Jan McNulty
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Posts posted by Jan McNulty
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Do take a look at today's links.
There is a review for NYCB from Bruce Marriott who founded Ballet.Co in the late 1990s and its successor - this forum as well as the much-missed DanceTabs. It's so good to see Bruce back on the reviewing scene!
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19 minutes ago, AnneL said:
Thank you, @FionaM for posting this! I am going to see it on Thursday. can’t wait!
Please tell us about it afterwards!
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5 hours ago, lady emily said:
I very much hope this drought ends next year!
The drought is ending this year with BRB reviving Fille and they are doing a couple of performances at Sadler's Wells!
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Hello @Simone Whyte and a belated welcome to the Forum!
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Yes, at other venues I’ve got another 9 performances booked so I do hope to catch the other casts.
I’m looking forward to London too.
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Compagnie Maguy Marin presents Beckett-inspired May B at Sadler’s Wells in May
Compagnie Maguy Marin presents May B by acclaimed French choreographer Maguy Marin, inspired by the works of Samuel Beckett, at Sadler’s Wells on Tuesday 21 and Wednesday 22 May.
May B was created in 1981 and is based on the writings of celebrated Irish playwright Samuel Beckett, who unexpectedly offered his blessing to the then largely unknown choreographer to adapt his work.
Marin’s arresting and powerfully theatrical production echoes the relentlessness of Beckettian characters. The 10 performers appear barely human – an ensemble of lost souls, their faces plastered in clay. Moving together and alone, their gestures are distilled to repetitive shuffles and their words garbled and replaced with rhythmic sighs and grunts. This haunting work features one single line from Beckett’s play Endgame: “Finished, it’s finished, nearly finished, it must be nearly finished” which Marin uses to give a pulse to her choreography.
May B is set to the romantic music of Franz Schubert and Gavin Bryars’ contemporary musical genius. The sparse choreography in Marin’s intuitively potent and timeless work is mesmerising – the dancers journeying in stoic defiance of uncertainty towards a destination that will, quite possibly, always elude them.
Maguy Marin said: “When Beckett’s characters yearn for stillness, they cannot help moving; be it a little or a lot, they move. In this essentially theatrical work, the point, for us, was less to develop words and speech than a blown-up form of movement, thus seeking the meeting point between movement applied to theatre on the one hand, and dance and choreographic language on the other.”Sadler’s Wells Artistic Director and Co-Chief Executive Sir Alistair Spalding CBE said: “We’re delighted to introduce Sadler’s Wells audiences to the extraordinary work of French choreographer Maguy Marin. Created over 40 years ago, this is a rare opportunity to catch Maguy’s masterpiece. Based on the writings of Samuel Beckett, it’s an exploration of tenderness and humanity that emerges from a bleak and unsettling setting. It’s a remarkable piece of dance theatre, full of recognisable Beckettian characters and choreographic parades, that delves into the depths of our existence.”
Notes to editors:
Company: Compagnie Maguy Marin
Production: May B
Dates: Tuesday 21 & Wednesday 22 May 2024
Performance Time: 7:30pm
Tickets: www.sadlerswells.com / 020 7863 8000
About Compagnie Maguy Marin
Born in Toulouse, dancer and choreographer Maguy Marin studied classical ballet at the Toulouse dance academy. She joined the Strasbourg Dance Company, then Mudra, Maurice Béjart’s multi-disciplinary school in Brussels. In 1978, with Daniel Ambash, she founded the Ballet-Théâtre de l’Arche, which become the Compagnie Maguy Marin in 1984. Compagnie Maguy Marin is based in the suburbs of Lyon, France.
About Sadler’s Wells
Sadler's Wells is a world-leading dance organisation. We strive to make and share dance that inspires us all. Our acclaimed year-round programme spans dance of every kind, from contemporary to flamenco, Bollywood to ballet, salsa to street dance and tango to tap.We commission, produce and present more dance than any other organisation in the world. Since 2005, we have helped to bring more than 200 new dance works to the stage, embracing both the popular and the unknown. Our acclaimed productions tour the world. Since 2005 we’ve produced 64 new full-length works and performed to audiences of more than two million, touring to 51 countries.
Each year, over half a million people visit our three London theatres - Sadler’s Wells Theatre, Lilian Baylis Studio and Peacock Theatre. Millions more attend our touring productions nationally and internationally or explore our digital platforms, including Sadler’s Wells Digital Stage.
Sadler’s Wells East
In 2024 we’re opening a fourth London venue in Stratford’s Queen Elizabeth Olympic Park. Sadler’s Wells East will house a 550-seat mid-scale theatre, as well as facilities for the new Rose Choreographic School and the hip hop theatre training centre, Academy Breakin’ Convention.
