Jan McNulty

So sorry it hasn't worked out for this year Katymac. Do press them to continue fund raising NOW so that it is not a mad dash and more disappointment next year. Some of our members have given some really good fundraising ideas above.

A couple of points: 1. Have you had a look at the BRB 2016/17 season Floss??? 2. Dancers can and do disappear within BRB. 3. I agree that dancers in small companies tend to get greater opportunities. 4. Thinking about bullet 3 above, should the Royal Ballet be reduced in size to, say, 70 dancers to help give dancers more developmental opportunities? 5. Light the blue touch paper and stand well back!

Film Review: http://www.easyreadernews.com/130777/kind-traitor-british-movie/

Links - Wednesday 29 June, 2016 Reviews - LA Dance Project, On the Other Side, Hearts and Arrows, Harbor Me, London: Sara Veale, Fjord Review Tatiana Rathelot, Bachtrack Review - Birmingham Royal Ballet, Taming of the Shrew, Birmingham: GJ Dowler, Classical Source Q&A - Irina Kolesnikova: Bruce Marriott, DanceTabs Reviews - American Ballet Theatre, Romeo and Juliet, New York: Ferri: Wendy Perron, Dance Magazine Copeland/Simkin: Carla Escoda, Huffington Post Review - SFDanceworks, Joe & Ida, Portrait, Z Duet from Concerto Six Twenty-Two, Lickety Split, San Francisco: Rita Felciano, Danceview Times Feature - What’s Next for Australian Ballet and Australian Ballet School: Valerie Lawson, Dancelines Review - Susan Marshall, Chromatic, New York: Robert Greskovic, Wall Street Journal Review - Kapila Venu, The Set Up, New York: Apollinaire Scherr, FT Play reviews - Aleta Lawson, Dancing with the Devil, London: Lucy Rahim, Official London Theatre Chris Bridges, The Gay UK News - Puma partners with New York City Ballet: Seunghee Suh, Allure

Try this one: https://twitter.com/dancingtimes/status/747796328554565633

He is the Godfather of British dance critics - so eminent that I could not even hope to breathe the same rarified air. I quite often do not agree with him but I can enjoy his reviews of things I have not seen.

And from the ENB website: http://blog.ballet.org.uk/shiori-kase-promoted-principal/

Here's an earlier thread: http://www.balletcoforum.com/index.php?/topic/12700-scottish-ballet-promotions-and-joiners/?hl=scottish

More reviews, including Clement Crisp, listed in Today's Links: http://www.balletcoforum.com/index.php?/topic/12876-dance-links-wb-sunday-june-26-2016/#entry176290

Links - Tuesday 28 June, 2016 Preview - American Ballet Theatre, Sleeping Beauty, New York: Alastair Macaulay, NY Times Review - American Ballet Theatre, Romeo and Juliet, New York: Marina Harss, New Yorker Review - American Ballet Theatre, Swan Lake, New York: Wesley Doucette, Broadway World Review - National Ballet of Canada, Giselle, Toronto: Denise Sum, Danceview Times Reviews - LA Dance Project, On the Other Side, Hearts and Arrows, Harbor Me, London: Clement Crisp, FT Zoe Anderson, Independent Judith Mackrell, Guardian Neil Norman, Stage Lyndsey Winship, Standard Siobhan Murphy, London Dance Review - Compagnie Marie Chouinard, Soft virtuosity, still humid, on the edge, Mouvements, London: Bruce Marriott, DanceTabs Review - Compagnie Kafig, Kafig Brasil, Agwa. Los Angeles: Jane Rosenberg, Seen and Heard International Gallery - Australian Ballet takes on Degas dancers: Steph Harmon/Wayne Taylor, Guardian Review - Alleta Lawson, Dancing with the Devil, London: Howard Loxton, British Theatre Guide Review - Ballet Philippines, mixed programme, Manila: Jessica Zafra, interaksyon Feature - Why a Western Artiste took up classical Indian dance: Sharon Lowen, Asian Age Film Review - Centre Stage: On Pointe: Tanya Pai, Vox Review - Susan Marshall, Chromatic, New York: Juan Michael Porter ll, Broadway World

There's a general thread about Moorland here: http://www.balletcoforum.com/index.php?/topic/8722-moorland-international-ballet-elite-programme/?hl=moorland If you search on Moorland loads of threads come up but they may not be specific to Upper School. Worth a look though.

