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Subject: "Latest Review Links w/b 3 June 2002" Archived thread - Read only
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Conferences What's Happening Topic #2784
Reading Topic #2784

03-06-02, 07:37 AM (GMT)
Click to EMail Bruce Click to send private message to Bruce Click to view user profileClick to add this user to your buddy list  
"Latest Review Links w/b 3 June 2002"
Each day we add the latest links to reviews and interviews that we find on the major newspaper web sites around the world. If you find a link that we have missed do please post it up, preferably as a URL link.

Last weeks thread:

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

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

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  Subject     Author     Message Date     ID  
  Monday Linsk - 3 June 2002 Bruceadmin 03-06-02 1
     RE: Monday Linsk - 3 June 2002 Jane S 03-06-02 2
  Tuesday Links - 4 June 2002 Bruceadmin 04-06-02 3
     RE: Tuesday Links - 4 June 2002 Jane S 04-06-02 4
         RE: Wednesday links - 5thJune 2002 AnnWilliams 05-06-02 5
             RE: Wednesday links (2)- 5thJune 2002 AnnWilliams 05-06-02 6
                 RE: Wednesday links (2)- 5thJune 2002 jhanner 05-06-02 7
                     RE: Wednesday links (3)- 5thJune 2002 AnnWilliams 05-06-02 8
                     RE: Wednesday links (2)- 5thJune 2002 Bruceadmin 05-06-02 9
             RE: Wednesday links - 5thJune 2002 Jane S 05-06-02 10
                 RE: Thursday links - 6th June 2002 AnnWilliams 06-06-02 11
                     RE: Thursday links - 6th June 2002 Brendan McCarthymoderator 06-06-02 12
                         RE: Friday links - 7th June 2002 AnnWilliams 07-06-02 13
                             RE: Friday links - 7th June 2002 (2) AnnWilliams 07-06-02 14
                             RE: Friday links - 7th June 2002 (2) Annelieseagain 07-06-02 15
                             RE: Friday links - 7th June 2002 (2) Helen 07-06-02 16
                             RE: Friday links - 7th June 2002 (2) AnnWilliams 07-06-02 17
                             RE: Friday links - 7th June 2002 (2) Annelieseagain 07-06-02 18
                             RE: Friday links - 7th June 2002 (2) Brendan McCarthymoderator 07-06-02 19
  Saturday Links - 8 June 2002 Bruceadmin 08-06-02 20
     RE: Saturday Links - 8 June 2002 Jane S 08-06-02 21
  Sunday Links - 9 June 2002 Bruceadmin 09-06-02 22

Conferences | Topics | Previous Topic | Next Topic

03-06-02, 07:38 AM (GMT)
Click to EMail Bruce Click to send private message to Bruce Click to view user profileClick to add this user to your buddy list  
1. "Monday Linsk - 3 June 2002"
In response to message #0
English National Ballet
One giant leap for classicism
Double Concerto mixed bill
London, Covent Garden
by Debra Craine
"WHAT’S in a venue? Not much you might say, and yet there was no denying the buzz for English National Ballet’s weekend at the Royal Opera House. It was the first time that the UK’s premier touring classical company had appeared at Covent Garden, and the extra spring in their feet on stage was matched by a loudly appreciative audience. Quite right, too, since this was one of the best mixed bills of ballet seen in London all year.
    "The company is currently riding high under a new director, the Swede Matz Skoog, and the dancers look happy. Especially in Christopher Hampson’s Double Concerto, which was created for them last November. This is a big company work, for 38 dancers. It’s flattering to all of them, and very satisfying to watch.

Christopher Wheeldon
Romance abandoned, ballet's great white hope seeks new thrills
By Valerie Lawson
"For two years, I've been trying to branch away from the more romantic stuff I was using before, trying to find ways to challenge myself. I had a revelation in my life when I was working with the Boston Ballet on Four Seasons, a piece that was fairly drastically bad. I was uncomfortable. It wasn't a critical failure but it was all about costumes and scenery, and I had nothing much to say. After that, I found myself struggling to find music that was challenging to me and not something that I thought I could easily whip up. And that led me to Gyorgy Ligeti," the Hungarian composer whose music was used in the scores of the movies 2001: A Space Odyssey and The Shining.
    ""Instead of picking a narrative or a very romantic piece, I started to experiment and it pushed me into an abstract place. I've found myself trying to find ways to thrill an audience, affect an audience, through physicality and the architecture of the movement rather than the production values."

American Ballet Theater
ABT's Sweet 'Dream' Program
Company Proves A Fine Partner For Ashton Ballets
Dream + Fill mal Gardee
New York
By Alexandra Tomalonis
"Both "The Dream" (Ashton's 1964 magical Victorian staging of Shakespeare's "A Midsummer Night's Dream") and "La Fille Mal Gardee" (his pastoral 1960 comedy that delighted Washington audiences during the Royal's visit last season) were beloved staples of the company's frequent New York visits in the 1960s and '70s. Ashton's works are seldom danced by his old company these days, so ABT's success is especially good news.
    "The success is, quite frankly, a bit surprising. Ashton's works are the quicksand of ballet. When well directed and well danced, they're sublimely beautiful, but they're so subtle and idiosyncratic that they can easily look awkward or even camp in coarse stagings. But ABT has avoided these pitfalls."

American Ballet Theater
La Fille Mal Gardée
New York
"AS refreshing as a summer breeze Frederick Ashton's "La Fille Mal Gardee" positively floated into the repertory of American Ballet Theater for the first time at over the past weekend.
    "Forget the almost untranslatable French title (it means something like "The Badly Guarded Daughter") and luxuriate in the bewitching charms of one of the greatest ballets of the 20th century.
    "Although this international masterpiece, premiered first in 1960, has been in the repertory of various other companies, this is the first time it has been staged by ABT."

