Jan McNulty

Links - Tuesday, Oct 20 2015 Review – New York City Ballet, Fall Season roundup, New York: Alastair Macaulay, NY Times Review – New York City Ballet, Harlequinade, NY Export: Opus Jazz, New York: Mary Cargill, Danceview Times Review – Jose Limon Dance Company, The Unsung, The Moor’s Pavane, The Winged, New York: Brian Seibert, NY Times Review – Birmingham Royal Ballet, Theme and Variations, Enigma Variations, The King Dances, London: Judith Mackrell, Guardian Cristina de Lucas, Bachtrack Preview – Boston Ballet, Third Symphony of Mahler, Boston: Sharon Basco, WBUR Review – Twyla Tharp, 50th Anniversary Tour, Berkeley: Janice Berman, SF Classical Voice Review – Washington Ballet, Latin Heat programme, Washington: Hilary Stroh, Bachtrack Review – Silicon Valley Ballet, Giselle, San Jose: Terez Rose, Bachtrack Reviews – Dan Canham. Of Riders and Running Horses, London: Lyndsey Winship, Standard Josephine Leaske, London Dance Feature – Corella’s Pennsylvania Ballet gains a Spanish flavour: Nancy G Heller, Philadelphia Inquirer Review – Lost Dog Dance, Paradise Lost (Lies Unopened Beside Me), Bath: Emily Brown, Bachtrack Review – Idan Sharabi, Ours; Claire Cunningham, Give Me a Reason to Live, London: Rachel Elderkin, London Dance Review – Fall for Dance Festival, New York: Olga El, Broadway World Review – Velocity Dance Festival, Washington: George Jackson, Danceview Times Review – Abou Lagraa, Le Cantique des Cantiques, Paris: Laura Cappelle, FT Review – Sarasota Contemporary Dance, mixed programme, Sarasota: Carrie Seidman, Sarasota Herald Tribune Interview/Preview – Merli V Guerra (Luminarium Dance Co): Janine Parker, Arts Fuse Feature – Ching Ching Wong and other Princess Grace Award winners from Northwest Dance Project: Gavin Larsen, Oregon Artswatch Review – Jose Mateo Ballet, Isle of the Dead, Circles, Covens, Cambridge, Mass: Iris Fanger, Patriot Ledger Review - In the Heights (ch. Drew McOnie), London: Clare Cohen, London Dance

The emphasis is on the dancer but the dancer must be in a company...

The Red Shoes?

Links - Monday, Oct 19 2015 Interview – Carlos Acosta: Telegraph Interview – Matthew Bourne: Mark Shenton, Stage Review – Twyla Tharp, 50th Anniversary Tour, Berkeley: Allan Ulrich, SF Chronicle Review – Fall for Dance Festival, Programme 4, New York: Leigh Witchel, Danceview Times Review – Breakin’ Convention, New York: Alastair Macaulay, NY Times Interview – Yuan Yuan Tan, San Francisco Ballet: Jessie Bryson, The Beijinger Review – Silicon Valley Ballet, Giselle, San Jose: Claudia Bauer, SF Chronicle Review – H2dance, Staging Ages, London: Jann Parry, DanceTabs Review – Tao Dance Theatre, Weight x 3, Sarasota: Carrie Seidman, Sarasota Herald Tribune Preview Feature – Choreographing the fears and frustrations of modern India: Sanjoy Roy, Guardian Review - Igor and Moreno & The Place, A Room for All Our Tomorrows, Leeds: Mark Smith, British Theatre Guide Review – Idan Sharabi, Ours; Claire Cunningham, Give Me a Reason to Live, London: Sanjoy Roy, Guardian Review - Risa Jaraslow & Dancers, Resist/Surrender, Four Dialogues: A Solo, San Francisco: Allan Ulrich, SF Chronicle Feature – Darcey Bussell talks about her hip re-coating and Strictly: Martha Cliff, Mail Film Review – Spear: Luke Buckmaster, Guardian Film Review – A Ballerina’s Tale (Misty Copeland): Scott Tobias, Variety Preview – Nashville Ballet, Dracula, Nashville: Amy Stumpfl, The Tennessean Review - Sasha Copland, The Wine Project, Nelson: Janet Whittington, NZ Theatreview Feature - SALT Contemporary Dance: Kathy Adams, Salt Lake Tribune

