June 27, 2010

Interview : Dusty Button, Breaking the Mold at BRB (Pointe Magazine, June/July 2010)

Dusty Button (surely one of the most delightful names in the business?) has been with Birmingham Royal Ballet for two seasons, but in her teenage years she was also one of the most successful dancers on the US competition circuit. I found out why she decided to complete her training at the Royal Ballet School and stay on to work in England, and the article is in the latest issue of Pointe Magazine, which features ABT’s Maria Riccetto on the cover:

Cover of the June/July 2010 issue © Pointe Magazine

Cover of the June/July 2010 issue © Pointe Magazine

Onstage, Dusty Button defies categorization. The Birmingham Royal Ballet corps member from South Carolina uses her long, swan-like lines with typical English softness but bursts with energy in spiky contemporary work. Once told by a teacher at American Ballet Theatre’s Jacqueline Kennedy Onassis School that she had “too many ingredients” in her soup, Button may be the unlikeliest dancer to find a home in an English company.

Ballet did not start out her favorite genre. Button began dancing at age 7, dividing her time between jazz, tap, hip hop and ballet. Within a few years, she was winning prizes at competitions like Showstoppers and New York City Dance Alliance. “I loved it because it was a way for people from elsewhere to see me dance,” she says. (…)

» Read the full interview in Pointe Magazine





June 26, 2010

Review : An early Kylián tale

A late post, but Kylián’s Kaguyahime is on at the Opéra Bastille until July 15!

Kaguyahime
Choreography: Jirí Kylián
Paris Opera Ballet
Opéra Bastille
21 June 2010

Western dance has been exploring the far east this spring at the Paris Opera Ballet. The season has brought a revival of the exotic La BayadèreSiddharta, a new work based on the life of the Buddha, and now the company premiere of Jirí Kylián’s Kaguyahime. Based on the 10th-century Tale of the Bamboo Cutter, the oldest surviving narrative in Japanese literature, this 1988 work impressively intertwines two theatrical traditions.

It tells the story of Kaguyahime, a moon princess who descends to earth and whose beauty provokes war and chaos among men before she returns to the sky. Kylián’s contemporary staging is respectful of the tale’s enigmatic symbolism. Kaguyahime, in a glittering white unitard, is a remote presence. The men’s earthy dances evoke a latter-day Bayadère divertissement, while the broken lines and open palms, inspired by many-armed Hindu gods, insist on the message of peace the princess brings with her. (…)

» Read the full review in the Financial Times





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