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  2. A tannoy announcement about the cast change was made in the foyers but not inside the auditorium before curtain up. I didn’t see any cast change slips but apparently there were some. Both the Stalls and Amphi programme desks had run out of programmes well before the show which is incredibly bad form given most people will want to buy their programme at the first opera of the Ring cycle. Anyway, back to ballet.
  3. bangorballetboy

    Lack of Royal Ballet news (cast changes)

    There were apparently very few cast change slips for the cast change in tonight’s Rhinegold (and a shortage of actual programmes too).
  4. ninamargaret

    Lack of Royal Ballet news (cast changes)

    I think cast changes in opera tend to be more spectacular - something like Kaufmann withdrawing when everyone has paid megabucks to see him. And because ballets usually have several different casts and there are always chances of injuries etc. it is far more important for them to be notified properly. Any point in mass protests to KOH? The ballet audience is being treated pretty badly at the moment.
  5. BIRMINGHAM ROYAL BALLET’S THE NUTCRACKER “Simply magnificent – unrivalled for Christmas spectacle” The Stage aa Birmingham Hippodrome: 23 November – 13 December 2018 Royal Albert Hall, London: 28 – 31 December 2018 Birmingham Royal Ballet’s production of The Nutcracker has captured the hearts and imaginations of generations of theatregoers to become an annual tradition. The much-loved Christmas show returns to the Birmingham Hippodrome from 23 November – 13 December and, following a critically acclaimed premiere in 2017, a spectacularly reimagined version returns to the Royal Albert Hall in London from 28 – 31 December. Created in 1990 as a gift to the city of Birmingham, Sir Peter Wright’s The Nutcracker combines gigantic sets, lavish costumes, 60 dancers and instantly recognisable music played the Royal Ballet Sinfonia to create the perfect Christmas treat for the entire family. Join young Clara as she is swept away into an enchanting winter wonderland of dancing snowflakes and a Sugar Plum Fairy. Her magical Christmas tree and her handsome prince with his army of toy soldiers are an unforgettable delight. In addition to the classic Birmingham production, the Christmas magic of The Nutcracker is given a fresh twist in a reimagined production, created especially for the Royal Albert Hall. This enchanting performance wows audiences with dazzling projections from Tony Award-winning 59 projections, snow falling throughout the auditorium and live music from the London Philharmonic Orchestra. Sir Peter Wright’s The Nutcracker Music: Pyotr Ilyich Tchaikovsky Choreography: Sir Peter Wright, Lev Ivanov, Vincent Redmon Production: Sir Peter Wright Designs: John F. Macfarlane Lighting: David A. Finn Venue: Birmingham Hippodrome, Hurst Street, Southside, Birmingham, B5 4TB Dates: Friday 23 November – Thursday 13 December 2018 Tuesday – Saturday, 7.30pm; Tuesday and Thursday matinees, 2pm; Saturday matinees, 2.30pm; Sunday matinee, 1pm Tickets: From £20 Booking: birminghamhippodrome.com / 0844 338 5000 Pre-performance talk: Friday 30 December, 6.30pm (Free) Audio described perf: Saturday 25 November, 2.30pm (Touch tour: 10.30am) Company class: Saturday 26 November, 11.15am (Tickets: £10) Audience open day: Saturday 26 November, 12.30 – 2.30pm (Free) Birmingham Royal Ballet and the Royal Albert Hall present The Nutcracker Music: Pyotr Ilyich Tchaikovsky Original choreography: Sir Peter Wright, Lev Ivanov, Vincent Redmon Additional choreography: David Bintley, Marion Tait Designs: Dick Bird Lighting: Peter Teigen Venue: Royal Albert Hall, Kensington Gore, London, SW7 2AP Dates: Friday 28 – Monday 31 December 2018 Friday 28 December, 7.30pm; Saturday 29 December, 2pm & 7pm; Sunday 30 December 1pm & 7.30pm; Monday 31 December 12pm & 4pm Tickets: From £35 Booking: royalalberthall.com / 020 7589 8212 NOTES TO EDITORS: Birmingham Royal Ballet Based at Birmingham Hippodrome since 1990, Birmingham Royal Ballet is the United Kingdom’s leading classical ballet touring company performing a range of traditional, classical and heritage ballets as well as ground-breaking new works with the aim of encouraging choreographers of the future. The company’s Director is the award-winning David Bintley, CBE and Music Director is Koen Kessels. Birmingham Royal Ballet performs at Birmingham Hippodrome for approximately ten weeks of the year and the remainder of the year tours throughout the United Kingdom and overseas. The Royal Ballet Sinfonia is Britain's busiest ballet orchestra, playing for Birmingham Royal Ballet's wide-ranging programme in the UK and abroad. The Sinfonia also plays frequently for The Royal Ballet and many of the world's other leading ballet companies, including regular performances with; The Royal Ballet, Paris Opéra Ballet, New York City Ballet, Australian Ballet, Les Grands Ballets Canadiens, the Kirov, Norwegian Ballet, Atlanta Ballet, San Francisco Ballet and La Scala Ballet.
  6. Mary, all I can say is that the Ratmansky trilogy is a master work .... one now celebrated by companies around the world. Moreover, I've seen SFB do two different parts of it on different bills and they were brilliant.
  7. Golly, what riches. But if you had to choose one -- as I think I will have to - which one would it be please, all those who know more about SFB than I do-? (i.e. everyone) -?
  8. Was anyone at the live performance on 15th and might they have any of those nice curtain call photos????
  9. Pointetoes

