Jan McNulty

I would assume that if the UK were to leave the EU we would be back to a situation where people need work permits to work abroad. I don't know how it would affect training abroad.

Link to FB page: https://www.facebook.com/cinevoxjuniorcompany/info/?tab=overview Link to website: http://www.artco.ch/ballet.html

The Summer School is for 16+ vocational and graduate students. It is running from 18-23 July. http://www.markbrucecompany.com/index.php/education

You’ve seen it on TV, now see it live! Northern Ballet’s 1984 on tour Following the success of its television première on BBC Four last night, join Northern Ballet live on tour with its critically acclaimed production of 1984. As one man risks everything to fall in love, Northern Ballet, complete with live orchestra, brings this cult-classic to life with performances of their ‘ballet equivalent of a page turner’ (The Stage) at Edinburgh Festival Theatre (31 Mar – 2 Apr 2016), Southampton Mayflower Theatre (4 – 7 May 2016) and London Sadler’s Wells(24 – 28 May 2016). In Northern Ballet’s 1984, Ministry of Truth worker Winston Smith lives in a world of absolute conformity, his every action scrutinised by Big Brother. Whilst outwardly conforming to Party doctrine, he is secretly disillusioned, illegally documenting his thoughts in a diary. When one day he receives a love note from Julia, the pair begin an illicit affair,leading a dangerous double life putting physical desire above Party discipline. As their romance develops and they prepare for an act of political rebellion, Winston and Julia discover that Big Brother is always watching and no one can be trusted; least of all themselves. Choreographed by Jonathan Watkins, whose recent credits include Kes for Sheffield Crucible Theatre, Northern Ballet’s 1984 is the first full-length ballet adaptation of George Orwell’s renowned novel. The production had its World Première in September 2015, and is set to an original score by Tony nominated Composer Alex Baranowski, who recently worked with Mercury Prize winning band The xx. The creative team also includes Set and Costume Designer Simon Daw, Lighting Designer Chris Davey, Video Designer Andrzej Goulding and Dramaturg Ruth Little. Jonathan Watkins said: ‘George Orwell’s Nineteen Eighty-Four has been a constant inspiration to me since I first read it at 15. It is a powerful and thought-provoking allegory that now, more than ever, has resonance with the times in which we are living.’ Northern Ballet’s Artistic Director, David Nixon OBE, said: ‘This production challenges the idea of what stories can be told through dance and the dramatic talent of our dancers will draw the audience into the very core of this literary masterpiece.’ Tickets for Northern Ballet’s 1984 are on sale now, see northernballet.com/1984 for booking details. The BBC Four screening of Northern Ballet’s 1984 is available to view on the BBC iPlayer until 29 March 2016. -ENDS- Notes to Editors Praise for 1984 ‘**** - Bold and inventive new dance-drama’ – The Stage ‘****’ – The Independent ‘This is gripping storytelling – the ballet equivalent of a page-turner.’ – The Stage ‘**** - Terrific’ – The Guardian ‘**** - Clever, consistent and powerful’ – The Telegraph ‘A brave new ballet’ – The Telegraph ‘An ambitious, compelling and, ultimately, moving new ballet’ – The Telegraph ‘**** - A masterstroke in dance,’ – Yorkshire Post ‘Powerful and thought-provoking’ – Yorkshire Evening Post ‘**** - A chilling climax’ – Financial Times ‘This is a slickly impressive piece’ – The Sunday Times ‘A thrilling and chilling dance premiere’ – British Theatre Guide ‘A new dance drama that crackles with theatrical energy’ – Mail on Sunday ‘The most complete, most impressive production I have ever seen from Northern Ballet.’ – Manchester Theatre Awards Production Credits Choreography Jonathan Watkins Music Alex Baranowski Set & Costume Design Simon Daw Lighting Design Chris Davey Video Design Andrzej Goulding Dramaturg Ruth Little 1984 – Tour Dates Edinburgh, Festival Theatre 31 Mar – 2 Apr 2016 Box Office 0131 529 6000 edtheatres.com Southampton, Mayflower Theatre 4 – 7 May 2016 Box Office 02380 711 811 mayflower.org.uk London, Sadler’s Wells 24 – 28 May 2016 Box Office 0844 412 4300 sadlerswells.com Northern Ballet For more details of Northern Ballet's tour, on sale dates and booking information, please visit northernballet.com/whatson. Nominated for Best Company at the 2015 National Dance Awards and voted Best Company at the 2014 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 46 dancers tours a combination of full-length new work and established repertoire to cities throughout the UK. Northern Ballet also tours widely with its specially created ballets for children, the first three of which were adapted for TV by CBeebies, and also performs a mixed programme showcasing the versatility of its dancers. Visit northernballet.com for more information on the Company and tour.

