Jan McNulty

I'm so very sorry to hear that Frank Finlay, such a superb actor, has passed away. Sincere condolences to his family and friends. http://www.independent.co.uk/news/people/frank-finlay-dead-british-oscar-nominated-actor-who-played-opposite-olivier-dies-aged-89-a6844566.html

Officially provided translation: On Saturday March 19th 2016 at 6.30 pm sharp, the Société Auguste Vestris and the Centre de danse du Marais present a public masterclass on “Special Difficulties of Classical Technique – Grands renversés, Grands Fouettés & Tours de force of male technique - from the standpoint of Enrico Cecchetti” with Elisa Corsini (Vice-Director, Hamlyn School in Florence, Italy) and Julie Cronshaw (FISTD, Director, Highgate Ballet School, London). The evening will be introduced by Elizabeth Schwartz, Inspector of Dance for the Conservatories of the City of Paris. Young dancers from anywhere in Europe (intermediate/advanced & advanced level only) who wish to take part are requested to register first with augustevestris@free.fr. Students from the UK please register with Julie Cronshaw: Julie@julieannecronshaw.orangehome.co.uk and students from Italy with info@scuolahamlyn.com. There will be a rehearsal from 2 to 5 pm on March 19th 2016 at an address which will be given to registered students. No Advance Registration for the audience: The Salle Beethoven is a dance studio in a 17th Century building (seating on benches) and the number of spectators is limited, so please arrive at least a quarter of an hour early. Suggested donation at the door: 10 Euro. A brochure (in French) with entirely new interviews on the work of Enrico Cecchetti will be available on this occasion. Venue: Salle Beethoven, in the Centre de danse du Marais, 41 rue du Temple (75004 Paris). Underground station : Rambuteau or Hôtel de Ville. Suggested donation: €10. Please note that "VESTRIS" cannot provide accommodation for students.

I've just seen the sad news that Sir Terry Wogan has passed away. Condolences to his family and friends. http://www.bbc.co.uk/news/entertainment-arts-26957941

Links - Sunday 31 January, 2016 Review - New York City Ballet, Barber Violin Concerto, Fancy Free, Who Cares?, New York: Leigh Witchel, Danceview Times Review - Royal Ballet, Rhapsody, Two Pigeons, London: Jeffrey Taylor, Express Review - San Francisco Ballet, Fearful Symmetries, Drink to me only with thine eyes, Rubies, San Francisco: Gilly Lloyd, Examiner Review - Sarasota Ballet, Emeralds, The Rake’s Progress, In a state of weightlessness, Sarasota: Carrie Seidman, Sarasota Herald Tribune Review - Miami City Ballet, La Source, Barber Violin Concerto, In the Upper Room, West Palm Beach: Demetrius Klein, Palm Beach Daily News Review - Sadler’s Wells Sampled, London: Laura Peatman, London Theatre 1 Feature - Alvin Ailey’s Revelations: Celia Wren, Washington Post Feature - Royal Winnipeg Ballet, Going Home Star, touring Canada: Martha Schabas, Toronto Globe and Mail Review - BalletBoyz, The Murmuring, Mesmerics, Boston: Jeffrey Gantz, Boston Globe Review - Ballet Lorent, Snow White, Edinburgh: Mark Brown, Herald Scotland Review - Jakop Ahlbom, Horror, London: Luke Jennings, Observer Review - Circa, The Return, London: Vera Liber, British Theatre Guide Review - La Compagnie Herve Koubi, What the day owes the night, Portland: Nim Wunnan, Oregon Arts Watch Feature - Magda Saleh, ballerina & founding director of the new Cairo Opera House: Ati Metwaly, Ahram Feature - One girl’s quest to become the first hijabi ballerina in the world: Rachel Olding, Sydney Morning Herald Review - Haleigh Pouesi, The Station, Auckland: Camelle Pink, NZ Theatreview Review - Corpus, Uropa, Copenhagen: Eva Kistrup, Danceview Times Review - Meg Wolfe, New Faithful Disco. Los Angeles: Christina Campodonico, LA Times

Please note that I am chasing up an English translation.

