One of the Best Ballet Experiences Ever

Standard YouTube Licence


When Karen Sant introduced Harriet Mills at KNT's Manchester studios last night, we gave her a spontaneous ripple of applause.  Applause is expected at the reverence but at the beginning of a class it is very rare indeed.  We applauded her because Harriet is a very special teacher.  A principal of the Karlsruhe State Ballet no less which seems to have a gorgeous repertoire. Feast your eyes, ladies and gents, on these YouTube clips that I have managed to google:  Romeo and Juliet, La Sylphide and Anne Frank.  There is something very special about a class from a teacher who has danced with a well known company and a class from a principal is particularly precious.  I have been lucky enough to attend several classes by Chris Hinton-Lewis in Leeds who was one of my favourite dancers at Northern Ballet (see It's an Ill Wind - Review of Northern Ballet's Beginner's Class 8 Dec 2013) but this was my first class with a ballerina at the height of her career.

Directing us to face the barre Harriet showed us how to stand from our toes to our shoulders.  She then conducted us through pliés in 1st, 2nd, 4th and 5th, tendus, glissés, ronds de jambe, frappés and a combination of tendus, glissés and grands battements. Calling us into the centre she said that the secret of the port de bras is to keep the arms flowing and she gave us a delightful exercise that required us to do just that.  Next came pirouettes - preparations, quarter turns, half and finally full turns. Then jumps starting with glissades and assemblés in preparation for a joyful combination of balancés, arabesques, pas de chats and temps levés.  Usually our class lasts a little over an hour but Harriet gave us a full 90 minutes.  The class was so good that Karen and Mark Hindle, who has just returned from a season of the Lion King at the Hague, joined in.

Because Harriet has given us some extra time she had to start the next one immediately afterwards. It was not possible for us to thank her for our class.  I always try to do that because the relationship between teacher and student is very special as I explained in Le jour de gloire est arrivé - Dame Antoinette Sibley with Clement Crisp at the Royal Ballet School 3 Feb 2014:

"As Sibley spoke about her teachers I realized that every teacher represents to his or students every dancer, choreographer and teacher who has gone before. Sibley loved her teachers and I can relate to that because I love every one of mine. Those who have gently corrected my wobbling arabesques and feeble turns. I texted one of them yesterday after the talk .......

"Oh super jealousy" she replied.
"Don't be jealous" I responded "You are also part of the tradition. You live it, I just see it. And you pass on your gift to others."
"Awwwww Thanku xxxx"
"When I go to class you or Annemarie represent every dancer, choreographer and teacher who ever lived".
"Aw Jane! I won't be able to leave the room soon"
"I am only paraphrasing Sibley. She should know. Through you I am linked to your teacher who is probably linked to someone at Ballet Russes who is linked to Petipa."
"xxxxx wise woman!"

As indeed Dame Antoinette is. I learned so much from her yesterday for which I shall always be grateful."

So this blog post has to serve as my thank you to Harriet for a great class. We all left happy and inspired.

If anybody is interested, Karlsruhe is a pleasant medium size town in Baden-Württemberg which hosts the German Constitutional Court as well as a fine ballet company.  Practitioners in my area of law have been taking a particular interest in the Court lately because it is determining a challenge to German ratification of the Unified Patent Court Agreement. That was the topic of a talk that I gave to Queen Mary University of London Law School on Monday night (see Jane Lambert Is British Ratification of the UPC Agreement even relevant now? 12 Feb 2018 NIPC News).

Ballet West Amplified

(c) 2018 Ryan James Davies: all rights reserved
Reproduced with the kind permission of the copyright owner

Ballet West  Giselle and Rossini Cocktail  10 Feb 2018, 19:30 SEC Armadillo, Glasgow

I returned to Scotland yesterday as I said I would in A Very Special Giselle 4 Feb 2018 and Fizzing! Ballet West's Rossini Cocktail 6 Feb 2018 to see Ballet West's double bill again. This time they were in the Scottish Event Campus Armadillo which is a major auditorium with 2,000 seats. That is much larger than the Bradford, Alhambra (IMHO the best theatre for dance in Yorkshire) which has 1,456 seats and it is only slightly smaller than the main stage at Covent Garden which has 2,256.

When the company announced its intention of performing in the Armadillo for the first time in 2014 I was worried (see Scottish Ballet and Ballet West 3 Oct 2014). I had seen Ballet West perform The Nutcracker and Swan Lake in Pitlochry and I knew it was good. It attracted a big enough crowd to the Pitlochry Festival Theatre in an area that may not see a lot of ballet but Glasgow is altogether different. It is one of our major conurbations and hosts one of our leading ballet companies. I feared that Ballet West would be swamped on a massive stage and that it would rattle in an empty auditorium.

