Jan McNulty

The overall production would probably be improved by the introduction of some bicycles and more British sounding names!

Natalia Osipova Sidi Larbi Cherkaoui / Russell Maliphant / Arthur Pita Tuesday 27 September - Saturday 1 October 2016 Performances: Tues - Sat at 7.30pm Tickets: £12 - £60 Ticket Office: 020 7863 8000 or www.sadlerswells.com “Osipova’s power glinted through… A rare achievement indeed for a ballet star, but it looked so right.” Sunday Express on Silent Echo Following the summer World Premiere, multi-award-winning ballerina Natalia Osipova returns to Sadler’s Wells with the triple bill of work created for her by renowned contemporary choreographers Sidi Larbi Cherkaoui, Russell Maliphant and Arthur Pita from 27 September - 1 October 2016. Prior to its London dates, the production visits the Festival Theatre, Edinburgh as part of the 2016 Edinburgh International Festival from 12 - 14 August 2016. From 10 - 12 November the production visits New York City Centre, marking its US Premiere. Once again, Osipova will be joined on stage by former Royal Ballet dancer Sergei Polunin. Natalia Osipova is a Principal with The Royal Ballet. She joined the company in 2013 after her guest appearance in Swan Lake, and has performed lead roles in Giselle, Don Quixote, The Nutcracker, La Fille mal gardée and DGV: Danse à grande vitesse. She has created roles in Wayne McGregor’s Tetractys and Woolf Works, and Alastair Marriott’s Connectome. She started her formal ballet training at the age of eight, before joining the Bolshoi Ballet at the age of 18. She has also danced with American Ballet Theatre and Mikhailovsky Ballet. The first of three works performed by Osipova is Qutb, choreographed by Sadler’s Wells Associate Artist and Artistic Director of Royal Ballet of Flanders Sidi Larbi Cherkaoui. Qutb, a trio for Osipova and two male dancers, Jason Kittleberger (Cedar Lake Contemporary Dance Company) and James O’Hara (recently seen in Bolero at Paris Opera Ballet with Marina Abramovitch and long term collaborator with Sidi Larbi Cherkaoui). Qutb, an exploration of unknown and dangerous territory, with the three performers, each coming from different dance or movement languages, connect and communicate with one another. The work features Cherkaoui’s trademark alchemy of movement vocabularies, musical genres and cultures with lighting designed by recent Knight of Illumination winner Fabiana Piccoli and a soundscape designed by Felix Buxton from Basement Jaxx. The work also features costume designs by Kimie Nakano, a frequent collaborator with Akram Khan Company. Cherkaoui has created more than 20 works including zero degrees, Babel, Sutraand m¡longa and is acknowledged as one of Europe’s most exciting choreographers. He continues to work with a variety of theatres, opera houses and ballet companies from around the world including Dutch National Ballet, Paris Opera Ballet, GöteborgsOperan Danskompani, Bunkamura Theatre Cocoon in Tokyo and Stuttgart Ballet. Cherkaoui received international acclaim for his choreography in Joe Wright’s feature film Anna Karenina (2012). His work Fractus, with his company Eastman will receive its UK premiere at Sadler’s Wells this Autumn. The second work in the programme is Russell Maliphant’s Silent Echo, a new duet for Osipova and Sergei Polunin. The piece features lighting by Maliphant’s long-time collaborator and Knight of Illumination award-winner Michael Hulls. Hulls, a Sadler’s Wells Associate Artist, also received an Olivier Award for Outstanding Achievement in Dance in 2014. The new work features a soundtrack from UK composer and sound artist Scanner. Maliphant is one of the longest-standing Associate Artists of Sadler’s Wells. He trained at the Royal Ballet School and graduated into Sadler's Wells Royal Ballet Company before leaving to pursue a career in independent dance. As a dancer he worked with companies such as DV8 Physical Theatre, Michael Clark Company, Laurie Booth and Rosemary Butcher. He also studied anatomy, physiology and bio-mechanics. He became certified as a practitioner of the Rolfing Method of Structural Integration in 1994, which has subsequently informed both his teaching and choreographic work. Throughout his career Maliphant has set works on renowned companies and artists including: Sylvie Guillem, Robert Lepage, The Ballet Boyz, Lyon Opera Ballet, Ricochet Dance Company, CobosMika, The Batsheva Ensemble, and Ballet de Lorraine. He has been the recipient of several awards including two Olivier Awards, a Critics’ Circle National Dance Award for Best Choreography (Modern) and a South Bank Show Award. The final part of the