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Subject: "Latest Review Links w/b 29th April 2002" Archived thread - Read only
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Conferences What's Happening Topic #2676
Reading Topic #2676

29-04-02, 07:15 AM (GMT)
Click to EMail Bruce Click to send private message to Bruce Click to view user profileClick to add this user to your buddy list  
"Latest Review Links w/b 29th 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: Latest Review Links w/b 29th April 2002 Bruceadmin 29-04-02 1
     RE: Latest Review Links w/b 29th April 2002 (2) sylvia 29-04-02 2
         RE: Latest Review Links w/b 29th April 2002 (2) Flight 29-04-02 3
             RE: Latest Review Links w/b 29th April 2002 (2) Odette 30-04-02 5
                 RE: Latest Review Links w/b 29th April 2002 (2) Flight 30-04-02 6
             RE: Latest Review Links w/b 29th April 2002 (2) AEHandley 30-04-02 7
                 RE: Latest Review Links w/b 29th April 2002 (2) Jane S 01-05-02 9
                     RE: Latest Review Links w/b 29th April 2002 (2) AEHandley 01-05-02 11
  Tuesday Links - 30 April 2002 Bruceadmin 30-04-02 4
     RE: Wednesday links - 1st May AnnWilliams 01-05-02 8
         RE: Wednesday links - 1st May Brendan McCarthymoderator 01-05-02 10
             RE: Wednesday links - 1st May sylvia 01-05-02 12
                 RE: Thursday links - 2nd May AnnWilliams 02-05-02 13
                     RE: Thursday links - 2nd May (2) AnnWilliams 02-05-02 14
                         RE: Friday links - 3rd May AnnWilliams 03-05-02 15
                             RE: Friday links - 3rd May Brendan McCarthymoderator 03-05-02 16
                             RE: Friday links - 3rd May alison 03-05-02 17
  Saturday Links - 4 May 2002 Bruceadmin 04-05-02 18
     RE: Saturday Links - 4 May 2002 Carly Gillies 04-05-02 19
         RE: Saturday Links - 4 May 2002 Tomoko.A 04-05-02 20
  Sunday Links - 5 May 2002 Bruceadmin 05-05-02 21

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29-04-02, 07:17 AM (GMT)
Click to EMail Bruce Click to send private message to Bruce Click to view user profileClick to add this user to your buddy list  
1. "RE: Latest Review Links w/b 29th April 2002"
In response to message #0
Royal Ballet - Rojo and Cojocaru interview
An elegance of energy
The new stars of Britain's Royal Ballet have a fierce determination and talent, writes Valerie Lawson.
"Both are new to the Royal Ballet, with Cojocaru joining in 1999 and Rojo a year later. Neither is English, but that's not unusual for the Royal Ballet, a troupe once dominated by dancers from Britain and the Commonwealth. Only two of its 10 principals were born in England. Cojocaru is from Romania, and Rojo, born in Montreal, was raised in Spain. They are coy about their personal life. Both live alone, in rented apartments and if there are boyfriends, they are well hidden.
    "Cojocaru seems younger than her 20 years. She giggles a lot, likes to read Harry Potter and once told an interviewer that she had little to say about love, except: "Something will come. We don't have to look for it. It will happen and with open arms we greet it." She giggled again."

Royal Ballet
Romeo and Juliet
Royal Opera House, London
by Judith Mackrell
"Unfortunately, though, the Bolle-Bussell partnership lacks the juice to scale the heights of the third act. With Bolle it is clear that his emotional range is too narrow, either to raise the tragic stakes of his own character, or drag anything deeper and darker out of Bussell. With the latter, however, her limitations are harder to analyse. It is always evident what Bussell is trying for in her acting - her gestures and reactions are visibly thought through. It is admirably apparent that she strives for real physical distress in the poison and death scenes. Yet, however hard she tries, the acting does not register on a gut level. Her stomach does not churn, her nerves do not shred, and neither do ours. "

The Rite of Spring
The Rite stuff
The premiere of The Rite of Spring caused a riot in Paris in 1913. As a new version of the ballet opens, NADINE MEISNER reflects on the lasting appeal to choreographers of Stravinsky's masterpiece
The Independent but as usual it comes out on the ft site first
"It takes a daringly optimistic choreographer - or a blithely unaware one - to tackle the 20th century's greatest piece of music. Many have tried, most have failed, their invention submerged by a score of colossal scale and titanic achievement. The beast is, of course, Stravinsky's Sacre du Printemps or The Rite of Spring, a kraken that awakes in the orchestra pit to lash its tail and flex its terrifying muscles. It is, the Albanian- French choreographer Angelin Preljocaj says, quoting Arthur Honegger, the atom bomb that launched 20th-century music.
    "Preljocaj created his Rite of Spring last year and brings it here, the latest in a long line that spans, incredibly, 89 years. This monument to iconoclastic modernity is, it seems, rather old. It was also, from the start, conceived as a ballet in collaboration with Nicolas Roerich who not only made the designs, but also with Stravinsky devised the scenario. They imagined a prehistoric Slavic tribe who herald spring with the traditional sacrifice of a maiden - she dances to death to propitiate the gods of fertility. Diaghilev claimed the score for his Ballets Russes and Vaslav Nijinsky was designated as its choreographer."

English National Ballet, Scottish Ballet, George Piper Dances
Trouble and strife
by Louise Levene
From the Tiscali site rather than Telegraph
Cathy Marstons Facing Viv:
:"The pairs interlock and overlap in an anguished series of duets to John Adams's Gnarly Buttons. The first Mrs Eliot had enough beauty and charm to attract two of the greatest minds of the 20th century, but she was clearly a few lines short of a sonnet and Marston conveys her manic depression with self-binding arms and clingy pairwork (realised with nervy brilliance by Cindy Jourdain)."

