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Subject: "Latest Review Links w/b 13 May 2002" Archived thread - Read only
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Conferences What's Happening Topic #2727
Reading Topic #2727
Brendan McCarthymoderator

13-05-02, 07:02 AM (GMT)
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"Latest Review Links w/b 13 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  
  Links: Monday 13th. Brendan McCarthymoderator 13-05-02 1
     RE: Links: Monday 13th. (2) Brendan McCarthymoderator 13-05-02 2
         RE: Links: Tuesday 14th. Brendan McCarthymoderator 14-05-02 4
             RE: Links: Tuesday 14th (2). Brendan McCarthymoderator 14-05-02 5
                 RE: Links: Wednesday 15th May '02 AnnWilliams 15-05-02 6
                     RE: Links: Thursday links - 16th May '02 AnnWilliams 16-05-02 7
                         RE: Links: Friday links - 17th May '02 AnnWilliams 17-05-02 8
                             RE: Links: Saturday links - 18th May '02 Brendan McCarthymoderator 18-05-02 9
                             RE: Links: Saturday links - 18th May '02 Bruceadmin 18-05-02 10
                             RE: Links: Sunday links - 19th May '02 Brendan McCarthymoderator 19-05-02 11

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Brendan McCarthymoderator

13-05-02, 07:04 AM (GMT)
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1. "Links: Monday 13th."
In response to message #0
   LAST EDITED ON 13-05-02 AT 07:32 AM (GMT)

Akram Khan

Judith Mackrell of the Guardian on Akram Khan's Kaash at the QEH. "It is like watching the aftermath of the Big Bang, with Khan's choreography as the fallout. He and his four dancers occupy the stage like a collective force field, fracturing and reforming their tight little groupings, wheeling across the stage like sheet lightning. They are a complex equation of pure mass, pure speed, pure energy. But at the same time they are also making a thrilling commentary on the music: their limbs slice through the dense mathematics of the percussion and their flickering gestures decorate its surface."

Adam and Irek

Two Independent pieces appear on the FT website, but not on the paper's own. Nadine Meisner has been to Leicester to see Adam Cooper and Irek Mukhamedov in On Your Toes. "It will raise your spirits right from the start and keep them there long after curtain-down. Watching ballet dancers out of context creates a frisson, like catching the Queen knitting or washing up. I never thought I'd see Marguerite Porter dancing again, let alone hear her and Mukhamedov speaking lines. But Paul Kerryson's joyous production, marking Rodgers's centenary, is an occasion of debuts."

Christopher Bruce

Nadine Meisner also talks to Christopher Bruce of Rambert as his retirement from the company approaches. "Surely he's too restlessly active not to get bored. No, he says, he will explore a multitude of other interests. "For a start, I'm going to live with my wife and see more of my family ." He wants to go back to drawing, sculpting and developing his big garden and house in Somerset. He intends to write - something midway between fiction and memoir, perhaps." There is also a hint that Rambert may move from its present studios in Chiswick.

Australian Ballet

Valerie Lawson of the Sydney Morning Herald reports increased profits for the Australian Ballet. There was a net profit of A$346,000 for 2001, due to a combination of good box office in Sydney, a short but successful season of Manon in Melbourne, and a substantial increase in government funding.

Choreography by Market Research

The Australian reports how the company Chunky Move carried out a market research project on what the average Australian male wanted from theatre dance. "The 33 survey questions asked participants to state their preferences for dance aspects including choreographic styles, number and gender of dancers, costumes, sets, types of venue and themes and narratives. A total of 632 surveys were returned to the company, which engaged Open Mind Research Group to compile a 43-page report based on the results. That report is the basis for the company's new work, Australia's Most Wanted: ballet for a contemporary democracy, which opens in Melbourne on May 24."

White Oak

Mikhail Baryshnikov talks to the St Petersburg Times (Florida) about his White Oak Dance Project. ""I look for the same qualities in choreographers that I want as a theatergoer and dance lover; to see that beauty in motion. Our message, I think, is that art and dance can cure a lot of things for people and make a considerable contribution to their spiritual life."

