Chantry Dance 2018 Tour

Chantry Dance Company's 'DRACULA - Welcome to D's' (trailer) from Chantry Dance Company on Vimeo.



Four years ago almost to the day Mel Wong and I drove to Lincoln where we took part in Chantry Dance Company's Sandman and Dream Dance.  It was a memorable day for me because it was the first time that I had danced in public and on film and it gave me the chutzpah to put my name down for Northern Ballet Academy's end of year show (see The Time of My Life 26 June 2014). It was also the first time I met Mel.  I remember how our conversation took off like a rocket from the moment she entered my car and continued in that way throughout the day.

In those days the Chantry Dance Company was a very small and a very new operation.  It has grown over the years staging its first full length ballet last year and offering three year diploma courses in ballet and contemporary dance as well as well as associate programmes, workshops, intensives and outreach events through its School of Contemporary and Balletic Arts.  Dominic North, Clemmie Sveaas and Sarah Kundi are now patrons of that school.

Last year, Rae Piper and Paul Chantry of Chantry Dance built up their audience by visiting in advance several of the venues at which they were to perform and giving a talk with demonstrations about an aspect of the show that they were about to dance. I covered their visit to Halifax in More than "Dancing Bananas": Chantry Dance's Demystification of Contemporary Dance 30 June 2017 as well as their show (see The Sandman in Halifax 28 June 2017).

This year Paul Chantry and Rae Piper are creating a new work around Bram Stoker's Dracula.  For some reason or other Dracula attracts choreographers like wasps to a honey pot.  I have seen and reviewed David Nixon's for Northern Ballet (see Dracula 14 Sep 2014) and an extract from Michael Pink and Christoper Gable's which was performed by Ballet Central last year (see Triumphant 1 May 2017). I am also aware of Mark Bruce's Dracula and Ben Stevenson's for Houston Ballet (see the 1987 - 2003 Archive Page on the company's website) and I believe there are many more. It is not a topic that would attract me were I a choreographer as the story gives me the creeps but that is no doubt the creator's intention.  Chantry Dance are performing their new work it in Grantham, Halifax, Worcester, Sale, Stamford, Andover, Lincoln, Horsham and Greenwhich between 21 Sept and 14 Oct 2018.

The company are preparing the ground as they did last year with a talk entitled Day in the Life of a Dancer.   The strap line is "How do they do that" which is a question that Chantry and Piper propose to answer while giving some insight into a dancer's say:

"Learn what it takes to become a dancer, how they maintain fitness, strength and flexibility, and how they rehearse.  Rae and Paul are among the UK’s finest dancers and West End choreographers whose work includes David Walliams’ OLIVIER NOMINATED GANGSTA GRANNY."

They will be at The Waterside in Sale on 27 June and The Victoria in Halifax on 6 July 2018. Tickets are free but must be booked in advance. Chantry and Piper will also visit Stamford, Horsham, Andover and Grantham.

I will mention the talk and the show to anyone who turns up to Powerhouse Ballet's first class at Huddersfield on 26 May 2018.

The Sandman in Halifax

Chantry Dance Company: The Sandman

(c) 2017 Chantry Dance Co: all rights reserved

Chantry Dance Company The Sandman Victoria Theatre, Halifax, 25 Sept 2017 19:30

When I first met Paul Chantry and Rae Piper they were literally a two-person and a dog company that had yet to acquire a dog (see Chantry Dance Company's Sandman and Dream Dance 10 May 2014). Now they are touring the nation with their first full-length ballet having recruited some pretty impressive young dancers on the way (see The Sandman Tour 27 Jan 2017). Those dancers include Isaac Peter Bowry whose career I have followed ever since he was a student at Ballet West (see Ballet West's The Nutcracker 25 Feb 2013) and Rebecca Scanlon who impressed me when I first saw in rehearsal her over two years ago (see Chantry Dance's Vincent - Rarely have I been more excited by a New Ballet 4 Sept 2017).

The ballet was inspired by Hans Christian Andersen's tale Ole Lukøje though I think the libretto was entirely original. It centred around a husband and wife.  The husband was danced by Paul Chantry and his wife by Rae Piper.  The Sandman, Jack Beer, visits them and induces pleasant dreams with his multicoloured umbrella and nightmares with his plain black one.  The ballet consists of a number of dream sequences - some jolly like the brightly coloured bubbled on transparent Pilates balls - and others disturbing with faceless dancers and crawling simonite creatures.  The Sandman's umbrellas seem to represent good and evil. The husband is attracted to the black umbrella which leads him to a tavern where his wife is taken away.  All she can do is revisit her husband as a dream.

Creating a ballet from scratch with an original libretto and an original score as well as some quite elaborate set and costume designs would have been a formidable task for very much bigger companies. I can't say that they got everything right.  I lost the story in several places and Tim Mountain's score did not quite fit the mood at times but I enjoyed it a lot more than say Jonathan Watkin's 1984, Nixon's Beauty and the Beast and Christopher Wheeldon's Winter's Tale that I did not like at first and have since warmed to.  I am sure that the company will iron out the bits that need improvement.  They deserve congratulations for a successful production.

Before The Sandman, the company presented three new works created by young choreographers and performed by dancers from Studio 59.  Chantry Dance is a small touring company but it is a great deal more than that.  They are the missing link between hours of practice at the barre and performing on stage. They provide opportunities through their school, associate programmes and summer school to those with talent and ambition and they provide a sprinkling of stardust for the likes of me with their outreach programme.  A lot of companies offer open classes for the general public.  I have attended one of the best in Leeds for the last 4 years but for Paul and Rae education and outreach are central to everything they do.

