Word: performances
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...Reach out to student groups. The Council might require groups to staff events in exchange for a grant. Or, on the model of ArtsFirst, the Council might set up a second stage for performances by students and student groups. More people would feel personally invested in the event, and, most basically, more people would show up to participate and to see friends perform...
Michael Corder recently won a 1997 Olivier Award (British version of the Tony Award) for his choreography of Cinderella, and for the most part, it shows. The production, which makes its American debut this month at the Boston Ballet, has many enchanting and delightful facets. The company members perform their dual roles of dancers and actors with admirable ease. Despite some technical problems that took place during Act One of opening night, the set falls into place and takes the audience's breath away. The choreography itself dazzles, living up to and beyond Boston Ballet's usual high standards...
Fortunately, these minor additions do not take away from the dancing itself, which could not be better. What is particularly complicated about Cinderella is that in telling the story, the dancers must emote and act as well as perform ballet steps. As Cinderella, Larissa Ponomarenko embodies innocence and beauty in their most graceful forms. She maneuvers through intricate steps and pirouettes with great spirit and energy. Equally graceful is the Prince (Patrick Armand), whose powerful leaps and emotional style lift him above the one-dimensional deux-es-machina role that he usually plays in other versions. Both the Dancing Master...
Typically, groups like the Crimson Key Society, The Harvard Crimson, choral groups that perform during the week or peer groups that are trained during that time are temporarily housed...
...played by Rosencrantz and Guildenstern, the play becomes more vibrant and engaging. But most of the time, the production relies on long dramatic pauses that leave the audience wondering what overwhelming thoughts have paralyzed the characters. Similarly, the amount of time the player and his troupe are given to perform silently on stage breaks up the dialogue, which is the play's main strength. This approach takes away from the fluidity of Stoppard's ideas and ultimately makes the production longer than it needs...