Jan McNulty

https://www.brb.org.uk/shows/ashton-classics The Company’s world-class dancers will perform some of the highlights from favourite Ashton ballets and alongside these, the Sinfonia will play some of the great scores that inspired his creations. Details of the repertory will be announced here once confirmed.

Fantastic news! Huge congratulations to Beatrice on her well-deserved promotion.

From an email: Promotion announcement Following this evening's performance of The Sleeping Beauty at Theatre Royal Plymouth, Carlos Acosta announced on stage the promotion of First Soloist Beatrice Parma (pictured above with Carlos and the Sleeping Beauty cast) to Principal, effective from the beginning of next season. Beatrice joined the Company from the Turkish State Opera and Ballet in 2015. She had previously trained at Teatro alla Scala in Milan and at English National Ballet School. I'm sure you'll join us in congratulating Beatrice on this news and we hope that you will come to see her perform in the near future.

Female-led physical theatre King Lear premieres at Riverside Studios A non-verbal physical theatre interpretation of Shakespeare’s tragedy King Lear, by award-winning director Shu-wing Tang and performed by an all-female cast, will receive its UK premiere at Riverside Studios in Hammersmith from Thursday 2 – Sunday 12 May. King Lear wants to divide his worldly possessions between his three daughters, in exchange for their devotion. While Lear’s elder daughters flatter him, he disowns his youngest daughter, who will not lie or exaggerate her love for him. This production premiered in Hong Kong in 2021 and was performed in Shanghai in 2023. Director Shu-wing Tang won Director of the Year at the International Association of Theatre Critics, and Cecilia Yip won Performer of the Year for her portrayal of King Lear. The show was also Nominated for Best Sound Design (Anthony Yeung) in the Hong Kong Drama Awards. The performances at Riverside Studios mark the production’s UK premiere and the beginning of a tour, with dates in Craiova, Romania; Berlin, Germany; and a return to Hong Kong for the first edition of the International Shakespeare Festival in Hong Kong. Cecilia Yip returns to the role of King Lear for the run at Riverside Studios. A celebrated stage and screen actor in China, Yip has won two Best Actress awards at the Hong Kong Film Awards. She is joined in the production by Lindzay Chan, Amanda Leung, Cassandra Tang, Peggy Chow, Ting-Kwan Lau, Ki-yan Ko, Corina Druc and Costinela Ungureanu. Director Shu-wing Tang said: “If one wants to be free, be free from language first.” King Lear is presented by Tang Shu-wing Theatre Studio, in partnership with National Theatre Marin Sorescu Craiova, Romania and sponsored by Hong Kong Economic and Trade Office in London. Notes to editors: Previews: Thursday 2 May 7:30pm & 3 May 3pm Performances: 7 – 11 May 7:30pm and 11 & 12 May 3pm Studio 2, Riverside Studios W6 9BN Tickets: www.riversidestudios.co.uk or 0208 237 1010 Production credits: Director: Shu-wing Tang Set and Costume Designer: Hon-wai Yuen Music Composer: Billy Ng Sound Designer: Anthony Yeung Lighting Designer: Tsz-yan Yeung Cast: Cecilia Yip, Lindzay Chan, Amanda Leung, Cassandra Tang, Peggy Chow, Ting-Kwan Lau, Ki-yan Ko, Corina Druc, Costinela Ungureanu. King Lear is presented by Tang Shu-wing Theatre Studio, in partnership with National Theatre Marin Sorescu Craiova, Romania and sponsored by Hong Kong Economic and Trade Office in London. About Tang Shu-wing Theatre Studio “To enrich the public’s life through theatre” Founded in 2011 with a former name as No Man’s Land that was registered in 1997, Tang Shu-wing Theatre Studio is a centre for theatrical research and creation. We believe that art is a platform for feeling and expression. The internal transformation within ourselves created by theatre is the most mysterious experience. Our minimalist body aesthetics is not confined by any single theory because the most joyful part of being an artist is to realise when to insist and when to open up. We create our works with specific artistic propositions through exploration of related practice. Until now, we have created 16 productions including Titus Andronicus, Titus Andronicus 2.0, Detention, Thunderstorm, Why Aren’t You Steve Jobs?, Macbeth (later renamed as The Tragedy of Macbeth), Dead Man’s Cell Phone, Scenes from a Marriage, Larger Than Life, King Lear and Bhagavad Gita. As a team, we support each other and purposely develop the younger generation in order to continue our mission. Apart from creation, we are consciously concerned about the next generation as well as the community. In 2014, we initiated our Physical Theatre Youth Training Programme, which has established a brand of theatre training. As a recognition of its contribution and leading role in contemporary arts and culture, the Studio is named an Eminent Arts Group by the Hong Kong Arts Development Council in 2019. About Riverside Studios: For over 45 years, Riverside Studios has been the centre of an extraordinary mix of new and innovative theatre, film, comedy, art, dance, music and television. A cultural hub that has attracted some of the world’s best creative talent including Samuel Beckett, David Bowie, Benjamin Zephaniah, Amy Winehouse, Yoko Ono, Lenny Henry and Michael Clark. Now, in our glorious new building, we are beginning our next creative chapter, driven by a belief in the power of creativity to bring people together, unlock potential and spark positive change in the world. We are ambitious, curious and audacious, we are for our community, our artists and our audiences. We’re brand new, again.

