Jan McNulty

Neighbour's party still going on when all I want to do is go to sleep!

I took Chunkydog out for an evening constitutional when I got home from my fab day out at The Hepworth. We spent some happy minutes watching swifts and martins swooping over the smaller lake at Crosby Lakeside. Happy days...

Well I was rooting for Crystal Palace. Perhaps if I had been rooting for MU, CP may have won!

Lindsay, you make some interesting points but this discussion thread is about Frankenstein rather than RB's commissioning policy. As the discussion is interesting perhaps you may wish to start a new thread so that the discussion is not lost in the mists of time.

A couple more reviews have come in: http://www.britishtheatreguide.info/reviews/jane-eyre-cast-doncaster-12888 http://www.thereviewshub.com/jane-eyre-cast-doncaster/

Well I had the most wonderful day at The Hepworth in Wakefield. This wonderful gallery is celebrating its 5th birthday this weekend and there have been a number of events. I love the light, airy galleries that are well laid out. There is a permanent Barbara Hepworth display and changing exhibitions. One of the current exhibitions is a photographic study of rhubarb farmers - it is fabulous. Today we saw a singer and accordionist from Opera North performing in front of some David Hockney paintings and a local gospel choir singing in the foyer. Of course my highlight was seeing some of Northern Ballet's dancers performing three short pieces choreographed by company members. If you are near Wakefield it is definitely worth spending a couple of hours there. The cafe is super too.

Very well! There is a prologue behind a scrim of Jane wandering along lost and collapsing before she is found and rescued by St John. As he and his sister's gradually work out her story we see scenes with the young Jane at Aunt Reed's and then the school. There's a lovely scene with Helen Burns. You see Jane as a teacher at the school, this is where young Jane is replaced by Jane. Then you see her at Thornfield with Adele and Mrs Fairfax and Rochester on the fringes. Act 1 ends with Jane saving Rochester from his bed fire and being a bit attracted to him. Act 1 is quite busy. The gentlemen of the company play a sort of chorus - perhaps they are Jane's demons although a couple of chums thought these could better have been played by women. Act 2 starts with a dinner party with Blanche. It is immediately obvious that Jane has become besotted with Rochester. This is our first glimpse of Bertha as she watches part of the scene. Eventually Rochester persuades Jane that he loves her and the wedding is arranged. Bertha disrupts the marriage and Rochester's secret is out. Jane runs away and that is when St John finds her. He tries to persuade her to marry him. We then cut back to Thornfield and there is a very dramatic scene of the house burning and Rochester trying to save Bertha. Jane comes back to Thornfield and finds the house burnt and Rochester blind. There is the most beautiful and moving duet for them that ends the ballet. Judith Mackrell has published a review that is far more eloquent than anything I could write: http://www.theguardian.com/stage/2016/may/20/northern-ballet-jane-eyre-review-cast-doncaster?CMP=share_btn_fb The dancers were utterly magnificent in their roles. Victoria Sibson was just outstanding as Bertha. Antoinette Brooks Daw brought out all the elements of young Jane's tribulations and her feistiness. Kiara Flavin was very touching as Helen Burns. And as for Dreda Blow and Javier Torres - it was a tour de force from both of them. I can't get back to Doncaster but have got some performances booked in June and I can't wait!

