Jan McNulty

It depends on the rehearsal time I suppose. I have known, in shorter runs, only one cast to go on but presumably there are also "understudies". In "The Centre and its Opposite" on midscale some years ago I can only remember seeing one cast but there were dancers who could slot in to cover (as happened once or twice IIRC). I don't think it is anyone's fault. I saw Atomos at the Playhouse last night. I would guess if one of Wayne McGregor's own company gets injured the dance needs to be modified to cater for this. His pieces tend to be very intricate and, obviously, there needs to be a lot of rehearsal time to get it right. Perhaps the second, and beyond, casts do not get enough rehearsal time. I believe that is not an unusual situation in any company.

Links - Saturday 14 May, 2016 Review - New York City Ballet, Dances at a Gathering, West Side Story Suite, New York: Andrew Blackmore-Dobbyn, Bachtrack Review - Rambert, Tomorrow, Terra Incognita, A Linha Curva, London: Anna Winter, Exeunt Review - Scottish Ballet, Swan Lake, Edinburgh: Vivien Devlin, Edinburgh Guide Review - Cloud Gate Dance Theatre of Taiwan, Songs of the Wanderers, Birmingham: Dean Eastmond, Hiskind News - David Bintley receives Lifetime Achievement Award: Staff, What's On Live News - BalletBoyz named new Artistic Directors for bbodance: BWW News Desk, Broadway World News - Arts Funding Shock in Australia: Andrew Taylor, Sydney Morning Herald Feature - Critics must be allowed to discuss how performers look: Ismene Brown, Spectator Review - West Australian Ballet, Beauty and the Beast, Perth: Sarah Green, Australian Stage Review - Ballet BC, Program 3, Vancouver: Janet Smith, Straight Review - Steve Paxton, Bound, Los Angeles: Jeff Slayton, Backtrack Feature - Ballerinas describe the dancing life to a Milwaukee Ballet rookie: Jim Higgins, Milwaukee Journal Sentinel Review - Cape Town City Ballet, Shades of Love, Cape Town: David Fick, Broadway World Review - Grand Rapids Ballet, Cinderella, Grand Rapids: Adrienne Warber, Examiner Preview - Una Voce with dancers, When we no longer touch, Sarasota: Carrie Sideman, Sarasota Herald Tribune Review - Avant Chamber Ballet, Women’s Choreography Project, Richardson: Cheryl Callon, Theater Jones Review - William Yong, Steer, Toronto: Martha Schabas, Toronto Globe and Mail

David Bintley has been awarded a Lifetime Achievement Award by What's On Midlands as part of the magazine group's inaugural Readers' Awards. Congratulations to him! http://whatsonlive.co.uk/news/brb-artistic-director-wins-lifetime-achievement-award/33824

I would assume it's about conditioning your body, keeping fit and healthily - not necessarily for losing weight. From what you have described above it sounds as though your son is already eating a healthy diet.

The crow is showing that you will have a bountiful summer by showing you how big a snake it caught for lunch!

Links - Friday 13 May, 2016 Review - New York City Ballet, Dances at a Gathering, West Side Story Suite, New York: Brian Seibert, NY Times Reviews - American Ballet Theatre, Sylvia, New York: Marina Harss, DanceTabs Mary Cargill, Danceview Times Reviews - Rambert, Tomorrow, Terra Incognita, A Linha Curva, London: Zoe Anderson, Independent Lyndsey Winship, Standard Graham Watts, DanceTabs John O’Dwyer, Bachtrack Feature - Crystal Pite: Judith Mackrell, Guardian Review - Cloud Gate Dance Theatre of Taiwan, Songs of the Wanderers, Birmingham: Emma Cann, Broadway World Reviews - Joffrey Ballet, Cinderella, Chicago: Hedy Weiss, Chicago Sun Times Janet Arvia, Examiner Review - Royal New Zealand Ballet, The Wizard of Oz, Christchurch: Sheree Bright, NZ Theatreview Review - Scottish Ballet, Swan Lake, Newcastle: James Willoughby, Northumberland Gazette Feature - Dance can’t continue to function in a self-enclosed bubble: Sarah Crompton, What's on Stage Preview - Birmingham Royal Ballet, Midscale North, York: Staff, York Press Review - BalletMet, Sleeping Beauty, Columbus: Amanda Etchison, Broadway World Q&A - Lil Buck: Alexandra Pullen, LA Mag Book Review - Sari Wilson, Girl Through Glass: Jean Lenihan, LA Review of Books Review - TITAS, Command Performance 2016, Dallas: Margaret Putnam, Theater Jones Feature - Dancing into Spring in Korea: Kwon Mee-yoo, Korea Times Q&A - Jeremy McQueen: Barnett Serchuk, Broadway World Report - A Conversation between Steve Paxton & Simone Forti, Los Angeles: Jeff Slayton, See Dance Preview - State Street Ballet, Women’s Work, Livermore: Charles Donelan, Santa Barbera Independent Review - Compania Olga Pericet, Flamenco Sin Titulo, Salford: Helen Jones, Reviews Hub

