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Subject: "Latest Review Links w/b 1st April 2002" Archived thread - Read only
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Conferences What's Happening Topic #2601
Reading Topic #2601
Brendan McCarthymoderator

01-04-02, 07:42 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 1st April 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  
  RE: Links Monday 1st April Brendan McCarthymoderator 01-04-02 2
     RE: Links Tuesday 2nd Brendan McCarthymoderator 02-04-02 3
         RE: Links Tuesday 2nd (2) Brendan McCarthymoderator 02-04-02 4
             RE: Links Wednesday 3rd April AnnWilliams 03-04-02 5
                 RE: Links Thursday 4th April AnnWilliams 04-04-02 6
                     RE: Links Fridayy 5th April AnnWilliams 05-04-02 7
  Saturday Links - 6 April 2002 Bruceadmin 06-04-02 8
  Sunday Links - 7 April 2002 Bruceadmin 07-04-02 9

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Brendan McCarthymoderator

01-04-02, 09:03 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 Monday 1st April"
In response to message #0
   LAST EDITED ON 01-04-02 AT 11:41 AM (GMT)

Ross Stretton talks to Jenny Gilbert of the IoS about the Royal Ballet's new season. "The problem is not so much funding new works, he says, as creating the right conditions - namely, rehearsal time. A ready- made piece takes six to eight weeks to stage, a new creation much longer. At present the House can't schedule that amount of time. "I've spent six months working on the problem," says Stretton. He hasn't cracked it yet, and it bugs him."

Also relevant is this story about plans for 'Royal Ballet Past Masters', a new company, one of whose artistic directors will be Ashley Page. It will specialise in the RB's classical and heritage repertoire.

Kim Brandstrup's 'Brothers' for ARC Dance Company is reviewed for The Times by Donald Hutera. "Watching his dance is rather like reading a Russian novel where you have to keep going back to the opening chapters to check out the names. It’s enough to make you paraphrase Cole Porter: “Brush up your Dostoevsky . . .”

Alastair Macaulay reviews Richard Alston Dance Company for the FT. "The music is by Astor Piazzolla, but this isn't some pastiche of Tango Argentino. It's Alston's own set of variations of the theme of the tango, and his dancers are barefoot. The only other choreographer who uses bare feet with this kind of brilliance is Merce Cunningham, but, although Alston has learnt plenty from Cunningham in his time, Touch and Go takes him to the other end of the spectrum."

The Scotsman (via the FT) on Scottish Ballet's determination to brook no resistance to its planned changes. "Robert North revealed grave reservations over the ballet's chief executive, Chris Barron and chairman, Duncan McGhie, insisting that their stewardship over both boards of Scottish Ballet and Scottish Opera diminished their ability to successfully run the company.He added: "My feeling is that neither one of them has what it takes to run a ballet company and there's a huge problem there."

Jenny Gilbert's review of Giselle for the IoS. "What's immediately special about Cojocaru's Giselle is the way she inhabits the role so simply and without fuss. Where some ballerinas draw attention to the ballet's Romantic-periodness, delivering the hallowed steps as if set between quotation marks, Cojocaru seems to live right inside it. Thus every step has an impulsive freshness, springing directly from her situation. For two hours you forget about dance technique, and you forget about acting. Cojocaru is Giselle."

John Percival writes for the Independent (via the FT site) on how Romeo and Juliet has been reworked by different choreographers - and with reservations "When Shakespeare was first danced, two centuries ago, those subjects deepened ballet by leading it on from an obsession with gods and myths. Haven't we advanced in those centuries; can't we find more original pretexts for dance? Ballet would be richer if Romeo and the like dominated fewer repertoires."

Thoughts from Louise Levene of the Sunday Telegraph on the ROH audience (not online). "Unless they can be converted into regular opera and ballet-goers, first-time buyers could be the kiss of death to adventurous programming. Ballet first-timers tend to want classics. This is fine up to a point but leaves only a minority willing to take the risk on new productions which have to be "papered" and discounted despite their much lower ticket prices. Henze's beautiful award-winning opera Boulevard Solitude was a prime example of this. The house itself may still take theodd risk but without an informed fan base it can only do so at a loss. There is very little new work scheduled for the Royal Ballet's 2002/2003 season and the modern pieces on offer from Mark Morris, Jiri Kylian and Angelin Preljocaj aren't so much new as "one careful owner".

There's further news of the ROH's plans for monitors on the backs of seats. "There will be new facilities for ballet as well as opera, including feedback facilities and clapping monitors so that the management can assess for example, how well a new star or new production has gone down with the paying public. “It’s a radical new development which will bypass the power of a narrow clique of critics with their entrenched views, and put us directly in touch with our customers.”

From the Chicago Tribune (registration necessary)a thoughtful essay on why US society values skaters more than dancers. "The figure skater embodies one half of our nation's soul: the individual. Because most dancers start out in the corps, because stardom comes later and unexpectedly, if at all, the dancer evokes the other half: the community. They have distinctly opposite missions. The athlete strives for that all-or-nothing moment in the Olympics' finals."