The company will be in Sale tonight and then proceeds to Worcester, Greenwich, Stamford, Horsham and Andover (see the 2017 Tour Dates). If you can get to any of those performances you will be very well satisfied.

Demystifying Contemporary Dance

 I have already mentioned Chantry Dance Company's tour of the UK in The Sandman Tour 27 Jan 2017 and Chantry Dance goes North 14 March 2017. In preparation for this tour, Paul Chantry and Rae Piper will talk about contemporary dance at the following theatres:

Date	Time	Venue
27 June 2017	18:00	Guildhall Arts Centre, Grantham
28 June 2017	10:00	Stamford Theatre
29  June 2017	19:00	The Victoria Theatre, Halifax
06 July 2017	19:00	The Lights Andover
19 July 2017	19:00	The Capitol, Horsham
21 July 2017	19:00	The Terry O’Toole Theatre, Lincoln

Each of those talks is free but you have to book in advance.

Paul says:

"The aim of the presentation is to introduce people to contemporary dance, and show that this modern style of dance can be exciting and accessible to everyone. Contemporary dance is often perceived to only be enjoyed by those with dance backgrounds .... however, we will explode this myth and present an entertaining and informative talk designed to give an insight into what can be one of the most beautiful arts forms. There will also be some physical demonstrations included in the presentation."

As I said in Chantry Dance goes North, Chantry Dance is more than just a dance company. It also runs a number of educational and outreach programmes as well as the Chantry School of Contemporary and Balletic Arts in Grantham. I shall be at the Halifax talk and I shall report on it in this blog.

Chantry Dance goes North

Sale, Greater Manchester

Photo Alan Halfpenny
Creative Commons Licence
Source Wikipedia

When I first mentioned Chantry Dance Company's new full-length ballet in The Sandman Cometh - Chantry Dance's New Full Length Ballet 20 Nov 2016 I wrote:

"They have not yet published their venues but I hope that they will make at least one stop in the North next year. We were sorry not to see them in our region this year. They were missed."

When Chantry Dance did announce their list of venues they were all in the Midlands and South East (see The Sandman Tour 27 Jan 2017.

Yesterday the company announced that it would add the Waterside Arts Centre in Sale and the Victoria Theatre in Halifax to its list (see the "What's On" page on the company's website). The Waterside is a particularly good venue as it is close to the Metrolink station and a multi-storey car park in one of the more pleasant suburbs of Greater Manchester. I attended two performances of Ballet Black's Dogs Don't Do Ballet last May and found it an excellent venue for dance (see As Fresh as Ever: Ballet Black's Dogs Don't Do Ballet in Sale 7 May 2016 and I never tire of Dogs Don't Do Ballet 8 May 2016). Halifax is a town in which Chantry Dance has performed in the past though at a different venue. It is, incidentally, also the first place where Northern Ballet set up when it left Manchester.

Chantry Dance is more than just a dance company.  It also runs a number of educational and outreach programmes as well as the Chantry School of Contemporary and Balletic Arts in Grantham. It was through one of those programmes that I first made the acquaintance of Paul Chantry, Rae Piper and Gail Gordon who are the prime movers of the company as well as Mel Wong who subsequently contributed several interesting articles to this publication (see Chantry Dance Company's Sandman and Dream Dance 10 May 2014). Because of that work I tweeted:

@ChantryDance @WatersideArts it would be nice if you could look into doing a workshop or giving a class to local students while you are here

— Terpsichore (@jelterps) March 13, 2017

They replied:

@jelterps @WatersideArts we're hopefully running the YCC there for dance students & already looking into other participation possibilities x

— ChantryDanceCompany (@ChantryDance) March 13, 2017

"YCC" stands for Young Choreographers Celebration which is described in detail on the company's website. A few years ago I looked into the possibility of bringing Chantry Dance to Manchester or Leeds for a day workshop and actually went so far as to find a venue but the costs and risks were daunting. However, if the company does offer some sort of workshop, class or other event in Manchester or Yorkshire I will publish details of it.

This company that can fill a venue in London as well as small towns in the East Midlands. It has a choreographer who trained at Christopher Gable's Central School of Ballet where two of my very favourite young British choreographers, Christopher Marney and Kenneth Tindall, and many of my favourite dancers such as Hannah Bateman, Rachael Gillespie, Dominic North and Sarah Kundi also studied. It has coached one of the finalists in the Youth America Grand Prix (a competition that boosted the career of Michaela DePrince). It is certainly worth seeing.

MOVE IT 2017

(c) 2017 Chantry Dance Company
Reproduced with kind permission of the company

Move It, which takes place at the Excel Centre between the 10 and 12 March 2017, is billed as the UK's biggest dance event with "over 24,500 dancers – three days – performances, classes, career advice, celebrities, interviews and shopping!!"

I was there last year and described the day in MOVE IT 2016. My verdict on the day was:

"There are worse ways of spending a Sunday afternoon and I did pick up a free copy of The Stage and Dancing Times with a great article by Gavin McCaig in Talking Point which I read over an overpriced burrito but it was not a cheap afternoon out."

This may sound like damnation by faint praise but it is not really.  There was a lot to see and do.  The trouble was that almost everything I had most wanted to see had already happened by the time I arrived. Also, the open ballet class which was the only one that I felt able to do was fully booked.

Clearly, Friday and Saturday are the best days to come to MOVE IT.  Friday is out for me because it is a working day and even balletomanes have to eat.   I could not make Saturday last year because I was on my way to see the Chelmsford Ballet Company's The Sleeping Beauty. I regret that I won't be there on 11 March this year because that is the day Kenny Tindall's Casanova opens in Leeds.

