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  1. Hi hive mind - my tiny dancer has been invited to a final audition for the Northern Ballet (Leeds) CAT programme. We really liked the idea of the associates programme and were absolutely stunned to have received a callback for CAT (in a positive way) I’ve read up on the website but I wondered if anyone has any experience of this final round they can share and experience of the programme overall? I’m not sure what to expect as I’ve heard mixed information - including that if you dance with CAT you have to leave your current dance school? Can anyone out there settle the nerves of some very inexperienced first timers? Has anyone yet heard back on associates ?
  2. I was in Nottingham on Saturday full of anticipation to see the world premier of Northern Ballet's Merlin, choreographed by Drew McOnie. There was a palpable sense of excitement in the audience and speaking to a couple of people I hadn't seen since the world premiere of Geisha in March 2020 perhaps one of the reasons was that it was their first visit to a theatre since lockdown started. The front cloth is absolutely gorgeous and it set the scene for the rest of the ballet with it's delicate, golden colourways. The music (by Grant Olding) is very tuneful and played wonderfully by the orchestra. The set is just fabulous. It is mostly black box with gorgeous lighting and the odd prop brought on unobtrusively by dancers or flown in. There is one major set piece which is the fabulous tree that lights up like a tree of life with Merlin's help. The synopsis in the programme is 2 pages long and seemed very complicated but it was actually very easy to follow (although I would suggest people either read the synopsis on the website before they go or buy a programme). Here's a link to the synopsis: https://northernballet.com/merlin/story Basically Merlin tells the story of a conflicted young man (born of gods enjoying rumpy pumpy) , a warrior princess who is spurned in love (and is very annoyed by that) and a famed warrior and young princess from the opposing kingdom who fall in love. There is some terrific choreography with tender duets between The Blacksmith and her foundling son Merlin and between Uther and Ygraine. There are plenty of war-like scenes with soldiers training and battling. Merlin meets a puppet dragon and there are some tender scenes between him and the dragon (which is absolutely fabulous and which I would happily bring home with me!). Merlin is a spectacular production in a West-end sort of way. The action is non-stop. The performances by the company are scintillating. It really is a very watchable, enjoyable production. Merlin's power is expressed by him being able to make things perform by using his mind, for example turning the handle of the forge and by his expert yielding of Excalibur. Kevin Poeung is just remarkable as Merlin. He is a conflicted young man who does not realise contentment with his until the end. Minju Kang is a caring and concerned mother to Merlin. Antoinette Brooks Daw is very convincing as the warrior princess Morgan and her presence dominates the stage when she is on. Lorenzo Trossello and Rachael Gillespie are just sublime together as Uther and Ygraine (the famed warrior and princess from opposing kingdom). Javier Torres just fills the stage with his presence as Vortigern, the king. The dragon handler was Ashley Dixon who was so expert at the task that you tended just to see the dragon, who may be fierce but is really very cute. Merlin's birth parent gods are danced by Abigail Prudames and Greig Matthews. I think Merlin is definitely aimed at families and there is much for everyone to enjoy. If you need something light and uplifting during the current dark times we are living in then Merlin is the ballet for you (but I do believe it will have a life in normal times too). The audience was very enthusiastic at the end of Act 1 and even more so during the curtain calls. When Kevin came on the stage it seemed that nearly everyone in the stalls leapt to their feet to give him the acclaim he deserved for his outstanding performance as Merlin. I am looking forward to seeing this production again in a couple of weeks.
