Chelmsford Ballet's First Show Since the Pandemic

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The Chelmsford Ballet Company is older than Northern Ballet, Scottish Ballet and even English National Ballet. This little news clip records its formation. Clearly, the founders were resourceful and enterprising. Not surprising given that many of the City's movers and shakers hail from Essex.  I am proud to say that I am a non-dancing member of the Chelmsford Ballet.  I am tempted to attend an audition in June to see whether I could qualify as a dancing member.  

In the middle of March of every year, Chelmsford Ballet stages a full-length ballet or mixed bill in the city's Civic Theatre.  I watched and reviewed every one of those annual shows between 2014 and 2019. I missed the 2020 show because of covid.  There was no show last year for the same reason.  I am glad to see that the company will return to the Civic between 16 and 19 March 2022 to perform Beatrix Potter™ Tales in association with Frederick Warne & Co. 

According to the Civic's website:

"Many of the delightful Beatrix Potter characters enjoyed by generations are brought to life in this imaginative balletic interpretation.

We see Beatrix engrossed in her work & watch as some of her characters come to life such as Peter Rabbit, Jeremy Fisher, Squirrel Nutkin, Mrs. Tiggy-Winkle, adding to the excitement a flying Jemima Puddle-Duck trying to escape from Mr. Toad."

Save for an occasional young professional at the start of his or her career who may be engaged to perform a principal role most of the artists are child or adult dance students. There is however nothing amateurish about their performances.  Particularly impressive is their computer-generated special effects.  A projection of the growth of a forest around Aurora's castle in The Sleeping Beauty was breathtaking.  Equally remarkable is their wardrobe department (see the headpieces of the snow wolves in the 2017 production of The Snow Queen).

I plan to watch the opening night. My review will appear a few days later.

Chelmsford Ballet Update

River Chelmer

Author Roy Gray
Licence Creative Commons Attribution-Share Alike 2.0
Source Wikipedia

Folk in the rest of the UK tend to be very unkind about Essex even though there is much to admire in that county. For a start it possesses some beautiful countryside as you can see from the photo of the River Chelmer from which Chelmsford derives its name. Also, it has one of the nation's oldest ballet companies of which I am proud to say I am a non-dancing associate member.

In order to graduate from associate to dancing member one has to be accepted at an audition which takes place once a year.  Those who are accepted are considered for the annual show in March as well as special events and workshops.

This year's auditions will take place on 24 June 2018. There are three classes of membership and the criteria are as follows:

"GENERAL DANCERS
Age 13 years on 1st September in the year of the audition and holding a Grade 2 Ballet certificate (or above) or be working at an equivalent level.
SENIOR DANCERS
Age 13 years on 1st September in the year of the audition – Female dancers should be working “en pointe”.
JUNIOR DANCERS
Age 10 years and not more than 12 on 1st September in the year of the audition and holding a Grade 2 Ballet certificate (or above) or be working at an equivalent level."

Those who are accepted for any grade of membership are expected to show a reasonable degree of commitment to the company.  Obviously I can't do all that from Holmfirth but I would have applied for general dancer membership like a shot had I lived in Essex. Those who can make the grade and offer the required level of commitment should apply by completing and lodging this application form before 10 June.

If you are accepted at the audition you qualify for all sorts of fun things like workshops with Ballet Central and Sir Matthew Bourne's company, New Adventures.   Ballet Central's took place on 22 April and was aptly described in the notice to members as a "perfect after show treat." You can say that again. I am green with envy.

Chelmsford's joint patron is none other than Chris Marney who was a magnificent Count Lilac in Bourne's production of The Sleeping Beauty and is now Artistic Director of Ballet Central.  The dancers from Chelmsford Ballet have an opportunity "to sample innovative and exciting repertoire and work on story telling and characterisation in dance" on Sunday 8 July 2018. The blurb from Chelmsford (appropriately on a lilac background) states:

"This is an amazing chance to participate in a workshop specifically tailored for the Chelmsford Ballet Company, which will allow all grades of dancing members an opportunity to understand the process of narrative dance and to work on characterisation."

Finally a note to my fellow Northerners. We could do this sort of thing if we ever get Powerhouse Ballet off the ground.  In the short term Karen Sant has offered us a day's intensive training in Manchester, Ballet West a week in Scotland and Terence Etheridge a fantastic experience in Cornwall. We have got Northern Ballet and Phoenix on our doorstep. They would almost certainly be willing to help. We have excellent links with all the other leading companies in the UK and even beyond.

But in order to get off the ground we need a full class of dancers in Huddersfield on Saturday 26 May 2018 at 15:00.  You have the opportunity of a FREE 90-minute class with Jane Tucker, one of the best teachers in the business, for which you would have to pay £7 plus a £5 registration fee in Leeds or £15 in Manchester. Opportunities live this do not grow on trees.

Powerhouse Ballet

Last week I saw a brilliant performance of The Snow Queen by the Chelmsford Ballet Company which I reviewed in Chelmsford's Dazzling Snow Queen,  A couple of weeks earlier I saw an innovative performance of The Nutcracker by Duchy Ballet of Truro in which a Sugar Rum Cherry replaced the Sugar Plum Fairy.