Clearly that did not happen for the company has come back to the Armadillo every year since its debut on Valentine's day 2015.  For those who do not know Glasgow the Armadillo is one of several buildings on the edges of the city centre known as the Scottish Event Campus. "Campus" is the right word for the space is huge. Much bigger than G-Mex or the Leeds Arena with its own railway station and several hotels. The Armadillo is one of the most comfortable theatres I have ever visited with seats like armchairs and masses of leg room. It is also one of the least fussy allowing members of the audience to come and go more as less as they please even while artists are dancing. I have mixed opinions about that.  Ballet West did not fill the auditorium but they attracted a very respectable turnout. I saw at least as many empty seats in the Alhambra for Northern Ballet's excellent MacMillan triple bill and there are times when even the Lowry struggles to fill its seats.

More importantly the company took possession of the massive stage and commanded it effectively. I feared the Glasgow associates who began the show with the first movement of the Rossini Cocktail might be daunted by the space and lights. Not a bit of it. Those young women in blue were as confident as they had been in Greenock.  I sat next to one of their mums in the auditorium and congratulated her on her daughter's performance.  Accepting my praise she was quick to point out that all the other students had done well, particularly in view of the short amount of time they had to rehearse.

First year full time students in Daniel Job's Rossini Cocktail

(c) 2018 Ryan James Davies: all rights reserved
Reproduced with kind permission of the copyright owner

The associates were followed in the second movement of Rossini Cocktail by the first year full-time students. Now that I knew who they were I viewed their performance much more critically but I could not find fault. I was as impressed yesterday as I had been last week.   I particularly enjoyed the last bit when the dancers lean forward and advance towards the stage like a wave. From the grins on their faces they seemed to be having fun and certainly the audience did.

Giselle followed shortly afterwards with the same cast as last week.  My heart missed a beat when I heard the first few bars of the overture because it seemed to be far too fast but it had slowed down enough for the dancers by the time the curtain rose.  The backdrop, barn and Giselle's bothy that had fitted the Beacon's stage like a glove looked a little bit lost in the Armadillo but the performers seemed to enjoy the extra space for dancing.

As I noted last week it was a very dramatic production.  Hilarion (Joseph Wright) tore Giselle (Natasha Watson) and Albrecht (Dean Rushton) apart and showed her Albrecht's sword with the misplaced relish of the prosecuting attorney in Perry Mason.  This week my attention centred on Watson's reaction.

(c) 2018 Ryan James Davies: all rights reserved
Reproduced with kind permission of the copyright owner

She is a superb actor and I mean superb.  All dancers have to act a little but it is formal and often strained. Watson's is real.  Her mad scene - or distraction on learning of her betrayal and humiliation if you prefer - is chilling.  She rips Albrecht and Bathilde apart.  I shuddered as she tore the locket that Bathilde had given her from her neck and grabbed the sword by its point.  Niamh Dowling (Giselle's mother) impressed me again.  So, too, did Rahul Pradeep who danced Bathilde's dad.  Tall and slender he was every inch an aristocrat.  Congratulations to them and also to all the dancers who had impressed me last week and did again last night.

The last scene was enchanting.  Mist (dry ice) wafted across the stage.  Lights flashed.  Myrtha (Uyu Hiromoto) glided onto the stage. She was as regal last night as she had been the week before.  I have been a fan for some time and yesterday I had the chance to meet her.  It is as hard to pick stars in dance as it is winners at Aintree but occasionally a student or member of the corps seems to stand out from his or her peers.  Xander and Demelza Parish did so at the Yorkshire Ballet Summer School gala in York on 31 Dec 2007 (see "Review: A Summer Gala of Dance and Song, Grand Opera House, York"31 July 2007 The Press) . So, too, Michaela DePrice did in Amsterdam in 2013 (see The Junior Company of the Dutch National Ballet - Stadsshouwburg Amsterdam 24 Nov 2013 25 Nov 2013). I saw the same signs in Hiromoto yesterday. Now I could be wrong but I was right about the Parishes (especially Xander) and I was right about DePrince though she was already in the Junior Company and on her way to great things when I first saw her.   However, Hiromoto was not the only fine dancer.  Once again I need to commend Sarah Nolan as Moyna and Storm Norris as Zulme as well as Wright, the hapless Hilarion, and all the corps of wilis.

Next year the company will tour Scotland with The Nutcracker.  I hope one year they may dip their toes into England for, as I said at the end of my very first blog post five years ago, audiences there will take them to their hearts.

Spotted - Northern Ballet Academy's Schools Outreach Programme

Standard YouTube Licence

In So Proud of those Students and their Teacher 7 Feb 2018 I wrote:

"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."

