tag:blogger.com,1999:blog-2477097814863257652024-03-10T02:48:39.508+00:00TerpsichoreDance News from around the UK and the Rest of the WorldJane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.comBlogger1327125tag:blogger.com,1999:blog-247709781486325765.post-86980051134415695132024-03-04T22:48:00.009+00:002024-03-06T07:56:52.051+00:00Manon<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/bJRO0VKBsJw?si=FinhUHpy2IP3DGOd" title="YouTube video player" width="420"></iframe><div><span style="font-size: xx-small;">Standard YouTube Licence</span></div><div><span style="font-size: xx-small;"><br /></span></div><div><span style="font-size: x-small;">Royal Ballet <i><a href="https://www.roh.org.uk/tickets-and-events/manon-by-kenneth-macmillan-details" target="_blank">Manon </a></i>Royal Opera House Covent Garden, 2 March 2024 13:00</span></div><div><span style="font-size: x-small;"><br /></span></div><div>While watching <i><a href="https://www.roh.org.uk/tickets-and-events/manon-by-kenneth-macmillan-details" target="_blank">Manon</a> </i>on Saturday I was struck by the similarities to MacMillan's <i><a href="https://www.roh.org.uk/tickets-and-events/romeo-and-juliet-2022-digital" target="_blank">Romeo and Julie</a>t. </i>Not so much with the libretti perhaps though Manon loses Lescaut and Juliet loses Tybalt and both sets of lovers come to a sticky end. The similarities I had in mind were the choreography with its spectacular duets including one around a bed and great sword fights. Also, <a href="https://en.wikipedia.org/wiki/Nicholas_Georgiadis" target="_blank">Nicholas Georgiadis </a>created the sets and costumes for both ballets.</div><div><br /></div><div>Although this was an original thought as far as I was concerned I doubted that it was novel. I ran a Google search on "similarities between MacMillan's Manon and Romeo & Juliet" The only comparison that came to light was <a href="https://observer.com/author/robert-gottlieb/" target="_blank">Robert Gottlieb</a>'s <i><a href="https://observer.com/2006/07/two-macmillan-marathons-imanoni-and-iromeo-and-julieti/" target="_blank">Manon and Romeo and Juliet</a>. </i> Mr Gottlieb does not seem to have been at all impressed. He described <i>Manon </i>as "a piece of junk" and complained that <i>Romeo and Juliet wa</i>s "tedious at times" though "relatively stage-worthy." </div><div><br /></div><div>Some pretty uncomplimentary things have been said about the ballet by such critics as Mary Clarke and Jane King but the public seem to like it. It will celebrate its half-century in a few days and it has been performed by the world's leading ballet companies. The House was packed to the gunwales on the afternoon of 2 March 2024 when I saw it. Not a few patrons rose to their feet at the curtain call which does not happen for every show. I agree that the leading characters, Manon, des Grieux, Lascaut and Monsieur GM are morally flawed and the story is pretty sordid but that did not make it a waste of the lovely Antoinette Sibley or any of her successors.</div><div><br /></div><div>For those who do not know the ballet it is <a href="https://www.roh.org.uk/tickets-and-events/manon-by-kenneth-macmillan-details#synopsis" target="_blank">summarized </a>on the Royal Opera House website. It is based on the novel <span face="sans-serif" style="background-color: white; color: #202122; font-size: 14px;"> </span><i>Histoire du Chevalier des Grieux, et de Manon Lescaut </i>by Antoine François Prévost which had already been dramatized, made into several films, at least one other ballet and Puccini's popular opera <i><a href="https://en.wikipedia.org/wiki/Manon_Lescaut_(Puccini)" target="_blank">Manon Lescaut.</a> </i>MacMillan did not adapt Puccini's score even though it would have been familiar to many members of his audience. Instead, he commissioned <a href="https://en.wikipedia.org/wiki/Leighton_Lucas" target="_blank">Leighton Lucas</a> to compile a score from Jules Massenet's <a href="https://en.wikipedia.org/wiki/Jules_Massenet" target="_blank">collected works</a></div><div><br /></div><div>The advertised dancers for the lead roles were to be <a href="https://www.roh.org.uk/people/sarah-lamb" target="_blank">Sarah Lamb</a> and <a href="https://www.roh.org.uk/people/steven-mcrae" target="_blank">Steven McRae</a>. McRea was unavailable on Saturday so the role of des Grieux was danced by <a href="https://www.roh.org.uk/people/ryoichi-hirano" target="_blank">Ryoichi Hirano</a>. Lamb reminds me a little of <a href="https://en.wikipedia.org/wiki/Antoinette_Sibley" target="_blank">Antoinette Sibley </a>who first danced Manon and Hirano is the sort of chap who could be expected to handle the eye-catching lifts and fish dives with ease. <a href="https://www.roh.org.uk/people/james-hay" target="_blank">James Hay </a>danced Lescaut, not an easy role as he had to project a range of emotions. In one scene he is drunk manhandling his mistress <a href="https://www.roh.org.uk/people/meaghan-grace-hinkis" target="_blank">Meaghan Grace Hinkis</a> in one of the few comic scenes from the show. Shortly afterwards, he is dragged in chains and roughed up by Monsieur GM, That role was danced by the venerable <a href="https://www.roh.org.uk/people/christopher-saunders" target="_blank">Christopher Saunders</a> who has been dancing in the Royal Ballet for almost as long as I have been following it.</div><div><br /></div>As for the creatives, Koen Kessels conducted the orchestra, Laura Morera staged the performance and Christopher Saunders was the rehearsal director.<br /><br />I lost count of the number of curtain calls. Sarah Lamb received enough flowers to set up in business as a forest. There were also some for Hirano which would never have happened in Dame Anroinette's day, She used to select one of her choicest blooms and present it to her partner who would sniff the perfume in gratitude. In a reversal of the old tradition, Hirano presented one of his flowers to Lamb.<br /><br />There are now two different versions of this ballet in this country: the Royal Ballet's version with Georgiadis's designs and English National's that I mentioned but did not review in<i> <a href="https://jelterps.blogspot.com/2018/10/french-revelation-three-musketeers.html" target="_blank">French Revelation: "The Three Musketeers"</a></i> on 9 Oct 2018. The main difference between the two is that ENB's came from Denmark and uses the designs of <a href="http://www.miastensgaard.dk/manon.html" target="_blank">Mia Stensgaard</a>.Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-22001300194450064832024-02-12T16:30:00.011+00:002024-02-12T17:01:20.482+00:00Scottish Ballet's Cinders!<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/qF7r5WVcKhU?si=I6aazKTy_Vq5OhGw" title="YouTube video player" width="420"></iframe><div><span style="font-size: xx-small;">Standard YouTube Licence</span></div><div><span style="font-size: xx-small;"><br /></span></div><div><span style="font-size: x-small;">Scottish Ballet <i>Cinders </i>Theatre Royal Newcastle, 10 Feb 2024, 14:30</span></div><div><span style="font-size: x-small;"><br /></span></div><div><a href="https://scottishballet.co.uk/bio/christopher-hampson/" target="_blank">Christopher Hampson</a> created a beautiful version of <i>Cinderella </i>for the Royal New Zealand Ballet in 2007 which he successfully transplanted to Scotland. It was a profound and sensitive study of grief and recovery which I loved (see <i><a href="https://jelterps.blogspot.com/2015/12/scottish-ballets-cinderella.html" target="_blank">Scottish Ballet's Cinderella</a> </i>of 20 Dec 2015 and <i><a href="https://jelterps.blogspot.com/2019/02/hampsons-cinderella-coming-up-roses.html" target="_blank">Hampson's Cinderella: Coming Up Roses</a> </i>5 Feb 2019). When I heard that Hampson had created a gender-reversal version of the ballet called <a href="https://scottishballet.co.uk/whats-on/cinders/" style="font-style: italic;" target="_blank">Cinders </a>bmy heart sank ecause I hate change for change's sake. That's why I was less than enthusiastic about David Nixon's <i><a href="https://jelterps.blogspot.com/2016/03/up-swannee.html" target="_blank">Swan Lake</a>, </i>Akram Khan's <i><a href="https://jelterps.blogspot.com/2016/06/akram-khans-giselle.html" target="_blank">Giselle</a> </i>or even my beloved Scottish Ballet's <i><a href="https://jelterps.blogspot.com/2022/09/well.html" target="_blank">Coppelia</a>.</i></div><div><i><br /></i></div><div>But sometimes a reworking of a well-known and well-loved ballet succeeds spectacularly. <a href="https://jelterps.blogspot.com/2016/06/empire-blanche-dawsons-swan-lake.html" target="_blank">David Dawson's </a><i><a href="https://jelterps.blogspot.com/2016/06/empire-blanche-dawsons-swan-lake.html" target="_blank">Swan Lake</a> </i>is a case in point and Ted Brandsen's <i><a href="https://jelterps.blogspot.com/2016/12/brandsens-coppelia.html" target="_blank">Coppelia</a> </i>is another. I am relieved to say that Hampson has carried it off brilliantly with <i>Cinders!. </i>I have to temper my enthusiasm with the caveat that I have only seen the version in which Cinders is danced by a woman, but I have sufficient confidence in Hampson's genius to look forward to the other version of his ballet when it is next on tour. <br /><br />On the train back to Huddersfield I reflected that Scottish Ballet has always innovated. It began with <i><a href="https://www.peterdarrell.org/content/works_1960s/" target="_blank">Mods and Rockers '63</a> </i>to the Beatles' music in 1963<i>. </i>As Scotland's classical dance company, Scottish Ballet might have been expected to include <i>La Sylphide </i>which is set in the Highlands<i> </i>into their repertoire. And so they do in a sense though they locate it in the gents' loo of a Glasgow community centre rather than a castle and call it (see <i><a href="https://jelterps.blogspot.com/2018/05/scottish-ballets-highland-fling-in-gurn.html" target="_blank">Scottish Ballet's "Highland Fling" in Gurn and Effie Land</a> </i>2 May 2018). The company's founder, <a href="https://www.peterdarrell.org/" target="_blank">Peter Darrell</a> is said to have inspired Sir Matthew Bourne who created <i>Highland Fling. Cinders! </i>follows that tradition and I have no doubt that Darrell would have approved of Hampson's creation.</div><div><br /></div><div>The synopsis of <i><a href="https://scottishballet.co.uk/whats-on/cinders/#synopsis" target="_blank">Cinders! </a></i>is very different from that of <i><a href="https://scottishballet.co.uk/discover/our-repertoire/cinderella/" target="_blank">Cinderella</a>. </i>Gone are the Fairy Godmother, mice, the pumpkin coach, dressmaker, cobbler and dancing master. There is no wicked stepmother as such because Cinderes's father dies in a fire but there is a new owner of her father's business called Mrs Thorne who performs a similar role. She also has two unlikeable daughters called Morag and Flossie and a son called Tarquin. The relationship between Cinders and Mrs Thorne is not clear but it is one of subordination. The prince has two friends who are dukes, one of whom takes a shine to one of Mrs Thorne's daughters and the other to Tarquin.<br /><br />The simplification of the story has made way for some spectacular choreography. Particularly impressive were two duets between Cinders danced by <a href="https://scottishballet.co.uk/bio/gina-scott/" target="_blank">Gina Scott </a>and the Prince danced by <a href="https://scottishballet.co.uk/bio/evan-loudon/" target="_blank">Evan Loudon</a>. One takes place at the ball and the other after they eventually find each other. In both of those duets, there are spectacular fish dives. I first noticed Loudon when he danced the Prologue in <i>Emergence </i>with Sophie Martin (see <i><a href="https://jelterps.blogspot.com/2017/06/scottish-ballet-emergence-and-mc-1422.html" target="_blank">Scottish Ballet - Emergence and Mc14/22</a> </i>11 June 2017). Scott, however, was new to me and when I posted a comment about her performance on Facebook I learned that both she and I have studied with the same teacher. That teacher remarked that Scott had some special magic I knew exactly what she teacher must have meant. Scott must have shown remarkable promise as a student. The reason I had not noticed Scott before is that she joined the company only last year. I shall certainly follow her career with interest in the future.</div><div><br />Other dancers who impressed me were <a href="https://scottishballet.co.uk/bio/grace-horler/" target="_blank">Grace Horle</a>r who danced Mrs Thorne and <a href="https://scottishballet.co.uk/bio/thomas-edwards/" target="_blank">Thomas Edwards </a>who danced her son, Tarquin. I had been a fan of Horler since 2017 when I saw her in <i>Hansel and Gretel </i>(see <i><a href="https://jelterps.blogspot.com/2017/02/hansel-and-gretel-in-newcastle-bit-like.html" target="_blank">Hansel and Gretel in Newcastle - a bit like falling in lov</a>e </i>4 Feb 2017). I first noticed Edwards for his performance as Dr Coppelius. I should add that everybody in the show danced well and all deserve commendation.<br /><br />This company had commissioned new sets and costumes from the young Welsh designer <a href="https://elinsteele.com/" target="_blank">Elin Steele</a>. She graduated from the Royal Welsh College of Music and Drama only in 2018 and has already acquired an impressive portfolio. Her costume for Cinders's entrance to the ball was dazzling. Cinders was clad entirely in white. She shed her veil to reveal a skirt in the colours of the prince's uniform. The sets for the shop, ball and rose garden were ingenious and intricate. The last scene with its Christmas tree uplifted the dancers and audience. <br /><br />I should mention<a href="https://www.hayleyegan.co.uk/" target="_blank"> Hayley Egan's</a> video designs. Her simulated newspaper headlines about the fire, survival of Cinders and Mrs Thorne's purchase of the haberdashery shop launched the story. Her projections marked each change of scene, </div><div><br /></div><div>Credit is also due to <a href="https://lawriemclennan.com/bio#overview" target="_blank">Lawrie McLennan</a> for his atmospheric lighting.<br /><br /><i>Cinders! s</i>hould be danced alongside <i>Cinderella </i>much in the way that the English National Ballet retains both Mary Skeaming; 's <i>Giselle </i>as well as Akram Khan's. Both <i>Cinders! </i>and <i>Cinderella </i>have merit and each helps audiences to understand and appreciate the other.</div>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-50080889694593778532024-01-23T00:29:00.011+00:002024-01-23T10:34:44.739+00:00Dutch National Ballet's "Giselle" in the Cinema<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/58RG6TrgKOw?si=7KGzLOgCp2bUpQwi" title="YouTube video player" width="420"></iframe><br /><span style="font-size: xx-small;">Standard YouTube Licence</span><div><span style="font-size: xx-small;"><br /></span></div><div><span style="font-size: x-small;">Dutch National Ballet <i>Giselle</i> UK screening 21 Jan 2024 14:00</span></div><div><span style="font-size: x-small;"><br /></span></div><div>We do not get to see enough of the Dutch National Ballet in this country which is a shame for many reasons. It is one of the world's great companies and it is the company outside the Anglosphere that is most similar to the Royal Ballet and the Birmingham Royal Ballet. There are many links between the National Ballet and the two Royal Ballet companies For example, Northern Ballet's new Director, <a href="https://northernballet.com/biography/federico-bonelli" target="_blank">Federico Bonelli</a>, danced with the National Ballet between 1996 and 2003 and the Junior Company's Artistic Director, <a href="https://www.operaballet.nl/en/dutch-national-ballet/ernst-meisner" target="_blank">Ernst Meisner</a>, trained at the Royal Ballet School and danced with the Royal Ballet for many years. The links between the companies go back to at least 1940. The Sadler's Wells Ballet was touring the Netherlands when it was invaded by enemy forces.</div><div><br /></div><div>Yesterday's screening of <a href="https://www.operaballet.nl/en/dutch-national-ballet/rachel-beaujean" target="_blank">Rachel Beaujean</a> and Ricardo Bustamente's <i>Giselle </i>in the United Kingdom enabled British balletgoers who did not already know the company to see just how good it is. The lead roles were danced by former Bolshoi principals <a href="https://www.olgasmirnovaballet.com/" target="_blank">Olga Smirnova</a> and <a href="https://www.operaballet.nl/en/dancers/jacopo-tissi" target="_blank">Jacopo Tissi</a>, This was the first time that I had seen them. Both impressed me considerably with their virtuosity. Smirnova's Giselle reminded me strongly of Osipova's, particularly in the scene when she is summoned from the tomb by Myrtha where she rotates with the speed and energy of a Catherine wheel.</div><div><br /></div><div><a href="https://www.operaballet.nl/en/dancers/giorgi-potskhishvili" target="_blank">Giorgi Potskhishvili</a> was possibly the best Hilarion that I have ever seen. His passion was palpable. In this production, he pulls a knife on Albrecht which causes Albrecht to reach for where his sword should have been. I had never seen that detail before and it explains a lot. At a pre-performance talk when I saw the ballet in Heerlen I put it to Beaujean that Hilarion had a rather raw deal in the story (see <i><a href="https://jelterps.blogspot.com/2018/11/mooie.html" target="_blank">"Mooie!"</a> </i>16 Nov 2018). "He may have been jealous, even a bit stupid," I argued, "but he was not the one to deceive two women. Did he really deserve to die?" I don't think I would have asked that question had I seen Potskhishvili's performance then.</div><div><br /></div><div>Myrthe was danced by <a href="https://www.operaballet.nl/en/dancers/floor-eimers" target="_blank">Floortje Eimers</a> whose career I have followed closely for the last 10 years. Although it is not regarded as the leading female role I have often thought that it makes or breaks the ballet because it is Myrthe rather than Giselle who dominates the second act. Eimers danced the role well and the second act was gripping. Particularly the last scene before the bell struck when Tissi lay exhausted on the floor.</div><div><br /></div><div>There were many other commendable performances but as the programme listed only the four leading roles, I can't remember exactly who danced what, The only one I can remember is <a href="https://www.operaballet.nl/en/dancers?name=Yamada" target="_blank">Sho Yamad</a>a in the Peasant <i>Pas de Quatre. </i>The other three who danced with him merit congratulations but while I remember their faces I cannot remember their names, Similarly, I should commend those who danced Moyna and Zulma.</div><div><br /></div><div>One of the reasons why this production is so impressive is that the sets and costumes were designed by <a href="https://www.operaballet.nl/en/toer-van-schayk" target="_blank">Toer van Schayk</a>. His name was not on the cinema programmes but it should have been because van Schayk is a genius. He is as distinguished as a painter and sculptor as he is as a dancer and choreographer. He has designed the sets for many shows of all kinds. Often a set is lost on camera. In this film, the high peaks and meandering valley in the first act and the mysterious and menacing forest in the second were captured faithfully,</div><div><br /></div><div>The ballet was filmed by Pathé Live which used to present the Bolshoi. I tended to prefer Pathé's transmissions to the Royal Opera House's largely because of the skills of its presenter, Katerina Novikova. She could switch effortlessly from one language to another and she charmed her interviewees with her smile. She never used an interpreter and translated their replies as soon as her interviewees stopped speaking. Pathé did not introduce <i>Giselle</i> and there was no interval. Instead, the ballet started promptly at 14:30 and continued without a break until the reverence.