KNT's Le Corsaire: "It wasn’t called an intensive for nothing"

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KNT Beginners' Ballet Le Corsaire Intensive  Dancehouse Manchsester, 15 April 2017

Wendy McDermott

The workshop at KNT always seems popular and this one day workshop, taught by Jane Tucker, was certainly that. There were around 25 dancers all ready to learn some of the choreography of Le Corsaire. We poured into the Dancehouse Theatre building at around 9.40 am, the majority of us made a beeline for the changing rooms (a.k.a the toilets) and into the studio for 10 am to begin a 30min stretch and warm up followed by a quick break, after which our 90 min ballet class started at the barre.

Now the trouble with writing about class some three weeks after it has passed, is a little unfortunate as I’m struggling to remember the finer points, but what I do recall is that when we moved into centre we paid particular attention to pirouettes, both en dehors and en dedans, which gave us an inkling of what lay ahead for the repertoire classes in the afternoon. After another short break, we began learning Act II’s pas de deux, the male solo part probably made famous by Nureyev (though I must say, after watching other solos of the same I enjoyed Baryshnikov just as much, if not a tad more). Starting downstage left, a keen ear was needed to pick up the count to move into our three grand pas de chat, each one followed by attitude derriere on demi pointe and finishing downstage centre into pirouettes en dehors right and left, balancé de côté, one more pirouette then a pose, which is best described as Usain Bolt’s signature. Finally a step, glissade jeté* (I think!) around the studio with chaînés and final pose to finish. Phew! Just about the majority of this we all worked very hard to learn before our well earned hour long lunch break.

It wasn’t called an intensive for nothing, as the afternoon continued in earnest and for the remainder of the afternoon we were taught two sections of Act III’s pas de trois (pas des odalisques). From glissade assemble, attitude devant derriere, pirouettes from fourth position, and ‘lame ducks’, to temps levé in arabesques and all the other steps in between. As beginners, we may not get the leg height of some or turnout be as strong but we all danced our hearts out that afternoon, and came away feeling invigorated. What’s more, all our hard work was filmed for our final performance which can be viewed above.

Doing the Spits

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This is the time of the year when the Birmingham Royal Ballet splits into two. One lot goes to Durham, York and Nottingham while the other goes to Cheltenham, Poole and Truro. I like to see both shows whenever I can but Cheltenham clashed with my only chance to see Northern Ballet's Casanova again before it goes to London. Also, the show in the southern tour's repertoire that I most want to see is Ruth Brill's Arcadia and that will come back to Birmingham as part of Three Short Story Ballets between the 21 and 24 June 2017.

For once I think the North will get the better end of the deal because it brings Pineapple Poll by John Cranko, my all time favourite choreographer ever, and 5 Tangos by Hans van Manen, my favourite living choreographer as well as Sir Kenneth MacMillan's Solitaire.

Pineapple Poll, created for the Sadler's Wells Ballet in 1951 as part of the celebrations for the Festival of Britain when Cranko was only 24, shows the genius of the man. With the possible exception of Graduation Ball (see Please, pretty please, will somebody revive this lovely ballet 2 Jan 2016) it is the happiest, jolliest, prettiest one act ballet ever and a personal favourite. I have only seen it twice. Once quite recently by the Chelmsford Ballet as part of their double bill with Marney's Carnival of the Animals (see A Delight Indeed 24 March 2015). And once at Sadler's Wells with what was then the Royal Ballet Touring Company in the late 1960s and 1970s.

