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Subject: "Latest Review Links w/b 6 May 2002" Archived thread - Read only
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Conferences What's Happening Topic #2704
Reading Topic #2704

06-05-02, 08:49 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 6 May 2002"
   Each day we add the latest links to reviews and interviews that we find on the major newspaper web sites around the world. If you find a link that we have missed do please post it up, preferably as a URL link.

Last weeks thread:

Bookmarking this page:
Click on the following link and then bookmark the links page that comes back - it's a special URL that will always bring you to the thread with the latest reviews:

We should not need to state this but these links are for our readers use and not for other websites to take and pass off as their own. We ask all visitors to respect Ballet.co's site and the way it operates.

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  Subject     Author     Message Date     ID  
  Monday Links - 6 May 2002 Bruceadmin 06-05-02 1
     RE: Monday Links - 6 May 2002 Brendan McCarthymoderator 06-05-02 2
  Tuesday Links - 7 May 2002 Bruceadmin 07-05-02 3
     RE: Wednesday links - 8th May 2002 AnnWilliams 08-05-02 4
         RE: Wednesday links - 8th May 2002 (2) AnnWilliams 08-05-02 5
             RE: Wednesday links - 8th May 2002 (3) Brendan McCarthymoderator 08-05-02 7
                 RE: Thursday links - 9th May 2002 AnnWilliams 09-05-02 8
                     RE: Thursday links - 9th May 2002 alison 09-05-02 9
                         RE: Thursday links - 9th May 2002 (3) Brendan McCarthymoderator 09-05-02 10
                             RE: Friday links, 10th May 2002 AnnWilliams 10-05-02 11
                             RE: Friday links, 10th May 2002 (2) AnnWilliams 10-05-02 12
                             RE: Friday links, 10th May 2002 (2) Shirley 10-05-02 13
  Saturday Links - 11 May 2002 Bruceadmin 11-05-02 14
     RE: Saturday Links - 11 May 2002 (2) Brendan McCarthymoderator 11-05-02 15
     RE: Saturday Links - 11 May 2002 Jane S 11-05-02 16
         RE: Saturday Links - 11 May 2002 Tomoko.A 11-05-02 17
             RE: Saturday Links - 11 May 2002 Shirley 12-05-02 19
                 RE: Saturday Links - 11 May 2002 Hiromi M 12-05-02 20
  Sunday Links - 12 May 2002 Bruceadmin 12-05-02 18
     RE: Sunday Links - 12 May 2002 Flight 12-05-02 21
         RE: Sunday Links - 12 May 2002 Flight 13-05-02 22

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06-05-02, 08:49 AM (GMT)
Click to EMail Bruce Click to send private message to Bruce Click to view user profileClick to add this user to your buddy list  
1. "Monday Links - 6 May 2002"
In response to message #0
   Christopher Wheeldon interview
Sweet success He was taking a risk, but, two years ago, Christopher Wheeldon stopped performing to concentrate on choreography. It has paid off handsomely. In London for his first major work for the Royal Ballet, he speaks to John Percival
The Independent but via the ft site
"But he always acted on the advice of Sir Kenneth MacMillan when he contributed to a programme by Royal Ballet dancers at London's Riverside Studios. "I was summoned to the presence, and he told me, `You seem to have some talent for choreography; you should take every opportunity you have to practise it and make ballets'." The earliest openings were works for students of the Royal Ballet School, the London Studio Centre and the School of American Ballet, but even in those circumstances he worked ambitiously, for instance setting Britten's Diversions for piano and orchestra for what he remembers as "an enormous cast" of Royal Ballet students - and very successful it was, too.
    "Wheeldon does not work out his ballets before going into the studio. Like Frederick Ashton, he wants to build on the individual qualities of the dancers, and let them contribute movement, but he tries to extend them too. His starting point is the music, but he likes to have a theme or subject- not necessarily to be revealed to the cast or audience, and to be treated abstractly."

Ballet Preljocaj + Royal Ballet
Rut of spring
Ballet Preljocaj - Rite of Spring and Helikopter
RB Romeo and Juliet
By Louise Levene
on Helikopter"...Interesting choreography would have been ideal, obviously, but Preljocaj's flailing arms and spinning bodies were completely overshadowed by Holger Forterer's truly remarkable video projections which interacted with the dancers' bodies by means of an elaborate set-up of computers and infra-red cameras. At one point the six dancers moved across a flooded chessboard with virtual water rippling round their shins and refracting the shapes of the sunken squares. The movements may have been banal and repetitive but with visual effects this magical you would have happily watched them all hoovering.
    "....A London evening newspaper suggested that a trip to see The Rite of Spring would be ideal for a first date, but anyone hoping for a longer term relationship would do better with Romeo and Juliet, Kenneth MacMillan's three-act, three-Kleenex 1965 hit currently being revived (yet again) by the Royal Ballet at Covent Garden"

Balletto di Milano
La Traviata
Festival Theatre, Edinburgh
by ??
"And while the dancers were all beautifully clad, the set was woefully under-dressed, with just three white curtains and a table adorning the stage. The performers all showed technical competence, giving their all in the face of uninspired choreography. But, overall, you had to wonder why they bothered in the first place."
at foot of page

New York City Ballet
The Diamond Project
Revisiting Showcase Productions
New York
By Anna Kisselgoff
"he Diamond Project, conceived by Peter Martins as a showcase for new classical choreography, was a blockbuster event when the New York City Ballet started it in 1992. The New York State Theater resembled a pressure cooker as choreographers, known and unknown, from near and far, presented 11 premieres in five days.
    "Things have calmed down a bit since other Diamond showcases were held in 1994, 1997 and 2000. This season City Ballet celebrates the 10th anniversary of the project, named for its prime donor, Irene Diamond, and takes the long view. For the first time, the company will offer a miniretrospective of 15 ballets from past Diamond showcases as well as new works"

White Oak Dance Project
White Oak's Sturdiest Branch
By Sarah Kaufman
"You've scarcely settled into your seat and shed your coat. You're still easing your mind away from the hunt for a parking space and the search for your row. And suddenly, the lights go down and there he is, golden-haired and glowing on the darkened stage: Mikhail Baryshnikov.
    "Dancing a solo.
    "It's a wonderful solo -- Lucinda Childs's "Largo," formal and stately as the title suggests, but spiked with quicksilver shifts. Baryshnikov performs it brilliantly, playing his swift, sharp legs and footwork against the sweeping legato of his upper body, seeming to float on a concerto grosso by Arcangelo Corelli. And yet, it comes and goes too quickly, before you have a chance to relish it. It feels jarringly out of place -- like having the main course thrust upon you before being offered salad to whet the appetite."