Links - Friday 22 March, 2024 Reviews - Royal Ballet, Danses Concertantes, Different Drummer, Requiem, London: Louise Levene, FT Matthew Paluch, Broadway World Teresa Guerreiro, Culture Whisper Debra Craine, Times (share token) Nicola Rayner, Stage Marianka Swain, MSN via Telegraph (behind paywall) Reviews - Crystal Pite & Jonathan Young / Kidd Pivot, Assembly Hall, London: Lyndsey Winship, Guardian Bruce Marriott, Lifted Leg Charlotte Kasner, Seeing Dance Siobhan Murphy, Stage Mark Monahan, Telegraph (behind paywall) Review - New York City Ballet, mixed programme, Chicago: Kyle MacMillan, Chicago Sun Times Review - National Ballet of Canada, UtopiVerse, islands, Suite en Blanc, Toronto: Michael Crabb, Toronto Star Feature - William Yong, choreographer of UtopiVerse: Osobe Waberi, Now Toronto Review - Joffrey Ballet, Anna Karenina, Berkeley: David E Moreno, Culture Vulture Review - Company Wayne McGregor, UniVerse: A Dark Crystal Odyssey, London: Anna Pujol Castiblanque, Seeing Dance Review - Ballet Icons Gala 2024, London: Jim Pritchard, Seen and Heard International Review - 92NY 150th Anniversary Gala, New York: Cecilia Whalen, Fjord Review Review Feature - Justin Peck, Illinoise, New York: Caedra Scott-Flaherty, NY Observer Victor Gluck, Theater Scene Review - San Francisco Ballet, Mere Mortals, San Francisco: Jack Marquez, Splash Magazine Preview Feature - Yorke Dance Project, California Connections: Three Pioneering Women, London: Joy Sable, Jewish Chronicle Preview Feature - Grand Kyiv Ballet, Giselle, Wichita: Jedd Beaudoin, KMUW Feature - Leanne Benjamin, AD Queensland Ballet: Phil Brown, In Qld News - Pam Tanowitz, choreographer, to receive 2024 Jacob’s Pillow Dance Award: Staff, Berkshire Eagle Video Feature - Philadelphia Ballet helping to inspire young choreographers: Jennaphr Frederick, Fox 24 Feature - The Burkina Faso dance school opening doors for young talent: Élia Borrás, Guardian Feature - Sunny Choi brings break-dancing to the Olympics: Katja Vujić, MSN

Hello @CDMedici and welcome out of the lurking shadows!

Hello @DancingKitten and welcome to the Forum! Your post has been moved to the Doing Dance forum where you are more likely to get responses.

Yes it does.

