Jan McNulty

NB are already booked for Southampton next spring and are in Woking and Canterbury in the Autumn.

That's a lovely aim PdQ. I know this season is structured differently with the introduction of the tour to smaller venues but between 26th February and 20 June, NB will have spent just over 13 weeks on the road (excluding the Elves which has a slightly different touring pattern). If they had tried to do any more the dancers would be on their hands and knees!! Where would you like to see them tour to? It would possibly mean losing other venues if they were able to.

Yes, I agree PdQ. It's a same the company no longer tours to Plymouth and rarely seem to go to Bath or Cardiff these days. Hall for Cornwall might be another place they could do well with their small scale tour too.

I should hope not PdQ - we like to keep our dancers up North! I think most of the movers and players in funding are located in London and perhaps NB is looking for a greater "influence" in London (or perhaps KO'H wants to swap jobs with DN!!!).

Hello ClaireaBellaGirls and welcome to the Forum, Thanks for the links - I'm not a youngster but they look like fun to try for anyone! If you are a commercial concern may I ask you to add a signature to your User Profile in accordance with the Forum's Acceptable User Policy? "Commerce There is no bar to people representing commercial ventures from signing up to BalletcoForum with a view to spreading information about their wares or offering relevant services. That said, we are not an advertising hoarding and repeated postings of the same or similar information will not be tolerated, nor frivolous posts which merely seem designed to get the company name ‘up there’. Nor will we allow vendors to use BalletcoForum as their shopfront: if you have a selling business you should use your own website for trade and market testing, not this one. Members who have commercial interests must indicate that by adding a Signature line to their postings, stating the name and type of their business and giving their website and/or business email address for enquiries. (You set up a Signature via My Settings in the dropdown menu under your name.) If members wish to contact businesses, associate schemes or other commercial enterprises this should be done via the vendor’s website or email, not by starting threads on the forum. Problems arising over transactions entered into between members are not the responsibility of BalletcoForum."

I wouldn't have said so Aileen. BRB hasn't performed at ROH for over 20 years but does still share the same Board of Governors so I wouldn't read too much into that. I assume this appointment means that the Royal Ballet is being disbanded and ROH will become NB's 2nd home!