American Ballet Theater
Love in the Countryside, but the French Countryside
La Fille Mal Gardée
New York
By Anna Kisselgoff
"20th-century version of an 18th-century ballet is obviously the 21st century's biggest hit for American Ballet Theater. The company's happiest production in years, sensationally danced by three casts over the weekend, is its own premiere of "La Fille Mal Gardée," Frederick Ashton's very English, very funny and very poetic view of love in the French countryside.
    "Since its creation for the Royal Ballet in 1960, this Ashton masterpiece has delighted audiences throughout the world, not only with the Royal but also with American and other foreign companies. The cast exits singing, and so will you if you can catch the remaining performances of this magnificent staging by Alexander Grant, Christopher Carr and Grant Coyle, through Thursday night at the Metropolitan Opera House."

American Ballet Theater
A Puck Debut as a Dream Come True
The Dream
New York
By Anna Kisselgoff
"The magic of Ashton's conception can make up for any weaknesses in casting. Nonetheless the choreography is tricky, full of changes in direction. Mr. Belotserkovsky frequently lost his elegant line coming out of pirouettes, and his tendency was to prepare visibly for turns. Yet Oberon is a swiftly moving supernatural creature. Ill at the start of the season, Mr. Belotserkovsky seemed to run out of stamina and his good acting as a vengeful monarch dominated his dancing.
    "Ms. McKerrow was a pouting Titania dancing prettily and accurately on a small scale. She did not dare to plunge into the role's sensuality. Other Titanias have looked enraptured when they hold Bottom's long ears to their breasts: She did not, and she and her Oberon gave the final duet of reconciliation some rather careful dancing. Ormsby Wilkins conducted."

Scottish Ballet - Ashley Page
New lord of the dance prepares to muster his embattled troupes
Ashley Page -- Scottish Ballet's latest artistic leader -- faces a tough challenge, says Ellie Carr
"Only time will tell if Ashley Page, who has never directed a ballet company before, can put Scottish Ballet on the road to recovery. I for one pray that he does. Supporters of Scottish Ballet are like members of the Tartan Army in that hope springs eternal ... but one more defeat and we may trade in our membership cards. I notice with some trepidation that the words contemporary-classical are now being used to describe the direction in which Page will take the company. Even I don't know what that phrase means. Let's just hope that this time Scottish Ballet has chosen its personnel more carefully than its words."

Jacob's Pillow Dance Festival
Pillow talk, and history, in Becket
By Christine Temin
"The Jacob's Pillow Dance Festival in the Berkshires celebrates its 70th anniversary this summer. In US dance, the only ongoing organization that is older is the Atlanta Ballet, founded in 1929, the year before an eccentric visionary named Ted Shawn bought a 150-acre farm off Route 20 in Becket. Jacob's Pillow started as a remote retreat but grew into a cultural magnet, drawing audiences eager to see the companies from around the world that Shawn imported each year.
    "The festival has lost some of its quirkiness over the decades; on the other hand, the toilets now work and the parking lot no longer blocks the view of the theater..."

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Jane S

03-06-02, 04:11 PM (GMT)
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2. "RE: Monday Linsk - 3 June 2002"
In response to message #1
   Two views of Cloud Gate's programme at Sadler's Wells last week:

Nadine Meisner
The Independent

For its second visit, Cloud Gate Dance Theatre of Taiwan has
brought us Moon Water, a show that all aspiring set designers
should see. It is a crash course in how to be stunning with the
simplest of means: an empty darkened space, a floor – its
black surface streaked with frosty concentric crescents – and
a few mirrors. The mirrors later multiply into a back wall that
reflects the dancers, while water oozes on to the floor and
threads the occasional gaps in the music with the sound of
trickling. One source for the title is a Buddhist saying: "Flowers
in a mirror and a moon on the water are both illusive".


Jenny Gilbert
Independent on Sunday

Were medical researchers to have taken the blood pressure
and pulse rate of Sadler's Wells patrons at the door last week,
and again on exit, they would have noted a dramatic change.
Something happens to a body in the presence of Taiwan's
Cloud Gate Dance Theatre – something calming, balancing,
almost tranquillising. And it's safer than Valium and a lot more
fun than a flotation tank.


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04-06-02, 07:47 AM (GMT)
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3. "Tuesday Links - 4 June 2002"
In response to message #0
Ballett Frankfurt problems
Choreographer Sees Change of Heart on Frankfurt Ballet
New York
"The American choreographer William Forsythe said today that Frankfurt city officials have told him they want his acclaimed dance company, the Frankfurt Ballet, to continue working in the city after his current contract ends in 2004. But he added that a deal was not assured, as the city's finances are in dire straits.
    "Mr. Forsythe, 52, who has headed the Frankfurt Ballet since 1984, said last week that he had learned from local newspapers and politicians that the city government had decided not to renew his contract and was contemplating replacing his experimental company with a classical dance company.
    ""I personally do not know how all of this started, but apparently there is a desire now to correct what happened," he said in a telephone interview from Frankfurt after meeting with Frankfurt's mayor, Petra Roth. "Neither they nor I will say there is a solution because we will now begin to discuss exactly what is possible in the new contract and what they expect."

Ballett Frankfurt problems
Ballet.co has been tracking the Frankfurt problems in detail since the news first broke. More here:

Royal Ballet
Romeo & Juliet
Majestic homage revives classic
By Shaaron Boughen
"Act 1 features a pas de trois with outstanding performances from Marianela Nunez in particular. The dancing in this first act sets the pace for the rest of the work. Fluid torsos and arms, easy arabesques, genuine smiles and overflowing vitality belied the precise techniques that underlined this expertise. A nervous start by principal dancer Gael Lambiotte, playing Prince Siegfried, was relieved by the quality of dancing around him. At the risk of sounding parochial, Brisbane boy Justin Meissner jumped with no regard for gravity and it was his detailed and articulate footwork in Act 3's Neopolitan Dance that was spectacular.
    "Bussell leaps into Act 2 with a breathtaking presence, displaying a cool virtuosity that demonstrates the power of ballet technique. Her Odette is controlled and elegant, pure and unflappable. Less so Lambiotte's partnering, which seemed insecure at times. "