The Washington Post on Lyon Ballet's Cendrillon, based on the Cinderella legend. "It's a happy ending indeed when the Prince, after long travels on his rocking horse, finally slips that sparkly toe shoe on Cinderella's foot. Like Mama says, too much sugar isn't good for you."

Kevin Ng in the South China Morning Post on HK Ballet's new Sleeping Beauty by Stephen Jefferies. "Arlene Croce, the influential former dance critic of the New Yorker, once said that in the ballet business Sleeping Beauty is a white elephant. You have to spend money on it, and you have to be able to dance it, and few companies can do both, although many try.
And try the Hong Kong Ballet certainly did on Friday, when it unveiled its new production of this 19th century classic - with uneven results. Artistic director Stephen Jefferies has changed a lot of the traditional choreography, often for the worse."

The Australian reviews Mats Ek's Swan Lake for Cullberg Ballet, now playing in Perth. "Ek is a master stage director as well as choreographer. He isn't just out to shock with visual gags. He pricks many expectations – this classical ballet is engagingly raunchy.

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Brendan McCarthymoderator

02-04-02, 07:33 AM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
3. "RE: Links Tuesday 2nd"
In response to message #2
   The Times site is down and I will check it later

For the Guardian, Danjoy Roy reviews the French company Montalvo-Hervieu's 'A Slice of Paradise'. "It is unabashedly populist, ultimately lightweight entertainment, the creators' high-flown ideas on contemporary life notwithstanding. Its utopian slice of life is a simple, innocent vision of harmony in diversity: a technological travelling circus in the global village of a happy rainbow tribe."

John Percival for the Indie on Richard Alston (via the FT). "I like my tango cooked very rare and served with mustard; and I cannot understand why a choreographer who admits to finding real tango too relentless for his taste chooses to waste his time (and ours) with such a travesty. True, there is actually one little hip wriggle towards the end, but there are a lot more ballet steps; and providing the customary two-man duet as well as the softened transgender kind does not disguise the sad fact that the dances are all genteelly sexless. Call this tango? I'd be more inclined to call it fraud."

The SF Chronicle interviews the composer Bright Sheng about his music for Helgi Tomasson's new ballet "Chi-Lin". "The collaborative nature of dance intrigues Sheng, who will conduct the first two performances, tomorrow and Wednesday. "I said to Helgi, 'Let's make sure we can change the tempi of the music during the performance,' and he understood. The conductor in some way must follow the dancers."

Duke University's restoration of Antony Tudor's The Planets reviewed byThe News-Observer. "The overall effect was lovely, touching, and to a viewer who does not pretend to be a Tudor expert, it looked pretty Tudoresque."

Anna Kisselgoff of the NY Times on Boris Eichman Ballet. "His latest offering for the Eifman Ballet of St. Petersburg should be regarded as an honest mistake. Given its Unites States premiere on Friday night at City Center, "Don Quixote or Fantasies of a Madman" looks like two ballets that fail to cohere either as narrative or as a stylistic whole."

As is increasingly the case, yesterday a number of Independent stories appeared on others' websites before later appearing on its own. First is Jenny Gilbert's Giselle review.

John Percival's piece on Romeo and Juliet is at

...and Jenny Gilbert's interview with Ross Stretton at

Note too the ABC Radio interview with Ross Stretton about the RB's forthcoming tour of Australia. It is at

Ismene Brown's Giselle review for the Telegraph, which has also appeared elsewhere, is now at -

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Brendan McCarthymoderator

02-04-02, 08:52 AM (GMT)
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4. "RE: Links Tuesday 2nd (2)"
In response to message #3
   From the Times: Rodney Miles on the make-up of the Royal Opera House audience: "Hall explained to me how the figures are arrived at. “We ask everyone who books to give details about themselves, and practically all of them co-operate.” This has revealed that more than half of them earn less than £30,000 a year and that a quarter of all ballet audiences are under 35, with almost as high a proportion of opera audiences. Forty per cent of those attending performances at the Linbury and Clore studios are students “or similar”. One attraction for new audiences, Hall suggests, is a change in marketing strategy. “In the past two years we’ve been printing booking forms in the main broadsheet newspapers. That has taken the mystery out of buying tickets. That’s been a huge factor in attracting new audiences.”

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03-04-02, 09:22 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 3rd April"
In response to message #4
Donald Hutera in the Times on Compagnie Marie Chouinard: 'Each of Chouinard's dances lasts 45 minutes. Both feature a distinctive vocabulary of vibrating extremities and convulsive body rhythms that make the dancers seem as much a swarm of insects or flock of birds as a human community. Their look is as particular and peculiar as their movement. Playing with notions of exposure and censorship, the designer Vandal opts for skimpy, sheer black costumes which leave the dancers bare-chested, black tape coyly covering their nipples and privates. They also sport fake Mohawks or knobby hairstyles.'

