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Subject: "Latest Review Links w/b 27 May 2002" Archived thread - Read only
 
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Conferences What's Happening Topic #2761
Reading Topic #2761
Bruceadmin

27-05-02, 07:50 AM (GMT)
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"Latest Review Links w/b 27 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:
http://www.danze.co.uk/dcforum/happening/2743.html

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

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


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  Subject     Author     Message Date     ID  
  Monday Links - 27 May 2002 Bruceadmin 27-05-02 1
     RE: Monday Links - 27 May 2002 (2) Brendan McCarthymoderator 27-05-02 2
     RE: Monday Links - 27 May 2002 Bruceadmin 27-05-02 3
         RE: Tuesday links - 28th May 2002 AnnWilliams 28-05-02 4
             RE: Tuesday links - 28th May 2002 ( 2) AnnWilliams 28-05-02 5
             RE: Tuesday links - 28th May 2002 alison 28-05-02 6
                 RE: Wednesday links - 29th May 2002 AnnWilliams 29-05-02 7
                     RE: Wednesday links - 29th May 2002 Jane S 29-05-02 8
                         RE: Wednesday links - 29th May 2002(3) Brendan McCarthymoderator 29-05-02 9
                             RE: Thursday links - 30th May '02 AnnWilliams 30-05-02 10
                             RE: Thursday links - 30th May '02 alison 30-05-02 14
                             RE: Thursday links - 30th May '02 Jane S 30-05-02 15
                     RE: Wednesday links - 29th May 2002 Bruceadmin 30-05-02 11
                         RE: Thursday links - 30th May '02 (2) AnnWilliams 30-05-02 12
                         RE: Wednesday links - 29th May 2002 alison 30-05-02 13
  Friday Links - 31 May 2002 Bruceadmin 31-05-02 16
  Saturday Linsk - 1 June 2002 Bruceadmin 01-06-02 17
  Sunday Links - 2 June 2002 Bruceadmin 02-06-02 18

Conferences | Topics | Previous Topic | Next Topic
Bruceadmin

27-05-02, 07:53 AM (GMT)
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1. "Monday Links - 27 May 2002"
In response to message #0
 
  
Birmingham Royal Ballet
Hobson's Choice
Hippodrome, Birmingham
by Judith Mackrell
"Midweek matinees are the graveyard slot for most ballet companies. Watching a midweek matinee of Hobson's Choice, however, gave a very good idea of why Birmingham Royal Ballet revives this work at such regular intervals. It drew a huge crowd, proving that David Bintley's ballet version of Harold Brighouse's play has almost as much popular appeal as Swan Lake.
   "When Bintley premiered the work in 1989 he advertised it proudly as "a very British ballet", and its late-Victorian setting is certainly about as sexy as mutton and boiled cabbage. Its storytelling and humour, though, are as broad and forthright as its Lancashire characters, and audiences lap them up.
   "There is also a surprising amount of dancing for such a dourly moralising tale..."
http://www.guardian.co.uk/Archive/Article/0,4273,4422031,00.html

American Ballet Theater
A Donkey in Toe Shoes and Fairies All Aflutter
The Dream
New York
By ANNA KISSELGOFF
"rederick Ashton was the Shakespeare of ballet — not the playwright who composed revenge tragedies, but the poet who wrote love sonnets.
   "Classical ballet has produced no happier ode to love than "The Dream," the lively and tender one-act version of "A Midsummer Night's Dream" that Ashton choreographed in 1964 for the Royal Ballet in England.
   "Over the weekend, American Ballet Theater presented this beloved classic for the first time with two splendid and very different casts at the Metropolitan Opera House."
http://www.nytimes.com/2002/05/27/arts/dance/27DREA.html

English National Ballet
Dancers make naked play for patrons
Swan Lake at the RAH Advertising
by Maev Kennedy, arts and heritage correspondent
"They have precious feet, six-pack torsos, and a Swedish manager. The boys of the English National Ballet will be unveiled today in a giant poster - slogan "Spot the Ball" - draped only in their national flags which are also those of 11 World Cup countries.
   "It's all in the best possible taste. The text promises: "For 180 minutes of pure artistry (and no penalty shoot-outs)".
http://www.guardian.co.uk/Archive/Article/0,4273,4421953,00.html

Chunky Move
Australia's most and least wanted
Chunky Move: Wanted,
Melbourne, The Workshop, CUB Malthouse
By Vicki Fairfax
"At one point in this long-awaited season of new work from Chunky Move, a dancer, Stephanie Lake, sits against a screen, her body dotted with nasty, black, grub-like squiggles.
   "They are percentile figures projected onto her body, portioning it up like those posters you see on the walls of butchers' shops, each part identified, labelled, quantified and eventually barcoded for sale and consumption.
   "It is a shocking image, but it is cynical and funny at the same time. Gideon Obarzanek is up to his old tricks, ruthlessly undermining expectations so that we are not sure just how to take him."
http://www.theage.com.au/articles/2002/05/27/1022243302874.html

Chunky Move
Most Wanted
Melbourne
Poll-driven performance a triumph
By Lee Christofis
"A NEW home, a tremendous temporary performance space and two new works have refreshed Chunky Move after a tough time from the critics last year. Some thought the company risked becoming a victim of its success by locating itself largely in popular culture rather than traditional contemporary dance. But Friday's premiere of Wanted, a double bill of Australia's Most Wanted: ballet for a contemporary democracy and Clear Pale Skin, was, artistically and socially, one of the happiest dance occasions in Melbourne in a long time."
http://www.theaustralian.news.com.au/common/story_page/0,5744,4392046%255E16953,00.html

Various Companies at City Dance in Washington
Home of 'guardian angel' of local dance
Washington
By Jean Battey Lewis
"Dance Place is a Washington treasure. For 21 years it has been at the heart of the local dance community as a teaching center and an invitingly intimate black-box theater.
   "Operating all year, the 165-seat center in the Brookland neighborhood of Northeast offers Washington imaginative and sometimes daringly offbeat performances by local artists and dance groups from around the country and abroad."
http://www.washtimes.com/arts/20020525-31498282.htm

Erik Bruhn Competition
Canadians impress, but don't win ballet competition
Toronto
by Michael Crabb
"TORONTO - Rising dance stars Michele Wiles of American Ballet Theatre and Friedemann Vogel of the Stuttgart Ballet, both 22, won the Erik Bruhn Prize last night in a tight competition at the Hummingbird Centre.
   "The competition is an invitational event, hosted irregularly by the National Ballet of Canada since 1988. This year was the sixth competition. It is named after the great Danish-born ballet star Erik Bruhn, who was artistic director of the National Ballet during the last three years of his life."
http://www.nationalpost.com/search/story.html?f=/stories/20020521/290067.html&qs=ballet