evening sees a second duet for Osipova and Polunin from Royal Opera House regular Arthur Pita. In Run Mary Run, Pita crafts a dark, comedic story for the pair, highlighting Osipova’s natural gift for acting. The work features a soundtrack from The Shangri-La’s, The Crystals and David Lynch, mixed by Pita’s long-time collaborator Frank Moon. Pita and Osipova previously worked together on Facada which was seen at the London Coliseum in 2014 as part of Solo for Two and featured Osipova dancing with Ivan Vasiliev. Pita has also choreographed movement for plays, operas and musicals, including Women Beware Women at the National Theatre, Becky Shaw at the Almeida and La Bohème and Show Boat at the Royal Albert Hall. His production of The Little Match Girl received rave reviews at its premiere in 2014, and returned to Sadler’s Wells’ Lilian Baylis Studio for the 2015 Christmas season. Earlier in 2016, Pita premiered new work Cristaux, part of a triple bill for Ballet Black at the Barbican. In March 2017 Arthur Pita will premiere new work for San Francisco Ballet. A Sadler's Wells Production Notes to Editors Listings information: Natalia Osipova Sidi Larbi Cherkaoui / Russell Maliphant / Arthur Pita Sadler’s Wells, London Tuesday 27 September - Saturday 1 October 2016 Performances: Tues - Sat at 7.30pm Tickets: £12 - £60 Ticket Office: 020 7863 8000 or www.sadlerswells.com Additional tour dates: Festival Theatre, Edinburgh Friday 12 - Sunday 14 August 2016 Performances: Fri - Sun at 7.30pm Ticket Office: 0131 473 2000 or www.eif.org.uk New York City Centre Thursday 10 - Friday 12 November 2016 Performances: Thur - Sat at 8pm Ticket Office: 001 212 581 1212 or www.nycitycentre.org ABOUT NATALIA OSIPOVA Russian dancer Natalia Osipova is a Principal of The Royal Ballet. She joined the Company as a Principal in autumn 2013, after appearing as a Guest Artist the previous season as Odette/Odile (Swan Lake) with Carlos Acosta. Her roles with the Company include Giselle, Kitri (Don Quixote), Sugar Plum Fairy (The Nutcracker), Lise (La Fille mal gardée), Titania (The Dream), Juliet, Tatiana (Onegin), Manon, Natalia Petrovna (A Month in the Country) and roles in Serenade, DGV: Danse à grande vitesse and Tchaikovsky Pas de deux. She has created roles in Wayne McGregor’s Tetractys and Woolf Worksand Alastair Marriott’s Connectome. Osipova was born in Moscow and began dancing at the age of five. Aged eight she joined the Mikhail Lavrovsky Ballet School. From 1995 to 2004 she trained at the Moscow State Academy of Choreography and on graduating entered the corps of the Bolshoi Ballet, where she was promoted to Principal in 2010. Her repertory there included Kitri (Don Quixote), Giselle, Nikiya and Gamzatti (La Bayadère), La Sylphide, Esmerelda, Princess Aurora (The Sleeping Beauty) and Swanilda (Coppélia). In 2011 she left the Bolshoi to join the Mikhailovsky Ballet as a Principal. Osipova has appeared as a guest artist with companies around the world. In March 2012 she became a Principal of American Ballet Theatre, where she created the title role in Alexei Ratmansky’s The Firebird. Her awards include Golden Masks for her performances in Twyla Tharp’s In the Upper Room (2008) and La Sylphide (2009), Critics’ Circle National Dance Awards (Best Female Dancer, 2007 and 2010) and a Benois de la Danse Award (Best Female Dancer, 2008). ABOUT SADLER’S WELLS Sadler's Wells is a world-leading dance house, committed to producing, commissioning and presenting new works and to bringing the best international and UK dance to London and worldwide audiences. Under the Artistic Directorship of Alistair Spalding, the theatre’s acclaimed year-round programme spans dance of every kind, from contemporary to flamenco, Bollywood to ballet, salsa to street dance and tango to tap. Since 2005, it has helped to bring over 100 new dance works to the stage and its award-winning commissions and collaborative productions regularly tour internationally. Sadler’s Wells supports 16 Associate Artists, three Resident Companies, an Associate Company and two International Associate Companies. It also nurtures the next generation of talent through its New Wave Associates and Summer University programmes, its Wild Card initiative and hosting of the National Youth Dance Company. Located in Islington, north London, the current theatre is the sixth to have stood on the site since it was first built by Richard Sadler 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 all having started at Sadler’s Wells. Sadler’s Wells is an Arts Council National Portfolio Organisation and currently receives approximately 10% of its revenue from Arts Council England.