Wouldn't it be lovely to do something like that in the North I mused on the long trek home. With great teachers throughout the region, lots of able and enthusiastic adult dance students, top professional companies for inspiration and great ballet schools, we ought to be able to do at least as well.

I canvassed the idea on Facebook and found that lots of other people with the same idea. We discussed how to get started.  We decided that a good way would be advertise a free class at a convenient venue with a teacher who is well known on both sides of the Pennines and see who turns up.  I have already received an expression of interest from an excellent teacher who meets that criterion and I have shortlisted some possible studios.

As I hope that the company will straddle the Pennines I have provisionally called the project "Powerhouse Ballet".  If folk don't like that name we can easily call it something else after we get started.  For now I have registered the domain name "powerhouseballet.co.uk" and set up a website in that name. Over the next few days I shall talk to dance agencies, the RAD,

If anyone wants to discuss this project call me on 07966 373922 or message me through my contact form.

Chelmsford's Dazzling Snow Queen

Lucy Abbott and Scarlett Mann as the Snow Queen's Wolves

Author Andrew Potter
Copyright 2017 Chelmsford Ballet Company - all rights reserved

Reproduction licensed by kind permission of the company

Chelmsford Ballet Company Snow Queen The Civic Theatre, Chelmsford, 24 March 2018, 19:30

I have been coming to Essex to see the Chelmsford Ballet Company's annual show since 2014. All the shows I have seen have been good but every show that I have seen since 2015 has been better than the last.  When I reviewed Alice's Adventures last year in An Adventure Indeed 26 March 2017 I wrote:

"Every show has been excellent but Alice's Adventures which I saw last night was by far the best."

Well, this year the show was even better than ever.

Not only that but it was in a different class. The company presented a production that would have been a credit to any professional company with original choreography, elaborate sets, lavish costumes and beautiful dancing as well as an efficient and welcoming front of house team. Every aspect of the production was impressive right down to the design and content of the programme. Even more remarkably. the members of that company did it at least largely (and probably entirely) by themselves.

I am a non-dancing associate member of Chelmsford Ballet Company and, even though I had no part in it, I am enormously proud of that production and everyone who contributed to it. Most of all, I am proud to be associated with an institution that has contributed much to the cultural and social life of Chelmsford and Essex for nearly 70 years.

The ballet to which I refer was The Snow Queen.  It was created by Annette Potter, the company's artistic director.  The libretto followed Hans Christian Andersen's story closely which meant that there were lots of scenes with plenty of roles for dancers of all ages and all levels of experience.  Her music was selected from Glazunov's 4th and 5th Symphonies and The Seasons.  The choice of those pieces was inspired for they fitted the story beautifully.

The central characters in the ballet are Kai ("Kay" in this production) and Gerda.  Kay was danced by James Parratt who had impressed me in Chris Marney's War Letters when he was still a student (see
Images of War: Ballet Central's "War Letters" and other Works 29 April 2016. He impressed me again last Saturday with his portrayal of a troubled and distracted young man. In the story he is charmed by the wicked snow queen but I saw something more in his performance. It was a study of personality change, a condition that caused him to turn against Gerda and withdraw from his community.

He was led back by the faithful Gerda whose role was danced delightfully by Georgia Olley. This was the first time that I had noticed Olley and I hope that it will not be the last for she is very talented. She does not appear to be a guest artist so she must be a dancing member of the company living in or within commuting distance of Chelmsford. I forgot to ask where she trained and whether she has ambitions to dance professionally but I would be in the least surprised if she does.  She can dance and she can act.  She deserved the loud applause that she received when she took her curtain call.

The other principal character was the snow queen danced splendidly by Samantha Ellis. She seems to get all the regal roles for she was the queen and schoolmistress in Alice's Adventures.  She was attended by two wolves whose costumes were magnificent. Lez Brotherston could not have done better. They looked so lifelike that I would have forgotten that they were human not lupine had it not been for their pointe shoes. Their roles were performed by two of the company's most experienced and able dancers, Lucy Abbott and Scarlett Mann, who had delighted audiences as the lilac fairy and Aurora in The Sleeping Beauty two years ago.

One performer who wins everyone's hears is every production is the company's chairperson, Marion Pettet. If anyone asked me what is meant by stage presence I would send that person to Chelmsford for Pettet has it in spades. She has enchanted me every time I have seen her whether as Mrs Stahlbaum, Britannia, Carabosse or in the prologue in Alice. She was Gerda's grandmother last Saturday, a role that she performed with her usual flair.

There was another grandmother in the ballet who could easily have been eclipsed by Pettet but wasn't. Debbie Snell was Kay's granny and she was impressive too. So, too, was Andrew Potter, another fine dancer who opened the show as the head troll. Potter took the picture of the wolves above. A talented artist in at least two art forms.  Other soloists who delighted me were Olivia Riley as the first river nymph, Stacey Byrne as the woman who knew magic, Holly Scanlan as the crow, Darci Wilsher as the reindeer and James Fletcher (another guest artist) as the Laplander who rescued and revived Gerda.  Everyone in the cast - trolls, ice maidens, villagers, nymphs and gypsies - danced well.

