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San Francisco - Bay Area Columns

San Francisco Bay Area
by Heather Desaulniers
March 2013 Reviews

San Francisco Bay Area
by Heather Desaulniers
February 2013 Reviews

San Franciso Bay Area
by Heather Desaulniers
January 2013 Reviews

San Francisco Bay Area
by Heather Desaulniers
December 2012 Reviews

San Francisco Bay Area
by Heather Desaulniers
Fall 2012 Reviews

San Francisco Bay Area
by Heather Desaulniers
September 2012 Reviews

San Francisco Bay Area
by Heather Desaulniers
Summer 2012 Reviews

San Francisco Bay Area
by Heather Desaulniers
June 2012 Reviews

San Francisco Bay Area
by Heather Desaulniers
April 2012 Reviews

San Francisco Bay Area
by Heather Desaulniers
Winter 2012 Reviews Part 2

San Francisco Bay Area
by Heather Desaulniers
Winter 2012 Reviews Part 1

San Francisco Bay Area
by Heather Desaulniers
December 2011 Reviews

Seattle Scene 2013

Pacific Northwest Ballet - Men in Ballet program
by Dean Speer
March 4, 2013 -- PNB Studios, Seattle, WA
The joke about male dancing when I was going through my own ballet training as a youth was that male dancing consisted mostly or only of the three “L’s:” Lift, Lean, and Lunge. How wonderful and nice it is that this has completely changed and that Pacific Northwest Ballet’s Men In Ballet program demonstrated that this urban myth has long been dying and, hopefully, will never be revived from the beyond.

Pacific Northwest Ballet - 'Romeo et Juliette'
by Jerry Hochman
February 15 and 16, 2013 -- City Center, NY, NY
Mr. Maillot’s creation impresses me as a remarkable visual (and choreographic) reimagining of the ballet as we usually see it in versions choreographed to the Serge Prokofiev score, and must not be missed. It is quirky, artistically innovative, intelligent, intellectually and visually stimulating, endlessly interesting, and takes enormous risks that more often than not work.

Pacific Northwest Ballet - Balanchine Triple Bill
by Jerry Hochman
February 13, 2013 -- City Center, NY, NY
By bringing its initial program consisting entirely of iconic ballets created by George Balanchine to New York, the home of the New York City Ballet and its heritage of Balanchine ballets, Pacific Northwest Ballet essentially presented an in-your-face opening night program. It was a gutsy (and one night only) invasion into NYCB territory.

Pacific Northwest Ballet - 'Romeo et Juliette'
by Dean Speer
February 2, 2013 -- McCaw Hall, Seattle, WA
The audience rose in one accord as the curtain lifted to reveal Carla Körbes and Seth Orza, glistening from having given us two and an half hours of their considerable all during Jean-Christophe Maillot’s contemporary take on Shakespeare’s tragedy, “Roméo et Juliette.”

Whim W'him - A Prodigal...Returns and Serves
by Dean Speer
January 20, 2013 -- Intiman Theatre, Seattle, WA
Annabelle Lopez Ochoa’s “Crave” made especially for Whim W’him’s January performance season in Seattle’s Initiman Theatre space brought Diablo to my mind as its five dancers worked through what appeared to be their isolation from the outer world...

Mikhailovsky Ballet
London Tour

Duato Triple Bill
by Stuart Sweeney
April 3, 2013 -- London Coliseum, London, UK

The Mikhailovsky Ballet is already a firm favourite in London, bringing work we haven't seen here before, such as the restaging of Vakhtang Chabakuani's “Laurencia” and Petipa's “The Cavalry Halt”, as well as the more familiar classics from the Russian ballet rep.

by Charlotte Kasner
April 3, 2013 -- London Coliseum, London, UK

Actually, at second viewing, I think its main failure is that it is not dark enough. It is a 20th-century ballet trapped inside a 19th-century shell. The peasants are not really downtrodden and trip around in pretty clothes, till the land and do the laundry; for all the world like Jerome K Jerome’s peasants in “Stageland.”

