Ian Macmillan

From last Sunday's Links, a small taster for those who can get there: http://rbth.ru/arts/2013/05/05/london_gallery_showcases_russian_theatre_and_ballet_25483.html NB that all the exhibits are for sale .... if your pockets are wide enough!

Somewhat to my surprise, it turned up in Cambridge a couple of weeks ago - and it was certainly worth seeing.

Links – Wednesday, May 8, 2013 Further Obituaries – Frederic Franklin: Judith Cruikshank, Guardian Leigh Witchel, NY Post Preview – Royal Ballet, Hansel and Gretel (Scarlett): Vincent Dowd, BBC News Review – San Francisco Ballet, Cinderella (Wheeldon): Alastair Macaulay, NY Times Reviews – English National Ballet, Choreographics: Bruce Marriott, Dance Tabs Maria Lu, Exeunt Laura Dodge, Londondance Review – Ballet Preljocaj, Les Nuits, Aix-en-Provence: Laura Cappelle, Financial Times Preview – Ballet Chicago, Balanchine veterans coaching Act II, Swan Lake: Sid Smith, Chicago Tribune Reviews – Breakin’ Convention, 2013, Sadler’s Wells: Clement Crisp, Financial Times Sarah Crompton, Telegraph Lyndsey Winship, Evening Standard Isadora Duncan, My Life to be republished: Joan Acocella, NY Review of Books 10 Questions for the Royal Ballet’s ballerina Alina Cojocaru: Ismene Brown, Arts Desk Book Extract - Sadler’s Wells: Dance House: Sarah Crompton, Telegraph Review – Diablo Ballet, Balanchine and Beyond: Mary Ellen Hunt, SF Chronicle Preview – Reviving Balanchine’s Slaughter on 10th Avenue: Susan Reiter, Playbill Arts Review – RUBBERBANDance Group, Gravity of Center: Donald Hutera, Londondance Review – Arch 8 Dance Group, My True North, No Man is an Island: Kelly Apter, Scotsman NY Theatre Review – Nikolai and the Others, Richard Nelson: Robert Johnson, NJ Star-Ledger

From this morning's Links, there's a piece by Larissa Saveliev, founder of YAGP, that should be of interest here: http://www.dancemagazine.com/blogs/guest-blog/5128

Links – Tuesday, May 7, 2013 Interview – Cathy Marston, Choreographer and Director: Bruce Marriott, DanceTabs Review – Paris Opera Ballet, Firebird, Afternoons of a Faun, Bolero: Laura Cappelle, Financial Times Judith Mackrell weighs-in in support of Keynes and Lopokova: Guardian Rupert Christiansen argues for adequate State funding of the Arts: Telegraph Feature – Joseph Altuzarra’s costumes for NYCB Gala: Seunghee Suh, Wall St Journal Reviews – Breakin’ Convention, 2013, Sadler’s Wells: Judith Mackrell, Guardian Rachel Ward, Telegraph Lise Smith, DanceTabs Zoe Anderson, Independent Review – Alberta Ballet, Balletlujah!: Paula Citron, Globe and Mail Reviews – San Francisco Ballet, Cinderella (Wheeldon): Becca Klarin, SF Appeal Rita Felciano, Danceviewtimes Sean Martinfield, Examiner.com Review – Alvin Ailey American Dance Theater, Minus 16, Petit Mort, Revelations: Jean Lenihan, Arts Journal Review – “Dance Taipei”, About Living, Fuel, Way Out, Present: Brian Seibert, NY Times News – Australian Ballet, Senior Changes Backstage: Tim Douglas, The Australian Feature – Larissa Saveliev, founder of YAGP, looks at Schools worldwide: Dance Magazine

Links – Monday, May 6, 2013 Obituaries – Frederic Franklin – Dancer, Coach, Director: Sarah Halzack, Washington Post Jack Anderson, NY Times Pia Catton, Wall St Journal Reviews – San Francisco Ballet, Cinderella (Wheeldon): Allan Ulrich, SF Chronicle (+ 14 picture Gallery) Janice Berman, SF Classical Voice Ann Murphy, San Jose Mercury News Review – Mariinsky Ballet, Jewels, Symphony in C: Louise Levene, Telegraph Review – Mariinsky Ballet, Giselle (Shirinkina, Shklyarov): Margaret Willis, DanceTabs Review – New York City Ballet, Interplay, Fancy Free: Gia Kourlas, NY Times New York Season of Cambodia Festival: Preview: Valerie Gladstone, CityArts Review – Royal Ballet of Cambodia, Legend of Apsara Mera: Apollinaire Scherr, Financial Times Review – Amrita Performing Arts, Khmeropédies III: Source/Primate: Martha Sherman, Danceviewtimes Review - RUBBERBANDance, Gravity of Center: Judith Mackrell, Guardian Reviews – Bangarra Dance Theatre, Blak: Chloe Smethurst, The Age Eamonn Kelly, The Australian Reviews – Stephen Petronio Company, Like Lazarus Did (LLD 4/30): Deborah Jowitt, Arts Journal Wendy Perron, Dance Magazine Interview with Sarah Crompton on her book, Sadler’s Wells – Dance House: DanceTabs Gallery – ZooNation, Some Like It Hip-Hop: Dave Morgan, DanceTabs Review – Performing Lines, Reflect (Sue Peacock): Rita Clarke, The Australian Review – Natalie Abbott, Digital Fractals: Jill Sykes, Sydney Morning Herald And to end with, as that centenary date draws near: The Fight of Spring: Lucy Moore (Author of Nijinsky, A Life in yesterday’s Links), Daily Mail

