Jan McNulty

I absolutely loved Choreartium. As well as Joseph Cipolla, Kevin O'Hare was also wonderful in this plotless ballet. If he revived Two Pigeons, in which he was a wonderful Young Man, perhaps he would consider reviving Choreatium too as I gather it is unlikely to be revived by BRB. Come to think of it, Kevin O'Hare was an outstanding Edward II...

It was set in a ghetto rather than a concentration camp. Lez Brotherston's set gave the impression it was Warsaw. The choreography for Giselle and Albrecht was the traditional steps that we were used to but Michael Pink had also interpolated a beautiful elegaic solo for Albrecht in Act 2 where Albrecht usually just walks around the stage holding a bunch of lilies. Christopher Gable's first production for Northern Ballet, when he took over as AD, was a lovely traditional Giselle. Legend has it that this was being revived when he and Michael Pink decided they did not have enough dancers to do justice to the Wilis in Act 2. This production was born from that. The Wilis became vengeful spirits and were men as well as women. When we were lucky to see both productions back to back in Oslo I realised how clever Gable and Pink had been in Act 2. Although it was all new choreography, if you were familiar with the original you could see the references they had used in the new choreography. I found it an incredibly moving, truly satisfying production and I would very nearly kill to see it again.

Ballet Cymru have just published details of their summer schools on the company website: http://welshballet.co.uk/newport-summer-dance-wales-international-ballet-summer-school-2016/

Hello Tatasmum and welcome to the Forum! I can't answer your query but I am sure other members will be able to chip in.

Thank you for the information Ambros1a. It looks as though it will be an excellent programme. Unfortunately the dates are no good for me but I would have loved to see Alonzo Lines company.

Great casting!

The Merchants of Bollywood The Peacock, WC2A 2HT Tuesday 24 May – Saturday 11 June 2016 Tue - Sat at 7.30pm; Sat at 2.30pm; Sun at 2pm & 6pm Tickets: £15 - £45 (Under 16s half-price tickets, max 2 children per 1 full-paying adult) Ticket Office: 020 7863 8222 or www.peacocktheatre.com "Like a kick of chilli, its dance numbers overpower with their energy, hot rhythms and kaleidoscope of eye-scorching costumes" The Guardian After more than 1,000 performances across 20 countries, the theatrical dance spectacular TheMerchants of Bollywood returns to the West End’s Peacock Theatre from 24 May - 11 June 2016, featuring all the Bollywood dance classics, plus new choreography to some of the latest high-energy hits. The Merchants of Bollywood charts the history of the world’s largest and most prolific film industry and the dynasty of stars that have lit its way over generations. Written and directed by Toby Gough and produced by Mark Brady, the show draws inspiration from the story of the Merchant family’s choreographing dynasty, who for generations have been Bollywood’s leading figures in film-making, music and choreography. The heroine, Ayesha Merchant, trained by her grandfather in the ancient Kathak tradition, leaves home to become a choreographer for extravagantBollywood musicals, before being drawn back to her artistic roots in Rajasthan. Featuring a cast of 36 performers adorned in 1,200 different eye-popping costumes and 5,000 pieces of glistening jewellery, this uplifting show is a riot of colour and high-energy music by award-winning composers Salim and Sulaiman Merchant. Sensational dance scenes are choreographed by Vaibhavi Merchant, granddaughter of Hiralalji Merchant, one the founding fathers of classic Bollywood Cinema. Merchant’s choreography incorporates many different styles of Indian dancing including folkloric dance from Rajasthan and contemporary forms such as disco, showcasing the true variety of Bollywood musicals. Vaibhavi Merchant started her career assisting her uncle Chinni Prakash, a renowned Bollywood film choreographer, and has gone on to choreograph for some of Bollywood’s biggest stars, including Aishwarya Rai and Katrina Kaif. Her choreography has featured in more than 70 films, including the Oscar nominated Lagaan, and Hum Dil De Chuke Sanam, for which she was awarded the National Film Award. Recent film projects include the latest instalment of the Dhoom trilogy (the fourth highest-grossing Bollywood film of all time); Bhaag Milkha Bhaag, an Indian biopic based on the life of Indian Olympian athlete, Milkha Singh; and the anthology film Bombay Talkies, celebrating 100 years of Bollywood cinema, which screened at the 2013 Cannes Film Festival. Already seen by over two million people, this heart-warming show is both a vibrant homage to the world of Bollywood cinema and an intoxicating evening of music and dance. 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.