One of the performances that I missed last year was a piece by Chantry Dance Company and Chantry Dance School.  I am a friend of the company and I like its work. A video of its performance appears in A Good Month for Chantry Dance 26 March 2016.  The company and school will be there again this year. Rae Piper will conduct a contemporary ballet workshop at 15:45 and members of the school and company will also be on the main stage at some time during that day. We wish them chookas, toi, toi, toi and anything else that does not offend theatrical superstition.

One person that I did get to meet at Move IT last year was Christopher Moore who directs Ballet Theatre UK. I am a big fan of his company for two reasons. First, I take my hat off to them for producing two or three full-length ballets every year and taking them to small town and suburban venues the length and breadth of the kingdom.  They provide a first taste of ballet for many people, including a lot of children.  I like to think that at least a few of those kids will find their way onto the stage one day.  The company has just finished Romeo and Juliet which I reviewed in Ballet Theatre UK's Romei and Juliet 15 Jan 2017 and it has already started another tour with a new production of Giselle.  Alice in Wonderland follows Giselle and The Nutcracker will follow Alice. The second reason I like Mr Moore is that he has given work to several graduates of Ballet West and any friend of Ballet West is a friend of mine.

Ballet Theatre UK now has a school and its students were also on stage at MOVE IT last year.  You will find a video of their performance on thefamousbelgian's YouTube channel. Wishing them all the best too.

The Sandman Tour

THE SANDMAN - trailer from Rae Piper on Vimeo.

In The Sandman Cometh - Chantry Dance's New Full Length Ballet 20 Nov 2016 I mentioned the Chantry Dance Company's first full-length ballet. The company has now posted a short trailer to Vimeo which you can see above.  The libretto appears to be based on Hans Christian Anderson's  The Sandman or Ole Lukøje which I discussed in Chantry Dance Company's Sandman and Dream Dance 10 May 2014 when Paul Chantry and Rae Piper danced a one-act version of the story.

With Sir Matthew Bourne's The Red Shoes touring the country (see The Red Shoes Second Time Round 4 Dec 2016) and a new production of The Little Mermaid by David Nixon for Northern Ballet opening on 21 Sep 2017 at Southampton, this is the year for Hans Christian Anderson.

The Sandman will open in Grantham two days later and visit Worcester, Greenwich, Stamford, Horsham and Andover in the next two weeks.

Chantry Dance will also be at Move It in the Excel Centre on Saturday 11 March at 15:45 where Paul Chantty and Rae Piper will teach an advanced contemporary ballet repertoire class based on The Stacked Deck which they performed last year. Theoretically, tickets for the class can be booked through the Ticket Factory website and perhaps you can if you have the patience of Job and time on your hands.

The Sandman Cometh - Chantry Dance's New Full Length Ballet

Rae Piper and Paul Chantry

(c) 2014 Chantry Dane Company: all rights reserved

A tantalizingly short announcement:

"CDC presents a NEW, full length contemporary ballet for a 2017 UK Tour:
THE SANDMAN
Links for ticket bookings coming soon..."

But a redolent one. I first met Paul Chantry, Rae Piper and Gail Gordon of Chantry Dance at the Lincoln Drill Hall on 9 May 2014. It was a very special day for me for several reasons. I made the acquaintance not just of Paul, Rae and Gail but also of Mel Wong. I also danced in public for the first time which gave me the confidence to put my name forward for the Northern Ballet Academy end of term show (see The Time of My Life 28 June 2014). Chantry Dance was running a workshop at the Drill Hall in the morning and a performance of two short one act ballets called The Sandman and Dream Dance in the afternoon. I wrote about the workshop and reviewed the show in Chantry Dance Company's Sandman and Dream Dance on 10 May 2014.

I don't know whether the full length ballet that the company will present next year has anything to do with the work that I saw in Lincoln but, if it does, it will be beautiful. I suspect it may be related for the umbrella and costumes in the above photo look very much like those in the pictures that Mel took two and a half years ago. If so, the ballet will be based on the tale of Ole Lukøie by Hans Christian Andersen which I summarized in my article. My recollection of the ballet is as follows:

"Choreographed by Gail Gordon the Sandman was danced by Paul Chantry who entered in front of the stage in the shadows. He mounted the stage which had a single prop: a hat stand and the sandman's two umbrellas. Paul is a tall, elegant dancer and he circled the stage magisterially with his wide ronds de jambe and battements. From the left entered his subject, Rae Piper, clad in a simple navy print shift. Rae has the most expressive face and she expressed joy under the multicoloured umbrella but with utter dismay to the plain one. Producing from his pocket a medicine bottle Paul sprinkled the sleep inducing drops over Rae's eyes. In the absence of programme notes I cannot recall the score but it was beautiful and Gail Gordon's choreography interpreted in perfectly."

Of course, there will have to be at least a second act and roles for many other characters but Chantry Dance are good at narrative dance as they showed not just in the work they danced in Lincoln but also in the works they danced at Gravity Fields or took on tour (see Gravity Fields - Chasing the Eclipse 28 Sept 2014, The Happy Prince in Halifax 21 Nov 2014 and Duology 29 Sept 2016).

Paul, Rae and Gail are not just simply performers, they are also educators. They ran a Young Choreographers Celebration 2016 Award Winners’ workshop earlier this year which they recorded in this video and they will include curtain raiser performances from young choreographers around the country as part of the Young Choreographers Celebration 2017 in the programme that they will take on tour.

They have not yet published their venues but I hope that they will make at least one stop in the North next year. We were sorry not to see them in our region this year. They were missed.

12,190!

That was the number of hits that we received in October 2016!  In March 2013, our first full month, we achieved 269 hits and actually dropped to 196 in August of that year. We are now averaging 393 hits in a single day.