Pacific Northwest Ballet - Stanko Milov
PNB's Milov moves with power and passion
By Lesley Holdcroft
found via BNU
"Two weeks after collapsing onstage from a rare heart problem, Pacific Northwest Ballet dancer Stanko Milov recovered from treatment and was back in rehearsal, practicing Nicolo Fonte's "Almost Tango" in a studio off Mercer Street.
    "A dark-haired Bulgarian with powerful features, Milov scoops up dancer Alexandra Dickson, holds her aloft and spins her, and then releases her dramatically to the floor. The two breathe heavily, moving with precision, sculpting wide arcs through the air. "

Mark Morris Dance Group
Roots of Morris' talent laid bare
By Lynn Jacobson
"How does a gifted young dancemaker develop into a master choreographer? The program presented by the Brooklyn-based Mark Morris Dance Group at Meany Theater this weekend offers some clues.
    "The first piece of the evening, "Canonic 3/4 Studies," is 20 years old, so it shows some of the ideas Morris was toying with in his formative years (his mid-20s). It's a dance for nine men and women in black tights and white T-shirts, and it's got a little bit of everything the choreographer is now famous for: tricky rhythms, quirky steps blended from ballet and folk dance, and liberal amounts of humor. "

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Brendan McCarthymoderator

06-05-02, 09:04 AM (GMT)
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2. "RE: Monday Links - 6 May 2002"
In response to message #1
   Merce Cunningham is interviewed by Michael Seaver for The Irish Times. "At 82, and faced with yet another interview, he could easily trot out lines about old works and their historical importance, but conversation constantly steers towards the present, his newest work and the future that work is charting for him. His animated conversations on the past are never self-important, merely an account of the journey he has taken to where he is now."

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07-05-02, 07:51 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  
3. "Tuesday Links - 7 May 2002"
In response to message #0
Adam Cooper
Adam Cooper left the Royal Ballet because he was bored of dancing the classics. But who'd have guessed he'd end up in a musical? He explains all to Lyn Gardner
"Cooper says that he is thrilled to be tap-dancing again, a skill he hasn't used since he was 16 when he made the move from Arts Educational to the Royal Ballet School. From there he joined the Royal Ballet, where he gained a reputation as the chap who never said no, who would always fill-in during a crisis. He worked his way through the ranks to become a leading man to the more high-profile Darcey Bussell and Sylvie Guillem. But it wasn't enough for Cooper, who always felt that the Royal Ballet was allowing himself to develop only a small part of his talent.
    ""I felt trapped at the Royal Ballet. It is such a tiny world and there is so much snobbery. Some people think ballet is the only important form of dance, and some dance critics perpetuate that view by the kind of work they cover..."

Ballett Frankfurt
A Quest for Absolute Zero
No choreographer has shown more stamina in grappling with a historical personality than William Forsythe in his treatment of Robert Falcon Scott
By Jochen Schmidt
"In 1912 Scott, the English polar explorer, was beaten to the South Pole by his Norwegian rival Roald Amundsen, and then perished together with his entire team on the way back. The three-part evening entitled "The Scott Work/2002," recently staged by Forsythe's Ballet Frankfurt in the city's Bockenheimer Depot theater, must already be the fifth occasion that the American choreographer has tackled the subject, and an ending is not yet in sight.
    "Then again, it would not be quite right to say that it is Scott's tragic fate that has preoccupied Forsythe, who has been artistic director of Ballett Frankfurt since 1984, for so long. Rather it is the idée fixe of a quest for absolute zero that motivates Forsythe, and he regards Scott -- who sought this untraceable, imprecisely defined zero-point in the Antarctic -- as a kindred spirit. Forsythe describes his new work as "falling back on the philosophical debate with Descartes during the 18th century as well as on colonialization, cartography and the invention of speed."...
Frankfurter Allgemeine link

Ballet Preljocaj
There's no need to get your knickers in a twist
Ballet Preljocaj, Sadler's Wells, London
By Jenny Gilbert
"Sex, he (Preljocaj) reasons, is what Rite is about, and none would take issue with that. But where the music takes a grandly metaphorical long view of the procreative urge – sensuality sublimated in ceremony, green shoots bursting through the Russian thaw – Preljocaj is dismayingly prosaic. Girls in short skirts removing their knickers on stage and dancing with them round their ankles may have succeeded in raising a knowing titter as the opening bassoon solo wove its strange and sinewy spell. But it sent out all the wrong messages about Preljocaj's intentions. Or maybe it spelled out the true one, because this Rite of Spring is a muddle."

Milan Ballet
Edinburgh Festival Theatre, Edinburgh
by Alice Bain
"Have this company just popped out to a local charity shop to purchase their meagre props? Are the tables covered untidily with throws, the bedsit divan, lopsided chandelier and tied net curtains a credible setting for fancy Parisian parties and country-house loving? What a strange state of affairs this ballet Traviata sets before us...."