  3. Last night marked an important stage in Federico Bonelli's directorship of Northern Ballet, the first programme designed by him. It was a resounding success, the first showing by the company of one of the masterpieces of the last century, in my view, Hans van Manen's Adagio Hammerklavier; a world premiere by New York City Ballet dancer Tiler Peck; the revised (extended) version of Benjamin Ella's work originally created on some of his Royal Ballet colleagues. The Tiler Peck piece, Intimate Pages, was created to Janacek's string quartet, also called Intimate Pages. Many choreographers have produced ballets to this marvellous score, most notably, for me, Christopher Bruce, for Rambert in 1984, who represented the composer's passionate but doomed love affair with a married woman (the story behind the score) and wonderfully performed by Rambert dancers who in those days were deeply expressive. Bonelli claims that this is Tiler's first dramatic, as opposed to pure dance, ballet. However the plot was not so clear to me, just a young man in relationships with various young women, but the dance was exciting, with some patterns at times that reminded me of Balanchine, and choreography for the leading man that was fast and furious. The dancers responded with lively and precise movement and Harris Beattie was outstanding in the lead. Ben Ella's piece, Joie de Vivre, was the first piece and was an excellent opener. Created on violin and piano pieces by Sibelius, played live, as was all the music in the programme, it features three couples, with Joseph Taylor and Dominique Larose the leading couple. It kept reminding me of Robbins in the interplay between the dancers not unlike that in places in Dances at a Gathering and one lift exiting the stage was similar to one in In the Night. The dancers, who included Sarah Chun and Harris Beattie both so prominent later in Intimate Pages, danced fluently and communicated the relationships, between couples but also between the sexes, amusingly. My one reservation is that, although Sibelius is one of my favourite composers, there was insufficient variety in the pieces chosen. The centrepiece was the van Manen ballet. It was restaged by Rachel Beaujean and Larisa Lezhnina of Dutch National Ballet (both remarkable but very different ballerinas in their day) and they and the NB team (Bonelli himself took some rehearsals, having danced with DNB before joining the Royal) have done an excellent job. The choreography requires that dancers' arms or legs are absolutely parallel in places so precise accuracy is essential but they could not be faulted. It starts very slowly, possibly too slowly for some members of the audience but it is in keeping with the wonderful music by Beethoven. All the dancers were good, but Joseph Taylor was quite outstanding in a duet with Dominique Larose, I simply couldn't imagine any other dancer doing better. The choreography was quite complicated and varied and, as always with van Manen, there were emotional undercurrents in the relationship, but he conveyed them all with great clarity. Remarkable for a first performance. I just hope Kevin O'Hare will be inspired to bring back van Manen's Four Schumann Pieces, created on Dowell, Collier, Penney and Eagling; he was at the performance and is even listed as supporting the production of Adagio Hammerklavier. So, altogether a very good evening. Ideally an even more varied programme, for example with a more dramatic piece, might balance and contrast the dance emphasis. But the choreography was good, testing the dancers and giving them an opportunity to demonstrate just what good dancers they are now. On the surface the bill demonstrated what a good position the company is in, artistically and in dance standards; but as for other companies the current economic climate poses a threat. I'm sure all of you who can see the bill at the Linbury will enjoy it. I liked it so much I'd like to book an extra performance; but as my final train home was cancelled, I may not risk another evening performance and just stick with the matinee next Saturday.
  4. It's that time of year when our season comes to an end and the dancers get their well-deserved summer break. What a fantastic few months, with sell-out shows of The Great Gatsby and Ugly Duckling, new work showcased in Sketches and the big announcement of Federico Bonelli's first full season. We're pleased to announce the following promotions for our dancers: Joseph Taylor will be promoted to Premier Dancer, Jonathan Hanks, Saeka Shirai and Dominique Larose to Leading Soloist and Alessandra Bramante and Harris Beattie to Coryphée. We're also excited to have Aaron Kok join the company as a Dancer, Mayuko Iwanaga and Yu Wakizuka joining as Apprentices and Itsuki Amemiya also as an Apprentice until December. Of course, it is always sad to wave goodbye to some of our much-loved dancers who have moved onto new ventures. Mackenzie Jacob now dances for Scottish Ballet, Katharine Lee for San Francisco Ballet and Sean Bates for Zurich Ballet. Gavin McCaig has retired from performing and joins the Young Dancers Academy in London as Director of Business Operations, and Wesley Branch has also left the company. The last few weeks have been spent learning new work from Benjamin Ella and Tiler Peck as well as David Nixon CBE's Beauty & the Beast. We've got a fantastic season waiting for you in the autumn, we hope you'll join us.