I started this blog on the 25 Feb 2013 with a review of Ballet West's performance of The Nutcracker at the Pitlochry Festival Theatre. Since then we have published 777 posts including contributions from Alison Winward, Ciara Sturrock, David Murley, Gita Mistry, Janet McNulty, Joanne Goodman, Mary Howard, Peter Groves and Mel Wong.  My thanks to each and every one of them.

Our most popular article to date was my interview with Gavin McCaig of Northern Ballet on 3 Sept 2014, followed by my reviews of the Junior Company's opening night in Amsterdam on 8 Feb 2016, Ballet West's 2016 Nutcracker and Romeo and Juliet in 2015 and Chelmsford Ballet's Nutcracker in 2014.

This blog has recorded important events in my life such as  my first lesson with the over 55 class of Northern Ballet and my first performance on film with Chantry Dance and my first live performance on the stage of the Stanley and Audrey Burton Theatre.

I have reviewed some great performances such as Ted Brandsen's Mata Hari, David Dawson's Swan Lake, Cranko's Onegin and David Nixon's Midsummer Night's Dream. Some of those shows have been in great theatres like the Stopera and Covent Garden. Others have been local theatres in small towns like the Chelmsford Civic and the Teatro Silvio Pelico in Trecate.

Through blogging I have seen some of the greatest dancers of all time such as Antoinette Sibley and Beryl Gray and shaken hands with some of the great names like Li-Cunxin and Peter Wright. I have also met some fine people - some on stage as dancers and choreographers, others in the studio as teachers and fellow students and many more in the auditorium or at talks who simply share my passion for dance.

I should like to thank all those who have danced for me or created dance for me, all who have taught me dance and all who have contributed in one way or another to this blog.

Duology

Van Gogh "Sunflowers"

Source Wikipedia

Reproduced under GNU free documentation licence

On 27 Sept 2015 Chantry Dance performed Duology, their double bill at the Square Chapel in Halifax. Gita and I had already seen their rehearsal of Vincent - a stranger to himself when we visited their rehearsal studios earlier in the month and knew what to expect (see Chantry Dance's Vincent - Rarely have I been more excited by a New Ballet 4 Sept 2015). Eine Kleine Nachtmusik, however, was completely new.

I enjoyed both works but I think that the Nachtmusik was the better of the two. Ostensibly it was a tussle between Paul Chantry, Rae Pipler and David Beer for space on a settee that could seat three at a pinch but comfortably only two. Of course as two of the contestants were men competing for the attention of the female it developed into something of a love triangle. It was very cleverly choreographed by Chantry and Piper to Mozart's famous music and executed beautifully by the three.

Vincent which followed after the interval was an opportunity for the company's recruits, Rebecca Scanlon and Sorel de Paula Hanika, as well as some of their associates to shine. They were a credit to the company. I was particularly impressed by the appearance of their ghostly faces from behind a glass screen at the back of the stage. Beer, dressed in black, was a disturbing presence. Did he represent death or madness? Piper and Chantry were powerful and their last duet was particularly moving. The production was impressive even in rehearsal. It was magnificent on Saturday night.

After the show the company stayed on stage to answer questions from the audience. Helen Gavaghan asked whether the choreographers had read much about van Gogh before they started to create the ballet and learned that they had read loads. In particular, they had read the artist's letters to his brother. Someone else asked about the creative process, whether the music came first and how they developed the story.  Gita commented on the enormous progress the company had made since their last visit to Halifax. I asked them about their school (see If only I were young again - Chantry School of Contemporary and Balletic Arts 27 July 2014).

It was a good evening. My only disappointment was that the Square Chapel was nowhere near full. I knew that they had a full house in Grantham and Woolwich and a good turnout in Birmingham. Piper said that we had been a lovely audience and that the company hoped to return to Halifax but I can't help wondering whether they might do better at some other venues such as the Studio in Bradford or even the Stanley and Audrey Burton in Leeds where there is already an audience for contemporary ballet. Halifax is at the very extremity of the Leeds City Region, it is not as easy to reach by public transport as Bradford or Leeds and not everybody has heard of the Square Chapel. I think most of the Square Chapel audience would travel to Leeds to see Chantry Dance again. I do not know how many of the crowd who regularly turn out in mass for Phoenix or Rambert would trek out west however good the show.

Chantry Dance's Vincent - Rarely have I been more excited by a New Ballet

Chantry Dance in Company Class

Photo Gita Mistry

(c) 2015 Gita Mistry, all rights reserved 

The rate at which Chantry Dance Company has grown and developed is remarkable. The story goes that it was started because the Chinese Calligraphy Association and Ministry of Culture could not comprehend the concept of freelancing when they collaborated with Paul Chantry and Rae Piper in the Calligraphy Concert. Now Chantry Dance are about to embark on their second nationwide tour having worked at the Royal Opera House and the Rome Opera Theatre and having established their very own school since the last tour (see If only I were young again - Chantry School of Contemporary and Balletic Arts 27 July 2015).

Yesterday Gita and I visited Chantry Dance at their rehearsal studios in Grantham to watch their company class and a dress rehearsal of their latest ballet Vincent - A Stranger to Himself.  Rarely have I been more excited by a new work and I except none of the works of much bigger and better established companies in saying this. Chantry Dance have some fine young dancers: David Beer and their latest recruits Rebecca Scanlon and Sorrel De Paula Hanika. Last year's Happy Prince was good but Vincent is so much more ambitious Vincent is danced by Chantry and his principal love by Piper. Beer in black represents death, madness and evil. The corps - Scanlon, Hanika and several of the company's associates intervene as ghastly masked spectres, as colours and eventually his inspiration as the bearers of his best known works. The score includes Satie's Gymnopédies which Chantry uses with no less skill than Ashton did in Monotones.