I lost count of the number of scenes - the trolls' workshop, the square in Kay and Gerda's home town, Gerda's grandmother's home. the snow queen's castle, the river where Gerda rested, Lapland - maybe more. Each had elaborate scenery lovingly painted and constructed.  Every detail from the Romanesque arches of the trolls' workshop to the houses in the street and the turrets of the snow queen's castle was a work of art. Perhaps the masterpiece was the snow queen's sleigh. Those who designed, painted and constructed those backcloths and properties deserve special congratulations.

So too, does, Ann Starling, the costume design and wardrobe manager. I have already commended her wolves but all the costumes were great, particularly the snow queen's robes and head dress and the outfits for the crow and reindeer.  Gerda wore the prettiest dirndl. Everybody had fun costumes to wear

Next year marks the company's 70th anniversary and they will celebrate it with a new production of A Midsummer Night's Dream by Annette Potter.  I can barely contain my excitement. But there are plenty of things to do before then including a special workshop for dancing members with our patron Chris Marney and Ballet Central on 22 April 2018 (see What's coming up on the company's website). I urge my readers, particularly those in South East England, to check them out.

So proud of those students and their teacher

Yesterday I celebrated the achievements of Ballet West's first year full time students and members of the school's senior associates programme in Glasgow in Fizzing! Ballet West's Rossini Cocktail 6 Feb 2018. Today I want to applaud the achievements of even younger students who train in the same studios as I do at Quarry Hill in Leeds. The above film records a live class which was broadcast on Facebook yesterday afternoon.

The class is taken by Cara O'Shea who is an excellent teacher.  I first saw her in action in Northern Ballet's Open Day 18 Feb 2014, I wrote:

"Ichino was followed in the studio by Cara O'Shea who taught two groups of junior boys. Her style was very different from Ichino's but equally effective. She has a mellifluous voice which she used as an instrument to coax the best from her pupils. "You've always wanted as audience" she said referring tot us. "Well now you have an audience and if they like you they may clap you." The children, who were already working hard, gave us their very best. They did indeed delight us and how we clapped. She is another wonderful teacher and again I could see that the kids were devoted to her. I would have loved to have been taught by her. In a way she did teach me for I think I learned more about ballet on Saturday from watching the teachers at work that I could from a score of performances or a pile of books,"

A few days later I actually got the chance to be taught by Cara for she stood in for our usual teacher  who was unable to take us on that day. The experience was delightful: "The years simply rolled away. We old ladies were young, energetic and happy today" (see A Treat For Us Old Ladies 27 Feb 2014).

I later learned that Cara and I had something else in common.  She had once danced Aurora in The Sleeping Beauty for the Chelmsford Ballet Company of which I am a proud non-dancing connection.  The company held Cara in enormous affection though they had lost touch with her. As I had attended Cara's classes I was able to tell them all about the marvellous work she was doing in the North of England.  They were so impressed that they invited her back to Essex to give the company a class which I believe they enjoyed tremendously.  If you look at the way she inspired her students yesterday you will easily understand why.

Cara is not only an excellent teacher. She is also a fine choreographer.  I have only seen one of her works, Small Steps, about the rescue of Jewish children from Nazi Germany in commemoration  of the Kindertransport  (see Small Steps and other Pieces - Leeds CAT End of Term Show 2 July 2016). It was profoundly beautiful and very moving and I long to see more.

If you live in or within a reasonable travelling distance of Leeds and have what the subscribers to Balletcoforum call a "DS" (that is to say, boy) or a "DD" (girl)  of the right age who is good at ballet and wants to learn more, you might show him or her this film and suggest an audition. If your child wants to have a go, you should download an application form from Northern Ballet's Applications and Auditions page.  However, do bear in mind that the closing date for applications is approaching fast,

An Adventure Indeed

John Teniel's White Rabbit

Chelmsford Ballet Company Alice's Adventures Chelmsford Civic Theatre, 25 March 2017, 19:30

I have been coming to the Chelmsford Civic Theatre for the Chelmsford Ballet Company's annual show since 2014 (see The Nutcracker as it really should be danced - No Gimmicks but with Love and Joy 20 March 2014, A Delight Indeed 22 March 2015 and A Real Beauty: Chelmsford Ballet's The Sleeping Beauty 25 March 2016). Every show has been excellent but Alice's Adventures which I saw last night was by far the best.

Although the company has staged ballets based on Alice in Wonderland twice before (see the list of productions on the company's website), this was an entirely new production with a new plot, new choreography and new designs with some amazing computer generated graphics and inspired dancing. Save for the score which was Carl Davis's arrangement of various works by Tchaikovsky for English National Ballet's 1995 production of Alice in Wonderland everything was created by members of the company. Annette Potter, the company's artistic director, contributed the story and choreography, Ann Starling the designs and Phil Rhodes the special effects.