Sadler’s Wells East joins the rich cultural heritage of Stratford, opening in London’s Queen Elizabeth Olympic Park as part of the East Bank development alongside the BBC, UAL’s London College of Fashion, UCL and the V&A. Sadler’s Wells East will support artist development and training, and the creation of new work. It will build the infrastructure for dance and make it accessible to more people. Sadler’s Wells East will house a flexible theatre presenting a wide variety of dance performances. Community will be at the heart of Sadler’s Wells East with a large open foyer that can be used by everyone as a meeting or performance space. There will also be dance studios and world-class dance facilities for dancemakers to train, create and rehearse productions.Supporting artists
Supporting artists is at the heart of our work. We have associate artists and companies, which nurture some of the most exciting talent working in dance today. We host the National Youth Dance Company, which draws together some of the brightest young dancers from across the country. Sadler’s Wells Breakin' Convention runs professional development programmes to champion and develop the world’s best hip hop artists, as well as producing, programming and touring groundbreaking hip hop performances.
Learning and community links
Around 30,000 people take part in our learning and engagement programmes every year. We support schools local to our theatres in Islington and Stratford, designing experiences for children and young people to watch, explore and critically engage with the arts. We also run Company of Elders, a resident performance company of dancers aged over 60 who rehearse with renowned artists to make new work for public performances locally, nationally and internationally.
Sadler’s Wells is an Arts Council England National Portfolio Organisation.
Stay up to date with everything Sadler’s Wells on social media
Facebook: @SadlersWells
Twitter: @Sadlers_Wells
Instagram: @sadlers_wells
YouTube: Sadler’s Wells Theatre -
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Meet the artists
Announcing the succesful candidates for Compositions & Configurations
We are delighted to announce that we have selected six artists to take part in our creative residency which will take place at DanceEast this July. The three choreographers are Nandita Shankardass, Otis Carr and Christopher Thomas, and the composers are Kerrin Tatman, David Westcott and Beatrice Ferreira.
We had over 200 applications to take part in the residency, and the successful candidates will be supported by a dramaturg as well as hearing from guest speakers who are leaders in their field. We will be posting regular updates on the creative process on our website and social media channels in the coming months.
With thanks to our generous supporters Charles Holloway, The Linbury Trust, Idlewild Trust, DanceEast, Leche Trust, The Britwell Trust, McNicol Ballet Collective and those who wish to remain anonymous.
An update from our Artistic Director, Andrew McNicol
The start of 2024 has been a busy one for Andrew. In February, his vibrant choreography Yonder Bluewas performed by the Joffrey Balletin Chicago. Described as "enthralling" by the Chicago Tribune, the work was featured alongside pieces by Liam Scarlett and Stina Quagebeur. 
The performances in Chicago were swiftly followed by the Dance for Ukraine gala in which Andrew premiered a new solo for Royal Ballet Principal Will Bracewell.
Later this month, Andrew will premiere, Upstream, his first piece for Companhia Nacional de Bailadoin Lisbon, in a programme that also includes works by George Balanchine and William Forsythe.
Join our family of supporters and be part of our future
Your support will enable us to keep creating exciting new work for the stage and screen, and delivering vital outreach programmes that will inspire the next generation of dance makers. If you can, please consider donating to the collective. Thank youDONATE -
Thursday 7 March 2024
Sadler’s Wells announces Boy Blue as next Guest Artistic Director for National Youth Dance Company in 2024/25
Olivier Award-winning hip hop dance theatre company Boy Blue has been appointed as the next Guest Artistic Director ofNational Youth Dance Company (NYDC) for 2024/25. Boy Blue was founded in East London in 2001 by Michael ‘Mikey J’ Asante and Kenrick ‘H2O’ Sandy and is a radical force that has defined the potential and power of hip hop dance theatre across the UK.
National Youth Dance Company, run by Sadler’s Wells is the country’s flagship company for young dancers. Since its inception 336 dancers have joined the company, working intensively with renowned dance artists as Guest Artistic Directors including Oona Doherty, Wayne McGregor, Alesandra Seutin, Russell Maliphant, Botis Seva, Sharon Eyal, Damien Jalet, Michael Keegan Dolan, Sidi Larbi Cherkaoui, Akram Khan & Jasmin Vardimon.Boy Blue’s dedication to creating world class dance productions is inextricable with their commitment to empowering young people to make space for themselves and tell their own stories. Thousands of young people have been educated at Boy Blue, with the aim of nurturing their ambition and raw talent. The spirit in which Boy Blue was formed came from the 3 E’s - ‘Education, Enlightenment and Entertainment’.
Emancipation of Expressionism forms part of the current GCSE dance syllabus, another way in which their work has helped to educate young people.
Boy Blue are known for their acclaimed productions including Olivier Award-winning Pied Piper and Blak Whyte Gray. They recently collaborated with director Danny Boyle, as part of the Creative Team of Free Your Mind, a reimagining of the classic sci-fi film The Matrix which opened as the inaugural show at Aviva Studios, Manchester last year. Sandy choreographed for part of the 2012 London Olympics opening ceremony. Boy Blue are a Barbican Artistic Associate and this year return to the Barbican theatre with the world premiere of Cycles (30 Apr – 4 May) their first new show as a company since REDD in 2019.
Kenrick ‘H2O’ Sandy of Boy Blue said, “I feel very honoured to be given this opportunity to continue to nurture young artists, by providing a space to support and mentor. Enabling me to share my knowledge, theories and application. This gives us a larger platform to bring our craft to the wider dance community.”
