Jan McNulty

Meeting you is a treat too Sim!

I've no idea Lindsay as I don't follow ABT. I just read the comments on an American ballet forum.

I think I said earlier in this thread or the thread on the previous run that ABT were having Italian fouette issues in their run last Spring. I've seen many dancers I've admired over the years coming a cropper with them!

Links - Friday, January 23, 2015 Reviews – Mariinsky Ballet, Cinderella, New York: Michael Popkin, Danceview Times Andrew Blackmore-Dobbyn, Bachtrack Review – New York City Ballet, Symphonic Dances, Andantino, The Cage, Cortege Hongrois, New York: Gia Kourlas, NY Times Interview – Thiago Soares, Royal Ballet on Onegin: Siobhan Murphy, DanceTabs Reviews – Resolution! 2015, London: Fuora Dance Project/CieMulator Dance/Konstantina Skalionta, The Last Maiden, Risk Forward, In the likeness of…: Judith Mackrell, Guardian Lyndsey Winship & Lilia Prier Tisdall, The Place Review – Royal Winnipeg Ballet, The Handmaid’s Tale, Ottawa: Natasha Gauthier, Ottawa Citizen Feature – Dam Van Huynh, choreographer: Donald Hutera, London Dance Feature – Melissa Hamilton (Royal Ballet): Amanda Ferguson, Belfast Telegraph Feature – Dance finds a home in museums: Hilarie M Sheets, NY Times Review – Intermezzo Dance Company, mixed programme, New York: Elizabeth Portnoy, Broadway World Preview – Louisville Ballet, Director’s Choice mixed programme, Louisville: Elizabeth Kramer, Courier-Journal News – Edgar Degas Scene de Ballet to be sold: Artlyst

Not quite sure what you intended but you've caused a lively and valid debate that has given people plenty to think about.

Links - Thursday, January 22, 2015 Review – Mariinsky Ballet, Cinderella, New York: Marina Harss, DanceTabs Review – Mariinsky Ballet, Swan Lake, Cinderella, New York: Robert Greskovic, Wall Street Journal Reviews – New York City Ballet, Serenade, Agon, Symphony in C, New York: Alastair Macaulay, NY Times Apollinaire Scherr, FT Reviews – Royal Danish Ballet, Bournonville Celebration, New York: Robert Gottlieb, NY Observer Wesley Doucette, Broadway World Season Reviewlette – Les Ballets Trockadero de Monte Carlo, New York (scroll down beyond Danish review): Robert Gottlieb, NY Observer Feature – Tory Dobrin (AD Les Ballets Trockadero de Monte Carlo): Janet Smith, Straight.com Feature – Richard Alston, Seeing the music: Carmel Smith, London Dance Reviews – Resolution! 2015, London: Exim Dance Company/Jack Stinton Dance Company/Lea Tirabasso, Desiderium, Theory, Love Me Tender: Francesca Mcloughlin & Graham Watts, The Place Feature – Lil Buck: Jordan Levin, Miami Herald Previews – Force Majeure, Nothing to lose, Sydney: Michael Koziol, Sydney Morning Herald Video, Guardian Review – Tanya Chianese, Cookie Cutter, Berkeley: Nirmala Nataraj, SF Chronicle

I was very sad to hear the news that Anne Kirkbride had passed away. Granada Reports last night was a tribute to her. There was a long interview with a clearly emotional William Roache that was very moving. RIP Anne Kirkbride.