Christopher Wheeldon interview
we found this on the FT site yesterday now here it is on the Independent site
Sweet success He was taking a risk, but, two years ago, Christopher Wheeldon stopped performing to concentrate on choreography. It has paid off handsomely. In London for his first major work for the Royal Ballet, he speaks to John Percival
"But he always acted on the advice of Sir Kenneth MacMillan when he contributed to a programme by Royal Ballet dancers at London's Riverside Studios. "I was summoned to the presence, and he told me, `You seem to have some talent for choreography; you should take every opportunity you have to practise it and make ballets'." The earliest openings were works for students of the Royal Ballet School, the London Studio Centre and the School of American Ballet, but even in those circumstances he worked ambitiously, for instance setting Britten's Diversions for piano and orchestra for what he remembers as "an enormous cast" of Royal Ballet students - and very successful it was, too.
    "Wheeldon does not work out his ballets before going into the studio. Like Frederick Ashton, he wants to build on the individual qualities of the dancers, and let them contribute movement, but he tries to extend them too. His starting point is the music, but he likes to have a theme or subject- not necessarily to be revealed to the cast or audience, and to be treated abstractly."

National Ballet of Canada
Armani among the Quakers
Canada, Hummingbird Centre
by Michael Crabb
"The thunderous ovation that greeted the National Ballet of Canada's premiere of The Contract Saturday night must have sounded sweet indeed to choreographer James Kudelka. Much had been staked on this $1.2-million evening-length dance-drama and, if audience enthusiasm is any guide, it seems to be a popular hit. Why it should be so is harder to explain. Although The Contract has much to commend it, in the end it grounds itself in a confusion of intent between literalism and symbolic meaning."

San Francisco Ballet
S.F. Ballet's 'Giselle' ages beautifully
San Francisco
by Octavio Roca
"Helgi Tomasson's "Giselle" is his finest achievement for San Francisco Ballet, an utterly lovely production that ranks with the finest anywhere in the world.
    "This timeless tale of love, betrayal and forgiveness is also a blueprint for the company's growth, a challenge to dancers from principals to corps and a rich panorama of dramatic possibilities. It returned to the War Memorial Opera House on Friday night and, while some of the work's potential remains unrealized, San Francisco's "Giselle" is looking better than ever."

Lyon Opera Balle
Ravel a la Lyon -- discoveries in dance
San Francisco
by Octavio Roca
"Yorgos Loukos' troupe has revealed unsuspected pleasures in great composers in the past. Its all-Mozart festival, in fact, brought out some of the most distinctive and touching work of Bill T. Jones' career. This latest "Soiree Ravel," too, was full of discoveries.
    "Chief among these was the talent of Saarinen, an exceptionally gifted Finnish choreographer..."

Lyon Opera Ballet
French `Cendrillon' adds creative touches to Cinderella
San Francisco
By Anita Amirrezvani
"The ballet ``Cinderella'' has been a favorite since its debut in 1945, but it has perhaps never been as creatively reimagined as in the celebrated production by French choreographer Maguy Marin.
    "Her 1985 ``Cendrillon,'' which was performed Friday at UC-Berkeley's Zellerbach Hall by the Lyon Opera Ballet, is a fantasy of the first rank. Marin transforms the well-known story into a fresh experience full of wonder, horror and enchantment."

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08-05-02, 09:21 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  
4. "RE: Wednesday links - 8th May 2002"
In response to message #3
   Two Independent review via the FT link:
First, Nadine Meisner is moved by the RB's Romeo & Juliet: 'As a critic, I have seen too many MacMillan Romeo and Juliets ever to be drawn totally into the stage's realm. But this time, while Cojocaru and Kobborg held the audience in a hush, I was there too, as if seeing the ballet for the first time. They trembled, floated with joy, raged at fate - and so did I. They brought new graphic details that, rather than adding to the production's general fussiness, illuminated each moment with trenchant narrative logic. Their creamy perfection of technique allowed them to plunge into the dancing with emotional abandon, yet hold the contours of the movement with elegant clarity. Form and expression existed in absolute equilibrium.'


...and John Percival is quite enthusiastic about Ballet Preljocaj: 'The visual effects alone would make (Helikopter) a must-see, but Preljocaj has achieved more. His movements for six dancers work throughout with the designer's illusions, yet give the impression that even alone on a bare stage they would hold their interest as patterns in space and time, while pairs of dancers echo or match each other. Moreover, the dances give choreographic shape and theatrical attractiveness to an unfamiliar and far from easy piece of music, Karlheinz Stockhausen's Helikopter Quartet.'


The Boston Globe's Geoff Edgers interviews Mikko Nissinen, Boston Ballet's new artistic director: '....Nissinen's schedule is packed. The previous night's rehearsal, he is told, was tense. Choreographer Stanton Welch wasn't pleased with a series of technical flubs. Nissinen phones Michael Corder, letting the British choreographer know that he'll probably want to bring back the ''Cinderella'' that Boston Ballet produced in 1997. After a swig of orange-carrot vitamin water, Nissinen takes a call from a friend looking to crash over the weekend at his condo. ''You know, my place is such a mess,'' he says, begging off. He watches videotapes of dancers interested in the company. He's particularly intrigued by a couple from the Dutch National Ballet and leaves them a telephone message. Talking to them is an important part of his hiring philosophy. Don't just pick the best physical specimens. Make sure the dancer will fit into the team. Interesting stuff on his outside life too... The social side of his new life will come, he says, because he enjoys so much outside of the dance world. He plays billiards, swims, and cooks. He's done yoga since the early '80s. He loves blues, jazz, and David Bowie. Though he arrived in Boston alone - his marriage to a psychologist ended in 2000 - Nissinen doesn't plan on going it alone. The question is where to meet somebody. He started dancing, at 11, to meet girls. It won't be so easy as the boss. ''I can't have a relationship with anybody at work,'' he says. '''I'm the director. No dancers, nobody involved with the school. That's the rule. I've got to meet some people in some kind of neutral environment, where I'm not the artistic director.'''


