Powerhouse Ballet's First Class with Karen Lester-Sant since Lockdown

Powerhouse Ballet takes its name from the Coalition Government's proposal to rebalance the British economy by integrating and expanding the economic, social and cultural resources of the North of England, The company was always intended to be a Transpennine one and for the first two years our classes, workshops and other activities alternated between the studios of Northern Ballet School and Dance Studio Leeds. 

At some time during lockdown, there was a change of ownership at Northern Ballet School.  Its new management stopped letting its studios to members of the public.  We had to find a new venue in Northwest England as did the dance schools and teachers who also used to train and rehearse there.  We held classes in Bolton, Mold and Ballet Contours.   I am very grateful to all those studios for hosting us.

Last Summer Karen Lester-Sant, the Principal of KNT Danceworks, opened new studios at 114 Chapel Street.  I attended the pre-intermediate class there shortly after the studios opened.  I described the experience in My First Class in KNT's New Studios on 12 July 2023.  Karen has always been a great friend of our company.  She gave us our first opportunity to dance in public at KNT's 10th-anniversary gala in May 2019.  Before lockdown, she was also one of our most popular ballet mistresses.  She delivered a particularly memorable company class a few weeks later with the great David Plumpton as her accompanist.

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On 17 Feb 2024, Karen Lester-Sant gave us another memorable class in her new premises.  This class took place just a few days after my 75th birthday and I was particularly touched that many members travelled long distances to attend.   Joanna Goodman travelled all the way from London and Sarah Lambert drove up from Birmingham.  Several others came from York and Ripon.

Karen gave us a very thorough class as usual.   A brisk barre.  A beautiful adagio.  The usual centre exercises.   A joyous grand allegro to finish.  I did my best to keep up but age and infirmity have greatly reduced my capabilities.  However, the other members danced beautifully.

After class, we adjourned to the Black Lion  where we drank a toast to Po Ling Katherine Wong on her recent wedding and birthday and my dear friends and acquaintances kindly toasted me.  As you can see  from the photo I received a beautiful calendar, some lovely roses, excellent wine and a delicious birthday cake,

I was also given a card signed by members of the company which I shall keep forever -  just as I have kept similar mementoes from the cast members of La Sylphide, Giselle and Aria.   I am very grateful to the members of the company who have contributed many hours of their time to our classes, workshops, rehearsals and performances.  I hope they have enjoyed our activities as much as I did.

Next Saturday we welcome back Fiona Noonan.  She is another very popular teacher.  She trained in Brisbane and danced with the Queensland Ballet.  She stepped in at very short notice last January when the ballet mistress who was expected to take that class was indisposed.   Fiona gave us a very demanding but also very enjoyable class.

Fiona's class will take place at Dance Studio Leeds on 30 March 2024 between 14:00 and 15:30.  I shall be sponsoring the class also it is free for those who attend.   For those who do not know the studios they are in Mabgate Mill about a mile from Leeds Central Station and half a mile from the main bus station and Northern Ballet.  There are several bus routes from the city centre.   The nearest bus stop is "Lincon Green,"   Those coming by car can park free of charge in the mill yard.

An Exceptional Weekend

Through following the Dutch National Ballet I made the acquaintance of the Dutch teacher and choreographer Yvonne Charlton.  Yvonne is married to an Englishman and visits this country frequently. On one of those visits, she gave Powerhouse Ballet a great repertoire class (see Our Best Day Yet  24 Sept 2018).  Our ballet mistress, Beverley Willsmer, who is not exactly known for lavish praise, rated her class as the best ever. Before I had even left Z-Studios I was overwhelmed with requests to bring her back as soon as possible.

Yvonne emerged from international arrivals at Ringway airport at 08:20 last Saturday    My former ward and her little boy, Vladimir, who had met Yvonne at the National Ballet gala in Amsterdam last September, came with me to meet her.  As she would have got up while wilis were still about in order to drive the 32 miles from her home to Amsterdam airport, the first thing we did after she arrived was to entertain her to a full English breakfast at John Lewis's at Cheadle Royal.

Yvonne's first engagement was company class at the Dancehouse at 13:30. As we had some time before that class I gave her a tour of my dear, native city.  I started with the castra of Mancunium at Castlefield from which our city derives its name.  I showed her the Lowry and some of the paintings in the permanent exhibition.  We looked out for a video of Gillian Lynne's ballet A Simple Man with Moira Shearer and Christopher Gable but the assistant at the souvenir shop could not be sure that the DVD would work on continental apparatus.

We arrived at the Dancehouse just in time for class and what a class it was.  It was certainly the most taxing that I have ever known and it seemed to challenge even our best dancers. "No! No! No! That's not how you do a port de bras," she said to one of our stars, forcing her head to well below her knees.  And Yvonne was not afraid of correcting our ballet mistress the very next day. Even the pliés were a challenge for they finished with a relevé and then a weight shift.  Frappés on demi nearly did for me but the real killer was a type of rond de jambe that required a 90-degree sweep from a demi plié.  Her centre exercises were no easier than her barre.  She set us a rolling pirouette exercise starting with a tiré, a pas de bourré and then single, double or dynamo turns.