Hello Life and welcome out of the lurking shadows. Thank you for the information about the summer school in Exeter. Here is a link to the relevant website page: http://www.fionaharvey.co.uk/south-west-ballet-summer-workshop-2016/ If it is your SS that you are detailing could I please ask you to add a signature to your profile in accordance with the Acceptable Use Policy? Commerce There is no bar to people representing commercial ventures from signing up to BalletcoForum with a view to spreading information about their wares or offering relevant services. That said, we are not an advertising hoarding and repeated postings of the same or similar information will not be tolerated, nor frivolous posts which merely seem designed to get the company name ‘up there’. Nor will we allow vendors to use BalletcoForum as their shopfront: if you have a selling business you should use your own website for trade and market testing, not this one. Members who have commercial interests must indicate that by adding a Signature line to their postings, stating the name and type of their business and giving their website and/or business email address for enquiries. (You set up a Signature via My Settings in the dropdown menu under your name.) If members wish to contact businesses, associate schemes or other commercial enterprises this should be done via the vendor’s website or email, not by starting threads on the forum.

Links - Monday 29 February, 2016 Reviews - Royal Ballet, Giselle, London: Jann Parry, DanceTabs Mark Monahan, Telegraph Review - Birmingham Royal Ballet, Romeo and Juliet, Birmingham: Dean Eastmond, His Kind Review - Hamburg Ballet. Third Symphony of Gustav Mahler, Chicago: Hedy Weiss, Chicago Sun Times Review - Pacific Northwest Ballet, Square Dance, Prodigal Son, Stravinsky Violin Concerto, New York: Leigh Witchel, Danceview Times Reviews - Pacific Northwest Ballet, A Million Kisses to my Skin, The Vertiginous Thrill of Exactitude, Emergence, New York: Marina Harss, DanceTabs Siobhan Burke, NY Times Review - Mark Bruce Company, The Odyssey, London: Louise Levene, FT Review - Houston Ballet, Sleeping Beauty, Houston: Molly Glentzer, Houston Chronicle Review – Royal New Zealand Ballet, Selon désir, In the middle, somewhat elevated, Cacti, Wellington: John Daly-Peoples, National Business Review News - Scottish Ballet to release short film at Glasgow Festival: Phil Miller, Herald Scotland News - Miami City Ballet season 2016/17: Jordan Levin, Miami Herald Review - Garth Fagan Dance, Geoffrey Holder Life Fete and other pieces, Los Angeles: Christina Campodonico, LA Times Reviews - Chitresh Das Dance Company, Shiva, San Francisco: Allan Ulrich, SF Chronicle Claudia Bauer, DanceTabs Review - Out of the Loop Fringe Festival, Addison: Cheryl Callon, Theater Jones Review - Keely Garfield, Pow, New York: Gia Kourlas, NY Times Review - Java Dance Company, Dirt and Other Delicious Ingredients, The Wine Project, Hamilton: Debbie Bright, NZ Theatreview Feature - Dancing in Damascus: Ballerina clings to art, hope…: Hollie McKay, Fox News

Well I've just finished watching 1984 on the TV. I thought it came across very well on the small screen. Superlative performances from the whole cast and the close-ups, especially of Toby Batley, meant that we could see yet again what a brilliant actor he is.

I'm sad to read that Frank Kelly the actor has passed away at the age of 77. Sincere condolences to his family and friends. http://www.bbc.co.uk/news/world-35682191