Northern Ballet Theatre
I Got Rhythm
5 stars
Lyceum, Sheffield
by Stephanie Ferguson
"S'wonderful, s'marvellous - the magic of old Broadway meets sharp new ballet in David Nixon's Gershwin extravaganza. Sub-titled The Genius of Gershwin in Song and Dance, Northern Ballet Theatre's latest offering has rhythm aplenty. Backed by twinkling stars on the art deco set, the NBT orchestra, resplendent in white tuxedos, take the stage with guest singers Barry Martin and Simone Sauphanor and young pianist Jonathan Scott to provide a succession of greats.
    "Nixon, the artistic director, originally created the work for Jim Orrante and Elizabeth Zengara when he was at BalletMet in Columbus, Ohio, and it was an extra treat to see them in action. Sassy and sinuous, Zengara commands the stage, slinking on and planting a kiss on conductor John Pryce-Jones at one point. She and Orrante are a red-hot combination, and his distinctive, highly physical style borders on assault in the Cuban Overture as he flings her into daring lifts amid a fusillade of fast moves. With his long hair and loud check jacket, he looks like he has strayed in from a Latino World Cup squad, and he smoulders in the sexy clinches. "

Kirov Gala
A prodigal display of art
London, Covent Garden
By Clement Crisp
"Loving a theatre, loving its fabric, its stairs and corridors, sensing its history and the happy ghosts that haunt its every corner, is part of loving the art that the theatre offers us. Even now I cannot go into the Palais Garnier or the Mariinsky without remembering the glorious past, savouring the glorious present, hoping I may see the glorious future. About the new Covent Garden I have few feelings: for all its freshness and gloss, it is chill-hearted, where the old house, with its inadequacies, felt warm, a bit tatty, but welcoming.
    "The Opera House was, though, bright with affection and delight on Tuesday and Wednesday last week. A 300-strong contingent from the Mariinsky had arrived, bringing mixed opera and ballet performances as a banner to proclaim the tercentenary of St Petersburg in 2003. We warmed our hearts at a prodigal display of Petersburg's art."

American Ballet Theater - move to Kennedy Center?
Ballet Theater: Signs of Promise Amid Struggle
New York
"Ballet Theater would continue to be based in New York City (it owns offices and rehearsal studios at 890 Broadway) and would keep its performance schedule of two weeks in the fall at City Center and eight weeks in the spring at the Metropolitan Opera House. It tours for at least 36 weeks a year. Under the plan, the company, which performs at the Kennedy Center one or two weeks a year, would have a permanent booking there.
    "The idea had been kicking around for years, board members say, and gathered steam recently because Michael M. Kaiser, who was the company's executive director in the 1990's and is widely credited with saving it from bankruptcy, is president of the Kennedy Center.
    "Ballet Theater would reap the benefits of Kennedy Center's national fund-raising and marketing as well as its significantly larger legal, lobbying, technical and public relations staff. But the center board would have ultimate budgetary responsibility for the company.
    "Mr. Kaiser, in meeting with the executive committee, said he would welcome the idea only if the ballet was fully behind it. "There's no way I'm interested unless their board finds this an attractive way of going forward," he said in an interview.

New York City Ballet - Melissa Barak
A Fledgling Choreographer Takes Chances in Her Stride
New York
"Melissa Barak looked like a Romantic-era ballerina, with her perfect oval face and dark eyes, as she sat backstage at the New York State Theater the other day and talked about her young but productive life in dance. There was also a hint of an innocent-seeming but naughty child in her blithe recounting of that somewhat unruly life. But Ms. Barak is one of the most talked-about younger choreographers in New York ballet, and tonight, at a mere 22 years of age, she will take a big step into major prominence with the premiere of her "If by Chance," commissioned by the New York City Ballet for its 10th-anniversary Diamond Project festival of new choreography."

Elizabeth Streb
Choreography All Ready for the Scrimmage Line
New York
"Elizabeth Streb is at it again.
    "Since the 70's she has been choreographing works in which dancers keep clobbering solid objects.
    "...Ms. Streb specializes in devising strenuous, and sometimes almost brutally demanding, movements for dancers on and around a complex metal construction dominated by a large platform that can move up and down. A lot goes on in Ms. Streb's spaces, and Beverly Emmons's lighting makes all the action look striking. Unfortunately, it is easily possible to find much of it pointless or even unpleasant..."

Clark Brothers
Shuffling off the bad times
For the Clark brothers, tap was not the sleek moves of Fred Astaire or Gene Kelly - it was a way of escaping an impoverished and brutal existence. Ismene Brown meets them
"The CVs of early American tap-dancers are not so much career documents as war records. The respectability that tap-dancing now has - a study at university, a subject for festivals and seminars - is a million miles from the social brutality from which it emerged, and from which it represented a rare escape route.
    "On Thursday and Friday, London hosts a celebration of New York tap, demonstrating the wonderful range and progression from early rhythm tap and swing to today's power-tapping. But it's naturally the old-timers, the Clark Brothers, who are attracting most of the interest - because how could they not, with such lives as theirs?
    "Steve Clark and his brother, Jimmy, aged 77 and 79 respectively, are thought to be the last of the "brothers" acts of tap-dancing's golden age in post-war America

Broadway Dance Awards
3 Awards for Dance on Broadway
New York
"The Theater Development Fund has named Susan Stroman, Sutton Foster and Justin Bohon the winners of its 2002 Astaire Awards for the best dance on Broadway."

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Jane S

04-06-02, 12:54 PM (GMT)
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4. "RE: Tuesday Links - 4 June 2002"
In response to message #3
   Kirov Galas
Masterpieces from the Maryinsky
London, Royal Opera House

"Preparing for St Petersburg's tercentenary next year, Valery
Gergiev brought a vast selection of the Mariinsky (once Kirov)
Theatre's opera, ballet and orchestra to London for two special
programmes at Covent Garden: more than 250 performers plus
support staff. What an enterprise, but their aim was no less
than to celebrate the story of that great theatre and its
predecessors, from an opera commissioned in 1787 by
Catherine the Great right through to a ballet created this year."