Société Auguste Vestris – Centre de danse du Marais Master class publique Etude de certaines difficultés de la technique classique : Grands renversés & grands pas fouettés Tours de force de la danse d'homme Selon les propositions de l'Ecole italienne (Enrico Cecchetti) La Scuola Hamlyn de Florence Créée en 1 963, la Scuola di danza classica Hamlyn est située dans le Palazzo Ricasoli Firidolfi (1 520) en plein cœur de Florence. Les murs du studio sont couverts de fresques de l’école de Giorgio Vasari (1 51 1 -1 574); avec le Centre de danse du Marais (Hôtel de Berlize, vers 1 61 0), ce sont sans doute parmi les plus beaux studios de danse du monde. Brenda Hamlyn Bencini, sa fondatrice, se forma en Angleterre et en Italie auprès de disciples directs d’Enrico Cecchetti, notamment Marie Rambert, Stanislas Idzikowski, Nesta Brooking et Carlo Faraboni ainsi qu’avec Vera Volkova. Après une carrière au Ballet Rambert et à La Scala de Milan, ayant épousé un « Florentin pur jus » Mme Hamlyn Bencini introduit en 1 963 la Mé- thode Cecchetti à Florence - nul n’étant prophète en son pays, la Méthode n'y était pratiquement plus enseignée depuis des décennies ! C’est également Mme. Hamlyn Bencini qui introduit en Italie le système d’examens de l’Imperial Society of Teachers of Dancing (ISTD), et propose des cours de formation du corps enseignant dans le cadre de la Cecchetti Faculty de l'ISTD. (Pour un bel entretien avec Mme Hamlyn Bencini Cf. http://www.cicb.org/pioneers/pioneers-brenda-hamlyn-bencini) Tant en Italie qu’à l’étranger, la Scuola Hamlyn est rapidement devenue une référence par la compétence de ses enseignants et les excellents résultats de ses élèves, très soutenus et sui- vis. Beaucoup ont pris le chemin des grandes compagnies européennes. Au fil des ans, des professeurs de renom ont rejoint la Scuola Hamlyn pour ensuite la diriger : Franco De Vita (au- jourd’hui Directeur Artistique de l’Ecole de l'American Ballet Theatre, Raymond Lukens (FISTD) et Susan Brooker (aujourd’hui Conseiller du National Training Curriculum d’ABT). En sep- tembre 1999 Mme Nicoletta Santoro, elle-même formée à la Scuola Hamlyn, ancienne soliste du Ballet de Hambourg et de Béjart Ballet Lausanne, fut nommée Directrice de l’Ecole, s’adjoi- gnant plus tard les Vice-directrices actuelles, Alessandra Alberti et Elisa Corsini. Elisa Corsini (LISTD) Elisa CORSINI a fait ses études à la Scuola Hamlyn avec Franco De Vita, Raymond Lukens, Susan Brooker, Nicoletta Santoro et Alla Ossipenko, réussissant brillamment tous les examens de la Méthode Cecchetti extrêmement virtuose, et dont le caractère ardu fait fuir les tièdes. Pas- sionnée par la pédagogie, désormais chargée de préparer les élèves aux examens Cecchetti de l’ISTD, c’est en 1998 qu’elle commença sa carrière dans l’enseignement. Elle est Authorized Tutor pour l’Enseignement de la Méthode et co-directrice de la Scuola Hamlyn. Julie Cronshaw (FISTD, Enrico Cecchetti Diploma) Disciple de Richard Glasstone et Roger Tully, Julie Cronshaw (FISTD) est l’un des professeurs les plus réputés de cette Méthode. Diplômée du Royal Ballet School Teachers Training Course, elle se décida toutefois pour une carrière scénique (Russie, Allemagne et Etats-Unis). Aux Etats-Unis, elle perfectionna auprès de John Prinz, Violette Verdy, Lupe Serrano et Magali Messac, puis devient maître de ballet avant de fonder la Highgate Ballet School à Londres en 1 995 ; ses élèves sont reçues à Elmhurst, l’Ecole du Ballet Royal ou l’English National Ballet Sc- hool. Mlle Cronshaw est professeur invité au CND (2008), auprès des enseignants des Conser- vatoires de Paris (2010), au studio Architanz à Tokyo (2012), au First International Ballet Summer School à Gdynia (2013) et au Cecchetti Centre de Londres. Tout en poursuivant ses recherches sur les principes sous-jacents à la Méthode, elle contribue régulièrement aux bulle- tins de la Cecchetti Society. Voir aussi : http://TheCecchettiConnection.com NB : Cette master class, offerte aux élèves à titre gracieux par Mlles Corsini et Cronshaw, sera précédée de répétitions le samedi 1 9 mars 201 6 (dans l’après-midi), auxquelles les élèves (jeunes professionnels ou élèves de niveau intermédiaire et avancé uniquement) sont priés de s’enregistrer au préalable au- près de augustevestris@free.fr (pour la France et pays tiers), de info@scuolahamlyn.com pour l’Italie et julie@julieannecronshaw.orangehome.co.uk pour l’Angleterre et l’Ecosse. L’évènement étant par- ticipatif, leurs professeurs sont invités à proposer des problèmes qu’ils souhaiteraient voir traités par les deux enseignants invités.