Links - Sunday 28 February, 2016 Review - Mariinsky Ballet, A Tribute to Maya Plisetskaya, New York: Marina Harss, DanceTabs Review - Mariinsky Ballet, Raymonda, Washington: Oksana Khadarina, DanceTabs Reviews - Royal Ballet, Giselle, London: Hannah Weibye, Arts Desk Mark Ronan, Blog Reviews - Birmingham Royal Ballet, Romeo and Juliet, Birmingham: Richard Edmonds, Birmingham Mail Emma Cann, Broadway World Reviews - Mark Bruce Company, The Odyssey, London: Luke Jennings, Guardian Zoe Anderson, Independent Sarah A Stewart, Londonist Reviews - BalletBoyz, The Murmuring, Mesmerics; Pacific Northwest Ballet, Square Dance, Prodigal Son, Stravinsky Violin Concerto: New York: Deborah Jowitt, Arts Journal Feature - The French dancers for whom age is no barrier: Rosita Boisseau, Guardian Review - Boston Ballet, Onegin, Boston: Keith Powers, Boston Patriot Ledger Review - Houston Ballet, Sleeping Beauty, Houston: Jenny Taylor Moodie, Broadway World Interview - Laura Lynch, Head of Costume at Houston Ballet: Katricia Lang, Broadway World Reviews - De Nada Dance Theatre, Ham and Passion, Birmingham: Richard Edmonds, Birmingham Mail Roger Clarke, Behind the arras Review - New@Graham series, Spectre - 1914, Lamentation, Deep Song, New York: Siobhan Burke, NY Times Review - Miami City Ballet, Year of the Rabbit, Sunset, Bourree Fantasque, West Palm Beach: Susan Fulks, Palm Beach Daily News Reviews - Washington Ballet, Director’s Cut, Washington: George Jackson, Danceview Times Lisa Traiger, DC Metro Theater Arts News - Milwaukee Ballet 2016/17 Season: Jim Higgins, Milwaukee Journal Sentinal Review - Footnote New Zealand Dance, Who Are We Now?, Wellington: Ann Hunt, Dominion Post Preview/Feature - Farruquito, Improvisao, New York: Brian Seibert, NY Times Review - Smuin Ballet, French Twist, Bouquet, Maslow, Broken Open, Sarasota: Carrie Seidman, Sarasota Herald Tribune Feature - Mark Brew: Learning to dance again: Mark Kearney, Nambucca Guardian Review - Philip Connaughton & Ashley Chen, Whack!!, Dublin: Phil O’Rourke, Examiner Feature - Jessica Burrows, Hong Kong Ballet: Peter Robb, Ottawa Citizen Review - Ballet Manila, Rebel, Manila: Vergel O Santos, Philippines Inquirer

The official announcement on the ROH website only mentions last night's performance: http://www.roh.org.uk/news/cast-change-sarah-lamb-to-dance-in-giselle-on-26-february-2016 Best wishes to Ms Osipova for a speedy recovery.

I saw both performances of Romeo and Juliet on Thursday and it turned out to be a thrilling day! On Thursday afternoon the cast was led by Joe Caley and Momoko Hirata (whom I think were both debutants) with Rory MacKay as a beautifully understated Tybalt - full of hidden menace. James Barton just inhabited the role (as he always does) of Mercutio and William Bracewell was wonderful as Benvolio - well acted laddishness and such beautiful dancing to drool over. Ana Albutashvili is always a dramatic dancer and I thought she was terrific as Lady Capulet. Her grief at the death of Tybalt was almost frightening in its intensity. Joe Caley is so boyish and threw himself into enjoying life as a lad about Verona, trying to persuade Rosaline to take him seriously. He really suits the role of Romeo and you could see him fall headlong in love with Juliet and then was so heartbroken by the turn of events that led to the ultimate tragedy. Momoko Hirata was sublime as Juliet - she was utterly believable as a 13 year old, excited at going to her first grown-up party and actually quite attracted to the Paris of Fergus Campbell (who gave a lovely nuanced performance). You could see at the ball that initially she was excited and flattered to have attracted the attention of 2 personable young men and then as her attraction to Romeo grew. The balcony pdd was scintillating and the bedroom pdd was heartbreaking. Momoko and Jo were utterly believable together. It really was a fantastic performance and I am looking forward to seeing them again at the Lowry. And so to the evening led by Nao (Wonder Woman) Sakuma and Chi Cao. Valentin Olovyanikov was a commanding Tybalt up for a fight from the off. Jonathan Caguoia was absolutely on fire as Benvolio - a brilliant performance. Tau-Chao Chou gave a virtuoso performance as Mercutio. Tom Rogers was very much a Paris making a political match - he knew he was a good catch for the Capulets - another great interpretation from him. Yijing Zhang is another very expressive dancer and I loved her Lady Capulet. She was every inch the haughty lady but in Act 3 you could see she was torn between duty and protecting her daughter. She did some tiny little gestures, smoothing her daughter's hair for example, where you could see her inner turmoil. In the afternoon she had been a very naughty harlot indeed - what a great contrast in roles. Nao and Chi were just sublime in their roles. They gave nuanced, intelligent portrayals of these 2 young lovers and they were deeply moving. They were dancing right at the top of their game too - all the steps were so clearly articulated but danced with such emotion. Judging by the sobs all around me, I was not the only one moved to tears by their glorious performances. Marion Tait was the Nurse at both performances; what can I say that I have not said before - we are privileged to watch her mastery of these character roles; she gives us a masterclass in how her roles should be performed every time she steps on stage. What always impresses about BRB is how the whole company is involved in their roles, however fleeting they may be. The harlots were superb at both performances and if you looked around the crowd scenes everyone was in character and involved in the action throughout. As I said at the start - 2 brilliant performances on Thursday and I have also heard great reports of Jenna and Iain's cast too. Although the company are not in London this Spring R&J can be seen at The Lowry, Sunderland, Nottingham and Plymouth. Do try and see a performance or two. It sounds like there are some great debuts coming up.