</div><div><br /></div><div>That was a missed opportunity. The company is used to giving pre-performance talks when on tour or in Amsterdam as I mentioned above. I usually learn something new about a ballet even though the talks are given in Dutch. The company always gives a good account of itself on World Ballet Day. I would have enjoyed short interviews with Beaujean about the choreography, van Schayk about his designs and Smirnova, Tissi and Eimers on their characters. </div><div><br /></div><div><i>Giselle</i> may be a very short ballet but it is too long to appreciate in one sitting. The contrast between acts one and two also requires some time for adjustment. In the theatre, the audience would have at least 20 minutes to grab a coffee, visit the loo, read the programme, purchase an Igone de Jongh or Michaela de Prince tee-shirt or some other merchandise and chat about the performance. Cinema audiences need that break too especially if it is their first experience of ballet. If the Dutch National Ballet ever contemplates another screening I hope it will include breaks and interviews with the artists and creatives,</div>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-48549235324283521302023-12-13T19:46:00.012+00:002023-12-15T02:11:59.644+00:00Shake Your Tutu<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6iTuqJrWllOcmHCztzsaqP8YKQNxf5IZydSozgnwq8h9n-SlQ7Q-xY_98dNhDn6SbC4SUQ1jcL0aWZy7OHvTNCdnIQrb9zAC8bhwKfXfniHbe0CZrU2bKY4lTLc6Az5e7xdip0G8wTRKvvhsa1OMsGY_Lgzx1zs0ewZXDA7X54te6U_eQXNSpK-Y5RSaS/s820/WhatsApp%20Image%202023-11-21%20at%2020.50.56.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="360" data-original-width="820" height="175" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6iTuqJrWllOcmHCztzsaqP8YKQNxf5IZydSozgnwq8h9n-SlQ7Q-xY_98dNhDn6SbC4SUQ1jcL0aWZy7OHvTNCdnIQrb9zAC8bhwKfXfniHbe0CZrU2bKY4lTLc6Az5e7xdip0G8wTRKvvhsa1OMsGY_Lgzx1zs0ewZXDA7X54te6U_eQXNSpK-Y5RSaS/w400-h175/WhatsApp%20Image%202023-11-21%20at%2020.50.56.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="font-size: xx-small;">© 2023 Mark Gowland: all rights reserved Reproduced with kind permission of the owner</span></td></tr></tbody></table><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><span style="font-size: x-small;"><b>Northern Dance Academy </b><i>Shake</i><span style="font-style: italic;"><b> </b>Y</span><span style="font-style: italic;">our Tut</span></span><span style="font-size: small; font-style: italic;">u</span><b style="font-size: small; font-style: italic;"> </b><span style="font-size: small;">10 Dec 2023 19:30 Creative Centre, York St John University</span><div><p></p><p><a href="https://www.northerndanceacademy.co.uk/" target="_blank">Northern Dance Academy</a> is a dance school in York. It offers a wide range of classes in many styles of dance to both <a href="https://www.northerndanceacademy.co.uk/ballet-classes" target="_blank">adults</a> and <a href="https://www.northerndanceacademy.co.uk/childrens-dance-classes" target="_blank">children</a>. Its classical ballet and lyrical teacher, <a href="https://www.northerndanceacademy.co.uk/about-us" target="_blank">Christie Barnes</a>, is a founder member of <a href="http://www.powerhouseballet.co.uk/" target="_blank">Powerhouse Ballet</a>. Christie introduced me to <a href="https://www.northerndanceacademy.co.uk/about-us" target="_blank">Sarah Dickinson</a>, the Director of the Northern Dance Academy. She invited our company to dance the extract from <i>La Sylphide </i>that we had performed in <a href="https://jelterps.blogspot.com/2023/12/powerhouse-ballet-celebrates-dance.html" target="_blank">Dance Studio Leeds's <i>Celebration of Dance </i>on 25 Nov 2023</a> in <i>Shake Your Tutu, </i>Northern Dance Academy's Christmas show.</p><p>The show took place in the <a href="https://www.yorksj.ac.uk/campus-and-facilities/teaching-spaces/creative-centre/" target="_blank">Creative Centre</a> of <a href="https://www.yorksj.ac.uk/" target="_blank">York St John University</a> on 10 Dec 2023. It is a magnificent auditorium with 170 seats, a massive stage, excellent acoustics and the latest sound, lighting and projection equipment. I attended the technical rehearsal which was an opportunity to see the capabilities of that equipment in action.</p><p>The performance began at 19:30. It consisted of the following pieces in two acts with a 20-minute interval:</p><p>Act I:</p><p></p><ul style="text-align: left;"><li><i>Rogue Raimdrops</i> by the NDA Adult Dance Company choreographed by Christie Barnes </li><li><i>Snowdrops</i> by Christie Barnes and Soraya Noumen </li><li><i>Once Upon A December </i>by the Adult Ballet Beginners choreographed by Esther Wilson </li><li><i>Running with the Wolves </i>by Anjuli Trace </li><li><i>Inner Voice </i>by Esther Wilson and Hortensia Szalay </li><li><i>Underneath the Christmas Tree </i>by the Advanced Tap Class choreographed by Stacey Young</li><li><i>L'Enfer </i>by Vera van Cool and supporting dancers </li><li><i>Round Round </i>by the Junior/Youth Contemporary class choreographed by Julia Pittock </li><li><i>Flores </i>by the Lyrical troupe choreographed by Christie Barnes </li></ul><div>Act II</div><div><ul style="text-align: left;"><li><i>When the Land Meets the Sea </i>a film by the NDA Adult Dance Company choreographed by Christie Barnes and filmed and edited by Mark Gowland </li><li><i>I wish it could be Christmas Every Day </i>by the Grade 3 Tap Class choreographed by Stacey Young</li><li><i>O Holy Night </i>by the Advanced Pointe dancers choreographed by Christie Barnes </li><li><i>Make Believe </i>by Natasha Young </li><li><i>Hallelujah </i>by the Advanced/Intermediate Ballet class choreographed by Christie Barnes </li><li><i>A Contemporary Christmas </i>by the Youth Contemporary class choreographed by Julie Pittock</li><li><i>La Sylphide </i>by Powerhouse Ballet choreographed by August Bournonville, Marius Petipa and Jane Tucker and staged by Jane Tucker </li><li><i>Tough Lover </i>by Amber Yeoman<i> </i></li><li><i>Runaway </i>by Christie Barnes and Julia Pittock, and </li><li><i>A Night at the Ball </i>by the Adult Contemporary class choreographed by Julia Pittock.</li></ul><div>I enjoyed all the pieces. It was clear that a lot of work had been done for each and every one of them. It was one of the best student shows that I have ever seen. </div><div><br /></div><div>However, there were some personal highlights <i> Snowdrops </i>was enchanting. Two young friends frolicked as if in a garden. Just before the end, winter clothes appeared on stage which the dancers donned. Their winsome wave as they left the stage was quite charming. I liked Anjuli Trace's solo <i>Running with the Wolves </i>and the duet <i>Inner Voice </i>Esther Wilson and Hortensia Szalay. Anjuli and Esther are also members of Powerhouse Ballet. The children and young women in <i>Round Round </i>were delightful. Especially the little boy and the girl who carried him on her back for a while.</div></div><div><br /></div><div>The second act began with the film. Christie has posted it to <a href="https://www.facebook.com/Christie.Barnes.Ballet/videos/963840434967679" target="_blank">her Facebook feed</a>. It is set on one of the big wide North Sea beaches. It happened to be <a href="https://www.google.com/search?q=Freisthorpe&rlz=1CARVUF_enGB1077&oq=Freisthorpe&gs_lcrp=EgZjaHJvbWUyBggAEEUYOdIBCDQ4ODZqMGo3qAIAsAIA&sourceid=chrome&ie=UTF-8" target="_blank">Fraisthorpe</a> but it could have been Northumberland, Berwickshire or Fife. Mark applied some very interesting camera techniques including mirroring. In Max Richter's <i>In The Garden </i>Christine chose the perfect score. The scene was idyllic. The East Coast is not exactly known for its balmy weather. Although probably unintended one of the artists was a black dog which made a couple of appearances. The animal appeared to be dancing. I was also delighted to recognize several members of Powerhouse Ballet in the film. I hope our company can collaborate with Mark and Christie in making dance films in the future.<br /><br />Although obviously not impartial I was bowled over by Powerhouse's performance of an extract of <i>La Sylphide. </i>The scene was set in a forest after James has left his wedding guests to pursue a sylph who has vanished up a chimney with Effie's ring (see <a href="https://jelterps.blogspot.com/2015/08/la-sylphide.html" target="_blank"><i>La Sylphide </i>resource page</a>). He meets the sylphs and is quite overcome by them. Frank Lee danced James and the syphs included several members of the Northern Dance Academy. I had seen the company rehearse the scene many times. Indeed, I had actually taken part in some of the rehearsals. I had also seen their performances in Leeds. This was by far their best yet. They danced with energy, flair and passion. I felt compelled to rise to my feet to bellow "<a href="https://www.yourdictionary.com/articles/brava-bravo-compliments" target="_blank">bravi</a>". I have never been more proud of them.</div><div><br /></div><div>I have to congratulate everyone involved in planning and participating in the show. Particular credit belongs to Christie who directed and produced the show and choreographed and/or danced in many of the contributions. There seems to be no end to her skills and talents. She even found time to make sleeves and wings for our sylphs costumes. Even attending class with her is a pleasure for she has the most infectious laugh and a very ready wit. It has been great to work with her on <i>La Sylphide </i>and I look forward to doing so again very soon.</div></div>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-35271508975264141592023-12-09T11:02:00.010+00:002023-12-09T11:11:10.829+00:00The Junior Company Ten Years On<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/dzFsnU4WbSM?si=oavnYuP2AcDPtd5u" title="YouTube video player" width="420"></iframe><div><span style="font-size: xx-small;">Standard YouTube Licence</span></div><div><span style="font-size: xx-small;"><br /></span></div><div>Just over 10 years ago I flew to Holland to watch a troupe of dancers in their late teens and early twenties called "The Junior Company" (see <i><a href="https://jelterps.blogspot.com/2013/11/the-junior-company-in-perforance.html" target="_blank">The Junior Company of the Dutch National Ballet - Stadsshouwburg Amsterdam 24 Nov 2013</a> </i>25 Nov 2013). </div><div><br /></div><div>I had come to see <a href="https://michaeladeprince.com/" target="_blank">Michaela DePrince</a> whom I had already mentioned several times in this blog. She had been born in Sierra Leone, the country of my late spouse and my former ward who is the nearest I have to a daughter. I was amply rewarded for my journey because DePrince danced magnificently. But so did the other dancers some of whom are now principals or soloists in the Dutch National Ballet and other great companies.</div><div><br /></div><div>That visit to Amsterdam was the start of many good things. I met members of the company, parents and other relations of those members and fellow fans of the company from the Netherlands and elsewhere. I made friends with many of them. <a href="https://jelterps.blogspot.com/2018/07/yvonne-charlton.html" target="_blank">Yvonne Charlton</a> visited Powerhouse Ballet. She gave us some great classes in Liverpool, Leeds and Manchester and taught us some of her choreography. In the miserable days of lockdown, <a href="https://jelterps.blogspot.com/2019/03/meet-maria-chugai-of-dutch-national.html" target="_blank">Maria Chugai </a>raised our spirits with two wonderful online classes and her appearance at "The Stage Door". </div><div><br /></div><div>On my visits to the Dutch National Ballet, I got to know the Netherlands, its cities and its people. I learned about its history, its traditions and its view of the world. Even though it has sounds that do not exist in our language, Dutch is actually a first cousin to English. Had it not been for brexit which ended free movement it is more than likely that I would be living there now. </div><div><br /></div><div>To celebrate its 10th anniversary the Junior Company has just announced a tour of the Netherlands between 3 Feb and 17 March 2024 called quite simply <i><a href="https://www.operaballet.nl/en/dutch-national-ballet/2023-2024/ten?utm_source=nieuwsbrief&utm_medium=email&utm_campaign=2324-nieuwsbrief-8dec2023&utm_term=txt+Ten+EN&utm_content=309471&utm_id=0461f4c8-7b2d-4263-a557-3f2e1083ccf1&sfmc_activityid=e6f73a0e-92c7-4185-90e5-a4a6712a0a5b&utm_medium=email#tickets" target="_blank">Ten</a>. </i>Its programme will consist of George Balanchine's <i>Valse Fantaisie </i>and new works by <a href="https://www.operaballet.nl/en/krzysztof-pastor-0" target="_blank">Krzysztof Pastor</a>, <a href="https://www.operaballet.nl/en/joseph-toonga" target="_blank">Joseph Toonga</a>, <a href="https://www.operaballet.nl/en/dutch-national-ballet/wubkje-kuindersma" target="_blank">Wubkje Kuindersma</a> and <a href="https://www.operaballet.nl/en/kirsten-wicklund" target="_blank">Kirsten Wicklund</a>. This will be the first opportunity to see <a href="https://www.operaballet.nl/en/dancers/79" target="_blank">some of the world's most promising young dancers</a> many of whom could be household names in a few years from now. Every time the Junior Company renews its membership it reinvents itself as its Artistic Coordinator <a href="https://www.operaballet.nl/en/dutch-national-ballet/ernst-meisner" target="_blank">Ernst Meisner</a> remarks in <a href="https://www.operaballet.nl/en/articles/we-keep-reinventing-ourselfs" target="_blank">Astrid van Leeuwen's article.</a></div><div><br /></div><div>The Dutch National Ballet's Junior Company has been so successful that other companies, including the Birmingham Royal Ballet, have followed its example. Earlier this year I attended the launch of BRB2 and met its Artistic Coordinator <a href="https://www.brb.org.uk/profile/kit-holder" target="_blank">Kit Holder</a> at Elmhurst Ballet School (see An <i><a href="https://jelterps.blogspot.com/2023/01/an-evening-with-ashton-and-launch-of.html" target="_blank">"Evening with Ashton" and the Launch of an English Junior Company</a> </i>30 Jan 2023). I was in the audience when it visited Nottingham on 28 April 2023 and was very impressed (see <i><a href="https://jelterps.blogspot.com/2023/04/brb2-in-nottingham.html" target="_blank">BRB2 in Nottingham</a> </i>29 April 2023). I am looking forward to its next tour which will take in Poole, Canterbury and Northampton in May 2024 (see <i><a href="https://www.brb.org.uk/stories/brb2-first-2024-tour-venues-announced" target="_blank">BRB2: First 2024 Tour Venues Announced</a></i> 26 July 2023 Birmingham Royal Ballet website).</div><div><br /></div><div>The idea of a junior company as a bridge between vocational school and <i>corps de ballet </i>is an excellent one. I shall continue to support Ernst Meisner and Kit Holder in their endeavours in any way I can. </div>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-5576502177335087742023-12-06T12:02:00.018+00:002023-12-06T12:18:20.725+00:00Powerhouse Ballet Celebrates Dance<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQRzBdSaONfsrXt_Xzl2hHpJv0N_3TzUSHFD-XyXkA6TtE50bId9B8j1DpyR3pWfA-eiUPgR_BABlV7Jx0Jxf6ezk7sHGPjsqD29SL6JMbr8KXeT9rMrFCz5uTY1zFtMPSzPzF_iJz_TPyILD719lfzSXtJ6wlFZSml_SzMQ5Zpd1hT5Xo7pQg2IVYXII8/s1600/WhatsApp%20Image%202023-11-25%20at%2023.33.08.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjQRzBdSaONfsrXt_Xzl2hHpJv0N_3TzUSHFD-XyXkA6TtE50bId9B8j1DpyR3pWfA-eiUPgR_BABlV7Jx0Jxf6ezk7sHGPjsqD29SL6JMbr8KXeT9rMrFCz5uTY1zFtMPSzPzF_iJz_TPyILD719lfzSXtJ6wlFZSml_SzMQ5Zpd1hT5Xo7pQg2IVYXII8/w400-h300/WhatsApp%20Image%202023-11-25%20at%2023.33.08.jpeg" width="400" /></a></div><br /> <p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><span style="font-size: small;"><br /></span></p><p><span style="font-size: small;"><br /></span></p><p><span style="font-size: x-small;"><span>Powerhouse Ballet Extract from </span><i>La Sylphide </i><span>Chrima Q Theatre, Leeds, 25 Nov 2023 15:00 and 19:00</span></span></p><p>Every Autumn <a href="https://thedancestudioleeds.com/" target="_blank">The Dance Studio Leeds</a> presents a <i>Celebration of Dance </i>at the Chroma Q Theatre in Leeds. It is a gala to which the studio's students and dance groups and companies from Leeds and beyond contribute. We took part in it for the first time last year when we danced an extract of <i>Giselle </i>(see <i><a href="https://jelterps.blogspot.com/2022/11/a-celebration-of-dance-wilis-and-more.html" target="_blank">A Celebration of Dance: Wilis and More</a> </i>23 Nov 2022). We were invited back this year to dance an extract from <i>La Sylphide </i>on 25 Nov 2023<i>. </i>(see <i><a href="http://www.powerhouseballet.co.uk/2023/09/powerhouse-ballets-romantic-ballet.html" target="_blank">Powerhouse Ballet's Romantic Ballet Workshop</a> </i>26 Sept 2023 Powerhouse Ballet's website).<br /><br />For the first time since our formation, we staged a show with a mixed cast. We have always welcomed gentlemen to our classes but we have been unable to persuade any of them to perform in public. This year Frank Lee danced James for us, a role that he performed with flair and gallantry. He was supported by the ladies in the above photograph who excelled themselves.<br /><br />Our performances could easily have gone wrong because two of our most talented and experienced members were indisposed through illness and injury. I sensed a ripple of despair as the news sank in which was arrested abruptly by our wonderful choreographer, director and producer, <a href="https://www.nscd.ac.uk/people/jane-tucker/" target="_blank">Jane Tucker,</a> by assuring us that our show would be wonderful. I have to say that I thought she had her work cut out because the tech rehearsal had exposed several issues. In a rehearsal in our dressing room which she called immediately afterwards, she adjusted the choreography and reassigned roles. Confidence quickly returned and our cast was ready for anything.</p><p>There were two performances on 25 Nov: a matinee at 15:00 and an evening show at 19:00. Jane and I watched the matinee and were very impressed. Many styles of dance were represented. All had been thought out well and rehearsed. I enjoyed all the pieces but I particularly liked the Indian dancers. I have invited their teacher to give us an exhibition class in the New Year. Having been one of the founder members of the St Andrews Dance Club I was delighted to make contact with the director of the <a href="https://www.facebook.com/luuballet/?locale=en_GB" target="_blank">Leeds Union University Ballet Societ</a>y. I shall do all I can to support the Society with reviews and announcements, Their dancers will be very welcome at all our classes and workshops.</p><p>Our dancers performed magnificently in the matinee. I think the absence of two of our number encouraged them to dance as they had never danced before. I have never been more proud of them. They also danced well in the evening though I only saw them from the wings. After the matinee the cast presented Jane and me with beautiful bouquets of roses, I am glad to say that mine are still going strong.</p><p>The purpose of the gala is to raise money for charity. This year the cause was bowel cancer research and relief which this publication is proud to support. We were one of the sponsors of this year's show. Anybody who wishes to contribute to the charity can donate to <a href="https://www.bowelcanceruk.org.uk/" target="_blank">Bowel Cancer UK</a>.