Jan McNulty

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!

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

Good luck with your lessons Munchkin!

I enjoyed the choreography but I found the transformation into mesh a bit disturbing, if I am honest.

Oo, that looks spectacular Angela! Wish I could go...

Huge congratulations to all the awardees and especially (because I am biased) William Bracewell of BRB.

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/

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.

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.

Hello kkelsieballet and welcome to the Forum! I hope you will keep posting and let us know how you get on.

Congratulations to Laurretta on her very well deserved promotion!

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...

Thanks for the info Flora. Here is a link to the school's website: http://www.youngdancersacademy.com

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.

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.