Klaris

My impression from the school is that age is less relevant there than in other places. And I know that graduates who have begun their training there at 18 or older do go on to get contracts with ballet companies, so it doesn't seem to matter. I also think that they want to encourage all students to be as open as possible to their career options, and don't want students to start their training with a fixed idea of where they will end up. However, of course the reality is that some students will know ballet isn't ultimately for them, or the other way round. The ethos seems to be to encourage as much versatility in every dancer as possible. Some of the men in particular are older (early 20s) because they came into dance very late.

All the students have to study classical ballet and contemporary dance equally, to "post professional" levels (whatever that means!) So everyone has to do both genres to the same exacting standards throughout the 3 years; they're not allowed to choose one over the other. I guess the ages matter less if some students are not intending to pursue classical ballet career options at the end of their training.

My dd is in the first year at Rambert and our understanding is that they spead the auditions out over a period of time as they get so many applicants. They do a first sift at the application stage and only audition those they feel would fit their criteria, but still audition a lot of candidates. They began their audition process last week of Feb and have morning and afternoon sessions on Mondays and Tuesdays, for two weeks. Then they have a break of a couple of weeks and begin the process again. There will be about 20-25 plus in each group of auditionees. Men and ladies are auditioned separately. My dd thinks the auditions go on until May. They also go abroad to do auditions and of course there are DVD auditions too. For the auditions at school, they let you know 2 weeks after you've auditioned. So, they must reserve a set number of places per audition group or day. Of course they might not choose to fill all those spaces at the time. As far as the waiting list goes, well they said to dd's friend who was on it last year that places sometimes come up even as late as August. I'm sure they try to get numbers sorted as soon as all the auditions are done but there will always be a bit of movement with these things. The number they take varies from year to year, but the head says they try to keep to about 100 students in total, so obviously the numbers they can take depends on how many there will be in the 2nd and 3rd years - but I'm sure that if they want a particular student then they will take them even if they are 'full.' In my dd's year there are a lot of overseas students, from all over the world. The ages in her year also varies from 16-23. It is a brilliant school, they treat each dancer as an individual and encourage their artistry, independence and creativity from day 1. They are also incredibly supportive and nurturing to their students.

Thinking of your dd and really hoping her recovery is swift x

Yes, loved this film. Seen it twice and blubbed both times. Wonderful!

Hi Poppy, She's at Rambert now and loves it. One of her friends (male) is at Ballet West and is having a great time there. Good luck with the rest of your auditions!

It's all stressful, whatever way the results come in... when my dd auditioned last year we received the results in four different ways: one in person (Ballet West); one by letters addressed to dd (Central); one on UCAS-style website which only dd could log onto (Royal Conservatoire of Scotland); and one by email addressed to dd (Rambert.) The email result was undoubtedly the worst...it came in at 7pm one evening on her phone when we were in the car. She said opening the email was SO scary!! Good luck to everyone auditioning - and thinking of you all xx

Hi Sleep123, My dds feet are very similar - and she has had no end of problems over the years trying to find pointe shoes to fit properly. Grishkos 2007 were good for a time because they fitted up narrow and the wings made the shoe fit snugly in the right place, however very hard to break in properly for her. She then went onto Suffolks as they have lots of different size options, but unfortunately caused problems with bad blisters. She's now got Gaynors, and finds them fantastic - she's dancing on pointe every day as in full time training so they are doing the job, they also make her feet look nice which is a bonus! There are various width options but not all stockists will carry the narrower widths. We got her fitted at Dancia in London. They were very very good. The manager fitted her and really knew her stuff having danced professionally herself for a number of years. I don't know where you live, but if having to make a trip to London then it might be a good idea to phone the various shops beforehand to explain your dd's situation, and to check what they've got in stock in her size. I've done this before and found it useful.