What an amazing experience Frank. Thanks for telling us about it. I can't wait for more of your bird tales. The most amusing thing I have seen on the lake near where I live was a flotilla of cormorants swimming around the edge of the lake - about 15 of them. Occasionally a couple would go under to see if there was anything down there but always came back up in their own place in the flotilla. I saw the flotilla several times at the start of this year.

Yes Alison, I feel quite deflated. I was anticipating that the London Olympics would be a dreadful anti-climax but in reality it was a wonderful experience. We were glued to the television from the moment we got up to the moment we went to bed. I don't know how Rio will work because of the time difference. I'll still be watching though.

There have been a few threads about stretching and splits. There may be something of use in them: http://www.balletcoforum.com/index.php?/topic/11812-hamstring-flexibility/?hl=splits http://www.balletcoforum.com/index.php?/topic/10183-box-split-stretches/?hl=splits http://www.balletcoforum.com/index.php?/topic/12313-stretching-at-home/?hl=splits#entry167421

This is a hard one to answer. The RB and BRB are the heritage ballet companies of the UK and, as well as introducing new works they have, IMHO, a duty to maintain the heritage. I believe that can best be done by maintaining a continuity of directorship. However, when directors have to change for whatever reason I also believe that the companies should look to maintain a continuity (if possible) through using people with a direct link to the company. David Bintley's credentials, for me, were impeccable when he was appointed AD on Sir Peter Wright's retirement. I first started watching ballet just before Peter Schaufuss took over as AD of London Festival Ballet (now ENB) and they were the company I first started watching. I absolutely adored the rep they did in those heady years but gradually as they moved to doing more and more performances of the usual suspects on tour I started to lose interest in them. This happened through the directorships of the three ADs who followed him. I have become more interested in the company again since Tamara Rojo took over as AD and introduced some different productions and mixed programmes. How much of the rep in the "boring years" was due to financial constraints I don't know - perhaps the ADs wanted to be more exciting but couldn't. I have seen 4 ADs of Scottish Ballet since Peter Darrell passed away. I know that the Scottish Arts Council wanted to turn the company into a contemporary one but choosing Robert North as AD did not cause that to happen! With each successive AD, however, the style has changed. Does Scottish Ballet now have a recognisable style? Robert de Warren was the AD when I first started watching Northern Ballet but I have little experience of the breadth of the repertoire from his time. I know from the book that was produced for an anniversary that listed all the rep the company had produced that it had had a very varied past with many short and significant ballets such as Jooss' The Green Table. Within about 3 years of Christopher Gable's appointment as AD the entire rep had been changed and Gable had firmly stamped his ideals of ballet theatre on the company. Christopher Gable only choreographed one production for the company - Cinderella - but for most of his tenure he co-produced with AAD Michael Pink. The current incumbent, David Nixon, again largely changed the rep within 3 years BUT his ideals are very similar to those of Christopher Gable so that has kept some feeling of continuity. Even with the other choreographers, such as Cathy Marston, that he has commissioned those ideals of narrative ballet using dance actors are still there. I do not know what will happen when David Nixon decides it is time to step aside. One question that must face any incoming AD of a company other than RB and BRB is how much of the existing rep they can still use. For example, if existing works by outside choreographers had been brought in, are the performing rights still held by the company or must they be re-negotiated. LFB/ENB introduced me to the joys of ballet-watching via a performance of Onegin, which they have not now performed since the early 90s. I understand, for example, that Cranko's ballets are very expensive to mount so would the new AD choose to do that or choreograph something himself or commission a new work or take on an established but cheaper to mount work? Would the incoming incumbent be allowed to mount past productions, depending on ownership and the relationship between the owner and the company? In these financially straitened times I suppose companies feel that they must keep up with what they know will put bums on seats but for how long will seasoned ballet-watchers put up with this? Sorry for the ramble.