Dance Theater of Harlem

The NY Times on Dance Theater of Harlem's latest mixed bill. "In general the men of the company looked far better, dancing with an authority and vitality that were largely missing from the women's careful dancing in the more classical roles. The gala opening-night audience, which included Prince Rainier of Monaco and the soprano Jessye Norman, didn't seem to mind, exuberantly cheering the dancers on throughout the evening."

Young Dancers

Also from the NY Times, a review of the Youth America Grand Prix.

National Ballet of Canada

The National Post on National Ballet of Canada's latest triple bill.

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Brendan McCarthymoderator

13-05-02, 03:42 PM (GMT)
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2. "RE: Links: Monday 13th. (2)"
In response to message #1
   LAST EDITED ON 13-05-02 AT 03:42 PM (GMT)

Akram Khan

Sarah Frater of the Evening Standard on Kaash at the QEH. "While many modern choreographers use their own angst as inspiration, Khan connects to a much more serious sphere. Kaash isn't about Khan's own traumas or personal setbacks, it's a reflection on the wonder and purpose of our lives and the ever-puzzling world we live in."

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Brendan McCarthymoderator

14-05-02, 06:42 AM (GMT)
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4. "RE: Links: Tuesday 14th. "
In response to message #2
   LAST EDITED ON 14-05-02 AT 09:18 AM (GMT)

Akram Khan

Ismene Brown on Akram Khan's Kaash, with Anish Kapoor and Nitin Sawhney at the QEH. "The theme is enormous, a meditation on the Hindu god Shiva, creator and destroyer, who is not represented but is overwhelmingly present in the concept - though treated very differently by all three. The result is worthy of the attempt - epic, deeply focused and grandly beautiful, despite a spindly bit in the middle."

Hubbard Street Dance

Jenny Gilbert of the IoS on Hubbard Street Dance. "David Parsons's eccentric comedy The Envelope, in which the dancers are identical humunculi in black hoods and shades, worked a treat. Take a string of Rossini overtures and a daft plot about a letter nobody wants to open, add in some sly quotes from Swan Lake and Les Noces, double-joint your dancers so their elbows stick out to the front (ouch) and you've got the weirdest, quirkiest shaggy dog joke ever told on a dance stage. Entertaining? Oh yes."

John Percival reviews Hubbard St Dance for the Indie (this is via the FT site). "Arrive late: that's my recommendation if you feel you want to see Hubbard Street Dance Chicago at Sadler's Wells or Brighton. Half an hour's delay (or if you choose the shorter matinee programme which wisely omits the opening work) will enable you to miss "counter/part", comprising 27 minutes of absolute twaddle. You thus avoid condoning the way it insults Bach by playing bits of Brandenburgs and paying them no attention. Apart from that I don't know what is its worst feature - the amazingly negligible steps arranged by the company's artistic director Jim Vincent; the lack of any intelligible structure; or the "additional sound design" by Kilroy G Kundalini and unintelligible "text and voice" by Massimo Pacilli."

Like John Percival, Clement Crisp hated "counter/part". "The question was: should one leave while sense and sensibilities were relatively undamaged? Duty prevailed; matters improved. Not much, but enough to gather that the company aims for an open-faced and buoyant physicality; that the men are markedly superior to the women as performers (the women have majored in winsomeness, and several are suffering from the terminal cutes); and that showbiz vivacity seeks to cover a multitude of sins."

The Cholmondeleys & The Featherstonehaughs

Kelly Apter of the Scotsman on The Cholmondeleys & The Featherstonehaughs. "As the name suggests, 3 is a work in three parts, choreographed by Anderson and performed by the all-female Cholmondeleys and all-male Featherstonehaughs. Rather spookily, Stripped is also a triptych, albeit a more intimate one, danced by Krzystek and fellow-performer Gabriela Solini. When it comes to source material and inspiration, however, the women soon part company. Krzystek’s trilogy explores dreams and memory, while at least part of Anderson’s show is pure nightmare."

The Australian Ballet

The Australian Ballet is to have a new manager, according to Valerie Lawson of the Sydney Morning Herald. "Richard Evans said he believed the role of an arts company general manager was to support the vision of the artistic director. He acknowledged the relationship between the two was critical: ''It's very public when it does go wrong."