'Don Quixote'
by Charlotte Kasner
March 30, 2013 -- London Coliseum, London, UK

“Don Quixote” is usually presented as a rather clunky Soviet-era warhorse; all too often, a dull, rather silly story that is only bearable because the audience knows that the fireworks of the famous sections, such a staple of galas and competitions, will enliven the tedium. The Mikhailovsky production has found a way to make it relevant and even exciting...This “Don Q” is a joy throughout: a breath of warm air and vibrant colour that brought to life a dull, cold, late spring evening in London.

by Jessica Wilson
March 26, 2013 -- London Coliseum, London, UK

The Mikhailovsky Ballet’s “Giselle” saw Natalia Osipova create a truly succinct character, which was both of childlike innocence and learned power simultaneously. The split of Giselle’s character across the two acts, as young villager and then as the newest recruit of the Wilis


Ballet World Play: Developing Your Dance Language
by Dean Speer

One our colleagues at Dance! West Seattle, Christin Torp, unleashed an interactive and delightfully fun game as an exercise to learn the language of ballet – our shared vocabulary – with our youth ballet classes. The premise is simple – take the title of a famous movie, book, song, or saying, replacing one word or short phrase with a ballet word. 

The Fusion of Dance Cultures: An Examination of Jerome Robbins' choreography for 'The King and I'
by Stephanie Prugh

When approaching a new work, chorographers are generally drawn to what they know, however, widely respected choreographer Jerome Robbins was the exception. When he was asked to choreograph the ballet of Rodgers and Hammerstein’s The King and I, Robbins found himself between two cultures that had rarely crossed paths on the Broadway stage of the 1950’s...

An Interview with Bruce Steivel
by Saul Marziali
January 2013

I began my early dance training as a tap dancer in North Carolina at a small local school. I became interested in dance while watching Fred Astaire on television and begged my parents to allow me to take classes, but they made me wait until I was 8 before they allowed me to begin classes. I had no intentions of going into ballet but when I was 12...

PNB's Seth Orza and Carla Korbes in 'Romeo et Juliette'


American Repertory Ballet: Viva Spring
by Jerry Hochman
April 5, 2013 -- South Orange Performing Arts Center, South Orange, NJ

When the curtain came down on American Repertory Ballet’s April 5 performance of three ballets under the rubric “Viva Spring” at the relatively new and comfortably intimate South Orange Performing Arts Center (“SOPAC”), I remained in my seat for a few minutes, not quite knowing what hit me.

Movie Review: Ballet's Greatest Hits
by Jerry Hochman
March 31, 2013 -- New York, NY

When I think of “Ballet’s Greatest Hits,” I think of the title of one or more CDs I used to see in seldom perused stacks at classical music emporiums, consisting of ballet music by 19th Century composers...Ballet’s Greatest Hits, the film produced under the auspices of Youth America Grand Prix, which premiered at selected theaters on March 31, 2013, is similar in that it consists of excerpts from full length ballets.

Fabulous Beast Dance Theatre: Double Bill
by Jessica Wilson
April 11, 2013 -- Sadler's Wells Theatre, London, UK

As an evening of rituals, Fabulous Beast Dance Theatre did not disappoint, from the very subtle repetitions to the exceedingly obvious theme choices. From fear to sacrifice, rituals were ever-present and depicted with skill and expertise from choreographer Michael Keegan-Dolan, and conveyed effective by his array of dancers.

Tanztheater Wuppertaal Pina Bausch: Double Bill
by David Mead
March 30, 2013 -- National Theatre, Taipei

In these days when so much is over-hyped, ‘masterpiece’ is a something of an overused term. It is, though, hard to think of any other description for the late Pina Bausch’s seminal “Café Müller” and “Le Sacre du Printemps” (Rite of Spring).

Alberta Ballet: Celebrating Mozart
by Kate Snedeker
April 5, 2013 -- Northern Jubilee Theatre, Edmonton, AB

Supposedly, April showers bring May flowers. That may be true in warmer climes, but in Edmonton, April snow brings the Alberta Ballet. For their April 2013 visit, the company provided a well-needed energy boost to winter-weary Edmontonians in the form of a balletic celebration of the music of Mozart.

Paris Opera Ballet: A Winter in Paris
by Grace Milandou
February 3 and March 26, 2013 -- Paris Opera House, Paris, France

The Dancers and Choreographers evening allows the dancers of the Paris Opera Ballet to show their work as choreographers. Unfortunately, our in-house choreographers tend to favour writing with other people’s words rather than developing their own idiom, resulting in an evening poor in discovery.

