Jan McNulty

This is just one Funny Cats scared of random things:

Do you mean this one Alison? HILARIOUS!!! https://www.youtube.com/watch?v=kTzhAJTXOJA

Happy Birthday Bruce!

A friend very kindly got me a ticket for a performance when ordinary Friends booking opened and I'm very happy with the seat. Today, out of interest, I looked at the performance I am already booked for and there were several tickets showing for the row I am booked on but on the day my friend booked it was the last seat on the row. Presumably this is because seats are held back for public booking.

BTW (and only because his name is in the title of the thread) Mr Campbell's twitter feed has taken off again! He is involved in a project with Adam Cooper, Laura Morera and Sam Archer doing A Soldier's Tale in Japan, opening next Friday! http://heishi2015.tumblr.com/ http://www.adam-cooper.com/currenteventsset.htm

Lewis Landini of Scottish Ballet has released a short film via The Skinny: http://www.theskinny.co.uk/videos/entertainment/scottish-ballet-film-replay

A Sadler’s Wells co-production Russell Maliphant Company Conceal | Reveal World premiere and tour Friday 2 October - Saturday 28 November 2015 Sadler’s Wells presents the world premiere and tour of Conceal | Reveal from Friday 2 October to Saturday 28 November 2015, a celebration of the 20th anniversary of one of the most prolific and highly acclaimed artistic collaborations, between contemporary dance choreographer Russell Maliphant and lighting designerMichael Hulls. This Sadler’s Wells and Russell Maliphant Company co-production, which tours across the UK and internationally, honours the unique and unparalleled language between light and movement that these two award-winning Sadler’s Wells Associate Artists have developed over the past two decades. To mark the occasion and celebrate this extraordinary relationship, Russell Maliphant Company presents both new and classic work, including the iconic trio Broken Fall, performed by Carys Staton, Adam Kirkham andNathan Young and accompanied by music from Barry Adamson. The piece was originally performed in 2003 by Sylvie Guillem and the BalletBoyz, Michael Nunn and William Trevitt, and was awarded an Olivier Award for Best New Dance Production in 2004. The evening also sees the return to dance of former Royal Ballet dancer Dana Fouras, after over 10 years, who performs a new solo created specially for the occasion by Maliphant. Some of Maliphant’s most famous works, Sheer and Two, have been created for Fouras, who has worked with him on numerous dance works for stage, film and television. The new solo piece features a commissioned score by cutting edge composer Mukuland costume by iconic fashion designer Stevie Stewart. The other new creation performed in the programme is a quintet for the new line-up of Maliphant’s company of outstanding dancers. The piece sees Maliphant’s continued fascination with the bridge between classical and contemporary movement, exploring how the dynamic architecture of light informs the performers’ physical language and feeds their relationship with the rhythmic, energetic and emotional elements of music. Sadler’s Wells Associate Artist Russell Maliphant said: “Movement and articulation for me have a logic related to flow, gravity, dynamics, line, form, rhythm and space. These elements can be seen not only to relate to the body but also to the shape, form, direction and intensity of light.” He continued: “Michael and I both share an interest in sculpture and the way light and movement interact and we follow this in our work together – whether this means dealing with the frame implied by a light, the intensity of brightness, the direction of movement in a transition or the rhythmic interplay of the elements.” Sadler’s Wells Associate Artist Michael Hulls said: “Over our twenty years of collaboration Russell and I have put lighting at the forefront of the process of creating dance. No matter what the production, our aim has always been to combine the choreography of the body and the choreography of light to create a symbiotic whole in which both those elements can reach their full potential.” Sadler’s Wells Artistic Director and Chief Executive Alistair Spalding said: “With this production we are honouring not just two of our Associate Artists, but the outstanding artistic achievements made between them collaboratively. Russell and Michael share a passion for and dedication to innovative dance making and their extraordinary partnership has created some of the most memorable performances in dance over the last 20 years. This is a fitting tribute to their combined vision that has won such acclaim among UK audiences and all over the world.” Russell Maliphant is one of the longest standing Associate Artists of Sadler’s Wells. During his hugely successful career he has received many of the highest theatrical accolades including an Olivier Award, two South Bank Show Awards and three Critics' Circle Awards. Similarly, Michael Hulls has won several awards including an Olivier for Outstanding Achievement in Dance in 2014 and a Knight of Illumination Award. Conceal | Reveal is co-produced by Sadler’s Wells and Russell Maliphant Company and supported by Arts Council England, and co-commissioned by DanceEast, The Lowry Salford Quays and The Point Eastleigh. The Monument Trust supports co-productions and new commissions at Sadler's Wells. TOUR DATES 2-3 October – DanceEast, Ipswich, UK 6-7 October – Roma Europa, Rome, Italy 15-16 October – The Point, Eastleigh, UK 22 October – The Lowry, Salford Quays, UK 3 November – Wyvern Theatre, Swindon, UK 10 November – Lakeside, Nottingham, UK 13 November – Northcott, Exeter, UK 17 November – Weston Auditorium, University of Hertfordshire, UK 20 November – The Lighthouse, Poole, UK 26-28 November – Sadler’s Wells, London, UK NOTES TO EDITORS: Sadler’s Wells Sadler's Wells is a world leader in contemporary dance, 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 international award-winning