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JUNE 2004
in this issue

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Kenneth Kvarnström, Artistic Director of Dansens Hus: Working with Female Choreographers
by Jan-Peter Kaiku
Kenneth Kvarnström is one of the mainstays of contemporary dance in the Nordic countries. Here he talks about his balancing act between Sweden and Finland and his new position as the artistic director of Dansens Hus.

Leading the Way: Septime Webre, Artistic Director of The Washington Ballet
by Carol Herron and Dani Crawford
"The company tackled “Serenade” in the Fall of ’02; that, in all honesty, for me was a moment that the company rose, that all elements of the company’s artistic life melded into a defining moment and it became clear, certainly to me, that the company was dancing at a new level."

Choreographer Nicolo Fonte in conversation with Otto Neubert
by Francis Timlin
Asked to describe his preferred style, he referred to it as "contemporary ballet" -- that is, utilizing ballet training as a tool for the enhancement of expression. While the movement may seem "modern," it is really deconstructed classical movement and requires a high level of classically trained virtuosity to execute.

Renaissance Man: Glenn Tetley at 78
by Karen Webb
Tetley’s transition from dancer to dancer/choreographer came about as the result of his realization that he wanted to do not someone else’s movement but his own. He had been trained by both celebrated modern dancers and celebrated ballet masters (most of whom also choreographed and many of whom disowned even other choreographers on their own side of the wall)...

company focus

ballet frankfurt Click here to view the image gallery
Image Gallery

Featured Articles

Interview with Dana Caspersen
by Holly Messitt
It would be hard to pick out particular highlights. I’ve had the fortune to work with a group of extraordinary artists on a large and varied series of projects throughout the years.

Interview with Richard Siegal
by Donald Hutera
Siegal says he has ‘dabbled with choreography as long as I’ve been dancing.’ Not unexpectedly, Forsythe has supported Siegal’s steps towards step-making. ‘Bill has been very encouraging of my choreography.’

Review of 'The Room As It Was,' 'Duo,' '(N.N.N.N.),' 'One Flat Thing, reproduced'
by Holly Messitt
With some dances, you get bored halfway through them, and then they seem to drag on. When I watched Ballett Frankfurt during the Brooklyn Academy of Arts' Next Wave Festival, I felt the reverse. Halfway through each piece, a voice in my head whispered, “Don't stop.”

Review of 'Kammer / Kammer'
by Ramsay Burt
For me the most immediate and exciting things about “Kammer/Kammer” were, first, the performances by Dana Caspersen and Anthony Rizzi, and second, the sheer craftsmanship with which this otherwise highly fragmented multimedia production was put together.

What is Choreographic Style? Forsythe as an Example
by TUK
For the choreographer the act of making dance is motivation in itself. This raises important questions of how far technique can take the genre. If the limits of what the dancers are physically capable of achieving were to be reached would both the technical and stylistic possibilities be exhausted?

Review of 'Eidos:Telos' and 'Artifact'
by Luciania Brett
In semi-darkness they appear, some briefly highlighted by isolated beams across the stage. One is seized by their beauty. The dancers’ movements are simple but their intensity is enthralling.

William Forsythe Study Day
by Stuart Sweeney
Autumn, 1998 was a great time for the annual Dance Umbrella festival and the newly reopened Sadler's Wells.

Topics in our Forums

Ballett Frankfurt US Tour 2004

Ballett Frankfurt (June 2003 onwards)

William Forsythe and Ballett Frankfurt

Ballett Frankfurt at the Tate Modern

Ballett Frankfurt 2002-2003

Ballett Frankfurt Crisis - from August 2002

Ballett Frankfurt Crisis

Ballett Frankfurt in London 2001

Ballett Frankfurt at Dance Umbrella 2003

Ballett Frankfurt at Dance Umbrella 2001

Crise de Ballett Frankfurt

Forsythe à Chaillot

"In the middle somewhat elevated" avec Guillem

Mariinsky Ballet Festival 2004

Featured Sites

in our forums


· Dancing Men (& Boys)
· Healing Power of the Arts
· New Inquiry - Dance (UK House of Commons)

Fun Stuff

· Dance and food
· Babelicious Ballerina!

