Ian Macmillan

Links – Thursday, March 20, 2014 Review – San Francisco Ballet, Cinderella (Wheeldon), SF: Paul Parish, Bay Area Reporter Reviews – Paul Taylor Dance Company, 60th Anniversary Season, NY: Brian Seibert, NY Times Robert Johnson, Star-Ledger Mary Cargill, Danceviewtimes Review – Wayne McGregor/Random Dance, Atomos, Montclair: Alastair Macaulay, NY Times Review – National Ballet of Canada, Swan Lake (Kudelka), Toronto: Penelope Ford, FjordReview Feature – Evan McKie with National Ballet of Canada: Deirdre Kelly, Globe and Mail Feature – National Ballet of Canada’s Aleksandr Antonijevic: David Berry, National Post Review – Australian Ballet, Manon, Melbourne: Heather Bloom, Australian Stage Review/Feature – Pilobolus Dance Theatre, Shadowland, London: Giannandrea Poesio, Spectator Carole Edrich, Londondance Tour Review – Phoenix Dance Company, See Blue Through, Mapping, Document, Watford: Judith Mackrell, Guardian Preview – ODC/Dance, 43rd Season, SF: Lauren Gallagher, SF Examiner Preview (with Podcast) – Kings of the Dance, London: Judith Mackrell & Graham Watts via Alice Lagnado, Voice of Russia UK TV Preview/Feature – Ethan Stiefel, Flesh and Bone: Valerie Lawson, Dancelines UK News – Budget 2014 brings theatre tax breaks: James Pickford/Chris Tighe, Financial Times News – Edinburgh Festival Programme, 2014: Kelly Apter, Scotsman Keith Bruce, Herald News – NAC Ottawa, 2014-15 Dance Season: Paula Citron, Globe and Mail

I thought that Cathy Marston had done rather well in that regard in her ROH In-Residence time..... but clearly not sufficiently so to break the female choreographer ceiling to get a RB commission. Bern reaped the benefit of all that, of course, but it was a long way to go! And she's still out there ....... just saying, as folk say these days.

Bruce: I've had a look at my copy of Bob Kimber's RB data, but I don't see any performance count there. (My wife was well accustomed to the Talgarth Rd and lack of Physios regime, but that was a little earlier than the 90s!)

Euan: There might be a historian who'll intervene to give the whole picture, but I don't think there's any question about Sleeping Beauty being one of the RB's signature works. One could trace a line from the Messel-designed production that reopened the Royal Opera House in 1946, through the variations/deviations that have brought things back to what is today, in essence, that production. But I think you'd then have to add in Frederick Ashton's contributions to the rep before getting to Ken MacMillan's contribution. If you could find yourself a copy of Alexander Bland's "The Royal Ballet, The First 50 Years" that would give you lots of historical information.

I see that the issue of 'Where do professional critics fit in today's internet and social media-driven world?' has been raised again today by Mark Shenton in The Stage: http://www.thestage.co.uk/columns/shenton/2014/03/anyone-listening-critics-anymore/

Having seen the Company in bits of film and on the BBC's One Show recently, I'm not sure that the stills do it justice. The joy of what they do seems to lie in seeing the movement from one tableau into another and realising that it's human bodies, with a few props, that are responsible for it all.

It is simply hugely satisfying to see Clemmie Sveaas nominated for her role as Anna Goeldi in Cathy Marston's Witch Hunt last year - and just one reminder of 'why' from Dave Morgan's Gallery: http://farm9.staticflickr.com/8536/8779396249_7b623b13ab_z.jpg She was, of course, the central character but, in truth, any award should go to the quintet of magnificent women who quickened that sad story of the last witch executed in Europe - Clemmie, Paula Alonso as young Anna-Miggeli, Martina Langmann's cold but tragic mother, Frau Tchudi, actress Mona Kloos as the 'older' Anna-Miggeli ... and, of course, Cathy herself, who created it all. I've said it before here, but it remains for me a superb piece of dance theatre.

Just popping in to say that I thought Ms Rojo's Good Swan, Bad Swan was a great success. Not sure what I'd expected but, in the event, I found it all to be very well done indeed.

