by Anne-Marie Elmby A 10-year-long wish came true for artistic director Nikolaj Hübbe when he succeeded in getting George Balanchine’s complete three-part Jewels (1967) on the stage for the Royal Danish Ballet. A window in a jeweller’s shop in New York inspired Mr. B to create the ballet, and the Royal Danish dancers sparkled in Karinska’s jewel-adorned green, red and white costume designs. Gabriel Fauré’s melodious music offered fine
by Sanjoy Roy Tamara Rojo, still boldly pushing the envelope for English National Ballet since her appointment as director in 2012, has commissioned a new version of Giselle from Akram Khan, whose reputation rests on his combination of training in kathak and contemporary dance. Reading his synopsis for this reimagined version, I was struck by
by Kate Stashko As the lights go down on Alberta Ballet’s first technical run of Jean Grand-Maître’s Romeo and Juliet at the Northern Alberta Jubilee Auditorium, the air vibrates with that combination of tension and excitement that comes with finally getting a work onstage after endless hours in the studio. As the start-and-stop run progresses,