Links - Thursday 21 March, 2024 Obituary - Steve Paxton, Experimental choreographer & dancer: Michael Quinn, Stage Review - Australian Ballet, Alice’s Adventures in Wonderland, Melbourne: Stephanie Glickman, Australian Stage Review - Company Wayne McGregor, UniVerse: A Dark Crystal Odyssey, London: Franco Milazzo, Broadway World Review - Joffrey Ballet, Anna Karenina, Berkeley: Lauren Harvey, Daily Californian Review - China Oriental Performing Arts Group & Meishan Song and Dance Theatre, Dongpo: Life in Poems, New York: Jerry Hochman, Critical Dance Review - Justin Peck, Illinoise, New York: Lora Strum, Broadway World Book Review - Deborah Jowitt, Errand into the Maze: The Life and Works of Martha Graham: Elizabeth Zimmer, Village Voice Film Review - Akeim Toussaint Buck, Displaced, Dunedin: Ellen Murray, NZ Theatreview Preview - La Scala Ballet, Giselle, Shanghai: Zhang Kun, China Daily Preview - Hong Kong Ballet, The Rule Breakers (triple bill), Hong Kong: Zabrina Lo, Tatler Asia Preview - Shechter ll, From England With Love, London: Teresa Guerreiro, Culture Whisper Preview - Ballet BC, Take Form (mixed programme), Vancouver: Kristi Alexandra, Straight Video Preview - Orlando Ballet's 'Director's Choice' highlights Celtic heritage: Staff, Spot on Florida Preview - Ballet Austin, POE / A Tale of Madness, Austin: Ryan Anderson, Hoodline Feature - William Yong: Meet the first Asian choreographer commissioned for the National Ballet of Canada's main stage: Mary Wiens & Muriel Draaisma, CBC Audio Feature - Emma Portner, choreographer: Tom Power, CBC Podcast - Phil Chan & Doug Fullerton: Gino Diminish, Indianna Daily Student News - San Francisco Ballet names Associate Artistic Director & Director of Artist Development: Stephi Wild, Broadway World News - Under Rubble Of War, Children Twirl In Tutus In Ukraine Bomb Shelter Ballet: Staff, Strat News Global

I believe RDB also has a mandatory retirement age.

Ponies were not used during the major outbreak of foot and mouth some years ago. I think BRB had 4 young men pulling the cart but I may have misremembered. It should also be borne in mind that perhaps some countries don't allow performing animals.

Links - Wednesday 20 March, 2024 Review - Paris Opera Ballet, La Fille Mal Gardée, Paris: Jonathan Gray, Bachtrack Review - San Francisco: Heather Desaulniers, Critical Dance San Francisco Ballet, British Icons San Francisco Ballet, A Midsummer Night’s Dream Joffrey Ballet, Anna Karenina Review - San Francisco Ballet, A Midsummer Night’s Dream, San Francisco: Esther Huang, Daily Californian Review - Australian Ballet, Alice’s Adventures in Wonderland, Melbourne: Alex First, J-Wire Reviews - Pacific Northwest Ballet, One Thousand Pieces, Seattle: Moira Macdonald, Seattle Times Rich Smith, The Stranger Review - Alvin Ailey American Dance Theater, mixed programme, Portland: Amy Leona Havin, Oregon Arts Watch Review - Norwegian National Ballet, The Wild Duck, Oslo: Maggie Foyer, Bachtrack Review - Ballet Icons Gala 2024, London: Vera Liber, British Theatre Guide Review - Company Wayne McGregor, UniVerse: A Dark Crystal Odyssey, London: Dean Wood, Everything Theatre Review - Doug Varone and Dancers, To My Arms/Restore, Purchase: Carla Escoda, Bachtrack Review/Feature - Tero Saarinen, Macbeth, Helsinki: Chris Wiegand, Guardian Preview Feature - Alvin Ailey American Dance Theater, mixed programme, Los Angeles: Victoria Looseleaf, San Francisco Classical Voice Previous Feature - Atlanta Ballet, Querencia (Masero), Atlanta: Robin Wharton, ArtsATL Preview - Spring dance, Portland: Grant Butler, The Oregonian Preview - Nevada Dance Company, Artistry in Motion, Carson City & Reno: Staff, Carson Now Preview - Chattanooga Ballet, Sleeping Beauty + new work, Chattanooga: Karlene Claridy, The Pulse Feature - So you think you can choreograph: Sophie Bress, Fjord Review Feature - Constance Devernay, Ballet Nights & ex-Scottish Ballet details lifelong struggle with asthma: Joanne Fowler, Yahoo Lifestyle Feature - Arlene Phillips, choreographer, at 80: Emine Saner, Guardian News - Rome Opera Ballet to perform in Dubai: Anupriya Mishra, Curly Tales News - Justin Peck/Sufjan Stevens Illinoise transferring to Broadway: David Gordon, Theater Mania News - Ballet Ireland accused of ‘dragging art into politics’: Staff, The Journal News - Liverpool: Dance in motion as new culture funding awarded: Staff, Liverpool Express

