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writers on dancing

Volume 5, Number 28 - July 16, 2007

this week's reviews

White Nights, Beige Days
A Letter from St. Petersburg

by George Jackson

Not Made in Japan
Big Dance Theater at Jacob's Pillow

by Lisa Rinehart

Letters and Commentary

London Letter
Royal Ballet, Birmingham Royal and English National Ballets
announce their seasons

by John Percival

San Francisco Letter 26
San Francisco Ballet: Programs 6 and 7

by Rita Felciano

Letter from London
Henri Oguike Dance Company, Richard Alston Dance Company

by John Percival

Letter from Copenhagen
Nikolaj Hübbe to take over his parent company

by Eva Kistrup

did you miss any of these?

ABT's "Cinderella"
by Leigh Witchel

Glen Rumsey's "little virtue"
by Susan Reiter

Shakespeare in the Park's "Romeo and Juliet"
by Tom Phillips

ABT's Spring Met Season
"Swan Lake"

June 28, 2007 (Murphy-Hallberg)
reviewed by Leigh Witchel
June 29, 2007 (Wiles-Hallberg)

reviewed by Mary Cargill

Hell's Kitchen Dance
by Susan Reiter

San Francisco Ethnic Dance Festival
by Ann Murphy

New York City Ballet's Spring Season Closing Week
"Jeu de Cartes," "The Nightingale and the Rose," "Robert Schumann’s Davidsbundlertänze"
June 17, 2007

reviewed by Leigh Witchel

"Raymonda Variations," "Dybbuk," "Stravinsky Violin Concerto"
June 19, 2007

reviewed by Leigh Witchel

Kyra Nichols' Farewell
June 22, 2007

reviewed by Mary Cargill

"Jewels"
June 23, 2007 (evening)

reviewed by Michael Popkin

ABT's Spring Met Season
"Romeo and Juliet "

June 20, 2007 matinee (Ferri-Bolle) and
June 23, 2007 evening (Murphy-Hallberg)

reviewed by Susan Reiter

June 20, 2007 evening (Dvorovenko-Carreno)
reviewed by Mary Cargill

June 22, 2007 (Kent-Corella)
reviewed by Tom Phillips

Naharin's "Decadance"
Clear Lake Contemporary Ballet

by Susan Reiter



White Nights, Beige Days
A Letter from St. Petersburg

by George Jackson

Choreographing for the Maryinsky ought not to be done casually, off the cuff. Due consideration is called for because of the company’s grand traditions, its gigantic size (about 200 dancers and countless support staff with their attendant entropy (i.e., resistance to change), and its current circumstances (a sort of dual directorship that observers have called an unending duel). Also taken into account must be the particular charge that comes with a commission and, if the piece is to outlast one season, the company’s long range repertory needs. READ MORE


Not Made in Japan
Big Dance Theater at Jacob's Pillow

by Lisa Rinehart

Paul Lazar and Annie-B Parson are storytellers with a fondness for irony and a sharp eye for imagery. Their collaborative group, Big Dance Theater, has tackled with zeal the likes of Flaubert, Twain, the Bible, and Tanizaki, creating movement theater saturated in beauty, humor and soul. Their latest effort, "The Other Here," a co-commission by the Japan Society in New York and the Jacob's Pillow Dance Festival, is no exception. Lazar and Parson interlace modern fables by Japanese writer Masuji Ibuse with traditional Okinawan dance, Japanese pop music, and the pseudo mysticism of a contemporary insurance sales conference. Dance theater and a sales conference? Yes indeed. Lazar and Parson morph one of Ibuse's protagonists into a hawker of life insurance and, taking inspiration from the transcripts of an annual gathering of top life insurance salesmen, probe the hokey underbelly of corporate financed motivational speaking. These are strange bedfellows, but Ibuse's tales of a master's maltreatment of a lazy servant ("Life at Mr. Tange's"), and a friend's guilt over the stewardship of a valued carp ("The Carp"), somehow parallel the irony of pumping up insurance salesmen to sell policies to the unwitting. Lazar and Parson use the prodigious talents of their company, and almost every performing art there is, to make an engaging East meets West riff on mortalityREAD MORE

 

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