</p><p>Powerhouse Ballet is now on a roll. We have been invited to dance in <i><a href="https://www.ticketsource.co.uk/whats-on/york/creative-centre-theatre/nda-shake-your-tutu-christmas-performance/2023-12-10/19:30/t-gadoden" target="_blank">Shake Your Tutu</a> </i>(Northern Dance Academy's Christmas show) at the Creative Centre Theatre, York, YO31 7EX on 10 Dec 2023 at 19:30. Karen Lester Sant has offered us a slot in KNT Danceworks's next show in Manchester. Our next company class will take place on 27 Jan 2024 between 09:45 and 11:15 at Dance Studio Lees when we shall welcome back Annemarie Donoghue of Northern Ballet Academy. Karen will give us our next class in Manchester on 17 Feb 2024, Anyone wishing to join any of our activities should call me on 07966 373922 or send me a message through this <a href="https://nipclaw.wufoo.com/forms/contact-powerhouse-ballet/" target="_blank">contact form.</a></p>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-79327157901310892472023-12-02T12:26:00.011+00:002023-12-02T12:48:29.884+00:00Salford Pioneers<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGI7D_38ZbaI1nxzFx-fVXwJRR_jubHmh7NVjBfPDwZ3dJoZn7Ulkpbt2VayrjZ6pBjYoY1xJt6dnHG0pxHn-eq82KBe8foKoD6mg2B40pPZrU1mGqOLawtev7j26csi0tJLc5AWB0n6xzLwCScBK3NKmzFlzikmpesC4ARXMRULjcylhLqFqONWjRWu2x/s4032/Jeremy_Bentham_Auto-Icon_2020.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="3024" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjGI7D_38ZbaI1nxzFx-fVXwJRR_jubHmh7NVjBfPDwZ3dJoZn7Ulkpbt2VayrjZ6pBjYoY1xJt6dnHG0pxHn-eq82KBe8foKoD6mg2B40pPZrU1mGqOLawtev7j26csi0tJLc5AWB0n6xzLwCScBK3NKmzFlzikmpesC4ARXMRULjcylhLqFqONWjRWu2x/w300-h400/Jeremy_Bentham_Auto-Icon_2020.jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><b style="font-size: x-small;">Author </b><a href="https://commons.wikimedia.org/wiki/User:Philip_Stevens" style="font-size: x-small;" target="_blank">Philip Stevens</a><span style="font-size: xx-small;"> </span><b style="font-size: x-small;">Licence </b><a href="https://creativecommons.org/licenses/by-sa/4.0/deed.en" style="font-size: x-small;" target="_blank">CC BY-SA 4.0 Deed</a><span style="font-size: xx-small;"> <b>Sourc</b>e Wikimedia</span><br /><div style="text-align: center;"><span style="font-size: x-small;">Jeremy Bentham</span></div></td></tr></tbody></table><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><br /><span style="font-size: x-small;"><br /></span><p></p><p><span style="font-size: x-small;"><br /></span></p><p><span style="font-size: x-small;"><br /></span></p><p><span style="font-size: x-small;">Ballet Black <i>Pioneers </i>(<i>Then or Now </i>and <i>Nina: By Whatever Means</i>) The Kowry 1 Nov 2023</span><span style="font-size: x-small;"><i> </i>20:00</span></p><p>Having missed the start of <i>Then as Now </i>in York on 13 June 2023 as a result of acute traffic congestion in that city (see <i><a href="https://jelterps.blogspot.com/2023/07/ballet-black-takes-york-by-storm.html" target="_blank">Ballet Black Takes York By Storm</a> </i>9 July 2023) I was determined to arrive on time for the start of Ballet Black's <i>Pioneers </i>double bill at the Lowry. I arrived at the theatre car park for an 8pm curtain rise while <a href="https://www.bbc.co.uk/programmes/b006qpgr" style="font-style: italic;" target="_blank">The Archers </a>were still on the radio. Normally, I can park on the second or third floor of the multistorey but this time every floor was full. I climbed and climbed until I found myself tracked in a queue of cars in front of me and at the back. There I stayed until just after 20:00 when the queue miraculously started to flow downstairs towards the exit. <br /><br />Had I known that the Lowry would be full I would have driven straight to Media City which is a 5-minute walk from the theatre. Plenty of spaces there and a clue as to what had happened at the theatre car. park There was a notice addressed to football spectators about parking charges. The Lowry is about a mile from Manchester United Football Club stadium where parking spaces are either scarce or deare. Whatever the cause, football spectators strayed into our space on the night that beautiful Ballet Black was in town. </p><p>Perhaps the reason I was able to park so easily in the Media City car park is that many MUFC fans have yet to discover it. I am told that a "Welcome to Manchester" sign used to be displayed at Maine Road whenever City played United because United fans come from anywhere but Manchester. I think there may be some truth in that story because I have noticed MUFC shops in Liverpool and Dublin airports but not in Manchester. If I followed football (which I don't) I would support City over United as I was born in Didsbury, I understand that United were playing Newcastle and that the Magpies won. "Serve them bloody right," I thought,</p><p>My antipathy towards United was more aesthetic than nativist. I was reminded of Jeremy Bentham's remark in <i>The Rationale of Reward</i> that "the game of <a href="https://en.wikipedia.org/wiki/Push-pin_(game)" target="_blank">pushpin</a> is of equal value with the arts and sciences of music and poetry." Total nonsense, of course, but what can you expect from someone whose glass-cased, mummified remains continue to confront visitors to the University College London nearly two centuries after his death. I am with John Stuart Mill on this one. Football is the modern successor to pushpin. Folk may call it "the beautiful game" but its value does not come close to ballet. <br /><br />I arrived in the auditorium at just about the same point in <a href="https://www.bbc.co.uk/iplayer/episode/m001crvg/then-or-now" target="_blank">Will Tuckett's </a><i><a href="https://www.bbc.co.uk/iplayer/episode/m001crvg/then-or-now" target="_blank">Then as Now</a> </i>as it had reached in York when I was admitted there. It is an extraordinarily beautiful work as can be seen from the video on the BBC iPlayer. Unfortunately, as I have yet to see the work on stage I can't review it properly. But readers can get a very good taste of it from the recording which I heartily commend to them.</p><p>However, I did see <i>Nina: By Wahtever Means </i>again and that saved the day for me. This was danced with the same energy as in York and was received equally enthusiastically but as I knew what to expect I focused on the individual performances. Isabela Coracy's role as Nina is pivotal. She threw every milligram of her being into that performance. Once again her repetition of the word "power" with clenched fists was mesmerizing. Her final cry "That's it" unleashed a tsunami of applause. <i>Nina </i>was my last chance to see Sayaka Ichikawa whose departure I shall miss greatly (see <a href="https://www.instagram.com/p/CyrTudvouMW/" target="_blank">Cassa Pancho's announcement on Instagram on 21 Oct 2023</a>). She danced Nina's piano mistress. As always she danced with flair. She is a delightful dancer and Cassa's tribute says it all. There were great performances by Ebony Thomas as Nina's husband, <a href="https://balletblack.co.uk/the-company/people/#helga-paris-morales" target="_blank">Helga Paris-Morales </a>as the young Nina and <a href="https://balletblack.co.uk/the-company/people/#taraja-hudson" target="_blank">Taraja Hudson</a>. It was also good to see the piece's choreographer Mthuthuzeli November take a role.</p><p><br />Ballet Black has recruited a lot of new dancers whom I have not yet had the pleasure of meeting. They include Acaoã de Casto, <span style="background-color: white; color: #5f727f; font-family: roboto; font-size: 15px;"> </span>Megan Chiu, Bhungane Mehlomakulu, Mikayla Isaacs and Love Katiya. They have added sparkle. Their company is a great national treasure which has come of age this year. It will launch a whole new tour called "<i>Heroes</i>" from the Hackney Empire with Mthuthuzeli November's <i>The Waiting Game</i> and a new piece by Sophie Laplane on 22 March 2023. Not long to wait!</p>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-1652248582216221272023-11-30T10:21:00.006+00:002023-11-30T10:25:44.146+00:00Ailey II in Bradford<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/v5CUYbgvMCw?si=tBoBM7oloANcU52s" title="YouTube video player" width="420"></iframe><div><span style="font-size: x-small;">Standard YouTube Licence</span></div><div><span style="font-size: x-small;"><br /></span></div><div><span style="font-size: x-small;">Ailey 2 (<i>Enemy in the Figure, Freedom Series, The Hunt </i>and <i>Revelations</i>)<i> </i>Alhambra Theatre, Bradford 18 Oct2023 19:30</span></div><div><span style="font-size: x-small;"><br /></span></div><div><a href="https://www.alvinailey.org/about/ailey-ii" target="_blank">Aikey II</a> is to <a href="https://www.alvinailey.org/repertory" target="_blank">Alvin Ailey American Dance Theatre</a> what <a href="https://www.ndt.nl/en/dancers/ndt-2/" target="_blank">NDT2</a> is to the <a href="https://www.ndt.nl/en/" target="_blank">Nederlands Dans Theate</a>r. According to its <a href="https://www.alvinailey.org/about/ailey-ii" target="_blank">website</a>, Ailey 2 is "universally renowned for merging the spirit and energy of the country’s best early-career dance talent with the passion and creative vision of today’s most outstanding and emerging choreographers." By inference, it consists of some of the best early-career dance talent in the United States.</div><div><br /></div><div>The company has just completed a tour of England and Inverness. I caught it at the Bradford Alhambra on 18 Oct 2023 where it performed four of its works:</div><div><ul style="text-align: left;"><li>an excerpt from <a href="https://en.wikipedia.org/wiki/William_Forsythe_(choreographer)" target="_blank">William Forsyth'</a>s <a href="https://www.alvinailey.org/performances/repertory/enemy-figure-excerpt" style="font-style: italic;" target="_blank">Enemy in the Figure</a>; </li><li>an excerpt from <a href="https://www.alvinailey.org/ailey-ii/francesca-harper" target="_blank">Francesca Harper'</a>s <a href="https://www.alvinailey.org/performances/repertory/freedom-series" target="_blank"> </a><a href="https://www.alvinailey.org/performances/repertory/freedom-series" style="font-style: italic;" target="_blank">Freedom Series</a>; </li><li><i><a href="https://www.alvinailey.org/performances/repertory/hunt-ailey-ii" target="_blank">The Hunt</a> </i>by <a href="https://www.alvinailey.org/alvin-ailey-american-dance-theater/robert-battle" target="_blank">Robert Battle</a>; and </li><li><a href="https://www.alvinailey.org/alvin-ailey-american-dance-theater/alvin-ailey" target="_blank">Alvin Ailey'</a>s <i><a href="https://www.alvinailey.org/performances/repertory/revelations-ailey-ii" target="_blank">Revelations</a>.</i></li></ul><div>The choice of works and the order in which they were presented were a reverse retrospective of the development of the Alvin Ailey American Dance Theatre and Ailey II. Although William Forsyth is an American he made his reputation in Germany. His works have been performed by companies all over the world including the Royal Ballet but it was through performances by Continental companies that I learned about his work. Ailey II's artistic director Francesca Harper danced with the Frankfurt Ballet while Forsyth was the Director. Robert Battle is the current Artistic Director of Alvin Ailey American Dance Theatre and Alvin Ailey was, of course, the companies' founder.</div></div><div><br /></div><div>Another way of looking at the programme was that it started with a work or at least a style that is familiar to European audiences as it is in the repertoire of many of the world's leading companies, continued with a work in the same tradition but by an American choreographer, followed with one that was quintessentially American and finished with pure African-American music and dance. Visually my abiding memory of <i>Freedom Series </i>is of the illuminated white globes carried by the audience. Aurally it is of the juxtaposition of voice against the electronic score. Excitement mounted with the beat of <a href="https://en.wikipedia.org/wiki/Les_Tambours_du_Bronx" target="_blank">Les Tambours de Bronx</a>. The show climaxed with <i>Revelations </i>bringing African-American spirituals that were familiar but sung and danced with a rawness and energy that was anything but.<br /><br /><i>Revelations </i>was my favourite piece of the evening. There were remarkable performances by everyone in the cast but I was particularly impressed by <a href="https://www.alvinailey.org/ailey-ii/spencer-everett" target="_blank">Spencer Everett</a> in <i>I Wanna Be Ready </i>and <a href="https://www.alvinailey.org/ailey-ii/corinth-moulterie" target="_blank">Corinth Moultrie</a>, <a href="https://www.alvinailey.org/ailey-ii/patrick-gamble" target="_blank">Patrick Gamble</a> and <a href="https://www.alvinailey.org/ailey-ii/alfred-jordan" target="_blank">Alfred L Jordan II.</a> Interestingly, I heard some of the same music two weeks later in Mthuthuzeli November's <i>Nina By Whatever Means </i>where it was interpreted subtly differently by a South African choreographer and a Brazilian lead dancer. <br /></div><div><br /></div><div>Alvin Ailey American Dance Theatre and Ailey II are more than just performance companies. There is a vocational <a href="https://www.alvinailey.org/about/ailey-school" target="_blank">school </a>in New York and <a href="https://www.alvinailey.org/find-class-program" target="_blank">classes for the general public</a>, I was pleased to read in the programme notes that there is a scheme for the school and companies to train promising British students known as <a href="https://danceconsortium.com/2022/08/ailey-project-uk-summer-intensive-finally-arrives/" target="_blank">Ailey Project UK</a>. Apparently, the first batch of British students is already in the USA. The programme also states that the project has been promoted by Marcus Willis who danced with Alvin Ailey and is now the Artistic Director of Phoenix. I met Marcus several times when he was with Ballet Cymru and was very impressed.<br /><br />The last tour of the UK by Ailey II was in 2011 though we have seen the main company several times since them. I hope that we do not have to wait another decade to see those super-talented young artists again,</div>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-15985138076496475742023-11-28T03:49:00.014+00:002023-11-28T10:10:37.837+00:00My Visit to the Acosta Dance Centre<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikZ2ndUiw0vkKKB-EDiIB2EHc0oMz8xc5MbUeGGT0otahuiMdlBs5c4OWdCJyfxmRoMCM39MX3XTX31MezZuGYEXJE1X74XFuTPi814Pp9ZH3LrcIwE8iqRyERI2uxJvOR38q4n6-SgMh267FVyCxfsMPc2x1rDM36l6GgDizWV1NSFtI7Idl3e9bLgJWJ/s4032/IMG_0314.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="4032" data-original-width="2268" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEikZ2ndUiw0vkKKB-EDiIB2EHc0oMz8xc5MbUeGGT0otahuiMdlBs5c4OWdCJyfxmRoMCM39MX3XTX31MezZuGYEXJE1X74XFuTPi814Pp9ZH3LrcIwE8iqRyERI2uxJvOR38q4n6-SgMh267FVyCxfsMPc2x1rDM36l6GgDizWV1NSFtI7Idl3e9bLgJWJ/w360-h640/IMG_0314.jpeg" width="360" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Jane Lambert<br /><div style="text-align: left;"><span style="font-size: xx-small;">(c) 2023 Melissa Rayne Reproduced with kind permission of the copyright owner</span></div></td></tr></tbody></table><br /> <p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p>During that glorious Indian summer at the beginning of September, I was in London. I was there for many reasons. A landmark birthday of someone very dear and close to me. Open house Sunday at the <a href="https://www.roh.org.uk/" target="_blank">Royal Opera House</a> and <a href="https://www.lincolnsinn.org.uk/" target="_blank">Lincoln's Inn.</a> A reception at the House of Lords to launch <a href="https://m-sparc.com/london-start-blog/" target="_blank">Wales Innovation Week in London</a>. A webinar on digital enterprise at the Welsh Government's office in Victoia. And the <i>piȅce de résistance </i>a visit to <a href="https://acostadancecentre.com/about/" target="_blank">The Acosta Dance Centre</a> in Woolwich.</p><p>As its name indicates, the Centre is a project of <a href="https://www.carlosacosta.com/" target="_blank">Carlos Acosta</a>. Its mission is "to become an international reference for dance, providing a nurturing space for dance-creative practitioners, industry professionals, and passionate dance enthusiasts." It is situated a short distance from the Elizabeth Line in the former Royal Arsenal. </p><p>As it is some distance from the West End, Woolwich may not be the most obvious choice for "an international reference for dance" but it is culturally and socially one of the most diverse neighbourhoods of London It already has several theatres and it now hosts the <a href="https://www.thamesmeadnow.org.uk/news/thamesmead-festival-line-up-announced-featuring-britain-s-got-talent-champions-twist-and-pulse/" target="_blank">Thamesmead Festival </a>to which my good friend <a href="https://www.melissaraynedance.com/" target="_blank">Melissa Rayne </a>contributed <i><a href="https://www.youtube.com/watch?v=XBWEPluDZvU" target="_blank">The Tree of Life Emergence</a>.</i></p><p>Melissa also teaches a regular <a href="https://acostadancecentre.com/product/creative-dance-and-improvisation-with-melissa-rayne-7/" target="_blank">Creative Dance and Improvisation </a>class at the Centre. She gave me a tour of the premises and took the photographs. I have seen a lot of dance studios over the years and most of them are run down. The Acosta Centre is one of the most impressive I have ever seen, Every studio had a well-sprung floor with barres and a pristine feel like a new car in a showroom, but even more impressive were the space and natural light. </p><p>That is perhaps best illustrated by the following photo which I believe to have been the ground floor.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ8DwZSZCc0pC1FOomqqHB5EHQ5LtGUZrY4YcCVNi29fK0dt4AO0UMHcyFhIWztkNScEBVYn7MA7LgOHidU-9CoH24U-w5DyAd8ECsqe2p8JP12JmYepdvTpY8gRmHf6f8A0_tzUBWHFJ0GMjNlhYGDAkoJu0V-btdGLtly8C1IuUb1CAkUv1u5q__FxeN/s3916/IMG_0315.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3916" data-original-width="2203" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhQ8DwZSZCc0pC1FOomqqHB5EHQ5LtGUZrY4YcCVNi29fK0dt4AO0UMHcyFhIWztkNScEBVYn7MA7LgOHidU-9CoH24U-w5DyAd8ECsqe2p8JP12JmYepdvTpY8gRmHf6f8A0_tzUBWHFJ0GMjNlhYGDAkoJu0V-btdGLtly8C1IuUb1CAkUv1u5q__FxeN/w360-h640/IMG_0315.jpeg" width="360" /></a></div><br /><p><br /></p><p> </p><i><br /><br /><br /><br /></i><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p>However, I think it would be impressive even at night because the light fittings are glorious,</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnDGWr3ts19TThhAcaOFxbgCAMxww143m4xAfR0NHKNct9ZyAS6EX1kdFnZkvoUwoE2ijHWfLmA80oZKuNRhx3rnEIV_RSGdIppvF-XWu5p68bUbx6_M4sS5mjeJxQz30HDJzlty9My6Y08x8mp1mAKHzqYJkjT6c0865ReSCnQs56Uqdf-WU_KFKsw76O/s4032/IMG_9871.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="4032" data-original-width="2268" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhnDGWr3ts19TThhAcaOFxbgCAMxww143m4xAfR0NHKNct9ZyAS6EX1kdFnZkvoUwoE2ijHWfLmA80oZKuNRhx3rnEIV_RSGdIppvF-XWu5p68bUbx6_M4sS5mjeJxQz30HDJzlty9My6Y08x8mp1mAKHzqYJkjT6c0865ReSCnQs56Uqdf-WU_KFKsw76O/w360-h640/IMG_9871.jpeg" width="360" /></a></div><br /><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p>Mel demonstrated her dramatic prowess below which prompted me to stand <i>bras bas. </i>Unfortunately, I was wearing quite the wrong trousers </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQeBG4tYeqU4pPHsdYkx7Ly4kEuoYdrYuAeeFAefzfynJMSpN-Yuc5QKoR-nxvMs1t475YCiO2NQM6MbyuHxOVMv4Yzpo2LyVqRMiUm4LGKBTuaugWDqNHP2EdMJVK3ZWNDzWRLcem3u2QEtf2vDOiBhZ6q0d8jJoWwyn_JsW0obzhG801K2jWb95nPbZR/s1985/IMG_0325.jpeg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="1985" data-original-width="1125" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiQeBG4tYeqU4pPHsdYkx7Ly4kEuoYdrYuAeeFAefzfynJMSpN-Yuc5QKoR-nxvMs1t475YCiO2NQM6MbyuHxOVMv4Yzpo2LyVqRMiUm4LGKBTuaugWDqNHP2EdMJVK3ZWNDzWRLcem3u2QEtf2vDOiBhZ6q0d8jJoWwyn_JsW0obzhG801K2jWb95nPbZR/w362-h640/IMG_0325.jpeg" width="362" /></a></div><br /><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p>There is a massive range of classes in all styles of dance. Ballet with great teachers like Denzil Bailey, Diana Conti and Ludovic Ondiviela. There is also ballroom, contemporary, Cuban, orishas, rumba - you name it. There are several <a href="https://acostadancecentre.com/memberships/" target="_blank">membership schemes</a> and <a href="https://acostadancecentre.com/product/gift-card/" target="_blank">gift cards.