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05-06-02, 08:31 AM (GMT)
Click to EMail AnnWilliams Click to send private message to AnnWilliams Click to view user profileClick to add this user to your buddy list  
5. "RE: Wednesday links - 5thJune 2002"
In response to message #4
   Today's links so far...

English National Ballet
Northern Ballet Theatre

Ismene Brown in the Telegraph on an NBT's 'I Got Rythm' and ENB's triple bill at Covent Garden. On ENB:

'With a Balanchine/Stravinsky masterpiece, a confident and exhilarating new piece by a young British talent, and Balanchine's jazzy Who Cares? to finish, the evening briskly satisfied a large range of tastes, and on first night was applauded with great warmth. Deservedly so: Thomas Edur is the only man in Britain who can give us Balanchine's Apollo as he should be. It is profoundly exciting, as you watch the mists clear from his mind and the sun in him emerge'

link to article

Northern Ballet Theatre

Donald Hutera in the Times on NBT's 'I Got Rythm':

'The show ends with an explosion of confetti that nearly made the audience jump out of its skin. The curtain call was a happy free-for-all, Nixon himself letting go in an unbridled impromptu boogie that may have been the evening's true high spot.'


School of American Ballet

Jennifer Dunning in the New York Times on the SAB:
'The annual workshop performances of the School of American Ballet, affiliated with the New York City Ballet, are both a graduation ceremony and a ritual in which dance fans and ballet company administrators can try to spot the stars of the future. This year, in the 38th installment of this trial by fire, performances on Saturday afternoon and evening at the Juilliard Theater were happily for the most part pure entertainment

American Ballet Theatre

The Washington Post on ABT's future plans for its Washington appearances:

'An article in yesterday's New York Times reported that ABT was considering becoming "the resident dance company" of the Kennedy Center, maintaining its season and its headquarters in New York but having a permanent booking here. If the plan went through, the Times report said, the center "would have ultimate budgetary responsibility for the company." Kennedy Center President Michael Kaiser said yesterday, however, that such a conclusion was premature at best. "The Times article implies a depth of discussion we never got to," he said. "It's a very long set of discussions, and we haven't even started that." '


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05-06-02, 10:50 AM (GMT)
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6. "RE: Wednesday links (2)- 5thJune 2002"
In response to message #5
   From the Frankfurter Allegemeine, an interview with twins Otto and Jiri Bubenicek, principal dancers with the Hamburg Ballet:

link to article

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05-06-02, 10:51 AM (GMT)
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7. "RE: Wednesday links (2)- 5thJune 2002"
In response to message #6
   Darcey to be face of new M&S sportswear range


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05-06-02, 11:44 AM (GMT)
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8. "RE: Wednesday links (3)- 5thJune 2002"
In response to message #7
   This Judith Mackrell Guardian piece on David Hughes at Sadler's Wells has just come online:

'If you wanted to quantify the scale of David Hughes's talent, you could count the number of top companies with which he has danced over the past 16 years (including London Contemporary Dance Theatre, Rambert and AMP). Or you could list the star choreographers who have created solos for his current one-man show (Siobhan Davies, Wayne McGregor, Robert Cohan, Christopher Bruce). But the most striking aspect of Hughes's talent is the least quantifiable: how differently he performs from any other male dancer of his generation.'


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05-06-02, 11:59 AM (GMT)
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9. "RE: Wednesday links (2)- 5thJune 2002"
In response to message #7
   Here is a direct link to the Bussell piece:

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Jane S

05-06-02, 02:43 PM (GMT)
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10. "RE: Wednesday links - 5thJune 2002"
In response to message #5
   English National Ballet

A mouthwatering Balanchine sandwich

By John Percival

"Uncle Pat would have been proud. That nickname refers to
Anton Dolin, Britain's first international ballet star, and founder
of Festival Ballet as a company aiming to dance the best
popular classics at the highest standards for the widest
audience. Half a century on, under the new title of English
National Ballet, they are still at it very successfully, and last
week (thanks to the impresarios Victor and Lilian Hochhauser)
they performed for the first time at the Royal Opera House."


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06-06-02, 09:47 AM (GMT)
Click to EMail AnnWilliams Click to send private message to AnnWilliams Click to view user profileClick to add this user to your buddy list  
11. "RE: Thursday links - 6th June 2002"
In response to message #10
   English National Ballet

Clement Crisp in the FT on ENB's programme at Covent Garden last week:

'Excellent programming - ENB might care to leave the recipe behind for the Royal Ballet to copy - and excellent dancing. Often unsung, ENB has, since its infancy with Markova and Dolin in 1950, believed that quality need not necessarily mean the grim, the portentous, the sort of bum-numbing tosh we have lately seen with our national ballet. The present programme, very well danced (and well designed in the case of the Hampson piece), shows how quality wins an audience's heart, and audiences are not to be fooled or gulled - well, not all of the time.'

New York City Ballet

Anna Kisselgoff in the NY Time sreviews Melissa Barak's 'If by Chance':

'As the sixth premiere this season in the Diamond Project, Melissa Barak's "If by Chance" fits all the demands of the project, the New York City Ballet's showcase for new choreography.At 22, Ms. Barak is a creative talent well worth following, and the project's main goal is to nurture fresh directions from veteran and novice choreographers. "If by Chance," an abstract piece set to Shostakovich with a distilled "Romeo and Juliet" motif, is the first work Ms. Barak has choreographed for the company.'

Ballett Frankfurt

I'm getting confused with all these Frankfurt stories flying about, but this one by Alan Riding appeared in the San Francisco Chronicle yesterday, syndicated from the NY Times:

' "I personally do not know how all of this started, but apparently there is a desire now to correct what happened," said in a telephone interview from Frankfurt after meeting with the city's mayor, Petra Roth. "Neither they nor I will say there is a solution because we will now begin to discuss exactly what is possible in the new contract and what they expect." '

The Bolshoi

BBC News online service reports on the Russian government's much-needed cash injection to the Bolshoi:
'The Russian Government is to pump $180m (£123m) into restoring the world-famous Bolshoi Theatre after a decade of artistic decline and financial troubles. The Bolshoi, in Moscow, has been described by President Vladimir Putin as "the symbol of Russian culture".'