If you have not been to Grantham you really should.  Sir Isaac Newton studied at The King's School and Lady Thatcher was born at the intersection of the inner ring road and the main road to the A1. The town has a fine parish church with a magnificent tower and a chained library. Just down the road from the church is The Beehive pub with a living and no doubt stinging inn sign. Gita and I visited all those places.

Vincent and Eine Kleine Nacht Musik are touring Grantham, Stamford, Birmingham, Worcester, Halifax and London this month. Grantham is already sold out and they got a great preview from London Ballet Circle in respect of their visit to Elmhurst where Scanlon trained.  You can book on-line at any of the venues through Duology - Chantry Dance releases new details of its Autumn tour 21 Aug 2015.

Duology - Chantry Dance releases new details of its Autumn tour

DUOLOGY Tour: 'Vincent - a stranger to himself' rehearsal trailer from Rae Piper on Vimeo.


On 13 May 2015  I mentioned Chantry Dance Company's  Duology, a double bill which they will take on tour  (see Chantry Dance's Autumn Tour 13 May 2015). It will consist of Vincent - a stranger to himself' and Eine Kleine Nachtmusik.  The company has now published more details of the show and released the above video.

As its title suggests Vincent - a stranger to himself is about the life and loves of Vincent Van Gogh. It explores the man behind the self-portrait, his relationships with the women in his life and his art. The work is choreographed by Paul Chantry and Rae Piper and directed by Gail Gordon. Piper has also designed the sets and costumes. In addition to Chantry and Piper the cast will include David Beer, Rebecca Scanlon, Sorrel de Paula Hanika and four young dancers from the company's associates programme.

Starting from Mozart's famous and much loved music Eine Kleine Nachtmusik is said to be designed to invite each member of the audience to create his or her own interpretation of the dance imagery. Instead of being just passive observers he or she will participate actively in the work.  I am intrigued to imagine how this will work but, knowing Chantry and Piper as I do, I am confident that it will work.

Each performance will be followed by questions and answers which will lead no doubt to lively discussion. For those in the auditorium who are new to contemporary dance it should be a good introduction to the art. For those who are already familiar with this genre, their understanding and appreciation should deepen. If I understand the advanced publicity correctly, each evening is likely to be an education rather than just a performance.

The venues for the tour are:

10 Sept - The Guildhall Arts Centre, Grantham 01476 406158
11 Sept - The Arts Centre, Stamford 01780 763203
19 Sept - Elmhurst, Birmingham: 0121 472 6655
24 Sept - Swan Theatre, Worcester 01905 611427
26 Sept - Square Chapel Arts Centre, Halifax 01422 349422
2 Oct - The Tramshed, London 020 8854 1316.

This is a popular company with a growing reputation and following so don't leave it too late to book your seat.

If only I were young again - Chantry School of Contemporary and Balletic Arts

A few days ago I wrote about Serendipity. Chantry Dance Company about which I have written a lot in the past is another example of serendipity. Formed in reaction to a Chinese bureaucrat's unfamiliarity with the concept of freelancing it has become a significant touring company attracting such guest artists as Dominic North whom I last saw in Matthew Bourne's The Car Man (see my review of Chantry Dance's Chasing the Eclipse 26 Sept 2014). The Company has always been engaged in education and indeed it was at one of their workshops that I made their acquaintance in the first place (see Chantry Dance Company's Sandman and Dream Dance 16 May 2015). Now it has put its educational activities on a formal basis by launching the Chantry School of Contemporary and Balletic Arts.

If I were young again with some ability and a vocation for dance (and could not be deterred by Matthew Henley's report that "Most professional dancers ‘earn less than £5k a year’" 24 July 2015 The Stage) this is one school that I would consider very seriously. The reason I would consider it seriously it is that it is run by Rae Piper and Paul Chantry who are young and still on an upward trajectory in their dancing careers. Paul Chantry is also a talented choreographer. The quality of their work has been recognized and rewarded with commissions in Rome, Japan and Covent Garden in the last 9 months alone. The best chance for a young dancer to make a reasonable living out of his or her career would be by taking some tips from Piper and Chantry.

What would give me some hope that I might find work at the end of my course is the curriculum which includes classes in nutrition for the dancer, audition technique and marketing as well as classical and contemporary ballet. modern and contemporary dance and acrobatics. How many other dance schools offer classes in the last skill? The fees at £4,500 a year are not beyond the range of most families and in the few cases where such fees just cannot be raised scholarships and bursaries are available.

If I were the parent of such a young dancer I would encourage him or her to consider the Chantry school because Chantry and Piper are persons of principle. I am not going to embarrass them by repeating their tweets and posts to Facebook but I have noted their posts about such things as literacy and other matters outside dance and strongly approve of them. I love reading about their little dog, about their wonder at their discoveries in Japan and Italy. In Chasing the Eclipse Piper expressed her wonder at the universe with an enormous smile. It is upon her more than any other dancer that I have tried to model myself on the two occasions that I have been inflicted on the paying public. I can imagine her viewing the lakes, mountains and temples and castles of Japan and the ruins and archaeology of ancient Rome with that  same expression of wonder.

The vocational course is just one of the School's activities. There is also an associate programme whose show at Sadler's Wells I reviewed last year (Chantry Dance Associates: Lots of Promise 28 July 2014 ) and a summer school whose award ceremony last year I also attended (see Chantry Dance Summer School 2 Aug 2014). I have already mentioned the workshops in which I have participated and I woukd add that Gita and I are making enquiries with a view to facilitating one in Manchester on a convenient occasion.