From the St. Petersburg Times, Alice Jones writes of a new exhibition of the works of Natalya Goncharova, whose designs for Rimsky-Korsakov's 'Le Coq d'Or' were a jewel of the Ballet Russes: 'What makes the exhibition so fascinating is precisely what Goncharova was criticized for over the years. She was accused of merely following the whims of artistic fashion, but the frantic journey through various styles and movements at the exhibition creates a very real feeling of Goncharova's path to maturity. The earliest works on display resemble a heady mix of van Gogh, Cezanne and Gaugin but, by the 1910s, Goncharova's switch to religious subjects seems to indicate a more tranquil maturity, and her solemn, icon-like figures, with their black, sightless eyes, form the basis for later works, such as the "Peasants Picking Grapes" cycle and the portraits of Jewish family life.'


Also from the St. Petersburg Times, Larisa Doctorow interviews Sergei Vikharev:
' A new production of the ballet "La Bayadere," restored to Marius Petipa's original 1900 choreography, will open this year's "Stars of the White Nights festival" at the Mariinsky Theater.The creative talent behind this premiere is Sergei Vikharev, who has been associated with the Mariinsky for the last 20 years as a soloist and a choreographer. Vikharev's staging of "Sleeping Beauty" for the Mariinsky in 1999 won a Golden Mask, Russia's top theatrical honor.'


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08-05-02, 09:27 AM (GMT)
Click to EMail AnnWilliams Click to send private message to AnnWilliams Click to view user profileClick to add this user to your buddy list  
5. "RE: Wednesday links - 8th May 2002 (2)"
In response to message #4
   This one got chopped off from the above:

Kelly Apter in The Scotsman on Balletto di Milano at Edinburgh's Festival Theatre: 'TRANSLATING an opera into a ballet isn't easy. Librettists are hardly known for their brevity, leaving choreographers vast chunks of expositional text to turn into movement. Fortunately, La Traviata has a relatively simple storyline and this four-act ballet made for easy viewing. Indeed, any confusion among the audience stemmed from the bizarre staging of this hit-and-miss show on Saturday.'

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Brendan McCarthymoderator

08-05-02, 01:44 PM (GMT)
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7. "RE: Wednesday links - 8th May 2002 (3)"
In response to message #5
   This is good. An account of the staging of Mozart's Idomeneo at the Paris Opera. "I was saying, 'This is Mozart, and they can't kill Mozart.'" But "they" — meaning, in this case, conductor Ivan Fischer, who insisted on directing the production as well — can stage the Act I ballet with a dancing jellyfish attacked by Greek soldiers and then being comforted by nuzzles from a seahorse. Idomeneo's sacrifice of his son, Idamante, was foreshadowed by the simulated slaughter of a goat while dancing mermaids provided levity. (Because it is a happy sacrifice, Fischer reportedly explained during rehearsals.)

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09-05-02, 09:14 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: Thursday links - 9th May 2002"
In response to message #7
   From the Birmingham Post via an FT link, Richard Edmonds interviews Joe Cipolla on his company, Configuration:

'We founded Configuration because there did not seem to be an awful lot of good dance going on in America. Itseemed a good idea to form a new middle-ground company based on Cape Cod using principals from BRB, Dance Theatre of Harlem, New York City Ballet and so on. We wanted to create a touring programme where contemporary and classical dance could be mixed. 'We did well and our audiences came from Boston and lots of smaller places from Provincetown to the ocean. There was a gap and we seem to have filled it. I created a large piece called Sampling Tchaikovsky and we hoped to tour it this year to dance venues in Britain'

Richard Smith in the East Anglia Daily Times on a young ballet boy from Suffolk who has just been accepted into the Royal Ballet School:

'Out of hundreds of applicants for the school's junior section it has chosen 14 boys and 10 girls, with 11-year-old Nick Jones, from Suffolk, among them. He is following in the steps of his 16-year-old brother Alex who is at the school and their proud parents, Chris and Sue Jones, are hoping there could be a hat-trick of successes. For their youngest son Oliver, eight, is auditioning in June for the Junior Associates section of the school. Their daughter Sarah was also a promising dancer but she was too tall to be selected. The family live at Woodbridge Airfield and Nick is in his last term at Hollesley Primary School before he starts at the world famous Royal Ballet School'

Anna Kisselgoff in the NY Times on the modern dance group Philadance:

'There was energy to spare as Philadanco, Joan Myers Brown's popular modern-dance troupe from Philadelphia, featured four very different choreographers on Tuesday night when it opened a season at the Joyce Theater.There is an ever-youthful spirit to the dancers: they are polished but not slick, and for those who care, they have a highly integrated sense of form'

Also from the NY Times, an obituary by Jennifer Dunning of the veteran tap dancer and choreographer Buster Brown:


Rachel Howard in the San Francisco Examiner on Lorena Feijoo in SFB's Giselle:

'SFB lovers are only beginning to fully appreciate another singular talent: Lorena Feijoo danced last Friday's opening night "Giselle," and she was impeccable in it. This was not a surprise. Feijoo hails from the National Ballet of Cuba, that company directed by one of last century's defining Giselles, Alicia Alonso, and a last bastion of careful coaching in the romantic style. Her peasant girl-turned-forest spirit often looked eerily reincarnated from the ballet's early 19th century lithographs, not just in the tale-tell soft curve of the wrists and forward-held arms, but in the swirling pathways of her neck and head.'

Deborah Jowitt in the Village Voice on this week's New York dance scene, including Israeli choreographer Ohad Naharins 'Naharin's Virus' at the Brooklyn Academy of Music:

'And what is the piece about? The use of Peter Handke's 1966 absurdist play, Offending the Audience, admonishes us to have no expectations; we will see no play. The word-dense text, intermittently delivered by Jesper Thirup Hansen, says such increasingly maddening things as "The non-existent door does not represent a non-existent door." At the end, Hansen also strives to offend us with a long litany of insults: " . . . you abortions, you bitches and bastards, you nothings, you thingamajigs." '

From the Register-Guard of Eugene, Oregon (don't ask me how Ifind these links, they just come to me) Janet Descutner on yet another 'Rite of Spring', choreographed by Toni Pimble

'Initially, the visual impact of the muscle and sinew of both genders in the central dances of approach, seduction and sexual gratification captured attention. As sections developed, Pimble's rhythms closely paralleled Stravinsky's percussive and melodic qualities, with overuse of such physical expressions as body ripples punctuated by sharp torso contractions and hands striking the body at the culmination of actions. The drama of the motion at times recalled Martha Graham's stylistic signatures.'