This does not surprise me in the least Geoff. i have often told the story of a BRB performance of R&J where Monica Zamora was Juliet up to and including the ballroom scene and Sandra Madgwick took over from the balcony scene. Monica Zamora was tall and dark and Sandra Madgwick was small and blonde. Quite a few people in the audience did not seem to realise that the ballerina had changed mid-act!

I'm not really speaking from experience because I, fortunately, while not having a great complexion have never really had any issues. However I love prowling round beauty and skin care counters. Yes, it could well be age related but I would also consider the skin care regime your daughter undertakes. Does she use cleansing wipes? I know these are very convenient but they are not particularly good for your skin if used in the long term. My niece used these wipes most of the times and gradually realised that they were drying out her skin and not helping blemishes. My niece now uses products by Simple (but not the face wipes except for occasional convenience). Does your DD use an appropriate moisturiser? If she is using one that is too heavy that could also exacerbate blemishes. Does she drink enough water? This miserable weather doesn't help skin at all. I appreciate I am somewhat older than your daughter but I recently discovered and swear by Steamcream. I use it on my face but you can use it all over. It is about £14 for a tin (they now sell it in Debenhams but I continue to buy it on line) and I just love it.

A post has been hidden while it is considered by the Moderators as it may be in breach of the Acceptable User Policy. Janet McNulty on behalf of BalletCo Forum Moderators

A glowing review from Worcester: http://www.worcesternews.co.uk/leisure/reviews/14302478.Romeo_and_Juliet_Birmingham_Royal_Ballet/

Hello Amelia, I am sorry but we cannot have discussions on an open internet forum where the police may be involved. I see that you have now started the topic 3 times. Please do not start it again.

Birmingham Royal Ballet opened Romeo and Juliet on Wednesday evening in Birmingham. I was there for both performances yesterday - they were both wonderful! While I collect my thoughts for some ramblings here is a gallery from Dance Europe for the Momoko/Joe cast we saw yesterday afternoon: http://www.danceeurope.net/gallery/romeo-and-juliet-birmingham-royal-ballet

