Jan McNulty

Great idea - I've just voted (for the robin)!

Here is the Stage feature: https://www.thestage.co.uk/features/2015/general-election-arts-policies/

Links - Thursday, May 07 2015 Obituary – Maya Plisetskaya: Anna Nemtsova, The Daily Beast Review – International Ballet Festival 2015 Dance Open and Tsiskaridze at the Vaganova Academdy: Margaret Willis, DanceTabs Review – New York City Ballet, Concerto Barroco,, Episodes, Four Temperaments, New York: Sondra Forsyth, Broadway World Feature – Susan Tammany, designer for NYCB’s La Sylphide: Michael Cooper, NY Times Review – Australian Ballet, Monotones II, Symphonic Variations, The Dream, Sydney: Deborah Jones, Blog Review – San Francisco Ballet, Romeo and Juliet, San Francisco: Paul Parish, Bay Area Reporter News – London to host gala in memory of Maya Plisetskaya: TASS, Russia Beyond the Headlines Review – Boston Ballet, Edge of Vision, Boston: Ray Wang, The Tech Review – Danspace Project, Platform 2015: Dancers, Buildings and People in the Streets, New York: Siobhan Burke, Brooklyn Rail Review – Rashaun Mitchell, Light Years, New York: Madison Mainwaring, Brooklyn Rail Reviews – Alonzo King Lines Ballet, Writing Ground, New York: Brian Seibert, NY Times Alexandra Villarreal, Huffington Post Q&A – Pippa Moore, Northern Ballet: Whats On Live News - Kyle Abraham, Jessica Lang and Reggie Wilson receive City Center Fellowships: Dance News Desk, Broadway World Feature – Jonathan Watkins on his new ballet for Texas Ballet Theatre: Mark Lowry, Fort Worth Star-Telegram Preview – LA Music Centre dance lineup 2015-16: Craig Nakano, LA Times Feature – Julie Kent (ABT) looks effortless in ballet and beauty: Bee Shapiro, NY Times Features – Ballet BC, RITE, Vancouver: Janet Smith, Straight Deborah Meyers, Vancouver Sun Feature – Robert Dekkers (dancer and choreographer): Rachel Howard, SF Chronicle Review – Anjali Austen, Threads, Sarasota: Carrie Seidman, Sarasota Herald Tribune Review – LACDC, mixed programme, Los Angeles: Teresa Heiland, Bachtrack Preview – Dalisa Pegram and Marrugeku, Gudirr Guddir, Toronto: Michael Crabb, Toronto Star Reviews - Nuevo Ballet Español, Titanium, London: Mark Monahan, Telegraph Gareth Johnson, Gay Star News Review – American Repertory Ballet, Signature Duets Showcase, Rahway NJ: Patrick Kennedy, Broadway World Review – Katie Workum, Black Lakes, New York: Tara Sheena, Brooklyn Rail Review – Reggie Gray and Peter Sellars, FLEXN, New York: Brian Schaefer, Brooklyn Rail Concert review - Orchestra of the Royal Opera House, London: Richard Fairman, FT

Feature on Robert Fairchild and Tony Yazbeck (in On the Town) in the NY Times.

