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Jan McNulty

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About Jan McNulty

  • Birthday May 27

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    Liverpool
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    Watching ballet, reading, travelling, walking the dog!

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  1. I saw the opera as part of a double bill in Budapest many years ago ... I suspect I won't be booking for this either!
  2. UK PREMIERE Tanztheater Wuppertal Pina Bausch Bluebeard. While Listening to a Tape Recording of Béla Bartók's Opera, “Duke Bluebeard's Castle” Sadler’s Wells, EC1R 4TN Wednesday 12 - Saturday 15 February 2020 Performances at 7:30pm Tickets price £15 - £75 Ticket Office: 020 7863 8000 or www.sadlerswells.com Staged for the first time in over 29 years and receiving its UK premiere is Pina Bausch’s early monumental masterpiece Bluebeard. While Listening to a Tape Recording of Béla Bartók's Opera, “Duke Bluebeard's Castle” from Sadler’s Wells International Associate Company Tanztheater Wuppertal Pina Bausch. Following eight performances at Opera House Wuppertal in January/ February 2020, the acclaimed production comes to Sadler’s Wells from Wednesday 12 - Saturday 15 February. The work first premiered in 1977 and was presented in 12 cities until the mid 90’s, including Cologne, Los Angeles, Venice, Paris and Tokyo. In Bartók’s Bluebeard, character Judith arrives at Duke Bluebeard’s castle where she is given a set of keys to open seven doors. Behind each door she discovers a torture chamber, weapons, a treasure chamber, a bloody garden, an enormous kingdom and a sea of tears. The seventh room, which Bluebeard opens at Judith’s insistence, contains murdered bodies of the Duke’s former wives. Judith acknowledges the fate awaiting her, surrenders herself and lets herself be dressed and crowned and goes calmly to meet her end. Bausch uses Bartók's Opera as a world of direct images, focussing on the hopeless lack of understanding between man and woman. The piece counts among Bausch’s most radical and uncompromising works, breaking with any form of conventional dance aesthetic. A brave experiment combining elements from different genres, it is a disturbing, and at the same time, a moving balancing act across various forms of love, tenderness and violence. 43 years after its world premiere, the new restaging is led by rehearsal directors Helena Pikon and Barbara Kaufmann as well as original cast members Jan Minarik and Beatrice Libonati. Tanztheater Wuppertal Pina Bausch is a Sadler’s Wells International Associate Company Listing information: UK PREMIERE Tanztheater Wuppertal Pina Bausch Bluebeard. While Listening to a Tape Recording of Béla Bartók's Opera, “Duke Bluebeard's Castle” Sadler’s Wells, EC1R 4TN Wednesday 12 - Saturday 15 February Performances at 7:30pm Tickets: £15 - £75 Ticket Office: 020 7863 8000 or www.sadlerswells.com Notes to Editors About Sadler’s Wells Sadler's Wells is a world-leading creative organisation dedicated to dance in all its forms. With over three centuries of theatrical heritage and a year-round programme of performances and learning activities, it is the place where artists come together to create dance, and where people of all backgrounds come to experience it – to take part, learn, experiment and be inspired. Audiences of over half a million come to its London theatres each year, with many more enjoying its touring productions at venues across the UK and around the world, and accessing its content through digital channels. Sadler's Wells commissions, produces and presents more new dance work than any other theatre in the world, embracing the popular and the unknown. Since 2005, it has helped to bring over 160 new dance works to the stage, many of them