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Jan McNulty

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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!
  14. I don't think that is only an issue within ROH. I know copyright is one of the reasons why, in the past, we have been deterred from taking curtain call photographs (although I suppose with the advent of phones that is much harder to police now) and even photographs of costumes on display have been a no no. There could be numerous people who hold copyrights.
  15. Links - Tuesday 03 December, 2019 Reviews - Royal Ballet, Coppelia, London: Louise Levine, FT Graham Watts, Bachtrack Feature - From cartoons to stage design: the genius of Osbert Lancaster: Laura Freeman, Spectator Feature - How a north-south funding gap makes it hard for Leeds' Northern Ballet to keep in step with its London rivals: Rob Parsons, Yorkshire Post Feature - Australian Ballet - Inside the 2019 Telstra Ballet Dancer Awards: Ana Eksouzian-Cavadas, Vogue Video Feature - Paris Conservatory of Music & Dance prepare to pay tribute to Merce Cunningham: Julia Kim, France 24 If you are in New York tomorrow - Performing Arts Library Gala: Leigh Witchel, Dancelog.nyc Video Feature - Isabella Boylston (ABT) breaks down 11 iconic ballet scenes from pop culture: Meredith Geaghan-Breiner, Insider Review - China National Peking Opera, London: Charlotte Kasner, Seeing Dance 'Tis the season... Review - Joffrey Ballet, The Nutcracker, Chicago: Kyle MacMillan, Chicago Sun Times Feature - Seven things you need to know about Houston Ballet’s Nutcracker: Staff, Click 2 Houston Preview Feature - Milwaukee Ballet, The Nutcracker, Milwaukee: Elaine Schmidt, Millwaukee Journal-Sentinel Background Feature - Moscow Ballet and other Nutcrackers in the Washington area: Marylou Tousignant, Washington Post
  16. Judging by the comment on rib cages I assume it means a “look” that could possibly be considered anorexic.
  17. Project O Voodoo Lilian Baylis Studio, EC1R 4TN Thursday 16 - Saturday 18 January 2020 Performances at 9pm Tickets: £17 Ticket Office: 020 7863 8000 or www.sadlerswells.com Project O returns to Sadler’s Wells with thought provoking work Voodoo, at the Lilian Baylis Studio from Thursday 16 - Saturday 18 January 2020. Artists Jamila Johnson-Small and Alexandrina Hemsley have been making work together as Project O since 2010, intending to expose some of the structural workings of racism and misogyny and their impact on bodies. In Voodoo, they invite audiences to join them in an immersive performance. Voodoo examines how dance can explore, heal and challenge the violence and oppression that haunts society today. Its unfolding becomes a science fiction that addresses the desire, confusion and responsibility of being a single subject who is also a symbol of many persecuted people. The piece received its London premiere in 2017 at the Lilian Baylis Studio. After previews in Bristol (In Between Time) and Liverpool (LEAP), it was developed through a series of site-responsive short works titled Native Instincts: Psychic Labours, and presented at a range of venues including Somerset House; K.R.O.P.P. festival, Uppsala (Sweden); Submerge, Bristol and London Contemporary Music Festival. After a sabbatical period supported by LADA and Sadler’s Wells, Project O revisits Voodoo for three performances. Project O made its first appearance at the Lilian Baylis Studio with O in BELLYFLOP's curated evenings as part of Wild Card in 2013, kicking off this series, now a regular part of the Lilian Baylis Studio programme. Project O became a Sadler’s Wells New Wave Associate Artist in 2018, an initiative supporting distinctive choreographic voices in their development. Both artists have also taken part in Sadler’s Wells’ professional development programme for dance artists: Sadler’s Wells Summer University. Jamila Johnson-Small’s solo performance project Last Yearz Interesting Negro is at the Barbican from 28 November - 1 December 2019 with new work Heavy handed, we crush moment. Alexandrina is currently working on an interdisciplinary solo project Words Collect In My Mouth: All is Fire and Flood attending to how one (an individual or overlapping communities) returns to intimacy - of self, of performing - in relation to others after violence. Project O are Sadler's Wells New Wave Associates A Sadler’s Wells commission, co-commissioned by Cambridge Junction and Chelsea Theatre (2015). With support from Arts Council England and Dance Research Studio. Contains strong language 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. Its vision is to reflect and respond to the world through dance: enabling artists of all backgrounds to create dance that moves us and opens our minds, and sharing those experiences with the widest possible audiences – to enrich their lives and deepen their understanding of what it means to be human. Audiences of over half a million come to Sadler’s Wells’ three 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 dance than any other theatre in the world, embracing the popular and the unknown. Since 2005, it has helped to bring over 170 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. Sadler’s Wells nurtures the next generation of talent through a number of artist development initiatives and reaches over 30,000 annually through its learning and engagement programmes. Located in Islington, north London, Sadler’s Wells’ 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. Sadler’s Wells is to open an