Jamiel Devernay-Laurence

VIDEO LIVE!

I am 100% in agreement. Ballet Nights is focused on the culture of the star, and building a following for each artist on our roster. That is where our Youtube Channel comes in, and why we profile each artists in a Behind The Scenes at great expense to provide the artists with the platform they deserve. Going back to my analysis of Drive to Survive, the driver's to camera interviews are what 'drives' (sorry couldn't resist!) new audience to their preferred contender. You can check out our channel here, and highlights include an exclusive BTS with David Dawson, Reece & Yasmine, Musa Motha, Steven McRae and more: www.youtube.com/@BalletNights

At the moment we are focused on the UK premiere in London, and it will be the demand and response to that show that would dictate another outing in that uniquely Ballet Nights format - however the 2 guys are VERY resourceful, and I believe that they are overlooked by the currently ecology which makes no space for them the way it used to for future greats like an Akram or a Hofesh. Time will tell!

PS. we have a lower ticket price show coming soon, which you can support by coming along! IMAGO by PettClausen-Knight has a UK premiere, and will take place on 26/27 April Use the Code OURSTORY for 15% off! www.BalletNights.com

-- A the end of the day the entire sector will have to face these questions at some point, as BRB will be with some of their support being pulled and as ENO have had to pivot on quite quickly. Without taking any positions politically, I would also point out that it highly unlikely that a Starmer government would either freeze or increate ACE funding, and if anything the outlook is the other way entirely. New Adventures have proven the exception to the rule, running a successful commercial model in dance, and Matthew Bourne remains the inspiring figure to the next generation of dance entrepreneurs, and to me!

This highlights one of our daily conversation at our HQ. Please except ROH from the following questions and discoveries on the table, as the model is completely different. -- Tickets in the UK have a face value, and a true value. Without a subsidy on the ticket price somewhere, independent start ups and self funded companies (like mine!) are finding that their True Value ticket prices are received as high, and can't compete with other organisations dominating the landscape that can comfortably foot the bill with Tax Payer money, and present a Face Value as low as £15 for a world class dance experience. But devaluing the Face Value does not actually help the True Value of anything in the market, and longer term damages it considerably. Simultaneously, those venues receiving a subsidy will approach start ups and independent companies as cash cows to be milked - without guilt or a thought for what those companies could actually do to the future of their venue, for audience building and for fair competition growth in the sector. The majority of our home dance companies and venues are building quite the opposite of a sustainable ecology, and instead opting to remain insular - resulting in a stranglehold on programming and an absence of new players - from independent choreographers to fully fledged non-gov-funded companies - having to navigate conversations where venues are not comfortable with the associated risks in staging them, are seeking to profit in ways they normally are unable to, while maintaining all the data and ticketing benefits and even going so far as to publicly label events as "Guest Events / Not an Official Programmed Event" right across the productions digital poster on their websites. For those in Marketing this is a nightmare to counter, with new start-ups and independent companies trying to eliminate the nagging doubt that their performances are just as worthy of a platform as any. And then there is the Access argument associated with the True Value, and this is of course where I turn to... premiere league football! Just like Classical Ballet, players have devoted their whole youth to their craft - BUT UNLIKE DANCE - graduate into a healthy ecology where there are a raft of well paying jobs from lower leagues to the top gig. If you look at football, where a ticket can cost in excess of £160 for a plastic seat on concrete, this multi billion dollar industry not only takes care of its players, its managers and its teams, but also provides its fans access through a constant access to media, some of the best funded inclusive youth programmes in the world, and with opportunities to interact with the sport regardless of means, background or ability. When was the last time a UK school didn't come with 2 nets and a ball...? And yet how many have a Ballet Barre...? With many Government funded bodies actively avoiding showing a profit for fear of then losing funding, there is little to no space for those who remain unfunded and are trying to build their trade the old fashioned way - with bums on seats and an invested audience who feel connected to the brand, the experience and to the artists on stage. Dance is pricing itself out of the market, and the next generation of dance entrepreneurs are facing the consequences. Regardless of the size of their fanbase, the loss of companies like Vienna Festival Ballet are felt by all those who had ever bought a ticket to their show, and the many people who became a part of their independently funded ecology. -- Just some thoughts! Jamiel Devernay-Laurence www.BalletNights.com

Dear Balletco Forum, I am pleased to announce the launch of the Ballet Nights Spotlight platform - where we take one of our Ballet Nights fan favourites and platform them for a full evening of their work. Launching with the UK Premiere of PETT|CLAUSEN-KNIGHT in IMAGO, my team and I are over the moon to be hosting the first London landing of this internationally acclaimed neo-classical sensation. Tickets are now live at www.BalletNights.com and below you can also join us for the youtube premiere of the behind-the-scenes mini-documentary with James Pett and Travis Clausen-Knight. Jamiel Devernay-Laurence Founder & Compère -- YOUTUBE PREMIERE OF OUR BEHIND THE SCENES WITH PETT|CLAUSEN-KNIGHT

Not a word of a lie, an Australian opportunity just crossed our desk this afternoon. Watch this space!

Hi Lynne, This is a fantastic piece of info and good to know. We are considering an open dress rehearsal of a yet to be announced production in April, as well as an insight event working with The London Ballet Circle. We are also considering opening up our behind the scenes sessions as we live stream alot of these anyway. you can see the live IG feed of Reece and Yasmines shoot here: https://www.instagram.com/p/C3I_WTcI69J/ J

In which case I will have to talk to Ross and make plans to bring the show to you...!

Behind the Scenes with our Ballet Nights 004 "Our Story Continues" Stars - Principals of The Royal Ballet Yasmine Naghdi & Reece Clarke Witness Yasmine and Reece debut in the daring classical Pas De Deux "Spring Waters" alongside their headline performances of the iconic Romeo & Juliet Balcony Scene choreographed by Sir Kenneth MacMillan. 🎟️ Get Your Tickets now for 23rd & 24th February 2024 🎟️ www.BalletNights.com

Dear BalletCo Forum, For those not signed up to our exclusive access mailing list over here at Ballet Nights, I enclose a link to the full set of shots by Viktor Erik Emanuel taken last Friday: PRINCIPALS OF THE ROYAL BALLET YASMINE NAGHDI & REECE CLARKE in ROMEO & JULIET https://www.balletnights.com/exclusiveaccessphotography More coming soon, including our behind the scenes feature on the pair making their debut in Spring Waters at Ballet Nights This February...! -- Get your TICKETS *15% off with the code OURSTORY Be In The Know and Join Our Mailing List: Sign Up