The two stars, “who have electrified the dance world both on-stage and off thanks to a series of scandals, have announced they are to perform together for the first time in the UK, as they make a surprise move into contemporary dance.”
Moira Walley-Beckett: “They [the young dancers in the cast] called me Mama Moira. It was a huge priority for me. Because I’ve been there, and I know what it’s like, and I know that they’re all secretly imploding. For most of them, it was the first time they’d been under these kinds of pressures. … It was really important to me to try to keep them safe in every way that I could.”
“For years, the ballet has been dogged by cash-flow problems and a revolving door of leaders – six in the past six years. [Now-former interim executive director] Cundiff took up the top job in March.” Chief fundraiser Julie Gillespie, who started with the company in July, was also let go. The schedule of annual Nutcracker performances, expanded in September, has been reduced, and the board is considering canceling its contract with the Orlando Philharmonic.
“‘I am not nice,’ [she] said. Seated in her dressing room … Ms. Guillem burst out laughing. ‘That has gotten me into a lot of trouble.'”
“In the first of a new series exploring dancers’ lives, Xander Parish of the Mariinsky Ballet gets into the role of Romeo, explains how to be the perfect partner and considers his hectic schedule.”
“Los Angeles dance artists are fighting an uphill battle with few or no dance critics writing about their work, a very small grant pool, high studio rental fees, a lack of affordable performance venues and presenters who aren’t willing to take a chance on supporting local talent.”
“‘As our Nutcracker becomes more successful and the number of sold-out Nutcracker performances grows, so do the number of ticket resellers,’ Clark said. ‘And they’re selling them at significantly higher prices.'”
“The cast members who play dancers are actually dancers. Ms. Walley-Beckett regards the show, a psychological drama about obsession and worship, as the anti-‘Black Swan,’ the Natalie Portman thriller that was the last ballet drama to achieve mass success; it relies on neither the fantastic nor body doubles.”
“Polunin has achieved everything that Womack dreams of. And for him, that is cause for despair.”
On the stages of American Ballet Theater and New York City Ballet black, Asian, Latino and multiracial dancers are beginning to change the face of ballet where it matters most: Lincoln Center, home base to both companies.
David Binet, Board Chair of The National Ballet of Canada, today reported that company revenues were $30,851,000 with expenses at $30,806,000 resulting in an operating surplus for the year of $45,000 and accumulated surplus of $65,000.
Over the next two years, the company will be moving to new studios, selling its old building to retire all of its $1.8 million debt, expansion into the suburbs, and a summer outdoor series dedicated entirely to women choreographers – and, of course, the ballet-and-beer initiative.
Perhaps the (ex-)policeman in Columbia, SC who threw a high school student across the classroom should have followed the example of this officer in D.C. (video)
“While the dance minor and graduate program will remain, the school has proposed dissolving the dance major under budget constraints. … Founded in 1938, Mills’ dance department is the oldest, continuously-run program in the country today. With that comes a list of distinguished alumni, including Molissa Fenley and Trisha Brown.”
Françoise Gilot, an accomplished painter herself and still active at age 93, has created the backdrop for Gomes’s new AfterEffect, the first work he has choreographed for his colleagues at American Ballet Theater.
The founding mother of ballet in Cuba recalls her early training and career, convincing Fidel Castro to fund a professional national company, and convincing skeptical parents that ballet could be a career. (video)
“Bolshoi Theatre general director Vladimir Urin appointed Makhar Vaziev, who has led La Scala Ballet for seven years and, before that, spent 13 years at the helm of the Mariinsky Ballet. Many Russians are relieved that the choice is a former dancer with leadership experience and good taste. But questions surround this appointment.”
It’s by no means only the drama surrounding the acid attack on outgoing director Sergei Filin, as bad as that was. Ismene Brown explains.
“There is of course one place where language is not so helpful and that is if you are actually interested in what a dance is.”
“I spent one whole year formulating the business, the brand, and what I was actually trying to get at because I didn’t want to rush ahead into another show. I wanted to create a dance company for young professionals who were just like me. The target audience I was reaching was high-caliber dancers who wanted to continue dancing and choreographing into their adult lives.”
“The Philippines is rightly proud of the newest Pinoy star in the global pantheon. ‘I’ve gotten so many beautiful comments on social media,’ says Stella [Abrera], ‘and shout-outs from young Filipino dancers, all saying #PinoyPower.'”
Kurt Jooss “made scores of ballets, founded schools and companies, and was instrumental in developing a whole German style, Ausdruckstanz, which is still with us, above all in the work of the late Pina Bausch.”
“[Merce] was by all accounts at his most personal and driven in a series of three extraordinary 1950s solos he made to music by Christian Wolff.” One of those solo’s Changeling, was rediscovered in a 1958 German TV film. Now visitors to Boston can see both the film itself and a live performance of the reconstructed dance by Silas Riener.
In 1997, “he made his first foray into installation work at the Roundhouse in London with White Bouncy Castle, which had spectators bounding and falling in a giant rubber courtyard. He described it at the time as ‘a choreography that is incapable of being false.’ It’s a description that fits a subsequent substantial body of work that generates movement in spectators – by navigating between the swinging pendulums …, clambering through 200 gymnastic rings without touching the floor …, [or] moving extremely slowly in order not to disturb a whirlpool of fog.”
“Mr. Morris’s sharp, unstinting observations have the bite of reality TV, like a melding of ‘Dance Moms’ and ‘Shark Tank,’ with dancers presenting ideas in movement, only to be lauded or crushed.”
“The untitled project, which has been set up at Fox through 20th Century Fox TV, follows a young, hip and diverse group of aspiring dancers as they fiercely compete for places in a top ballet company.”
“‘I needed to look at the body as body, movement as movement,’ he says, ‘not as defined by someone else’s aesthetic.’ The piece was developed from everyday actions: there are no formal hand gestures, no folk steps.”
“Gender identity in ballet – men depicted as strong, women as demure – that’s one of the things that disconnects ballet the most from the present world. I’m trying to find a way to express contemporary relationships that look like the relationships that we, as people, have today, while not abandoning that technique.”
Ballet becomes melded with pop culture as Jimmy Kimmel wears a pink tutu to dance with Copeland.
Choreographer Dan Canham says that his Of Riders and Running Horses is “about reclaiming the city space in a gentle way. In the four UK cities the show has been performed in so far, he said they always ended with a spontaneous dance party erupting as the audience joined in.”