Hannah Kirkpatrick, Head of National Youth Dance Company, said, “We are really excited that Boy Blue will be leading the company for the next year. Their experience as world leading hip hop dance theatre makers alongside their belief in supporting and nurturing the next generation of artists meant that they were a perfect fit for us. We can’t wait to start creating the piece and for the Boy Blue and NYDC worlds to collide!”In April NYDC will begin its search for the next intake of young dancers to join the company and work with Boy Blue to create a new commission from autumn 2024 which will premiere in April 2025. To find these young dancers, NYDC Workshops will be taking place across England from April to July in the following cities: Salford, Leeds, Brighton, Birmingham, Medway, Derby, Newcastle, Wakefield, Falmouth, London and Ipswich. The final audition will be held in London at Sadler's Wells on Sunday 28th July 2024.
This year’s NYDC cohort premiere current Guest Artistic Director Oona Doherty’s new work Wall at Leeds Playhouse on Saturday 13 April and then embark on a nationwide tour with a performance at Sadler’s Wells Theatre on Saturday 13 July.
Sign up for the workshops on the NYDC website here: National Youth Dance Company » How to Join NYDC
Date
Town/City
Venue
3 April
Salford
Salford Uni
13 April
Leeds
Leeds Playhouse
20 April
Brighton
BHASVIC
18 May
Birmingham
ACE Dance and music
29 May
Medway
MidKent College
1 June
Derby
Deda
22 June
Newcastle
DanceCity
30 June
Wakefield
CAPA College
7 July
Falmouth
AMATA
13 July
London
Sadler's Wells LBS
20 July
Ipswich
Dance East
NYDC is jointly funded by Arts Council England from Lottery and Grant in Aid Resources, and the Department for Education
Barclays is the Associate Partner of National Youth Dance Company
NOTES TO EDITORS
Image credit: Rebecca Lupton
Listings information
National Youth Dance Company, Wall Tour Dates 2023Leeds
Leeds Playhouse
Saturday 13 April at 7:30 pmWakefield
CAPA College
Sunday 30 June at 7 pm
Falmouth
AMATA Arts Centre, Falmouth University
Sunday 7 July at 7:30 pmLondon
Sadler’s Wells
Saturday 13 July at 7:30 pmIpswich
DanceEast
Saturday 20 July at 7:30 pm
London
Bold Tendencies
Thursday 25 July at 8 pmSuffolk
Latitude Festival
Saturday 27 JulyLeicester
The Curve
Monday 29 July at 7:30 pm
About NYDC
Founded in 2012, and hosted at Sadler’s Wells, NYDC is an exciting young company that creates and performs innovative and influential dance, drawing together some of the brightest young talent from across the country.NYDC is jointly funded by Arts Council England and the Department for Education. Since NYDC’s inception in 2012:
- 336 dancers have joined the company, working intensively with renowned dance artists including Guest Artistic Directors: Jasmin Vardimon (2012-13), Akram Khan (2013-14), Sidi Larbi Cherkaoui (2014-15), Michael Keegan Dolan (2015-16), Damien Jalet (2016-17), Sharon Eyal (2017-18) Botis Seva (2018-19), Russell Maliphant (2019-20) and Alesandra Seutin (2020-2022). These 310 dancers come from over 80 different towns and cities in England.
- Over 7000 young people have worked with the company
- NYDC has reached an audience of over 50,000 people
- NYDC has featured in 94 performances, visiting 26 different venues across the UK, including some leading theatres in the country
About Sadler’s Wells
Sadler's Wells is a world-leading dance organisation. We strive to make and share dance that inspires us all. Our acclaimed year-round programme spans dance of every kind, from contemporary to flamenco, Bollywood to ballet, salsa to street dance and tango to tap.We commission, produce and present more dance than any other organisation in the world. Since 2005, we have helped to bring more than 200 new dance works to the stage, embracing both the popular and the unknown. Our acclaimed productions tour the world. Since 2005 we’ve produced 64 new full-length works and performed to audiences of more than two million, touring to 51 countries.
Each year, over half a million people visit our three London theatres - Sadler’s Wells Theatre, Lilian Baylis Studio and Peacock Theatre. Millions more attend our touring productions nationally and internationally or explore our digital platforms, including Sadler’s Wells Digital Stage.
Sadler’s Wells East
In 2024 we’re opening a fourth London venue in Stratford’s Queen Elizabeth Olympic Park. Sadler’s Wells East will house a 550-seat mid-scale theatre, as well as facilities for the new Rose Choreographic School and the hip hop theatre training centre, Academy Breakin’ Convention.
Sadler’s Wells East joins the rich cultural heritage of Stratford, opening in London’s Queen Elizabeth Olympic Park as part of the East Bank development alongside the BBC, UAL’s London College of Fashion, UCL and the V&A. Sadler’s Wells East will support artist development and training, and the creation of new work. It will build the infrastructure for dance and make it accessible to more people. Sadler’s Wells East will house a flexible theatre presenting a wide variety of dance performances. Community will be at the heart of Sadler’s Wells East with a large open foyer that can be used by everyone as a meeting or performance space. There will also be dance studios and world-class dance facilities for dancemakers to train, create and rehearse productions.
