Ian Macmillan

🇬🇧 Have these really been here before?

Links – Monday 14 May, 2018 Review – New York City Ballet, Robbins Bill #2, Tribute to Robbins, New York: Marina Harss, DanceTabs Review – National Dance Company of Wales, Folk, Atalaÿ, Tundra, London: Graham Watts, DanceTabs Review – Ballet BC, Beginning After, when you left, Bill, Vancouver: Janet Smith, Straight.com Interview – Alexander Ekman & T M Rives on dance and film: Claudia Bauer, DanceTabs Feature – Carolina Ballet, preparing backstage for Sleeping Beauty: Linda Haac, News & Observer Gallery – Hong Kong Ballet, Company Ad Campaign: Katy Cowan, Creative Boom (and elsewhere) Diaries: - This week around LA: Matt Cooper, LA Times - Bay Area This Week: Claudia Bauer, SF Chronicle Review – Footnote Dance & Others: Search Engine, Invercargill: Alana Dixon-Calder, Theatreview Exhibition Preview – Mao’s Last Dancer: A Portrait of Li Cunxin, Melbourne: Staff, Dance Australia Review – MAYFEST/Caroline Bowditch, The Nature of Why, Bristol: Leah Tozer, Reviews Hub

Well done to Ms Zhang - though my preference would have been for either of the others.

Katherine, I admit to not having noticed that - but I did find myself wondering was he about to head for the UK, or had he completed a tour already and, if so, what had he been flying? It's the 10 Squadron historian now in me that generates such thoughts about a fictional character!

Links – Sunday 13 May, 2018 Feature – Boston Ballet, The Sleeping Beauty (Petipa/Ashton), Boston: Jeffrey Gantz, Boston Globe Memoir – David Hallberg: “A Body of Work – Dancing to the Edge and Back.” CBS News Staff, WDEF.Com Review – Australian Ballet, The Merry Widow, Sydney: Michelle Potter, ... on dancing Review – Limón Dance Company, The Unsung, The Body Is a House Without Walls, Querida Herida, Missa Brevis, New York: Elizabeth Zimmer, Village Voice Review – Mark Morris Dance Company, Pepperland, Santa Barbara: Mark Swed, LA Times Review – Korea National Contemporary Dance Company, Immixture, London: Luke Jennings, Observer Review – Scottish Dance Theatre, ACT Mixed Bill, Dundee: Kelly Apter, Scotsman Review – Sarasota Contemporary Dance, Evolving/Revolving Mixed Bill, Sarasota: Carrie Seidman, Herald-Tribune Review – Chicago Moving Company, The TransPennine, Suns: She-Wisdom, Eyes, Approaching 9, Chicago: Lauren Warnecke, Chicago Tribune Review – Carousel (Choreo: Peck), New York: Michael Popkin, Danceviewtimes

Alison: Thanks for moving John's post - having created the thread, I quite forgot how to move a single post rather than an entire thread! Mixed feelings chez nous about the MacMillan documentary, with the absence of Lynn Seymour and Jann Parry particularly curious, as already noted. That said, I can't think when I last saw Ms Seymour take part in an interview but I'd have thought that Jann Parry might have ben amenable to an approach from the producers. Lots of Lady MacMillan, not surprisingly, though I doubt she knew him in his earlier 'dark' days. I found the Yanowsky piece absolutely charming. I'd no need of reinforcement on her qualities as a dance-actress, but I was completely taken by the portrait of her as a woman, mother and, indeed, daughter. My respect and admiration grew throughout the all-too-brief 30 minutes.

Discussion of this series probably needs its own thread.

Still missing, but some further detail here: https://twitter.com/balletcentral/status/994181134249578496

Big place, Australia - as I discovered on my first visit in June1971, one that involved flying coast to coast and back in one crew-duty day, having started earlier in Auckland. A very long day.

We, too, have just returned from a catch-up screening of Thursday's Lamb/Muntagirov performance in Saffron Walden. Quite a pair, I must say, and a fine and eminently satisfying performance all round. Ore Oduba and Darcey appear to be working more smoothly as a presenting pair now - but she is so much better when off-autocue and live with the dancers. Oh, and that red star moment was still in the recording at the end of Act 1, as was Henry the vacuum cleaner.

Bridie: If I recall correctly, Messrs Nunn and Trevitt produced/directed a documentary around Chris Wheeldon's difficulties at the Bolshoi (eg a significant falling-out with Nikolai Tsiskaridze) when had had been commissioned to create a version of Hamlet some 10 years ago. I'm sure there must have been others since.

Interesting, but mention of Budapest raises a few questions. Does the city provide suitable exterior locations for shooting? I imagine that it might, though why not Verona? Or are the sets and all other kit going to be transported from London just for a theatre venue??

Alison, I should say in Ms Cuthbertson's defence that the photo in the News link I posted cut off her legs when compared with the printed version!