The Village Voice

Elizabeth Zimmer on this week's New York dance scene - 'Streb Go' and 'The Horse's Mouth' (various NY venues).

On 'Streb Go': 'From Merce Cunningham Streb learned the importance of timing, detaching dance from music but keeping the rhythmic force necessary to get from here to there while maintaining an edge of danger. Wearing black-and-gray unitards in the first act and bright primary colors in the second, the men and women of the company are perfectly placed to satisfy the country's current obsession with bodybuilding, weight lifting, and other hedges against old age and death.'


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Brendan McCarthymoderator

06-06-02, 01:52 PM (GMT)
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12. "RE: Thursday links - 6th June 2002"
In response to message #11
   More cheers for ENB from Sarah Frater of the Evening Standard. "Christopher Hampson's Double Concerto, a recent work by the young British choreographer stands remarkably steady alongside the two Balanchines. Daria Klimentova and Jan-Erik Wikstrom led a cast who revelled in Poulenc's dazzling music. The packed house loved it. ENB's new artistic director Matz Skoog should brave the company's board and continue with programming in similar vein."

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07-06-02, 09:19 AM (GMT)
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13. "RE: Friday links - 7th June 2002"
In response to message #12
   Royal Ballet in Australia

Jonathan Cope Shock Horror Story: Valerie Lawson in the Sydney Morning Herald reports briefly on a dramatic incident at a rehearsal of the RB's 'Swan Lake' due to open in Sydney tonight.

New York City Ballet

Clive Barnes in the NY Post on NYCB's Diamond Project - he's enthusiastic about Melissa Barak's 'If By Chance':
'On Tuesday night, gave the first airing to Melissa Barak's "If By Chance.".... ..... The choreography is simple, nicely measured, completely unflustered... Barak, 22, who joined City Ballet's corps de ballet three years ago, is still a young dancer. But as a choreographer, she's a positive babe in arms.'

American Ballet Theatre

Jack Anderson in the NY Times briefly reviews ABT's Ashton programme:

'A new pair of lovers led the cast of "La Fille Mal Gardée" on Monday night at the Metropolitan Opera House. They helped make the choreographic sunshine bright in American Ballet Theater's production of Frederick Ashton's version of one of the oldest and most beloved comedies in all ballet. Gillian Murphy was Lise and Maxim Belotserkovsky was her lover..'

Alicia Alonso

From Unesco Press, a report on the appointment of Alicia Alonso as special UN Ambassador:
'Paris, June 5 - Cuban ballerina and choreographer Alicia Alonso will be appointed a UNESCO Goodwill Ambassador for her "outstanding contribution to the development, preservation and popularization of classical dance" and for her "devotion to the art-form, through which she has promoted the ideals of UNESCO and the fellowship of the world's peoples and cultures." UNESCO Director-General Koïchiro Matsuura will formally announce her nomination on June 7 (6.30 p.m.).'

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07-06-02, 09:32 AM (GMT)
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14. "RE: Friday links - 7th June 2002 (2)"
In response to message #13
   I couldn't make the link for this one work earlier: Newsday's Sylviane Gold reviews ABT's Ashton Programme - 'Fille' and 'The Dream'. (and those of you who thought The Australian's Sharon Boughton's review of the RB's 'Swan' in Brisbane was a touch insensitive should check this one out):

'But also was subject to the peculiarly British and not universally beloved brand of whimsy exemplified by, oh, "The Wind in the Willows" and "Teletubbies." And somehow, two of his most whimsy-fed works - his 1964 version of Shakespeare's "A Midsummer Night's Dream," slimmed down to one compact act and titled simply "The Dream," and his 1960 rendition of "La Fille Mal Gardée," a country fable that has been kicking around the ballet world since 1789 - have landed this season in the repertory of American Ballet Theatre.'


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07-06-02, 01:29 PM (GMT)
Click to EMail Annelieseagain Click to send private message to Annelieseagain Click to add this user to your buddy list  
15. "RE: Friday links - 7th June 2002 (2)"
In response to message #14
   Hmmm... The Dream whimsical?!? Methinks she missed the point of Shakespeare, Mendelssohn AND Ashton! And anyone who thinks Balanchine's Symph in C is less predictable in its choreography than ANYTHING by Ashton has totally lost the plot. Ho hum, it's a big pond sure enough!

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07-06-02, 01:43 PM (GMT)
Click to EMail Helen Click to send private message to Helen Click to view user profileClick to add this user to your buddy list  
16. "RE: Friday links - 7th June 2002 (2)"
In response to message #15
   It's rather difficult to trust a reviewer who can bracket Teletubbies with Wind in the Willows, isn't it?

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07-06-02, 02:21 PM (GMT)
Click to EMail AnnWilliams Click to send private message to AnnWilliams Click to view user profileClick to add this user to your buddy list  
17. "RE: Friday links - 7th June 2002 (2)"
In response to message #16
   >It's rather difficult to trust a reviewer who can bracket Teletubbies with Wind in the Willows, isn't it? <

Helen, that may well say all that's needed about Ms. Gold's review!

However, on reading the review right through, I'm puzzled - she clearly enjoyed the programme, despite Ashton's 'predictable' choreography!

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07-06-02, 02:47 PM (GMT)
Click to EMail Annelieseagain Click to send private message to Annelieseagain Click to add this user to your buddy list  
18. "RE: Friday links - 7th June 2002 (2)"
In response to message #16
   The teletubbies are almost completely devoid of whimsy - indeed their lives are led at a very literal level. I must point out, though, that they put on a tutu from time to time and Laa-Laa in particular is not without talent - in fact I'm sure she did a very creditable mad scene from Giselle in the video "Dance with the Teletubbies".