Supporting artists
Supporting artists is at the heart of our work. We have associate artists and companies, which nurture some of the most exciting talent working in dance today. We host the National Youth Dance Company, which draws together some of the brightest young dancers from across the country. Sadler’s Wells Breakin' Convention runs professional development programmes to champion and develop the world’s best hip hop artists, as well as producing, programming and touring groundbreaking hip hop performances.
Learning and community links
Around 30,000 people take part in our learning and engagement programmes every year. We support schools local to our theatres in Islington and Stratford, designing experiences for children and young people to watch, explore and critically engage with the arts. We also run Company of Elders, a resident performance company of dancers aged over 60 who rehearse with renowned artists to make new work for public performances locally, nationally and internationally.
Sadler’s Wells is an Arts Council England National Portfolio Organisation.
www.sadlerswells.com
Stay up to date with everything Sadler’s Wells on social media
Facebook: @SadlersWells
Twitter: @Sadlers_Wells
Instagram: @sadlers_wells
YouTube: Sadler’s Wells Theatre
About Boy Blue
Boy Blue was founded in East London in 2001 by Michael ‘Mikey J’ Asante and Kenrick ‘H2O’ Sandy. Boy Blue is a radical force that has defined the potential and power of hip hop dance theatre across the UK.The spirit in which Boy Blue was formed came from the 3 E’s - ‘Education, Enlightenment and Entertainment’ and the company’s achievements and accolades are as far reaching as the community it has fostered and the hip hop culture it has elevated. For many, Boy Blue is also a family, with many UK-based hip hop dancers having called it home during their careers.
Boy Blue’s dedication to creating world class dance productions is inextricable with their commitment to empowering young people to make space for themselves and tell their own stories. Thousands of young people have been educated at Boy Blue, with the aim of nurturing their ambition and raw talent and harnessing it into craft, enabling transformative access and opportunities, both professionally and personally.
In 2024 Boy Blue return to Barbican Theatre with the world premiere of Cycles (30 Apr – 4 May) their first new show as a company since the astonishing REDD in 2019. Led by choreographer Kenrick ‘H2O’ Sandy and composer Michael ‘Mikey J’ Asante, the cast of nine powerful dancers explore the rhythms and tenacity of our natural world in perpetual motion.
Boy Blue are Artistic Associates of Barbican, London and part of the Arts Council, England’s National Portfolio.
Boy Blue: Cycles
Tue 30 Apr – Sat 4 May 2024
World premiere, Barbican co-commission
Barbican Theatre
barbican.org.uk/cycles@boyblueent
https://www.boyblue.co.uk/
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Long-time followers have been waiting and hoping for a revival of this magnificent production of Romeo and Juliet devised and produced by Christopher Gable and choreographed by Massimo Moricone and first performed in Bath in 1991. I was talking to someone who was there in the premiere week and I and other friends saw it in Blackpool in its second week.
This production proved to be a landmark for Northern Ballet where Christopher Gable laid out his stall for the way he wanted to take the company the company and the company still follows his dream to this day as carried forward and expanded by Stefano Giannetti, David Nixon and now Federico Bonnelli.
I don't know how many performances I saw over the years before the production was rested but from the first performance I saw on a Saturday afternoon in Blackpool (24th February 1991) I have never failed to be moved and I have seen so many memorable performances. It is my favourite production of Romeo and Juliet. When I saw the season announcement I was ridiculously over-excited as were most of my NB-watching friends. As the months past and the opening day was approaching I was so excited but somehow nervous that, with this production meaning so much to me, I may be disappointed in the revival.
So Friday evening came and went entered the Grand in Leeds in a state of high excitement! I was fortunate to have been invited to the drinks reception before hand and was very star-struck by the presence of Mthuthuzeli November. It was so lovely to chat to him for a few minutes.
At the reception Federico Bonelli gave a short but beautiful speech about what this production meant to him and about how Christopher had envisioned it.
It was also lovely to bump into both Jayne Regan Pink and Viki Westall-Eyre in the interval. What a trip down memory lane.
Then we were in the auditorium, the lights went down and the overture started. When the curtain rose I've got to admit to being a bit overwhelmed and tears started making their way down my cheeks - that is how much the revival of this landmark production means.
The set has been magnificently realised (after having been destroyed by floods some years ago. Lez Brotherston's set is absolutely genius - aged Roman-looking pillars which can be moved to represent different locations with the words Amor Vincit Omia on the movable wall at the back. The costumes looked absolutely glorious with the Capulet men's black leather tops and the ladies in black and red particularly spectacular. Christopher explained at the time that he believed that audience concentration reduces after 35 to 40 minutes so the acts are kept shortish and simple. There is no padding in this production and it flows along beautifully. The fighting scenes are exciting to watch, the friendship between Romeo, Mercutio and Benvolio is beautifully judged and the relationships Juliet has with her parents, Paris and Romeo are meaningful and insightful. The whole production flows organically. Am I waxing over-lyrically - you bet I am!!!