The ballet began with a prologue where Alice and her sister took a stroll in a park. There they took tea at an open air café called Hatter's run by a rather eccentric proprietor of the same name. There they spotted a hurried and forgetful businessman with a predilection for carrots, a bossy schoolmistress with a party of children, a sleepy urchin, a street vendor selling carrots among other things and a pair of workmen manhandling a tree. Alice was drawn to a hole in which the workmen tried to plant the tree. She stood on the brink. Then a gauze curtain fell onto which images of Alice floating through space were projected. The curtain rose to show her recumbent on the floor of a strange land with food that made her grow and drink that made her shrink. All the individuals that Alice had seen in the park were transposed to this land. The businessman became a giant white rabbit, the café proprietor the Mad Hatter, the schoolmistress the Queen of Hearts, the urchin the dormouse and the vendor the duchess. Alice took tea with the Mad Hatter, met Tweedle Dum and Tweedle Dee, played croquet with flamingos and hedgehogs and encountered all sorts of other characters narrowly escaping decapitation at the command of the Queen only through a rapid return to the real world where she emerged from what had become a rather disturbing dream.

Annette Potter had a cast that ranged in skill and experience from the company's guest artist, Andrei Teodor Iliescu, to some very young ballet students and she had to create dances for them all.  Her choreography was incredibly ingenious. Here are just two examples. The experience of growing after eating the food labelled "East Me" was achieved by Alice's stretches on pointe. The experience of shrinking by splits on the floor. Potter drew out Iliescu's virtuosity while allowing everyone in between from the youngest student to Alice and the other soloists to shine.

There were a lot of dancers in the show and each and every one excelled from the tiniest hedgehog upwards. Sadly I shall omit some names that deserve substantial credit. All I can say is that you were all stars. You must have felt that from the loud and sustained applause at the reverence and at many points throughout the show.

Iliescu was magnificent as the white rabbit and carrot crunching businessman. Tall and slender all eyes were drawn to him, particularly his graceful jumps and turns. I had last seen him in Leeds in Chris Marney's Scenes from a Wedding for Ballet Central (see Dazzled 3 May 2015). According to the programme, Iliescu came to Central after Sara Matthews spotted him in Lausanne (see his performance as Albrecht in the 2013 competition). He was offered a full scholarship and has been here ever since.

Iliescu was partnered delightfully by Darci Wilsher whom I had last seen in Marney's Carnival of the Animals for the 2015 show. She was the perfect Alice, a role that demanded not only a mastery of technique but also of mime and drama.

Andrew Potter was a splendid Hatter. A great character dancer, he had impressed me as Drosselmeyer in The Nutcracker. I understand that Gary Avis was in the audience on Thursday night. I think he would have been reminded of himself. Samantha Ellis was a fearsome queen and schoolmarm but also occasionally a fetchingly flirtatious young woman whom we couldn't hate. Isabelle Fellows was a fine dormouse, Stacey Byrne an impressive duchess, Scarlett Man a beautiful bluebell, Megan Roberts and Alice Brecknell were a hilarious Dum and Dee and Lucy Abbot an equally amusing half stoned caterpillar.  No show by Chelmsford Ballet would be complete without an appearance by Marion Pettet. She entered in the prologue, a small role but one that she performed with her usual aplomb.

The sets and costumes deserve a special mention. They literally jumped out of Teniel's illustrations. I particularly liked the Cheshire cat which glided above the stage from a gantry. The company has a genius of a special effects designer in Phil Rhodes. I can think of at least one choreographer inspired by film not a million miles from Leeds but who is now in Germany who would have been mightily impressed had he seen those computer generated effects.

This is the company's 70th year and it has achieved a lot. It has launched more than a few careers in dance including that of Cara O'Shea, one of my favourite teachers at Northern Ballet Academy who is also a talented choreographer (see my review of Small Steps and Other Pieces - Leeds CAT End of Term Show 2 July 2016). Chelmsford Ballet will also have inspired three generations of kids to step up to the barre and created a considerable audience for dance in Essex. It is a great example of what dancers, teachers and other artists in a medium size town can do. We have the same building blocks in great profusion in the Northern Powerhouse. Would it not be wonderful to follow Chelmsford Ballet's example there.

12,190!

That was the number of hits that we received in October 2016!  In March 2013, our first full month, we achieved 269 hits and actually dropped to 196 in August of that year. We are now averaging 393 hits in a single day.

I started this blog on the 25 Feb 2013 with a review of Ballet West's performance of The Nutcracker at the Pitlochry Festival Theatre. Since then we have published 777 posts including contributions from Alison Winward, Ciara Sturrock, David Murley, Gita Mistry, Janet McNulty, Joanne Goodman, Mary Howard, Peter Groves and Mel Wong.  My thanks to each and every one of them.

Our most popular article to date was my interview with Gavin McCaig of Northern Ballet on 3 Sept 2014, followed by my reviews of the Junior Company's opening night in Amsterdam on 8 Feb 2016, Ballet West's 2016 Nutcracker and Romeo and Juliet in 2015 and Chelmsford Ballet's Nutcracker in 2014.