I remember seeing Concertante as the opener of Cathy Marston's first Triple Bill in Bern some years ago - and very worthwhile it was from what I recall.

Links – Sunday, March 9, 2014 Preview – Boston Ballet, Cinderella (Ashton), Boston: Jeffrey Gantz, Boston Globe Preview – Sydney Dance Company, Interplay & 2014 Season, Sydney: Elissa Blake, SMH Review – Yorke Dance Project, Canciones del Alma, Unfold to Centre, No Strings Attached, London: Luke Jennings, Observer Review – Batsheva Dance Company, Sadeh 21, Adelaide: Jana Perkovic, Observer Previews – Paul Taylor Dance Company & Kyle Abraham, NY: Brian Schaefer, NY Times Review – Sidi Larbi Cherkaoui/Eastman, Matter, Pure, Sin, Faun, Stockholm: Sofia Nyblom, bachtrack News – Darcey plans dance lessons for schools: Hannah Furness, Telegraph Feature – Yoko Ichino, Northern Ballet’s Ballet Mistress: Sheena Hastings, Yorkshire Post

Links – Saturday, March 8, 2014 Feature – Martha Graham Company rebuilds & recreates: Marina Harss, NY Timesh Reviews - Flamenco Festival USA 2014, Gala Flamenca, NY: Alastair Macaulay, NY Times Marina Harss, DanceTabs Boston Preview & Interview with Director, Miguel Marin: Karen Campbell, Boston Globe Reviews – Washington Ballet, British Invasion: The Beatles & Rolling Stones, DC: Sarah Kaufman, Washington Post Kelly A. Magyarics, Washington Magazine Notebook – Prince Igor and Ballet in Opera: Alastair Macaulay, NY Times Review – Diablo Ballet, Anniversary Gala, Walnut Creek: Mary Ellen Hunt, SF Chronicle Feature – ABT promotes its Australian Tour: Valerie Lawson, Dancelines Preview – Paul Taylor Dance Company, Season Premieres, NY: Robert Johnson, NJ Star-Ledger Review – Cloud Gate Dance Theatre, Songs of the Wanderers, Seattle: Michael Upchurch, Seattle Times Review – LA Dance Project, Morgan’s Last Chug, Peripheral Stream, Closer, Murder Ballads, Paris: Alexandra Desvignes, Bachtrack A dancer dies twice – Wendy Whelan and moving on: Maroosha Muzaffar, The Atlantic Feature – On being ‘A Prince’: Evan McKie of NBC, Huffington Post Canada Review – Houston Ballet, Of Blessed Memory, Young Person’s Guide to the Orchestra, Maninyas, Houston: Molly Glentzer, Houston Chronicle Review – Pennsylvania Ballet, Carmina Burana, Stravinsky Violin Concerto, Philadelphia: Ellen Dunkel, Philly.com Feature – Australian Telstra Ballet Award Finalists: Bhakthi Puvanenthiran, The Age Review – Protein Dance, Border Tales, London: Louise Levene, Telegraph Review – Aki Sasamoto, Sunny in the Furnace, NY: Brian Seibert, NY Times Review – Sally Silvers, Sally Gross, Sally Bowden, Mixed Bill, NY: Deborah Jowitt, Arts Journal/DanceBeat Review – Janice Parker, Glory, Glasgow: Kelly Apter, Scotsman Op/Ed Piece – Ballet Black is a wonderful company …. but it’s a shame on the Arts that it still exists: David Lister, Independent Gallery – Restored images from the Paris Exhibition of 1900: Nikki Hatchett, Guardian Feature – Ohad Naharin and his Gaga movement system: Jana Perkovic, Guardian Video Preview – Kings of the Dance, London: Lise Smith, Londondance News – Wayne McGregor now Professor of Choreography at Laban: Lise Smith, Londondance Feature – How to dance like an Alpha male: Theo Merz, Telegraph

I have to say that SB done and dusted in an hour seemed fine to me - just right for a double bill.

