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Jan McNulty

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Everything posted by Jan McNulty

  1. Hello dancefanatic and welcome to the Forum!
  2. I know it has a very good reputation in the North West. Jenny Hackwell graduated last year and is now a member of Northern Ballet
  3. Good luck with your lessons Munchkin!
  4. I enjoyed the choreography but I found the transformation into mesh a bit disturbing, if I am honest.
  5. Huge congratulations to all the awardees and especially (because I am biased) William Bracewell of BRB.
  6. Askonas Holt and Raymond Gubbay Ltd present The Australian Ballet at London Coliseum in 2016 Graeme Murphy’s SWAN LAKE 13 – 16 July 2016 Alexei Ratmansky’s CINDERELLA 20 – 23 July 2016 London Coliseum, St Martin’s Lane, London, WC2N 4ES // Tickets: 020 7845 9300 // www.eno.org Presented by Askonas Holt and Raymond Gubbay Ltd and under the artistic helm of David McAllister, The Australian Ballet, Asia Pacific’s preeminent ballet company, makes a welcome return to the UK to perform Graeme Murphy’s Swan Lake and Alexei Ratmansky’s Cinderella at the London Coliseum in July 2016. Last seen in the UK in 2008, and following triumphant sell-out performances around the world, The Australian Ballet brings two of its most-loved full productions to the Coliseum’s West End stage in what promises to be a spectacular two-week season of ballet for the entire family. David McAllister, Artistic Director of The Australian Ballet, said: “As a dancer I still remember my first time performing in London. It’s a city that has seen all of the best ballet companies from across the globe. Our ties go back generations and bringing the Company back to the birthplace of our founding Artistic Director, Peggy Van Praagh, is always a thrill. Both productions have become signature works for the company. Both encompass our motto of caring for tradition but also daring to be different. In each work the dancers have not only embraced the choreographic challenges, but through many seasons have developed multi layered characters which drive the storytelling in both ballets.” Kicking off the London visit from 13 – 16 July, and breathing new life into the timeless romance of Odette and Prince Siegfried, Graeme Murphy’s critically-acclaimed Swan Lake sees the traditional tale of the world’s greatest ballet unfolding with a contemporary twist. Murphy’s Swan Lake, produced to mark the company’s 40th anniversary in 2002, follows the fortunes of Odette who is betrothed to Prince Siegfried, but she is deeply apprehensive about his relationship with Baroness von Rothbart. It’s not until after the wedding that the true nature of Siegfried and the Baroness’ relationship becomes clear, causing Odette such distress that by royal command she is committed to a sanatorium. There she finds comfort and escape amongst serene white swans in a frozen dream world. Critics worldwide have picked up on more than a hint of another world-famous royal triangle, finding several parallels in this Swan Lake adaptation of love and betrayal. Kristian Fredrikson’s inspired set and costume designs frame Murphy’s choreography danced to Tchaikovsky’s immortal score. The Australian Ballet won the UK’s Critics’ Circle National Dance Award for Best Foreign Dance Company following its Swan Lake performances in the UK in 2005; it is a much-lauded production not to be missed. With an ever-developing repertoire, The Australian Ballet is recognised as a major creative force, producing remarkable new versions of the classics and inviting the finest contemporary choreographers to produce exciting new works. Alexei Ratmansky is one of the world’s most sought-after dance makers and his production of Cinderella for The Australian Ballet will bring the Coliseum stage to life from 20 – 23 July. This London season marks the first time The Australian Ballet has performed the acclaimed choreographer’s Cinderella in Europe. Commissioned by McAllister in 2013, Ratmansky created the new Cinderella for The Australian Ballet and its world premiere season sold out across the continent. This Cinderella is brilliantly re-imagined, with Ratmansky unleashing his considerable narrative talents on a sublime story to Prokofiev’s divinely romantic score, taking audiences on a journey to 20th-century Russia and into an abandoned theatre where this unconventional fairy-tale unfolds. Cinderella works away while her tempestuous Stepmother and Stepsisters prepare for the Royal Ball. As she dreams of dancing with the Prince, an eccentrically disguised Fairy Godmother transforms Cinderella’s rags into a magnificent ball gown – forget the pumpkin and the mice; planets, moons and stars accompany this Cinderella to the Ball. Captivated from the moment Cinderella enters the room, the Prince only has eyes for his mysterious muse. A tick of the clock and one lost slipper later, the handsome Prince must embark on a world-wide journey to find his lost love, visiting many lands teeming with temptations before he is reunited with her. This beautifully entertaining story for all ages has been captivating critics and astounding audiences at home in Australia and during its first international viewing in China in 2015. On working with the dancers of The Australian Ballet to create Cinderella, Ratmansky said: “There is definitely something Australian about the way they dance. Really strong. The dancers are alive. At the same time they’re precise, well placed, musical. There’s something sunny about them.” Ratmansky teamed up with award-winning French designer Jérôme Kaplan to realise his spectacular vision for Cinderella. The duo has previously worked together on Dutch National Ballet’s Don Quixote and the world premiere of Lost Illusions at Bolshoi; the latter won Kaplan a Golden Mask Award for Best Costume Design. The Orchestra of English National Opera will accompany The Australian Ballet during its performances of Swan Lake and Cinderella at London Coliseum in 2016. -ENDS- Notes to Editors: The Australian Ballet at London Coliseum in July 2016 – listings information: Wednesday 13 – Saturday 16 July SWAN LAKE (press night is Wednesday 13 July) Evenings at 7.30pm // Matinees on Thursday and Saturday at 2pm Tickets: £15 - £75 (£90 premium) Groups: Discounts for 10+, contact the box office for details Family ticket: Save 20% on selected prices LONDON COLISEUM: 020 7845 9300 // www.eno.org Choreography Graeme Murphy Creative Associate Janet Vernon Music Piotr Ilych Tchaikovsky Set and Costume Design Kristian Fredrikson Original Lighting Damien Cooper With the Orchestra of English National Opera Wednesday 20 – Saturday 23 July CINDERELLA (press night is Wednesday 20 July) Evenings at 7.30pm // Matinees on Thursday and Saturday at 2pm Tickets: £15 - £75 (£90 premium) Groups: Discounts for 10+, contact the box office for details Family ticket: Save 20% on selected prices LONDON COLISEUM: 020 7845 9300 // www.eno.org Choreography Alexei Ratmansky Music Sergei Prokofiev Set and Costume Design Jerome Kaplan Lighting Design Rachel Burke Projection Design Wendell K. Harrington With the Orchestra of English National Opera Founded in 1962, The Australian Ballet, under the artistic helm of David McAllister, is one of the world’s leading ballet companies delivering extraordinary performances for over 50 year A commitment to artistic excellence, a spirited style and a willingness to take risks have defined the company from its earliest days, both on and offstage Exists to inspire, delight and challenge audiences through the power and quality of its performances In addition to 79 acclaimed dancers, The Australian Ballet employs leaders in injury prevention, dance education, master craftspeople and maintains an orchestra of 62 musicians from Orchestra Victoria (Orchestra of English National Opera will accompany the London performances) Presents upwards of 250 shows and audience engagement events each year Tours regularly overseas and has performed to critical acclaim around the world to cities including New York, Tokyo, London, Paris and Beijing Moving effortlessly between the great classical ballets and new contemporary commissions, the company has a unique Australian style, powered by artistry and athleticism ‘The Australian Ballet. Caring for tradition, daring to be different’ https://www.australianballet.com.au/
  7. Thought I'd better check. Uber are now operating in Liverpool. It seems to be very easy to sign up to drive for them but the site does talk about helping you to get a license.
  8. I don't know if they have changed their stance, as I recently saw a car with an Uber sign on the door, but Liverpool City Council would not license them a year or so ago. I agree with Kate, be wary.
  9. Hello kkelsieballet and welcome to the Forum! I hope you will keep posting and let us know how you get on.
  10. Congratulations to Laurretta on her very well deserved promotion!
  11. I've never been able to control my emotions and was sobbing out loud by the end last Saturday! I hope I don't sob too loudly in the cinema on Tuesday...
  12. Thanks for the info Flora. Here is a link to the school's website: http://www.youngdancersacademy.com
  13. There was this recent thread: http://www.balletcoforum.com/index.php?/topic/11441-knees-and-legs/?hl=knees An older thread: http://www.balletcoforum.com/index.php?/topic/2403-talking-of-knees/?hl=hypermobility#entry28378 I searched separately for knees and then hyper mobility. The subjects seem to have come up in loads of less obvious threads too.
  14. I don't know if the situation in Japan has changed but I understood many years ago that the contracts specify that principals will dance the leading roles. BRB (who were probably still SWRB) toured Swan Lake to Japan and Marion Tait became injured. I believe Miyako Yoshida was promoted to principal during the tour to fulfil the contract.
  15. I haven't got a middle name... But if I use the "a" from Janet I get: The Kingdom of the Temperaments in Wonderland!
  16. Hello Summersong76 and welcome to the Forum. It is worth using the search facility and also searching on the tags because funding is mentioned on many of the threads. Here's a couple for starters: http://www.balletcoforum.com/index.php?/topic/11125-dada-income-question/?hl=dada http://www.balletcoforum.com/index.php?/topic/11417-confused-about-funding/?hl=dada http://www.balletcoforum.com/index.php?/topic/10482-dada-2016-funding-question/?hl=dada
  17. Did she do some sort of a song and ballet show with Katherine Jenkins after she had finished at RB?
  18. When I watched Darcey Bussell's porridge advert on YouTube (see thread on Not Dance) the "red button" programme "Darcey Bussell: A Ballerina's Life" started playing immediately after. I had never watched it before and I have to say that I enjoyed it very much. It was particularly interesting to hear Ms Bussell talking about Sir Frederick Ashton and working with Sir Kenneth MacMillan. That little bit starts around 14 minutes in but I found the whole 30 minutes very watchable:
  19. This website has got details about Camden Market: http://www.camdenmarkets.org On another website I found it recommends using Mornington Crescent Tube Station, which is one stop from Euston on the Northern Line.
  20. Hello Whizkid and welcome to the Forum. I hope you will continue posting and let us know how your DD gets on.
  21. David Nixon once said, during a talk to Friends, that often graduating students were not "stage and performance" ready in his opinion. It is one of the reasons this graduate scheme was set up.
  22. I got questions about Waitrose!!! The headline is "Beguiling and Radiant". Mr Crisp really liked McRae and Osipova. Quote re Two Pigeons: "The Young Girl is a tease, but how beguiling in Yuhui Choe’s offering of step and feeling and pretty feet. The Gypsy Girl is alluring in Itziar Mendizabal’s bright-cut interpretation, with Tomas Mock darkly fine as her lover. Alexander Campbell, who enhances his every role and whose sure technique illuminates choreography, is ardent, errant, vastly sympathetic as the Young Man. The company performance is strong, properly Ashtonian."
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