  5. Hi Everybody, I can't say how excited I am to soon finally be announcing the winter season of BALLET NIGHTS 2023 ! -- "BALLET NIGHTS presents compèred evenings of Classical Ballet, Neo-Classical & Contemporary Dance, Up Close and Without Compromise." Concept Launch October 2021 -- After all of the support from the forum members on here giving feedback, suggesting dates, requesting acts and letting me and my team know what they are looking for in our uniquely up-close Ballet experience with the stars, I am thrilled to exclusively release an early access mailing list sign up below, with an invite-only offer to follow shortly after. EXCLUSIVE ACCESS LINK I look forward to revealing our new website soon, our upcoming event schedule, our backstage access and our exciting run of never-before-seen content over the coming months, and thank you once again to all who have supported our journey. For now.... here is an exclusive sneak peek at our logo: Jamiel Devernay-Laurence Artistic Director
  6. (Note- there will be spoilers of the plot, just in case anyone wants to avoid them) Yesterday I saw the matinee performance of Northern Ballet's The Great Gatsby at the Sheffield Lyceum Theatre. The cast was led by: Jonathan Hanks- Jay Gatsby Sarah Chun- Daisy Buchanan Filippo di Vilio- Nick Carraway Harry Skoupas- Tom Buchanan Alessandra Bramante- Jordan Baker Rachael Gillespie- Myrtle Wilson Harris Beattie- George Wilson Archie Sherman- Young Gatsby Julie Nunès- Young Daisy I thought the performance was absolutely brilliant! I hadn't seen this ballet before, but I know the book well and I was excited to see how they adapted it. I thought they captured the era very effectively, and I liked the merging of traditional ballet steps with the 1920s jazz moves. The cast were all amazing, and the versatility of the company dances is always amazing. I thought Hanks did really well at getting across the emotion of Jay Gatsby; it must be quite difficult to express it just through dance, especially as in the book Nick in the narrator, and that's not something that can really be done in a wordless art form. I liked their utilisation of Nick in relation to his role in the book. He's there more often than not, but he's not as much of a major focus in scenes as Daisy, Gatsby or Tom. When I read the book I felt his character was there, but was often not a driving force. Fillipo di Vilio was wonderful in his role. Sarah Chun as Daisy was equally wonderful. Daisy's such an interesting character, and I think Chun captured how stuck Daisy is between Gatsby, her old love, and Tom, her husband. Chun and Hanks were a really good partnership, and they portrayed the reunion of their characters really well. Harry Skoupas as Tom showed the harshness of the character, and the double standards in his beliefs: he has an affair and that's fine, but he intervenes every time Daisy gravitates towards Gatsby and even Nick. One of my favourite moments was when Tom and Daisy's daughter comes in in the Second Act, and Tom picks her up and just looks at Gatsby as if to say- 'I've won'. I thought Rachael Gillespie as Myrtle was an absolute standout. In the party scenes in the 1st Act she had the free and loose way of dancing that almost defines the Roaring 1920s. This was immediately contrasted with how weak she feels after Tom hits her in front of their guests. As the mechanic George Harris Beattie was really good. The anger he showed in the Second Act, when he finds a fancy bracelet and realises his wife is having an affair, was as strong as the sorrow when he found Myrtle had been hit by a car. The costumes were amazing, and I think my favourite had to be Jordan's. Jordan's a bit more of a 'New Woman' compared to Daisy, and I liked the fact that her costumes, always slightly different from the rest of the women, reflected that. Alessandra Bramante was really fun in the role, with Jordan being one of the only main characters to not go through a lot of hardship during the events. Sherman and Nunès, as Young Gatsby and Daisy, had just as strong of a partnership as Hanks and Chun. In the First Act I thought the way Hanks and Sherman moved in the same way was really moving, and then was very happy when Act 2 features the older and younger pairs in sync. The ending scene, with Gatsby and the two Daisy, was absolutely beautiful, and so effective that everyone in the audience was astounded at the final gunshot. The orchestra was strong, especially the piano playing. The conductor was Lauren Wasynczuk, and she led the orchestra really well, and stayed when someone's phone went off in the front row TWICE! in the first Act (I wasn't chuffed with them, but luckily it was at loud moments). I thought the whole ensemble together were on the best of forms, and the ballet as a whole was really really good.
  7. This delightfully fresh, cheerful, colourful, charming and beguiling production opened tonight in Woking and is a definite audience pleaser with a lot to enjoy. Gavin McCaig worked much magic as Herr Drosselmeyer and his smile was infectious throughout. Nothing dark or sinister there. Rachael Gillespie as Clara is perfectly paired with Harris Beattie as the Nutcracker Prince. The NB Sinfonia sparkled under the baton of Jonathan Lo. A joyful evening.