involving its 16 Associate Artists, three Resident Companies and four Associate Companies – the most exciting talents working in dance today. It also nurtures the next generation of talent through research and development, running the National Youth Dance Company and a range of programmes including Wild Card, New Wave Associates, Open Art Surgery and Summer University. Sadler's Wells' learning and engagement activities reach over 25,000 annually through programmes that take dance out into the community and invite communities into the theatre. Projects include community productions and the renowned Company of Elders, its resident over-60s performance group, while events range from pre and post-show talks with dance artists to classes, workshops and assisted performances. Located in Islington, north London, the current building is the sixth to have stood on site since entrepreneur Richard Sadler first established the theatre in 1683. The venue has played an illustrious role in the history of theatre ever since, with The Royal Ballet, Birmingham Royal Ballet and English National Opera having all started at Sadler's Wells. www.sadlerswells.com About Tanztheater Wuppertal Pina Bausch Pina Bausch wrote dance history. She not only founded the world-famous company in Wuppertal, she shaped a whole genre – dance theatre – and influenced countless other artists, choreographers and directors worldwide who credit her and her work. For this she received a great many prizes, such as the German Dance Prize, Venice’s Golden Lion and the Kyoto Prize. When she first arrived in Wuppertal in 1973, no-one guessed she would reinvent modern dance there. The young dancer and choreographer (1940-2009) took over the ballet company at the Wuppertaler Bühnen (the combined municipal theatres) and soon renamed it the Tanztheater Wuppertal (‘Wuppertal dance theatre’), because that was her goal: to unite dance and theatre. Pina Bausch enriched dance. She added speech, acting and singing to it, and influences from art-forms of the whole world later. In the process she created a new dance language which she took to countless countries as a cultural ambassador, a language understood everywhere, being timeless and steeped in a profound humanity. She made forty-six works, and even decades after their creation they move us, stir us, touch a nerve. Many of the works are still in the company’s repertoire, ten years after its founder’s death, and the company maintains and preserves this heritage with great devotion, care and energy. Her pieces often describe very everyday matters. Human beings are always at the centre, with all their hopes, fears and uncertainties. Pina Bausch homed in on her themes by questioning the dancers. In scenes of complex intimacy between men and women she often showed how people experience speechlessness, exploitation, humiliation and addiction. With Viktor (1986) the era of the co-productions began. Right up to her death Pina Bausch worked with theatres and institutions in France, Italy, Spain, Portugal, Turkey, India, the USA, Argentina, Hong Kong, Japan and Korea, gaining inspiration from these countries and cultures. With Pina Bausch the dancers always took centre stage. Every dancer brings their personality to the work. There are currently thirty-four dancers, from seventeen different countries. Three generations work on the pieces together; the older dancers pass their roles on to the younger dancers, sharing the experience inscribed in their bodies – over decades in some cases. New pieces by other choreographers are gently expanding the repertoire and responding to Pina Bausch’s legacy; in 2018 it was Alan Lucien Øyen and Dimitris Papaioannou, and they will be followed by Sidi Larbi Cherkaoui, Richard Siegal, Helena Waldmann, Monika Gintersdorfer and Rainer Behr. http://www.pina-bausch.de/en/
