The News Review:
- Come and meet those dancing feet in ‘Dames at Sea’
- Letters: American Bandstand helped to break barriers
- THE dance company break the Silence with guts and ambition
- Juliette Binoche canvases her film career
Come and meet those dancing feet in ‘Dames at Sea’
Newsday
” But if Busby Berkeley movie musicals are not your thing you may like “Dames” even more. Especially as cleverly mounted by director Ray Roderick and his comically adept cast at Bay Street Theatre. An off ff-Broadway sleeper that gave Bernadette Peters her first break in 1966 “Dames” is a takeoff on “42nd Street” (now playing at Hofstra’s John Cranford Adams Playhouse) the story of a kid just off the bus from Nowheresville who gets her chance to “go out there a chorus girl and come back a star” after the diva she replaces actually breaks a leg. In “Dames” the diva is seasick and the ingenue goes out onto the poop deck instead. The Broadway baby wannabe is Ruby played by Kristen Martin with a beguiling innocence that redefines the ingenue role and makes it her own. She has left her suitcase at the bus terminal but an admiring sailor retrieves the luggage and follows her to the theater where a new show starring Mona Kent is opening. The sailor (an eager-to-please Xavier Cano) just happens to be a songwriter too.
Letters: American Bandstand helped to break barriers
Philadelphia Inquirer
place_ad_here(”half”); Posted on Tue Aug. 18 2009 Letters: American Bandstand helped to break barriers Re: "Nice beat nasty ban" July 26:As executive producer of American Bandstand from 1957 to 1964 I was disturbed to read how columnist Annette John-Hall was exploited by a former Bandstander eager to promote a book she has written. The column’s message was that African American teenagers were not allowed access to dance on the nationally televised program. That information is absolutely not true. Host Dick Clark wrote in his book Dick Clark’s Bandstand: "Philadelphia in the mid-’50s was one of the northernmost ’southern’ cities around. It’s no surprise that Bandstand was an exclusively white show from its beginnings in 1952 to 1957. When Tony [Mammarella] and I made the decision to bring in black dancers no one had told us we had to and we didn’t make a big deal out of it.
THE dance company break the Silence with guts and ambition
Channel News Asia
The 10th child in a brood of 11 the Johor-born dancer and choreographer remembers being the only one in his family who was into the arts. “I had to fight for it” he said of his early years pursuing his passion. From being inspired by a dance class at his secondary school in Malaysia to stepping into Singapore as a dancer for the People’s Association at the age of 17 Kuik’s fight for what he loves has since grown through a series of leaps and bounds – literally. Now 36 years old Kuik spent a decade dancing for Singapore Dance Theatre (SDT) in the 1990s. He then had a five-year-stint as the first Asian male principal dancer for Spain’s Compania Nacional De Danza; two years ago he decided to come back to Singapore to forge a new company. This week the 2007 Young Artist Award recipient will have a new arena to conquer: The Esplanade Theatre. His dance company The Human Expression – more commonly known by its garang acronym THE Dance Company – will simultaneously be celebrating its first anniversary and making history as the first local contemporary dance company to perform in the daunting cavernous 2000-seater venue that’s mostly seen big-budget international performances.
Juliette Binoche canvases her film career
Los Angeles Times
"The exhibition which runs Sept. 9 coincides with the U. premiere of Binoche's "In-I" a dance production that she created with Akram Khan. "In-I" will open the Brooklyn Academy of Music's New Wave Festival on Sept. 15 and run through Sept.
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