Best wishes jillykins. I hope the chemo is not too arduous and that you can get to the performances you have booked.

I'm so sad to hear this news Jane. Sincere condolences to her family and friends at this sad time.

Links - Sunday 31 July, 2016 Reviews - Bolshoi Ballet, Swan Lake, London: Hanna Weibye, Arts Desk Mark Monahan, Telegraph Review - Bolshoi Ballet, Don Quixote, London: Sarah Crompton, Guardian Review - New York City Ballet, Jewels, Saratoga: Jay Rogoff, Saratogian Reviews - New York City Ballet, Serenade mixed programme, Saratoga: Jay Rogoff, Saratogian Tresca Weinstein, Times Union Review - New York City Ballet, Gold Gala, Saratoga: Jay Rogoff, Saratogian Feature - Cameron Grant, pianist NYCB: Travis Clark, Saratogian Reviews - National Ballet of Canada, The Winter’s Tale, New York: Gia Kourlas, NY Times Mary Cargill, Danceview Times Feature - Irina Kolesnikova: Louise Gannon, Daily Mail Reviews - Wendy Whelan, Brian Brooks, Brooklyn Rider, Restless Creature, Jacob’s Pillow: Deborah Jowitt, Arts Journal Ken Ross, Mass Live Gallery - Ballet Rakatan, Vamos Cuba!, London: Dave Morgan, DanceTabs Review - Janice Garrett & Charles Moulton, Speak, Angels, San Francisco: Allan Ulrich, SF Chronicle Review - RAWdance, Double Exposure, San Francisco: Claudia Bauer, DanceTabs Review - Sarasota Contemporary Dance, In the Round, Sarasota: Carrie Seidman, Sarasota Herald Tribune Review - Jean Abreu Dance, Labirinto (A Thread), London: Lynette Halewood, DanceTabs Review - Shieldwall, The Family of Man, Los Angeles: Jeff Slayton, See Dance Review - Newsies, Chicago: Hedy Weiss, Chicago Sun Times

Here's a thread from a couple of years ago: http://www.balletcoforum.com/index.php?/topic/5051-dance-schools-in-manchester/?hl=centrepointe#entry62555

The tickets are already on sale! It will be on at the Dominion. https://www.nederlander.co.uk/whats-on/american-in-paris

Hello Peccopa and welcome to the Forum! Thanks for that useful tip.

