday links - 22nd March (2)"
In response to message #11
   Judith Mackrell again, this time on Richard Alston at the South Bank's Queen Elizabeth Hall:

'There isn't a single seamed stocking in Richard Alston's new tango piece, nor is it spiked with any of the dance form's traditional flick-knife footwork. But Touch and Go, set to music by Astor Piazzolla, is still identifiably a tango, and it does manage to capture some of the seesawing drama of combativeness and abandon that make the dance unique.'


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22-03-02, 11:02 AM (GMT)
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13. "RE: Friday links - 22nd March (3)"
In response to message #12
   ...and here are two further Alston reviews, which Brendan has just forwarded to me:

Ismene Brown on Richard Alston at the QEH. “If I sound cool and distant, it's because I find Alston just so when he picks music that is little suited to his temperament. If I remind you that he is an Old Etonian, it is because Alston can't take the public schoolboy out of his dances”.

Link to review

Neither is Luke Jennings overly impressed. “The work is so impeccably refined - so precisely pitched between narrative and abstraction, between mood and meaning - that it leaves almost no footprint on the senses at all. It's all in the best possible taste, but its seamless discretion denies the watcher any point of emotional entry. An hour or so into an Alston programme I usually find myself longing for some scorching vulgarity, or to see the flow corrupted in some way”.


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22-03-02, 01:29 PM (GMT)
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14. "RE: Friday links - 22nd March"
In response to message #11
   The Times article hasn't made it into the hard copy yet. However, there is a stunning picture of the Wilis on the front page of today's Independent - I don't know if it's available on-line. It almost makes me want to get out a protractor and double-check, because all the girls' arms and legs appear to be so very nearly at the same angles.

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Jane S

22-03-02, 03:46 PM (GMT)
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15. "RE: Friday links - 22nd March"
In response to message #11
   An obituary of choreographer Alfred Rodrigues in The Times:

"When male dancers were sought for a new ballet club,
he answered with the words “I know nothing about
ballet and my feet are big. Does that matter?""


(The print version also has a large photo of Rodrigues as Rothbart in Swan Lake Act 3, with Beryl Grey and John Field.)

Rambert's Rafael Bonachela choreographs for Kylie Minogue:

"Spanish-born Bonachela has now become a celebrity's
celebrity, but he is staying true to his roots at the Rambert.
He turned down an offer from Donatella Versace to see
her show in Milan - so he could dance in High Wycombe. "


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23-03-02, 11:26 AM (GMT)
Click to EMail Bruce Click to send private message to Bruce Click to view user profileClick to add this user to your buddy list  
17. "RE: Friday links - 22nd March"
In response to message #11
   >The Boston Globe on Citydance, a
>Boston Ballet outreach programme:
>'One of the program's prize pupils
>is Juan Carlos Amy-Cordero. He
>began in 1993, when he
>was a third-grader at the
>Agassiz School in Jamaica Plain.
>He made his debut later
>that year in - what
>else? - ''The Nutcracker,'' playing
>a doll in the battle
>scene. Now 17, he has
>reached the top level of
>the ballet school and hopes
>to pursue a career as
>a dancer. ''I had no
>idea what ballet was until
>after that day,'' he said
>yesterday. ''When I auditioned I
>had no idea what I
>was doing.''Now, he added, ''My
>whole life revolves around the
>Boston Ballet. It's given me
>a broader education. It's expanded
>my horizons. It's made me
>absolutely love music and love
>dance. And there are a
>lot of wonderful people here.''

I think there was a problem with the original URL. Hopefully this one will work - ta to Paul for spottting:

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23-03-02, 09:29 AM (GMT)
Click to EMail Bruce Click to send private message to Bruce Click to view user profileClick to add this user to your buddy list  
16. "Saturday Links - 23 March 2002"
In response to message #0
   Sarah Wildor interview
Adopting the Essex girl
Sarah Wildor’s Royal Ballet swansong is Scotland’s gain, writes Jackie McGlone.
"I have about 17 performances in Scotland," she says gleefully. "I’d never have had that many in London. That’s obviously one of the reasons I left." After more than a decade at the Royal Opera House, she had won the hearts and minds of audiences and critics. She is "the most dramatic, touching, musically sensitive and comically gifted ballerina produced by the Royal Ballet for decades," according to critic Ismene Brown, who has castigated the company for losing Wildor, one of their best talents.
    "Their loss is Scottish Ballet’s gain. "I adored my time at Covent Garden," she admits, "but it’s not the whole world. I have a huge sense of liberation."