Dance Miscellany
· How do you go about writing for dance
· Dancing for Marche

· New York City Ballet - Spring Season 2004
· National Ballet of Canada 2003-04
· Royal Ballet "Onegin" 2004
· Australian Ballet 2003-2004

Modern Dance

· Rambert Spring Tour 2004 - News and Feedback Forum
· Merce Cunningham Dance Company 2003-2004
· Random Dance Company - "AtaXia"

World Dance, Musicals and Social Dance

· Capoeira
· Bollywood

Danser en français

· Le retour à la scène de N. Tsiskaridzé
· Histoire danse 19ème - Autour de la Sylphide

The Studio

· Willie Burmann: Drill Sergeant of Dance
· Injury to dancers

Students' Questions and Experiences

· late starter looking for a chance!
· Hungarian Dance Academy

· Making a living as a designer
· Safety in dance performances
Managing Dance

· Arts Council England
· Economic Situation for the Arts in 2004

Company Press Releases

Coming up...
· Kudelka on 'Cinderella'
· Boston Ballet's 'Swan Lake'
· Exploring South Asianness
· Regional Dance America
· Jeffrey Stanton
· More reviews
· More interviews
· More features

Letter from the Editors
     June once again brings a kaleidoscope of reports from around the globe, including a series of inspiring impressions of the Kirov Ballet by Associate Editor Catherine Pawlick from her new hometown of St. Petersburg. Also from Europe, we present no less than ten reviews of Ballet de l’Opéra de Paris, two of Ballet Preljocaj and a mini-feature on Ballet Rambert.
     In America we invite you to read about “Sylvia,” Mark Morris’ first full-length ballet, commissioned by San Francisco Ballet, and celebrations of Balanchine, Ashton, and Tchaikovsky from Seattle, San Francisco, and New York.
     As Ballet Frankfurt makes its swansong tour, we celebrate the choreographic genius of its American artistic director, William Forsythe, with interviews, reports, and reviews from the forums of CriticalDance. An extra generous image gallery completes this month’s Ballet Frankfurt Company Focus!
     As always, we love to hear what you think. Please post your comments in our Magazine Feedback Discussion Topic in the CriticalDance forum. And, if you want the magazine delivered right to your inbox, subscribe!

The Editors of Ballet-Dance Monthly

P.S. If you're enjoying this issue of Ballet-Dance Monthly, please forward it to a friend!



Impressions from the Royal Opera House Season Launch Press Conference
by Petra Tschiene
Although the ROH's new season press releases always offer very detailed information, I found it especially interesting to get the first impression directly from the source -- in this case, from Tony Hall, Antonio Pappano, Monica Mason and Deborah Bull.

Bombay Dreams - The Perfect Recipe
by Preeti Vasudevan
How can a three-hour melodramatic formulae of a native film industry be presented to an uninitiated western audience? Do we need an original formula to access an exotic culture still viewed through its immigrant minority populations?

Balanchine on Film:  A Pacific Northwest Ballet Special Event
by Francis Timlin
"La Valse" was a made from a pirated film taken on a hand-held camera at a performance at Jacob's Pillow in 1951 by Carol Lynn. The dancers are Tanaquil LeClercq and Nicholas Magallanes. The piano was added at Sony Music Studio in New York by Dianne Chilgren after arduous study of the footage and many adjustments were made to synchronize tempo and inflection.

Boston Ballet - 'Swan Lake' Preview
by S.E. Arnold
May 2004 -- Boston, Massachusetts

Nissinen also seeks to ‘purify’ the formal aspects of the "Swan Lake": “The story,” he went on to say, “has to be told very clearly. I wanted to do it in two acts, but couldn’t because of the scenery change- the third and fourth act is so massive.

DeKeersmaeker, Adorno, and the Laban Cube:  Improvisation and the Ballet (Part 2)
by Maria Technosux
I also suspect that De Keersmaeker's sudden interest in jazz has less to do with the improvisatory nature of the music, but more to do with De Keersmaeker's documented Forsythe-fandom and the Corbett-P.A.R.T.S. connection.

Access Denied - Ramallah Dance Theatre, a small miracle
by Maggie Foyer
It is always exciting to be there at the birth of something new. This new baby, was no squawking infant, but like Bottecelli’s Venus, arrived both fully formed and very appealing to the senses. It was particularly heartening to see how the local people cheered their home team on.