The Ensemble Group
Keep wishing on those rising stars
The Ensemble Group - Wishing For The Moon
Edinburgh Festival Theatre
by ??
"Artistic director Norman Douglas claims The Ensemble Group are using Mark Morris’s company as their template, and comparisons can indeed be drawn. The performers come in all shapes and sizes, their only common ground being talent...."http://www.thescotsman.co.uk/s2.cfm?id=457052002

Pina Bausch
Happy Dance Families Are All Alike
By Gerhard R. Koch
"Choreographer Pina Bausch, soon to be 62, has worked in Wuppertal since 1971. She created her renowned Tanztheater brand of dance-theater here and turned it into an international cultural export. For a long time people liked to think that her eminent, highly complex art was also bound up with Wuppertal itself, with the city's strange train system hanging from elevated tracks, or with communism's native son, Friedrich Engels -- not a place of feudal splendor or sensual happiness, in other words. For all its virtuoso, many-sided vitality, the Bausch aesthetic has always been rather "German," meaning ponderous and cognizant of problems and contradictions. This, too, explains its international success. It introduced her to the big wide world, and enabled her to create her works in an exotic environment.
    "As usual, Bausch's latest work bears no title and, in its stead, all the features of a "work in progress." It does have a dedication, though: "For the children of yesterday, today and tomorrow."
Frankfurter Allgemeine link

Boston Ballet - Stanton Welch
Turning 'Butterfly' into ballet
By Christine Temin,
"nlike ''Miss Saigon,'' the hit musical based on Puccini's ''Madame Butterfly,'' Stanton Welch's ballet version of the opera doesn't include a helicopter. He's taken a straightforward approach to his staging and storytelling.
    "Welch, a 32-year-old Australian, is one of the very few classical choreographers constantly in demand worldwide: It's been more than a year since he's been back to Melbourne, and he's getting homesick...."

Boston dance
Dancing the month away in Cambridge
By Karen Campbell
"'We're bringing special attention to the enormous amount of dance stuff that goes on behind doors and curtains every day of the year - smelly leotards and all,'' says Dance Complex founder and director Rozann Kraus..."

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29-04-02, 09:51 AM (GMT)
Click to EMail sylvia Click to send private message to sylvia Click to view user profileClick to add this user to your buddy list  
2. "RE: Latest Review Links w/b 29th April 2002 (2)"
In response to message #1
   A couple more from the Evening Standard, a review and a preview...

Royal Ballet
Romeo and Juliet
Judith Flanders
Darcey Bussell has returned from maternity leave and she is dancing as beautifully as ever. Juliet is not an ideal role for her: it was choreographed for a small woman and has lots of fiendish lifts and delicate movements, which it takes her lovely long legs some time to wrap themselves around. Yet movement as silky, as creamy, and as endlessly elegant as hers is, makes her a joy to watch.

Star-crossed dancers
by Sarah Frater
There may be edgier choreography, more innovative designs, and directors who push, crash and smash the envelope, but if all you want is classical ballet, all you need is Romeo And Juliet.

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29-04-02, 05:41 PM (GMT)
Click to EMail Flight Click to send private message to Flight Click to view user profileClick to add this user to your buddy list  
3. "RE: Latest Review Links w/b 29th April 2002 (2)"
In response to message #2
   LAST EDITED ON 29-04-02 AT 05:46 PM (GMT)

Ooooh, I am trying to get one of those very upright arabesque penchees that Alina's doing, for the 'Call to Prayer' solo. Doesn't half do your gluteus maximus in!

Do we really need to know how much they weigh?

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30-04-02, 08:47 AM (GMT)
Click to EMail Odette Click to send private message to Odette Click to add this user to your buddy list  
5. "RE: Latest Review Links w/b 29th April 2002 (2)"
In response to message #3
   I quite agree, they are not very nice! But breathtaking when you nmanage one-if that is you can sneak a look or get a photo taken! Are you a ballet student Flight? Where do you study?

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30-04-02, 08:25 PM (GMT)
Click to EMail Flight Click to send private message to Flight Click to view user profileClick to add this user to your buddy list  
6. "RE: Latest Review Links w/b 29th April 2002 (2)"
In response to message #5
   I just study locally. I have got it up to about 135* now, with my back upright! The problem is that it comes right after the 90* fouetted arabesque, and then you have to follow with a rise onto demi pointe.

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30-04-02, 10:05 PM (GMT)
Click to EMail AEHandley Click to send private message to AEHandley Click to add this user to your buddy list  
7. "RE: Latest Review Links w/b 29th April 2002 (2)"
In response to message #3
   >Do we really need to know
>how much they weigh?

No; but I find it hard to understand how anyone could call Tamara Rojo "tiny" at 164 cm. Admittedly 45 kg isn't big at just under 8 stone, but 164 cm is five foot six, which is pretty tall by RB standards! And MUCH bigger than the Australian-born Leanne Benjamin!

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Jane S

01-05-02, 03:48 PM (GMT)
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9. "RE: Latest Review Links w/b 29th April 2002 (2)"
In response to message #7
   >164 cm is five foot
>six, which is pretty tall
>by RB standards!

Sorry to seem picky, but on my calculator 164 cm is only 5'4 1/2", which is fairly small, though not what I'd call tiny; and 157cm (Cojocaru) is under 5'2" - and she is tiny!

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01-05-02, 06:54 PM (GMT)
Click to EMail AEHandley Click to send private message to AEHandley Click to add this user to your buddy list  
11. "RE: Latest Review Links w/b 29th April 2002 (2)"
In response to message #9
   Well, there you go, I've been telling people I'm 165 cm tall for years and I must be 167! But 5' 4 1/2 " isn't even small - I'd say it's smack on average. At 5'6" I'm taller than about 70% of my female friends, relatives and colleagues aged from 20 to 70!

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30-04-02, 08:16 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  
4. "Tuesday Links - 30 April 2002"
In response to message #0
English National Ballet
Facing Viv programme
Corn Exchange, Cambridge
by Judith Mackrell
"Cathy Marston's first commission for English National Ballet is one of her most successful works to date. She has always made ballets with some kind of narrative undertow; here she declares her dramatic sources upfront: the sorry tale of Mr and Mrs TS Eliot.
    "Facing Viv is a piece for six dancers that cleverly accommodates the breakdown of Vivien Eliot's fragile ego and the split voices of her husband's poetry. Three couples represent the Eliots in three different dynamics of their marriage. A duet of sexual tension is followed by a more watchfully grim encounter and a final acknowledgement of distance, broached by brief moments of accord. Each section overlaps, so that we feel the different personae within the marriage scrutinising each other. The ballet closes with the six dancers jerking in and out of choreographed unison, the two Eliots yearning for their fractured selves to mend."