Book Review: 'Agony and Ecstasy: My Life in Dance' by Daria Klimentova with Graham Watts
reviewed by Charlotte Kasner
March 2013

...her book is a breath of fresh air. Its core strength lies in Klimentova’s honesty and openness. Without being sensationalist, she does not shy away from the difficulties of dancing in an under-funded, pressured company with the instabilities that changes of artistic director and partners inevitably bring.

Boston Ballet: 'Sleeping Beauty'
by Carla DeFord
April 6, 2013 -- Boston Opera House, Boston, MA

I went back to see “The Sleeping Beauty” a second time and found Adiarys Almeida’s performance as Princess Aurora to be a revelation. She was completely different from Misa Kuranaga, the other Aurora I saw, but with a wonderfully individual take on the role. Her athletic strengths are speed, balance, and buoyancy, which she consistently puts at the service of expressiveness.

Royal Swedish Ballet: Time Themes
by Maggie Foyer
March 7, 2013 -- Royal Opera House, Stockholm, Sweden

Johannes Öhman, now into his second year as artistic director of the Royal Swedish Ballet, has his critics. He spent most of his performing career with the RSB but when he retired from dance to take over the directorship in Gothenburg, the critics grumbled that he was too classical for such a contemporary company...Then, moving back to Stockholm to take directorship of the Royal Swedish Ballet, the complaint came that he was too contemporary for Sweden’s only classical company!

Keigwin + Co:DANCEWorks Residency
by Andre Yew
March 1, 2013 -- Lobero Theatre, Santa Barbara, CA

It's a pity then that this year's artists, Keigwin + Company, squandered this opportunity. Set within a haphazard program that should have been a journey that prepares, builds, and then rewards the audience for coming along on an adventure, the two works created in this year's DANCEworks are trivial and unmemorable.

Boston Ballet: 'Sleeping Beauty'
by Carla DeFord
March 22, 2013 -- Boston Opera House, Boston, MA

As I was watching Misa Kuranaga in the role of Aurora, it began to dawn on me (pun intended) that standing behind her performance was that of former principal ballerina and current ballet master Larissa Ponomarenko. Kuranaga’s attention to detail, the perfect placement of each pose, the arch of her back, exquisite port de bras...

Globaleyes 2013
by Stuart Sweeney
March 13 and 15, 2013 -- Chickenshed, London, UK

Chickenshed, one of England's leading integrated dance theatre companies, regularly creates work based on social themes. Globaleyes was one of the first of these I experienced and Globaleyes 2013 is not just a revival, but features a much larger cast, including many from their Youth Company.

Hiroaki Umeda: 'Temporal Pattern', 'Haptic'
by David Mead
March 15, 2013 -- Experimental Theater, National Theater, Taipei

36-year-old Japanese avant-garde artist Hirako Umeda intended to follow his father into a career in photojournalism, but while studying at Nihon University, he realised he was more interested in movement than taking pictures. He took lots of classes in lots of styles, including with prominent Japanese dancer-choreographers such as Saburo Teshigawara and Kota Yamazaki.

Birmingham Royal Ballet: 'Aladdin'
by Charlotte Kasner
March 20, 2013 -- London Coliseum, London, UK

The late, great Gene Roddenberry created a prop for “Star Trek” that had the initials “GNDN” on the side. The ever alert Trekkies contacted him and asked him what it stood for, knowing that he had a reputation for logic and engineering accuracy. “Goes nowhere, does nothing”, he replied. That is rather the way that I feel about David Bintley’s Aladdin.

Sun Shang-chi: 'Uphill'
by David Mead
March 8, 2013 -- Experimental Theater, National Theater, Taipei

The lights go up to reveal a stark, bare stage. Towards to front, and off to one side, a man lays motionless on the floor. So begins “Uphill”, Sun Shang-chi’s latest work, commissioned specially by the National Chiang Kai-Shek Cultural Center for this year’s Taiwan International Arts Festival.
read more..

