Archive for the ‘Dance’ Category

Paula Josa-Jones

Saturday, August 1st, 1998

It’s as if they were taking a journey through a land­scape and their eyes were caught by some­thing — a memory, or the frag­ment of a memory, or the memory of a past life — and that pulls them into the move­ment,” says PAULA JOSA-JONES of her new dance, GHOSTDANCE.

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Helen Pond and Herbert Senn

Sunday, December 1st, 1996

Boston Ballet’s new Nutcracker sets are the work of a designing couple, Helen Pond and Herbert Senn, who live in a Gothic house in Yarmouth­port which they have fully restored with Gothic carving, painted ceil­ings and “lots and lots of quadri­foils,” says Herbert. “We designed the house and the Nutcracker at the same time. Nutcracker is my life.”

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Larissa Ponomarenko

Monday, July 1st, 1996

Ballet is all arti­fice; but she makes even the Snow Queen’s dazzling, deli­cate swirls seem easy and natural. From a distance, she seems fragile, ethe­real. But up close, you can see the muscles in her limbs, her graceful neck, her flex­ible spine. The years of dedi­ca­tion and disci­pline are sculpted onto her slender frame.

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Beth Soll / Richard Cornell

Monday, April 29th, 1996

Dancer Beth Soll and Composer Richard Cornell are working together on a dance inspired by a book by West African poet Amadou Hampate Ba. “It’s a long tale, an initia­tory alle­gory, a triumph of knowl­edge over fortune and power,” says Cornell. “A quest for God and wisdom,” says Soll.

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Mark Morris/Orfeo

Thursday, April 11th, 1996

It begins with a fune­real chorus in the antique style, with cornetto and trom­bones. And then Orpheus comes in, lamenting his lost love, and sings one single word. Eury­dice. He sings it three times. He doesn’t say much, but he says every­thing he needs to say, and the third time he sings it, it sends chills up your spine.””

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Louis Cartier

Friday, June 22nd, 1990

LOUIS CARTIER used precious metals and jewels in a highly polished, sparkling, and yet almost casual way way — the way Fred Astaire and Ginger Rogers danced. The shimmer of dozens of tiny diamonds on a cool plat­inum surface is the essence of sophis­ti­ca­tion –- like a Cole Porter song.

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Gene Kelly

Tuesday, April 24th, 1990

GENE KELLY was a great dancer because his dancing seemed to be an over­flow of his superb vitality — a natural exten­sion of his person­ality. In all his movies, the tran­si­tions to dance are incred­ibly smooth, because even when he’s not dancing he’s thinking about dancing – his athletic body is flexed and limber– and he’s ready to roll, even on an empty set with 500,000 kilo­watts of elec­tric light mimic­king star­dust and a giant fan creating the sensa­tion of a moon­light breeze.

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