company focus

Ballet West in Edinburgh: A Tudor Portrait
By Karen Webb
'The Festival wanted Tudor’s work represented in one program,' Kåge explained in an interview from the Ballet West offices just as the company entered its intensive rehearsal period for the program.
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Trusting Tudor: An Interview with Sally Brayley Bliss
By Dean Speer and Francis Timlin
"The legendary impresario, Sol Hurok made Tudor go out and tell the audience that it wasn't quite done and they could come back and see it when it was complete, which they did!".
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Transitioning Tudor - Staging the Works of Antony Tudor for Ballet West: An Interview with Donald Mahler
By Dean Speer and Francis Timlin
"His sardonic humor was very British, and he could be painful and difficult, but he could also be very inspiring!".
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Rambert Dance Company - 'Judgement of Paris' and 'Dark Elegies'
By Patricia Somerset and Lindalu - May 24, 2005, Sadlers Wells, London
Rambert Dance Company’s current performances at Sadler’s Wells confirm the pursuit of the troupe’s mission: to encourage innovative and daring new choreographic works while at the same time performing less recent and more established pieces of their almost eighty year old repertoire.
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Ballet West - 'The Leaves Are Fading', 'Lilac Garden', 'Offenbach in the Underworld': Tudor Triple Feature
By Kate Snedeker - August 27, 28, 30, 2004, Edinburgh Playhouse, Edinburgh
Christiana Bennett was a delicate and fragile Caroline, her dancing bringing out the emotion of Ernest Chausson's music without wavering from the restrained choreography. Her face may have barely registered emotion, but her body told a very different story.
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American Ballet Theatre - Mixed Rep, including "Dark Elegies"
By Cecly Placenti - October 25 and 30 (matinee) , 2005, City Center, New York City
A piece depicting a village lamenting the death of their children, “Dark Elegies” is a soft piece ranging in mood from extreme anguish to quiet resignation.
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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.
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