Ballet Cymru's Dylan Thomas Programme: The Company's Best Work Ever

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Ballet Cymru  Dylan Thomas – A Child’s Christmas, Poems and Tiger Eggs 29 Nov 2018 Stanley and Audrey Burton Theatre, Leeds, 1 Dec 2018 Pontio Arts and Innovation Centre, Bangor

I have been following Ballet Cymru for over five years and they have never failed to impress  In 2015 their Cinderella was my ballet of the year and their TIR was the runner-up (see Highlights of 2015. 29 Dec 2015).  In that year they were also my year and I tipped Krystal Lowe as a dancer to watch. They have continued to impress me every year but I think their Dylan Thomas double bill - Dylan Thomas – A Child’s Christmas, Poems and Tiger Eggs - is their best work yet.

It was so good that I saw it twice. The first time was in Leeds on 29 Nov and the second at the Pontio Arts and Innovation Centre at Bangor on 1 Dec 2018.  Leeds was excellent but Bangor was even better as Cerys Matthews and Arun Ghosh were on stage and the audience was even more receptive and responsive.  The show was in effect a double bill.  It began with Poems and Tiger Eggs which consisted of readings of a selection of Thomas's poems by Matthews to Ghosh's music.  The second piece was A Child's Christmas in Wales.  Both works were created by Darius James and Amy Doughty.

Poems and Tiger Eggs opened and closed with In My Craft or Sullen Art.  That is a poem I did not know before Ballet Cymru introduced me to it at the workshop on 28 Nov 2018 (see More than a Bit Differently: Ballet Cymru's Workshop and the Launch of the Powerhouse Ballet Circle 29 Nov 2018). It is now a poem that I adore.  Beth Meadway danced to it as a solo in the opening and the whole cast danced to it at the end.  In the workshop, we were taught to listen for the words "Not for the Proud Man" and then react. Meadway turned her head sharply in the solo and the whole cast moved as one when the poem was read again.

Scottish Ballet had staged Ten Poems by Christopher Bruce on the centenary of Dylan Thomas's birth which I saw in Edinburgh and reviewed in Bruce Again on 6 Oct 2014.  One of the works that Bruce had set to dance was Do Not Go Gentle Into That Food Night.  Darius James and Amy Doughty also chose that poem for Poems and Tiger Eggs.  Both Bruce and James and Doughty created duets but James and Doughty's was somehow softer and more lyrical.  Incidentally, if anyone wants to listen to a fine reading of the poem, I strongly recommend the performance by Benjamin Zephaniah which is published on YouTube by the Poetry Society.

Thomas's poems incline to the melancholy but there was some levity too in Laugharne with Krystal Lowe as the stranger who got off the bus and forgot to take it back again.  I particularly liked the bit about people coming from all sorts of places like Tonypandy and even England.  The cast made the sign of the cross at that point though I wonder whether Calvinist Nonconformist chapel folk would do that.  Maybe the Welsh Italians (of whom there are many) though there are more of them on the banks of the River Chubut than the Taf Estuary.

A Child's Christmas was very different and undiluted fun.  It began with a film clip made (I think) by my good friends Lawrence and Samantha Smith-Higgins of Red Beetle Films.   In it, children explained what Christmas (or, in the case of one little girl, Eid) meant to them. Mainly presents and lots to eat.  It proceeded with "One Christmas was so much like the others" and proceeded to snow, cats and Mrs Protheroe's fire.  That fire was better than all the cats in Wales lined up on a wall.  There was the "What would you do if you saw a hippo?" and the carol singing where the children heard a ghostly voice joining in their carol. My favourite bit of the dancing was "Still the Night" before a stained glass image. There were other favourites too such as "The Uncles". I'm not Welsh but I can relate to that for we Saes have uncles too as well as aunties who get a little tipsy and start singing about death.