commissions and collaborative productions regularly tour the world. Sadler’s Wells supports 16 appointed world class 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, its Wild Card initiative and its New Wave Associates. Located in Islington in 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 9% of its revenue from Arts Council England. Russell Maliphant Sadler’s Wells Associate Artist Russell Maliphant trained at the Royal Ballet School and graduated into Sadler's Wells Royal Ballet Company before leaving to pursue a career in independent dance. As a dancer he worked with companies such as DV8 Physical Theatre, Michael Clark & Company, Laurie Booth and Rosemary Butcher and also studied anatomy, physiology and bio-mechanics. He became certified as a practitioner of the Rolfing Method of Structural Integration in 1994 and this has subsequently informed both his teaching and choreographic work. He created his first solo in 1992 and formed the Russell Maliphant Company in 1996 which has sought to integrate and explore elements from a diverse range of body practices and techniques, including classical ballet, contact improvisation, yoga, capoeira, tai chi & chi gung. He has collaborated closely with the lighting designer Michael Hulls, and in addition to working with his own company of dancers, has set works on renowned companies and artists including: Sylvie Guillem, Robert Lepage, The Ballet Boyz, Lyon Opera Ballet, Ricochet Dance Company, CobosMika, The Batsheva Ensemble, and Ballet de Lorraine. He has been the recipient of several awards including two Olivier Awards for, a Critics Circle National Dance Award for Best Choreography (Modern) and a South Bank Show Award. Michael Hulls Michael trained in dance and theatre at Dartington College and in 1992 was awarded a bursary by the Arts Council to attend dance lighting workshops with Jennifer Tipton in New York. Over the last 20 years Michael has worked exclusively in dance, particularly with choreographer Russell Maliphant, and established a reputation as a “choreographer of light”. Their collaborations have won international critical acclaim and many awards: Sheer won a Time Out Award for Outstanding Collaboration, Choice won a South Bank Show Dance Award, PUSH, with Sylvie Guillem, won four major awards including the Olivier for Best New Dance Production and Afterlight won two Critics Circle awards. In 2009, Michael became an Associate Artist of Sadler’s Wells, the first non-choreographer to do so. In 2010, his contribution to dance was recognised with his entry into the Oxford Dictionary of Dance, where he joins Jean Rosenthal, Jennifer Tipton and John B Read as only the fourth lighting designer to be given an entry. Michael was nominated for the 2012 Theatre Managers Association award for Outstanding Achievement in Dance for his “brilliant contribution to lighting for dance; in particular for DESH, Torsion and The Rodin Project”. In 2014 Michael received the Olivier Award for Outstanding Achievement in Dance. Dana Fouras Dana Fouras trained as a classical dancer in Australia and at The Royal Ballet School. She won Adeline Genée Silver medals in 1984 & 1985 and Prix de Lausanne medal in 1986. On joining The Royal Ballet in 1988 she created the role of Lead Girl in Sir Kenneth MacMillan’s Soirée Musical and danced roles such as Juliet in MacMillan’s Romeo & Juliet, Solo Swan in Swan Lake, Requiem and My Brother My Sisters and created leading roles with choreographers Page, Bintley & Tuckett. In 1994 she left the Royal Ballet to pursue a career in independent dance, touring with Irek Mukhamedov, Jonathon Burrows and Russell Maliphant. Works with Russell include the duet Sheer, which won a Time Out Live Award in 2001 and the solo Two. Dana has worked closely with Russell on numerous dance works, film for dance and commercial projects as researcher and collaborative assistant since 1998. Mukul Mukul is co-director of ambientspace, an artist-run studio in London that produces critical, intermedia work, often involving public participation. He plays predominantly with sound, language, and processes; past projects include an audio-visual performance based on the preparation of food, and a (playable) harp with strings of razor wire. As sound artist, he composes for experimental film (Manu Luksch, Isaac Julien) and dance (Shobana Jeyasingh, BalletBoyz). His writing ranges from film scripts (FACELESS, voiced by Tilda Swinton) to nonfiction in the realms of art, mathematics and technology – including books for children. Influences: the music of North India, early electronic music, Oulipo. Mukul has collaborated on 5 projects with Russell including a commission for Lyon Opera Ballet (2004) and for Bayerische Staatsballett (2014). Stevie Stewart Formally one half of the innovative and influential fashion design label BodyMap, Stevie now works with top creative names in fashion, music, film and advertising as a costume, set and production designer and fashion stylist. In the dance world, she began collaborating with Michael Clark in 1984, creating memorable costumes for many of his productions. She has also costumed Rambert Dance Company and Jean Abreau. She has had previous collaborations with Russell Maliphant Company and worked with him on Afterlight and Still Current. Other theatrical collaborations include: costume design for Jan-Willem van den Bosch’s Mother Courage and her Children (Graeae Theatre Company) and costume designs for The Importance of Being Earnest directed by David Fielding (Bristol Old Vic). Film credits include: production and costume designer for Jan Dunn’s Ruby Blue, costume designer for Baillie Walsh’s Flashbacks of a Fool starring Daniel Craig and costume and production design for Jan Dunn’s The Calling. Stevie has also designed costumes for several international music tours including Kylie Minogue’s KYLIEX2008, Show Girl and Homecoming and most recently her Aphrodite tour. Stevie worked on William Baker’s The Hurly Burly Show as costume and set designer.