Royal Ballet
Beautiful beyond belief
Romeo and Juliet
London, Covent Garden
by Judith Flanders
Sylvia reported this review earlier but unfortunately I couldn't make the quoted link work
"She is matched strength for strength by Roberto Bolle, giving a welcome guest season in London. He is tall enough to make Bussell look petite, strong enough to make the partnering seem easy, and he is, for my money, one of the most gorgeously classical dancers working today. Every movement is copybook perfect, every jump has an elegant preparation, a spectacular ballon, and a precise and softly landed finish. Precision can often be boring, but Bolle makes it breathtaking. Each move has a pause before it when the audience thinks, "Surely it can't be as beautiful as the last." And each time it is.
    "Bolle is not, his rivals will be happy to hear, quite perfect. He is not much of an actor, and here he is matched once more, this time in limitation, by his Bussell..."

Royal Ballet
Romeo and Juliet
London, Covent Garden
by Debra Craine
"Like GQ man, the guest artist Roberto Bolle has a cute grin and long, well-shaped legs, and he relies on these attributes to carry him through. His well-scrubbed Romeo is appealing in a teenage, boy-band kind of way. There’s plenty of dash and sparkle to his sword; his dancing is handsome and impressively virtuosic; and he partners Bussell like a dream. But when it comes to those big transforming moments he, like Bussell, fails to connect. Other performances were impressive: Ricardo Cervera a chipper, flamboyant Mercutio; William Tuckett a strong, malicious Tybalt. In the pit, Barry Wordsworth emphasised the thunder and honey of Prokofiev’s score. "

George Piper Dances, English National Ballet
Ballet bodies go off like guns
George Piper Dances, The Place, London
English National Ballet, New Victoria Theatre, Woking
By Jenny Gilbert
"Watching Nunn and Trevitt power, slice and glower through the opening moves, each framed in a doorway of yellow light, you know you're seeing something rather special – something more subtle and involving than just a pair of look-alike move-alikes who bring male bonding into focus. Under Maliphant's direction the pair's rugged demeanour and technical finesse combine in a dialogue that could not communicate more clearly if Maliphant had written them words to speak. Sometimes their bodies comply with one another like the balancing mechanism on a swing door. At other times a wary competitiveness intrudes, and each scores points off the other in increasingly strange and wonderful ways: Nunn's stiff body wielded by Trevitt like a giant Tommy gun, or Trevitt wheeling balletically round the stage on his knees."

Akram Khan + others
Life, the multiverse and everything. In a dance. Coming soon
London, South Bank
Musician Nitin Sawhney, sculptor Anish Kapoor and choreographer Akram Khan have teamed up for a unique project, says Brian Logan
"Kaash is one of the most mouthwatering arts events of the spring, a uniting of the talents of Khan, Sawhney and the Turner Prize-winning artist Anish Kapoor. The 27-year-old Khan, who has pioneered a fusion of the classical Indian form kathak with contemporary dance (after debuting onstage as the infant star of Peter Brook's legendary Mahabharata), is being hailed by the dance world as a once-in-a-generation talent. Kaash is his first full-length work. He brought on board Sawhney (with whom he's worked before) and Kapoor (with whom he hasn't) because "I felt like I could say something with them," says the man with nothing to say. Both, he adds, are concerned with "concepts of illusion and reality."

Rite of Spring
Springs eternal
It's been done with New York cops, Chinese villains, Russian peasants and a mud-filled stage. Judith Mackrell on how The Rite of Spring took ballet into the modern age
by Judith Mackrell
"The dancers often seemed to be possessed as they tramped the stage with heavy, impacted runs, signed with harsh, angled gestures, and jumped in aborted frenzies. The chosen maiden, who danced herself to death with fraught, trembling energy, was a totally different heroine from that other chosen virgin, Aurora, who only 23 years previously had graciously balanced on the tips of her toes in the first performance of Petipa's The Sleeping Beauty.
    "Nijinsky had laboured over this new ballet for months, courting mutiny from dancers who could barely count the beats, let alone get their bodies around the pigeon-toed stance of the style. But Rite was given only a handful of performances before Serge Diaghilev dropped it from the Ballets Russes repertory. As one of the world's canniest impresarios, Diaghilev may have courted publicity, but this ballet was too controversial to make good box office."

Joffrey Ballet
Common thread runs through three Joffrey works
"Masterworks" is how the Joffrey Ballet of Chicago has titled the second program of its spring season, which opened Thursday night at the Auditorium Theatre and runs through Sunday afternoon. But a more fitting name for this triple bill might have been "The Art of Gesture."
    "The three wildly different works on the program--"Kettentanz," Gerald Arpino's fiendishly difficult Viennese confection; "Lilac Garden," Antony Tudor's tale of thwarted passion, and "Rodeo," Agnes De Mille's slice of pure Americana--are united by one overwhelming trait. And that trait is the power of an iconic movement to define character, mood and emotion."

Nrityagram Dance Ensemble
Holding Its Best Foot Back
Nrityagram Improves as It Steps From Modern to Classical
By Sarah Kaufman
"Though Nrityagram's emphasis is on maintaining the 2,000-year-old dance forms, it does not function solely as a museum. Bringing classical dance into the present is also a priority, as was evident Friday at George Mason University's Center for the Arts, which, in conjunction with the Washington Performing Arts Society, presented Nrityagram for a single appearance.
    "Six women performed "Sri: In Search of the Goddess," an evening-length work choreographed by company member Surupa Sen. Its theme alone makes clear the group's contemporary outlook: "Sri" is an exploration of the female identity, with sections dedicated to the arc of womanhood, to the female devotee, and to the goddess."