Scottish Ballet
A national asset
Letter to The Scotsman from somebody who attended an SB Friends event on Two Pigeons...
"I am not given to nationalistic fervor, but it would be a tragedy if the fine classical dancing which the company provides, and the services of an inspirational director, were to be lost to Scottish audiences. Good attendances for this latest programme might convince the powers-that-be not to jettison such a national asset."

Raymond Gubbay
Unflappable impresario Raymond Gubbay has developed a thick skin after 35 years in classical music. Antony Thorncroft gets inside the boisterous 56-year-old with a cool head and a passion for deals
Financial Times; Mar 23, 2002
"Raymond Gubbay is the nation's leading purveyor of live classical music, incorporating opera and ballet. He presents about 600 performances a year and sells more than 700,000 tickets, attracting a larger audience than the Royal Opera House, Covent Garden. But crucially Covent Garden receives Pounds 20m a year in public support, and Gubbay receives not a penny.
    ""I'm not against subsidy. I just hate to see it wasted," he says. So affronted was Gubbay by the deficits and managerial musical chairs Covent Garden experienced at the time of its refurbishment closure that he applied for the top job there. He received a dusty answer. "I never even got an interview - they said they were not accepting applications from companies."
    "Fortunately Gubbay, a big, boisterous 56 year old, is not over-sensitive. After 35 years in the business he has developed a thick skin. He has needed to. If Covent Garden took a patronising attitude to the great populist, so have the critics, who rarely appreciate his work. Once again he is unflappable. "I'm not excited about the press - at the end of the day it is the public that matters."

Saburo Teshigawara
Light entertainment
Edinburgh Playhouse
Kelly Apter
"The opening show of this year’s International Festival dance programme, Luminous, is a celebration of light and movement created by Japanese choreographer Saburo Teshigawara. For a little under two hours, he’ll turn the Edinburgh Playhouse into a phosphorescent world of illuminated bodies, playing with our perceptions. "My starting point for Luminous was to study many different things concerning light, and the structure of the performance came from that analysis," explains Teshigawara. "It’s not a narrative story, but is made up of changing types of light - the shadow, reflection, absorption and radiation of light."

Berlin's cuts leave the arts in the cold
John Hooper in Berlin
"Debt-laden Berlin's day of reckoning arrived yesterday when its new leftwing council announced €2.1bn (£1.3bn) in budget cuts that threaten to wreck its ambition to be the new capital of Europe.
    "The arts, heritage and education will suffer most.
    "Sir Simon Rattle's campaign to fence off the Berlin Philharmonic Orchestra, which he takes over later this year, seems to have saved it from harm. But at least one theatre will close and the two main operas have been told they will have to merge their ballet companies."

Momix brings props and elegance to Emerson stage
CRASHarts presents Momix in the Boston premiere of ``Orbit,'' at Emerson Majestic Theatre, last night. Performances continue through tomorrow.
by Theodore Bale
"The lush, constantly transforming theater of Momix is a rare treat.
    "In these days where so much contemporary dance is centered on themes of anger, confrontation and despair, Momix chooses instead to assert the inherent beauty and elegance of the natural world, with bits and pieces of human eccentricity thrown in for good measure. "

Interview: Moses Pendleton of Momix
Wit, passion propel Momix founder into `Orbit'
by Theodore Bale
"If I had to cite three artists who were responsible for instigating my love of dance when I was a teenager in the 1970s, I would choose Martha Graham, Mikhail Baryshnikov and, finally, Moses Pendleton, one of the co-founders of Pilobolus Dance Theatre and now the artistic director of his own company, Momix.
    "The early choreography of Pendleton and Jonathan Wolken, while both were still undergraduates at Dartmouth College, was sculptural and abstract, theatrically vivid and set to very hip music, and it dazzled me. Of course, at that time, I had no idea just how singular it was."

Donna Uchizono
In the Circle of the Tango
New York
"Donna Uchizono got the Dance Theater Workshop's DTW Around Town series off to an intriguing start on Thursday night at the Duke on 42nd Street. Full appreciation of Ms. Uchizono's new "Low," a dance of glinting obsidian facets, may depend on the knowledge, available only to reviewers, that the dance is based on the counterclockwise circle of the tango. But the piece and its score by Guy Yarden are certainly a fascinating deconstruction of that popular dance form and music, in a series of small, hot eruptions and shifting liaisons that are coolly and subtly abstracted."

Julia Ritter
There's Singing and Talking and, Sure, Some Moving
New York
"A good deal of thought and quiet passion seems to have gone into the making of Julia Ritter's "Love After Death," presented last Saturday at the University Settlement. This new hourlong dance, inspired by roadside shrines to the dead, is an intelligent but surprisingly unemotional piece of work.
    "A great many flowers are carried on and thrown about. Candles are taken onstage, with a blessed lack of soulfulness. Five characters, each with a distinct personality, make pilgrimages to the spot on the stage that represents the shrine."