Opening night honours were given to the sublime Dominique Larose and Joseph Taylor. Joseph was full of joy at the start as a young man about town with his mates and enjoying taunting Tybalt and his Capulet henchmen. Goodness me, Harry Skoupas was outstanding as a mean and moody Tybalt. The fighting comes to an end when the Duke of Verona arrives and the body of a young girl killed during the fighting was found. As the crowd disperses Mercutio (a spectacular and virtuosic performance by Aaron Kok - WOW!!) and Benvolio (a joyful and nuanced performance from Stefano Varalta (who is actually from Verona!)) try to persuade Romeo to crash the Capulet ball.
In the second scene Juliet is very excited to be going to her first "grown up" ball and is being very animated with her Nurse. I felt as though I really was watching Juliet so subsumed was Dominique into the role. Heather Lehan was a warm, comforting and joyful nurse so pleased for Juliet. (Fortunately there is no child's doll in this production - it's all about a young girl coming of age.). Her mother arrives with Paris and Juliet is captivated by him when Lady Capulet (an outstanding performance from Abigail Prudames) tells her they are due to be married. Jackson Dwyer was an elegant and caring Paris who is obviously hurt by Juliet's subsequent rejection of him.
The Capulets are very martial in the ballroom scene, showing off their power very effectively. The 3 lads arrive and are trying to chat up the ladies when Juliet and her friends arrive. There's so much to watch in the ballroom scene that you could actually miss Romeo and Juliet meeting! Fortunately when they are interacting the scene behind them is frozen. Their short duets are gentle and loving in this scene. Mercutio and Benvolio have seen what has happened and they distract Tybalt. Aaron was outstanding!
Then to the balcony duet ... it was so beautiful I had a bad attack of hay fever and shivers were running up and down my spine. It is innocent, lyrical, sensual and passionate.
In act 2 the opening scene is festive with the Montagus in bright costumes dancing and having fun. There's a wonderful but ribald scene where the nurse arrives to give Romeo the letter from Juliet. When he eventually reads it he is so overjoyed and rushes off to meet Juliet and get married. Then it's back to the festivities. Tybalt and his henchmen and their ladies arrive and the trouble starts brewing during the "cat dance" - the Capulet motif is feline. Romeo has arrived back and is being teased as he is acting all goofy and in love. He tries to calm things down but as the tension rises and Mercutio intervenes there are fatal consequences as he is stabbed. Cue the very dramatic fight between Romeo and Tybalt ending with Tybalt's death. Abigail Prudames was splendidly grief-stricken as Lady C and the act ends on a VERY dramatic note.
Act 3 opens with the final duet - so full of emotion and despair. Dominique and Joe were just breathtaking together (cue another hay fever attack). Juliet's rejection and ultimate acceptance of Paris was heartbreaking and then it was just an emotionally draining conclusion. I could hear people sobbing around me and I was definitely joining in!!
Of course there was a standing ovation - very well deserved.
After the main curtain calls the Duke and Duchess of Edinburgh came onstage to applaud the company. While he couldn't be "political" the Duke made a heartfelt speech about the company and particularly mentioned the orchestra. It looked as though he and the Duchess had enjoyed the performance.
WHAT A NIGHT!!!
We had to do it all over again on Saturday!!
I will admit to a total bias here - I have adored watching Kevin Poeung dance since we saw him performing as a student with the company so Saturday afternoon was a dream come true for me. Kevin more than lived up to my hopes as Romeo with his virtuoso dancing and utterly believable performance as Romeo. I was totally bowled over! His Juliet was Sarah Chun and she was just divine. Archie Sherman was superb as Benvolio and that man Aaron Kok gave another outstanding performance as Mercutio. Antoni Cañellas Artigues was a wonderfully thuggish Tybalt and Helen Bogatch was superb as a loving nurse. George Liang as Paris was so loving, courteous and gentle that it would have been understandable if Juliet hadn't even noticed Romeo! After many attacks of hay fever I came out of the theatre on an enormous high.
On Saturday evening the Friday evening cast, already outstanding, upped their game even further and at times I was trying to cope with both hay fever attacks and forgetting to breathe!
To sum up, this year sees my 40th anniversary as a ballet-watcher and this past weekend has been so uplifting and emotional that I think I can count it as my best weekend of ballet-watching ever. To be able to watch it in the company of good friends was the icing on the cake.
Thank you Northern Ballet.
PS - the campaign to save Northern Ballet's orchestra goes on.
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I’m so sorry I couldn’t have been there last night but I was in Leeds for NB.
I suppose my 3 favourite memories are of seeing his Will Mossop debut with BRB in Hong Kong in 2011, his heart rending performances as Cyrano and in 2 Pigeons with Yuhui.
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Hello @Diagon and a very belated welcome to the Forum!
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It was Aaron Kok as Mercutio.
What an overwhelmingly emotional evening for so many long-standing supporters of NB who have been desperate for this production to come back into the rep.
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10 hours ago, alison said:
I don't know if this will be of any benefit to Avanti passengers:
The UK's huge new plan for new train line linking Scotland with 12 major cities (msn.com)
The railway companies have long assumed that people from Liverpool don't want to visit Scotland and getting there by train can be a total nightmare (speaking from experience!).
