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 Post subject: Hubbard Street Dance 2006-2007
PostPosted: Wed Jul 19, 2006 12:58 am 
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Joined: Sat Aug 23, 2003 11:01 pm
Posts: 6778
Location: Estonia
Quote:
World a big oyster for Hubbard Street dancers
by HEDY WEISS for the Chicago Sun-Times

Very international. And during the 2006-2007 season, that global reach will only expand, as Hubbard Street embraces new works by Japanese and Finnish choreographers, as well as by a veteran Chicago-bred, New York-based dancemaker, and as the troupe fuels its programs with other pieces set to a wide array of world music.

published: July 5, 2006
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PostPosted: Sun Jan 28, 2007 5:02 am 
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Location: Estonia
Quote:
On multiple levels, `All Sides' keeps its focus
by SID SMITH for the Chicago Tribune
published January 27, 2007

Choreographer Jorma Elo's "From All Sides," for three couples, is chilly but seductive, abstract but idiosyncratic, alternately jerky and smooth. It is arrestingly fast and busy, its demands are so spectacular you wonder how the six performers from Hubbard Street Dance Chicago survive it.
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 Post subject: @ American Dance Festival
PostPosted: Mon Jul 02, 2007 3:36 pm 
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Location: Estonia
Quote:
It’s Summer, and These Moves Are Hot
by ALASTAIR MACAULAY for the New York Times
published: June 30, 2007

Eros is more overtly the subject of Susan Marshall’s “Kiss,” analytically handled in the way she has the two dancers suspended on ropes, kissing, embracing, coupling, as seemingly inseparable as Dante’s Paolo and Francesca in the Inferno. The sense of transcendence is confirmed by the use of Arvo Pärt’s “Cantus in Memory of Benjamin Britten.”
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 Post subject:
PostPosted: Mon Jul 02, 2007 3:46 pm 
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Joined: Wed Jan 30, 2002 12:01 am
Posts: 943
Location: Santa Barbara, CA USA
From the Macaulay review:

Quote:
George Balanchine once compared the use of a certain Tchaikovsky score in John Cranko’s “Onegin” to “taking a hundred-dollar bill and using it to clean yourself after you go to the bathroom.” He might have gone further about the use of the slow movements of two of Mozart’s greatest piano concertos (Nos. 23 and 21) in Jiri Kylian’s “Petite Mort” (1991), which opened the program.


Is it me, or do the British critical corps really not like Kylian?

--Andre


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