Energy That Jumps, Bounces and Screams
New York
"The TriBeCa Performing Arts Center at Borough of Manhattan Community College has the admirable policy of inviting composers, directors, writers and dance troupes to be artists in residence for a year. During that time, they receive rehearsal space, a stipend, administrative support and opportunities to present public programs.
    "Two of this year's resident dance companies, the Stanley Love Performance Group and Ellis Wood/Wood Dance, appeared at the center last Saturday night. Each offered a long, sprawling work lasting almost an hour. And both pieces desperately needed trimming."http://www.nytimes.com/2002/03/23/arts/dance/23LOVE.html

Giving choreographers opportunities...
Showcase's Star Is the Choreography
Los Angeles
"Nobody needs opportunities to workshop and showcase dance ideas more than commercial choreographers, artists who normally spend their careers under the thumb of recording stars, film directors and others who control, manipulate and sometimes marginalize what those choreographers create.
    "Each month, "The Carnival," a choreographer's showcase at the Key Club on the Sunset Strip, provides a stage, technical resources (including overhead video projection) and a packed audience of young standees ready to scream for dance, all kinds of dance."

Children of Uganda
Uganda dancers all about joy
Touring children's troupe offers universal message of hope
Octavio Roca, Chronicle Dance Critic
"Death brought them together, but the joy of dance keeps them going. It's a feeling that spreads to both sides of the footlights as the Children of Uganda take the stage and celebrate life.
    "The young company has danced at the Kennedy Center and at the White House as well as on "The Late Show With David Letterman." It is now in the midst of a 17-city "Tour of Light 2002" that brings the children to Stanford University this weekend. Directed and choreographed by Frank Katoola and based in Kampala's Orphanage of the Daughters of Charity, the troupe is made up entirely of children who have lost one or both parents to AIDS.
    "Their plight is not unique: The Children's Charity Foundation in Kampala estimates that 12.5 percent of Uganda's young adults, or 1.4 million children, are AIDS orphans. Each of the young dancers and musicians in the troupe has had to face a loss that can be devastating at any age. Yet, although every cent raised on the tour goes to AIDS education programs, the Children of Uganda is not about sorrow."

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Brendan McCarthymoderator

23-03-02, 06:07 PM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
18. "RE: Saturday Links - 23 March 2002 (2)"
In response to message #16
   LAST EDITED ON 23-03-02 AT 08:32 PM (GMT)

Ismene Brown's review of the RB's Giselle, although printed in today's Telegraph, has not appeared online. Here's a flavour.

"There's no need to worry about the Royal Ballet losing its soul just yet. The opening night of Giselle showed a corps de ballets with all the gentle discipline that has made this ballet so often seem like the embodiment of Royal Ballet style... Act 1 is a test of acting, Act 2 of dancing and Kobborg is gripping on both counts... Cojocaru is by most yardsticks ideal. Yet there is something invulnerable about her that is hard to square with a heroine whose weak spirit cracks under pressure... Zenaida Yanowsky's Myrtha was superb".

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25-03-02, 01:17 PM (GMT)
Click to EMail alison Click to send private message to alison Click to view user profileClick to add this user to your buddy list  
20. "RE: Saturday Links - 23 March 2002 (2)"
In response to message #18
   There was another, related bit in the Weekend section, where Jan Moir (food critic) tried out the ROH's Terrace Cafe and was distinctly less than impressed with it. I don't know whether or not it's online.

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24-03-02, 07:50 AM (GMT)
Click to EMail Bruce Click to send private message to Bruce Click to view user profileClick to add this user to your buddy list  
19. "Sunday Links - 24 March 2002"
In response to message #0
Sadly no major review in the Sunday Times I'm afraid - well none I can find!

