Jan McNulty

Ade Edmondson for Comic Relief:

Katherine, thanks for the link to Lil Buck. I was trying to remember who he was. It's just fabulous! PS - I've amended the title to make it clearer. I also think there is a BNC version, I'll try and find it later.

Leigh Alderson:

David Makhateli:

Alexandro Virelles:

The swan is male in the version of Carnival of the Animals performed by Ramber (Siobhan Davies?). Last time I saw it danced it was the glorious Eryck Brahmania. Bruce Wall posted this link in the RDB thread a couple of days ago: http://vmd.tv2.dk/2014-10-24-se-nikolaj-hubbes-dans-i-dommerdysten-0

The genius of Jack Bruce and Robin Trower: http://www.notreble.com/buzz/2014/10/30/jack-bruce-robin-trower-lives-of-clay/

Elves and the Shoemaker is the third ballet in the series of Northern Ballet's "Short Ballets for Small People" initiative. This one has been choreographed by Ballet Master Daniel de Andrade and has a score commissioned from Philip Feeney which is full of charm and really enhances the production. The set, designed by Ali Allen, is the most elaborate of the three and is absolutely charming. The Shoemaker's workroom can be easily changed into the woods and the market place. The programme costs 50p and is well worth it as it contains the synopsis, some lovely photographs and some games. The piece lasts about 40 minutes. What I like about going to one of these ballets is seeing how quickly entranced the children become and there were some very young children in the audience on Tuesday afternoon. There is a very clear announcement before the start about how the Elves will be scared by talking and mobile phones and it really helps set the tone. We see the Shoemaker and his wife worried about hard times but not too hard up to help a very poor lady to whom they give their last food and pair of boots before they go to bed. The Elves appear and come into the workroom. We know the Elves are coming because coloured lights flash around the window. I could sense the excitement of the children all around me, especially when the Elves appeared. It was a very simple but effective device to have the flashing lights because every time they flashed you could just tell how excited the children were that the Elves were coming back. The story is simply told and quite easy to follow. The choreography for the Elves is bouncy and mischievous and there is a lovely duet for the Prince and Princess. I noticed that I was not the only child-free adult in the audience - I saw at least 4 or 5 other adults who came in on their own! Obviously the audience was predominately young children, whom I have to say were very well behaved. I think these ballets are a wonderful way to introduce children to live theatre, ballet and, indeed, theatre audience etiquette. It was a delightful afternoon! Elves and the Shoemaker is touring extensively in the Spring and I would recommend anyone with young children to give it a whirl. The tour dates can be found here.

