Elizabeth Rae

This morning our Over 55 class at Northern Ballet Academy was taught by Elizabeth Rae. As you can see from her biography on Northern Ballet's website she has enjoyed a glittering career as a dancer, teacher, choreographer and author. It was a pleasure and a privilege to be taught by her.

We have two classes on Tuesday: an hour of barre and exercises in the centre and then an extra 30 minutes for those of us who want to improve (or in my case learn) pirouettes and jumps.  It was quite challenging for all of us and particularly for me but Elizabeth gave us lots of useful tips and information which she delivered with considerable wit. For instance, always keep your little finger in view when doing grands pliés because you keep your back straight and transfer your weight to the ball of your foot and not the heel when doing turns.  Although I have been trying my best for ages I still can't do pirouettes properly and I get really frustrated with them but Elizabeth's exercises really helped. She taught us to do tours lents in retiré and while I was a long way from  getting it right I was a closer to getting it right than ever before.

After class we gathered round to thank her for her teaching and in a short conversation that followed she spoke to us briefly about her career.  She danced many important roles with Frankfurt Ballet and there is a lovely picture of her with Richard Sykes of that company on her Northern Ballet web page.  I googled her and found that she danced as Lisa Rae when she was on the stage and I found lots of other beautiful images of her.

One of the reasons I take as many ballet classes as I can is the precious interaction between teacher and student which you can see in the clips from Moscow and San Francisco (see "Adult Ballet in Moscow and San Francisco - could have been Leeds or Manchester" 2 Oct 2014). I have heard great dancers from the past such as Antoinette Sibley talk fondly about their teachers (see Le jour de gloire est arrive - Dame Antoinette Sibley with Clement Crisp at the Royal Ballet School 3 Feb 2014 and modern ballerinas like Lauren Cuthbertson and Elena Glurdjidze talk in the same way about theirs.  I will never be a ballerina but I can at least experience that aspect of their lives.

An Even Better Show: the Bristol Russians by the Sea

On 16 Feb 2014 the Bristol Russian Youth Ballet Company and their special guest stars Arionel Vargas and Elena Glurdjidze danced Cinderella in Stockport to raise money for Reuben's Retreat. It was a good show which I reviewed in "Good Show - Bristol Russians' Cinderella in Stockport" 19 Feb 2014. Yesterday, substantially the same cast danced the same work at the Playhouse Theatre in Weston Super Mare.  In my view, in that of others who had seen both performances and in the view of at least one member of the cast, they did even better this time.

There are several respects in which yesterday's performance appeared to be better than the previous one. The first is that they danced with greater confidence and panache.  The visual jokes such as the faux pas of Cinderella's sisters danced again by Caitlin Anstis and Paige Pullin or the tussle over the outside orange between the king (David Wilson), his minister (William Griffin), the sisters and their mother (Yury Demakov) seemed funnier. The Spanish princess's dance was performed haughtily yet alluringly by Ellie Wilson. Even the stars, Vargas and Glurdjidze, seemed to sparkle more. The second respect in which yesterday was better was that the choreography appeared to have been revised. It was slicker and smoother - especially the children's dances in Act I. In this production there were birds as well as mice with boys as well as girls. All the important bits were retained such as the pas de deux when the prince spots Cinderella at the ball and falls in love with her, the comic attempts by the sisters and mother to force their feet into the glass slipper and the delicious moment when Cinderella produces her slipper to the prince. The third respect in which yesterday was better was that the company had an even more receptive audience in Weston than in Stockport. The auditorium was full. There were very few empty seats in the stalls and not many in the circle so far as I could see. Overhearing conversations in the bar at the interval and in the seats around me it was clear that many had seen ballet before and knew what to look for. Certainly, the audience knew when to clap.  Ballet, like the other performing arts, is a two way communication and the mood of an audience can make or break an evening.