SCOTTISH BALLET GEARS UP FOR THE WORLD PREMIERE OF SWAN LAKE THIS SPRING The countdown is underway to the world premiere of Scottish Ballet’s visionary new version of Swan Lake in April. Award-winning choreographer David Dawson has been working with Scottish Ballet’s dancers at the company’s rehearsal studios at Tramway in Glasgow to create this exciting new work. Scottish Ballet’s new Swan Lake is an imaginative re-telling of the iconic story and will be performed for audiences in Glasgow, Aberdeen, Inverness, Newcastle, Edinburgh and Liverpool. This innovative new version of Swan Lake focuses on the human side of the story and the universal themes of love and betrayal. David Dawson has sought to evoke a sense of timelessness through beautifully elegant and simple set and costumes, thus enabling the audience to truly connect to the characters and the emotions of this 21st Century Swan Lake. Set to Tchaikovsky’s iconic score, played lived by the Scottish Ballet orchestra, Scottish Ballet’s new Swan Lake will feature costume design by Yumiko Takeshima, set design by John Otto and lighting design by Bert Dalhuysen. “David Dawson is renowned for his visceral and daring work and for pushing the boundaries of classical ballet. This is our first staging of Swan Lake since 1995 and David’s bold new interpretation ensures that a new generation will be engrossed by the timeless story of Swan Lake, and Scottish Ballet will have a definitive contemporary version to add to our repertoire.” Scottish Ballet CEO / Artistic Director Christopher Hampson “My vision is to create a Swan Lake that can be timeless. I needed to find a way to connect to the story of Swan Lake on a more personal level and try to re-tell it in a way that could resonate with people who live in today’s world. It is set in no-time and every-place, a kind of blank page for the human side of the story to take place. Scottish Ballet is a truly unique and wonderful place to work - a jewel of a company in the dance world. The dancers are extremely talented and willing to trust in my vision - we have been sharing the experience of ‘finding’ this new Swan Lake together and creating something special for Scottish Ballet’s dedicated audience.” Choreographer David Dawson Swan Lake will be performed at the Theatre Royal, Glasgow, His Majesty’s Theatre, Aberdeen, Eden Court, Inverness, Theatre Royal, Newcastle, Festival Theatre, Edinburgh and Empire Theatre, Liverpool in April, May and June 2016. Swan Lake credits: Choreography: David Dawson Music: Pyotr Ilyich Tchaikovsky Set Design: John Otto Costume Design: Yumiko Takeshima Lighting Design: Bert Dalhuysen Swan Lake is generously supported by Production Sponsor Check-It Scaffold Services and Official Make-up Sponsor NARS Cosmetics. Scottish Ballet has launched the Swan Lake Appeal, calling on members of the public to make a donation to help create a new version of this iconic ballet. Check-It Scaffold Services Ltd has teamed up with Scottish Ballet for a pioneering funding partnership, with the company generously matching each and every donation made to the Swan Lake Appeal pound for pound. To donate to the Swan Lake Appeal, visit: www.scottishballet.co.uk/swan-lake-appeal or call 0141 331 6274 NOTES FOR EDITORS David Dawson biography British choreographer David Dawson is one of the most innovative dance makers working in classical ballet today. His personal choreographic style transforms classical ballet in new ways, and his signature works are emotionally atmospheric pieces that have been praised by critics and audiences worldwide. Dawson's works have been performed in more than 25 countries and entered repertoires of many companies. Dawson was honoured with the Prix Benois de la Danse Award for choreography and nominated for the UK Critics' Circle National Dance Award as Best Classical Choreographer for The Grey Area. He created Reverence for the Mariinsky Ballet, for which he was awarded Russia's highest theatre prize for visual art, the Golden Mask Award, as Best Choreographer, and became the first British choreographer to create a ballet for this legendary company. He received the Choo San Goh Award for Choreography for The Gentle Chaptersand was nominated for The Golden Swan Award, as Best Choreographer for Overture