Anna C

We did dd’s photos ourselves with her ballet teacher, in the dance studio after a private lesson, and these were always good enough for summer schools, even photo-only selection ones like Rambert. However, for Upper Schools applications, dd had a shared photoshoot with her best ballet friend, done by Amber Hunt/Photography by ASH. As well as the application photos, Amber offered us “tutu photos” at the end, and they were stunning. As she no longer trains/dances full time, the tutu photos on my wall are a really lovely keepsake of dd’s dancing days. The application photos themselves were excellent and saved us a LOT of time and stress trying to get lighting, poses, angle and everything else right. Don’t forget that even for auditions, the photos are a screening process and also an aide-memoire for the panel, so for full-time training and company applications, it’s well worth investing in good ones.

Welcome to the forum, Swan. ☺️

I watched a (wonderful) John Williams concert on tv recently, it was at the Berlin Philharmonie. The entire audience gave a standing ovation after every piece, which struck me as very respectful (but annoying if you find getting up and down difficult).

Photography by ASH (ENB’s Amber Hunt) are brilliant: https://www.photographybyash.co.uk/index

Apply to both, definitely. As cotes du rhone says, the challenge for UK trained girls who get into RBS Upper school is being kept for the full three years - IF they can stay the course and graduate, they have the best chance of getting a paid contract in a good ballet company. However, the chances of getting a place and not being assessed out are slim for UK trained girls. Have a look Elmhurst’s graduate employment statistics and weigh them up against the vital “Plan B” backup given by having A Levels. Also speak to other parents via PM about pastoral care at both schools, because going away to train full time at 16/17 can be especially hard for those who have trained at home.

If their Romeo and Juliet was anything like their absolutely breathtaking “Manon” back in 2014 (?) then I’m all for this suggestion.

If she’s going for MT and/or “dance” courses, there’s not the urgency to go at 16 or 17 like there is for ballet - if she needs another year or two before auditioning for degree/diploma courses then, as others have said, a Foundation year or even A Levels while doing more singing/acting training might be a good alternative - especially as there are currently two years’ worth of MT graduates all going for a very few jobs.

Hi Kendie76, Sorry to hear of your disappointment. 😔 It’s always hard to help our children through the feeling of rejection when they get a “no”, especially when they’re applying for 16+ training. All I can say is that it’s not personal; often there are simply too many talented candidates for too few places - especially in the Arts, but also in elite sports, the top universities, and even in some careers. In dance, particularly in ballet, of course, it’s not even down to pure talent, but also physical “facility” - some aspects of which are beyond our control. I think reminding your dc of that, as well as reminding them of the genuinely tiny chance of “making it” in the performing arts, can help them take it less personally. Does your dc have a Plan B, e.g. applying for higher education as well?

I think I’d be tempted to call them “Non-Syllabus ballet - Junior/Senior” and add that description, to be honest! ☺️

Are they non-syllabus technique classes then? Out of interest, here’s the class descriptor for the RAD Virtuosity Classes: “https://www.royalacademyofdance.org/dance-with-us/our-dance-school-in-london/childrens-dance-classes/virtuosity/” They are for “children”; the “adult” non-syllabus ballet classes are called just that. 🙂

The Sugarplum Prince (and Princess, come to that) haven’t always been blonde, just “frosted” (which I prefer). In my 2000 Royal Ballet DVD, Yoshida and Cope (both dark haired) have their own hair which is just glittered - as Marcelino’s seems to be in the photos. It looks much better, in my humble opinion.

I’d happily watch Onegin several times a year, every year (if only), and would love to see Bonelli (again) and Ball in the title role. I’d also love to see, in no particular order: Serenade Afternoon of a Faun Francesca Hayward’s Manon Matthew Ball in Mayerling Fille Cinderella Naghdi in Sleeping Beauty and I know it’s not a popular choice, but it’s one of my favourites - Marguerite & Armand, preferably with Cuthbertson and Ball.

Do you have an iphone, Lin? With an Apple TV box, I can “mirror” my iphone onto my TV. If not, you can watch ROH streams on a PC or laptop if you have one. It really was a lovely cast - I forgot to mention Gary Avis and Christina Arestis who, as always, brought such life and three dimensional character to the Duke and Bathilde.