Thanks Kate, that was absolutely fascinating!

Well I am finding the 12:30 starts for matinees on Saturday very hard. As I have to take my dog for a walk before I set off, the earliest train I can easily get is the 0847, which is due in at 11. That would seem to be plenty of time, but as I discovered on Saturday it only takes a problem on the line to put things completely out. I would probably get that train even for a 14:30 start so I could have a little mooch around the BM and lunch before the start. 12:30 also makes eating problematic - too early for lunch beforehand and too late afterwards!

The 7 Fingers TRIPTYQUE Friday 1 & Saturday 2 April 2016 Performances: Fri & Sat at 7.30pm Tickets: £12 - £32 Ticket Office: 020 7863 8000 or www.sadlerswells.com “These Canadian circus performers own the space where acrobatics meets dance” Evening Standard Hailing from Québec, renowned as the home of the modern circus discipline, The 7 Fingers (Les 7 Doigts de la Main) is one of the world’s most inventive contemporary circus companies. After success with Sequence 8 and TRACES, the company returns to Sadler’s Wells with the UK premiere ofTRIPTYQUE, a new triple bill of dance and circus on 1 & 2 April 2016. Co-produced by Sadler’s Wells, TRIPTYQUE is a collaboration with some of the world’s most cutting-edge contemporary choreographers; Marie Chouinard (bODY_rEMIX/ gOLDBERG_vARIATIONS), Victor Quijada (RUBBERBANDance) and Marcos Morau (La Veronal). This marks the first time the company has worked with outside choreographers for the creation of a new show. The first piece, a duet by Canadian choreographer Chouinard, focuses on gravity and its effects on the movement of the body. The second work by Quijada is a hand-balancing quintet with the artists seeking absolute control of gravity and exploring the relationship between stillness and movement. Spanish choreographer Morau’s final piece places an emphasis on circus, integrating a variety of different disciplines. The work features solos, duets and group sequences, as eight artists free themselves of both internal and physical obstacles. Marie Chouinard is known as one of the world’s most daring choreographers and over the years she has created more than 50 solo and group pieces. Chouinard’s work reflects her view of dance as a sacred art, her virtuoso approach to performance and her respect for the body as a vehicle of that art, and the invention of a different universe for each new piece. Chouinard’s own company, which she formed in 1990, presents the UK premiere of a double bill at Sadler’s Wells in June 2016. Victor Quijada formed his dance company, RUBBERBANDance Group, in 2002. Since then, he has created over 24 short and full-length pieces both within the company structure and as commissions working with other companies. American born Quijada received the Bonnie Bird North American Award and the Peter Darrell Choreography Award in 2003, the OQAJ/RIDEAU Prize in 2009, and a Princess Grace Awards Choreographic Fellowship in 2010. From 2007 to 2011, he was an artist-in-residence at the Cinquième Salle of Place des Arts in Montreal. Choreographer Marcos Morau studied at the Institut del Teatre de Barcelona, the Conservatorio Superior de Danza de Valencia, the Choreographic Centre of Teatres de la Generalitat Valenciana, and Movement Research in New York. In recent years he has worked as a choreographic assistant with the Nederlands Dans Theater II and IT Dansa. In 2005 Morau formed La Veronal, taking from varied cultural references including cinema, literature, music, and photography. Morau has received many awards, including First Prize at the choreographic contest of Madrid, the Fira de Tàrrega prize, and a special award from MasDanza Maspalomas International Choreographic contest. Founded in Montreal in 2002, The 7 Fingers began as artists on stage and soon branched out, expanding their creative talents as directors, choreographers, writers and coaches, passing on their collaborative and unique 7 Fingers process to a new generation of circus artists. The company name refers to their 7 founding directors, Isabelle Chassé, Shana Carroll, Patrick Léonard, Faon Shane, Gypsy Snider, Sébastien Soldevila and current Artistic Director Samuel Tétreault who, by combining their distinct talents and experiences, work towards their common artistic goals with the beautifully awkward dexterity of a 7-fingered hand. Both performances are audio described BSL interpreted dialogue A Sadler’s Wells co-production The Monument Trust supports co-productions and new commissions at Sadler's Wells Notes to Editors Listings information The 7 Fingers TRIPTYQUE Friday 1 & Saturday 2 April 2016 Performances: Fri & Sat at 7.30pm Tickets: £12 - £32 Ticket Office: 020 7863 8000 or www.sadlerswells.com ABOUT 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.