And from the Essex Chronicle: http://www.essexchronicle.co.uk/Chelmsford-Ballet-Company-launches-search-new/story-29265058-detail/story.html

Wanted: dancers to join The Chelmsford Ballet Company's ranks The esteemed Chelmsford Ballet Company will hold its annual auditions for dancing membership on Sunday 19 June 2016 at CYGAMS HQ, Chelmsford. Applications are sought from male and female dancers to join the Company, with the closing date for applications set for 5 June. Following a ballet class before a panel of distinguished adjudicators, successful candidates are invited to join the Company as either junior, general or senior dancing members, and will be eligible to audition for its annual production. Only members may audition to dance in this production, for which separate auditions are held later in the year in October. If you are unable to audition on 19 June, a provisional date for second auditions has been set for 4 September, dependent on demand. For more information about auditioning for the company, contact the Membership Secretary on CBCenquiries@hotmail.com or visit the Company website www.thechelmsfordballetcompany.co.uk

Well I am very biased but I would go for Marquez/Campbell. They were absolutely terrific together when I saw them in Don Q a couple of years ago. Alternatively Hayward/Sambe (Frankie Hayward comes on stage, breathes and is fabulous and she was so very, very sublime in Rhapsody). or Choe/Zuchetti ... or any of them!

I've been in Durham for a couple of days with BRB so apologies for the late publication of the press release: Northern Ballet’s Premier couple to become Resident Guest Artists Northern Ballet’s Premier Dancers Martha Leebolt and Tobias Batley are to take a leave of absence from the Company to pursue new opportunities. The pair, who have formed a dynamic dance partnership under the directorship of David Nixon OBE, will return as Resident Guest Artists to perform in Northern Ballet’s Wuthering Heights and Romeo and Juliet from September – October 2016. Californian Martha Leebolt joined Northern Ballet in 2001 and worked through the ranks to become a Premier Dancer in 2009. She has created many iconic roles including Daisy (The Great Gatsby), Cleopatra (Cleopatra), Cinderella (Cinderella) and Beauty (Beauty & the Beast) and in 2010 won a National Dance Award for Outstanding Female Performance (Classical) for her performance as the Marquise de Merteuil in Dangerous Liaisons. Tobias Batley joined Northern Ballet in 2004 becoming a Premier Dancer in 2012. The British dancer, raised in Rivington, has created roles including Winston Smith (1984), Jay Gatsby (The Great Gatsby), Mark Antony (Cleopatra),and Prince Mikhail (Cinderella). He was nominated for National Dance Awards in 2010 and 2012 for Outstanding Male Performance (Classical) and for Best Male Dancer in 2015. Northern Ballet’s Artistic Director David Nixon OBE said of the pair: ‘Martha and Tobias have had an extraordinary journey with Northern Ballet from very young dancers in the corps, to the leading artists they are today. Through their hard work and commitment they have made a significant contribution to both my work and the Company as individuals and as a creative and inspirational partnership. There comes a time, especially when a dancer has been in the same place for a long time, that artists needs to go out and discover new things which will enrich them and take them to new heights. Both Martha and Tobias are at this place in their lives and I respect their decision to broaden their life experience. This is not about saying goodbye forever and I am therefore pleased that they will both still be doing some performances with the Company next season. We all wish them the very best.’ Martha and Tobias will perform in Wuthering Heights at the West Yorkshire Playhouse, Leeds in September 2016 followed by Romeo and Juliet which tours to Sheffield, Canterbury, Belfast, Woking and Bradford during September – October 2016. Casting will be announced at a later date, see website for updates. For tour dates and booking information see northernballet.com/whatson. -ENDS- Notes to Editors Martha Leebolt Martha Leebolt is from California and trained at the Black Mountain Dance Centre and at BalletMet Columbus. She joined Northern Ballet in 2001. Martha won the 2010 National Dance Award for Outstanding Female Performance (Classical) for her performance as the Marquise de Merteuil in Dangerous Liaisons. At Northern Ballet she has created many roles; Cleopatra (Cleopatra ch. David Nixon), Beauty (Beauty & the Beast ch. David Nixon), Cinderella (Cinderella ch. David