As I was 70 a few weeks ago I had told one of my favourite teachers who regards "easy" as a 4 letter word that I was slowing down. Having survived Yvonne's class I know I can survive anything.  I told my esteemed instructor that I shall be back at the barre whenever I can get to Leeds by19:00 on a Wednesday evening.  Indeed, I am really going to work at that lady's classes.

After class, I invited my classmates to the Revolution by Oxford Road viaduct for a libation.  Almost everyone came and we were joined presently by Karen Sant and Mark Hindle of KNT.  For a birthday present Mark gave me this beautiful bouquet of flowers.  I curtseyed and tried to remove a single flower for Mark just as I had seen Sibley do for Dowell and Fonteyn for Nureyev in my youth.  That would have been a cue for Mark to raise the bloom to his nose and savour the perfume but I am not sure that modern principals do that any more.  I have certainly not seen it at Northern Ballet and I am not sure even about Covent Garden. In Holland, it is unnecessary because the boys seem to get flowers too.

After drinks, I drove Yvonne to her hotel near Huddersfield where we threw a little party.  Several good friends from Powerhouse Ballet were able to attend as you can see from the photo to the right.

The very next morning we assembled at the Dance Circle Leeds for a 5-hour workshop with Yvonne.  I arranged for Alena Panasenka, one of Northern Ballet's accompanists to play for us.  I also invited Fiona Noonan to learn any ballet that Yvonne might teach us and coach us in it until we are word perfect.

Our warm-up class after a late night was even more punishing than Saturday class but we set to work with a will. Yvonne taught us a delightful dance to the music of Morning Mood from Grieg's Peer Gynt.  We have been invited to perform this piece at Dance Studio Leeds's gala to raise money for St Gemma's Hospice on 12 Oct 2019.

Anyone who wants to audition for this piece should stay for our first rehearsal at Dance Studio Leeds on 23 March 2019.   The Eventbrite card will appear shortly.

Powerhouse Ballet January Update

Fiona Noonan

On 16 Sept Terry Etheridge held a workshop in Leeds where he created a beautiful ballet for us.  He invited not only the dancers he had selected for the piece at an audition that we had held the previous day but also everyone who had attended the audition. It was a glorious day and it was then that we became a company. We had come from different adult ballet classes from across the North of England and North Wales. Although we had been very courteous to each other we had flocked to our own groups. All this changed at the workshop. Everyone chatted to everyone else. I sensed that some real friendships were being formed.

Those friendships were reinformed the very next week when Yvonne Charlton visited us in Liverpool.  I described her visit as Our Best Day Yet in a post to the company's website.  I wrote:

"I have already received requests to bring Yvonne back to the UK. In response to those requests, I have asked her whether she would like to license us to perform her work so that we could add it to out repertoire. She has no objection in principle and is prepared to return for an audition and workshop similar to the one we did with Terry Etheridge in Leeds."

Yvonne is coming back on 23 Feb 2019 when she will take the company class ar the Dancehouse Studios between 13:30 and 15:00. The next day she will teach us one of her ballets at Dance Studio Leeds between 09:00 and 14:00. Her music is Morning Mood from Grieg's Peer Gynt.  Alena Panasenka, one of Northern Ballet's accompanists, will play for us.

Yvonne has to catch a plane to Amsterdam immediately after her workshop so she cannot coach us but Fiona Noonan has very kindly agreed to do so. Fiona was the teacher who led me back to ballet after many years and I shall always be grateful to her for that.  She attended Terry's audition on 15 Sept and danced with us at our workshop with Ballet Cymru 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). Last Saturday Fiona gave us an excellent company class.  It was one of the hardest classes I have ever done because we started with centre barre to develop our strength.  However, it paid dividends when we tackled pirouettes and a balancé, pas de bourré, pirouettes, dedans and dehors enchainment.

Many of the members of our company train regularly at KNT Danceworks which holds classes in the Dancehouse's studios every day of the week except Sundays and public holidays. KNT's principal is Karen Sant and she gave us one of our best company classes ever on 1 Dec 2018.  KNT is about to celebrate its 10th anniversary with a gala at the Dancehouse on 4 May 2019 the tickets for which are already on sale.  Karen has kindly invited Powerhouse Ballet to premiere the ballet that Terry Etheridge has created for us at her gala as her special guests.  As KNT has been listed in several publications as one of the top adult ballet classes in the UK this is a singular honour which I acknowledged on the company's website on 25 Jan 2019.

We now have to rehearse in earnest and our next rehearsal is fixed for 10 Feb 2019 at 15:00 at York St John University. We will of course also hold rehearsals of Morning Mood and Fiona will suggest dates, times and venues after Yvonne's workshop,  As we are as much a North Wales company as a Northern English one we are planning a day-long workshop in Mold which Martin Dutton of the Hammond has already agreed to teach.  We shall hold company classes at the end of each month and I have already booked our Jane Tucker for our anniversary class.