Lilian Baylis Studio Part of Sadler's Wells series =dance Candoco Dance Company Close Encounters and Curious Encounters Lilian Baylis Studio, Sadler’s Wells Sunday 16 November 2014 (3pm) and Monday 17 November 2014(7pm) Tickets: £6 - £12 Ticket Office 0844 412 4300 or www.sadlerswells.com Minicom Number: 020 7863 8015 Sadler’s Wells welcomes Candoco Dance Company, the UK’s leading contemporary dance company of disabled and non-disabled dancers, to the Lilian Baylis Studio to present two unique events, Close Encounterson Sunday 16 and Curious Encounters on Monday 17 November 2014. Candoco works with acclaimed choreographers to create work that challenges perceptions of what dance is and who can dance. These shows are part of Sadler’s Wells’ =dance season and feature extracts of work by renowned choreographers Javier de Frutos and Thomas Hauert, and Sadler’s Wells New Wave Associate Artist Hetain Patel. The events will offer audiences the opportunity to learn more about the company through interactive extract performances, workshops and conversations. Curious Encounters, on Sunday 16 November, is an interactive matinee, tailored to young people, that offers an opportunity to get up close to Candoco’s work, learn more about themes that inspire the choreographers and how the work is made. The show will include extracts from Notturnino by Thomas Hauert and Two for C by Javier de Frutos. Notturnino, created earlier this year, takes inspiration from the documentary Tosca’s Kiss, a touching film that follows the lives of retired opera singers living in a nursing home in Milan. Two for C by Javier de Frutos explores the turmoil of a couple trapped in a longstanding relationship, characterised by struggle and power games. There is a post-show contemporary dance workshop that further explore themes from the matinee, led by Candoco dancers. Close Encounters, Monday 17 November, 7pm is an intimate opportunity to see an extract from Let’s Talk About Dis, Candoco’s new piece created by Sadler’s Wells’ New Wave Associate Artist Hetain Patel, and Two for C by Javier de Frutos. Audiences will discover more about the choreographers’ creative processes and experiences of working with Candoco, engaging in discussion with the choreographers themselves. Let’s Talk About Dis is humorous and intimate piece that builds on an exploration of the dancers’ personalities and distinctive physicalities. The work is a playful interrogation of identity that probes the audience to think beyond surface appearances. There will be a free pre-show open rehearsal for performance ticket holders to attend at6pm. Stine Nilsen, Artistic Co-Director at Candoco Dance Company, says: "Candoco is thrilled to be a part of Sadler's Wells' =dance season. For over twenty years Candoco has been committed to changing perceptions about dance and disability and through working inclusively we hope to inspire emerging dance artists and audiences. =dance is a wonderful platform which showcases work from some of the most innovative dance companies working in the UK. It's exciting to be able to share the background and creative inspiration behind our work and we hope that it will be an opportunity for young people and dance professionals to get to know more about our practice. " Jane Hackett, Artistic Programmer and Producer of Creative Learning at Sadler’s Wells, says “Some of the most interesting dance work being made today is created and performed by deaf and disabled artists. Sadler’s Wells aims to highlight the profile and impact that these artists have within the dance sector through the work commissioned and programmed as part of the =dance initiative. Besides the diversity of performances offered, the accompanying programme of workshops and discussions provide inspiration and knowledge to emerging performers and an opportunity for audiences and performers to interact.” Notes to Editors: The inaugural =dance series continues with further productions, workshops, debates and discussions until March 2015, with further details to be announced shortly. =dance listings information: Candoco Dance Company Curious Encounters Sunday 16 November 2014 Performance at 3pm Tickets: £6 Workshop on Sunday 16 November from 4.30pm – 6pm; Tickets £10 (including ticket for the performance); suitable for disabled and non-disabled dancers aged 13+ BSL Interpreted Candoco Dance Company Close Encounters Monday 17 November 2014 Performance at 7pm Tickets: £12 (£6 conc) Free pre-show dress rehearsal and discussion for ticket holders BSL Interpreted =dance Statement Pieces Thursday 11 December 2014 Performance at 7.45pm Tickets: £12 (£6 conc) Free BSL interpreted post-show discussion for ticket holders Magpie Dance Flying High Friday 16 January 2015 Performance at 7.15pm Tickets: £12 (£6 conc) Workshop on Friday 16 January from 3.45pm - 5.45pm; tickets £4 suitable for aspiring dancers with learning disabilities aged 18 - 30 Lilian Baylis Studio, Sadler’s Wells Ticket Office 0844 412 4300 or www.sadlerswells.com Minicom number: 020 7863 8015 About Sadler’s Wells Access Scheme Sadler’s Wells runs an Access for All Register for people with physical, sensory or cognitive disabilities. Patrons can apply to the scheme, which enables them to use our new online disabled booking service and free access to the theatre car park. They may also be entitled to concessionary tickets if they are in receipt of disability-related state benefits. The scheme entitles a reduction in the cost of their ticket and a companions ticket, limited to one per production and a reduced booking fee. For more information on the Access Scheme and to apply please visit the Sadler’s Wells website:http://www.sadlerswells.com/page/access-scheme 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 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 80 new dance works to the stage and its international award-winning commissions and collaborative productions regularly tour the world, including Sutra, zero degrees, and PUSH. Sadler’s Wells is an Arts Council National Portfolio Organisation and currently receives approximately 9% of its revenue from Arts Council England.