additional mid-scale venue in east London in 2022. The new space will be at the heart of the East Bank project, a new cultural and education district in Queen Elizabeth Olympic Park in Stratford, which will also include BBC, UAL’s London College of Fashion, UCL and the V&A in partnership with the Smithsonian Institution. As well as a 550-seat auditorium, Sadler’s Wells’ new venue will include a choreographic centre and a hip-hop theatre academy, the first of their kind in the world to be run by a theatre. www.sadlerswells.com About Project O Project O make dances to dance themselves out of the desire for and expectation of an aesthetic assimilation that upholds a system of white supremacy that is at once subtle, blatant and all pervasive. Project O is the performative fruits of conversations between the London-based duo Jamila Johnson-Small and Alexandrina Hemsley who look to the body as a site of politics, considering the tangible yet often ignored impact of a colonial history in the UK today, and the tendency towards fetishisation, exoticisation and fear of the other. The work intends to expose some of the structural workings of racism and misogyny and their impact on bodies, sparking debate and pushing for conversations about how to live with agency - and a sense of a future - amongst these painful and uncomfortable histories. Tearing at the edges of contemporary dance since 2010, Project O has made dances for the stage (O), performative interventions in public spaces (Be Your Black Girlfriend), choreographies for bodies that are not their own (SWAGGA), a performance lecture (Benz Punany), a school (The New Empowering School) and a publication (A Contemporary Struggle). Project O are residents at Somerset House Studios, Associate Artists at Dance Research Studios and were awarded the Artsadmin Artist Bursary in 2014. Their work has been presented at Southbank Centre, Somerset House, British Dance Edition, British Council Edinburgh Showcase 2015, Chisenhale Dance Space, The Yard and Chelsea Theatre, amongst others. https://www.acontemporarystruggle.com About Jamila Johnson-Small Jamila Johnson-Small makes dances and works to create spaces (on stage, in corners, on screens, in rooms, in bodies, on pages) with no single direction and no clear intentions, harbouring no desire to be useful other than to make gestures towards decentralised power and non-hierarchical structures for existing. Her practice looks to disengage with cultural systems of value that direct and inform style and in which they find no interest or agreement. Jamila is interested in surfaces, structures and the space/tension between things. Her practice is always relational, moving across spaces, contexts, roles and collaborations. Often working under the name Last Yearz Interesting Negro, regular collaborators include Fernanda Muñoz-Newsome, Shelley Parker and Phoebe Collings-James. Working with dramaturgies of sculpture, electronic music, overwhelm, syncopation, internal narratives, texture, words, trance states, a public and always dancing, to build atmospheric landscapes through the live unfolding of the tensions between things that produce meaning, resultant choreographies are stagespace/dreamscape/battleground, working through questions of entanglement, alienation and sensation. Thinking cumulatively, the work gathers and transmits information through inviting others in, crafting compositions in various constellations that build spaces for dancing, performance, conversation and reflection, spaces that might hold the multiple and contradictory, spaces that consider movement and transformation as inevitable. A big part of their research is towards making space to be together without having to assimilate. Choreographic space is considered as social situation in order to facilitate immersive, emergent spaces for performer/s and spectator/s. https://jamilajohnsonsmall.wordpress.com/ About Alexandrina Hemsley Alexandrina Hemsley (UK) is a dance artist and writer. Her practice is shaped by and insists on embodied enquiries into a multiplicity of voices expressing felt and embodied politics. She works across the morphing disciplines of live art, dance, dance for camera, theatre, mentoring, creative and critical writing. She is interested in liminal spaces, connectivity, fracturing, displacement and emotionality. She is continually attempting to conjure intersecting, gentle noise amidst oppressive silencing. Engaging with the wider concern of bringing attention to subjectivity and multiplicity over objectification, Alexandrina's practice voices her experiences through an interdisciplinary process of attempting to undo structural and internalised marginalisation and colonialism. It is a life-long project. Alongside her collaboration with Jamila Johnson-Small, she also choreographs with Seke Chimutengwende (2016 onwards) on a new work Black Holes. Her critical writing and poetry has been published by Sick of The Fringe, an introduction into Selina Thompson's Salt (Faber & Faber), SPILL Festival and new publication exploring queering the future, Hereafter (Unbound). Recent publishing includes The Silver Bandage (Bookworks) and LADA's Live Art Almanac Vol. 5. Alexandrina is Associate Artist at Cambridge Junction, a board member of Chisenhale Dance Space and Dance Ireland’s 2020 International Associate Artist. www.alexandrinahemsley.com
  18. Thanks Lizbie. The Spectator articles don't always turn up in our searches but I'm including it in tomorrow's links thanks to you linking it here!