and 00:00. For Faun(e), created for English National Ballet, Dawson has been nominated as Best Classical Choreographer for the UK Critics’ Circle National Dance Award and the Prix Benois de la Danse Choreography Award. Dawson has created numerous ballets internationally, including his full-length creations of Tristan + Isolde and Giselle, both of which had their world premieres at the Semperoper. Amongst other significant works are Empire Noir, The Human Seasons, A Million Kisses to my Skin, day4, The Third Light, A Sweet Spell of Oblivion, On the Nature of Daylight, and his highly acclaimed timelapse/(Mnemosyne). Born in London, David Dawson began to dance at the age of 7 and received his training at the Rona Hart School of Dance, Arts Educational School and The Royal Ballet School. In 1991 he won the prestigious Prix de Lausanne and the same year he began his professional dance career with the Birmingham Royal Ballet. He joined English National Ballet in 1994 as a soloist, and a year later moved to Amsterdam to perform with Dutch National Ballet. Dawson choreographed his first ballet in 1997 at the annual choreographic workshop while with the Dutch National Ballet. Subsequently, he joined Ballett Frankfurt, where he worked with William Forsythe and performed for two more years before deciding to devote his time to creating his own new works. Between 2004 and 2012 David Dawson was Resident Choreographer for the Dutch National Ballet, the Semperoper Ballet and the Royal Ballet of Flanders. Since 2015 he holds the position of Associate Artist with the Dutch National Ballet. His creations have been introduced to the repertoires of many ballet companies including Boston Ballet, Ballet National de Marseilles, Dutch Nationale Ballet, Semperoper Ballet, English National Ballet, Finnish National Ballet, Hungarian National Ballet, Norwegian National Ballet, Mariinsky Ballet, Pacific Northwest Ballet, The Royal Ballet, Royal Ballet of Flanders, Royal New Zealand Ballet, Scottish Ballet, Royal Swedish Ballet, West Australian Ballet, Ballet du Capitole, Vienna State Opera Ballet. SWAN LAKE LISTINGS MARCH / APRIL / JUNE 2016 Theatre Royal, Glasgow Tue 19 – Sat 23 Apr 2016 Evenings 19 - 23 Apr – 7.30pm Matinee 23 Apr – 2pm Tickets from £11.00 - £35.00 Box office 0844 412 4300 (bkg fee) Free pre-show talks at 6.30pm on Thu 21 Apr with Artistic staff and Fri 22 with Music staff. Insight: a behind the scenes look at Swan Lake, including watching the dancers take class on stage and a Q&A session with one of the dancers. Sat 23 Apr at 11am. Tickets £5.50 / £3.50 conc His Majesty’s Theatre, Aberdeen Wed 27 – Sat 30 Apr 2016 Evenings 27 - 30 Apr – 7.30pm Matinee 30 Apr – 2.30pm Tickets from £16.50 - £40.50 Box office 0844 412 4300 (bkg fee) Free pre-show talks at 6.30pm on Thu 28 Apr with Artistic staff and Fri 29 with Music staff. Insight: a behind the scenes look at Swan Lake, including watching the dancers take class on stage and a Q&A session with one of the dancers. Sat 30 Apr at 11am. Tickets £5.50 / £3.50 conc Eden Court, Inverness Wed 4 - Sat 7 May 2016 Evenings 4 - 7 May – 7.30pm Matinee 7 May – 2pm Tickets from £14.00 - £31.00 Box office 01463 234 234 (bkg fee) Free pre-show talks at 6.30pm on Thu 5 May with Artistic staff and Fri 6 with Music staff. Insight: a behind the scenes look at Swan Lake, including watching the dancers take class on stage and a Q&A session with one of the dancers. Sat 7 May at 11am. Tickets £5.50 / £3.50 conc Theatre Royal, Newcastle Wed 11 – Sat 14 May 2016 Evenings 11 – 14 May – 7.30pm Matinees 12 (2pm) & 14 May (2.30pm) Tickets from £14 - £42.50 Box office 08448 11 21 21 (bkg fee) Festival Theatre, Edinburgh Wed 25 – Sat 28 May 2016 Evenings 25 - 28 May – 7.30pm Matinees 26 & 28 May – 2pm Tickets from £13.50 - £39.50 Box office 0131 529 6000 (bkg fee) Free pre-show talks at 6.30pm on Thu 26 May with Artistic staff and Fri 27 with Music staff. Insight: a behind the scenes look at Swan Lake, including watching the dancers take class on stage and a Q&A session with one of the dancers. Sat 28 May at 11am. Tickets £5.50 / £3.50 conc Empire Theatre, Liverpool Wed 1 – Sat 4 June 2016 Evenings 1 – 4 June – 7.30pm Matinees 2 & 4 June – 2.30pm Tickets from £13.90 - £42.90 Box office 0844 871 3017 (bkg fee)