San Francisco Ballet School
THE SCENE: San Francisco Ballet School's Spring Student Showcase at the Palace of Fine Arts
Smiles abound for young dancers
San Francisco
by Octavio Roca
"School's out, and in this case there was quite a finale for some very talented students.
   "The San Francisco Ballet School held its annual Spring Student Showcase at the Palace of Fine Arts last week, with the budding ballet stars giving a sendoff to the adult San Francisco Ballet dancers who are dancing in Greece this week."
http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2002/05/23/DD170908.DTL&type=performance

Smuin Ballets/SF, SFB School
A Smuin fanfest
San Francisco
BY ANNE LAWRENCE
"On Friday night, Smuin Ballets/SF held its eighth dinner gala, which followed "Smuin Springs Forward," a programming showcase that included works choreographed to Gershwin's "Oh, Lady Be Good," Willie Nelson's covers of "Stardust" and "Georgia," and the Beatles' "Help," "Penny Lane" and "With a Little Help From My Friends." It is almost a blessing that Michael Smuin doesn't have a live orchestra, commented Ken Lyons, because "his fabulous selected recordings have become his signature."
http://www.examiner.com/ex_files/default.jsp?story=X0521SCENEw

Pacific Northwest Ballet
Song & Dance' storytelling will keep traditional ballet audiences on their toes
Seattle
By Mary Murfin Bayley
"Although we traditionally think of ballet as movement set to music, there is no reason why it cannot become a total theatrical experience, an art form that combines story, steps and song to transcend all three. Pacific Northwest Ballet's season finale, "Song & Dance," aims to do just that.
   "The program includes a world premiere by Donald Byrd, "Seven Deadly Sins," in which singers interact onstage with dancers, and a PNB premiere by Lynne Taylor-Corbett, "Ballad of You and Me," which mixes dance and documentary film"
http://seattletimes.nwsource.com/html/artsentertainment/134459980_pnb24.html

Promethus Dance
Prometheus' show astonishes, inspires
Boston Conservatory Theatre,
by Theodore Bale
"On Friday night, as the audience left the Boston Conservatory Theatre following Prometheus Dance's astonishing show, exclamations of ``unbelievable'' and ``incredible'' were heard from the enthusiastic crowd. It was one of those rare occasions when a choreographic offering unleashes a wave of emotion that resonates throughout the house, making it impossible for viewers not to use superlatives.
   "Prometheus artistic directors Tommy Neblett and Diane Arvanites-Noya are choreographers, yes, but their work is also a weighty kind of social inquiry..."
http://www2.bostonherald.com/entertainment/arts_culture/danc05262002.htm

Atlanta Ballet
Atlanta Ballet shelves 'Gone With the Wind' production
Atlanta
Savannah Morning News
"ATLANTA -- The Atlanta Ballet has delayed plans to put Rhett Butler in tights for a "Gone With the Wind" ballet, citing fundraising problems...."
http://www.savannahnow.com/stories/052602/LOCscarlett.shtml


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Brendan McCarthymoderator

27-05-02, 12:18 PM (GMT)
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2. "RE: Monday Links - 27 May 2002 (2)"
In response to message #1
 
   Scottish Ballet

With no news yet of who will be appointed new AD at Scottish Ballet, Nadine Meisner of the Independent talks to Robert North, whose contract expires in August and to Christopher Barron, SB's chief executive. "North is not so sure that Scottish Ballet will keep its classical base – especially, he says, when you consider the candidates who have applied for his job. "The list is more suited to Rambert than a ballet company." The gossip machine has been busy for months, reporting that the shortlist includes the Royal Ballet's Ashley Page and an African-American, Donald Byrd. All are choreographers, but that is not Barron's prime requirement. Breadth of repertoire is more important.They will have a greater responsibility for curating other people's work," says Barron. "I envisage less work by the director than at present." That, too, stirs North's mild incredulity. "If it's just a repertory company, it's very hard to have an identity. You need a particular point of view, not a lot of different choreographers. The Royal Ballet was Frederick Ashton and Kenneth MacMillan. Netherlands Dance Theatre is Jiri Kylian and Hans Van Manen."
http://enjoyment.independent.co.uk/theatre/features/story.jsp?story=299432


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Bruceadmin

27-05-02, 12:34 PM (GMT)
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3. "RE: Monday Links - 27 May 2002"
In response to message #1
 
   >English National Ballet

>Dancers make naked play for patrons
>
>Swan Lake at the RAH Advertising
>
>by Maev Kennedy, arts and heritage
>correspondent
>"They have precious feet, six-pack torsos,
>and a Swedish manager. The
>boys of the English National
>Ballet will be unveiled today
>in a giant poster -
>slogan "Spot the Ball" -
>draped only in their national
>flags which are also those
>of 11 World Cup countries.
>
>   "It's all in the best
>possible taste. The text promises:
>"For 180 minutes of pure
>artistry (and no penalty shoot-outs)".
>
>http://www.guardian.co.uk/Archive/Article/0,4273,4421953,00.


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AnnWilliams

28-05-02, 09:47 AM (GMT)
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4. "RE: Tuesday links - 28th May 2002"
In response to message #3
 
   English National Ballet

From The Telegraph:
English National Ballet's new director, Matz Skoog, is itching to modernise the company and commission new work - but, he tells Ismene Brown, he is meeting more resistance than he expected: 'he took on a company not only of large historical importance but with a reputation for dealing fairly bloodily with directors who did not agree with their interfering board. Peter Schaufuss, in charge from 1984 to 1990, was locked out of his office; Derek Deane, 1993 to 2001, quit with a nervous breakdown. Ivan Nagy, slotted in between this noisy pair to give ENB a quieter life, was packing his bags five months before his first contract ended.'
link to article

That ENB beefcake poster story, this time from the BBC news service:

'The English National Ballet has launched a poster campaign starring 11 muscular dancers each clad in nothing but the flag of his World Cup country. The giant advert, with the slogan Spot the Ball?, appeared beside the A4 road in London on Monday.'
Http://news.bbc.co.uk/hi/english/entertainment/arts/newsid_2010000/2010722.stm

Opera North

Rupert Christensen in the Telegraph reviews - none too favourably - Opera North's combined L'Enfant et les Sortileges and Petrushka at the Lowry:

'For Petrushka, Fokine's original St Petersburg fair scenario was ditched in favour of what the programme described as an exploration of "themes of identity, belonging, initiation and isolation". Gloomy suburbanites leafed through the Yellow Pages, a deep-sea diver wandered across the stage, a woman gave birth to what looked like a British passport. '
link to article

The Washington Post on the tragic suicide of former Romanian ballerina Irinel Liciu following the death of her husband:

Http://www.washingtonpost.com/wp-dyn/articles/A18722-2002May27.html



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AnnWilliams

28-05-02, 11:35 AM (GMT)
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5. "RE: Tuesday links - 28th May 2002 ( 2)"
In response to message #4
 
   From yesterday's Times, Jennai Cox writes on the Bolshoi's new fitness regime which is curently being taught by a former Bolshoi principal male dancer at Holmes Place:

http://www.timesonline.co.uk/printFriendly/0,,1-4-308778,00.html


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alison

28-05-02, 01:30 PM (GMT)
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6. "RE: Tuesday links - 28th May 2002"
In response to message #4
 
   There was also an even smaller - and less positive - review of Petrushka in the Times.