Director of The Royal Ballet, Kevin O’Hare joins Northern Ballet’s Board of Directors Northern Ballet has appointed Kevin O’Hare, Director of The Royal Ballet, to its Board of Directors. Award-winning Northern Ballet, which is currently celebrating its 45th anniversary and was recently voted Best Company at the Taglioni European Ballet Awards, specialises in creating and performing full-length classical narrative ballets. The new appointment comes as Northern Ballet continues to pursue its ambitious plans for the future which include extending the Company’s repertoire by working with established and emerging choreographers to create new short and full-length ballets and increasing the extensive reach of its national tour. Former-dancer Kevin O’Hare was born in Kingston upon Hull and after training at The Royal Ballet School, progressed to become a Principal Dancer at Sadler’s Wells Royal Ballet, later Birmingham Royal Ballet. After retiring from the stage in 2000, Kevin held a number of Company Management positions before being appointed Administrative Director of The Royal Ballet in 2009 and, following Monica Mason’s retirement, Director of The Royal Ballet in 2012. Since then, in addition to presenting the Company’s heritage repertory, he has demonstrated his commitment to new work by commissioning many one-act and three full-length ballets. Aside from promoting outstanding creativity his role includes responsibility for artistic excellence, developing talent and widening the Company’s performing platform. On joining the Northern Ballet Board, Kevin O’Hare said: ‘I was born in Yorkshire and as a long-time admirer of Northern Ballet's work I am delighted to join the board in this, the company’s 45th year. I look forward to working alongside Sir David Wootton and fellow board members in supporting the future of such a vital dance Company.’ Alongside Kevin O’Hare, Harrogate-based Independent Director Elizabeth Jackson has also been newly appointed to Northern Ballet’s Board. A Chartered Accountant with considerable experience in Corporate Finance gained with PricewaterhouseCoopers, Elizabeth left in 1999 to join a start-up business specialising in the recruitment of board directors to private equity backed businesses. Having played a key role in the formative years of Directorbank Executive Search, she led the secondary buy out as Chief Executive in 2006 and subsequently led the acquisition of Hanson Green, a City head-hunter in 2008. Since 2011 she has turned her attention to developing her interest in horticulture starting up a new business in support of the British Flower movement. Sir David Wootton, Chairman of the Board, said: ‘It is a good compliment to Northern Ballet that persons with the skills and experiences which Kevin and Elizabeth will bring are joining our Board. We continue to strengthen our Board so that the Company has top-class guidance and advice to match our top-class artistic and management standards. I warmly welcome Kevin and Elizabeth.’ Northern Ballet’s Chief Executive, Mark Skipper DL, said: ‘I am delighted that two such distinguished people have joined our Board, both bringing hugely valuable but different skills to the Company. Elizabeth’s extensive corporate experience will add further business perspective to our hugely successful organisation and Kevin’s wealth of knowledge in the dance world will be a great asset to the Company. We look forward to developing our relationship with The Linbury Studio Theatre at the Royal Opera House both in terms of performances and looking at the possibilities to present work collaboratively in London and Leeds.’ Northern Ballet are currently in London performing a Mixed Programme (12 – 14 May 2015) and Elves & the Shoemaker (15 – 16 May 2015) at the Royal Opera House’s Linbury Studio Theatre. Tickets can be booked online at roh.org.uk or by calling the Box Office on 0207 304 4000. -ENDS- Notes to Editors For more details of Northern Ballet's tour, on sale dates and booking information, please visit northernballet.com/whatson. Voted Best Company at the 2014 Taglioni European Ballet Awards, Northern Ballet is one of the UK’s five large ballet companies. Based in Leeds it performs throughout the UK as well as overseas. Northern Ballet’s productions mix classical dance and theatre, embracing popular culture and taking inspiration from literature, opera, or giving a unique interpretation of popular classical ballets. Northern Ballet is the busiest touring ballet company in the UK and is typically on the road for around 32 weeks of the year. The Company of 48 dancers tours a combination of full-length new work and established repertoire to cities throughout the UK and is the only large scale ballet company to do so. Northern Ballet will introduce a new strand of touring in 2015, widening the Company’s already extensive reach. The new mid-scale tour will see the Company perform in nine additional venues. Northern Ballet tours widely with its ballets for children, the first three of which were adapted for TV by CBeebies, and also performs a mixed programme showcasing the versatility of its dancers. Visit northernballet.com for more information on the Company and tour. Production images and information are available via the online media centre. Northern Ballet’s current Board of Directors Sir David Wootton (Chair) Dr Jo Butterworth Daniel Evans Alan Harrison Elizabeth Jackson Councillor John Procter Kevin O’Hare Dr Maxine Room CBE Terry Smith Phil Swallow Victoria Tomlinson Mixed Programme – Tour Dates London, Linbury Studio Theatre 12 – 14 May 2015 Box Office 0207 304 4000 roh.org.uk On sale now Elves & the Shoemaker – Tour Dates London, Linbury Studio Theatre 15 – 16 May 2015 Box Office 0207 304 4000 roh.org.uk On sale now

The FT review was by Louise Levene.

Hmmmmmm - props! Just as well the dancers have such good reactions!

I don't know if this will be of use to anyone: http://www.professionaldanceexperience.org.uk/pointework/

These may be of interest to anyone looking for something a bit different for the summer holidays. It may also be worth checking other ATG Theatres to see if other summer courses are on offer: Summer Musical Theatre Course Join our musical theatre teacher to learn a variety of upbeat routines to famous musicals. Learn to tap dance like Stomp, take part in a slow, lyrical dance routine to a piece from the Lion King, act out a scene from Blood Brothers and dance to West Side Story. The course culminates in a mini performance for friends and family to watch. Mon 3rd – Fri 7th Aug – 10am- 3.30pm daily - £150 (Ages 10-16 years). Course takes place at Cornerstone Church Milton Keynes Audition Technique Course Are you planning on auditioning for drama school or a place on a drama course at university? Are you interested in becoming a professional actor or musical theatre performer? Then this is the course for you. Milton Keynes Theatre has joined forces with a wealth of professional theatre practitioners to lead this brand new intensive audition preparation course. Mon 17 – Fri 21st Aug - £150 (Ages 16-25 years) Discover & Explore Milton Keynes Theatre This summer we are running an exciting new course where participants will have the chance to find out how a theatre works behind the scenes. Your fun filled week will include the chance to see Shrek the Musical, go on a theatre backstage tour and take part in lots of drama and crafts activities. Throughout the week participants will also gain their Explore Arts Award. *Course price includes ticket to see Shrek, Arts Award examination and certificate. Mon 24th – Fri 28th Aug – 10am-4pm - £150* (Ages 7-11 years)