Links - Wednesday 17 February, 2016 Reviews - Royal Ballet, After the Rain, Strapless, Within the Golden Hour, London: Roslyn Sulcas, NY Times Lyndsey Winship, Standard Reviews - New York City Ballet, La Sylphide, Tchaikovsky Piano Concerto No 2, New York: Sondra Forsyth, Broadway World Andrew Blackmore-Dobbyn, Bachtrack News - National Ballet of Canada goes traditional for 2016-17: Martha Schabas, Toronto Globe and Mail Trish Crawford, Toronto Star News - Boston Ballet 2016-17 season: Jeffrey Gantz, Boston Globe Review – Tanztheater Wuppertal Pina Bausch, “…como el musguito…”, London: Sara Veale, Fjord Review Reviews - Les Ballets de Monte Carlo, Chore, Costa Mesa: Jean Lenihan, Arts Journal Steven Woodruff, See Dance Review - Crystal Pite, Jonathon Young, Betroffenheit, Toronto, Michael Crabb, Toronto Star Review - Ririe-Woodbury Dance Company, Alwin Nikolais Celebration, New York: Joel Benjamin, Theater Scene Review - Matthew Bourne’s New Adventures, Sleeping Beauty, Liverpool: Dawn Collinson, Liverpool Echo Preview - Alvin Ailey American Dance Theatre, mixed programme, Miami: Charlotte Libov, Examiner News - Studio Wayne McGregor due to open at end of 2016: Carmel Smith, London Dance Review - BalletBoyz, The Murmuring, Mesmerics, Dallas: Christina Hoth, Broadway World News - BalletBoyz launches dance scheme for people with disabilities: Georgia Snow, Stage Preview - Northern Ballet, 1984, Edinburgh: Kelly Apter, The List News - Ballet Sarasota terminates Managing Director: Carrie Seidman, Sarasota Herald Tribune Gallery - Resolution 2016: Alula Cyr, Hyena, London: Lidia Crisafulli, DanceTabs Review - Claire Cunningham, Guide Gods, Fremantle: Deborah Jones, Blog Feature - What it’s really like to dance the lead in Swan Lake: Andrea Bartz, Cosmopolitan Review - Aditi Mangaldas Dance Company, Within, Perth: Cicely Binford, Australian Stage Feature - The Print Room at the Coronet: Staff, London Dance Review - Ballet Austin, Director’s Choice programme, Austin: Claire Christine Spera, Austin 360 Review - Kathryn Posin, Climate Control, New York: Brian Seibert, NY Times

Viktorina Kapitonova (who danced the premiere) has tweeted that all 14 scheduled performances are sold out and that one extra performance has been slotted in. I suppose you could try for returns.

I'm there on Thursday too. Can't wait!

That is absolutely dreadful Piccolo.

Well, I don't know about the artists themselves Lilian but the organisations they belong to have definitely become more business orientated. It is definitely all about the bucks, certainly with the administrative staff. I know these are dangerous times for the arts with all the funding cuts and an increasing number of organisations chasing less and less money - at least in the UK - but cutting off the interaction with their adoring public is surely shooting themselves in the foot! Good point Lilian.

Neither did I till my niece told me! You can look at the website to see what is on offer before you decide. I thought the occasional item on Sky Arts was worth £6.99 a month and I have started watching a box set called The Practice (about doctors). NOW TV is powered by Sky but it is an internet connection so you don't need a dish.

Thanks ... but I still won't be able to see it as I will be on my way to Leeds!

