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Found 18 results

  1. I've opened this thread for discussion of WBD 2021, so anything which isn't simply information should go here please. Thanks!
  2. At the risk of sounding impatient, can I ask if anyone knows when casting for Autumn is likely to be announced? I'm trying to make some plans and am wondering whether it's worth holding off.
  3. After a 2 year delay the long-awaited première of Creature, Akram Khan’s new production dances tonight at Sadlers Wells. I, for one, am very excited.
  4. On Tuesday 1st June 2021 I was back in a live theatre to watch a ballet performance for the first time since October last year and over a year since the premiere of Geisha, which was the last "normal" ballet performance I saw. I felt really emotional filing into the theatre. The Lowry has really gone to town on social distancing. Fortunately it was a warm sunny evening as we queued up outside to be told the rules as we went into the barriered queuing area to have out temperatures taken, order a drink (if we wanted) and have our tickets scanned - all before we got into the enormous space of the foyer areas. I was chatting to a couple of friends when we were asked to move to our seats as the foyer areas were being kept clear. None of the inside bars and cafes were open. There were tannoy announcements asking us to stay in our seats during the interval unless collecting pre-ordered drinks or using the facilities. The seats in the auditorium were very well spaced out. I couldn't say if the performance was sold out but I couldn't see any empty seats that weren't cordoned off. And so to the performance... This is the third iteration of Dangerous Liaisons that David Nixon has put on for Northern Ballet. The first had a narrator on stage, the second had replaced the narrator with a small corps of Parisian sybarites and, for me, was close to perfection. This more concert style production, done for the Covid world, was parred to the bone and a real chamber production using only 11 dancers (2 of whom were only walk on parts as servants). For me it really worked. There is a tiny amount of narration to introduce the characters. The narration uses the voices of David Nixon as Valmont and Pippa Moore as the Marquise and, much to my surprise, it worked well. The main features of Christopher Hampton's play were all included and I found it very easy to follow without using the synopsis on Northern Ballet's website. Act 1 introduces and builds up the characters and tragedy from Gercourt leaving the Marquise and starting her overwhelming need for revenge. The action is mostly duets with some ensemble scenes allowing Valmont to try and persuade the devout Madame de Tourvel to give in to him; the Chevalier Danceney's hopeless courtship of Cécile, Valont's seduction of Cécile and finally his conquest of Tourvel who falls headlong in love with him. Act 2 covers the consequences with the Marquise dallying with Danceney, forcing Valmont to reject Tourvel and the fatal duel. There is some terrific choreography in the duets which can be playful (as with the wonderful scene where Valmont uses a courtesan as a writing desk) brutal (as in Valmont's rejection of Tourvel and his seduction of Cécile) and beautifully tender (Valmont's seduction of Tourvel). I found that I couldn't breathe from Valmont's "It is beyond my control" scene to the end of the piece and it wasn't because I was wearing a mask! There were 3 casts on show this week, all subtly different. I really couldn't choose between them. There was a small standing ovation after every performance and the audience was really enthusiastic. It is interesting that the audience sounded so loud when usually at The Lowry a full house sounds muted but it must have been really gratifying for the company given how long they have been waiting to get back on stage. Thank you Northern Ballet for a wonderful series of performances (I saw 5 out of the 6). It was so good to be back!! For anyone going to see this at Sadler's Wells in the coming week the show runs for 1hr 40 mins including the interval. The casts are already on the company website along with a digital programme, a separate synopsis and a page of the characters (which is useful if you are not familiar with the dancers as it can be used to identify the costumes and thus the characters).
  5. Hi. Does anyone know if lunch will be served at ENBS during summer intensive course or do we have to bring own lunch everyday? Thank you in advance!
  6. Just managed to complete my booking for Period 1 - very rusty after so long and ended up having to buy my two packages separately and then add some extras as a third transaction. Broadband just about held up and I’m delighted with the tickets. Here’s hoping this is another step in the return to pre COVID familiar ways.
  7. Yes I noticed that...there seem to be no package options for its first night.
  8. On that basis I earned the 18% dicount I got when booking earlier today, but it should be my bank rather than the ROH who cover it! I had no problems with package booking until I got to the payment when, after I entered my card details, a screen came up saying my bank needed verification so I'd be sent a text with a code. Did a text arrive? No. I hit the re-send button 3 times & was walking all round my house in case there were any mobile signal issues. Eventually I called my bank & spent goodness knows how long on the phone to them. By that time the ROH website had timed out my tickets so the bank said wait a few minutes then try again & that my settings had been changed so verification wouldn't be required. Except when I tried again (fortunately the tickets I had selected were still available) verification was required & again no text arrived. Fortunately that time through I'd noted the alternative PayPal option so I was able to have a 3rd go via PayPal & that went through no problem with no verification required. Which is completely nonsensical because I only have 1 cash card so it's coming out of the same bank account! At least I now know that when single seat booking opens next week I should use PayPal to start with. Of course whether I'll be able to use any of these tickets when it comes to it is another issue entirely....