For tomorrow's Links, the first Obits are from the US papers: Sarah Halzack, Washington Post Jack Anderson, NY Times

Having greatly enjoyed the film last week, I was delighted to find this article for today's Links: http://www.nj.com/entertainment/arts/index.ssf/2013/05/dance_theatre_of_harlem_rebirt.html Young Miss De Prince as Odile, and described as "a technical powerhouse" by experienced US critic Robert Johnson.

Links – Sunday, May 5, 2013 Preview – Audrey Niffenegger on creating Raven Girl with Wayne McGregor: Guardian Review – Boston Ballet, Serenade, Chroma, Symphony in C: Thea Singer, Boston Globe Review – San Francisco Ballet, Cinderella (Wheeldon): Aimee Tsao. DanceTabs Review – Royal Ballet, Mayerling (Gartside, Galeazzi): Jenny Gilbert, Independent on Sunday Reviews – The Observer Phoenix Dance Theatre, Particle Velocity Mixed Bill (Worthing) Royal Ballet, La Bayadère (Lamb, Calvert, Soares) Review – New York City Ballet, Ivesiana: Tobi Tobias, Arts Journal Review – Eifman Ballet, Rodin: Lewis Segal, LA Times (incl Slideshow) Preview – Alberta Ballet, Balletlujah!: Marsha Lederman, Globe and Mail Preview – Australian Dance Theatre, G (Giselle deconstructed?): Elissa Blake, Sydney Morning Herald Feature – Sarah Mearns on NYCB’s New Season: Huffington Post Preview – Jonathan Burrows & Matteo Fargion, Cheap Lecture, The Cow Piece: Victor Swoboda, Montreal Gazette Review – Australian Ballet, Four Temperaments, Bella Figura, Dyad 1929: Valerie Lawson, Dancelines Review – RUBBERBANDance Group, Gravity of Center: Zoe Anderson, Independent Interview – Choreographer Gillian Lynne: Matthew Hemley, The Stage Book Review – Nijinsky, A Life, Lucy Moore: Peter Conrad, The Observer Preview – Dance Theatre of Harlem, Touring Mixed Bill: Robert Johnson, NJ Star-Ledger Review – Company C Contemporary Ballet, Mixed Bill: Mary Ellen Hunt, SF Chronicle Preview – NYCB Spring Season: Terry Trucco, Playbill Arts Review – San Francisco Ballet, Criss Cross, Francesca da Rimini, Symphony in 3 Movements: Toba Singer, California Literary Review London Exhibition – Golden Age of Russian Ballet & Theatre Design: Phoebe Taplin, Russia Beyond The Headlines Different, but of real interest: Theatre Preview – Nikolai and the Others, Richard Nelson – Balanchine, Stravinsky and the making of Orpheus: Claudia La Rocco, NY Times

DanceTabs has just posted a very positive review by critic, Graham Watts: http://dancetabs.com/2013/05/london-childrens-ballet-the-secret-garden-london-2/ Congratulations to all involved, and fingers crossed for their future progress.

Just in case it's missed, there's an article in today's Links that should fit very well here: http://www.heraldscotland.com/comment/columnists/called-to-the-barre.20980789 And a pianist story. My wife was examining in the London area some years back and was bowled over by the young pianist still at College playing for the classes that day. She asked her name - Joanna McGregor ....... wonder what became of her?!

Dolly: I'd be somewhat surprised if she had not learned most of the major pdd at ENBS and, as a dancer wanting to progress, no doubt she will have been paying particular attention to all that the Principals have been doing in the performances in which she has participated. Thus, by a couple of months ago, it's likely that she had a very fair idea of the Odette/Odile roles - but she then needed a Director who felt she could do them justice. It would appear she has found one, and I'm sure she won't disappoint.

Aileen: I dare say that securing a permanent company contract can be considered as "making it" - if viewed from the outside. But as far as the larger companies are concerned, once 'in', progression (or not) to Principal is likely to become a whole new issue, where all manner of factors may come into play. Osipova and Vasiliev left the Bolshoi, perceiving that she, in particular, was being sidelined into soubrette roles; Natasha Oughtred has blossomed at BRB, after sensing that she was getting no further than Soloist with the RB; elsewhere, an indiscreet remark overheard may mean that one's face fits less well than hitherto with one's Director, and so on. It's a hard life!