The first occasion was the one and only time my mother and I could ever persuade my father to attend the ballet. An erudite and urbane Mancunian and a fine economist he regarded the ballet with a mixture of suspicion and contempt. Suspicion because he regarded it as an instrument of Soviet soft power which was certainly one of the reasons for the Bolshoi's first tour of London in 1956 and contempt because he regarded the classical tutu and gentlemen's tights as bordering on the indecent. He sat very quietly through the show with a half benign and half sarcastic grin. At the end of the performance, my aunt asked him whether he had enjoyed it. "Up to a point", he replied. With Union Jacks everywhere Pineapple Poll was far subversive and there are no tutus in sight. He admitted to a certain admiration for the athletic prowess and nimbleness of the dancers and indeed the beauty of the women but he was less kind about the middle-aged matrons who made up the audience. "I should like to see them try to do some of the jumps that those girls cam do" he added.

Like Graduation Ball, Pineapple Poll is a wonderful period piece with sets and costumes by Osbert Lancaster and music by Sir Arthur Sullivan. Enjoy the YouTube clip which would have been made not long after the ballet was created with such stars as Merle Park, David Blair, Stanley Holden, BrendaTaylor and Gerd Larsen. Birmingham Royal Ballet will dance it at the Theatre Royal York this Friday and Saturday and then in Nottingham on the 16 and 17 May. It really is a treasure.

More Good News from Wales: Swansea Students' Show

Swansea Grand Theatre

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Copyright waived by the author

Yesterday I mentioned that the Welsh composer Jack White who has written the scores of Cinderella and Stuck in the Mud for Ballet Cymru and has recently been commissioned to write a score for the National Dance Company of Wales has published a recording of Cinderella on his website and very reasonably invited the public to contribute what they can for licences to download and play his work. Today I bring more good news from the principality, My fellow adult ballet student, Sophia Komninou is taking part in a show at Swansea Grand Theatre on 18 July and she has kindly invited me to watch it. As Swansea is the gateway to the Gower Peninsula which has some of the finest coastline and countryside in Europe if not the world I will be there if I possibly can.

The show will be presented by the Irenie Rogers Classical Ballet Academy or Ballet Academy Swansea for short. According to Sophia, the show will include the greater part of act 2 of Giselle, the Dance of the flowers from The Nutcracker and various other pieces from the adult ballet and younger students. There are videos of previous performances on the Academy's Facebook page and I think you will agree that the standard is pretty high. I am particularly impressed with the scenes from La Bayadere which, as it happens, Sophia and I studied together in KNT;s intensive from Jane Tucker Manchester last summer (see La Bayadere Intensive Day 3: No Snakes 17 Aug 2016).

Sophia describes herself on twitter as a "feminist, amateur ballet dancer and ballet geek, foodie, crafter and curious". Dance, crafting and food are only her spare time activities by the way. She is primarily an interdisciplinary researcher with a background in nutrition and dietetics with a specialization in obesity and weight management.who teaches infant and chi;d public health at Swansea University.

Over the next few days I hope to find out more about adult dance classes in Swansea in order to compile a directory of such classes in Wales. I already know that Krystal Lowe teaches an adult ballet class at Ballet Cymru's premises at Rogerstone near Newport between 18:00 and 19:30 on Mondays (see Ballet Classes for Adult Beginners on the Ballet Cymru website) and that Louise Lloyd gives classes between 18:15 and 18:30 on Tuesdays at the Dance House in the Wales Millennium Centre in Cardiff (see the Adult Beginners' Ballet page of the National Dance Company's website).  As I get to hear of more classes I will publish them in the blog.

Casanova Second Time Round

The Lowry

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Northern Ballet, Casanova. The Lowry, 6 May 2017, 19:30

I was pretty complimentary about Kenneth Tindall's Casanova when it opened in Leeds on 11 March 2017 (see Casanova - "it has been a long time since I enjoyed a show by Northern Ballet as much as I enjoyed Casanova last night" 12 March 2017). I liked last night's show at the Lowry even better.

I think there are three reasons for that.

The first is that we had a very strong cast that included both of Northern Ballet's remaining premier dancers, Javier Torres and Pippa Moore as well as personal favourites like Hannah Bateman, Abigail Prudames, Antoinette Brooks-Daw and Mlindi Kulashe in important roles.