If our debut goes well we shall convert into a charitable incorporated organization and seek funding from Arts Council England and maybe the Arts Council of Wales, the National Lottery and other organizations.  As part of our social mission, we shall perform at hospitals, care homes and other institutions whose residents do not get many opportunities to watch dance.

Several readers have asked, "what has happened to my dance reviews?" The fact is that I have not seen any ballet since Birmingham Royal Ballet's performance of The Nutcracker in the Albert Hall. Talk about Dry January. I have been so busy with Powerhouse I have had little time for anything else.  But all that will change as of tomorrow when I shall see Scottish Ballet's Cinderella in Newcastle and Saturday when I shall see The Nutcracker by Ballet West in Stirling.   

The Audition is now full

Terry Etheridge

On Tuesday our ballet mistress, Beverley Willsmer, told me that Terry Etheridge had given one of her best classes ever.  Having danced with what is now English National Ballet as well as a leading company in Germany and having trained at the Rambert, Beverley will have attended a lot of  classes.

The class for the audition is now full and we have a waiting list.   If you want to be considered for our first ballet it is still worth putting your name down on the waiting list and keeping the 15 and 16 Sept free.   I have relinquished my place at the barre to make way for a dancer with a better chance of being selected.   I shall try to move the class to a bigger studio.  Urgent matters and illnesses that prevent dancers from attending class always crop up at the last moment.

If we can't give you a place at the audition please do not despair.   We have a cracker of a class the following Saturday, the 22 Sept 2018 with 90 minutes hard graft from Mark Hindle and a further 60 minutes masterclass with our guest teacher and choreographer, Yvonne Charlton. from the Netherlands.  We have also lined up a workshop with Ballet Cymru, Wales's national classical ballet company, as well as company classes with Jane Tucker, Karen Sant and Fiona Noonan who are excellent.

If you want to discuss this article or find out more about Powerhouse Ballet send me a message on my contact form.

Powerhouse Ballet August Update

Leeds Company Class 28 July 2018

© 2018 Powerhouse Ballet: all rights reserved

Last week's class with Annemarie Donoghue of Northern Ballet was the best class ever in terms of numbers with 21 attendees, and it was also very enjoyable.  But the excitement generated last week has been quite overtaken by events,

On 31 June 2018 I wrote that we had been offered a slot at Move IT in Manchester on 16 or 23 Feb.  I had originally planned to stage the pas de six from Bournonville's Napoli because there seemed to be nothing in the piece that I had not been taught at one time or another by my teachers at Northern Ballet or KNT.  However, Beverley Willsmer, who had actually danced that pas de six, warned me that it was nothing like as easy as it looked.   She advised us to commission our own work if we could.

As a result of her warning, I wrote on Powerhouse Ballet's website:

"I thought of the pas de six from Napoli but Beverley who has danced that work tells me that it is nothing like as easy as I had supposed. I should be very grateful for suggestions from members of the company and indeed anyone else."

I was wondering where on earth I could find a choreographer as I penned that article.

As soon as I had published that article,  the eminent dancer, choreographer and teacher, Terry Etheridge, contacted me through Facebook with an offer to create a ballet for us.   This was an exceptional opportunity and I grasped it with both hands.  Not only has Terry enjoyed an impressive career as one of the first members of the company that is now Northern Ballet, a soloist at Festival Ballet, artistic director of Hong Kong, head of dance at Urdang, principal of Rambert school and guest choreographer for the Royal Swedish Ballet school, he has many years experience of teaching and creating ballets for dancers just like us for he is resident choreographer of Duchy Ballet in Cornwall.

One of the dancers with whom Terry has worked at various times in his career is our ballet mistress, Beverley Willsmer.  She has also danced with Festival Ballet as well as in Germany and she was ballet mistress to Chelsea Ballet which is another amateur ballet company.   I am proud to say that I danced with Beverley in my very first show at the Stanley and Audrey Burton Theatre in Leeds in 2014.  Until Jonathan Barton advised me last April that one can watch a performance or one can do a performance but not both at the same time (see Visiting Taynuilt 4 May 2018) I used to position myself close to Beverley at the barre in the hope that some of her brilliance would rub off onto me. I am not sure that any did though I certainly learned a lot from her.

Terry will be in  Leeds on 15 and 16 Sept 2018.   He will hold an audition in the form of a class on 15 Sept from which he will select his cast.  He will invite the dancers he chooses back the next day to create the ballet.  I shall take thorough notes and so will Beverley.   We shall film the choreography at the end pf the session. 

Beverley will then invite the cast back for rehearsals starting immediately after each company class beginning with the 22 Sept in Liverpool.   Other rehearsals will take place in Leeds on 27 Oct immediately after Jane Tucker's class, Manchester on 1 Dec immediately after Karen Sant's and Leeds on 26 Jan 2019 immediately after Fiona Noonan's. We might even be able to squeeze in a rehearsal on 28 Nov immediately before or immediately after our workshop with Ballet Cymru.  Yet more rehearsals will be arranged by Beverley as and when necessary.  If you want to be in the show and can commit to the rehearsals here is the link to our Evenbrite page. We have room for only 6 more dancers so if you want to audition don't leave it too late to register.