The workshop on 28 Nov 2018 helped my understanding of James and Doughty's choreography considerably.  Sue Pritchard, who also attended the workshop, thought the same.  Peter Harrop (who lives in Wales) joined us the performance. Peter was not in Leeds on 28 Nov 2018 but he attended Ballet Cymru's company class and reported that it was very gruelling. Apparently, no concessions were made for the adult ballet dancers.

The Pontio Arts and Innovation Centre is an impressive building just below the Arts building of Bangor University.  It has a theatre, cinema and a FabLab (see  Liverpool Inventors Club Re-launch - Fabulous FabLab 28 Jan 2012 NIPC Inventors Club).  There has been a lot of investment by the university to build a knowledge-based economy on both sides of the Menai Straits (see Jane Lambert Anglesey and the Fourth Industrial Revolution 12 Oct 2018 IP Northwest).  There has always been a close link between the University and the community in this corner of Wales. It was actually founded by a subscription of local quarrymen, This Centre will do much for the artistic and cultural life of the region.

Ballet Cymru Workshop

A workshop that is a little bit different

28 Nov 2018  Yorkshire Dance  18:00 - 19:30 

© 2018 Sun Trenverth Photography: all rights reserved
Reproduced with kind permission of Ballet Cymru 

Ballet Cymru describe themselves as "a ballet company who like to do things a bit differently." They enjoy finding new ways to make what they do exciting, innovative and relevant.

They achieved those objectives with TIR where they collaborated with Cerys Matthews to translate traditional Welsh songs into dance. I described it as a "thrilling experience" in my review of the company's performance of that ballet in Newport.

Matthews and Ballet Cymru have collaborated again to produce Dylan Thomas – A Child’s Christmas, Poems and Tiger Eggs which the company will dance at the Stanley and Audrey Burton Theatre in Leeds on 29 Nov 2018. This show promises to be one of the highlights of the Leeds dance season for 2018/2019 so if you have not yet bought your ticket do so now while you still can.

The day before that performance we shall host a workshop for Ballet Cymru at Yorkshire Dance where they will teach us some of the choreography from that show. This is a rare opportunity to dance with artists of Wales's classical dance company who have come from all parts of the world to the work of Darius James and Amy Doughty two of my favourite choreographers.

This workshop is open to anybody aged 18 or above who is regularly attending ballet classes at Northern Ballet Academy or Dance Studio Leeds in Leeds, KNT Danceworks in Manchester, Hype Dance in Sheffield, Ballet North in Halifax or any other adult ballet class of similar standard. Ballet Cymru do not expect you to be another Pavlova but you are unlikely to get much out of the evening if you have not yet mastered the basics.

Admission is free but you must register here in advance. Yorkshire Dance is literally just across the road from Northern Ballet and Phoenix Dance Theatre. It faces the Leeds School of Music. The bus station is the same distance in the opposite direction and the mainline railway station with regular services to all parts of the country is just a little further away.

Immediately after the workshop Powerhouse Ballet will hold a reception for Darius James and the company in Martha's room at Yorkshire Dance where we shall launch the Northern Dance Circle. The Circle will promote dance and dance education in the North in very much the same way as the London Ballet Circle does in London. You can attend that even if you do not attend the workshop. Again, there will be no charge to attend the event but you must register in advance.

Go to the Eventbrite Page

Dylan Thomas – A Child’s Christmas, Poems and Tiger Eggs

© 2018 Sleepy Robot 

If I were washed up on Sue Lawley's desert island with a DVD player and had seconds to rescue discs from the jaws of a sea monster, Cerys Matthews's TIR  would be one for which I would risk a limb.  The reason I say that is that it would remind me of an unforgettable performance by Cerys and Ballet Cymru of her music interpreted in dance by Darius James and Amy Doughty at The Riverfront Theatre in Newport on 6 Nov 2015 (see "The Pride of Newport and the Pride of Wales" 8 Nov 2015).