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AnnWilliams

29-05-02, 09:10 AM (GMT)
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7. "RE: Wednesday links - 29th May 2002"
In response to message #6
 
   Darcey Bussell

From the Sydney Morning Herald, an uncredited interview with Darcey Bussell (surely written by Valerie Lawson?):

'The world's most famous ballerina, seen by many as the natural successor to the late Dame Margot Fonteyn, is late for work. She arrives an hour after our scheduled interview time, breathless with the rush and sounding exhausted. "I'm so sorry for keeping you waiting," she gasps. "I had a show last night and I found it hard getting up this morning. Phoebe woke me up at 6.30am." '
Http://www.smh.com.au/text/articles/2002/05/28/1022569770090.htm

Also from the SMH, a report on an especially interesting exhibition of photographs at Sydney's Opera House:

Recollections of My Life With Diaghilev, 1981, comprises 18 sepia images of Antin in the character of Eleanora Antinova, supposedly the only American - and a black one at that - to join Diaghilev's Ballets Russes. While it seems that Antinova longed to undertake the classic roles of the repertoire, Diaghilev cast her in effective blackface as Cleopatra and - by way of tribute to her New World origins - Pocahontas.'
Http://www.smh.com.au/text/articles/2002/05/28/1022569770177.htm

Ashley Page:

Scottish reaction to his appointment as AD of Scottish Ballet:
From the Scotsman:
"Mr Page has enjoyed mixed reviews recently. His Lollapalooza, premiered last week has been called "heart-thumpingly exciting." But one critic said his production of This House Will Burn hit the "bum note of the year".
http://www.thescotsman.co.uk/entertainment.cfm?id=578952002

From the Glasgow Herald: "Mr Page, who lives in London with his wife and child, could be well suited to the sometimes stormy world of Scottish arts. When asked how he dealt with stress he answered: "Probably take it out on other people. But I can stand up to quite a bit and even thrive on it."
Http://www.theherald.co.uk/news/archive/29-5-19102-23-52-49.html

Rock into Ballet

James Woodall (a new name?) In the FT on Deutsch Oper's new ballet danced to Pink Floyd's 'The Wall':

'All the solo dancing is good. Rebecca Gladstone as the dominatrix Chefin (commander) is especially authoritative whenever she comes on stage: precise in gesture, slinky in spaceship trouser suit. The corps is subjected to some odd routines - sucking on oxygen masks in, yes, that song ("Another Brick in the Wall"), swirling around on their bellies on skateboards, striving to cross the stage attached to bungy ropes. The biggest disappointment was Schröder's decision to have the company prance around in surgery smocks and with pillows during "Comfortably Numb", Pink Floyd's best ten minutes of music after 1975. Here, it was silly when it could have been moving.'
link to article

Paris Opera Ballet School in New York

Anna Kisselgoff in the NY Times reviews the POB students'performance in New York (unfair?):

'Anyone who remembers the United States debut of the Paris Opera Ballet School in New York in 1988 will recall the sensation created by its treasury of unfamiliar ballets and exciting young performers. The distinctly French repertory, especially the neo-Classical style of Léo Staats, was a revelation, and the student dancers were exceptionally talented. Alas, the Paris school's program on Thursday night at the John Jay College Theater, repeated Friday, had much less luster. The current crop of advanced pupils is good but still immature, and the repertory was often too difficult for the dancers or insufficiently interesting for an international tour'.
Http://www.nytimes.com/2002/05/29/arts/dance/29JAY.html

Dance on US TV

The Globe's TV critic on a dance documentary and other dance programs for those lucky Bostonians:
'Parts of three were on a preview tape I watched right after ''Dance Close Up.'' In the context of Corbett's comments it was almost embarrassing to see such an unwavering commitment to beauty in dances by Ulysses Dove, Richard Tanner, and City Ballet director Peter Martins. Dove's ''Red Angels'' features an edgy duet with inventive partnering. Tanner's ''Ancient Airs'' weaves gestures from folk and court dancing into an essentially balletic fabric. ''Jeu de cartes'' is Martins working in the fast-forward mode of his mentor, George Balanchine. The appetite that the preview tape creates will likely be appeased by the three-hour extravaganza, in which the company follows one of ''Mr. B's'' famous maxims - ''Just dance'' - a format I wish more TV dance shows would follow.'
Http://www.boston.com/dailyglobe2/148/living/_Close_Up_look_at_dance_companies_fails_to_move+.shtml


'


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Jane S

29-05-02, 05:43 PM (GMT)
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8. "RE: Wednesday links - 29th May 2002"
In response to message #7
 
   Rupert Christiansen writes in the Telegraph on the varying standard of catering in our theatres:

"It's 7.10pm and you're frazzled. You've rushed in from
work to the West End to see a show, and you need a
drink and something to fill the hole in your stomach. What
are your chances? Not good."


http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2002/05/29/barc229.xml&sSheet=/arts/2002/05/29/ixartright.html&secureRefresh=true&_requestid=128735


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Brendan McCarthymoderator

29-05-02, 05:54 PM (GMT)
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9. "RE: Wednesday links - 29th May 2002(3)"
In response to message #8
 
   I don't think we've had this one. It's Jenny Gilbert of the IoS on Tryst. "MacMillan's Stravinsky-like rhythms propel the corps de ballet thrillingly, but the notion of a lovers' tryst doesn't appear until the big pas de deux, and even then Darcey Bussell and Jonathan Cope spend the first several minutes ignoring one another. Bussell is absorbed by the languid folding and unfolding of her own newly whippet-like upper body, which since her return from maternity leave seems to have developed subtle points of flexion and articulation most dancers don't know exist. When the pair do engage, Wheeldon comes up with arresting Kama Sutra twists – Bussell in 180-degree splits across Cope's lap, or a backward swoon supported by one hand and the crook of his knees. Yet the effect, as of the work as a whole, is far from flash – more one of cool abstraction, rooted in the practices of far-off pre-history. When a strip of white light appears on the projected horizon, and the corps gathers round to watch, it gradually transpires that the tryst in question is a meeting with some phenomenon of nature, not just man and woman – a subtle shift, skilfully worked."
http://enjoyment.independent.co.uk/theatre/reviews/story.jsp?story=299543


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AnnWilliams

30-05-02, 09:12 AM (GMT)
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10. "RE: Thursday links - 30th May '02"
In response to message #9
 
   English National Ballet

Judith Mackrell in the Guardian interviews Matz Skoog:
' "The world has moved quickly, and if we don't move with it we stand to lose a great deal," says. "There has been a dumbing-down at ENB over the last 10 years, and now we need to raise our intellectual game. The expectation has just been for the dancers to kick up their legs and look cute. They have had very few opportunities to be grown-up artists '
Http://www.guardian.co.uk/Archive/Article/0,4273,4424154,00.html