San Francisco Ballet

The SF Chronicle on Joanna Berman's last performance with SFB. "She chose for her farewell the one ballet above all others that has stood the test of time and mirrors the best in all of us in ways that transcend the centuries. 'Giselle," which is also Helgi Tomasson's finest achievement in San Francisco, gave Berman the crowning role of her career."

Reel and Present Danger

This extraordinary story from the Times is several days old. A surgeon gave a public health warning about Scottish country dancing, after treating an enthusiast whose injuries he likened to those of a car crash victim. According to Angus Maclean of Glasgow Royal Infirmary, “you would normally only expect to see this kind of dislocation in someone who had been in a car crash or a fall from a tall building.” The 46-year-old dancer, who wishes to remain anonymous, was laid up for a month as a result of the injury.

New York City Ballet

Anna Kisselgoff of the NY Times on NYCB in Balanchine's Vienna Waltzes. "This five-part essay on waltz rhythms once seemed a lavish costume drama with a subtext about love in many aspects.
Yet as a vivid performance proved again on Saturday afternoon at the New York State Theater, "Vienna Waltzes" is anything but a sentimental work."

Christopher Bruce

Yesterday's Independent profile of Christopher Bruce finally appears on the paper's own website. We linked to the FT site yesterday, but include the Indie URL here for completeness.

Irek and Adam

Similarly the Indie's review of On Your Toes with Irek and Adam appears a day late on the paper's own site. We linked to it yesterday via the FT.

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Brendan McCarthymoderator

14-05-02, 11:25 AM (GMT)
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5. "RE: Links: Tuesday 14th (2)."
In response to message #4
   LAST EDITED ON 14-05-02 AT 11:38 AM (GMT)

Cohabitants at the Clore

Sarah Frater of the Standard is the first into print on Cathy Marston's and Tom Sapsford's programme at the Clore. ""Very interesting," Ross Stretton could just be heard saying as the Royal Ballet's new director left the Clore Studio with his deputy Monica Mason. They had just seen Cathy Marston's Between Shadows, a choreographic impression of LP Hartley s The Go-Between, and his sum-up is fair." Sarah goes on to use adjectives such as 'clear', 'uncluttered' and 'assured'. She's less impressed by Tom Sapsford's contribution.

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15-05-02, 09:31 AM (GMT)
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6. "RE: Links: Wednesday 15th May '02"
In response to message #5
   Paris Opera Ballet

Clement Crisp in the FT on the POB:

'If you want to see a great ballet company at full and glorious stretch, then go to Paris with all haste: half of the the Opera troupe is playing Nureyev's spiffing Don Quixote at the Bastille, while the other half offers a magnificent programme of ballets to Stravinsky scores at the Palais Garnier. I have already praised the Don Q for the spanking energies and sheer joy that is generated by its casts. The Stravinsky bill is no less admirable, cleverly and ingeniously put together, and it demonstrates not just the imagination in Opera programming but, as significant, the depth of talent in the ensemble'


Akram Khan
Debra Craine in The Times on Akram Khan at the QEH:

'This is Khan's first full-length work, and his most ambitious. Witness his starting points: "Hindu gods, black holes, Indian time cycles, tablas, creation and destruction." What can anyone make of that? Kaash (the Hindi word for if) whisks us into a secret world of intellectual conjecture, physical excitement and pure imagination. Aside from a rather disappointing middle section, the journey is mesmerising.'

American Ballet Theatre

Anna Kisselgoff in the NY Times on a particularly splendid-sounding opening gala of excerpts:

'As scheduled, Vladimir Malakhov lent his breathtaking pure line to the role of Lensky, wooing Ashley Tuttle as Olga in Act I of John Cranko's "Onegin." Jürgen Rose's pretty countryside garden lent a sense of place as Olga's friends looked on. An excerpt, however, is not easy to dance. Dancers need to psyche themselves into a role in isolation, and even in a pure-dance solo, meaning can fall by the wayside. Such, alas, was the case when a frisky Xiomara Reyes sped through the ballerina's main solo in Act I of Frederick Ashton's "Fille Mal Gardée." This season, Ballet Theater will present two Ashton classics for the first time: "Fille" and "The Dream," based on "A Midsummer Night's Dream." '

