Youth America Grand Prix (YAGP), the world's largest ballet student scholarship competition and global dance network a?" is kicking off its 21st season with the Stars of Today Meet the Stars of Tomorrow Gala performance, on Saturday, Jan. 11, 2020, at 8 p.m. in Ferguson Hall, as a co-presentation with the Straz Center for the Performing Arts.
Casting for the first two weeks of American Ballet Theatre's 2019 Spring Season at the Metropolitan Opera House was announced today by Artistic Director Kevin McKenzie.
The Clive Barnes Foundation, under the leadership of former Royal Ballet soloist Valerie Taylor-Barnes, awarded its prizes today for the 9th Annual Clive Barnes Awards, recognizing excellence in Theater and Dance, to Edmund Donovan (Theater, Lewiston/Clarkston) and Zoey Anderson (Dance, Parsons Dance). The awards were presented by Michael Novak, artistic director of Paul Taylor Dance Company and Tony-winner Beth Leavel, currently starring in Broadway's The Prom. The event, hosted by New York Post columnist and WOR radio personality Michael Riedel was held at the Walter Reade Theater at Lincoln Center.
The Clive Barnes Foundation, under the leadership of former Royal Ballet soloist Valerie Taylor-Barnes, announced today the finalists and date for the 9th Annual Clive Barnes Awards. Hosted by New York Post columnist and WOR radio personality Michael Riedel, the presentation of the annual awards recognizing excellence in theater and dance will take place on Monday, February 11, 2019 at 3:00pm at the Walter Reade Theater at Lincoln Center (165 West 65th Street).
Celebrate the 30th anniversary of Orange County's premiere resident ballet company with an exciting gala performance where world-renowned ballet artists share their love and expertise of the craft with future, inspired young stars.
Celebrate the 30th anniversary of Orange County's premiere resident ballet company with an exciting gala performance where world-renowned ballet artists share their love and expertise of the craft with future, inspired young stars.
Casting for the seventh and eighth weeks of American Ballet Theatre's 2018 Spring Season at the Metropolitan Opera House was announced today by Artistic Director Kevin McKenzie.
Casting for the fifth and sixth weeks of American Ballet Theatre's 2018 Spring Season at the Metropolitan Opera House was announced today by Artistic Director Kevin McKenzie.
The Clive Barnes Foundation announced today, Monday, January 8, 2018, that Evan Ruggiero(Bastard Jones) has won the Eighth Annual Clive Barnes Award for Theater. Mr. Ruggiero received his award alongside Gemma Bond (American Ballet Theatre) who was named the recipient of theEighth Annual Clive Barnes Award for Dance. The announcement was made at the Eighth Annual Clive Barnes Awards ceremony, which was held at The Walter Reade Theatre at Lincoln Center.
As the weather begins to warm up the top of next week, providing a break from the unusually harsh winter weather NYC has been experiencing, the Clive Barnes Foundation will return to The Walter Reade Theater at Lincoln Center for the 8th annual Clive Barnes Awards on Monday, January 8, 2018 at 3:00pm.
The Clive Barnes Foundation announced today that the 8th Annual Clive Barnes Awards will be presented on Monday, January 8, 2018 at The Walter Reade Theater at Lincoln Center.
Youth America Grand Prix's (YAGP) First Position Club celebrated Friday night with ballet dancers from around the world at Susan Gutfreund's Upper East Side residence.
Casting updates have been announced for The Joyce Theater Foundation's upcoming Ballet Festival, a two-week festival of ballet showcasing some of America's most exciting contemporary companies and choreographers with Joyce commissions on each program. Co-curated by Curatorial Associate John Selya, the Festival -- July 19-29 -- is designed to recognize dancers and choreographers who are creating work outside the traditional large company setting and, in many.
James Whiteside, ballet's most daring principal artist known for his theatrical and technical versatility, will begin an extensive and varied summer tour, with seven appearances worldwide, after the close of the American Ballet Theatre's Metropolitan Opera House Season. Whiteside kicks off the summer at Fire Island Dance Festival, followed by an evening of self-choreographed work at Jacob's Pillow, performances at Joyce Theater with Gemma Bond, BALLETNOW, Vail Dance Festival and Ballet Sun Valley, and lastly a tour to Japan late summer to work with Tokyo Disney. Performances will showcase a variety of dance styles including classical ballet, contemporary ballet, modern, theater jazz and hip-hop.
Casting updates have been announced for The Joyce Theater Foundation's upcoming Ballet Festival, a two-week festival of ballet showcasing some of America's most exciting contemporary companies and choreographers with Joyce commissions on each program. Co-curated by Curatorial Associate John Selya, the Festival -- July 19-29 -- is designed to recognize dancers and choreographers who are creating work outside the traditional large company setting and, in many.
James Whiteside, ballet's most daring principal artist known for his theatrical and technical versatility, will begin an extensive and varied summer tour, with seven appearances worldwide, after the close of the American Ballet Theatre's Metropolitan Opera House Season. Whiteside kicks off the summer at Fire Island Dance Festival, followed by an evening of self-choreographed work at Jacob's Pillow, performances at Joyce Theater with Gemma Bond, BALLETNOW, Vail Dance Festival and Ballet Sun Valley, and lastly a tour to Japan late summer to work with Tokyo Disney. Performances will showcase a variety of dance styles including classical ballet, contemporary ballet, modern, theater jazz and hip-hop.
Petipa, who of the three choreographers listed in the program has the most influence on American Ballet Theatre's Le Corsaire, knows how to create a dramatic excuse for dance. With a few notable exceptions, 'Giselle' and 'Romeo and Juliet' come instantly to my mind, declarative dance which spends twenty minutes to hammer out an 'I love you' through pirouettes can be draining and leave the audience thinking 'Just spit it out.' Petipa, clearly seeing this dramatic shortcoming, forms his ballets around vast pageants, processionals, and presentations. The Black Swan seduces by exhibition at a banquet, the last glorious act of The Sleeping Beauty is a virtually plotless celebration, and practically the entire Nutcracker is a series of vignettes formed around a presentation. Le Corsaire is no different. The first act features the presentation of several ballerinas. The second act is centered around the principal dancers performing to 'entertain the group'. Then, in act three, a pasha spends a lengthy amount of time in a dream sequence which features, what else, women and flowers. Superficially, this all works wonderfully and the dancers shamelessly take this opportunity to exploit their most acrobatic technique. The piece's issues begin upon the introduction of the words 'slave girls.'
