62 posts

Diablo Ballet: Aaron Mayo

Diablo Ballet’s Newest Member and Comeback Kid, Aaron Orza

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I would say that compared to the what the women face, competition is not so ruthless for men. We are all in it more for each other, a positive, friendly competition thing. That is how I was trained to view it by my teacher at San Francisco Ballet, Jorge Esquivel.

LEVYdance performs LESS

LEVYDance 10th Anniversary: Who’s in Charge of the Smoke and Mirrors and Where’s the Occasional Music?

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Substantial funds were raised and spent several years ago to improve the performance space at ODC Theater, but for “artistic reasons” related to retaining its exposed-brick open ambience, no curtain was installed. This is problematic when for artistic reasons, a program requires a curtain.

Head shot: Sean Kelly

7 Questions with Choreographer Sean Kelly

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When I first started dancing, I studied at a studio in Marin that taught all styles of dance like jazz, modern, Latin American, and ballroom, along with some ballet. It was later, when I went to Marin Ballet, that I began to focus primarily on classical dance. I do think that the variety of my early training helped me be open to different styles and techniques. I also think that the diverse contemporary repertoire I had the pleasure to dance while at Houston Ballet and other classical companies helped me to be a versatile dancer.

LINES Ballet: Constellation

Alonzo King’s LINES Ballet’s Constellation: Ballet in Bright Lights

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Strings of LED lights take the form of square panels, and dancers wear or carry them like accessories. They bounce individual lights, or dance on a darkened stage with only the lights they hold in their hands visible as they move, so that their sparkle competes with feet as focal points.

Thomasin Gülgeç, Gemma Nixon in Russell Maliphant’s AfterLight

Russell Maliphant’s Afterlight Folds Time Into Space at Yerba Buena Center for the Arts

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After a piano intro, a spot opens up a space on the dark stage and in it is the dancer, Thomasin Gülgeç. He is dressed in a purple top. He is revolving, and then begins a series of stretches that segue into a port de bras as he inclines toward the blush of white light.

Still Photo: Dracula, Peninsula Ballet Theatre

9 Questions with Artistic Director and Choreographer Bruce Steivel

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Being an Artistic Director of two companies an ocean apart is certainly an interesting assignment. I plan to incorporate the dancers from both countries into several productions. I already have brought one male dancer from San Mateo to perform with the company in Belgrade and intend to bring three dancers from Belgrade to San Mateo to perform this season. It will be an interesting cultural exchange and benefit both the dancers and the companies.

Cristina Hall

Shaping Flamenco: An Afternoon with Cristina Hall

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“The head follows the hand.” Now smiling broadly, she demonstrates slamming the back foot onto the floor behind her, then in front, so that we hear the stamp each time. The hand slaps the thigh, though the elbows stay softened. The hip movement isn’t perfunctory: It’s sustained.

Mariinsky Ballet: SwanLake

Mariinsky Ballet: Swan Lake

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Asked why there were no secondes, the general director gave the curious response that “not everyone can do that step.” We scoured our memory to come up with a major company where that is the case—and couldn’t!

Headshot: Adam Hougland

9 Questions with Choreographer Adam Hougland

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Smuin Ballet, as part of its opening program for the 2012–2013 season, is presenting the West Coast premiere of Cold Virtues by the exciting young choreographer Adam Hougland. Popular with audience and critics alike, the work is set to Philip Glass’s haunting Violin Concerto and features fourteen dancers, whirling and leaping against a mesmerizing backdrop of spinning fans. The Louisville Courier-Journal described the ballet as “beautifully bleak, honest in unflinching fashion.”

Aspen Santa Fe Ballet - Stamping Ground

Aspen Santa Fe Ballet Speaks Ballet In a Dialect All Its Own

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Appearing at the Cullen Theater in Houston’s Wortham Center on September 29, the small but sturdy company of eleven dancers met and surpassed the high expectations of a full house audience studded with ballet aficionados and the most urbane of dance critics.

Mirta Hermida

Interview with the Late Mirta Hermida, Headmistress of the Cuban National Ballet School

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Understanding that dancers’ careers had a limited time span and usually ended at the age of 30, Fernando and Alicia taught us how to teach, even as we learned. And so, by the age of 19 I had begun teaching.

Richard Cragun and Toba Singer

Six Days in Santiago with Richard Cragun

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I wrote to Luz Lorca, Marcía Haydée’s assistant to ask whether Ricky happened to be in Santiago to help coach the company’s upcoming Mayerling. Just a few days later, Luz wrote back, “I am sorry to have to tell you that Richard Cragun died this morning in Rio. Marcía is devastated.”