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Subject: "Latest Review Links w/b 22th April 2002" Archived thread - Read only
 
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Conferences What's Happening Topic #2657
Reading Topic #2657
Bruceadmin

22-04-02, 08:25 AM (GMT)
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"Latest Review Links w/b 22th 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:
http://www.danze.co.uk/dcforum/happening/2641.html

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:
http://www.ballet.co.uk/todayslinks

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 - 22 April 2002 Bruceadmin 22-04-02 1
     RE: Monday Links - 22 April 2002 (2) Brendan McCarthymoderator 22-04-02 2
  RE: Latest Review Links w/b 22th April 2002 Bruceadmin 22-04-02 3
  Tuesday Links - 23rd April Bruceadmin 23-04-02 4
     RE: Wednesday links - 24th April AnnWilliams 24-04-02 5
         RE: Wednesday links - 24th April (2) Brendan McCarthymoderator 24-04-02 6
             RE: Thursday links - 25th April AnnWilliams 25-04-02 7
                 RE: Thursday links - 25th April jhanner 25-04-02 8
                     RE: Friday links - 26th April AnnWilliams 26-04-02 9
                         RE: Friday links - 26th April Jonathan S 27-04-02 10
                             RE: Friday links - 26th April vivian2 29-04-02 15
                             RE: Friday links - 26th April vivian2 29-04-02 16
  Saturday Links - 27 April 2001 Bruceadmin 27-04-02 11
  Sunday Links - 28 April 2002 Bruceadmin 28-04-02 12
     Happy Birthday Bruce! Fiona 28-04-02 13
         RE: Happy Birthday Bruce! Bruceadmin 29-04-02 14

Conferences | Topics | Previous Topic | Next Topic
Bruceadmin

22-04-02, 08:27 AM (GMT)
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1. "Monday Links - 22 April 2002"
In response to message #0
 
  
Obituary: Mark Ermler
Bolshoi and international guest conductor
http://www.telegraph.co.uk/news/main.jhtml?xml=%2Fnews%2F2002%2F04%2F22%2Fdb2202.xml

Adam Cooper
On your toes, get set, grow
by Debra Craine
Adam Cooper, erstwhile star of the Royal Ballet, is adding an all-singing, all-acting, all-musical string to his bow
"...Now he is tackling his first musical, not only starring in it but choreographing it too. It’s On Your Toes, the Richard Rodgers-Lorenz Hart comic collaboration from 1936, which is being revived by Paul Kerryson at the Leicester Haymarket next month as part of the Rodgers centenary tribute.
    "Cooper plays Junior Dolan, a hapless music teacher (originated on Broadway by Ray Bolger) who ends up falling in love with a Russian ballerina. For those who saw Cooper’s suave, arrogant Onegin at the Royal Ballet earlier this season, or have fond memories of his deranged Crown Prince Rudolf and his seductive Swan, Junior will come as something of a surprise. He’s a nerd. Yet Cooper can’t wait to get his dancing shoes into this one.
http://www.thetimes.co.uk/article/0,,585-275002,00.html

Royal Ballet, Henri Oguike
Tics instead of flying feet
RB Ek Bill
By Louise Levene
"The Royal Ballet has had a certain amount of trouble shifting tickets for its latest triple bill, which is hardly surprising given that two of the three ballets on offer had already been seen at last month's mixed programme: William Forsythe's In the middle, somewhat elevated and Nacho Duato's turgid and pretentious Por Vos Muero.
    "The only novelty at Covent Garden on Tuesday evening was a version of Carmen by the Swedish dancemaker Mats Ek, originally made for his own Cullberg Ballet in 1992. Ek has a reputation for taking classic stories and drawing moustaches on them: a Swan Lake with bald male swans; a Giselle in a madhouse; a drug-dependent Sleeping Beauty. This doggedly iconoclastic approach is often quite funny and occasionally illuminating but his Carmen is so passionless, so resolutely un-Hispanic that you wonder what attracted him to the story or the score. The operatic highlights are deliberately drained of melodrama: there is no great lovers' duet and no cheap thrill to be enjoyed when Carmen and Don Jose meet their deaths."
http://www.tiscali.co.uk/cgi-bin/news/newswire.cgi/news/telegraph/2002/04/21/review/7_thearts.html

Alvin Ailey American Dance Theater
Dance program hits, misses
Boston
by Theodore Bale
"Last night Alvin Ailey American Dance Theater offered the third program of its six-day run at the Wang Theatre, with three dances quite different from the opening-night show. The diverse program was a fascinating study in what succeeds and what flops when choreographers move into that murky realm of narrative representation.
    "The show began with the Boston premiere of Judith Jamison's ``Here . . . Now,'' which was commissioned for the 2002 Cultural Olympiad of the Olympic Winter Games and Paralympic Games. The five-movement dance features a truly elegant original score by Wynton Marsalis, and was inspired by track and field legend Florence Griffith-Joyner. It lacks a gripping lead, though, and the first two movements (``Speed'' and ``Strength'') felt like Jamison was merely treading water.
    "Things definitely pick up in the third movement, ``Style,'' when the focus switches to glorious, dense partnering."
http://www2.bostonherald.com/entertainment/arts_culture/aile04192002.htm

Rambert Dance Company
The piece is wrongly titled 'Rambert Ballet'
UK, Norwich
by SARAH HARDY
"The dancing – its quality and variety – shows the company's range and ambition and indicates how much dance has progressed in recent times. It's so very much more than tutus and arabesques with the dancers pushing boundaries all the time."
http://www.edp24.co.uk/Content/WhatsOnReviews/WhatsOnReviewsStory.asp?Brand=EDPONLINE&Category=WHATSONREVIEWS&ItemId=NOED20+Apr+2002+21%3A29%3A23%3A567

Tap Dance - Fayard Nicholas (87!)
With A Spring In His Step
Tapper Fayard Nicholas Still Has the Moves
Washington
By Sarah Kaufman
"If you look at film clips of old Nicholas Brothers routines -- the arpeggios of tap steps punctuated by back flips and one-handed cartwheels, along with their signature move, the crash-landing in the splits -- it's a wonder there wasn't trick photography involved. That disarming mix of winged footwork and freeze-frame stillness, those airborne leaps and snapped-up, instant recoveries, just don't look humanly possible. But throughout the first half of the 20th century, on Broadway, in nightclubs and in some 60 films, Fayard and Harold Nicholas outpaced technology as well as the efforts of their colleagues, before or since: They were simply the greatest tap dancers ever.
    "Fayard Nicholas, at 87 the sole survivor of the duo, is still performing..."
http://www.washingtonpost.com/wp-dyn/articles/A25927-2002Apr21.html