UK PREMIERE François Chaignaud & Cecilia Bengolea altered natives’ Say Yes To Another Excess – TWERK Lilian Baylis Studio at Sadler’s Wells Thursday 5 & Friday 6 March Performances: Thur & Fri at 8pm Tickets: £17 Ticket Office: 0844 412 4300 or www.sadlerswells.com On Thursday 5 & Friday 6 March 2015 Sadler’s Wells’ Lilian Baylis Studio hosts the UK Premiere ofFrançois Chaignaud and Cecilia Bengolea’s brand new work Say Yes To Another Excess – TWERK. The two artists have been provoking audiences from Paris to Tokyo with their fresh perspective on dance. Their trademark sexually-charged work springs from a wide outlook on what constitutes dance, and a desire to challenge how dance history is written. In their new work, they delve into their personal history of clubbing with an unusual anthropological take, physically examining free styles such as Jamaican dancehall, 1970s voguing and today’s twerking. Together with New York voguer Alex Mugler, contemporary performers Ana Pi and Elisa Yvelin, Chaignaud and Bengolea have set themselves the challenge to trust dance and its poetic, expressive powers to create something immediate and visceral. The piece is also an exploration of grime music. An electro music form born in East London in the early 2000s, the genre combines sounds from dancehall, hip hop and UK garage, bringing the urgency of its MCs to an abstract yet ferocious synthetic sound. Leaders of the new grime wave DJs Elijah and Skilliam mix live on stage in this energising performance. Born in Rennes, Chaignaud graduated from Paris Dance Conservatory and has danced with numerous choreographers including Boris Chamartz, Emmanuelle Huynh, Gilles Jobin, Tiago Guedes and Alain Buffard. He has collaborated with San Francisco legendary drag queen Rumi Missabu, performer Benhamin Dukhan and cabaret artist Jérôme Marin. In 2012 he was involved in the creation of Sacre #197 by Dominique Brun. He is also a published historian. Buenos Aires born Bengolea was trained as a jazz and urban dancer and studied Engenio Barba’s ancestral dances, also called anthropological dances. She studied Philosophy and Art History at Buenos Aires University before moving to Paris to focus on writing, choreography and performing. In 2008 Chaignaud and Bengolea co-founded Vlovajob Pru Dance Company and have since created a range of critically acclaimed bold contemporary works. A free post-show talk with François Chaignaud and Cecilia Bengolea will take place on Thursday 5 March, on stage. Contains strong language and nudity Notes to Editors: Listings information François Chaignaud & Cecilia Bengolea altered natives’ Say Yes To Another Excess - TWERK Lilian Baylis Studio at Sadler’s Wells Thursday 5 & Friday 6 March 2015 Free post-show talk with François Chaignaud and Cecilia Bengolea: Thursday 5 March, on stage. Contains strong language and nudity Performances: Thurs & Fri at 8pm Tickets: £17 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 and 3 Resident Companies and nurtures the next generation of talent through its National Youth Dance Company, 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 - Wednesday, January 21, 2015 Review – Mariinsky Ballet, Cinderella, New York: Melia Kraus-Har, Broadway World Review – BalletBoyz, Young Men, London: Neil Norman, Express Feature – Twenty years of dance highlights: Judith Mackrell and Richard Alston, Guardian COIL Festival, New York: Review – Zoe/Juniper, BeginAgain: Martha Sherman, Danceview Times Review – Faye Driscolle, Thank You for Coming – Attendance: Martha Sherman, Danceview Times Review – Molly Lieber and Eleanor Smith, We Two Form a Multitude: Danceview Times London International Mime Festival: Reviews – Gecko, Institute: Sarah Hemming, FT Vera Liber, British Theatre Guide Featurette – Darcey Bussell meets young dancers at BRB’s new studios: Fionnuala Bourke, Birmingham Mail Slightly longer version (with more pics!) Birmingham Post Interview - Jody Talbot talks about his score for The Winter’s Tale: Gramophone Feature - Gavriel Heine (from New Jersey) conducting the Mariinsky Ballet: Ronni Reich, Star Ledger

Hello Incognito and welcome to the Forum. One thing I like about mixed programmes is that you often get an opportunity to see many of a company's dancers in one show. Let's hope this mixed bill provides that opportunity. Do let us know what you think when you go!

Welcome to the Forum Balletbob69. I hope you will continue to contribute! The Danes were absolutely tremendous weren't they! Luke trained at the RDB school so would know the dancers who came over as part of the group. He also danced with his father's Company. Whatever, I'm very glad he joined BRB!

Links - Tuesday, January 20, 2015 Review – Elene Glurdjidze’s final ENB performance, London: Louise Levene, FT Review – Mariinsky Ballet, Cinderella, New York: Alastair Macaulay, NY Times Review - Mariinsky Ballet, Swan Lake, New York: Sondra Forsyth, Broadway World Review – BalletBoyz, Young Men, London: GJ Dowler, Classical Source Review – Wendy Whelan, Restless Creature, San Francisco: Carla Escoda, Bachtrack Review – Miguel Gutierrez, Age and Beauty Parts 1 & 2, New York: Deborah Jowitt, Arts Journal News – Joiners and Leavers in Australia: Valerie Lawson, Dancelines Feature – Laszlo Major, Les Ballets Trockadero de Monte Carlo: Rachel Bachman, Wall Street Journal Featurette – Raffaele Morra, Les Ballets Trockadero de Monte Carlo on caring for his feet: Rachel Bachman, Wall Street Journal Review – Ballett Zurich, String triple bill, Zurich: Sarah Batschelet, Bachtrack Q&A – Lila York, choreographer on The Handmaid’s Tale for Royal Winnipeg Ballet: Natasha Gauthier, Ottawa Citizen London International Mime Festival: Review – Gecko, Institute: Siobhan Murphy, London Dance Review – Circus Ronaldo, Amortale: Howard Loxton, British Ttheatre Guide Review – Fidget Feet Aerial Dance & Hawk’s Well Theatre, The Second Coming, Glasgow: Kelly Apter, Scotsman Review – Russian National Ballet, Giselle, Kansas: Libby Hanssen, Kansas City Star Review – Russian State Ballet of Siberia, Nutcracker, Southampton: Jane Sullivan, Southern Daily Echo