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Brendan McCarthymoderator

07-06-02, 02:52 PM (GMT)
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19. "RE: Friday links - 7th June 2002 (2)"
In response to message #18
   LAST EDITED ON 07-06-02 AT 03:09 PM (GMT)

I think it was called "Laa-Laa's Secret Dance"

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08-06-02, 09:28 AM (GMT)
Click to EMail Bruce Click to send private message to Bruce Click to view user profileClick to add this user to your buddy list  
20. "Saturday Links - 8 June 2002"
In response to message #0
Sylvie Guillem
Boiling pointe
Bring on the creative tension, says Sylvie Guillem, prima balleria nonpareil.
by ??
"A dancer's life is short. At 45, you can usually start counting off the rest of your career in months. Guillem loved directing her modern, gritty Giselle - she staged it both in Finland and for La Scala in Milan - but she is not keen to direct more ballet while she can still dance because it simply takes too much time. Later, perhaps, she will do more.
    ""I did like the contact with the dancers. I really loved it, actually. But I never have any ambitions, already planned, that I am going to do that or that. I always followed opportunities as they were offered to me. If a train were passing and I was interested by the destination, I would jump on it."
    "In England more than France, she says, there is an appreciation of the artistry and theatrical skill older dancers can bring to character parts and to the collective wisdom of a company. One thing she has learned at the Royal Ballet, she says, is the importance of holding fast to that experience. "Because to go on stage is to give something - everything - not just tricks or specialities," she says. "It's deeper than that. And they have the soul of the theatre here, I think." Which, of course, is the point of it all."

Alvin Ailey American Dance Theater
We're about more than being black
As the Alvin Ailey American Dance Theater makes a long-awaited return to Sadler's Wells, its artistic director Judith Jamison talks to Ismene Brown about the company's changing identity
by Ismene Brown
"Ailey's popular touch was his trump card. He sought to reach the public through his own rural Southern day-to-day experience, and his effect on modern dance was revelatory. That is a fitting word, since no ballet is more famous in America than Revelations, one of Ailey's early creations, which, with its heady mix of gospel music, spiritual uplift and emotional directness, has attained an almost legendary place in public affections around the world for 42 years.
    "Matthew Rushing was 13 when he saw Revelations, and the revelation came upon him, without warning, that he must be a dancer, and with the Ailey company. "My goals were actually to get into computers, but when my mother took me to this performance, I was just blown away. I had just recently been baptised, and in the baptismal section of Revelations I knew exactly what it was all about. To me, these dancers were supernatural, and I decided that day that I would be in the Ailey company."
    "Now 28, Rushing is considered one of the "supernaturals" in AAADT...."

Bolshoi Ballet
Bolshoi is Back
By Jean Battey Lewis
"Bolshoi means big in Russian, and the Bolshoi Ballet lives up to that name in more ways than it might sometimes wish. Everything about the company seems larger than life.
    "It's big in its dancing style: Grandeur, heroic gestures, thrusting leaps and an emphasis on raw male power are its signature features.
    "The umbrella Bolshoi Theatre is big in numbers: The staff, including that for the opera, chorus, orchestra, ballet and support operations, numbers almost 2,500. But massive government support has shrunk drastically, and foreign appearances such as the ballet's performances at the Kennedy Center's Opera House next week are increasingly crucial to its survival.
    "Cultural-political wars also have figured big in the company for decades...

The New York City Ballet
From Ancient Greece to Only Yesterday
New York
"Angelin Preljocaj introduces a group of six modern-day men and women to their 17th-century counterparts in "La Stravaganza," a 1997 Diamond Project work set to music by Vivaldi and the contemporary composers Evelyn Ficarra, Serge Morand, Robert Normandeau and Ake Parmerud. There is a little interspecies dalliance, of course; then it is back to 20th-century anomie. The influence of William Forsythe is evident in the staging. But neither Mr. Preljocaj's conceit nor his movement is complex enough to sustain an entire ballet.
    "George Balanchine's "Cortège Hongrois" completed the program. "

ABT & NYCB Promotions
Moving Up the Ballet Company Ranks
New York

New Yorck City Ballet, Dance Critics Association
Critics step out at New York conference
Boston/New York
by Theodore Bale
"When I moved here in 1986, I regarded Boston Ballet as merely the poor cousin of larger, well-established companies such as American Ballet Theatre and New York City Ballet.
    "Sixteen years later, I'm pleased to say that's no longer my impression, though I did go to New York last week to see some new ballets that haven't been shown yet in Boston, and to get a sneak preview of Sir Frederick Ashton's celebrated ``La Fille mal gardee,'' in a lavish production that Boston Ballet will present in February and March.
    "I also had the opportunity to learn, schmooze and argue with my colleagues at the annual conference of the Dance Critics Association, which was held last weekend at the New York Public Library for the Performing Arts at Lincoln Center. Several of the conference sessions were focused on Ashton's choreography, especially ``La Fille,'' which proved quite illuminating."

Dance Critics Association Conference
Masters past and future
Ashton, more Wheeldon en route to SF
New York
"The Ashton boom comes peculiarly late and just in the nick of time. His career-long home, the Royal Ballet, has just one Ashton ballet slotted on new director Ross Stretton's upcoming season. And the fact that SFB is ready and eager to pick up the slack only points to the penchant for diverse repertory artistic director Helgi Tomasson has cultivated here.
    "Groans that Tomasson would transform SFB into a wannabe New York City Ballet just don't hold up. Not that such a project would be ignoble: Though you feel like a fashion victim repeating it, Balanchine's ballets need resurrecting, too."
    ""...Some fret that Wheeldon is spreading himself too thin, taking every commission that comes his way. I say he's doing just what he should at this stage, creating around the clock until making dances is like breathing to him..."