Dance Exchange: 'How to Lose a Mountain'
by Carmel Morgan
March 16, 2013 -- Dance Place, Washington, DC

A lot of time and effort went into making Dance Exchange’s “How To Lose a Mountain.” I’m not talking about studio time. I’m sure there was a lot of that; however, I’m talking about a 500 mile walk. How many choreographers use a hike of that length to kick start their creative juices? The preparation behind “How To Lose a Mountain” is mind boggling.

Liss Fain Dance: 'The Water is Clear and Still'
by Jerry Hochman
March 13, 2013 -- Powerhouse
Arena, Brooklyn, NY
Liss Fain Dance, a San Francisco-based contemporary dance company, gave two performances of Ms. Fain’s The Water is Clear and Still at Brooklyn’s Powerhouse Arena on March 7 and 8. The program lasted an hour, and I left feeling disappointed – I wanted to see more.
read more..

Tero Saarinen Company: Triple Bill
by Carmel Morgan
March 12, 2013 -- Eisenhower Theater, JFK Center for the Performing Arts, Washington, DC

Finnish dancer and choreographer Tero Saarinen, now age 48, performed a 2002 solo called “Hunt” to Stravinsky’s “Rite of Spring” as part of his namesake company’s performance at the Kennedy Center during the Nordic Cool 2013 festival, an appropriate choice in the centennial year of “Rite of Spring.”
read more..

GotesborgsOperans Danskompani: Triple Bill
by Carmel Morgan
March 15, 2013 -- Eisenhower Theater, JFK Center for the Performing Arts, Washington, DC

The first work on the program of Sweden’s GöteborgsOperans Danskompani (formerly, until August 2012, The Göteborg Ballet) was “Beethoven’s 32 Variations,” a 2010 piece by Örjan Andersson. Pianist Joakim Kallhed, tucked in a downstage corner, played Beethoven beautifully, and yet he did not for a minute steal the focus from the dancers.
read more..

Iceland Dance Company: Triple Bill
by Carmel Morgan
February 27, 2013 -- Terrace Theater, JFK Center for the Performing Arts, Washington, DC

I hadn’t really pondered what contemporary dance from Iceland would look like until the Kennedy Center’s “Nordic Cool” program was announced...Having seen the Iceland Dance Company, I can now tell you that Iceland’s contemporary dance doesn’t differ a great deal from you’d see elsewhere in Europe or the United States.
read more..

National Dance Awards 2012: A Personal View
by Stuart Sweeney
February 2013

This year The Place hosted the National Dance Awards for the second time and already it feels like the natural home for this celebration of the art form, and before the awards ceremony the bar was buzzing with energy as artists, directors, and critics caught up on the latest news.
The 60 members of the Dance Section of the Critics’ Circle nominated no less than 30-40 artists in each award category, covering all aspects of dance. To my mind, being nominated is the key honour - congratulations to all the NDA nomine

Pina Bausch Tanztheater Wuppertal: 'Two Cigarettes in the Dark'
by Stuart Sweeney
February 14, 2013 -- Sadler's Wells Theatre, London, UK

A man comes on in a dress, which falls to the ground revealing baggy pants and high heels, which he swaps for diver's flippers. Another man in a dress suit stands on top of a chopping block and looks smug as he sips coffee. A woman comes on giving advice about “f*****g an angel”. A man and woman joggle up and down on a chair, then break off to kiss long and hard. Two other men drink champagne but then spit it out. Yes, you guessed – Tanztheater Wuppertal are back in town.

Bill T. Jones/Arnie Zane Dance Company & SITI Company: 'The Rite'
by Carmel Morgan
February 9, 2013 -- Ina & Jack Kaye Theatre, University of Maryland, College Park, MD

The Bill T. Jones/Arnie Zane Dance Company returned to the DC area in the chilly month of February after their hot summer performance at Wolf Trap. This time they brought with them SITI Company, a renowned ensemble-based theater company, to perform “A Rite,” a collaborative work whose springboard was Igor Stravinsky’s 100-year-old “Rite of Spring.”

Mark Morris Dance Group: 'The Office', 'Festival Dance', 'Socrates'
by Carmel Morgan
February 8, 2013 -- George Mason Center for the Performing Arts, Fairfax, VA

There’s no sense in hiding the fact that I’m a fan of Mark Morris. So, I view his works with a kind of bias, I suppose. He has a remarkable record of creating dances that I like. But I’m hardly alone. He seems to have legions of loyal followers who appreciate his genius, and many of them live in and around Washington, DC.