From the Birmingham Hippodrome website: http://www.birminghamhippodrome.com/WhatsOn_focus.asp?showId=1920&ignoremobile=yes Birmingham Royal Ballet will be holding the following classes on stage to compliment their season at Birmingham Hippodrome: Variations Triple Bill Class on Stage - Sat 10 Oct, 11.45am The Nutcracker Class on Stage - Sat 28 Nov, 11.45am Romeo & Juliet Class on Stage - Sat 27 Feb, 11.45am Shakespeare Triple Bill Class on Stage - Sat 25 Jun, 11.45am Tickets £10* No concessions available

It has been reported that actor Roger Rees has passed away in New York. Condolences to his family and friends. http://www.theguardian.com/stage/2015/jul/11/actor-roger-rees-west-wing-dies

I would have thought that it proves that Christopher Wheeldon has a different opinion to yours. I know of one member on this board who finds Ashton's choreography of anything boring! How much of his ballets would Petipa recognise if he was able to see them today?

I have seen but am not knowledgeable on the Ashton version so I don't have any particular hangups about other versions. I don't have any issues with the choreographer portraying why Cinderella has ended up in the clutches of her Stepmother. I've seen the Corder version and enjoyed it most last time it was out. Someone gave me a ticket for Manchester so it would have been ungracious not to go. I actually enjoyed the performance I saw so much that I booked to go back for the Saturday matinee. A very young Vadim Muntagirov was dancing the Prince that day! I really like David Bintley's version. I love his choreography for the seasons and the stars. The set is outstanding. Although I love the score I think that whoever uses it has to put in a lot of filler to use it all, no matter how good the choreography is for the fillers. My two favourite versions are the ones done for Northern Ballet where they were not hide-bound by the Prokofiev score. Christopher Gable's version was just sublime (even though he did bring out the darker elements of the story with the step sisters trying to chop off their toes to fit into the shoes and then their eyes being pecked out by ravens). The production starts in the Spring when the harvest is being collected. Cinderella's brother dies in an accident and he and her mother become her guardian angels. There are 2 particularly beautiful pdd for Cinderella and the Prince, both of which cause my eyes to spontaneously water! The first is the blue ball duet as seen on the current Ballet Central tour and the other is the fireside duet when the Prince finds Cinderella but she is too ashamed of who she is until he throws off his jacket and tells her that he is an ordinary man too (this is also often seen on Ballet Central tours). The tragedy of this piece is that it has not been seen complete since the late 1990s. It is Christopher Gable's only full length work and we can only regret what we might have seen in the future if he had not died so tragically young. David Nixon took another tack altogether although he also chose to commission a score from Philip Feeney. He has chosen to set the ballet in a town in imperial Russia. He said in a talk that there were so many minor princes in Russia that you did not have to imagine that it was a whole country the Prince would be ruling. His ballet starts with a young Cinderella mourning her mother and her father already remarried to a neighbour. He is killed in an accident which the step mother unfairly blames Cinderella for. His sisters are silly rather than truly spiteful but the Stepmother is downright wicked - even her own daughters are scared of her. She befriends a magician at a fair, who is played by the same dancer who plays her father but it is left to your imagination as to whether you think he is a fairy godfather or not... There is an added element in that when the Prince is searching for Cinderella and comes to the house he does not even realise who the servant Cinderella is. He is furious that he has been taken in by a servant and storms off. It gives Cinderella the impetus to walk out on the Stepmother and she and the Prince meet again and there is a most touching reconciliation duet.

Sad news indeed. Condolences to his family and friends. http://www.bbc.co.uk/news/entertainment-arts-33483877 http://www.theguardian.com/film/filmblog/2015/jul/10/omar-sharif-an-exquisite-actor-whose-charisma-baffled-hollywood

There is an advert for their summer intensives on Facebook but I couldn't find details on the main company website: https://www.facebook.com/KNTDanceworks5/photos/a.10151287759729610.526752.157473259609/10153582708399610/?type=1&permPage=1 http://www.manchesterdanceclasses.co.uk/

Sunrise has very sensibly suggested that we have a thread where we can, if we wish, discuss the merits of various different Cinderellas, rather than hijacking the thread specifically about DNB's current performances at the Coli. So here it is...

Stuart Maconie in the New Statesman (scroll down and also in Today's links) describes Tree of Codes as a "sensual immersion". Although his review is longer than those 2 words they sum up the performance to me!

New English Ballet Theatre is presenting a short programme at the St James Theatre on 20-22 August. The programme is called Dancing for Nepal and is in aid of the Nepal Earthquake Recovery Appeal (NERA) and the Company itself. Details here: http://www.stjamestheatre.co.uk/theatre/dancing-for-nepal/ (Thanks to Bill Boyd for bringing this to my attention)

Christopher Gable did indeed choreograph Cinderella but it was to a commissioned score by Philip Feeney and was very wonderful. David Nixon's lovely Cinderella uses a different commissioned score from Philip Feeney. I would guess that David Bintley is the fourth.

Hello Lily and welcome out of the lurking shadows! Thanks for alerting us to this programme. Now that you have broken the ice I do hope you will continue to contribute.