Links - Tuesday 16 February, 2016 Reviews - Royal Ballet, After the Rain, Strapless, Within the Golden Hour, London: Clement Crisp, FT Judith Mackrell, Guardian Jann Parry, DanceTabs Zoe Anderson, Independent Anna Winter, Exeunt Neil Norman, Stage Rachel Elderkin, London Dance John O’Dwyer, Bachtrack Review - New York City Ballet, La Sylphide, Tchaikovsky Piano Concerto No 2, New York: Marina Harss, DanceTabs Reviews – Tanztheater Wuppertal Pina Bausch, “…como el musguito…”, London: Josephine Leask, London Dance Philippa Newis, Bachtrack Reviews - Ririe-Woodbury Dance Company, Alwin Nikolais Celebration, New York: Apollinaire Scherr, FT Marsha Volgyi, Broadway World Feature - Writing from silence - a response from a transnational collective to Akram Khan’s reported comments on female choreographers: London Dance Review - Alvin Ailey American Dance Theatre, Open Door, Awakening, Cry, Revelations, Atlanta: Cynthia Bond Perry, Arts Atlanta Review - Bill T Jones / Arnie Zane Dance Company, Body against body, New York: Brian Seibert, NY Times Review - Claire Cunningham, Guide Gods, Fremantle: Maxim Boon, Limelight P/Review - Milwaukee Ballet, Dorian Gray, Milwaukee: Peggy Sue Dunigan, Broadway World Review - Paufve Dance, Strangers Become Flowers, San Francisco: Rita Felciano, Danceview Times Review - Eliza Ladd, Selfie of the Ancients, Sarasota: Carrie Seidman, Sarasota Herald Tribune Review - MiShinnah Productions, Iphigenia: Book of Change, Venice: Jeff Slayton, Bachtrack Featurette - Birmingham Royal Ballet Retrace the Steps of the Bard at Shakespeare's Birthplace: Louise Brady, Broadway World P/Reviews - Ballet Philippines, Opera, Manila: Staff, Philippines Standard Amadis Ma Guerrero, Philippines Inquirer Review - Uganda National Contemporary Ballet, The Ticking Bomb is Running Out, Kampala: Andrew Kaggwa, All Africa

Very true jm365. Actually I tend to find contemporary dance comes over better than ballet on TV. Having a larger screen can help too.

If you get a £10 NOW TV box, for £6.99 per month you can buy the Entertainment package that includes Sky Arts. There are a lot of archived programmes (especially of Andre Rieu!) but there is also a "watch live" selection. I can't believe I forgot about Elizabeth but hopefully it will be on a repeat cycle. The TV magazine I buy does not include a listing for Sky Arts. I have only just subscribed to the Entertainment package and you can cancel at any time as there is no contract. Previously I've only used it to watch terrestrial channels catch-up. I've watched a couple of programmes so far. It's got to be the best £10 I have spent! I don't have a connection with NOW or SKY.

BRB's Ashton double bill opens on Wednesday. Please use this thread for your thoughts. To start us off, BRB have issued a rehearsal video of The Dream from the last run: https://www.brb.org.uk/post/studio-rehearsals-for-the-dream

I don't think they were bothered about states of undress as such just one of themselves being depicted like that in public!

I rarely watch a ballet production on TV and I know many others who feel the same.

I think it's one of those things ... If it goes on behind closed doors it's one thing but flaunting it in public is another. I suspect a member of high society would cause quite a scandal with a publicly exhibited portrait considered risqué.

I know what you mean Alison. I started work on a project based in Bath and was commuting by train between Liverpool and Bath on a weekly basis for 2 years. I started 3 weeks before the Hatfield crash so for most of that time we were on the emergency (much longer lasting journeys) timetable. Virgin Trains could not manage to achieve that and I made a point of claiming every time the train was terminated at Crewe and I had no idea how long it was going to take to get the rest of the way home. I was entitled to £7 in vouchers for every qualifying delay. At one stage I had over £200 in vouchers! After 2 years, I was officially based back in Liverpool but was able to drive to Bath several times a month as I could claim the parking back. I had some unbelievably horrendous road journeys too! Over the years I have come to believe that the worst journey you can do in this country is from the North West of England to the South West of England. I have to say that Virgin Trains have greatly improved their service since the Pendolino trains were introduced and the staff are usually very helpful and courteous. (To finish on a positive note!).