The San Francisco Chronicle profiles Christopher Wheeldon: 'His biography suggests a long and illustrious career, but Wheeldon in fact just turned 29. "I got tea balls for my birthday," he said with a grin on the way to tea and biscuits, "so I can have proper tea here in San Francisco." He looks younger than he is, with piercing blue eyes, a dancer's athletic figure, a disarmingly youthful smile and the sort of scruffy goatee that says "I'm not dancing this week." But he doesn't dance at all anymore, having turned his back on stardom at 27 in order to devote all his time to choreographing. 'Http://www.sfgate.com/cgi-bin/article.cgi?f=/chronicle/archive/2002/04/02/DD5281.DTL&type=performance

A report via Lycos on Boris Eifman's company in New York: 'Boris Eifman's Don Quixote is heroic, noble - and insane.The Russian choreographer has placed his adaptation of the Cervantes tale in a mental institution, envisioning the man from La Mancha's exploits as pure fantasy and imagination.Far from grim, the effect is comic and, at many moments, beautiful. Eifman's dancers are strong, theatrical and expressive, and Slava Okunev's set and costumes are a marvel of color and light.'

Anna Kisselgoff in the NY Times on the Grigorovich Ballet in New York: 'The artistic director of from 1964 through 1994, Mr. Grigorovich is now artistic director and chief choreographer of the Grigorovich Ballet, a 90-member touring company based in Krasnodar, Russia, east of Crimea. It is obviously not the Bolshoi, but its slightly abridged version of "Spartacus," with Aram Khachaturian's score on tape, captured the right tension and drama on Sunday afternoon at the Brooklyn Center for the Performing Arts at Brooklyn College.'

Via the FT, a story to gladden your heart: 'At a meeting today, the Fort Worth Dallas Ballet board of directors adopted a restructuring proposal of its governance and bylaws. In doing so, the Company will receive $1.3 million in new funding. This recapitalization plan, proposed by a group of active board members and major donors, revitalizes finances and provides strong business leadership while streamlining decision-making by a new, smaller executive committee'

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04-04-02, 08:35 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 4th April"
In response to message #5
   Via the FT, Stephanie Ferguson in the Guardian on Moscow La Classique ballet's 'Giselle' at the Grand Theatre, Leeds: 'Evguenia Novikova was a hugely expressive Giselle, transcending the moving-wallpaper feel of this version to give us a credible girl in love and cruelly duped. She was impressive in the mad scene, losing her reason and staring blankly, reliving her precious moments while absently plucking petals from an invisible daisy. She flitted through her allegro passages and captured the tragic beauty of the graveside choreography, her style deliberate and light, with eloquent, floating arms'


Judith Flanders in the Standard on 'Stomp' at Sadlers Wells: 'It is hard to remember that Stomp has been around for more than a decade. In 1991, a wonderful oddity burst out of the Edinburgh Fringe: not really a concert, not quite dance, definitely not performance art. Today, Stomp has become an entertainment industry. There is a Stomp company in New York, where they have been playing for eight years; there are four more touring companies..'

From Manchester Online, a brief review of the Latvian National Ballet's 'Coppelia' at the Lowry: 'Margarita Demjanoka danced her as a feisty young lady with attitude, who yet transforms to a majestic soloist for the pas de deux of the final act - and ends it with a stunning series of fouettes.'

Anna Kisselgoff in the NY Times on Elliot Feld's new ballet 'Lincoln Portrait': 'Most of Mr. Feld's pieces about the American mood, past and present, have taken a skeptical look at the gap between words and deeds. The flag-waving, literal and symbolic, in "Lincoln Portrait" may come as a surprise. Yet the affirmation of democratic values that Copland, Martha Graham and other American artists expressed through their works during World War II has much in common with Mr. Feld's populist and egalitarian themes'

The Boston Globe on the Boston Ballet's 2002-2003 season: 'The opening program, Sept. 19-29, features two modern masterworks, Mark Morris's ''Maelstrom'' and William Forsythe's ''In the middle somewhat elevated,'' along with a world premiere by Jorma Elo. Who? ''That's the point,'' Nissinen said yesterday.....''I want to bring fresh blood into the mix. All the major companies are doing the same choreographers,'' he added. Mark Morris, Christopher Wheeldon, and Stanton Welch are fine dance-makers, but they're also heavily represented in American repertories'

Joan Monahan in Florida's 'The Ledger' on athleticism in ballet today: 'Often when people think of ballet, they imagine beautiful young girls pirouetting around the stage on their toes, but the first women dancers didn't appear on the scene until 1681. Once girls appeared, they dominated the stage, but just for a while...... Today, men are emerging again as both stars and athletes. Ballets were rewritten to feature male stars like the Russians, Mikhail Baryshnikov and Rudolf Nureyev. Men now execute higher jumps, more turns and faster leaps to thrill audiences.'

Ann Murphy in the SF Weekly on compagnie Maguy Marin, who are currently appearing in San Francisco: 'Fortunately, as both lusty sensualists and Cartesian intellectuals, French choreographers seduce us into thinking, then turn thinking into a sensual delight. One of the most celebrated and delightful of these Gallic dance-makers is Maguy Marin, the 50-year-old former director of Lyons Opera Ballet who brings her own troupe, Compagnie Maguy Marin, to Yerba Buena Center for the Arts...'