Links - Monday 27 June, 2016 Review - American Ballet Theatre, Romeo and Juliet (Ferri), New York: Juan Michael Porter ll, Broadway World Reviews - Birmingham Royal Ballet, Shakespeare Triple Bill, Birmingham: Emma Cann, Broadway World Dean Eastmond, Hiskind Review - English National Ballet, Le Corsaire, Paris: Jade Larine, Fjord Review Review - Anna Teresa de Keersmaeker, FASE, Glasgow: Mary Brennan, Herald Scotland Review - Philadanco, Between the Lines, Latched, Guess Who’s Coming to Dinner, Get on the Good Foot, New York: Brian Seibert, NY Times Feature - Alejandro Ocasio, ex-Pennsylvania Ballet, on giving up ballet at the age of 21: Ellen Dunkel, Philadelphia Inquirer Feature - Trisha Brown: Wendy Perron, Blog Review - New Chamber Ballet, Quartet, Voicelessness, Silk, Djazz, New York: John Michael Porter ll, Broadway World Review - Kansas City Dance Festival, Kansas City: Libby Hanssen, Kansas City Star Review - Taikoz and Lingalayam, Chi Udaka, Sydney: Jill Sykes, Brisbane Times Film Review (of film from 2002) - The Diaries of Vaslav Nijinsky: Michell Potter, Blog

I've seen three performances of Birmingham Royal Ballet's Shakespeare's Triple Bill this week. Jessica Lang's Wink premiered on midscale and I very much enjoyed it. It looks much better on a bigger stage! We only saw a few of the revolving screens on midscale, on a bigger stage there are five screens at the back and five at the side. Brandon Lawrence is really spectacular as The Poet. I particularly like his duet with Lewis Turner. The choreography is lovely and lyrical with lots of different groupings of the dancers. Are the revolving screens symbolising winks? ... The Moor's Pavane also looks even better on the bigger stage. With so many midscale performances under their belts the dancers have really brought out the casts. Tyrone Singleton, Delia Matthews, Iain Mackay and Elisha Willis are all very powerful performers and bring out the nuances of the characters. The other cast I saw this week - Cesar Morales, Yvette Knight, Chi Cao and Samara Downs are more contained in their performance but give an equally valid performance. Chi, in particular, shows a very subtle touch, making Iago as slippery as a snake with his insinuations to Othello. The evening finished with David Bintley's exuberant Shakespeare Suite. I will never forget Robert Parker in the role of Hamlet but Mathias Dingman, Lewis Turner and particularly Lachlan Monaghan gave really good accounts of the role. Tyrone Singleton and Elisha Willis were outstanding as Othello and Desdemona. Jonathan Caguoia and Momoko Hirata were hilariously dotty as Bottom and Titania. The orchestras sounded wonderful - the first 2 pieces were played by the BRB Sinfonia and the third by Colin Towns Mask Orchestra. As well as Elisah Willis, Jonathan Caguoia is retiring from BRB after 14 years - the Birmingham stage will be a less bright place without him. I would like to wish Jonathan all the very best for the future. Here's a review from Redbrick: http://www.redbrick.me/culture/review-birmingham-royal-ballets-shakespeare-triple-bill/

I can't find the tweet.

Congratulations Shiori!

I've just come across this article while starting preparation for tomorrow's links: http://jamaica-gleaner.com/article/outlook/20160626/bent-never-broken-paige-fraser-story

There's a congratulatory thread for Shiori here: http://www.balletcoforum.com/index.php?/topic/12872-shiori-kase-new-principal-dancer/#entry176113

Most NB fans are also fans of Philip Feeney who has composed a number of works for the Company.

I saw Marion Tait (BRB) in her final season as a principal dancer as Juliet (with Joseph Cipolla as her Romeo). She must have been in her 40s. I was sat on the front row. To this day she is the most convincing 14-yo I have ever seen. OK, appearance-wise she didn't look 14 but in every other respect she was. It probably comes over better live than on the screen.

We saw the Nureyev production in Paris about 8 years ago - I was bored rigid at both the performances I saw. I thought there were too many steps and not enough story. I saw the Bolshoi production in Manchester in 1986 and absolutely LOVED it!!

We've now got a period where the government must work out what happens next. We could end up signing up to various agreements that will give us rights similar to the Swiss or Norwegians.

I wish there was an angry button. You are right Aileen (IMHO) - a cultural desert awaits.

Royal Ballet of Flanders are looking for dancers for their production of Spartacus: http://au-di-tions.com/the-royal-ballet-of-flanders-is-looking-for-dancers-for-the-upcoming-production-of-spartacus/

From the website: "Delivered over three 10 week-terms meeting Saturday and Sunday, this innovative part-time course is aimed at men and women 18 + who wish to develop their dance skills and technique within the environment of a professional, cutting edge dance company. Following a successful practical assessment in the last term, you will also receive the ATCL Level 4 Diploma in Performing Arts (Contemporary Dance)" http://dancingopportunities.com/index.php/balletboyz-dancers-course/?utm_content=bufferbf626&utm_medium=social&utm_source=twitter.com&utm_campaign=buffer

The Northern Ballet Academy has announced some classes for Adults during August: https://northernballet.com/blogs/academy-of-northern-ballet/16-06-20/adult-summer-classes-2016