SCOTTISH BALLET TO TAKE AWARD-WINNING PRODUCTION OF A STREETCAR NAMED DESIRE TO WEST COAST OF AMERICA IN SPRING 2017 Scottish Ballet will return to the USA in May 2017 with its multi award-winning production of A Streetcar Named Desire, marking the 70th anniversary year of Tennessee Williams’ Pulitzer Prize-winning play. Scottish Ballet's A Streetcar Named Desire will receive its west coast premiere at the University of California, Berkeley before being performed at The Music Center in Los Angeles. This marks Scottish Ballet’s first performance on the west coast of America since 2011 and comes after the Company’s massively successful USA tour of A Streetcar Named Desire in Spring 2015, which included performances in Chicago, Washington DC, Charleston, San Antonio, Houston and Pittsburgh. Scottish Ballet CEO / Artistic Director Christopher Hampson: “We are thrilled to bring our production of A Streetcar Named Desire back to America in Spring 2017 and it makes it extra special that we are returning to perform it in its 70th anniversary year. We received such a warm response from American audiences on our previous USA tours in 2013 and 2015 and we hope Californian audiences will enjoy our interpretation of this evocative and powerful story. We are proud to continue to fly the flag culturally for Scotland overseas and to help expand Scottish Ballet’s reputation as one of the world’s most innovative dance companies.” This vibrant take on the classic story was created for Scottish Ballet by choreographer Annabelle Lopez Ochoa and theatre and film director Nancy Meckler and received its world premiere in 2012. Set to a specially commissioned jazz-inspired score, A Streetcar Named Desire pushes the boundaries of narrative ballet by delivering a powerful infusion of drama and dance. Scottish Ballet’s A Streetcar Named Desire was nominated for an Oliver Award for Best New Dance Production in 2013 and was awarded a Critics’ Circle National Dance Award (Best Classical Choreography) and a South Bank Award for Dance in 2013. Credits: Direction: Nancy Meckler Choreography: Annabelle Lopez Ochoa Music and sound: Peter Salem Set and costume design: Niki Turner Lighting: Tim Mitchell Reviews from Scottish Ballet’s previous A Streetcar Named Desire tours: “ … (a) very grown-up piece of entertainment that does Williams’s 1947 masterpiece full justice, repeatedly tugging at the heart-strings even as it shreds the nerves.” The Telegraph “The result is everything you could want of Tennessee Williams. – florid, poetic, poisonously beautiful.” The Evening Standard “Persuasive, exhilarating, moving and ingenious, Streetcar is the latest feather in the cap of Scottish Ballet” The Sunday Times   “They almost had to hose down the audience at intermission of Scottish Ballet’s A Streetcar Named Desire at the Harris Theater in Chicago on Thursday night. Erik Cavallari’s Stanley had just had make-up sex with Sophie Martin’s Stella, and choreographer Annabelle Lopez Ochoa’s imaginative way with the erotic pas de deux had everyone hot and bothered.” The Huffington Post “As you’d expect from Williams’s play, fragility and brutality danced a dark, halting waltz throughout the evening. The reward of this ballet was that not only did we see it — we felt it, too.” Washington Post “In a brilliantly structured reimagining of the Tennessee Williams classic, choreographer Annabelle Lopez Ochoa, aided by theater and film director Nancy Meckler, wasted not a moment or a step as she created empathy with Blanche (no easy task) and with the story's gay lovers (unseen in the play)…The Scottish Ballet dancers, making their Chicago debut, were wonderful.” Chicago Tribune

Thanks for bringing us back on topic Dave.

Northern Ballet has published a gallery of production photographs by Emma Kauldhar: https://northernballet.com/jane-eyre/photo-gallery

Welcome to the Forum Cma! I can't answer your query but I always find (as an audience member and supporter of NB) that Quarry Hill is a warm and welcoming place and the cakes are great in the cafe!

Although I believe that is only with well-established works. One BRB dancer commented that active choreographers do not necessarily give them a choice.

I'm at ROH on 11th!

My badge was waiting for me when I got home before, I shall wear it at Sadler's Wells next weekend! Mine looks the same too.

Not long back in my hotel from the premiere. I loved it - such an intelligent interpretation of the book. Cathy Marston can sketch in a character so well, all the dancers brought them to life beautifully. Dreda Blow and Javier Torres were utterly magnificent as Jane and Rochester.

I am on my way up from Truro... Don't start without me!!

Both! And don't forget Sharon Watson over at Phoenix! I like what I have seen of WMcG's choreography. I would go as far as to say I was bowled over by Tree of Codes last year. I am very much looking forward to seeing Obsidian Tear.

I watched something many years ago at Sadler's Wells that had an electronic score. The sound was absolutely awful - too loud and distorted for my taste. I was fine with the sound at the Liverpool Playhouse last week. Just a note re Atoms that I forgot to mention above. There is a section where screens (not too large) are lowered from the ceiling for which you are offered 3D glasses. I just can't see 3D so I declined. I noticed that the lady sat on my left only used the glasses for a couple of minutes and then took them off. The lack of being able to see the 3D action on the screens did not detract from my enjoyment of the evening.

I enjoyed it very much when I saw it in Liverpool last week. It lasts about 70 minutes without an interval. There are some wonderful dancers in the company.