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17 hours ago, Emeralds said:
I didn't see Northern Ballet at PT but I saw the Royal Danish Ballet group there and the ambience and the sound system for the music were awful (there was no space for live music) - it was like watching them dance for a primary school in a small school hall.
Their dancing was excellent (Andreas Kaas, Marcin Kupinski and Sebastian Hayes created quite a sensation) in that
performance, but a couple of the women appeared to have issues with the stage that they didn't have on videos of them in live performances. The ticket sales were also much worse than when they visited Sadler's Wells with a similar programme some years before that and when they visited ROH as a full company along with their opera company (some shows were operas and the others were ballet) even So one problem that audiences won't have if Sarasota Ballet used PT is difficulty obtaining tickets!
I should add of course that this discussion of PT is totally hypothetical as Sarasota Ballet will be dancing at Linbury Theatre at ROH in June and that won't be changed as the invitation is from RB & ROH, who don't have anything to do with the running or programming of SWT & PT. 😉
I beg to differ. I didn't notice any problems at the 2 performances we saw.
Northern Ballet performed there with an orchestra.
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I was at the opening night at The Lowry last night.
I thought it was a glorious evening led by Momoko Hirata, Max Maslen and Daria Stanciulescu.
I was privileged to see Momoko's debut in Birmingham some years ago (with Alex Campbell as her Prince!) and it was such a special afternoon. She really is one of my favourite Aurora's and I count myself lucky to have seen her perform the role on a number of occasions. She has never disappointed! She was absolutely exquisite last night. In act 1 she was a princess who definitely knew her position and was full of joy. She was surprised when the King told her she was to marry and she was deliciously flirtatious with the Princes in a glorious rose adagio. Just WOW!!!
Max was every inch the "fallen in love at first sight". Daria delighted in her annoyance and evilness. I must mention Rory Mackay as Catalabutte. He brings such a humanity to the role that it is heartbreaking to see how Carabosse treats him.
Act 3 was just dazzling and the gpdd sent shivers of delight down my spine and brought on an attack of hay fever.
It had been a fabulous evening!
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Links - Friday 08 March, 2024
Reviews - Royal Ballet, Swan Lake, London:
Teresa Guerreiro, Culture Whisper
Siobhan Murphy, Stage
Debra Craine, Times (share token)
Review - National Ballet of Canada, Alice’s Adventures in Wonderland (Wheeldon), Toronto: Michael Crabb, Toronto Star
Review - Wayne McGregor & London Philharmonic Orchestra, A Body for Harnasie, London: Daniel Lewis, Times (share token)
Review - Shaun Keylock Company, The Age of Influence, Portland: Amy Leona Havin, Oregon Arts Watch
Reviews - Justin Peck, Illinoise, New York:
Gloria Oladipo, Washington
Zachary Stewart, Theater Mania
Preview Feature - Amanda Morgan (PNB) / The Seattle Project, here because, Seattle: Rachel Gallagher, Seattle Times
Preview - West Australian Ballet, Metamorphosis - Ballet at the Quarry, Perth: Staff, Limelight
Video Preview - Charlotte Ballet, Come to Life, Charlotte: Staff, WBTV
Preview - Brecon Festival Ballet, Swan Lake Act 2 and Tanio’r Ddraig (Fire Up Your Dragon), Brecon: Staff, Brecon & Radnor Express
Feature - Dancing through the day in Boston Ballet’s public school initiative: Arielle Flaherty, Tufts Daily
Feature - Lisa Macuja Elizalde (Philippine ballet icon)’s Tik Tok Renaissance: Pola del Monte, Vogue
News - Cincinnati Ballet announces 2024-25 season: Staff, Cincinnati.com
News - Sacramento launches 2nd annual series: Stephi Wild, Broadway World
News - Carlos Acosta announces Nutcracker in Havana (for Acosta Danza): Maggie Foyer, Seeing Dance
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3 hours ago, FionaM said:
Having been to the Peacock only a week ago for ‘Everyone’s talking about Jamie’ a dance musical, it seemed fine for smaller dance productions to me. And ENB are using it for their children-friendly production of Swan Lake.
could you explain why you think it’s not so suitable for dance/ballet?
In the past I've seen The Trocks, Northern Ballet (R&J as it happens) and the Royal Danish Ballet group a few years ago. I didn't see any of the dancers having an issue with the stage.
There was a jolly nice atmosphere there on the occasions I have been.
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This popped up on my FB timeline this morning. I believe LVBS has run boys' workshops before so worth keeping an eye out.