Tango
Tangokinesis: A Step Ahead
Tango at the Argentina season in the Kennedy Center
Washington
"First things first. This is Argentina's season in the Kennedy Center's multi-year AmericArtes Festival, so a celebration of the tango might seem a given. What also came across Friday and Saturday in "Buenos Aires Tango," a glimpse into the current state of the art staged in the Eisenhower Theater, was the visiting artists' spirit and determination during their country's tough times.
    "That said, this concert featured three groups cabaret style, with no thread tying the performances together, unless you count the performers' relative youth and a surprising avoidance of Astor Piazzolla material. Lidia Borda, a singer with an extravagant emotional range, was followed by Orchesta El Arranque and then the eight dancers of Ana Maria Stekelman's Tangokinesis, who carried half the show. The acts were, in order of appearance, effective, innocuous and stunning."
http://www.washingtonpost.com/wp-dyn/articles/A25913-2002Apr21.html

Boston University Dance Theatre Group
Dance Theatre Group revels in enthusiasm
Boston
By Karen Campbell,
"Over the past few years, the annual spring ''Visions'' concert by Boston University's Dance Theatre Group has become its own kind of Boston marathon. With 18 pieces on last night's program, one might think a little judicious pruning and editing might be in order. However, the evening's standing-room-only audience, packed to the gills on bleachers and five deep on the floor, didn't seem to mind one bit. And for the enthusiastic young dancers and choreographers involved in the program, the event provides an excellent opportunity to show off their stuff in lively company.
    "The dancing was quite scattershot, from rank beginners to accomplished performers with solid technical capabilities and impressive theatrical presence."http://www.boston.com/dailyglobe2/111/living/Dance_Theatre_Group_revels_in_enthusiasm+.shtml

Royal Ballet School
Children of the dance revolution
By Catherine Milner
"The Royal Ballet has succumbed to the Billy Elliot effect. For the first time in its 76-year history, the establishment that spawned such stars as Dame Margot Fonteyn and Darcey Bussell has accepted more boys than girls.
    "Two years after the release of the film Billy Elliot, the story of a miner's 11-year-old son who becomes a ballet dancer, this year's intake at both the Royal Ballet's junior and senior schools will be made up of 14 boys and just 10 girls
http://www.theage.com.au/articles/2002/04/21/1019233294090.html

Sarasota Ballet
Sarasota Ballet takes a turn for the new
Sarasota
This sounds a bit like the RB and Holiday on Ice Ben-Hur exclusive we carried a few years ago...
By CHARLIE HUISKING
"With help from an AC/DC band member, the Sarasota Ballet of Florida is preparing a 2002-2003 season full of spark and sizzle.
    "Brian Johnson, the lead vocalist for the rock band, is collaborating with Sarasota Ballet Artistic Director Robert de Warren on "Helen of Troy," a lavish blend of mythology, dance and musical-theater spectacle.
    "The $1.2 million production, announced last week, will open at Sarasota's Van Wezel Performing Arts Hall in March 20, 2003.
    "
It is a dramatic love story set against the backdrop of the Trojan War, with characters ranging from courageous soldiers to bickering gods and goddesses. Actor Malcolm McDowell is scheduled to play the role of Zeus"
http://www.heraldtribune.com/frontpage/story.cfm?ID=66955

Lap dancing clean-up call
Birmingham
By Paul Dale,
"Birmingham's reputation as the lap dancing capital of the West Midlands could be threatened by a city council offensive against the clubs."
http://icbirmingham.icnetwork.co.uk/0100news/0100localnews/page.cfm?objectid=11797980&method=full


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Brendan McCarthymoderator

22-04-02, 08:57 AM (GMT)
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2. "RE: Monday Links - 22 April 2002 (2)"
In response to message #1
 
   LAST EDITED ON 22-04-02 AT 11:41 AM (GMT)

Yesterday I linked to a New York Post story on the court case, which opens today, over the ownership of Martha Graham's ballets. Later editions of the Post carried a much more thorough version of the story. "The central figure in this down-and-dirty pas de deux is a 62-year-old Columbia Law School dropout and one-time amateur photographer who had no dance training or experience when he met Graham back in 1967. Ron Protas was then just 26 and known mostly as a stargazing pursuer of opera diva Maria Callas and Hollywood headliner Marlene Dietrich, whom he had followed around the city without having made much of an impression on either of them. When he set his sights on Graham, she was 73 - a full 47 years his senior."
http://www.nypost.com/entertainment/46062.htm

More coverage of issues surrounding the Graham trial can be found at the wonderfully named David Patrick Columbia's New York Social Diary.
http://www.newyorksocialdiary.com/archive/socialdiary4.16.02.html

Finally, from the Times foreign pages, Ruth Gledhill (the paper's religious affairs correspondent, and an award-winning ballroom dancer) on a serious dispute over a 'new figure' in the Viennese Waltz. "The new figures emerged on the Continent among amateur dancing couples, many in their teens and early 20s, who had become bored with simply going round and round in circles in the Viennese, which is danced at 60 bars-per-minute. They began to liven up the dance by throwing in the occasional “left whisk”, “contra check” and “reverse pivot”. Judges from Britain were horrified."
http://www.thetimes.co.uk/article/0,,3-275140,00.html


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Bruceadmin

22-04-02, 10:30 AM (GMT)
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3. "RE: Latest Review Links w/b 22th April 2002"
In response to message #0
 
  
English National Ballet
Tour de Force: Facing Viv bill

An exclusive for all of a day I'm sure - I've just put up a review of the premiere of Cathy Marston's new piece for ENB:
http://www.ballet.co.uk/magazines/yr_02/may02/bm_rev_enb_0402.htm


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Bruceadmin

23-04-02, 08:27 AM (GMT)
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4. "Tuesday Links - 23rd April"
In response to message #0
 
  
Obituary: Mark Ermler
Conductor famed for work with the Bolshoi
by David Nice
http://www.guardian.co.uk/Archive/Article/0,4273,4399578,00.html