English National Ballet School: Outstanding Ofsted Summer Performance New Wimbledon Theatre Friday 1 July 7.30pm Saturday 2 July 1pm & 7.30pm English National Ballet School is delighted to announce their recent Ofsted grading of Outstanding. The School is a world renowned specialist training centre for aspiring and highly talented young ballet dancers aged 16 to 19 based in central London. We have consistently achieved outstanding since inspections began in 2002. Director Delia Barkersaid, “We are thrilled with our recent Ofsted inspection result. It is wonderful for all our staff and students to have their hard work acknowledged in this way”. Samira Saidi, Director of Dance at English National Ballet School said “I am delighted that the school has received Outstanding from Ofsted. The fact that we have remained consistent in this result since the inspections began is testament to the continued quality of training provided, in addition to the pastoral care of our talented students”. The students will be showcasing their skills at the School’s annual Summer Performances at theNew Wimbledon Theatre in July. The programme features a blend of classical and contemporary works with choreography to highlight the versatility and breadth of our dancers’ training. The programme will include two new commissions by George Williamson (ENBS Graduate and Associate Artist of English National Ballet) and Antonio Castilla (English National Ballet’s Ballet Master and Repetiteur) as well as classical repertoire from Marius Petipa and David Bintley. For the first time English National Ballet School will be presenting The Director of Dance’s Commission which will be choreographed by second year student Daniel Myers. New Wimbledon Theatre Friday 1 July 7.30pm Saturday 2 July 1pm & 7.30pm www.atgtickets.com/wimbledon 0844 8717 646 Notes to Editors English National Ballet School, official school of English National Ballet · Jose Agudo’s Arctic is inspired by the film Lovers of the Arctic Circle, this group choreography focuses on a contemporary interpretation of Inuit traditions. It is a group searching for love and trying to survive in the most extreme conditions. Love, death, destiny, nature, and coincidence are intertwined in a deeply touching work. · Antonio Castilla’s Lift Me Up is set to the beautiful music of Sibelius and Shostakovich, this charming piece of work showcases our talented first year students. · David Bintley’s Four Scottish Dances, created in 1985 for Sadler’s Wells Royal Ballet and inspired by Malcolm Arnold’s music of the same name, is a delightful witty short ballet romanticising Scotland’s pre-industrial past. With swirling kilts and fleet footwork, this a piece to be enjoyed. · George Willamson’s piece uses two movements from John Adams’ Shaker Loops and is a creation for the third year giving opportunities for each dancer to shine. · Second year student Daniel Myer’s will present; Feuillemort, with a commissioned piano score by English National Ballet School pianist Meg Morley. This joint collaboration, inspired by the poem; October Dawn by Ted Hughes, offers a voyeuristic glimpse into different stages of relationships and the nature of life. · We are the official School of English National Ballet with one third of the Company’s dancers having graduated from the School · We offer a 3 year diploma in Professional dance accredited by Trinity College, London · Our current student body of eighty comprises students from 18 countries including the Dominican Republic, South Africa, Australia, Spain, Italy and the USA · We audition over 300 young dancers each year from all over the world and award places purely on talent · We are the only Dance specialist DaDA (Dance and Drama Award) school to consistently achieve Outstanding from Ofsted since inspections began in 2002 and we maintain a strong employment record

I always think of Sunderland FC when I hear the Dance of the Knights. What about "Everyone's a Fruit and Nutcase"???

I was at the performance on Sunday evening and enjoyed it tremendously. I think Carlos Acosta has assembled a great company of young Cuban dancers and I look forward to seeing how they will stamp their own identity on a rep in the future. I didn't see the performances at the Coli so I can't compare as DQF did. Of the first half I particularly liked the pdd from Winter Dreams (sorry I can't name the dancers, I'm in Cornwall and haven't got my cast sheet with me), which I thought was danced with a pleasing intensity. Of course, Carlos danced Diana and Actaeon. While he has not got the leap of his youth, his spins are still outstanding and he filled the stage with his presence. He is still worth seeing in this piece! I very much enjoyed the second half, particularly the first piece and the tango piece and I absolutely loved Majismo. I'm very glad I went and did not, in any way, feel short changed by the performance. I would like to see Carlos' company in the future and I am sure a British promoter will be snapping them up for a tour.