I saw the first three performances in Manchester this week - the first time I had seen the production on a proscenium stage (as opposed to the intimacy of the WYP setting). In some respects I thought it worked better and in others not quite as well. The screen effects were much more startling even than they had been at WYP. The dancers did not seem to be dancing in such a tight triangle so some of the claustrophobic feeling was lost, but that is a minor quibble. It definitely works in the proscenium environment! Over three performances I saw two casts - Toby/Martha and Isaac/Dreda. Both partnerships have grown even more into the roles. I have been noticing more too - it's definitely a production that bears repeated viewings. Toby Batley proves over and over again that he is one of the best dance/actors around. He totally inhabits the role of Winston; he manages to change his whole stance to one of world-weariness and dejection to one who finds hope with Julia, O'Brien and the thought of The Brotherhood and then is utterly defeated by his betrayal. Martha Leebolt is another dancer who inhabits her roles. As Julia she makes it clear that she is the one taking the lead initially in the relationship. For me, the end of the duet in act 1 sends shivers down my spine - after the ecstasy of finding each other and as they are walking to the back of the stage Julia and Winston look back as if they are unable to believe they are not being overlooked. The final scenes continue to be very moving and bring a lump to my throat. I am intending to see more of 1984 next year!

Hello Bridiem and welcome to the Forum! I hope we'll hear more from you.

Very sad news indeed. I saw him in a number of character roles over the years and will never forget him as the gaoler in Manon. Sincere condolences to David Drew's family and friends.

I haven't seen the Nutcracker on Ice but in previous years I have seen Sleeping Beauty and Swan Lake and found them both very enjoyable.

I thoroughly enjoyed the 2 performances I saw yesterday. I loved seeing The King Dances again and was even more taken with it than I had been in June. It is so striking to look at and (certainly from the front row) the torches provided a welcome warmth after the chill outside! It was good seeing so many chums and fellow Forum members too.

It probably depends on the circumstances Capycavers. I've seen both situations with various companies.

I went to Atlanta in 2000 to see Michael Pink's Dracula. Despite the fact that we saw very few white people during our few days wandering round the city, I saw very few black people in the audience. I got talking to the black lady sitting next to me at one performance and she expressed surprise too, but she was from California!

Links - Saturday, Oct 17 2015 Review – Mariinsky Ballet, Cinderella, Los Angeles: Jean Lenihan, Arts Journal Review – New York City Ballet, Harlequinade, NY Export: Opus Jazz, New York: Lauren Gallagher, DanceTabs Gallery – Birmingham Royal Ballet, Theme and Variations, Enigma Variations, Kin,. Birmingham: Dave Morgan, DanceTabs Review – Birmingham Royal Ballet, Swan Lake, London: Graham Watts, London Dance Review – Northern Ballet, 1984, Manchester: Natalie Anglesey, Manchester Evening News Review – Hubbard Street Dance, Quintett, N.N.N.N., One Flat Thing, Chicago: Alastair Macaulay, NY Times Video Debate – How do we level the playing field for female choreographers: London Dance Video Interview – Benjamin Millepied, AD Paris Operal Ballet: Eve Jackson, France24 (in English after French advert) Feature – William Forsythe: Roslyn Sulcas, NY Times News – This week’s new dance in Salford and London: Judith Mackrell, Guardian Review – Richard Alston Dance Company, Stronghold, Volta, Mazur, Nomadic, Brighton: Neil Norman, Stage Feature – Carlos Acosta, My Music: Staff, Gramophone News – Royal Opera House unveils new costume store in Thurrock: Georgia Snow, Stage Review – Complexions Contemporary Ballet, Beyond 20, Philadelphia; Eri Yoneda, Phindie Review – Dan Canham, Of Riders and Running Horses, London: Judith Mackrell, Guardian Review – Batsheva Dance Company, Decadance, Melbourne: Brigid Delaney, Guardian Previews – Milwaukee Ballet, Dracula, Milwaukee: Elaine Schmidt, Milwaukee Journal Sentinel Peggy Sue Dunigan. Broadway World Review – Silas Riener, Blue Rain, New York: Gia Kourlas, NY Times Review – Moriah Evans, Social Dance 9-12: Encounter, New York: Brian Seibert, NY Times Review – HT Chen and Dancers, South of Gold Mountain, New York: Gia Kourlas, NY Times Review – Arova Contemporary Ballet, Boomerang, Birmingham Alabama: Rachel Hellwig, arts bham Video Feature – Behind the scenes at a Paris Opera Ballet photo-shoot: Nicole Loeffler-Gladstone, Dance Spirit Interview - Marshall Ellis: Kimberley Moy, Broadway World Review - ME Dance, Serenity, Orlando: Kimberley Moy, Broadway World

I wasn't at the Saturday evening performance in Birmingham so wasn't commenting on that performance. Perhaps she is not pacing herself so well as that was her third performance and she had been dancing in the corps at all the other performances I saw.

Sorry MAB, I don't know which post you are referring to but the rule still applies.