Sadler's Wells 25-29 May 2004

Music made visible - Ashton's 'Five Brahms Waltzes in the Manner of Isadora Duncan'
by Jane Pritchard
'Five Brahms Waltzes in the Manner of Isadora Duncan' , choreographed by Frederick Ashton, is an evocation of the dances of the American-born Isadora Duncan (1877 – 1927), one of the great pioneers of modern dance, whom Ashton described as a dancer of ‘grace and power’.

Rambert Dance Company - 'Linear Remains,' 'Five Brahms Waltzes,' 'Reflection,' 'A Tragedy of Fashion'
by Thea Nerissa Barnes
May 25, 2004 -- Sadler's Wells, London

Rambert’s presentation at Sadler’s Wells...celebrates the narrative ballet and the personalities of past extraordinary artists, and with a selection from two twenty first century choreographers, illustrates the current trend for more aggressive investigations into the unfathomable possibilities of pure movement.

Rambert Dance Company - 'Linear Remains', 'Five Brahms Waltzes...', 'Reflection', 'Tragedy of Fashion'
by Stuart Sweeney
25 and 28th May, 2004 -- Sadler's Wells, London
This visit brought us two abstract contemporary pieces, one a re-working and one new and, as part of the Ashton centenary celebrations, the revival of a solo and the premiere of a large-scale homage to the master choreographer.



Jean-Claude Gallotta – Trois générations
Par Lili
Représentation du 21 mai, Paris, Théâtre National de Chaillot
Dans "Trois générations", trois groupes de danseurs se succèdent sur scène en interprétant la même chorégraphie. Il y a d'abord le groupe des enfants (huit enfants qui ont environ 10 ans), ensuite les danseurs de la compagnie de Gallotta qui ont une vingtaine d'années, et enfin le groupe des "anciens."

Ballet de l’Opéra de Paris - 'Giselle' de Mats Ek
Par Isabel da Silva
Représentation du 18 mai 2004, Paris, Garnier
Ce ballet, que je voyais pour la première fois en intégralité, est une oeuvre très forte, très riche de contenu et de d'inventivité chorégraphique. Il est passionnant de le voir peu après avoir vu la Giselle originale; il aurait d'ailleurs été très intéressant de programmer les deux ballets en réelle alternance.

Ballet de l’Opéra de Paris - 'Giselle' de Mats Ek
Par Catherine Schemm
Représentation du 18 mai 2004, Paris, Garnier
Fougueux interprètes !
Nous avions eu la chance de voir la Giselle classique en début d'année, cette fois-ci nous en voyons la relecture extraordinaire qu'en a faite Mats Ek. Rarement ballet fut réinventé avec autant de bonheur. Ici, Giselle est une jeune femme naïve, simple d'esprit qui ne pense qu'à danser, et à flirter sur une ile où l'amour est roi !

Emio Greco - 'Rimasto Orfano'
Par Anne-Marie Baptista
représentation du 7 mai 2004, Paris, Théâtre de la Ville

Dès l’entrée du spectateur dans la salle, la musique est présente en un son monocorde et un peu assourdissant ; sur la scène plongée dans la pénombre, la silhouette d’une danseuse se devine par le jeu d’une rampe de lumières blanches installée à même le sol. La danseuse avance très lentement presque imperceptiblement.

Sidi Larbi Cherkaoui - 'Foi'
Par Anne-Marie Baptista
Représentation du 28 avril 2004--
Paris, Théâtre de la Ville
Foi est un spectacle déroutant à plus d’un titre. Tout d’abord par son côté baroque : Cherkaoui mêle ici chants polyphoniques du 15e siècle et mise en scène violente comme peut-être pour mieux nous faire ressentir les contradictions dans lesquelles nous vivons en permanence.

Sidi Larbi Cherkaoui - 'Foi'
Par Frédéric Baron
Représentation du 28 avril 2004--
Paris, Théâtre de la Ville
Elle comprend en principe 11 danseurs. Ce soir Erna Omarsdottir était présente mais, étant probablement blessée, certains de ses passages ont été dansés par Sidi Larbi Cherkaoui lui-même.