Gosh Fiona, I’ve watched this video loads of times and never even noticed the trousers!!! IIRC BRB published quite a few rehearsal clips to keep us going during the dark days of the first lockdown.

Hello @DanceDad17 and welcome to the Forum!

PRESS RELEASE DATE: 19/03/24 Young dancers to Step Around Town this Spring Step Around Town is an annual dance event for young people around London & Essex to experience the joy of dance Photo credit: Marble and Sky. Young people from across the London boroughs will participate in Step Around Town, a Step into Dance event created by Royal Academy of Dance (RAD) in partnership with Jack Petchey Foundation, which is celebrating its 25th anniversary From 16 April – 9 May, Step Around Town 2024 will be a series of uplifting and energetic evenings of dance suitable for everyone Events are based in London boroughs: Wandsworth, Barnet, Croydon, Newham, Southwark and Bexley Step Around Town is one of a number of events organised by Step into Dance, a programme enabling young people from across London and Essex to discover their potential through the inspiration and discipline of dance. From 16 April – 9 May 2024, young people from across six London boroughs will participate in Step Around Town. Step Around Town is a series of energetic and uplifting performances for young people from London and Essex to come together and experience the joy of dance, created by Royal Academy of Dance (RAD) in partnership with Jack Petchey Foundation. Performances will be taking place at schools and colleges in Wandsworth, Barnet, Croydon, Newham, Southwark and Bexley. The Step Around Town performances – happening from 16 April until 9 May – are a chance to see the array of work from schools and youth organisations on the Step into Dance programme, as well as appearances by Step into Dance’s youth company, SYNC. The shows offer the chance for young people on the Step into Dance programme to come together with their peers and showcase the different dance styles they’ve learnt in front of friends, families and their local community. For the first time the programme will include relaxed performances for SEND groups at the RAD’s HQ in Wandsworth. Inclusivity is at the heart of all Step into Dance events and these sharings have been specifically curated to cater to students with additional needs. Step Around Town is one of the many events created by the Royal Academy of Dance’s Step into Dance programme, which is one of the UK’s largest inclusive secondary school programmes run in partnership with the Jack Petchey Foundation. Other Step into Dance events include Step into Dance’s Battle and Step Live, which provide further opportunities for young people to come together and dance. Speaking of the programme Tim Arthur Chief Executive of the RAD says: “Step Around Town is a brilliant series of events where young dancers from our Step into Dance programme share the wonders of dance. These events are highly anticipated by friends, families and the local communities, and really showcase the positive impact dance has on young people’s social skills and confidence.” Gemma Juma, Chief Executive Officer of the Jack Petchey Foundation, said: “The Step Around Town events are an opportunity for the local community to come together and celebrate young dancers. The talent and creativity on show is always exceptional, and their enthusiasm brings with it a joyful atmosphere. It’s a great showcase of what these young people can achieve with hard work and dedication.” Step into Dance, a Royal Academy of Dance programme in partnership with the Jack Petchey Foundation, enables young people to develop their passion, skills and understanding of dance. Working with mainstream and SEND schools across London and Essex, Step into Dance reaches around 3,000 students annually through a diverse and inclusive programme of weekly classes, workshops and performance opportunities, aiming to reach those that might not otherwise connect with dance. TICKETS Performances take place across London boroughs from 16 April – 9 May. Tickets are free although donations will be accepted on the door: https://www.royalacademyofdance.org/dance-with-us/step-into-dance/events/step-around-town-2024/ To learn more about Step into Dance programme visit: https://www.youtube.com/watch?v=4t_lH8mVC74 If you’d like to be part of the Step into Dance programme visit: https://www.royalacademyofdance.org/dance-with-us/step-into-dance/schools/ Notes to Editors Step into Dance Delivered by professional dance practitioners and artists, Step into Dance supports the general wellbeing and healthy development of young people, and enables them to develop knowledge, techniques, and experiences in dance, as well as acquiring personal skills that transfer to being successful in whatever their future lives may hold. The main objective of the Step into Dance programme continues to be to reach as many young people as possible in the London and Essex regions through regular dance sessions in schools, creating opportunities for youth to connect to dance, and reaching young people that might not otherwise have this possibility. Step into Dance is a Royal Academy of Dance programme in partnership with the Jack Petchey Foundation www.royalacademyofdance.org/step-into-dance Royal Academy of Dance Royal Academy of Dance (RAD) is one of the most influential dance education and training organisations in the world with a strong global membership in 85 countries. Established in 1920 to improve standards and re-invigorate dance training, the Academy helps and encourages its teachers to perfect their teaching skills and pass on this knowledge to their students. There are currently over 1,000 students in full-time or part-time teacher training programmes with the Academy and each year the examination syllabus is taught to thousands of young people worldwide, with around a quarter of a million pupils per year going on to take RAD exams. www.royalacademyofdance.org Jack Petchey Foundation Established in 1999, The Jack Petchey Foundation gives grants to programmes and projects that benefit young people aged 11-25, focusing on London and Essex. The Foundation exists to raise the aspirations of young people, to help them take advantage of opportunities and play a full part in society. Since it has been established, the Foundation has awarded grants totalling over £170 million. In 2024 the Foundation is celebrating its 25th anniversary with a series of events. www.jackpetcheyfoundation.org.uk

