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Press Release: English National Ballet announces its 2017 - 2018 Autumn/Winter Season


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English National Ballet 2017 - 2018 Autumn/Winter Season

 

·         English National Ballet performs Sir Kenneth MacMillan’s Song of the Earth and Frank Andersen’s La Sylphide for the first time, with performances on tour and at the London Coliseum.

·         Roland Petit’s Le Jeune Homme et la Mort returns with performances at the London Coliseum.

·         Akram Khan’s Giselle returns to London and tours to Liverpool for the first time.  

·         Rudolf Nureyev’s Romeo & Juliet returns to Bristol in its 40thanniversary year.

 

English National Ballet today announces its 2017 - 2018 autumn/winter season.

 

This autumn sees two works new to English National Ballet’s repertoire, Sir Kenneth MacMillan’s masterwork, Song of the Earth and Frank Andersen’s La Sylphide, performed on tour at the Manchester Palace Theatre, Milton Keynes Theatre, and at the London Coliseum where Roland Petite’s Le Jeune Homme et la Mort is also revived. 

 

Artistic Director of English National Ballet, Tamara Rojo CBE said: “I am so pleased that next season we are able to present the masterpiece Song of the Earth in this anniversary year of Sir Kenneth MacMillan.

 

“Song of the Earth is a great example of MacMillan’s choreographic style. Influenced by the original Chinese poems that Mahler used to create the score, we can see how MacMillan used these delicate movements to form part of the dramatic choreography. This incredibly moving work is a wonderful vehicle for the extremely talented dancers in the company, and I can’t wait for our audiences to see them perform it next season."

 

First performed in 1965, MacMillan’s choreography for Song of the Earth was different from anything he had previously devised. Featuring three central figures, a Woman, a Man, and a Messenger, this powerful, moving exploration of life, death, and renewal is set to Mahler’s song cycle, Das Liede von der Erde, performed live by English National Ballet Philharmonic. These performances of Song of the Earth coincide with the 25th anniversary of MacMillan’s death.

 

Devised by one of the world´s leading producers of Bournonville ballets, Frank Andersen’s faithful version of the 1830s Romantic ballet La Sylphide sees James wake from a dream on the morning of his wedding to Effy to encounter a mysterious sylphide before him, setting off a fateful sequence of events. This is the first time Andersen’s La Sylphide has been performed in the UK. 

 

Roland Petit’s Le Jeune Homme et la Mort follows a young man compelled by love for a cruel mistress. He desperately waits for her but when she finally arrives, it is to torment him. Distraught and confused, the young man succumbs to his despair. English National Ballet last performed Jeune Homme in 2013, as part of its Ecstasy and Death programme.

 

Following its sold out, critically acclaimed run last year, Akram Khan’s Giselle returns this autumn with performances at Sadler’s Wells and the Liverpool Empire Theatre. Hailed as “a masterpiece of 21st century dance” (Mail on Sunday), Khan’s Giselle is one of a community of migrant workers cast out of their jobs in a condemned garment factory. Last season over 40,000 people saw Akram Khan’s reimagined Giselle performed on tour. 

 

The world’s greatest love story, Rudolf Nureyev’s Romeo & Juliet returns this autumn with performances at the Bristol Hippodrome. Featuring inventive and passionate choreography, and set to Prokofiev’s famous score, performed live by the English National Ballet Philharmonic, these performances mark the 40thanniversary of the production, which was originally created for English National Ballet in 1977 to celebrate the Queen’s Silver Jubilee. 

 

English National Ballet had its most successful Nutcracker run on record last season, when over 99,000 people came to see the production. This year sees Wayne Eagling’s Nutcracker tour to the Mayflower Theatre Southampton before returning to the London Coliseum, continuing the Company’s tradition of presenting a Nutcracker production each year since 1950.

 

Winner of Outstanding Company at the 2016 Critics Circle National Dance Awards, last season English National Ballet performed to over 280,000 people across 176 performances in the UK. Its digital output saw a partnership with Sky and Factory 42 to create a ground-breaking VR experience, and video content for Akram Khan’s Giselle, which received over 6.5 million views. 

 

English National Ballet is committed to presenting world-class ballet to the widest possible audience, and making the art form accessible to everyone. Last season over 20,000 tickets were available for £14 or less across every production in every venue. 

 

Tickets go on sale to Friends of English National Ballet at 10am on Friday 10 March. General on sale is at 10am on Monday 13 March.