  8. Yesterday I saw the sad news spread on instagram by dancers, that Denis Vieira has passed away. He was 31 years old. 😢 His mother stated in a brief comment: "We are respecting the work of the police and the forensics. At first it was a tragedy, an accident at home. But I will wait to see all the work of the authorities. We have to wait! The pain is eating me up." Source: https://www.google.com/amp/s/g1.globo.com/google/amp/sc/santa-catarina/noticia/2022/12/30/bailarino-catarinense-formado-pelo-bolshoi-morre-aos-31-anos.ghtml Biography from the Northern Ballet website, where he was supposed to dance soon: Denis is from Brazil and trained at the Bolshoi Ballet School. He joined Zurich Ballet as a soloist in 2014 before joining the Staatsballett Berlin in 2016 and Bayerisches Staatsballett Müenchen in 2019. He has performed in Alexey Ratmansky’s Swan Lake, Christian Spuck’s Romeo and Juliet, Roland Petit’s Coppelia and Kairos by Wayne McGregor. He joins Northern Ballet in 2022.
  9. Details on the company website: https://northernballet.com/about-us/our-people/careers/company-auditions I assume this will be for the 2023/24 season.
  10. For one day only we're also offering a limited number of discounted tickets for selected performances of The Nutcracker and The Great Gatsby. Don't miss your chance to snap up the seats! The offers are valid until midnight 2 November 2022 only https://northernballet.com/world-ballet-day-2022?dm_i=6S78,NP2G,2EKLKC,2XJZV,1
  11. How lucky we were to be in Edinburgh for the opening dates of Northern Ballet's The Great Gatsby. The week was a bittersweet time as it marked David Nixon's final days with the company and Ashley Dixon's retirement from principal roles as he takes up his new post as assistant ballet master and character artist. I will say from the outset that Northern Ballet are absolutely ON FIRE at the moment and we saw 4 incredibly heart-wrenching performances of Gatsby. In my opinion David has created a great interpretation of Scott Fitzgerald's novel. The characters are introduced at the start and I've found the story easy to follow (although it may have helped that I read the book before the premiere in 2013). I love the way David portrays the stillness of Gatsby and his obsessive looking out for Daisy while hosting his parties in the hopes that she would come. Speaking of parties, the Charleston party in act 1 is one toe-tapping party that we would all love to attend! Act 1 ends on a high with Gatsby and Daisy reuniting thanks to Nick Conway. Act 2 has a more sombre tone as the story reaches its tragic conclusion but the tango party at the start is visually stunning with some gorgeous choreography. The ending has been particularly poignant this time around. Anyway, Thursday evening was so special it will live on in my memory banks forever. The cast was led by Joseph Taylor as Gatsby and Abigail Prudames as Daisy. It has been a joy to watch these 2 dancers as their careers have progressed and they are just breath-taking to watch as they have such a special on-stage rapport. The whole performance was absolute MAGIC. At the curtain calls, David Nixon was persuaded to come on stage and Abby made the most beautiful and heartfelt speech before Joe presented him with a framed photo-collage. Of course we all stood and cheered! Friday evening's cast was the same as Thursday and the performance was again outstanding. Minju Kang is a very seductive Myrtle with Riku Ito as her lovelorn husband George. Lorenzo Trossello was quite vicious as Daisy's husband Tom but he was broken by the death of Myrtle. Sean Bates was very effective as Nick Conway. On Saturday afternoon we were very luck to see Lorenzo Trossello and Minju Kang making their debuts as Gatsby and Daisy. Lorenzo was very intense as Gatsby. Gavin McCaig was a very macho and vicious Tom and Aerys Merrill made a touching debut as Myrtle with the always outstanding Kevin Poeung as George. Gosh, yet another wonderful performance! Saturday evening was another one of those special evenings that Northern Ballet does so well. It was an evening sprinkled with magic dust as Ashley Dixon gave his final leading performance before his move onto the ballet staff. Antoinette Brooks Daw came out of retirement to dance Daisy. They were just magical together. Ashley's wife, the beautiful Rachael Gillespie, was fabulous as Myrtle. At the curtain calls David came on stage and made a very moving speech about Ashley. Ashley has danced with Northern Ballet for 18 years, having started on a temporary 3 month contract! I have loved watching his performances with his lovely technique (especially his amazing ballon) and fabulous acting since I saw him creating the role of The Shadow in Peter Pan right at the start of his career. He has so much knowledge of the company's rep and the company is very fortunate that he is continuing his career with them in his new role. Thank you Northern Ballet for all these wonderful memories.