I have no practical experience but I expect it will be harder once a dancer gets into a company. There will be even longer days for one thing when the company is performing and I would guess that, no matter how friendly the company, there will be stressing about getting roles. The Northern Ballet Academy professional graduates scheme was set up because David Nixon felt that some students may not be ready for professional life when they first graduate.

If you register, I think you get 8 free articles a month.

Here's the FT review I will be including in the links tomorrow. Here's the link to Sian Trenberth's Facebook page - the photographs are lovely. Hello Rod and welcome to the Forum. I hope you will continue to chip in!

I think I've found your page (cover photo of London skyline at sunset?) but FB won't let me see your full timeline unless we become friends.

English National Ballet Modern Masters Sadler’s Wells, EC1R 4TN Tuesday 10 - Sunday 15 March 2015 Performances: 7.30pm (mat 2.30pm) Tickets: £12 - £45 Box office: www.ballet.org.uk or 0844 412 4300 Presenting its first programme as an Associate Company of Sadler’s Wells, English National Ballet brings Modern Masters: Icons of 20th Century Choreography, a new triple bill, to Sadler’s Wells from the 10 - 15 March 2015. The evening’s programme includes works from two choreographers new to the Company’s repertoire, William Forsythe’s In the Middle, Somewhat Elevated and the UK premiere of Spring and Fall by John Neumeier. The triple bill also includesJiří Kylián’s Petite Mort, first performed by the Company in Ecstasy and Death in 2013. Of Modern Masters Artistic Director of English National Ballet, Tamara Rojo says: “After the success of last year’s productions Le Corsaire and Lest We Forget, I am delighted to present Modern Masters at Sadler’s Wells. English National Ballet is committed to presenting the very best of both traditional and contemporary ballet to audiences across the UK, bringing these works to Sadler’s Wells continues this commitment and offers us the opportunity to reach new audiences. I am excited to see the Company perform these works by some of the most influential choreographers. As Artistic Director I am always looking at our dancer’s development and this programme offers them both the challenge and opportunity to develop artistically.” Jiří Kylián’s Petite Mort, features six men, six women and six fencing foils, symbolising energy, silence and sexuality. Created for the Salzburg Festival in 1991, it is performed to the movements of two Mozart Piano Concerti, the A Majorand the C Major. Originally created for the Hamburg Ballet, John Neumeier’s Spring and Fall is not in the repertoire of any other UK company. Set to Dvořák's Serenade for Strings in E Major, it features two couples and corps de ballet. English National Ballet’s Lead Principal, Alina Cojocaru will perform in Spring and Fall at Sadler’s Wells in March. Of performing the work in Hamburg this summer Cojocaru said; “To dance to Dvořák's music in such a wonderful creation by Neumeier, gives me such a sense of meaning and hidden challenges. Spring and Fall is a dream come true.’’ William Forsythe created In the Middle, Somewhat Elevated at the invitation of Rudolf Nureyev when he was Director of the Paris Opera Ballet. Set against a bare stage it is performed by nine dancers to an electronic score by Dutch composer Thom Willems, culminating in a display of technical brilliance. Modern Masters also sees English National Ballet embark on its second Dance Journeys project, which sees two performances by young dancers on the main stage at Sadler’s Wells. On Thursday 12 March a cast of 35 young dancers from ENBYouthCo members and students from four schools in the UK perform a curtain-raiser to the matinee show of Modern Masters. This is an extract from a new full-length piece,Perfect Disorder, which will be performed on Friday 13 March at 1pm. Inspired by William Forsythe’s In The Middle, Somewhat Elevated, Perfect Disorder sees 80 young dancers from four London secondary schools take to the stage. Directed by English National Ballet’s Creative Associate Laura Harvey and choreographed by four English National Ballet artists, Perfect Disorder features a new composition by Chris Swithinbank, performed by the English National Ballet Philharmonic. Tickets for Perfect Disorder are £1 and can be booked at www.ballet.org.uk Principal casting to be announced shortly Free post-show talk with Tamara Rojo (BSL-interpreted): Wednesday 11 March, on stage For further information about English National Ballet and to book tickets visit www.ballet.org.uk. Please note performance details are subject to change. Notes to Editors Modern Masters is supported by the Modern Masters Production Circle Dance Journeys is funded by John Lyon’s Charity