The show is only one of a number of great events for you.   Don't forget Yvonne Charlton's master class on 22 Sept in Liverpool and Ballet Cymru's workshop. Fiona Noonan, who has CRB clearance, will also teach a class for  younger dancers.  We need to find a Clara (aka "Marie"), her horrible little brother who smashes the nutcracker, his even sillier little chums who disturb the girls with their drums and trumpets while they are playing with their prezzies, mice and some toy soldiers for The Nutcracker which we hope to dance at least in part next year.

Back To The Pointe

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It’s been months since I last wrote a post here, and until last week it had been ten weeks since I had last attended a ballet class, and here’s the reason why.

Shortly before Christmas 2017, I came out in a horrible black bruise all the way from my third metatarsal to my ankle. I thought I’d broken my foot, as it was quite painful to walk on never mind dance. I had an x–ray and soon found out that it was not broken, but instead that I had tiny fibre tears all along my peroneal tendon. I was advised to take a break from ballet. With the Christmas holidays approaching that wasn’t a hard task, but I was wary, as I had booked onto The Ballet Retreat, which was in Leeds, on the first weekend of the New Year. I did attend The Ballet Retreat and I had a wonderful experience there, meeting such wonderful people within the ballet community. My foot seemed fine, so I returned to my classes as usual. Within a short space of time the pain came back, so I stopped. I gave my foot a chance to recover and I focused on my studies.

As a final year student studying costume, I lead a very busy life.  Particularly over February I wasn’t able to attend any classes, as I was just so busy. With my dissertation finished now and a costume, portfolio and textiles samples left to complete, it’s been hard to find time to do anything but my degree.  I love my course and the work I am producing, but I also love ballet.  

I felt the need to return to ballet both physically and mentally. I could feel my body and mind needed to dance. So finally after a long ten weeks away from ballet, I made time to attend a ballet class last week. The class was at KNT Danceworks in Manchester, with Karen Sant. I took the pre intermediate class and thoroughly enjoyed myself. I used to take the following class and the pointe class after the pre intermediate class, but as it had been so long since I had last danced I decided to take it easy. I was also conscious of my studies and the time it takes to travel back to Huddersfield, and therefore I left after the one class, as I didn’t want to have a late night. To be honest I felt worn out, my body hadn’t been worked properly for months. I grinned to myself though during the class as I started to plié and tendu, the exercises coming back to me through my muscle memory. It felt so good to dance. There are many things that I need to work on now that I used to do with such ease, but I was delighted to be back in class!  

With less than 10 weeks until my final ever university hand in, I’ll be squeezing in what I can of ballet, but soon I’ll be able to plié and pirouette as much as I like. Bearing in mind my foot though, I’ll be taking my comeback slowly. I think it’ll be a little while before I put my pointe shoes back on, but I hope to return to it soon and the wonderful classes I had been taking with Fiona Noonan as well as those at KNT.

I love ballet and I always will, it’s been heartbreaking to have taken so much time away, but it has been beneficial, for I have comeback stronger and with an increasing desire to dance! Ballet is fantastic for the mind and body.

As for my university work, I enjoy it despite the long hours. My project is on The Firebird and if you would like to see what I have been working on the last few months, please feel free to check out my Instagram account here.

Amelia x

Class Review - Hype Dance Company Revisited

Hype Dance Company, Beginners' Ballet, Instructor Anna Olejnicki, 4 Jan 2017, 18:30 - 19:30

I used to go to Hype a lot when Fiona Noonan taught there (see More than just Hype - Beginners and Improvers Classes in Sheffield 14 May 2014). Fiona taught the beginners and improvers classes while Emily Talks was on maternity leave.  After Emily returned to work I attended one of her classes which I enjoyed very much (see A Different Kind of Ballet Class - Emily Talks at Hype 28 July 2015).  Sadly for me Emily moved to Sydney. Shortly afterwards, I attended a couple of vacation classes in Leeds and an intensive workshop on Swan Lake with Jane Tucker in Manchester. Although Jane's classes are far from easy I like the way she teaches and I attend her classes whenever I can.

Northern Ballet are on vacation this week and my neighbour and contributor, Amelia Sierevogel, wanted to get a class in before Hannah Bateman's Ballet Retreat which starts tomorrow.  I asked Karen Sant whether there was anything in Manchester but learned that classes at KNT begin on the 8 Jan 2018. Amelia was resigned to pliés on YouTube until I received an email from Hype advertising a half price sale. As I also fancied a class I passed the information onto Amelia and we decided to give it a go.

Hype has moved since I was last there. They used to be near the Chinese quarter not far from the Moor. They are now at 60 Upper Allen Street  which is not far from Paradise Street where the Sheffield bar and most local solicitors are to be found.  I used to have a door tenancy in one of the sets there some 30 years ago.  Even though it has moved from the Chinese area, Hype now shares a building with a Chinese restaurant and it looked quite a good one from the outside. There is plenty of street parking and  I was assured that the traffic wardens are a lot less bothersome.