  12. Apologies if this has been posted elsewhere but I got this email from Trafalgar Studios with details of new cinema cultural events. Some of them are plays and Metropolitan Opera season but there is the 2021/22 Bolshoi ballet season as well. https://outlook.live.com/mail/0/inbox/id/AQMkADAwATYwMAItZGQAMzQtOTFjMC0wMAItMDAKAEYAAAO%2FXQFqTsSFTrjvHgqOeEmSBwCPA1%2Fr9w2lRZyeVAuTnF7CAAACAQwAAAB4WvjRaiXXTIQShAX9COQgAAP%2FRTZNAAAA If this doesn't work (it is linked to my email) this is the Bolshoi link. https://drive.google.com/file/d/1FhxDwQIygZV9rHUGy69T83cS02Yn8NH-/view Spartacus Nov 7 2021 Nutcracker Dec 19 2021 Jewels Jan 23 2022 Swan lake Mar 6 2022 Pharaoh's daughter. May 1 2022
  13. On Tuesday 1st June 2021 I was back in a live theatre to watch a ballet performance for the first time since October last year and over a year since the premiere of Geisha, which was the last "normal" ballet performance I saw. I felt really emotional filing into the theatre. The Lowry has really gone to town on social distancing. Fortunately it was a warm sunny evening as we queued up outside to be told the rules as we went into the barriered queuing area to have out temperatures taken, order a drink (if we wanted) and have our tickets scanned - all before we got into the enormous space of the foyer areas. I was chatting to a couple of friends when we were asked to move to our seats as the foyer areas were being kept clear. None of the inside bars and cafes were open. There were tannoy announcements asking us to stay in our seats during the interval unless collecting pre-ordered drinks or using the facilities. The seats in the auditorium were very well spaced out. I couldn't say if the performance was sold out but I couldn't see any empty seats that weren't cordoned off. And so to the performance... This is the third iteration of Dangerous Liaisons that David Nixon has put on for Northern Ballet. The first had a narrator on stage, the second had replaced the narrator with a small corps of Parisian sybarites and, for me, was close to perfection. This more concert style production, done for the Covid world, was parred to the bone and a real chamber production using only 11 dancers (2 of whom were only walk on parts as servants). For me it really worked. There is a tiny amount of narration to introduce the characters. The narration uses the voices of David Nixon as Valmont and Pippa Moore as the Marquise and, much to my surprise, it worked well. The main features of Christopher Hampton's play were all included and I found it very easy to follow without using the synopsis on Northern Ballet's website. Act 1 introduces and builds up the characters and tragedy from Gercourt leaving the Marquise and starting her overwhelming need for revenge. The action is mostly duets with some ensemble scenes allowing Valmont to try and persuade the devout Madame de Tourvel to give in to him; the Chevalier Danceney's hopeless courtship of Cécile, Valont's seduction of Cécile and finally his conquest of Tourvel who falls headlong in love with him. Act 2 covers the consequences with the Marquise dallying with Danceney, forcing Valmont to reject Tourvel and the fatal duel. There is some terrific choreography in the duets which can be playful (as with the wonderful scene where Valmont uses a courtesan as a writing desk) brutal (as in Valmont's rejection of Tourvel and his seduction of Cécile) and beautifully tender (Valmont's seduction of Tourvel). I found that I couldn't breathe from Valmont's "It is beyond my control" scene to the end of the piece and it wasn't because I was wearing a mask! There were 3 casts on show this week, all subtly different. I really couldn't choose between them. There was a small standing ovation after every performance and the audience was really enthusiastic. It is interesting that the audience sounded so loud when usually at The Lowry a full house sounds muted but it must have been really gratifying for the company given how long they have been waiting to get back on stage. Thank you Northern Ballet for a wonderful series of performances (I saw 5 out of the 6). It was so good to be back!! For anyone going to see this at Sadler's Wells in the coming week the show runs for 1hr 40 mins including the interval. The casts are already on the company website along with a digital programme, a separate synopsis and a page of the characters (which is useful if you are not familiar with the dancers as it can be used to identify the costumes and thus the characters).