New York On Tap
Old timers get back in the swing
New York On Tap
Barbara Duffy, Marshall Davies, Will Gaines, The Clark Brothers
by Judith Flanders
"New York on Tap was something of a misnomer for this delightful evening of tap fusion. Many of the dancers are British, and of the Americans appearing, two of the greats have been living in the UK for more than half a century.
    "Yes, that's 55 years - or 110 if you add them together, for we are talking about those national living treasures, the Clark Brothers. Jimmy and Steve Clark began dancing alongside Billie Holiday and Duke Ellington, and are still tapping strongly. "

Moscow Stanislavsky Ballet
Majesty and Missteps
The Moscow Stanislavsky Ballet introduces itself with a grab bag of pieces that emphasize company strengths as well as weaknesses.
Los Angeles
"Skinny Viacheslav Buchkovsky and burly Roman Malenko skillfully dominated the "Walpurgis Night" corps of horny satyrs, but lustfully pawing Ledovskaya, hurling her through the air, or raising her in the infamous Soviet crotch lift count as cheap thrills in any language.
    "Maybe Moscow audiences still get diverted by watching underdressed, muscle-pumping guys make themselves ridiculous on a desperate prowl for booty. But those of us who live in Hollywood can see all that out on the street."

Moscow Stanislavsky Ballet
A Refreshing Sojourn Along the Shores of 'Swan Lake'
Los Angeles
"Danced with disarming freshness and an unerring command of classical style, it is easily the best "Swan Lake" seen on local stages since the Royal Ballet brought its reconstruction of the Petipa-Ivanov edition to the Music Center in 1995. "

Pacific Northwest Ballet
Moving on: PNB dancers Tobiason, Apple, 5 others are bowing out
By Lesley Holdcroft
"They were real-life princesses, beguiling audiences with beauty, radiance and grace. They stepped out of carriages and danced on their toes, smiles as bright as their glittering dresses.
    "Now, just like the ending to a more modern fairy tale, Pacific Northwest Ballet principals Julie Tobiason and Lisa Apple are leaving the stage, departing the magic world of performance. "

Sydney Dance Company - Tracey Carrodus
Small wonder
By Jane Albert
"TRACEY Carrodus doesn't strike you as the aggressive type, so it is a shock to learn she has broken fellow dancer Simon Turner's nose not once, not twice, but four times. Happily, the injuries were not due to any bad blood between the pair but the result of Carrodus throwing herself into her work.
    "Two of the four broken noses came about during the Sydney Dance Company-Australian Ballet's collaborative work Tivoli last year. Carrodus, who has danced with SDC for six years, was performing her famous airborne Mademoiselle Mignon routine. The performance, which won her the 2001 Australian Dance Award for most outstanding performance in a stage musical, required her to be flung about the stage by three of SDC's strongest dancers, including Turner."

Jody Weber
Weber at her irrational best
Boston, Green Street Studios
by Theodore Bale
"With 14 years of experience performing and making original dances, Jody Weber can no longer be considered an ``emerging'' choreographer on the local scene.
    "Her style is now self-evident, and when she dares to assert the irrational side of her artistic personality, the results are absorbing.
    "Last night at Green Street Studios in Cambridge, Weber presented five dances she made during the past two years, in a program called ``Gossamer Descent.''
    "Two of the dances were stellar, a third one mostly pleasant, and the remaining two more like attempts at satisfying the modern dance status quo than heartfelt efforts. "

Jody Weber
From Jody Weber, bits of surface beauty
By Thea Singer
"ost of Jody Weber's dances are like grade-B provocations: bits and pieces of them get under your skin, but as a whole they don't incite you to action. Weber is adept at commingling varied textures and styles of movement, often with surprising results. Quirky details - a point of a finger here, a cock of the head there - punctuate sweeping curves, and witty exchanges interrupt classical lines. Yet of the five dances presented last night, just one, ''She's Going,'' maintained the cohesion needed to deliver both a compositional and a functional reason for being"

Life-saving dance
Dance troupe Umoja has emerged from Africa's darkest slums into the international spotlight. In the process it has saved hundreds of lives. Rodney Chester reports
by Rodney Chester
"MANY children build a house out of cardboard and plastic to create a world limited only by their imagination. When Mongezi Nyamaza was a child, his imagination was the only escape he had from his real home of cardboard and plastic under a bridge in a township near Johannesburg.
    "He had fallen out with his parents who had both remarried, so Nyamaza begged for scraps and shared his simple shelter with an old man.
    "Then one day a friend gave him a drum, saying "This is your money, this is your food".
    "Nyamaza began playing his drum on the streets for money. Later he discovered a drop-in centre where South African dancers Todd Twala and Thembi Nyandeni were helping young people develop self-esteem through learning dance and song."

Bebe Miller
{The picture comes from this piece and is directly hot-linked to it}
Choreographers span the time divide with dance
By Jo Roberts
"It is second time lucky for American choreographer Bebe Miller in her attempt to visit Melbourne's Dance Works. She was scheduled to visit last year, but found herself in New York at the time of the September 11 terrorist attacks. Stranded in the city for four or five days, unable to leave, she then felt she couldn't leave at all.
    ""I didn't want to go that far away (from home),'' says the native New Yorker on the phone from Ohio. ``It's hard to think back now, but politically, I didn't want to be that far away if something else happened.''
    "Miller, 51, teaches at Ohio State University for half the year, and spends the rest of the time working on other projects around the United States."

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Jane S

08-06-02, 10:48 PM (GMT)
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21. "RE: Saturday Links - 8 June 2002"
In response to message #20
   In a Financial Times column called The Expert's Experts. Gillian Lynne lists some of the choreographers she most admires


(I borrowed this link from balletalert - I spent some time this morning trying to find it but gave up after it had crashed my ancient Netscape twice.)

Also in the FT, in their How to Spend It section, there's an advertisement for a state-of-the-art widescreen TV, showing three smartly dressed people in a minimalist loft-type apartment, and what's on the screen they're watching? A ballet!