The Louisville Ballet is staging a choregraphers showcase: 'Dancers volunteer and participate on their own time. After a full day of rehearsals..... they remain in the studio long into the evening working on the new pieces. "The buzz around the studio at this time of year is incredible....There's an unbelievable level of commitment and enthusiasm. For the choreographers, it's a great learning experience. Any time a dancer looks at the art from a new angle, whether it's as a teacher or as a choreographer, it really enriches their sense of what they do as performers. And it's a challenge for the dancers, because it asks them to dance in new styles they might otherwise not encounter."

The Yoimuri Shimbun Daily in Japan on AMP's 'The Car Man', which is about to tour Japan:

Also from the Yoimuri Shimburi Daily, a piece on the Bejart Ballet Lausanne on their forthcoming Japanese tour:

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05-04-02, 09:20 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 Fridayy 5th April"
In response to message #6
   Ismene Brown on Scottish Ballet's 'Two Pigeons' in Edinburgh: Sarah Wildor, the former Royal Ballet star, is a delicious lead - not quite match-fit, yet more than anyone today she has that Ashtonian gift of demure manners and uninhibited feelings roaring under them. Musically delicate, comedically full-blooded, she is a ravishing Degas sight.
link to article

Donld Hutera in The Times on 'Two Pigeons': 'Wildor, who had earlier demonstrated her gift for warm-hearted, comic characterisation, comes into her own in the final pas de deux. The pain of rejection, transformed into pure, yearning love, is visible in her supple torso and quivering limbs.'

Alice Bain in the Guardian on 'Pigeons': 'The original role was made for Lynn Seymour, a dancer of unique, passionate character; Wildor wears it with ease. Like the real doves that share the stage (and behave impeccably), she combines strength with a soft grace, never missing a beat. Her partner, soloist Ivan Dinev, holds up well as the artist against such confident, cut-glass technique.'

Nadine Meisner in The Independent on 'Riverdance' in Manchester: 'THERE ARE three Riverdance companies concurrently touring the world, each named after a different Irish river. Whether the one now travelling Britain is the Shannon, or Liffey, or Lagan, I can't say; but I do know it's bigger (over 80 performers) and more elaborate than at the beginning six years ago, when the demon foot-tapper Michael Flatley was still part of the package, blond quiffs and silk shirts fluttering, like a Liberace on speed.'

Lisa Traiger in the Washington Post on a new work for Washington ballet:
'Peek into the Wisconsin Avenue studios of the Washington Ballet early in the rehearsal period of a new work by the troupe's artistic director, Septime Webre, and you'll likely see dancers making up their own steps. No, Webre isn't slacking; he's using creative techniques that invite contributions from the dancers. It's something that modern choreographers have been doing for years...'

The Moscow Times reviews the Kirov's John Neumeier mixed bill. "All in all, the Mariinsky's triple bill provided a fine sampling from the work of one of today's most talented choreographers, all of it executed with surprising ease by a troupe of dancers whose normal fare lies in the classical realm."

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06-04-02, 08:28 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  
8. "Saturday Links - 6 April 2002"
In response to message #0
   Royal Ballet
British critics grill Royal Ballet's Australian chief
by Juliet Herd (London)
only just found this...
"Asked about the "appalling" injury rate with 12 key dancers suffering from a variety of injuries, Stretton denied the problem was due to either abrupt changes in repertory style or short rehearsal times. He insisted the Royal is now focused on prolonging dancers' careers by providing them with the appropriate medical support, even if that means long recovery spells."
{you can see our own coverage of the next RB season - including full details of what was covered in the press briefing on the following thread:http://www.danze.co.uk/dcforum/news/1252.html}

Akram Khan - Kaash
A performance in three dimensions
The three artists who created the unique dance event Kaash talk to Ismene Brown about the dramatic weeks leading up to tonight's opening
"DANCE, sculpture, music, married on equal terms by three of the outstanding practitioners in Britain, promise to make Kaash the highlight of British performance art in 2002. The brilliant choreographer Akram Khan, the world-renowned sculptor Anish Kapoor and the award-winning composer Nitin Sawhney have been working for three months on an ambitious one-hour dance event that reaches back to the days when Picasso and Ravel would collaborate with Cocteau and Nijinska on dances for the Ballets Russes..."

Place, London
by Judith Mackrell
"A lot of modern dance is hard-going for those with short attention spans. But then, 90 minutes of silent action can induce the fidgets in anyone. So the Place's idea of packaging 20-minute extracts from three different works had definite appeal, not only to the teenagers it was aimed at, but to some of their parents as well...."

Australian Ballet's Steven Heathcote
Flex appeal
How many fathers pushing middle age look this good in tights? Valerie Lawson talks to Steven Heathcote.
"When Bart Simpson took up ballet, he announced defiantly: "Doing ballet does not make you any less of a man." Still, when it came to his school performance, Bart wore a paper bag over his head, just in case. Encouraged by his schoolmates' cheers, he removed the bag. The boys' cheers turned to jeers.
    "The Simpsons writer scored a cheap shot. But Bart himself had the last laugh. He had spoken the truth. Ballet made Bart more masculine, and stronger emotionally, than he had ever been.
    "It's done the same for Steven Heathcote, Australia's most senior and most admired ballet dancer. Despite looming middle age, it is hard to imagine a more masculine figure than Heathcote, who at 37 retains the looks, the charisma and the fitness of a dancer half his age."