Cerys Matthews, Darius James, Amy Doughty and Ballet Cymru have collaborated again to create Dylan Thomas – A Child’s Christmas, Poems and Tiger Eggs.  This is a new ballet to be premiered in Brecon on 12 Oct 2018.  It will then tour the country including London, Newport and Leeds on 29 Nov 2018.  

According to the company's press release, the ballet will be based on  Cerys's album Dylan Thomas – A Child’s Christmas , Poems and Tiger Eggs.  These are based on Dylan Thomas's writings featuring the story about the uncles and snow that we all read at school.  Cerys will recite the story in person when the show comes to Bangor, London and Newport.  The music for the ballet is composed and arranged by Cerys and Mason Neely.

This is not the first time that I have seen a ballet based on Dylan Thomas's work.   Christopher Bruce created Ten Poems for Scottish Ballet in 2014 which I reviewed in Bruce Again  on 8 Oct 2014.  That was an impressive work but as I said at the time "there weren't too many laughs." Ballet Cymru's ballet promises to be more cheerful though even A Child's Christmas has a sombre side.

Powerhouse Ballet (several of whose best dancers live in North Wales) will be hosting a workshop for Ballet Cymru at Yorkshire Dance on 28 Nov 2018 between 18:00 and 19:30 to which all are welcome.  Particulars of that event will be announced on the company's website shortly.  Booking will be through Eventbrite.

Newyddion Gorau drwy'r dydd! Ballet Cymru are coming to Leeds

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The bit of the headline in Welsh means "Best news all day,"

Ballet Cymru are coming to Leeds on 29 November 2018 to perform A Child's Christmas in Wales.  It is another collaboration between Cerys Matthews, Darius James and Amy Doughty  The last time those three worked together they produced TIR .   This is one of my all time favourite ballets as you can see from my reviews The Pride of Newport and the Pride of Wales 8 Nov 2015 and Ballet Cymru in London 1 Dec 2015.

James and Doughty are not the first choreographers to translate Dylan Thomas's poetry into dance.  Christopher Bruce created Ten Poems for Scottish Ballet in 2014 to mark the centenary of the poet's birth.  I reviewed the work in Bruce Again on 6 Oct 2014.

This may be Ballet Cymru's first visit to Stanley and Audrey Burton Theatre but Darius James is no stranger as he danced with Northern Ballet when it was called Northern Ballet Theatre.  It will be good to welcome him back.  I hope that this is the first of many visits.

Tickets for this show are already on sale and are likely to go like hot cakes.  This link will take you to the Stanley and Audrey Burton Theatre website.

Ballet Cymru's 2018 Summer Tour

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For its 2018 summer tour which opens in Newport on 11 May 2018, Ballet Cymru has revived Darius James and Amy Doughty's Cinderella.  The first time I saw that beautiful ballet I wrote in Ballet Cymru's Cinderella 15 June 2015:

"I have seen a lot of versions of Cinderella over the years: Ashton's of course for the Royal Ballet but also Matthew Bourne's set in wartime London, Nixon's for Northern Ballet and a version danced by the Bristol Russian Youth Ballet Company which starred Elena Glurdjidze (see Good Show - Bristol Russians' Cinderella in Stockport 19 Feb 2014), Until yesterday evening I liked Ashton's version best but now I think I prefer Darius James and Amy Doughty's for Ballet Cymru. Perhaps I will change my mind again when I see Christopher Wheeldon's for the Dutch National Ballet at the Coliseum on 11 July 2015 as it looks lovely in the YouTube trailer, but for now this Welsh Cinderella is my favourite."

I saw Wheeldon's Cinderella less than a month later and loved it but not more than James and Doughty's. Theirs is a little gem.  One of the best Cinderellas ever created by any company.