Jazzpaws is absolutely right. My dd trained for 5 years at the same CAT and keeping on top of what's happening with your child's training there is vital. It's especially important considering the age of your dd and the fact this was her first term. Sometimes comments in the ITPs can seem a little out of context. I know the teachers always used to go through their ITP comments with the students - so they could understand exactly what's meant and how they can work on any improvements. But perhaps this doesn't happen in Level 1? Parents also had the opportunity to discuss ITPs with Lucy (or other staff members) - have you been offered this option? If not, ask for this, so you can understand exactly what the teachers mean

I never thought I'd miss the mountains of washing...but now the laundry basket is empty again

So glad to see Assis Carreiro honoured - she's an inspiration and was a wonderful role model for my daughter and many others who came into contact with her at DanceEast.

How about getting him a copy of Sam Stern's " Student Cookbook"? Although this is not for dancers, it is full of nutritious, hearty and economical recipes. The book's great fun with lots of pictures and the recipes are written in an engaging way, are simple to follow and encourage students to see cooking as sociable and aspirational. It's packed full of tips and endless variations. I love it!

Seeing it in Norwich next Saturday, can't wait!

This is part of the problem, when many of our DCs are having to apply for multiple schools. We 'only' did 5 and that was horrendous enough. Our kids have so much on their plate in Y11, so research and organisation is absolutely key. And if they need to prepare a solo, and really do want a place at that school, the time and energy for creating, preparing and rehearsing that solo has to be factored in...even if there's the possibility that you might not get to dance it BUT - my dd had nowhere to make her solo or practise it as she was home schooled and we couldn't find anywhere that was suitable and free locally; she only managed to snatch 3 or 4 lunchtime periods in one of her CAT studios - and therefore felt that the piece really was not as polished as she would have liked. What I'm trying to say is that they won't expect perfection if it is self-choreographed - so it's important our DCs don't get stressed out further by any solos they may have to do.

Ballet versus contemporary solo - I honestly don't think it matters - more girls did ballet solos than contemporary when my dd auditioned. Probably a good idea to do your own choreography though if possible, as Rambert are very keen on this and it is a big part of the curriculum.

Our experience from last year's audition (dd now current 1st year.) Not everyone who applies (despite paying the fee) will get an audition - they sift for suitability at the application stage. Out of each audition (male and females audition separately) there are about 5 or 6 who are asked to do a solo; out of this group some or all will then be asked to have an interview and physio examination. Not all who get through to this stage will be offered a place, though it is a very good indication that they like you and are seriously considering an offer or reserve place. At the audition they say that just because you haven't got to this stage, it doesn't mean you won't be offered a place - but I would think that can only be in certain exceptional circumstances (possibly they already know and want you?) The audition is held on one day only (morning or afternoon.) Therefore the 'final' audition consists of those who get through to perform their solo and then go onto the interview/physio stage. Places are offered in stages - usually a fortnight after each set of auditions take place. Not sure about doing an early audition, as plenty of the first years auditioned later and still got places - I think if they want you they want you. Rambert audition overseas - there are lots of overseas students in the current first year. There seems quite a variety of backgrounds from which the students come: the ones I know of are White Lodge, Northern Ballet CAT, the contemporary CAT schemes, Ballet West, Tring, Birds, and overseas students from all sorts of different training. Some are 16, others are 18, and the age goes up to around 22/23.