Anjuli: It appeared after today's Links trawl, and will be in tomorrow's.

In doing this morning's Links, I was greatly taken by this reflective piece by former Australian Ballet dancer, Annie Carroll: http://dancelines.com.au/first-dancer-returns-homeland/ Any other thoughts on 'returning'?

Only 250? Cathy Marston managed nicely with 13 as I recall.

Links – Friday, March 7, 2014 Reflection – Back to First – A dancer returns to her homeland: Annie Carroll, Dancelines Reviews – Sara Baras, La Pepa, London: Louise Levene, Telegraph Hanna Weibye, Arts Desk Neil Norman, Express Reviews – Miguel Poveda with La Lupi, In Concert, London: Graham Watts, DanceTabs Cristina de Lucas, Bachtrack Review – Flamenco Festival 2014, Gala Flamenca, DC: Ashley McKean, Danceviewtimes News – Paris Opera Ballet to take Paquita to Montreal in October: Victor Swoboda, Montreal Gazette Paula Citron, Globe and Mail Exhibition Review – Dancing The Dream, National Portrait Gallery, DC: Alastair Macaulay, NY Times News – Reduced sentences in the Sergei Filin attack case: Novosti …….. and Bolshoi sacks Dimitrichenko: Statement via Ismene Brown Blog Review – Protein Dance, Border Tales, London: Lise Smith, DanceTabs Review – Mau Dance/Lemi Ponifasio, The Crimson House, Wellington: Sam Trubridge, Theatreview Documentary Feature – Afternoon of a Faun: Tanaquil Le Clercq: Ellen Dunkel, Philly.com Feature – Tanzolymp 2014, Berlin: Margaret Willis, DanceTabs

Something from today's Links, though I'm not sure what it adds to the debate here: http://edition.cnn.com/2014/03/05/world/meet-the-ballet-doctor-dance/

Links – Thursday, March 6, 2014 Review – New York City Ballet, Acheron, Afternoon of a Faun, Walpurgisnacht Ballet, La Valse, NY: Leigh Witchel, Danceviewtimes Review – San Francisco Ballet, Bayadère Shades, Ghosts, Firebird, SF: Paul Parish, Bay Area Reporter Review – Companhia Urbana de Dança, ID:Entitades, Na Pista, NY: Apollinaire Scherr, Financial Times Review – Dutch National Ballet, The Dream, Firebird, Amsterdam: Lambrecht Wessels, Bachtrack News – Paris Opera Ballet announces 2014-15 Season: Roslyn Sulcas, NY Times News – Kennedy Center’s 2014-15 Season: Sarah Kaufman, Washington Post (Scroll down to Dance section) Feature – Washington Ballet to dive into Swan Lake: Sarah Kaufman, Washington Post Review – Flamenco Festival 2014, Gala Flamenca, DC: Paula Durbin, Washington Post Film Festival Feature – Dance of the Belle Epoque: Judith Mackrell, Guardian BBC4 TV Review – Ballet In The Blitz: Sarah Crompton, Telegraph Review – Candoco Dance Company, Miniatures, Two for C, Notturno, London: Graham Watts, DanceTabs Review – Protein Dance, Border Tales, London: Judith Mackrell, Guardian Review – IJAD Dance, In-finite Space, London: Zoë Anderson, Independent Preview – Diablo Ballet, 20th Anniversary Celebration, Walnut Creek: Rachel Howard, SF Chronicle Preview – Jersey Moves, Third Season, Newark: Robert Johnson, NJ Star-Ledger Promotional Interview – Misty Copeland “Life in Motion: An Unlikely Ballerina”: Allison P. Davis, NY Magazine/The Cut Preview – Tom Gold Dance, Triple Bill, NY: Jack Anderson, NY Times Documentary Feature – Dance, Sports Science & Patrick Rump: Matthew Ponsford, CNN Previews – Dance in Vancouver this week: Marsha Lederman, Globe and Mail Feature – Heartbeat of Home, Chicago: Hedy Weiss, Chicago Sun-Times