  14. From the Company's website: With a new season just around the corner we are pleased to announce the following dancer promotions: Abigail Prudames becomes a Premier Dancer Minju Kang and Joseph Taylor both become Principal Soloists Sarah Chun and Riku Ito are promoted to Leading Soloist Lorenzo Trossello and Jonathan Hanks become First Soloists Heather Lehan becomes a Coryphée Archie Sherman becomes a Dancer We hope you will join us in congratulating these artists on their much deserved promotions. This season we also welcome two new dancers to the company, Kirica Takahashi and Katharine Lee. Following recent auditions, we'll be announcing more new joiners soon. Isabella Gasparini will also return to Northern Ballet as a Guest Artist for David Nixon OBE's Dangerous Liaisons at Leeds Playhouse. Isabella danced with us from 2007 - 2013 before joining The Royal Ballet in 2014.
  15. Northern Ballet has issued an End of Season announcement. The dancers leaving the company have been listed but they have stated there will be no promotions due to the C-19 pandemic and new dancers cannot yet be announced. https://northernballet.com/blogs/northern-ballet/20-07-01/2020-leavers I feel so sad for the dancers who have retired having missed their valedictory performances due to the pandemic. Of course this has affected many dancers in many companies. The leavers are Hannah Bateman (retiring), Nicola Gervasi (retiring), Nina Querioz da Silva, Abigail Cockerell, Ayça Anil and Ommaira Kanga Perez. I send them all my best wishes for the future.
  16. Friday 27 March 2020 For immediate release Northern Ballet announces Pay As You Feel Digital Season Productions featured include: Jonathan Watkins’ 1984; Mariana Rodrigues’ Little Red Riding Hood; extended highlights from Northern Ballet’s 50th Anniversary Celebration Gala; andDavid Nixon OBE’s Dracula. Kenneth Tindall and Dan Lowenstein’s dance film EGO will also be released. northernballet.com/pay-as-you-feel Due to the impact of COVID-19, many of Northern Ballet’s upcoming performances have been cancelled or are under threat of cancellation. Whilst the Company is not performing live at this time, aselection of ballets from Northern Ballet’s repertoire plus a new original dance film will be available to watch online or on television as part of the Company’s Pay As You Feel Digital Season. Over the next few weeks people will be able to tune into 1984, Little Red Riding Hood and Draculafrom the comfort of their home. The Company will also release a new dance film, Kenneth Tindall and Dan Lowenstein’s EGO plus the extended highlights of their 50th Anniversary Celebration Gala which took place at Leeds Grand Theatre at the beginning of the year. Northern Ballet are asking audiences to consider making a donation as they watch content from the Pay As You Feel Digital Season to support the Company, their people and work during these unprecedented times and the significant financial hardship the Company is facing. Lost income from cancelled performances could affect Northern Ballet’s ability to pay their workforce, many of whom are freelancers, as well as their ability to present new ballets, including Merlin which is planned to première this autumn. Those who wish to support the Company can donate at northernballet.com/pay-as-you-feel. Kenneth Tindall and Dan Lowenstein’s new dance film EGO kicks off the season and will be available to watch online today, Friday 27 March, from 7pm at northernballet.com/ego. EGO explores parallel versions of one couple's relationship. At first appearing the perfect Hollywood romance, the couple’s alter egos tell a different story filled with raw animalistic emotion, asking ‘How much does your ego control your behaviour?’ First premièred in 2015 to critical acclaim, Jonathan Watkins’ award-winning 1984 will be available to watch from Friday 3 April at northernballet.com/1984. Based on George Orwell's masterpiece, the ballet follows the story of Winston Smith and his life of conformity under the watchful eye of Big Brother. CBeebies will screen their special version of Mariana Rodrigues’ Little Red Riding Hood on Friday 10 April at 9.30am. Created especially for children, Little Red Riding Hood retells the classic fairytalewith a Northern Ballet twist. From Friday 17 April, extended highlights from Northern Ballet’s 50th Anniversary Celebration Gala will be available to watch at northernballet.com. This sell-out performance featured excerpts of productions from Northern Ballet’s history and brought together dancers from The Royal Ballet, English National