Ballet de l’Opéra de Paris - Soirée Nijinska, Taylor, Bombana
Par Estelle Souche
Représentation du 26 avril 2004--Paris, Palais Garnier
J'ai bien aimé Noces , que je n'avais vu jusqu'ici que dans la vidéo avec Kader Belarbi et Elisabeth Platel. J'avoue avoir un peu du mal avec ce genre de musique (en particulier le côté "chanté") mais on s'y fait, et il y a une certaine austérité générale (aussi dans les costumes et les décors).

Ballet de l’Opéra de Paris - Soirée Nijinska, Taylor, Bombana
Par Valérie Beck
Représentation du 23 avril 2004--Paris, Palais Garnier
Je découvrais pour la première fois Noces qui m'a énormément plu : j'ai beaucoup aimé la façon magistrale qu'a Nijinska pour sculpter l'espace; c'est vraiment une avant gardiste. Noces est l'une de mes partitions préférées et j'ai vraiment été fascinée d'un bout à l'autre par toutes ces figures qui se dessinent sur le sol.

Compagnie Rosas - 'Bitches Brew-Tacoma Narrows'
Par Anne-Marie Baptista
Représentation du 6 avril 2004--
Paris, Théâtre de la Ville
La création Bitches Brew-Tacoma Narrows de Anne Teresa De Keersmaeker s’ouvre sur le décor d’un lieu qui s’apparente à un studio de danse : méli-mélo de néons suspendus au plafond dans une espèce de corbeille à papier de bureau jaune….

Ballet de l’Opéra de Paris - 'Don Quichotte, Une belle représentation
Par Catherine Schemm
Représentation du 26 mai 2004--Paris, Bastille
Après la matinée de dimanche qui voyaient les débuts de Dorothée Gilbert et d'Emmanuel Thibault dans le ballet, devait avoir lieu ce soir, la première de Delphine Moussin. Celle-ci blessée a cédé sa place à Eleonora Abbagnato aux côtés de Karl Paquette.

Ballet de l’Opéra de Paris - 'Don Quichotte', Une vision de rêve
Par Catherine Schemm
Représentation du 23 mai2004--Paris, Bastille
Cette matinée était attendue par l'ensemble des balletomanes car elle voyait les débuts dans les deux rôles titres de deux "stars" de la compagnie parisienne.

Ballet de l’Opéra de Paris - 'Don Quichotte', Une matinée triomphale
Par Jean-Luc Donay
Représentation du 23 mai2004--Paris, Bastille
Cet après-midi, la représentation rassemblant Dorothée Gilbert et Emmanuel Thibault était fort attendue des balletomanes. L'ambiance électrique qui régnait nous l'a rappelé dès qu'on pénétrait dans le théâtre!

Ballet de l’Opéra de Paris - 'Don Quichotte', Une étoile en devenir
Par Catherine Schemm
Représentation du 14 mai2004--Paris, Bastille
Cette série de Don Quichotte s'avère passionnante, car elle renoue avec la tradition, très en vogue sous Noureev, de programmer les jeunes espoirs du corps de ballet dans des rôles titres.

Ballet de l’Opéra de Paris - 'Don Quichotte', Une soirée quelque peu ennuyeuse
Par Catherine Schemm
Représentation du 11 mai2004--Paris, Bastille
Depuis 1980, l’Opéra de Paris possède la production Noureev de Don Quichotte . Créée dans les décors et costumes de Nicholas Georgiadis, elle subit une seconde naissance lors de son passage à Bastille en 2002...

editors' picks

Los Angeles
· Raiford Rodgers Modern Ballet - 'Wishes and Turns' and 'In C'
June 19, 2004, Luckman Fine Arts Complex, Cal State Los Angeles
Rodgers brings his company to the Luckman for only one appearance of his super cool choreography.
· Laban International Movement SocietyBiennial Conference - Defining, Developing and Marketing LMA: Building Bridges, Crossing Boundaries, Strengthening Bonds
June 18-20, 2004 - Cal State Long Beach, Long Beach, California
Speakers, panels, lectures, and workshops from the 2004 biennial conference of the Laban International Movement Society.