Northern Ballet is exploring new ways of engaging people with learning more about ballet through online applications. The Company has been working with Bedford Interactive through funding from the Arts Council England to develop software and content that can be used to develop dance appreciation skills and would like feedback on using it. The Company is encouraging people to try out the app and tell them what you think. Here is the link to the feature on Northern Ballet's website. At the moment the application features a solo for Hypolyta from A Midsummer Night's Dream. It is really interesting and this could prove an amazing resource if it is built up. At the end of the app there is a request for feedback and it would seem that Phoenix Dance Company are also involved in the project.

Hello Chloe, You have a fine ambition. I have never been to a dance lesson in my life so can't offer you any practical advice in that respect. However it occurs to me that a school/accredited college course should be a longer term aim. I suggest you need to build up your teaching credentials before you should branch out on your own. Starting any business is a minefield and, as well as building up your teaching credentials with practical experience I suggest you need to get some form of training in running your own business. For example for any form of teaching these days I believe you need a CRB certificate. You would also need a comprehensive business plan to help you get the finance you will need to start up and you will need to consider where you will be located and what sort of premises you will need. And this is just off the top of my head...

Links - Monday, January 19, 2015 Review – Mariinsky Ballet, Swan Lake, New York: Marianne Adams, Danceview Times Review – Royal Danish Ballet, Bournonville Celebration, New York: Andrew Blackmore-Dobbyn, Bachtrack Review – Wendy Whelan, Restless Creature, San Francisco: Rita Felciano, Danceview Times Interview – Sergei Filin, AD Bolshoi: CBS News Review – Alonzo King Lines Ballet, Concerto for Two Violins, Men’s Quintet, Writing Ground, Miami: Jordan Levin, Miami Herald Reviews – Resolution! 2015, London: Chloe Aliyanni/Inter Pares, Project/Wind-Up: Lyndsey Winship & Claire Cohen, The Place Review – Stuttgart Ballet, Taming of the Shrew, Muscat: Sarah MacDonald, Times of Oman Review – Compagnie Marie Chouinard, Gymnopedies, Henri Michaux: Movements, Ottawa: Natasha Gauthier, Ottawa Citizen Review – Chitrasena Dance Company, Dancing for the Gods, Canberra: Michelle Potter, Sydney Morning Herald Review – Whim W’Him, Threefold, Seattle: Alice Kaderlan, Seattle Times Review – KanKouran West African Dance Company, Sounougal, Washington: Sarah Kaufman, Washington Post Preview – Tulsa Ballet, 2015/16 Season, Tulsa: James D Watts Jr, Tulsa World Preview – Diavolo, Cubicle, Des Moines: Michael Morain, Des Moines Register Feature - Christopher Mohnani, Executive Director Ballet Manila: Marge C Enriquez, Philippines Daily Inquirer Review – Illstyle and Peace, IMpossible IZZpossible, New York: Brian Seibert, NY Times

An article from the Islington Gazette

Hi DQF - I booked months ago!!! There is a gala dinner afterwards but I still don't think it will finish till after your last train. The last train back to Liverpool (if that is any good) is 2209 but I still think it would be cutting it very fine.

This clip is the grand pas from Paquita: BRB have done this in the past. My favourite recollection is Chi Cao. In the male solo in the clip starting at 1828, Chi did 8 double tours in alternating directions. It was spectacular and I will never forget it! The music is by Minkus.