We saw Rambert at the Theatre Royal in Norwich last night (18th.) Our programme consisted of Itzik Galili's 'Sub', Dutiful Ducks by Richard Alston, Sounddance by Merce Cunningham and Barak Marshall's The Castaways. For me, this was one of the best Rambert programmes I've seen recently as it was so varied and really showed off the versatility of the dancers as well as the broad appeal of the Rambert style and history. Sub was a powerful and dramatic opening piece with much energy and control from the all male cast. Though all the dancers were superb, Miguel Altunaga really stood out for me here. I was a bit nervous about Dutiful Ducks as for me some of Alston's choreography can feel a bit removed, but this piece was playful and fun - performed to a loop of repeated words - and danced with virtuosity by Adam Blyde. I loved Sounddance - of course this piece belongs to a very particular era (premiered in 1975 in Detroit by Merce Cunningham Dance Company) but it did not feel out of time or place on this bill. Once you get your eye in, the movement is addictive and its apparent simplicity grows into something complex, uplifting and intriguing as more dancers join the stage. Dane Hurst commanded my attention throughout - he is such an 'alive' dancer, constantly in the moment which brings a feeling of past, present and future to all his movement. The electronic soundtrack is wonderful: to an audience in 2013 it is both 'futuristic' and outdated, something unknowable yet deeply familiar. Unfortunately I have to disagree with Janet about The Castaways, as I loved it. I just felt it was such a refreshing change of pace and style for the Rambert company, and a piece of capsule dance theatre which brings them into line with so much of what is going on in the broader world of contemporary dance. I personally wouldn't compare it against Hofesh Schechter's work, it just felt very different from that. It's true that for those who want to see an evening of pure dance, there could be some frustration here but the staging and the narrative held the piece together beautifully. The moments of full out dancing burst through the piece in intermittent periods, elevating the mood alongside the rich and swinging soundtrack. The dancers coped with the characterisation and text very well indeed and did not seem out of their comfort zone, which for me simply demonstrates what an amazing ensemble the Rambert company is. The one thing I didn't enjoy about the evening was the sign-language interpretation that accompanied all the pieces, except the Cunningham. The interpreter herself was very good at her job, and I do see why it would be of benefit for the Castaways piece, but I'm afraid I found her presence rather a distraction that took my focus and concentration away from the dancers.

Hi Dancer17xx, My daughter started Rambert this September so feel free to private message me with any specific questions you might have

I think it must be very common for boys to want to try going up on pointe - funnily enough, my dd sent me a photo yesterday of one of the boys at her school who was wearing point shoes and doing an arabesque...very nicely indeed! He's at least 18 or 19, and everyone in the class thought it was great fun There will always be those who say horrible things, and want to sideline individual children - I think many of our DCs have probably experienced this. It is done purely out of jealousy and to try to gain status within the group: the skill as a parent is in judging when to step in. It's not an easy one, but I would say don't be afraid to tackle it when you feel the time has come, even if your child says they don't want you to...these things are always better out in the open, as it's the bully who relies on the victim's silence.

Can totally understand how you feel Celib - especially with him being in the States. We're all thinking of you, and I'm sure that everyone will be sending lots of healing thoughts to your boy - and hugs to you xxx

I only know a few placements from the 2013 graduates: National Dance Company of Wales, Apprentice Dancer at Scottish Dance Theatre, Matthew Bourne, Balletboyz, Cullberg Ballet, Ballet Junior de Geneve. In the past couple of years or so others have gone to Rambert Dance Company, Phoenix Dance Theatre, ENB, Northern Ballet, Scottish Ballet, Hofesh Shechter, Richard Alston and so on.

As far as Rambert is concerned, there are 46 on the class lists for this new intake (my dd has just started there this year.) The head says they keep the school total to around the 100 mark, and that this year is an exceptionally big intake which I'm guessing means there are less 2nd and 3rd years around. It's not uncommon for students to leave or change schools.

There are quite a few overseas students at Rambert (which is equal for both classical and contemporary dance) - Japan and Singapore, Australia, US, South Africa and a number of European countries. At a rough estimate, around half the ladies this current new intake are from overseas, and about 5 of the men.

At Rambert, current first years total 46. 28 ladies, 18 men. For Ballet, Coaching etc the ladies are in 2 classes of 14 in each. For Pas de deux, Contemporary, Choreography etc the two classes become mixed with 9 men and 14 ladies.

It does seem to be more of a problem now trying to find this wider elastic for pointe shoes My dd just bought some recently at Dancia in Drury Lane; if you can't visit in person I know they will post out to you.