  19. Hello York UK Beginner and welcome to the Forum. Northern Ballet offer adult ballet classes at their HQ in Leeds: https://northernballet.com/academy/training-programmes/open-classes/adult-courses We have a lot of adult dancers who post here and if you click on the tags at the top of your thread they will provide lots of topics for you to peruse.
  20. (On a personal note - it's always good to hear news of dancers I used to love watching. Martin James was a stalwart of English National Ballet when I was a newbie ballet watcher and while there he was a very fine Onegin).
  21. PRESS RELEASE For immediate release — 2/12/2019 Photos courtesy of Martin James New Zealand Ballet Principal & graphic artist, Martin James becomes Patron of bbodance Australasia Former Principal of Royal New Zealand Ballet, English National Ballet, and Royal Danish Ballet, Martin James has today become Patron of bbodance Australasia, the main international presence of bbodance, which celebrates its 90th anniversary in 2020. Joining former Royal Ballet First Soloist and Principal Guest Artist, Gillian Revie, who is also a Patron of the organisation, Mr James' primary role will be to support bbodance events in Australasia and the development of the organisation's presence in the region. Mr James attended bbodance's flagship event for students and teachers in the Southern Hemisphere, Dance Days, at the Sydney Gala Concert earlier this summer, and presented the major awards alongside Ms Revie. "It's wonderful to have been asked to become a bbodance Patron; between New Zealand and Australia, Gilly Revie and I shall help this wonderful organisation achieve recognition and exchange ideas in every way we are able! I look forward to engaging with bbodance and its team, who work tirelessly to support their members around the world," Martin James said. "Martin was trained in New Zealand and, following a fantastic international career, especially in Europe, has now returned to coach and shape young talent in the Southern Hemisphere. He was an obvious choice for us to support our members and growth in Australia and New Zealand," added bbodance CEO, Robin Bloor. bbodance Australasia is currently preparing for a special edition of Dance Days, which will celebrate the 90th year of bbodance in Sydney and Christchurch in July 2020. – ENDS – About Martin James Born in Christchurch, Martin James graduated from the New Zealand School of Dance and was Principal Dancer with Royal New Zealand Ballet, English National Ballet, Deutsche Oper Ballet, and Royal Danish Ballet. During his years with the company, Martin received a medal from Her Majesty Queen Margrethe II of Denmark for his contribution to ballet and dance. Currently, Martin is a freelance Guest Teacher and Ballet Master with major European companies and regularly coaches at the New Zealand School of Dance and Royal New Zealand Ballet. Martin has also been an adjudicator and host for New Zealand's largest Ballet competition, the Alana Haines Australasian Awards, and is a celebrated painter and graphic artist. Martin intends to mount his first showing in Australia when time permits. About bbodance Founded in 1930 by Edouard Espinosa and formerly known as the British Ballet Organization (the BBO), bbodance is an international dance awarding organisation with a large membership in the UK and Australasia. bbodance provides Ofqual-recognised syllabi in Musical Theatre, Jazz, Contemporary, Classical Ballet, Modern, and Tap. bbodance also provides comprehensive dance teacher training for Levels 4 to 6, as well as a diverse programme of Continuing Professional Development (CPD) sessions for dance teachers and inspiring events for students. bbodance Patrons include Dancing with the Stars Judge, Craig Revel Horwood, former Artistic Director of Rambert, Mark Baldwin OBE, and BRB Principal, Brandon Lawrence.