Universities' Dance Programme:
Alexandra Tomolonis in the Washington Post on a Universities dance programme at the Kennedy Centre, which included an excerpt from Anthony Tudors's 1934 ballet 'The Planets':

'Tudor is most known for his inward-looking psychological ballets that explore characters' motivations. But this early work is more classical and less internal: It is the planets that control the mortals' lives and emotions. Duke danced two of the more gentle sections, "Venus" and "Neptune." The stylized movement with its Hellenic references recalled Balanchine's "Apollo," as did the fact that the dancers wore black-and-white rehearsal outfits rather than the costumes associated with the piece (dresses for the women, different colors for each movement). Set to the Gustav Holst work of the same name, it's a gorgeous ballet, beautifully staged and danced, and one longs to see the rest of it.'


Boston Ballet

Christina Temin in the Boston Globe on Boston Ballet's 'Madam Butterfly'
'Let's put this into perspective. In the category of evening-length story ballet capitalizing on name recognition, Stanton Welch's ''Madame Butterfly,'' which Boston Ballet is now performing, is infinitely better than the egregious ''Dracula,'' by Ben Stevenson, which the troupe presented in 1999. On the other hand, Welch's dance version of Puccini's opera is far below the level of John Cranko's ''Onegin,'' which the company has danced in the past, and which it will again in October.'

Scott Wells & Dancers

Rachel Howard in the San Francisco Examiner:
'...the real triumph of this program belongs to the dancing, because Wells' choregraphy doesn't depend on high-concept. Aside from the flimsy but fun prologue to the theme from "Rocky," this is serious and first-rate choreography. Wells' vocabulary is entrancing enough: daredevil dives into another dancers' arms that send both plummeting to the floor; miraculous takeoffs of one dancer onto another's shoulders where she can hover, spread eagle, her waist gently fitted into the crook of the partners' neck'

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16-05-02, 09:40 AM (GMT)
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7. "RE: Links: Thursday links - 16th May '02"
In response to message #6
   First Class Air Male

Ismene Brown io the Telegraph on The Place's all-male event:

'..... (Maliphant's) own power as a dancer seems to be intensifying now as he passes 40; and his magical new solo, One Part II, using recordings of Glenn Gould happily humming as he plays Bach, is the eclipsing event on this programme of four men dancing solo.'
Link to article

Rambert Dance Co

Debra Craine in the Times on Rambert at Sadler's Wels:

'WHAT a strange assortment of characters Rambert has invited to its party at Sadler's Wells this week. The inhabitants of Mats Ek's She Was Black are crude and cryptic, and should probably be locked up. The individuals in Lindsay Kemp's The Parades Gone By are glamorous and alluring, silent stars of the silver screen. I know which group I'd rather spend my evening with.'

Mathilde Monnier

Donald Hutera in the Times on Mathilde Monnier at London's Queen Elizabeth Hall:
'The pleasure of Monnier's work is in its details and spirit of defiant homage. Her brand of near-chaotic intellectual play has built-in appeal for dance aficionados. I'd wager that Cunningham himself would deem her efforts a lively, if skewed, tribute'

Judith Mackrell in the Guardian on Monnier

'Monnier is a choreographer who makes precise choices, and one of those is not to include her public. '

...and Sarah Frater in the Evening Standard:

'I have often thought there should be an art world equivalent of agricultural set-aside. Just as the EU pays farmers to stop farming and start doing something else, some artists should receive public funding to stop creating and start mulling the future. I thought this again last night when Mathilde Monnier brought her small troupe to London for the UK premier of Signé, Signés'

American Ballet Theatre

Jack Anderson in the NY Times on ABT's 'Onegin' (Cranko):
'It is easy to list the faults of this three-act ballet adapted from "Eugene Onegin," Alexander Pushkin's great novel in verse, and from the Tchaikovsky opera of the same title it inspired. The choreography for the principal characters often lacks subtlety, and some of the group dances are pallid. Opera lovers unfamiliar with the ballet may be disappointed to discover that although the accompaniment is a selection of Tchaikovsky melodies arranged by Kurt-Heinz Stolze, not one of them comes from Tchaikovsky's "Eugene Onegin."'