I drove to Halifax last Wednesday to see Phoenix Dance Theatre's latest tour. Because of roadworks the 66 mile journey took me 3 hours and I arrived at the theatre literally as the curtain was about to go up. Needless to say I was hot and bothered! The evening started with Didy Veldman's See Blue Through, which turned out to be very soothing to my troubled eyes! According to the programme note See Blue Through plunges the stage into a fascinating, mysterious undersea world and I think that the work very much succeeded in giving this impression. The lyrical, elegant choreography was beautifully brought to life by the seven dancers. The costumes were tops and shorts, with the tops having an extreme stretch that was incorporated into the choreography, being pulled up to cover a dancer's head or the sleeves extending out a couple of feet beyond the end of a dancer's arm. After the interval we saw Ivgi and Greben's document, a work for 5 dancers. The stage was dark and the dancers started as a group hardly moving at all before they gradually started moving both together and singly in agitated and repetitive moves. I very much felt that the dancers were institutionalised and trapped in world from which they did not know how to escape. I felt myself totally drawn into this dark, forbidding world. As a piece it was quite mesmerising to watch. To say I enjoyed it is probably not accurate but it was satisfying and meaty and compelling. For the final treat of the evening we saw Darshan Singh Bhuller's Mapping, inspired by his Father's journey from East to West. It was full of joyous choreography and there were obvious moves that were influenced by classical Indian dance. The piece started with a beautiful solo (or possibly a duet with a small, glowing blue ball) from Ben Mitchell. The glowing blue ball was obviously choreographed and we discovered later that it was controlled by an ipad! It enhanced the beauty of Ben's solo. There were some mirrors overhead that reflected the dancers at times and there were also sequences where cameras were used with the images of the dancers being displayed onto a screen. This was an inventive and ingenious piece full of light and warmth and I loved it! The post show Q&A was terrific too. I may have had a total nightmare getting to the performance but I am so glad I made the effort as it was a truly enjoyable evening. The journey home was fine too!

Hello Patt and welcome out of the lurking shadows!. Thanks for posting such a lovely, articulate comment on last night's performance. Please keep joining in!

Hello Ballet Babe and welcome to the Forum. I am sure you will get lots of support and advice from our members and I wish you and your dd luck in her quest.

We didn't carve pumpkins we carved big swedes. I thought pumpkins were an American import. We either did duck apple or had the apples tied on string and hung up and we had to try and eat them with our hands behind our backs. I liked duck apple best. My sister was 9 years younger than me and she and our neighbour's son used to dress up in fancy dress to do a little trick or treating around our road. My sister was very creative and used to come up with some fabulous costumes. She did the same for my nieces when they were youngsters. All the trick or treating was very low key and very local. Our local Tescos is full of tubs of treats and has an aisle full of dressing up costumes!

Goodness me, I just checked something I had written on the Readability Checker and got a score of 10, likened to the Financial Times!!! Back to school methinks!

Thanks Fiz, I've corrected the date.

I just noticed on Facebook that Moorland is auditioning for 2015: https://www.facebook.com/pages/Moorland-Private-School/642775852461319?sk=timeline http://moorlandballet.co.uk/elite-apply/

Thanks Jane! Can't wait to hear your next installment.

Stucha, I have now moved 2 posts which are a link to a review and a comment about the review onto the thread mentioned by John above: http://www.balletcoforum.com/index.php?/topic/8085-rdbs-sylphideetudes-programme/#entry107273 Could we all please use that thread to discuss the production in general. Thank you.

There's a good article about Tring in the October 2014 Dancing Times.

Hello Louise, I have merged your post into the extant thread. The advice given by everyone still stands and may be worth reviewing.

Hello Gemma and welcome to the Forum. I am aware that professional dancers do look at the Forum but most of our contributing members are parents or students. I could not get your link to the survey to work so you may wish to check the link - it was taking me to an error message in Facebook! Good luck with your masters degree.

Here's another thread discussing accommodation near Elmhurst: http://www.balletcoforum.com/index.php?/topic/4426-hotel-near-elmhurst/?hl=%2Bhotel+%2Belmhurst

We had a thread on this last year that may be useful: http://www.balletcoforum.com/index.php?/topic/5631-accommodation-near-elmhurst/?hl=%2Belmhurst+%2Baccommodation

It's amazing the information you can find on Doing Dance, it is a constant source of wonder to me!

We had a similar thing at the Lowry some years ago when the Mariinsky and Bolshoi visited. Initially the tickets were around half the London prices but with the Mariinsky there was only one principal so perhaps that was acceptable. For the following year with the Bolshoi again very few principals but London prices. I chose not to go! I feel a bit hypocritical really because I look at casting for the companies I follow and I love watching the youngsters getting a chance and often I have found the performances very rewarding. However Aileen, Drew and Anjuli have a valid point. If you are not familiar with a company or are only an occasional visitor to the ballet should you expect to see the "top" dancers. One company I follow some years ago had several principals reaching the end of their careers and the soloists were dancing most of the leading roles (and we saw wonderful performances) but on more than one occasion I heard audience members muttering because principal dancers weren't dancing. On one of those occasions I felt that I had to tell the people that they were about to see one of the very best dancers in the company performing the role and that they should be very grateful that they were able to see him!