Hannah O’Neill: news from Paris Hannah O’Neill is now half way through her second year with the Paris Opera Ballet, having successfully negotiated another temporary contract at the annual examinations the company conducts each year. In her second year with the company O’Neill has taken particular delight in performing in George Balanchine’s Serenade, part of a program of three Balanchine
When I first wrote about what Canberra dance audiences are likely to see in 2013 there was no mention of what Liz Lea, current artistic director of Canberra Dance Theatre, would be presenting over that year. Well, not surprisingly, Lea has a number of shows in development for 2013. Over the past several months, Lea has been choreographer-in-residence at CSIRO
I am delighted to have renewed just recently my connections with two of the dancers who performed in Australia with the Ballets Russes companies of Colonel de Basil—Tatiana Leskova and Anna Volkova. Both feature in the photograph album that was the subject of a recent post, James Upshaw and Lydia Kuprina in South America, sometimes together, sometimes alone or with others.
Thank you to those who have logged on to my website over the past year, especially those who have kept the site alive with their comments. I wish you the compliments of the season and look forward to hearing from you in 2013. The best of 2012 Lists of the ‘best of’ will always be very personal and will depend
8 December 2012 (matinee), Joan Sutherland Theatre, Sydney Opera House I finally got a chance to take a second look at the Australian Ballet’s new production of Swan Lake. With Leanne Stojmenov and Daniel Gaudiello in the lead there was much to enjoy. It was a pleasure to see Gaudiello back onstage and I admired his clear reading of the
Recently I had the good fortune to be contacted about a photograph album believed to have belonged to James Upshaw, probably best known in Australia for his work as television producer for the ABC. The album was indeed assembled by Upshaw and the photographs largely cover a period from 1942 until 1946. During this period Upshaw and his then wife,
Following requests from a number of readers for a copy of Meryl Tankard: an original voice, which appeared in eight parts on this website between July and September, the book is now available in print form. [UPDATE: This book is no longer available] Please note that this is a self-published initiative and has not had the benefit of professional design; nor does it include any
This morning The Canberra Times published my review of Finucane & Smith’s burlesque extravaganza, Glory Box. As the review is not available online I am posting a slightly revised version here. I have to admit to being taken unawares at what the show had to offer. Some items were better than others; I found some superficial. But then on reflection that’s not
The Canberra Times this morning published an abbreviated version of a story I wrote on the retirement of Rachel Rawlins. As the article was shortened, however, I am posting the full story below, in particular because it contains a further comment from Dell Brady, one of Rawlins’ early teachers, and more from Ty King-Wall, and indeed from Rawlins herself. Rachel Rawlins,
17 November 2012 (matinee), Joan Sutherland Theatre, Sydney Opera House A second viewing of Icons, the Australian Ballet’s triple bill tribute to 50 years of choreographic exploration by the company, confirmed much of what I thought from my previous viewing. In particular I think it was a mistake to revive The Display. Despite well danced performances by Rachel Rawlins as