</a> Fees vary with the teacher and dance style but ballet classes seem to start at around £10 per session. That is not much more than I pay in the North of England and it is certainly not bad for London.</p><p>Although Carlos Acosta founded the Centre it is run by his compatriot <a href="https://javiertorres.co.uk/" target="_blank">Javier Torres</a>. He was one of my favourite dancers at Northern Ballet. I can't think of a better qualified person to undertake that role. </p>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-16683310058051967632023-10-30T19:28:00.006+00:002023-10-30T19:38:38.769+00:00 Northern Ballet's Generations - A Treat in Store for London<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/5pe74pvOLrw?si=aFFHSqhE6KydG8Qb" title="YouTube video player" width="420"></iframe><div><span style="font-size: xx-small;">Standard YouTube Licence</span></div><div><span style="font-size: xx-small;"><br /></span></div><div><span style="font-size: x-small;"><b>Northern Ballet</b> <i>Generations Three Short Ballets </i>16 Sept 2023 14:00</span></div><div><span style="font-size: x-small;"><br /></span></div><div>Tomorrow Northern Ballet will dance Benjamin Ella's <i><a href="https://northernballet.com/generations/joie-de-vivre" target="_blank">Joie de Vivre</a></i>, Hans van Manen's <i><a href="https://northernballet.com/generations/adagio" target="_blank">Adagio Hammerklavier </a></i>and Tiler Peck's <i><a href="https://northernballet.com/generations/intimate-pages" target="_blank">Intimate Pages</a> </i>at <a href="https://www.roh.org.uk/tickets-and-events/generations-three-short-ballets-by-northern-ballet-details" target="_blank">the Linbury</a><i>. </i>Those who are fortunate enough to obtain tickets are in for a treat. I saw the show at the Stanley and Audrey Burton Theatre in Leeds on 16 Sept 2023. I have to think back to the first time I saw <i><a href="https://jelterps.blogspot.com/2013/09/northern-ballets-simple-man.html" target="_blank">A Simple Man</a> </i>nearly 40 years ago for a show by Northern Ballet that I have enjoyed as much. <br /><br />In his foreword to the programme, Federico Bonelli wrote how much he had been looking forward to the moment when he could present a programme of his own to reflect his ambitions for Northern Ballet in the years to come. Each of the works that the company danced had a connection with the Bonelli. <i>Adagio Hammerklavier </i>was a reminder of his time with the Dutch National Ballet, <i>Joie de Vivre </i>of his career at the Royal Ballet and <i>Intimate Pages </i>of his guest appearances around the world.</div><div><br /></div><div>My favourite work of the three was <i>Adagio Hammerklavier. </i>I had seen it online as part of the Dutch National Ballet's <i><a href="https://jelterps.blogspot.com/2021/03/hans-van-manen-variations.html" target="_blank">Hans van Manen's Variations</a> </i>which were screened from an almost empty Music Theatre on 27 and 28 Feb 2023. In my review of that performance, I referred to a panel discussion in the Stanley and Audrey Forum in 2015 when a critic who really should have known better opined that Beethoven is impossible to choreograph (see<a href="https://jelterps.blogspot.com/2015/06/my-thoughts-on-saturday-afternoons.html" target="_blank"> <i>My Thoughts on Saturday Afternoon's Panel Discussion at Northern Ballet</i></a> 21 June 2015). It was glorious to watch a ballet set to Beethoven's music in the same theatre in which it had been declared impossible. <br /><br />In my humble opinion, van Manen is the world's greatest living choreographer. I had the enormous good fortune to shake his hand at the <a href="https://jelterps.blogspot.com/2022/08/the-dutch-national-ballets-sixtieth.html" target="_blank">Dutch National Ballet's gala</a> in June 2022. This is not the first time Northern Ballet has performed his work The company performed <i>Concertante </i>in 2013 and on being asked what he thought of the dancers he replied that he liked them very much indeed (see YouTube <a href="https://www.youtube.com/watch?v=IijWUMippIc" style="font-style: italic;" target="_blank">Dance Master Hans van Manen on Concertante & Northern Ballet</a>), There is now a new generation of dancers at Northern Ballet and I think he would like today's artists even more. The first couple in <i>Adagio Hammerklavier</i> were <a href="https://northernballet.com/biography/amber-lewis" target="_blank">Amber Lewis</a> and <a href="https://northernballet.com/biography/jonathan-hanks" target="_blank">Jonathan Hanks</a>, the second <a href="https://northernballet.com/biography/alessandra-bramante" target="_blank">Alessandra Bramante</a> and <a href="https://northernballet.com/biography/george-liang" target="_blank">George Liang</a> and the third <a href="https://northernballet.com/biography/george-liang" target="_blank">Dominique Larose </a>and <a href="https://northernballet.com/biography/joseph-taylor" target="_blank">Joseph Taylor. </a>The pianist was Colin Scott. They danced with flair and precision and I think van Manen would have liked them too,</div><div><br />I was not the only one to relish that ballet. In the second interval, I spotted Bonelli standing on his own so I introduced myself. As I was telling him about my blog Janet Mclty of <a href="https://www.balletcoforum.com/" target="_blank">BalletcoForum</a> joined us. She like me had been impressed by van Manen and she asked the director whether we could have more van Manen, ideally one of his ballets in every mixed bill. Bonelli did not think that would be possible but said that it was a very nice idea and I agree.</div><div><br /></div><div><i>Joie de Vivre </i>was light, fresh and exuberant - a perfect start to a triple bill. The score consisted of 8 violin and piano concertos performed live by Geoffrey Allan and Ewan Gilford. Ella described it as "a poem or epigram of human feelings, emotions or reactions." Three couples performed this work: Dominique Larose and Joseph Taylor, <a href="https://northernballet.com/biography/sarah-chun" target="_blank">Sarah Chun</a> and <a href="https://northernballet.com/biography/harris-beattie" target="_blank">Harris Beattie</a>, <a href="https://northernballet.com/biography/kirica-takahashi" target="_blank">Kirica Takahashi</a> and <span face="GraphikMedium, HelveticaNeue, Helvetica, Arial, sans-serif" style="color: #222222; font-size: 14px;"> </span><a href="https://northernballet.com/biography/jun-ishii" target="_blank">Jun Ishii</a>. Finally, I should say a word for the costumes and lighting which were exquisite.</div><div><br /></div><div>The last piece was choreographed to Leoš Janáček's String Quartet No. 2 <i>Intimate Letters</i> and again we had a live string quartet consisting of Geoffrey Allan, Helen Boordman, Rosalyn Cabot and Toby Turton. The music was plaintive and haunting. Peck explained in the programme notes that the composer wrote it with a love interest in mind. The piece requires a main couple, two soloists and three couples. Sarah Chun and Harris Beattie were the main couple. <a href="https://northernballet.com/biography/aerys-merrill" target="_blank">Aerys Merrill</a> and Kirica Takahashi were the soloists. The couples were <a href="https://northernballet.com/biography/julie-nunes" target="_blank">Julie Nunes</a> and <a href="https://northernballet.com/biography/stefano-varalta" target="_blank">Stefano Varalta</a>, <a href="https://northernballet.com/biography/kaho-masumoto" target="_blank">Kaho Masumoto</a> and <a href="https://northernballet.com/biography/archie-sherman" target="_blank">Archie Sherman</a> and <a href="https://northernballet.com/biography/helen-bogatch" target="_blank">Helen Bogatch</a> and <a href="https://northernballet.com/biography/bruno-serraclara" target="_blank">Bruno Serraclara.</a><br /><br />Just before the show I watched the dancers in company class. They looked happy, energetic and motivated.</div>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-3195734445790734242023-08-21T07:43:00.006+01:002023-08-22T07:17:12.510+01:00Sarah Kundi - An Appreciation<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/a3Cg-vVvrOA" title="YouTube video player" width="420"></iframe><div><span style="font-size: xx-small;">Copyright 2023 English National Ballet, <b>Licence </b>Standard YouTuve Licence</span></div><div><span style="font-size: xx-small;"><br /></span></div><div>Readers of this blog will know that I have a particularly high regard for <a href="https://www.balletclass.com/sarah-kundi-dancer-bio/" target="_blank">Sarah Kund</a>i. Although I must have seen her several times when she was with Northern Ballet she first came to my notice through the <a href="https://www.youtube.com/watch?v=k0ncGjUKVCU&t=16s" target="_blank">YouTube video of <i>Depouillage</i></a> in which she danced with Jade Hale-Christofi. It was that film that led me to Ballet Black (see <i><a href="https://jelterps.blogspot.com/2013/03/ballet-blacks-appeal.html" target="_blank">Ballet Black's Appeal</a> </i>12 March 2013). When I saw her dance for the first time in <i> "Dopamine (you make my levels go silly)" </i>and <i>War Letters </i>at the <a href="http://www.berniegrantcentre.co.uk/" target="_blank">Bernie Grant Arts Centre</a> on Saturday 18 May 2013 I was bowled over (see <i><a href="https://jelterps.blogspot.com/2013/05/why-ballet-black-is-special.html" target="_blank">Why Ballet Black is Special</a> </i>20 May 2013).</div><div><br /></div><div>When Ballet Black came to Leeds 6 months later, Sarah Kundi had left the company. As I said in <i><a href="https://jelterps.blogspot.com/2013/11/ballet-black-is-still-special.html" target="_blank">Ballet Black is Still Special</a> </i>on 7 Nov 2013, I enjoyed Ballet Black's performance in Leeds at least as much as their show in Tottenham but I did miss Sarah Kundi. I did not have long to wait because I found out that she had joined MurleyDance which performed in Leeds on 1 Dec 2013 (see <i><a href="https://jelterps.blogspot.com/2013/12/murley-dance-triple-bill.html" target="_blank">MurleyDance Triple Bill</a> </i>2 Dec 2013).</div><div><br /></div><div>Sarah Kundi did not stay long with MurleyDance and there were reports that she had been offered work with Victor Ulate in Spain (see <i><a href="https://jelterps.blogspot.com/2014/06/bye-bye-and-all-best.html" target="_blank">ByeBye and All the Best</a> </i>10 June 2014). Happily, English National Ballet offered her an appointment while she was dancing in <i>Romeo and Juliet in the Round </i>(see <i><a href="https://jelterps.blogspot.com/2014/07/saved-for-nation.html" target="_blank">Saved for the Nation</a> </i>17 July 2914). She remained with that company for the rest of her career picking up the emerging dancer award and triumphing as Lady Capulet (see <i><a href="https://jelterps.blogspot.com/2018/06/congratulations-to-sarah-kundi.html" target="_blank">Congratulations to Sarah Kundi</a> </i>on 20 June 2018) and Hortensia in Christopher Wheeldon's <i>Cinderella </i>(see <i><a href="https://jelterps.blogspot.com/2019/06/cinders-in-round.html" target="_blank">Cinders in the Round</a> </i>13 June 2019<i>).</i></div><div><i><br /></i></div><div>She announced<i> </i>her retirement on <i>Facebook </i>at the end of English National Ballet's latest season in the Royal Albert Hall and I shall miss her greatly. She was blessed with an expressive countenance that made her a remarkable actor as well as a fine dancer and a physique that gave her an aetherial appearance on stage. Those are qualities that not all principals possess and it is why there were many times that I enquired whether she was in the cast before looking up the leading artists.</div><div><br /></div><div>Although it is unlikely that we shall ever see her on stage again, Sarah Kundi is not lost to dance. I was delighted to see the <a href="https://www.royalballetschool.org.uk/2023/07/19/the-royal-ballet-school-welcomes-four-new-artistic-staff/" target="_blank">Royal Ballet School's announcement</a> that she has joined its staff. There she will pass on her skills, knowledge and experience to promising students. I have had the good fortune to meet her at the stage doors of the Palace Theatre in Manchester and the Albert Hall as well as interview her over Zoom for the <i><a href="https://stdoor.blogspot.com/2020/06/sarah-kundi-at-stage-door.html" target="_blank">Stage Door</a>. </i>I can report that she is as graceful and charming to her fans as she is magnificent on the stage.</div><div><br /></div><div>I have to thank her for the many years of pleasure that she has given me and no doubt countless other balletgoers and wish her well in her new career as a teacher.</div>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-60007334501385922772023-07-13T10:11:00.008+01:002023-07-13T10:18:19.308+01:00News from Ballet Black <p></p><div class="separator" style="clear: both; text-align: center;"><br /></div><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyLs20rT34Oj6fwhouiFVZNyL8UjPoMNoKCaqRCIakFL-tPqrt7PllrQEJyuYDoE0xH8J-iYJyoJO9PWSCcvQB_t78cNX_78OSEQnhEeCmiv_6PX5J9dZQjrrLIGtnvFojzXoRyen3RLXYWvmFmHiDGto2iW9ty_7tvDd-vm1XSdzgIENeo_tSJhaeYyAb/s355/Ballet_Black.jpg" style="margin-left: 1em; margin-right: 1em; text-align: center;"><img border="0" data-original-height="355" data-original-width="343" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhyLs20rT34Oj6fwhouiFVZNyL8UjPoMNoKCaqRCIakFL-tPqrt7PllrQEJyuYDoE0xH8J-iYJyoJO9PWSCcvQB_t78cNX_78OSEQnhEeCmiv_6PX5J9dZQjrrLIGtnvFojzXoRyen3RLXYWvmFmHiDGto2iW9ty_7tvDd-vm1XSdzgIENeo_tSJhaeYyAb/s320/Ballet_Black.jpg" width="309" /></a><br /> <p></p><p>In <a href="https://jelterps.blogspot.com/2023/07/ballet-black-takes-york-by-storm.html" style="font-style: italic;" target="_blank">Ballet Black Takes York By Storm</a><i> </i>I recalled some of the great shows that Ballet Black had performed and added that none has impressed me more than their performance of <i>Nina: By Whatever Means</i> at York Theatre Royal on 23 June 2023. It will therefore come as no surprise that the ballet's choreographer Mthuthuzeli November and its leading lady Isabela Coracy are in the running for Black British Theatre Awards. More details about the Awards and how audiences can participate in the process are available on the <a href="https://vote.blackbritishtheatreawards.com/" target="_blank">BBTA Nominations Form.</a> The closing date for nominations is 1 Aug 2023.</p><p>Another bit of good news is that Ballet Black has recruited 4 new dancers. I have no information about them other than that they come from Brazil, India, South Africa and the USA and that Ballet Black has appealed for accommodation for them. When I do know who they are I shall ask the press spokesperson for their photos and bios and I shall write up about them here.<br /><br />The accommodation that the company seeks is: "<span style="background-color: white; color: #202020; font-family: Helvetica; font-size: 16px;">s</span>hort term (a few months while they get settled) or for the length of a season (September to July). I thought the best place to start would be with our own mailing list! Are you able to help? If so, please could you get in touch with some details: </p><p></p><ul style="text-align: left;"><li>location (it needs to be in London, accessible for travelling to work in Marylebone each day)</li><li>type of space: room, flat, house</li><li>rent and any other charges</li><li>are pets allowed? One dancer has two lovely cats!."</li></ul><div>Talking of pets, Vlad the Lad (now a very self-assured young man excelling at sports, music and school work) loved <i>Dogs Don't Do Ballet </i>(see <i><a href="https://jelterps.blogspot.com/2014/10/woof.html" target="_blank">Woof </a> </i>12 Oct 2014). That<i> </i>show sparked in him a love of theatre which will stay with him forever. I am sure that the work also inspired crowds of other children across the United Kingdom to appreciate dance and in some cases even study it. I do hope the company will revive the ballet one day for another generation of children. Of course, it will be hard to recast Madame Kanikova with her dancing, smiling eyes, the adorable Anna, her Obamaesque dad, Miss Polly with her hip flask and of course the star of the show, Bif the red setter. Having said that, Chris Marney would find plenty of talent in Ballet Black's current membership. They might interpret the roles quite differently,<br /><br />Anyone with suitable accommodation that could be let to a dancer should contact Cassa Pancho and not me through the <a href="https://balletblack.co.uk/contact-us/" target="_blank">contact pag</a>e of the company's website.</div><p></p>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-88755218115476850812023-07-12T10:49:00.005+01:002023-07-12T11:10:13.220+01:00My First Class in KNT's New Studios<p></p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinuIqofAg5SZt-k0pd532mywKac9YTqITiw-ymCgANduXVm7J_T_xLBOXudpKe9MTqdTXRq7IIma7iZGKVWTS3EvJMUrtgz2O2v0mmwlIAgMfVmA6R6GiZr6DNy9eSQv89J-MLE7vtZB85mZ70TZ105_mEKTC_7RDxp7hvkuUItiRRGWI4BwmdXVhPCgQl/s3120/IMG20230711195314.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="3120" data-original-width="3120" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEinuIqofAg5SZt-k0pd532mywKac9YTqITiw-ymCgANduXVm7J_T_xLBOXudpKe9MTqdTXRq7IIma7iZGKVWTS3EvJMUrtgz2O2v0mmwlIAgMfVmA6R6GiZr6DNy9eSQv89J-MLE7vtZB85mZ70TZ105_mEKTC_7RDxp7hvkuUItiRRGWI4BwmdXVhPCgQl/s320/IMG20230711195314.jpg" width="320" /></a></div><br /> <p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p>Yesterday I attended <a href="https://www.manchesterdanceclasses.co.uk/dance-teachers/" target="_blank">Karren Lester Sant's</a> Pre-Intermediate Class in her new studios at <a href="https://www.google.com/maps/place/KNT+Danceworks/@53.4840607,-2.2554817,17z/data=!3m1!4b1!4m6!3m5!1s0x487bb1eb66512f85:0xd4f55aaf1ba109b4!8m2!3d53.4840607!4d-2.2529014!16s%2Fg%2F1hbpwr44c?authuser=0&entry=ttu">114 Chapel Street</a> for the first time and was very impressed. The studio was easy to find with ample parking just across the street. It has been fitted out with everything that a dance student could possibly need including a well-sprung floor, travelling barres and excellent acoustics. Best of all many of the dear friends and acquaintances that I have met in Karen's classes over the last 9 years were at the barre. It was a great experience.</p><p>I set off from Holmfirth much later than I would normally do because a previous commitment had overrun. I messaged Karen to say that I was running late and asked whether I could do the advanced class barre. As it happened I did not need to do that because Chapel Street is much easier to reach from Yorkshire than Oxford Road and there are masses of parking spaces. I came in during glissés. I did a quick warm-up of tendus and pliés and took my place at the barre in time for <i>ronds de jamb</i>e. </p><p>Thereafter we did all my favourite exercises. f<i>rappés </i>at the <i>barre, </i>an<i> enchantment </i>that included <i>tendus </i>in the centre, <i>grands battements </i>and <i>soutenus, balancés </i>and <i>pirouettes, posés pirouettes </i>or "pirate peglegs" as another dear teacher calls them, <i>glissades </i>and <i>assemblés </i>finishing off with joyous <i>temps levés. </i>Karen chose some lovely music for us. I recognized "Getting to Know You" from "The <i>King and I" </i>and I think also Piazzolla? Definitely Argentine tango.