I was, of course, referring to Cara O'Shea who appears in the film above as well as the recording in my earlier post.

As it happened I did not have to wait long to see another of Cara works for she had choreographed a short but delightful ballet for Northern Ballet Academy's boys called "Be My Guest".  The boys were dressed as waiters and they performed some quite difficult movements including soaring leaps that quite drew my breath away towards the end of the piece.

Cara had created the work to entertain some of the company's benefactors at a fundraising dinner on Thursday. The dinner was held to raise money for the Spotted,  the Academy's outreach programme for schools in Yorkshire. This is a programme to deliver dance to schoolchildren some of whom may never have attended a ballet.   Pupils in years 4, 5 and 6 are offered a 90 minute dance workshop.  All will have fun.  Those who show promise may be invited to the Academy for further training under the You've been spotted programme.

The company presented two other delightful interludes for our pleasure - Concerto and the proposal scene from the last act of Jane Eyre.   I congratulate all the dancers but I particularly enjoyed Abigain Prudames and Mlindi Kulashe in the proposal.

Windrush: Movement of the People

Standard YouTube Licence


Phoenix Dance Theatre  Mixed Programme (Maybe Yes Maybe, Maybe No Maybe, Shadows and Windrush: Movement of the People)  West Yorkshire Playhouse, 7 Feb 2018


Yesterday Phoenix Dance Theatre opened its Spring tour at West Yorkshire Playhouse with a triple bill consisting of Aletta Collins's Maybe Yes Maybe, Maybe No Maybe, Christopher Bruce's Shadows and Sharon Watson's Windrush: Movement of the People.  All three are important works. At any other time performances of the first two works would have received a lot of attention.  But yesterday the focus was on the last which was performed in full for the first time.

Having seen previews of Windrush at A Celebration of Female Choreographers and Windrush Studio Sharing, there was never any doubt in my mind that the work would be a great success.  So it was with the audience on its feet cheering until its members' voices were hoarse and clapping till their palms were sore.  They - we - were applauding a beautifully crafted and performed work of art, of course, but also something more.  A movement of people, a melding of cultures, a response to enormous adversity, hardship and in many instances even violence, a story of individuals and families, an epic in which everyone in the auditorium - indeed everyone in these islands - has participated in one way or another.  We celebrated not just those who boarded the Empire Windrush 70 years ago - one of whom was in the audience - but also everyone who has followed them since. "This was my mother's story" said Sharon Watson after the show. So it was but it was a story of many others and one that resonates with all.

The work divides into four scenes.  It opens in Jamaica full of light and colour and movement. The women in gorgeous costumes. Young men tumbling over each other to read a newspaper. The women are more restrained - subdued, even, as some of them will be left behind - but even they are excited by the adventure. The passengers board the ship still full of hope and energy.

The next scene is the most poignant. A voice calls out.  "You called and we came". The stage was much less bright. The dancers hardly moved. The voice continued about the skills, the energy, the quick minds of those who came and how so many of those talents were squandered in post-war Britain. Matrons reduced to sisters, sisters to nurses and nurses to chambermaids.  Women with masked faces hang out washing each with a letter spelling out the infamous words "NO DOGS" et cetera.  An arrangement of the national anthem is sung live on stage except instead of "Queen" it is "God save the Dream."

The Dream is saved for in the third scene sweethearts reunite in England. They find homes, lay down carpets and purchase settees - and radiograms.  The parents play their LPs but their mini-skirted children will have none of that. Off goes Jim Reeves and on comes 10ft Ganja Plant.  Again there is movement and energy on stage.

The final scene is a church with stained glass lighting, a pastor and his choir.  It's a service but this service is almost a party. The cast invite those in the front seats onto the stage. The audience claps rhythmically and euphorically then rises to its feet as one.  A triumph indeed!

There are so many people to congratulate for this triumph.  Sharon Watson, of course for her choreography, Christella Litras for her score, Eleanor Bull for her designs and Phoenix's beautiful dancers.  I spoke to several of them afterwards.  The show was special for them too.  Something they will remember for the rest of their lives. And for the audience?  I can only speak for myself but it was the best show that I have ever seen in Leeds.

Maybe Yes Maybe, Maybe No Maybe and Shadows need to be reviewed separately and I will review them soon.  They were fine works that were performed well and a paragraph or two about them tagged onto a review of Windrush will not begin to do them justice. Phoenix will perform the mixed bill at Leeds until the 10 Feb. Then it will go to Keswick, Cheltenham, Doncaster, Leicester, Aachen, London, Birmingham and Newcastle.  If you live anywhere near those places you really must go.