Ballet, Birmingham Royal Ballet, Scottish Ballet, The Joffrey Ballet and Phoenix Dance Theatre alongside Northern Ballet’s dancers. After wowing audiences during its live to cinema performances last Halloween, David Nixon OBE’s Dracula will make its television debut as part of the BBC’s Culture in Quarantine Season. Seducing countless generations, Bram Stoker’s legendary vampire lives on in this extraordinary ballet which will be available to watch in the coming weeks on BBC Four and iPlayer. To find out more about Northern Ballet’s Pay As You Feel Digital Season, please visit northernballet.com/pay-as-you-feel. -ENDS- Notes to Editors Pay As You Feel Digital Season northernballet.com/pay-as-you-feel Kenneth Tindall and Dan Lowenstein’s EGO Available from Friday 27 March at 7pm northernballet.com/ego Jonathan Watkins’ 1984 Available from Friday 3 April northernballet.com/1984 Mariana Rodrigues’ Little Red Riding Hood Friday 10 April, 9.30am CBeebies 50th Anniversary Celebration Gala - Extended Highlights Available from Friday 17 April northernballet.com David Nixon OBE’s Dracula Part of the BBC’s Culture in Quarantine Season Available in the coming weeks BBC Four / iPlayer About Northern Ballet In 2020 Northern Ballet is celebrating its 50th Anniversary. Northern Ballet is one of the UK’s leading ballet companies and the widest touring ballet company in the UK. Bold and innovative in its approach, Northern Ballet is prolific at creating new full-length work with a unique blend of strong classical technique and impressive storytelling. Northern Ballet’s repertoire embraces popular culture and takes inspiration from literature, legend, opera and the classics, pushing the boundaries of what stories can be told through dance. A champion for the cultural exports of the North, Leeds-based Northern Ballet is dedicated to bringing ballet to as many people and places as possible, under the leadership of Artistic Director David Nixon OBE. Northern Ballet’s Company of 43 dancers performs a combination of its full-length ballets and specially created ballets for children at more than 40 venues annually.
  17. given some of the ardent Northern Ballet fans on the site i'm surprised there isn't a post ( that I can find) about this yet https://northernballet.com/victoria/hannah-bateman-celebration
  18. I’ve had an email inviting me to buy tickets for this 50th Anniversary Celebration Dinner on 5th or 6th November 2020. However. I don’t know much about Northern Ballet not have I visited Leeds. At £100 per ticket, I’d welcome any input/feedback from those who are familiar with NB as to whether this event may be worth leaving my Home Counties comfort zone for? Thanks
  19. Pathé Live is showing the 2019-20 season of Bolshoi broadcasts, but for some reason only in French at the moment: https://www.pathelive.com/programme/ballet-du-bolchoi-19-20
  20. The world premiere of Northern Ballet's Victoria, by Cathy Marston, is next Saturday - 9th March. Of course my friends and I will be there! Please use this thread for thought s on performances etc. As a little teaser NB have issued a rehearsal snippet:
  21. Did anyone else get to see Dracula in their local cinema this evening? Wasn't it wonderful? Although we are lucky enough to live close enough to Leeds to see Northern Ballet regularly, it was perfect on a work night to be able to stay close to home and see it in our wonderful local independent cinema with a mug of tea in hand. I really hope there will be many more live broadcasts by Northern Ballet.
  22. Tonight, at the New York Metropolitan Opera House, American Ballet Theatre will stage the US premiere of Cathy Marston's Jane Eyre, first commissioned by Northern Ballet and toured in the UK during 2016. I hope we might hear reactions from any members over there, in addition to newspaper reviews picked up in Links. For now, Playbill has published a useful introduction.
  23. Hi Im new here so not sure where to post! I have a daughter who is auditioning for associates at Northern Ballet Leeds, I have had confirmation they have received her cheque and form, I also have a younger daughter who would like to audition but her form was sent later. We haven’t heard anything back from them so I’m worrying they haven’t received it and the closing date was yesterday. So my question is , has anyone else sent the form and payment but not heard anything back yet?!
  24. Paris Opera Ballet: Thanks, Bruce! I'm not sure what the geographic spread of these outside France is, but thought we should record it anyway.
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