Nitin Sawhney With special guests Sébastien Ramirez and Honji Wang Royal Albert Hall, SW7 Wednesday 2 November 2016 Performance: 7.30pm Tickets: £25 - £60 Ticket Office: 020 7589 8212 or www.royalalberthall.com / 020 7863 8000 or www.sadlerswells.com Acclaimed multi-instrumentalist and composer Nitin Sawhney will perform a one-off show at the Royal Albert Hall on Wednesday 2 November featuring music from his new album Dystopian Dream. For this unique performance Sawhney is accompanied by singer Joss Stone and a host of other special guests, including hip hop duo Sébastien Ramirez and Honji Wang performing new, specially-commissioned choreography, in the first ever co-production between the Royal Albert Hall and Sadler’s Wells. Sawhney, a Sadler’s Wells Associate Artist, has collaborated with the likes of Paul McCartney, Sting, Anoushka Shankar and Ellie Goulding, creating a succession of distinctive, groundbreaking works – and November’s concert may be his most ambitious and remarkable yet. Lucy Noble, Director of Events at the Royal Albert Hall, said: “Nitin Sawhney is a phenomenon and a true original – a producer, songwriter, DJ, multi-instrumentalist and orchestral composer with a truly unique musical voice. He is, simply, incomparable. This special, one-off show will bring his latest vision to the world’s most famous stage in truly arresting fashion, fusing music and dance for what promises to be a truly unforgettable event.” Sadler’s Wells Artistic Director and Chief Executive Alistair Spalding said: “I am delighted to be co-producing this performance by our Associate Artist Nitin Sawhney with the Royal Albert Hall. Nitin is an eclectic creative talent and his latest album Dystopian Dream further demonstrates his versatility and virtuosity as a composer, musician and producer. It is also exciting that talented dancers and choreographers Sébastien Ramirez and Honji Wang are performing as part of the show. The combination of their movement and Nitin’s music make this an evening not to be missed.” Sawhney’s work in theatre and dance includes the scores for Complicite’s A Disappearing Number and Akram Khan’s Zero Degrees, both of which won Olivier Awards, with the latter earning him a New York Performance and Dance Award for best score. Other collaborations with Akram Khan include Bahok for the Royal Ballet of China; Vertical Road; and iTMOi - part of the Rite of Spring centenary celebrations at Sadler’s Wells. He also worked with Sidi Larbi Cherkaoui on a Sadler’s Wells Production based on the life of Manga artist and animator, Tezuka. Sawhney has also created work for the immersive Sadler’s Wells Production No Body, which receives its world premiere in June; a multi-installation experience which combines all the elements of a successful dance performance – lighting, sound, projection – but without the physical presence of dancers. He has made three previous headline appearances at the Royal Albert Hall, last selling out the venue in 2014, as well as featuring in the BBC Proms. The November concert marks Sébastien Ramirez and Honji Wang’s Royal Albert Hall debut. French hip hop choreographer and b-boy Ramirez is known for the finesse and emotional impact of his dance style. He works worldwide with dancers from different cultural and chorographical backgrounds. Wang is a choreographer and dancer born and raised in Germany by Korean parents, her style rooted in hip hop with influences of martial arts and ballet. She studied ballet for 10 years in Frankfurt before dedicating herself to the hip hop techniques of b-girling and newstyle, as well as working in contemporary dance. Together, their urban dance roots have grown into a unique style blending hip hop with contemporary influences, with nods to ballet and martial arts. The duo’s choreographic language is often referred to as urban Tanztheater and has won many accolades, including the Outstanding Performers Award at the Bessies for their appearance at Breakin' Convention at the Apollo Theater, New York in 2013. Their other awards include the Special Jury Award at Dance Delight in Osaka in 2009, and the 1st Prize and Audience Prize at the International Choreography Competition of Hannover in 2012 for their collaboration AP15. Most recently the pair worked with Breakin’ Convention to present Boardline, a work for six performers at Sadler’s Wells in 2015. Full programme details to be announced. Nitin Sawhney is a Sadler’s Wells Associate Artist A Royal Albert Hall and Sadler’s Wells co-production Notes to editors Listings information Nitin Sawhney With special guests Sébastien Ramirez and Honji Wang Royal Albert Hall, SW7 Wednesday 2 November 2016 Performance: 7.30pm Tickets: £25 - £60 Ticket Office: 020 7589 8212 or www.royalalberthall.com / 020 7863 8000 or www.sadlerswells.com ABOUT ROYAL ALBERT HALL The Royal Albert Hall is the world’s most famous stage. Over the past 145 years, it has hosted everyone from Winston Churchill, Albert Einstein and Edward Elgar to The Beatles, Bob Dylan and Adele. Last year, its breathtaking auditorium presented 388 events by the world’s greatest performers – taking in rock, pop and classical music, dance, films, Cirque du Soleil and even tennis – with the magical setting and inspired artists creating amazing memories for audiences. Opened in 1871 to fulfil Prince Albert’s vision of a central hall to promote the arts and sciences, the Hall is a registered charity that remains true to his founding ambitions within a modern context. It hosts over 400 events a year in its secondary space, the Elgar Room, and beyond, broadening the Hall’s appeal to incorporate younger and more diverse audiences. Its Education & Outreach programme reaches more than 150,000 participants each year, working with schools, young people and the community, as well as other charities such as Music for Youth, as part of its extensive public benefit remit. ABOUT SADLER’S WELLS Sadler's Wells is a world-leading dance house, committed to producing, commissioning and presenting new works and to bringing the best international and UK dance to London and worldwide audiences. Under the Artistic Directorship of Alistair Spalding, the theatre’s acclaimed year-round programme spans dance of every kind, from contemporary to flamenco, Bollywood to ballet, salsa to street dance and tango to tap. Since 2005, it has helped to bring over 100 new dance works to the stage and its award-winning commissions and collaborative productions regularly tour internationally. Sadler’s Wells supports 16 Associate Artists, three Resident Companies, an Associate Company and two International Associate Companies. 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. Located in Islington, north London, the current theatre is the sixth to have stood on the site since it was first built by Richard Sadler 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 all having started at Sadler’s Wells. Sadler’s Wells is an Arts Council National Portfolio Organisation and currently receives approximately 10% of its revenue from Arts Council England.