Links - Tuesday 17 May, 2016 Review - New York City Ballet, Dances at a Gathering, West Side Story Suite, New York: Christina Pandolfi, Broadway World Review - Birmingham Royal Ballet, Wink, Three pas de deux, The Moor’s Pavane, Durham: Bruce Marriott, DanceTabs Reviews - Rambert, Tomorrow, Terra Incognita, A Linha Curva, London: GJ Dowler, Classical Source Jeffrey Taylor, Express Review - Dance Theatre of Harlem, Return, Brahms’ Variations, Richmond: Mal Vincent, Virginian Pilot Reviews - DanzAbierta, Showrooms, New York: Apollinaire Scherr, FT Andrew Blackmore-Dobbyn, Huffington Post Radio Interview - Ashley Wheater, AD Joffrey Ballet: Justin Kaufmann, WGN Radio Review - Louise Potiki Bryant, Malia Johnson and Steven Shropshire, Lumina, Napier: Kim Buckley, NZ Theatreview Review - Malpaso Dance, mixed programme; Portland Ballet, mixed programme, Portland: Martha Ullman West, Oregon Arts Watch Review - 7th Annual newMoves Festival, Pittsburgh: Adrienne Totino, Examiner Review - Diabolo: Architecture in Motion, L.O.S.T, Los Angeles: Jeff Slayton, Bachtrack Review - Guilherme Garrido & Pieter Ampe, Still Standing You, New York: Joel Benjamin, Theater Scene Review - Tacoma City Ballet, Carmina Burana, Tacoma: Rosemary Ponnekanti, Tacoma News Tribune

Links - Monday 16 May, 2016 Review - American Ballet Theatre, Sylvia (Kochetkova, Cornejo), New York: Marina Harss, DanceTabs Reviews - Carlos Acosta, A Classical Farewell, Birmingham: Sara Veale, DanceTabs Salford: Danielle Roper, Manchester Evening News Review - Birmingham Royal Ballet, Wink, 3 Pas de Deux, The Moor’s Pavane, York: Charles Hutchinson, York Press Review - Lil Buck and Mihai Marica, What Moves You, Los Angeles: Victoria Looseleaf, Fjord Review Review - Boston Ballet, Mirrors, Boston: Elizabith Costey, Emertainment Monthly Review - Andres Marin & Kader Attou, Yatra, Paris: Laura Cappelle, FT Review - Keir Choreographic Awards, Sydney: Deborah Jones, Blog Reviews - West Australian Ballet, Beauty and the Beast, Perth: Amy Martin, Perth Now Nina Levy, The Western Australian Review - Tiffany Mills Company, After the Feast; Cardell Dance Theatre, Supper, People on the Move: New York: Brian Seibert, NY Times Preview - Ballet Cymru, Little Red Riding Hood, The Three Pigs, Newport: Rachel Mainwaring, Wales Online Feature Preview - California Ballet, Beyond the Barre: Beer and Ballet, San Diego: Marcia Manna, San Diego Union Tribune

Links - Sunday 15 May, 2016 Reviews - Carlos Acosta, A Classical Farewell, Salford: Georgina Wells, British Theatre Guide Peter Jacobs, The Reviews Hub Review - Scottish Ballet, Swan Lake, Newcastle: Luke Jennings, Observer Review - Rambert, Tomorrow, Terra Incognita, A Linha Curva, London: Rachel Elderkin, Fjord Review Review - Joffrey Ballet, Cinderella, Chicago: Carole Kuhrt Brewer, Chicago Now Review - Pennsylvania Ballet, Serenade, Archiva, Asphodel Meadows, Philadelphia: Alastair Macaulay, NY Times Review - Ballez Company, Sleeping Beauty and the Beast, New York: Deborah Jowitt, Arts Journal Review - Juliette Mapp, Luxury Rentals, New York: Gia Kourlas, NY Times News Feature - Ausdance National. Where to now?: Michelle Potter, Blog Feature - From the Townships of South Africa to the World’s Ballet Stages: Carla Escoda, Huffington Post Review (opera with dance) - Maria de Buenos Aires (Piazzolla), London: David Karlin, Bachtrack