The new premises are something of an improvement on the old place.   There is a comfortable space to change with a chair and the studios look more like studios than corridors.  The loo does not look like a museum exhibit.  Alex was still there and I recognized at least one of the students from Fiona and Emily's classes.  There are even hooks for clothes and dance bags in the studio.  A nice surprise was that we were admitted for £3 instead of the usual £6.   Part of the January sale.

Our class was taken by Anna Olejnicki and I should say that there were about 12 of us in her class.  All of us were female and the others were considerably younger than me.  One student was completely new to ballet but most seemed to have done some.  All seemed to have a much better idea of what they were supposed to be doing than I did.  We started with some floor exercises. In one we split into teams one student lying face down on the floor trying to push up with the team member other encouraging her.  Karen does something similar in Manchester except she makes us hold our partners' feet and legs to the floor.  Anna gave us a lot of tips such as stand more on your toes than your heels.  She also had quite a store of jokes and anecdotes.

Barre started deceptively easily. Only demis in first and second.  We followed with tendus and ronds de jambe and then the fun started.  Still in teams of 2 we lifted each other's leg until it was quite high and then dropped the support while we struggled to maintain the position.  Not exactly a penché but quite taxing on my poor old bones and muscles.  It soon became clear that this class was not going to be a cake walk. Two particular exercises nearly knackered me.

One started as a glissade but we had to jump high enough so that the feet would connect while still in the air.  I have no idea what that is called but Amelia thought it was some sort of gallop.  We had to do these several tomes as we crossed the studio and then repeat it on the other foot.  Even Amelia exclaimed that it was horrible.

The other exercise that nearly did for me was to perform 4 sautés and then hop 4 times on one leg repeating the exercise on the other leg and then alternately.  The other students were alright but I was terrible.  Karen's exercise of making us stand on demi for several seconds after jumping is bad enough but that was worse.

However, I did get one thing right. I really love my ballet and can't believe my luck that I am still dancing at age 69. So I can't stop smiling. "What's your name?" asked Anna.  After I told her she replied "You were the only one who gave me a smile." I remember that Sir Peter Wright once said something very similar to Ruth Brill and that she dined out on it for ages.

As we had only 60 minutes class was over far too soon. "I'm very old school" said Anna "and I expect a proper curtsy in the reverence."  We all did our best to give her one.   Anna is a very good teacher and I warmed to her a lot.  I would love to attend her class regularly.  Alas, time can't be spent twice and I already spend quite enough tome on the M62 commuting to Jane's class in Leeds and Karen's in Manchester.  I leaned quite a few useful things from her yesterday.  It was a very good start to be New Year,

Introducing Amelia Sierevogel

Amelia Sierevogel when she first attended Fiona Noonan's ballet class

© 2017 Amelia Siervogel: all rights reserved
Reproduction kindly licensed by the copyright owner

Amelia Sierevogel

As a new contributor to this blog, I should like to introduce myself. My name is Amelia Sierevogel and I’m currently on my placement year, studying BA (Hons) Costume with Textiles at the University of Huddersfield.

I’ve always been interested in the world of ballet but never took classes as a child as I studied gymnastics instead. My parents were able to finance only one hobby each for my siblings and me. I gave up gymnastics aged 16. For two years between then and starting university, I was rather unwell. I had contracted glandular fever and was beginning to suffer from severe migraines.

When I moved to university I wanted to find an activity that I could invest myself into both physically and mentally to help improve my health. Of course, I naturally chose ballet having always wanting to learn it.

I took my first ever ballet class aged 18 with Fiona Noonan in Huddersfield. A teacher who is most inspiring. This class was also where I first met the lovely Jane Lambert – a lady I find most knowledgeable and passionate about ballet.

When I first started ballet I used to sickle my feet, twist and sit in my hips and my jumps were awful – I was like a spring that couldn’t quite articulate through my feet! However, I still had flexibility from being a gymnast as a child and with strengthening exercises, sheer determination and the help of Fiona I corrected my errors and it’s safe to say I have progressed quickly.

As I am currently on my placement year, I’m not living in Huddersfield at the moment. Instead, I moved home and started to commute to my placements to save money. Of course, this meant I needed to find somewhere to continue taking ballet!

So I enrolled myself at Ripon Dance Academy. I first attended their adult class, which was taken at a steady pace and was enjoyable, but I didn’t find it particularly challenging. Instead, Miss Carole and Miss Laura, the wonderful teachers at RDA, suggested that I attend their intermediate ballet class. I started this class the following week. The age range in the class is from about 14 to 18 and now they have me aged 21. The girls in my class are lovely and so talented, Miss Laura works us hard and I feel that I am being pushed and challenged. I have learnt so many new steps over the last seven months and in November was allowed to start pointe work! – a truly magical experience.

Currently, in class, we are preparing for a Showcase, which will take place at Ripon Grammar School on 2 April 2017. I’m very excited but I’m also quite nervous, as I haven’t performed on a stage for about six years. This performance will be spectacular for Ripon Dance Academy and I’m sad that I will be saying goodbye to them after this performance.

This is because I shall be travelling to Australia for four months to undertake my placements in the costume departments with the Australian Ballet and Opera Australia. This will, of course,l be an amazing experience and I am looking forward to it! Naturally, I will also be looking to take class in Australia and watch performances.

