#Nederland Dance Theatre

[haikyou]

Ama tornare

Solo chi si è trovato

Mentre sta andando.

Deve uscire

Da se e dal suo mondo

Chi vuoi entrarci.

Piacere del ritorno,

Nostedonè . ( νόστοςἡδονή )

BaoUtnaFèretWaka, 25 novembre 2024 - 7.38, Kontowood.

NotaDiBao: ieri pomeriggio e l’altro ieri sera, al Teatro Municipale Valli di Reggio Emilia, ennesima conferma dell’eccellenza del Nederlands Dans Theater (NDT), la migliore istituzione al mondo in Danza Contemporanea. Erano di scena gli NDT2 ( non più di 23 anni - c’è anche NDT1 e NDT3 ). In programma due coreografie ( ai commenti i dettagli ).

Le sensazioni emozionali che mi hanno donato “Folkå”, di Marcos Morau e “An untold story”, di Nadav Zelner ) e il sentimento che ho provato stamattina presto, tornato senza mai esser andato via, hanno dettato il BaoUtnaFèretWaka che avete letto.

Con gratitudine e riconoscenza, dedicato a tutti gli NDT del mondo.

Del lavoro di Nadav Zelner scriverò altro: al di là della coreografia ( eccezionale ) la frase che chiude la poesia che lo ha ispirato è davvero molto im portante: “…essere felici è un’arte marziale”.

[evolvingsidekick]

BD - winners where are they now (incomplete)

I think someone requested this somewhere

Most females and recent males because there are just too many to do rn

At companies:

Miriam Gittens (s2013): Gibney Company

Alyssa Allen (s2014): Ballets Jazz Montreal

Brianne Sellars (s2014): Dallas Black Dance Theatre

Ashley Green (s2015): Alvin Ailey American dance Theater

Payton Johnson (j2012, t2015, s2017): L.A. Dance Project

Vivian Ruiz (s2019): Ballet BC

Kelis Robinson (t2018, s2020): The Batsheva Dance Company; The Juilliard School

Kiarra Waidelich (m2016, j2018, t2020): Royal Flux Company

Quinn Starner (t2017): New York City Ballet Corps de Ballet

Emma Sutherland (j2014, t2016): MashUp Contemporary Dance Co.

Sarah Pippin (t2011): Ballet BC

Timmy Blankenship (s2017): Sydney Dance Company; choreographer

Brady Farrar (m2014, j2017, t2021): ABT Junior Company

Easton Magliarditi (t2020): Royal Flux Company

Graham Feeny (t2015): Artistic associate at Gibney Company

Logan Hernandez (t2015): Göteborgs Operans Danskompani

Zenon Zubyk (t2013): Nederlands Dans Theater

Jonathan Wade (j2011, s2016): Rambert Dance Company

Wyeth Walker (s2017): Rubberband Dance Company

Faculty/teacher/choreography:

Lucy Vallely (t2015, s2018): Broadway Dance Center, freelance choreographer

Jayci Kalb ( j2011, t2014, s2016): The Dance Centre; Radio City Clara 2010

Taylor Sieve (s2016): Jump Dance Convention

Jenna Johnson (s2012): DWTS pro, 24 Seven Dance Convention

Jazzmin James (t2012, s2015): faculty several intensives

Jaycee Wilkins (j2015): Club Dance Studio

Sophia Lucia (j2014): Dancelab OC

Brynn Rumfallo (m2014): Strive Dance Workshop (own project)

Talia Seitel (m2012): Project 21 (part-time)

Lex Ishimoto (t2014, s2016): Jump Dance Convention

at University/college:

Ellie Wagner (s2019): Ohio State University Dance Team

Ella Horan (s2021): USC Kaufman

Kayla Mak (m2014, s2021): The Juilliard School; Radio City Clara 2014, 2015

Brianna Keingatti (s2022): The Juilliard School

Julia Lowe (s2023): USC Kaufman

Ava Wagner (j2018): University of Minnesota Dance Team

Avery Gay (m2015, j2017): University of Arizona School of Dance

Leara Stanley (m2011): Duke University

Sam Fine (s2023): USC Kaufman; Young Arts 2022

Seth Gibson: The Juilliard School

Alex Shulman (s2022): New York University Tisch Dance

Joziah German (m2014, t2018, s2020): The Juilliard School

Joey Gertin (t2018): The Juilliard School

Professional dancer/choreographer:

Simrin Player (t2014, s2017): The Voice, Missy Elliot, Justin Bieber, RBD

Jaxon Williard (s2021): Rihanna, Madonna, Lil Nas X

D'Angelo Castro (j2012, t2016, s2019): DWTS troupe

Findlay Mcconnell (t2017, s2019): Tate McRace

Christian Smith (s2018): Tate McRae, NBC's Saved by the Bell

Keanu Uchida (s2014): Dancer the Musical; also a big advocate for protecting dancers and calling out inappropriate behaviour

Eric Schloesser (s2014): Lady Gaga, Katy Perry, Dua Lipa, Billie Eilish, J Balvin; choreographer, creative director, designer; Dana Foglia Dance Company

Other/a combo of things:

Bianca Melchior (s2011): actor, dancer, singer; Nick Jonas, Alessia Cara, own music; faculty at On The Floor dance competition

Tate McRae (m2013, j2015, t2018): singer/songwriter

Bostyn Brown (j2016, t2019): Professional assistant at DanceOne

Megan Goldstein (t2017); dancer, photographer

Christina Ricucci (t2013): actor, musician, dancer

Bella Klassen (j2017): The Space, vlogger

Kalani Hilliker (j2013): influencer, teaching at several places (Danceplex, MBA)

Elliana Walmsley (m2018): influencer, DWTS Junior, Radio City Clara 2019

Diana Pombo (m2016): singer/songwriter, dancer, actor; Young Arts voice 2023+2024

Morgan Higgins (t2016, s2018): dancer, aerialist

Zelig Williams (s2013):dancer/actor: MJ the Musical, Hamilton

Daniel Gaymon (s2011): dancer/actor; Broadway (Cats, The Lion King); Hamilton national tour, La La Land

Ricky Ubeda (t2011, s2012): choreographer, actor; Steven Spielberg's West Side Story

Michael Hall (s2015): Saturday Night Fever the Musical, tv dancer in Cairo, Egypt; teacher

Julian Elia (t2014): Steven Spielberg's Westside Story, working on the development of a new Broadway musical

Sage Rosen (t2016): influencer; DWTS Junior

Ryan Maw (j2015, t2017): choreographer, dancer, actor: High School Musical: The Musical - The Series

Holden Maples (j2016, t2019): dancer, teacher, choreographer

Competing/not graduated honorable mentions:

Cameron Voorhees (m2018, j2021, t2023): Evolve Dance Complex; starting career as a teacher/choreographer

Crystal Huang (m2019, j2021, t2023): The Rock Center for Dance, Bayer Ballet Academy; Prix De Lausanne 2024, Young Arts 2024, Radio City Clara 2021

Hailey Bills (m2017, t2022): Center Stage Performing Arts Studio, DWTS Junior

Brightyn Brems (m2017): DWTS Junior

Avery Hall (t2022): Danceology; Young Arts 2023

Savannah Kristich (t2021): The Rock Center For Dance; Twyla Now

Savannah Manzel (m2020): Larkin Dance Studio, Radio City Clara 2023

Kya Massimino (m2021): Radio City Clara 2023

Ian Stegeman (m2019, j2021, t2023): Woodbury Dance Center, Young Arts 2024

[thelenazavaroniarchive]

6th July 2024.

𝐒𝐚𝐭𝐮𝐫𝐝𝐚𝐲 𝟔𝐭𝐡 𝐉𝐮𝐥𝐲 𝟏𝟗𝟕𝟒. Lena was in Alle 13 Goed, - a music show on TV Nederlands 1.

Translation; - “Under the title All thirteen good, a number of domestic and foreign artists meet in Studio 1. Again a record tea with Sandra and Andres as the most important guests. Liesbeth List, Lena Zavaroni, Vicky Leandros, Barry White and Bonny St Claire”.

𝐒𝐚𝐭𝐮𝐫𝐝𝐚𝐲 𝟔𝐭𝐡 𝐉𝐮𝐥𝐲 𝟏𝟗𝟕𝟒. In America, Record World had Lena's single at no 134 in the record charts, and her LP at no 135 in the LP charts.

National Record Mart had Ma! as it's sixth best selling record.

They reported that DFK Agency had been hired to promote Lena, they designed her LP cover and the large billboard on Sunset Strip.

𝐒𝐮𝐧𝐝𝐚𝐲 𝟔𝐭𝐡 𝐉𝐮𝐥𝐲 𝟏𝟗𝟕𝟓. Lena did two performances at the Pavilion, Rothesay. The Sunday Mirror wrote an article about it.

𝐓𝐮𝐞𝐬𝐝𝐚𝐲 𝟔𝐭𝐡 𝐉𝐮𝐥𝐲 𝟏𝟗𝟕𝟔. In the Thanet Times, The Winter Gardens, Margate advertised Lena’s Sunday concert on the 11th July.