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09-05-02, 01:21 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  
9. "RE: Thursday links - 9th May 2002"
In response to message #8
   LAST EDITED ON 09-05-02 AT 01:24 PM (GMT)

After a major struggle with the website, I've managed to extract the Evening STandard review of Hubbard Street Dance:


Just rechecked this and realised it doesn't take you directly to the article - can anyone do better? Otherwise, you'll need to click on Latest Reviews in the right-hand column and then scroll down.

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Brendan McCarthymoderator

09-05-02, 02:07 PM (GMT)
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10. "RE: Thursday links - 9th May 2002 (3)"
In response to message #9
   Try this: http://www.thisislondon.co.uk/dynamic/hottx/theatre/dance_review.html?in_review_id=569996&in_review_text_id=546539

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10-05-02, 09:55 AM (GMT)
Click to EMail AnnWilliams Click to send private message to AnnWilliams Click to view user profileClick to add this user to your buddy list  
11. "RE: Friday links, 10th May 2002"
In response to message #10
   Ismene Brown in the Telegraph eviews 'On Your Toes' at the Haymarket Theatre in Leicester:

'...Cooper comes pretty good as a dance-maker too. He looks overstretched by the final ballet-within-the-show, but the big title number, On Your Toes, is a whirl of clattering music students and pirouetting ballet-dancers that is dynamic, joyful and exciting.He is fetchingly supported by Irek Mukhamedov, who brings witty personality and authentic Russianess to the combustible Konstantine, the Russian Ballet's randy principal man, as well as some awe-inspiring physicality to the ballet numbers.'
link to article

...and Jeremy Kingston in the Times on 'On your Toes':

'I was just a little disappointed by the Slaughter ballet, despite the tough, sultry and sexy performances it inspired. Marguerite Porter is Cooper's prima ballerina, who engagingly sends up the self-absorption of the international star. Irek Mukhamedov, the third of the former Royal Ballet principals on show, plays the jealous rival and the muscular beggar who captures Zenobia's listless heart. But in the title number Cooper's choreography is thrilling. American students and Russian dancers interweave across the stage, dancing in different styles below portraits of Lenin and Astaire. Watching traditional ballet steps performed to Rodgers's hurtling syncopations is extraordinarily exciting'

From the Guardian, Judith Mackrell on Hubbard Street Dance at Sadler's Wells:

'...Hubbard Street Dance Chicago have a mission to entertain, and their first appearance in the UK this week reveals them as funny and charming performers..... Harrison McEldowney's Let's Call the Whole Thing Off is a fond and silly duet of love and miscommunication that shows a couple dancing and talking at hopeless cross purposes. While the woman performs a sexy, hard-hitting number to attract her guy, he is lost in a self-absorbed monologue about the feelings he has recently got in touch with. While she berates him verbally for his lack of consideration, he is scooting around the stage in a danced denouncement of her endless complaints. Jamy Meek, with his Brad Pitt grin and goofily loose limbs, is hilarious - his body sagging under the weight of her disapproval, his arms flapping away the onslaught of her words and his jazzy twirls shrugging off her rage.'

..and Debra Craine in the Times on Hubbard Street:

'IT WAS a good idea for this lively company, founded 25 years ago on Hubbard Street in downtown Chicago, to bring an all-US programme for its British debut. The company (sort of like an American Rambert) has a sizeable European repertoire, but it wisely chose to leave its Jiri Kylián and Nacho Duato offerings at home. Instead, we get the work of five American choreographers on the Sadler's Wells bill. And for the most part, they are unknown to British audiences. '

The Evening Standard's letter page last night contained the following letter, from which I quote (I can't find a link):

'How ironic that the most literate Shakespeare staging at present is being performed by the Royal Ballet rather than the Royal Shakespeare Company.....And how doubly ironic that Sir Kenneth's choreography - every step and gesture rooted in the text - should should be more eloquent and articulate at Covent Garden than what currently passes for verse speaking at Stratford, the Barbican and the Roundhouse.
Michael Romain,
Fellow of St. Edmund Hall,
University of Oxford'

(That should give the MacMillan cynics something to think about..)

That air rage story: 'The Scotsman' apologises:


Jill Sykes in the Sydney Morning Herald on Graham Murphy's 'Ellipse' at the Sydney Opera House:
'The diversity and character of music by Australian composer Matthew Hindson has inspired Graeme Murphy to choreograph a suite of dances that reflect its varied moods of drama, humour, lyricism and funky power. Ellipse is the result - a title which links geometrical curves and lines with a cone shape that is echoed on stage by the output of an unusual mobile spotlight.'

Also from the Sydney Morning Herald, a report on 'Bodies 2002' a modern dance festival in Sydney:
'The only certain thing about contemporary dance is that you can't pigeonhole it. Audiences can see proof of this at the month-long Bodies 2002 modern dance festival at Newtown Theatre, where more than 40 independent choreographers will be let loose to present whatever styles they please. Now in its seventh year, organisers say performances in this year's event will range from the avant-garde and serious to the humorous and traditional. Subject matter includes the death of close relatives, refugees, the afterlife, indigenous culture and the generation gap, and the age of the dancers ranges from 17 to 70-plus.'