An updated press release from Phoenix: Phoenix Dance Theatre - Spring 2015 Two premieres and a double bill by Christopher Bruce CBE on a national tour For its Spring 2015 season Phoenix Dance Theatre, under Artistic Director Sharon Watson, proudly presents a trademark mixed bill, featuring four works. The 10-venue tour kicks-off at West Yorkshire Playhouse, Leeds on 11 February and concludes at Northern Stage Newcastle on 28 May, with premières from Sharon Watson and Caroline Finn and a double bill by Christopher Bruce CBE. The double bill by Christopher Bruce CBE features Shadows, a brand new work created especially for Phoenix Dance Theatre and a restaging of Bruce’s energetic study of life in the 1940’s, Shift. This double bill was previously performed at the Linbury Studio Theatre, London in November 2014, the first time that Phoenix has performed any of this renowned choreographer’s work. The mixed bill also features two world premieres – TearFall by Sharon Watson for 8 dancers, with music byKristian Steffes and Bloom by New Adventures Choreographer Award winner Caroline Finn. Sharon Watson follows up her audience favourites Melt (2011) and Repetition of Change (2013) withTearFall, a piece that explores both the science and emotion of tears. Supported by the Wellcome Trust,TearFall was inspired by the exploration of the biochemical make up of tears, how their appearance and composition is affected by different emotional states and looks at the differences between how tears function and how they are perceived. For TearFall, Watson worked in partnership with Professor Sir John Holman from York University and dramaturg Lou Cope. Caroline Finn’s Bloom, for 7 dancers, examines how people create ‘facades’, behind which they can become the person they believe they should be. The title Bloom was inspired by the idea that a tree in blossom - a beautiful layer – only masks the true nature of the tree beneath. Finn’s work often presents darkly comic expressions of life and humanity using a playful, quirky and highly engaging choreographic style. UK TOUR SPRING 2015 Dates Venue Box Office 11 – 14 Feb West Yorkshire Playhouse, Leeds 0113 213 7700 24 Feb Watford Palace 01923 225671 3 Mar Curve Leicester 0116 242 3595 12 Mar Worthing Connaught Theatre 01903 206206 31 Mar Oldham Coliseum 0161 624 2829 22 Apr Buxton Opera House 0845 127 2190 7 May Liverpool Playhouse 0151 709 4776 13 May CAST Doncaster 01302 303 959 21 May The Churchill Theatre Bromley 0844 871 7620 28 May Northern Stage Newcastle 0191 230 5151 NOTES TO EDITORS: Sharon Watson – Phoenix Dance Theatre Artistic Director Sharon Watson was appointed as the 7th Artistic Director of Phoenix Dance Theatre in May 2009. Trained at the London School of Contemporary Dance, Sharon danced with Spiral and Extemporary Dance Theatre before joining Phoenix as a dancer from 1989 to 1997. During this time Sharon choreographed Never Still and Shaded Limits for Phoenix as well as creating new works for the Northern School of Contemporary Dance, National Youth Dance Company, Union Dance and a specially commissioned piece for the opening ceremony of the Royal Armouries in Leeds. She formed ABCD in 1998 and returned to Phoenix in 2000 as the company’s Rehearsal and Tour Director. In 2006 she embarked upon a fellowship with the Clore Leadership Programme and in 2008 she was one of 26 aspiring leaders from around the globe selected to attend Dance East’s fourth Rural Retreat. Sharon was named as one of the Cultural Leadership Programme’s Women to Watch, a list of 50 influential women working in arts and culture in the UK selected by a distinguished panel made up of figures from the cultural and creative industries. Since returning to the company in 2000 Sharon has choreographed Fast Lane for Phoenix’s Ignite tour, Melt for the company’s Reflected programme and re-worked Never Still into Never 2 Still. Repetition of Change, featured as part of the successful Particle Velocity programme In 2013 Sharon collaborated with BBC’s adaptation of Susanna Clarke’s novel Jonathan Strange and Mr Norrelland choreographed pieces to feature in the seven-part series due to be screened in 2015. In 2014 Sharon choreographed three major commissions - Ghost Peloton, an ambitious collaboration with Scottish Public Arts charity NVA, in partnership with Sustrans, for Yorkshire Festival 2014 Grand Départ of the Tour de France; Honour, a multimedia live performance by Quays Culture for the centenary of WW1; and a large scale performance for the RFL Challenge Cup Final at Wembley. Phoenix Dance Theatre From small beginnings in inner-city Leeds, Phoenix Dance Theatre has grown to be one of the UKs leading contemporary dance companies. For over three decades Phoenix Dance Theatre has performed, educated and inspired people across the globe. Phoenix has performed in the US, Western Europe, South America and the Caribbean and the company also collaborates with international artists on a regular basis. In recent years this has included choreographic commissions from artists based in US, Israel, Switzerland and France. Featuring two mixed bills, two special multi-media commissions, a small scale rural tour and international festival performances, in 2013/14 Phoenix performed a more varied programme of work than ever before. Over the course of the year Phoenix delivered 35 performances to more than 12,000 people at 24 venues across the UK including five sold out performances at the Linbury Studio Theatre at the Royal Opera House. Phoenix Dance Theatre employs 18 full time members of staff including 8 dancers, 58 freelance practitioners and 3 volunteers. The company commissions work from numerous artists each year, some of whom are Leeds based and some who stay in Leeds for the duration of their creative period. Sharon Watson was appointed as Artistic Director in 2009. A more detailed history of Phoenix is available at www.phoenixdancetheatre.co.uk