𝐅𝐫𝐢𝐝𝐚𝐲 𝟔𝐭𝐡 𝐉𝐮𝐥𝐲 𝟏𝟗𝟕𝟗 𝐮𝐧𝐭𝐢𝐥 𝐒𝐚𝐭𝐮𝐫𝐝𝐚𝐲 𝟖𝐭𝐡 𝐒𝐞𝐩 𝟏𝟗𝟕𝟗. The Lena Zavaroni Show. Lena Starred in her first Summer Season at the Spa Theatre Bridlington. There are two different running orders because Lena was only fifteen years old and she had to have two early finishes (Thursday & Saturday) where she went home after the interval.

Her set included:A Tribute To The Young Talent Of Yesteryear, Dance All Night I Can’t Stop Dancing, I’ve Got The Music In Me. Ma! He’s Making Eyes At Me, Bright Eyes, Alexanders Ragtime Band.

𝐅𝐫𝐢𝐝𝐚𝐲 𝟔𝐭𝐡 𝐉𝐮𝐥𝐲 𝟏𝟗𝟕𝟗. The Cheshire Observer reported that a local was directing Lena's show in Bridlington.

𝐌𝐨𝐧𝐝𝐚𝐲 𝟔𝐭𝐡 𝐉𝐮𝐥𝐲 𝟏𝟗𝟖𝟏. Lena answered fans questions in the fan club summer newsletter. It was popular so she answered more for the autumn newsletter which I have included here.

𝐓𝐮𝐞𝐬𝐝𝐚𝐲 𝟔𝐭𝐡 𝐉𝐮𝐥𝐲 𝟏𝟗𝟖𝟐. Gloria Hunniford interviewed Lena on her Radio 2 show.

𝐌𝐨𝐧𝐝𝐚𝐲 𝟔𝐭𝐡 𝐉𝐮𝐥𝐲 𝟏𝟗𝟗𝟖. In Ruby, BBC 2, 11:15 pm. Boy George told Ruby Wax about his childhood obsession with Lena.

[popblank]

The Who's Tommy at the Nederlander Theatre:

This was the other show I had wanted to see during my recent trip (besides Lempicka), after having listened to both the Original Broadway Cast recording and the original album years ago (and in that order). For me it was a very good show overall; well-executed, (mostly) visually engaging, and with an ending that rouses the audience emotionally. I can see why it would be in the mix for Best Revival but not sure that it would win; it felt like a "wow, that was good!" show rather than a "wow, that was great!" show.

For many shows that I see I am fine being near the far edges, but I had read that due to the stage setup, it was best to sit as close to the center as possible for this one. I was located a bit off-center and maybe halfway back in the mezzanine, which was the upper limit of what I was willing to pay. It turned out to be just fine and frankly I probably could have saved a little money, but oh well.

Another thing I'd read was that the sound could be excessively loud, but where I sat it was not an issue.

The mezzanine was quite chilly – glad I had a warm jacket.

The ensemble was really energetic and kept up that energy through the whole show; choreography was a bit flaily, in a good way.

Ali Louis Bourzgui was very good as Tommy; he has a slighly deeper voice & darker vocal tone than what I am used to from the recordings and it would be nice to have a revival recording as well.

Other thoughts below, including plot spoilers:

As staged, it's not clear why Tommy's parents were so insistent on him not seeing and hearing his mother's lover being killed, considering it looks very much like plausible self-defense on his father's part. I assume it must have been a panicked reaction, because otherwise there's no plot. Being from the US may warp my perspective here.

On timeline: Tommy's pinball cult interludes are set “in the future” rather than where it more obviously would be in the 1960s (based on counting years since World War II). I am guessing the intent was to make a point about both technology + messianic figures with hordes of impressionable followers being threats we can see time and time again.

Tommy's pinball follwers were quite fascistic in appearance; Cousin Kevin in particular seemed like he'd be at home in the SS (or maybe more cartoonishly, in the Starship Troopers movie universe).

In "Welcome" where Tommy invites everyone to his house, it sounded like the line "be one of us" was changed to "come be with us", which at least does reduce the cult overtones once he himself has snapped out of it.

"Smash the Mirror" was pretty impressive.

The show does a lot with lighting and projections, which while probably best seen from the center of the audience, didn't look all that bad from slightly off-center where I was.

Later in the show it uses live handheld video cameras which are shown on screens onstage. I've seen a few shows use that technique (most recently Here Lies Love) and it seems thematically appropriate here.