</p><p>The only drawback to the evening is that I was forced to acknowledge just how far I have fallen below my previous level of ability. I can't raise my leg to the barre for a stretch, My balance was completely AWOL. I was slow and quite out of puff by the time I was halfway across the floor. I can no longer stand on demi-pointe on my right foot. Some of it is a loss of fitness which I can recover in the gym. Some of it will be age-related. I shall be 75 next birthday. Some of it will be the result of the broken tibia that I suffered last year. Happily, I can still do something in ballet and as it is nearly 55 years since I learnt my first <i>plié </i>at St Andrews I really can't grumble,<br /><br />Anyone thinking of joining one of KNT's classes will find the <a href="https://www.manchesterdanceclasses.co.uk/adult-classes/timetable/" target="_blank">schedule here</a>. There is lots of choice at many different levels. On 22 July 2023, there will be a Special Guest Tracher Day with Emily-Joy Smith which looks like a lot of fun. I have attended similar events in the past and can strongly recommend this one.</p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg0g_B9eTzOgp_J-SY6z36LKNlHF67R0xl-5lNlic99gOK6StJnFDKQvBAsG-zHNl8006qFI92T6ELJDJNytJliV1NgqlFzaNno4TuMy7VbItpV9kkTi9COzvyNwhOrhb9uouj9rbHd_k7mn3DWBDFKcmk26Ce_YRyIyVLZOrQJZU4621gMBUZYfWYk1GN/s600/358132346_989717122186403_7789511730009497362_n.jpg" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="480" height="640" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg0g_B9eTzOgp_J-SY6z36LKNlHF67R0xl-5lNlic99gOK6StJnFDKQvBAsG-zHNl8006qFI92T6ELJDJNytJliV1NgqlFzaNno4TuMy7VbItpV9kkTi9COzvyNwhOrhb9uouj9rbHd_k7mn3DWBDFKcmk26Ce_YRyIyVLZOrQJZU4621gMBUZYfWYk1GN/w512-h640/358132346_989717122186403_7789511730009497362_n.jpg" width="512" /></a></div><br /><p><br /></p>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-22309800845542094022023-07-10T11:21:00.005+01:002023-07-13T14:18:06.140+01:00Birmingham Royal Ballet at the Lowry's Open Day<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBq_nznhRT2Qx9SPjdWC_Dd54-DmZrPtLQpRK4MIbHxT3tAEYmNJsW8QCBrYduh86lTZodtwGZW0vSp-TxIu1gajHIM0VUt6VcVN-y4QBX6vGmWnqmAqFWbwVCKq7Apt9hEfqE2pXGRKoLTMtUs8SEnXZbT81-3_X_RvDCaJDrSHIt9HveSXHL7a4QkHHK/s3888/The_Lowry_and_Ship_Canal.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="2592" data-original-width="3888" height="266" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjBq_nznhRT2Qx9SPjdWC_Dd54-DmZrPtLQpRK4MIbHxT3tAEYmNJsW8QCBrYduh86lTZodtwGZW0vSp-TxIu1gajHIM0VUt6VcVN-y4QBX6vGmWnqmAqFWbwVCKq7Apt9hEfqE2pXGRKoLTMtUs8SEnXZbT81-3_X_RvDCaJDrSHIt9HveSXHL7a4QkHHK/w400-h266/The_Lowry_and_Ship_Canal.jpeg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><b style="font-size: x-small;">Author </b><a href="https://commons.wikimedia.org/w/index.php?title=User:RobChafer&action=edit&redlink=1" style="font-size: x-small;" target="_blank">RobChafer</a><span style="font-size: x-small;"> </span><b style="font-size: x-small;">Licence </b><span style="font-size: x-small;">CC </span><a href="https://creativecommons.org/licenses/by-sa/3.0/deed.en" style="font-size: x-small;" target="_blank">BY-SA 3.0</a><span style="font-size: x-small;"> </span><b style="font-size: x-small;">Source </b><a href="https://commons.wikimedia.org/wiki/File:The_Lowry_and_Ship_Canal.JPG" style="font-size: x-small;" target="_blank">Wikimedia Commons</a><br /><div style="text-align: center;">The Lowry</div></td></tr></tbody></table><span style="font-size: xx-small;"><a href="https://commons.wikimedia.org/wiki/File:The_Lowry_and_Ship_Canal.JPG" target="_blank"><br /> </a></span><p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p>According to its <a href="https://thelowry.com/open-day/" target="_blank">website</a>, The Lowry is holding an open day on 6 Aug 2023. It has not published any details yet though it has posted a <a href="https://www.youtube.com/watch?v=n3zqU1GP2oU" target="_blank">video</a> about the event in 2021. As we have a <a href="https://www.trybooking.co.uk/CNUF" target="_blank">company class in Leeds</a> on 5 Aug 2023 and I shall be speaking at the <a href="https://nipcnews.blogspot.com/2023/07/patent-law-update.html" target="_blank">Cambridge IP Law Summer School </a>between 7 and 11 Aug 2023 I would have given the event a miss had I not received an email about it from the <a href="https://www.brb.org.uk/" target="_blank">Birmingham Royal Ballet</a> last week.</p><p>That email carried an image of <a href="https://en.wikipedia.org/wiki/Wicked_fairy_(Sleeping_Beauty)" target="_blank">Carabosse</a> doing her worse towering over a smaller image of Désiré and Aurora at their wedding above the banner headline <i>"Join us at The Lowry Open Day on Sunday 6 August". </i>The email announces that the Birmingham Royal Ballet will attend the open day between 10:00 and 17:00 bringing costumes for <i>The Sleeping Beauty t</i>hat visitors can try on. Between 11:00 and 14:00 there will be workshops where attendees can learn some of the choreography.</p><p>The Birmingham Royal Ballet returns to Salford to dance Sir Peter Wright's production of <i>The Sleeping Beauty</i> between 7 and 9 March 2024, Readers can view the trailer <a href="https://www.youtube.com/watch?v=pGqHujz9q4A" target="_blank">here</a>. Companies around the world dance that production and I have seen performances of that work by the Hungarian and Dutch National Ballets. The best that I have ever seen was in Amsterdam on 17 Dec 2017 with <span face=""Trebuchet MS", Trebuchet, Verdana, sans-serif" style="background-color: white; color: #666666; font-size: 13.2px;"> </span>Maia Makhateli as Aurora, Daniel Camargo as the prince and Igone de Jongh as Carabosse (see <i><a href="https://jelterps.blogspot.com/2017/12/the-dutch-national-ballets-sleeping.html" target="_blank">The Dutch National Ballet's "The Sleeping Beauty" - I have waited nearly 50 years for this show</a> </i>20 Dec 2017). That bit of ballet history will never be repeated but I have very high hopes of BRB's visit to the Lowry in the Spring.</p>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-2836069120031214242023-07-09T20:32:00.006+01:002023-07-09T20:41:38.398+01:00Ballet Black Takes York by Storm<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzw7zpNz80qE-9UjEhfZT59ju6GALMPXTCFxdFhktMTM1Q0jueYnl7sEcUYvYgKShWzbxDvJm2xN0ihSMgGWxJ9CPoOAu4Ks33vkytfn1y9G14fnWVcyuR1jcUHh7fNkr1h_Cv6LbRjfUZKeqF8og5N6ijg80LHb_nQiElOMzVeC44g8kS_4hgYr7CJAjn/s3025/Nina_Simone_-1969.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3025" data-original-width="2013" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgzw7zpNz80qE-9UjEhfZT59ju6GALMPXTCFxdFhktMTM1Q0jueYnl7sEcUYvYgKShWzbxDvJm2xN0ihSMgGWxJ9CPoOAu4Ks33vkytfn1y9G14fnWVcyuR1jcUHh7fNkr1h_Cv6LbRjfUZKeqF8og5N6ijg80LHb_nQiElOMzVeC44g8kS_4hgYr7CJAjn/w266-h400/Nina_Simone_-1969.jpg" width="266" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Nina Simone<br /><div style="text-align: left;"><span style="font-size: xx-small;"><b>Author </b></span><span style="text-align: center;"><span style="font-size: xx-small;">Gerrit de Bruin <b>Licence <a href="https://creativecommons.org/licenses/by/4.0/deed.en" target="_blank">CC </a></b><a href="https://creativecommons.org/licenses/by/4.0/deed.en" target="_blank">BY-SA 4.0</a> <b>Source </b><br /><a href="https://amazingnina.com/presskit.html" target="_blank">amazingnina.com</a> Courtesy o Re-Emerging Films</span></span></div></td></tr></tbody></table><a href="https://creativecommons.org/licenses/by/4.0/deed.en" target="_blank"><br /> </a><p></p><p><a href="https://creativecommons.org/licenses/by/4.0/deed.en" target="_blank"><br /></a></p><p><a href="https://creativecommons.org/licenses/by/4.0/deed.en" target="_blank"><br /></a></p><p><a href="https://creativecommons.org/licenses/by/4.0/deed.en" target="_blank"><br /></a></p><p><a href="https://creativecommons.org/licenses/by/4.0/deed.en" target="_blank"><br /></a></p><p><a href="https://creativecommons.org/licenses/by/4.0/deed.en" target="_blank"><br /></a></p><p><a href="https://creativecommons.org/licenses/by/4.0/deed.en" target="_blank"><br /></a></p><p><a href="https://creativecommons.org/licenses/by/4.0/deed.en" target="_blank"><br /></a></p><p><a href="https://creativecommons.org/licenses/by/4.0/deed.en" target="_blank"><br /></a></p><p><a href="https://creativecommons.org/licenses/by/4.0/deed.en" target="_blank"><br /></a></p><p><a href="https://creativecommons.org/licenses/by/4.0/deed.en" target="_blank"><br /></a></p><p><a href="https://creativecommons.org/licenses/by/4.0/deed.en" target="_blank"><br /></a></p><p><br /></p><p><span style="font-size: x-small;"><b><br /></b></span></p><p><span style="font-size: x-small;"><b><br /></b></span></p><p><span style="font-size: x-small;"><b>Ballet Black </b><i>Then or Now </i>and <i>Nina: By-Whatever Means </i>23 June 2023 19:30 York Theatre Royal</span></p><p>I have followed Ballet Black for several years and have seen some great ballets by them including Chris Marney's <i>War Letters, </i>Arthur Pita's <i>A Dream Within a Midsummer Night’s Dream. </i>Cathy Marston's <i>The Suit </i>and Christopher Hampson's <i>Storyville. </i>Every one of those works was impressive but none has impressed me more than their performance of <i>Nina: By Whatever Means </i>at York Theatre Royal on 23 June 2023.</p><p><i>Nina </i>was created by <a href="https://www.mthuthuzelinovember.co.uk/" target="_blank">Mthuthuzeli Novembe</a>r. Having seen his <i>ingoma </i>for Ballet Black and <i>Wailers </i>for Northern Ballet I came with high expectations. Often that leads to disappointment because high hopes are rarely equalled but on this occasion, they were greatly exceeded. November is one of Ballet Black's Senior Artists. He first came to my notice on 2 May 2015 when he appeared with Londiwe Khoza on Ballet Centrak's tour (see <i><a href="https://jelterps.blogspot.com/2015/05/dazzled.html" target="_blank">Dazzled</a> </i>3 May 2015). I have been following him ever since. I particularly enjoyed his performance as the wolf in Annabelle Lopez Ochoa’s <i>Red Riding Hood</i><span face="Trebuchet MS, Trebuchet, Verdana, sans-serif" style="color: #666666;"><span style="background-color: white; font-size: 13.2px;"><i> </i></span></span>as did my friend. Joanna Goodman, who also reviewed the show (see <i><a href="https://jelterps.blogspot.com/2017/03/sexy-wolf-stole-show.html" target="_blank">Sexy Wolf Stole the Show!</a> </i>5 March 2017).</p><p>In <i>Little Red Riding Hood </i>November showed he was an actor as well as a virtuoso, but that is by no means an end to his talents. He is a composer contributing the score as well as the choreography to <i>Wailers. </i>He also created some of the music for <i>Nina </i>and designed its sets. In the Q&A that followed the performance, we learned that the idea for a ballet on the life of Nina Simone had been his. Dramaturge and librettist can also be added to his catalogue of accomplishments.</p><p>The ballet started with the young Simone as a child in rural North Carolina. It followed her training as a classical musician in New York and the debut of her career as a nightclub singer. Simone suffered mental distress at various stages of her life which Alves called her "demons" in posthumous correspondence in the programme notes. Those dark periods were represented in the ballet too. </p><p>Simone was much more than an outstanding artist. She was one of the drivers of political and social change that I witnessed first-hand as a graduate student in Los Angeles in the early 1970s. That was the climax of the civil rights movement but there were also protests against the Vietnam War, the Watergate scandal and the beginnings of the women's movement. In a maelstrom of change, Simone stood firm and tall. <br /><br />In casting Isabela Coracy as Simone, November practically brought Simone back to life, A scene that haunts me is of Coarcy with her clenched fist in the air as the dancers swirl around her to chants of "power". That is how I remember Simone in real life. </p><p>The audience exploded in applause. We Brits are not the most demonstrative - particularly not those of us who live in Yorkshire. At the reverence, every single member of the audience rose to their feet. I was hoarse from cheering and my hands throbbed with clapping. I think we all felt that we had seen something special that night,</p><p><i>Nina </i>was the second part of a double bill that night. The first was Will Tikett's <i>Then or Now. </i>I shall not attempt to review it because I missed the start owing to acute congestion on the way into York city centre. What I saw of <i>Then as Now </i>I liked a lot Happily there will be another chance to see the double bill in the Autumn as the company will dance again in <a href="https://balletblack.co.uk/performances/" target="_blank">Watford. Norwich, Durham and the Lowry.</a> </p>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-74340163008459087382023-05-29T11:48:00.004+01:002023-05-29T11:57:50.572+01:00Pulse<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/ds9EzSz2LEw" title="YouTube video player" width="420"></iframe><div><span style="font-size: xx-small;">Standard YouTube Licence</span></div><div><span style="font-size: xx-small;"><br /></span></div><div><span style="font-size: x-small;">National Dance Company of Wales <i><a href="https://ndcwales.co.uk/pulse-programme" target="_blank">Pulse</a> </i>18 May 2023<i> 19:30 </i>Lawrence Batley Theatre </span></div><div><span style="font-size: x-small;"><br /></span></div><div><a href="https://ndcwales.co.uk/" target="_blank">The National Dance Company of Wales </a>is Wales's national contemporary dance company. It is one of three very important institutions at national, level the others being <a href="https://ballet.cymru/" target="_blank">Ballet Cymru</a> which is Wales's classical dance company and <a href="https://dawnsio.cymru/en/" target="_blank">Dawnsio</a>, the Welsh Folk Dance Society. It is based at the Cardiff <a href="https://dancehouse.wales/" target="_blank">Dance House</a> but partners with a number of "priority venues" one of which is the <a href="https://www.thelbt.org/" target="_blank">Lawrence Batley Theatre</a> in Huddersfield. The company has visited Huddersfield regularly for many years and I have seen several of its performances there. When it comes to our theatre it sometimes allows the public to watch its company class and it always holds a Q&A after the show. By reaching out to its audience in this way it has made a lot of friends here.</div><div><br /></div><div>The company visited Huddersfield on 18 May 2023 to dance <a href="https://ndcwales.co.uk/pulse-pwls" target="_blank"><i>Pulse </i>(or <i>Pwls </i>in Cymraeg</a>). This was a double bill consisting of <i>Waltz </i>by <a href="https://www.ndt.nl/en/team/marcos-morau/" target="_blank">Marcos Morau</a> and <i>Say Something </i>by <a href="https://www.trinitylaban.ac.uk/alumni/alumni-profiles/sarah-golding/" target="_blank">Sarah Goldring</a> and<a href="https://www.yukikomasui.com/" target="_blank"> Yukiko Masui</a>. The cast for both shows were <a href="https://ndcwales.co.uk/vito-bintchende" target="_blank">Vito Bintchende</a>, <a href="https://ndcwales.co.uk/jill-goh" target="_blank">Jill Goh</a>, <a href="https://ndcwales.co.uk/niamh-keeling" target="_blank">Niamh Keeling</a>, <a href="https://ndcwales.co.uk/mario-manara" target="_blank">Mario Manar</a>a, <a href="https://ndcwales.co.uk/bianca-mikahil" target="_blank">Bianca Mikahil</a>, <a href="https://ndcwales.co.uk/ed-myhill" target="_blank">Ed Myhill</a>, <a href="https://ndcwales.co.uk/euan-stephen" target="_blank">Euan Stephen</a>, <a href="https://ndcwales.co.uk/faye-tan" target="_blank">Faye Tan</a> and <a href="https://ndcwales.co.uk/tim-volleman" target="_blank">Tim Volleman</a>. These were two very different works.</div><div><br /></div><div><i>Waltz </i>started with the dancers enveloped in a black hood with diamante sequins that sparkled in the dim light. A recording of <a href="https://www.youtube.com/watch?v=Bi4OnSPc3Yc" target="_blank">Sibelius's </a><i><a href="https://www.youtube.com/watch?v=Bi4OnSPc3Yc" target="_blank">Valse Triste</a> </i>was played. Gradually the dancers unfurled and formed some extraordinary shapes of which the most memorable was something that reminded me of the DNA double helix. Eventually, they separated though their movements were synchronized. There is a very good video on the work at <a href="https://www.youtube.com/watch?v=nXp05s1mQr4&t=23s" style="font-style: italic;" target="_blank">Waltz by Marcos Moreau</a> and more information on the <i><a href="https://ndcwales.co.uk/waltz" target="_blank">Waltz</a> </i>page. </div><div><br /></div><div>According to the programme notes:</div><div><blockquote>"A haunting waltz plays in the distance. From the ashes a tangle of shining creatures emerge to inhabit a new world. In the chaos and turbulence their only hope is to remain united."</blockquote><p>I have to say that was not my interpretation, Perhaps because I focused on the double helix I thought it was about the origin of life in the primordial soup and the beginning of evolution. I should have added that the music changed as the piece progressed. Sibelius was followed by <i>Suspirium</i> by Thom Yorke, <i>Crawler</i> by Holly Herndon and <i>Pneum</i>a by Caterina Barbieri. I had heard the Sibelius before but not the other works. The ingeniously designed customers were by Elizabeth Catherine Chiu (Costume Supervisor and Maker) and Danial Thatcher (Maker). Lighting was designed by Bernat Jansà and programmed by Will Lewis. </p><p><i>Say Something </i>was a vibrant, exuberant, percussive work with plenty of beatbox sounds. There were pulses of light and colour. The video <i><a href="https://www.youtube.com/watch?v=cq1aytFDqXc&t=35s" target="_blank">Say Something by Sarah Golding and Yukiko Masui (SAY)</a> </i>describes it far more accurately than I ever could. The programme notes state: "Say Something explores what it means to 'represent', and the ever-growing expectation to have a voice." I don't think the piece needed an interpretation. For me, it was enough to enjoy the kaleidoscope of sound, light, movement and colour. The music was by MC Zani and Dean Yhnell. Lighting was designed by Joshie Harriette. The very striking costumes were by George Hampton Wale.</p><p>Euan Stephen was part of the panel for the Q&A after the show. He was asked how long he had been a dancer. As he was about to answer the gentleman next to me whispered "That's my boy".Euan had danced well in the show so congratulations were in order. I was able to express my appreciation to him personally as he was standing with his parents as I was leaving the theatre. It was quite a good Q&A with questions ranging from the rehearsal times for the two productions to the company's work for <a href="https://jelterps.blogspot.com/2023/02/dance-for-parkinsons-in-pontio-centre.html" target="_blank">Dance for Parkinson's</a> about which I had written before. I was very heartened to learn that the company always tried to include some of its own choreography in its Parkinson's classes.</p><p>The day after tghe show I tweeted the following:<br /></p></div>
