July 10, 2011 |
On a brisk January afternoon, there's an air of high spirits as dozens of American Ballet Theatre's dancers and staff gather in the largest studio of the company's Lower Manhattan headquarters. For two hours, as they run through ABT's newest full-length ballet, "The Bright Stream," bravura mixes with hilarity, as virtuoso turns alternate with comic vignettes. Numerous characters not usually found on the ABT stage — a tractor driver, a milkmaid and the denizens of a 1930s Soviet agricultural collective — express themselves with individuality and distinctive styles.
May 21, 1989 |
The injury to Joffrey Ballet dancer Glenn Edgerton during a performance of "Petrushka," Tuesday in the Dorothy Chandler Pavilion, reminds us that dance is a high-risk profession, with pain a constant condition of the art. Despite fatigue and injury, professional dancers follow a relentless schedule of daily class, rehearsal and performance. The audience expects to see dancing that looks effortless. No matter what, the audience mustn't know that dancers dance in pain. But they do. David Howard, international ballet master and coach, recalls working on Mikhail Baryshnikov's foot for 45 minutes before a performance of "Coppelia."
July 26, 1987 |
Back in the United States professionally for the first time in 10 years, Maya Plisetskaya was in good part expressing gratitude to Soviet leader Mikhail S. Gorbachev's recent policy of glasnost (openness) when she remarked, "I have been here two weeks and for that, thank you." The center of a great deal of attention from the New York dance community, the Bolshoi ballerina was somewhat weary but nevertheless willing to maintain her reputation as an outspoken individualist.
CALIFORNIA | LOCAL
April 6, 2004 |
John Taras, 84, internationally praised choreographer and ballet master for the New York City Ballet and others, died Friday at his New York City home of unspecified causes. Born in New York into a family of Ukrainian descent, he began studying Ukrainian folk dance at age 9 and ballet at 16. Professionally, he danced for the Philadelphia Ballet and at the 1939 New York World's Fair with dancers associated with George Balanchine, who would become his choreography mentor.
CALIFORNIA | LOCAL
November 5, 2004 |
Basil Thompson, 67, a former ballet soloist and ballet master for the Joffrey and Milwaukee ballet companies, died Tuesday in Lynchburg, Va., of cardiac arrest. He was on sabbatical from the University of Iowa, where he had taught since 2000. Trained by the Sadlers Wells Ballet School in London, Thompson began his performance career with the Covent Garden Opera Ballet. In 1955, he moved to the Sadlers Wells Ballet Company, now London's Royal Ballet. Returning to the U.S.
CALIFORNIA | LOCAL
January 26, 2000
Ballet Pacifica has laid off Raymond van Mason, the company's first ballet master, appointed only a year ago, because of "financial constraints," artistic director Molly Lynch said Tuesday. "You set a budget for the year and have to adapt due to changes in income and expenses. You're continuously monitoring your budget and keeping things in balance. I needed to make some adjustments," Lynch said.
June 30, 1991 |
That George Balanchine was a great artist everybody now seems to recognize. What is less talked about is what a colossal career he had. He made his first ballet at age 5 and never stopped until age 78, when, gravely ill with a neurological disorder called Creutzfeldt-Jakob disease, he finally was persuaded to check into a hospital.
February 3, 1990 |
Caught up in the euphoria of East Berlin's liberation, Long Beach Ballet director David Wilcox barely knew what to do first. For starters, he dedicated his production of "Coppelia," which has its premiere this afternoon, to the German people. Then came a wave of nostalgia. He remembered walking across Checkpoint Charlie several times--as a dancer with the (West) Berlin Ballet--to see the Komische Oper Ballet.
December 6, 1992 |
IT WAS ONLY A GLASS OF VODKA THAT HE LIFTED BEFORE A hushed audience at Lincoln Center last year. But for Peter Martins, artistic director and top boss of the New York City Ballet, the shot glass he grasped on stage that evening might as well have been the Holy Grail. The curtain was about to rise on his ambitious restaging of the classic "Sleeping Beauty."