Jan McNulty

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.

Was it their own choice to leave their dance careers? Over the years I have been a ballet-watcher I have seen numerous dancers leave the profession at a comparatively early age - mostly through their own choice. Perhaps people just decide that the professional dancer's life is not for them or their interests change. I know one dancer from BRB left to retrain, successfully, as a doctor. I would say that a good vocational education is never wasted because of the life skills it gives the individual no matter what life choices they subsequently make. Sadly I also know of dancers whose careers ended early because of injuries.

Polish National Ballet are auditioning: http://dancingopportunities.com/index.php/audition-notice-the-polish-national-ballet/

Hi Folks, just a reminder that The Car Man will be in cinemas from 1st March. Here is a link to the cinema list: http://www.more2screen.com/cinema-listings-for-matthew-bournes-the-car-man/ Additionally an Alvin Ailey American Dance Theatre mixed programme including Chroma and Revelations is being shown in March, April and May. Here is a link to the cinema list: http://www.greatamericandance.com/AlvinAiley/cinemas-and-tickets/germany/

Genesia Rosato retires from The Royal Ballet after 40 years The Royal Ballet announces today that Principal Character Artist Genesia Rosato retires from the Company after 40 years. Genesia said ‘It is time, after spending my whole career with this wonderful Company, to retire from dancing. I have loved my life as a dancer, and I know I will miss working with the many talented and dedicated individuals who make up The Royal Ballet.’ Kevin O’Hare, Director of The Royal Ballet, said ‘Genesia has been an incredible member of The Royal Ballet for 40 years working with some of the most significant names in British dance history. Over her long career she has made a great contribution to the Company as a dancer and latterly bringing her dramatic gifts to a wide variety of roles in both the classics and heritage works, giving many memorable performances. We wish her well for the future.’ Genesia was invited by Kenneth MacMillan to join the Company in 1976 and was promoted to Soloist in 1982 and to Principal Character Artist in 1993. On joining she was selected to appear inGlen Tetley’s Voluntaries when it entered the repertory and created the role of Princess Louise in MacMillan’s Mayerling, a ballet in which she went on to perform the roles of Marie Larisch, Mitzi Caspar, the Empress and Helene Vetsera. Frederick Ashton created parts for her in both Rhapsody and Varii Capricci, and he also chose her to perform three of the roles he had made for Violetta Elvin – the Fairy Summer in Cinderella, Lykanion in Daphnis and Chloë, and Variation 5 in Birthday Offering. A highlight of her career came when he gave her the role of Profane Love in the Company’s first performance of his 1950 ballet Illuminations. She first danced Katya in A Month in the Country when Ashton was still rehearsing the ballet and later danced that ballet’s central role of Natalia Petrovna, coached by its originator Lynn Seymour. She also had the opportunity to work with the Company’s founder, Ninette de Valois, on roles in The Sleeping Beauty. Genesia’s numerous roles have included Myrtha, Bathilde and Berthe in Giselle; the Lilac Fairy, the Queen, the Countess and Carabosse in The Sleeping Beauty; Terpsichore in Apollo; the Siren in Prodigal Son; the Wife in The Invitation; Lady Capulet and the Nurse in Romeo and Juliet; and the title role in MacMillan’s one-act version of Anastasia. Her long career with the Company, from early beginnings with Macmillan, saw her work with all subsequent directors Norman Morrice, Anthony Dowell, Ross Stretton, Monica Mason and most recently Kevin O’Hare. The continuity of ballet has often allowed Genesia the chance to play several generations and types of characters within the same ballet, a rich experience that she has treasured. − ENDS −

I've just had a look on my iPhone (niece confiscated iPad!). Open a message. On top right hand side there is a red button that says delete!

Even as a non-dancer the linked article is really interesting. Thanks Kate.

I came across this article on Facebook. I don't know if it will be of use to anyone: http://www.davidwolfe.com/34-pictures-muscles-stretching/?c=pwf&vp=dchop

It's a new commission based on Shakespeare's sonnets and is by Jessica Lang.

Lisa, I think this is more appropriate to Doing Dance (even though you are not asking as a dancer) so I've moved it.

It was in the Friends' Newsletter. I don't think it's embargoed. The Lowry is getting a mixed programme of Wink, Moor's Pavane and The Dream 3rd week in September. I don't know when the tickets will be on sale yet.

Hello MPpink98 and DJM and welcome to the Forum! There is plenty of discussion on adult ballet if you use the search facility on the Forum. I hope you will let us know how you get on.

Hello Chloe, I've merged your latest topic with your recent topics on a similar theme. If you look back over the thread you will see that people have given you very sound advice on many aspects of running your own school from the need for CRB clearances to the need to build up a portfolio.

Hello Baeballet and welcome to the Forum! Well done to your DD for getting finals.

I'd be ecstatic if there was a BRB recording of The Dream! You will be excited by the BRB Autumn season at The Lowry...

What fantastic news Meadowblythe; you must be incredibly proud.

I saw a link to this on FB and signed several weeks ago. I would urge all our members to sign whether are opera fans or (like me) not.

I don't know anything about ENO except that they are in dire straits and that they own the Coliseum. Do they do all their productions in English? Does the RO do all their productions in the original language (and WNO and SO come to think of it)?