The Kirov

Martin Kettle in the Guardian reviews the current Kirov Gala at the ROH:
'...this gala, first of two mounted by and for St Petersburg's Kirov opera and ballet company at Covent Garden this week, had far more artistic unity than most, as well as bags of artistic interest. For one thing, everyone in the pit or on the stage was Russian, as were most of the 12 items in the programme, while the exceptions had a direct St Petersburg connection. It is hard to think of any other company that could continue to showcase a national tradition in this way.'
Http://www.guardian.co.uk/Archive/Article/0,4273,4424201,00.html

Cloud Gate Dance Theatre at Sadler's Wells

Ismene Brown adores the Taiwanese dancers:

'....the dancers look as if they are dancing under water, pushed gently from side to side by invisible currents, squatting weightlessly, arms seeming to drift, toes unfurling like ferns. They have such stringent, elastic control that they can suddenly blast upwards into high, light jumps that for a moment you fancy might not come down again. The grace of it is, in a way, balletic, but its evasion of the norms of gravity, its total fluidity, suggests that there is a new book of the human dancing body waiting to be written with t'ai chi training.'
link to article

Donald Hutera in The Times is similarly struck:

'Cloud Gate's dancers are trained in ballet, modern dance, Beijing theatre techniques and meditation. Their concentration, clarity of purpose and control are exemplary, and their physical plasticity extraordinary. Rather than merely duplicating Bach's tempi and tones, they reach inside his music from the core of their own bodies.'

http://www.timesonline.co.uk/article/0,,685-311353,00.html

.. and BBC News previews the show:
'The director of the work, Lin Hwai-min, explains that the dancers "don't attack the movement like in ballet, they just initiate that impulse and the rest will follow. "Many (of the) dancers really swim through the whole journey of the performance" '.
Http://news.bbc.co.uk/hi/english/world/asia-pacific/newsid_2014000/2014670.stm


Birmingham Royal Ballet

John Percival in the Independent on BRB's 'Hobson's Choice' (this report appeared in the Indie on Tuesday but has only just appeared on-line):
'Hobson's Choice is not only one of the most enjoyable ballets created in recent years, but also perhaps the most successful collaboration too, since choreographer, composer and designer are equally matched, and all measure up to give their starting point, the play by Harold Brighouse (a hit for 90 years now), a new lease of life. Bintley has retold the story in terms of exceptionally lively dance, expressive and comic, often surprising, always resourceful, sometimes touching.'
Http://www.independent.co.uk/story.jsp?story=299915

Stuttgart Ballet

The Frankfurter Allgemeine gives a polite pasting to the Stuttgart's Ballets's new triple bill:

'... despite all differences, the performances have mainly one thing in common: pretentiousness. All three choreographies simulate the existence of certain alleged mysteries under a thin layer of dancing virtuosity. They try very hard to appear more substantial than they really are, but they are just a bunch of shimmering soap bubbles blown to delight the premiere audience in Stuttgart.'
link to article

The Village Voice

Elizabeth Zimmer (who sounds fun) on this week's New York dance scene, which includes an ABT review:

'Be warned: As you enter the Met to see American Ballet Theatre this season, a newly installed phalanx of security folk will relieve you of your extra baggage in a peremptory manner (you can reclaim it at a basement table after the performance). I'm not sure whether to feel annoyance, fear, or pride at this development; can the terrorists really be planning to take out our ballerinas?'
Http://www.villagevoice.com/issues/0222/zimmer.php

American Ballet Theatre

Jack Anderson in the NY Times:
'American Ballet Theater reopened its box of choreographic pastries on Monday night at the Metropolitan Opera House by once again offering its program of little goodies to music by Tchaikovsky. Several unreviewed dancers appeared in the presentation, which emphasized excerpts from longer pieces.'
Http://www.nytimes.com/2002/05/30/arts/dance/30SPEC.html


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alison

30-05-02, 01:21 PM (GMT)
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14. "RE: Thursday links - 30th May '02"
In response to message #10
 
   Rodney Milne in the Times on the Kirov Gala, which is given 5 stars:

"The beauty, grace and discipline of the Kirov corps de ballet, the sumptuousness of the Maryinsky string tone, plus Gergiev’s sympathy for Tchaikovsky’s score, all made me feel — to hell with caviar and trumpets — very, very close to heaven."
http://www.timesonline.co.uk/article/0,,685-311831,00.html

More importantly now, perhaps, Ismene Brown's article on the threat to Frankfurt Ballet is now available:
"Serota told me yesterday: "Frankfurt need to be reminded that they're not taking a decision that is local to their city, but one that will have international repercussions. It has been an extraordinary credit to the city that they have been host to this remarkable company, but the success of it brings a responsibility on them to continue it. Let them start a classical company if they wish, but don't destroy the most brilliant contemporary company of our time." "
http://www.telegraph.co.uk/arts/main.jhtml?xml=/arts/2002/05/30/btfors30.xml&sSheet=/arts/2002/05/30/ixartleft.html&secureRefresh=true&_requestid=155030


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Jane S

30-05-02, 06:25 PM (GMT)
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15. "RE: Thursday links - 30th May '02"
In response to message #10
 
   Rambert Programme 2

Nadine Meisner in the Independent:

"It may raise the costs, but our dance companies can be proud
of putting a premium on the spark and edge of live music, when
across the Channel similar troupes settle for recordings. It is
one reason why the high point of Rambert Dance Company's
second programme is Jiri Kylian's Symphony of Psalms, the
other being that the choral score is by Stravinsky. Rambert's
regular accompanists London Musici, along with the New
London Chamber Choir, make it an intense experience under
Paul Hoskins's baton."

http://enjoyment.independent.co.uk/music/reviews/story.jsp?story=299913


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Bruceadmin

30-05-02, 09:18 AM (GMT)
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11. "RE: Wednesday links - 29th May 2002"
In response to message #7
 
   >Darcey Bussell
>
>From the Sydney Morning Herald, an
>uncredited interview with Darcey Bussell
>(surely written by Valerie Lawson?):

Here is a fuller link to this piece but the author is still not known - though it's not Valerie!
http://www.smh.com.au/articles/2002/05/28/1022569770090.html

>
>
>'The world's most famous ballerina, seen
>by many as the natural
>successor to the late Dame
>Margot Fonteyn, is late for
>work. She arrives an hour
>after our scheduled interview time,
>breathless with the rush and
>sounding exhausted. "I'm so sorry
>for keeping you waiting," she
>gasps. "I had a show
>last night and I found
>it hard getting up this
>morning. Phoebe woke me up
>at 6.30am." '
>Http://www.smh.com.au/text/articles/2002/05/28/1022569770090.htm


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AnnWilliams

30-05-02, 10:47 AM (GMT)
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12. "RE: Thursday links - 30th May '02 (2)"
In response to message #11
 
   One I missed earlier, Judith Mackrell in the Guardian on Cloud Gate (she's enthusiastic too):

'Cloud Gate's movements are so bonelessly fluent that they do indeed flow like water - water that can be as light as a trickle or as weighty as a tidal mass. But the company are equally expert in the more forceful language of western dance, and high arabesques, full-bodied lifts and dramatic falls frequently stir their gentler currents of dance into small storms and glittering displays'

Http://www.guardian.co.uk/Archive/Article/0,4273,4424203,00.html


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alison

30-05-02, 01:00 PM (GMT)
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13. "RE: Wednesday links - 29th May 2002"
In response to message #11
 
  
>Here is a fuller link to
>this piece but the author
>is still not known -
>though it's not Valerie!