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10-05-02, 11:29 AM (GMT)
Click to EMail AnnWilliams Click to send private message to AnnWilliams Click to view user profileClick to add this user to your buddy list  
12. "RE: Friday links, 10th May 2002 (2)"
In response to message #11
   This was omitted from my earlier posting:

Anna Kisselgoff in the NY Times on NYCB's Diamond Project, a showcase of new(ish) choreography:

'A festival in all but name, the Diamond Project celebrates its 10th anniversary at City Ballet this season. Peter Martins, the company's artistic director, initiated the first showcase in 1992 with 11 choreographers, and similar presentations have been held in 1994, 1997 and 2000.For this fifth showcase, City Ballet is reviving 15 works from past Diamond events. Two, Ulysses Dove's "Red Angels" (1994) and Mr. Martins's "Jeu de Cartes" (1992), now outfitted with new décor and costumes by Ian Falconer...'


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10-05-02, 12:21 PM (GMT)
Click to EMail Shirley Click to send private message to Shirley Click to add this user to your buddy list  
13. "RE: Friday links, 10th May 2002 (2)"
In response to message #12
   An article on Chris Wheeldon in The Times


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11-05-02, 07:50 AM (GMT)
Click to EMail Bruce Click to send private message to Bruce Click to view user profileClick to add this user to your buddy list  
14. "Saturday Links - 11 May 2002"
In response to message #0
   Christopher Wheeldon
Straight to the pointe
by Debra Craine
After a bruising on Broadway, choreographer Christopher Wheeldon tells our critic why he's glad to be back at the Royal Ballet with a new work
ta to Shirley for finding
“I love the pointe shoe,” says the 29-year-old choreographer, who despite the wispy beard looks every inch the fine classical dancer he used to be. “I would never come into a great company like the Royal Ballet or New York City Ballet and ask them to take their pointe shoes off.”
For Tryst, to be premiered by the Royal on May 18, he has picked some of the best feet in the business — Darcey Bussell’s. “It’s hard to create flexible movement with a pointe shoe because it’s so brittle in the toe,” Wheeldon explains. “There are only a few people in the world who know how to use their feet in pointe shoes and Darcey is one of them. She has really pliable feet; she knows how to move through her foot and make all the bones work.”

The dance of democracy
WHAT does the average Australian male want in a dance performance?
By Georgina Safe
Be nice to see some surveys in this country of what people expect of dance and ballet - in the meantime here is a piece about what the Australian audience think...
"If you ask the general population what they want . . . their response seems to be quite different to what is actually happening in the contemporary and cutting-edge dance world," Obarzanek says.
    "According to the report, Australia's most wanted work is performed to contemporary classical music by an ensemble of at least five dancers wearing tight but modest costumes. It must be staged in a theatre.
    "Featuring plenty of partnering, athleticism and beauty, the most wanted work would appear to share some similarities with the work of the Sydney Dance Company and the Australian Ballet.
    "The most unwanted work, in sharp contrast, features erratic and spasmodic movement to techno or electronic music by expressionless dancers. The dancers perform outside a traditional theatre."

New York City Ballet
Diamond Gala Cuts A Figure
New York
By Clive Barnes
"With the 10-year-old Diamond Project, a more or less biennial festival intended to encourage new choreographers, director Peter Martins is more than living up to company tradition.
    "While most dance galas tend to be fairly warm, fuzzy and conventional events, this Diamond gala - the name comes from its initial donor, Irene Diamond - was like a glass of deliciously refreshing cold water thrown in the face of the usual champagne-sipping ritual.

Martha Graham Dance Company
Graham Company Evokes the Power of Myth
"Everything seemed to be going swimmingly on Thursday night when the Martha Graham Dance Company presented a single performance at City Center as a benefit for itself.
    "There was outstanding dancing in some of the evening's five Graham works, and except for the gratitude expressed in the program to 28 lawyers and 19 paralegals, the company's board made no direct mention of the current court battle between itself and Ron Protas, Graham's heir, over ownership rights to her works. Mr. Protas, who directed the company's last season in New York in 1999, did not enjoin the company from organizing this performance

Australian Ballet
Ballet Blokes (Review)
By Shaaron Boughen
"IN Aussie lingo the word "blokes" conjures up images of an easygoing character.
But there was nothing easy about the diversity of complex work on display in the Australian Ballet's triple bill, Ballet Blokes, featuring two established works and the world premiere of a new piece by Stephen Page. The first work, Stephen Baynes's Catalyst, is a sensitively ordered abstraction of the dancers' technical prowess, matching melting linear formations with the swirling energies of the music. In the second piece, Page's Totem, the physical is driven by the spiritual in a solo that has the power to transcend race and culture. The final work, The Sentimental Bloke, takes a narrative form and irreverently uses it to expose just about every cheeky particularity of a nostalgic Aussie past.

Sydney Dance Company
Ellipse (Review)
Sydney, Opera house
By Deborah Jones
"In Ellipse Murphy makes a striking, welcome return to his own history, stripped to its essentials. He gives us a space, music, light, forms and movement, then fuses and animates them with his typically generous spirit.
    "Ellipse might superficially lack what Murphy calls "the cushion of a narrative" (it's a group of seven plotless and disconnected dances), but it nevertheless overflows with emotion, drama, a smidgeon of sentimentality and sometimes questionable high spirits. Above all, it expresses a deep commitment to matters human and the connectedness of things"

National Ballet of Canada
A National Ballet history in three not-so-easy pieces
Mixed Program: Apollo, Intermezzo, Voluntaries
Hummingbird Centre, Toronto
By Michael Crabb
"Judging by the failure rate, putting together a well-balanced "mixed bill" of short ballets must be one of the toughest jobs an artistic director faces. The considerations are many. There should be stylistic, visual and musical variety. The evening as a whole must have an emotional trajectory. The dancers also need to be appropriately displayed and challenged. In the end, it comes down to intuition. Even then, until the curtain goes up, it is hard to predict how individually estimable works by different choreographers will get along when forced to keep company with each other.
    "Hats off then to the National Ballet of Canada's James Kudelka for assembling such a choreographic feast as the one currently available for the delectation of Toronto dance lovers at the Hummingbird Centre...."