 

For information on how to become a Friend of English National Ballet seewww.ballet.org.uk/support-us

 

Listings information for 2017-2018 Autumn/Winter Season.

 

Akram Khan’s Giselle 

Sadler’s Wells

Wednesday 20 - Saturday 23 September 2017

Press Night: Wednesday 20 September 2017

For more information, see: http://giselle.ballet.org.uk

 

Song of the Earth / La Sylphide 
Manchester Palace Theatre

Wednesday 11 October - Saturday14 October 2017

Press night: Wednesday 11 October 2017

For more information, see: www.ballet.org.uk/song-sylphide

 

Song of the Earth / La Sylphide

Milton Keynes Theatre

Tuesday 17 October - Saturday 21 October 2017 

Press night: Tuesday 17 October 2017

For more information, see: www.ballet.org.uk/song-sylphide

 

Akram Khan’s Giselle

Liverpool Empire Theatre

Wednesday 25 October - Saturday 28 October 2017              

Press night: Wednesday 25 October 2017

For more information, see: http://giselle.ballet.org.uk

 

Romeo & Juliet

Bristol Hippodrome

Tuesday 21 November - Saturday 25th November 2017

Press night: Tuesday 21 November

For more information, see: www.ballet.org.uk/romeoandjuliet

 

Nutcracker

Mayflower Theatre, Southampton

Wednesday 29 November - Saturday 2 December 2017

Press night: Wednesday 29 November 2017

For more information, see: www.ballet.org.uk/nutcracker

 

Nutcracker

London Coliseum

Wednesday 13 December 2017 - Saturday 6 January 2018

Press night: Wednesday 13 December 2017

For more information, see: www.ballet.org.uk/nutcracker

 

Song of the Earth / La Sylphide

London Coliseum

Tuesday 9 January - Saturday 13 January 2018

Press night: Tuesday 9 January 2018

For more information, see: www.ballet.org.uk/song-sylphide

 

Le Jeune Homme et la Mort / La Sylphide

London Coliseum

Tuesday 16 January - Saturday 20 January 2018

Press night: Tuesday 16 January 2018

For more information, see: www.ballet.org.uk/jeune-sylphide  

 

English National Ballet’s 2018 spring/summer Season will be announced shortly.

About English National Ballet

 

English National Ballet has a long and distinguished history. Founded in 1950 as London Festival Ballet by the great English Dancers Alicia Markova and Anton Dolin, it has played a major role in the growth and history of ballet in the UK. Today, English National Ballet is renowned for taking world-class ballet to the widest possible audience through its national and international tour programme, offsite performances at festivals including Glastonbury and Latitude, its distinguished orchestra English National Ballet Philharmonic, and being a UK leader in creative learning and engagement practice and delivery, building innovative partnerships to deliver flagship programmes such as English National Ballet’s Dance for Parkinson’s. Under the artistic directorship of Tamara Rojo, English National Ballet has gained new acclaim as it introduces innovative new works to the Company’s repertoire while continuing to honour and reinvigorate traditional ballet.

 

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So this is what you've been getting so excited about, Janet!  Interesting mix.  And I'm guessing Ms Rojo may be still dancing in one or more of these.

 

Also confirms what I suspected about the success of the Nutcracker run at the Coliseum this Christmas, so I guess we probably don't have to worry too much about the competition from the Royal Ballet (again).

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This looks wonderful to me ... Can't wait to see Cesar Corrales in Le Jeune Homme ... cos he is :) jeunne and tres homme ... also his James in Sylphide.  A great programme for the young.  Can imagine Kanehara as a glorious sylph ... if the powers that be feel she is up to it of course.  Would love to see Quagebeur in Song ... cos she is poetry in motion .. and the mind is supreme.    

 

If they need to bring in guests - as they have with males for several seasons - think it would be great to re-capture some of the British who are in other climbs now.  Would love to see Parish in any of this .. and know he does Sylphide.  Also Arron Robison (SFB) would be incandescent in both Jeunne Homme and Sylphide ... What about Thomas Forster?  What about Gregory Dean, RDB ... or speaking of RDB - and an association with ENB - what of Lendorf???  Otherwise it might be good to give some other lesser known lights a chance - if they were in the market - (course NYCB are in season so that wipes them out) - but what of Gabe Stone Shayer (ABT) or Joseph Walsh (SFB).  I'd buy tickets for their performances certainly.  [Also would love to see Dronina again .. but know that is probably in the realm of fantasy.] ... and, hey, what about a performance or two for Robbie Fairchild ... No, no.  He will be long gone by then.  He leaves AAIP this June.  