World class dance at Northern Ballet’s 45th anniversary Gala Northern Ballet is delighted to announce that an impressive line-up of dance artists and renowned choreographers will join the Company for its 45th anniversary Sapphire Gala at Leeds Grand Theatre on Saturday 14 March 2015. Artistic Director David Nixon OBE has brought together dance artists from across the globe to take part in what promises to be an unforgettable evening. The award-winning Company will be joined by guest artists from The Australian Ballet, The Royal Ballet, The Hamburg Ballet and Phoenix Dance Theatre. The Gala will also feature a new commission from Jonathan Watkins, recently announced as Choreographer of the Company’s next new ballet 1984. David Nixon will create a piece for Northern Ballet’s young male dancers and Kenneth Tindall and Daniel de Andrade will première two pas de deux. Northern Ballet dancers will also première Little Monsters by Stuttgart Ballet’s resident choreographer Demis Volpi. David Nixon said, ‘Our Sapphire Gala will be an evening not to be missed. This is a rare opportunity for dance enthusiasts from across the UK to see some of the most celebrated companies and performers from the world of dance come together in Leeds. I am incredibly proud to be Artistic Director of a Company which boasts such talented and passionate dancers, has a rich and distinctive heritage and has a remarkable ability to move audiences through captivating performances that are inspiring, emotional and intensely dramatic. The Gala will be a unique opportunity for our loyal audiences in Leeds and from across Yorkshire to show their support for the Company. I would like to thank all the companies and artists who are giving up their time to support Northern Ballet on what will be a very special occasion.’ Tickets for the Sapphire Gala are now on sale at the Leeds Grand Theatre Box Office on 0844 848 2700 or leedsgrandtheatre.com and are priced from £25-£75, including a complimentary commemorative programme. Northern Ballet will also host a special fundraising dinner in the prestigious Howard Assembly Rooms following the performance. The dinner will be a special opportunity to support one of the UK’s most loved ballet companies. The Sapphire Gala Fundraising Dinner package includes a pre-performance reception with champagne and canapés, premium dress circle tickets for the performance, an indulgent three course meal with wine, a luxury gift bag for each guest and the chance to participate in the Gala auction, with a host of exclusive items available. The dinner package for a table of 10 guests is available at £2,500. Individual tickets for the dinner are available although these are limited. To book a table or to find out more about the ways in which you could support the Gala please contact Abi Walton, Development Manager: Corporates and Individuals at abi.walton@northernballet.com. -ENDS- Notes to Editors northernballet.com Twitter @northernballet Facebook.com/northernballet Listing information Northern Ballet Sapphire Gala 7pm, Sat 14 March 2015 Leeds Grand Theatre Box Office 0844 848 2700 leedsgrandtheatre.com Tickets £25 - £75 Northern Ballet Northern Ballet was founded in Manchester in 1969. Laverne Mayer was founder and Artistic Director followed by Robert de Warren who was Artistic Director from 1976 – 1987. Christopher Gable CBE took artistic leadership from 1987 – 1998 and the Company moved to Leeds in 1996 when it was based in an old secondary school in West Park on the outskirts of Leeds. Stefano Giannetti was Artistic Director from 1999-2001 and current Artistic Director David Nixon OBE joined the Company in 2001. In 2010 Northern Ballet moved into new purpose-built headquarters on Quarry Hill in Leeds. The award-winning building is the largest purpose-built space for dance outside London. Voted Best Company at the 2014 Taglioni European Ballet Awards, Northern Ballet is one of the UK’s five large ballet companies. 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. The Company of 45 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. The Company tours widely with its ballets for children, the first two of which were adapted for TV by CBeebies, and also performs a mixed programme showcasing the versatility of its dancers.