  9. Playbill for tonight’s Vail Festival NOW: PREMIERES show: https://vaildance.org/wp-content/uploads/2021/08/VDF2021-NOW-080921_FINAL-NEW-210PM.pdf
  10. The annual matinee was on Sat 10th July. The digital programme booklet can be found here https://royalballetschool.org.uk/wp-content/uploads/2021/07/Digital-Summer-Performance-Royal-Opera-House-10-July.pdf This also (page 15) gives a list of contracts for this years graduates, scattered across the world. Four ladies from the school join the RB Aud Jebsen programme. At one point it was announced that last years Aud Jebsen dancers would appear, as they had missed their graduation performance last year, but this didn't happen. It had also been announced that the performance would be upper school only, but they were able to include an appearance from White Lodge Year 11. A packed programme, over three hours in total, including a complete performance of Elite Syncopations. The Defile was a mix of virtual (screened) appearances from White Lodge mixed with the Upper School in person, ingeniously done.
  11. The seat price maps are now on the ROH website: Romeo and Juliet https://www.roh.org.uk/seatmap?performanceId=48934 Dante Project https://www.roh.org.uk/seatmap?performanceId=49239 Giselle https://www.roh.org.uk/seatmap?performanceId=48954 The Nutcracker https://www.roh.org.uk/seatmap?performanceId=48973 "Tickets for this event are not currently on sale" will come up but, if you click on "OK", the price chart will appear. I assume it's a mistake but, according to the 'key' the places in row D in the Grand Tier and Balcony are currently designated as standing places!! Edited to add that the central block of the Balcony does not appear to be available for performances of The Dante Project
  12. Hello all. Thought it would be a good idea to start a new thread for those of us with DCs starting at Hammond in September to share advice etc. could we please have no discussion of finance as requested by the school. We don’t want locked again 😃
  13. My 18 year old daughter is starting in September on dance/musical theatre diploma. We have looked and thinking of booking the Trinity Halls for accommodation, it seems nice but I’m conscious that she may be only pupil there from the Hammond. Is anyone else staying there?
  14. I've just come across this on FB: https://www.facebook.com/olivia.pickford.33
  15. I haven’t seen a thread on Moorland so I thought I’d start one. My ds has auditioned for year 7 entry and earlier this evening I received an email offering him a place. I won’t be able to accept without financial help so I’m keeping my fingers crossed for the bursary audition.
  16. Selected Candidate information Prix de Lausanne have now published the details of the candidates selected for 2021. There are two lists, one list giving candidates names, their nationality, school they attend and in which country and another one by country, showing how many applied and how many were accepted. As far as I could see connected to UK there is one British girl studying at a school in Portugal and one Japanese girl studying at Elmhurst.
  17. Hi everyone thought I would start a thread as I don't think we have one for Hammond this year...just wondered if anyone has heard from Hammond recently about the finals? They said to keep an eye out for emails. I don't want to book a hotel until I know the date they have given me is definitely correct? I lost money booking a hotel for preliminaries just before they cancelled them so don't want to make the same mistake x
  18. Press release Prix de Lausanne 2021 Video Edition International ballet competition Lausanne, November 20th, 2020: Due to the sanitary situation and related restrictions, the Fondation en faveur de l'Art Chorégraphique has had to rethink the usual form of its main event, the Prix de Lausanne. Therefore, the Fondation announces the new format for this year’s competition: The Prix de Lausanne will exceptionally be a Video Edition with a 9-member Jury present in Switzerland. Due to the sanitary situation and related restrictions, the Fondation en faveur de l'Art Chorégraphique has had to reinvent its main event but its priorities remain the same: providing opportunities for young talented dancers and fulfilling its mission as a charitable foundation. The Fondation is therefore pleased to announce that the 49th edition of its Prix de Lausanne, from January 31st to February 7th, 2021, will be a Video Edition. The event will require only the Jury’s 9-member presence on site in Switzerland. Every selected candidate will be able to demonstrate their talent and compete for a scholarship or apprenticeship via video submission and not in person in Switzerland. Classical and contemporary variations, as well as a ballet class, will be evaluated and marked separately. As in previous years, 20 finalists will be selected and judged at the end of the week, before the winners’ announcement during the Finals on Saturday, February 6th, 2021. The Prix de Lausanne’s Partner Schools and Companies will follow the competition week and will be able watch the videos privately through our Networking Forum and thus offer their support to all of the 81 candidates. The Prix de Lausanne team is also working on coordinating online classes taught by excellent teachers and coaches for the candidates before the competition begins. The Young Creation Award, a new competition in search of young choreographic talent and sponsored by the renowned choreographer Heinz Spoerli, will also be held via video. The Prix de Lausanne jury will be able to watch and judge the submitted finalists' choreographies and award the two best young choreographers after the judging on Wednesday, February 3rd, 2021. The choreographies will be performed publicly at the Prix de Lausanne 2022. This year's record participation for the Prix de Lausanne (399 applicants from 43 countries around the world) emphasizes more than ever a need for keeping the art of dance alive. With the support and loyalty from its partners, dance lovers and sponsors, the Fondation gives creativity and talent a chance to shine again this year and provides hope for the future.
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