Michael Smuin
Smuin, 'Gershwin' perfect pair
Quintessential American work has never looked better
San Francisco
by Octavio Roca
"One of the pleasures of spring in San Francisco is catching up with Michael Smuin's "Dancin' With Gershwin."
    "This entertaining celebration of American music and dance is back at Yerba Buena, even as Smuin Ballets/SF prepares to dance the world premiere of Smuin's "Stabat Mater" next week. But his "Gershwin" is not just a gorgeous warm-up. It is the spectacle of a company that has seldom looked better."

CRASHarts 'Ten's The Limit'
Choreographers get CRASH course
Dance/by Theodore Bale
"fter presenting a splendid season of contemporary dance from touring companies at the Emerson Majestic Theatre, CRASHarts is putting local choreographers in the spotlight with a sold-out program called ``Ten's The Limit,'' tonight and tomorrow at Green Street Studios in Cambridge.
    "CRASHarts is a division of Cambridge-based World Music Inc. What's even more exciting than a big presenter producing local artists is the intent of the program: ``to provide an environment for creativity and experimentation.''
    "Both established and emerging choreographers from Greater Boston were chosen from a pool of 34 applicants, who submitted written descriptions of their work to curators "

Ballet school waiting on plans May 7 2002
By Staff Reporter
"No planning permission has yet been granted for Birmingham's new £12 million ballet academy, it was revealed today.
    "News that top ballet school Elmhurst was planning to move to the city from Surrey was exclusively revealed in the Evening Mail recently.
    "But Coun Deirdre Alden was shocked to discover that planning permission for the site on Bristol Road, Edgbaston has not yet been given."

Slave to the music
If you want to learn the tango properly, Buenos Aires is the place to go.
By Jan Fairley
"Buenos Aires is tango heaven. It’s where it all started and it still lives on: women in fishnet tights, slinky dresses with slits up to the thigh and high, very high, heels, and men in tight trousers and Cuban-heeled boots.
    "So, there I was last autumn in baggy trousers and penny-button shoes with my nose pinned, almost literally, to a man’s chest obeying the maxim, "woman is slave to the man and the music".

Island Moving Company
A Newport Staple Appears in New York for the First Time
New York, Merce Cunningham Studio
"This spring Island Moving Company celebrates 20 years of bringing various styles of contemporary ballet to Newport, R.I. New Yorkers got to glimpse the company last Saturday night when it made its New York debut. The program suggested that this trim little troupe directed by Miki Ohlsen would be welcome on any return visit..."

Nicholas Leichter gives dance of the street a familiar beat
By Lynn Jacobson
"East Coast, West Coast. Black, white. Hip-hop, modern dance.
    "New York-based choreographer Nicholas Leichter blends seeming opposites in his life and work.
    ""Some people have tried to put me in a hip-hop box," Leichter said after a recent rehearsal at Seattle's Velocity Dance Center. "But my company is really mixed, and our style very fluidly mixes things that look like street forms and concert dance. We're black, we're white; we have no problem incorporating different styles because I'm so much about that."

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Brendan McCarthymoderator

11-05-02, 02:40 PM (GMT)
Click to EMail Brendan%20McCarthy Click to send private message to Brendan%20McCarthy Click to add this user to your buddy list  
15. "RE: Saturday Links - 11 May 2002 (2)"
In response to message #14
   Carlos Acosta

Carlos Acosta speaks to the Bergen County Recorder in New Jersey about his decision to join ABT as a principal. He also has some interesting plans. "His next project is a Cuban dance-theater show that will be performed in July 2003 at Sadler's Wells in London. Acosta will be doing it all - dancing, directing, writing the script. If the London run goes well, he is hoping to tour it and eventually find a permanent theater."

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Jane S

11-05-02, 06:48 PM (GMT)
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16. "RE: Saturday Links - 11 May 2002"
In response to message #14
   Quote from a piece in The Times about the classical concert to be given at Buckingham Palace this summer:

"Roberto Bolle, from the Royal Ballet, will perform a pas de deux from Tchaikowsky's Swan Lake, with choreography by Sir Anthony Dowell."

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11-05-02, 11:13 PM (GMT)
Click to EMail Tomoko.A Click to send private message to Tomoko.A Click to add this user to your buddy list  
17. "RE: Saturday Links - 11 May 2002"
In response to message #16
   As Darcey's partner, obviously ?

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12-05-02, 09:56 AM (GMT)
Click to EMail Shirley Click to send private message to Shirley Click to add this user to your buddy list  
19. "RE: Saturday Links - 11 May 2002"
In response to message #17
   >As Darcey's partner, obviously ?

Don't think so. Not sure how Darcey would get back from Austrlia for the show and as she is peforming Swan Lake on the 31st of May , the first night of the tour.

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Hiromi M

12-05-02, 02:26 PM (GMT)
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20. "RE: Saturday Links - 11 May 2002"
In response to message #19
   Acoording to the BBC site, Zenaida Yanowsky's name was listed.
please check the site

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12-05-02, 08:42 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  
18. "Sunday Links - 12 May 2002"
In response to message #0
   Christopher Wheeldon
Local hero
The hottest young choreographer in the world is British, and at last he’s coming back to create a piece here. By Clifford Bishop
"It should be a prodigal’s return. Christopher Wheeldon, the Yeovil-born Royal Ballet School graduate who left for New York and turned himself into the most sought-after young choreographer in America, is coming back to Covent Garden to create his first large-scale work, Tryst — to a score by James MacMillan — for the main company. There should be feasting and merriment and, given the dearth of new, British-made dances in the current repertoire, a palpable sense of relief. But Wheeldon, 29, is too busy for all that nonsense: as far as he is concerned, if this is May, it must be London."