Akira Kasai
Debut Season for Butoh Artist
New York
"Akira Kasai has been described as a practitioner of both traditional Butoh, that primordial Japanese dance and theater form, and a new-Butoh style that he helped to create. Mr. Kasai has collaborated with the founding Butoh artists Tatsumi Hijikata and Kazuo Ohno. He also trained in ballet, yoga, traditional Japanese dance and eurythmy, a German movement form that aims to embody rather than illustrate the ideas or themes of a dance.
    "Revered as a major artist in Japan, Mr. Kasai drew distinguished artists and theater theorists to his performance on Friday night in a New York debut season. He was received ecstatically. But "Pollen Revolution" was a disappointment."

A repeat - this was found earlier on the ft site...

The Rite of Spring
The Rite stuff
The premiere of The Rite of Spring caused a riot in Paris in 1913. As a new version of the ballet opens, NADINE MEISNER reflects on the lasting appeal to choreographers of Stravinsky's masterpiece
"It takes a daringly optimistic choreographer - or a blithely unaware one - to tackle the 20th century's greatest piece of music. Many have tried, most have failed, their invention submerged by a score of colossal scale and titanic achievement. The beast is, of course, Stravinsky's Sacre du Printemps or The Rite of Spring, a kraken that awakes in the orchestra pit to lash its tail and flex its terrifying muscles. It is, the Albanian- French choreographer Angelin Preljocaj says, quoting Arthur Honegger, the atom bomb that launched 20th-century music.
    "Preljocaj created his Rite of Spring last year and brings it here, the latest in a long line that spans, incredibly, 89 years. This monument to iconoclastic modernity is, it seems, rather old. It was also, from the start, conceived as a ballet in collaboration with Nicolas Roerich who not only made the designs, but also with Stravinsky devised the scenario. They imagined a prehistoric Slavic tribe who herald spring with the traditional sacrifice of a maiden - she dances to death to propitiate the gods of fertility. Diaghilev claimed the score for his Ballets Russes and Vaslav Nijinsky was designated as its choreographer."

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01-05-02, 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  
8. "RE: Wednesday links - 1st May"
In response to message #4
   LAST EDITED ON 01-05-02 AT 11:18 AM (GMT)

Clement Crisp in the FT on Tamara Rojo in the RB's Romeo & Juliet: 'There is still puppy-fat on her reading: like Lynn Seymour, great original of the role, she offers melting arms and nothing scrawny in either dance or drama. (And, like Seymour, she has beautifully-shaped feet: you cannot dance MacMillan's heroine properly if the exquisite curve of an instep does not complete the line of step or pose).....I have in recent years tried to avoid Romeo and Juliet - too many performances and too many memories - but Tamara Rojo has shown me the error of my ways.

.....and Ismene Brown in the Telegraph is pretty keen on Rojo's Romeo '.... when Murru swept in on the second night, with his sexual vigour and joie de vivre, to join the irresistible, transporting Tamara Rojo. Murru, hitherto known as Sylvie Guillem's arm-candy in Marguerite and Armand and Carmen, blazed into his own. Witty, transparent, relaxed, amorous, he was all these Italian things - but, once he saw Rojo, the pair caught us up out of generalisations and into a particular, devastating experience between two people.'
link to article

Debra Craine in The Times on Ballet Preljocaj's 'Rite of Spring' at Sadlers's Wells: 'Ever since Nijinsky choreographed the first Rite in Paris in 1913, dancemakers have been drawn to its urgent rhythms like moths to a flame. But almost a hundred years and countless stagings later, is there anything left to say about Stravinsky's music that hasn't already been said? When Preljocaj's ballet starts, you think the answer to that question is going to be yes. The first thing his six female dancers do is drop their knickers down to their ankles. It's a sly opening manoeuvre, promising a sideways look at contemporary attitudes to sex. '

Luke Jennings has jéted briskly from the ballet page to the travel page of the Evening Standard. Under the banner 'Beer, Ballet & Bed for Ł170' he writes about travelling to Frankfurt to see the Frankfurt Ballet. The cheapie Ryanair flight from Stanstead, however, dumps him at an airport two hours out of Frankfurt. Truly, there are no free lunches.

The Boston Globe on Boston Ballet's intriguing mix-and-match 'Dance on the Top Flooor' programme: 'Patricia Strauss's powerful ''The Attic'' featured (Paul) Thrussell in a shattering portrait of Nijinsky in which every brilliant leap, extension, and turn seemed imbued with meaning. Thrussell commanded the space with extraordinary presence, impeccable technique, and a face that haunted long after the lights came up. Laszlo Berdo offered a lush, lyrical pas de deux that featured Junichi Fukada and Jillian St. Germain in arresting sculptural shapes. The Pennsylvania Ballet's Christopher Fleming presented a short solo ravishingly danced by the commanding Karel Cruz as well as the only large group work, a lively exercise for 10 that was compelling'

From the New Haven (Conn.) Register, a tale of an unexpected ballet teacher: "I think they were expecting someone else, maybe a woman," (Philip) Otto said. "They took one look at me and couldn't believe I was a ballet teacher." Otto became the artistic director of the New Haven Ballet in September. Before this, he spent 12 years as the director of Outreach and Education at the Pacific Northwest Ballet in Seattle.

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Brendan McCarthymoderator

01-05-02, 03:49 PM (GMT)
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10. "RE: Wednesday links - 1st May"
In response to message #8
   Lots in today's Standard. To begin, Sarah Frater on Ballet Preljocaj's version of The Rite of Spring. "Sadly, the Frenchman's choreography does not match his theatrical vision. Whole stretches of the music were unfilled, while much else was repetitive."

Also from the Standard two general reporters flam up the element of nudity in the production. The piece quotes a spokesman for Sadler's Wells. ""We look at the artistic content of every performance we put on very carefully to decide whether it could be offensive to our audience. This ballet is about the sacrifice of a maiden to the god of fertility. It is very central to the piece. It is not gratuitous or purely there for people to look at or laugh at."

The very prolific Sarah Frater also has a feature in the Standard on Akram Khan. ""The entire British dance system is expecting some kind of miracle from me," says Khan. "The pressure is huge, but the opportunities are fantastic."