What started out as a special trip to see Kenny Tindall's final performance on 2nd May turned out to be something of a Wuthering Heights marathon as I ended up seeing 5 performances, fortuitously with all 5 casts. Having reread Wuthering Heights after many years (I studied it for O level and hated every single last word!) I realised even more what a very clever adaptation of the novel this production is. The device of using Young Heathcliff and Young Cathy can be interpreted as giving a sense of the generations of the novel. In the final scene is it Young Cathy and Young Heathcliff forever reunited or is it Cathy's daughter and Hindley's son (Hareton) having a chance of peace and happiness at last? The timespan of the relationships and inter-relationships are necessarily compressed in the ballet but I believe that they beautifully represent the events in the novel. There are a couple of small sections of this ballet that thrill me every time I see them - the way Young Cathy and Heathcliff are exploring the moors and roll off to each side to be replaced by grown-up Heathcliff and Cathy - it's sheer genius! I also love the interplay of the servants the day Cathy is returning home to the Heights after her stay at the Grange because of her accident. As well as providing a light moment, it serves to illustrate the opulence of the Linton household. My absolute favourite moment happens at the back of the stage when 2 of the servants are sweeping the leaves - I am so captivated by this that I have sometimes forgotten to watch the main action! The main highlight of the ballet for me is the "red duet" when Heathcliff comes to find Cathy at the Grange; it encompasses all the complex emotions of these 2 characters - Heathcliff desperate for Cathy, Cathy desperate for Heathcliff but trying to stay loyal to her marriage. As the music soars to a crescendo the emotions roll off the stage in waves and are almost overwhelming in their intensity. The final scene for Heathcliff after Cathy's death is very moving. On Thursday afternoon I saw Dreda Blow and Isaac Lee-Baker in the leading roles for the first time since their debuts in Sheffield at the end of March. Oh boy have they got into the roles since then. They were terrific! Thursday evening saw Lucia Solari and Javier Torres leading the performance. Their Latin temperaments really suited the roles and brought out a wild edginess in their duets that was very exciting to watch. It was interesting to see their outward facing emotions compared to the more inward facing emotions of the other casts. On Friday evening Martha Leebolt and Toby Batley gave what I think was just about the best performances I have ever seen in this production. I was emotionally wrung out by the end. I felt really sorry for Hannah Bateman as Isabella having to face Heathcliff's wrath. The look Toby gave the audience as he dragged her off stage froze the blood in my veins! Saturday afternoon was another really exciting performance from Antoinette Brooks Daw and Ashley Dixon. I am really starting to run out of superlatives here but just to say that they were absolutely wonderful. I have only really mentioned Cathy and Heathcliff but some other highlights were Hiro Takahashi bringing a gentle dignity to the role of Edgar and Matthew Koon was a total delight in the same role. Not only was his acting exemplary but he looks as though he is floating rather than dancing! Hannah Bateman, Pippa Moore, Jessica Morgan and Abigail Prudames all brought something to the role of Isabella, the ditzy blonde young lady who falls for the dangerous Heathcliff and lives to regret it. I would also like to mention Dominique Larose as the nervous maid who can't stop shaking and rattles the tea-tray. Her comic timing and terrified facial expressions were absolutely perfect. She also appeared during the week as a friend at the badminton party and a wedding guest, dancing with great elegance. Northern Ballet certainly has an embarrassment of riches at the moment with some superb actor-dancers. And so to Saturday evening,,, It was always going to be an emotional night. When I saw Kenny Tindall perform the role for the first time in the 2009 revival, I was so swept away by his performance that I was sobbing hysterically by the end and was in no fit state to join in the standing ovation! He absolutely embodied Heathcliff and found something in the depths of the character that made us care about him. I shall never forget that afternoon in Hull any more than I shall never forget his monumental performance on Saturday evening. Julie Charlet came back to guest as his Cathy. The whole cast rose to new heights for the performance which was extremely intense and emotional. Rachael Gillespie and Jeremy Curnier were exquisite as Young Cathy and Heathcliff and Pippa Moore and Hiro Takahashi were sublime as Isabella and Edgar. Mlindi Kulashi managed to find pathos as well as brutality in Hindley. During the curtain calls David Nixon made a presentation to Kenny and gave a beautiful speech celebrating Kenny's career with the company. Quite a few of Kenny's fans had made the trip to see this wonderful final performance and, of course, we were all on our feet applauding him. I am sure that Kenny has a very bright future ahead of him as a choreographer. I would like to say thank you to him for all the wonderful memories he has given us as well as wishing him every success for the future. Kenny tweeted a photograph that Toby Batley took during the final seconds of the ballet. It is a wonderful photograph: https://twitter.com/Tindallkenny/status/595286926422372352

Casting is out for Leeds: http://northernballet.com/?q=mixed-programme-2015%2Fleeds-casts

Absolutely - how about an appearance in the Gypsy camp???

Sad news that Errol Brown of Hot Chocolate has passed away. Sincere condolences to his family and friends. http://www.bbc.co.uk/news/entertainment-arts-32613573

A view of the cinema relay from the Gloucestershire Echo.

When I saw it on the news, they said that was what was put down as their occupations. I'm not up on royal etiquette but I can't think of any royal brides or grooms apart from Diana who have been called Princess or Prince. As married couples it seems more usual for them to be offered a title such as Duke and Duchess (where the groom is the royal) or Earl and Countess ( for example Lord Snowdon and Princess Margaret). Some non-royal grooms do not have a title but I assume it is their choice.

Any good framers should be able to do box frames for pointe shoes. Not pointe shoes but I have got a pair of male dancer's shoes framed and very good they look too. I don't know where you live Amethyst but I used Rennies in Liverpool for them and was particularly pleased with the results.