Nixon), Julia (1984 ch. Jonathan Watkins), Daisy (The Great Gatsby ch. David Nixon), Mistress (On Such a Night ch. Gillian Lynne), Pas de Deux (Yorkshire Trilogy ch. Jonathan Watkins), Pas de Deux (Powerhouse Rhumba ch. David Nixon), Pas de Deux (The Architect ch. Kenneth Tindall), Project #1 (ch. Kenneth Tindall) and We Never Said (ch. Kenneth Tindall). In addition, she has also performed; Juliet (Romeo and Juliet ch. Jean Christophe Maillot), Butterfly (Madame Butterflych. David Nixon), Ondine (Ondine ch. David Nixon), Juliet and Lady Capulet (Romeo & Juliet ch. Massimo Morricone), Odette and Odilia (Swan Lake ch. David Nixon), Nikiya (Bayadere, Kingdom of the Shades st. Yoko Ichino), Sugarplum Fairy (The Nutcracker ch. David Nixon), Belle (A Christmas Carol ch. Massimo Morricone), Mina and Lucy (Dracula ch. David Nixon), Cathy (Wuthering Heights ch. David Nixon), Marquise (Dangerous Liaisons ch. David Nixon), Anne (A Simple Man ch. Gillian Lynne), Pas de Deux (Angels in the Architecture ch. Mark Godden), Constance (The Three Musketeers ch. David Nixon), Pas de Deux (Perpetuum Mobile ch. Christopher Hampson), Gertrude (Hamlet ch. David Nixon), Courtesan and Madam Defarge (A Tale of Two Cities ch. Cathy Marston), Pas de Deux (Luminous Juncture ch. Kenneth Tindall), Titania and Hermia (A Midsummer Night’s Dream ch. David Nixon), Solo (Concertante ch. Hans van Manen), An American in Paris (I Got Rhythm ch. David Nixon), Gypsy Pas de Deux (La Traviata ch. Veronica Paeper), As Time Goes By (ch. David Nixon), A Streetcar Named Desire (ch. Didi Veldman) and Lambarena (ch. Val Caniparoli). Tobias Batley Tobias Batley was born in Preston and raised in Rivington. He trained at the Hammond School of Dance and The Royal Ballet School. He danced with Jeune Ballet de Cannes before joining Northern Ballet in 2004. He was nominated in 2010 and 2012 for a National Dance Award for Outstanding Male Performance (Classical) and in 2015 for Best Male Dancer. At Northern Ballet he has created many roles; Jay Gatsby (The Great Gatsby ch. David Nixon), Mark Antony (Cleopatrach. David Nixon), Winston Smith (1984 ch. Jonathan Watkins), Charles Darnay (A Tale of Two Cities ch. Cathy Marston), Prince Mikhail (Cinderella ch. David Nixon), Pas de Deux (The Architect ch. Kenneth Tindall), Pas de Deux (Powerhouse Rhumba ch. David Nixon), Pas de Deux (Yorkshire Trilogy ch. Jonathan Watkins), Project #1 (ch. Kenneth Tindall), Pas de Deux (Luminous Juncture ch. Kenneth Tindall) and We Never Said (ch. Kenneth Tindall). In addition, he has also performed; Hamlet (Hamlet ch. David Nixon), Romeo (Romeo and Juliet ch. Jean Christophe Maillot), Dracula (Dracula ch. David Nixon), Romeo (Romeo & Juliet ch. Massimo Morricone), Anthony (Swan Lake ch. David Nixon), Albrecht (Giselle st. Yoko Ichino), Cavalier (The Nutcracker ch. David Nixon), Heathcliff (Wuthering Heights ch. David Nixon), Brandt (Ondine ch. David Nixon), Valmont (Dangerous Liaisons ch. David Nixon), Pas de Deux (Concertante ch. Hans van Manen), Pinkerton (Madame Butterfly ch. David Nixon), Bob Cratchet and Young Scrooge (A Christmas Carol ch. Massimo Morricone), Demetrius, Lysander and Oberon (A Midsummer Night’s Dreamch. David Nixon), Prince (Beauty & the Beast ch. David Nixon), Pas de Deux and Solo (Perpetuum Mobile ch. Christopher Hampson), Three Preludes, I Got Rhythm and Rhapsody in Blue (I Got Rhythm ch. David Nixon), Aramis(The Three Musketeers ch. David Nixon), Angels in the Architecture (ch. Mark Godden), As Time Goes By (ch. David Nixon) and A Simple Man (ch. Gillian Lynne. Northern Ballet For more details of Northern Ballet's tour, on sale dates and booking information, please visit northernballet.com/whatson. Nominated for Outstanding Company at the 2015 National Dance Awards and voted Best Company at the TaglioniEuropean Ballet Awards, Northern Ballet is one of the UK’s five large ballet companies. Based in Leeds it performs throughout the UK as well as overseas. Northern Ballet’s productions mix classical dance and theatre, embracing popular culture and taking inspiration from literature, opera, or giving a unique interpretation of popular classical ballets. Northern Ballet is the busiest touring ballet company in the UK and is typically on the road for around 32 weeks of the year. The Company of 45 dancers tours a combination of full-length new work and established repertoire to cities throughout the UK. Northern Ballet also tours widely with its ballets for children, all four of which have been adapted for TV by CBeebies, and also performs a mixed programme showcasing the versatility of its dancers.