I was going to say, I didn't think all that hyperbole was her style!


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Bruceadmin

31-05-02, 07:21 AM (GMT)
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16. "Friday Links - 31 May 2002"
In response to message #0
 
   The news continues to be led by what is happening at Ballett Frankfurt and we have a separate thread with more (translated)news and comment:
http://www.danze.co.uk/dcforum/happening/2767.html

Ballett Frankfurt
Frankfurt Ballet fights closure amid claims of dirty tricks and smears
London
By Nadine Meisner
"He believes that over recent weeks he has been subject to a smear campaign orchestrated by the city's politicians. Comments in the press have claimed that he was burnt out and that audiences had lost interest. He has also had private warnings that he and his company, which has been receiving a subsidy of 13m marks (£4m) a year from Frankfurt, were to be removed in favour of more traditional classical ballet.
   "....Forsythe sees the campaign as stemming from a political agenda designed to eject "incorrect art" and please the conservative tastes of influential sponsors and patrons. "They want ballet as part of the fine-dining experience, something like Swan Lake that won't disturb their dinner conversation or give them indigestion."
http://enjoyment.independent.co.uk/theatre/news/story.jsp?story=300721

Ballett Frankfurt
Leader of Frankfurt Ballet Losing His Post
New York
By ALAN RIDING
"The Frankfurt Ballet's $5.7 million annual subsidy from the city government supplies 87 percent of its budget, although Mr. Forsythe said that this was a lower percentage than at other local cultural institutions, like the opera house and museums. He argued that cost-cutting could not be a factor in the reported decision not to renew his contract since it would cost "two or three times as much" to replace his company with a classical company.
   "He said he had also heard about an alternative plan to replace his company with touring classical companies. "The idea of a renowned classical company playing in Frankfurt after my dismissal is illusory," he added. "I have already received letters from companies worldwide saying they will boycott Frankfurt. I hadn't thought of a boycott, but the reaction has been astounding."
http://www.nytimes.com/2002/05/31/arts/dance/31FORS.html

Kirov Gala
Galas from the heart
A Celebration of St Petersburg at Covent Garden
London, Royal Opera House
by Ismene Brown
"...Dance portrays evil better, quicker, than opera - in a few exact strokes, Balanchine encapsulates the moronic cohorts of evil, linking in hideous marching caterpillars, and the magnetic sexiness of the Siren, half majorette, half prowling cat, who kills the Prodigal's innocence. Daria Pavlenko was toxic and intoxicating as the Siren, and Andrei Merkuriev was a young, appealing Prodigal.
   "Mostly terrific orchestral playing, and some outstanding singing from the mezzo Larissa Diadkova, the bass Gennady Bezzubenkov, and a nightingale of a soprano, Olga Trifonova, made a powerfully uplifting evening. The Kirov may be short of cash, but its art continues to make us all richer."
http://www.telegraph.co.uk/arts/main.jhtml?xml=%2Farts%2F2002%2F05%2F31%2Fbtkirov31.xml

Kirov Gala
Royal Opera House, London
By Martin Kettle
"Rare live performances of small pieces by Rimsky-Korsakov, Glazunov and Anton Rubinstein gave the evening unusual curiosity value, and Yevgeny Nikitin made an outstanding impression in his aria from Rubinstein's The Demon. But Ludwig Minkus's reputation as possibly the worst composer of the 19th century survived intact: the excerpts from his ballet score for Don Quixote merely served to underline Tchaikovsky's true greatness.
   "The evening's three points of interpretive genius - the playing of the Mariinsky Orchestra, the conducting of Valery Gergiev, and the choreography of George Balanchine - all came together in Balanchine's flowing but enigmatic setting of Tchaikovsky's Serenade for Strings. This was given an outstanding, wonderfully alert performance under Gergiev and danced with bold fluency by the corps de ballet. "
http://www.guardian.co.uk/reviews/story/0,3604,724395,00.html

American Ballet Theater
ABT's Dream Show
New York
By Clive Barnes
"For their Modern Masters program, they have taken one ballet apiece from the two greatest classic choreographers of the 20th century, Frederick Ashton and George Balanchine, and come up with a blockbuster of dance.
   "The magic formula starts with Ashton's 1964 "The Dream," staged by Anthony Dowell, a former ABT star and director of Britain's Royal Ballet, and Royal Ballet balletmaster Christopher Carr.
   "Add to that ABT's staging of Balanchine's 1947 "Symphony in C."
   "Naturally, Ashton's "The Dream" drew the most impassioned bravos..."
http://www.nypost.com/entertainment/43386.htm

Australian Ballet - Steven Heathcote
Ballet's leading man
By Amanda Dunn
"Kathy (Heathcote's wife) a former ballet dancer and then flight attendant with Ansett, chats amiably, a dark blue dressing gown wrapped around her slim dancer's body. She confesses that when she first laid eyes on Heathcote as one of the company's new recruits in 1983, she was not immediately impressed.
   ""When I first looked at him at the barre, I thought, 'why have they taken him in'?" she says with a smile, explaining that she was struck by imperfect posture and stance in the young dancer. But when Heathcote moved into the centre and she saw him jump and turn across the room, she changed her mind: "Wow, he's fantastic!" she thought.
http://www.theage.com.au/articles/2002/05/31/1022569824305.html

Australian Ballet - Margaret Illmann
Ballerina to swan back in
By Georgina Safe
"Margaret Illmann, the expatriate ballerina who starred in the English National Ballet's $15 million Swan Lake tour of Australia in 1999, is returning home.
   "Australian Ballet artistic director David McAllister yesterday announced he has appointed Illmann, who is a principal dancer at the Deutsche Staatsoper in Berlin, as a principal with the AB.
   "In a stroke of serendipity, her first performance back in Australia will be in Graeme Murphy's new production of Swan Lake, which premieres at Melbourne's State Theatre on September 17 before touring to Sydney."
http://www.theaustralian.news.com.au/common/story_page/0,5744,4418493%255E16953,00.html