Thanks Kate, that’s interesting. Going off-topic very slightly, has YAGP changed its rules around performing en pointe? I see from the rules/regs that they now “strongly discourage” 11 year olds from performing en pointe, and age 10 and under are strictly prohibited from performing en pointe. I’m sure in the past there have been quite little girls en pointe, but I may be mis-remembering (or the girls may have been small for their age). If they can prohibit 10 and under, I’m surprised they only “strongly discourage” 11 year olds performing en pointe, because to get to the standard of performing a competition variation en pointe at 11, suggests that the entrant started pointe at least a year before, probably two. 🧐

I watched the stream again yesterday and loved it even more. Naghdi is such an exceptionally beautiful dancer; her lines are never less than exquisite and her arms and hands are so perfectly expressive. Although I find her Juliet almost too classical, for me she can rarely be bettered in the romantic ballets (her Aurora in particular is spectacular) where the role demands pure classical technique. Her partnership with Ball is always special and one that I almost always try to see live, and they didn’t let me down in Giselle. Ball was only mildly cad-like (cad-ish??) to start off with but I felt that he really did adore Giselle and would be quite happy to play dress-up indefinitely. I’d describe Naghdi as “broken” rather than “mad”; she plays the scene differently to Osipova and I think that’s a good call. Osipova is so convincing as a Peasant girl with a hint of instability, if that’s the right word? She seems to feel every emotion to the nth degree, so the thought that something in her has “snapped” is very believable. Naghdi’s Giselle is much gentler, more shy and naive, fragile, and believable as the possible daughter of nobility, so to go all out into wild-haired madness wouldn’t necessarily suit her. The way she drooped like a dying flower, heartbreak in her every gesture, seemed a natural continuation of her character. It therefore linked nicely with Act 2; she was still gentle and loving but death had taken the fragility and replaced it with the power of love so strong it continued from beyond the grave. I thought Ball was terrific; so convincing in his exhaustion in Act 2, his acting really stood up to the close camera work, beautiful technique and an obvious love for dancing with Naghdi. I particularly liked his interactions with Wilfred (Harry Churches?); frustration, then remorse at snapping at his Squire and friend. A wonderful Albrecht all round. It was a joy to see Nuñez as Myrtha again - absolute perfection; you could see where she had taken on board Monica Mason’s rehearsal notes on board (“panther feet”) and was living every moment as a powerful, vengeful Queen, shocked and shaken when the bells chimed the coming of dawn. I agree re. Acri’s Hilarion - what a fantastic portrayal. I too wish we could keep the recording of this cast; I’d happily pay a bit more to keep it, but as there are already several different DVD recordings of Giselle (I own 3 myself), I suppose the ROH would say there’s not the demand for another. 🙁

I’d say 9 is way too young. Dd was just turning 12 when Central Preps started her class en pointe; they had been doing rises/strengthening exercises and working in soft blocks/demi-pointe shoes for quite a while before that. There may be the odd 9 year old who has started her periods and has the necessary strength and ossification of the small bones in her feet but I’d say that’s the exception, and no reason to put a whole class en pointe before 11. Apart from anything else, what’s the hurry? If your friend doesn’t think she’s being “stretched” enough at her current school, then I’d be looking for different things than a school calling itself “elite” while having a blanket policy of putting 9 year-olds en pointe.

I agree - dd and I said she’d be really interesting and entertaining in the main show. I loved Mel’s street dance too, so funny - glad a “proper” dance won the show though.

