A Celebration of Dance: Wilis and More

 

Dance Studio Leeds, Powerhouse Ballet, Part of Giselle 19 Nov 2022, 15:00 Chroma Q Theatre, Leeds

By some fluke, I once accomplished a chassé, pas de bourrée, pirouettes single or double and pirouette dedans without everything going wrong. The delight on my teacher's countenance was a picture to behold.   I saw exactly the same expression on Saturday after  Powerhouse Ballet had danced the scene from act II of Giselle where Zulma and Moyna summon the wilis from their hidden forest graves to attend  Myrtha.

The reason for my teacher's delight is that the cast danced very well.  So well that I felt impelled to rise to my feet in standing ovation.  Our teacher, Jane Tucker, had taught us the choreography during a day-long workshop in July and rehearsed us almost every weekend since.  She had a cast with different levels of skill and experience and she adapted Coralli and Perrot's choreography in a way that enabled each and every one of them to shine. Christie Barnes excelled as Myrtha as did Lauren Savage and Esther Wilson as Moyna and Zulma.  They were supported by a polished corps consisting of Fiona Cheng, Jayne Johnston, Helen Peacock. Sue Pritchard, Helena Tarren, Lois Watters, Anne Williams and Bo Zhang. 

During our rehearsals, we discovered the talents of many of our members.  Christie Barnes not only danced Myrtha but also directed several of our rehearsals including one that was effectively a second workshop at York St John University.  We also discovered that she is an accomplished photographer and filmmaker as she chronicled our progress. Lauren Savage proved to be an excellent teacher leading one of our company classes and several warm-ups.  We found costuming and make-up skills and lots of practical tips such as the best place to park on a busy Saturday from different members.

Those discoveries have advanced one of the objectives of Powerhouse Ballet which is to provide opportunities for members to develop their theatre skills. That is why I invited Katherine Wong to lead our company class in Bolton last October`.  I have also asked Alicia Jolley to give a class in North Wales in the New Year, Holly Middleton to help rehearse future productions and drama student, Fiona Cheng, to teach us how to act.

Our 8-minute extract from Giselle was just one of many pieces performed at Dance Studio Leeds's Celebration of Dance on Saturday.  The show was staged to raise funds for Martin House children's hospice in Boston Spa.  At a health and safety briefing just before the show, the studio's director, Katie Geddes, announced that she had raised a very healthy profit for the charity,  Readers will be happy to learn that this publication contributed to that sum as one of the show's sponsors.

Because I wanted to assist our cast in any way I could I only saw the second half of the show.  However, everything that I did see was excellent.   Every style of dance was on display from Egyptian folkloric bellydance to West Side Story.  I enjoyed them all, particularly belly dancer Ya Habibi who entered the stalls inviting the audience to join her on stage, West Side Story and Afro Fusion's Rise 'N' Shine.  Some of the pieces that I would like to have seen but couldn't because they were in the first part were Indian classical dances.  Happily, at our last rehearsal, I asked the director to give us an exhibition class and some background information on the art form early in the new year.

Powerhouse Ballet hit a number of headwinds even before lockdown of which the biggest was scepticism.  When Covid 19 closed the studios and theatres I wondered how we could possibly survive.  Relief came from an unexpected source.  Maria Chugai, a soloist of the Dutch National Ballet and the best Myrtha I have ever seen in over 60 years of balletgoing, offered us an online class in April 2020 which was a spectacular success.  The success of that class encouraged me to invite other performers such as Krystal Lowe, Beth Meadway and Shannon Lilly as well as Jane Tucker, Annemarie Donoghue, Fiona Noonan and other teachers from our region to be online ballet mistresses.

Powerhouse Ballet is now on a roll.  We have found a new venue at Ballet Contours near Manchester city centre where we shall hold this Saturday's company class. We welcome dancers from Hull to Hollyhead.  If you can get to East Ordsall Lane by 15:00 do come and join us.  We have invited Heather Boulton, the director of the studio, to give us our first company class at that venue.  I visited the studio a few weeks ago and was most impressed.  It is fully equipped with a well sprung floor.  Above all, Heather is an excellent teacher.

Powerhouse Ballet's Reawakening

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The last two years have been tough for everyone in the arts but they have been particularly hard for adult ballet students who long to perform in public.  For Powerhouse Ballet which was founded just under 4 years ago, the lockdown was almost fatal.  We had been riding high with our very successful workshop with Yorkshire choreographer Alex Hallas and were looking forward to learning the snowflakes scene from The Nutcracker when everything was put on hold.

I feared that it would be the end of Powerhouse Ballet and probably all the other amateur companies in the United Kingdom because we could no longer meet for class.  But help came quite unexpectedly from Amsterdam when Maria Chugai of the Dutch National Ballet offered us an online class.  That class was very successful and showed that it was possible to train over Zoom.  I engaged all our regular teachers as well as Shannon Lilly, Beth Meadway and Krystal Lowe to give online classes.  When restrictions were relaxed in 2020 we held classes in studios in Birmingham and Leeds.   Though it was expensive and hard we never missed a monthly company class and, most importantly, we stayed together.