Finally, Sarah's equally prolific boss, Norman Lebrecht rails at the iniquities of public interference in the arts and says the Arts Council should be sacked. "Every manager must confront a wall of bureaucracies and quangos, each exercising a right of veto. It is impossible to imagine that Ninette de Valois could ever have founded the Royal Ballet or Peter Hall the RSC if they had been required to fight their way through the flummery and form-fillings ("What proportion of your staff are native English-speakers?") that litter the path of any noble soul who tries to realise a vision."

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01-05-02, 07:50 PM (GMT)
Click to EMail sylvia Click to send private message to sylvia Click to view user profileClick to add this user to your buddy list  
12. "RE: Wednesday links - 1st May"
In response to message #10
   Ok, this one had my stomach churning a little...

Princess Diana ballet to be staged
Peter Schaufuss, also a former star of the New York City and Bolshoi ballets, has created the show, called Diana - the Princess, for his Danish company. UK ballerina Zara Deakin will play the role of the princess in the production, which will tour Denmark in the autumn...He has refused to reveal many details of his new show, but has said he is hoping to get a UK pop group to provide the music.

If it weren't for the two Princess Diana musicals and opera that have already been staged I'd have thought this was a late April Fools joke. I'm sorry but the idea makes me go "bleh".

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02-05-02, 08:42 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  
13. "RE: Thursday links - 2nd May"
In response to message #12
   LAST EDITED ON 02-05-02 AT 08:55 AM (GMT)

Clement Crisp in the FT on Ballet Preljocaj at Sadler's Well and the gloves are off, I can tell you. On Le Sacre du Printemps: 'Preljocaj battles with Stravinsky like a man fighting an avalanche: the encounter can be said to be either ludicrous or insolent.... Modern dress of the most dismal kind, and an action that is no more than a protracted striptease in which six couples are involved. The women start the piece by removing their knickers, and we guess all too easily what portends. Bras, bare chests, simulated copulation - foreplay as tedium - and finally one hapless woman finds herself naked, flailing about on a grassy dell and behaving with those bad social and sexual manners which are the lingua franca of such stagings in Europe. The piece is foolish, lumpily done by cast and choreographer, and is about as erotic (voyeurs please note) as blotting-paper. It is the least convincing realisation of Rite that I have ever seen. The score is given a glossy performance by the Chicago Symphony Orchestra which accords ill with the rough-hewn frolics on stage. The programme notes are specially crafted for Pseuds' Corner.'

John Percival in the Independent on ENB's 'Tour de Force'programme in Woking. On Cathy Marston's 'Facing Viv': 'There are some spectacular movements... but the general tone is subdued. They wear what gives the illusion of everyday clothes and seem to be seeking some kind of peace out of the mixed "memory and desire" that Eliot wrote of. The whole cast catches the spirit perfectly; they are Cindy Jourdain, Simone Clarke and Sarah McIlroy with Gary Avis, Trevor Schoonraad and Jesus Pastor...... The surprising thing, in fact, is that so serious, unusual and, one might have thought, difficult a ballet as Facing Viv was so much enjoyed by an audience who can hardly have known what to expect. This is a work that deserves to be seen much more widely.'

Deborah Jowett in the Village Voice on this week's NY dance scene. On Ballet Tech's 'At Midnight' choreographed by Eliott Feld: 'It seems right that the company should now attempt Feld's beautiful At Midnight, his second ballet, made for American Ballet Theatre in 1967, when he was about 24 and unafraid of romanticism. The dancers do it proud, capturing both the darkness and the blitheness in Mahler's settings of five poems by Friedrich Ruckert. Jason Jordan, wonderful as the solitary seeker, lets ardency mold his body into long reaches and crumpled positions. His steadfastness is a force in the stunning first scene, when five men in black embody the spiritual night that engulfs him.'

Jack Anderson in the NY Times on NYCB's Balanchine triple bill ('Serenade', 'Stravinsky Violin Concerto', 'Symphony in C' - lucky, lucky New Yorkers!)

Also in the NY Times, Anna Kisselgoff on the Batsheva Dance Company at the Brooklyn Academy of Music: 'To say Mr. Naharin's work is open to interpretation is an understatement. Ambiguity is his signature. As he said in February during a presentation at the Guggenheim Museum, "If I start a story, I don't feel I need to finish it." '

From the LA Times, a report on Pennsylvania Ballet's youth and male-focussed efforts to attract new audiences: 'Black-and-white billboards going up around Philadelphia show the dancers' buff, sometimes airborne bods with headlines like, "Not all Flyers wear skates"--a nod to the city's hockey team--and, "An athlete by definition," showing a dancer in a pose that flaunts her ripped back and arms. Welcome to the new world of ballet, where companies across the nation are employing edgy programs and clever marketing to reach out to younger audiences who see the art form as esoteric and just plain stuffy.

Also from the LA Times, Jennifer Fisher reports on Inland Ballet's mixed programme, including Swan Lake Act 2: 'Kelly Lamoureux made a statuesque and somewhat remote Odette, ably partnered by Stanko Milov, a guest from the Pacific Northwest Ballet. Missing were electric moments of enchantment and fluttery details that often define the Swan Queen, but Lamoureux showed vulnerability in the character with a sensitively furrowed brow, an expressive neck and the occasional meaningful turn of the head. Her strength was in a brave wingspan, especially in the series of supported scissor jumps that expanded skyward.'

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02-05-02, 10:28 AM (GMT)
Click to EMail AnnWilliams Click to send private message to AnnWilliams Click to view user profileClick to add this user to your buddy list  
14. "RE: Thursday links - 2nd May (2)"
In response to message #13
   Just found this Mackrell Guardian review on Ballet Preljocaj (I think it appeared in yesterday's paper). By my count, she's the third one to mention 'knickers' in relation to 'Sacre du Printemps'. What is it all coming to, I wonder, if the leading critics in our most prestigious broadsheet newspapers are reduced to vulgar reference to intimate apparel in order to point up the more...(shut up and get on with it. Ed..)