Yes, I had no difficulty in finding it on Instagram either. If the young man in question is putting his news on social media then it is in the public domain.

Links - Saturday 30 July, 2016 Feature - Irina Kolesnikova: Nick Clark, FT Reviews - Ballet Rakatan, Vamos Cuba!, London: Judith Mackrell, Guardian Graham Watts, London Dance Vera Liber, British Theatre Guide News - Three of the best dance performances this week, London & Edinburgh: Judith Mackrell, Guardian Review - Bavarian State Opera, Les Indes Galantes (Cherkaoui), Munich: Shirley Apthorp, FT Feature with video - Misty Copeland’s grand leap to ballet megabrand: Valerie Block, cnbc Feature - Francisco Serrano, Aud Jebsen Young Dancer 2016/17 Royal Ballet: Carrie Seidman, Sarasota Herald Tribune Review - REDCAT Festival 2016, Day 2, Los Angeles: Jeff Slayton, See Dance Review - Ladysmith Black Mambazo & Handspring Puppet Company, Firebird Reimagined, Philadelphia: Bernard Jacobsen, Seen and Heard International News Feature - Dance in Portland this week: Yamuna Chiarini, Oregon Arts Watch And finally… Feature - The weekly cast party, (dancers letting their hair down): Jacob’s Pillow: Siobhan Burke, NY Times

That price discrepancy is disgraceful Cara. Does a fluctuation in the exchange rate affect the price?

I've added the tag "Associates" to the top of the thread. It's work clicking on it to see earlier threads about various Associates.

Oh, I love it Alison, such a fab mott and bailey!

Links - Friday 29 July, 2016 Review - Bolshoi Ballet, Don Quixote, London: Jade Larine, Bachtrack Preview - National Ballet of Canada, The Winter’s Tale, New York: Ellen Brait, Toronto Globe and Mail Reviews - LA Dance Project, Harbor Me, Three Duets from A Dancer’s World, Helix, On the Other Side, New York: Marina Harss, DanceTabs Andrew Blackmore-Dobbyn, Bachtrack News - Dances Listings 29 July - 04 August, New York: Brian Schaefer, NY Times Review - Maria Vega Dance Company, A Dancer’s Journey, London: Graham Watts, DanceTabs Interview - Clemmie Sveaas – Dancer and New Movement Collective collaborator on their new ‘Collapse – a period drama’: Bruce Marriott, DanceTabs News - Chicago-connected artists win 2016 Princess Grace Awards: Hedy Weiss, Chicago Sun Times Feature - Enrique Cruz DeJesus: Juan Michael Porter ll, Broadway World

Mantic Stain is also being shown in Norwich Castle on 12th August (I bet that will be atmospheric!). There is an article on NB's website which has a small photogallery that shows lots of the rug! https://northernballet.com/linder-sterling-children-of-the-mantic-stain

I've just come across this feature in the Telegraph: http://www.telegraph.co.uk/beauty/tips-tutorials/how-to-style-an-elegant-ballet-bun/