Fab-u-lous!! Thanks for sharing.

Yes but I tend to wax lyrical on relevant threads.

Terpsichore, I'm sorry but the fact that you are not a fan of David Nixon's Swan Lake and have repeated that fact again on a thread about the Royal Ballet's Anastasia is now getting rather boring.

Good luck with your project Efosaghae. Bailarin has given good advice about engaging with a choreographer; presumably you have a budget. There are a number of existing ballets that have "dance-offs" - Two Pigeons and Etudes spring to mind. You could do some research along those lines perhaps (obviously not using existing, copyrighted choreography).

Midscale North opened in Durham tonight with an outstanding performance from start to finish. I loved Wink! More when I get home on Thursday.

NB is brimful of young emerging talent and there are some dancers I think have been under-used recently but M&T have been the stariest of partnerships since Cleopatra in 2011 and will be enormous footsteps to step into. As only on leave of absence, maybe Mr Nixon will bring in guests while also giving opportunities to the upcoming dancers.

Hugely disappointed is probably the understatement of the year! However dancers have such short careers and they have to think of themselves. Very, very best wishes to Martha and Toby for the future.

It was mentioned on Breakfast News this morning too. Personally I love red hair and am very envious of anyone with that hair colour!

Yes ABT has visited the UK. I think the last time was a couple of years ago when Sadler's Wells was promoting seasons at the Coli. I thought the tickets were over priced so didn't go. Unless there has been some form of public confirmation perhaps we should stop speculating about Ms Semionova's absence.

Hello Bluemountain and welcome to the Forum! I'm sorry I can't answer your query but I am sure other members will be able to offer advice.

If people are going to keep on sniping at each other this thread will be closed down as the previous one was. I know none of the participants personally and I have read the items published in English and the iffy translations of items published in Romanian and I have no idea whatsoever is going on! Nor, do I suggest, does anyone except for those people immediately involved.

I've moved the posts about choreographers tweaking works to a new thread as this thread had gone way off topic: http://www.balletcoforum.com/index.php?/topic/12494-choreographers-tweakingreworking-ballets/

I have moved the above posts from the Frankenstein thread which had gone way off topic. This is an interesting topic in its own right.