New York City Ballet
Debuts Keep the Balanchine Repertory Young
New York
By JACK ANDERSON
"Although the New York City Ballet is emphasizing new productions this season, it still appears to be paying careful attention to its basic repertory of works by George Balanchine. The dancers in its all-Balanchine program on May 17 at the New York State Theater were satisfying for both their technical skills and their interpretative nuances."
http://www.nytimes.com/2002/05/30/arts/dance/31KAMM.html

DanceAfrica
Rhythms of the Ancestors Are Pulsating Still
New York
By JACK ANDERSON
"The Brooklyn Academy of Music may well have been the most jubilant place in New York City last Friday night. DanceAfrica celebrated its 25th anniversary, and it was an occasion for cheering.
   "Each year, the festival, under Chuck Davis's direction, brings together companies reflecting various African and African-American dance traditions. These events are more than performances. Through Mr. Davis's simultaneously jovial and inspirational words of greeting, he honors great dancers of the past, proclaims dance a positive force in today's world and invites members of the audience to introduce themselves to one another so that Brooklyn Academy is transformed into a community of friends."
http://www.nytimes.com/2002/05/31/arts/dance/31BAM.html

Joe Goode Performance Group
Goode goes to 'Montana' via ancient Greece
Mythology inspires an American story
San Francisco
by Octavio Roca
"He was bound to get around to it sometime.
   "For years, Joe Goode has been making dances that explore and often explode the primal, mythic values of the American heartland. A man who finds classical stature in the figure of a cowboy, Goode now turns to Greek and Roman myths to retell his own country's stories.
   "Don't be surprised to see Cupid's arrow as the focal point of a target- practice accident, or to find that Psyche is really "a Goth chick flirting with suicide." Sisyphus, who toils for us all, may even look like Goode himself. "
http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2002/05/30/DD197629.DTL&type=performance

Tony Powell/Music & Movement
Tony Powell's Grand Jeté Forward
Washington
By Sarah Kaufman
"To his enormous credit, Powell has learned much along the way. Gone, apparently, is his commitment to accompanying his dances with his own music, which had never been as good as his choreography. Gone are the pre-curtain explanations (well, there was a little one Wednesday, but it was to thank his donors, not to embellish his works). He has focused on movement and movement alone.
   "...He composed it in honor of his newborn daughter, Powell said. Perhaps she has given him the focus he has needed. Whatever the inspiration, one looks forward to its further results."
http://www.washingtonpost.com/wp-dyn/articles/A36876-2002May30.html

Puremovement
In praise of younger men
Rome And Jewels
Puremovement, Rennie Harris
London, Peacock
by Sarah Frater
"Rome and Jewels is not what you think. The two-hour dance show is billed as a hip-hop take on Romeo and Juliet, and it certainly contains some of the best street dancing you will see short of visiting the street. The Peacock audience was on its feet at the virtuoso display of increasingly risky spins and freeze-flow body popping (surely close cousins of the video remote with its pause, rewind, fast forward). They also lapped up the rap argot spliced with the Bard, possibly the most effective, if inaccurate, rendition this side of Stratford. And they fell head over heels for the two brilliant DJs whose turntable skills had the throwaway finesse of improv jazz...."
http://www.thisislondon.co.uk/dynamic/hottx/top_review.html?in_review_id=533216&in_review_text_id=498848

Ballet Russe (the Swansea one)
Art auction to aid Ballet Russe
from The Western Mail
"PAINTINGS and prints by a number of well-known artists will go under the hammer tomorrow to raise money for Swansea's Russian ballet company.
   "The money raised will go towards the staging of Ballet Russe's next production of Faust."
http://icwales.icnetwork.co.uk/0900entertainment/0050artsnews/page.cfm?objectid=11912696&method=full&siteid=50082

Mohamad Khordadian
Noted Dancer Jailed During Visit to Tehran
By THE ASSOCIATED PRESS on NY Times
"TEHRAN, Iran, May 29 (AP) — Iran has jailed its most famous male dancer, who lives and performs in Los Angeles but was visiting his home country, a relative said today. The dancer, Mohamad Khordadian, is charged with promoting corruption among youths, the relative said."
http://www.nytimes.com/2002/05/30/international/middleeast/30IRAN.html


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Bruceadmin

01-06-02, 06:53 AM (GMT)
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17. "Saturday Linsk - 1 June 2002"
In response to message #0
 
   English National Ballet
Double Concerto Mixed Bill
****
Royal Opera House, London
by Judith Mackrell
"For the first time in their 50 year history, English National Ballet have finally got to dance at Covent Garden, the home of their historic rivals, The Royal Ballet. And even though director Matz Skoog has been insisting that his company's weekend booking is "a gig, like any other", there's no denying that the Opera House stage has a far more daunting history of ballet performance than the regular venues on ENB's touring itinerary.
   "But last night the company looked in no mood to be cowed by the surroundings. Absolutely the reverse.
   "...The ensemble as a whole move with a real sense of collective style and belief and there are some fine individual performances. Yosvani Ramos is making good all his early promise, a bright dart of energy, Jan-Erik Wikstrom has a fine line in classical louche and Daria Klimentova gives a performance whittled down to neat, pretty essentials. Her dancing is as sharp and elegant as Audrey Hepburn's cheekbones.
http://www.guardian.co.uk/reviews/story/0,3604,725985,00.html

Kirov
Kirov Gala 2
***
Royal Opera House, London
by Judith Mackrell
"George Balanchine fled Leningrad long before the second world war, and only recently have his works been admitted into the Kirov repertory. Yet while his Prodigal Son (1929) wasn't danced as well as Leningrad Symphony (Daria Pavlenko's Siren was a mimsy amateur when it came to seduction) their pairing made fascinating history. You could see how the radical experiments of the early Revolution, so influential on the stark symbolic groupings of Balanchine's youthful style, had just as evidently filtered down to Belsky.
   "It was dispiriting to see how glimpses of this era proved so much more exciting than those of the Kirov's latest choreographic talents Kirill Simonov and Alexei Ratmansky, whose extracts displayed much hyperactive and unfocused grabbing at gimmickry. They did not look like a vision that could take this great company forward into the 21st century.
http://www.guardian.co.uk/Archive/Article/0,4273,4424885,00.html

Kirov
Kirov Gala
London, Covent Garden
by Debra Craine
"THE Kirov’s second London gala this week brought many musical pleasures, but for dance fans it was a chance to see a different face of their beloved Kirov Ballet. The night before, the first of two evenings commemorating the 300th anniversary of St Petersburg, they got Russian ballet at its most familiar. On this night, we were treated to choreography which doesn’t normally make the trip abroad.
   "....One ballet alone made my night. Igor Belsky’s Leningrad Symphony, created in 1961, is a stunning work about evil oppression and the heroic struggle to survive it. Inspired by the 900 days of hell during the Siege of Leningrad, and set to Shostakovich’s incredible music, this is a resonant, stirring ballet, full of heartfelt images and burning choreography. Youthful optimism, military brutality, death, suffering and grief. It’s all there in the brawny men and tender women of Belsky’s strapping ensemble. The dancers were every bit as fantastic as Valery Gergiev and the Kirov Orchestra."
http://www.timesonline.co.uk/article/0,,685-313059,00.html

