“The 27-year-old Ukrainian … has been cast in two hot upcoming titles: Kenneth Branagh’s all-star adaptation of Murder on the Orient Express and the spy thriller Red Sparrow from Fox, appearing alongside Jennifer Lawrence and Joel Edgerton.”
“This year we celebrate four extraordinary dance heroes: New York City Ballet principal Tiler Peck, choreographer Lar Lubovitch, activist/teacher Carolyn Adams and historian Lynn Garafola.”
“Michelle Dorrance is a new kind of tapper. Classically, tap is a matter of a cool, contained upper body suspended over a huge clatter down below—a contrast that is supposed to be witty and, in a great or even good tapper, is. (“My feet are producing twenty taps a second, in alternating rhythms? Gee, I didn’t notice.”) Dorrance supplies plenty of action in the feet, but meanwhile the rest of the body is all over the place. Her elbows fly out; so do her knees, in great, lay-an-egg squats. She looks like a happy little tomboy vaulting around in a tree. Now and then, she’ll put on the mood-indigo, darkness-in-my-soul expression sometimes seen in tappers, or, alternatively, the Vegas-y let-me-entertain-you expression, but both of them fall off her face pretty fast, because she is fundamentally unaffected.”
Callum Linnane didn’t have a contentious relationship with his dad, though: “It’s been a quick rise to public notice for the country boy, who began tap-dancing classes at the age of seven and started ballet classes when he was 11. His father reportedly learnt to love ballet and even made the sets for his performances as a child.”
This is a huge reimagining of the Robert Joffrey “Nutcracker” for the Joffrey Ballet of Chicago: It’s set at the 1893 Columbian Exposition, and a lot of money – like, a lot of money – is riding on its success.
“In the last year as many as 12 dancers and other staff have left the national ballet company … Three or four left directly because of the way they were treated by Francesco Ventriglia, sources told RNZ.”
“The 35-year-old [plaintiff] accuses former dance instructor and photographer Bruce Monk of sexual assault, child exploitation and human trafficking, among other offences.” Monk allegedly pressured the young woman to pose for nude photos when she was 16.
This preview of the documentary Dancer gives a good overview of the story of “ballet’s James Dean” – with quotes like this one about his troubled period in London: “At first, I didn’t want to talk to the media, I feel like I was shaken into talking to them, then they became [a sounding board]. … I started using the media as psychiatrists, I guess, they were someone to talk to.”
Washington Ballet director Julie Kent commissioned him to create a work for the JFK centennial celebrations at the Kennedy Center – but, as he says, “I didn’t want to do JFK: The Ballet.” (Think of the fights over who’d get to dance Jackie and Marilyn.) He came up with the idea for what to do instead (where else?) on one of his motorcycle odysseys.
“What I love now is mentoring young people about performance. Where do you get your ideas? You must read, do your homework. And get rid of those cellphones. Lift your eyes and look at each other. You aren’t going to grow if you don’t watch people. Tell their stories. Tell your story.”
“‘I sort of thought, well that was interesting, and it was great, and I had the 30 years in SoHo,’ she said before a rehearsal in Brooklyn last month. ‘I’m sort of moving on.’ That worked for a while.”
Ankle surgery in 2014 has kept him out of commission for quite a while, so he’s giving his repaired foot a test run next month – a long way from the hubs of the world’s dance media. (He told the New York Times he wants to “just step onstage quietly here and see what transpires.”) Of course, now that a Sydney journalist has broken the news, the world’s dance media will probably flock there to watch.
“People who’ve never been to any ballet, let alone The Nutcracker, have heard of her. Yet who is she? And why does she dance?”
Dancers can cover their tats with makeup, but there are some challenges: “Covering tattoos in more exposed areas isn’t easy. Dancers not only sweat, but they have to lift, catch and clutch one another, which means damp body parts and makeup rubbing against expensive, difficult-to-clean costumes.”
“On Saturday, the Ballet Theatre will officially make Baltimore one of its three performing homes. For the first time since 1993, the city will have a fully professional resident ballet company, though that means sharing the troupe with Annapolis and Bowie. No longer will Baltimore be just a stop on a national ballet company’s tour — and in recent years, the city has barely been even that.”
Robert Battle’s family didn’t have a lot of money when he was in elementary school, so when his mom made sure he had his dance shoes before starting lessons, it was a big deal: “I would even sleep with them. Just by putting them on, I had the keys to what I was hoping to become.”
“All of the sounds of the ice—stop-stop-stop, melt-melt-melt, crack-crack-crack—can be transferred to the body. It was an amazing experience, in the middle of Paris, in the middle of the night, in the cold. Everything was changing, second by second. I’ve been to Iceland, and to the Faroe Islands, but I have never been surrounded by ice before. And then the people of Paris stopped to watch us, watching the ice. It was a mirror.”
Oskar Schlemmer created his 1922 Triadic Ballet as a response to the Industrial Age. Now two curators and 30 collaborators, including Karole Armitage (choreography) and furniture designers the Campana brothers (costumes), have mounted an updated version in, of all places, Jersey City.
Last week the artistic director of Festival Ballet Providence and an assistant went to the company’s storage space to fetch the crates full of costumes and found that many were half-empty. They have three weeks to find replacements.
On most mornings, loud EDM, tinged with strokes of traditional Chinese music, blasts from giant speakers in the nation’s parks. Those parks fill with grandmas and a smattering of grandpas who have forsaken tai chi for “sailor dancing.”
Former Royal Ballet member Will Tuckett conceived, organized anc choreographed a new version of the Christmas chestnut that would have the audience at tables as guests at the Act I Christmas party and wandering through the space (a converted industrial print shop) to take in the set pieces of Act II. Then the cash ran out.
Oh yes, he can definitely do the moves. (photo gallery)
Hilaire, who was a star at the Paris Opera Ballet, has been a contender both for that ballet’s artistic director and for the La Scala Ballet’s AD. He will now run the Stanislavsky and Nemirovich-Danchenko Moscow Music Theater.
She started practicing about a decade ago: “The froufrou dresses, the bling, the spray tan, the hair. … At that time I had never really walked in high heels. I didn’t have pierced ears. I didn’t have contact lenses. You can’t do competitive dance in bifocals.”
The Ballet, along with the Boulder Phil, is trying out a “sensory-friendly” ballet for kids and adults who may need to move or make sounds during the performance. Lights will be up at 35 percent, staff are on hand to answer questions, there’s a designated ‘quiet room’ and much more.
Tamara Rojo “is the company’s marquee ballerina (along with a fellow Royal Ballet alum, Alina Cojocaru), somehow managing to keep up her technical form and artistry while acting as a one-woman visionary, manager, cheerleader and glamorous high-profile ad for her organization.”
The Spanish choreographer, who earned worldwide renown at the helm of the Compañía Nacional de Danza in Madrid, has not had an easy time of it at the Staatsballett Berlin – which announced in September, three years ahead of time, that his contract would not be renewed. Back in Madrid for a gala, Duato explains what he’ll do instead. (in Spanish; Google Translate version here)
Ken Tabachnick, who began his career as a lighting designer, is currently a consultant and has previously worked as Deputy Dean at NYU’s Tisch School, dean of the School of the Arts at SUNY-Purchase and General Manager of New York City Ballet.
“I came away thinking, One thing we can be proud of is that dancers from all over the world want to come to the United States. This is the country where they find themselves as artists.”
Former principals Jennifer Kronenberg and Carlos Guerra, who retired from MCB in the spring, have founded Dimensions Dance Theatre of Miami, which makes its debut this weekend.