Season of dance favourites at Leeds’ Stanley & Audrey Burton Theatre The Stanley & Audrey Burton Theatre, Leeds has launched a new season of dance for autumn 2016. The theatre will welcome the return of renowned dance companies Ballet Black, James Wilton Dance and 2Faced Dance Company, as well as hosting Phoenix Dance Theatre’s annual home performance and the World Première of Northern Ballet’s new ballet for children. Phoenix Dance Theatre presents Phoenix @ Home from 28 September to 1 October 2016. In celebration of their 35thanniversary the mixed programme will feature classic repertoire, including a revival of their early piece Nightlife at the Flamingo, alongside recent works reflecting their incredible journey to become the UK’s longest standing contemporary dance company outside London. Ballet Black brings their Triple Bill to the theatre on 14 and 15 October 2016. As the centrepiece to an irresistible trilogy of narrative and abstract dance, Christopher Hampson’s Storyville is set to the haunting music of Kurt Weill and tells the story of Nola, a farm girl who falls prey to worldly desires in 1920s New Orleans. The programme also includes two newly devised pieces; To Begin, Begin by Christopher Marney and Cristaux by Arthur Pita. On 2 November 2016 James Wilton Dance returns with Leviathan, a reimagining of Herman Melville’s novel Moby Dick. Following ship captain Ahab, who is hell-bent on capturing the white whale Moby Dick, Leviathan features a blend of athletic dance, martial arts, capoeira and partner-work. The piece will be accompanied by a powerful electro-rock soundtrack by Lunatic Soul. 2Faced Dance Company presents Run on 30 November 2016, a gritty and explosive new triple bill. An explosion of movement, theatre and design, Run will feature commissions by world class choreographers Tamsin Fitzgerald, LenkaVagnerova and newcomer Rebecca Evans, with original music by Angus MacRae and Tomas Vychytil. Northern Ballet’s new ballet for children Goldilocks & the Three Bears will have its World Première at the theatre from24 to 29 October 2016. Following sell-out performances and hugely successful CBeebies TV adaptations of their previous children’s ballets, this latest production is choreographed by Northern Ballet Junior Soloist Nicola Gervasi. Tickets are selling fast, so early booking is recommended. The theatre’s autumn season is an excellent opportunity to see prestigious companies and works by highly acclaimed choreographers in a local intimate setting. Tickets for the autumn season at the Stanley & Audrey Burton Theatre are on sale now and can be booked online at theatreleeds.com, by calling the box office on 0113 220 8008 or in person at the Stanley & Audrey Burton Theatre, Northern Ballet, Quarry Hill, Leeds LS2 7PA. – ENDS – Listings Wednesday 28 September – Saturday 01 October 2016 Phoenix Dance Theatre Phoenix @ Home Performances 7.30pm Tickets £15.00 & Concessions £10.00 Friday 14 & Saturday 15 October 2016 Ballet Black Triple Bill Performances 7.30pm Tickets £15.00 Monday 24 – Saturday 29 October 2016 Northern Ballet Goldilocks & the Three Bears Performances 11.00am, 1.00pm & 3.00pm Fri 28 Oct 11.00am (Relaxed Performance) & 2.00pm Sat 29 Oct 11.00am (Relaxed Performance), 2.00pm & 4.00pm Tickets £6.00 & Children £4.50 Babes in arms (0 – 2 years) £1.00 Wednesday 02 November 2016 James Wilton Dance Leviathan Performance 7.30pm Tickets £12.50 Wednesday 30 November 2016 2Faced Dance Company Run Performance 7.30pm Tickets £12.50 Notes to Editors The Stanley & Audrey Burton Theatre is an intimate studio theatre situated inside the stunning home of Northern Ballet and Phoenix Dance Theatre on Quarry Hill, Leeds. The building was winner of the 2011 National Lottery Award for Best Arts Project. The theatre was named as the best family friendly theatre in Yorkshire in the Netmums Theatre Awards. The theatre also received Best Family Venue, Best Family Event and Best Family Welcome at the 2013 Family Arts Festival Awards. The Stanley & Audrey Burton has signed up to the Family Arts Standards and supports Child Friendly Leeds.