Ever since I started two and a half years ago, I have found my stress relief, health fix, enjoyment and passion in ballet. I strive to improve and become the best dancer I possibly can. None of which would be possible without my amazing teachers or other classmates. I look forward to sharing my experiences with you as a young adult dancer, reflecting on classes, reviews of performances and dance products, and perhaps some insider costume knowledge.

Amelia x

Ninette de Valois

Today is St Patrick's day. Ireland has given the world many great artists in every medium and genre over the centuries.  I can think of no better way of celebrating Ireland's national day than by remembering one of the finest of those artists, Dame Ninette de Valois.

Dame Ninette was born in Blessington on 6 June 1898. Although she is best known for establishing the Royal Ballet, the Birmingham Royal Ballet and the Royal Ballet School, she contributed much to the arts in Dublin. At the request of W B Yeats, she helped to establish the Abbey Theatre School of Ballet and choreographed several ballets for the Abbey theatre to scores by contemporary Irish composers. She was honoured for her services to the arts in Ireland by the Irish Catholic Stage Guild in 1949 and by an honorary doctorate from the University of Dublin in 1957.

Yet another country that honours Dame Ninette is Turkey for she founded the Turkish State Ballet and the Turkish State Ballet School and created the first full-length ballet for the national company.

I should like to wish all my readers whether Irish or not, and, in particular, Fiona Noonan who led me back to ballet, a very happy St Patrick's Day.

Alvin Ailey in Salford

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Alvin Ailey American Dance Theatre, Mixed Bill, The Lowry, 7 Oct 2016


I went to the Lowry last night to see Alvin Ailey American Dance Theatre for a second time. It was a slightly longer programme than the one in Bradford before a considerably larger and even more enthusiastic crowd. I took advantage of the opportunity to get to know the company a little better by attending a rehearsal before the show and a question and answer session afterwards. I enjoyed the evening more than last time.

The programme in Salford consisted of Aszure Barton's Lift, Ronald K. Brown's Four Corners and Cry and Revelations by Alvin Ailey. The piece we saw in the rehearsal was Brown's Four Corners. I entered the auditorium after the Q & A had begun so missed the introductions but I believe I recognized Sarah Daley on the panel from her After the Rain Pas de Deux which had been my personal highlight of the Bradford show.

Lift began and ended with the dancers jumping in unison in the spotlight. It included solos and a very interesting duet as well as group dances, The music by Curtis Macdonald  was percussive and even slightly mesmeric. The lighting by Burke Brown was understated which made it difficult to appreciate Fritz Masten's costumes, This was the first time I had seen work by Barton who is described on the company's website as an "in-demand choreographer" and "a much sought-after dance maker whose choreography ranges from Baryshnikov to Broadway." It was energetic and in some respects exuberant which was a good way to start the show. I would like to see it again, particularly the duet where the female's face seemed to be attached to the male dancer's chest to some very curious music. I thought of asking a question about it in the Q & A but could not think of an appropriate way to frame such a question without sounding like a chump.

Four Corners is described as 11 dancers depicting spiritual seekers amid 4 angels standing on the corners of the earth, holding the 4 winds.  The work was set to music by Carl Hancock Rux, Rahsaan Roland Kirk and Yacoub and is said to have been inspired by the following words from Rux's Lamentations:

"Away they fall
All who stand
At the four corners of the earth
With blades and sheaths
These
Yours is simply this
Command and stand up
Stand
You are beautiful
And lovely
Beautiful and lovely"

I have searched in vein for information about Yacob who is described as a "North African vocalist". His song changed the mood of the ballet quite suddenly. I also seemed to recognize some bars of Hey Jude in the score and there seemed to be some West African influences in the costumes. An eclectic but nonetheless coherent piece.

My favourite work of the evening was Alvin Ailey's Cry which was a solo danced enchantingly by Rachael McLaren. Ailey dedicated this work to "all black women everywhere--especially our mothers."  Having lost in August my own mother in law (who was Sierra Leonean) a few months before her 97th birthday this piece spoke to me in a way that no other work possibly can. A lot of other very dear people came to mind including my late spouse Iyamide and our daughter manquee Dunni who is herself a mother. Set to Alice Coltrane's "Something about John Coltrane," Laura Nyro's "Been on a Train," The Voices of East Harlem "Right on. Be Free" with McLaren in a "long white robe" I was close to tears when the curtain fell.

I was grateful of a few minutes of silence to compose myself before the whole company belted out Ailey's Revelations. The long white robe to which I referred just now were a quotation from the song "I want to be Ready" which was danced by Jamar Roberts. Readers may remember that it was he who danced the After The Rain Pas de Deux so beautifully will Sarah Daley in Bradford. The solo requires enormous strength and control which Roberts possesses in abundance. I want to be Ready is danced immediately before Sinner Man which was danced by Colin Hayward, Jermaine Terry and Solomon Dumas and presumably the juxtaposition between vice and virtue is not coincidental. The piece ending with the audience standing and clapping in time to Rocks My Soul to the Bosom of Abraham.

