Thinking Big out West

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I first learned about Duchy Ballet on 29 March 2014. The reason I can date it so precisely is that I wrote in The Guys of the Golden West 30 March 2014:

"Other Golden Guys are Duchy Ballet whose existence I discovered only yesterday. This evening and yesterday they were performing The Mousehole Cat & Other Ballets at The Hall for Cornwall in Truro. Roberta Marquez of the Royal Ballet appeared as a guest artist. According to the company's website Duchy Ballet was formed to celebrate the opening of The Hall for Cornwall with the aim was of establishing a youth ballet company for Cornwall providing the opportunity to train, rehearse and perform within a professional setting. The company's choreographer is Terry Etheridge who was a guest choreographer of the Chelmsford Ballet Company some years ago and inspired and taught Andrew Potter who danced Drosselmeyer in that company's recent production of The Nutcracker (see "The Nutcracker as it really should be danced - No Gimmmicks but with Love and Joy" 20 March 2014). Potter acknowledged his debt to Etheridge on twitter this morning:

"Mr Etheridge, Found me, taught me and inspired me."

Having seen Potter's performance I congratulate Etheridge on a very good job."

I mentioned Terence Etheridge and Duchy Ballet again on 17 Sept 2016 in Ballet in Cornwall while I was on holiday in Looe.  I added that their next production will be The Sleeping Beauty at the Hall for Cornwall in Truro. 

Today I learned that Aurora will be danced by Laura Bosenberg, one of the senior principals of the Cape Town City Ballet. To get some idea of how she dances watch the YouTube clip of her performance in Camille with Tom Thorne, one of the male principals of the company.  Founded only 3 years after the company that eventually became the Royal Ballet the Cape Town City Ballet is one of the oldest ballet companies in the Commonwealth.  According to Wikipedia John Cranko was a member as was Phyllis Spira Africa's one and only prima ballerina assoluta. Margot Fonteyn has danced with the company as have Carla Fracci, Beryl Grey, Nadia Nerina and many other famous stars.

I suppose I should not be surprised.   A company that can attract a principal of the Royal Ballet of the stature of Marquez thinks big. It is not only in America that they think big out West.

Hendrick's Class at Danceworks

Hendrick January

Well over a year ago Lesley Osman of Danceworks invited me to review one of her classes. I had intended to accept her offer much sooner but I don't get to London all that often and when I do it is nearly always for work. Last Saturday I decided to treat myself to a matinee at Covent Garden (see The Royal Ballet's Double Bill 18 Jan 2016) and Hannah Frost's beginners' class at 16:30 at Danceworks.

Between Rhapsody and the Two Pigeons I received the following email from Cherise Collings the reception manager at Danceworks:

"Hi Jane,

Hope all is well.
To update - unfortunately Hannah Frost will not be teaching her class today, she will have cover .
Hendrick January. He is a very good teacher and Hannah consistently has Hendrick cover for her when she is away.
Sorry for the late update - we only found out a bit earlier today that Hannah could not teach.
Best and look forward to seeing you.

Regards
Cherise Collings"

The double bill at Covent Garden ended just after 15:00. There was, of course, lots of clapping and cheering which is very much part of the show and I exited the theatre just after half past. I walked to Holborn and took the Central Line to Bond Street dropping into Boots to procure some water and bun pins on the way.

The moment I arrived at Danceworks's studios at Balderton Street I was feted like a ballerina. Cherise introduced herself to me and gave me a guest pass. She showed me the studio where the class was to take place and directed me to the changing room. The facilities while Spartan were more than adequate. There were showers, loos and mirrors and enough space to change in privacy.

I presented myself to Henderick who remembered meeting me at one of Ballet Black's performances. There were about 27 names on Hendrick's register - about half a dozen men and the rest women.  There was at least one gentleman who seemed to be about my age and several ladies who seemed to be not far short. The rest were of various ages and levels of experience.

Hendrick introduced himself and promised a "gentle class". I would not describe it as easy but it was well within every student's capability. Hendrick started with pliés in each of the positions but he kept us alert by making us rise or do a port de bras after every movement. He kept us on our toes with tendus incorporating a rond de jambe and weight transfer into the exercise.  It was much the same with the other exercises until we had completed the usual canon.

Hendrick has an eye for detail and he made many corrections. In my case my arm was drooping in second and he had to remind me twice before I got it right. Ports de bras seem to be one of his strengths because he drilled us through each of the arm positions a couple of times before he was satisfied with us.  One tip that I learned from him was to retain the curvature of the arms when coming out of 5th.