Lovely words from Sim, and I’d like to add my own thanks to the knowledgeable, kind and supportive posters who make “Doing Dance” the thriving and helpful sub-Forum it is. To all those who celebrate it, I wish you a very Merry Christmas. 🌟

Welcome back, Viv, and thank you for the lovely, heartfelt update. My sincere condolences on the loss of your Mum. ♥️

Yes, exactly this. Children who are aiming to take their ballet as far as they can - whether that is 16 or 18+ full-time training, aiming for a career in performing, aiming to train as a Teacher, or “just” for UCAS points, as very serious hobby before university, whatever - have plenty of opportunities for non-syllabus ballet and performance opportunities by doing good, selective Associate classes, workshops, masterclasses, Youth Ballet, summer schools and so on. Taking exams, whether they be grades or vocational grades, is worthwhile, satisfying, the norm in lots of extra-curricular activities (you wouldn’t ask a piano student “Why? What do you hope to achieve?” when they entered for an exam) and for parents who are new to the world of recreational dance, a great starting point when looking for a local dance school for their little one (I found dd’s RAD school by going on the RAD website). Even the different Syllabi between awarding bodies have their merits; my daughter moved from an ISTD school to an RAD school at 7 because she had tried RAD Character Dance at a “Dance Day” and loved it. Yes, if you’re aiming to be a professional ballet dancer in an established company then of course you need more than “just” local syllabus training; nobody’s saying that - but how many 3 year-olds starting dance, teenage recreational dancers, or adult beginners make it into the profession? Come to that, how many want to? Does that mean they shouldn’t enjoy the achievement of studying for and passing an exam or presentation class? Those “RAD Teachers/Imperial Teachers” give a lot of people a good, solid grounding and a benchmark for going onto other things like teaching, Associates, full-time training and performing, but they also give a lot of children, teenagers and adults a lovely hobby, personal satisfaction, and a nice certificate and medal for their wall. Absolutely nothing wrong with that.

May I just draw everyone’s attention to this part of our Acceptable Use Policy that refers to discussion of schools: “1. Posts about schools or courses should report personal experiences only (posted by the student, members of a student’s family, or the student’s teacher with permission). ” Many thanks, Anna C on behalf of Balletcoforum Moderators

Hi Arielle and welcome. ☺️ If you are referring to RAD exams, it’s absolutely possible to do grades 6-8 alongside vocational exams - as Pups_mum says, the grades are less technical and much more dancey than Intermediate and above, so are a nice change if you study both at the same time. You might well be able to do grades 7 and 8 before starting college; my daughter did a grade each year (obviously the vocational exams take longer).

No different to 99% of Couple’s Choice dances though, to be fair - and although I thought Rose’s show dance was beautiful (and played to her strengths, which is the point of the show dance), it was what Rose said afterwards about starting out as a seed that really moved me. I don’t think Rose needed to “tug at the heartstrings” to clinch the win; for me she has been the best dancer and performer overall throughout the whole series, simple as that. Given the number of complaints that the BBC and OFCOM received after Johaness & Graziano’s same sex dance, then about Nicola and Katya dancing together, the fact that two gay men dancing together got to the final in the first year is groundbreaking and pleasantly surprising. I think John accepted that as a major win. If we have another same sex couple in future who are as talented and entertaining as John and Johannes, I really think they will win. Rose winning does start to even up the gap between men and women winners, which is good - it’s now 11 men, 8 women since the show began. Whether or not we wanted John or Rose (or both) to win, I think we can all agree how much this series has done for diversity and representation for everyone, the disabled or deaf community included. What an inspiration John and Rose have been. 👏🏻👏🏻👏🏻

Such a close call, wasn’t it, and I too wished it could be a dead heat with two glitterball winners. John and Johannes danced their socks off last night, and how wonderful to see John grow in confidence so much that he could really let himself go and perform. I can’t help thinking that in any other year, John and Johannes would have walked it. However, for me, Rose has been the better dancer all series, both technically and in terms of expression and musicality. I think Jason Gilkison was spot on when he said Rose was probably the most “musical” dancer he’d seen (or words to that effect), which is high praise indeed but even more extraordinary when you remember that Rose is deaf. Kudos to Giovanni too, as he’s had to change and adapt his teaching style completely, within the same timeframe that the other couples have had, and working with Rose seems to have really brought out the best in him. What a very special partnership theirs has been, certainly one of the most moving and joyous ones I can remember. So sad for AJ, the final would have been even more exciting with her dancing, but I think the end result would have been the same.

Pleasure, Belle, and a belated welcome to the forum. ☺️