Someone told us that Alvin Ailey is on the syllabus of this year's "A" level dance course for one of the examination boards. That explains the presence of so many school students. They were a high spirited, giggly screeching bunch who leavened the atmosphere. Some of those students came from Huddersfield and it was good to see two of their teachers, Fiona Noonan and Sean Selby, in the audience.

Queensland Ballet's La Sylphide - Why it is so special

In Looking Forward to 2015 - My Choices 29 Dec 2014 I singled out the Queensland Ballet's La Sylphide as one of the likely highlights for 2015. I bought my ticket for the show nearly a year ago.

I did so for three reasons.  The first and most important is that La Sylphide is one of the oldest and most beautiful ballets in the modern repertoire but it is one that is performed relatively rarely in this country and much less frequently than Giselle. As I wrote in December:

"La Sylphide is not a ballet that we see very often in this country which is strange because it is set in Scotland. It is much less creepy that Giselle though it does have a witch and sylphs. The costumes are gorgeous: colourful tartan for the men and flowing white romantic tutus for the women. Løvenskjold's score is not quite as well known as Adam's but it is not bad. This year we shall have a taster when principals and soloists of the Royal Danish Ballet visit the Peacock on the 9 and 10 Jan 2015 and then the real McCoy in August when the Queensland Ballet come to the Coliseum."

I saw the Danes when they were in London and my appetite for this show was well and truly whetted by them (see Royal Danish Ballet Soloists and Principals in celebration of Bournonville 11 Jan 2015). For those who don't know the story or history of the ballet there is a useful synopsis  and history on the Queensland Ballet's website. It is worth mentioning that this is the first ballet in which dancing on pointe was incorporated into the choreography (see Wikipedia).

The second reason why I look forward to this show is that the Artistic Director of the Queensland Ballet is Li Cunxin. This remarkable man has excelled n two careers: first as a dancer and artistic director and, secondly, as a stockbroker. A story of his life has been made into the film Mao's Last Dancer  which I saw earlier this year. Li Cunxin will be the guest of the London Ballet Circle on the 3 Aug 2915.

My third reason is a personal one and that this is the company of the teacher who coaxed me back to ballet many years after my last ballet lesson.  As I wrote in Looking Forward to 2015 - My Choices:

"The visit of the Queensland Ballet excites me for another reason. My dear ballet teacher Fiona Noonan, who put me on my feet with ballercise and then coaxed me into ballet just over 2 years ago, trained in Brisbane. She demands the best from her students and we strive to give it to her though I fear I do not always succeed. The name of the company's ballet school - the Queensland Dance School of Excellence - typifies its aspiration."

I am very grateful to Fiona Noonan for raising my confidence and technique to the level that I could contemplate taking classes with Annemarie Donoghue at Northern Ballet two years ago.  I still take Fiona's classes at Huddersfield University most Wednesday evenings.  Taking up ballet again very late in life has been an enormous comfort to me over the last few years.

I hope that the Queensland Ballet enjoys its season at the Coliseum and that they will return regularly and frequently. I also hope that Li Cunxin gets a good audience for his talk on 3 Aug.  It will take place at the Civil Service Club in Great Scotland Yard at 19:30 on 3 Aug 2015. The Club is close to Embankment and Charing Cross underground stations. It is next door to the Nigerian embassy which is a good landmark if you come from Northumberland Avenue.

Dancing through the Summer

Saturday's end of year show brought term to an end at Northern Ballet Academy but as their website says

"just because the sun comes out (fingers crossed!) doesn't mean we have to stop dancing!"

Jane Tucker will be giving  classes to improvers on 4 and 11 Aug beginners on the 6 and 13 at Northern Ballet's studios in Leeds.

The same teacher is also teaching intensive workshops on Swan Lake and Giselle for beginners and advanced students at KNT Danceworks on the 19 and 22 Aug respectively.  I mentioned those courses in KNT Danceworks Adult Summer Intensives 7 May 2015. I shall attend Jane's beginners' classes at Northern Ballet and her Swan Lake intensive on the 19 August and will let you know how I get on.

In the meantime I shall attend at least two of KNT Danceworks ballet classes for beginners or complete beginners each week. These take place in Northern Ballet School's studios on Oxford Road in Manchester between 18:00 and 19:30 every weekday.  I have attended classes by Ailsa Baker, Karen Sant, Josh Moss and Sarah Butler and they are all good. I reviewed Ailsa's class in So Proud of Manchester - KNT Danceworks Complete Beginners Class on 29 Aug 2015. You can also see Gita's view in  Coming Back to Ballet  on 12 March 2015. She wrote:

"Ailsa is another good teacher and clearly very popular. I counted 50 students in her beginners’ class. She let me dance in socks - much easier than dancing barefoot . She was very friendly but still commanded everybody’s attention. She made us work very hard in the stretching and strength building exercises. There seemed to be a wide range of ability and experience from professionals to newbies. Ailsa was very encouraging. Because the class was large the vibe was magic and very chatty. Like all the other classes we started with barre exercises and stretches and then proceeded to port de bras and jumps. It was great fun."