  3. It was the results show this evening - the first item after the intros.
  4. Links - Saturday 07 December, 2019 Obituary - Christine Du Boulay Ellis, dancer & teacher: Staff, Times Reviews - Matthew Bourne’s New Adventures, Swan Lake, Los Angeles: Lewis Segal, LA Times Don Grigware, Broadway World Staff, Luxury Feature Video Feature - Francesca Hayward, Royal Ballet, appears on the Jimmy Kimmel show: Broadway World Interview - Angelin Preljoçaj, choreographer & artistic director: Mark Rowlands, Time Out Review - Bangarra Dance Theatre, Knowledge Ground, Sydney: Jill Sykes, Sydney Morning Herald Diary - Three of the best dance shows in the UK: Lyndsey Winship, Guardian Review - Kyle Marshall & dancers, AD, Colored, New York: Siobhan Burke, NY Times Review - Dormeshia and others, And still you must swing, New York: Apollinaire Scherr, FT Feature - Best of dance 2019 (New York): various, NY Times Review - Performa 2019, New York: Sophie Seita, TLS Review - Tivoli Ballet Company, The Snow Queen, Copenhagen: Sibylle de Valance, Copenhagen Post Video Feature - Misty Copeland on the Today Show: Broadway World Feature - The ultimate guide to theatre-going etiquette: Simon Mills, Standard 'Tis the season... Feature - Nutcrackers in the Greater Toronto Area: Michael Crabb, Toronto Star Feature - Alexandra Gibson of Alberta Ballet on Sugar Plum: Roger Levesque, Calgary Herald Feature - Donald Byrd and his Harlem Nutcracker: Brendan Kiley, Seattle Times Feature - Andre Silva of Texas Ballet Theatre on The Nutcracker: Natalie Gempel, D Magazine Review - Kansas City Ballet, The Nutcracker, Kansas City: Alan Portner, Broadway World Review - Ballet Frontier of Texas, The Nutcracker, Fort Worth: Emily Sese, Theater Jones
  5. PRESS RELEASE 6 December 2019 BIRMINGHAM ROYAL BALLET GLIDES INTO 2020 WITH UK TOUR OF SIR PETER WRIGHT’S ACCLAIMED SWAN LAKE, FIRST STEPS: SWAN LAKE AND SWAN LAKE DREAMS Birmingham Royal Ballet’s critically acclaimed Swan Lake, first created in 1981 by Sir Peter Wright and Galina Samsova, will tour the UK from 29 January 2020. Celine Gittens and Tyrone Singleton as Odette and Prince Siegfried. Photo credit: Roy Smiljanic SWAN LAKE: 29 January- 4 April 2020 Ballet’s greatest love story returns in Birmingham Royal Ballet’s lavish production. This romantic fable of ill-fated passion, powerfully illuminated by Tchaikovsky’s legendary score played live by the Royal Ballet Sinfonia, has bewitched audiences for generations. In 2020 the production will tour to Southampton, Birmingham, Salford, Sunderland and Plymouth. By a moonlit lake, a grieving prince witnesses the transformation of a swan into a beautiful princess. Compelled by an evil spell to spend her days in the form of a bird, she can only be saved by the power of love. Filled with exquisite ensembles, lyrical pas de deux and bravura solos, this Swan Lake is atmospheric, romantic and beautiful – an unforgettable experience. The cast will include Céline Gittens and Momoko Hirata in the double principal roles of Odette/ Odile, partnered respectively with Tyrone Singleton and César Morales as Prince Siegfried. RELAXED PERFORMANCE OF SWAN LAKE: 25 February 2020 at Birmingham Hippodrome, 12pm In partnership with the Hippodrome, Birmingham Royal Ballet is presenting a relaxed performance of Swan Lake during its Birmingham run. Pioneers in making ballet accessible for all audiences, this is a carefully thought through experience that can be enjoyed by everyone, whatever their access needs. FIRST STEPS: SWAN LAKE: 31 January – 3 April 2020 Alongside the full Swan Lake production, this hour-long, interactive afternoon show features excerpts from the ballet, performed by Birmingham Royal Ballet's amazing dancers and full orchestra. These are interspersed with scenes in which a storyteller sets the scene, introduces the children to the music and characters, and shares some of the technical magic surrounding the ballet. A feast of dance, music, costumes and lots of fun, this is a perfect introduction to ballet. SWAN LAKE DREAMS: 2 February – 31 March 2020 Birmingham Royal Ballet has been rolling out its