Edited by Bruce Wall
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I think it may be the previous RDB production, which I liked when I saw it in Copenhagen.  

 

Many critics thought the set was too dark.  But I suppose they may still have the set and costumes from the Schaufuss production.

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Very interesting rep; my only reservation is that I can't quite imagine how the works on the double bill will go together. Song of the Earth and La Sylphide?! Maybe it will be fine but it really doesn't strike me as an obvious match. It's many years since I've seen Le Jeune Homme but I'd have the same thought about that combination. But can't wait to see them anyway! 

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I hope for ENB's sake that the RB isn't doing Song in the same season. I wonder how well Song plus Sylphide will sell. It seems a rather odd combination to me. I can see the thematic connection between Jeune Homme and Sylphide although stylistically they are wildly different. Why not tour Broken Wings? I think that most people would love it with its Mexican infused score, colourful costumes, wit and inventiveness.

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Very pleased for the people of Liverpool getting Akram Khan's Giselle in 2018, but given the shortness of the September run at Sadlers, I was hoping for another London run in 2018. :(

Janet, you may be having some house guests in Liverpool  as SW seems to be sold out already  ....  :)

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Do the ballets on a mixed bill need any thematic connection other than the quality of the choreography? Personally I am quite happy with the thematically diverse mixed bill which lacks any overarching theme to justify the inclusion of  the ballets selected being shown on the same evening. The thematic mixed bill is very much the product of the marketing department. An evening of masterpieces is enough connection for me as far as Song of the Earth and La Sylphide are concerned. I don't think so highly of Le Jeune Homme but it is La Sylphide that I shall be booking for. Also it is wonderful that these great ballets will be seen outside London. I do hope that the fact that ENB are performing Song of the Earth does not mean that the RB will be dishing up a mixed bill of My Brother My Sisters, Rituals and Valley of Shadows or Judas Tree.If they do it will mean a few evenings off.

Edited by FLOSS
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Do the ballets on a mixed bill need any thematic connection other than the quality of the choreography? Personally I am quite happy with the thematically diverse mixed bill which lacks any overarching theme to justify the inclusion of  the ballets selected being shown on the same evening. The thematic mixed bill is very much the product of the marketing department. An evening of masterpieces is enough connection for me as far as Song of the Earth and La Sylphide are concerned. I don't think so highly of Le Jeune Homme but it is La Sylphide that I shall be booking for. Also it is wonderful that these great ballets will be seen outside London. I do hope that the fact that ENB are performing Song of the Earth does not mean that the RB will be dishing up a mixed bill of My Brother My Sisters, Rituals and Valley of Shadows or Judas Tree.If they do it will mean a few evenings off.

 

No, I don't think they need a thematic connection. But there needs to be some sort of coherence, I think, especially in a double bill, and I can't really see it with these couplings. For me Song of the Earth is not an opening ballet anyway - it's too rich, heavy, serious. I would want it either central or last on a bill. And La Sylphide needs to be watched with a completely different mindset. But maybe it will be fine in practice! I'll be delighted to see them both anyway.

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My only reservation is having La Sylphide with Both the other ballets.....I'm not that keen to see the same ballet a few days later ....I wish they could have put another ballet with Song of the Earth ....I agree should be an end ballet for me ....have they nothing a bit lighter in their Rep. that they could have put first with this?

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ENB is famous for generations of outstanding dancers in Harold Lander's Etudes, a Danish evening with La Sylphide would have been perfect.

 

And a reminder that Yonah Acosta is jaw dropping in Le Jeune Homme, anyone who hasn't seen him in the role yet should acquire a ticket ASAP

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My only reservation is having La Sylphide with Both the other ballets.....I'm not that keen to see the same ballet a few days later ....I wish they could have put another ballet with Song of the Earth ....I agree should be an end ballet for me ....have they nothing a bit lighter in their Rep. that they could have put first with this?

Well I for one am very grateful as I love La Sylphide but can't stand Song of the Earth....

 

Incidentally I got an email this afternoon telling me I could get tickets to Giselle at Sadlers Wells in September if I upgraded from a Friend to a Patron. I thought that a bit of a cheek and it made me quite cross.

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ENB is famous for generations of outstanding dancers in Harold Lander's Etudes, a Danish evening with La Sylphide would have been perfect.

 

And a reminder that Yonah Acosta is jaw dropping in Le Jeune Homme, anyone who hasn't seen him in the role yet should acquire a ticket ASAP

Yes, I'd love to see Etudes alongside Sylphide. I'm in two minds about Jeune Homme as I find it quite disturbing.