One thing I wish they'd done a bit more with were the pinball machines themselves – it would have been visually more interesting if they were even a little bit more literal rather than just abstract flat platforms. Granted the cast did a lot of dancing on top of the "pinball machines" so maybe paddles, buzzers, bells, and lights were impractical, but stylisically they looked like tables you could get at IKEA.

[partenaires-coupdecoeur]

SHARON EYAL

Au théâtre de la ville du 18 au 21 Octobre

De 1990 à 2008, Sharon Eyal a travaillé au sein de la compagnie de danse israélienne Batsheva en tant que danseuse puis directrice artistique adjointe et chorégraphe. Elle crée ensuite des pièces pour des compagnies internationales telles que le Nederland Dance Theatre (Bedroom Folk, Salt Womb, Feelings et Sara), le Royal Swedish Ballet (Half-Life) ou encore The Norwegian National Company of Contemporary Dance (Killer Pig et Corps de Walk). Elle crée Soul Chain pour la compagnie allemande Staatstheater Mainz. En 2013, elle cofonde la compagnie L-E-V avec son compagnon, le musicien electro Gai Behar, qui compte sept créations à son répertoire, en coproduction avec des lieux et des festivals internationaux tels que le Festival Montpellier Danse et le Festival STEPS.

Pour prendre votre ticket, ça se passe ici :

[newloverofbeauty]

Sacha Grootjans:  Nederland Dance Theatre  (2022)

[dutchjan]

December 16, 2017

[stevenkodalys]

What are your thoughts on the MR tour staging?

I knew that we would lose it because not every theatre is big enough for it like the Emerson or Hirschfeld, but I was sad about the loss of the runway/passerelle/bridge/whatever you want to call it and CanCan seats.

I’m just happy they still managed to have the elephant and windmill.

Missing the passerelle is pretty significant because it drastically changed Satine’s diamonds and chandelier entrances (which makes sense in this case because the nederlander theatre’s ceilings are way too high)

And because there’s no passerelle the entrances for pretty much everyone look kinda weird at times because they all come from the wings. And the box seats are on the stage? Which I know happens with tours because all these theatres are structurally different and it’s the only way it could work but it still looked odd. I also felt that a lot of the dance-heavy scenes looked a little congested on stage because of that.

But even all that aside I still thought it was really well done and the cast is super talented. And I saw three principal understudies so it was extra fun lol.

[tutuandscoot]

Ok so I know I’m a few days late on the 4CC stuff (i only just finished watching) but I need to say this:

Green/Parsons are doing what PC have been trying to do for the last 7 years.

Keep reading for a (hopefully I’ll keep this brief) explanation.

Side note: this is coming from the POV of a dancer that trained in high level and fulltime ballet for 15 years) danced professionally for 3 years in ballet companies, Had a contemporary production choreographed around me in my final year of school by an ex QB (Queensland ballet) and SDC (Sydney dance company) dancer/ choreographer, was accepted into the NDT (Nederlands dans theatre) [the most prestigious contemporary dance company in the world] affiliate school in The Hague, and the first production I did under my paid contract with WAB (West Australian ballet) I was the principal dancer in a piece choreographed on me by an NDT dancer and choreographer-which had never happened in the WAB company’s 60+ year history- a freshman getting a principal role. I say NONE OF THIS to brag- I say it as someone who has worked and trained in the industry that is now taking a hold in ice dance so I just say it to back up my point with facts from the work I know, (also, I am completely in agreement that art is subjective, there is no ‘right’ and ‘wrong’).

Firstly: the RD.

(I hate Janet Jackson) but this has the same class and presentation level that VM’s Prince had. It flowed the whole way through, it had a distinct style, very musical, interesting choreography. I didn’t see the distinction between the dancing and the skating. Their performance level needs to develop, I feel they would have a bit of trouble captivating an entire arena, but that will grow.

Ok but really we are here to talk about the FD.

I was planning on writing an oped sort of thing titled: ‘The Problem with PC’ (not as people, just their impact on ID) But I feel I will end up writing most of what I wanted to say in that post here. But I’ll do it in a way that compares to a current ID team, and also inevitably bring VM into the conversation too.

Gr/Pa’s FD:

Flattering costumes.