<blockquote class="twitter-tweet"><p dir="ltr" lang="cy">Sioe wych yn <a href="https://twitter.com/theLBT?ref_src=twsrc%5Etfw">@theLBT</a> ddoe. Mwynheais i "Waltz" a "Say Something". Hefyd, y Holi ac Ateb. Falch o gwrdd ag Ewan a'i fam a'i dad wedyn. Dwi'n ysgrifennu adolygiad rwan. Gobeithiaf eich gweld yng Nghaerdydd rhyw ddydd.</p>— Jane Lambert (@nipclaw) <a href="https://twitter.com/nipclaw/status/1659496690057920515?ref_src=twsrc%5Etfw">May 19, 2023</a></blockquote><p>That means:</p><p></p><blockquote>"Great show at @theLBT yesterday. I enjoyed both "Walrz" and "Say Something," Also the Q&A. Pleased to meet Euan's mum and dad. I'm writing the review now. Hoping to see you in Cardiff one of these days."</blockquote><p></p> <script async="" charset="utf-8" src="https://platform.twitter.com/widgets.js"></script>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-24915085690976084882023-05-26T09:10:00.012+01:002023-05-26T09:32:41.662+01:00Northern Ballet's "Sketches"<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnQ47sDnGSY3c-QEwP55kNNxngXn_ZM8gr_TB-gQdsNd6hOk-JE-OwUbk4PCEcOaoRa7jh77-KwUnxehb73Xx4Rb4OF-fjBR2TeqsqzRGrAIjOxamFwGG8XT03Nv6VIqAwF8mooszYWAUGJdu27Y6YZZ3ggwmZ7MEsThtBUpeSUpLv7479mpYvPEEqGA/s3648/La_Petite_Danseuse_de_Quatorze_Ans_by_Edgard_Degas,_1881_-_Ny_Carlsberg_Glyptotek_-_Copenhagen_-_DSC09283.jpeg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3648" data-original-width="2736" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgnQ47sDnGSY3c-QEwP55kNNxngXn_ZM8gr_TB-gQdsNd6hOk-JE-OwUbk4PCEcOaoRa7jh77-KwUnxehb73Xx4Rb4OF-fjBR2TeqsqzRGrAIjOxamFwGG8XT03Nv6VIqAwF8mooszYWAUGJdu27Y6YZZ3ggwmZ7MEsThtBUpeSUpLv7479mpYvPEEqGA/w300-h400/La_Petite_Danseuse_de_Quatorze_Ans_by_Edgard_Degas,_1881_-_Ny_Carlsberg_Glyptotek_-_Copenhagen_-_DSC09283.jpeg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: center;">Edgar Degas, Little Dancer<br /><div style="text-align: left;"><span style="font-size: xx-small;"><b>Photo </b>Daderot <b>Licence </b><a href="https://creativecommons.org/publicdomain/zero/1.0/deed.en" target="_blank">CCO 1.0</a> <b>Source </b><a href="https://commons.wikimedia.org/wiki/File:La_Petite_Danseuse_de_Quatorze_Ans_by_Edgard_Degas,_1881_-_Ny_Carlsberg_Glyptotek_-_Copenhagen_-_DSC09283.JPG" target="_blank">Wikimedia Common</a>s</span></div></td></tr></tbody></table><br /> <p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><span style="font-size: x-small;"><b><br /></b></span></p><p><span style="font-size: x-small;"><b><br /></b></span></p><p><span style="font-size: x-small;"><b>Northern Ballet</b> <i><a href="https://northernballet.com/theatre/sketches" target="_blank">Sketches</a> </i>Stanley & Audrey Burton Theatre, Leeds 5 May 2023 19:30</span></p><p>One of the highlights of my coronation bank holiday weekend turned out to be Northern Ballet's choreographic showcase <i><a href="https://northernballet.com/theatre/sketches" target="_blank">Sketches</a> </i>at the Stanley & Audrey Burton Theatre on 5 May 2023. Six of the company's dancers presented short ballets that they had created. There was also a work by <a href="https://theplace.org.uk/profile/jamaal-burkmar" target="_blank">Jamaal Burkmar</a> and a screening of an extract from <i><a href="https://northernballet.com/digital-dance/short-films/every-little-thing-is-a-change" target="_blank">Every Little Thing is a Change</a>. </i>The reason why that show turned out to be one of the highlights of my weekend was not that I was underwhelmed by events in London. It was because the show had exceeded my expectations. I had attended choreographic workshops by Northern Ballet before which were good as far as they went. <i>Sketches</i> was so much better.</p><p>The evening began with an introduction by <a href="https://northernballet.com/biography/federico-bonelli" target="_blank">Federico Bonelli</a>. He explained that this was an opportunity for the company's dancers to try their hand at choreography. For several of them, it had been their first opportunity to do so. He said he would present each of the choreographers to the audience and invite them to describe their works. He asked us to bear in mind that some of the works were unfinished. He added that the dancers had been mentored by three established choreographers: Northern Ballet's own <a href="https://www.kennethtindall.com/" target="_blank">Kenneth Tindall</a>, <a href="https://www.nscd.ac.uk/people/sharon-watson/" target="_blank">Sharon Watson</a>, Principal of the Northern School of Contemporary Dance and former Artistic Director of Phoenix Dance Company and <a href="https://www.mthuthuzelinovember.co.uk/" target="_blank">Mthuthuzeli November</a> of Ballet Black.</p><p>The first of the company's choreographers was <a href="https://northernballet.com/biography/gavin-mccaig" target="_blank">Gavin McCaig</a>. Readers of this blog will know that I have followed that dancer's progress with interest ever since he joined the company. I interviewed him in <i><a href="https://jelterps.blogspot.com/2014/09/meet-gavin-mccraig-of-northern-ballet.html" target="_blank">Meet Gavin McCaig of Northern Ballet</a> </i>on 3 Sept 2014 and he was my first guest at <i>The Stage Door </i>during lockdown (see <i><a href="https://jelterps.blogspot.com/2020/05/gavin-mccaig-in-conversation-with-his.html" target="_blank">Gavin McCaig in Conversation with his Friends</a> </i>4 May 2020. McCaig offered us <i>A Trio of Sketches: </i>a solo for <a href="https://northernballet.com/biography/george-liang" target="_blank">George Liang</a>, a work for an ensemble<i> </i>and a duet for Liang and <a href="https://northernballet.com/biography/julie-nunes" target="_blank">Julie Nunès</a> which I believe he said he will expand into a <i>pas de deux, </i>He added that the last of those works had been commissioned by Elmhurst Ballet School for its 100th-anniversary celebrations. The dancers for his group work were Nunes, <a href="https://northernballet.com/biography/rachael-gillespie" target="_blank">Rachael Gillespie</a>, <a href="https://northernballet.com/biography/dominique-larose" target="_blank">Dominique Larose</a>, <a href="https://northernballet.com/biography/kaho-masumoto" target="_blank">Kaho Masumoto</a>, <a href="https://northernballet.com/biography/harriet-marden" target="_blank">Harriet Marden</a>, <a href="https://northernballet.com/biography/aerys-merrill" target="_blank">Aerys Merrill</a>, <a href="https://northernballet.com/biography/alessia-petrosino" target="_blank">Alessia Petrosino</a>, <a href="https://northernballet.com/biography/aurora-piccininni" target="_blank">Aurora Piccininni</a>m, <a href="https://northernballet.com/biography/sena-kitano" target="_blank">Sena Kitano</a>, <a href="https://northernballet.com/biography/bruno-serraclara" target="_blank">Bruno Serraclara</a>, <a href="https://northernballet.com/biography/andrew-tomlinson" target="_blank">Andrew Tomlinson</a>, <a href="https://northernballet.com/biography/antoni-canellas-artigues" target="_blank">Antoni Cañellas Artigues</a>, <a href="https://northernballet.com/biography/harry-skoupas" target="_blank">Harry Skoupas</a>, <a href="https://northernballet.com/biography/stefano-varalta" target="_blank">Stefano Varalta</a> and <a href="https://northernballet.com/biography/mackenzie-jacob" target="_blank">Mackenzie Jacob</a>. <br /><br />This was not the first time that I had seen McCaig's work. I had been impressed the last time I had seen his choreography which was before the pandemic. This time I marvelled at how far his style had developed and matured. McCaig is still a young man with many years on stage ahead of him but I have no doubt that he will have an equally impressive career as a choreographer.</p><p><a href="https://northernballet.com/biography/katharine-lee" target="_blank">Katherine Lee</a> created <i>Sweet Rain</i> for <a href="https://northernballet.com/biography/filippo-di-vilio" target="_blank">Filippo Di Vilio</a>, Kaho Masumoto, <a href="https://northernballet.com/biography/archie-sherman" target="_blank">Archie Sherman</a>, <a href="https://northernballet.com/biography/gemma-coutts" target="_blank">Gemma Coutts</a> and <a href="https://northernballet.com/biography/sean-bates" target="_blank">Sean Bates</a> to the music of<a href="https://en.wikipedia.org/wiki/Beach_House" target="_blank"> Beach House</a>. In the programme notes, Lee stated that the dancers invoke the music to express something about despair and hope.</p>Bruno Serraclara presented <i>Starlit Minds.</i> That consisted of a solo for Andrew Tomlinson and a group piece for a group consisting of Tomlinson, Artiguesm, Sherman, Skoupas, <a href="https://northernballet.com/biography/jun-ishii" target="_blank">Jun Ishii</a>, Varalta, Jacob, Petrosino and <a href="https://northernballet.com/biography/harris-beattie" target="_blank">Harris Beattie</a>. In the programme, Serraclara wrote that bad times are golden because they lead to better things and that receiving empathy and support from strangers can transform our moodes. <div><br /></div><div>To celebrate the 10th anniversary of <i>Expressions </i>(Norhern Baller's inclusive dance festival) and also to give the dancers a rest, Bonelli introduced <i>Every Little Thing is a Change</i>. One of the few positives from the pandemic has been the blossoming of the dance film as a new art form. Directed by <a href="https://www.benwright.info/about.html" target="_blank">Ben Wright</a> the film is a collaboration between dancers from Northern Ballet and dancers on the company's<i> Ability </i>course. From the snippet that we saw, the project seems to have worked well. I look forward to watching and reviewing the complete work,</div><div><br /></div>Filippo Di Vilio presented <i>Us,</i> a piece for Sherman, Beattie, Nunès, Coutts and <a href="https://northernballet.com/biography/jackson-dwyer" target="_blank">Jackson Dwyer</a>. In his programme notes, de Vilio explained that his work did not necessarily have a story and that the audience should make their own interpretations. The movements of his dancers represented everyday experiences in life, some good and others not so good.<div><br /></div><div>Burkmar is a Leeds based choreographer who trained at the Northern School of Contemporary Dance. While still a student he created <i>Ocean </i>for which he received an award. On 8 Sept 2015 he won the New Adventures Choreographic Award from <i>New Adventures: Re Bourne</i> (a charity set up by Sir Matthew Bourne) against still competition from other promising young choreographers (see the press release <i><a href="https://new-adventures.net/news/naca-2016-winner-announced" target="_blank">NACA 2016 WINNER ANNOUNCED</a> </i>8 Sep 2015). Burkmar's work <i>Whack World </i>included <a href="https://northernballet.com/biography/joseph-taylor" target="_blank">Joseph Taylor</a>, <a href="https://northernballet.com/biography/sarah-chun" target="_blank">Sarah Chun</a>. J<a href="https://northernballet.com/biography/jonathan-hanks" target="_blank">onathan Hanks</a> as well as Bates, Ishii, Petrosin<span face="GraphikRegular, HelveticaNeue, Helvetica, Arial, sans-serif" style="color: #222222;"><span style="font-size: 14px;">o, </span></span>Merrill and <a href="https://northernballet.com/biography/helen-bogatch" target="_blank">Helen Bogatch</a>. According to the programme, this was the first time that the choreographer had worked with classically trained dancers. We were told that much of the show was improvised which seems to account for its spontaneity and exuberance. The convergence of two very different dance schools is risky because it does not always work. This time it did.</div><div><br /></div><div>Harris Beattie's <i>Men Undone </i>explored male depression and suicide and focused on the difficulties that men face in expressing their emotion and seeking to connect with each other. To stress that point he placed his dancers side by side rather than face to face as he might have placed women. Beattie danced in his piece together with koupas, Serraclara, Dwyer and Tomlinson. I took that as a sign of commitment to his work. II found it very thoughtful and thought-prpvoking. It also took courage for a young choreographer to address such a complex and difficult theme so early in his career because the message might easily have been lost.<br /><br />One of my favourite works was George Liang's <i>Out of Breath. </i>His dancers were Taylor. Bates, Hanks, Ishii, Sherman, Di Vilio, Bogatch, Nunès, Bramante and <a href="https://northernballet.com/biography/kirica-takahashi" target="_blank">Kirica Takahashi</a>. I liked his music and wish the programme or website had stated what it was. I also liked Liang's message "If you find yourself caught up in a whirlwind of excitement ot despair, remember to pause and take a breath.." I copied it from the programme but I would have guessed it from the choreography.<br /><br />I was pleased that Bonelli introduced each work personally. Although he has been in post for only a year, he is already making a difference to the company. I have seen him at every performance that I have attended since he became artistic director. I think that is appreciated by the dancers and reciprocated in their performances. </div>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-29376851528520122382023-04-29T10:43:00.030+01:002023-04-30T10:22:01.890+01:00BRB2 in Nottingham<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/vOCakuUDopk" title="YouTube video player" width="420"></iframe><div><span style="font-size: xx-small;">Standard YouTube Licence</span></div><div><span style="font-size: xx-small;"><br /></span></div><div><span style="font-size: x-small;">BRB2 <a href="https://trch.co.uk/whats-on/brb2-2023/" target="_blank"><i>Carlos Acosta's Classical Selection</i> </a>Theatre Royal, Nottingham, 28 April 1930</span></div><div><span style="font-size: x-small;"><br /></span></div><div>Nearly 10 years ago I was in Amsterdam for the first performance of the Dutch National Ballet's Junior Company (see <i><a href="https://jelterps.blogspot.com/2013/11/the-junior-company-in-perforance.html" target="_blank">The Junior Company of the Dutch National Ballet - Stadsshouwburg Amsterdam 24 Nov 2013</a> </i>25 Nov 2013). I had come to see <a href="https://michaeladeprince.com/about/" target="_blank">Michaela De Prince</a> about whom I had heard a lot. She did not disappoint me, but she was not the only artist who impressed me. The other members of the cast were super talented too. Several are now principals in the Dutch National Ballet and other companies.<br /><br />The Junior Company has greatly strengthened the Dutch National Company by attracting some of the world's best young dancers, Because of its success I urged British companies to set up their own junior companies. The Central School of Ballet set up <a href="https://www.balletcentral.co.uk/?_gl=1%2Anb478s%2A_up%2AMQ..%2A_ga%2AMzYzMjQ2NzguMTY4MjcyNTkxMg..%2A_ga_3QDP4BN5QH%2AMTY4MjcyNTkxMS4xLjEuMTY4MjcyNTkzMy4wLjAuMA.." target="_blank">Ballet Centr</a>al to tour the South, Ballet West had a company that toured Scotland and Northern Ballet had Manchester City Ballet which gave several excellent performances in the Dancehouse. But that was not quite the same as the Dutch National Ballet's Junior Company as none of those student companies was associated with an established company.</div><div><br /></div><div>I first learned about BRB2 when I attended <i><a href="https://www.brb.org.uk/shows/an-evening-with-ashton" target="_blank">An Evening with Ashton</a> </i>at Elmhurst. That was a master class on Ashton's<i> Rhapsody</i> given by Lesley Collier. Ashton had created that piece for Collier and <a href="https://en.wikipedia.org/wiki/Mikhail_Baryshnikov">Mikhail Baryshnikov</a> and the dancers Collier taught were <a href="https://www.brb.org.uk/profile/frieda-kaden" target="_blank">Frieda Kaden</a> and <a href="https://www.brb.org.uk/profile/oscar-kempsey-fagg" target="_blank">Oscar Kempsey-Fagg</a>, Carlos Acosta introduced them as members of BRB2, Birmingham Royal Ballet's junior company (see <i><a href="https://jelterps.blogspot.com/2023/01/an-evening-with-ashton-and-launch-of.html" target="_blank">An "Evening with Ashton" and the Launch of an English Junior Company</a> </i>30 Jan 2023).</div><div><br /></div><div>The company is now on tour. According to the programme, their debut was in Northampton on Tuesday 25 April 2023. Nottingham is their second stop. Their next will be Peterborough on 3 and 4 May, London on 13 and 14 June and finally Wolverhampton on 24 June. When I visited Elmhurst someone told me that Northampton would be the best place to see them because they would have a live orchestra. Had it been possible I would have been there. Sadly, barristers tour at least as much as ballet dancers and I had a breakfast meeting in Colwyn Bay at 09:00 the day after their Northampton show. Even without an orchestra, BRB2 were impressive. I would have trekked down the M1 to see them again tonight had Powerhouse Ballet's company class not been scheduled for this afternoon in Salford. I will try to catch them again at the Linbury or elsewhere on the tour. <br /><br />The format of last night's show was very similar to the Dutch National Ballet Junior Company's. Except for <i>Majisimo </i>which was the finale the show consisted of solos, duets and <i>pas de deux. </i>The first part consisted of four very well-known works plus Carlos Acosta's bolt-on of Descombey's <i>Dying Swan </i>to Fokine's which he called <i>Dying Swans. </i>The second part of the show consisted of seven less familiar works. Two of the works that I saw yesterday were also in the Dutch National Ballet's opening performance, namely the pas de deux from Act II of <i>Swan Lake </i>and <i>Diana and Actaeon</i>.</div><div><br /></div><div>The show opened with an empty stage except for a travelling barre and other touring paraphernalia. One by one the artists walked on stage. They limbered up as if preparing for class. Two of them, Kaden and Kempsey-Fagg, peeled away and approached that front. A backdrop fell to hide the other dancers and they performed <i>Rhapsody </i>just as Collier had taught them at Elmhurst. They had impressed me even in the master class. Yesterday they were polished and confident and executed the piece with flair. There could not have been a better start to the show.</div><div><br /></div><div>The backdrop was lifted to reveal the company again. This time <a href="https://www.brb.org.uk/profile/olivia-chang-clarke" target="_blank">Olivia Chang Clarke</a> appeared in a romantic tutu and <a href="https://www.brb.org.uk/profile/eric-pinto-cata" target="_blank">Eric Pinto-Cata</a> in a kilt to dance the<i> pas de deux</i> from <i>La Sylphide. </i>Their piece turned out to be the high point of my evening. That may have been partly because I love Bournonville's ballet very much and know it well but credit must also go to the dancers. Pinto-Cata was the perfect James with his powerful <i>tours en l'air </i>and Chang Clarke was a delightful sylph, playful and flirtatious. I almost wept at the thought of what Madge's shawl would do to her.</div><div><br /></div><div><a href="https://www.brb.org.uk/profile/ma%C3%AFl%C3%A8ne-katoch" target="_blank">Maɨlȅne Katoch </a>and <a href="https://www.brb.org.uk/profile/mason-king" target="_blank">Mason King</a> followed with the <i>pas de deux </i>from Act II of <i>Swan Lake. </i>Interestingly, Katoch had written on her web page that her dream would be Odette-Odile because she finds it interesting to be able to interpret an ethereal and delicate swan and then a mischievous swan. It must have pleased her to have been given a taste of her dream role so early in her career. I am sure it will not be long before she performs the whole role. King partnered her gallantly. Not hard to envisage him as a principal in the not-too-distant future. </div><div><br /></div><div>I had seen Javier Torres perform Descombey's <i>Dying Swan </i>at Northern Ballet's 45th anniversary in 2015 and had admired the work greatly (see <i><a href="https://jelterps.blogspot.com/2015/03/sapphire.html" target="_blank">Sapphire</a> </i> 15 March 2015). I would have enjoyed watching it again in its original form and I am sure that <a href="https://www.brb.org.uk/profile/jack-easton" target="_blank">Jack Easton</a> would have danced it magnificently. I would have enjoyed Fokine's <i>Dying Swan </i>even more for the reason I gave in to <i>Sapphire. </i>I am sure that <a href="https://www.brb.org.uk/profile/regan-hutsell" target="_blank">Regan Hutsell </a>would have danced it exquisitely. Combining the two works and their music to create a solo did not work for me. I had to switch between the two alternately as though I was watching two separate ballets at the same time. That way I appreciated Easton and Hutsell's considerable virtuosity.