Australian Ballet's Steven Heathcote
Long time to the last dance
By Jane Albert
"The "decent bloke" label is one that has forever been attached to Heathcote. While other dancers complain about favouritism or mutter about promotions, Heathcote is always the squeaky-clean, smiling diplomat who never seems to have a bad word to say. It's hard to believe there is no Mr Hyde, a dark side of Heathcote that remains hidden. "I suppose I probably wasn't subjected to so many of the negatives as those people who weren't doing well under any of those directors," he says. "I've been very fortunate because I've only really ever been the beneficiary of an artistic director's input. There are those who perhaps can try to justify their own negative situations by destabilising things around them."

Washington Ballet
'Journey Home': Worlds That Merge but Never Blend
By Alexandra Tomalonis
"Five women, wearing red ceremonial robes and surrounded by ceremonial objects, sit atop a platform, glowing like embers on the darkened stage. As they sing, their rich, mellow voices are both familiar and mysterious. They embody what African and African American women symbolize in our culture: queen and mother; storyteller and sorceress; witness to suffering; comforter of the afflicted. The stage is pregnant with drama.
    "Unfortunately, nothing that followed in Septime Webre's "Journey Home," the world premiere that the Washington Ballet presented Thursday night, quite lived up to that image. Webre deserves kudos for bringing these locally based artists together: acclaimed a cappella vocal group Sweet Honey in the Rock; renowned painter Sam Gilliam; and noted playwright Norman Allen. It was an ambitious, worthwhile project. The collaborators, however, operate in different worlds, and the pieces never quite came together."

Washington Ballet
Ballet, Honey in Rock 'Journey Home'
By Jean Battey Lewis
"Journey Home," the ambitious collaboration between the Washington Ballet and Sweet Honey in the Rock, represents a noble effort to meld the two worlds they represent — the classical technique and structure of ballet and the earthy vibrancy of music with black American roots.
    "Both groups performed with wholehearted vigor at the world premiere of "Journey" Thursday night in the Kennedy Center's Eisenhower Theater, and at times the presentation rose to expressive heights."

Mainz Ballet
God of Light on Earth
The latest offering by the Mainz Ballet honors the neo-Classicist in modern dance with a restaging of Balanchine's myth-making "Apollo." It is a clever move on the part of Martin Schläpfer and his troupe
By Gerald Siegmund
"Modernism saw dance reinvent itself in the field of tension between two classical poles, with Vaslav Nijinsky's scandalous choreography "Afternoon of a Faun" (1912) and George Balanchine's "Apollo" (1928) as exemplary works at either end of the scale. While Nijinsky took physical drive and desire as his theme, Balanchine consciously responded by transferring the impetuous and the ecstatic into his ideal of beauty. The future God of the Arts and of Light, who can certainly be seen as a figuration of Balanchine himself, is somewhat unsteady on his feet as he first tests his strength, eventually finding his way to perfect form.
    "Over time, "Apollo" has become the founding myth of neo-Classicism, a myth that grants the Muse of Dance a prominent position among the arts, as she embodies beauty the most gracefully. This was ballet at the beginning of the 20th century allegorically revisiting itself."
Frankfurter Allgemeine

San Francisco Ballet
Far-out East
By Rachel Howard
"Helgi Tomasson has been a far more popular artistic director than choreographer during his 16 years at the helm of San Francisco Ballet, but his appeal broadened in an instant Tuesday night as the curtain fell and the shouts of wild appreciation rose on the world premiere of his "Chi-Lin."
    "For those who know Tomasson's work, presented at least twice each season, "Chi-Lin" looks at first glance shockingly out of character. This specialist in austere, often abstruse neo-classical works has assembled an unabashed crowd-pleaser."

San Francisco Ballet
'Chi-Lin' ballet belongs to Tan
San Francisco
Dazzling work in world premiere may be dancer's finest hour
By Octavio Roca, Chronicle Dance Critic
"Helgi Tomasson's latest ballet is a lot like chop suey, an improbable and tasty offering of Chinese ingredients mixed up with American flair.
    "It is called "Chi-Lin," and chief among Tomasson's condiments are the music of Bright Sheng and the considerable dancing talent of Yuan Yuan Tan. Tomasson made "Chi-Lin" for her, and the Chinese ballerina thanked her mentor with perhaps the loveliest performance of her career."

Maguy Marin
New dance from France
San Francisco
By Rachel Howard
"And as the world at large has changed, so have Marin's immediate circumstances. Four years ago she relocated her markedly cosmopolitan company to this small town, two hours by train to Paris, in order to open a state-funded Choreographic Center. Right now, the troupe has one studio, dressing rooms, showers, offices and a kitchen. In a year its members hope to have two more studios, one of which will double as a theater space.
    "The move has been an adjustment for all concerned. "The townspeople said, 'What is she coming to do here?'" Marin remembers. "Some were happy because finally something was happening in this town. Some said, 'She's going to take all the money, you know.'"

Dance in SF
S.F. Performances announces new season
"San Francisco Performances' 2002-03 season will present Sweden's provocative Cullberg Ballet during its first U.S. tour, introduce a new annual two-week engagement of the venerated Paul Taylor Dance Company, and sponsor the San Francisco debuts of violinist Leonidas Kavakos, pianists Piotr Anderszewski and Simon Trpceski, and the Artemis and Borromeo Quartets, the organization announced this week."