The second reason for last night's success is that the dancers will have grown used to their roles over the last two months and danced in the confidence that audiences around the country and most of the critics like the show.

Thirdly, I think the dancers were lifted by the venue. The Lowry is a great auditorium, certainly for audiences because seating is comfortable commanding good views of the stage from just about every part of the house, but I think also for performers as the stage is large and it is well equipped for scenery changes and special effects.

The company danced before a receptive crowd and though the house was less than full the warmth of the applause at the end when more than a few rose to their feet more than made up for it. Manchester audiences may be a little bit more critical than Leeds ones as they see Birmingham Royal Ballet, English National Ballet and visiting companies from abroad such as the National Ballet of China and Alvin Ailey as well as Northern Ballet. If a show does well in the second largest conurbation of the United Kingdom it will probably do well anywhere. As the old saying goes, "what Manchester does today, the world does tomorrow."

As I have written a lot about Casanova already, I won't bore readers with a rehash of the plot or the work of the various contributors. They can get all that from Northern Ballet's website and the bibliography below. I will concentrate on the dancers and what made last night's performance even better than the first night.

As I noted above, we had a very strong cast. Giuliano Contadini was the poster boy of the show and deservedly so for he danced Casanova very well but Torres was cast perfectly for the role. Powerful, athletic and passionate, he was how I had always imagined the historical Giacomo Casanova. There is a point towards the end when he has to hold a very uncomfortable pose for what must seem like an age. That was when I appreciated just how good he was.

Another inspired bit of casting was Prudames as Bellino. One of the most touching scenes of the ballet - touching in both senses  - is where Contadini gradually winds her confidence. It was demonstrated at the preview with a commentary from Tindall by Contadini and Dreda Blow (see Casanova Unmasked 16 Feb 2017). Prudames made it work even better for she showed the vulnerability of her character and the sensitivity of their encounter given the disparity in power.

Yet another powerful performance came in the first act where MM (described in the blurb as "an aristocratic nun" and danced by Bateman) seduces Casanova thereby giving the inquisition the excuse they need to throw him into the Leads, the prison on the other side of the Bridge of Sighs.

Constraints of time and space prevent my commending everyone individually, All, dancers and musicians, did well last night.  I congratulate everyone who took part in the show.

As the orchestra pit of the Lowry is a bit more spacious than most I was able to glimpse the orchestra occasionally as it tackled Kerry Muzzey's score. Percussion is important particularly towards the end of the show and I was drawn to the percussionist seated on the back row of the pit as he sounded out the change of mood. Thr Northern Ballet Sinfonia was conducted by Daniel Parkinson last night who interpreted the music well. I am not sure that I appreciated the score as much as I did last night the first time round. Yesterday I particularly liked the first act where there were hints of the 18th century without pastiche.

I also appreciated the sets and lighting more and noticed things like the sort of white smoke that rises from the Sistine Chapel when a new pope is found which opened the show. I am not sure of its significance. I assume it was used in the Grand but, for the life of me, I just can't remember it.  It was, however, very effective owing moe than a little to the cinema which I know to be Tindall's passion (see "A Many Sided Genius, Tindall on Casanova 4 March 2017). Not everything worked quite so well. If, as I hope, this ballet has a second run, t I hope that Tindall takes another look at the flashback scene with its falling pages reminiscent of the snow scene at the end of Nixon's Wuthering Heights. A fine bit of choreography deserves a stronger and more original ending.

It was very good to see Northern Ballet west of the Pennines where the company began. As a Mancunian, I took pride in Northern Dance Theatre's existence long before I ever saw them dance. And when I did see them dance I saw them first in Manchester which is where they performed some of their best work. It would be good to see more of them in our city and there is no reason why they should not do so. After all, the Australian Ballet has a strong base in Sydney as well as Melbourne and the Miami City Ballet has homes in Fort Lauderdale and West Palm Beach as well as Miami. As I have said many times, the company is called Northern Ballet, not Leeds City or even Yorkshire Ballet. If Birmingham Royal Ballet can manage two seasons a year in our city region I see no reason why Northern Ballet could nit do the same if it really wanted to do so.