This blog has recorded important events in my life such as  my first lesson with the over 55 class of Northern Ballet and my first performance on film with Chantry Dance and my first live performance on the stage of the Stanley and Audrey Burton Theatre.

I have reviewed some great performances such as Ted Brandsen's Mata Hari, David Dawson's Swan Lake, Cranko's Onegin and David Nixon's Midsummer Night's Dream. Some of those shows have been in great theatres like the Stopera and Covent Garden. Others have been local theatres in small towns like the Chelmsford Civic and the Teatro Silvio Pelico in Trecate.

Through blogging I have seen some of the greatest dancers of all time such as Antoinette Sibley and Beryl Gray and shaken hands with some of the great names like Li-Cunxin and Peter Wright. I have also met some fine people - some on stage as dancers and choreographers, others in the studio as teachers and fellow students and many more in the auditorium or at talks who simply share my passion for dance.

I should like to thank all those who have danced for me or created dance for me, all who have taught me dance and all who have contributed in one way or another to this blog.

At Home with the Chelmsford Ballet

Annette Potter, Artistic Director of the Chelmsford Ballet Company

Author Jane Lambert
(c) 2016 Jane Lambert: all rights reserved

I first learned about the Chelmsford Ballet Company nearly three years ago (see The Chelmsford Ballet 15 Dec 2013). I joined the company as a non-dancing associate shortly afterwards. Since joining I have written a lot about the company and attended all its shows (see The Nutcracker as it really should be danced - No Gimmicks but with Love and Joy 20 March 2014, A Delight Indeed 22 March 2015 and A Real Beauty: Chelmsford Ballet's The Sleeping Beauty 25 March 2016. It was only on Sunday that I got a chance to visit the company at its home in Chelmsford.

The occasion was the company's annual general meeting which took place at the headquarters of Chelmsford Young Generation Amateur Music Society ("CYGAMS"). CYGAMS is located on a recreation ground just outside the city centre which would have taken hours to find before the development of satellite navigation. Google maps guided me the 208 miles from my home without a hitch and I reached the room where the meeting was to take place with time in hand.  I already knew the company's chair, Marion Pettet, its artistic director, Annette Potter, and its publicity officer Jessica Wilson. I had met some of the front of house volunteers at the annual shows and, of course, I recognized some of the dancers, but this was my first opportunity to chat with them.

The AGM was conducted very briskly and efficiently but also quite thoroughly. Minutes were approved. The office holders and committee members were introduced. The chair reported on the year's activities which were impressive. The treasurer and other officers reported on their respective stewardships. Everything seemed to be managed most satisfactorily. The officers and committee were re-elected and received a vote of thanks from the floor.

Chelmsford Ballet Company's Rehearsal Studio

Author Jane Lambert
(c) 2016 Jane Lambert - all rights reserved

After the meeting the artistic director showed me the studio where the company class and rehearsals take place and the properties store which are also located in CYGAMS.  As you can see from the photo, the studio is spacious with a sprung floor, a wooden double rail barre, a carpeted area for an audience and a baby grand in the corner. It stands comparison certainly with the studios at the Northern Ballet School where my evening classes with KNT take place and even the top studio of Northern Ballet and Phoenix Dance Theatre's premises at Quarry Hill in Leeds.

Chelmsford and District Model Railway Club

Author Jane Lambert
(c) 2016 all rights reserved

The props store was next to the rehearsal studio and it was a veritable treasure chest.  There were flags, halberds and items of every conceivable kind of scenery. The company had been particularly adventurous and innovative in its use of projected graphics in  its production of The Sleeping Beauty earlier in the year. Annette Potter told me a little about how those effects were achieved. She was very proud of her technicians' expertise and she commended them as warmly as she did her very talented dancers.

As I was about to set off for the trek home to Yorkshire I heard a whistle blast and the chugging of a locomotive. I turned to investigate and found this tiny engine dragging its driver and passengers around a miniature railway track. A kindly gentleman in a smiley faced t-shirt with a North American accent told me that the track was operated by the Chelmsford and District Model Railway Club. He invited me to take a ride and I would gladly have accepted

Photo Jane Lambert
(c) 2016 Jane Lambert All rights reserved 

had it not been for the prospect of a long drive home. There were also miniature traction engines wheezing in the space between the tracks. It all seemed a lot of fun.

I told the North American gentleman that I had driven down from the North to attend the Ballet Company AGM. He told me that the Model Railway Club often receives visits from curious dancers whom it is delighted to welcome. He wished me a safe journey to my Borealian fastness. Coming from the other side of the Atlantic he may well have regarded 208 miles as no big deal. A Sunday afternoon drive if he hailed from somewhere like Texas or Alberta but it was a long way for me.

I have to say that Chelmsford with its friendly people and many activities is my kind of town. It is good that engineering is pursued as energetically and enthusiastically as dancing and the other performing arts that take place at CYGAMS.

