Word: cranko
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...FESTIVAL (NET, 9-10 p.m.). The Stuttgart Opera Ballet and its director John Cranko are subjects of "Cranko's Castle," a documentary-performance featuring the company in his Opus...
...version of The Three Musketeers, a romp-and-stomp spectacle in which the Danish swashbucklers made Douglas Fairbanks look like a party poop. Later, he enlivened and internationalized his programs with Afternoon of a Faun by America's Jerome Robbins, Card Game by South Africa's John Cranko, Aimez-vous Bach by Canada's Brian MacDonald, and Agon by Denmark's First Eske Holm, a Flindt protege. Brash, bristling with energy, Flindt has reorganized the training methods of the company and its dance school, initiated open auditions and, for the first time, hired non-Danish dancers...
...merely cultured rapidly settled into the ritual of their daily rounds: breakfast at 10, a midday chamber concert, a five-o'clock poetry reading and then a play at the Seven O'Clock Theater. Ballet or opera was the choice of enchantments for the evening-Choreographer John Cranko's intensely dramatic Romeo and Juliet, the swirling color of Yugoslav folk dances, or Conductor Thomas Schippers' sonorous rendition of Verdi's Otello...
...More. For Cranko, 37, a spare, gentle man of steely determination, the festival was one more step toward realizing his vision of expanding the horizons of his company "to encompass and incorporate all known dance forms and then add some more." A native of South Africa, Cranko first became hooked on ballet while working as a puppeteer in Cape Town, soon pulled other strings to land a job in 1947 with London's Sadler's Wells Theater Ballet as a dancer and sometime choreographer. Five years later, critics were calling him "the young hope of British choreography." Later...
Since Noverre. The fruits of his Stuttgart efforts first appeared on the international scene at last year's Edinburgh Festival, where his achievement was hailed as "staggering" and "beyond praise." Yet for all the lavish encomiums, Cranko is the first to admit that he and his relatively small company still need five or more years of maturing before they are ready to lay claim to the authentic "Stuttgart style" label some critics have already begun to discuss in glowing, enthusiastic terms. But one thing is already certain: not since the city's celebrated Ballet Reformer Jean-Georges Noverre...