ROYAL BALLET OF FLANDERS, “ROMEO AND JULIET” STADSSCHOUWBURG, ANTWERP. MATINEE, SATURDAY 1 MARCH 2014 “Two households, both alike in dignity, In fair Verona where we lay our scene” – the opening of the Prologue to Shakespeare’s tale of the “pair of star-crossed lovers.” By contrast, in his newly commissioned, neoclassical and eye-catching version for the Royal Ballet of Flanders, former Royal Ballet Principal Slava Samodurov has come full circle for he opens with a Ballet company arriving at the Globe Theatre to rehearse a performance of the story. The distinctive background (by Anthony MacIlwaine) is a curved, red, three-storey structure of galleries that serves variously as street background with a washline strung across; as the Capulet ballroom when decked with banners; and as a wall to Juliet’s bedroom when a large curtain runs around it. (Staging Model. Photo: Sien Josephine, Courtesy Royal Ballet of Flanders) A dancer enters pushing a rack of costumes – for this performance, he’s Michael Burton, who joined the Corps at RBF last summer after two years in Zurich post-Royal Ballet School. He chooses a top that will identify many of the Montague faction and becomes Romeo. His Corps friend Toshiro Abbley follows to become Mercutio and the company gathers for Class using Prokofiev’s familiar street scene music for Act 1 in a series of fast-flowing, elegant dances that identify key characters. Benvolio (Ion Aguirretxe, also from the Corps) emerges and the three lads caper and mess about – all classical steps, but very ‘today’ in their laddishness as they encounter the three classy Harlots or Straatmiesjes (Nini De Vet, Virginia Hendricksen, Nicola Wills. As matters progress, there will be no bad hair days for these elegantly-coiffed sirens!) Class merges naturally into the familiar story when the Ballet Master brings in foils for the fight scene. A Tybalt (Sebastien Tassin, again from the Corps) and the rival factions emerge clearly and the story follows its familiar course. (The Class motif reappears at the start of Act 2, and works there just as well.) Cristina Casa & Michael Burton (Photo: Sien Josephine; Courtesy Royal Ballet of Flanders) Juliet (Demi-Soloist Cristina Casa) was introduced with her Nurse (Soloist, Maria Seletskaja) and was all one could want in the role. She revealed the lightness of an innocent fun-loving young girl, initially delighted at the match with Paris that her parents proposed but later, after the fateful meeting with Romeo, she erupted in passion and heedless determination. The subsequent Balcony and Bedroom scenes revealed a confident, understanding partnership that carried the narrative forward in a totally convincing manner to its climax in the crypt. I understand that rehearsals had begun with another Juliet until an injury intervened, and both young dancers are to be congratulated on their achievement in a relatively short time. Slava Samodurov is quoted as having said: “I do not want Romeo and Juliet to be lyrical. I want wild temper from both of them ….. Jellyfish don’t stab themselves.” I’d say that Michael and Cristina delivered on that. They had been given three performances during the run that ended later on Saturday night, and the audience reaction that afternoon suggested that Director Assis Carreiro’s confidence in them had been well-placed. However, not only were the solos, pas-de-deux and trios a success, for Mr Samodurov also handled group movement exceedingly well. The full-cast Class numbers are excellent, but I must highlight two other examples. First, a slow-moving tableau that built in the first fight scene involving all dancers, men with swords interwoven with girls with staves, until the whole recalled the final moment of Spartacus, with the mass slowly moving about the stage as the body count rose. The next came in the Capulets’ ballroom scene, where the noble ladies had large feathered head-dresses and magnificent long trains that required their own choreography, coiling and unrolling as their wearers became Birds of Paradise. The costumes throughout were eye-catching, lavish and very effective, in a successful combination of late-Renaissance and contemporary styles by Belgian fashion designer Tim Van Steenbergen. The Dance of the Knights - Costumes, Tim Van Steenbergen (Photo: Marc Haegeman, Courtesy Royal Ballet of Flanders) I have a small question about the ending, with the couple dead in the crypt. The Synopsis picks up the introduction by stating that the Rehearsal is over and the cast leaves the theatre, leaving Romeo’s body alone. In fact, once the cortege had passed by, both bodies had gone – an interesting change that must have occurred after the Programme went to print, and probably a better conclusion to the rehearsal idea. Whatever the case, the production as a whole is a worthy addition to the list of those using the Prokofiev score, given a powerful rendering here by the Flemish Symphony Orchestra under Benjamin Pope. Ms Carreiro has acquired a jewel for her company and I hope that we might see it in the UK one day soon. Sadler’s Wells would do nicely.

