Word: cranko
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Dates: during 1970-1979
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...pity that A.B.T. did not give this extraordinary galaxy of talents something more interesting to do. Milwaukee-born Neumeier, 33, was a disciple of John Cranko, the late artistic director of the Stuttgart Ballet. Cranko's tender Romeo and Juliet and rollicking The Taming of the Shrew showed that good ballets can be based on Shakespeare's plays. Hamlet Connotations proves that choreographers can make bad ones as well. Set to a trio of astringent pieces by Aaron Copland, Neumeier's stripped-down, expressionistic dance is simplistically Oedipal: Mother Gertrude seems as much in love with...
...John Cranko, founder of the Stuttgart Ballet in 1961, molded it into a company of world rank with his ballets on great classical themes: Romeo and Juliet, Eugene Onegin, The Taming of the Shrew. Cranko's traditional style stressed drama and athleticism. Ballet audiences were therefore stunned when, after Cranko's sudden death in 1973, American Choreographer Glen Tetley was appointed his successor. An iconoclast of the dance, Tetley, 49, raises conservative eyebrows high with his infusion of modern dance idioms into ballet. Again, unlike Cranko, he has always been known for relatively small dance pieces that concentrate...
...Like Cranko, Tetley pushes his dancers to outer limits, interweaving distended limbs and torsos in intricate patterns. Ballerinas jet up like natural gey sers in grandiose one-handed lifts, only to plummet a moment later in balletic kamikaze dives. This is not orthodox story ballet. But the choreography is fluent, strong, and from the beginning moves with the propulsion of a Metroliner. Tetley's Daphnis and Chloë should be a Stuttgart staple...
STUTTGART BALLET. This is the group's first U.S. appearance since the death of principal Architect-Director John Cranko in 1973. American Choreographer Glen Tetley, a former A.B.T. and Martha Graham dancer, was the company's unanimous choice to succeed Cranko. But whereas Cranko's story ballets and acrobatic choreography strengthened the theatrical aspect of Stuttgart, Tetley's blend of classical and modern dance vocabulary may add more plasticity of movement. His Voluntaries and his new Daphnis and Chloé will be given U.S. premieres during May-July visits to New York's Metropolitan Opera...
When Choreographer John Cranko choked to death in a freak accident last year before the horrified eyes of his Stuttgart Ballet Company, he left the troupe orphaned of its guiding spirit. Now the state and city fathers, whose liberal subsidies underwrite an international company that is one of Germany's most alluring cultural ornaments, have chosen American Choreographer Glen Tetley to plot new directions toward modern dance. Tetley does not take over as full-time director until autumn, but last weekend he premiered his ballet Gemini with his new company. Judging by the opening night ovations, Stuttgart is delighted...