The places to which Ballet Cymru are taking Cinderella on tour are as follows:

• Newport  11-12 May
• Ayr 16 May
• Blackwood  23 May
• King's Lynn 27 May
• Teignmouth 30 May
• Abergavenny 1 June
• Sale 2 June 
• Preston 3 June
• Hereford 7 June 
• Lincoln 10 June
• Bury St Edmunds 11-12 June
• Newcastle under Lyme 13 June
• Tewkesbury 15 June
• Basingstoke 16 June
• Bracknell 17 June 
• Milford Haven 20 June 
• Taunton 30 June 
• Stevenage 4 July 
• Lichfield 6 July
• Bangor 7 July.

If you live anywhere near any of those towns and cities, do yourself a favour and book yourself a ticket.

What thrills me even more than the revival of Cinderella is the launch of  A Child’s Christmas In Wales at the Gordon Craig Theatre in Stevenage on 5 July 2018.  Why the company has waited until just after the summer solstice to launch a ballet about Christmas and why it as decided to do so in Hertfordshire of all places beats me. Never mind! It will be good.  I shall be there. With music by Cerys Matthews, how could it be anything else? Even though its dancers and creatives come from the four corners of the earth, Ballet Cymru is an unmistakably Welsh company.  As such it is at its best when it is most Welsh. 

So this should be Ballet Cymru's best summer season yet.  As I also said in my 2015 review of Cinderella: "Ballet Cyrmu is a great national treasure not just for the principality but for the whole United Kingdom ...... It is a good example of what a small touring company can do and provides an excellent model for others."

Ballet Cymru in London

Criccieth, one of my favourite places on the planet

Author Ken Bagnall

Source Wikipedia

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Ballet Cymru Triple Bill Lilian Baylis Studio, 30 Nov 2015

To the best of my knowledge and belief there is not a millilitre of Welsh blood in my veins. Such Celtic heritage as I can claim is Irish and Scottish yet I love Wales as much as anyone who was lucky enough to have been born in the principality. I guess one of the reasons I love Wales so much is that I spent much of my childhood on Black Rock Sands, the banks of the Dwyfor, the slopes of Swowdon and the towers and battlements of Edward I's castles. My parents could not afford continental holidays in the 1950s but Wales was as good as abroad with its own language and distinct landscapes and architecture, but nothing like as far away,

The Welsh language fascinated me and I longed to learn it. I even bought a phrase book called Welsh in a Week and must have tried the patience of every shopkeeper in Portmadoc and Criccieth (many of whom seemed to come from the Midlands or Lancashire) as I tried out my phrases. My mother once told me that my first words were in Welsh which is possible but unlikely as I don't know where I could have picked them up. Later when I learned Latin I saw lots of similarities like ffenestr for window (not too different from fenestra) and eglwys for church (apparently derived from ecclesia). Welsh is a naturally musical language with an "-ion" sound like a peel of bells. The language has lots of sounds that don't exist in English like the double "L" that seems to be produced by placing the tongue at the roof of the mouth and breathing over it.

Cerys Matthews has made an album of folk songs  called TIR most of which are in Welsh. I was led to her album by Ballet Cymru's YouTube video and yesterday I actually bought it. Indeed the artiste actually signed it and shook my hand. I think I have become one of her biggest fans though I regret to say I am also one of the most recent ones and I am grateful to Ballet Cymru for introducing her to me. She is a patron of the company. Yesterday she disclosed that she used to study ballet as a child and actually did very well in her RAD exam. She mentioned that fact between the songs that Darius James and Amy Doughty had choreographed for their dancers.

The dancers come from every part of the world other than Wales but they interpreted Matthews's words eloquently. Some bits of the performance were exuberant like  Bugeilio’r Gwenith Gwyn while other songs such as Myfanwy (danced by Emily Pimm-Edwards) tugged at our heart strings. The Rev Eli Jenkins's prayer in memory of Mandev Sokhi was particularly moving. Those members of the audience who had seen him dance were close to tears. For the dancers who had worked with Mandev it was so much harder. However, they are pros and though we could see their emotion in their faces they never missed a count or movement. TIR finished with Sosban Fach where each of the dancers did his or her turn. Each and every one of them impressed us but I have to say a special word for Tim Hill who thrilled us with his entrechats.

