Jan McNulty

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

Preparing for the links tomorrow I came across a featurette about Wilton's Music Hall. As several members have mentioned how atmospheric the venue is when they have seen performances there I thought I would post the link to the article here: http://londonist.com/2016/07/behind-the-scenes-at-wilton-s-music-hall

That's lovely Nina! I will include it in tomorrow's links for wider circulation too. Thanks for posting.

My friend and I spent a very happy couple of hours going around this exhibition today. I would say that you don't have to be a fan of The Jam to enjoy the exhibition (my friend isn't). Apart from some fantastic items such as the guitars and suits on display and lots of private photographs and memorabilia what I really liked about the exhibition is the way the context is set up. There are television screens placed in the rooms showing news items from the period 1976-1982 and newspapers and suchlike. It was also fascinating for my friend and I (we used to work in the record department in Rushworth and Dreaper - a famous Liverpool music shop) was seeing the vinyl records and the album covers (we have lost a lot with CDs and downloads!). It really is a fascinating picture of the social history of the time. I also hadn't realised what a huge fan of the Beatles that Paul Weller is. There are a couple of places where you can sit down and watch film of the band in performance. This is a wonderfully well curated exhibition (curated by Paul Weller's sister) and is most definitely worth a couple of hours of your time if you are in Liverpool between now and the end of September. It is on at the Cunard Building on the Pier Head so is very handy for all the other waterfront attractions. Liverpool Echo preview: http://www.liverpoolecho.co.uk/whats-on/whats-on-news/sneak-peek-jam-exhibition-cunard-11546839 Ticket details: http://www.nicetimeinc.co.uk/tickets/ You can pre-book for a time slot but we just turned up at the venue and had no problem getting in. It's big enough that although there seemed to be a lot of people there we didn't feel crowded.

Links - Wednesday 27 July, 2016 Reviews - Bolshoi Ballet, Don Quixote, London: Clement Crisp, FT Judith Mackrell, Guardian Jenny Gilbert, Arts Desk Lyndsey Winship, Standard Mark Monahan, Telegraph Neil Norman, Stage Gallery - Foteini Christofilopoulou, DanceTabs Feature - Bolshoi Ballet marks 60th anniversary of landmark London visit: Vera Afdjei, Superior Telegram Review - New York City Ballet, Scherzo Fantastique, Common Ground, Polaris, The Blue of Distance, Ash, Saratoga: Tresca Weinstein, Times Union. Review - Hamburg Ballet & Guests, Nijinsky Gala 2016, Hamburg: Maggie Foyer, Seeing Dance News - Full Cast announced for Matthew Bourne’s The Red Shoes: Marianka Swain, Broadway World Featurette - Hirano, Takada step into Royal Ballet Spotlight: Erika Noguch, Yomiuri Shimbun, Japan News Feature - Alberta Ballet trying to recover from financial misstep: Kate MacNamara, CBC Feature - Rosie Herrera, choreographer: Charles Trainor Jr, Miami Herald Review - Fini Dance Festival, New York: Juan Michael Porter ll, Broadway World Preview - St-Sauveur Arts Festival, St-Sauveur: Victor Swoboda, Montreal Gazette Feature - Omar Humphrey, dancer Verb Ballets: Vince Grzegorek, Cleveland Scene Review - St Petersburg State Ballet on Ice, Swan Lake on Ice, Jerusalem: Ruth Beloff, Jerusalem Post Preview - Blanca Li, Robot, Hong Kong: Sadia Lima, South China Morning Post Review - Miral Kotb, iLuminate, New York: Bob Rizzo, Broadway World

Full casting has been announced for The Red Shoes: http://www.broadwayworld.com/westend/article/Full-Cast-Announced-for-Matthew-Bournes-THE-RED-SHOES-20160726

C&V?

UK PREMIERE Sadler’s Wells Debuts L-E-V OCD LOVE Sadler’s Wells, EC1R 4TN Monday 19 and Tuesday 20 September Performances at 7.30pm Tickets: £18 Ticket Office: 020 7863 8000 or www.sadlerswells.com Sadler’s Wells Debuts offer a chance to discover the work of choreographers new to the Sadler’s Wells stage. This season sees the stars of Israel’s thriving dance scene, Sharon Eyal and Gai Behar present the UK premiere of their company, L-E-V’s latest work, OCD LOVE on Monday 19 and Tuesday 20 September. Inspired by the poem "OCD" by Neil Hilborn, who suffers from obsessive-compulsive disorder, OCD LOVE examines love that always misses and lovers out of sync. Like something that is full and intact, but has many holes in it. Eyal and Behar explore that vacant space, viewing themes of the heart through the lens of obsessive-compulsive disorder, with live music from the company’s third creative, Sound Artist Ori Lichtik. Performed to deep, pulsing beats and tribal grooves the music for OCD LOVE, and all the work Lichtik has created with the company, is produced alongside and throughout the choreographic process, reflecting the dancers’ movements. In turn the choreography is inspired by the tone and pace of the percussive sounds and rhythms. Each live show is then improvised with fresh layers of digitally manipulated effects, creating a unique sound experience for every event. L-E-V launched in 2013 with a pledge to move and engage a diverse spectrum of new audiences and join together movement, music, lighting, fashion, art and technology. The work could equally be seen at a techno club or at an opera house. Eyal was born in Jerusalem and danced with the Batsheva Dance Company from 1990 until 2008. She served as Associate Artistic Director from 2003 - 2004 and House Choreographer of the company from 2005 - 2012. Behar initially started as an events producer and was a leading part in the Tel Aviv nightlife scene as well as a curator of multidisciplinary art events from 1999 until 2005. Lichtik is a multifaceted musician, drummer and creative DJ and is one of the founding fathers of the techno scene in Israel. He has created and produced musical productions, techno raves and various other music and performance events since 1996. Free post-show talk: Monday 19 September 2016 Video link: http://www.sadlerswells.com/whats-on/2016/l-e-v-ocd-love/ Notes to Editors: Listings information UK PREMIERE Sadler’s Wells Debuts L-E-V OCD LOVE Sadler’s Wells, EC1R 4TN Monday 19 and Tuesday 20 September Performances at 7.30pm Tickets: £18 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 very 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 90 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 and an Associate Company and nurtures the next generation of talent through hosting the National Youth Dance Company, its Summer University programme, Wild Card initiative and its New Wave Associates. 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.