large-scale performance project, Swan Lake Dreams, to ballet students of all ages and abilities in two of its touring regions as well as from across the Midlands. A cast of approximately 70 selected students from each of the Birmingham, Plymouth and Southampton areas were invited earlier this year to audition for a role in a performance on the main stage of their local theatre, alongside the company. They have each been given the opportunity to train, rehearse and perform in a full-length ballet alongside Birmingham Royal Ballet dancers. Open to ballet students aged eight+, the Swan Lake Dreams project gives insight into the Company workings while aiming to develop talent and raise aspirations for dancers of all ages. The Company will partner with the Royal Birmingham Conservatoire, whose orchestra will accompany the Swan Lake Dreams Birmingham performance, conducted by Birmingham Royal Ballet’s principal conductor, Paul Murphy. Birmingham Royal Ballet’s Participation Manager, Rebecca Brookes, said “We are thrilled to be working inclusively with ballet students across the country to encourage their passion for dance. After the success in previous years of our Sleeping Beauty Dreams and Cinderella Dreams projects, Swan Lake Dreams aims to reach even more talented and aspiring dancers and to provide enjoyable and empowering experiences for those interested in learning more about a leading international BalletCompany.” For further information about the project, please visit brb.org.uk/dreams Swan Lake, First Steps: Swan Lake and Swan Lake Dreams 29 January – 4 April 2020 Music: Pyotr Ilyich Tchaikovsky Choreography: Peter Wright, Lev Ivanov, Marius Petipa Production: Peter Wright, Galina Samsova Designs: Philip Prowse Lighting: Peter Teigen Mayflower Theatre 22-26 Commercial Rd, Southampton SO15 1GE; 02380 711811 www.mayflower.org.uk Wednesday 29 January – Saturday 1 February 2020 First Steps: Swan Lake: Friday 31 January 2020, 1pm Swan Lake Dreams: Sunday 2 February 2020, 7pm Birmingham Hippodrome Hurst St, Southside, Birmingham B5 4TB; 0844 338 5000 birminghamhippodrome.com Tuesday 18 – Saturday 29 February 2020 First Steps: Swan Lake: Friday 21 February 2020, 4.30pm Audio-described performance of Swan Lake: Saturday 22 February 2020, 2.30pm (Touch Tour: 10.30am) Swan Lake Dreams: Sunday 23 February 2020, 7pm Relaxed performance of Swan Lake: Tuesday 25 February 2020, 12pm The Lowry Pier 8, The Quays, Salford M50 3AZ; 0343 208 6000 www.thelowry.com Wednesday 4 – 7 March 2020 Audio-described performance of Swan Lake: Saturday 7 March 2020, 2pm (Touch Tour: 10.30am) First Steps: Swan Lake: Friday 6 March 2020, 4.30pm Sunderland Empire 4-5 High Street West, Sunderland SR1 3EX; 0844 871 3022 www.atgtickets.com/venues/sunderland-empire Thursday 12 – Saturday 14 March 2020 First Steps: Swan Lake: Thursday 12 March 2020, 4.30pm Theatre Royal Plymouth Royal Parade, Plymouth PL1 2TR; 01752 267222 www.theatreroyal.com Wednesday 1 – Saturday 4 April 2020 Swan Lake Dreams: Tuesday 31 March 2020, 7pm First Steps: Swan Lake: Friday 3 April 2020, 4.30pm NOTES TO EDITORS: Birmingham Royal Ballet Based at Birmingham Hippodrome, Birmingham Royal Ballet is the United Kingdom’s leading touring ballet 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 incoming Director is the internationally renowned Carlos Acosta who will be taking up his appointment as Director in January 2020. 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. The Sinfonia also plays frequently for The Royal Ballet and other leading ballet companies, including 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. Links - Friday 06 December, 2019 Review - Royal Ballet, Coppelia, London: Jann Parry, DanceTabs Reviews - Svetlana Zakharova & Friends, Gabrielle Chanel, Come un Respiro, London: Debra Craine, Times Jenny Gilbert, Arts Desk Mark Pullinger, Bachtrack Vera Liber, British Theatre Guide Vikki Jane Vile, Broadway World Emma Byrne, Standard Review - Herman Cornejo: Celebrating 20 years, New York: Mary Cargill, Danceview Times Listing - The best festive dance shows to see in London this Christmas: Zoe