The BBC cameras were recording last night's performance (which caused some seating chaos and a late start) and I believe they are also filming Saturday afternoon's performance.

I know exactly what you mean Anna. I saw Die Kameliendame at POB some years ago. Two of my friends had been absolutely raving about this production since they first saw it in Copenhagen nearly 20 years earlier. After the first performance I saw I thought it was pleasant but could not understand what all the fuss was about. But the second night ... Agnes LeTestu and Jiri Bubenicek ... oh wow oh wow oh wow. It was like watching a completely different ballet and to this day I cannot understand I was sobbing hysterically while a dancer was just stood at the side of a stage reading a book!! I will never forget that performance. My friend and I were beyond the power of speech for about an hour afterwards.

I suppose all dancers have performances where something does''t quite work - her fouettes at both the Lowry and in Birmingham were impeccable. Having seen her in various roles now, I would say she is definitely a young lady to watch!

It's funny, and wonderful, how we all see things differently. I saw the Neumeier production in Copenhagen and positively loathed the production (but admired the performances).

I think Bill, if this thread has proved OVER AND OVER AGAIN, there is absolutely no need whatsoever for Mr O'Hare to call in anyone at all! There have been some interesting discussion points raised, even if I have, personally, disagreed with some of the opinions stated.

Exactly Anna! Penelope (if I may call you that) I find your comment about ENB's Nureyev production incredibly rude. It may not be my favourite production (and neither is the MacMillan as it happens) but it is hardly inferior and ENB has got some wonderful interpreters of the various roles.

Well said Anna! Here is the link to the Eric Underwood feature: http://www.standard.co.uk/es-magazine/royal-opera-house-ballet-star-eric-underwood-i-want-to-be-a-great-dancer-regardless-of-my-colour-a3091036.html I would also like to point out that there are companies in this country other than ENB and RB, Cavycapers!

Oh Floss, how I agree with you about Ashton's R&J.

Links - Friday, Oct 16 2015 Review – New York City Ballet, Polaris, The Blue of Distance, Common Ground, New Blood, Jeux, New York: Martha Volgyi, Broadway World Reviews – Bolshoi, Giselle (live screening); Birmingham Royal Ballet, Variations Triple Bill, Birmingham: Ismene Brown, Spectator Reviews – Birmingham Royal Ballet, Swan Lake, London: Margaret Willis, DanceTabs Shelley Pinto-Duschinsky, Bachtrack Reviews – Joffrey Ballet, Sylvia, Chicago: Alastair Macaulay, NY Times Hedy Weiss, Chicago Sun Times Preview Feature – American Ballet Theatre, The Green Table (Jooss), New York: Joan Acocella, New Yorker Feature – Eric Underwood (Royal Ballet): Stephanie Rafanelli, Standard Reviews – Fall for Dance Festival, New York: Deborah Jowitt, Arts Journal Lauren Gallagher, DanceTabs Review – Jose Limon International Dance Festival, New York: Apollinaire Scherr, FT Feature – Lam Chun-Wing, the first Chinese dancer in Paris Opera Ballet: Joyce Lau, NY Times Review - English National Ballet, Romeo and Juliet, Bristol: Staff, Western Daily Press News – This week’s dance in New York: Staff, NY Times News – Cast Announced for Matthew Bourne’s Sleeping Beauty: Carmel Smith, London Dance Review – Footnote New Zealand Dance, 30 Forward, Auckland: Roxanne de Bruyn, NZ Theatreview Review – Complexions Contemporary Ballet, Ballet Unto, Gone, Philadelphia: Merilyn Jackson, Philadelphia Inquirer Review – New Chamber Ballet, In the Parlour, La Mandragore, Gravity, Friction, New York: Matt Hanson, Broadway World Review - Lost Dog / Ben Duke, Paradise Lost (lies unopened beside me), London: Graham Watts, DanceTabs Review - Charlotte Ballet, Fall Works, Charlotte: Lawrence Toppman, Charlotte Observer

I'm not defending the critics but if their employers will not pay them, as I know from my own travels, it is an expensive business. It is not so easy to book well in advance if you do not know when the press performance is going to be and it is not always easy to book into a budget hotel at reasonable cost even if you have plenty of notice. Furthermore, but slightly changing the slant of this, there are many other dancers who should be reviewed who do not dance press performances as a matter of course. Before the category was changed, a favourite dancer of mine was nominated as "best newcomer" when he was already an established principal but did not often dance at the press performances. The touring companies rarely get the luxury of having more than one cast reviewed! Rant over!

I'm not surprised at all; many of the national newspapers are cutting expenses on arts coverage and often will not let their reviewers travel to see companies outside London. BRB and NB often have press performances at matinees so any critics who do escape from London can get back the same day.