Stunning music- not overused and actually went somewhere. Similar to the RD. They had a style, or more specifically a ‘motif’ and built around it. It flowed, they used rise and fall in the music to make highlights- not just skating on one level the whole time. They were not over expressing the music with their faces. They expressed through movement (which for fucks sake is what dance is) They actually DANCED not just skated and waved their arms around. They didn’t do what they think or have seen dancers do an put it on ice, they took the essence, the inspiration of dance and put it on ice. They were doing ‘the thing’ everyone says pc do (but they do not do well or cohesively) which is just be two dancers existing in space, intertwining with one another. With pc it’s like they are skating two different programs, they might be doing the same steps and physically take up a similar space, but you in no way feel they are truely connected to the same moment in time. Commentators have said that the music PC choose and the way they ‘perform’ it really carries an audience. I don’t feel that way. The music they choose (eg, MS, to build a home) is moving music on its own. (And also not to mention has been sooooo over used that for a dancer watching it is not gonna be artistically comparable to anything else seen to those pieces of music). In Gr/Pa you don’t see the skating and dancing as two separate activities. In PC all I see is skating. Which bothers me because they are the highest scoring team in the world in a sport called ICE DANCE. I don’t feel like PC are good dancers, I feel their skating coordination doesn’t translate to dance. This is where VM excelled- skating requires different coordination to floor dancing- and u could see it when we saw VM dance off ice, but they were able to seamlessly blend dance with skating. I have never viewed PC as Ice dancers, truly just watered down pairs skaters. Especially coz they cry boo hoo when the set rhythm is announced (16/17 we’re afraid the try hip hop so they went with swing which they didn’t even do that well. and 17/18 “I can’t roll my hips on ice poor me”) Dance is about expressing emotion through movement. It’s not about picking some chello/ piano music in a minor key, putting on and angsty face for 4 mins and throwing your self at your partner. Gr/Pa appeared as two equal entities, not appearing to be different genders even -that wasn’t necessary to the story- they moved equally and in complementary motions, with equal performance quality.

What pc want to be is contemporary dancers on ice. That’s it. They don’t want to be well rounded and truly fulfill the requirements and true tradition of the sport.

What pc have brought to ice dance (which would not have been possible without the likes of VM’s ‘Valse Triste’, ‘The Great Gig in the Sky’, and to an extent Mahler- these thin, lean themes that do not exist as a mechanism for the audience, but for the skaters to immerse themselves in) is a style and theme taken straight out of the high level competitive dance world, which started around 2011/12. It is like all things. A phase. A concept/style that became popular in dance. Now ice dance, and in both fields has been rewarded because it appears ‘modern’ and ‘forward thinking’.

One of the things I admire most about VM is they were trend setters who never set a trend. That’s what will make them stand out years from now. No one could copy their style even if they wanted to, both because they never let themselves settle, and were so unique in their approach to the sport and art they could never be replicated. All we see now are 15 pc teams in one competition.

Essentially, from my experience in dance, I know exactly what pc have tried to do. But it’s not coming off how they think it is. It’s in a similar way to how I hate when teams try to do legit ballet steps in ice skates. It doesn’t work. You can’t just pick similar music to dancers, where similar costumes, and put on (what you think) is a similar expression and go out there and call yourselves ‘innovative’. And it’s not coming off as genuine.

Pc ushered in this “style” and the community around ID and the overriding bodies have determined it to be ‘the only winning style’ everyone will (has) start doing it to be in medal contention. But what was once a ‘pc’s style’ is now an almost everyone thing.. and there’s going to be teams that will (and have) come along, during their rein even, that do it a lot better. Because they have a better understanding, respect for dance as an art, respect for their sport and are more talented than pc. They are just the only ones who can’t see it.

Gr/Pa are clearly a team that are understanding the memo. Good luck to them.

I’m done for now. Congrats if you got this far.

[indivisually]

Rahi Rezvani (photographer), The Statement by Crystal Pite, 2016

[balletaesthetics-blog]

My first post here, let me introduce myself, I'm Charlotte, 17 year old ballet dancer from the Netherlands I just finished my Summer Intensive at the Bolshoi Ballet

[swanlake1998]

Article by: Thomas Ford

Date: June 2, 2020

Title: How to Support the Black Dance Community, Beyond Social Media

The dance community's response to the death of George Floyd was immediate and sweeping on social media. Ballet companies, including Dance Theatre of Harlem, American Ballet Theatre, and New York City Ballet all pledged that #BalletRelevesBlackLives, an online campaign to show solidarity with the Black community. Dance artists, including Desmond Richardson and Martha Nichols, used their social platforms to make meaningful statements about racial inequality. Among the most vocal supporters have been dance students, who continue to share the faces and gut-wrenching last words of Black men and women who have died in police custody on their Instagram feeds and Stories.

The work we're doing on social media as a community is important and necessary—and we should keep at it. But now, that momentum must also carry us into taking action. Because to be a true ally, action is required.