Smuin Ballets/SF

Octavia Roca in the San Francisco Chronicle on dancer Shannon Hurlburt:
'Strong personalities are the rule in Smuin Ballets/SF, but Hurlburt stands out even in this company. Now in his fourth season, Hurlburt is not merely at home with the theatrical Smuin style, he is very much part of its continuous definition. The evidence is on stage, in everything from "The Bells of Dublin, " "Rudolph the Red-Nosed Reindeer," the Snare Drum and Woodblock scene from "The Young Person's Guide to the Orchestra" to last week's new "Lady Be Good" and tonight's "Penny Lane" in the revival of Smuin's "To The Beatles." Hurlburt not only makes the dances fit his body, he makes himself their necessary, radiant instrument.'

New York City Ballet

Deborah Jowitt in the Village Voice on this week's dance scene in New York, focussing on the NYCB spring gala:
'... choreographer Mauro Bigonzetti begins his Vespro startlingly. Millepied perches on the piano that composer Bruno Moretti is playing. As Millepied slides into a solo marked by gestures that suggest he's trying to write on air with his elbows, he occasionally plunges onto the keyboard. Each crash summons more dancers, clad in shorts and tops with geometric designs in red and black by Julius Lumsden. Countertenor Steven Rickards and saxophonist Albert Regni appear too. This first section of the music, with its intimations of Monteverdi, is the best, and a duet for Marcovici and Alexandra Ansanelli (both wonderful) involves fascinating intricacies in which he invents unusual snares with their arms (hands linked) that she is eager to slip into.'

American Ballet Theatre

Clive Barnes in the tabloid New York Post on a star-heavy ABT Gala at New York's Lincoln Centre.

'With Herrera, (Carlos Acosta, Jose Manuel Carreno) danced up the proverbial storm complete with lightning fireworks. But the other ABT stars - Nina Ananiashvili, Julio Bocca, Angel Corella, Alessanda Ferri, Robert Hill, Susan Jaffe, Julie Kent, Vladmimir Malakhov, Amanda McKerrow, Ethan Stiefel and Ashley Tuttle - were no slouches either.'

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17-05-02, 09:01 AM (GMT)
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8. "RE: Links: Friday links - 17th May '02"
In response to message #7
   LAST EDITED ON 17-05-02 AT 11:03 AM (GMT)

Paris Opera Ballet

Nadine Meisner in yesterday's Independent enthuses about Pina Bausch's 'Rite of Spring' as performed by POB:

'Pina Bausch's 1975 version for her Tanztheater Wuppertal therefore ranks as an exception, the best ever created, matching the score's savage scale. And the Paris Opera Ballet, the only company beyond her own to perform a Bausch piece, must rate as the best possible interpreters. They may have a decorous classical training ingrained in their bones, but they have a visceral power that surpasses even Bausch's own superb dancers.'

Akram Khan

Alastair Macaulay of the FT on Akram Khan.
"Superlatives are in order. Not since Mark Morris emerged in the mid 1980s have I seen any dancer-choreographer so able, so accomplished; and in certain ways Khan's sheer mastery is more awesome. There are some quintets in Kaash that are the most sophisticated since Merce Cunningham; but what they really call to mind, though only in brief, is the string quintets of Mozart and Schubert.

New York City Ballet

Jennifer Dunning in the NY Times on NYCB's Diamond Project:

'Balanchine's sweeping "Vienna Waltzes" ended the evening with a flurry of exciting performances. Best of all was Mr. Boal, buoyant and amusing in the "Frühlingsstimmen" section and more treasurable with every new season. Alexandra Ansanelli was his piquant, beautifully nuanced ballerina. Helene Alexopoulos stood out for her tantalizing world-weariness as the merry widow of the "Gold und Silber Walzer" section'

Ballet Ireland

Ann Maher, Artistic Director of Ballet Ireland, defends her company in the Irish Times, arguing that its success can be judged in terms of audience sizes and box office performance.

The Kirov Ballet

The Moscow Times interviews Mariinsky choreographer Sergei Vikharev about his approach to the restoration of La Bayadere, and his plans for further restorations." In ballet, we cannot resurrect dancers like Kshesinskaya or Pavlova. We have to work with contemporary dancers. So you cannot speak of a precisely authentic recreation. We restore the style and the technique."