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03-05-02, 09:14 AM (GMT)
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15. "RE: Friday links - 3rd May"
In response to message #14
   The San Francisco Examiner on Lorena Feijoo, one of San Francisco Ballet's starriest dancers: 'Feijoo may be SFB's biggest surprise in the last few years. When she first arrived, with her fabulously strong body, broad shoulders, arrogant profile and fiery spirit, I thought she'd end up typecast as the company's haughty "Bolshwa" ballerina. Instead, Feijoo proved so versatile that she excels in comedy, Balanchine and the classics. In addition to her sterling dance technique, honed in the Russian style, she has the uncanny knack for appearing modest in ensemble yet glittering in star roles. That is rare, because it means the ego is subordinate to the art.'

Jennifer Dunning in the NY Times reports the death of David Wood, a former Martha Graham dancer: 'Mr. Wood, who joined the Graham company in 1953, originated many roles in Graham dances, among them the Messenger of Death in "Clytemnestra" and the Whip Master in "Acrobats of God." Known for his strong dramatic presence and his high, light jump, Mr. Wood began his long and varied career as a dancer in 1949 with Hanya Holm. He also danced with most of the leading modern dance choreographers of the time, including Alwin Nikolais, José Limón, Doris Humphrey, the Dudley-Maslow-Bales Trio, Charles Weidman and Helen Tamiris'

Lisa Trager in the Washington Post reports on the forthcoming White Oak Dance Project performance at Lisner Auditorium, which includes Eric Hawkins' 'Early Floating': 'Hawkins... evolved a movement technique of his own. Movement, he felt, should be effortless, free flowing, natural; he even borrowed from the then-new science of kinesiology for his body-friendly aesthetic. Says Duke of the technique, "It's not idiosyncratic at all. He called it 'generic' or 'normative' movement. . . . The biggest joint in the body is where the thigh and pelvis meet and initiating movement from that center and letting it flow out to limbs -- Erick called it 'tasseling' -- allows for a freeness." '

The Fort Worth/Dallas Star-Telegram reports on Paul Meija's appointment as co-artistic director of Ballet Arlington (For reference, Meija is the former husband of Suzanne Farrell).


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Brendan McCarthymoderator

03-05-02, 12:46 PM (GMT)
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16. "RE: Friday links - 3rd May"
In response to message #15
   The Standard review several Romeo and Juliet casts in a notice jointly signed by Sarah Frater and Judith Flanders. (Has there been anything like this since Nigel Gosling and Maude Lloyd wrote as Alexander Bland?)

"Cojocaru (is)a Juliet for the future - the very near future.
Cojocaru was partnered elegantly by Johan Kobborg, who has not got quite the charisma that elevates Cojocaru into the realm of nascent superstar, but his performance is nuanced and appealing.
Tamara Rojo gave a good, workmanlike performance, but she was swamped by the sheer inappropriateness of Murru's performance. Their incompatibility was thrown into sharp relief by Sylvie Guillem and Jonathan Cope, who are so well matched that they not so much dance the ballet as become it."

From today's Telegraph media pages: "Is the London Evening Standard trying to shake off its Baby Mail tag? On Wednesday, the Mail ran a story about nudity in a ballet at Sadler's Wells. In the accompanying picture, black strips were plastered over the ballerina's body to protect her modesty. The Standard slavishly followed the story, but showed the same ballerina as nature - rather than Paul Dacre - intended."

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03-05-02, 01:44 PM (GMT)
Click to EMail alison Click to send private message to alison Click to view user profileClick to add this user to your buddy list  
17. "RE: Friday links - 3rd May"
In response to message #16
   Re the ES article: "all" the company's ballerinas are dancing it, are they? So what does that make Yoshida and Benjamin? I hate sloppy writing like that - also evidenced in the "shock horror" piece about nudity in the Rite of Spring. And if I were Rojo I think I'd be grossly offended at having my performance called "workmanlike". I haven't seen her in this run yet, but having read the critics and seen her debut last year I should have thought that "workmanlike" was way off target.

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04-05-02, 08:35 AM (GMT)
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18. "Saturday Links - 4 May 2002"
In response to message #0
   Rambert Dance Company - Christopher Bruce
Dedicated to dance Christopher Bruce's quiet intensity made him the outstanding contemporary dancer of his generation. It also makes the artistic director of the Rambert Dance Company rather awkward company for Julia Llewellyn Smith
By Julia Llewellyn Smith
"His self-criticism shows the legacy of his mentor, the notoriously perfectionist Dame Marie. "Marie Rambert was a dragon," says Bruce, speaking more to himself than to me. "She was incredibly cruel, she managed to upset everybody. She was a wonderful producer, she had great taste and she understood quality of performance, quality of movement, which is why so many choreographers were promoted.
    "But I don't think she was a great dance teacher. One was actually lucky to survive her classes. They were not very scientific, it was difficult to get her warmed up. For such a sensitive artist, she could be unbelievably insensitive. She could destroy people."
    "And how does Bruce compare? He smiles faintly. "I think I'm quite disciplined. Most contemporary companies are fairly laissez-faire, but that wouldn't work in one as big as ours."

San Francisco Ballet - Joanna Berman
PROFILE - Joanna Berman
Last dance
Beloved ballerina ends an 18-year career at S.F. Ballet in 'Giselle'
San Francisco
by Jane Ganahl
""I want to have children," says Berman, 36, her eyes lighting up. "And spend time with Rene. I know I could try to still dance and be a mother -- Julia Adam, Katita Waldo, Tina LeBlanc have all done it. But I would feel like a bad mom -- and a bad dancer. I'm not a very good multitasker."
    "Since her friend Evelyn Cisneros retired in 1999 -- also to start a family - - Berman has been arguably the most beloved ballerina in San Francisco. Drawn to her acute sense of drama, her articulation of movement and her transparent joy in dancing, balletomanes find out which performances Berman is dancing before they buy tickets."

New York City Ballet
Even With Pink Tutus Daring Action Wins Out
'Raymonda Variations'
New York
"The New York City Ballet may have been suffering from second-night blahs on Wednesday at the New York State Theater. Or perhaps it was just poor programming. Whatever the problem, the evening was dispiriting.
    "George Balanchine's 1961 "Raymonda Variations" demands daring, precise large-scale performing. But it is also a celebration of classical dancing that is as sweetly sumptuous as its Glazunov score. Its sugary pink tutus are there for a reason, but propulsion won out here."