A responsible ally amplifies Black voices­­. They choose to listen rather than speak. And they willingly throw their support, and, if they can, their dollars, behind Black dancers and Black dance organizations. Here are some ways you can do your part.

Participate in the Dance Industry Blackout

Activists are encouraging dancers to participate in the Dance Industry Blackout, happening today, June 2. To join the effort, first, post a plain black image to your social feeds. Then, avoid posting content for the remainder of the day. Suspend classes, rehearsals, and meetings, and use this time to identify ways to uplift black dancers and the organizations that support them. Be brave, and try to feel okay in the discomfort that these conversations may create.

Attend a Dance Class Fundraiser

Fundraising classes are a win-win experience: you get to train with master teachers and choreographers, and your donation goes to furthering causes that help propel Black artists. Here are a few options:

- Peridance Capezio Center will host a full week of online classes starting June 6, with funds raised going to organizations that fight against racial inequality.

- Gibney Dance will donate all online class revenue through the end of June to organizations on the front lines of the effort. - Former Nederlands Dans Theater dancer Spenser Theberge will teach three ballet classes this week, and all proceeds will go to the organization Color of Change. - Martha Graham Dance Company is offering all revenue from this week's online classes to the Minnesota Freedom Fund. - Instagram account Movement for Hope is hosting classes all week, with the proceeds going to a different organization fighting for equality each day. - Next week, the "Cindies Ballet Class" (with ABT principals Isabella Boylston and James Whiteside) will be collecting donations for @fairfightaction and @aclu_nationwide.

Educate Yourself

Seek out works by authors of color, because their perspectives will most accurately reveal what it means to be Black in America. The arts also play a major role in reflecting society, so watching dance works and reading poems that navigate concepts like racial injustice and white privilege can have an equally educative effect on you. A good starting point is this guide, which offers 24 peaceful ways you can get involved in the fight for black liberation without protesting in the streets. Here are some other resources. This is, of course, an incomplete list—we hope it leads you into independent research.

Books

- Ain't I a Woman by bell hooks - CHOKEHOLD: Policing Black Men by Paul Butler - The New Jim Crow by Michelle Alexander - Post-Traumatic Slave Syndrome by Dr. Joy DeGruy - White Fragility: Why It's So Hard For White People to Talk About Racism by Robin DiAngelo

Poems

- "I, Too" by Langston Hughes - "Riot" by Gwendolyn Brooks - "Caged Bird" by Maya Angelou - "Ballad of Birmingham" by Dudley Randall - "For Malcolm" by Margaret Walker - "Power" by Audre Lorde

Dance Works

- Jacob Jonas The Company performs "AN ARTIST'S DUTY IS TO REFLECT - THE TIMES," choreographed by company member Mike Tyus - Royal Ballet principal Marcelino Sambé performs "I Can't Breathe" - ink, a dance film by Camille A. Brown and Dancers - Alvin Ailey American Dance Theater performs Ode, choreographed by company member and resident choreographer Jamar Roberts

Interviews

- Legendary dance artist Katherine Dunham on overcoming 1940s racism

[insanityclause]

The 65th Annual Drama Desk Awards will be announced on "Stars in the House" tomorrow, Tuesday, April 21, at 2pm ET.

Seth Rudetsky and James Wesley, the hosts of the virtual daily series benefiting the Actors Fund, will announce the nominees. Tune in at www.starsinthehouse.com. Following the live stream, the complete list of nominees will be available on DramaDeskAwards.com.

Additional details about the 65th Annual Drama Desk Awards announcement on May 31st will be determined as the New York COVID-19 situation allows and announced at a later date.

Founded in 1955, the Drama Desk Awards honor outstanding achievement by professional theater artists on Broadway, Off-Broadway, and Off-Off-Broadway. The Drama Desk Awards are voted on and bestowed by theater critics, journalists, editors, publishers and broadcasters covering theater.

Sponsors for the 65th Annual Drama Desk Awards include The John Gore Organization, Jujamcyn Theatres, The Nederlander Organization, and The Shubert Organization.

The Drama Desk Awards are presented by the Drama Desk organization in partnership with Broadway Brands. Joey Parnes Productions will produce the ceremony, as it has since 2012.

"Stars in the House," which officially kicked off on March 16th, is a daily series that features stars of stage and screen singing and performing live (from home!) to promote support for The Actors Fund's services for those most vulnerable to the effects of Coronavirus (COVID-19). Joining Seth and James for the shows is Dr. Jon LaPook, chief medical correspondent for CBS News. Visit StarsIntheHouse.com to donate to The Actors Fund, watch previous episodes, learn about upcoming guests and more. Since the first show, "Stars in the House" has raised more than $218,780 to benefit The Actors Fund.