Links – Wednesday, March 5, 2014 Review – Dutch National Ballet, Firebird, The Dream, Amsterdam: Gerald Dowler, Financial Times Review – Perm Ballet, Serenade, Concerto Barocco, The Second Detail, Creil: Laura Capelle, DanceTabs Review – La Scala Ballet + Zakharova & Hallberg, Giselle, HK: Kevin Ng, Bachtrack HD Screening Reviews – Bolshoi Ballet, Lost Illusions, USA: Alastair Macaulay, NY Times Robert Greskovic, WSJh Review – San Francisco Ballet, Bayadere Shades, Ghosts, Firebird, SF: Rita Felciano, Danceviewtimes Feature – Britain’s Russian Ballet Heritage: Leyla Guchmazova, RBTH Review – Sara Baras, La Pepa, London: Graham Watts, Londondance Review – Companhia Urbana de Dança, ID:Entitades, Na Pista, NY: Brian Seibert, NY Times Feature – ABT Stars visit Queensland Ballet: Natalie Bochenski, Brisbane Times Preview – Lemi Ponifasio/MAU, The Crimson House, Stones in her Mouth, Wellington: Hannah McKee, Dominion Post Reviews – Footnote New Zealand Dance & ChoreoCo, Straight Laced, Wellington: Ann Hunt, Dominion Post Lyne Pringle, NZ Theatreview Review – Darren Ellis Dance, Meeting Mr Boom!, London: Jeffrey Gordon Baker, Londondance Review – Blind Tiger Society, The Aftermath Affair, SF: Rita Felciano, SF Bay Guardian Review – Ate9 dANCEcOMPANY, mouth to mouth, gR33N, Vancouver: Janet Smith, Straight.com

A link from a couple of weeks back that may throw a little light on 'other projects': http://www.nzherald.co.nz/arts/news/article.cfm?c_id=544&objectid=11208027

This fairly rapid departure certainly comes as a surprise after such a short tenure. The reason given is odd, as Bruce says, but no doubt potential successors may be more aware of how far NZ is from the European/North American dance scene should they wish to pursue many avenues beyond the company.

I'm told that when the RB Touring Company did its 1958/59 tour of Australia and New Zealand, dancers would often be greeted in restaurants or cafes with "We've got something special for you folks - Pavlova Cake!" (Use your best Oz accent for that.) So back then it sounds as if the name and the origin were associated in lots of minds.

The Royal Ballet of Flanders closed its run of Slava Samodurov's Romeo and Juliet last night, and I'm delighted to say that a somewhat rushed trip to Antwerp was well worth it for the Matinee performance that I saw yesterday afternoon. It is an intelligently wrought production, most elegantly staged, and a worthy addition to the list of full-length productions based on the Prokofiev score, given a stirring performance by the Flemish Symphony Orchestra under Benjamin Pope. I hope to comment at greater length before too long, but I must immediately commend the two young leads - Michael Burton, in his first months with the company, and Demi-Soloist Cristina Casa - on a partnership that belied the short time they had to rehearse together. They gave a confident and trusting performance that suggested a much longer time together and, with so many junior colleagues in most named roles, all concerned amply repaid the confidence that Director Assis Carreiro must have felt in casting them. It truly suggests that the company has strength in depth.

I've just spotted Brendan McCarthy on Twitter announcing the launch of an official Frederick Ashton website: http://www.frederickashton.org.uk/index.html The section on the Ballets themselves which will presumably become the heart of the site - as on the MacMillan one - has still to be developed, I see. And whilst the photographs used thus far all look fairly current rather than historical, it looks as if it should become a useful research site.