Antony Tudor
The 20th-Century Titan Whose Work Is M.I.A.
New York
ABT are neglecting the Tudor herritage. Shades of RB and Ashton?
"SINCE his death in 1987, Antony Tudor has still commanded a special reverence in the dance world. His extraordinary ability to reveal the human psyche through the language of ballet makes him a titan of 20th-century choreographers.
    "Sally Bliss, the trustee of the Antony Tudor Ballet Trust, points out that his works are consistently performed by more than 35 dance companies in the United States, Canada, Europe, Asia and Australia. But seeing a Tudor ballet in New York seems about as rare these days as finding a rent-controlled apartment. Audiences in Manhattan are far less likely to see Tudor ballets than those in Tokyo, where two Japanese ballet companies keep them in their repertory."

On your Toes - Adam Cooper + Hubbard Street Dance
When Fred Astaire met Lenin
On Your Toes, Leicester Haymarket
Hubbard Street Dance, Sadler's Wells, London EC1
By Jann Parry
"The choreographer has to span both worlds. No problem for Balanchine, applauded by Variety for doing 'an ace job on the terp angle'. No problem for Adam Cooper, who takes on the lead as well. He acts, sings, taps and swings upside-down from a rope during an orgy scene. He knows the conventions he sends up from the inside, both as choreographer and performer. The surprise for dance fans is how pleasant his voice is: he sings well and he's deepened his speaking tones, though he's not down there with Irek Mukhamedov's Russian bass as Konstantine Morrosine, premier danseur in hock to the Mob. "

On Your Toes - Adam Cooper
Haymarket, Leicester
By Lyn Gardner
"This is a show that demands great dancers. It has them here in Mukhamedov, Marguerite Porter as Vera (exquisite dancing but not nearly scheming enough) and Adam Cooper, who not only makes his musical debut as Junior, but choreographs with real panache. Slaughter on 10th Avenue has a liquid quality that makes you feel weak at the knees.
    "Junior is one of those problematic leading men who are slightly wet behind the ears. Cooper solves the difficulty by playing him as Clark Kent with tap shoes. And boy, can he twinkle. One of the pleasures of the show is Cooper's evident enjoyment of it. "

Birmingham Royal Ballet
Provocative ballets to begin a new season Birmingham Royal Ballet Birmingham Hippodrome
The Birmingham Post - United Kingdom; May 10, 2002
this via the ft web site
"Two extraordinary ballets opened BRB's spring season - ballets which challenged the mind. And both of them scaled up as electrifying spectacles.
    "Powder choreographed by Stanton Welch (a man who knows choreography is about dancers) to Mozart's hauntingly beautiful Clarinet Concerto, is so textured and many layered that I welcomed it back with open arms.
    "...David Bintley's stunner Carmina Burana surely has one of the most wonderful openings of any ballet danced today."

Martha Graham Dance Company
Dancers Cheer, Lawyers Await
New York
By Clive Barnes
"A sign of the time: the program listed 17 dancers including four on leave, six dance apprentices, 28 attorneys and 19 paralegals. Would this be the pre-emptive approach to litigation? "

Martha Graham Company
Martha Graham Company Returns
New York
By JEAN H. LEE Associated Press
"NEW YORK (AP) - For two years, the Martha Graham Dance Company has been kept off the stage by financial woes and a lawsuit over who owns the rights to Graham's dozens of dances and trademark technique.
    "On Thursday, in what her dancers hope marks a new beginning for one of America's oldest modern dance troupes, the company returned to the stage."

Mayerling, MacMillan
Culture: Biteback: By Michael Wright
imho a bit of a daft piece which has a dig at the proposed dancing of Mayerling ten years to the day after he died at Covent garden.

Dublin International Dance Festival
Dance: Meal ticket
The Last Supper by John Scott
by ??
"Three men sit motionless at a restaurant table, staring menacingly at each other. A woman at a nearby table suddenly shouts "Bang". Without even so much as the flicker of an eye, the three men ignore the disturbance.
    "Then they raise their arms and clench their fists. They pause, then bang the table a few times. They stop. They raise their fists again, pause, bang the table again and stop. Then they continue staring at each other.
    "It's not the stuff of a comfortable evening's entertainment, but set in the brocade and velvet lushness of the Trocadero restaurant, traditional home from home for theatre types, The Last Supper by John Scott promises to be the home-grown hit of Dublin's first international dance festival, and to take Irish dance to a new height: table height. "

Tens The Limit
Sky was limit for 8 choreographers' imaginations
Tens The Limit, presented by CRASHarts, at Green Street Studios, in Cambridge, last night. Repeats tonight.
by Theodore Bale
"Group concerts, the mainstay of the modern dance scene in Cambridge, often remind me of the items a bride is supposed to bring along on her wedding day, namely, ``something old, something new, something borrowed, something blue.''
    "Not so with ``Ten's The Limit,'' presented by CRASHarts last night at Green Street Studios. Each of the eight participating choreographers had only two requirements: do something new, and do it in ten minutes or less."

Spanish Dance
Unearthing the Treasures of Spanish Dance
New York
"A real surprise of the spring dance season has been the revival of Pilar López's "Concierto de Aranjuez," which the National Ballet of Spain brought to City Center in Manhattan last month. The production was good to look at. And it prompted thoughts about dance preservation.
    "The choreography, which Ms. López created for her own company in 1952, was remarkably fresh and breezy. It demonstrated why Ms. López, who is 95 and lives in Madrid, is considered a major figure in 20th-century Spanish dance.
    "But nothing by her had been presented in New York for many years, and although I have been watching dance for several decades, she was still an unknown quantity to me. So it was a pleasure to discover "Concierto." And the National Ballet of Spain deserves praise for restoring it. Its revival also sets one wondering what other distinguished pieces of Spanish choreography could be brought back and what worthy works are in danger of being lost forever..."

No ban on Saroj Khan's Jatkas
The Times of India
This via teh ft web site

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12-05-02, 04:58 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  
21. "RE: Sunday Links - 12 May 2002"
In response to message #18
   RE the BRB review, that Richard Thingy seemed more interested in the skimpy costumes than anything else. Does anyone actually like Powder?

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13-05-02, 06:22 AM (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  
22. "RE: Sunday Links - 12 May 2002"
In response to message #21
   OK so Trog obviously does. Sorry!

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