There have been two links to reviews of "On Before" now. It would appear that the re-working of material used earlier has been to excellent effect, so congratulations all round. http://exeuntmagazine.com/reviews/carlos-acosta-on-before/ http://www.scotsman.com/lifestyle/performing-arts/dance-review-carlos-acosta-edinburgh-1-2912070

Ditto Begoña Cao. It was always on the cards that Ms Rojo's intention to keep dancing would affect the other female Principals, of whom there were already sufficient for the performances on offer. So how long can that last without something/someone giving?

Lauretta Summerscales? I think you mean the 'new Darcey": http://www.standard.co.uk/news/dream-role-for-the-new-darcey-bussell-8594495.html

My introduction dates from 1999, when I started seeing the lady, now my wife, who had been a dancer with the Opera Ballet at Covent Garden and then with the RB Touring Company, all a year or ten ago. (My focus till then had largely been on choral music, from the 12th century and onwards.) I think that the first production I saw was a Swan Lake during a Bolshoi visit, and then a tremendous San Francisco Ballet mixed bill at Sadler's Wells - the latter had a highly-charged pdd to Barber's Adagio that I particularly recall. A bit later I was pointed at a website called ballet.co, lurked for a while till I finally dipped my toe in and it's all gone on from there!

I've just discovered that there will be a showing of the "First Position" documentary in the Arts Picturehouse, Cambridge, at 1520 tomorrow afternoon - lots of tickets available.

Alison: But it's enthralling! But I should probably have added that if the excitement is too much, there's a fast-scrolling button at the bottom that works in 20-page jumps.

For those who might not normally look at other areas of the Forum, a performance thread on LCB's "The Secret Garden" has been started, using some great pictures by John Ross, here: http://www.balletcoforum.com/index.php?/topic/3625-london-childrens-ballet-the-secret-garden/#entry42649 Comment and discussion there, please!

The Konzert Theater in Bern (previously the Stadt Theater) has announced its 2013-14 programmes. Unsurprisingly, and presumably done to emphasise the change in Dance programming that the new Intendant wants to see, I see that the title Bern:Ballett will no longer be used after Cathy Marston's departure as Director this summer. The resident company will then be known as 'Tanzcompagnie Konzert Theater Bern,' and it looks as if there will be a fair-sized churn of dancers before next season. http://issuu.com/konzerttheaterbern/docs/ktb_gesamtspielplan/246 The text is, of course, in German - the Dance programme starts at page 38 and the new company details are on page 244.

Well, the Berner Zeitung has reviewed Cathy's first night. My imperfect German makes it out as a middling review, not a huge surprise as the local critics have never really warmed to her narrative approach, and they may be much happier with the more Euro-contemporary regime likely to be in place after she leaves this summer. However, the first comments under the review appear more supportive. ( And I'll be looking forward next month to the highly erotic pdd mentioned, knowing that Cathy can lay these on like few others!) http://www.bernerzeitung.ch/kultur/theater/Die-letzte-weissgewaschene-Hexe/story/18599022 I've also found a short TV trailer for the piece, with a voice-to-camera by Cathy: http://www.art-tv.ch/9965-0-Konzert-Theater-Bern-Hexenhatz.html Unfortunately, I understand that the cost of bringing Camerata Bern to London for live accompaniment next month has ruled that out, so we will have a recorded score in the Linbury - some very familiar bits in the clip! And I'm assuming that the spoken text will be in English over here.

Ismene Brown's blog has published another translation from a Russian periodical, this one including some unpleasant pictures of Mr Filin's condition in the aftermath of the attack as surgeons worked on his face. I don't think these have been released before. http://www.ismeneb.com/ismeneb.com/Blog/Entries/2013/4/25_How_doctors_saved_Filins_burned_skin_with_cell_treatment_-_pictures.html

I had the privilege of living just an hour's drive up Interstate 80 from 'The City' for a couple of years in the early 70s, and I'd say that it's quite unlike all the other US cities I've known. I'd also say that it's very artistically aware, as is the Bay Area generally with Berkeley, for example, just a bridge crossing away. I'd doubt that many of the area's citizens feel culturally deprived. As to SFB, its Musical Director, Martin West, went there from a similar position at ENB in London some years back. But he was also our Conductor at the Cambridge Philharmonic, and at a leaving do that summer told me he'd been made an offer he couldn't refuse!

A frog: You are quite correct concerning the problems posed by putting on unfamiliar work away from London. I've mentioned this several times here before in similar circumstances - ie the ROH Annual Report for 1959-60, in the time of the RB Touring Company, reflected on the "essentially conservative nature of provincial audiences, who have preferred to play safe with the classics rather than risk a triple bill of novelties, and the repertory has been modified in consequence." (My italics.) The Report went on to state that TV might play a "helpful educative role here" by showing more modern work, better adapted to the screen - and, to a degree, the BBC obliged, but that's all a very long time ago now. Ms Rojo has a challenge on her hands, and I wish her, and her company, well in meeting it.