Rambert Dance Company
Theatre Royal, Norwich
By Judith Mackrell
"It was in 1975 that Lindsay Kemp created his gothic, gaudy tribute to old Hollywood, The Parade's Gone By....
    "The material lends itself naturally to Kempian excesses: deliriously bad jokes, heroic cliches, shameless cribbing. But the best parts are not so much Hollywood as Petipa, with Kemp sending Beauty and the Beast through a mad 19th-century ballet of his own devising. Its cast of demented fairies, limp-wristed courtiers and a blissfully dim-witted blond-rinsed Prince are a timely reminder that Kemp was doing camp classics years before those great transvestite parodists, Les Ballets Trockadero de Monte Carlo, got around to the genre.
Breaking new ground
Glasgow
by Kelly Apter
"NORMAN Douglas has to be one of the most amiable, passionate and hard-working men in Scottish dance - just don’t mention the "c" word. For the past two years, the founder of The Ensemble Group has been planning, choreographing, organising and rehearsing a work which will turn Scottish dance on its head. And, while it’s not classical ballet, search their posters, flyers and programme notes and you won’t find any mention of "contemporary" either.
    "The word contemporary was first bandied about in the 60s," says Douglas. "But in America, where the genre was born, they don’t even use the word - they call it modern dance. We haven’t put the word contemporary anywhere near our literature, because contemporary dance has a very small audience and that’s not what we’re about. I want to open it up. So we’ve called it ‘four new ballets in a celebration of dance’. We don’t have bare feet, we don’t roll around on the floor, it’s very colourful, very visual. At the end of the day it’s entertainment, because you’re battling against DVDs, videos, PlayStations - people just want a good night out."
http://news.scotsman.com/archive.cfm?id=427482002&rware=OXZDKOBHRGKV&CQ_CUR_DOCUMENT=8

Shobana Jeyasingh
Here and elsewhere
Queen Elizabeth Hall, London
By Jenny Gilbert
"In some of her pieces Jeyasingh has deconstructed Indian elements to such extremes of sparseness that their origins are almost erased. In others, she has pursued a formal idea so ruthlessly that, to my eye, the dance has lost its charm. But in her latest piece, Phantasmaton, the classical world is quietly restored to centre-stage, albeit as a backdrop. As Jeyasingh's dancers carve out new variants on the old grammar, images of a traditionally dressed temple dancer glimmer from screens, hovering over her descendants like a smiling ghost. And smile she might, as this is the choreographer's most accomplished and enjoyable work for some years."
http://enjoyment.independent.co.uk/theatre/reviews/story.jsp?story=287807

Shobana Jeyasingh
Fascinating fusion
Phantasmaton
Shobana Jeyasingh Dance Company
London
by Sarah Frater
"Shobana Jeyasingh has been producing her idiosyncratic fusion of East and West for nearly two decades, and it is to her great credit that her work continues to be as edgy and surprising as ever.
    "Phantasmaton is her latest piece, and it features a looped video of shapes, static and, most importantly, close-ups of a classical Bharata Natyam dancer - the south Indian style in which Jeyasingh originally trained. Asian tunes, sung brilliantly by Natacha Atlas on stage, together with a taped counterpoint, weave around her sinuous, enigmatic dancers, as they work their way through Jeyasingh's wonderful mixture of tension and release, static pose and furious explosion.
http://www.thisislondon.co.uk/dynamic/hottx/top_review.html?in_review_id=533216&in_review_text_id=498848

Hans Hof Ensemble
Chaos with charisma
London
by Sarah Frater
"Up-stage left slumps a refrigerator, its back broken and its door crusted with rust. Alongside is a flea-bitten sofa, raggedy curtains and crumpled beds.
    "Down-stage right glows a street lamp, towering high above car-boot cast-offs - a single-ring cooker, a sandwich toaster, rancid pots and dirty pans, chairs, wardrobes and unidentified bits of wood.
    "Somewhere in this bedsit from hell, a pianist plays dinner jazz on a Bontempi organ, while a forlorn-looking man brandishes a book of fabric samples..."
http://www.thisislondon.co.uk/dynamic/hottx/top_review.html?in_review_id=464849&in_review_text_id=417824

Hubbard Street Dance Chicago
'Deconstruct'-ing patchy ballet
Chicago
BY HEDY WEISS
note that Hubbard Street are appearing at London's Sadler's Wells from the 8 - 11 May 2002
"As Hubbard Street Dance Chicago heads into the third and final week of its spring season at the handsome Cadillac Palace Theatre, it has lifted the lid on the last of three works newly introduced into the company's repertory.
    "Marguerite Donlon's "Reverse Deconstruct," which received its world premiere Friday night, is alternately comically quirky and solemn, gentle and pugnacious--intriguingly moody and highly watchable in patches, but disjointed overall..."
http://www.suntimes.com/output/entertainment/cst-ftr-hubbard22.html

Martha Graham in court
Suit Over Graham's Dances Moves Into a New Phase
New York
By JENNIFER DUNNING
"The second phase of a protracted court battle over the legacy of the pioneering modern dancer Martha Graham began yesterday in Federal District Court in Manhattan, with ownership of her dances at stake.
    "Graham left the dances to Ronald Protas, director of the Martha Graham Trust, on her death in 1991, but the ownership is being challenged by the Martha Graham Center of Contemporary Dance, which operates the Graham dance company and school.
    "If Mr. Protas prevails, he can continue to license the Graham dances. A victory by the center could call into question the ownership of dances beyond Graham's in a field where the copyrighting of ballets is a recent development.
    "The case is being heard by Judge Miriam Goldman Cedarbaum, who in the trial's first phase last August ruled against the trust, which had alleged trademark infringement by the Graham Center."
http://www.nytimes.com/2002/04/23/arts/dance/23GRAH.html

Mark Morris amd Yo-Yo Ma
Silk Road Project weaves rich tapestry of Ma, Morris
Dance elevates Berkeley premiere of cellist's creation
San Francisco
By Octavio Roca
"The sights and sounds were thrilling, often more. The Silk Road Project has been long awaited, and it did not disappoint when it opened at Zellerbach Hall Friday night. Yo-Yo Ma's brainchild, it is an ambitious caravan of music and dance with an almost insolent multicultural reach and a disarming, real wish to enlighten and entertain.
    "The Silk Road Project opened in Berkeley with a trio of dances by Mark Morris that boasted Ma himself playing the cello for the world premiere of "Kolam" as well as for Morris' masterpiece "V." It was a fascinating evening...."
http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2002/04/22/DD206599.DTL&type=performance

Mark Morris amd Yo-Yo Ma
Collaboration of 'Silk Road' inspires the eye, ear, heart
By Anita Amirrezvani
"Any student of yoga will immediately recognize classic sun-salutation positions like ``upward facing dog'' and ``downward facing dog'' that are threaded throughout the piece. Others will notice kathak influences when the dancers attach bells to their ankles and perform percussively in front of a gorgeous backdrop by abstract artist Howard Hodgkin..."
http://www.bayarea.com/mld/bayarea/entertainment/3109907.htm