The Actors Fund is a national human services organization that fosters stability and resiliency and provides a safety net for performing arts and entertainment professionals over their lifespan. Through offices in New York, Los Angeles and Chicago, The Fund serves everyone in film, theater, television, music, opera, radio and dance with programs including social services and emergency financial assistance, health care and insurance counseling, housing, and secondary employment training services.

Visit the Drama Desk Awards website for updated information as it becomes available.

[thelenazavaroniarchive]

5th July 2024.

𝐅𝐫𝐢𝐝𝐚𝐲 𝟓𝐭𝐡 𝐉𝐮𝐥𝐲 𝟏𝟗𝟕𝟒. Lena’s single Ma! He’s Making Eyes At Me was no 16 in the South Africa charts.

𝐅𝐫𝐢𝐝𝐚𝐲 𝟓𝐭𝐡 𝐉𝐮𝐥𝐲 𝟏𝟗𝟕𝟒. Dutch newspaper Zierikzeesce Nieuwsbode had a photograph of Lena with the news that she would be on the TV station Nederlands 1 the following day. Thanks to the reader who sent links to this and other newspaper articles from the continent.

𝐅𝐫𝐢𝐝𝐚𝐲 𝟓𝐭𝐡 𝐉𝐮𝐥𝐲 𝟏𝟗𝟕𝟒. Lena continued to be promoted in American newspapers. - Dixon Evening Telegraph.

𝐖𝐞𝐝𝐧𝐞𝐬𝐝𝐚𝐲 𝟓𝐭𝐡 𝐉𝐮𝐥𝐲 𝟏𝟗𝟕𝟖. The Dutch television station Belgie (Nederlands 1) broadcast Lena Zavaroni on Broadway.

𝐓𝐡𝐮𝐫𝐬𝐝𝐚𝐲 𝟓𝐭𝐡 𝐉𝐮𝐥𝐲 𝟏𝟗𝟕𝟗 𝐮𝐧𝐭𝐢𝐥 𝐒𝐚𝐭𝐮𝐫𝐝𝐚𝐲 𝟖𝐭𝐡 𝐒𝐞𝐩 𝟏𝟗𝟕𝟗. The Lena Zavaroni Show. Lena Starred in her first Summer Season at the Spa Theatre Bridlington. There are two different running orders because Lena was only fifteen years old and she had to have two early finishes (Thursday & Saturday) where she went home after the interval.

Her set included:A Tribute To The Young Talent Of Yesteryear, Dance All Night I Can’t Stop Dancing, I’ve Got The Music In Me. Ma! He’s Making Eyes At Me, Bright Eyes, Alexanders Ragtime Band.

𝐒𝐚𝐭𝐮𝐫𝐝𝐚𝐲 𝟓𝐭𝐡 𝐉𝐮𝐥𝐲 𝟏𝟗𝟖𝟔 𝐮𝐧𝐭𝐢𝐥 𝐒𝐚𝐭𝐮𝐫𝐝𝐚𝐲 𝟏𝟑𝐭𝐡 𝐒𝐞𝐩 𝟏𝟗𝟖𝟔. Lena and Jimmy cricket appeared in Holiday Startime at the Princess Theatre, Torquay.

She started her set with; She works hard for the money, and I am what I am, both accompanied by the dancers. Then sat on a stool she sang a couple of ballads, one being I love you just the way you are. Later she sang Putting on the Ritz, along with the dancers.

𝐒𝐚𝐭𝐮𝐫𝐝𝐚𝐲 𝟓𝐭𝐡 𝐉𝐮𝐥𝐲 𝟏𝟗𝟖𝟔. The Bristol Evening Telegraph ran an article about Jimmy Cricket's new television show, also mentioning that he was doing a summer season in Torquay with Lena.

𝐒𝐚𝐭𝐮𝐫𝐝𝐚𝐲 𝟓𝐭𝐡 𝐉𝐮𝐥𝐲 𝟏𝟗𝟖𝟔. The Torbay Express reported that Lena was staying at The Imperial Hotel during her summer season at The Princess Theatre.

𝐓𝐡𝐮𝐫𝐬𝐝𝐚𝐲 𝟓𝐭𝐡 𝐉𝐮𝐥𝐲 𝟏𝟗𝟗𝟎. In The Sun, Lena says that she understands what Mandy Smith is going through. The paper states that Lena has suffered from and beaten anorexia! Mandy is famous for having sex with Bill Wyman of the Rolling Stones when she was fourteen years old, she later married him but they soon divorced. Today she is a make-up artist.