The front page picture leads here: https://www.thetimes.co.uk/article/news-in-pictures-thursday-may4-2018-l7q3txjtq?shareToken=8295b63d7419fdb7aae484977a772a6b

I would have yielded to nobody in my admiration for Mme Yanowsky - and would have taken mortal offence at anyone referring to her as a "sacred cow." With that out of the way, are the "Firm Favourites" in bold print to be considered 'firmer' than those not?

Links – Wednesday 2 May, 2018 Features – New York City Ballet, Robbins 100 – Something to Dance About, New York: Roslyn Sulcas, NY Times Charles Isherwood, Playbill Review – San Francisco Ballet, Unbound 2018, Progs C and D, San Francisco: Rita Felciano, Danceviewtimes Review – DeNada Dance Theatre, Toro: Beauty and the Bull, London: Graham Watts, DanceTabs Preview – San Francisco Ethnic Dance Festival, 2018: Janos Gereben, SF Classical Voice Report – Sarah Michelson, May 2018 /\, New York: Brian Seibert, NY Times Preview – Chicago Danztheatre Ensemble, Art in Response, Chicago: Lauren Warnecke, Chicago Tribune Feature – Choreographer Stephen Shropshire: Dionne Christian, NZ Herald

I'm getting a 404 error on that Macmillan link, but this one may be of interest: https://mailchi.mp/2e82533b237d/ballets-dark-knight-sir-kenneth-macmillan

Links – Tuesday 1 May, 2018 Reviews – Australian Ballet, The Merry Widow, Sydney: Chantal Nguyen, Bachtrack Geraldine Higginson, Dance Australia Review – Ballett Zürich, Faust, Zürich: Sarah Batschelet, Bachtrack Reviews – New York City Ballet, Balanchine Programs, New York: - Concerto Barocco, Agon, Four Temperaments: Barnett Serchuk, BWW - Apollo, Le Tombeau de Couperin, Tchaikovsky Pas de Deux, Symphony in 3 Movements: Sondra Forsyth, BWW Reviews – Phoenix Dance Theatre, Calyx, Shadows, Windrush: Movement of the People, London: Louise Levene, Financial Times Rym Kechacha, Bachtrack Rachel Elderkin, The Stage Zoë Anderson, Independent Review – Wayne Parsons Dance, Meeting, Vestige, London: Josephine Leask, DanceTabs Review – BalletBoyz, Fourteen Days Mixed Bill, London: Anna Winter, Exeunt Review – DeNada Dance Theatre, Toro: Beauty and the Bull, London: Ka Bradley, Exeunt Review – English National Ballet & School, My First Ballet – Swan Lake, Manchester: Richard Hall, Reviews Hub Review – Ballet Revolución, Mixed Bill, Brisbane: Denise Richardson, Dance Australia Review – Nick Mauss & Dancers, Transmissions, New York: Brittney Feit, Village Voice Review – Megan Williams & Others, One Woman Show, New York: Deborah Jowitt, Arts Journal/DanceBeat Preview – Karen Peterson and Dancers, Warmamas: A Performance, Miami: Cameron Basden, Miami Herald Review – Rejoice! Diaspora Dance Theater, UPRISE 6-part bill, Portland: Elizabeth Whelan, Oregon Artswatch Review – Stephanie Lake Company, Replica, Melbourne: Jordan Beth Vincent, The Age Interview – Jack Ferver on Everything is Imaginable: Ivan Talijancic, Brooklyn Rail Report – Mariana Valencia, Covers, Singles, Shout Outs: Mike Stinavage, Brooklyn Rail Review – Jane Comfort & Company, Mixed Bill, New York: Susan Yung, Brooklyn Rail Report – Reid & Harriett, New Approaches to Production Design, New York: Caroline Stinger, Brooklyn Rail

Links – Monday 30 April, 2018 Reviews – Australian Ballet, The Merry Widow, Sydney: Valerie Lawson, DanceTabs Jill Sykes, Sydney Morning Herald Deborah Jones, The Australian Jade Kops, BWW Australia Review – Acosta Danza, 5-part mixed bill, New York: Deborah Jowitt, Arts Journal/DanceBeat Review – New York Theater Ballet, Alston/Robbins Quad Bill, New York: Alastair Macaulay, NY Times Review – Chunky Move, Common Ground, Melbourne: Jordan Beth Vincent, The Age Reviews – BalletBoyz, Fourteen Days Mixed Bill, London: Rym Kechacha, Bachtrack Jessica Wilson, SeeingDance John O’Dwyer, Seen and Heard Diaries: - Los Angeles Area, Next Week: Matt Cooper, LA Times - Looking back at April: Michelle Potter, .... on dancing - New York, Next Weekend: Staff, NYC City Guide Feature – The Red Shoes – 70th Anniversary, with Misty Copeland, Isabella Boylston and Tiler Peck: Gia Kourlas, Harper's Bazaar Feature – Remembering 1968 – Dance: Merce Cunningham Company, RainForest: Judith Mackrell, Guardian (Scroll down) Gallery – National Ballet of China, Swan Lake, Beijing: Staff, XinhuaNet And, Maypole sales are up as May Day celebrations come back into fashion: James Tapper, Observer