GISELLE REIMAGINED AS PART OF THE ROYAL BALLET’S DRAFT WORKS PROGRAMME 1, 9, 15 April at 6.30pm Royal Opera House Clore Studio Upstairs Tickets £7.50 Reimagining Giselle is a contemporary reworking of the classic ballet by emerging choreographerJoshua Beamish, and is part of The Royal Ballet’s commitment to developing new choreographic talent. Reimagining Giselle explores how the relationships in Giselle would play out in the world we inhabit today. Taking place before three performances of The Royal Ballet’s full-length production, the dancers wear their own practice clothes and the lighting is kept very simple. Royal Ballet dancers Olivia Cowley, Yasmine Naghdi, Nicol Edmonds and Matthew Ball will perform solos and pas de deux from the ballet in the intimate setting of the Royal Opera House Clore Studio Upstairs. Joshua Beamish is fast gaining recognition as one of today’s most cutting-edge contemporary dancer/choreographers. He created and danced in Waltz Epoca with former New York City Ballet principal Wendy Whelan in Restless Creature which had its UK premiered in the Linbury Studio Theatre in 2014. On Reimagining Giselle, Beamish comments ‘It's been interesting to look at updating a ballet as not just modifying the movement but also modernizing the nature of the interactions and personality traits of the characters. I considered the influence that the information age would have on the plot details of this particular story of deceit and of the consequences imposed by the reveal of its truth’. Emma Southworth, Studio Programme Produce for The Linbury Theatre adds ‘During the closure of the Linbury for the Open Up redevelopment, we have an opportunity to develop Draft Works and our choreographic programme in new and exciting ways. We’re delighted to welcome Josh back to the Royal Opera House after his residency here last year to explore further the timeless attraction of Giselle. − ENDS − Notes to EditorsDraft Works in the Clore: Reimagining Giselle Pre-show performances in the Clore Studio Upstairs Friday 1, Saturday 9 and Friday 15 April at 6.30pm Choreography Joshua Beamish Cast – Dancers of The Royal Ballet Olivia Cowley, Yasmine Naghdi, Nicol Edmonds, Matthew Ball Draft Works Draft Works was traditionally an event in the Linbury Studio Theatre in which Royal Ballet dancers and guest artists were invited to showcase their choreographic skills by presenting new, developmental works. During the Royal Opera House’s Open Up project to enhance the public spaces in the building, including the refurbishment of the Linbury Studio Theatre, Draft Works will become a series of different events where choreographers from within and outside The Royal Ballet have the opportunity to try new choreographic ideas in draft form.