I look forward to returning in March (if not before) for Annette Potter's new ballet, Alice's Adventures, which will run at the Civic Theatre from the 22 to 25 March 2017. Other events that will take place shortly are Lets Make a Ballet for local children on 16 Oct 2016 and the Christmas concert with the local choral society in Brentwood on 17 Dec 2016.

A Real Beauty: Chelmsford Ballet's The Sleeping Beauty

Marion Pettet as Carabosse

(c) 2016 Chelmsford Ballet Company, all rights reserved
Reproduction licensed by the company

Chelmsford Ballet Company, The Sleeping Beauty, Chelmsford Civic Theatre, 19 March 2016


Some would say that I am not the best person to write this review on the ground that I am far from unbiased. It is true that I am more than a Friend or well wisher of the Chelmsford Ballet Company as I am an associate member of the company and if I lived nearer I would audition for dancing membership. My membership of this remarkable company, which will celebrate the 70th anniversary of its origins next year, is a source of enormous pride. Never have I been more proud of my membership of the Chelmsford Ballet Company than I was on Saturday evening when I saw its performance of The Sleeping Beauty.

The Sleeping Ballet is not an easy ballet to stage because it is very long and has an enormous cast.  It is also associated in the minds of us Brits with the re-opening of the Royal Opera House on the 20 Feb 1946 with a cast that included Moira Shearer, Leslie Edwards. Gillian Lynne, Henry Danton, Beryl Gray, Michael Somes, Robert Halpmann, Jean Bedells, Harold Turner, Gerd Larsen, Stanley Holden, Pamela May and, of course, Margot Fonteyn. It is therefore a challenge to any company, particularly one that is composed largely of men and women with full time careers outside dance.

Our company responded to that challenge admirably.

First, our choreographer and artistic director, Annette Potter, pruned Petipa's choreography to manageable lengths adapting the work to the capabilities of her dancers who ranged widely in age and experience without sacrificing any of the important and often difficult bits such as the rose adagio or bluebird pas de deux.

Secondly, she had an excellent cast: Scarlett Mann as Aurora who had danced the title role in Pineapple Poll so enchantingly last year (see A Delight Indeed 22 March 2015), Lucy Abbott as the lilac fairy (quite a challenge as the company's co-patron dances Count Lilac in Sir Matthew Bourne's production of The Sleeping Beauty). guest artists Andrei Iliescu as Prince Florimund, Emily Starling as the fairy in the vision and Matthew Powell as one of the princes in the rose adagio, Morgan Wren who has advanced tremendously since I saw him as Fritz in The Nutcracker two years ago (see The Nutcracker as it really should be danced - No Gimmicks but with Love and Joy 20 March 2014) and of course the magnificent Marion Petter as Carabosse. Everybody in the show performed well and the only reason why I have not mentioned them all individually is that this review is long enough already.

The third ingredient of the show's success was its special effects. There were indoor fireworks as Carabosse made her entrances and exits. A menacing image projected onto the backdrop presaged her arrival at Aurora's christening and birthday party. An ingenious animation represented a century's growth of vegetation around Aurora and her family. The programme credited Phil Rhodes with special effects. Clearly he is a talented young man and I hope to see more of his work in future.

There is in fact a lot of talent in Chelmsford.  For me, Marion Pettett stole the show as she did last year as Mrs Dimple and Britannia in Pineapple Poll and the mother in Carnival of the Animals.  She positively exuded evil with her rodent like acolytes. Gita, the other member of Team Terpsichore, likes to choose a man or woman of the match when she attends the ballet as she is an accomplished sportswoman. Her choice for this show was Morgan Wren and I can quite see why. But there is also talent bubbling up from below. The smallest of Carabosse's acolytes had real stage presence as she took her leave of the audience before scurrying off with her evil mistress. I don't know that child's name but I do hope she carries on with her dance and theatre studies because she has great aptitude for the performing arts.  It is worth adding that that young girl was by no means the only young person to show promise.

It is rare for ballet companies to receive a standing ovation in this country but there were more than a few members of the audience who rose to their feet at the end of Saturday evening's show. The audience in the Chelmsford Civic was not unsophisticated. It knew when to clap - for instance the entrance of the principals and difficult bits of the choreography. I don't think that they would rise for anyone or anything without good reason and the fact that so many did on Saturday night speaks volumes for the show.

I do not know what Annette Potter and Marion Pettett are planning for next year's show but as it was in 1947 that Joan Weston organized a troupe of dancers at Broomfield YMCA which became Chelmsford Ballet I am sure that it will be good. Having achieved a lot over the years the company has a lot to celebrate. Though the March show is the highlight of the year the company holds other events such as Let's Make a Ballet for children in the Autumn and the Hutton and Shenfield Choral Society's Christmas show. Occasionally, they arrange coach trips to West End shows. I know we have the Choral but I wish we had a something like the Chelmsford Ballet in Huddersfield.