Ballet Cymru welcomed back Daisuke Miura and Suzie Birchwood as well as Pimm-Edwards for TIR. Birchwood is artistic director of ActOne ArtsBase. I first saw her in Stuck in the Mud where I was impressed by her grace and technique. The beauty of her dancing lies in her port de bras whether lifted in a pas de deux or sitting in a wheelchair. I never tire of watching her and I try to imitate her arm movements in my own dancing.  Miura and Pimm-Edwards delighted me in Romeo a Juliet and is was a treat to see them again.

Stuck in the Mud had been choreographed by Marc Brew whom I met in Llandudno. He created Traces Imprinted which I had admired in Newport. I had seen that work from the dress circle at the Riverfornt theatre in Newport where I appreciated its form and the movement of the dancers but missed much of the detail.  I caught all that detail yesterday from the second row of the stalls in a much more intimate auditorium. It was though I was seeing a different ballet. There was harshness with one dancer literally treading on the back of another but also tenderness as in the final duet. I think I understood the ballet a little better second time round.  Traces Implanted suggests memories and in particular memories of people who are no longer with us. Some of those memories we overwrite - hence the treading - others we keep alive and build upon - as in the duet.

I had missed Celtic Concerto in Newport for various reasons that I explained in The Pride of Newport and the Pride of Wales 8 Nov 2015 which was a shame because this ballet tuned out to be a gem. Choreographed by James and Doughty to a Catrin Finch's it begins with the company on stage and then some delightful solos and duets. You can get the idea from this video. I admired the stained glass projection and the costumes - simple black tutus for the women and shorts and translucent tops for the men.

The evening in Newport was very special but so was yesterday. Matthews asked whether there were any Welsh folk in the audience yesterday and it transpired that they were several.  They must have been so proud of their nation's ballet company. Also in the audience were several members the London Ballet Circle who had visited the company in October (see Ballet Cymru at Home 5 Oct 2015). We are certainly proud of our association with the company.

Other Reviews

Judith Mackrell   Ballet Cymru review – Cerys Matthews joins dancers for mercurial performance 1 Dec 2015 The Guardian

"The Pride of Newport and the Pride of Wales"

Ballet Cymru and Guests, Riverfront Theatre, Newport 6 Nov 2015

Author Gita Mistry

(c) 2015 Gita Mistry: all rights reserved

Ballet Cymru, TIR, Riverfront Theatre, 6 Nov 2015

Towards the end of her performance Cerys Matthews described Ballet Cymru as "the pride of Newport" and a little bit later as "the pride of Wales". The auditorium exploded and rightly so for indeed they are at least that.  Friday night was one of those very rare times in the theatre when something special happens. Something like the moment when Igone de Jongh and Casey Herd stepped on stage to dance Voorbij Gegaan which Rudi van Dantzig had created for Alexandra Radius and Han Ebelaar immediately after the presentation of the Alexandra Radius prize (see The best evening I have ever spent at the ballet 13 Sept 2015.) Or when Hans van Manen took a bow at the Stadsshouwburg at the Junior Company's opening performance (see The Junior Company of the Dutch National Ballet - Stadsshouwburg Amsterdam 24 Nov 2013 25 Nov 2013). Or when Northern Ballet danced A Midsummer Night's Dream  at the West Yorkshire Playhouse on 14 Sept 2013 (see Realizing Another Dream 15 Sept 2013). Or indeed Sir Frederick Ashton's retirement gala on 24 July 1970.