Now that the country is emerging from lockdown Powerhouse Ballet can rebuild.  My immediate aim is to stage a mixed bill which will include Terence Etheridge's Aria, Yvonne Charlton's Morning, Waltz of the Flowers and Snowflakes from The Nutcracker and part of the wilis' choreography from Act II of Giselle. Much of the preparation for this will be at a summer school in North Wales.  In the longer term, we plan to set up an associates class and I have engaged the assistance of someone with considerable experience in that area to advise me.

That leaves the tricky matters of funding and governance.  Over the last two years, it was easier for me to sponsor the company's activities and I will continue to do so but our plans will require more than I can afford.  In the medium term, we will need to reintroduce a subscription, seek grants and sponsorship.  Publications like this blog, the Stage Door and classes outside the North of England could generate revenue for Powerhouse Ballet.   Eventually, we shall seek charitable status for which we shall need trustees, a business manager and a full-time artistic director.

Returning to the present, if you want to meet us with a view to joining us, register for our company class at Dance Studio Leeds on 26 Feb 2022 from 15:30 until 17:00.   

Vampires

The Vampire

Author Philip Burne-Jones

KNTs Day of Dance at the Dancehouse was a great success.  I got some valuable tips on arabesques and développés from Rachael Crocker that everyone else seems to know but had somehow eluded me these last 50 years and I got to dance a vampire in a scene that Karen Sant had created from David Hotchkiss's music for Daethon and Arundel.  I would not have missed the day for the world.  Judging by the comments on Facebook and twitter, neither would anyone else who was there.

I had booked just two classes:  beginners and pre-intermediate ballet with Rachael from 14:00 to 15:30 and the repertoire class with Karen from 15:30 to 17:00.  There was, of course, much more than that.  There had been classes in jazz, PBT and contemporary in the morning. The prima ballerina, Harriet Mills gave a class for more advanced students at the same time as our beginners and pre-intermediate class and Rachael gave a repertoire class in musical theatre at the same time as Karen's class.

There were a lot of familiar faces from KNT but also several from Northern Ballet.  Several students had travelled considerable distances.  One from as far way as Anglesey which is where I plan to spend my long awaited and much anticipated summer holiday next week.  While I have been beating the drum for KNT in Leeds my Yorkshire friends have been spreading the word for Hannah Bateman's Ballet Retreat next weekend which I would have been tempted to attend had I not arranged a holiday.  Karen occasionally refers to us as the KNT family which sounds soppy but really isn't while a friend who attends the Ballet Retreat tells me that is how she feels about that workshop.  One of the wonderful things about events like yesterday's are the friendships and connexions that they catalyze.

Rachael's class began  with the usual barre exercises with a particular focus on relevés, retirés and balancing on demi with rapid turns.  Clearly she was getting us used to the idea of pirouettes. We did plenty of those in the centre including chassé, pas de bourré and turns in fourth.  I continue to find them difficult even though I had performed the exercise with two other teachers that week.  Rachael spotted that several of us were struggling with arabesques and pivots and diagnosed the problem as the position of the right arm. Similarly, several of us were struggling with  développés,   "Imagine your leg connected to your arms by a piece of string", she suggested. "You raise your arms from bras bas to first at the same time as you lift your leg," I tried that and it really helped.  "And as you unfold your right leg you raise your left arm," she added.

I was so pleased about what I had learned from Rachael that I mentioned it to Mark Hindle on the way into studio 1 for Karen's repertoire class.  I suspect that he was surprised that I had not worked that out for myself or learned it from another teacher some time between yesterday and my first ballet class in 1969.  Diplomatically he observed that it was one of the advantages of taking classes from different teachers.  I had already learned that from Marion Pettet of the Chelmsford Ballet. That is why the Chelmsford Ballet invites different teachers for its company classes which is what I try to do with Powerhouse Ballet.

Mark was in the repertoire class because he was lead vampire in the scene that Karen had choreographed from David Hotchkiss's score.  A recumbent Daethon (danced by Ruaridh Bisset) was ambushed by circling vampires. Most of us wore black as had been requested by Karen.  We surrounded Daethon menacingly with our arms rippling like bat wings.  We bourréd away to form several lines where we pivioted, pliéd, turned twice, joined hands, balancéd, pushed Daethon to the ground as he morphed into a vampire.  Pretty chilling choreography and at least as impressive in my humble opinion as other choreographers' Dracula.  There is only so much that can be accomplished in 90 minutes but I think Karen did justice to David's score.

We performed our piece before Rachael's musical theatre students who applauded us generously.  Ruaridh and Mark and many of my fellow vampires were superb and deserved their clapping though I am not sure that I did.   I was beginning to slow down after 90 minutes of hard exercise.  Rachael invited us back to studio 1 to show us what her class had learned.  They were very good indeed. Very slick, very polished and you could tell from the smiles on their faces that they were having a whale of a time.

I hope that Karen arranges another day of dance soon. Many others have said the said the same on Facebook.  Having said that I also enjoyed the repertoire workshops with Jane Tucker and Martin Dutton.   I hope that we shall have a few more of them too. Although I can attend Jane's class in Leeds throughout the year her repertoire classes were special.  I learned more about Swan Lake and La Bayadère from her intensives than watching scores of performances from the stalls and reading libraries of books and programme notes.