Taiwanese dancer/choreographer Allen Yu (余能盛) must be one of the few people in the world who willingly gives up his summer vacation to spend 14-hour days (if not longer) to do what he does in his regular job: produce ballets. < P>
Yu has returned home from his post as deputy ballet director and choreographer at the Opera House in Graz, Austria, to try to raise the barre — so to speak for — for both dancers and the ballet-going public in Taiwan. He has revived his production of La Dame aux Camelias (The Lady of the Camellias), first produced in Germany in 2000, for his small local company, the Chamber Ballet Taipei, along with giving a series of dance master classes and music lectures.
This is not the first time Yu has brought the ballet, which is based on Alexandre Dumas’ 1868 novel about the doomed courtesan Marguerite Gautier and her young lover, Armand Duval, to Taiwan. He staged it in Taipei in 2003 and then took the production on tour to New Zealand. But he said he has drastically overhauled the show.
“I made a lot of changes from the version seen in 2003 — the group back then was much smaller, I had only five boys. This year the group is much better, the four leads are so good,” Yu said.
Last time around Daniel Cimpean, a Romanian who used to be a soloist with the Darmstadt Staatstheater, danced Armand. This time around he is dancing the role of Armand’s father.
“He’s really good as the father, it’s a big part,” Yu said.
In fact, Yu has nothing but superlatives to say about his leads, who include Nikola Marova, Michal Stipa (Misha) and Alexandre Katsaprov, all principal dancers of the National Theatre in Prague, Czech Republic.
“I changed a lot for Armand and Marguerite. They [Nikola and Misha] are big stars in Prague, dance all the big roles. I changed a lot for the big pas de deux because she can do everything I want. Nikola is unbelievable, her technique, the drama ... She’s absolutely perfect,” he said.
The rest of the 22-member company was recruited from an open audition Yu held in Taipei in March. More than a dozen danced for him last year in When Ballet Meets Tchaikovsky. But Yu says that every year he comes back it feels like he is starting from scratch again with his Taiwanese dancers, because most don’t dance every day.
“The third act is very hard for the whole company, it’s 30 minutes. This year they couldn’t do it at the beginning — they were so heavy [technically], out of condition. I keep telling them they have to have class every day.”
“It’s also hard for the dancers this time because they have never danced with a live orchestra, but it’s good,” he said.
The company will perform this weekend with the Taipei Symphony Orchestra; in Tainan last weekend they danced with the Chimei Philharmonic Orchestra. The man wielding the baton is Dutch conductor Anthony Hermus, whom Yu knew from his work in Germany.
For the score, Yu has chosen to mix and match from the works of Giuseppe Verdi.
“To prepare the music was more difficult than the choreography. I used music from nine different Verdi operas, put together for 100 minutes, then worked with the conductor,” Yu said.
Bringing four guest artists and a conductor from Europe, investing in new costumes and sets — none of this is cheap. But he feels it is all part of building up ballet in Taiwan. And Yu knows he can’t do the job alone.
“I have been really inspired by the chairwoman of Chieftek [Precision Co], Miss Chen (Angelika Li-fen, 陳麗芬). She has really helped a lot with the sponsorship, helped a lot in Tainan in arranging the performances. It’s important in this society to have private sponsorship — she is really setting an example.”
“You have to package everything if you want to be a professional company,” he said. “If we don’t build up the professional level, the country, the society, will never support professional theater.”
It’s a good thing that 2025 is over. Yes, I fully expect we will look back on the year with nostalgia, once we have experienced this year and 2027. Traditionally at New Years much discourse is devoted to discussing what happened the previous year. Let’s have a look at what didn’t happen. Many bad things did not happen. The People’s Republic of China (PRC) did not attack Taiwan. We didn’t have a massive, destructive earthquake or drought. We didn’t have a major human pandemic. No widespread unemployment or other destructive social events. Nothing serious was done about Taiwan’s swelling birth rate catastrophe.
Words of the Year are not just interesting, they are telling. They are language and attitude barometers that measure what a country sees as important. The trending vocabulary around AI last year reveals a stark divergence in what each society notices and responds to the technological shift. For the Anglosphere it’s fatigue. For China it’s ambition. For Taiwan, it’s pragmatic vigilance. In Taiwan’s annual “representative character” vote, “recall” (罷) took the top spot with over 15,000 votes, followed closely by “scam” (詐). While “recall” speaks to the island’s partisan deadlock — a year defined by legislative recall campaigns and a public exhausted
In the 2010s, the Communist Party of China (CCP) began cracking down on Christian churches. Media reports said at the time that various versions of Protestant Christianity were likely the fastest growing religions in the People’s Republic of China (PRC). The crackdown was part of a campaign that in turn was part of a larger movement to bring religion under party control. For the Protestant churches, “the government’s aim has been to force all churches into the state-controlled organization,” according to a 2023 article in Christianity Today. That piece was centered on Wang Yi (王怡), the fiery, charismatic pastor of the
Hsu Pu-liao (許不了) never lived to see the premiere of his most successful film, The Clown and the Swan (小丑與天鵝, 1985). The movie, which starred Hsu, the “Taiwanese Charlie Chaplin,” outgrossed Jackie Chan’s Heart of Dragon (龍的心), earning NT$9.2 million at the local box office. Forty years after its premiere, the film has become the Taiwan Film and Audiovisual Institute’s (TFAI) 100th restoration. “It is the only one of Hsu’s films whose original negative survived,” says director Kevin Chu (朱延平), one of Taiwan’s most commercially successful
RSS