Lines Ballet
Lines Ballet in fine form in downbeat 'Koto'
Ambitious work was hard to enjoy
San Francisco
by Octavio Roca
"Not for the first time, musical adventure was in the air as Alonzo King's Lines Ballet returned to Yerba Buena.
    "Saturday night's performance showed off King's dancers in two new ballets with music by Miya Masaoka and Leslie Stuck, as well as in a revival of an earlier Stuck and King collaboration. Though the more ambitious of the new works proved a glum affair, the sounds were often gripping, the dancing always strong.
http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2002/04/22/DD221378.DTL&type=performance

Abt Junior Company
Young Dancers, a Choreographic Debut and a Waltzing Mozart
New York
By JACK ANDERSON
"The ABT Studio Company was in remarkably good form in its buoyant program on Wednesday night at the Kaye Playhouse.
    "The troupe, American Ballet Theater's junior company, seeks to develop the talents of dancers ages 16 to 21. Its roster is always changing, and its former members go on to Ballet Theater itself or to other companies. That the current group danced with the eagerness of youth and the assurance of seasoned professionals surely attests to the soundness of the training provided by John Meehan, the organization's artistic director; Gage Bush Englund, its ballet mistress; and their staff.
http://www.nytimes.com/2002/04/23/arts/dance/23KAYE.html

Arts and the Young Audiance
Curtain up on cool
The National Theatre is rebranding itself for a younger audience with an ambitious season of new productions.
by Jasper Rees
"COMPARE two recent evenings in the theatre. In the first, I saw Boy Gets Girl, a disturbing play about a New York stalker. Glancing around at my fellow spectators, I felt like more or less the oldest person there.
    "A few months later, watching Gagarin Way, an extremely violent play in which copious amounts of stage blood spattered front-row laps, I was one of the youngest in the auditorium. Two similarly hard-hitting new plays; two completely different audiences. Guess which one was at the National Theatre.
    "You can say a lot of things about the National, but you cannot say it's sexy. In the battle of the theatrical brands, it has lost out in recent years to younger, hipper, more compact theatres to which the film stars and younger audiences have thirstily gravitated. The National has given us Closer and Blue/Orange and the bloody Gagarin Way, but still it has been unable to persuade young theatre-goers to show up in bulk. In the twilight of his reign, Trevor Nunn is being seen to do something about this. For a five-month season which calls itself Transformations, the National is funking itself up."
http://www.telegraph.co.uk/arts/main.jhtml?xml=%2Farts%2F2002%2F04%2F23%2Fbtnt23.xml


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AnnWilliams

24-04-02, 09:01 AM (GMT)
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5. "RE: Wednesday links - 24th April"
In response to message #4
 
   Judith Mackrell in the Guardian on George Piper Dances' new Maliphant piece at The Place
: '... it's good to see that the Boyz' second company commission, Torsion, is a brand new duet from Maliphant, allowing them to work with the choreographer from scratch. It's also good to see that the chemistry between the dancers and the choreographer is as fascinating as everybody had hoped. While Nunn and Trevitt lend their particular blend of stubble, grit and classical finesse to the meticulous poetry of Maliphant's vision, he has them dancing with a mesmerising alertness to physical and emotional nuance'
Http://www.guardian.co.uk/Archive/Article/0,4273,4400369,00.html


Deborah Jowitt in the Village Voice on a peculiar-sounding New York Dance show (the title should give a clue: Corn Oryx Pear Fish...) 'In precise, rhythmic unison, two expressionless men in black trousers and tailcoats partner working vacuum cleaners—hoisting them, spinning with them, jumping over them, straddling them—twitching the cords out of the way when necessary. The final moment? They feed the wires through their hands until they find the extension cord and pop the plugs. It all takes under two minutes. '
Http://www.villagevoice.com/issues/0217/jowitt2.php

Jennifer Homans in The New Republic on Alvin Ailey: 'Alvin Ailey's Revelations is one of the most popular ballets of our time. When the piece premiered at New York's Kaufman Concert Hall in 1960, the audience was so moved that it sat in stunned silence while the dancers bowed nervously, waiting for some sign of applause. When the applause came, it was deafening. Ailey's career took off. Until his death in 1989, he made dozens of dances and led his company to international fame, but Revelations remained his signature piece, and an emblem of the Ailey styl.......... In Moscow, audiences went so wild that Ailey had to "do the Judy Garland thing" and sit at the front of the stage communing with his adoring fans. More people have seen Revelations than Swan Lake.'
Http://www.tnr.com/tnr_sub_pop.mhtml

From the Korean Herald, a report on a modern dance festival in Seoul: 'Dubbed "The Wave of European Dance," the festivity is bringing three of the most influential European contemporary dance groups to the Seoul stage - Folkwang Tanzstudio led by German dancers Pina Bausch and Henritta Horn, the Performing Arts Research and Training Studio (P.A.R.T.S.) headed by Anne Teresa De Keersmaeker in Belgium, and the European Dance Development Center (E.D.D.C.) of the Netherlands'

Http://www.koreaherald.co.kr/SITE/data/html_dir/2002/04/24/200204240026.asp

From Andante (a classical music journal) a report on the effects of Argentina's economic crisis on the arts: 'Opera companies in Argentina have long depended on well-established figures from abroad. However, the financial crisis that began last December has reversed the trend. Argentines are now increasingly turning inwards to look for ballet régisseurs, singers and opera conductors. Financially strapped by the peso's devaluation, Buenos Aires' leading company, the Teatro Colón, has opted for the local talent it used to reject.'

Http://www.andante.com/magazine/article.cfm?id=16791



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Brendan McCarthymoderator

24-04-02, 04:26 PM (GMT)
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6. "RE: Wednesday links - 24th April (2)"
In response to message #5
 
   Nadine Meisner of the Indie on Henri Oguike Dance Company. "Oguike, a former member of Richard Alston's company (where music is also treated with care) is being touted as the next great thing. His dancers serve him well. He shows a rich imagination that pulls his creativity in all directions to produce widely divergent pieces."
http://enjoyment.independent.co.uk/theatre/reviews/story.jsp?story=288389

Judith Flanders writes for the Evening Standard on the latest programme from George Piper Dances. "Trevitt and Nunn, both highly intelligent dancers, work valiantly to make this all look new. An evening solely of Maliphant's work is, however, not going to bring in converts. His work is very detailed, and very beautiful, and very limited in both range and vocabulary. To watch one piece is mesmerising; to watch three in a row is a disappointment."
http://www.thisislondon.co.uk/dynamic/hottx/theatre/dance_review.html?in_review_id=463677&in_review_text_id=530479