This school fills a very obvious need and it deserves to do well. Its programmes have already been successful. I look forward to even more from them as Piper and Chantry develop this activity.

Welcome Home Paul and Rae

Grantham, Home of Chantry Dance - and also the late Lady Thatcher

Photo Thorvaldson
Source Wikipedia

Paul Chantry and Rae Piper get around a fair bit.  Earlier this year they were in Japan and more recently they have been in Italy working on La Dama di Picche at the Rome Opera House with Rae as assistant director and Paul as revival choreographer.  The test as to whether they have been away too long will come when they see their dog, Bracken. If it still runs to them for a cuddle that's fine. But if it barks at them ..........

Quite apart from the fact that Bracken needs his walks Chantry Dance Company have a very busy programme in England. They have an Autumn tour starting on 10 Sept 2015 which will take in Grantham, Stamford, Birmingham, Worcester, Halifax and London which I discussed in Chantry Dance's Autumn Tour 13 May 2015. They will perform Wooderverse (a combination of dance and poetry) for the patients of the Queen's Medical Centre in Nottingham this month and in September.  In August they run their summer school at Dance Pointe in Grantham.  I attended the awards ceremony last year and spoke to several of the students who had enjoyed the course (see Chantry Dance Summer School 2 Aug 2014). They also have their busy associates programme which runs for most of the year.

Chantry Dance are one of only two ballet companies based in the East Midlands - Ballet Theatre UK being the other. They are in Grantham which is famous for being close to the birthplace of Sir Isaac Newton and infamous in some peoples' books (though not entirely in mine) for being the birthplace of our first and so far only female Prime Minister. They seem proud of their town (as well they might be) contributing to its science and arts festival, starting their tours and basing their summer school there. They gave me the confidence to dance in public for which I shall always be grateful (see Chantry Dance Company's Sandman and Dream Dance 10 May 2014).

Chantry Dance's Autumn Tour

Vincent van Gogh Self portrait

Source Wikipedia

Last year Chantry Dance Company performed The Happy Prince to celebrate the anniversary of the 160th anniversary of the birth of Oscar Wilde (see The Happy Prince in Halifax 21 Nov 2014). This year they are creating a ballet about Wilde's contemporary genius Vincent van Gogh. According to the company's website, the ballet (which is called Vincent - a stranger to himself) is based on

"the life and loves of Vincent Van Gogh and pursues the man behind the self-portrait, yearning for affection, balancing genius with madness. The piece explores the artist's relationship with the women in his life, as well as the relationship with his one true passion - his art."

I can't tell you much about it right now but if you follow the link you will find some lovely photos of the dancers who will perform the piece by Dani Bower.

Vincent - a stranger to himself will form part of a double bill called Duology.  The other work will be Eine Kleine Nachtmusik' 

"where the audience is at liberty to create their own interpretation of the dance imagery they are presented with. The choreographer invites the audience to become an active interpreter, rather than passive observer."

Needless to say I am intrigued. Does that mean that we get a chance to dance with the professionals as we did in Dream Dance last year? (see Chantry Dance Company's Sandman and Dream Dance 10 May 2014), I shall always be grateful to Gail Gordon for coaxing me out of the stalls and on to the stage to take part in that show.

Duology will tour England between 16 Sept and 2 Oct visiting Grantham, Stamford, Birmingham, Worcester, Halifax and London. I hope to catch them company at The Square Chapel in Halifax on 26 Sept 2015. If you want to join me and their many Yorkshire fans call the box office on 01422 349422 or visit the theatre's website.

Chantry Dance Company's Tour

One of my personal ballet highlights of last year was dancing in one of Chantry Dance Company's workshops in Lincoln. the workshop was followed by a performance of Sandman and Dream Dance by Paul Chantry and Rae Piper where I saw just how good that husband and wife team were. I followed them to Grantham for Chasing the Eclipse and Halifax for The Happy Prince on their Autumn tour. I also attended their associates' show at Sadler's Wells, a networking event and one of their summer school presentations. I have also got to know Paul and Rae better through following them on twitter and Facebook. I like what they stand for and I admire their erudition.

The company has just announced its 2015 tour which will take in Grantham, Halifax, London and Worcester and present two new ballets: a work based on the life and loves of Vincent Van Gogh which will pursue the man behind the self-portrait, yearning for affection, balancing genius with madness and Mozart's Eine Kleine Nachtmusik. Other than that the associates will have a chance to dance in those shows I know very little about them but as soon  as I have more information I will pass it on.

Chantry Dance has also mentioned new open modern, pre-associate and associate classes in Grantham. The modern classes will be given by Gail Gordon who has choreographed shows in the West End. There will also be an Easter Musical Theatre Workshop in Grantham on 10 Feb 2015. Mel, who attended last year's summer school, tweeted that Gail's jazz class demanding but also a lot of fun.

Finally, this company which is much more than a dance troupe, is recruiting a fund raiser "who is passionate about seeing the type of work [they] do develop, and believes keenly in the company's work and mission." They are looking for "friendly, personable and genuine people who want to be part of our charity's work and become a valued member of the CDC team." If you think that you fit the description send an email with your CV to rae@chantrydancecompany.org explaining:
1) why you are suitable for the post
2) your relevant experience
3) what you find attractive about working with CDC
4) why you wish to see CDC develop further.
I wish all candidates who apply for the post the very best of luck. It sounds a super job for the right person.

My Personal Ballet Highlights of 2014

Choosing  highlights from 2014 has not been easy. I have seen a lot of ballet over the last year and have even danced in one (see The Time of my Life 28 June 2014). I've seen several of the world's most famous companies and many of the world's most acclaimed dancers. I've taken class from some wonderful teachers some of whom have danced principal roles. I've seen some of the great names of ballet at events organized by the London Jewish Cultural Centre and the London Ballet Centre. As it is impossible to compare these experiences objectively I have used just one criterion. What experiences in ballet have given me most pleasure in 2014?