Links - Wednesday, May 06 2015 Obituary – Maya Plisetskaya: Ismene Brown, Arts Desk Feature – Alessandra Ferri: Anita Singh, Telegraph Feature – Sadler’s Wells Autumn Season 2015 preview: Judith Mackrell, Guardian Review – Sarasota Ballet, Les Sylphides, L’Apres-midi d’un Faune, Petrushka, Sarasota: Mary Cargill, Danceview Times Review – Gandini Juggling, 4x4 Ephemeral Architectures, London: Siobhan Murphy, DanceTabs Review – Christopher Wheeldon speaks with Rita Moreno: Rose Marija, Broadway World Feature – Tutus and Tartans, preview of costumes for NYCB’s La Sylphide: Misty White Sidell, Women's Wear Daily Review – Breakin’ Convention, London: Siobhan Murphy, London Dance Review – Tasdance, Luminous Flux, Clayton: Chloe Smethurst, Sydney Morning Herald Review – Panic Lab, R.I.O.T., London: Lyndsey Winship, Standard Review – Avant-Garde-Arama: MAYDAY, New York: Martha Sherman, Danceview Times Feature – Is the iPhone the New Proscenium? Questions for 21st Century Dance Makers: Phil Chan, Huffington Post Review – Ballet Ireland, Lost, Pas de Quatre, Vivaldi Suite, Sing Sing Sing, Tallaght: Christie Seaver, Irish Times Preview – Ballet BC, RITE, Vancouver: Cheryl Ross, Vancouver Courier Q&A – Pedro Ruiz, Dancer and Choreographer: Patricia Farber, Cuban Art News Review - Carolina Ballet, Swan Lake, Durham: Dawn Reno Langley, Triangle Arts and Entertainment

I don't know if they still do but I believe the Royal Swedish Ballet have performed this production. I think a performance of theirs was televised. This production is my favourite traditional Swan Lake.

And Janet is a very happy bunny, assuming she will be able to purchase a ticket!

Here's the link to the ROH website And here's one direct to the page

Here's a link to the full brochure: http://issuu.com/sadlerswells/docs/sadlers_wells_autumn_2015 Tickets go on sale on Monday 11th May.

I wasn't using stick insect in that context and I did describe myself as a ballet-watcher rather than a student watcher. I have seen people in all walks of life who remind me of stick insects - ie are way too thin regardless of their shape.

I was more under the impression that the thread started out about a young girl feeling insecure about changes to her body that happened to be a bust. I personally do not care what someone's shape is but I do care if people are obviously too thin and I mean obviously rather than a natural build. I think, on the whole, that this thread has been very supportive and has offered useful suggestions and my initial post was merely indicating that I would rather see people who are not too thin whether they have a bust or not.

Stick insects meaning looking way too thin, and I have seen dancers that look like this. I was sitting in the rear stalls watching a Mariinsky performance of Giselle and using opera glasses. I had to stop using them in the end because the leading dancer was so painfully thin I couldn't bear to watch her in close-up.

Well done Porthesia for your achievements so far. I think it is quite usual to plateau, the important thing is not to start creeping up again. Keep up the good work Lisa! (Mind you, I should talk!)

Links - Tuesday, May 05 2015 Obituaries – Maya Plisetskaya: Nadine Meissner, Independent Nick Kirkpatrick, Washington Post Valerie Lawson, Dancelines Stav Ziv, Newsweek Telegraph Review – New York City Ballet, Concerto Barocco, Episodes, Four Temperaments, New York: Andrew Blackmore-Dobbyn, Bachtrack Review – San Francisco Ballet, Romeo and Juliet, San Francisco: Janos Gereben, SF Examiner Review – Boston Ballet, Edge of Vision: Bach Cello Suites, Eventide, Celts, Boston: Alan Helms, DanceTabs Review – Boris Eifman Ballet, Rodin, Boston: Jeffrey Gantz, Boston Globe Review – JV2, Silence, Unregistered Traces, I was minus all, London: Graham Watts, DanceTabs Reviews – Breakin’ Convention, London: Sanjoy Roy, Guardian Zoe Anderson, Independent Review – Jonah Bokaer, Other Myths, New York: Gia Kourlas, NY Times Review – Barnard/Columbia Dances, Gloria, Grace Notes, Empty Pockets, Siege, New York: Brian Seibert, NY Times Q&A – Benjamin Millepied, Director of Danse POB: Laura Cappelle, Dance Magazine Review - Lyon Opera Ballet, Sarabande, Sunshine, Steptext, New York: Rose Marija, Broadway World Review – BalletMet, American Masters programme, Columbus: Amanda Etchison, Broadway World Review - Ballet Biarritz, Estro, Une Derniere Chanson, Bolero, Dallas: Margaret Putnam, Theater Jones