An thoughtful essay from citypages.com on why ballet has not taken root in Minneapolis/St Paul. It might have particular resonance for UK cities outside London. ""Not having a large ballet company is like losing part of the library," says Lou Fancher, a choreographer and rehearsal director for James Sewell Ballet. "We have the current, exciting work, but not the classics." http://www.citypages.com/databank/23/1116/article10340.asp


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AnnWilliams

25-04-02, 09:15 AM (GMT)
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7. "RE: Thursday links - 25th April"
In response to message #6
 
  
Via an FT link, John Percival in the Independent on Central Ballet School's not entirely successful attempt at a balletic version of 'Pride and Prejudice: 'Even so, the choreographer Cathy Marston retrieved something from it, notably distinctive roles for the Bennett sisters - especially one (presumably plain, pedantic Mary) as slightly dour, sharper and more angular in movement than her sisters, keener on her book than on the ballroom. Ben Weeratunge as the military suitor Wickham came over well, too. Sensibly, Marston aims only to evoke snatches of action and character, and having got over Jane Austen can now resume making more interesting ballets'
Http://globalarchive.ft.com/globalarchive/article.html?id=020425001552&query=ballet

Jennifer Dunning in the NY Times on the Nyrityagram Dance Ensemble: 'The Nrityagram Dance Ensemble refreshingly does not describe what it does as new or fusion Indian traditional dance. But Surupa Sen's "Sri: In Search of the Goddess," performed by the Nrityagram troupe on Sunday night at Symphony Space, was as impressive an integration of the new and the old as any of the much-vaunted fusion programs performed here recently by British-based Indian modern-dance choreographers.'
Http://www.nytimes.com/2002/04/25/arts/dance/25SYMP.html

......and Dunning on Astrid Von Asser: 'Ms. Von Ussar, also a teacher at the Alvin Ailey Dance Center and other schools, approached life with refreshing simplicity in the program's three premieres. Three no-nonsense women (Danon Hinty, Meredith McGovern and Nichelle Wright) give an accommodating young man (Ryan Thompson) a buoyant, teasing run for his money in "Used, Abused & Unamused," set to pleasantly percussive music by Peter Kruder and Richard Dorfmeister. "Scratchy Ropes," set to music by composers including Ryuichi Sakamoto, was a duet for Ms. McGovern and the poet Corie Herman that charted a woman's growing awareness of her dependent and assertive selves and how to live with both.'
Http://www.nytimes.com/2002/04/25/arts/dance/25USSA.html

Thought you were safe from folk dancing here, eh? This is from the LA Times:
Folk dance in early ballet is lecture topic
Former Ballet Russe star guest artist at Media City Ballet series
Http://www.latimes.com/tcn/burbank/entertainment/la-bl0008389apr24.story

Linda Shapiro in the Minnesota Times speculates on the mysterious attraction of classical ballet: 'What accounts for the allure of this courtly European art form, especially in America? Professional ballet hovers somewhere between a religion and a science. Acolytes begin at a young age (around eight or nine), training rigorously for at least ten years. Their bodies must be systematically programmed to perform a series of precise shapes and movements as exactingly as, say, a gymnast negotiating the uneven bars. Without the correct execution--turned out legs, carefully positioned torsos--the movement is not properly ballet. The medium's complex artistry depends on the interplay between a fixed vocabulary and expressiveness---rather like working in sonnet form while speaking in tongues'
Http://www.citypages.com/databank/23/1116/article10340.asp

From BayArea.com, Sue Gilmore on Oakland Ballet's new season: 'The Oakland Ballet's new 2002 season, announced Tuesday by artistic director Karen Brown, takes the ambitious step of introducing nine company premieres in its three programs of mixed repertory and includes a tribute to the late Lew Christensen, legendary choreographer and director of the San Francisco Ballet. The season........also reflects a stronger commitment to live music for the performances and taps deep into the reservoir of Bay Area dance and musical talent for some of its programming.'
Http://www.bayarea.com/mld/cctimes/3127365.htm



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jhanner

25-04-02, 04:52 PM (GMT)
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8. "RE: Thursday links - 25th April"
In response to message #7
 
   and a silly bit of news re Anastasia Volochova (BTW is she actually back with the Bolshoi or is this article using outdated info)

http://www.peoplenews.com/Forward.do?forward=newsx&id=1002788&rangeFrom=1&rangeTo=6


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AnnWilliams

26-04-02, 08:16 AM (GMT)
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9. "RE: Friday links - 26th April"
In response to message #8
 
  

The North West Evening Mail reports on theimminent visit of ENB to Barrow-in-Furness:
'The tour... features a new work, Facing Viv, by Cathy Marston, inspired by the story of TS Eliot and his wife Vivienne. Cathy also choreographed Adrenaline Blush, one of the dances performed by the Northern Youth Dance Company when it came to Barrow and Keswick earlier in the year. Also in the programme is the classical ballet-lover's dream, the Grand Pas from Paquita. Twelve virtuoso dancers in sumptuous costumes create a spectacular display of technical skill and exciting solos.'
Http://www.nwemail.co.uk/A26ajv.HTM

The New York Daily News (a tabloid, you will not be surprised to learn) reports on the reputed 'romance' between the comedian Jim Carrey and ballerina Anastasia Volochkova: (I seem to have to take the whole of the gossip page as well, so enjoy reading about Woody Allen and his parental problems etc.)
Http://www.nydailynews.com/today/News_and_Views/Daily_Dish/a-148790.asp

An article by Valerie Lawson in yesterday's Sydney Morning Herald (which I failed to find) on the much-needed renovations at the Sydney Opera House. This link is via Andante: ' The comeback of the big bucks musical and the planned closure of the two main performance spaces at the Sydney Opera House have combined to create a major headache for Australia's big performing arts companies. Most affected by the closure of the Opera House's Opera Theatre and Concert Hall will be Opera Australia and the Australian Ballet, which are juggling budgets, subscribers' and tourists' needs, alternative venues and possible touring programs from the end of 2004 until the beginning of 2006, when the Opera Theatre will be closed.'
Http://www.andante.com/magazine/article.cfm?id=16813


Michael Shmith (yesh, really) in the Melbourne Age interviews the conductor Oleg Caetini on Stravinsky's 'Rite of Spring': ' Le Sacre du printemps has not been out of the concert repertoire since (1913). Indeed, we mainly think of Sacre as a piece for the concert hall, requiring a huge orchestra and a conductor with the mind of a metronome - such is the work's unremitting pulse and complex rhythmic structure - but also the heart of a Russian.Such a conductor performs Le Sacre du printemps this weekend with the Melbourne Symphony Orchestra. Oleg Caetani first studied the work when he was 13, learning from his father, the late, Russian-born maestro, Igor Markevitch.'
Http://www.theage.com.au/text/articles/2002/04/25/1019441281511.htm