Boston Ballet
New `Madame Butterfly' flies high on every level
Boston Ballet's ``Madame Butterfly,'' at the Wang Theatre, Thursday night, through May 19.
by Theodore Bale
"Finally, here is an original narrative ballet that succeeds on every level. With John Lanchbery's refined arrangement of Puccini's great music, Welch's inventive choreography, and Peter Farmer's painterly sets and costumes, ``Butterfly'' is not only a great addition to Boston Ballet's repertory, but to ballet repertory in general."

Boston Ballet - Mikko Nissinen + Rozann Kraus
Cambridge, Boston are worlds apart
by Theodore Bale
"Nissinen's appointment is a significant event in Boston Ballet's history, and the buzz around town is that he is perfect for the job. So it was disappointing that his talk was moderated by David Alexander when many had hoped Nissinen would speak freely about his background and future plans for the company.
    "Indeed, the talk seemed almost scripted. Alexander, a member of the Ballet's Volunteer Association, read from a list of mundane questions prepared by ballet administration, then Nissinen did his best to give sparkling answers. We heard a bit about his early dance training, his admiration for Nureyev and Baryshnikov, his attraction to Eastern philosophy. Questions from the audience, however, had to be submitted on index cards beforehand, so, no surprise, the questions chosen contained few rough edges..."

Sydney Dance Company - Josef Brown
Dancing to a different tune
By Jane Albert
"WILL the real Josef Brown please stand up?
    "Getting to the bottom of this man's identity is something of a brain teaser. Born Stephen Brown in Sydney 32 years ago, Brown adopted the name Josef Christianson after joining the Australian Ballet 21 years later. In 1997 he settled on a mid-point, taking on Josef Brown after starting a career with Sydney Dance Company.
    "Equally, Brown's professional life has taken a number of twists and turns. Setting out to learn acting at Sydney's McDonald College, Brown instead fell in love with classical dance and went on to a career as a soloist with the country's national classical dance company. Then followed a brief stint dancing in Darwin, time out with a contemporary Turkish dance company in Ankara, and, finally, a five-year gig in the spotlight with SDC."

Bolshoi Theater
The Bolshoi Appears Poised for Recovery, But a Legend of the Theater Says More Radical Change Is Needed
by Maya Pritsker
found via AJ
"After almost a decade of turmoil, uncertainty and artistic decline, Moscow's Bolshoi Theater seems on the road to recovery. The theater, which houses both a ballet and opera company under its venerable roof, has a newly reorganized leadership team and has released plans for an ambitious new season. But soprano Galina Vishnevskaya, a legendary figure at the theater until she left for the West in 1974, says that far more drastic changes are required."

Scottish Ballet
"SCOTTISH Ballet dancer Rupert Turner could face jail for an alleged air-rage incident on a flight from London to Boston."http://www.dailyrecord.co.uk/news/page.cfm?objectid=11840963&method=full&siteid=89488

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Carly Gillies

04-05-02, 11:55 AM (GMT)
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19. "RE: Saturday Links - 4 May 2002"
In response to message #18
   >"SCOTTISH Ballet dancer Rupert Turner could
>face jail for an alleged
>air-rage incident

Not sure which "dance troupe" they mean, but I don't think it's Scottish Ballet.

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04-05-02, 12:26 PM (GMT)
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20. "RE: Saturday Links - 4 May 2002"
In response to message #19
   The Times magazine has a feature about ENB dancer, Cornell Callender and the RBS student, Nutnaree Pipithsuksunt. The article claims the both are the future big ballet stars.

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05-05-02, 08:05 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  
21. "Sunday Links - 5 May 2002"
In response to message #0
   Ballet Preljocaj + Royal Ballet
Lacking the bare necessities
Despite all the groping and grappling, Ballet Preljocaj’s version of The Rite of Spring fails to rouse any passion, says David Dougill
"Following what looks like a mass workout, Stravinsky obliges a slowdown, to which Preljocaj responds with drooped heads and arms and slouching robotic pro-cessions. A hint at primitivism? Or are they all just shagged out? It seems like pointless padding. Finally, for the climactic dance of the Chosen Maiden, the victim is assaulted and stripped naked, to flail on her grassy table — the rest standing silently around. Of the many Rites of Spring I’ve seen, this is one of the least involving.
    "...Darcey Bussell and Roberto Bolle, who opened the (RB) Romeo and Juliet season, make one of ballet’s most beautiful couples — ideally matched not only in looks and physique, but in the creamy lusciousness, power and daring of their dancing. Bussell’s acting is uneven; she falls short of the tragic resonance of the demanding last act. This is where Tamara Rojo, another fine Juliet, succeeds. Her Romeo was a second Italian guest, Massimo Murru — fleet of feet if emotionally rather veneerish. Ricardo Cervera’s dazzling Mercutio and William Tuckett’s vicious Tybalt are among impressive supporting performances.

Ballet Preljocaj + Royal Ballet
How can so much sex be such an anticlimax?
Stravinsky's Rite is stuck in a rut but star-crossed lovers soar
Rite of Spring/Ballet Preljocaj Sadler's Wells, London EC1
Romeo and Juliet Royal Opera House, London WC2
By Jann Parry
"One by one, six girls in miniskirts drop their knickers round their ankles. As Stravinsky's Rite of Spring stirs into life, men slumped on a grassy bank come forward to pick up the pants and their owners. A provocative start to a sex-as-death dance, it poses the question its choreographer, Angelin Preljocaj, cannot answer: who are these people?
    "...It's not a brave enough reinterpretation, unlike Preljocaj's earlier Noces (1989), which celebrated wildness. He has grown cautious, refusing to let his dancers go to extremes in Helikopter, the first part of the Wells double bill. They cannot match the maelstrom created by Stockhausen's Helikopter String Quartet and the whirlpools of light in Holger Förterer's video installation. Preljocaj's imagination is vaster than his choreographic skills."