Eastman / Sidi Larbi Cherkaoui Fractus V UK Premiere Thursday 27 and Friday 28 October at 7:30pm Tickets: £12 - £38 Ticket Office: 020 7863 8000 or www.sadlerswells.com Sadler’s Wells Associate Artist Sidi Larbi Cherkaoui returns to perform on stage at the venue for the first time since 2011 in his latest creation Fractus V on Thursday 27 and Friday 28 October 2016. The production, from his company Eastman, is inspired by the writings of American philosopher Noam Chomsky and features an all-male cast of performers, including Cherkaoui himself. Fractus V explores the production and manipulation of information in contemporary society. The work was originally created to mark the 40th anniversary of Tanztheater Wuppertal Pina Bausch. This expanded version of the piece features five dancers, four live musicians and a variety of different stylistic influences, including circus, flamenco, Lindy hop and breakdance. Sidi Larbi Cherkaoui’s debut as a choreographer was in 1999 with Andrew Wale’s contemporary musical Anonymous Society. Since then, he has made more than 20 fully-fledged choreographic pieces and picked up a slew of prestigious awards. Cherkaoui is an Associate Artist at Sadler’s Wells and assumed the role of artistic director at the Royal Ballet of Flanders in 2015. Notable works include Sadler’s Wells productions Sutra - a dialogue with the warrior monks of the Shaolin Temple - and m¡longa, alongside further credits zero degrees with Akram Khan, Dunas alongside flamenco bailaora, Maria Pagés, Play with kutchipudi danseuse Shantala Shivalingappa and genesis生长 with Chinese choreographer Yabin Wang. Since founding his company Eastman in Antwerp in 2010, Cherkaoui created the multiple-award-winning Babel (Words) together with choreographer Damien Jalet and sculptor Antony Gormley. He has also received international acclaim for his choreography in the film Anna Karenina and last year was movement director for Lyndsey Turner's production of Hamlet starring Benedict Cumberbatch at the Barbican Centre. In March 2016, Cherkaoui was conferred an honorary doctorate by the University of Antwerp for his outstanding contribution to contemporary dance. NOTES TO EDITORS Eastman – Sidi Larbi Cherkaoui Fractus V Performances: Thursday 27 and Friday 28 October 2016 at 7:30pm Tickets: £12 - £38 Ticket Office: 020 7863 8000 or www.sadlerswells.com ABOUT SADLER’S WELLS Sadler's Wells is a world-leading dance house, committed to producing, commissioning and presenting new works and to bringing the best international and UK dance to London and worldwide audiences. Under the Artistic Directorship of Alistair Spalding, the theatre’s acclaimed year-round programme spans dance of every kind, from contemporary to flamenco, Bollywood to ballet, salsa to street dance and tango to tap. Since 2005, it has helped to bring over 100 new dance works to the stage and its award-winning commissions and collaborative productions regularly tour internationally. Sadler’s Wells supports 16 Associate Artists, three Resident Companies, an Associate Company and two International Associate Companies. 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. Located in Islington, north London, the current theatre is the sixth to have stood on the site since it was first built by Richard Sadler 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 all having started at Sadler’s Wells. Sadler’s Wells is an Arts Council National Portfolio Organisation and currently receives approximately 10% of its revenue from Arts Council England.

Thanks Sim, I've corrected the link. Must be great aunt squidgy brain striking again!

Links - Thursday 28 July, 2016 Reviews - Bolshoi Ballet, Don Quixote, London: Jann Parry, DanceTabs Zoe Anderson, Independent Feature - Ekaterina Krysanova, Bolshoi Ballet: Lyndsey Winship, Standard Feature - Is Makhar Vaziev changing the Bolshoi?: Jennifer Stahl, Dance Magazine Review - Stuttgart Ballet, Ballett Festwoche, Stuttgart: Gerald Dowler, FT Feature - Yasmine Naghdi: Laura Cappelle, Dance Magazine Review - San Francisco Ballet, mixed programme, Napa Valley: L Pierce Carson, Napa Valley Register Preview - National Ballet of Canada, The Winter’s Tale, New York: Marina Harss, NY Times Reviews - LA Dance Project, Harbor Me, Three Duets from A Dancer’s World, Helix, On the Other Side, New York: Apollinaire Scherr, FT Alastair Macaulay, NY Times Juan Michael Porter ll, Broadway World Q&A - Misty Copeland: Ashley Weatherford, New York Magazine Review - Muscle Memory Dance Theatre, Made in a Day, Dallas: Cheryl Callon, Theater Jones Preview - Post:Ballet, Do Be, San Francisco: Claudia Bauer, SF Chronicle News - NY City Centre announces programming for Vail Dance Festival Remix NYC: News Desk, Broadway World Q&A - Jeremy McQueen, on his new company, Black Iris Project: Shanti Crawford, DanceTabs Review - Wanderlust Dance Project, mixed programme, Dallas: Margaret Putnam, Theater Jones