Links – Sunday 29 April, 2018 San Francisco Ballet, Unbound 2018, San Francisco: Review – Programs C and D: Janice Berman, SF Classical Voice Interview – Annabelle Lopez Ochoa on creating Guernica: Claudia Bauer, DanceTabs Series Background: Claudia Bauer, Dance Magazine Review – Viviana Durante Company, Kenneth MacMillan: Steps Back In Time, London: David Dougill, Sunday Times Review – Sarasota Ballet, Tarantella, The Leaves Are Falling, Bugaku, Marguerite and Armand, Sarasota: Carrie Seidman, Herald-Tribune Review – DeNada Dance Theatre, Toro: Beauty and the Bull, London: Luke Jennings, Observer Review – Phoenix Dance Theatre, Calyx, Shadows, Windrush: Movement of the People, London: Vera Liber, BTG Review – Alleyne Dance, A Night’s Game; James Finnemore, TERRA, London: Ka Bradley, Exeunt Rehearsal – Carolina Ballet, Serenade, Four Last Songs, In the Gray, Raleigh, NC: Dawn Reno Langley, Triangle A&E

I'm fairly sure that early on in this thread, someone thought that House of Birds had a scene with the captured girls wearing birdcage head-dresses? I was aware that had indeed been the case, but was unaware that somewhere in the depth of my computer files was some evidence. Where it came from, I've now no idea, but here we are:

Links – Saturday 28 April, 2018 Review – San Francisco Ballet, Unbound 2018, Programs C & D, San Francisco: Ann Murphy, SF Examiner (Keep scrolling!) Allan Ulrich, SF Chronicle Claudia Bauer, DanceTabs Series overview - Alastair Macaulay, NY Times Feature – Jerome Robbins at 100: Alastair Macaulay, NY Times Review – Royal Ballet, Obsidian Tear, Marguerite and Armand, Elite Syncopations, London: Emma Byrne, Evening Standard Reviews – Mark Morris Dance Group, Two 4-part bills, New York: Brian Seibert, NY Times Marina Harss, DanceTabs Reviews – Birmingham Royal Ballet, Romeo and Juliet, Norfolk, VA: John Shulson, Virginia Gazette Rebecca Evans, WHRO News – Paris: Ballet and Opera cancellations at Opéra Bastille: Staff, Playbill Feature – “A Prelude to The Shed,” with a revamped In the Middle…: Sopan Deb, NY Times Review – BalletBoyz, Fourteen Days Mixed Bill, London: Howard Loxton, BTG Review – NDT2, I new then, Short Cut, Mutual Comfort, Sh-boom!, Zürich: Sarah Batschelet, Bachtrack Review – Joffrey Ballet, Midsummer Night’s Dream (Ekman), Chicago: Lauren Warnecke, Chicago Tribune Preview – Sidi Larbi Cherkaoui/Shaolin Monks, Sutra, Montreal: Jim Burke, Montreal Gazette Review – James Finnemore, TERRA; Alleyne Dance, A Night’s Game, London: Graham Watts, DanceTabs Review – Dimensions Dance Theatre of Miami, 5-part bill, Miami: Sean Erwin, Danceviewtimes Preview – Bay Area Dance Week: Leslie Katz, SF Examiner Feature – The unsung heroes of the Yorkshire dance scene: Yvette Huddleston, Yorkshire Post Review – Fidget Collective, Extra Ordinary Folk, Henderson: Raewyn Whyte, NZ Herald Review – Taiwan Universities, Mixed Programmes, Taipei: David Mead, SeeingDance

Ballet Black's tour of these two pieces reached Hatfield last night. Both were very warmly received - and dare I note that ageing white males like myself were very much the minority in that audience. Dave M has outlined both stories, above, and I found Cathy's The Suit just as cleverly constructed as I would have hoped for and, indeed, the same can be said about Arthur Pita's A Dream within A Midsummer Night's Dream. It's a truly talented company and the cast of just seven dancers showed both works to advantage, revealing both acting and dancing skills. At just £12 a seat, I'd doubt there was a better-value stage performance anywhere else last night.

Duck, my thanks also for the review. The essence of R&J involves a handful of characters, so it's no surprise that a successful version of the story can be portrayed by a small company. Cathy Marston did it back in 2009 (inverting the title to J&R, by the way), whilst AD in Bern, with just 11 dancers, and I'm sure there must have been others elsewhere. https://www.youtube.com/watch?v=D_p60al8GsM

Missy, welcome to the forum. I've moved your questions to the area from which answers are most likely to come.