Stars of the International Ballet Stage
The IBStage Star Galas have a mission to unite the best and brightest for gala ballet evenings. As seen at New York City Center, New York. Photographs by Steven Pisano
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Since 1980, the Australian Ballet's National Tour (or really, the Dancers' Company as everyone calls it), is a much anticipated event for the graduating students of the Australian Ballet School. Simulating the company experience, it is a chance for the graduating class, all on the cusp of entering the professional arena, to showcase their skills in the hope of catching an artistic director’s eyes—and with that a professional contract for next year. It is also a chance for the Australian Ballet’s artistic director to test the company’s rising stars in more senior roles, an audition process of sorts, as they jostle for promotions within the company. The tour traditionally goes not just to regional centres, but also to rural Australia, allowing the country’s most talented dancers to be seen far and wide.
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The IBStage Star Galas have a mission to unite the best and brightest for gala ballet evenings. As seen at New York City Center, New York. Photographs by Steven Pisano
PlusWhile Kendrick Lamar performed “Humble,” during his Super Bowl halftime set and was surrounded by dancers clad in red, white and blue—and in the process assumed the formation of the American flag (choreographed by Charm La’Donna)—so, too, did Faye Driscoll use performers who created slews of shapes/sculptures in her astonishing work, “Weathering,” seen at REDCAT on February 8, the last of three sold-out performances.
PlusLet’s start with the obvious, or maybe to some this notion will be highly disputable, even offensive. OK, then, let’s start with what kept repeating in my head as I walked out of UC Berkeley’s Zellerbach Hall, synapses abuzz with the wonders of Twyla Tharp Dance’s 60th anniversary “Diamond Jubilee” program: My God, Twyla Tharp really is the most brilliantly inventive choreographer now alive on the planet.
PlusIn Maldonne, French filmmakers Leila KA and Josselin Carré pose eleven women side by side on a barren stage. They’re dressed in floral patterns that hearken to the 1950s. The camera zooms in to frame their faces—each woman is in a state of distress.
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