The Ensemble Group
Ambition outstrips ability
The Ensemble Group at the Edinburgh Festival Theatre
by Christopher Bowen
"ALL credit to Norman Douglas for the sheer chutzpah he has demonstrated in pulling together the first major tour of his Ensemble Group.
    "Of course, if you’re going to strut your stuff on the same stage that has witnessed the glories of Nederlands Dans Theater, Pina Bausch and The Tiller Girls, then a certain level of expectation comes with the territory. In truth, The Ensemble Group’s programme, appropriately entitled Wishing for the Moon, would have looked a good deal better in more intimate surroundings. Hard as the dancers tried, they couldn’t fill the stage, though this was probably less a lack of expansive technique, more the dearth of choreographic invention...."

Lyon Opera Ballet, Maguy Marin
A dreamy fairy tale from Lyon ballet
Marin's 'Cendrillon' is subtle, affecting
San Francisco
By Octavio Roca
"Marin's choreography presents itself not so much as a traditional story ballet but rather as a tale made up by children and acted out by their dolls. This makes for a few departures from the story. Cinderella and her Prince, for instance, are trampled to the ground as all the guests at the ball stampede for a lollipop buffet. A long parade of toys near the end would make any "Nutcracker" production proud...."

New York City Ballet - Diamond Project
All That's New, Creative and Loyal to the Classical
"PLACE a choreographer, known or unknown, in a studio with the New York City Ballet's first-class dancers. Suggest that the choreographer's new work focus on the classical technique in which these dancers are trained rather than on other dance idioms, and keep the sets (if any) and costumes simple because of budget constraints.
    "When Peter Martins, City Ballet's artistic director, drew up these guidelines in 1992 for the Diamond Project, the idea was to encourage new choreography of the classical persuasion and to create a showcase for its presentation. Modern dance was invading American ballet troupes and, like George Balanchine and Lincoln Kirstein, City Ballet's founders, Mr. Martins remained loyal to the classical vocabulary. In the 1994 Diamond Project souvenir program, Kirstein exhibited his typical siege mentality. City Ballet, he wrote, was "a fortress of the traditional classic dance."

San Francisco Ballet
Ballet's girded for change
Losing four top dancers at the end of this season, including Lucia Lacarra seen above with Pierre-Francois Vilanoba, means SF Ballet must reassess. Happily, great talent is in the wings.
Tomasson's growth, Boada's return bode well for S.F. company's 70th season.
San Francisco
by Octavio Roca
"San Francisco Ballet is at the crossroads. Between January's opening gala and Saturday's farewell performance of Joanna Berman in "Giselle," there have been more than a few surprises in the company's 69th season.
    "As the dancers prepare for a trip to Athens this month and a major anniversary next season, it pays to look back and even a little ahead at the continuing saga of our country's oldest ballet company...."

National Ballet of Canada - James Kudelka
Kudelka's great leap forward
New ballet is a first
Premeier of The Contract
by Michael Crabb
"James Kudelka, the National Ballet of Canada's 46-year-old artistic director, has never been loath to take risks. But tonight he is truly putting his creative reputation on the line.
    "The company will unveil his most ambitious work to date, a two-act, 90-minute narrative ballet called The Contract. In the process, Kudelka is making National Ballet history. After half a century of existence, The Contract will be the company's first truly original, evening-length story ballet.
    "Kudelka, like every other artistic director of a large dance company, knows well enough that full-length costume dramas outsell mixed bills of shorter, often abstract works. He himself has scored box-office gold for the National Ballet with lavish restagings of two 19th-century Russian classics, The Nutcracker and Swan Lake, and still has his sights set on The Sleeping Beauty."

Boston Ballet
Choreography elevates emotion of 'Butterfly'
By Thea Singer
"Stanton Welch's ''Madame Butterfly'' - set to John Lanchbery's adaptation of Giacomo Puccini's now-throbbing, now-lyrical score - begins in something of a muddle but comes into its own with the love duet at its core: the swirling almost sacrificial ''wedding'' night of the geisha Cio-Cio San (Madame Butterfly) and Lieutenant Pinkerton, a US Navy officer. In fact, it's the magic that Welch can work with twosomes that makes his ballet version of the 1904 Puccini opera transcend melodrama and resonate with emotional truth.
    "The Boston Ballet brought that point home Thursday night when the Australian choreographer's work opened at the Wang Theatre."

Philadanco - Joan Myers Brown
Risks and Balancing Acts for a Small Black Troupe
New York
"JOAN MYERS BROWN has done a lot of interviews in the 32 years since she founded Philadanco, one of the nation's leading small modern-dance companies. Now it was time for another one, as this predominantly black, Philadelphia-based troupe prepared for a New York season opening on Tuesday at the Joyce Theater. The specter loomed once more of having to respond to questions like that ever-recurrent one about defining "black dance." But instead her interviewer asked what she'd like to talk about.
    "Quicker than a reporter could flip open her notebook, Ms. Brown came up with a slew of "ideas," as she put it. Let's talk, she said, about selecting choreographers for a repertory company and keeping that repertory diverse. Danco, as Philadanco is affectionately known, will present a wide-ranging program at the Joyce of works by Ron Brown, Bebe Miller and Jawole Willa Jo Zollar and a premiere by a lesser-known choreographer named Christopher Huggins, a former member of the Alvin Ailey American Dance Theater."

Boulder Ballet
Boulder Ballet works wonders with little staff
By Janine Gastineau
It's tough out there...
"Does Peak Arts Association know what kind of dance company it has? One wonders, when the Boulder Ballet Web site is more than a full season out-of-date and the company has worked without an artistic director for 18 months. Despite this lack of support, this season has been Boulder Ballet's best. With a strong corps of mature, committed dancers, solid in technique and expression, Boulder Ballet follows its successful "Nutcracker" with Robert Sher-Machherndl's effervescent "Merry Widow."
    "With a tiny support staff, Sher-Machherndl and company — the dancers, lighting and scenic designer J.P. Osnes, costume mistresses Marny Padgett and Lauren Goldberg — have created something special with this all-new production. Osnes' Act II set in particular is one of the most beautiful BB has ever had, and Padgett's costumes (inspired by Jennifer Sher-Machherndl's sketches) are largely terrific: the Act I ball gowns, the Widow's dresses, the sexy little outfits on the "Diamond Dog" girls in Act II."

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