There are several reasons for yesterday's success.  First, the cast had danced this work before in Stockport. They knew that they worked well together and that the audience had liked them. Hence the confidence, panache and sparkle. Secondly, they were on home turf before a West Country audience. This is very much a Bristol company. It was clear from the conversations that I overheard that there was lots of local pride.  Very much the same pride as I had noted in Chelmsford when the Chelmsford Ballet Company performed The Nutcracker on 19 March 2014 (see "The Nutcracker as it really should be danced - No Gimmicks but with Love and Joy" 20 March 2014). In Stockport, the Bristol Russians had to enlist the help of local dance schools for some of the roles and their students danced very well. But in Weston the company could use their own pupils, all of whom are good and some of whom show considerable promise.

That promise was demonstrated by the Underwater Kingdom Scene from The Little Humpbacked Horse, one of the classics of the Russian ballet but one that is rarely seen in England. The music is by Cesare Pugni who also wrote the score for Diana and Actaeon which Michaela dePrince and Sho Yamada of the Dutch National Ballet Junior Company dance so well  (see "The Junior Company of the Dutch National Ballet - Stadsshouwburg Amsterdam" 24 Nov 2013) and are soon bringing to London.  The Underwater Kingdom had big and little pearls, corals, star fish and seaweed for students of all ages and both sexes swimming in the ocean that was the domain of David Wilson. That ballet was danced immediately before Cinderella and was a lovely taster. Most importantly it showed what the school and company can do without English National Ballet superstars. It has turned me into a fan and I shall follow and support their future productions.

The only respect in which yesterday's performance might have been improved was in the operation of the curtain and the lights. The music started when the house lights were still blazing. Somewhat disconcertingly as I was in the middle of a tweet about the show. Twice the curtain rose after the applause had ceased and one of those was for the youngest children who deserved a roar but received somewhat less acclaim.

After the show I met David Wilson at the stage door again. I had a slightly longer chat with him this time about the performance and his job in Silicon Valley.  I am delighted for him. My graduate school was in California and I know the state well. There is a lot of good ballet there.  I am sure all my readers will join me in wishing him well.  David started DaveTriesBallet blog and took his first ballet lessons in New Jersey.  It will be interesting to read his adventures in the West.  While waiting for Dave I was introduced to Ellie Wilson who is as delightful to meet as she is to watch on stage. She is in her first year at the Rambert School and again I am sure everyone will also join me in wishing her all the best.   Last but not least I met Alex or BristolBillyBob in Weston, one of the regulars at BalletcoForum.  It was good to make his acquaintance and I look forward to meeting him again.

Finally, a word about Reuben's Retreat. Before the show one of the managers came on stage and told Reuben's story, the efforts of his parents to remember him and the success of the charity so far for which he received thunderous applause. Recently, the charity announced that it had acquired property in the Peak District for accommodation for families of children with life threatening or limiting conditions (see Grace Nolan "North West charity announces property purchase" 25 April 2014 Huddled). The Bristol Russians and their guest stars have helped to make that possible for which all of us in the North are grateful.

Elena Glurdjidze - So Lovely, So Gracious

I have just nipped down to London and back to see Elena Glurdjidze. On the train back to Luton Parkway to pick up my car I tweeted:

"@DaveTriesBallet I have just seen and spoken to Elena Glurdjidze at @BalletCircle. So lovely and so gracious. Looking forward to Cinderella"

For those of you who don't already know, @DaveTriesBallet keeps the Dave Tries Ballet blog of which I am a great fan (see "Fantastic New Blog: Dave Tries Ballet" 28 Sep 2013). One reason I tweeted Dave about the talk is that he is a member of the Bristol Russian Youth Ballet Company which will dance Cinderella this Sunday at 16:00 at the Stockport Plaza to raise funds for Reuben's Retreat. Glurdjidze and Arionel Vargas will be the guest principals (see "Remember Reuben - and see Vargas, Glurdjidze and Dave"  14 Jan 2014). Glurdjidze referred to Reuben's Retreat as a wonderful charity which indeed it is,

The other reason I tweeted Dave is that he alerted me to Glurdjidze's dancing The Dying Swan in the Gala for Ghana. I had intended to give this event a miss but I changed my mind after learning that Dying Swan was to be performed. As I said "In Leeds of all Places - Pavlova, Ashton and Magic" 18 Sept 2013 my mother saw Pavlova dance the Dying Swan at The Grand in Leeds when my mother was a small girl and it made such an impression on her that I resolved to see a modern ballerina dance it one day. Last week at the Royal College of Music I fulfilled that resolution. I think Glurdjidze made on me a similar impression to the one that Pavlova had made upon my mother all those years ago (see "Gala for Ghana" 4 Feb 2014).