Merce Cunningham
Dance: A master of the space
Choreographer Merce Cunningham has the gift to make his dancers project far and wide. It's a talent he has put to spellbinding use in Dublin, writes Alastair Macaulay.
By Alastair Macaulay
"Cunningham is a master of big-theatre space - the New York State Theater, for decades home of George Balanchine, seats almost 3,000 people - and of non-proscenium-arch venues where the audience can almost touch the dancers. In general, he tends to present repertory works, with fixed scenery, in conventional theatres; and on his recent European tour he presented two separate programmes of these in Dublin's Abbey Theatre to launch Dublin's first Dance Festival.
   "Meanwhile, for other spaces, Cunningham employs the lesser-known wing of his talent: his "Events". Cunningham & Co. have been performing Events - one-off anthologies, culled from 50 years of repertory - since his 1964 world tour."
http://news.ft.com/servlet/ContentServer?pagename=FT.com/StoryFT/FullStory&c=StoryFT&cid=1021991178001&p=1016625900929

New York City Ballet
New York
More Than Two of the Pas de Deux
By JENNIFER DUNNING
"In one way or another, the pas de deux was at the heart of nearly all the dances presented by the New York City Ballet on Tuesday night at the New York State Theater. Two revivals from past Diamond Project seasons of new choreography wore that heart on their sleeves.
   "Peter Martins's "Them Twos," choreographed in 1999 to a commissioned score by Wynton Marsalis, is a suite of duets that move the ballet from innocent first love to loss without much thematic subtlety but with understated sweetness and invention. Each of the five couples emerges from light fields between hanging panels in the chill set designed by Alain Vaes. The way each pair of dancers appear — and disappear at the end of their duet — says much about the aspect of love that each portrays."
http://www.nytimes.com/2002/06/01/arts/dance/01DIAM.html

New York City Ballet
New York
Games, Not All for Children
By JACK ANDERSON
"Jerome Robbins's ``Interplay'' has breezed back into the repertory of the New York City Ballet. And last Saturday afternoon at the New York State Theater it was performed by a new cast of young dancers.
   ""Interplay,'' choreographed in 1945 to a jaunty score by Morton Gould, is unmistakably youthful in spirit. Robbins has based several sequences on such children's games as follow the leader, leapfrog and London Bridge.
   "Yet the dancers are not necessarily supposed to represent children, for Robbins also devised some slinky, jazzy and unchildlike wiggles. The characters in ``Interplay'' appear to be young adults seeking to look sophisticated, but who have not forgotten childhood's pleasures.
http://www.nytimes.com/2002/05/31/arts/dance/01INTE.html

Dance Theatre of Harlem
Dance Theatre of Harlem continues to dazzle
Chicago
by Mary Houilhan
"Mitchell's dream has continued to grow. The company has impressive, new headquarters on West 152nd Street in Harlem and is about to expand once again. New generations of black dancers have been trained and sent out into the world. Mitchell has also been nurturing choreographers. The company recently debuted four new works during performances in New York. ("Return" is the only new work on the Chicago program.)
   "Williams argues that Dance Theatre of Harlem isn't just about classical ballet.
   ""Our style is really about having something there for everyone. You don't come here for a singular lesson in classical ballet. You'll also see something wild and different. We're not just about ballet; we're also about entertainment for both the newcomer and the seasoned dance fan."
http://www.suntimes.com/output/theater/wkp-news-call31.html

Moscow Stanislavsky Ballet
Thoroughly motivated
An L.A. debut for the Moscow Stanislavsky Ballet
Los Angeles
By Vicki Smith Paluch
"The troupe's full name is the Stanislavsky and Nemirovich-Danchenko Music Theatre. The founders -- actor-director Stanislavsky and writer Vladimir Nemirovich-Danchenko -- wanted to change the course of ballet by bringing it closer to realistic drama, a philosophy its current artistic director continues to hold today.
   ""The company produces ballets that reveal meaning through psychologically motivated action," explained artistic director Dmitry Bryantsev, whose one-act ballet "The Spirit Ball" will be featured opening night as part of a mixed bill of repertory highlights.
   ""The Spirit Ball" shows the contemporary side of the ballet company, exploring how man is not satisfied when he achieves peace and harmony and proceeds to destroy it.
http://u.dailynews.com/stage/articles/0502/31/stage01.asp


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Bruceadmin

02-06-02, 07:53 AM (GMT)
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18. "Sunday Links - 2 June 2002"
In response to message #0
 
  
The Queens Concert in London
London
Zenaida Yanowsky and Roberto Bolle di Black Swan pdd
The BBC had a Real video availble of teh whole concert. The RB starts about 44 mins with an introduction by Dowell, teh dance is about 46 minutes in or about 30% of teh way along on teh Real Player slider bar...
http://www.bbc.co.uk/musiclive/prom_archive.ram

some extended bio's are on the BBC website..
Zenaida Yanowsky
http://www.bbc.co.uk/musiclive/artists_yanowsky.shtml

Roberto Bolle
http://www.bbc.co.uk/musiclive/artists_bolle.shtml

Sir Anthony Dowell
http://www.bbc.co.uk/musiclive/artists_dowell.shtml


Northern Ballet Theatre
Rhapsody in Sheffield
I Got Rhythm , Lyceum Theatre, Sheffield, and touring
By Jann Parry
"By appointing David Nixon in August last year, NBT struck gold. He has brought two full-length ballets of his own from his previous company, BalletMet Columbus in Ohio: Madame Butterfly alternates on tour this month with the latest addition, I Got Rhythm, to Gershwin music. A polished piece, it sets out to entertain, while extending the dancers' technical skills and showmanship. They've always been a can-do company; now, they get a can-can finale for good measure.
   "
There is easily enough variety in George Gershwin's music and Ira's lyrics to sustain a two-hour ballet..."
http://www.observer.co.uk/review/story/0,6903,726109,00.html

Cloud Gate, Birmingham Royal Ballet
Dance: High water marks
London and Birmingham
DAVID DOUGILL
Like a good cup of tea, Cloud Gate’s Moonwater is warm, wet, and well worth taking in, while BRB’s Hobson is a gem
"Cloud Gate Dance Theatre of Taiwan is now in its 30th year, and much travelled, but the company’s appearance at Sadler’s Wells last week was only its second visit to London. Nobody who saw the director-choreographer Lin Hwai-min’s production of Songs of the Wanderers at the Wells three years ago has forgotten the magical spectacle, with its stage setting created from masses of dried rice. “Oh yes, Cloud Gate,” people still say, “that was the one with the rice.”
http://www.timesonline.co.uk/article/0,,2101-310950,00.html?gavalidate