BRB does a lot of outreach work with schools in the areas to which they tour. Over many years of visiting Sunderland I have been made aware of school groups attending a performance who have had workshops with BRB. As far as I am aware that is also the case in Plymouth and Salford. I believe all our major touring companies (and possibly the smaller companies) have outreach activities in the areas to which they tour. How could BRB resource a Cinderella Dreams initiative outside their own home city? The company has finite resources and, of course, has to produce performances as advertised for ticket-buying ballet-watchers.

Marni Nixon, who dubbed the singing voices of many actresses in major Hollywood films, has passed away at the age of 86. Condolences to her family and friends. http://www.bbc.co.uk/news/entertainment-arts-36883629 http://www.nytimes.com/2016/07/26/arts/music/marni-nixon-singer-soprano-dies-86.html?_r=0 https://www.yahoo.com/movies/marni-nixon-dies-at-86-from-marilyn-monroe-to-180232336.html

The Editor (Emma Kauldhar)'s email address is listed in the magazine as: edit@danceeurope.net The advertising manager's email is listed as: ads@danceeurope.net

I enjoyed the Strictly prom on TV. Gavin is a terrific conductor (IMHO)!

Hello Heyim and welcome to the Forum! Are you starting ballet as a young student or an adult?

I was really interested to see Ratmansky's take on Cinderella and am pleased to say that I thought it was terrific. I liked the fact that neither the stepmother nor the stepsisters were too horrible to Cinderella and that actually Cinderella was quite spunky and stood up to them within the limits of being the household drudge. The lack of a transformation scene involving cute animals and a pumpkin turned into a coach did not bother me in the least. On the whole I liked the set and costumes but I wasn't too sure about the ones for the planets. The two stars pointy tutus were terrific though! I loved the metronomes! OK, I know they weren't clocks but they matched the marching of the seconds towards midnight. Ratmansky has produced some gorgeous choreography in this production - the final pdd was beautiful and moving and I loved the very quiet ending. There were other sections that moved me too - when the fairy godmother reproduced the mother's portrait all over the walls and when the Prince walked past Cinderella when she was a servant without even noticing her. There were plenty of moments for laughs too. I loved Amber Scott as Cinderella. She was really spunky but then seemed absolutely crushed after the evening with the Prince ended with him not recognising her in her real clothes. Ty King-Wall was an elegant but somewhat playboy Prince till he fell in love with Cinderella. I enjoyed both the Australian Ballet productions shown in London this year and I hope it is not too long before they grace us with their presence again.

Well you've got me going now!!! I googled photographs of her and I agree that in a number (but not all) of the photographs I looked at it looked as though she was wearing some sort of toe covering that came over the edge of her shoes and thicker than normal ribbons. Yesterday it looked to me that she was wearing footless tights and that you could see her bare foot below the ankle ribbons. Whatever it was, it did not affect the quality of her performance for me and I thought she was a delight as Cinderella.

Agree with what you say TP. I suspect that SWRB would no longer exist if Sir Peter hadn't moved the company to Birmingham. He certainly put BRB and Birmingham firmly on the ballet-watchers' map!

I thoroughly enjoyed this afternoon. More later. Nice meeting up with Trog (who was also wearing his badge, as was I), Terpsichore and Michelle S too. Aileen, both the versions by NB (both with scores by the wonderful Philip Feeney) have a different take - neither has planets, stars, woodland folk etc although David Nixon's version has a magician as the Fairy Godfather. I love both versions (and would kill to see Christopher Gable's again).

But if they never returned they may still not go back so the auditorium may well be empty!

I mentioned on the Swan Lake thread that I first saw this company at ROH in 1988 or 89. It was a performance of Sleeping Beauty danced by Lisa Bolt and Steven Heathcote! It's a kind of full circle really and great to see him still involved with the company.

BRB has announced its latest round of taster classes, which will be held during the company's Autumn tour to Salford, Birmingham, Sunderland, Sadler's Wells and Plymouth. Details here: https://www.brb.org.uk/up-close/dance-education/ballet-training

There's a short video of the performance last year and without looking too closely it looked like Dane Hurst.

Here's a link to the Gallery event page: http://www.dulwichpicturegallery.org.uk/whats-on/special-events/2016/september/exodus/?gclid=CjwKEAjw5cG8BRDQj_CNh9nwxTUSJAAHdX3fwJRYtn-fnXiFKOfk-K_dMLRld5jFkwj37WbOJ7LelxoCJSrw_wcB

Hello Balletgirl12 and welcome to the Forum! Good luck to your DD.

I'll look out for you Trog!

This is not a review as such but I picked up this article when doing the links this morning: http://ticket.heraldtribune.com/2016/07/16/the-perfect-summer-dance-experience/ For anyone looking for an American experience it may be worth considering for next year.