CARNIVAL BALLET TO MARK 50 YEARS OF LEEDS CARNIVAL Leeds West Indian Carnival celebrates its 50th Anniversary in 2017 and to mark this momentous occasion, critically acclaimed Phoenix Dance Theatre will join in partnership with Europe's longest running authentic Caribbean carnival to stage Carnival Ballet - a world class dance production which will share the spirit, history and heritage of the Carnival with national and international audiences. Set for an autumn 2017 world premiere in Leeds, Carnival Ballet will bring together leading artists in dance, music and carnival costume design. With an original carnival music score, stunning costumes and set design, the unique production will be performed by 16 dancers from Phoenix, the UK and other international dance companies. Carnival Chairman Arthur France said; “The Leeds West Indian Carnival partnership with Phoenix Dance Theatre is a perfect match, reflected in our shared heritage and beginnings in inner city Leeds. Carnival Ballet will be an incredible centrepiece of our milestone 50th anniversary celebrations and will share the stories behind the phenomenal spectacle which brings people together every year”. Author and BBC producer Colin Grant will work closely with carnival organisers and contributors to capture the stories behind one of the North’s biggest annual events. The resulting narrative will shape the dance piece which will be created by award winning Phoenix Artistic Director Sharon Watson. Ms. Watson commented, “Phoenix Dance Theatre is delighted to be standing side by side with Leeds West Indian Carnival to celebrate the 50th anniversary and to create such an exciting, unique production. Steeped in Caribbean culture and flying the flag for a wonderfully diverse Leeds, Carnival Ballet is an amazing opportunity to be at the heart of brand new inspirational art which will appeal to lovers of dance, carnival spectacle, music and theatre”. The production will receive funding from the Arts Council England Exceptional Award programme for projects of potential national and international impact. Alison Clark, National Director, Combined Arts said, “We are delighted to support Carnival Ballet through our Exceptional awards programme. Carnival Arts are an important part of the UK cultural scene, and I'm sure that this innovative partnership between Leeds West Indian Carnival and Phoenix Dance Theatre will result in work of exceptional quality and scale, which will both develop the practice of carnival arts in this country, and bring the work to new audiences.” The cast of Carnival Ballet will be joined by amateur performers taking part in an education programme which will share carnival arts, dance and music with communities in tour locations. The high profile world premiere will kick-start a national tour to six venues in major UK cities including London as well as Hull, Bristol and Liverpool whose histories resonate with Carnival and its origins as a celebration of the emancipation of slavery. The UK tour will be followed by touring to Europe and the Caribbean in 2018. Carnival organisers are working with partners including Leeds City Council to develop a range of special events and projects in 2017 to mark the 50th anniversary. EDITOR’S NOTES • Founded in 1967 by Arthur France as a remedy for the homesickness for his native St Kitts & Nevis, Leeds West Indian Carnival is Europe’s longest running authentic Caribbean carnival parade and the biggest outside London. Regularly attracting crowds of over 100,000 to Leeds it is one of the North’s biggest annual events bringing phenomenal costumes, rhythmic steel pan and soca music together with the arts, crafts and cuisine of the Caribbean. Arthur France was awarded an M.B.E. in 1997 and the Leeds Award in 2014 for services to Carnival arts and to communities. Carnival 2015 kicks off onAugust 23rd, with the annual Prince & Princess Show, the spectacular King & Queen Costume Contest Show at West Yorkshire