Paskett, Standard Reviews - Royal New Zealand Ballet, Hansel and Gretel, Dunedin: Hannah Molloy, NZ Theatreview Auckland: Chloe Klein, NZ Theatreview Diary - 8 dance performances to see in NYC this weekend: Brian Schaefer, NY Times Review - BalletX, Twelve Bells, The Moon, Philadelphia: Ellen Dunkel, Philadelphia Inquirer Review - Mark Morris Dance Group, Pepperland, Washington: Ethan Knecht, The Hoya Review - Cardiff Dance Festival, Cardiff: Ben Culvichit, Exeunt Review - Tjimur Dance Theatre, Ai~Sa sa, Taipei: David Mead, Seeing Dance Feature - Misty Copeland, American Ballet Theatre: Jocelyn Noveck, The Columbian via AFP 'Tis the season... Feature - How the Nutcracker became a Christmas tradition: Heather Hayes, Deseret News Feature - The Joffrey Ballet’s Nutcracker has a new role for dancers with disabilities: Rachel Caldwell, Dance Magazine Feature - Alana Griffith, Milwaukee Ballet’s Sugar Plum: Steven Potter, Milwaukee Magazine
  7. I've seen dancers do the manège in both directions so presumably it is left up to them as to which direction they feel most comfortable. I don't like the pink cavalier outfit - I don't think it does any of the dancers any favours. In the early years of this production King Rat did not appear in Act 2 so it could well be that you saw a performance before this section was introduced. I didn't like it at first but I've got used to it over the years and I suppose it does tie the two halves of the ballet together a bit better. I saw the RB production, as a ballet-watching newbie, in 1986. All I can say is that if that was the first ballet I had ever seen I never would have gone again!! I went to the cinema a couple of years ago to see it again and I really didn't see anything in it that made me want to go again. I love BRB's production, which I think stands head and shoulders above any other production I have seen. Kevin O'Hare was my first Cavalier in January 1991 (I didn't see the production before Christmas 1990 when it premiered).
  8. Links - Thursday 05 December, 2019 Reviews - Royal Ballet, Coppelia, London: Jenny Gilbert, Arts Desk GJ Dowler, Classical Source Reviews - Svetlana Zakharova & Friends, Gabrielle Chanel, Come un Respiro, London: Lyndsey Winship, Guardian Mark Monahan, Telegraph Teresa Guerreiro, Culture Whisper Gerard Davis, Dancing Review Review - Richard Alston Dance Company, At Home, London: Charlotte Kasner, Seeing Dance Review - Bangarra Dance Theatre, Knowledge Ground: 30 years of sixty-five thousand, Sydney: Ella Archibald-Binge, Sydney Morning Herald Review - Dormeshia & others, And still you must swing, New York: Gia Kourlas, NY Times Preview - Houston Ballet’s 50th Anniversary Gala, Houston: Margaret Downing, Houston Press News - Sara Mearns (NYCB) and Caleb Teicher to debut shows at the Joyce, New York: Peter Libbey, NY Times Review - Mavin Khoo & Temple of Fine Arts, unnamed dance inspired by the Ramayana, London: Lynette Halewood, DanceTabs Review - Astana Ballet, mixed programme, Los Angeles: Valerie-Jean Miller, Broadway World Interview - Geoff Gonzalez, City Ballet of San Diego: Nina Garin, Pacific San Diego 'Tis the Season... Review - Australian Ballet, The Nutcracker, Sydney: Deborah Jones, Follow Spot Review - Houston Ballet, The Nutcracker, Houston: Olivia Flores Alvarez, Houstonia Reviews - Joffrey Ballet, The Nutcracker, Chicago: Hedy Weiss, wttw Joseph Houseal, Bachtrack Feature - Pennsylvania Ballet’s Nutcracker tree gets a $100k makeover: Ellen Dunkel, Philadelphia Inquirer Preview Feature - Boston Ballet, The Nutcracker, Boston: Celina Colby, Bay State Banner Feature - Oklahoma City Ballet take their Nutcracker to Colorado Springs before home run: Eddie Roach, The Oklahoman Video Feature - Brooklyn Ballet, The Nutcracker, New York: Stephanie Simon, NY1 Spectrum News Listing - Nutcrackers around Chicago:Scott C Morgan, Daily Herald
  9. People may not be regulars but it does not mean they can't recognise artistry and indeed it doesn't mean they can't recognise a dancer who's not very good. I know nothing about technique but I still think I can recognise the special from the ordinary.