Chelmsford prepares for The Sleeping Beauty

Cara O'Shea, one of Northern Ballet Academy's most popular teachers, danced Aurora in The Sleeping Beauty with Chelmsford Ballet when she was only 15. In March that role will be danced by Scarlett Mann. She danced the leading role enchantingly in last March's Pineapple Poll  (see Another Photo from Chelmsford's Pineapple Poll 3 April 2015). According to the company's blog she picked up some tips for dancing Aurora from Roberta Marquez herself (see Masterclass with Roberta Marquez 18 Nov 2015 Chelmsford Ballet Company Blog).

As you can see from the events diary there will be a lot of rehearsals over the next few weeks but also some fun. On Saturday 19 Dec 2015 the company will be taking part in "The biggest Christmas musical extravaganza in Essex!" at the Brentwood Centre,  As Essex is not known for doing anything by halves this should be quite an occasion. The dancers will perform excerpts from The Sleeping Beauty while the Hutton and Shenfield Choral Society will sing Once in Royal David's City, Sleigh Ride, Walking In The Air, Cowboy Carol, Have Yourself A Merry Little Christmas, Rudolph the Red-Nosed Reindeer, Hark! The Herald and much more. Tickets cost £16 and may be booked on-line. Looking further ahead I see that the Hutton and Shenfield are singing Ein Deutsches Requiem. The Choral performed that a few years ago here in Huddersfield. It is a lovely work which I recommend.

On 29 Dec 2015 members of the company will travel up to town to see Gillian Lynne's Cats at the London Palladium.  This is one of the most popular shows in the West End and tickets are not easy to obtain. They have hired a coach and driver and have offered the whole package at a remarkably reasonable price. It sounds a lot of fun and if I lived closer to Chelmsford I would have joined them. I wish everyone in the party a very pleasant evening.

After CATS there are rehearsals and more rehearsals for The Sleeping Beauty before the show opens at the Civic Theatre on 16 March 2016. Tickets are on sale and can be booked on-line. Tickets cost between £12 and £16.50.

I should say that there is another Sleeping Beauty doing the rounds and that is Matthew Bourne's. The reason I mention that show is that Christopher Marney, Chelmsford Ballet Company's patron, is dancing in the show. I saw it in Bradford on 28 March 2013 and was very impressed by Marney's performance. He danced Prince Lilac. It was the first time that remarkable young talent had come to my attention and I have been following him ever since.  The production is touring the country between now and April with a long stunt in Sadler's Wells.

Looking forward to a great year at Chelmsford

Marion Pettet as Britannia, Pineapple Poll 2015

Photo Amelia Potter
Copyright Chelmsford Ballet Company 2015, All rights reserved

Reproduced with kind permission of the company

I am very proud to be an associate member of the Chelmsford Ballet Company. It is one of the oldest ballet companies in the United Kingdom and has launched the careers of some of the country's most talented artists and teachers. I travel half way across the country to attend its events and I have never been disappointed.

The reason I am thinking of that company today is that members' subs are due for renewal this month. Associates like me who have the excuse of distance to mask our lack of talent are asked to pay only £14, Dancing members have to pay £27 unless they are in full time education in which case they get a a £5 discount. That is hardly going to break anybody's bank.

A lot of activities are promised for the next 12 months.   A Sleeping Beauty workshop on the 27 September and company classes on the first Sunday of most months for dancing members. A Let's Make a Ballet workshop for students between the ages of 7 and 14 on the 18 Oct 2015. The AGM before the end of October. There is usually a Christmas concert in conjunction with the Brentwood Choral Society. And finally the piece de resistance which is the annual performance in The Chelmsford Civic Theatre,

This year the company will dance Petipa's The Sleeping Beauty, This is one of the most ambitious ballets that any company can undertake. It is probably the best known and best loved ballet in the modern repertoire, particularly in England where it will always be associated with the reopening of Covent Garden on 20 Feb 1946. The score is riddled with earworms and there are so many lovely dances. Not just the pas de deux of the Prince and Aurora but also such favourites as the Bluebird and Puss in Boots. The performance will take place between the 16 and 19 March 2016.

There is one important link with Northern Ballet. One of our most popular teachers Cara O'Shea danced Aurora in a previous production of The Sleeping Beauty. I was lucky enough to take one of her classes last year (see A Treat for us old Ladies 27 Feb 2014) and I saw how she coaxed every ounce of effort from her children's class at the Northern Ballet Open Day 15 Feb 2014.

I think we can all look forward to a great year at Chelmsford,

The Sleeping Beauty

Leon Bakst's costume design for  Carabossse

Source Wikipedia

In my review of Birmingham Royal Ballet's performance of The Sleeping Beauty in The Lowry on 27 Sept 2013 I wrote:

"Even though The Sleeping Beauty was premièred at St. Petersburg, its score was composed by Tchaikovsky and it was choreographed was by Petipa to Perrault's story, it is also a very English ballet. It was the work that reopened the Royal Opera House on the 20 Feb 1946 after the House had been used as a dance hall and furniture store (see "The History of the Royal Opera House" on the Royal Opera House website).