Cloud Gate Dance Theatre of Taiwan Songs of the Wanderers Sadler’s Wells, EC1R 4TN Wednesday 4 - Saturday 7 May 2016 Performances at 7.30pm Tickets: £12 - £38 Ticket Office: 020 7863 8000 or www.sadlerswells.com Acclaimed for its exquisite choreography and unique fusion of ancient and modern traditions, Cloud Gate Dance Theatre of Taiwan returns to Sadler’s Wells on Wednesday 4 - Saturday 7 May with Songs of the Wanderers, a visually stunning tribute to pilgrimage inspired by the story of Siddhartha’s quest for enlightenment, among other elements of Asian spiritual practices. Choreographed by the company’s founder and artistic director Lin Hwai-min, and set to a soundtrack of soulful Georgian folksongs sung by the Rustavi Choir, this work creates a sense of intense reverence and sees ancient rites transformed into resonant dance theatre. While distinctly Asian in its imagery, the work has powerful relevance far beyond any geographic boundary. Songs of the Wanderers has toured to more than 20 countries and been acclaimed a masterpiece at festivals and theatres worldwide. The imagery of the work finds root in Lin Hwai-min’s memories of his visit to Bodhgaya, the site of Buddha’s attainment of nirvana. These images include the Bodhi tree under which Prince Siddhartha sat, the grove in which he lived hermetically for six years, and the Neranjra River which he finally crossed. The result is a work about asceticism, the mildness of the river and the quest for quietude. The spiritually evocative movements of the choreography find life on an astonishing set, involving over three tonnes of shimmering golden grains of rice creating rivers, hills and deserts, storms and waterfalls. Upon this striking landscape, dancers in ragged clothing move slowly on their pilgrimage, while one monk stands in a corner of the stage throughout the performance with a stream of rice grains showering down onto his head. Founded in 1973, and named after the oldest known dance in China, Cloud Gate Dance Theatre of Taiwan was the first contemporary dance company in any Chinese speaking community. Its 24 dancers receive training in meditation, qi gong (an ancient form of breathing exercise), internal martial arts, modern dance, ballet and calligraphy. Through Lin Hwai-min’s choreographies the company transforms ancient aesthetics into thrilling modern celebration of motion. Lin Hwai-min, founder and artistic director of Cloud Gate Dance Theatre of Taiwan, said: “To turn away from the world and become self-reliant is completion of the self. On the bank of the Neranjra River, I realised that Buddha was an ordinary mortal who also endured human confusion and struggle. And the memory of my journey to Budhgaya causes my heart to be overcome with joy – I want to share this joy with the audience of this production.” Free post-show talk (BSL interpreted): Wednesday 4 May NOTES TO EDITORS 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. Cloud Gate Cloud Gate is the name of the oldest known dance in China. In 1973, choreographer Lin Hwai-min adopted this classical name for the first contemporary dance company in any Chinese speaking community. Its 24 dancers receive trainings of meditation, qi gong (an ancient form of breathing exercise), internal martial arts, modern dance, ballet, and calligraphy. Through Lin Hwai-min’s choreographies the company transforms ancient aesthetics into thrilling modern celebration of motion. Cloud Gate has toured extensively to venues and festivals all over the world, including the Next Wave Festival in New York, Sadler's Wells and Barbican in London, the Moscow Chekhov International Theatre Festival, the Internationales Tanzfest NRW directed by Pina Bausch, the Melbourne International Arts Festival. The company performs regular seasons in theatres in Taiwan and also stages annual free outdoor performances in various cities in Taiwan, drawing audiences of up to 60,000 per performance. To perform for grass-roots communities, and to foster young choreographers in Taiwan, Cloud Gate 2 was founded in 1999 and Cloud Gate Dance School was founded in 1998 to bring the joy of dance to students aged 4 to 84. In 2003, in recognition of Cloud Gate’s contribution to the cultural life of Taipei, the Taipei City Government named Fu-Hsing North Road Lane 231, home of Cloud Gate’s office, as “Cloud Gate Lane.” In 2010, a new asteroid, discovered by National Central University, Taiwan, was named after Cloud Gate. In 2014, celebrated by China Airlines, Cloud Gate’s dance images were featured on the Airlines aircraft livery. Most of Cloud Gate's productions have been made into videos. Among them, Songs of the Wanderers, Moon Water, Bamboo Dream and Cursive II (now known as Pine Smoke) were filmed in Europe. Lin Hwai-min Lin Hwai-min is Founder and Artistic Director of Cloud Gate Dance Theatre. Heralded as “the most important choreographer in Asia”, Lin often draws his inspiration from traditional Asian culture and aesthetics to create original works with contemporary resonance. He first became known in his native Taiwan as a critically acclaimed writer. In 1969, at the age of 22 and with two books of fiction published, he went to study in the States and obtained a Master of Fine Arts degree from the Writer’s Workshop at the University of Iowa. He also studied modern dance at the University and in New York. Lin Hwai-min founded Cloud Gate Dance Theatre of Taiwan in 1973, the Dance Department at the Taipei National University of the Arts in 1983, and Cloud Gate 2 in 1999. In July 2013 Lin received the prestigious Samuel H. Scripps/American Dance Festival Award for Lifetime Achievement, following in the footsteps of Martha Graham, Merce Cunningham and Pina Bausch, and becoming the first Asia-based recipient of this award. Other awards include the Taiwan National Award for Arts, the Ramon Magsaysay Award, the John D. Rockefeller 3rd Award, the Best Choreographer award at the Lyon Biennial Dance Festival, the Distinguished Artist Award presented by International Society for the Performing Arts (ISPA) and the Chevalier of the Order of Arts and Letters from the French Ministry of Culture. Lin has also received honorary doctorates from six universities in Taiwan and Hong Kong. In 2005, he was honoured by Time Magazine as one of the “Asia’s Heroes.” In 2013, he was awarded by President Ma Ying Jeou with the First Rank Order of Brilliant Star with Special Grand Cordon. He is the second artist, after film director Ang Lee, to have been bestowed this highest honour from the government of Taiwan. In 2015, he was honoured with the first Tsai Wan-tsai Taiwan Contribution Award, for his relentless efforts in sharing dance performances with grass-roots audiences. Lin Hwai-min has been the subject of full-length television documentaries, including Portraits Taiwan: Lin Hwai-min (Discovery Channel), Floating on the Ground (Opus Arte), and Lin Hwai-Min - Interface Between Worlds (ARTE/ZDF). From 2000 to 2014, he served as the Artistic Director of Novel Dance Series for the Novel Hall for Performing Arts, Taipei, introducing contemporary dance to audiences in Taiwan. Choreographers featured in the series include Eiko and Koma, Meredith Monk, Susanne Linke, Akram Khan, Ea Sola, Sidi Larbi Cherkaoui and Jerome Bel.

Hello Siana, we had a topic a while ago about dance facilities in or near universities that may be useful to read: http://www.balletcoforum.com/index.php?/topic/11185-ballet-at-university/?hl=university Good luck to your DD. Do let us know how she gets on.

Do you mean the one in Manchester?

I've changed the title to prevent more confusion and people possibly missing the broadcast.

Hello Balletmummy28 and welcome to the Forum! I am sure lots of members will chip in with comments. It may also be worth using the search facility as I am sure we have had similar discussions before.

Eowyn, I think Pups_Mum has given some very good advice in her post about enjoying the moment. It's still a fantastic education and no matter what happens in the future there should still be lots of happy memories.