balletqs

But she has been training in Aus up until Sept 13. She is lovely to watch in class.

But I thought they had to be in the UK three years? Maybe the rules have changed or she has british parents.

Incidentally gorgeous dancer just wondered.

How did the the Aussie girl qualify to apply? Kiely?

I'm afraid not no but the good news is they are showing an interest in you if you have had a call back.

Millennium are very approachable if u have any qs. They gave a strong emphasis on ballet being the core of their training with class every day but it is not a place to go for a classical career timetable wise however the ballet training is excellent, fantastic ballet teachers there. They have their own agency now and do a very strengthening form of jazz. One of my students gained a schol there but chose London studio centre as there was a greater emphasis on classical ballet training and she got a Leverhulme schol to there. But millennium def worth trying for

Oops in an over pointed position wrap the ribbons around tightly and leave in the airing cupboard or somewhere warm good luck!

Sleep in them, keep steaming them, shut them in the door and roll them up - turn the heel inside out and roll the toe under the heel in an pointed position

It used to be Vergie Derman:)

Just wanted to add. I have a student on scholarship at LSC on the classical course. They only take 18plus for the degree element. She gained Distinction for Adv Two at 17 with me, she had to pull out of her auditions at 16 due to a knee injury, and did not do solo seal but is very classical. She is keeping her options open as she is tall 5'9 and enjoys contemporary and teaching also, she is not expecting a classical career although she could pursue one easily if she wished, she got dada places at all the musical theatre colleges and northern, despite being a real ballet girl.She has found the course excellent so far, she is in her first year, but slow going classically although they have pushed on more this term. It suits her though and she loves it there. I have another 18yr old student who is very academic and wanted to go her a levels. She has in mky opinion a real shot at a classical career despite her age, she is naturally tiny, 5'4, I cannot imagine her not getting work, none of the ballet schools have turned her applications down, her advantage is a maturity of how to work, she is past the awkward 16-18 growth phase (often students go through a bit of a puppy stage again then). So far she got an on the day offer of a scholarship at both LSC and Dada Northern and she is joining the masse this wknd at the 'two'. She loves Rambert but hasn't auditioned yet and wad one of 5 who got an interview at London Contemporary. If they have the body and attitude there is no reason to worry about waiting a year or two, job wise it is righth place, right time, right size, right look and not age, unless a junior company but they take up to 22yr olds.

Just wanted to add. I have a student on scholarship at LSC on the classical course. They only take 18plus for the degree element. She gained Distinction for Adv Two at 17 with me, she had to pull out of her auditions at 16 due to a knee injury, and did not do solo seal but is very classical. She is keeping her options open as she is tall 5'9 and enjoys contemporary and teaching also, she is not expecting a classical career although she could pursue one easily if she wished, she got dada places at all the musical theatre colleges and northern, despite being a real ballet girl.She has found the course excellent so far, she is in her first year, but slow going classically although they have pushed on more this term. It suits her though and she loves it there. I have another 18yr old student who is very academic and wanted to go her a levels. She has in mky opinion a real shot at a classical career despite her age, she is naturally tiny, 5'4, I cannot imagine her not getting work, none of the ballet schools have turned her applications down, her advantage is a maturity of how to work, she is past the awkward 16-18 growth phase (often students go through a bit of a puppy stage again then). So far she got an on the day offer of a scholarship at both LSC and Dada Northern and she is joining the masse this wknd at the 'two'. She loves Rambert but hasn't auditioned yet and wad one of 5 who got an interview at London Contemporary. If they have the body and attitude there is no reason to worry about waiting a year or two, job wise it is righth place, right time, right size, right look and not age, unless a junior company but they take up to 22yr olds.