I have to start with Ballet Black because I saw their triple bill no less than four times last year. It consisted of three works: Limbo by Martin Lawrence, Two of a Kind by Christopher Marney, and A Dream within Midsummer Night's Dream by Arthur Pita. I loved them all but my favourite was the Marney. Marney is a choreographer I particularly admire (see my appreciation Christopher Marney 15 March 2014). I was thrilled to meet him when he spoke to London Ballet Circle and again at the premier of Dogs Don't Do Ballet in Harlow in October. I saw Ballet Black perform those works in London, Southport where I was lucky enough to meet Cassa Pancho and several of her dancers for the first time,  Nottingham and Leeds. They got better and better each time so it was their last performance at the Stanley and Audrey Burton Theatre in Leeds that I enjoyed the most. That was the first of my personal ballet highlights of 2014.

The Stanley and Audrey Burton Theatre was the venue in which my over 55 class danced as part of the end of year show. To dance on the same stage as some of my favourite artists was a terrific experience. Literally the time of my life but I doubt if it was for anyone else so I shan't count that. Instead I shall mention Northern Ballet's mixed bill which consisted of Lubovitch's Concerto 622, van Manen's Concertante and Kenneth Tindall's The Architect. I am a fan of all those choreographers, particularly Hans van Manen who is one of the resident choreographers of the Dutch National Ballet of which I am now a Friend.  But it was Tindall's The Architect that thrilled me most that day. A few days earlier I had contributed to an appeal by Hannah Bateman to raise funds on Kickstarter to film The Architect which I supported  (see They Made It!  20 June 2014). It was a great pleasure to meet Bateman and Tindall at the 10th anniversary gala for the CAT gala. 

Tindall like Marney trained at Central. Another talented young choreographer from that school is Paul Chantry who is one of the founders and artistic directors of Chantry Dance Company. I owe them and in particular their dance director Gail Gordon a personal debt of gratitude for coaxing me onto stage at Lincoln Drill Hall on 9 May 2014 (see Chantry Dance Company's Sandman and Dream Dance 10 May 2014) for that was the first time I had danced in public. Without that experience I would never have have put my name forward for the Northern Ballet Academy end of year show. That day was memorable in several other respects. I met Mel Wong and two other talented young dancers. I helped make and dance in a ballet which is now on Vimeo. I saw a great performance of Sandman by Paul Chantry and his wife Rae Piper. But best of all I got to know Chantry Dance Company which does great educational and outreach work as well as great shows (see Chantry Dance - Making Connections 30 Aug 2014).

Another company that does great outreach work as well as great shows is Ballet Cymru which has a close connection with the London Ballet Circle. In June I saw their Beauty and the Beast in Lincoln which was a great show but an even better show was Stuck in the Mud which they performed on the streets and by the beach of Llndudno in collaboration with Gloucestershire Dance. Ballet Cymru has some wonderful dancers and it was a great pleasure to see them again but it was the contribution of the Gloucestershire dancers that impressed me on that occasion. It was my first experience of accessible dance and I immediately saw its value for an audience. Instead of overcoming disability the dancers add a new dimension to dance. Seeing that performance and later meeting the choreographer Marc Brew was definitely a highlight of 2014.

Marc Brew works in Glasgow which is the home of Scottish Ballet, the first ballet company that I got to know and love (see Scottish Ballet 20 Dec 2013). Last year I saw two great performances by that company, Romeo and Juliet in May which promoted me to become a Friend of the company and The Crucible with Ten Poems in October. If I allowed a company more than one highlight they would be five and six from last year. I anticipate that Peter Darrell's The Nutcracker which I shall see next week will be one of the highlights of 2015.  As I have to chose one from Scottish Ballet it has to be Krzysztof Pastor's Romeo and Juliet.

Two other performances of Romeo and Juliet were highlights for me in 2014, First, the Mariinsky's at Covent Garden with Xander Parish in the leading role. I was lucky enough to meet Xander Parish when he spoke to the London Ballet Circle a few days after the show. My ballet teacher's daughter's birthday fell just a few days afterwards. I presented him with two cards - one from the Royal Ballet's shop and the other from Northern Ballet's and he paid us the compliment of choosing the Northern Ballet one.

The other Romeo and Juliet that thrilled me was English National Ballet's Romeo and Juliet in the round at the Albert Hall. The principal roles were danced by Friedemann Vogel and Alina Cojocaru. It was a bittersweet moment for me because I feared that would be the last time I would see Sarah Kundi whom I have followed ever since she was with Northern Ballet. I was overjoyed to learn that she had been recruited by English National Ballet (see Saved for the Nation 17 July 2014). In November I saw her and my other favourite dancers from the company in company class (see Coppelia in Oxford  2 Nov 2014), Kundi is not just a fine dancer but also an entertaining blogger and I strongly recommend her notes on tour.

For a while Kundi danced with MurleyDance and it was she who drew that company to my attention. I saw their triple bill in Leeds on 1 Dec 2013. Although I had come to see Kundi I was impressed by the other dancers and David Murley's choreography. I saw the company again in October when they danced Hail Britannia 28 Oct 2014. They had evolved tremendously.  It was almost a different company.  I liked all the works but my favourite was Anaish Parmar's Shaadi.  That was about an Indian wedding and I loved the way the choreographer combined east and west. There was Indian music but also I'm getting married in the Morning. There were wonderful jumps and pointe work.