There were many reasons why Friday's performance was special.  The company was at home. In the magnificent Riverfront Theatre in its home town. The company's artistic director, Darius James, is a Newport man and his pride in his city and company is palpable. I watched Darius in the intervals as he greeted well wishers. There is real affection for James and his company in Newport very much as I found in Birmingham for Bintley and his company, or in Glasgow for Scottish Ballet or in Amsterdam for the Dutch National Ballet. Another reason is that the company is like a family - a family still in shock and mourning one of its finest dancers (see Mandev Sokhi 10 Oct 2015). Mandev was never far from our thoughts but  in Marc Brew's Traces Implanted and Matthews's setting of the Rev Eli Jenkins's prayer from Under Milk Wood it was as though he was still centre stage. Yet another reason which Friday was special is that the dancers seemed to be inspired. I have never seen them dance so well. I have rarely seen any company dance as well.

The evening was a triple bill consisting of Catrin Finch's Celtic Concerto. Traces Implanted and Cerys Matthews's TIR. As I got hopelessly lost in the one way system after encountering the notoriously, stroppy taxi driver who charges £50 if you're sick in the back seat in Newport State of Mind  which we were assured by our hotel reception we needed for the "enormous distance" (for a snail) between the Newport Travelodge and the Riverfront Theatre, we missed Celtic Concerto.  But we were in time for Traces Implanted which impressed me even more than Brew's other works and, of course, Matthews's glorious TIR. We also have the perfect excuse to see the triple bill again in another venue.

On his website Brew explains that "Traces Implanted explores the imprints and memories made and the traces left behind".  Gita tells me that she discussed that theme with Brew when she met him after the show. Gita confirmed that the subject matter is death and bereavement, something that we don't wish to mention about every day even though we are confronted with that reality constantly. The dancers must have found it particularly difficult as they had recently been bereaved themselves. But as Brew added, he doesn't always want to create conventional balletic beauty. Although there was beauty in this piece - particularly in the final duet with almost ethereal figures in the soft and subtle lighting - it was a compelling but not a comfortable work to watch.

TIR was quite a different work. Matthews has a lovely voice which is admired everywhere in the UK but when she sings in Welsh to a Welsh audience she is adored. Darius James and Amy Doughty have created dances for some of her best known works. Works that I was relieved to find are almost as well known on this side of Offa's Dyke as on the other. I caught myself clapping to Sospan Fach and rooting for a tissue for Myfanwy. Half concert, half ballet it was a thrilling experience. The company were joined by Daisuke Miura and Emily Pimm-Edwards who had delighted us in Romeo a Juliet (see They're not from Chigwell - they're from a small Welsh Town called Newport 14 May 2013) and Suzy Birchwood who had amazed us in Llandudno (see An Explosion of Joy 21 Sept 2014).

After the show Gita and I were invited to meet the dancers and creative team over drinks and canapés. It was a privilege to shake their hands again - particularly Krystal Lowe's who never fails to move me. I got to meet Jack White the gifted young composer of Cinderella and Stuck in the Mud and many of the the creative and technical team who have worked with the company  though sadly not Matthews on this occasion. Still, I have seen her perform live for the first time and that was more than enough.

So head over the water - on the transporter - to visit Ballet Cymru - in their home city

On 3 Oct 2015 the London Ballet Circle will visit Ballet Cymru at its studios in Newport. Audrey Allen writes in the Circle's newsletter:

"As the company is small in size it is possible to meet and talk to everyone in a friendly and informal setting, and those who went last year commented on the warm hospitality they received."

I have already had the pleasure of meeting Darius James and Marc Brew but it is dancers who make a company and Ballet Cyrmru has some lovely dancers. Last year at Stuck in the Mud in Llandudno I came very close to two of my favourites, Krystal Lowe and Mandev Sokhi (see An Explosion of Joy 21 Sept 2014). So maybe this year I will actually get to shake their hands.