To understand the importance of The Sleeping Beauty in our social as well as our cultural history you have to know that it entered the repertoire of the Vic-Wells Ballet just before the Second World War. By all accounts the 1946 revival was a glittering occasion. It must have been one of the rare great nights of ballet to which I referred "In Leeds of all Places - Pavlova, Ashton and Magic" 18 Sept 2013. It was produced by Ninette de Valois, designed by Oliver Messel, Princess Aurora was danced by Margot Fonteyn and Petipa's choreography was supplemented by Frederick Ashton. There must have been a whiff of mothballs in the theatre as the audience had dusted off their pre-war dinner jackets, retrieved their best frocks and put on their jewellery for the first time after the Second World War. The analogy of that evening after years of war and rationing with Aurora's wedding after a century of hibernation must have been obvious and compelling."

It is a very special ballet which is why I am delighted to report that the Chelmsford Ballet Company (of which I am a proud non-dancing associate) will perform it at the Chelmsford Civic Theatre between 16 to 19 March 2016.

Although this company is made up largely of dancers who do not make their living from dance there is nothing amateurish about its performances (see The Nutcracker as it really should be danced - No Gimmicks but with Love and Joy 20 March 2014 and A Delight Indeed 22 March 2015). They have a resourceful and imaginative artistic director in Annette Potter, talented dancers several of whom are at first rate ballet schools, accomplished costume and set designers and makers, able technicians and an inspiring Chair in Marion Pettet who showed her flair as a character dancer in Pineapple Poll and Carnival of The Animals. Small wonder that their patrons are Christopher Marney, my favourite living British choreographer, and the great ballerina Doreen Wells.

I don't yet have any details of the performance. In particular, I don't know whether they have begun casting but I know who could dance the lilac role very well indeed. In my review of Matthew Bourne's Sleeping Beauty in Bradford on 28 March 2013 I wrote:

"No Lilac Fairy though there was a Count Lilac powerfully danced by Christopher Marney"

Marney's dancing in that show was spectacular. I also seem to remember that Cara O'Shea, one of Northern Ballet Academy's most adored teachers (see Northern Ballet Open Day 18 Feb 2014 and A Treat For Us Old Ladies 27 Feb 2014), once danced Princess Aurora for the company. When I do get some information about Chelmsford's show I shall pass it in to you.

There's just one other thing about The Sleeping Beauty and that is the following passage from Wikipedia:

"Trademark controversy

The Walt Disney Company has registered a trademark with the US Patent and Trademark Office, filed March 13, 2007, for the name "Princess Aurora" that covers production and distribution of motion picture films; production of television programs; production of sound and video recordings. Some suggest that this may limit the ability to perform this ballet, from which Disney acquired some of the music for its animated 1959 film Sleeping Beauty."

At first I thought it was a joke but I followed the link and found that the words PRINCESS AURORA have indeed been registered by Disney Enterprises Inc. with the US Patent and Trade Mark Office as a service mark for

"Production and distribution of motion picture films; production of television programs; production of sound and video recordings"

in class 41 on 17 Jan 2012 under registration number 4,088,154.

The scare seems to have originated in an article by Nikki Finke in Deadline Hollywood dayed 1 May 2009 entitled An Attempt To Stop The Disney Machine which began with the alarming words:

"I’m told that the Walt Disney Co is currently attempting to trademark the character name “Princess Aurora” for all media: stage, sound, film, TV, video, Internet, photographs, news. In short, everything except literature."

The article continued:

"The problem is that, if the Disney Company is successful, it will effectively control the legal right to all future performances of the ballet. The move also could sink any movie about the ballet or that uses a scene of the ballet in another movie."

There is, incidentally, a parallel registration for the words PRINCESS AURORA in relation to a wide range of goods and services here.

Disney's trade mark cannot be infringed by performing Petipa's ballet The Sleeping Ballet for all sorts of reasons. The intellectual assets that the Disney Corporation seeks to wish to protect is a range of goods and services about a number of princesses one of whom is called Aurora.  She seems to be a spin-off from the studio's well known 1959 animation. The other princesses, incidentally, include Cinderella, Pocahontas and Rapunzel. A ballet that is based exclusively on any of those characters might perhaps infringe some of Disney's IP rights (though not necessarily the trade mark) but that would be an altogether different matter.

If anybody is, however, troubled by the intellectual property issues relating to The Sleeping Beauty, do give me a shout. I will advise and represent you and keep you on the straight and narrow for free. I know of at least one patent and trade mark agent as well as a specialist solicitor who love ballet as much as I do who would probably do the same.

Post Script

I do have some more information about Chelmsford Ballet's production. The following notice appeared on its Facebook page:

The Company will present
  "The Sleeping Beauty "

March 2016

Do you or someone you know want to dance in this enchanting tale?

Company Auditions 21st June 2015

Only auditioned dancing members can dance in our annual productions.
Company auditions for new members and for upgrades for existing members are scheduled for Sunday 21st June.  Male applicants are especially welcome. Application forms are available to download from the website, or you can contact the membership secretary directly for more information. cbcenquiries@hotmail.com 
The closing date for applications to audition is the 7th June.
(Auditions for The Sleeping Beauty, open only to members, will take place in October 2015)