The meeting took place in the dining room of the Civil Service Club which is a few hundred yards from Charing Cross station.  I arrived just before the meeting was due to start.  I did not count the audience but there were about 7 or 8 rows of chairs of about 20 each and not many empty seats.  The room was big enough to require a public address system. Glurdjidze sat at a table with an interviewer facing the audience. She was dressed very simply but elegantly.

The speaker and interviewer were introduced by our chair, Susan Dalgetty-Ezra.  Speaking softly but very clearly from the table our guest answered questions put to her by the interviewer. 

She said that she had been born in Georgia. Her father was a scientist.  Though talented in  other ways, none of her family was in ballet. She was sent to a performing arts school where she took up ballet. She showed such promise that her teachers directed her to the Vaganova Ballet Academy where so many great dancers and choreographers were trained. Baller school was not easy.  Discipline was strict and classes were demanding.  Everything was in Russian which was a new language for her. She had to board.  She missed her family and her family missed her.  She said that she cried every night for the first few weeks at the school.

Nevertheless, she survived and graduated into one of the new companies that were established by former dancers of the Kirov after the fall of communism.  She came to the notice of the English National Ballet who recruited her as a principal in 2002. She said that at that time she spoke very little English and that even now she makes a few errors.  One of her personal ambitions is to perfect her knowledge of our language. I have to say that if she still makes errors I did not spot any last night. I could not help reflecting after hearing Eric  Pickles's performance in the House of Commons on the drive back home that Elena Glurdjidze could teach our Secretary of State for Communities and Local Government a thing or two in that regard.

While in London Elena Glurdjidze met her husband, also a dancer and also a Georgian. They have a 9 year old son who is very bright with a good voice and shows talent in many directions.  They are not pushing him into ballet though, of course, he could not have a better start in that career if that is what he wanted to do.

Glurdjidze talked about her roles. She has, of course, performed all the classics, Odette-Odile, Giselle, Juliet and so on.  She said she had never danced in Le Corsaire and would like to perform in that ballet.  She will be dancing just one matinee with Vargas in Romeo and Juliet at the Albert Hall in June.  As for the long term she hopes to teach dance and it was then that she mentioned her work with the Bristol Russian Ballet School.

The meeting was then opened to the floor, Remembering an earlier tweet from Dave that his teacher had trained with Glurdjidzke I asked her to say a little more about her connection with the Bristol School and her performance in Stockport on Sunday. She spoke about her friendship with the founder of that school from the days when they were both at the Vaganova Academy, about the impressive work that her friend was doing, about the request to dance in a charity show and commended the cause  The clip that is embedded in this post is a rehearsal for that ballet.  My admiration for Glurdjidze increased all the more. She is not simply a great dancer. She is also a lovely human being.

Others asked her about her pointe shoes; about the differences between the regime in the Royal Ballet School and the Vaganova Academy; whether she had considered choreography and her plans for the future including the performance at the Albert Hall that I mentioned above; how she returned to work after giving birth; the national dance companies in Georgia and lots of other matters that I cannot now remember.  

After we had asked her everything that could reasonably be asked of her our Chair presented her with a gift from the Circle.  However, she stayed for a few minutes to talk to her fans, sign programmes and pose for photographs.  Forming an orderly queue we each had a few words with her.  A gentleman in front of me said that he was a schoolmaster and he could tell that she had much to give her pupils.  That reminded me of Clement Crisp's conversation with Dame Antoinette Sibley and I told her about Dame Antoinette's affection for her teachers and her advice on teaching (see "Le jour de gloire est arrive - Dame Antoinette Sibley with Clement Crisp at the Royal Ballet School"  3 Feb 2014).  Glurdjidze replied that Sibley had taught her a lot particularly about the role of Manon which, of course, was created for Sibley.  When it came to my turn I told Glurdjidze how I had longed to see Dying Swan ever since I had heard about Pavlova in Leeds and how I had been moved by her performance. I added that I was looking forward to Cinderella this Sunday. Glurdjidze accepted everybody's compliments including mine with grace.