Dance in SF
Glass on tap for S.F. Performances season
2002-03 programs include Paul Taylor, Anonymous 4
by Joshua Kosman
details as above

Ballet teaching
Bring on the ballerinas
by Laura Craik
fromt the fashion section of teh EVening Standard
"Clearly, ballet lessons should be put on the national curriculum for all girls between the ages of five and 15. As well as teaching you grace and poise - something our young people are sadly lacking - ballet is an excellent form of exercise. No more overweight teenagers after an hour at the barre."

Lucinda Childs
Alone in Time's Essence
New York
"On the surface, "Lucinda Childs: Solos" is as simple as its title. The program, which opened on Wednesday night for a three-week engagement at the Kitchen, consists of three solos created over a 23-year period by Ms. Childs and several longtime collaborators. Ms. Childs is effectively alone on stage. But a great deal is going on in this superb evening of theater and dance. And much of it has to do with time.
    "Ms. Childs's play with time is at its most complex in "Dance #4," an excerpt from her 1979 "Dance," set to music by Philip Glass with film by Sol LeWitt. Projected onto a scrim, the black-and-white film depicts a towering Ms. Childs dancing across a white grid, sometimes playfully and sometimes with a spare, virginal intensity. The picture is split at times, with the dancing figure seen from several perspectives. Behind the scrim, a live Ms. Childs keeps slipping onto the shadowed stage, then disappearing. "

Reggie Wilson
On a Black Spiritual Quest
New York
"The raw and the tender lie deep in the experimental choreography that Reggie Wilson creates with such freshness in his view of the African diaspora.
    "In "Introduction," he offers a technical tour de force as he starts out separating two parallel activities: speaking and demonstrating movements. These are the stamps, slaps and clapping in black churches that derive from African tradition. Yet "Introduction" is not an exhibition of dexterity, no matter how brilliantly Mr. Wilson masters its complex rhythms. As voice and movement fuse, emotion becomes paramount."

Mobius Artists Group
Mobius Artists make rousing motion with Cage's `Variations V'
Mobius Artists Group with Not Frida in John Cage's ``Variations V,'' at Mobius, last night. Program repeats tonight.
Dance Review/by Theodore Bale
"Last night, amidst a sprawling landscape of wires, antennae, laser beams, sound mixers and other equipment, the members of the Mobius Artists Group offered a thoroughly elegant yet playful realization of John Cage's legendary ``Variations V'' at their performance space on Congress Street.
    "It was a heady night for music, choreography, and videography, and it's a safe bet to say that the late composer would have been thrilled with the results...."

the following are repeats but with the right URLs rather than FT ones

Scottish Ballet
The Two Pigeons
Edinburgh Festival Theatre, Edinburgh
by Alice Bain
"Sarah Wildor adds class to Scottish Ballet's new production of The Two Pigeons. Dressed in ingenue white taffeta she preens and coos like the lovey-dovey bird she imitates, instinctively injecting a funny-girl personality right through. Having recently resigned from the Royal Ballet, she is now, like her ex-Royal Ballet husband Adam Cooper, embarking on a freelance career."

Moscow Ballet - La Classique
Grand Theatre, Leeds
by Stephanie Ferguson
"The Moscow Ballet - La Classique features dancers from the Bolshoi, Kirov and other former Soviet theatres, and is steeped in the Imperial Russian tradition. Its Giselle was, unsurprisingly, a game of two halves: act one was almost set in aspic, mannered and heavy on mime, while the second half, set by a spooky moonlit lake, offered a phalanx of ethereal jilted maidens, weaving their deadly patterns, drifting softly like lilies on water.
    "The mime comes thick and fast at first, as Albrecht's squire warns him not to trifle with the peasant girl's affections. The duke's Rhineland castle high on the backdrop reminds us that he is playing at being a yokel. Igor Stetsiur-Mova, though, gives us a less than dashing duke. Perhaps the years are taking their toll on his technical artistry: his solos are initially strained and wooden, gradually improving when hounded by the Wilis."

Manchester Evening News Arena, Manchester
Folk art gets the rock-show treatment
By Nadine Meisner
"There are three Riverdance companies concurrently touring the world, each named after a different Irish river. Whether the one now travelling Britain is the Shannon, or Liffey, or Lagan, I can't say; but I do know it's bigger (over 80 performers) and more elaborate than at the beginning six years ago, when the demon foot-tapper Michael Flatley was still part of the package, blond quiffs and silk shirts fluttering, like a Liberace on speed.
    "Flatley's imprint remains discreetly in the choreography for his successor, black-leather outfitted Breandán de Gallaí. It's just as well that de Gallaí is another spectacular mover, because Riverdance is all about spectacle, about refusing even the slightest nuance and understatement, about giving folk art the rock-show treatment. Who wants non-commercial high art all the time? Personally, I'm a sucker for throbbing, amplified sound, billows of dry ice, blazing light effects and projections that can create Ice-Age landscapes and modern American cities. I might draw a line at the shamelessly inflated, would-be poetic narration. But in a show so glossily constructed, even that passes by almost unnoticed."

