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I remember, too, a set design he created for a ballet, I think by Peter Darrell, at Ballet Workshop, the first and fruitful attempt by the Rambert family to create a platform for new choreography at the Mercury Theatre in Notting Hill Gate, west London.Mac Millan had the talent of a visual artist as well as a choreographer.Growing up in poor circumstances in Scotland, he escaped from a background he hated by guile and by a letter to Ninette de Valois, seeking an audition at Sadler's Wells School.He became one of the original members of Sadler's Wells Theatre Ballet when it was created in 1946, moved two years later to Sadler's Wells Ballet at Covent Garden, then returned to the Theatre Ballet in 1952.Three days before an opening scheduled for last Tuesday, Vladimir G. Vaziev said that what really attracted him to the Bolshoi was its scale, of both its productions and its ambitions.Urin, the company’s new general director, who was appointed after the acid attack, announced, with Mr. It was not just the 220 dancers and nearly 30 instructors, he said, but also that the Bolshoi fosters its own talent in virtually all aspects of ballet — dancers, musicians, choreographers, costume designers, etc.“This is a huge empire,” he said. Vaziev, 56, his hair graying, still carries himself with the erect posture of the star dancer he once was — his polished black oxfords pushing out toward first position.The choreography was clear-cut, precise, highly original in construction and very demanding on the dancers.
One backdrop was a giant, full-frontal nude portrait of Nureyev, taken by Richard Avedon.Instead, he continued, “I try to build something different next to it that should be more convincing.” The Bolshoi audience, he said, can vote for its preferences at the box office. Vaziev defended the decision to postpone “Nureyev,” whose rehearsals had just shifted out of the dance studios.“We are not ready, that’s all,” he said in a brief interview after the announcement.MOSCOW — Soon after becoming the ballet director at the Bolshoi Theater, Makhar K.
Vaziev installed a large flat-screen television next to his desk that allows him to monitor the rehearsal rooms and the two main stages — the screen divided into nine squares.
He was the greatest choreographic communicator of his time in classical ballet.