balletla

Very irritating article which is very confused about what point it is trying to make. It appears to be saying that ballet is a white persons pursuit, but then goes on to list many people from other racial and ethnic backgrounds that have been super successful. In fact ballet is far more encompassing and has a far wider global reach than many other arts/sports e.g. does anyone ever write articles about changing the face of rugby or cricket? The other point it tries to make is that some people may be excluded because their racial background means they don't conform to the physical ideal of ballet. Well ballet physique is niche but 99% of white people don't meet the requirements either!!

I would caution anyone offered a place at White Lodge against accepting a place because of the 'name' and really think about the environment in which your child would best flourish. If they are going to 'make it' they will do so at Elmhurst or any other school. I am really surprised at the 'poaching' for White Lodge as I have experience only a couple of years ago of someone specifically being told that they really don't like to do this and only like to take someone from a UK school through the UK audition rounds. There has been a new academic principal appointed at the start of the last academic year and by all accounts she is making radical changes throughout the school. Judging by the mass exodus of pastoral and supporting staff and a high proportion of artistic staff, not many of these changes are popular.

I'm not sure that it is 'an exciting new programme'; it reads like a one-off event to mark the end of 15 years of YBDY. However, not sure what the point of it is beyond that. All the schools currently showcase their work very ably in their end of year performances. Also not sure why a French man who has worked mostly in America is leading the masterclass to showcase British training?? Surely someone actually involved in British training would be more appropriate? Seems like yet another un-needed distraction from the day to day training to me.

Yes there is a formal audition for full time Upper School every year at the summer school. They usually take no more than one or two but sometimes don't take any. It is useful for international students who may not have been able to attend the auditions earlier in the year. There is no formal audition at White Lodge summer school but if there is a student they like they may offer them a place.

One of the first reviews from the Arts Desk http://www.theartsdesk.com/dance/royal-ballet-school-matinée-royal-opera-house-0

"ForThe Royal Ballet School this event marks the end of 15 years’ hosting the Young British Dancer of the Year Award (YBDY) in the Linbury Studio Theatre" There's been talk for a while that it wouldn't continue. It needs to move with the times; what's the point of a competition where a lot of students (and often the star students) at RBS are not eligible to take part because they are not British?

Why is it that when a post might not be as clear as it could be, some people on this forum always assume the most negative interpretation of a post to cause trouble? And what a conclusion to leap to, that a new director of a school would be able to change 'the policy' before he even started.....Not that 'the policy' needs changing because the policy is always to choose the best dancers they can find regardless of where they come from. And I was not for one minute suggesting that some are not good enough - how ridiculous! I was just politely trying to say that miss Stock had some very specific ideas of what she wanted which may have been different this year. And while we are at it, why is nobody concerned about how many Elmhurst lower school school pupils got through to Elmhurst Upper School? Heavens above - I totally give up with this forum!

Well he may have visited, but really don't think there has been any change of policy before he officially started in post. More likely that without Gailene Stock's incredibly discerning eye, a few extra students may have been taken through.

Auditions for Upper School were completed in March before he arrived.

Nothing has really changed, it is just the variability of one year group to the next. There are 9 girls whereas the norm is about 7. The big difference this year is that 11 boys are through which is a lot more than usual.

There are numerous studies which show that people at the top of organisations are more likely to be psychopaths (or 'sociopaths' as they are known, which is a high-functioning psychopath). See link to see the top professions for psychopaths. They don't have empathy but are good at faking it. http://www.spring.org.uk/2013/07/which-professions-have-the-most-psychopaths.php

Bad behaviour is not always visible to teachers or other adults who make casting decisions etc. A girl in my DDs year looks like butter wouldn't melt and is loved by teachers and given lots of special opportunities but amongst her peer group is very psychologically manipulative and controlling in ways that it would be difficult to describe or provide evidence of to an adult.

What is really upsetting is when different standards are applied to behaviour and one student gets punished whilst the exceptionally talented one gets let off. What's even more upsetting is if an exceptionally talented student iachieves success in lead roles and company contracts when they are really not very nice people - we all like to think that nasty people don't succeed in life and get their just desserts, but in the real world, they do succeed.

Agree that you can learn through watching but it is limited and seriously, there is only so much sitting and watching you can do and several hours a day for 6 or 7 weeks is excessive!!!

Take the points about the fact that life is unfair in the real world and people compete for contracts/roles etc. However, these students are still at school where they are paying a lot of money to be taught and that includes performing opportunities, which should be shared out. If they are not involved in rehearsals and not doing other classes instead, they are potentially not learning anything for a third of the time that they are at school. Also, as someone pointed out earlier, the favourites in the school do not always get the best contracts as it is often subjective, so everybody should be given a chance in front of an audience. Parents and their families and friends should not have to scrabble around buying extra tickets or swapping them just to see their children perform when they are paying a lot of money for their children to be taught and that includes performing opportunities. These schools need to get up to speed with the 21st century. Half of them will go bankrupt when the funding runs out. It's happening all over the private school sector at the moment, including long-established, highly esteemed schools which just can't find a way of remaining financially viable despite big marketing campaigns to attract new students etc. As someone who has auditioned at a range of dance schools, it is very noticeable that the ones with the least government funding are the best at engaging with parents/customers.