Loud hurrahs from Octavia Roja in the San Francisco Examiner for Possokov's ' Damned', his new work for San Francisco Ballet: 'Joanna Berman, dressed in black and bathed in light, stood center stage and smiled at the cheering crowd Tuesday night after the world premiere of Yuri Possokhov's "Damned" in the War Memorial Opera House. She looked ravishing. This was a very special occasion: Berman plans to retire from San Francisco Ballet at the end of the season, and Medea in "Damned" is her last new role. Well, she's going out in style.'
Http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2002/04/25/DD122549.DTL

Found via the FT link, a story in South Africa's 'Business Day' on a forthcoming produciton of La Syphide by the SA Ballet Theatre. The writer is named as 'La Sylphide'.

Http://globalarchive.ft.com/globalarchive/article.html?id=020425010171&query=ballet



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Jonathan S

27-04-02, 06:57 AM (GMT)
Click to add this user to your buddy list  
10. "RE: Friday links - 26th April"
In response to message #9
 
   >The New York Daily News (a
>tabloid, you will not be
>surprised to learn) reports on
>the reputed 'romance' between the
>comedian Jim Carrey and ballerina
>Anastasia Volochkova: (I
>seem to have to take
>the whole of the gossip
>page as well, so enjoy
>reading about Woody Allen and
>his parental problems etc.)
>Http://www.nydailynews.com/today/News_and_Views/Daily_Dish/a-148790.asp

This fascinating story refuses to appear on my screen, but fortunately TF1 has the same story (in French) http://www.tf1.fr/people/starnews/0,,909167,00.html


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vivian2

29-04-02, 11:51 PM (GMT)
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15. "RE: Friday links - 26th April"
In response to message #10
 
  

Thanks Jonathan ! Info much appreciated


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vivian2

29-04-02, 11:51 PM (GMT)
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16. "RE: Friday links - 26th April"
In response to message #10
 
  

Thanks Jonathan ! Info much appreciated


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Bruceadmin

27-04-02, 09:15 AM (GMT)
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11. "Saturday Links - 27 April 2001"
In response to message #0
 
   English National Ballet
Tour de Force: Facing Viv tour
Corn Exchange, Cambridge
by Allen Robertson
"Marston, who is steadily becoming a choreographer to watch, represents this troubled relationship through a trio of couples who can’t live with or without one another. The movement material purposefully overlaps from couple to couple, and the clothes — Bloomsbury garb in black or grey — are the same for each. It is clear they are fractured shards of one another, splintered apart and refracted at different angles.
    "Cindy Jourdain opens the ballet with a mood-setting solo. Her barely suppressed intensity ties her in serpentine knots as she alternately reaches out and collapses in on herself. Jourdain’s partner, the former Royal Ballet dancer Gary Avis, is maturing into a strong presence who knows that less can indeed be more. His quiet self-contained solidity weighs Marston’s choreography with a resigned angst. "
http://www.thetimes.co.uk/article/0,,685-279665,00.html

Russell Maliphant/George Piper
The Place, WC1
by Debra Craine
"ONE of the smartest moves the Ballet Boyz ever made was hooking up with the choreographer Russell Maliphant. It was his Critical Mass which really made us see the Boyz — the former Royal Ballet stars Michael Nunn and William Trevitt — in a new light. They performed it on tour with their George Piper Dances last year, where its mesmerising blend of wrestling match and tango proved a riveting finale. Now Nunn and Trevitt have strengthened that collaboration with a new Maliphant piece specially made for them. "
http://www.thetimes.co.uk/article/0,,685-279671,00.html

Ballet Ireland
Letter To The Irrish Times ditor: The Need For Ballet Ireland
Letter from Carolyn Swift
This via the FT site
"I have to express my concern about Michael Seaver's article 'Do we need Ballet Ireland' (Arts, April 16th) and his review of Ballet Ireland's Sleeping Beauty in your issue of April 20th.
    "I was one of a mere handful of invited guests among a packed National Concert Hall audience on Saturday night who cheered and cheered that night's performance. The Concert Hall has no wings and anyone who has ever been there when a full orchestra was on stage knows how long it takes for them to get offstage through the doors which are the only means of exit. There is only one batten and set of lines for hanging a back cloth and visiting ballet companies have never managed more than one setting.
    "Ballet Ireland performed nothing less than a miracle..."
http://globalarchive.ft.com/globalarchive/article.html?id=020426006664

Birmingham Royal Ballet
Royal Brum dance
By Diane Parkes
"Prince Charles is to visit Birmingham next Monday on one of his first official royal engagements since the death of the Queen Mother nearly a month ago.
    "The prince will officially open the state-of-the-art Jer-wood Centre for dance injuries which forms part of the £30m redevelopment of the Hippodrome Theatre in Hurst Street.
    "He will meet some of the dancers and board members from Birmingham Royal Ballet as well as seeing the company in rehearsal."
http://icbirmingham.icnetwork.co.uk/0100news/0100localnews/page.cfm?objectid=11821583&method=full

Australian Ballet
Bolte's final pas de deux as mother's role beckons
By Valerie Lawson
"When she was 7, Lisa Bolte learned of a dancer called Margot Fonteyn. She didn't know much, just what the grown-ups told her.
    ""People told me how beautiful she was, how radiant." The image of Fonteyn, based on a few words, gave Bolte a reason to dance. "They stayed with me my whole career."
    "Fonteyn danced until she was 60, but Bolte this week announced her retirement as principal of the Australian Ballet at the age of 35, planning her farewell performance in Canberra on May 21. Her fiance, Paul Gladwell, will watch her performance in a pas de deux from Swan Lake.
    "Her tutu might be a tight fit as Bolte will be four months pregnant..."
http://www.smh.com.au/articles/2002/04/26/1019441307449.html

San Francisco Ballet
S.F. Ballet brings Medea to life
San Francisco
By Rachel Howard
"It may seem inconceivable that anyone could dread a giggle-filled performance of Mark Morris' kooky "Sandpaper Ballet." But it was hard to move on Tuesday night after the San Francisco Ballet premiere of principal dancer Yuri Possokhov's powerful "Damned."
    "Fifteen minutes of intermission was not time enough to dab your tears and shake off the despair, and anyway you didn't want to; you wanted to cloak yourself in it like a depressive taking perverse pleasure in the depths of his sadness.
http://www.examiner.com/ex_files/default.jsp?story=X0425SFB7w

