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writers on dancing

Volume 5, Number 24 - June 18, 2007

this week's reviews

ABT's Spring Met Season
"Manon"

June 11, 2007 (Ferri-Bolle)
reviewed by Susan Reiter
June 12, 2007 (Kent-Gomes)

reviewed by Leigh Witchel
June 13, 2007 (Ferri-Corella)
reviewed by Michael Popkin

New York City Ballet's Spring Season
"Jewels"

June 7, 2007
reviewed by Mary Cargill
June 8, 2007
reviewed by Tom Phillips

Shush
Pascal Rioult Dance Theater

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?

NYCB's Spring Season
Essential Balanchine (June 2, 2007)
reviewed by Leigh Witchel
International Balanchine (June 7, 2007)
reviewed by Michael Popkin
Wheeldon's "The Nightengale and the Rose" (June 8, 2007)
reviewed by Mary Cargill

Darcey Bussell's Farewell, and more
The Royal Ballet

by John Percival

ABT's Spring Met Season
"The Sleeping Beauty"
June 6, 2007 (Vishneva-Hallberg)
reviewed by Susan Reiter
"The Sleeping Beauty"
June 9, 2007 (Murphy-Hallberg)

reviewed by Michael Popkin

Suzanne Farrell Ballet at the Kennedy Center
Program A

reviewed by George Jackson
Program B
reviewed by Alexandra Tomalonis



ABT's Spring Met Season
"Manon"



June 11, 2007 (Ferri-Bolle)

reviewed by Susan Reiter

June 12, 2007 (Kent-Gomes)
reviewed by Leigh Witchel

June 13, 2007 (Ferri-Corella)
reviewed by Michael Popkin



New York City Ballet's Spring Season
"Jewels"

June 7, 2007
reviewed by Mary Cargill

June 8, 2007
reviewed by Tom Phillips

 

 

 


Shush
Pascal Rioult Dance Theater

by Lisa Rinehart

True to his mentor, Martha Graham, Pascal Rioult is fond of freighting iconic musical compositions with rippling musculature and sententious gesture. Unlike Graham, however, he's not so good at it. Even for the Joyce Theater, New York's current temple of mediocrity in dance, Rioult's program is a forced march from the mildly enjoyable to the truly bad. This is partly because of worrisome musical choices that range from jazzified Mozart and synthesized Bach to Stravinsky's Symphony of Psalms — a piece of music that should probably never be danced to. But mostly, it's because Rioult chooses to parade regiments of dance cliches through every piece. Not just signature Graham moves like the swastika jump and the gliding running step, but conventions musty as the pregnant pause before the whirl of movement, and the oh-so-potent sharply raised arm evoking wistful longing. Even the dewiest dance watcher has seen these bits better utilized. Rioult wants to be trenchant, but hasn't found a choreographic voice to match his ambitions and the dances feel forced. READ MORE


 

 

 

 

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