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Article Excerpt During a clean-up rehearsal or Mosaik, Ib Andersen, artistic director of Ballet Arizona, bounds onto the stage with the litheness of a cat. As he strides towards the dancers, he dispenses corrections and demonstrates steps to emphasize a point. He shows ballerina Natalia Magnicaballi a grand fond de jambe en l'air saying, "It should have this kind of grandeur," as his leg swoops away from his body out into space. To dancers practicing turns he whips off four pirouettes landing in a perfect fifth position. "Don't be cautious," he says. "Go for it, and hope for the best."
The "go for it" attitude could be the motto of Ballet Arizona, a company that was on the brink of extinction in 2000, when Andersen arrived and started building it into a formidable oasis in the desert. The company now performs topnotch Balanchine, Bournonville, and Petipa and also tackles Paul Taylor and Twyla Tharp. Andersen's own two-hour, plotless ballet Mosaik, which premiered last April, established him as a first-rate choreographer. In June, BAZ topped itself with a four-day tribute to Balanchine, presenting Serenade, Prodigal Son, Allegro Brillante, Apollo, Slaughter on Tenth Avenue, and--the acid test for any ballet company--Theme and Variations.
As recently as 2002, all this didn't seem possible. Susan Hendl, a ballet mistress of New York City Ballet and member of the Balanchine Foundation, had set Allegro Brillante on BAZ that year. When asked to return to stage Theme...
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