As soon as I could get a signal on the train to Luton I texted my teacher who, like Glurdjidze, leaned ballet in a sunnier clime and cheers me up and motivates me with her antipodean enthusiasm: 

"Oh Jane xXxX I can imagine how special the moment was sXsX ur  lucky woman to be given such as opportunty"

And indeed I am although any member of the public could have shared my good fortune by turning up at the Civil Service Club yesterday.  If you missed Glurdjidze you can still catch Tamara Rojo on the 3 March, Ruth Brill on the 24th and Peter Wright on the 14th April.  Ruth Brill has already tweeted that she is looking forward to her talk.

The Circle hopes to increase its membership outside London and our Chair sent me North with a stash of brochures which I am going to take to every class, every ballet and every ballet related event that I attend outside London until I have got rid of them all. So be warned.  Incidentally one can join the London Ballet Circle through its website. I would urge you to do so even if you can't get to London because the Circle supports financially young dancers from all parts of the nation with scholarships to events throughout the land including in particular the Yorkshire Ballet Summer School.

I shall give the last words about Glurdjidze to Dave. His response to my tweet was

"@nipclaw @BalletCircle So glad to hear! Was so sad to miss the talk. She's truly the loveliest dancer to rehearse with."

About her teaching, he added that although he could not take her class because of injury

"I still learned so much watching her teach class in the summer. And was amazing to see her coach the girls in the Raymonda Act III variation! Got goosebumps seeing her demonstrate even the simplest moves - sheer perfection!"

I can understand that. I got goosebumps watching her last week and I expect to get more when I see her, Vargas and Dave in Cinderella this Sunday.

Remember Reuben - and see Vargas, Glurdjidze and Dave

There can't be many more distressing things in life than losing a child. And especially not one like little Reuben Graham who looks like the bonniest little fellow one could every hope to meet. Reuben died quite suddenly of a brain tumour which was detected while on holiday in Devon.  The lad received emergency treatment in Bristol and while he was there his family were lodged in a CLIC Sergeant Home from Home. In memory of Reuben the family wish to "provide a retreat in the North West of England countryside that will relieve the distress of families and their close friends who have suffered the bereavement of a child or have a child suffering from a life limiting or life threatening illness."

Although Reuben died in Bristol he came from Mottram which is just across the Pennines from me.  On 16 Feb 2014 Bristol Russian Youth Ballet Company will visit our neck of the woods to dance Cinderella. Now as I tweeted earlier Reuben's Retreat is such a good cause that I would gladly watch Dot and Albert Shufflebottom perform the hokey cokey in the car park of the Tipsy Ferret in Rawtenstall but the Bristol Russian Youth Ballet Company promises rather more than that. They have arranged for Elena Glurdjidze and Arionel Vargas of the English National Ballet to dance with them. Not only that but Dave of the Dave Tries Ballet blog will also be dancing.  If you have not dipped into Dave Tries Ballet yet you should because it is the best ballet blog by a country mile. Dave announced yesterday that his blog had attracted a million hits which does not surprise me at all.

The ballet will be performed at the The Plaza, Mersey Square, Stockport, Cheshire. SK1 1SP at 16:00 on 16 Feb 2014.  Tickets cost £15 plus a £1.50 booking fee which is a bargain compared to what you would pay in The Coliseum or even The Lowry or Palace to see Glurdjidze and Vargas. You can buy tickets by telephone or on-line. The number of the box office is 0161 477 7779. I would advise you to book in person if you are in walking distance of the Plaza or by telephone if you are not. The problem of booking on-line is that the box office charges you a whopping £2 for postage which I for one would rather give to the charity.

I have booked my ticket and if you run into me in the theatre bar you can buy me a drink for my birthday.