ARC + Richard Alston
Oh brothers, who art thou?
Interwoven Dostoevsky storylines have lost the plot
by Jann Parry
Sunday March 24, 2002
The Observer
Brothers, Arc Dance Company, Cambridge Arts Theatre
Richard Alston Dance Company, QEH, London SE1
"Richard Alston's choreography for his own company alludes to states of feeling while remaining discreetly abstract. Where Brandstrup needs words to make his intentions clearer, Alston relies on music. His dancers are his instruments; when they are exceptional, his work can cut to the quick. They must supply the light and shade, build and resolve tensions in the way they phrase their steps. Without those skills, the choreography is merely bland. "

Darcey Bussell interview
Pas de Deux
By Juliet Herd in The Australian
"Bussell, 33 next month, has lost the soft roundness to her face that she acquired during pregnancy and kept for several months after, but most obvious of all is the plunge in her weight. "I'm a bit knackered at the moment," says Bussell with some understatement, acknowledging that she is under her normal 51kg for her 1.7m height. "It's only because I've been very busy. I just have to watch it. My husband keeps me in check – he'll say, 'You're working very hard now, you've got to eat more,' and cooks for me. You can tell when the company is very busy – everybody just shrivels away."
    "Not only does Bussell now bear the responsibility of being a mother, a role she is relishing, but she also faces the challenge of a new director, Ross Stretton. By the time she returned to London's Royal Opera House in December, the former Australian Ballet supremo had been installed in the post for four months. "It's my first season back after a year off and it's one of my busiest ever," says Bussell happily during a break in rehearsals at Covent Garden.
    "I'm doing Giselle and Juliet {Kenneth MacMillan's Romeo and Juliet} and Mats Ek's Carmen while learning a new Christopher Wheeldon ballet. The rehearsal schedule is non-stop."

Brian McMaster - director of the Edinburgh Festival
Profile: The constant impresario
In his 11th year he's secured a £7.4m budget, broken the £100 barrier and ushered in £5 seats. How does Brian McMaster do it?
"Arts of all sorts? Well, arguably not. McMaster's Festival programmes have been marked by the bold juxtaposition and cross-fertilisation of the conventional, the leftfield and the downright shocking in performance; but he still stands accused of neglecting the visual arts. Chief inquisitor has been Sir Timothy Clifford, director of the National Galleries of Scotland, who complains that fine art has been cold-shouldered and implicitly downgraded by exclusion from the programme. 'I am an enormous admirer of Brian,' Clifford told this paper last year. 'But I think he is extremely obstinate and recalcitrant .' Their disagreement, while relatively amicable, has never been resolved.
    "... One particularly dogged critic is the former Festival director John Drummond, who has criticised his successor for over-reliance on repeat appearances by a coterie of established artists. Frank Dunlop, another alumnus of the post, has echoed the same sentiments. James Boyle, now chairman of the Scottish Arts Council, accused McMaster on these pages of placing too much emphasis on 'sure-fire' concerts while neglecting theatre and opera; and raised concerns about declining audience numbers."http://www.sundayherald.co.uk/23190

Boris Eifman of Eifman Ballet of St. Petersburg
An Escape Artist Trained During the Soviet Circus
New York
"Those years of struggle seem particularly far away as Mr. Eifman, now 55 and considered Russia's leading modern choreographer, prepares to embark on his fifth New York tour. His company, now called Eifman Ballet of St. Petersburg, opens at City Center on Wednesday with a program featuring two American premieres — "Pinocchio" and "Don Quixote." In "Don Quixote," as in so many of his ballets, Mr. Eifman portrays the individual trapped in a society in which he has no voice. Such themes, in Soviet times, would never have passed the censors.
    ""It was a time when it was necessary to waste a lot of time, and nerves, on a war with fools," he recalled with a smile. "Now I can look back and laugh, but at the time, it was difficult, very difficult."

English National Ballet + Royal Opera House
Richard Brooks: Biteback
a paragraph about Antonio Pappano and what's likely to be in his first season and also something on Gerald Scarfe and his designs for the new ENB Nutcracker:
"Later this year, the Coliseum will, as usual, host the English National Ballet’s Nutcracker. But the designer is new: Gerald Scarfe, this paper’s waspish cartoonist, has been asked to rework the ballet. Scarfe, who has never designed a ballet before, will raise some eyebrows. His toy soldiers will be in camouflage, while the mice will wear gas masks and carry guns. Scarfe was inspired by the Afghan fighting. Enough to scare off the kids? “No, the characters are cartoonlike, and youngsters will realise this,” he says."

Headlong Dance Theater
Cerebral Experiments That Can Take Flight
New York
"DOES experimental dance have to be intimidating? Not according to Headlong Dance Theater of Philadelphia, which likes to lace its cerebral offerings with sly humor. In "Subirdia," the troupe's latest piece, the culture of birds is mirrored in 1960's suburban America, complete with miniature houses and white picket fences.
    "The dance portrays the antics of a single woman and two couples, with the men fighting over yards and swapping wives."

A motto...
I just came across this on a Guardian letters page..
"Work like you don't need the money, love like you've never been hurt, and dance like nobody's watching". Lovely! It's from a song by Crispin Hunt of the Longpigs apparently:

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