    WANTED: English Youth Ballet T-shirt

    Are you still after one ? DD has rehearsals in half term , happy to get one and post it to you.
  10. There goes any remaining sense of fiscal responsibility. What a fantastic choice of programmes. Not that I'm planning to choose between them, it'll have to the lot.
  11. AliceK

    ENBS 1st year uniform for sale

    Hi has the tutu been sold.
  12. Nicola H

    Rad discovering repertoire classes

    your students , while eligible to take the qualification are not it;s target market - which is 'working age adults' either new to ballet and looking for something after beginners class or those returning after a long time off Adult dancer =/= never stopped , the growth market in adult ballet is peopel who are new to ballet or who return after childhood classes ... the option to do the variations en pointe is to 'dual hat' the qualification as enrichment for VGE students
  13. Richard LH

    ROH Stall Circle Seat Availabilty

    That's what I thought initially Bluebird, but on the other hand I am wondering how come the seats have been allocated specific prices for each production. Perhaps this is part of the much discussed plan to have some lower priced seats available for later on in the booking process? I hope to find out!
  14. primrose

    Oliver’s story

    Thankyou so much xx
  15. Is this lack of announcements also happening in opera? I presume that if so the two worlds ( I know they overlap) will make common cause in lobbying on this issue - and sometimes some of the opera lobby carry more weight (is my perception). Apologies if I have missed something about this.
  16. Thank you Alison. I think I may have heard about Darcey Bussell's dyslexia, but my memory these days is not good. Perhaps nervousness might affect the mental things she has to do to counteract her condition - but that's just my speculation.
  17. John Mallinson

    Lack of Royal Ballet news (cast changes)

    I think that's enough about the horrific price of a glass of champagne at the Savoy. Very informative, but back to ROH announcements (lack of) please.
  18. Agree it was very interesting but just wanted to post my slight discomfiture about comparing interviewers etc. We're all obviously entitled to our opinions but assuming I'm right in thinking both BA and LBC are 'staffed' totally by volunteers (and happy to be corrected if I'm wrong) I'd instead to thank all concerned for putting on many a happy evening and say how much I enjoy the programmes of both organisations.
  19. Billyelliott

    Oliver’s story

    I also had this email and shouted Hurrah! may it bring lasting change xxx
  20. Irishdancemom