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09-06-02, 08:16 AM (GMT)
Click to EMail Bruce Click to send private message to Bruce Click to view user profileClick to add this user to your buddy list  
22. "Sunday Links - 9 June 2002"
In response to message #0
English National Ballet
It's tutus at dawn at the English Ballet
The company's former director hits back at his successor's jibes, accusing him of 'naive and foolish dreams', writes Catherine Milner.
By Catherine Milner
"The English National Ballet has never staged a drama like this. The company, which is more normally associated with the serene spectacle of ballerinas floating across the stage, has been transfixed by a bitter row over whether it should stage "dumbed-down"classics or "arty-farty" avant-garde productions.
    "Matz Skoog, the ENB's new Swedish director, has publicly accused the company of dumbing-down for a decade to the point where its dancers just have to "kick up their legs and look cute".
    "His illustrious predecessor Derek Deane is enraged by the criticism and yesterday told The Telegraph that Mr Skoog is endangering the ENB's future with his "naive and foolish" dreams of artistic freedom...."

English National Ballet, Rome and Jewels
Sound and fury signifying Shakespeare
Forget West Side Story. This is a streetwise Romeo and Juliet from the New Skool
Rome and Jewels, Peacock Theatre, London WC2
Double Concerto mixed bill, English National Ballet, Royal Opera House, London WC2
by Jann Parry
"The centrepiece was Christopher Hampson's first big-scale ballet, Double Concerto, to Poulenc's exuberant music. It combines massed manoeuvres to trumpets and drums with mysterious passages for the ballerina and her consort, piano keyboards chiming like a gamelan.
    "Daria Klimentova and Jan-Erik Wikstrom were supremely in command of their slow-motion balances and of the troops who invade their private territory. Double Concerto is a skirmish between the rights of the soloist and the might of the ensemble. Phalanxes of dancers are so exciting that the busy set and constant lighting changes are a distraction (as well as plunging Wikstrom dangerously into darkness on the opening night). As Hampson knows, the formal beauty of classical ballet provides its own thrill. All those disciplined ranks moving in unison can, like a military parade, lift an audience's collective heart. "

English National Ballet, Northern Ballet Theatre
Reach for the stars
NBT and ENB shine in their homages to Broadway
by David Dougill
"There can be no mistaking the fresh spirit of zest and confidence in Northern Ballet Theatre under its new artistic director, David Nixon, whose second production for the company, I Got Rhythm, was premiered at Sheffield’s Lyceum theatre and can soon be seen in Leeds.... Altogether a happy event, which, programmed for only a three-venue tour, deserves to return.
    "Last weekend, English National Ballet, on its brief and first-ever appearance at the Royal Opera House, danced this as the zippy climax to a fine triple bill, with the debonair Dmitri Gruzdyev and the beautiful Begoña Cao starring. Thomas Edur was the noble god in the Balanchine-Stravinsky neoclassical masterpiece, Apollo. In the middle came the young choreographer Christopher Hampson’s big company ballet Double Concerto (to Poulenc’s brilliant Concerto for two pianos and orchestra).
    "Created last November, with its big duets — Daria Klimentova and Jan-Erik Wikström splendid in the leads — and bold, inventive dispositions of a large corps de ballet, ENB scored a big success here. Lucky them, to have on call a talented home-grown choreographer who can deliver quality classical dance with a modern flair. "

Houston Ballet
Houston Ballet dances solid 'Quixote,' despite setbacks
"The injuries of three soloists wreaked havoc with Houston Ballet's Don Quixote Thursday, requiring a page of changes in the program. But once the curtain rose, the company delivered a solid, entertaining show.
    "Lauren Anderson and Dominic Walsh were swell in the leads, with a grand pas de deux that would hold its own anywhere.
    "In her element as Kitri, Anderson was less exuberant in Act I than she's been in the past. But a new level of maturity surfaced in Act II, where she floated with dreamy tenderness as Dulcinea. In Act III's grand pas, she channeled her energy into virtuosity. See her on a night like this and you know why Anderson is famous."

Moscow Stanislavsky Ballet
Amplifying 'Don Quixote'
The visiting Moscow Stanislavsky Ballet devotes community effort to the telling of a story.
San Francisco
"The best thing about the Moscow Stanislavsky Ballet "Don Quixote" is the Moscow Stanislavsky Ballet.
    "Other companies ask their corps and character dancers to stand around while the stars show off. This one sets everyone dancing along with the stars, forming a large-scale amplification of the central action.
    "It's thrilling and it's also the reason why Russian companies remain unbeatable: At the Kodak Theatre on Thursday, you saw a whole community moving from one impulse in one style--impossible in America, where almost everyone is trained by different teachers according to different systems, and increasingly rare in Western Europe..."

Evelyn Cisneros
Cisneros' solo encore
Beloved ballerina, retired from Ballet in '99, returns to dance with the Symphony
San Francisco
by Octavio Roca
"Evelyn Cisneros is back.
    "There were many who felt that San Francisco Ballet's most beloved ballerina had danced away from us too soon when she called it quits in 1999 at the age of 40. Now, thanks to Michael Tilson Thomas and his San Francisco Symphony, Cisneros is going to dance again.
    "She will play the title role in a semistaged version of Rimsky-Korsakov's "Mlada," choreographed by Val Caniparoli. The piece, an intriguing rarity, will be the climax of the Russian Festival that begins June 13 with a symposium on Russian music and promises Cisneros' comeback at Davies Hall on June 27, 29 and 30."

American Ballet Theater - behind the scenes
The Man Who Makes It All Click
The Dream
New York
"WHEN the curtain at the Metropolitan Opera House rises tomorrow night on American Ballet Theater's production of "The Dream," most of the 3,800 people in the audience will delight in the artistry of the dancers onstage. Few will give more than a passing thought, however, to the skill and dedication of those who work behind the scenes to make the magic possible.
    "The small staff that deals with scenery, lighting, costumes, hair, makeup and stage and touring schedules, as well as budgets, union and labor issues, freight and trucking is led by David G. Lansky, who has been the company's production manager since 1996..."

New York dance venues - The Joyce Theater
No Longer Defenseless, Dance Finds an Advocate
New York
"New York is the dance capital of the world," Mr. Yesselman said. "The whole world knows of the centrality of New York to dance." With one exception, he added: New York City itself has little inkling of its importance to the history and production of dance throughout the world....

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