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Well Song of the Earth and Le jeune Homme definitely don't fit together!!

 

I quite like La Sylphide but just looking at the timing of the programme just don't want to end up seeing it again within a few days and possibly the same dancers!! I'm not free every night of the week so don't have complete free rein on choosing when to go.

 

Etudes is hugely enjoyable of course .....this could go with Le Jeune Homme ...OR ...a shorter costume piece with Song?

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Conservatoire is another option and used to be in the ENB rep.  Song of the Earth, Le Jeune Homme and La Sylphide all end In a death so I'd like them paired with something a bit jollier.

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Very pleased for the people of Liverpool getting Akram Khan's Giselle in 2018, but given the shortness of the September run at Sadlers, I was hoping for another London run in 2018. :(

but will it sell in Liverpool is my concern?  It's my local so I'll be there though!!

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Incidentally I got an email this afternoon telling me I could get tickets to Giselle at Sadlers Wells in September if I upgraded from a Friend to a Patron. I thought that a bit of a cheek and it made me quite cross.

 

 

Sadler's Friend or ENB Friend?  I was at a Pina Bausch Masterclass this evening at ENB for the various Friend tiers and was quite irritated that the front row of seats was all reserved for what presumably are Patrons, so we mere Friends and Great Friends stuck in the second row had to crane and strain to see anything past the bloated bejewelled necks of the aristocracy in front.   They'll regret it when the Revolution comes!   Sorry, I'm coming over all Bolshevik...  

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Thanks for this news Janet. Once again my mind boggles at the difficulty of putting a season together with the limited resources at ENB's disposal.

 

Following on from Don Q Fan's post, I'm concerned about how La Sylphide and Song of the Earth will sell in Manchester. Personally I'm thrilled at the chance to see in particular La Sylphide up here, when was the last time any company performed it in the north west? I think, from my memory of being in two audiences, Khan's Giselle sold quite well in Manchester but it was the world premiere there. 

 

I'd really like to see a different production of the Nutcracker from ENB. I'm quite glad it's not running near me, since I'd be tempted to see it again anyway for the chance of seeing ENB's fantastic dancers (and I can listen to the music forever).

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Sadler's Friend or ENB Friend?  I was at a Pina Bausch Masterclass this evening at ENB for the various Friend tiers and was quite irritated that the front row of seats was all reserved for what presumably are Patrons, so we mere Friends and Great Friends stuck in the second row had to crane and strain to see anything past the bloated bejewelled necks of the aristocracy in front.   They'll regret it when the Revolution comes!   Sorry, I'm coming over all Bolshevik...  

 

Please let's not be too hard, Quintus, on the people whose money helps ENB to continue to thrive, to mount new productions and ones new to the Company AND, importantly, to take risks with its touring repertoire which hugely benefit the art form we all love by 'spreading its wings' to different audiences.

 

I don't think that it's ever been the case, has it, that the whole of the front row at Insight Evenings has been reserved for sponsors? I am a long term patron and have never had the advantage of a reserved seat. So I, too, have strained to see from the second or third rows or have stood up at the back in order to see better. And I am not bejewelled with a bloated neck !!!!!!

 

Fortunately, it will not be too long now before ENB has an HQ worthy of the Company and space to do justice to a wonderful range of events.

Edited by capybara
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Please let's not be too hard, Quintus, on the people whose money helps ENB to continue to thrive, to mount new productions and ones new to the Company AND, importantly, to take risks with its touring repertoire which hugely benefit the art form we all love by 'spreading its wings' to different audiences.

 

I don't think that it's ever been the case, has it, that the whole of the front row at Insight Evenings has been reserved for sponsors? I am a long term patron and have never had the advantage of a reserved seat. So I, too, have strained to see from the second or third rows or have stood up at the back in order to see better. And I am not bejewelled with a bloated neck !!!!!!

 

Fortunately, it will not be too long now before ENB has an HQ worthy of the Company and space to do justice to a wonderful range of events.

 

 

As far as I could see the entire front row was reserved last night.  There were a few senior staff members on it but they appeared to be man-marking wealthy individuals. Maybe they were whatever the grade above patron is. Obviously my description of the patrons was jocular.  I'm not hard on contributors to the ENB coffers - I love the company and I am one of them.  I am however hard on ENB sifting its 'friends' into pay grades and seating them accordingly.  Last night cost £25 for the ticket, and given I was peering sideways through the gap between two old ladies in the reserved seats in from, one of whom was wielding a large fan beside her face, I saw precious little of what was going on.  I normally get a lot out of these evenings , but came away disgruntled yesterday.

