Although Valerie Lawson's context is wide-ranging, she brings individuals into focus with personal details, shining a spotlight onto their roles in Australian dance history. Lavishly illustrated with photographs from Australian archives, her book gives vivid life to long-gone personalities.
Tag - Anton Dolin
★★★✰✰ Alongside George Balanchine and Jerome Robbins, one could argue that the third most important voice at New York City Ballet in the twentieth century was that of Igor Stravinsky.
Q: What have you learned about Petipa from the notations? Ans: Looking at the notations changed my taste. Honestly, I just can’t stand seeing productions of the classics any more, because I know how far it is from Petipa’s intentions...
Sutton was originally asked to write a brief account of Markova’s career for the Gotlieb Centre but soon realised that her subject’s life, personal and public, was so fascinating that she undertook a substantial biography
Tina Sutton's book "The Making of Markova: Diaghilev’s Baby Ballerina to Groundbreaking Icon" is about to be released in paperback - Jann Parry talks to Sutton about unearthing one of the greatest ballerinas of the 20th century...
Lloyd has written widely on English composers and is meticulous in combing together many fragmentary impressions of Lambert. The book weighs over 1.5 kilos, 419 pages of small print, most heavily annotated in smaller print still, with a further 150 pages of appendices.
The National Ballet of Panama recently put on Coppelia, staged by Vasily Medvedev over from St Petersburg. Margaret Willis was there for DanceTabs and we have lots of pictures of a colourful production:
Obscurer corners of early British ballet are connected in the exhibition 'An Outbreak of Talent', at the Fry gallery in Saffron Walden, Essex until June 30 2013.
My nickname in BRB used to be Bastard - and something happened with Ballet Hoo! - I don't know whether it's my age, or the kids we worked with, but it made me realise that you can get the best out of dancers and students by coming in on a certain level and talking to them on a certain level - not always shouting. I do shout still, I do get very angry...
In format Suite en Blanc reminds me a little of Harald Lander's Etudes, and it certainly fulfils the same purpose in providing the company with a spectacular programme-closer. ENB may be going through a difficult period but they don't let it show on stage.
Firebird: To Williamson’s credit, the action, though baffling, never palls. He knows how to deploy a diverse cast, using an interesting vocabulary of classical ballet steps and partnering. He’s obviously fired up his dancers to commit themselves to their roles, flaunting their glitzy costumes with panache. But it’s a muddled piece, overpowered by Stravinsky’s myth-making music.
Fifty or sixty years ago, no true ballet-lover would have dreamt of visiting London without calling in at Cyril Beaumont's famous bookshop in Charing Cross Road. The great and the good of the dance world went to learn from his vast store of knowledge, to reminisce about the golden years of the Diaghilev company, or just to exchange gossip...