But it IS frightening that he could be the next president.

I think you may find it is not unusual for Russian companies to have several men in the grand pas.

Sorry about your shoulder Sheila. Good luck with your return to ballet. It's nice to see you back posting, hope you will continue to do so!

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 of TRIPTYQUE, 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 - Friday 29 January, 2016 Obituary - Yvonne Chouteau, dancer & founder of Oklahoma City Ballet: Sidney Lee, Times Record Reviews - American Ballet Theatre, Sleeping Beauty, Washington: Sarah Kaufman, Washington Post Lisa Tralger, DC Metro Theater Arts News - New York City Ballet announces 2016 Paris Tour: Dance News Desk, Broadway World Reviews - San Francisco Ballet, Fearful Symmetries, Drink to me only with thine eyes, Rubies, San Francisco: Allan Ulrich, SF Chronicle Claudia Bauer, DanceTabs Ann Murphy, San Jose Mercury News Feature - Leslie Caron, A Parisienne in America: Brian Schaefer, New Yorker Preview - Boston Ballet, Onegin, Boston: Karen Campbell, Boston Globe Feature - Miro Magloire and choreographing for Aida: Marina Harss, DanceTabs News - Sascha Radetsky named new director of ABT/NYU Master’s Degree Programme in Ballet Pedagogy: Jennifer Stahl, Dance Magazine Preview - Royal Winnipeg Ballet, Going Home Star, Ottawa: Sandra Abma, CBC News Gallery - Circa, The Return (London Mime Festival), London: Foteini Christofilopoulou, DanceTabs Featurette - Misty Copeland visits dance school in Washington: Helena Andrews-Dyer, Washington Post News - Maia Makhateli to star in worldwide online ballet gala: Staff, Agenda Review - Louisville Ballet, Studio Connections, Louisville: Elizabeth Kramer, Courier Journal

Well that would be a great idea if you have a recording of the music used for that particular production! I have known people watch live football transmissions with the sound muted but listening to the radio commentary. I understand exactly what Bill means though; the claqueurs are downright irritating.

I picked this up via an article about Dutch National Ballet principal Maia Makhateli: http://agenda.ge/news/51328/eng The Zarely website does not see to be fully functional yet but there is a Facebook page: https://www.facebook.com/zarelywear/timeline

Matthew Bourne's New Adventures is auditioning: http://new-adventures.net/company/auditions-jobs-and-work-experience

Hello Plie22 and welcome to the Forum! I see from your post that you have moved to the South West. The Bristol Russian Ballet School has adult classes. Here is a link to their website: http://www.bristolrussianballetschool.com/adult_ballet/ I've added a tag to your thread "male ballet". If you search on that thread you may find some helpful tips from other members. These are more general threads too: http://www.balletcoforum.com/index.php?/topic/9871-adult-ballet-students-uk-cities-good-for-dance/?hl=%2Bbristol+%2Brussian+%2Bballet+%2Bschool#entry150390 http://www.balletcoforum.com/index.php?/topic/11185-ballet-at-university/?hl=%2Bbristol+%2Brussian+%2Bballet+%2Bschool#entry150809 http://www.balletcoforum.com/index.php?/topic/5227-adult-ballet-in-bristol/?hl=%2Bbristol+%2Brussian+%2Bballet+%2Bschool#entry65590 Good luck and do let us know how you get on!

Hello Principito and welcome out of the lurking shadows! I hope your waiting has a successful outcome - do let us know.

Well here's a thing! I never thought I had access to Sky Arts till my niece told me that it is included in the Entertainment Package on a "Now TV" box. Yes you have to pay monthly for the package (£6.99) but it is not a contract and you can cancel at any time. I have just started a 14-day free trial and am just about to watch Bolshoi Unseen DonQ. The Now TV box, which I bought when they first became available, only cost me £10 and has been worth its weight in gold for the i-player. And now ... well I am not sure if it is all the latest programmes but there is plenty to keep me going! For starters I can see Ballet 422 and RB Alice.