Well I saw three performances of the mixed programme over the weekend and absolutely loved them all. The first three items on the programme had already been seen at the Sapphire Gala: Jonathan Watkins' Northern Trilogy is set to 3 poems narrated by Stanley Holden: Yorkshire Pudden', One-each-a-piece all round and The Lion and Albert. Jonathan Watkins has produced movement that seems to perfectly match the cadence and meaning of the poems and I find this piece really witty. Yorkshire Pudden' is about the creation of the first Yorkshire Pudding and includes an Angel on furlough from Heaven. The way Martha Leebolt floats onto the stage you could really believe she is that Angel. Her partnership with Toby Batley is just magical. One-each is a solo for Kevin Poeung that shows off his gorgeous technique and his stage presence beautifully. Lion and albert is for 5 dancers - Toby and Martha are joined by Hannah Bateman, Dreda Blow and Isaac Lee-Baker for the family day out to the zoo - it is a real rib-tickler! The second piece on offer (but sadly not being shown at the Linbury for some reason) is Daniel de Andrade's sultry and sensual Fatal Kiss set to Astor Piazolla's Autumn from his Four Seasons. Lucia Solari and Javier Torres are supremely well matched in this and the stage is filled with passion. There is one incredible lift that amazed me when I saw it but I couldn't even begin to describe. It doesn't look particularly showy but I can remember thinking how on earth they did it! We saw 2 casts for Demis Volpi's Little Monsters - Abi Prudames/Isaac Lee-Baker and Dreda Blow/Joseph Taylor. The piece uses three Elvis Presley songs and seems to be about a pair of disfunctional lovers. It starts off with the female dancer hidden behind the male and only her hands are on view. They gradually get further and further apart and more frenetic in their movements. The first section of the evening finished with Christopher Hampson's gorgeously classical Perpetuum Mobile. Again we saw 2 casts over the weekend, both equally excellent and this piece showed off lovely classical lines and deft footwork. Lucia Solari and Javier Torres were sublime in a duet in one cast. After the interval we were treated to Kenneth Tindall's The Architect which is a very striking piece indeed. All the men are Adams and all the women are Eves. We see Adam being born from lycra tubes. Again we saw 2 casts and I particularly loved both Kevin Poeung and Matthew Koon as the first Adam. The movements are very lithe and sinous and perhaps serpentine. This is an intricate and intense piece that is compelling to watch. I do not know how the dancers cope with the apples but cope they do and I really felt I was watching the original sin! I am looking forward to seeing a slightly modified version of this programme at the Linbury on Thursday. Fatal Kiss is replaced by Angels in the Architecture.

Woolf Works opens tonight. I am looking forward to hearing your thoughts. Please use this thread to tell us what you think of the performances.

I can't offer you any advice but a number of years ago I heard a similar story about a heart specialist! A chum of mine was covered by a health insurance scheme through work. He had a heart condition and saw the specialist on a regular basis. They were on first name terms and swapped details about family life. The specialist and his family never had to pay when he went to the cinema my chum managed. When my chum retired he lost his right to his health insurance and chose not to pay it for himself. On his first visit after his retirement he had to wait (which he had never done before) and when he was eventually called in the specialist said to him "Hello Mr X, what can I do for you today?" as though he had never seen him before in his life! When you describe the teacher's behaviour towards you in the class, does she behave the same way towards your class mates? Does she give corrections to other dancers in the class, for example? Is she sharp with other members? If this is not the case then I believe her behaviour is very unprofessional. Might she think that you are now going elsewhere for private lessons?