New York
· Ashton Celebration
July 6-17, 2004, Lincoln Center Festival, New York
Twelve Ashton ballets performed by Birmingham Royal Ballet, the Royal Balle of Londont, the Joffrey Ballet, and K-Ballet.
· McCaleb Dance - ' The Impersonation of Mr. Peacock (Part 1 – The Liar),' "Verdigris'
June 16-19, 2004, Dance Theater Workshop, New York
Nancy McCaleb is intimately involved with the contemporary media-saturated landscape.  In 'Peacock' she collaborates with visual artist Francis Alÿs.

Washington, DC
· Ballett Frankfurt - 'The Room As It Was,' 'Duo,' (N.N.N.N.),' 'One Flat Thing, reproduced'
June 17-19, 2004, Kennedy Center Opera House
Under the helm of American-born Artistic Director William Forsythe, Ballett Frankfurt is one of the world's leading avant-garde dance companies.
· 2004 International VSA arts Festival
June 9-12, 2004, Various DC venues
This year's festival, with a theme of "Odyssey: DARE to Imagine..." features peformances in comedy, opera, storytelling, puppetry, dance music, theater, and variety (vaudeville, acrobatics, clowns, mime, juggling, street performances, etc.).

San Francisco Bay Area
· ODC Pilot 44: 'Here and Gone'
June 22-23, 2003, ODC Theater, San Francisco
The 44th performance of the Pilot Program will feature work by six promising and emerging choreographers, Marielle Amrheim, Patricia Jiron, Doris Johnson, Alexis Mian, Sean Hawkins & Terre Parker.
· Rezo Gabriadze’s 'The Doctor and the Patient: The Forbidden Christmas' featuring Mikhail Baryshnikov
June 16-20, 2003, Cal Performances, Zellerbach Hall, Berkeley
This Bay Area premiere production, part absurdist drama and part fantasy-allegory, utilizes such original stagecraft as fantastically colored flying scenery to transform the tale of a late-night sojourn by a doctor and his mentally ill patient into a moving and visually stunning theatrical experience.

· Junto Society Dance Series
June 12-13, 2004, Community Education Center, West Philadelphia
For two nights only, choreographers Jess Franklin, Michael Keeler, Kristen Shahverdian, David Konyk, and Ashley Suttlar will present new works in University City.
· Central Pennsylvania Youth Ballet - 'The June Series'
June 23-26, 2004, Whitaker Center for Science and the Arts, Harrisburg
The Youth Ballet that nurtured stars such as ABT's Ethan Stiefel and Pennsylvania Ballet's Zachary Hench presents its best and brightest in their last performance of the season.

· Lar Lubovitch Dance Company - ...smile with my heart/Men' Stories
2nd July 2004 to 3rd July 2004 -- Queen Elizabeth Hall
First visit to London with a tribute to the Broadway composer, Richard Rogers.
· The Soldier's Tale
15th June 2004 to 19th June 2004 -- Linbury Studio, Ballet Studio
William Tuckett's new staging with some fine actor/dancers. 

· Opéra de Paris, Palais Garnier – La Sylphide
28 juin au 15 juillet 2004
Reprise de la Sylphide dans la version historique de Pierre Lacotte. Celle-ci permettra de voir de nombreuses prises de rôle à savoir Aurélie Dupont, Delphine Moussin ou Agnès Letestu aux côtés de Manuel Legris, Benjamin Pech, José Martinez, sans oublier notre nouvelle étoile Mathieu Ganio avec Isabelle Ciaravola, les 1er et 5 juillet.
· Théâtre de la Ville – Pina Bausch
4 au 22 juin 2004
Venue annuelle du Tanz Theater de Wupperthal. Le grand feuilleton spectaculaire de Pina Bausch autour du monde se poursuit avec une pièce inspirée par la ville d’Istanbul intitulée Nefés.

· Théâtre Liceu – Jewels, tournée de l’Opéra de Paris
8 au 11 juillet 2004
Tournée européenne de l’Opéra de Paris qui présentera sa production de Jewels de Balanchine dans les costumes de Christian Lacroix, avec les étoiles, premiers danseurs et corps de ballet de l’Opéra de Paris


· Théâtre Real – Jewels, tournée de l’Opéra de Paris
30 juin au 3 juillet 2004
Tournée européenne de l’Opéra de Paris qui présentera sa production de Jewels de Balanchine dans les costumes de Christian Lacroix, avec les étoiles, premiers danseurs et corps de ballet de l’Opéra de Paris

· Roma Opera Ballet – “Giselle”
June 30, July 1 – 4 – Teatro dell’Opera
Carla Fracci’s new production of the romantic masterpeace.