Bibliography: Reviews and Insights

20 April	Louise Levene	Casanova, Milton Keynes Theatre, UK — a blur of conquests	Financial Times
19 April	Bruce Marriott	Northern Ballet – Casanova – Leeds	Dance Tabs
7 April	Judith Mackrell	Casanova review – too much plot, not enough passion for Northern Ballet's limp lothario	The Guardian
12 March	Mark Brown	Casanova is an impressive and exhilarating evening's ballet – review	Daily Telegraph
12 March	Jane Lambert	Casanova - "it has been a long time since I enjoyed a show by Northern Ballet as much as I enjoyed Casanova last night"	Terpsichore
4 March	Jane Lambert	"A Many Sided Genius" - Tindall on Casanova	Terpsichore
16 Feb	Jane Lambert	Casanova Unmasked	Terpsichore
24 May 2016	Jane Lambert	Casanova	Terpsichore

Jack White

The brilliant young composer, Jack White, who wrote the score for Ballet Cymru's Cinderella which was our ballet of the year for 2015 against some incredibly strong competition (see Highlights of 2015 29 Dec 2015) and Stuck in the Mud for the same company (see An Explosion of Joy 21 Sept 2014) has just published his soundtrack for Cinderella on his website (see Cinderella soundtrack now available 2 May 2017).

Very fairly, Jack has invited his licensees to name their price for permission to download and replay his music. But please remember that "name your price" does not mean "pay nowt" even if you come from Yorkshire like these monkeys.

Hear nowt, see nowt, say nowt
Eat owt, drink owt and pay nowt
And if thou ever does owt for nowt
do it for th''sen

Author Tumi
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Copyright subsists in Jack's work and will continue to subsist in it at least in Wales and England for the rest of Jack's life plus 70 years and in some places even longer.  So as he has played fair with you, you play fair with him.

Jack tells me that he has recently been commissioned to write a score for the National Dance Company of Wales which will be premiered later in the year.

He likes writing for ballet and contemporary dance companies. I invite every artistic director and choreographer from Alaska to Australia to give Jack's music a listen.

Royal Ballet's Rehearsals of Marguerite and Armand.and The Dream

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I skipped class on Wednesday night to watch the live streaming of rehearsals for two of the ballets in the Royal Ballet's Ashton triple bill of Marguerite and Armand. Symphonic Variations and The Dream at Covent Garden. The programme will only appear between the 2 and 10 June and all but two of the performances are already sold out. However, it will be streamed live to cinemas in the United Kingdom and elsewhere on 7 June thereby providing welcome relief from this already very depressing general election campaign.

Being very long in the tooth I know all three works very well and love them very much.

I shall always associate The Dream with Dame Antoinette Sibley who is my all time favourite ballerina by a country mile (see Sibley 17 Dec 2013) and her noble partner Sir Anthony Dowell  and visions of them in the reconciliation scene rush to mind causing me to forget whatever I am doing whenever I hear Mendelssohn's glorious score (see the RAD's tribute to Dame Antoinette on YouTube and if you have any heart I defy you to keep a dry eye). I remember hearing it in Leeds in the next rehearsal studio as our teacher patiently gave instructions for an enchainment which completely washed over me as I listened to the music.

Almost as dear to me is Marguerite and Armand in which I saw Nureyev dance with Fonteyn whom I also loved and admired (see Margot Fonteyn 18 May 2015). Fonteyn was also one of the original dancers in Symphonic Variations along with Moira Shearer, Pamela May, Michael Somes, Brian Shaw and Henry Danton. Although it was first staged even before my time Somes and Shaw were still dancing when I first took an interest in ballet. Danton was the only one I missed even though - ironically and praise is - he is still very much with us.