  10. And from the BRB website: Where's the money going? Impact & reporting Situation It is nearly 30 years since Sir Peter Wright created The Nutcracker. Hundreds of thousands of people have seen this wonderful ballet, including many families watching ballet for the first time. The beautiful sets and costumes, created by the renowned designer John Macfarlane, have been used for over 1000 performances and have suffered significant wear and tear. Substantial work is now urgently required to ensure that these sets and costumes can continue to dazzle audiences for decades to come. Solution Last year we raised funds to restore the costumes in most urgent need of repair and refurbishment. We will now turn our attention to restoring the sets and remaining costumes. Working with specialist design workshops alongside the original designer John Macfarlane, Birmingham Royal Ballet will repair and restore the sets and props to their full splendour. With the sets, props and costumes restored The Nutcracker will regain its original sparkle and lustre to celebrate its 30th anniversary.
  11. Links - Wednesday 04 December, 2019 Review - Royal Ballet, Coppelia, London: Jenny Gilbert, The i Preview Feature - Scottish Ballet, The Snow Queen, Edinburgh & on tour: Kelly Apter, Scotsman Review - Richard Alston Dance Company, At Home, London: Rachel Elderkin, Stage Review - Guggenheim Works & Processes: Merce Cunningham Centennial Celebration, New York: Martha Sherman, Danceview Times Review - Sydney Dance Company, New Breed, Sydney: Sarah Gavin, Bachtrack Feature - Kyle Marshall, choreographer: Gia Kourlas, NY Times Feature - Paris Opera Ballet’s foreign legion reaches for the stars: Staff via AFP, The Edition Review - Abanico: 100 years of Flamenco in the Bay Area, San Francisco: Andrew Gilbert, San Francisco Classical Voice Feature - A choreographer works to bring dance to the disabled: Avery JC Kleinman, Washington Post 'Tis the Season... Review - New York City Ballet, The Nutcracker, New York: John Soltes, Hollywood Soapbox Feature - The Australian Ballet’s Nutcracker tones down the yellowface: Millie Roberts, Guardian Review - Joffrey Ballet, The Nutcracker, Chicago: Oliver Sava, Chicago Reader Review - Pacific Northwest Ballet, The Nutcracker, Seattle: Philippa Kiraly, Bachtrack Review - Atlanta Ballet, The Nutcracker, Washington: Ashley McKean, Danceview Times Review - Washington Ballet, The Nutcracker, Washington: Christopher Henley, DC Theatre Scene Review - Company XlV, Nutcracker Rouge, New York: Apollinaire Scherr, FT Review - Syracuse City Ballet, The Nutcracker, New York: Natasha Ashley, Broadway World
  12. We were in Norwich for the three performances at the weekend. On Friday night I saw Sarah Chun/Jonathan Hanks/Nicola Gervasi (Magician) which was a new cast to me. They were fabulous! Jonathan Hanks is a supremely elegant dancer with gorgeous classical lines and his acting was exemplary. Having seen Sarah as a vicious step-mother in Newcastle it was good to see what a good actress she is with her lovely soft portrayal of Cinderella. What a beautiful performance we enjoyed that evening. I also caught Antoinette Brooks-Daw as a very vicious stepmother who terrified her own daughters let alone Cinderella. She is another very versatile actress and I really hope to catch her as Cinderella. Of the step-sisters I must mention Julie Nuñes and Natalia Kerner who were both totally hilarious! As a Patron of NB I was able to watch company class on Saturday morning and what a thrill it was to have Cinderella composer Philip Feeney playing for the class!!
  13. Hello Overmyhead# and welcome to the Forum!
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