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07-04-02, 09:16 AM (GMT)
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9. "Sunday Links - 7 April 2002"
In response to message #0
   Nothing in the electronic Sunday Times again - second week running I think. What on earth are they up to?

Scottish Ballet
Two pigeons
Edinburgh festival theatre, now touring
By Ellie Carr
"The Two Pigeons (1961) is a brilliant example of Ashton's favoured form, the two-act ballet, and one which provides a wonderful platform for any sparky ballerina in the desperately romantic role of the lovelorn girl. Scottish Ballet has done well to acquire it. The company suits Ashton's starkly pure, elegant yet measured style and has danced works like his La Fille Mal GardŽe well in the past. What's more, the company has done even better in acquiring former Royal Ballet principal Sarah Wildor, making this production the star vehicle Ashton originally intended.
    "Wildor is divine in the role, all coquettish smile and kittenish features, seizing the stage to the point where all else around her disappears. Bird-like 'wings' fan out like gossamer from her unusually strong, muscled back; her legs spear up in dramatic extension then shudder down, avian-like, to the floor; and as she hurls herself around stage only to land in a photo-opportunity perfect classical pose, it's clear she's in a different league.

Scottish Ballet
Flights of fancy founded on the brilliance of Sarah Wildor
The Two Pigeons/ Bach Dances by Christopher Bowen
Edinburgh Festival Theatre
by Christopher Bowen
"Scottish Ballet’s staging of the work is an honourable homage to Ashton. It is not, it must be said, a hugely demanding piece as far as the corps is concerned but Scottish Ballet’s men do their floor-slapping best and the women shimmy effectively at the Gypsy Camp. Less convincing is the pointe work displayed by the ensemble of the Girl’s friends who (in typical Ashton style) have to pick their way through a minefield of fleet footwork. The company’s diminished classical technique is, alas, all too apparent here.
    "In the principal roles there is, however, much to savour. Lorna Scott’s Gypsy Girl is deliciously feisty and Sarah Wildor and Ivan Dinev make extremely touching lovers. With his slender frame and lyrical line, Dinev seems an especially youthful artist but his na•vety (as opposed to adventuring borne of weariness - the other standard interpretation) is a better foil for Wildor’s charms. And what charms they are. Impishly seductive in the opening scene, subtly shifting from numbing grief to glorious rapture in the final duet, Wildor breathes vivid life into a role that could so easily be mindlessly charming. She has, of course, the technical measure of Ashton’s light, precise, deceptively simple style, but what makes Wildor’s dancing such a joy is her innate musicality.

San Francisco Ballet
Petit's 'L'Arlesienne' steals show at Ballet
Corps helps turns work into great theater
San Francisco
Octavio Roca, Chronicle Dance Critic
A substantial review of a new piece of Christopher Wheeldon - do read
"The theater is full of surprises, of unexpected pleasures when the curtain goes up. And so what sounded like the least promising work in San Francisco Ballet's triple bill Thursday night turned out to be a spectacular success.
    "The program featured the world premiere of Christopher Wheeldon's "Continuum," as well as a revival of Val Caniparoli's enigmatic "Death of a Moth" that made one wish to see more of this gifted choreographer's work.
    "...Wheeldon's new "Continuum" was impressive in its sincere tribute to the genius of Balanchine. On first impression, it was also a little strange. Imagine someone composing a new Shostakovich symphony or painting a gloss on Picasso's "Guernica." Well, Wheeldon is channeling Mr. B. on the Opera House stage. "Continuum" may be one of the best ballets Balanchine never made."

Compagnie Montalvo-Hervieu + Yolande Snaith
Beasts of Eden
French Paradise is magic for the young
A Slice of Paradise Theatre Royal, Brighton and touring
Very Yellow The Place, London WC1
by Jann Parry
The Observer
"'Why are they doing that?' asked a persistent voice at one of the Easter holiday shows for children. Dance has few answers to such a fundamental question. The fact that it was asked at all means that the magic isn't working. When it is asked at Compagnie Montalvo-Hervieu's A Slice of Paradise, it means children are enraptured.
    "This bit of paradise started life in a dreary outer suburb of Paris, drawing on the skills of local performers. The 40-minute 'family' version, now on tour until 13 April, seems to have a cast of hundreds: in fact, there are just eight very lively dancers, replicated by clones on video. Upstage screens host a gaily coloured parade of people and animals who weave in and out of sight. Whenever you think you've sussed who's real and who's virtual, you are con-founded yet again.
    "...The two choreographers, Jose Montalvo and Dominique Hervieu, have found the sunniest way of conveying pure happiness."