La Biennale di Venezia
June 11 – 30 – European companies
2nd edition of the famous contemporary dance festival. Many different companies in different venues.






American Ballet Theatre - 'Theme and Variations,' 'Tchaikovsky Pas de Deux,' 'Mozartiana,' 'Ballet Imperial'
by Kate Snedeker
May 31, 2004 --
Metropolitan Opera House, New York City

...If the test of a real principal dancer is the ability to not just do the fancy tricks, but to do them with control and blend them seamlessly into the rest of the performance, than Cornejo has passed with flying colors...

American Ballet Theatre - 'Theme and Variations,' 'Tchaikovsky Pas de Deux,' 'Mozartiana,' 'Ballet Imperial': Balanchine and Tchaikovsky Brighten ABT's Day
by Lori Ibay
May 24, 2004 --
Metropolitan Opera House, New York City

The curtain rose on the bright pinks and lavenders of “Theme and Variations” as the orchestra led by Charles Barker began the score, the final movement of Tchaikovsky’s Suite No.3 for Orchestra..

American Ballet Theatre - 'La Bayadere'
by Lori Ibay
May 15, 2004 matinee --
Metropolitan Opera House, New York City

...but Act II’s Kingdom of the Shades showcased the true splendor of the women’s corps. The uniformity of movement was like watching a glittering white fog slowly roll in and settle on the stage.

American Ballet Theatre - 'Petit Mort,' Sechs Tanze,' 'Pillar of Fire,' 'Within You Without You': From Mozart to Harrison
by Lori Ibay
May 12, 2004 matinee --
Metropolitan Opera House, New York City

The six women ... were more consistent and moved together with precision and grace, whether they were gliding across the stage behind their black evening gown facades or pulling away from the facades to reveal their vulnerability in flesh colored unitards.

Hong Kong Ballet - 'The Last Emperor': Twilight of the Small
by Jeff Kuo
May 25, 2004 --
Warner Theatre, Washington, D.C.

Dramatically, the ballet’s narrative trajectory is a kind of Cinderella story in reverse. Told largely in flash back in the ballet, Pu Yi lives out his fall down the years from the Forbidden City of his youth to the confetti littered street he in middle age must sweep.

Kirov Ballet - 'Legend of Love'
by Catherine Pawlick
May 24, 2004 --
Mariinsky Theatre, St. Petersburg

At nearly three hours long, the story of forbidden love and self-sacrifice remains a commentary on the Russian State's voice in the arts in the late 1950's while offering a coherent language of choreography unique to the ballet itself.

Kirov Ballet - 'Le Corsaire'
by Catherine Pawlick
May 19, 2004 --
Mariinsky Theatre, St. Peterbsurg

The Kirov Ballet's stunning production of the full-length "Le Corsaire" is testament to their rich 250-year heritage, offering colorful drama, coherent story line, brightness of presentation and yes, even freshness in the dancing.

Ballet Preljocaj - 'Near Life Experience'
by Daniel Dui
May 22, 2004 --
Sadler's Wells, London

Climbing the Kilimanjaro in Tanzania showed the choreographer an other kind of out-of-body experience. At 6000m the lack of oxygen puts the body under severe stress and the mind is telling to stop and at the same time to keep going.

Ballet Preljocaj- 'Near Life Experience'
by Katherine Phillips
May 20, 2004 --
Sadler's Wells, London
The dancing is superb as always – strong, elegant and luminescent movements sculpt the space of an open stage. Slow, soft, tender touches and support are followed by bullets of precision and back arching, muscle wrenching springs.

The Cholmondeleys and the Featherstonehaughs - 'Double Take':  Two views of the Chums and the Fans
by Lyndsey Winship and Stuart Sweeney
May 20 and 21, 2004 -- Queen Elizabeth Hall, London

One of Anderson's best qualities is the ability to create radically different worlds just by changing her dancers' gait and gestures. She can completely dissolve their personalities, their egos and their human qualities in one twist of a torso.