I wonder if it's a geographic thing Katherine? I've been told by twitter in the past that I have exceeded my 10 articles. I've occasionally found this with the google method too, although that usually works.

I can understand your need to vent Porthesia! I hate it if I can't have a shower! Hope your water is sorted out soon.

I'm very late posting about Phoenix' 2015 mixed programme as I first saw it in February and for the third time last week in Liverpool as their tour is reaching its conclusion. I think this year's Spring Tour has been absolutely superb and shows off this company of brilliant dancers to superb effect. The evening opened with two Christopher Bruce works in quick succession. Shift was originally made for Ballet Central. The costumes, for me, give it an early 1940s theme and some of the movements give the impression of women and men working in a factory and then maybe having some fun, It contains many of Christopher Bruce's signature steps and is short and sweet. Shift starts with what could be a family group sitting around a table - we see them discussing, laughing, arguing but to me there seems an underlying sadness. At the end they put on coats, pick up suitcases and leave. Are they leaving by choice or are they being forced to leave... After the interval we saw Tearfall choreographed by AD Sharon Watson. It starts with the dancers on stage wearing underwear and with one of them telling us about the makeup of tears. I found the movement sensual and lyrical. I must explain that I have a phobia about balloons and when I first saw this work at WYP in February I very nearly flipped. One of the dancers brings on a bunch of balloons with weighted strings and places them around the stage. So far not too bad but when a couple of them are picked up and the dancers put them to their faces... On second and third viewings, because I knew what to expect, I was able to cope and really enjoy the work. I very strongly got the impression that the balloons are fallen tears and that the dancers are collecting them up. Eventually they are collected together by one dancer and taken off stage. Despite my fear of balloons I came to love this work, with the complexity of the choreography (matching the complexity of the makeup of tears) and I ultimately found it moving. I just want to see it again. The final piece was Bloom by Caroline Finn to music that sounds Eastern European to me. A group of dancers congregate around a table but there is one (wearing a mask) at the front of the stage. He is an outsider, whom (I think) would like to become an insider. The movement really matches the music and is quirky and fun, although there is the underlying feel of disquiet that the outsider should be allowed in. It's a great piece from a choreographer new to me. Phoenix currently has 8 dancers and 2 apprentices. They are all fabulous dancers, full of character who can put across ideas even in seemingly abstract works. It is well worth making a special effort to see them. They often do post performance talks, which are interesting and enhance the experience.

Good luck!

This is the list that comes up based on my location but it seems to cover the whole of Merseyside. Prescot is L34/L35 area https://www.rad.org.uk/learn-to-dance/find-an-rad-teacher

Mark Skipper, CE at Northern Ballet has announced on twitter that Archie Sullivan is joining Northern Ballet next season.

It was shown on the BBC - I don't have sky. I'm afraid Acosta didn't do it for me as Colas.

The performance tonight was scintillating. More after the weekend...