Boston Ballet, Stanton Welch
Australian choreographer puts new spin on `Butterfly'
Dance/by Theodore Bale
"Two swords stand ominously behind a long silk kimono stretched across the floor. An American flag hangs near a tranquil statue of Buddha. All the familiar props from Puccini's dearly loved opera ``Madame Butterfly'' are in evidence at the Boston Ballet's Grand Studio on Clarendon Street, but instead of singers warming up their voices, dancers are practicing pirouettes.
    "When Australian choreographer Stanton Welch's ``Madame Butterfly'' makes its northeastern U.S. premiere Thursday at the Wang Theatre, Boston Ballet dancers will convey the dramatic story only through movement and acting, as music director Jonathan McPhee leads the orchestra in John Lanchbery's wordless arrangement of the famous Puccini score."
http://www2.bostonherald.com/entertainment/arts_culture/danc04262002.htm

Alexandra Beller
Amazing Grace
By SUSAN CHUMSKY
"lexandra Beller is as comfortable with her body as the next woman, which is to say she's hyperaware of its every flaw. So Beller, 29, a dancer-choreographer, felt fairly exposed as she walked through a gallery at the Whitney Museum that displayed 27 nude photos of her -- black-and-white Irving Penn images of a voluptuous woman with both the rootedness and fluid movement of a deep-sea plant. ''A couple of women walked in together,'' Beller says, ''and one said to her friend, 'Her back is nice, but her legs are real bad.' ''
    "Beller has been long accustomed to people critiquing the body rather than the art. At 13, when she showed up for her first day at the Joffrey Ballet School, a secretary insisted that there had to be a mistake. One teacher called her fat in front of 50 other students."
http://www.nytimes.com/2002/04/28/magazine/_28BELLER.html

Grupo Corpo
Flex Appeal
Washington
By Sarah Kaufman
"The dancers of Brazil's Grupo Corpo seem to be hinged in places the average human doesn't even know exist. Their spines warp and buckle with ribbony ease, their elbows and knees can wobble and wiggle independent of one another, and their hips -- well, they simply have a mind of their own. During Thursday night's program at the Kennedy Center Eisenhower Theater, those 19 pairs of hips snaked and shimmied, swirled and popped and gyrated with scarcely a moment's rest.
    "Behold the bodies beautiful."
http://www.washingtonpost.com/wp-dyn/articles/A57968-2002Apr27.html

Oakland Ballet
Oakland Ballet's agenda
Lew Christensen tribute, 'Jinx' to open in fall
San Francisco
By Octavio Roca
"Oakland Ballet will open its 2002 fall season with a Sept. 13 tribute to Lew Christensen and a staging of the choreographer's rare 1942 "Jinx." The season will close with the return of Ronn Guidi's "Nutcracker" to the Paramount Theatre and will offer an impressive variety of choreographic styles. "
http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2002/04/24/DD67353.DTL&type=performance

Yoof and the Arts
The South Bank's big experiment
The National is undergoing a dramatic facelift, as it tries to reinvent itself as the capital's most happening arts venue. Veronica Lee meets one of the men behind the transformation.
by Veronica Lee
"If you go down to the South Bank today, you'll be sure of a big surprise. What last week was Denys Lasdun's austere concrete bunker is now the hippest, most happening place on London's arts scene. Or that's what the National Theatre's outgoing artistic director, Trevor Nunn, wants you to go away thinking.
    "The National has undergone a facelift and next week starts a five-month season of new works in two new spaces - a rejigged Lyttelton has lost its proscenium arch, a third of its 890 seats and is now described as "an enveloping womb-like space for cutting-edge drama", while the 100-seat Loft has been created out of an unloved and mostly unused circle foyer space."
http://www.thisislondon.co.uk/html/hottx/theatre/top_direct.html


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Bruceadmin

28-04-02, 08:55 AM (GMT)
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12. "Sunday Links - 28 April 2002"
In response to message #0
 
   Forgot to say that it was Darcey Bussell's birthday yesterday.... but more importantly its mine today!

English National Ballet
All the right moves
ENB’s touring programmes prove size doesn’t matter, says David Dougill
"Marston’s piece (Facing Viv) works well in kinetic and emotional terms without too much need of specific reference. She interweaves three couples as different aspects of the characters, dressed in three shades of grey (designs by Anthony Lamble). The choreography is economically fluently effective in suggesting mental agitation and fevered neurosis. There are complex manoeuvres, ingenious lifts, a strong pulse of activity and striking frozen groups, before intensity, fear, despair, are resolved by the third couple in a calming reconciliation. John Adams’s score, Gnarly Buttons — both frenziedly abrasive and elegiacally melodious — is apt throughout. This non-traditional fare got a great reception, and my enthusiastic neighbour remarked that “Scunthorpe has never seen anything like that”.
http://www.sunday-times.co.uk/article/0,,187-277688,00.html

English National Ballet, Russell Maliphant/George Piper
Portrait of a marriage
Did T.S. Eliot need footnotes?
Facing Viv English National Ballet, Corn Exchange, Cambridge
Russell Maliphant & George Piper Dances The Place, London WC1
by Jann Parry
"Depictions of marriage in dance are rare. Ballet specialises in doomed or unrequited love; contemporary dance, though wider-ranging, tends to steer clear of married life, with the notable exception of David Gordon's candid self-portraits and Martha Graham's murderous Ancient Greek families.
    "Yet two of our most interesting ballet-based choreographers have included accounts of marriage in recent programmes: Russell Maliphant in Sheer and Cathy Marston in her new work for English National Ballet. Facing Viv is her view of T.S. Eliot's relationship with his first wife, Vivienne, glimpsed through the distorting prism of The Waste Land. Quotations from the poem reinforce a sense of bafflement: 'Do you know nothing? Is there nothing in your head?'
http://www.observer.co.uk/review/story/0,6903,706278,00.html

Isadora: The Sensational Life of Isadora Duncan
ISADORA: The Sensational Life of Isadora Duncan
By Peter Kurth, Little, Brown, 355pp, $65
Australia
Reviewed by Valerie Lawson
"Isadora Duncan once asked her pupils to name the greatest thing in life. "Dance!" they exclaimed. No, replied the dancer, "the greatest thing in life is love!"
    "This is a biography about a great and influential dancer, who liberated dance from the clutches of late-19th-century affectation. But in Isadora: The Sensational Life of Isadora Duncan, dance plays second fiddle to love."
http://www.smh.com.au/articles/2002/04/26/1019441296375.html