Ballet Cymru reminds me a lot of Scottish Theatre Ballet when it first moved to Glasgow from Bristol. It is still a small company but it already has the confidence to stage full length classics like Romeo and Juliet and Cinderella and interpret them in an original way (see They're not from Chigwell - they're from a small Welsh Town called Newport 14 May 2013 and Ballet Cymru's Cinderella 15 June 2015). It is very conscious of being a national ballet company. For instance, it has commissioned two scores from the young Welsh composer Jack White, its programmes and website are bilingual and it has introduced characters with Welsh names into Romeo and (or rather "a") Juliet and Cinderella.

The London Ballet Circle is one of the company's funders.  It contributes the Stanley Hawkins bursary which enables a student to attend the company's advanced ballet summer school. The company also receives support from the Arts Council of Wales, its local authority, the Garfield Weston Foundation and other trusts and foundations as well as donations from the public. One of the reasons for the London Ballet Circle's visit is to raise funds and members of the Circle and their guests are invited to contribute £12.50 each.

If you are coming from London you should aim to catch the 09:45 from Paddington. If you live in the North or Midlands there will be space in my car for at least one passenger. I can take either the M6 and M5 if I have a passenger from the North West or the M1, M42 and M5 if I have a passenger for Sheffield or Nottingham. Just let Audrey know you are coming and send your cheque for £12.50 to her at 8 Goldsmith Road, London, N11 3JP (tel: 020 8361 2872, Email: audrey8allen@gmail.com). The main party have to catch their train back to the Smoke at 16:39 but we can leave whenever we like and there is much to see in Newport.

First and foremost there is Caerleon with its Roman archaeological site, museum, fortress and baths. When I was learning Latin I had to translate an unseen about a man who threw a stone at a dog which had walked on his mud tiles as they were drying in the sun. I seem to remember that he missed. In the text book there was a photo of the canine footprint and the indentation made by the stone. The Romans didn't waste the tile. They installed it in the Caerleon baths and if you get to Caerleon you can actually see it.

There is also the Riverfront Theatre where Ballet Cymru will perform TIR, Celtic Concerto and a new ballet by Marc Brew on 6 Nov 2015.  The music for TIR will be provided by Cerys Matthews who is one of the company's patrons. She has such a lovely voice that it would almost be worth learning Welsh to understand her song. It is certainly worth a trip to Newport to hear her live.



I find myself going to Newport quite often for work. The Intellectual Property Office moved to Concept House in parkland on the outskirts of the city nearly 25 years ago. I argue such matters as entitlement actions (disputes over who owns or is entitled to apply for a patent) or oppositions and invalidity applications (disputes over the registration of trade marks) before tribunals known as hearing officers. At a recent conference on intellectual property law that I attended which was organized by the Intellectual Property Office I found that several senior officials were quite unaware that Newport had a national ballet company. I will try to bring those great institutions closer together.

Now, what's the transporter mentioned in the Jay Z  spoof?  It is actually a bridge across the Usk. It is called the transporter because goods and passengers are carried across the river in a module that is hauled by an electric motor. There are similar ones in Middlesbrough and Warringtom.  These structures seem to have their own friends' groups rather like ballet companies. I find it strange that anyone can become passionate about an obsolete mode of transport but maybe the friends of those bridges would say the same about my passion for ballet.

Triple Celebration

Ballet Cymru is not one of the biggest national ballet companies in the world but it is certainly one of the most appealing. Today it welcomes Marc Brew as its associate artistic director. I featured him in my article Special Brew after I had seen his Exalt for Scottish Ballet and Indepen-dance 4 (see No Mean City - Accessible Dance and Ballet 26 April 2015.

Brew's first work for Ballet Cymru as assistant artistic director will be Traces Imprinted which will be premièred at Newport on 6 Nov 2015. This work will be performed with TIR to the beautiful singing of Cerys Matthews and Catrin Finch's Celtic Concerto.

If you want to see the première in Newport here is the link to the Riverside Theatre. The company will perform the same programme in Llandudno and Sadler's Wells which s where I shall try to catch them.