LEVYdance and Sidra Bell Dance New York: 'AMP, Coasts Collide'
by Carmel Morgan
February 2, 2013 -- Dance Place, Washington, DC

Former Joe Goode Performance Group member Benjamin Levy’s LEVYdance, based in San Francisco, is celebrating its 10th anniversary season. LEVYdance has made multiple appearances at Dance Place in Washington, DC, and this year the Bay Area troupe was joined by another small contemporary dance company, one from the opposite coast – Sidra Bell Dance of New York City.

Pacific Northwest Ballet: 'Romeo et Juliette'
by Dean Speer
February 2, 2013 -- McCaw Hall, Seattle, Washington

The audience rose in one accord as the curtain lifted to reveal Carla Körbes and Seth Orza, glistening from having given us two and an half hours of their considerable all during Jean-Christophe Maillot’s contemporary take on Shakespeare’s tragedy, “Roméo et Juliette.”

Kaohsiung City Ballet - 2013 Dance Shoe
by David Mead
February 2, 2013 -- Experimental Theater, National Theater, Taipei

Now in its tenth year, Kaohsiung City Ballet’s annual Dance Shoe programme once again featured an eclectic mix of choreography in what was an enjoyable and interesting evening. The part-time company may have its roots very firmly in classical technique but as usual most of this year’s offerings had a distinctly modern dance edge. Company founder and director Chang Hsiu-ru may encourage the use of pointe work, but Dance Shoe has never been what might be called a ‘tutu evening.’

Companhia de Danca Deborah Colker: 'Tatyana'
by Charlotte Kasner
January 31, 2013 -- Barbican Theatre, London, UK

The introduction in the programme states that Tatyana is a re-imaging of Pushkin's “Evgeny Onegin”, a narrative dance work that centres on Tatyana's perspective. Well you could have fooled me.  Colker decided to depict Pushkin himself in the piece, danced by the feline Dielson Pessoa who cavorted around the set like a demented monkey, although who, for some reason, also reminded me of Andy Warhol. In fact, he couldn't have been anything less like the part-African Pushkin with his famous black, curly hair.

Eiko and Komo: The Caravan Project
by Tom Ferraro
January 19, 2013 -- Museum of Modern Art, New York, NY

I caught a glimpse of the singular vision of life and death from the one and only Eiko and Komo. This Japanese dance pair gets better every year. The Caravan Project was performed in the lobby of MoMA in New York City from January 18 through Jan 21. The performance was six hours long and took place in and around a set which was a trailer with four open sides designed to look like an animal’s lair.

English National Ballet: 'The Sleeping Beauty'
by Stuart Sweeney
January 10, 2013 -- Coliseum, London, NY

This production started life at American Ballet Theatre in 1987 and was Kenneth MacMillan's third setting of arguably the most celebrated classical ballet. Thus in 2005, in an inspired move, ENB bought the ABT production and this very English setting came for the first time to its natural home. And it is such a fine production that it would not surprise me if it remained in the ENB rep for a very long time to come.

New York City Ballet
Winter 2013

'Sleeping Beauty'
by Colleen Boresta
February 17(m), 2013 -- Koch Theater, New York, NY
The February 17th matinee of New York City Ballet’s ‘The Sleeping Beauty’ is probably the best performance of that ballet that I have ever seen (and I have seen ‘The Sleeping Beauty’ over 20 times). This is due to the magnificent performances of some of NYCB’s top dancers. As Aurora, Tiler Peck is as lustrous as the most perfect diamond. Her entire body is an exquisite vessel for Tschaikovsky’s
unforgettable score.

'Sleeping Beauty'
by Jerry Hochman
February 14, 17 and 22, 2013 -- Koch Theater, New York, NY
While one may quibble about stylistic variations from the norm (Balanchine vs. Petipa) or bemoan the choreographic quality of the changes Mr. Martins made (or failed to make) from more familiar versions, the three Princess Auroras (Ashley Bouder last Thursday, Sterling Hyltin on the 17th, and Tiler Peck this past Friday), as well as other featured members of the cast, all impressed as first rate actors as well as dancers.