𝐌𝐨𝐧𝐝𝐚𝐲 𝟓𝐭𝐡 𝐉𝐮𝐥𝐲 𝟐𝟎𝟐𝟏. An artwork called “Alphabet of Scotland” was on display in a gallery, “Z” was of course Lena.

[ja-ckkelly]

a concept: a Broadway musical production held in the Nederlander Theatre in West 41st St., Manhattan about a group of New Yorkers living in the slums of Manhattan, who protest against this guy - who cares deeply about one of the female leads - and his capitalist agenda, which is to sell something that will make the characters more broke than they already are. The main character is an artist who's full of angst and nearly runs off to Santa Fe, but then realizes that their home is in New York. The characters also sing a song about their New York ideals while dancing on a table in a restaurant in an upbeat number. It's also set at the end of a decade.

But like,,, what's it called?

[tonyawardnominations-blog]

The Tony Award Nominations 2020

The 74th Annual Tony Awards to Come Back to Radio City Music Hall Sunday, June 7, 20 20 on CBS.

Waitress celebrated its official launch night at the Adelphi Theatre on 7 March 2019. In addition to London, Waitress is currently playing on Broadway at the Brooks Atkinson Theater before 5 January 20 20, aboard a North American tour, and can available Australia and Holland at 2020, and Japan at 2021. Even the Waitress US tour has been approaching a hugely powerful 2-years in the road, now extended to last in to 2021.

The 20 20 presidential candidates simply got a tad bit more musical! With the presidential campaigns officially underway, Twitter user @absobyrne chose to social media to compare with the recent candidates into a few of Broadway's Tony-winning most useful Musicals. That will assist you to get a far better understanding at the comparisons, we're providing you a glimpse inside each one of these shows, from old classics such as South Pacific and Hello, Dolly! To latest shows for example Rent and The Producers. Test it all out below!

The Tony Awards telecast: The Tony Awards will return into the legendary Radio City Music Hall in Nyc. The awards show will air live at 8:00pm ET/delayed PT on the CBS Television Network and also on CBS All Access. Weiss may also function as manager for its 20th consecutive yearold.

The Antoinette Perry"Tony" Award, that was set by the American Theatre Wing in 1947, is bestowed annually on theatre professionals to get renowned achievement on Broadway. The Tony is arguably one among the most coveted awards at the entertainment business and the annual telecast -- that the nighttime America watches Broadway -- has been recognized as one of the most prestigious programs on tv.

As the fall theater season has barely begun, it has already been affirmed that the 20 20 Tony Awards will be held June 7, again at Radio City Music Hall and broadcast on CBS. New Broadway shows will probably want to start no later than Thursday, April 2-3 to qualify for nominations.

David Mamet's breakout drama"American Buffalo" will get a starry Broadway revival later this season headed by Laurence Fishburne and Sam Rockwell and led by Neil Pepe ("Speed-the-Plow"). Performances begins in March. "American Buffalo" revolves around the hapless and barbarous efforts of a number of thieves to steal a valuable coin. It obtained a short lived Broadway a decade ago using Cedric the Entertainer, John Leguizamo and Haley Joel Osment.

Kristin Chenoweth should get back again to Broadway later that fall with"For Your Ladies," a concert based on her brand new album of the same name celebrating female singers of their past and present. It's going to play with eight performances at the Nederlander Theatre beginning Nov..

There may nevertheless be sometime prior to the 20 20 Democratic Party presidential primaries and caucuses get underway, however at the newest Broadway drama"The Great Society," where private stalls has been installed at the lobby where theatergoers can vote,'' Sen. Elizabeth Warren has been winning the nightly primaries.

The coming stage musical adaptation of"The Devil Wears Prada" will receive its world premiere at Chicago this summer until a planned Broadway run. The musical's creative team comprises Elton John (music), singersongwriter Shaina Taub (lyrics), Paul Rudnick (book) and Anna D. Shapiro (leadership ). No casting has been announced yet, for example who'll play fashion magazine editor Miranda Priestly (played by Meryl Streep from the 2006 film version).

HERE Arts Center is likely to undoubtedly be physically transformed in November to get"The Black History Museum...According to the United States of America," an immersive production co-produced using Smoke & Mirrors Collaborative that could transform the theater into a"theatrical museum" and examine"blackness from its own constitutional origin to its own modern money through powerful and satirical visual art, theatrical performance, noise installation and dance," according to a media release. "That is an chance to check at our cultural individuality past the trauma that America has attached with black individuality," manager and creator Zoey Martinson said in a statement.