To be honest, I find it quite boring when I go to school performances to see the same child with a lead role in everything. It's a case of 'oh look, here she is again doing a contemporary piece, oh and again doing the character lead, and again in the jazz piece, oh and now in a second classical role!' Yes they may be very good and we know you want to show off your best student or couple of students, but a bit of variety is nice. I know some performances are open to the public, but surely it is the parents that make up the majority of the audience, so perhaps the schools should think about keeping them on side.

Sorry Dr Dance but you have just exemplified my point about understanding and listening to your target market. Regardless of the value that you personally place on developing choreography, or whether it is encouraged at vocational schools, the reality for us is that it is 'a bit of fun'. My DD and 99% of her friends recognise the value of choreographic training but ultimately they want to dance and they will be selected for schools/ companies on the basis of their classical ballet skills, so given that they have limited money, they have to choose where to spend £95 for maximum benefit, and it would be on improving their classical skills.

To be honest, there probably needs to be a little more information. I have no idea who Rebecca Davies et al are and am slightly put off by the idea of learning acrobatic tricks as a serious ballet dancer. Daniel Jones sounds good, but it sounds as if the day is geared towards boys as it appears to focus on virtuosity, leaps, turns etc. Jenna Lee sounds like she could help the serious female advanced ballet dancer improve her technique but then there is a focus on fusion and choreography, which sounds like a bit of fun, but probably not worth paying out £95 for! Also, there is no indication as to levels - will it be 8-18 yr olds all in the same class? If not, how will these teachers be split across the day and will I get value for money. Sorry if I sound a bit harsh - it's not meant that way - I am just giving my first impression of what I have read as someone unfamiliar with your school and the master class leaders. I'm not sure you've really identified your target market if I'm honest. For £95 I would be looking for some very serious classical ballet training with a very credible, highly renowned teacher. To put it into perspective, this is only marginally less than the cost of a full day's training AND board/food at RBS summer school.

I totally agree as well. We may be training too many people but the quality of the training varies considerably and a lot of the training is not fit for purpose. The government should not be worried about the effectiveness of vocational school funding, it should be worried about the extortionate sums of money spent on college or university dance courses, many of which focus on gaining a qualification rather than training for the profession.

My DD went to the only local dance school at 5 years old where everyone in the local area goes. At the age of 9 she started asking to do more ballet. We were told that one 40min lesson a week was more than enough. There was nothing on the web like there is today - I didn't even know that RBS or the associate programme existed. I eventually found out about a regional associate-type scheme that was starting up and asked DD's ballet teacher (school owner) if she could go and was told no as it would take my DD away from her school lesson on a Saturday and then everyone would want to do it and she would lose income! I nervously let my DD audition in secret and it was only when I saw how good some of the other girls were in other dance schools (and I didn't need any ballet expertise to see this) that I realised how short-changed my DD was. I know exams aren't everything but my DD was studying grade 1 whilst they were studying grade 4. There was a massive gap. My DD said that she wanted to change schools to get better training and we did, even though it was a 45min drive away. The other students and parents at the first dance school were quite mean to us and we still get comments today about how we think we're too good for the local school, even though my DD is now at vocational school, something that would never have happened if she'd stayed there. It still makes me cross now to think of other talented children there today who are not supported and parents who don't find out until it's too late. Hopefully with all the schemes now available and widely published information on the web, it should make it easier to find someone that suits your child's aspiration.

Alison I agree about Osipova - just didn't quite get there for me. Is it the arms? They still seem very Russian in style to me. Completely agree about Campbell - fabulous!

Just to say, I thought this thread was for reviews of the Triple bill. It seems to have morphed into whether Giselle should be shown with another ballet or not. Maybe these posts should be hived off into a separate topic?

It must just be me that doesn't get what all the fuss is about. I get the impressive leaps, flexibility and the energy, but there is no nuance or subtlety in her performance for me. Also some irritating tics, such as crossing her arms across her body to aid turning. Would far rather see Marianela any day!

Such a shame to lose a talented dancer for any reason. She is only 21 but has probably danced more solos in her 3 years than most do in 10, so has achieved a lot compared to others of a similar age. Wishing her the best of luck in whatever she does next! If she finds that she misses ballet in a couple of years then there is always Queensland Ballet, based in Brisbane where she lives.

They probably have filled all their spaces for 2014, but they will always find a place for someone exceptional! P.S. Just having a 'perfect physique for RBS' won't be enough to get a place but go for it - nothing to lose by trying.