And the official press release: THE ROYAL BALLET TOUR TO JAPAN 2016 Tokyo 16 - 26 June / Fukuoka 29 June / Osaka 1 July / Nagoya 3 July/ Fukuyama 6 July The Royal Ballet tours to Japan this summer with Romeo and Juliet and Giselle, two iconic productions from the repertory showcasing the Company’s virtuosity and theatricality. Performing Thursday 16 June – Wednesday 6 July, the tour takes in five cities; Tokyo, Fukuoka, Osaka, Nagoya and Fukuyama, returning to some of the venues first visited by The Royal Ballet during its inaugural tour to Japan in 1975. The Royal Ballet has toured Japan on a number of occasions, most recently in 2013 with Christopher Wheeldon’s production of Alice’s Adventures in Wonderland. Japanese members of the Company include First Soloists Ryoichi Hirano, Hikaru Kobayashi and Akane Takada; Soloists Luca Acri and Fumi Kaneko, and Artists Chisato Katsura and Mariko Sasaki, who will be performing in a variety of roles throughout the duration of the tour. Kevin O’Hare, Director of The Royal Ballet said “Touring to Japan is always a highlight for the Company, the audiences are so warm and receptive and I'm delighted that this summer we'll present two masterpieces from The Royal Ballet repertory Romeo and Juliet and Giselle, showcasing the breadth, artistry and talent of our world-class dancers." Kenneth MacMillan’s landmark production of Romeo and Juliet will be performed at the Bunka Kaikan Theatre, Tokyo from Thursday 16 June –Sunday 19 June and The Aichi Arts Centre, Nagoya on Friday 3 July. Set to Sergei Prokofiev’s emotionally charged score and with sumptuous designs byNicholas Georgiadis, MacMillan’s Romeo and Juliet is regarded as a ballet masterpiece and has been a seminal production of The Royal Ballet repertory for over 50 years. It was last performed in Japan by The Royal Ballet in 2013. Peter Wright’s classic production of Giselle will also be performed at the Bunka Kaikan Theatre, Tokyo from Wednesday 22 June - Sunday 26 June, The Sun Palace Hall, Fukuoka on Wednesday 29 June, the Hyogo Performing ArtsCenter, Osaka on Friday 1 July and the Hall of Art & Culture in Fukuyama on Wednesday 6 July. Giselle is regarded as one of the great Romantic ballets and is amongst the most celebrated in The Royal Ballet’s repertory. This spellbinding production tells the story of Giselle, a gentle peasant girl who is driven to her death when deceived by her aristocratic lover Count Albrecht. Last performed by the Company in Japan in 1995, the production incorporates John Macfarlane’s evocative original design, and, this year, enjoyed an acclaimed revival at Covent Garden. Ends The Royal Opera House would like to thank all tour supporters and Aud Jebsen for her support of the Royal Ballet touring programme. Tour Dates and Performances (casting to be confirmed) Toyko Bunka Kaikan Theatre, Thursday 16 June- Sunday 19 JuneRomeo and Juliet 16 June 6.30pm / 17 June 1.30pm† & 6.30pm / 18 June 1pm & 6pm / 19 June 1pm Giselle 22 June 7pm / 23 June 1.30pm†/ 24 June 7pm / 25 June 2pm /26 June 2pm Fukuoka Sun Palace Hall Giselle Wednesday 29 June 6.30pm Hyogo Performing Arts Center Giselle Friday 1 July 6.30pm Aichi Arts Center Romeo and Juliet Sunday 3 July 1.30pm Fukuyama Hall of Art & Culture Giselle Wednesday 6 July 6.30pm † Schools Performance Romeo and Juliet CREATIVE TEAM Choreography Kenneth MacMillan Music Sergey Prokofiev Designer Nicholas Georgiadis Lighting Designer John B. Read Giselle CREATIVE TEAM Choreography Marius Petipa after Jean Coralli and Jules Perrot Music Adolphe Adam revised by Joseph Horovitz Scenario Théophile Gautier after Heinrich Heine Production Peter Wright Designer John Macfarlane Original Lighting Jennifer Tipton Lighting re-created by David Finn Additional choreography by Peter Wright

I was in Cheltenham for the matinee on Saturday. This is a great programme! Miki Mizutani and Laura Day were both sublime in Solitaire. Miki and Fergus were a total delight in the beautiful pdd. I don't usually like Monotones ll because I do not like the music. However on Saturday afternoon with Jonathan Higgins playing the piano score so beautifully I was converted by that performance. Jenna Roberts, Tom Rogers and Yasuo Atsugi were glorious together. Having seen this recently at ROH I have to say that it may only be 3 dancers but it looks a lot better on a larger stage. With Tom and Yasuo being 2 of the taller gentlemen of the company I must admit I was a bit worried about how the piece would come across but I need not have worried at all. All three dancers coped particularly well with the tiny stage and, against expectation, this was my highlight of the afternoon. I just love the Four Scottish Dances element of Flowers of the Forest and the company danced it with gusto. Brilliant! Five Tangos is a great work to finish on. As usual Nao Sakuma scintillated, particularly in the pdd with Yasuo. For me, this is a well put together programme with plenty of interest for everyone ... and the southern company looked to be on splendid form. Up north next and then Truro...