FULL PDD

http://www.facebook.com/v/10150376736975438

New Ballet Videos of Me

Videos of me when I was in school La Bayadere and Coppelia

Clips in Don Quixote

Nutcracker Variation from the Wing

Joseph Phillips – Don Quixote Act 2 Baryshnikov’s Cups Dance: Bogota, Colombia

Bogota, Colombia 11-22-09 5pm – Me dancing Baryshnikov’s Cups Dance, wearing Baryshnikov’s costume and using the same cups from his production of Don Quixote.

!!New YouTube video!! Romeo and Juliet Balcony Pas de Deux – Joseph Phillips and Ana Sophia Scheller

dancing in South Carolina, with the Ballet Spartanburg. This is the my first time dancing this pas, it was a great experience to work with Stas and Ana.

Dancing Romeo and Juliet Balcony PDD and Tchaikovsky PDD in Spartanburg, SC.

Dancing Romeo and Juliet Balcony Pas de Deux and Tchaikovsky Pas de Deux in Spartanburg, SC.

Where:

David Reid Theater – Chapman Cultural Center – Spartanburg, SC

Time:

Saturday, October 17, 2009 8pm

Price:

Adults $25 – Seniors – $20 –  Students $15

Buy Ticket:

http://www.balletspartanburg.com/performances-DanSynergy%20Dos.html

Far more than endless turns and flying leaps

Eamonn Kelly | August 03, 2009

Article from: The Australian

International Ballet Gala. The Australian Conservatoire of Ballet. Choreography by Marius Petipa, Lev Ivanov, Mauro Bigonzetti, Marc Bogaerts, Agrippina Vaganova, Christine Walsh. Hamer Hall, Melbourne, July 31.

AUDIENCES never seem to tire of the ubiquitous ballet gala format and its offering of tutus, virtuosic technique, and an inevitable digest of thrilling choreographic snippets that only those with private health insurance should try at home.

This well-attended gala was distinguished by a uniquely international line-up of principals, drawn from leading companies including the Royal Ballet, Berlin Staatsballet, Bolshoi Ballet, and American Ballet Theatre.

Equally atypical was the event’s producer and the rationale. Instead of an impresario cashing in on a night of razzle-dazzle, here was a Melbourne ballet school on an admirable pedagogic mission: to expose its students and local audiences to diverse examples of international excellence.

Former Australian Ballet principal artist Christine Walsh directs the Australian Conservatoire of Ballet using the Vaganova teaching method, and the Russian classical influence was clear in this program. Peppered with the work of Marius Petipa, the evening’s succession of spectacular pas de deux were framed around ensemble pieces exposing the Conservatoire students to the incremental and precisely defined technical and expressive components outlined in the Vaganovan logic.

The principals all demonstrated excellent technical capabilities, but several performances were extraordinary. The less than ideal ballet surface appeared no impediment for Joseph Phillips, Steven McRae and Sergei Polunin; all three hurled themselves through a series of hyper-extended leaps and turns with fluent ease, accompanied by the gasps of audience members concerned for the dancers’ safety. The Bolshoi’s Natalia Vyskubenko brought spidery defiance and steely control to Swan Lake’s Black Swan pas de deux while Mara Galeazzi was an effervescent Medora to match Sergei Polunin’s flamboyantly dramatic Corsaire. Roberta Marquez exuded coquettish charm as Don Quixote’s Kitri.

The Conservatoire students showed solid technique, excellent discipline and refreshing enthusiasm. Geometric formations and ensemble were tight in an adaptation of the Paquita grand pas, while minor blemishes in a performance of Marc Bogaert’s energetic Riverdance-meets-ballet work, Ritualism, detracted little from an overall precision that many a professional company would envy.

The last word belongs to a haunting pas de deux from Caravaggio, a ballet by Italian choreographer Mauro Bigonzetti recently premiered by Staatsballet Berlin. This performance featured Beatrice Knop and Dmitry Semionov, stars from the premiere season who clearly knew the work inside out. Sensuous and imaginative, this pas de deux was a moving expression of intimacy, the dancers’ bodies for the greater part locked together in a range of expressive sculptural formations. Requiring both strength and precise technique, it demonstrated that the best galas offer more than flying leaps and endless fouettes.

http://www.theaustralian.news.com.au

Theatre in Melbourne

The Hammer Theatre in Melbourne, Australia

My Continuing Adventure…

I have never written a blog before, but so much has gone on in a short period of time. I guess it is my way of keeping track of me.

In the beginning of 2007, I made the decision to leave San Francisco for Miami. I had been happy in San Francisco Ballet but looked forward to a new challenge and new opportunities. I thought that I might always wonder “what if” if I did not make the move, so in June I relocated to Miami Beach and joined Miami City Ballet.

Around the time of my move, I danced in NYC with Ashley Bouder at the Youth American Grand Prix Gala. We danced Stars and Stripes. I love dancing that piece. It is very special for me since it was the last piece that Melissa Hayden coached me in before I left the school. It was choreographed for her by Balanchine during her career with New York City Ballet. A little later on I danced in Cincinnati, Ohio at the International Stars of Ballet Gala with Ana Sophia Scheller. Ana and I also danced in September at North Carolina School of the Arts, a tribute to Dean Susan McCullough. Ethan Stiefel was named Dean of the School of Dance at that time.

Ana and I danced Tarantella at both events; one of the highlights of dancing with Miami City Ballet was to work with and to personally be coach by Edward Villella in this piece. Since Tarantella was choreographed for him by Balanchine, nothing could have been more special. Mr. Villella is such a magnetic and gifted man with a powerful persona.

There were many great things about my time in Miami. I will never regret the decision to move there. Each experience gives something good to take with you; however, by November I knew that we were not a good fit.

I had always waited for the perfect time to apply to American Ballet Theater. With the realization that I wanted to leave Miami, I decide no time like the present. After a trip to NYC I was given the opportunity to join ABT.

During December I danced in three different Nutcrackers in New Orleans, Spartanburg SC, and Los Angeles. I was also honored and flattered to receive LES ÉTOILES DE BALLET2000 award in Cannes, France.

January 7, 2008, I start with ABT. This is a dream come true for me and the chance of a lifetime… So my biggest adventure yet continues.

Joseph