Royal Winnipeg Ballet
Evelyn Hart lashes out at RWB
Canada
by Alan Neal
"Hart is in Ottawa performing Giselle, and she's suggesting it may be the last time she dances the role. She maintains that while she still has a great passion for dance, she's grown frustrated with her company.
    ""The lack of performances and the lack of repertoire and the lack of good teachers and good coaches," are cited as the company's shortcomings by the dancer."
{found via AJ}
http://artscanada.cbc.ca/artsNow/index.jsp?label=hart020426

San Francisco Ballet
Possokhov's career leaps at S.F. Ballet
Dramatic, profound 'Damned' triumphs at Opera House in all three casts
San Francisco
by Octavio Roca
"New dramatic ballets are hard to come by, and choreographers who make great ones are very rare indeed. Yuri Possokhov is such a man, and his new "Damned" is the dance event of the season.
    "Three casts in as many nights at the War Memorial Opera House proved just how rich Possokhov's interpretation of Euripides' "Medea" is.
    "It is not just that he has created beautiful steps and even a distinctive language with more than a touch of Russian flair. It is not just that he has created a ballet of ideas where profound and unsettling aspects of human nature are exposed and explored in music and movement. "
http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2002/04/27/DD226553.DTL&type=performance

Lyon Opera Ballet
Classic troupe with a radical edge
Lyon Opera Ballet creates its own dance traditions
San Francisco
by Octavio Roca
"Dance is the art of the 21st century," Yorgos Loukos says. "It blurs national borders, conquers cultural prejudice, speaks directly to the domain of human emotions. Especially now, we need the very human presence of dance."
    "That presence is coming back, as Loukos' Lyon Opera Ballet returns to Zellerbach Hall this week.
    "At 51, Loukos looks like an affable wrestler, having traded his dancer's figure for a more muscular build..."
http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2002/04/28/PK212585.DTL&type=performance

Ms. Ashley Bouder of New York City Ballet
To Be So Young and Also So Good
New York
By GIA KOURLAS
"THE mound of fried food and ketchup heaped upon Ashley Bouder's tray in the cafeteria in the Rose Building at Lincoln Center is a shock. Most ballet dancers opt for yogurt during interviews. "I eat whatever I want," she said, dunking a French fry with a mixture of innocence and defiance.
    "Ms. Bouder is all of 18. And while she has proved to be a ballet dancer of extraordinary promise, teenage habits don't evaporate with the nearing of adulthood. A corps member at the New York City Ballet, which begins its spring season at the New York State Theater on Tuesday, Ms. Bouder can jump like a man (a compliment) and whip off fouetté turns that are as centered as a pin prick, but her exceptional technique is only one of her charms. Ms. Bouder can act..."
http://www.nytimes.com/2002/04/28/arts/dance/28KOUR.html

National Ballet of Canada
National Ballet celebrating 50 years
Canada
CBC in Canada seems to publish transcripts of some programmes. Here is one that went out last December (I think) and about half way down the page you will see the start of the piece. It includes some words from Celia Franca and James Kudelka
"HELEN MANN: Its earliest performances were staged in church basements and hockey arenas. The National Ballet of Canada turned fifty this year and it's come a long way since those humble beginnings, but Canada's national dance troupe enters its sixth decade surrounded by questions. Is it truly national? Can it thrive or even survive in the face of budget cuts? Here's Laurie Brown with a documentary report originally aired earlier this year.
    "LAURIE BROWN (Reporter): There's no such thing as an overnight sensation in the ballet world. It took years for Veronica Tennant, Karen Kain, and Frank Augustine to become the stars they truly are. It took decades to attract international artists Rudolph Nureyev and Mikhail Baryshnikov to dance with them. But for the ballet company that made it all happen, the work never ends. Fifty years ago, there was no national school, no national company. Today, the National Ballet Company operates out of this new facility in Toronto with a budget of $17 million dollars and 162 people, from costume designers to dancers on the payroll. It's a veritable institution, a mature company that is known and respected around the world. The story of how it got that way starts with its tenacious founder, Celia Franca. .."
http://tv.cbc.ca/national/trans/T011226.html

National Ballet of Canada - Frank Augustyn
Frank Augustyn: Dancing From the Heart
Broadcast October 26, 2000
Another one from the archives but it comes with a link to a RealPlayer recording of the interview
"Frank Augustyn is Canada's most famous male ballet dancer. He was trained at the National Ballet School and rose to prominence as a member of the National Ballet of Canada."
http://radio.cbc.ca/programs/thismorning/sites/a&e/augustyn_001026.html

Katsura Kan and the Saltimbanques
Fish' adds momentum to Butoh movement
Katsura Kan and the Saltimbanques in ``Curious Fish.'' At Mobius, Friday night. Performances continue through tonight.
Boston
by Theodore Bale
"Katsura Kan and the Saltimbanque's astonishing performance of ``Curious Fish'' Friday night at Mobius confirmed a theory that's been festering in my brain for nearly two decades. Of all the various types of concert dance, from classical ballet to modern, it's the austere form of Japanese Butoh that often requires the greatest degree of honesty from the performers. "
http://www2.bostonherald.com/entertainment/arts_culture/kats04282002.htm

Dance Teacher interviews
Before Dancers There Must Be Dance Teachers
New York
By JENNIFER DUNNING
"DANCE teaching in New York City has changed a good deal over the past two decades. Very few of the old one-person studios survive, places where students could absorb not only the personality and vision of a single master teacher but also the long dance history that most had lived through. They have been replaced by centers that rent their many studios by the hour to dance teachers and by schools affiliated with established ballet and modern-dance troupes..."
http://www.nytimes.com/2002/04/28/arts/dance/28DUNN.html

Russian Moiseyev State Academy National Dance Ensemble
North Korean leaders accompany Kim Jong-il to Russian dance performance
BBC Monitoring Service via the FT website
This is quite possibly the most boring piece you will ever read on dance...
http://globalarchive.ft.com/globalarchive/article.html?id=020427001720


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Fiona

28-04-02, 03:30 PM (GMT)
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13. "Happy Birthday Bruce! "
In response to message #12
 
   Hope you have a great birthday, Bruce, and, of course, a very happy birthday to Darcey Bussell yesterday!

I saw her on Friday as Juliet, and she was wonderful. She absolutely lives and breathes the part, and her dancing was glorious. I can't wait to see her again on the 9th!


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Bruceadmin

29-04-02, 07:14 AM (GMT)
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14. "RE: Happy Birthday Bruce! "
In response to message #13
 
   Thank you!


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