He gave us a couple of great centre exercises. I particularly enjoyed the last one which started with a tombé, pas de bourré, pirouette, balancé and ending with a jeté.  He allowed a little time for pirouettes and jumps - sautés and échappés - an echainement where we combined everything we had learned and then - far too soon - the reverence.

Hendrick packed a lot into the 90 minutes so there was not much time for cool down but we were allowed time to stretch and I carried out the exercises that Annemarie and Jane had taught me in Leeds. It was a good class and it ended a great day of dance after a virtually dance free week.

After the class I thanked Hendrick for the lesson.  He recommended my taking Hannah's class which I certainly hope to do but I would also like to take his class again for, as Cherise said, Hendrick is a very good teacher.

He is of course just one of several. Lesley reminded me of some of the others:  Roberta Marquez, Zdenek Konvalisa and Antonia Franceschi as well as Leanne Benjamin teaching a series of repertoire classes from February and Michaela DePrince in July.  I will mention them again nearer the time.

Did I read this correctly?

Roberta Marquez and Steven McRae
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In the January newsletter from Danceworks I read the following section:

"New Classical Ballet classes
Three fantastic new drop-in Ballet classes for 2016 for advanced dancers with extraordinary dance stars: Antonia Franceschi, (Mondays 11.30am from 4th), Zdenek Konvalina, (Tuesdays 10am from 11th), and Roberta Marquez (Wednesdays 10am from 6th)."

Now Roberta Marquez is one of the greatest ballerinas of her generation and which dancer of sufficient aptitude would not give an eye tooth for a class from her? Surely it is a misprint or another Roberta Marquez?

It seems not.  Marquez's class for advanced/professionals takes place between 10:00 and 11:30 on Wednesday at a cost of £8.  If I were good enough to take her class I would camp all night outside 16 Balderton Street to be first in the queue.

Chelmsford prepares for The Sleeping Beauty

Cara O'Shea, one of Northern Ballet Academy's most popular teachers, danced Aurora in The Sleeping Beauty with Chelmsford Ballet when she was only 15. In March that role will be danced by Scarlett Mann. She danced the leading role enchantingly in last March's Pineapple Poll  (see Another Photo from Chelmsford's Pineapple Poll 3 April 2015). According to the company's blog she picked up some tips for dancing Aurora from Roberta Marquez herself (see Masterclass with Roberta Marquez 18 Nov 2015 Chelmsford Ballet Company Blog).

As you can see from the events diary there will be a lot of rehearsals over the next few weeks but also some fun. On Saturday 19 Dec 2015 the company will be taking part in "The biggest Christmas musical extravaganza in Essex!" at the Brentwood Centre,  As Essex is not known for doing anything by halves this should be quite an occasion. The dancers will perform excerpts from The Sleeping Beauty while the Hutton and Shenfield Choral Society will sing Once in Royal David's City, Sleigh Ride, Walking In The Air, Cowboy Carol, Have Yourself A Merry Little Christmas, Rudolph the Red-Nosed Reindeer, Hark! The Herald and much more. Tickets cost £16 and may be booked on-line. Looking further ahead I see that the Hutton and Shenfield are singing Ein Deutsches Requiem. The Choral performed that a few years ago here in Huddersfield. It is a lovely work which I recommend.

On 29 Dec 2015 members of the company will travel up to town to see Gillian Lynne's Cats at the London Palladium.  This is one of the most popular shows in the West End and tickets are not easy to obtain. They have hired a coach and driver and have offered the whole package at a remarkably reasonable price. It sounds a lot of fun and if I lived closer to Chelmsford I would have joined them. I wish everyone in the party a very pleasant evening.

After CATS there are rehearsals and more rehearsals for The Sleeping Beauty before the show opens at the Civic Theatre on 16 March 2016. Tickets are on sale and can be booked on-line. Tickets cost between £12 and £16.50.

I should say that there is another Sleeping Beauty doing the rounds and that is Matthew Bourne's. The reason I mention that show is that Christopher Marney, Chelmsford Ballet Company's patron, is dancing in the show. I saw it in Bradford on 28 March 2013 and was very impressed by Marney's performance. He danced Prince Lilac. It was the first time that remarkable young talent had come to my attention and I have been following him ever since.  The production is touring the country between now and April with a long stunt in Sadler's Wells.