Those ballets are the very finest examples of Ashton's work which is discussed in a talk by Prof. Stephanie Jordan that you can hear in the above video. Also in the video is a Q & A by Kevin O'Hare, Lesley Collier, yet another all-time favourite ballerina and the gracious Zenaida Yanowsky. 43 minutes and 29 seconds into that session Yanowsky demonstrated the famous "Fred Step". The reason I know that timing so precisely is that I have been practising the Fred Step. There are two lovely rehearsals in the film. One by Yanowsky as Marguerite and Gary Avis as Armand's father in the scene where Armand's dad warns Marguerite to stay away from his boy. The other is Francesca Hayward and Marcelino Sambé in the quarrel scene over the changeling boy and the reconciliation. They are nothing like Sibley and Dowell but I think they are just as beautiful in the way they interpret this work.  At the end of the Marguerite and Armand rehearsal, Avis said some lovely things about Yanowsky which made me admire both of them even more than I already did. The whole video is presented and moderated by Alexander Campbell who did a really first class job.

I have said enough, ladies and gentlemen.  I will leave you to watch this gorgeous video.

Evolve in Leeds

I try not to have any favourites in the dance world or at least not to how favouritism but I have a particularly soft spot for Scottish Ballet which was the first company that I got to know and love. One of my favourite dancers in that company was Eve Mutso and one of the most beautiful performances that she has ever given is not on a stage but in the short video A Dancer's Journey. Do cluck that link, ladies and gentlemen. Your effort will be amply rewarded.

The film is made for Dancers' Career Development ("DCD") which helps "dancers to make the often difficult transition from professional dancing to a new career by giving them the confidence and skills they need to keep working beyond dance." According to its website, DCD is the only organization of its kind in the UK and it is a world leader in dancer transition.

DCD is holding a one-day workshop called EVOLVE in Leeds on 15 May in conjunction with Northern Ballet to explore "life after a dance career, offering practical tools, insight and inspiration" (see EVOLVE Leeds Workshop 23 April 2017 Northern Ballet's blog). DCD has come to Leeds once before and you will see what happened last time in Dancers’ Career Development: EVOLVE Leeds #1.

If you want to come, here's what you need to know:

"DCD supported dancer Anna Nowak, formerly of Company Wayne McGregor will be amongst speakers sharing her own story.
One to one coaching sessions will also be available on Tuesday 16 May!

• Date: Monday 15 May 2017 (followed by one to one coaching sessions on Tuesday 16 May)

• Time: 9:00am - 4:30pm

• Venue: Northern Ballet, Quarry Hill, Leeds, LS2 7PA

• Facilitated by: Jo Wright, DCD Coach

• Price: Early bird: £30 (until 30th April), Full price: £35 - includes lunch and refreshments throughout the day. (Please contact us on 020 7831 1449 if cost is a barrier to you attending. Limited subsidised places are available)."

Here is a link to the booking page if you want to come.

Northern Ballet and Phoenix Dance Theatre's premises are incredibly easy to reach as they are literally just across the road from Leeds's bus station, a 10-minute walk from the railway station (though if you don't know your way around Leeds I would recommend a bus as folk have been known to get lost) and there is plenty of overpriced parking on the waste ground behind Northern Ballet and the music school and West Yorkshire Playhouse. The local authority has the cheek to charge up to 22:00 for parking on that desert.

I've got a modest suggestion which I shall try to follow. Just as some airlines encourage us to pay for a tree whenever we book a flight, how about making a small donation to the DCD when we book a ticket to the ballet? Those swans and shades and mirlitons have already given us so much in terms of classes, rehearsals and injuries. The performing phase of their careers is limited. They have so much more to give in the post-performance phase. It is in our interests as theatregoers (and probably also in the interests of the nation) for us to give a little back.