    Ballet summer schools for 2019

    Great & thanks for the feedback. I’ll keep an eye on the website.
  21. Countdown to ‘The Knot’ Autumn Tour 2018 A wedding-inspired dance theatre work by choreographer Didy Veldman Veldman’s latest work for her company Umanoove since it launched with the critically acclaimed The Happiness Project in 2016 LONDON PREMIERE performances at The Place on 20 & 21 November Stravinsky's masterpiece Les Noces (The Wedding) intertwined with specially commissioned music www.umanoove-didy-veldman.org Trailer Media release: Tuesday 16 October 2018 – In three weeks’ time the much anticipated autumn tour of Didy Veldman’s The Knot, for her company Umanoove, kicks off at Lakeside Arts, Nottingham on Tuesday 6 November. The autumn tour of the wedding-inspired dance theatre work follows a successful spring tour and also heads to Cambridge, Birmingham, Portsmouth, Bracknell, Worthing, London, Jersey, Plymouth, Bournemouth and Malvern. In The Knot, by Dutch-born choreographer and director Veldman, an international cast of seven exceptional dancers play the roles of the bride, groom, best man and bridesmaids. Audience members become wedding guests as the dance performance unfolds. Veldman, a former dancer with Rambert, left the company in 2000 to pursue a choreographic career. In the last 18 years she has become a highly sought-after choreographer and has created works for Les Grands Ballets Canadiens de Montréal, Cedarlake (New York), Cullberg Ballet (Sweden), Introdans (Netherlands), Gothenburg Ballet, Iceland Dance Company and Royal New Zealand Ballet. In the UK, Veldman has been commissioned by Rambert, Northern Ballet and Scottish Dance Theatre and in 2019 she creates a new work, collaborating with composer Gabriel Prokofiev, the grandson of Sergei Prokofiev, for Birmingham Royal Ballet’s inaugural ‘Ballet Now’ programme. Known for a sharp-eyed approach and humorous flair, The Knot is Veldman’s second work for her company Umanoove since it launched with her critically acclaimed The Happiness Project in 2016. In The Knot, Veldman scrutinises what a wedding means and how it feels, the role of ritual, doubt, religion and gender is examined and the romanticised ideas of Walt Disney will challenge our perceptions of marriage. For Umanoove, Veldman tailors each company of dancers to suit each work. The cast of performers interpret the themes of Veldman’s work through her extremely physical and theatrical movement style. Dancers returning to The Knot this autumn are: Dane Hurst (Rambert, National Dance Company of Wales, Phoenix Dance Theatre and Company Wayne McGregor); Mathieu Geffré (Dansgroep Amsterdam, Noord Nederlandse Dans, National Dance Company Wales, Theo Clinkard); Oliver Chapman (Henri Oguike Dance, National Dance Company of Wales, Icon Dance); Sara Harton (erSa Danse, Les 7 doigts de la main, PPS Danse, ezdanza); and Angela Venturini (recently a post-graduate student at The Place). Joining them is Mai Lisa Guinoo (Rambert, GoteborgOperans) and apprentice dancer Sam Costello (London Contemporary Dance School). Stravinsky's masterpiece Les Noces (The Wedding) is intertwined with specially commissioned music by London and Paris-based British composer Ben Foskett. His work has included commissions for CBSO Youth Orchestra and London Children's Ballet. Lighting design is by Ben Ormerod, a regular collaborator of Veldman’s, and set and costume design is by Joana Dias. The Knot is commissioned by DanceEast, with support from Studio Wayne McGregor through the FreeSpace programme and funds from Arts Council England, Linbury Trust, The Master Charitable Trust - The Marina Kleinwort Trust, Beth Krasna and an anonymous donor. -ENDS- Notes: Umanoove presents Didy Veldman’s The Knot - autumn tour 2018 #TheKnot2018 Tuesday 6 November at 7.30pm Lakeside Arts, Nottingham Tickets: 0115 846 7777 // www.lakesidearts.org.uk Wednesday 7 November at 7.30pm Mumford Theatre, CAMBRIDGE (Anglia Ruskin University's Cambridge campus) Tickets: 01223 352932 // www.anglia.ac.uk/mumfordtheatre Thursday 8 November at 8pm DanceXchange, The Patrick Studio, Birmingham Hippodrome, BIRMINGHAM Tickets: 0844 338 5000 / www.dancexchange.org.uk Wednesday 14 November at 7.30pm New Theatre Royal, Portsmouth Tickets: 023 9264 9000 // www.newtheatreroyal.com Thursday 15 November at 7.45pm Wilde Theatre, South Hill Park, Bracknell Tickets: 01344 484 123 // www.southhillpark.org.uk Friday 16 November at 8pm Connaught Theatre, WORTHING Tickets: 01903 206 206 // www.worthingtheatres.co.uk/show/the-knot/ Tuesday 20 & Wednesday 21 November at 7.30pm The Place, LONDON Tickets: 020 7121 1100 // www.theplace.org.uk