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Links - Thursday 06 March, 2024
Review - New York City Ballet, The Four Temperaments, Liebeslieder Walzer, New York: dancelog.nyc
Review - Philadelphia Ballet, Giselle, Philadelphia: Lewis Whittington, Culture Vulture
Review - Terminus Modern Ballet Theatre, mixed programme, Atlanta: Robin Wharton, Arts ATL
Review - Andros Zins-Browne, duel. H, New York: Elinor Krichmar, Brooklyn Rail
Review - Ballet Hispánico, mixed programme, Great Barrington: Fiona Scruggs, Berkshire Eagle
Preview - San Francisco Ballet, Dos Mujeres (double bill), San Francisco: Stephi Wild, Broadway World
Preview - Sydney Dance Company, Ascent (double bill), London: Graham Spicer, Gramilano
Preview - Dance top 5, New York: Sharon Hoyer, New City Stage
Preview - Batsheva Dance Company, Appropriation, Tel Aviv: Ori Lenkinski, Jerusalem Post
Preview - KVN Dance Company, Coppelia, UK Tour: Vera Liber, British Theatre Guide
Video Report - Grand Kyiv Ballet performs Giselle in Chicago: Courtney Sink, NBC 5 Chicago
News - Iana Salenko, Staatsballett Berlin, becomes “Berlin Chamber Dancer”: Staff, Dance for You Magazine
News - Choreographers And Composers For Mcnicol Ballet Collective's Compositions & Configurations Creative Residency Announced: AA Cristi, Broadway World
Feature - The Work in Progress: Tess Michaelson, Brooklyn Rail
Feature - Beauty of ballet meets power of powwow in Alberta: Staff, Calgary Herald
News - Desertland Entertainment Announces the Inaugural Ballet Championships of America – A New Era in Ballet Competitions: Staff, Globe and Mail
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Press Release
Wednesday 6 March 2024
Choreographers and Composers for McNicol Ballet Collective’s Compositions & Configurations creative residency announced
McNicol Ballet Collective is proud to announce the successful applicants for its inaugural Compositions & Configurations creative residency, taking place from 15 - 20 July 2024 at DanceEast.
Chosen from over 200 applicants, the cohort features three composers and three choreographers who will be paired together to explore original music and choreographic concepts during a week-long studio residency with McNicol Ballet Collective’s professional dancers and live musicians.
Compositions & Configurations also offers pre-residency meetings and workshops, guest speaker sessions, and mentoring and support from a dramaturg throughout the creative process. The residency concludes with an informal sharing of the artist’s work to an invited audience and industry professionals.
Nandita Shankardass trained at The Royal Ballet School and is a Clore emerging leader, artist in residence with Rambert and a Ballet Futures facilitator with English National Ballet. She has previously choreographed for Ballet Black, Ballet Zurich’s Junior Ballett company and Compañia Nacional de Danza.
Nandita will work with genre-bending composer Kerrin Tatman, who writes music spanning classical, folk and musical theatre. Their recent year-long residency at The Glasshouse International Centre for Music saw the premiere ofRequiem for a Fading World, chosen as The Crack Magazine’s Album of the Month.
Former dancer with Rambert and Matthew Bourne’s New Adventures, Otis Carr has previously created works for Rambert’s season of new choreography at The Place, Moveo Dance Company, The Royal Ballet’s Draft Works and Trinity Laban’s BA1 Students’ Performance Project.
Otis will be paired with David Westcott, a composer and arranger for film, TV, ballet, and dance. He previously composed the score for Ballet Cymru’s Beauty and The Beast as well as for works by The National Dance Company of Wales and London Symphony Orchestra.
A former Young Associate at Sadler’s Wells, Christopher Thomas has choreographed works for the Main Stage and Lilian Baylis Studio at Sadler’s Wells. He is currently working on his first full length creation that will feature The Royal Ballet’s Joseph Sissens in the lead role.
Christopher will collaborate with composer Beatrice Ferreira who draws on traditional and contemporary materials to destabilise our perceptions of extra-musical sound. Her works have been performed at the Barbican Centre and Snape Maltings, and she is currently Artist-in-Residence for the label Nonclassical.
Following the residency, McNicol Ballet Collective plans to commission at least one choreographer and composer to further develop their work and present it as part of the Company’s 2024/2025 season.
Founded by Andrew McNicol, “one of the UK’s most talented young choreographers” (Bachtrack), McNicol Ballet Collective (MBC) is committed to creating new and collaborative work with an inspiring collective of artists. MBC commissions adventurous contemporary ballets, innovative dance films and meaningful education projects – strengthening our connection to dance and each other.
In 2023 the Collective presented its second programme, Devotions, to critical acclaim at the Royal Opera House’s Linbury Theatre and on tour in North East England. Andrew’s vision for the Collective is to create an enduring and distinct repertoire that will excite audiences, empower artists, and explore the full potential of contemporary ballet today.
Compositions & Configurations is supported by Charles Holloway, the Idlewild Trust, Leche Trust, DanceEast, McNicol Ballet Collective, and those who wish to remain Anonymous.
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3 minutes ago, Dawnstar said:
Back to Swan Lake, am I right in thinking this is the fourth first night that Nunez & Muntagirov have done, every one for this production? I know they are two of the best dancers in the classics but I wonder if by now the critics are wishing that they could see someone else?!
Many years ago Chi Cao (who had been a principal at BRB for at least 3 years having risen through the company) was nominated for a best newcomer award at the Dance Critics' Circle awards. He had never danced a press night prior to that year's Swan Lake, so the critics had never seen him dance in a leading role!
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Hello @Dance_taxi and welcome to the Forum!