Joss Arnott Dance & Dame Evelyn Glennie join forces for 2015 tour Joss Arnott Dance and Dame Evelyn Glennie join forces for 5|0 - a birthday celebration marking the company’s 5th and Dame Evelyn’s 50th The 9-venue autumn 2015 tour kicks-off at DanceEast, Ipswich on 16 October and concludes at Wiltshire Music Centre on 21 November. Joss Arnott Dance presents a triple bill of new, powerful and heart-pounding choreography, performed by the company’s trademark all-female cast this autumn, accompanied by live performance by Dame Evelyn Glennie andJames Keane. Created by Artistic Director Joss Arnott, this new triple bill demonstrates why the company has emerged as one of the most exciting voices in British contemporary dance. Joss Arnott Dance has joined forces with GRAMMY award-winning composer and percussionist Dame Evelyn Glennie, who will co-write an original score and perform live alongside company Musical Director James Keane forWide Awakening, the climax of the triple bill, created for five dancers. The triple bill also features 24, a quartet inspired by the themes and concepts within the Alexander McQueen V&A exhibition ‘Savage Beauty’ and a solo, V. Full details of the work, collaborators and the tour will be announced later this summer 16 Oct DanceEast, Ipswich 22 Oct Riverfront, Newport 24 Oct The Royal Northern College of Music, Manchester 29 Oct Pavilion Dance South West, Bournemouth 2 Nov The Hawth, Crawley 3 Nov artsdepot, London 13-14 Nov Dance City, Newcastle 19 Nov Blackpool Grand 21 Nov Wiltshire Music Centre, Bradford on Avon 5|0 is a co-commission between Blackpool Grand, DanceEast, Swindon Dance, Pavilion Dance South West, South East Dance, CAST and developed with Dance City. Supported using public funding by Arts Council England and PRS for Music Foundation. Joss Arnott Dance is an internationally touring, cutting edge contemporary dance company based in Yorkshire; North of England led by Artistic Director Joss Arnott. The company’s productions aim to excite and inspire its audiences regardless of their dance experience and knowledge through Arnott’s dynamic choreography, originally composed music and extraordinary dancers.

Northern Ballet's Architect mixed programme opens in Leeds (Quarry Hill) this week before moving on to the Linbury next week. Here's a trailer for The Architect: I'd love to hear what people think of the programme so please put your thoughts here!

There was a thread a while ago about selling used pointe shoes on ebay. There are some fetishists apparently but if you take appropriate measures with your details I am sure you wouldn't mind where the money came from! Here's the thread: http://www.balletcoforum.com/index.php?/topic/8944-selling-old-pointe-shoes/?hl=%2Buses+%2Bpointe+%2Bshoes IBM has a good idea on how to use them too.

Links - Monday, May 04 2015 Obituaries – Maya Plisetskaya: Judith Cruickshank, Guardian Guardian Independent Reviews – San Francisco Ballet, Romeo and Juliet, San Francisco: Allan Ulrich, SF Chronicle Claudia Bauer, DanceTabs Carla Escoda, Huffington Post Preview – New York City Ballet, La Sylphide, New York: Alastair Macaulay, NY Times Review – Slovak National Theatre Ballet, Le Corsaire, Bratislava: Zuzana Vilikovska, Slovak Spectator Gallery – Ben Duke, Research and Development in the Studio, London: Stephen Wright, DanceTabs Review – Patricia Noworol Dance Theatre, Replacement Place, New York: Deborah Jowitt, Arts Journal Review – Matthew Brookoff, triple bill, New York: Marina Harss, Random Thoughts Review – Dakshina / Daniel Phoenix Singh Dance Company, Shivoham, Lament to the Birds, Mortal Tongues, Immortal Stories, Washington: George Jackson, Danceview Times Review – Moving Ethos Dance Company, As we fall, St Petersburg: Carrie Seidman, Sarasota Herald Tribune Review – Vienna Festival Ballet, 35th Anniversary Gala programme, York: Deborah Lam, Nouse Review – Milwaukee Ballet, Giselle, Milwaukee: Sondra Erwin, The New Perspective Review – Ballet Biarritz, Estro, Une Derniere Chanson, Bolero, Dallas: Manuel Mendoza, Dallas Daily News