  22. Chelmsford Ballet Company performing alongside Ballet Central at Music for Christmas Concert on Saturday 21st December at the Brentwood Centre. The Chelmsford Ballet Company will be performing along side Ballet Central at Music for Christmas Concert on Saturday 21st December at the Brentwood Centre. It is the biggest Christmas musical extravaganza in Essex. This concert is part of the Hutton & Shenffield Choral Society. They will be performing excerpts from A Midsummer Night’s Dream, which was specially created by Artistic Director Annette Potter as part of their 70th Celebrations earlier this year. Directed by Ballet Central Artistic Director Christopher Marney, Ballet Central will present excerpts from their enchanting version of the classic Christmas ballet The Nutcracker. Photo credit Andrew Potter —Ends—

 About The Chelmsford Ballet Company

 In 1947, Joan Weston created the Broomfield YMCA Ballet Company in order to give the more senior students at her existing dance school the opportunity to learn and perform to the public. It was after their 1949 performance of Coppélia at the Shire Hall that the then Mayor of Chelmsford suggested the name ‘The Chelmsford Ballet Company’, and with a small committee the company was born. Since 1949, the company has staged a full-scale production every year. Initially a part of the Arts Festival, and then the Cathedral Fringe Festival, they occur today as an annual event in their own right. Today the company is led by Artistic Director, Annette Potter, who is a former dancing member. Annette danced many leading roles with the company before moving on to teaching and choreography. The company continues to celebrate artistic success under her leadership, nurturing the company’s dancers from company classes to workshops, through to rehearsals and the company’s annual production. The ballet company is a way for skilled dancers from across the area to perform together and to showcase their considerable talents to appreciative and receptive audiences. These performances always maintain the high standards and have become a well-loved cornerstone of Chelmsford’s cultural calendar. The company’s patrons are Doreen Wells, Marchioness of Londonderry and Christopher Marney, Artistic Director of Ballet Central.

 The Chelmsford Ballet Company is “an amateur company which sets professional standards for all its work, involving professionals in its productions, courses and other teaching and workshop opportunities”. The company’s aim is to inspire and progress enthusiastic dancers in a safe, friendly and open environment with a professional approach, whilst having fun along the way, it has a reputation for staging impressive productions with fantastic artistry, from the choreography to sets to the costumes, the company prides itself on the regard with which it is held by Chelmsford audiences, and those further afield. The company is not an extension of any dance school, and dancers are auditioned via a panel of professionals from a dance background. The amateur company prides itself on its professional standards, demonstrating a huge array of talent through its dancers excelling themselves each year. These high standards are maintained through the monthly company classes, where the dancers are able to meet and take a class with experienced and distinguished teachers. In the 1960s a Scholarship Fund was created to help young dancers moving to professional training. About Ballet Central Directed by Ballet Central Artistic Director Christopher Marney, Ballet Central will present excerpts from their enchanting version of the classic Christmas ballet The Nutcracker. The story is set in the fantasy world of Drosselmeyer's toyshop and we see Clara on Christmas Eve as her dreams come alive before her eyes. Join us to see the young Ballet Central dancers on the cusp of their professional careers in this festive, sparkling, quintessential Christmas performance. This is a show designed for families, introducing children of all ages to a new version of the dance favourite performed to the iconic Tchaikovsky score. · Ballet Central is the Central School of Ballet's renowned graduate performing company · Ballet Central’s annual tour takes place from March to July giving audiences across the country the chance to see the company’s young and dynamic dancers showcasing newly commissioned works and celebrated masterpieces by the dance industry’s top choreographers . · Led by Director Heidi Hall and Artistic Director Christopher Marney, Central School of Ballet is a world-leading centre for professional dance training. · The school is an affiliate of the Conservatoire for Dance & Drama and was founded 37 years ago by Ann Stannard and the late Christopher Gable CBE. · Central’s students train for three years aiming for a BA (Hons) in Professional Dance and Performance (validated by the University of Kent). Central also offers an MA Choreography degree for professional and emerging choreographers. · Central’s ethos is the belief that talented, dedicated young people should have access to the highest quality of training, whatever their economic, social or cultural background. · Central School of Ballet has particularly high rates of employment for graduating students; 80% are employed in professional contracts or apprenticeships in dance within six months of graduating · Central will move to a new purpose-built home in Paris Gardens in Southwark in the South Bank community in London early in 2020.
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