</div><div><br /></div><div><i>Diana and Actaeon </i>had been the highlight of my evening in Amsterdam because De Prince and <a href="https://www.operaballet.nl/en/dancers/sho-yamada" target="_blank">Sho Yamada</a> displayed exceptional virtuosity. The ballerina enters the stage to Pugni's punchy music practically jumping on <i>pointe. </i> I had described De Prince as "quite simply the most exciting dancer I have seen for quite a while" and she will always be my Diana just as Antoinette Sibley will always be my Titania. <a href="https://www.brb.org.uk/profile/beatrice-parma" target="_blank">Beatrice Parma</a>'s interpretation was softer, more delicate, more Ashtonesque perhaps? <a href="https://www.brb.org.uk/profile/enrique-bejarano-vidal" target="_blank">Enrique Bejarano Vidal</a> was spectacular.</div><div><br /></div><div>Part 2 opened to a blue background with several dancers seated around tables. There is a suburb of Buenos Aires near the cemetery where Eva Peron is buried called La Recoleta which is famous for its cafes. As the second piece was Gustavo Mollajoli's <i>A Buenos Aires</i> to <a href="https://en.wikipedia.org/wiki/Astor_Piazzolla" target="_blank">Astor Piazzolla'</a>s music I was transported there. <br /><br />However, the second part began with Ben Stevenson's apocalyptic <i>End of Time </i>danced hauntingly by <a href="https://www.brb.org.uk/profile/lucy-waine" target="_blank">Lucy Waine</a> and Kempsey-Fagg to Rachmaninov's Cello <i>Sonata in G Minor. </i>Stevenson started his career with the precursor of the Birmingham Royal Ballet and he did great things in Houston including sheltering Li Cunxin according to <i><a href="https://en.wikipedia.org/wiki/Mao%27s_Last_Dancer_(film)" target="_blank">Mao's Last Dancer. </a></i></div><div><br /></div><div>Kaden and Easton were the first couple to leave the table to dance <i>A Buenos Aires. </i>They were followed by Hutsell's spirited <i>Je ne regret rien </i>t<i>It i</i>o <a href="https://www.koninklijkeballetschool.be/en/alumni/ben-van-cauwenbergh" target="_blank">Ben van Cauwenbergh's</a> interpretation of Edith Piaf's famous song. She was followed by Vidal's <i>Les Bourgeois</i> also by van Cauwenbergh. He tottered around the stage clutching a bottle executing unusual jumps and turns to Jacques Brel's music prompting loads of laughs from the audience. As <i>bouré </i>is another word for "drunk" in French I quipped on Twitter that he gave a whole new meaning to <i>pas de bourrée. </i>It is however very difficult to clown successfully in ballet and those who can carry it off are abundantly talented.</div><div><br /></div><div>I enjoyed Acosta's <i>Carmen </i>much more than his <i>Dying Swans. </i>Chang Clarke reminded me a little of <a href="https://en.wikipedia.org/wiki/Zizi_Jeanmaire" target="_blank">Zizi Jeanmaire </a>who will always be my Carmen though I had seen her only on film. Wearing her hair loose she danced the <i>pas de deux</i> with Cata passionately. it was one of my favourite pieces from Part 2. My other favourite from Part 2 was Will Tuckett's <i>Nisi Dominus </i>danced by <a href="https://www.brb.org.uk/profile/lucy-waine" target="_blank">Lucy Waine</a> to Montiverdi's <i>Vespers. </i>Sacred music does not often fit well with ballet for many reasons but Tuckett's choreography seemed to work well with the score.</div><div><br /></div><div>The evening finished with Kaden, Vidal, Katoch and King together with <a href="https://www.brb.org.uk/profile/rachele-pizzillo" target="_blank">Rachele Pizzillo</a>, <a href="https://www.brb.org.uk/profile/ryan-felix" target="_blank">Ryan Felix</a> and Ava May Llewellyn in Jorge Garcia's <i>Majissimo</i> to Massenet's music. The piece focused on each of the artists to demonstrate his or her skills and strengths. It was a good way to round off a very successful evening.</div><div><br /></div><div>Carlos Acosta and <a href="https://www.brb.org.uk/profile/kit-holder" target="_blank">Kit Holde</a>r, BRB2's artistic coordinator, are to be congratulated. The company could not have made a better start. One of the strengths of the Dutch Junior Company is that they draw heavily on their heritage as well as their talented up-and-coming choreographers. There is always a van Manen and van Dantzig in their repertoire as well as new works by <a href="https://www.operaballet.nl/en/het-nationale-ballet/ernst-meisner" target="_blank">Ernst Meisner</a> and <a href="https://milenasidorova.com/" target="_blank">Milena Siderova</a>. The Birmingham Royal Ballet also has a rich heritage. In future, I would like to see a little more Ashton and maybe some MacMillan, Peter Wright and Bintley as well as perhaps pieces by Holder himself and other young choreographers. <br /><br />Now that two of Europe's leading ballet companies have junior companies it is likely that a friendly rivalry between the two will spur them both to even greater achievements. But I also hope there will be more than rivalry. I would love to see what BRB2's artists would make of <a href="https://www.youtube.com/watch?v=xUqhlzZeL-8" style="font-style: italic;" target="_blank">In the Future </a>or<i> <a href="https://www.youtube.com/watch?v=ZQjdGZrXkdM&t=39s" target="_blank">No Time Before Time</a>. </i>The<i> </i>Dutch National Ballet's Junior Company remains my first love. I will continue to support it in any way I can. But I can now take pride in an excellent English junior company. I shall follow, encourage and support it too. <br /></div>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-72937930953943340952023-03-29T10:31:00.007+01:002023-03-29T10:42:35.027+01:00Eleven Days with Nunez<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzzlFyRHTK02kc5F2tXLtzSxytAo7Y2-Y2iCszMQJU78guE34TDCpMhyyC_rcWZ94tFdL6UDyYGl3n1eEZgodqlJSn3rV7xfJV70gcYfudIkO_Rr4Qx6m14O-FWvIe1B2HQ4291CSs3SRDirLnt9kMzCXKPik29bkU5Bc-M5kb4rrDIDhrusfWhwP45g/s612/Marianela_Nunez_01.png" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="555" data-original-width="612" height="363" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhzzlFyRHTK02kc5F2tXLtzSxytAo7Y2-Y2iCszMQJU78guE34TDCpMhyyC_rcWZ94tFdL6UDyYGl3n1eEZgodqlJSn3rV7xfJV70gcYfudIkO_Rr4Qx6m14O-FWvIe1B2HQ4291CSs3SRDirLnt9kMzCXKPik29bkU5Bc-M5kb4rrDIDhrusfWhwP45g/w400-h363/Marianela_Nunez_01.png" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="font-size: xx-small;"><b>Author</b> <a href="https://commons.wikimedia.org/w/index.php?title=User:Fiora1913&action=edit&redlink=1" target="_blank">Fiora1913</a> <b>Licence </b><a href="https://creativecommons.org/licenses/by-sa/4.0/deed.en" target="_blank">CC BY-SA 4.0</a> <b>Source </b><a href="https://commons.wikimedia.org/wiki/File:Marianela_Nunez_01.png" target="_blank">Wikipedia Commons</a></span></td></tr></tbody></table><span style="font-size: xx-small;"><br /> </span><p></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><br /></p><p>The latest <i>Danceworks </i>newsletter offers early bird discounts on a range of courses, masterclasses and intensives. One that grabbed my attention was an <a href="https://danceworks.com/summerintensive/" target="_blank">11-day summer intensiv</a>e with <a href="https://www.roh.org.uk/people/marianela-nunez" target="_blank">Marianela Nuñez</a> and <a href="https://teatrocolon.org.ar/en/artistas/alejandro-parente" target="_blank">Alejandro Parente,</a> The course starts at 09:00 on Thursday 17 Aug 2923 and continues until 13:00 on 31 Aug 2023. Dancers can attend the course at Danceworks' premises or online. The cost of attending the studio is £950 unless booked before 30 March 2023 in which case it reduces to £900, The cost of attending online is £200.</p>My readers will need no introduction to Marianela Nuñez. She has been a principal ballerina with the Royal Ballet for over 20 years. One of my<a href="https://www.youtube.com/watch?v=PTSmxuJne4I" target="_blank"> favourite clips on YouTube </a>is the flower throw to celebrate her 20th anniversary with the company after she had danced <i>Giselle. </i> Although Nuñez trained at the Royal Ballet School and has spent her entire career with the Royal Ballet, she was born in Argentina. As a Hispanophone, she would have been brought up on <i>Don Quixote. </i>When cast as Carlos Acosta's first Kitri she dazzled audiences with her performance in that role.<div><br /></div><div>Less well-known in this country is Alejandro Parente although he has already given classes at Danceworks. He is a compatriot of Marianela Nuñez who dances with the <a href="https://en.wikipedia.org/wiki/Teatro_Col%C3%B3n" target="_blank">Teatro Colón</a> ballet as a principal. When the International Bar Association visited Buenos Aires I attended a reception at the theatre and a tour afterwards which is massive. I have yet to see a show there. On both of my two visits to Argentina, the theatre was closed. <br /><br />Danceworks' intensive is not for everyone. Attendees much have reached intermediate status or above, Danceworks makes clear that this is no course for beginners. Nor, I imagine, is it a course for <a href="https://jelterps.blogspot.com/2023/03/returning-to-my-beginners-class-after.html" target="_blank">those who started ballet 54 years ago when already an adult</a>. Although I try hard not to envy the attendees at this intensive I cannot help reflecting on how much I would have enjoyed this opportunity to dance with two of the greats when I was younger, stronger and more agile.<br /><br />For those who do not know the studio, Danceworks is at 16 Balderton Street, London, <a href="https://www.google.com/maps/place/Danceworks/@51.5132083,-0.1546127,17z/data=!3m2!4b1!5s0x48761adfe060ffbd:0x52571074e41b2c91!4m6!3m5!1s0x4876052d63c76435:0xde8ee91611326ab7!8m2!3d51.513205!4d-0.152424!16s%2Fg%2F1tf74_fc?authuser=0" target="_blank">W1K 6TN</a>. It is not far from Bond Street underground. The entrance to the street is almost opposite Selfridges. The studio's phone number is 020 7629 6183. </div>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-40289055754903562132023-03-27T08:56:00.008+01:002023-03-27T09:09:37.904+01:00Next Year in Amsterdam<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/n8z-Yoww-4s" title="YouTube video player" width="420"></iframe><div><span style="font-size: x-small;">Standard YouTube Licence</span></div><div><span style="font-size: x-small;"><br /></span></div><div>The Dutch National Ballet has just announced its <a href="https://www.operaballet.nl/en/nieuw-seizoen-2324/het-nationale-ballet?utm_source=nieuwsbrief&utm_medium=email&utm_campaign=2223-seizoenspresentatie-nieuwsbrief-21-maart&utm_term=cta+ballet+programma&utm_content=151948&utm_id=8c460004-2c20-42a7-86e8-c0a9bfc9cd06&sfmc_activityid=e8eced8e-e7ba-4edd-b80e-65a8aae828f9&utm_medium=email#producties" target="_blank">programme</a> from 16 Sept 2023 to 6 July 2024. It includes new works by <a href="https://waynemcgregor.com/about/wayne-mcgregor/" target="_blank">Wayne McGregor</a>, <a href="https://www.juanjoarques.com/" target="_blank">Juanjo Arqués</a>, <a href="https://milenasidorova.com/" target="_blank">Milena Siderova</a>, <a href="https://www.wubkje.com/" target="_blank">Wubkje Kuindersma</a> and <a href="https://www.operaballet.nl/en/dutch-national-ballet/ted-brandsen" target="_blank">Ted Brandsen </a>as well as <a href="https://www.operaballet.nl/en/dutch-national-ballet/2023-2024/giselle" style="font-style: italic;" target="_blank">Giselle</a>, <i><a href="https://www.operaballet.nl/en/dutch-national-ballet/2023-2024/raymonda" target="_blank">Raymonda</a> </i>and Annabelle Lopez Ochoa's <i><a href="https://www.operaballet.nl/en/dutch-national-ballet/2023-2024/frida" target="_blank">Frida</a>.</i></div><div><i><br /></i></div><div>Here are the works in chronological order:<br /><ul style="text-align: left;"><li>16-30 Sep 2023 <a href="https://www.operaballet.nl/en/dutch-national-ballet/2023-2024/four-temperaments" target="_blank"><i>Four Temperaments</i><span face="Fakt, sans-serif"><i><span style="background-color: white;"> </span></i></span></a><span face="Fakt, sans-serif"><i><span style="background-color: white;"> </span></i><span style="background-color: white;">(a mixed bill consisting of </span></span><i><span style="box-sizing: inherit;">The Four</span> Temperaments</i> by George Balanchine, <i>Frank Bridge Variations </i>by Hans van Manen, <i>The Chairman Dances </i>by Ted Brandsen and a new ballet by Juanjo Arqués)</li><li>25 Sep 2023 <i><a href="https://www.operaballet.nl/en/dutch-national-ballet/2023-2024/new-moves-season-20232024" target="_blank">New Moves </a></i>(short pieces by up-and-coming choreographers within the company)</li><li>12 Oct - 19 Nov 2023 <i><a href="https://www.operaballet.nl/en/dutch-national-ballet/2023-2024/giselle" target="_blank">Giselle</a> </i></li><li>9 Dec 2023 - 1 Jan 2024 <i><a href="https://www.operaballet.nl/en/dutch-national-ballet/2023-2024/raymonda" target="_blank">Raymomda</a></i></li><li>3 Feb-17 Mar 2024 <a href="https://www.operaballet.nl/en/dutch-national-ballet/2023-2024/10" target="_blank">Junior Company, Tenth Anniversary Tour</a> </li><li>8-25 Feb 2024 Annabelle Lopez Ochoa <i><a href="https://www.operaballet.nl/en/dutch-national-ballet/2023-2024/frida" target="_blank">Frida</a> </i></li><li>9-24 Mar 2024 Wayne McGrego <i><a href="https://www.operaballet.nl/en/dutch-national-opera-ballet/2023-2024/oedipus-rex-antigone" target="_blank">Oedipus Rex/Antigon</a>e </i></li><li>30 Mar-14 Apr 2024 <i><a href="https://www.operaballet.nl/en/dutch-national-ballet/2023-2024/dancing-dutch" target="_blank">Dancing Dutch</a> </i>(a mixed bill consisting of contributions by Jiří Kylián, Hans van Manen, David Dawson and Milena Sidorova)</li><li>15-25 Jun 2024 Ratmansky <i><a href="https://www.operaballet.nl/en/dutch-national-ballet/2023-2024/stravinsky-fairy-tales" target="_blank">Stravinsky Fairy Tales</a> </i></li><li>28 June 2024 <i><a href="https://www.operaballet.nl/en/dutch-national-ballet/2023-2024/gala" target="_blank">Gala</a> </i>and </li><li>5-6 Jul 2024 <i><a href="https://www.operaballet.nl/en/dutch-national-ballet/2023-2024/dancers-tomorrow-2024" target="_blank">Dances of Tomorro</a>w </i>End-of-year production by the Dutch National Ballet Academy.</li></ul><div>Booking information is available on the <a href="https://www.operaballet.nl/en/your-visit/visitor-information/ticket-information" target="_blank">Ticker Information page</a>,</div></div><div><br /></div><div>An event that took place last May which I have only just discovered is <i><a href="https://www.operaballet.nl/en/news/future-documentary" target="_blank">In the Future,</a> </i>a collaboration between the company and dance groups from across the Netherlands. <i>In the Future </i>is one of Hans van Manen's best-known works and the Junior Company has incorporated it into its repertoire (see <a href="https://jelterps.blogspot.com/2018/04/in-future-junior-companys-fifth.html" target="_blank">"<i>In the Future" - Junior Company's Fifth Anniversary Performance</i></a> 17 April 2016). The Junior Company danced that piece in a programme that included Irish, Indian, Lindy Hop and many other styles of dance. It must have been a wonderfully exuberant occasion. The rehearsals and highlights of the show have been captured in a remarkable film entitled <i><a href="https://www.youtube.com/watch?v=ka_YL0Noc8I&t=330s" target="_blank">Documentary In The Future: Professionals and amateurs celebrate the future of dance - HNB</a>. </i>I recommend this film. It shows not only the rich diversity of dance in Amsterdam but is also an introduction to the many communities that live in that city. </div><div> </div><div>I have been coming to Amsterdam for nearly years by train, plane and car. The quickest and cheapest but also the least comfortable way of getting there is by air. Some airfares from Leeds, Liverpool and Manchester are very reasonable. The Eurostar tends to be more expensive and travellers who live outside London have to add the return fare to St Pancras but there are advantages. There is no need to queue with plastic bags of tiny bottles, mobile phones and laptops. Passport control can be cleared before boarding the train. Even a full standard class carriage is more spacious than any aeroplane. Even with the slow and temperamental onboard wifi, it is possible to keep in touch with the world.</div><div><br /></div><div>Board and lodging are generally cheaper than in London. For those on a budget, the <a href="https://www.bastionhotels.com/en-gb" target="_blank">Bastion</a> chain of hotels is comparable in tariffs and standards of accommodation with Travelodge and Premier Inns. There are no Bastion properties in the city centre but the Amstel is close to Overamstel underground station. That is only 2 stops from Waterlooplein, the station for the National Opera and Ballet auditorium. There are several other Bastion hotels near the airport. Hotels within walking distance of the auditorium such as the Ibis and Holiday Inn are more expensive but not outrageously so. When I am in Amsterdam to work my first choice is the Radisson at Rusland. Close to the Radisson and not far from the auditorium is the <a href="https://hemelsemodder.nl/en/" target="_blank">Hemelse Modder</a> (literally, "Heavenly Mud") which is my favourite restaurant in Amsterdam. </div><div><br /></div><div>There is already plenty of information about the Rijksmuseum, the Van Gogh's Museum and Anne Frank's house. Less well known but well worth seeing are the <a href="https://jck.nl/en" target="_blank">Jewish Museum and the Portuguese Synagogue</a> just across the road from the National Opera and Ballet auditorium. I spent the best part of a day and a half exploring the complex on my last visit to Amsterdam.</div><div><br /></div><div>Eeaders can now understand why I visit Amsterdam so often,</div>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-41351498134524941892023-03-22T19:24:00.003+00:002023-03-22T19:27:43.626+00:00Returning to my Beginners' Class after 54 Years<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/1npKybkg7vs" title="YouTube video player" width="420"></iframe><div><span style="font-size: x-small;">Standard YouTube Licence</span></div><div><span style="font-size: x-small;"><br /></span></div><div>In<i> <a href="https://jelterps.blogspot.com/2017/02/ballet-at-university.html" target="_blank">Ballet at University</a> </i>27 Feb 2017, I recounted how the St Andrews Ballet Clun was founded more than half a century ago. A year later I attended the 50th-anniversary gala of the founding of the Club and reviewed it in <i><a href="https://jelterps.blogspot.com/2018/05/st-andrews-university-dance-clubs-50th.html" target="_blank">St Andrews University Dance Club's 50th Anniversary Gala</a> </i>on 5 May 2018. The Club has grown and prospered over the years and now offers a wide range of classes as can be seen from its <a href="https://dance.wp.st-andrews.ac.uk/" target="_blank">website.</a> It has its own range of branded merchandise and has even set up an alumnus network which I have joined.</div><div><br /></div><div>I was invited back to St Andrews last month to give a talk to the student Law Society. As the website advertised a beginners' ballet class the very next day I emailed the president with a request to attend that class 54 years after I had learned my first <i>pliés</i> and <i>tendus</i>. I received this welcoming reply almost immediately:<br /><blockquote>"It would be an honour if you attended our beginner ballet class this week! Here is a quick description of how our class is going to run from our beginner ballet teacher, Bronwen:<br /><br />We’ll start with a quick dynamic stretch and cardio warmup (with modifications for anyone who isn’t comfortable with jumping). Then we’ll do a couple of barre exercises (probably some plies, ronde de jambe, battement glisse) and some centre work on balancés, pirouettes, sautés and glissades. (We might not get through all of these - it really just depends on timing.) Then for the second half of the class we’ll learn a new section of the show choreography to the song <i>Skyfall </i>by Adele, incorporating some of the steps we worked on in the centre exercises. Modifications will be available for all the exercises for anybody who needs them."