Karen Kain

The Toronto Star reports on a speech given by ex-National Ballet of Canada principal Karen Kain to the influential Canadian Club:

'Even before she spoke, many people in the room were buzzing about the effectiveness of Kain's work as a political lobbyist. In March, when Ottawa and Queen's Park were close to announcing the winners in SuperBuild, the greatest cultural lottery of recent times, word got out that the National Ballet School was not on the list of winners. Kain wrote a passionate personal letter to Prime Minister Jean Chretien.... The result: The federal government refused to agree to a SuperBuild deal excluding the National Ballet School.'
link to article

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Brendan McCarthymoderator

18-05-02, 07:25 AM (GMT)
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9. "RE: Links: Saturday links - 18th May '02"
In response to message #8
   LAST EDITED ON 18-05-02 AT 09:29 AM (GMT)

Mr Chips

This is from the Times. It's about an 89 year old supply teacher, who still dances. "Pupils at the Sacred Heart, an all-girls Roman Catholic comprehensive, say that they were charmed by Mr Turner’s versatility: during lunch break on Wednesday, after a morning teaching geography and art, he slipped on a pair of plimsolls and led a class through a line dancing routine, to the tune of Lou Bega’s Mambo Number 5. "


Riverdance is back in London and Judith Flanders has seen it for the Standard. "To enter the world of Riverdance is to enter the world of Radio City Music Hall and the Rockettes, or Holiday on Ice without the skates. Production values are similar - when in doubt, add lots of glitter - as is the construction of the programme. The merest wisp of a narrative line is given in a portentous, dirge-like voice-over, filled with meaningless mock history - "We came out of the sea to a new land" and "I was the land and the land was me" - which closely resembles the Stonehenge number from Spinal Tap. "

Lisa Torun

Judith Flanders again, this time on Lisa Torun's Triptych. "In all of this, Torun's choreography can get lost, which is a shame, because she has some good things to show. Her palette is a bit monotone, the movements simplified past the point that they can carry over an hour, but she has the potential to be a real force, both as a choreographer and a performer.

The ballet star

The Australian on the decline of the ballet 'star'. "Steven Heathcote still chuckles when he remembers his days as a stage-door Johnny, waiting eagerly for ballet stars to emerge post-show and grant him an autograph. One particularly hot summer night sticks out in his mind, when legendary dancer Rudolf Nureyev was performing at the Sydney Opera House. "All of a sudden the doors flung open and Rudi came out in a mink coat and fur hat with his stage make-up still on and dripping in the heat. He walked straight through the throng, into Michael Edgley's waiting Mercedes and zoomed off. It just doesn't seem to happen any more," says Heathcote."


Anna Kisselgoff of the NY Times on NYCB's latest mixed bill. "In the Diamond Project, the showcase of new works presented intermittently over the years by the New York City Ballet, the company becomes an equal opportunity employer for novice and seasoned choreographer alike. "Haiku" is the first ballet choreographed by Albert Evans, a principal dancer in the troupe, and it hardly looks like beginner's work. It has wit, daring and imagination."

Michael Smuin

The SF Chronicle on Michael Smuin's Stabat Mater, his response to the events of September 11th. "This choreographer's sense of theater is most often put to the service of comedy, at least in Smuin Ballets/SF. But it should come as no surprise that Smuin can summon truth onstage when dealing with this most serious and relevant of subjects, and his "Stabat Mater" is in its own way at least as touching a response to Sept. 11 as Mark Morris' recent "V."

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18-05-02, 10:23 AM (GMT)
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10. "RE: Links: Saturday links - 18th May '02"
In response to message #9
I'm pleased to say that Ballet.co is itself a news item in the Daily Telegraph today!