Friday 23 November at 8pm Jersey Opera House, JERSEY Tickets: 01534 511 115 // www.jerseyoperahouse.co.uk Wednesday 28 November at 7.30pm The Arts Institute, University of Plymouth, PLYMOUTH Tickets: 01752 585 050 // www.peninsula-arts.co.uk Thursday 29 November at 7.30pm Pavilion Dance South West, BOURNEMOUTH Tickets: 01202 203630 / www.pdsw.org.uk Saturday 1 December at 7.45pm Malvern Theatre, MALVERN Tickets: 01684 892277 // www.malvern-theatres.co.uk Age Guidance: Recommended 12+ Running Time: 70 minutes (no interval) Dutch choreographer Didy Veldman trained in Amsterdam and danced with Scapino Ballet, Ballet du Grand Théâtre de Genève, Rambert and formed Alias Company with Guilherme Botelho in 1992. She began choreographing in 1987, creating work for all four aforementioned companies, as well as independently. Whilst dancing with Rambert, Veldman created three works for the repertory in collaboration with composers Adam Gorb, Philip Feeney and Luca Mainardi. She received a grant from the Choo-San Goh & Robert Magee Foundation for her third production called 7 DS (Linbury Prize for Stage Design which was created by Miriam Buether). Veldman’s first full-length work Carmen was created in 1999 for Northern Ballet with designer Lez Brotherston and has been re-staged for Les Grands Ballets Canadiens de Montreal, Royal New Zealand Ballet and was redesigned in 2013 by Kimie Nakano for the Lithuanian National Ballet. Vedman left Rambert in 2000 to concentrate on a choreographic career. She has worked internationally with Les Grands Ballets Canadiens de Montréal, Cedarlake (New York), Cullberg Ballet (Sweden), Introdans (Netherlands), Gothenburg Ballet, Iceland Dance Company and Royal New Zealand Ballet. Recently she has created The 3 Dancers for Rambert based on a Picasso painting by the same name with composer Elena Katz-Chernin and designer Kimie Nakano. In 2018 she will re-stage a full evening of two of her works for Oper Leipzig, See Blue Through originally created for Ballet Gulbenkian and TooT originally created for Les Grands Ballets Canadiens. Danish Dance Theatre performed Frame of View which was created for Cedarlake with designs by Miriam Buether. Introdans perform The 3 Dancers in autumn 2018 and tour the work all over Holland for 33 performances. Veldman will create a new work for Birmingham Royal Ballet in 2019 with composer Gabriel Prokofiev as part of BRB’s ‘Ballet Now’ initiative. In 2016 Veldman started her own company ‘Umanoove’ with support from Arts Council England, Quercus Trust, The Place, Dance East, Linbury Trust, South East Dance, Siobhan Davies, Rambert and private donors. Her first independent production The Happiness Project premiered in November 2016 at DanceEast in Ipswich followed by 14 performances in England and Scotland with a London premiere at The Place in May 2017. Veldman, recently awarded a DanceEast choreographic development award, was selected for the 8th Rural Retreat for future leaders in dance at Jerwood DanceHouse, DanceEast. Veldman teaches the Royal Ballet School students contemporary dance from time to time, works with international dance students at Jacob's Pillow and the Prix de Lausanne, and teaches workshops or creates new works with students from Rambert School and London Contemporary Dance School. She recently re-staged an excerpt of one of her works for the Royal Ballet School and created a new work for Mapdance, Chichester's MA touring company. Social media: www.facebook.com/umanoove // www.twitter.com/didyveldman1 // www.instagram.com/umanoove/ Photo credit: Top to Bottom: Umanoove - Oliver Chapman in The Knot. Chris Nash; Umanoove – Sarah Harton in The Knot. Chris Nash; Umanoove in The Knot. Chris Nash.
  22. and so you should! BBB merely pointed out the correct pricing structure (stating facts with no vitriol that I could read). You then attacked with super sarky comments which seemed wholly unjustified. As for the 'Valleys' rebuke, as someone who DOES come from the Valleys, and not N Ireland (though the Welsh Bangor is in N Wales, the Valleys in the south - facts do seem a stranger to you!), I find this implied insult really offensive
  23. Peanut68

    Best way to dye/paint pointe shoes black?

    Viv, you sound a wonderful supportive member of your school & production! Hope all goes well & congrats on recent exams etc x
  24. jules_skichick

    Lack of Royal Ballet news (cast changes)

    hey bbb. Us ethnic minorities should definitely stick together but. ...Welsh!! No!! AND since when is it OK to use someone else's heritage as an insult!!! Not impressed with PS.............
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