Robbins 'The Concert'
Such Serious Music, So Why Not Have Fun?
New York
"MORE than 40 years ago, Jerome Robbins started wondering what people think about when they listen to music. Do they simply focus on the notes? Or do they dream about buying a hat, murdering a spouse or turning into butterflies? He pondered these possibilities choreographically in "The Concert (or, the Perils of Everybody)," a work to Chopin that is surely a comic masterpiece. It's also a ballet that affirms the power of music to stir up fancies, including surprising ones.
    "Robbins created it for the New York City Ballet in 1956, restaged it for his own Ballets U.S.A. in 1958, and in 1971 brought it back to City Ballet, which has danced it off and on ever since. Robbins once said that he did not like "The Concert" to be performed too often. He did not want the jokes to lose their freshness. "The Concert" looked delightfully bubbly during the company's recent winter season, and it will be back in the repertory for the spring season at Lincoln Center, which opens on April 30."

Compagnie Maguy Marin
Choreographer Marin's appeal to intellect leaves the senses dangling
San Francisco
By Anita Amirrezvani
"`Cinderella' in a dollhouse? ``Coppélia'' in a housing project? French choreographer Maguy Marin has built an international reputation by revivifying ballet classics with fresh ideas, and by creating brainy modern dance works inspired by philosophers such as Samuel Beckett and René Descartes.
    "Marin has pushed her dance-theater experiments even further with her latest work, ``Points de Fuite'' (Points of Escape). This challenging and intellectual work for 10 dancers made its San Francisco debut on Thursday at the Yerba Buena Center for the Arts. It was the first time Compagnie Maguy Marin, which operates out of a suburb of Lyon, France, has performed in the Bay Area.
    "In `Points de Fuite,' Marin makes no concessions to the idea that dance should be pretty or appealing, a form of liberation familiar from the 1960s American postmodern dance movement.

National Ballet of Spain
Bursts of Fiery Energy
The National Ballet of Spain is alternately ragged and revelatory in the opening program of its glitch-delayed U.S. tour.
"A day later than planned, National Ballet of Spain launched a six-performance engagement, and a three-city U.S. tour, at the Wilshire Theatre on Thursday.
    "According to Malaica Valiente of NYK Productions, the tour presenter, the delay was a matter of quality control: There simply wasn't enough tech time to adequately prepare the six-part program, including two world premieres, for the original Wednesday opening.
    "As previously reported, mismatches between Spanish and American equipment didn't help. However, lighting glitches in the first section of "Concierto de Aranjuez" on Thursday and sound imbalances throughout the evening suggested that further adjustments are in order.
    "The dancing, too, had its lapses, with artistic director Elvira Andr¿continually testing not only the company's flamenco prowess but its mastery of Spanish classical dance. Performed to live music, the flamenco pieces reveled in percussive intensity even when some ensembles grew fleetingly ragged. The classical rep, however, featured taped accompaniments and often looked inescapably bland.

Kansas City Ballet
All Alone, Trying to Be Fascinating
New York
"... Mr. Whitener, now the artistic director of the Kansas City Ballet, has decided to challenge his company's dancers with a program of solos, most of them unfamiliar, by six historically significant choreographers. Between 1905 and 1968, the choreographers — Agnes de Mille, Daniel Nagrin, Anna Sokolow, Merce Cunningham, Lotte Goslar and Michel Fokine — created these solos as independent ballets that would show off their talents. The solos will be performed from Thursday through next Sunday."

Jose Mateo's Ballet Theatre
Mateo's `Worlds' impressive, engaging
Jose Mateo's Ballet Theatre of Boston in ``From Worlds Within,'' at the Sanctuary Theatre, Cambridge, last night. Continues through April 21.
Dance Review/by Theodore Bale
"Jose Mateo has called his latest repertory program ``From Worlds Within,'' a rubric that hints at the theme of introspection.
    "While many of Mateo's original ballets have been permeated with somewhat mysterious psychological processes, there was nothing taciturn about last night's line-up at The Sanctuary Theatre in Harvard Square.
    "Mateo has been working for years to establish a certain ``look'' for his company, and it's obvious now that all of the dancers understand and share his singular vision. They gave remarkably committed and engaged performances last night. With surprising, elegant choreography (set to an assortment of the finest music) and impeccable production standards, ``From Worlds Within'' is easily the company's finest effort to date."

Christine Bennett
A tangle of exploration, movement
By Karen Campbell,
"For choreographer Christine Bennett, the thrill is rooted in the process of exploration. To that end, she often crafts dances around physical obstacles - a constrictive box-like house, stilts, life-size metal picture frames - that demand her performers find new ways of moving. In her latest work, simply called ''The Net,'' the challenge is an 18- by 26-foot net by Dutch visual artist Pieter Smit. On loan from Dance Collective's Dawn Kramer, who commissioned it for her 1991 ''After Ever,'' it hangs from ceiling to floor in panels of different-sized grids plus two knotted climbing ropes and a swinging ladder."

Houston Ballet Youth Dancers
New company gives dancers onstage experience
"For a career-bound ballet dancer, gaining experience onstage is as important as mastering the details of technique. Boston Ballet, American Ballet Theatre, Alvin Ailey American Dance Theater, the Paul Taylor Dance Company and Hubbard Street Dance Chicago have had such junior companies for years.
    "Houston's advanced students have long helped fill the stage during The Nutcracker and other story ballets with crowd scenes. Their big moment to shine, however, has been a one-night graduation show. Houston Ballet Youth Dancers will give them two additional miniseasons with multiple shows, mostly in April and October when Houston Ballet isn't performing.

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