Get smart - Dance!

DANCING is good for the body, we all know that, but could it be good for the mind too?

An interesting experiment on BBC TV’s The Truth about Getting Fit suggests it could.

At Coventry University, a group of salsa dancers were asked to do a series of mental tests before and after a 30-minute salsa session, led by salsa instructor and exercise scientist (yes, really!) Dr Pablo Domene.

The tests covered the dancers’ ability to make decisions and avoid distractions; their ‘working memory’ and ability to recognise patterns, and, finally, their ability to anticipate moving objects.

The results were revealed by Cognitive Scientist Professor Michael Duncan. He said that in the anticipation test, which looks at perception and cognition together, the group’s performance as a whole was eight per cent better after the salsa session than it had been before.

In the visual discrimination tests - the ones relating to being able to make decisions without being distracted - the group did 13 per cent better.

The best results of all, though came in the working memory tests, which, according to Prof Duncan, measure: “the ability to hold different bits of information in our heads to allow us to get the job done, from following a recipe to holding a conversation”. In those, the group’s performance improved by 18 per cent after their salsa session.

“I’ve never seen an improvement like this for any other activity, including running and cycling,” Prof Duncan told presenter Dr Michael Mosley.

“Most types of exercise have a positive effect on cognitive performance but with something like salsa you have to think about the pattern, you have to think about staying in time with the music, so that actually requires a lot of cognitive manipulation. And when the dance is going on, you are physically exercising yourself too.”

Or, in other words (ie mine!) take your brain dancing and it’ll work a lot faster and better.

Certainly, Dr Mosley was impressed. “People say that they don’t have time to exercise,” he said, “but what this research suggests is that exercise makes you more productive, so you get more out of your day.”

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,

Fizzing! Ballet West's Rossini Cocktail

Gioachino Rossini

Author Vincenzo Canuccini
La Scala Theatre Museum, Milan
Source Wikimedia Commons

Ballet West Rossini Cocktail Beacon Arts Centre, Greenock, 3 Feb 2018, 19:30

I was inspired to start this publication by the students of Ballet West when I saw their performance of The Nutcracker at Pitlochry almost 5 years ago (see Ballet West's "The Nutcracker" 25 Feb 2013). I noted that Ballet West is a school as well as a company which reaches out to the public and in that performance it appeared that everyone had been given a go.  In The Nutcracker that is easy because there is a full scale battle in Act 1 and lots of divertissements in Act II. In Giselle there are far fewer divertissements and only so many ranks of wilis or villagers can cram on stage.

To show off the considerable talents of the dancers who could not be cast for Giselle, the company's choreographer, Daniel Job, created a delightful work to the music of Giaochino Rossini called Rossini Cocktail.  I mentioned it briefly in my review of Giselle but I did not begin to do justice either to the choreographer. designers and costume makers who created it or to the artists who danced it.

The programme explains that when Giselle was first performed it was a common practice to present a short unrelated production and that on that day it was the third act of Rossini's Moses in Egypt (Mosè in Egitto). Although I am not aware of any full length ballet by Rossini he did compose ballet interludes for his other operas of which the soldiers dance in William Tell is perhaps the best known. Rossini was born just before and died several years after Adolphe Adam, the composer of Giselle, and somewhat before that towering genius, Herman Severin Løvenskiold, who composed the music for what ought to be Scotland's if not the UK's national ballet.  The pieces that Job had selected for his dancers were gorgeous.  Delightful to hear and perhaps even more delightful to dance.

Rossini Cocktail was performed in two movements.   The first was danced by 33 senior members of the Associates Programme in Glasgow.  They were all in blue flowing dresses.   I counted 33 names in the programme.  All were good and some were outstanding.  I do not rise to my feet easily but I did so at the end of their performance. I am told by Gillian Barton that those young women would have met only one day in each month.  Some travel considerable distances a few from over the border. The Glasgow associates are trained by Jonathan Barton and Natasha Watson and the Edinburgh associates by Sara-Maria Barton. 

The second movement was danced by Ballet West's full time first year students who appeared in gold costumes.  All were impressive and some were excellent. I don't know the names of the dancers who impressed me most but I shall look forward to seeing them in subsequent shows with Ballet West - no doubt some in solo roles - and I am sure that several of them will have successful careers on stage.  I congratulate all the dancers in both groups. They have done well and any friends or relations who saw them on Saturday must be proud of them.

I enjoyed Giselle and Rossini Cocktail so much that I am coming back to Glasgow for more on Saturday. I seldom do that even for a show in Leeds or Manchester but this was the best show that Ballet West has performed to date. I can't wait to see what they can do in a large auditorium in a major city.