As you can see from the abive flash mob video, KNT teach more than ballet. Gita and I have taken a contemporary class with them (see My First Contemporary Dance Class 27 Feb 2015. You will find the complete timetable here.

KNT also give classes in Liverpool.  I attended their taster classes in Liverpool town hall last September (see It's not every Class that you can use Lord Canning's Eyes for Spotting 9 Sept 2014. Details are posted on KNT Liverpool's Facebook page.

If you can't get to Manchester easily I can recommend Fiona Noonan's classes at Hype Dance in Sheffield (see More than just Hype - Beginners and Improvers Classes in Sheffield 14 May 2014) and the University of Huddersfield (see Team Hud Adult Ballet Class 22 Jan 2014). You will find Hype's timetable here and Tram Hud (that is to say, the University's) here.

Of course, if you live in or near London you are spoilt for choice.  Here is a directory of dance classes kept by londondance.com. It seems that every possible taste and style is catered for. So far, I have attended only one class in London - Adam Pudney's at Pineapple in November 2013. Joanna takes Amber Doyle's classes at Pineapple regularly and speaks very highly of them on Facebook and twitter.  I have not yet attended a class at Danceworks but I have watched Christina Mittelmaier's and Denzil Bailey's and was very impressed. Danceworks are now running classes for the over 50s (see Over 50s Ballet Classes at Danceworks 30 May 2015).  A particularly good deal for the summer is Danceworks 5 day membership pass for £10 which is available from 1 July to 6 Sept.

Finally an appeal. If anyone whether teacher, student or dance school wants to write about their classes please add your comments below or contact me through twitter or Facebook.

Post Script Joanna has tweeted from Tokyo

@jelterps I love @AmberdoyleAmber general #ballet Saturday/Sunday mornings & Adam Pudney Tuesday evening elementary #ballet @pineappledance

— Joanna Goodman (@JoannaMG22) July 7, 2015

I look forward to trying one of Amber's classes.

Class

Edgar Degar  Ballet Class

Photo Wikipedia

Exactly two years ago I took my first ballet with Fiona Noonan at The Base Studios in Huddersfield.  It was my first class for 45 years. It wasn't easy. Most of the other students were young. Some were still at school. All had studied ballet for years. I was so unlike them. An overweight 63 year old barrister. I didn't even have the right kit. I took my first class in jogging trousers, tee-shirt and socks. I am sure the other students wondered why I was there and I certainly did. I can't say I enjoyed that class because I could  do hardly any of the exercises. I still can't do all of them even now. And my body ached for ages afterwards.

But I came back. I took private lessons from Fiona who patiently taught me to stack my body and balance first on two legs in demi and then one leg with the other in retiré. I managed to do the barre exercises and some of the jumps. Turns are a different matter - soutenus are all right and even chaînés but I just can't stay in relevé with my non-supporting leg in retiré long enough to do a full pirouette (see A Really Useful Video on Pirouettes 22 Nov 2014). And when I tried posé turns in Leeds I fell flat on my back.  I did wonder then whether I was getting a little too old for this ballet malarkey but I got up, dusted myself down and carried on.

I'm so glad I did because I love class and I have been trying to work out why. The music is one reason. We have some lovely pianists at Northern Ballet, particularly Alena Panasenka whom you can hear in the video but even the recording that Fiona and some of my other teachers use for the adagio is beautiful.

Camaraderie is another reason. The ladies in the film speak about it and it was that video that drew me to Northern Ballet. Those ladies and I danced together last June in And The Dance Goes On in which I had the time of my life and I am glad to say that the ladies are now my friends.  I have also made friends in my other classes in Huddersfield, Sheffield and Manchester.

I have also been fortunate in having wonderful teachers.  None of them resembles the awful Miss Polly in Ballet Black's Dogs Don't Do Ballet. The bond between dancer and teacher is very special. Dame Antoinette Sibley spoke of it when she talked about her classes with Tamara Karsavina (see Le jour de gloire est arrive 3 Feb 2014) as did Elena Glurdjidze and indeed my friend Pamela Newton when remembering Olga Preobrajenska. Look at the interaction between teacher and students in the classes in Moscow and San Francisco in Adult Ballet in Moscow and San Francisco. I have experienced something like that in my own short ballet career as you may recall from my dialogue with Fiona after I told her that I had spent the afternoon listening to Clement Crisp and Antoinette Sibley:

"'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!'"

And that brings me onto my final and most important reason which I only appreciated fully this month after watching the company classes of English National Ballet and Chantry Dance who do some of the same exercises that I do with my teachers. It is the sense of being part of a worldwide community with a 200 year heritage. 

That is why I push myself to class even when I feel rotten and why I am always so glad to have done so after we bow or curtsy and clap our teacher and pianist.

Further Reading

Adult Beginner   First Class Stories  Adult Beginner 

David Wilson    Just Started Ballet  Dave Tries Ballet

Greta Wright   How to choose a Ballet class  Danceworks

Jane Lambert  For Emma 28 April 2914

Jane Lambert  Realizing a Dream 12 Sep 2013