Playhouse on August 28th, a Soca Monarch show on August 29th and culminates with the eye popping colour of the Carnival Parade on Bank Holiday Monday 31st August. www.leedscarnival.co.uk  • Formed in 1981 in inner-city Leeds, Phoenix Dance Theatre has grown to be one of Britain's leading international dance companies. As a repertory company, Phoenix brings the best choreographers from the international contemporary dance world to work with its diverse company of dancers and Artistic Director to create innovative work, which is communicative, highly accessible and represents the cultural diversity and experience of life in multi-cultural society. Phoenix has a commitment to widening access to dance and its highly acclaimed programme of education work promotes participation in the arts as a stimulating and creative pursuit within schools and community settings. Sharon Watson was appointed as Artistic Director in 2009. A more detailed history of Phoenix is available at www.phoenixdancetheatre.co.uk • Sharon Watson was appointed as the 7th Artistic Director of Phoenix Dance Theatre in 2009 having danced with the company from 1989 to 1997 before returning as Rehearsal and Tour Director in 2000. Works choreographed for Phoenix include Shaded Limits, Never Still, Fast Lane, Melt, Repetition of Change and TearFall. A Fellow of the Clore Leadership Programme, she was one of 26 aspiring leaders from around the globe invited to attend Dance East’s Rural Retreat in 2008. In collaboration with the BBC she choreographed Frankenstein’s Wedding Live in Leeds (2011) and scenes featured in the seven-part adaptation of Susanna Clarke’s novel Jonathan Strange and Mr Norrell (2014). In 2014 Sharon choreographed three major commissions - Ghost Peloton, for Yorkshire Festival; Honour for Quays Culture event marking the centenary of WW1; and a large scale performance for the RFL Challenge Cup Final at Wembley. Sharon was named as one of the Cultural Leadership Programme’s list of 50 Women to Watch, is a trustee of Matthew Bourne’s New Adventures, The Place, West Yorkshire Playhouse, regional judge for the inaugural BBC Young Dancer and artistic advisor to Central School of Ballet and Leeds Inspired. • Arts Council England champions, develops and invests in artistic and cultural experiences that enrich people’s lives. We support a range of activities across the arts, museums and libraries – from theatre to digital art, reading to dance, music to literature, and crafts to collections. Great art and culture inspires us, brings us together and teaches us about ourselves and the world around us. In short, it makes life better. Between 2010 and 2015, we will invest £1.9 billion of public money from government and an estimated £1.1 billion from the National Lottery to help create these experiences for as many people as possible across the country. Arts Council England announced the Exceptional awards programme in July 2013. www.artscouncil.org.uk • Colin Grant is an author, historian, and Associate Fellow in the Centre for Caribbean Studies. His books include:Negro with a Hat: The Rise and Fall of Marcus Garvey; and a group biography of the Wailers, I&I, The Natural Mystics. His memoir of growing up in a Caribbean family in 1970s Luton, Bageye at the Wheel, was shortlisted for the Pen/Ackerly Prize. As a producer for the BBC, Grant has written and directed a number of radio drama documentaries including African Man of Letters: The Life of Ignatius Sancho, and A Fountain of Tears: The Murder of Federico Garcia Lorca. He has been a regular tutor of creative writing for Arvon, Sierra Nevada College and City University, London. Grant has also written for a number of newspapers and journals including the Guardian, GQ and Granta. With his wife, Jo Alderson, he hosts Speaky Spokey, a literary cabaret in Brighton. Grant's next book, a cultural history of epilepsy, A Smell of Burning, will be published by Jonathan Cape in 2016. www.colingrant.info