Someone was recently asking in Doing Dance for used pointe shoes to decorate. Some companies have, in the past, offered used pointe shoes of principal dancers (signed) for sale, for prizes or gifts for donors. (Not pointe shoes but friends arranged for me to get a signed pair of Chi Cao's shoes for a significant birthday). Coincidentally there is a feature in Links today about what Pacific North West Ballet does with used pointe shoes.

A happy memory has just popped up on Facebook. I hope you can see it. https://www.facebook.com/bhamroyalballet/videos/793862724356050/

It really wouldn't bother me if I never saw another fouetté. I don't count them and I prefer (if they are done) to see singles rather than doubles.

I'm sorry but I think that is somewhat harsh. Anyone can have a bad day at the office. Fouettés do nothing for me during a full length performance and if a dancer substitutes a different step for whatever reason it absolutely doesn't bother me. As a Friend of various companies over the years I have seen dancers in class perform immaculate fouettés that subsequently they have struggled with during performance. I would rather a different step or a neat ending.

Fouettes do not a whole performance make! OK in a gala it may be unfortunate if something goes wrong with a party piece but in something like Swan Lake or Don Q does substituting a different step or coming out early but gracefully does it matter?

Links - Monday 18 March, 2024 Review - London: Sarah Crompton, Observer Company Wayne McGregor, Autobiography (v95 and v96) New York City Ballet, quad bill Review - San Francisco Ballet, A Midsummer Night’s Dream, San Francisco: Charles Lewis lll, 48 Hills Reviews - Company Wayne McGregor, London: UniVerse: A Dark Crystal Odyssey: Vera Liber, British Theatre Guide Autobiography (v95): Graham Watts, Bachtrack Autobiography: Nicola Claire, Seeing Dance Review - Australian Ballet, Alice’s Adventures in Wonderland, Melbourne: Savannah Indigo, Arts Hub Review - Sao Paolo Dance Company, triple bill, Wolverhampton: Alison Brinkworth, Birmingham Live Review - 92NY 150 years celebration, New York: Caedra Scott-Flaherty, NY Observer Review - Belle - A Performance of Air, Wellington: Jennifer Shannon, ... on dancing Review - The Farm, Stunt Double, Canberra: Michelle Potter, ... on dancing Review - Deos Contemporary Ballet, Ember 24, Grand Rapids: Marin Heinritz, Revue WM Preview - Top 10 dance picks for Spring, San Diego: Marcia Luttrell, San Diego Union Tribune Roundup - Best in Queensland dance in 2023: Denise Richardson, Dance Australia Q&A - National Ballet of Canada star Guillaume Côté finds new freedom in X (Dix): Janet Smith, Stir Feature - Reka Gyulai is enjoying her transformation into choreographer: Marcia Luttrell, San Diego Union Tribune Feature - The St Pat’s Dancers of Newfoundland: Ryan Bradshaw, Dance Current Feature - NJK Co’s Kaguwa in Tokyo: Donican Lam, Japan Times