Boston Ballet - 'Swan Lake': Humanity and the Fall
by S.E. Arnold
May 15, 16, 2004 -- Wang Theatre, Boston

Although the melancholy suffered by his essentially merry Siegfried echoes the melancholy, character, and fate- to break a curse- of Wagner’s Senta, it is the numinous Rothbart that shapes Nissinen’s vision of “Swan Lake” into a retelling of Eden’s loss.

Paris Opera Ballet - 'Don Quixote'
by Cassandra
May 24, 2004 --
Opera Bastille, Paris ...the performance was one of those very rare occasions when the sense of excitement and expectancy was approaching fever pitch even before the curtain went up.

'The Company'
Movie Review by Stuart Sweeney
Dance goers accept the idea of a plotless ballet or one where relationships are indicated with a few brush strokes and Altman has adopted this approach to the making of the film.

Performance Showcase 2004- Stephen Pelton, Sara Shelton Mann, Amy Seiwert & others: Tight performances in the House of God
by Mary Ellen Hunt
May 21, 2004--
St. Aidan's Episcopal Church, San Francisco

As a space the newly renovated St. Aidan’s isn’t perfect, but its scalene-angled walls and telescoping spaciousness have the appeal of a non-traditional venue...

Royal Ballet - 'Celebrating Diaghilev'
by Cassandra
May 15, 2004
-Royal Opera House, London
With the anniversaries of the births this year of Balanchine and Ashton both being celebrated in style, the Royal Ballet is also acknowledging the seventy-five years since the death of Serge Diaghilev (only pointe pioneer Marie Taglioni, born 200 years ago misses out in the memorial junketing stakes).

Royal New Zealand Ballet 'Romeo & Juliet'
by Kate Snedeker
May 13, 2004 --
Edinburgh Festival Theatre
Though clearly inspired by his childhood memories of Kenneth MacMillan's classic production, Hampson melds classical with Corleone, placing his Capulets and Montagues in a hip 1950s Verona .

Michael Clark - 'Oh My Goddess'
by Lyndsey Winship
May 11, 2004 --
Sadler's Wells, London

In a witty opening, the dancers come scurrying on lemming-like, wearing paper bags on their heads. Clark carries off such moments of lunacy with complete conviction, which is always the secret to getting away with it.

Oregon Ballet Theatre - Modern Masters: A Study in Contrasts
by Dean Speer
May 9, 2004 --
Newmark Theatre, Portland, Oregon

Martuza and one of our recent Criticaldance.com interview subjects, Artur Sultanov, were lovely in a lovely ballet, Balanchine’s "Duo Concertant," to music of Igor Stravinsky.

Phoenix Dance Theatre 2004: Reviving Everyday Life
by Thea Nerissa Barnes
May 2004 --
Sadler's Wells, London

Henri Oguike’s "Signal" uses the music of Masaya Takashino’s Taiko drums and Chidori: The Ploughman’s Song as the metronome for the dancers to follow or fragment

Robert Moses' KIN - "other gods," "Biography," "Tasogare" excerpt, "Cause": The Long and the Short of KIN
by Mary Ellen Hunt
May 7, 2004 --
Kanbar Hall, Jewish Community Center, San Francisco
Even more though, it bore the mark of a very human brand of interaction in its thoughtful, yet physical duets and quartets.

Stephanie Schober & Dance Company and Stan Won’t Dance - 'Change' and 'Sinner'
by Cerise
May 7, 2004 --
Royal Festival Hall, Purcell Room, London

Densely packed with cleverly framed thorny topical issues, Stan Won't Dance (Robert Tannion and Liam Steel) throw out provocative dialogue with the same ease as they throw each other and their props across a lily-strewn set.

Cullberg Ballet - ''Out of Breath', 'Within Now', 'Walking Mad': Triple Bill Showcases Inger's Eclectic Choreography
by Annie Wells
May 5, 2004 --
Brighton Festival, Brighton, U.K.