I think it is totally inappropriate and absolutely appalling

Dutch National Ballet Christopher Wheeldon’s Cinderella London Coliseum UK PREMIERE Wednesday 8 - Saturday 11 July 2015 Performances: Wed - Sat at 7.30pm, Sat & Thu Mat at 2pm Tickets: £10 - £80 Ticket Office: 0844 412 4300 or www.sadlerswells.com Dutch National Ballet presents a new interpretation of Cinderella, choreographed by Sadler’s Wells Associate Artist Christopher Wheeldon. Premiered at Dutch National Opera & Ballet in December 2012 to great public and critical acclaim, Wheeldon’s ballet is set to Prokofiev’s score – performed live by Royal Ballet Sinfonia – with sets and costumes by British designer Julian Crouch. Wheeldon is one of the most sought-after choreographers in the dance world today. His Cinderella, influenced by the Brothers Grimm story, shows a kind-hearted heroine making the best of life without her beloved mother, while over at the palace Prince Guillaume is struggling against the restrictions of royal protocol and princely duty. Elaborating on the traditional narrative, Cinderella is choreographed with lyricism, elegance and wit. During the London run, the title role of Cinderella will be performed by Anna Tsygankova. Earlier this year the Russian dancer made her debut with The Royal Ballet as a Guest Artist, dancing Kitri in Don Quixote.She will be joined on stage by her partner, Canadian dancer and Guest Principal Matthew Golding. Having been a Principal since 2010, Golding joined The Royal Ballet in March 2014, but remains as a Guest Principal with the Dutch National Ballet.Roles will be alternated and certain performances. Wheeldon trained at The Royal Ballet School and joined the Royal Ballet in 1991. He joined New York City Ballet and served as their first-ever Artist in Residence in 2000/01, where he was later named Resident Choreographer. He became a Sadler’s Wells Associate Artist in 2007. Wheeldon has created productions for all the world’s major ballet companies including: New York City Ballet, The Royal Ballet, American Ballet Theatre, San Francisco Ballet, Pennsylvania Ballet, Dutch National Ballet, Royal Swedish Ballet, Bolshoi Ballet and National Ballet of Canada. In late 2014 Wheeldon directed and choreographed the musical version of An American In Paris. The Broadway production premiered at the Palace Theatre, New York in April 2015. Wheeldon received two Tony Award nominations for Best Choreography and Best Direction of a Musical for the production. As a choreographer, Wheeldon has been the recipient of many awards including the American Choreography Award for the film Center Stage (2000) and the London Critics’ Circle Award and the Olivier Award for Best New Dance Production for Polyphonia (2001). More recently he received the Benois De La Danse for Cinderella (2013), the Olivier Award for Best New Dance Production for Aeternum (2013)and the Leonard Massine Prize for choreography for The Winters Tale (2014). Notes to Editors: Listings information: Dutch National Ballet Christopher Wheeldon’s Cinderella UK Premiere London Coliseum, WC2N Wednesday 8 – Saturday 11 July 2015 Performances: Wed – Sat at 7.30pm, Sat 7 Thu Mat at 2pm Tickets: £10 - £80 Ticket office: 0844 412 4300 / www.sadlerswells.com About 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, 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.

Links - Friday, May 08 2015 Review – New York City Ballet, Apollo, Agon, Duo Concertant, Symphony in Three Movements, New York: Marina Harss, DanceTabs Feature – Joaquin de Luz, NYCB preparing for La Sylphide, New York: Pia Catton, Wall Street Journal Review – Royal Ballet, La Fille Mal Gardee – live cinema relay, the World: Graham Watts, London Dance Review – Mikhailovsky Ballet, La Fille Mal Gardee (Kuligina / Vasiliev), St Petersburg: Margaret Willis, DanceTabs Reviews – Sasha Waltz and Guests, D’Avant, London: Judith Mackrell, Guardian Jann Parry, DanceTabs Vera Liber, British Theatre Guide Review – Alonzo King Lines Ballet, Concerto for Two Violins, Writing Ground, New York: Apollinaire Scherr, FT News – Sarasota Ballet promotions, joiners and leavers: Carrie Seidman, Sarasota Herald Tribune Review - James Wilton Dance, Last Man Standing, London: Lynette Halewood, DanceTabs Review – Martha Graham Dance Company, Appalachian Spring, Lamentation Variations, Errand into the Maze, Echo, Topanga: Flavia Polenza, Topanga Messenger Reviews – Sydney Dance Company, Quintett, Frame of Mind, Melbourne: Jordan Vincent, Sydney Morning Herald Andrew Furhmann, Daily Rreview Review – New Zealand Dance Company, Rotunda, Melbourne: Chloe Smethurst, Sydney Morning Herald Review – Marjani Forte, being Here…/this time, New York: Siobhan Burke, NY Times Blog – Sweet loving and banjo music… Don’t do it: Jarkko Lehmus, DanceTabs Reviews - Nuevo Ballet Español, Titanium, London: Sarah Frater, Stage Preview/feature - A dancer with cancer inspired and stars in Blank Canvas, Washington: Sadie Dingfelder, Washington Post Review - Jeanette Stoner, Wheel, Wall, Numinous, Just So, Moments of Deep Past/Ancient Memories, New York: Lauren Wingenroth, Broadway World Review - Min Kyoung Lee and João dos Santos Martins, The Rite of Spring (2013), Dunedin: Jonathan W Marshall, NZ Theatreview Review – Tiki Taane Mahuta, Christchurch: Emily Napolitano, NZ Theatreview