Australian Ballet
Worth the price just for Heathcote
Spartacus, State Theatre
By Vicki Fairfax
"This ballet is a tough call in all sorts of ways, not the least for the dancers of the Australian Ballet who, as their predecessors have done over the past 23 years, have to break through its unforgiving speciousness.
   "Rhetoric defines the shape and line of the choreography; distraught love translates into perilously high-flying lifts and poses more pleasing than purposeful, while the agony of man's inhumanity to man is reduced to scenes that are merely picturesque and declamatory. It also takes more than a little hedonistic delight in the flaunting of near-naked and very beautiful bodies...."
http://www.theage.com.au/articles/2002/05/31/1022569832264.html

Plotless dance...
A Season of Spirits and Beautiful Spells
New York
By JACK ANDERSON
"ERPLEXITY can be fun, especially when it's artful perplexity. There are times when choreographic flights of fancy transform dancers into strange presences moving with great urgency but for no easily comprehensible reasons.
   "The mysterious beings who dance their way across stages include more than the spirits who populate familiar 19th-century fairy-tale ballets. Those spirits pose few interpretive problems, for it is usually easy to tell the good fairies from the wicked ones.
   "The most fascinating eerie presences are found in contemporary and ostensibly plotless creations. They turn up in modern-dance and balletic works alike. But this spring, quite a few have been haunting ballet repertories. Whether they seem angelic or demonic, or possibly both, their actions are almost always inexplicable. Yet imaginative choreographers make them compelling."
http://www.nytimes.com/2002/06/02/arts/dance/02ANDE.html

Carolina Ballet, American Ballet Theatre and New York City Ballet
Thoroughly Modern Masterworks From Diebenkorn, Puryear and . . . Ovid? You Bet.
New York
By Terry Teachout
A canter of a piece through a number of arts and travel...
"...so I packed a bag and flew down to Raleigh, N.C., to watch Carolina Ballet dance Robert Weiss's brand-new "Firebird," which is much more exciting than the over-decorated, under- choreographed Balanchine-Chagall version at which New York City Ballet audiences have been goggling for a half-century
   "...I haven't seen "The Dream" danced in Manhattan since the Joffrey Ballet did it at City Center, 15 years ago. That's far too long, but Ethan Stiefel's proud yet sensitive Oberon was worth the wait."
http://www.washingtonpost.com/wp-dyn/articles/A40498-2002May31.html

Baryshnikov, White Oak Dance Project
Aging gracefully
Mikhail Baryshnikov explores what's possible for a dancer beyond his prime
San Francisco, Zellerbach Hall
by Steven Winn
"Baryshnikov is plainly 54. His thighs have plenty of meat along with muscle. His torso, left bare in "The Experts," is admirably maintained but slackening. He said recently he plans to stop dancing in a year or two.
   "There were some children in Zellerbach on opening night, along with lots of college students. The White Oak Baryshnikov is the one they'll know, just as someone my age (51) registers Martha Graham, Merce Cunningham and Artur Rubinstein as eminent senior citizens.
   "But even a newcomer to a great artist like Baryshnikov can sense the powerful long arc that landed him where he is now. When Baryshnikov spreads his arms like some seaside swimmer in Erick Hawkins' 1961 "Early Floating," the air seems to rise around him"
http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2002/06/01/DD112977.DTL&type=performance

Baryshnikov, White Oak Dance Project
Baryshnikov boosts Berkeley program
San Francisco, Zellerbach Hall
By Anita Amirrezvani
"Mikhail Baryshnikov's star power still attracts crowds to challenging modern dance shows more than 12 years after he founded the White Oak Dance Project. The good news is that when they get there, he's a joy to watch. But perhaps even more interesting is that the Russian classical ballet star has become such a consistent champion of American modern dance.
   "On Thursday, Baryshnikov opened the latest White Oak show at the University of California-Berkeley's Zellerbach Hall with a beautiful solo. And although this particular program offered about an equal mix of delight and dreariness, you've got to love Baryshnikov for promoting serious modern dance -- and for looking so good at it well into his 50s."
http://www.bayarea.com/mld/mercurynews/entertainment/3379872.htm

Pacific Northwest Ballet
PNB's 'Sins' doesn't need forgiveness
Song and Dance
Seattle, Mercer Arts Arena
By Lesley Holdcroft
"Ethereal, vulgar, divine, frivolous and moving — Pacific Northwest Ballet held up the globe of human experience Thursday with an ambitious program featuring jazz, choral and folk vocalists.
   "The opener, "Seven Deadly Sins," was originally choreographed in the 1930s by George Balanchine, to a score by Kurt Weill and biting lyrics by Bertolt Brecht. In Donald Byrd's new version, Patricia Barker plays a simple girl who sells her heart and soul for money, discovering one new sin for each year she travels away from her family.
   "Barker displays a wild energy..."
http://seattletimes.nwsource.com/html/artsentertainment/134465747_pnb01.html

Junior High School 231 (McDonald's Gospelfest)
Stepping and Stomping in an Old-Time Gospel Mood
New York
By VALERIE GLADSTONE
"FIFTEEN boys and girls from the step dance team at Junior High School 231 in Springfield Gardens, Queens, were chatting in the back of the school auditorium. When Lamont O'Neil, the team's director, announced that he was ready to start rehearsal, they took off down the aisles, hurriedly tucking their white shirts into their pants and skirts. Forming a circle onstage, they bowed their heads and joined him in a prayer, as they always do before a rehearsal.
   ""How was your weekend?" Mr. O'Neil asked.
   "A girl answered, laughing, "Groovy."
   "That was the last bit of levity for the next two and a half hours as Mr. O'Neil, a combination of drill sergeant, choreographer and big brother, put the team through its paces"
http://www.nytimes.com/2002/06/02/arts/dance/02GLAD.html

Ballett Fankfurt
Forsythe embattled in Frankfurt
datelined Paris
"Forsythe, 52, has turned the Frankfurt Ballet into one of Europe's leading dance companies. The company tours the world, and Forsythe's choreography is frequently performed by major dance companies, including the New York City Ballet, the Paris Opera Ballet and the Royal Ballet.
   "The Frankfurt Ballet's $5.7 million annual subsidy from the city government supplies 87 percent of its budget."
http://www.sfgate.com/cgi-bin/article.cgi?file=/chronicle/archive/2002/06/01/DD21897.DTL&type=performance

Arts funding gets massive boost
Ottawa, Ontario give $230 million to Toronto
by Caroline Mallan
"Premier Ernie Eves and Prime Minister Jean Chrétien shared the public spotlight yesterday as they raised the curtain on cultural funding for the city of Toronto totalling more than $230 million.
   "The politicians, who appear determined not to repeat the sour relationship that existed between former premier Mike Harris and Chrétien, heaped praise on each other and vowed the money will mean both economic and cultural prosperity for Canada's largest city.
   "Some of the funds given by the province and Ottawa include $60 million for the Royal Ontario Museum's redesign and expansion, $48 million for the Art Gallery of Ontario's expansion and $40 million for the National Ballet School."
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