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PostPosted: Mon Aug 21, 2006 9:07 pm 
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Joined: Mon Aug 21, 2006 12:57 pm
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Location: Seattle, WA USA
Francis Timlin wrote:
A curious review of Pacific Northwest Ballet's performance at Jacobs Pillow from stringer Tresca Weinstein in the Albany Times Union. She is factually incorrect in her statement the the four works on the program predate Peter Boal's appointment as AD -- only "Lambarena" has been in the repertory longer than Peter's tenure. More curiously, we are not told the names of the performers in three of the four works on the program; at minimum, she should have identified the two dancers in "Duo Concertant" and a passing reference to the rosters of Sonia Dawkins' piece and "Lambarena" would have been at least nominally informative.

Albany Times Union


Actually, Gibson's "Piano Dances" premiered in April 2005, during Russell and Stowell's last season, along with Christopher Stowell's "Quick Time," which he set on his own company last season.

Lambarena was on that same program -- maybe that was how the connection got made?


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PostPosted: Tue Aug 22, 2006 9:43 am 
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Welcome, Sandi -- and thanks for the correction on the date of Paul's "Piano Dances." Please feel free to chime in any time!


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 Post subject: Choreftes
PostPosted: Wed Aug 23, 2006 8:35 am 
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Location: Estonia
Quote:
An Oddly Unemotional Portrait of Disconnectedness
by ROSLYN SULCAS for the New York Times

Choreftes — the name means dancers in Greek — was founded in 1993 by Aliki Kazouri, Maria Anthymidou and Michalis Nalbantis. Their choice for Jacob’s Pillow was Ms. Kazouri’s “Behind Her Eyes,” a work for eight dancers that pays obvious debts to Pina Bausch in its examination of alienated male-female relationships while extolling an intermittently athletic physicality.

published: August 19, 2006
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Last edited by kurinuku on Fri Aug 25, 2006 11:04 am, edited 1 time in total.

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PostPosted: Thu Aug 24, 2006 7:17 am 
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From Jeffrey Gantz in the Boston Phoenix:
Quote:
Lambarena redux
Pacific Northwest Ballet and Choreftes at JP....

Boston Ballet staged [Lambarena] last March: the Times’ John Rockwell liked it, the Boston critics didn’t, audiences were divided as to whether it was an authentic African experience or just a tourist visit. ....I wondered what Caniparoli’s work would look like on a less white company — specifically Alvin Ailey American Dance Theater. It was, however, Pacific Northwest Ballet ... that brought Lambarena to Jacob’s Pillow last week .... Lambarena also looked less ambitious, and less pretentious, on the smaller Pillow stage than it did at the Wang Theatre. But it still has “Whiteboy visits Africa with Berlitz and Baedeker” written all over it.

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PostPosted: Fri Aug 25, 2006 11:06 am 
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Location: Estonia
Quote:
Hopping From Hip-Hop to Ballet
by ANNETTE GRANT for the New York Times

A DANCER starts out as a b-boy, forms his own post-hip-hop dance company at 26 and gets a commission from a classical ballet company at 30. Not a common progression in the dance world, but it is Victor Quijada’s story. Talent plays a large role of course, but so do curiosity, hard work and a knack for being in the right place at the right time.

published: August 20, 2006
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PostPosted: Fri Aug 25, 2006 11:24 am 
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Location: Estonia
Quote:
East Coast Alumnus Returns, Leading Pacific Northwest Ballet
by ROSLYN SULCAS for the New York Times

Mr. Gibson, a former principal dancer and now a balletmaster with Pacific Northwest Ballet, works within the current vocabulary of contemporary ballet — tilted hips, high extensions, acrobatic partnering — and quotes extensively from Balanchine works, “Agon” in particular. But he infuses the small groups, solos and pas de deux that follow in quick order with enough wit and personality to give the ballet its own aura. And his deft juxtapositions of unlikely musical bedfellows provides its own pleasures.

published: August 21, 2006
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PostPosted: Sat Aug 26, 2006 7:57 am 
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From Karen Campbell in the Boston Globe:
Quote:
Rubberbandance fuses passion, grace, and power
In the world of dance, ballet and hip-hop would appear to be strange bedfellows. The formal clarity and controlled elegance of ballet seem antithetical to the raw, athletic exuberance of street dance. But the two aesthetics are brilliantly melded in the choreography Victor Quijada creates for his Rubberbandance Group, performing this week at Jacob’s Pillow. It’s not a flashy juxtaposition of styles, but a new fusion that involves an expansive, sophisticated approach to physicality, line, and form.

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 Post subject:
PostPosted: Mon Aug 28, 2006 7:34 am 
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From Karen Campbell in the Boston Globe:
Quote:
Onstage were fun, depth, and Mark Morris himself
Mark Morris’s reign at Jacob’s Pillow last week celebrated his 50th birthday and the 25th anniversary of the renowned Mark Morris Dance Group. The engagement was capped in a lively benefit party and performance Saturday night in which the veteran choreographer himself took to the stage.
.... the program did show that over the past 25 years, Morris has stayed true to his basic creative ethos, crafting works of startling musicality and originality, experimenting in his own way.

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 Post subject: Rubberbandance
PostPosted: Thu Aug 31, 2006 3:04 am 
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Location: Estonia
Quote:
Taking 2 Volatile Forms and Mixing, Carefully
by CLAUDIA LA ROCCO for the New York Times

As a competitive art form, breaking (known more generally as break-dancing, a term disliked by its practitioners) draws much of its bite from an aggressive, often bawdy humor, but there were far too few

echoes of this heritage in Mr. Quijada’s choreography, which often resembled a slow-motion spinoff of capoeira in its circular posturing and stylized, floor-work-heavy sparring, full of crouched lifts and

handstand poses.

published: August 26, 2006
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