I saw this production in my first year as a ballet-watcher in 1984 at the Liverpool Empire when the company was still Sadler's Wells Royal Ballet. I've seen it many times over the intervening years. One of the most memorable Auroras for me was Sandra Madgwick. I saw a performance at the Royal Opera House where her rose adagio was so glorious I cried. Not only was she the princess but her technique was so impeccable and she was holding her balances for so long that the orchestra had to slow down! Since then over the years BRB had some Auroras who were, perhaps, not quite ready for the role. You could tell how confident the company were that the dancer would get through the rose adagio by the number of principal men dancing as a prince in that scene. Then along came Nao Sakuma and Ambra Vallo and the Auroras were right up there again. This year, I have been able to catch seven performances (including 3 in Sunderland this past week). I can say that they have been some of the best I have seen Birmingham Royal Ballet perform - not only the glorious Auroras, Princes, Carabosses but the whole company. So onto Sunderland and Thursday evening. Yu Kurihara continues to impress as the Princess. In act 1 you can she is thrilled to be at her first "grown up" party. She's initially overwhelmed when her father tells her she is to marry but then you see her visibly blossom and flirt with the princes. Of course, Lachlan Monahan is her perfect prince and their duets in the vision scene and the gpdd sent shivers running down my spine. Gabriel Anderson was very scary as Carabosse! What a treat on Friday afternoon! The sublime Celine Gittens gave us a divine performance as Aurora - every tiny little gesture had meaning. Her prince was soloist Yasiel Hodelín Bello. He is a very fine dancer with a gorgeous leap and silent landings and he acted the love-lorn prince very well even if he ran out of a bit of puff towards the end of the gpdd. Daria Stanciulescu gloried in her evilness as Carabosse. Of the Lilac Fairies I have seen during this run Tori Forsyth-Hecken had the most authority on stage and she was a great match with Daria. So on Friday evening we were treated to the truly awesome Momoko Hirata who was absolutely transcendent in her performance. What a privilege it was to be in the audience. At this performance her prince was Tzu-Chao Chou who was brilliant. Regan Hutsell was ferociously scary as Carabosse and while Yu was a beautiful Lilac I felt that Carabosse had the best of her on the night (if you see what I mean). Of course the rest of the company was on superb form and they all contributed to making the performances so very enjoyable. Dancers I particularly enjoyed watching in various roles were Reina Fuchigami, Rosanna Ely, Olivia Chang Clarke, Gus Payne, Ryan Felix and Jack Easton but I feel almost unfair in selecting them above anyone else. Sadly I had to miss the final performance of the week but what a wonderful three performances I had seen. BRB are most certainly on fabulous form!

It’s been touring all over the world…

Link to Mathias Dingman's Instagram post: https://www.instagram.com/p/C4baCOKodXp/

Hello @Apo and welcome to the Forum!