Word: cranko
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...being rejuvenated. Ballet groups are crisscrossing the country, offering a bewildering assortment of dances, some fiery and full of meaning, some backed by rock music and psychedelic lighting, some conventional and harmonious. Two groups are currently drawing more attention and stirring more delight than any others. One is John Cranko's rollicking Stuttgart Ballet (TIME, June 20), now being seen by U.S. audiences on a 15-city cross-country tour. The other is New York's brand-new dance group, Eliot Feld's American Ballet Company, which has just presented its first season in Brooklyn...
Stars from Stuttgart. Cranko's company has chosen to concentrate on three full-length works, The Taming of the Shrew, Romeo and Juliet and Eugene Onegin, all richly staged and costumed and all choreographed by Cranko. He handles large groups of dancers with remarkable dramatic effect. But the Stuttgart Ballet has been devastating audiences all across the U.S. mainly because of the dancing of two new stars, Marcia Haydée and Richard Cragun...
...become as strong a source of pride to its city as the Mercedes and Porsche automobile works located there. Like most major German cities, Stuttgart (pop. 650,000) had long maintained an opera house, with a resident but minimal ballet company to help out where needed. In 1960 John Cranko, then a 33-year-old South Africa-born staff choreographer of the Royal Ballet, staged Benjamin Britten's The Prince of the Pagodas in Stuttgart. He was immediately engaged as ballet director, with a mandate to build a company of international quality...
Limitless Variety. Cranko has gone the mandate one better. He has given Stuttgart not only a superbly knit, brilliant young company but has also played on his dancers' strengths to form a style that is like none other. At any given moment in a typical Cranko ballet, the stage bristles with a seemingly limitless variety of movement. Instead of bloodless, assembly-line precision, the Stuttgart's 38-member corps is more apt to suggest a 38-ring circus, with a panoply of gesture and stance that dazzles the viewer...
...Cranko's work is at its best in extended ballets with strong dramatic substance. Opening the company's three-week New York visit was one of his best, an evening-long interpretation of Pushkin's intensely romantic verse-drama Eugene Onegin. Two nights later, the company presented an even more stunning tour deforce, a balletic version of Shakespeare's Taming of the Shrew. Both were lavishly mounted, eye-filling pieces. Onegin uses a score by Music Director Kurt-Heinz Stolze based on short pieces by Tchaikovsky. The work moves quickly and assuredly through Pushkin...