More here:

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Brendan McCarthymoderator

19-05-02, 07:12 AM (GMT)
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11. "RE: Links: Sunday links - 19th May '02"
In response to message #10
   LAST EDITED ON 19-05-02 AT 08:13 AM (GMT)

Adam 'n Irek

David Dougill travelled to Leicester to see On Your Toes for the Sunday Times. "Dramatic charisma in ballet is no guarantee of success in speaking and singing parts (Nureyev is a case in point). Cooper’s stardom — in the Royal Ballet, then as the male Swan, which made him an international name — has hitherto been voiceless. But here he is in Leicester, charming us with his unforced acting, natural-sounding American accent, and, most surprisingly, a delightfully modulated singing voice that is quite on a par with the more seasoned singers in the cast." Also BRB, Rambert, and Akram Khan.


Jan Parry reviews Akram Khan's 'Kaash'. "Satisfying though the structure is, Khan can't yet encompass what he is trying to do. His choreography, a combination of kathak and contemporary dance, lacks a range of sustained, adagio movement; his dancers rarely touch each other. Kaash exposes his present limits, while revealing the boundless scale of his ambition. I'll wager he will make more discoveries, ensuring that Kaash evolves into something even more astonishing as he takes it further." Also Mathilde Monnier and First Class Air Male.

Scottish Ballet

The company's chief executive, Chris Barron, talks to the Sunday Herald. "I want to see a new dance home within three years. I'm determined about that,' Barron insists. 'We need to do something while there is lottery money still around. Scottish Ballet is the company that hasn't enjoyed lottery money in Scotland; it is the company that never happened.' The dancers might disagree, but this is an admission from management that the ballet has been the poor cousin when it has come to handouts."

Ashton's 'The Dream'

ABT is mounting a production of Ashton's The Dream. The NY Times' Jennifer Dunning talks to Anthony Dowell and Kevin McKenzie about Ashton. Here's a taste of Dowell: "When I first danced "The Dream," I think those early performances were just a sketch. I was still a young dancer. Over the years, you add layers and as you get older as a dancer you learn about economy. It's what you don't do that sometimes counts. I learned that from Fonteyn. It's the moments of stillness that are important. When a young dancer learns something, everything's busy and they think they have to put the whole kit and caboodle in. You pare that down and leave the essence, the strong focal points. So now when I teach a role, I can give the dancers a head start as they are learning the final and distilled version of the role that made Sir Frederick happy."

ABT's Fille

The NY Times on preparations for ABT's Fille. "Maybe Simone is Mr. Peterson's destiny. When Ballet Theater performed in Los Angeles in those days, he took classes with the original Widow Simone, Stanley Holden. And Mr. Peterson took his first dance steps at age 3 in tap lessons with his mother and aunt, who were a nightclub act. His big number in "Fille," a 2-minute-10-second clog dance with four backup dancers, owes a lot to theatrical tap."

Sydney Dance Company

The Sydney Morning Herald on Graeme Murphy's Ellipse for Sydney Dance Company "Murphy has kept the zip of taut muscles for the world premiere of Ellipse - but this time those rippling bodies dance to music ranging from high energy hip-hop to cello and beyond. There's no storyline, just 80-plus minutes of action performed by up to 18 of the SDC's top dancers."

The Australian Ballet
The Australian on the appointment of Richard Evans as new general manager at the Australian Ballet. "The Australian's Melbourne dance critic Lee Christofis says only time will tell what effect a younger, less experienced general manager will have. "Ian McRae came in and was groomed, and had a considerable period to establish a strong knowledge of the company," he says. "I'm always anxious with people upending the staff and reputation of an organisation because they are brilliant managers but know zero about ballet."

Ballet Summit

From the National Post there is news of a 'summit' of ballet artistic directors from around the world. "The "Ballet Boom" of 25 years ago, fuelled by such glamorous superstar Soviet defectors as Rudolf Nureyev, Natalia Makarova and Mikhail Baryshnikov, is ancient history. Audiences are shrinking and many of the big companies, especially in North America, are finding it hard to compete in a crowded entertainment market. The economics of ballet companies, many of which live hand-to-mouth, make it almost impossible to take the kind of artistic risks needed to keep the art form vibrantly alive."

Ballet Folklorico Cutumba

The NY Times on the Cuban dance company. "Interspersed with the choreography is rich vocal music, like the eastern Cuban son, which peppers the haunting Santerían rhythms with phrases like, "Cuba is a beautiful woman who commands much respect but can get out of hand sometimes."

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