Thanks for starting the thread A frog!

Hello Triphazard, I'm sorry I can't answer your question but I just wanted to say a belated hello and welcome to the Forum!

Well I had my second bite of Tree of Codes tonight. I think there were some technical issues with the set tonight as there was some light filtering from the top of the stage at the start tonight so I could just about make out the dancers and not just see the lights. I could also see the dancers behind the "lamp shades". About 2/3 the way through the mirrored effects were not working properly but the issue was fortunately resolved by the time of the revolving circles of glass at the front. The performance started about 20 minutes late. Despite these glitches I enjoyed it as much, if not more, than I did on Friday night. I think probably the best way to enjoy it is to go and see it as a visual and aural experience rather than a dance performance. I'll be looking at the tour dates as I would really like to see it again!

I've always thought it was more gamesmanship than anything else. I hope ballet dancers do not start using this technique to power their leaps and lifts!!!

Just as a matter of interest does anyone know of any Adult Education Centres that offer GCSE dance? Me too! I did Wuthering Heights, Julius Caesar and WW1 poetry for O level and hated every single word of every one of them because of the way we had to try and analyse them. The final hurdle has been jumped this year as I reread Wuthering Heights for the first time since my O levels and enjoyed it!!

Unless I misheard the headlines on the radio the maintenance grant will become part of the student loan that has to be paid back....