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Maybe the best way forward, Quintus, is to share your concerns with ENB direct? They will vouch for the fact that I do and I always find them ready to listen and to try to find 'another way'. Have you any suggestions as to how things could be improved?

 

If I might say so, I think you need to be a bit careful with your 'jocular' remarks. I responded in similar vein to your first one but now you have introduced the term "two old ladies" (and seemingly have identified one of them) which is a little uncalled for. Are we therefore to assume that you yourself are a youthful male adonis?

Edited by capybara
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Well I for one am very grateful as I love La Sylphide but can't stand Song of the Earth....

 

Incidentally I got an email this afternoon telling me I could get tickets to Giselle at Sadlers Wells in September if I upgraded from a Friend to a Patron. I thought that a bit of a cheek and it made me quite cross.

 

It makes me cross because the tickets for September at SW are showing as all sold out on the SW website.  They are obviously just sold out for the plebs!!  :)

 

On the other hand, I do understand that those who make contributions to the company should be rewarded by being able to see them!

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In these times of reduced funding major donors (both corporate and individual) are crucial to the financial viability of ENB. It's hardly surprising that the staff and dancers have to 'pamper' (for want of a better word) them. I believe that 'private' funding will increasingly replace ACE funding which will be radically cut back and divided between a small number of lucky institutions.

 

Anyway, what did you make of the masterclass, Quintus? (But perhaps you should start another thread for this)

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It makes me cross because the tickets for September at SW are showing as all sold out on the SW website.  They are obviously just sold out for the plebs!!  :)

 

On the other hand, I do understand that those who make contributions to the company should be rewarded by being able to see them!

 

I understand where folks are coming from on this. But I think that other companies have similar schemes, don't they?

 

For example, I believe that Patrons of Covent Garden may sometimes be able to get 'last minute' tickets for sold out shows?

 

My approach with ENB is to book my 'must sees' in London more or less as soon as the booking opens. But, because the casting is often announced quite late (nothing yet for the SW Triple which opens on 20th March), I am sometimes grateful for the opportunity to see if ENB has anything available if I would otherwise miss catching a particular dancer.

 

I think that the only thing which may have changed recently, and has thereby drawn attention to what has been a long-term practice, is the possibility that the demand for Khan's Giselle may have resulted in more tickets than usual being held back.

 

I wonder what we would do if we were managing this aspect of ENB's operations? Not an easy thing to 'get right' methinks.

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 "two old ladies"   "we therefore to assume that you yourself are a youthful male adonis?"

 

 

Sorry, 'two old ladies' is a factual description, not an insult.  It also has no relevance to my relative age or appearance - how does 'therefore' come into it?  I would describe myself as a middle aged man and would have no problem with anyone else doing so.   I found your initial response very patronising, otherwise I'd not have bothered expanding on my experience.

 

I shall indeed relay my thoughts to ENB about the number of reserved seats.  Paying for higher tiers of membership rightly brings access to limited-membership events, but within any given event, all attendees should be treated equally.

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Sorry, 'two old ladies' is a factual description, not an insult.  It also has no relevance to my relative age or appearance - how does 'therefore' come into it?  I would describe myself as a middle aged man and would have no problem with anyone else doing so.   I found your initial response very patronising, otherwise I'd not have bothered expanding on my experience.

 

I shall indeed relay my thoughts to ENB about the number of reserved seats.  Paying for higher tiers of membership rightly brings access to limited-membership events, but within any given event, all attendees should be treated equally.

 

I have to say that it did sound like an insult, Quintus, partly because their age was irrelevant to the situation described. But I do sympathise about not being able to see properly which must have been very frustrating.

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Sim, as I understand it, it's Patrons of Sadlers' Wells, not of ENB :(

 

No, Alison, the email to Friends of ENB was definitely referring to Patrons of ENB and not to Patrons of Sadler's Wells.  As somebody mentioned above, most organisations keep seats back for their patrons and benefactors.  ENB are not alone in this and it's, presumably, an effective way of raising much needed funds and is therefore, in my opinion, completely justified..

 

Of course, it's possible that Sadler's Wells have also kept blocks of seats for their Patrons.  Certainly, the day priority booking opened for ENB Friends, there were very few seats available in the stalls or first circle.  

Edited by Bluebird
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