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Press Release
Tuesday 5 March 2024
Full casting announced for KVN Dance Company’s UK tour of Coppelia
KVN Dance Company is thrilled to announce the full cast for Kevan Allen’s magical reimagined version of the classical ballet Coppelia which tours to 16 venues across the UK from 10 April - 30 June 2024.
The eclectic cast of 12 dancers come from a variety of training and professional backgrounds, echoing the production’s use of different dance styles to make the story relevant to audiences today.
Performing in the role of Dr Coppelius is Micheal Downing, a dancer with a wide range of experience on stage and screen who is set to appear in the new Apple TV series The Completely Made-Up Adventures of Dick Turpin. In the title role of Coppelia is Rosie Southall who has worked with Matthew Bourne’s New Adventures and Wayne McGregor. Both Micheal and Rosie reprise their roles following the productions debut in 2021.
Dancing in the role of Swanhilda is Ellie Fergusson, who won the BBC’s inaugural The Greatest Dancer competition and has performed on tour in Oti Mabuse - I Am Here and with Ballet Central. In the role of Franz is Zach Parkin who has danced with Matthew Bourne’s New Adventures and appeared in West End productions including A Streetcar Named Desire and ABBA Voyage.
They are joined by Alexander Fadayiro (Ballet Black), Laura Braid (Cabaret in the West End), Alex Moore (Magic Mike’s Last Dance), Celeste Williamson (For Tonight in the West End), Taz Hoesli (ZooNation Youth Company), Oliver Imeson (2020: The Musical), Sophie Tierney (Hansel & Gretel at the Royal Opera House), and Ellis Rose Rother (Spotlights: A New Musical).
Coppelia looks to honour the classical ballet while expanding on the story, exploring the eccentric toy maker, Dr Coppelius’ intent behind creating a life-size clockwork doll, Coppelia, and the impact this has on his relationship with the community of villagers and on Swanhilda’s relationship with her fiancé, Franz.
Fusing classical ballet with contemporary dance and hip-hop, Coppelia is choreographed by renowned director and choreographer Kevan Allen, who has created work on stages around the world for artists including Lord Andrew Lloyd Webber, Sir Trevor Nunn, and Kylie Minogue.
The production is set to an imaginatively rescored version of the classical Delibes score, by Rickard Berg, nominated for the Critics’ Circle National Dance Award for Outstanding Creative Contribution, and sees costumes and styling by Wendy Olver, sets by West End designer Justin Williamsand lighting by Olivier Award-winner Mike Robertson.
Coppelia tours to Leicester Curve (10 April), The Elgiva Theatre, Chesham (11 April), Lichfield Garrick Theatre (16 April), Towngate Theatre, Basildon (17 April), Corn Exchange Newbury (18 April), Queens Theatre, Barnstaple (19 April), Marylebone Theatre (24 - 27 April), Lancaster Grand Theatre (19 June), Albany Theatre, Coventry (20 June), Storyhouse, Chester (21 June), Darlington Hippodrome (22 June), Watersmeet Theatre, Rickmansworth (25 June), Kings Lynn Corn Exchange (26 June), Marina Theatre, Lowestoft (27 June), Exeter Northcott (29 June) and Worthing Connaught Theatre (30 June).
Listings Information
KVN Dance Company presents
Coppelia
Leicester Curve
Wednesday 10 April 2024
The Elgiva Theatre, Chesham
Thursday 11 April 2024
Lichfield Garrick Theatre
Tuesday 16 April 2024
Towngate Theatre, Basildon
Wednesday 17 April 2024
www.towngatetheatre.co.uk/coppelia/
Corn Exchange Newbury
Thursday 18 April 2024
www.cornexchangenew.com/event/coppelia
Queens Theatre, Barnstaple
Friday 19 April 2024
www.queenstheatre-barnstaple.com/event/coppelia/
Marylebone Theatre, London
Wednesday 24 – Saturday 27 April 2024
Lancaster Grand Theatre
Wednesday 19 June 2024
www.lancastergrand.co.uk/shows/coppelia/
Albany Theatre, Coventry
Thursday 20 June 2024
www.albanytheatre.co.uk/shows/coppelia/
Storyhouse Chester
Friday 21 June 2024
www.storyhouse.com/whats-on/kvn-dance-company-coppelia/
Darlington Hippodrome
Sunday 23 June 2024
www.darlingtonhippodrome.co.uk/whats-on/KVN-Dance-Company-Presents-Coppelia
Watersmeet Theatre, Rickmansworth
Tuesday 25 June 2024
Kings Lynn Corn Exchange
Wednesday 26 June 2024
www.kingslynncornexchange.co.uk/
Marina Theatre, Lowestoft
Thursday 27 June 2024
www.marinatheatre.co.uk/whatson-event/the-kvn-dance-company-production-of-coppelia/
Exeter Northcott
Saturday 29 June 2024
Worthing Connaught Theatre
Sunday 30 June 2024
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Northern Ballet - Romeo and Juliet (Gable/Moricone) - on tour
in Performances seen & general discussions
Posted
Casting was announced about a week in advance but (as recently with BRB) was changing by the day. I believe there have been some bugs flying around and there may be a couple of injuries.