Wild Card invites: The Palest Light Curated by Pepa Ubera Lilian Baylis Studio, EC1R Thursday 3 & Friday 4 March 2016 Performances: Thu & Fri at 8pm Tickets: £17 Ticket Office: 020 7863 8000 or www.sadlerswells.com Sadler’s Wells Wild Card returns with more bespoke evenings curated by a new generation of dance makers. This edition takes a different shape, inviting The Palest Light, an existing night of performance curated by choreographer Pepa Ubera to the Lilian Baylis Studio on Thursday 3 and Friday 4 March 2016 . The evening is an opportunity for audiences to immerse themselves in work by artists whose idea of choreography expands to different mediums and experiences. It will include a rare performance of Togethering by through-provoking French choreographer Alice Chauchat, a sound bath experience to activate the audiences’ senses and a performance by Ubera herself in collaboration with Josefina Camus in Ellipsis Land, questioning how we relate to the virtual world. About the evening, Ubera said: “The Palest Light started as an evening of performance in 2013. As a dance artist attracted to exploration, I was driven to share what I found exciting from the artistic scene of East London where I live and work. The evening then evolved over five different iterations, during which time I discovered that a belief in poetic thinking and imagination is key to my curatorial approach. This edition of the Palest Light is about creating a shared moment that is socially aware and artistically curious, hopefully challenging how people usually relate to what they experience.” Originally from a classical background, Ubera trained in Spain before moving to London to study at London Contemporary Dance School. For the past ten years, she has worked as a freelance dancer, deviser and choreographer with a variety of artists both in the UK and abroad (Jose Vidal, Tom Dale, Karavan Ensemble, 30 Bird Productions). Most recently, she presented work at Institute of Contemporary Arts, London (2015) and Hayward Gallery, Southbank Centre (Mirror City 2014, in collaboration with Giuliana Majo). She performs and choreographs for Secret Cinema and with music band Bunty Looping (Battersea Arts Centre, 2015). In July 2015, Ubera was selected as one of 21 new participants to attend Sadler’s Wells Summer University over four years. Led by choreographer Jonathan Burrows, the programme is aimed at dance artists active in their field at the earlier stages of their career. Between 2013 and 2015, Ubera was a core member of TripSpace Projects, an artist run dance space in East London, where she was one of the curators, helping launch the venue as a key place for innovation in the independent dance scene. This experience impacted her own work as a dance maker, piquing her interest in how the act of choreography can expand into curation. For her, this means fostering a community and questioning the political potential of performance. Central to that is erasing the separation between performers and the audience. “I want to create collective experiences that empower the individual, challenge the idea of participation and highlight the context they exist in”, she said Pre-show activities from 7pm and extra content to be announced. See sadlerswells.com for details. Notes to Editors Listings information Wild Card invites: The Palest Light Curated by Pepa Ubera Lilian Baylis Studio, EC1R Thursday 3 & Friday 4 March 2016 Performances: Thu & Fri at 8pm Tickets: £17 Ticket Office: 020 7863 8000 or www.sadlerswells.com ABOUT WILD CARD Wild Card is the unique initiative providing a glimpse of the rich variety of work that makes up the current dance landscape. Increasingly popular with audiences and artists alike, Wild Card opens the stage to an exciting and adventurous community of dance makers, giving a broad range of artists the unique opportunity to curate their own programmes of dance. These specially curated evenings feature exploratory approaches to choreography and combine different mediums, broadening audiences’ perspectives on dance made today. Wild Card is part of Sadler’s Wells’ programme of support for young and emerging dance talent, alongside other initiatives including the New Wave Associates programme, Sadler’s Wells Summer University and hosting the National Youth Dance Company. 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.

I've removed the duplicated paragraphs Arky.

It may be difficult to tell; how many people (like me) have taken advantage of the Timeout offer? On Friday 15th January there were quite a few seats showing in the orchestra stalls for the matinee on 30th; on Sunday 17th (when my credit card period had tipped over!) the stalls were showing as sold out. I tried the Timeout offer and, although I do not know where the ticket is, I have got a ticket in the stalls.

I didn't find the lighting particularly dim if I am honest (and nor did I for Nutcracker).

Could you get to an encore showing Sim?

I thoroughly enjoyed my visit to the cinema this evening. I thought Osipova and McRae looked sensational in Rhapsody but I have to say my stylistic preference is Hayward and Hay. Two Pigeons showed yet again what a glorious actor as well as dancer that Vadim Muntagirov has become. He and Lauren Cuthbertson were splendid together. Fumi Kaneko was a splendidly fiery gypsy and I greatly enjoyed Ryoichi Hirano's performance too. On a fashion note, I loved Darcey's red dress. What a treat to see Alfreda Thorogood talking about Two Pigeons.

I'm very sad to hear that Colin Vearncombe has passed away after a car accident in Ireland. He was a wonderful song-writer and absolutely brilliant in concert. I remember on one occasion he finished the evening with a spine-shivering cappella version of Tracks of my Tears, one of the few songs he did that wasn't his own. Sincere condolences to his family and friends. http://www.theguardian.com/music/2016/jan/26/colin-vearncombe-dies-the-voice-of-black-aged-53

Hello dancefanatic and welcome to the Forum!