'Western Symphony', 'Symphony in Three Movements', 'Symphony in C'
by Colleen Boresta
February 10(m), 2013-- Koch Theater, New York, NY
At the February 10th matinee the New York City Ballet audience was treated to three of George Balanchine’s best works. The afternoon begins with ‘Western Symphony’ – Balanchine’s salute to the American West. The score was orchestrated by Hershy Kay, using such folk classics as “Red River Valley”, “Good Night Ladies” and “Oh Dem Golden Slippers”. Balanchine and Kay have created a world full of cowboys and gorgeous dancehall girls.

'Western Symphony', 'Symphony in Three Movements', 'Symphony in C'
by Jerry Hochman
February 9(m), 2013-- Koch Theater, New York, NY

With its Tchaikovsky Celebration on temporary hiatus (pending its resumption with two weeks of The Sleeping Beauty), New York City Ballet has offered several performances representative of one or another general theme. On Saturday (and on previous days this past week), NYCB presented a program representative of “Symphonic Balanchine”: Western Symphony, Symphony in Three Movements, and Symphony in C.

'Glass Pieces', 'The Year of the Rabbit', 'Vienna Waltzes'
by Colleen Boresta
February 3, 2013 -- Koch Theater, New York, NY
The afternoon begins with ‘Glass Pieces’. Almost 40 years after ‘Fancy Free’, Jerome Robbins choreographed a ballet that perfectly fits Philip Glass’ modern score. No matter how many times I see ‘Glass Pieces’ I still find some step or the twist of a hand or the turn of a head to wonder at. The ballet is divided into three sections. In the first section, “Rubric”, Robbins’ choreography strongly depicts the hurried flow of urban life.

'Paz de La Jolla', 'Variations pour Une Porte et Un Soupir', 'Concerto DSCH'
by Jerry Hochman
January 31, 2013 -- Koch Theater, New York, NY
For twenty years, New York City Ballet has dedicating a performance program to a “New Combinations Evening” intended to showcase choreography that reflects George Balanchine’s famous declaration: “There are no new steps, only new combinations.” This year’s program included the world premiere of Justin Peck’s Paz de La Jolla, a revival of Balanchine’s 1974 Variations pour Une Porte et Un Soupir, and Alexei Ratmansky’s Concerto DSCH.

'Swan Lake', 'The Garland Dance', 'Allegro Brillante', 'Tchaikovsky Suite No. 3'
by Colleen Boresta
January 19, 2013 -- Koch Theater, New York, NY
In honor of George Balanchine’s 109th birthday (Balanchine was born on January 22, 1904.) New York City Ballet presented its audience with a special program of Balanchine ballets set to the music of Peter Ilyitch Tschaikovsky. The afternoon begins with Balanchine’s one act ‘Swan Lake’  It is based on Lev Ivanov’s choreography for Act II of the ballet and uses music from Acts II and IV, the lakeside acts.

Tchaikovsky Celebration: Programs 2 and 3
by Jerry Hochman
January 19 (m), 22 and 25-- Koch Theater, New York, NY
This second program in NYCB’s Tchaikovsky Celebration also included the masterpieces Allegro Brillante and Tchaikovsky Suite No. 3, both of which were recently reviewed, and both of which I consider to be the finest examples of the Balanchine/Tchaikovsky collaboration.

'Serenade', 'Mozartiana', 'Tchaikovsky Piano Concerto No. 2'
by Jerry Hochman
January 15-16, 2013-- Koch Theater, New York, NY
The ‘Tchaikovsky Celebration,’ which commenced Tuesday evening (and which includes, in addition to ballets created by Balanchine, two pieces to Tchaikovsky by Ballet Master in Chief Peter Martins), consists of three repertory programs spread over the first two weeks of the 2013 Winter season, and thirteen performances of The Sleeping Beauty at the end of the season.

editors' choice

· New York City Ballet: Tschaikovsky Celebration
January15-27 and February 13-24 , 2013 -David Koch Theater, New York, NY
The New York City Ballet celebrates the music of Tschaikovsky during the company's winter and spring seasons. Performances include 'The Sleeping Beauty' and a world premiere by company member Justin Peck.

For ballet-dance magazine

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