Imbuing each work, the absurd-style theatricality for which Inger has been noted ran through the programme like a unifying thread

Gauri Sharma Tripathi - 'Vyuha'
by Lyndsey Winship
May 4, 2004 --
Royal Festival Hall, Purcell Room, London

She is a beautiful dancer, combining the crowd-pleasing fast spins and stamping soles with lyrical, fluid phrases and an incredibly expressive face. Her pleasure in performance is infectious and the feeling of goodwill between dancers, musicians and audience is tangible.

The Washington Ballet - 7x7: Love
by Carol Herron
May 2, 2004 -- England Studio, Washington, D.C.
The setting for this septet of dances exploring the theme of love was the Washington Ballet's England Studio, a rehearsal studio made over into a 'cabaret' by the interior design team of Adamstein & Demetriou, with white drapes and lanterns and little cafe tables...

San Francisco Ballet - 'Sylvia'
by Rebecca Hirschman
May 9, 2004 matinee -- War Memorial Opera House, San Francisco

This version of “Sylvia” brought several firsts to the Opera House, including the first full-length ballet by Morris for a ballet company; the first full-length “Sylvia” to be shown on a U.S. stage; and initial principal roles for corps de ballet members Elizabeth Miner and Megan Low...

San Francisco Ballet - 'Sylvia'
by Toba Singer
May 1, 2004 -- War Memorial Opera House, San Francisco

The title role's character is part muse, coquette, wood nymph, huntress, quarry, rock climber, sommelière, and dancehall queen. Even in the most thickly confected of story ballets, it is rare to find a role containing as many encrypted personae as does Sylvia.

San Francisco Ballet - Program 7: Ashton's Assets
by Dean Speer
April 18, 2004 -- War Memorial Opera House, San Francisco

Sir Frederick Ashton's ballets are not done often enough on this side of the Atlantic, nor are they in the repertories of many companies.

Smuin Ballet - Razzle Dazzle Marks Smuin Ballet's 10th Anniversary
by Catherine Pawlick
April 30, 2004 -- Yerba Buena Center for the Arts, San Francisco

True to the company's razzle-dazzle style, the tenth anniversary of Smuin Ballet was celebrated with plenty of fanfare and theatrics. Grace and possibility are keywords to Smuin's talent, and the company displayed both during Friday night's opening performance for their 10th anniversary season.


Paul Matteson & Friends - 'Rustytime,' 'Step Touch,' 'I Simply Live Now'
by Preeti Vasudevan
April 29, 2004 -- Symphony Space, New York

In today's current trend of making new statements, it is refreshing to see a young choreographer still questioning his journey and choosing intimate spaces to bring the audience closer to his process – his journey.

Transitions Dance Company - 'Three Trees Hugging,' 'Divided,' 'Intertwining,' 'Transitions,' 'trans[odiem]*'
by Julia Skene-Wenzel
April 28, 2004 -- Bonnie Bird Theatre, Laban Centre, London

With youthful enthusiasm and relentless energy, this year's company impresses not only with a well-polished performance, but also with its display of individual talent and the ability to grasp and perform a variety of theatrical styles.

From Here to Maturity - 'Raft of Reasons', 'I Close My Eyes'
by Lyndsey Winship
April 27-28, 2004 -- Purcell Room, London

Just because they're getting on a bit, doesn't mean that middle aged dancers will pass up an opportunity to show off their still-toned physiques. Baryshnikov did it in red trunks at the Barbican recently, and Tom Yang followed suit tonight in fetching leopard-print briefs.


Stars of the 21st Century Gala
by Denise Sum
April 25, 2004 -- Toronto Centre for the Arts, Toronto

The broad display of artistry and technique from the performers was an uplifting representation of what the future of ballet has in store.

Ballet West - 'Concerto Barocco,' 'Tschaikovsky Pas de Deux,' 'Lark Ascending,' 'The Rite of Spring'
by Karen Webb
April 17, 2004 -- Capitol Theatre, Salt Lake City, Utah,
Tetley's "Rite of Spring" combines a beautiful dance aesthetic with the primal force that had the Parisian arbiters of taste rioting in the aisles of the Théâtre des Champs-Elysses in 1913.


For ballet-dance magazine
Mary Ellen Hunt

Acting Editor
Jeffrey Kuo

Managing Editors

Azlan Ezaddin, Stuart Sweeney

Associate Editors

Lori Ibay, Holly Messitt, Catherine Pawlick, Catherine Schemm

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