</blockquote><p>I made the class and met Bronwen. She was very pleasant and tolerant of all my faults - which were manifold as I can see from the video of my performance that a friend took for me. We did basic barre, some centre exercises and then some choreography. Just before the class broke up we were briefed by a committee member on the arrangements for the annual show.</p><p>According to the Byre Theatre website, there will be two student dance shows this year. <i><a href="https://byretheatre.com/shows/university-of-st-andrews-dance-club-presents-dance-club-showcase-icons/" target="_blank">Dance Club Showcase Icons</a> </i>on 1 and 2 April 2023 and the <i style="color: var(--h1_typography-color); font-family: Poppins; font-size: var(--h1_typography-font-size); font-weight: var(--h1_typography-font-weight);"><a href="https://byretheatre.com/shows/blue-angels-spring-gala-through-the-looking-glass/" target="_blank">Blue Angels Spring Gala: Through the Looking Glass</a> </i><span color="var(--h1_typography-color)" style="font-family: Poppins; font-size: var(--h1_typography-font-size); font-weight: var(--h1_typography-font-weight);">on 5 April 2023. I am not sure where the beginners' class will perform but I would love to see them. As you can see from the video they put on a pretty good show the last time they performed.</span></p><p><span color="var(--h1_typography-color)" style="font-family: Poppins; font-size: var(--h1_typography-font-size); font-weight: var(--h1_typography-font-weight);">As I wrote in <i>Ballet at University, </i>I was prompted to contact the St Andrews Dance Club by a review of a full-length ballet that had been staged by the <a href="http://www.cambridgeballetclub.co.uk/" target="_blank">Cambridge University Ballet Club</a> that appeared on the Balletco Forum website. That is a much bigger club which is perhaps to be expected as Cambridge is a bigger university. They had presented s<a href="http://www.cambridgeballetclub.co.uk/gallery.html" target="_blank">ome excellent shows in the pas</a>t though not recently/. </span></p><p><span color="var(--h1_typography-color)" style="font-family: Poppins; font-size: var(--h1_typography-font-size); font-weight: var(--h1_typography-font-weight);">I enjoyed my time at St Andrews and learned a lot of which my <i>pliés </i>and <i>tendus </i>continue to serve me well.</span></p></div>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-83529999323005089082023-03-21T23:57:00.007+00:002023-03-22T00:02:46.539+00:00Lynn Seymour - A Personal Recollection<iframe allow="accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share" allowfullscreen="" frameborder="0" height="236" src="https://www.youtube.com/embed/om38Ie_JIcQ" title="YouTube video player" width="420"></iframe><div><span style="font-size: x-small;">Standard YouTube Licence</span></div><div><span style="font-size: x-small;"><br /></span></div><div>I am sad to learn of the death of <a href="https://en.wikipedia.org/wiki/Lynn_Seymour" target="_blank">Lynn Seymour</a>. I never met her or had any dealings with her but I saw her several times on the stage of Covent Garden when she would have been at the height of her career. I saw her in many roles but the one that I remember best is Juliet. Kenneth Macmillan created that role for her. While I have seen many other Juliets I always associate that role with her and none other. <br /><br />Although she would have been in her early thirties when I first saw, her she could shed the years to become the excited teenager looking forward to her first grown-up ball. I could sense her excitement at meeting Romeo on the balcony, her conflicting passions on learning of the death of Tybalt at the hands of that same Romeo, her despair on being forced to marry Paris and her apprehension on taking Friar Lawrence's potion, Seymour's performance is still the yardstick by which I measure every other Juliet </div><div><br /></div><div>As there have been many obituaries I won't add another. <a href="https://www.theguardian.com/stage/2023/mar/12/lynn-seymour-obituary" target="_blank">Jane Pritchard's</a> for <i>The Guardian </i>is as good as any other. There is also a <a href="https://www.roh.org.uk/news/remembering-lynn-seymour-1939-2023" target="_blank">tribute to her</a> on the Royal Opera House's website.,</div>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-10493530369852902562023-03-20T12:03:00.008+00:002023-03-20T12:10:47.499+00:00Digwyddiad Cyntaf yng Nghymru - February Company Class in Myndd Isa<p></p><table align="center" cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left; margin-right: 1em; text-align: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0cH0isINsWmZQBREQz8bnUlgItX2PSs-VhPzz6uoHSh0r2nim0WdqvYT9JhxW9SugjdPP55nu1ddtQ7WW7J6bTPJBdr_G2tWZ25TuR_jJdCMtNoBjqKz9JbbGV5rLgiR77gcEY9LUztyky__h6WZa1Z_xs0LgYkyCoX6cisOJPWeI3x1hjfpUmheh5Q/s1124/332113951_859082195194311_9127282407203031453_n%20(1).jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="1124" data-original-width="843" height="400" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj0cH0isINsWmZQBREQz8bnUlgItX2PSs-VhPzz6uoHSh0r2nim0WdqvYT9JhxW9SugjdPP55nu1ddtQ7WW7J6bTPJBdr_G2tWZ25TuR_jJdCMtNoBjqKz9JbbGV5rLgiR77gcEY9LUztyky__h6WZa1Z_xs0LgYkyCoX6cisOJPWeI3x1hjfpUmheh5Q/w300-h400/332113951_859082195194311_9127282407203031453_n%20(1).jpg" width="300" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="font-size: xx-small;">© 2023 Powerhouse Ballet: all rights reserved</span></td></tr></tbody></table><p></p><div style="text-align: left;"><span style="font-size: xx-small;"><br /></span></div><div style="text-align: left;"><span style="font-size: xx-small;"><br /></span></div><div style="text-align: left;"><span style="font-size: xx-small;"><br /></span></div><div style="text-align: left;"><span style="font-size: xx-small;"><br /></span></div><span style="font-size: xx-small;"><br /> </span><p></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p>I was inspired to found <a href="http://www.powerhouseballet.co.uk/" target="_blank">Powerhouse Ballet </a>by the examples of the <a href="https://www.thechelmsfordballetcompany.co/" target="_blank">Chelmsford Ballet Company</a> in Essex and the <a href="http://www.duchyballet.co.uk/" target="_blank">Duchy Ballet</a> in Cornwall, As Huddersfield is about the same size as Chelmsford and has good road and rail connections with Manchester, Leeds and Sheffield I thought about basing the new company in Huddersfield and calling it the Huddersfield Ballet, I decided to broaden it to Powerhouse Ballet because the original concept of the Northern Powerhouse was a Leeds to Liverpool agglomeration as a counterweight to London (see my article <i><a href="https://ipnorthwest.blogspot.com/2014/04/creating-northern-counterweight-to.html" target="_blank">Creating a Northern Counterweight to London is good for the Nation</a> </i>5 April 2014 IP Northwest). That is why I resolved to alternate monthly events between Yorkshire and the Northwest.</p><p>We held our first company class in Huddersfield in May 2018 and attracted 11 dancers "from Salford in the west and York in the east, from Harrogate in the north and Birmingham in the south and points in between" (see <i><a href="http://www.powerhouseballet.co.uk/2018/05/we-have-company.html" target="_blank">We have a Company</a></i> 27 May 2018 Powerhouse Ballet). We held our second class in Manchester in June and attracted four beautiful dancers from Wales. Two of them, Holly Middleton and Alicia Jelley, were chosen by Terence Etheridge to dance in his ballet <i>Aria. </i>They rehearsed assiduously for 6 months even though they are busy young women with careers and families. The distances they had to travel were enormous as rehearsals alternated between Leeds and Manchester and on one occasion York.</p><p>During that time I promised them events west of Manchester including at least one in Wales just as soon as they could be arranged. The pandemic and the closure of our studios in Liverpool and Manchester delayed the delivery of that promise until 25 Feb 2023 when we held our first company class at <a href="https://www.elitedanceandfitness.co.uk/dance.html" target="_blank">Elite Studios</a> in Myndd Isa near Mold. The class was delivered by Alicia Jelley who teaches at the studios. It included Sarah Lambert, Sue Pritchard, Holly Middleton, a very gifted local dancer and me. It was not a big class but it was a very good one. Alicia worked us very hard at the barre, in the centre and in the choreographic exercises.<br /><br />Elite Studios is an excellent venue. It is very close to the A55 and there are acres of free parking in the village centre and behind the studio. There is a Sainsbury's local with an ATM and <a href="https://www.youtube.com/watch?v=d9BLig6xD5M" target="_blank">a fish and chip shop that would delight Gareth the Orangutan </a>nearby. The studio has two well-equipped studios with fixed barres and well-sprung floors, ample changing facilities for both men and women and excellently maintained bathrooms. We shall certainly be back. <br /><br />As soon as it can be arranged I plan to hold a residential summer school which will alternate between the university cities of York and Bangor. According to Christie Barnes, <a href="https://www.yorksj.ac.uk/" target="_blank">York St John University</a> could host the York school. We have already held a <i>Gisell</i>e workshop and a rehearsal for <i>Aria </i>there. The Bangor venue could be a recently opened youth theatre called <a href="https://franwen.com/" target="_blank">Frân Wen</a>. We have already recently received an expression of interest from its management. There is a lot of work to be done and I am not sure that I will be ready by this summer but we have made a start,<br /></p>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-12344776631402057752023-03-19T17:26:00.007+00:002023-03-19T17:28:09.150+00:00Sleeping Beauty Workshop<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ2OCSTwHQNwnVhR2Dk422gQk_ZExZe55a-5YIPBzrNjBz_P9MVZQkSiCBpoQkIYtkJ-Iw0oFT7ZNxm_ImJQGfg79YJdQazbvy4rh2gP2qfaIm9rHEefHDwUyyZkB95FH_cTPEvi2jKKWWXj2BytJuX2M_oC8vAhTs2bSKWyiS8VWx1pSz5lZceqSRgQ/s1080/328536269_748158026675714_2493781225487299460_n.jpg" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="810" data-original-width="1080" height="300" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhJ2OCSTwHQNwnVhR2Dk422gQk_ZExZe55a-5YIPBzrNjBz_P9MVZQkSiCBpoQkIYtkJ-Iw0oFT7ZNxm_ImJQGfg79YJdQazbvy4rh2gP2qfaIm9rHEefHDwUyyZkB95FH_cTPEvi2jKKWWXj2BytJuX2M_oC8vAhTs2bSKWyiS8VWx1pSz5lZceqSRgQ/w400-h300/328536269_748158026675714_2493781225487299460_n.jpg" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="font-size: x-small;">© 2023 Powerhouse Ballet: all rights reserve</span></td></tr></tbody></table><br /> <p></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><br /></p><p><a href="https://ballet.cymru/about/beth-meadway-3/" target="_blank">Beth Meadway</a> is one of Ballet Cymru's most experienced dancers. She joined the company in 2017 and has performed many of the leading female roles in the company's repertoire. She danced Helena and the wall in <i>Dream </i>which toured the country last year (see <i><a href="https://jelterps.blogspot.com/2022/11/ballet-cymru-at-its-best.html" target="_blank">Ballet Cymru at its Best</a> </i>13 Nov 2022). Just before Christmas, I saw her in <i>A Child's Christmas in Wales </i>and <i>Terms and Conditions </i>at the Pontio Centre in Bangor. After the show, I invited her to give <a href="http://www.powerhouseballet.co.uk/" target="_blank">Powerhouse Ballet</a> an online Post-Christmas class and a workshop in Leeds in the New Year.</p><p>As we are keen to develop our repertoire and need pieces that we can rehearse quickly in case we are invited to perform at short notice Beth offered to teach us three of the <a href="https://www.youtube.com/watch?v=izoTSiXkPHE" target="_blank">fairy variations</a> from the Prologue of <i>The Sleeping Beauty. </i>Each of those solos is very short. Last Autumn's <i>Giselle</i> showed that we have members east and west of the Pennines who could perform solos.</p><p>Our workshop took place at Dance Studio Leeds on 12 Feb 2023. It consisted of a full 90-minute class with a thorough barre and the usual centre exercises. After a short break, Beth played us the music for the Fairy of the Crystal Fountain and then showed us the choreography. She taught us two more variations in the workshop.<br /><br />Beth comes from our region. She was born in Hull and trained in Leeds before she went to Central. She also attended Northern Ballet's Pre-Profesional Programme after she graduated. It is a joy to watch one of our own establish herself in a very competitive occupation. Beth was one of the trainers when we hosted Ballet Cymru's Dylan Thomas and <i>Giselle</i> workshops at Yorkshire Dance in 2018 and 2021 and she delivered two great online workshops for us during covid and after Christmas. We look forward to her continued success and - if she can spare us the time - working with her yet again.</p>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0tag:blogger.com,1999:blog-247709781486325765.post-42503552945628845172023-03-18T10:50:00.016+00:002023-03-18T11:02:58.965+00:00Essex Excellence - The Chelmsford Ballet's Cinderella<p></p><table cellpadding="0" cellspacing="0" class="tr-caption-container" style="float: left;"><tbody><tr><td style="text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrXYoSW0UefEPYwPlEZBh2X9f-Q24hXcbkW95T3iawj0ER9R0wGwqcrymItJ4ISPilRapGp0QOzaN8QrE2QPnuGRMvKf46qVA5SwyfkxVEVhFxOJCV00q8DNYF7-bgPU5DZnK0QGdtx5DjAOYL3koHx3BUHSKhvBO8ruoUWpIfh77ZZvjsTzOVF9NymA/s4537/DSC_0128.JPG" style="clear: left; margin-bottom: 1em; margin-left: auto; margin-right: auto;"><img border="0" data-original-height="3459" data-original-width="4537" height="305" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhrXYoSW0UefEPYwPlEZBh2X9f-Q24hXcbkW95T3iawj0ER9R0wGwqcrymItJ4ISPilRapGp0QOzaN8QrE2QPnuGRMvKf46qVA5SwyfkxVEVhFxOJCV00q8DNYF7-bgPU5DZnK0QGdtx5DjAOYL3koHx3BUHSKhvBO8ruoUWpIfh77ZZvjsTzOVF9NymA/w400-h305/DSC_0128.JPG" width="400" /></a></td></tr><tr><td class="tr-caption" style="text-align: left;"><span style="font-size: xx-small;">(c) 2023 Chelmsford Ballet Company: all rights reserved <b>Licence </b>Courtesy of the company</span></td></tr></tbody></table><span style="font-size: xx-small;"><br /> </span><p></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: xx-small;"><br /></span></p><p><span style="font-size: small;"><br /></span></p><p><span style="font-size: x-small;"><span>Chelsea Ballet Company </span><i><a href="https://chelmsfordtheatre.co.uk/events/cinderella-the-chelmsford-ballet-company/" target="_blank">Cinderella</a> </i><span>Chelmsford Theatre 17 March 2023 19:30</span></span></p><p>Chelmsford is a community about the size of Huddersfield and the same distance from London as Huddersfield is from Leeds, Manchester and Sheffield. Although Chelmsford has been a city for many years in the ecclesiastical sense as it has a <a href="https://www.chelmsfordcathedral.org.uk/" target="_blank">cathedral</a> it was elevated to city status in the municipal sense in 2012 to celebrate the late Queen's diamond jubilee. While Huddersfield is renowned for its <a href="https://www.huddersfieldchoral.com/" target="_blank">choral society</a> Chelmsford has an institution that is at least as precious, namely the <a href="https://www.thechelmsfordballetcompany.co/" target="_blank">Chelmsford Ballet Company</a>.</p><p>Chelmsford Ballet Company is a company of artists who live and work or study in and around Chelmsford. Although some of its members have made a career in dance - including one of my dear <a href="https://northernballet.com/academy/about-the-academy/teaching-faculty" target="_blank">teachers at Northern Balle</a>t Cara O'Shea - many do not. I shall <b><i><u>not </u></i></b>call those artists "amateurs" because that description has connotations of aspiration rather than achievement. In the quality of its productions and the enjoyment that its audiences experience the Chelmsford Ballet stands comparison with many companies of full-time dancers.</p><p>Every March the company stages a full-length ballet or mixed bill in Chelmsford's Civic Theatre. This year it presented its own version of <i>Cinderella. </i>The score was by <a href="https://en.wikipedia.org/wiki/Alexander_Glazunov" target="_blank">Glazunov</a> and not <a href="https://en.wikipedia.org/wiki/Sergei_Prokofiev" target="_blank">Prokofiev</a> and the choreography was by the company's artistic director Annette Potter with the important contribution of a <i>pas de trois</i> for Cinderella, her prince and his footman from one of my longstanding, favourite choreographers <a href="https://jelterps.blogspot.com/2014/03/christopher-marney.html" target="_blank">Christopher Marney</a>. One of the company's strengths is the quality of its sets, costumes, lighting and special effects. Annette Potter designed the sets, Ann Starlings the costumes and Alana Holland the lighting. This year we were treated to indoor pyrotechnics when the Fairy Godmother cast off her cloak to reveal a dazzling tutu, Cinderella set off for the ball and at the finale. I do not know who takes credit for those fireworks but they were spectacular.</p><p>Another strength of the Chelmsford Ballet is that it finds a role for as many of its members as possible. These include the children who performed as mice and the adults who danced as fairy godmother's assistants, seamstresses, ladies of the court, court dancers, the hours of the clock and guests at the wedding. All of those performers danced well and all deserve congratulations but if I gave each and every one of them her due in this review it would resemble a telephone directory.</p><p>The lead roles were, of course, the prince danced by Nicola Marchionni and Cinderella danced by Isabelle Fellows. They performed their roles with fluency and flair. They impressed me particularly in their first duet with movements that required considerable virtuosity and more than a little daring. They communicated ecstasy to the audience. Appreciating the difficulty I applauded them specifically for that sequence. I have no idea whether they could have heard clapping from row "O" but they know about it now.<br /><br />The other important female characters were the fairy godmother danced elegantly by Samatha Ellis and the step sisters Alycia Potter and Georgia Olley. The sisters were my favourites and I can assure readers that there is nothing "ugly" about either of them in real life. I was able to congratulate one of them on the way out of the theatre when I deposited a somewhat larger contribution to the company's charity than I would otherwise have made. It is very difficult to clown in ballet and they showed their virtuosity in the dancing lesson by collapsing into splits. I was reminded of Paddington Bear at Her Majesty's platinum jubilee when one of the sisters took the teapot and poured its contents down her throat from the spout.</p><p>The three other males were Neil Harget who was Cinders's long-suffering dad, Alexander Evans who was the tailor and pageboy and James Fletcher who also performed several roles including Marney's <i>pas de trois </i>with Marchioni and Fellows. All were impressive but I have to give special praise to Evans. He is still very young but I am sure he will go far. He has stage presence in spades. I was particularly amused by his chutzpah as he extracted the last wad of banknotes from a father on his way to <a href="https://en.wikipedia.org/wiki/Queer_street" target="_blank">Carey Street</a>. </p><p><i>Cinderella</i> continues at the Civic for one more day and if you can make it to Chelmsford either for the matinee or the evening show you will be amply rewarded.</p>Jane Lamberthttp://www.blogger.com/profile/04987025483761092818noreply@blogger.com0