I just wanted to say never underestimate the healing power of a child being in their home environment with local friends and local ballet teacher. If your child's private dance school is a good one with good teacher/s it is amazing what can happen for the future. Full time at 11 is undoubtedly very convenient and right for some but for others can send them backwards. The nurturing environment of home and private training can be just as successful. My own teacher whom I work with was fantatic and at 15 I secured a full scholarship place at RBS US, lower school financially was out of the quedtion. Always keep trying, you never know, but when and if it is right for your child it will happen. In the meantime get them to good summer schools and courses and they will be a lot more confident in themselves, may even begin to shine brighter than their vocationally trained peers, I have seen this happen over and over again. The dream is for a career, it doesn't matter hoe you get there. Good luck

As an RAD teacher I don't think there is a particular RAD style with regards to legs. It is more about safe dance technique, what is right for an individual child to achieve correct line, placement etc to acheive their best results when examined on the assessment criteria. The weight placement should be over the metatarsal at all times, without a doubt. However I do find some physiques respond to bringing the upper body and weight placement well in front of the leg when working a la 2nd, so the leg almost appears to be extending from the back whilst keeping the hips completely level, to achive a better line, so the leg can extend fully from the hip, these students often have poor turnout and short waists and tend to tuck under in 2nd, it avoids any twisting. Examiners will also look for a consistent height of leg front, side and back and correct line in a position and placement of the hips. A good teacher should be looking at the individual. As for style, I think the only change is that the RAD are embpracing and encouraging the development from a young age of a natural sense of quality and expressiveness and musicality. My recent vocational results reflected this, the technicians did not get the marks they hoped for whilst the performers achieved beyond what they would have done once. So aim to enjoy the movement quality and purity of line and placing. Yes its good to throw caution to the wind and wack the leg at all expense now and again but this is better done through daily stretching and strengthening. Laziness in my eyes is when a student doesn't work to their maximum potential in every class or commit fully to what they are doing, not the degree of the leg. I'd get out of there

As a teacher I have found, without exception, that the students marks are higher if they have pursued, studied, not just learnt and retained, and taken the foundation exams. Preparing for each exam is a learning curve in itself and Advanced one requires a great deal of maturity, not age necessarily, but the ability to show the examiner an in depth understanding of the grade in every aspect. My teacher is one of the top vocational examiners, as in one of the longest serving and is held in high regard by all, this is her approach also. However, yr daughters obviously very aware and good teacher is your best advisor, she will I am sure guide yr daughter to find areas of the syllabus she can study in greater detail to stop her getting bored. My senior students always work on the next grade up along with their current one to enhance their understanding of their aims so this is very normal.

Hello. I am an ex grad of the course. The preliminary audition was the same one for both courses. We had a seperate final after the dancers course final. This entailed extra assessments, music awareness amongst others. There were a lot of us unsuccessful dancers course finalists who did the teachers course final,as I was aware at the time I was one of the only applicants who applied to both courses as I knew I wanted to teach. I couldn't be happier with how fate worked out. Originally called the Craftsmans course; Dame Ninette de Valois set it up in the 60's with Valerie Adams, my teacher, who was a member of the company at the time. We shared all the teachers with the dancers course for many subjects. My personal perks were that I got to attend some dancers course classes as I had completed a lot of my exams prior to going so I had the Russian teachers on occasion too. On the teachers course we also regularly had Pamela May and Maria Fay amongst others. My main teachers were Miss Adams, Hope Keelan now Dep Ballet Principal at WL, Jackie Barrett who went on to be grad girls teacher on the dancers course, Julie Lincoln and Patricia Linton. Also Denise Winmill and Valerie Sunderland. So as I saw it we got to have our cake and eat it!! Our training is unmatched, the heritage and essence of Royal Ballet style poured into our training over the 3 years is not something you can teach to today's graduating teachers from other establishments. We were required to have gained our RAD and Cecchetti Advanced exams to graduate and due to my smaller height I got to do a couple of walk on roles that I was understudying with the company so we had to be able to dance. We were assessed annually and in my first year three girls were assessed out. Two were put on a 6 week probationary period to 'buck their ideas up'! Originally one of 15, 11 of us graduated. Dame Ninette de Valois handed us our Diploma. We had longer days than the dancers course as we had the same classes plus extra. We were trained separately from the dancers course in our main classes, Rep, Solos,Character Contemporary and Pointe but other classes were done with the dancers course. We were watched regularly by Merle Park and Monica Mason. Miss Adams unfortunately decided to retire and the course was handed over to someone who had a very different vision. I had graduated but as we understand it She became ill and so after 18 months,Miss Adams returned to finish the course off with the last graduates. Gailene Stock had started by then and she did not want the teachers course running in its current format so it finished, a real shame but it wasn't right without Miss Adams at the helm, though Miss Keelan held it together well, she got nabbed for WL. Mark Annear is now working hard to continue the ex professional dancers teaching course. Hope this answers your question a bit