I mentioned van Manen and Pastor above. They are two of the reasons why I have become a Friend of the Dutch National Ballet. A third is the Dutch National Ballet's Junior Company who came to London in May. I had already seen them in Amsterdam and they were even better at the Linbury.  As before there were superb performances by Michaela DePrince and Sho Yamada and my favourite ballet of the show was Ernst Meisner's Saltarello. I have featured the Junior Company earlier this month and I am looking forward to seeing them again in their opening show in Amsterdam on 6 Feb 2015.

I saw the Royal Ballet at Covent Garden twice last year as well as several HDTV transmissions in the cinema. Because they are the gold standard I expect a lot from them and my reviews have been a little more critical than those of other companies.  It goes without saying that two of the best performances of the year by a country mile were Giselle in January and The Winter's Tale. As I have to choose one show from each company it has to be Giselle  with Carlos Acosta and Natalia Osipova. I think that is because I already knew Giselle and although I find Act II superstitious and creepy it contains the most sublime choreography I know. Although I was a trifle disappointed when I first saw Winter's Tale I got to appreciate it when I saw it in the cinema and on TV on Christmas day and I now like it very much indeed.

My favourite ballet of 2014 was Gillian Lynne's re-creation of Robert Helpmann's Miracle in the Gorbals for Birmingham Royal Ballet which I was at Sadler's Wells in October. I had seen Helpmann dance with Frederick Ashton in Cinderella and he also presented the gala to Sir Frederick which I saw when I first became interested in ballet. Miracle in the Gorbals broke new ground in many ways just as its almost exact contemporary Appalachian Spring did in the USA. Even though Lynne's production was a re-creation rather than a revival its performance was something of a miracle in itself and a joy to behold.

Post Script

What will be my ballet highlights for 2015? Here are some of my suggestions: Looking Forward to 2015 - My Choices 29 Dec 2014.

Chantry Dance and MurleyDance all in the same day. How good is that!

Assassination of Riccardo

Illustration August Pollak, Wikipedia 

On Friday afternoon I received the following email from Rae Piper, one of the artistic directors of Chantry Dance:

"Apologies for the late notice, but we have just been given 2 tickets for the general dress rehearsal of 'Un Ballo In Maschera' to be held at the Royal Opera House on Monday 15th at 11am-2:30pm. If you would like these tickets, you are very welcome to them - it would be our pleasure to give them to you. Please let me know if you would like them, and I will arrange to get them to you."

I did not need to be asked twice. Opportunities like this don't grow on trees and I know a good thing when I see one.  I accepted with alacrity and then rang one of my friends to see whether she was free to come to London with me.

My friend and I had seen an HDTV transmission of the Met's production from New York at the National Media Museum which we both enjoyed. She also knew Chantry Dance having also seen Paul Chantry and Rae Piper in Halifax a few weeks ago (see "The Happy Prince in Halifax" 21 Nov 2014). We knew they were assisting Lucy Burge with the choreography and that they would also be in the show.

We got up very early yesterday morning and set off for Luton Parkway just after 06:00. Although I live in Yorkshire I do most of my work in London and have tried every way of getting there. Unless you book well in  advance trains are expensive and you have to allow at least 90 minutes to drive from Holmfirth, park and pick up the ticket from one of those irritating ticket machines with a perpetual queue. The number of trains I have missed waiting in the queue at Sheffield station does not bear thinking about. It also costs an arm and a leg to park by the station. I have found the best way is to drive to Luton Parkway (which usually takes no more than 2 and a half hours) where one can park all day for £3 and then take the Thameslink into St Pancras. Had the day gone according to plan we would have reached Luton no later than 09:30 and Covent Garden well before 11:00.

Alas, the day did not go according to plan. We found ourselves in a horrendous snarl-up outside Nottingham which delayed us by 2 hours. The result was that we rolled up at the Opera House late and had to watch the first part of the opera on a monitor. However, we were able to take our seats after the interval and were treated to a brilliant show. There were excellent performances by Joseph Callleja as Riccardo, Dimitri Hvorostovsky as Renato, Ludmyla Monastryska as Amelia and indeed the whole cast. Although their's was a non-singing role it was good to see Paul and Rae on stage. We were particularly pleased to see them because they had not been well the day before and feared that they might miss the rehearsal.  Happily they had recovered enough yesterday morning to soldier on and, like the rest of the cast, they did very well. The music conducted by Daniel Oren was magnificent. Our tickets were in the stalls circle so we were very close to the orchestra.  The sets and costumes were beautiful. It was every bit as good as the Met's production. We congratulate those who have been fortunate enough to get tickets. You are in for a treat, folks.

After the rehearsal I returned to chambers. Tomorrow is our Christmas party which I shall miss because it clashes with the Huddersfield Choral Society's public performance of Handel's Messiah. We therefore held an impromptu party to which I invited friends from the barre as well as the bar. Paul and Rae did not pick up their Christmas card upon which I had written an invitation but Paul Kelly and David Murley of MurleyDance were able to come. Over wine and mince pies it was interesting to discover just how much my world has in common with theirs. As I discovered when I took to the stage the part of my brain which engages when I go into court kicked in to play when I found myself on stage (see "The Time of my Life" 28 June 2014).

I am a great fan of both Chantry Dance and MurleyDance. I owe Chantry Dance a great debt of gratitude for coaxing me on stage (see "Chantry Dance Company's Sandman and Dream Dance" 10 May 2014). Had I not been in Dream Dance I would not have put my name forward for the Northern Ballet Academy end of year show. That was one of the greatest moments of my life and I owe a lot of other people - notably my teachers Annemarie Donoghue, Fiona Noonan and everyone else who has taught me for advancing me to that point - and Mel, Dave Wilson and the folks in Chelmsford for encouraging me to have a go.