News from Ballet Black

 

In Ballet Black Takes York By Storm I recalled some of the great shows that Ballet Black had performed and added that none has impressed me more than their performance of Nina: By Whatever Means at York Theatre Royal on 23 June 2023. It will therefore come as no surprise that the ballet's choreographer Mthuthuzeli November and its leading lady Isabela Coracy are in the running for Black British Theatre Awards. More details about the Awards and how audiences can participate in the process are available on the BBTA Nominations Form.  The closing date for nominations is 1 Aug 2023.

Another bit of good news is that Ballet Black has recruited 4 new dancers.   I have no information about them other than that they come from Brazil, India, South Africa and the USA and that Ballet Black has appealed for accommodation for them.   When I do know who they are I shall ask the press spokesperson for their photos and bios and I shall write up about them here.

The accommodation that the company seeks is: "short term (a few months while they get settled) or for the length of a season (September to July). I thought the best place to start would be with our own mailing list! Are you able to help? If so, please could you get in touch with some details: 

• location (it needs to be in London, accessible for travelling to work in Marylebone each day)
• type of space: room, flat, house
• rent and any other charges
• are pets allowed? One dancer has two lovely cats!."

Talking of pets, Vlad the Lad (now a very self-assured young man excelling at sports, music and school work) loved Dogs Don't Do Ballet (see Woof  12 Oct 2014).  That show sparked in him a love of theatre which will stay with him forever.   I am sure that the work also inspired crowds of other children across the United Kingdom to appreciate dance and in some cases even study it.   I do hope the company will revive the ballet one day for another generation of children.  Of course, it will be hard to recast Madame Kanikova with her dancing, smiling eyes, the adorable Anna, her Obamaesque dad, Miss Polly with her hip flask and of course the star of the show, Bif the red setter.  Having said that, Chris Marney would find plenty of talent in Ballet Black's current membership.  They might interpret the roles quite differently,

Anyone with suitable accommodation that could be let to a dancer should contact Cassa Pancho and not me through the contact page of the company's website.

Casanova Unmasked

Venice, Birthplace of Giacomo Casanova

Photo Cocao
Source Wikipedia
Creative Commons Licence

Northern Ballet, Casanova Unmasked Stanley and Audrey Burton Theatre, Leeds, 15 Feb 2017, 18:00 - 19:30

In my capacity as a Friend of Northern Ballet, I attended Casanova Unmasked last night. It was a preview of the work by the choreographer, Kenneth Tindall, and two of his collaborators, Ian Kelly his dramaturge and David Nixon his ballet master.  They were assisted by Giuliano Contadini, Dreda Blow, Hannah Bateman, Gavin McCaig and other dancers of the company.

The proceedings were streamed live over the internet and have been recorded at Northern Ballet - Casanova Unmasked on the company's YouTube channel. Unfortunately, the sound quality is not perfect. The sound is very faint throughout the video and appears to have been lost altogether at several points. However, the video is still worth watching. This article is intended to help those who were not in the theatre to appreciate that film. I have also written a brief introduction to the subject matter of Tindall's ballet and provided links to some of his source materials in Casanova, 24 May 2016.

The company's artistic director, David Nixon, made a short speech in which he introduced Kenneth Tindall. He spoke of his early recognition of Tindall's choreographic talent and how he had fostered it. Tindall had been a principal of the company and knew it well. It was, therefore, fitting that Northern Ballet should commission Tindall's first full-length ballet.

Tindall, in turn, introduced Ian Kelly. Tindall explained that Kelly had written the definitive biography of Casanova. He had approached Kelly for a licence but Kelly showed such interest in the project that Tindall invited Kelly to collaborate with him instead. In a fascinating presentation delivered without notes, Kelly brought to life the historical Casanova. Casanova is remembered nowadays as a libertine but he was so much more. He was a polymath with interests ranging from mathematics to gastronomy. He is remembered for his sexual exploits because he described them in minute detail (together with a lot of other things) in his autobiography which he wrote for therapy rather than publication. Kelly told us that Casanova's relationship with women was not as exploitative as might be thought. Intriguingly, Kelly said that Casanova had helped the women he knew "along their way". That gave me the impression that in some respects Casanova was a proto-feminist.

Among Casanova's relationships that Kelly discussed was the one with Bellino,  She is described on Northern Ballet's website as a "woman masquerading as a man in order to work as a castrato (castrated male) singer." Casanova and Bellino were represented on stage by Giuliano Costadini and Dreda Blow. In an exceptionally clever piece of choreography that I might never have interpreted without Tindall's commentary, the dancers recreated the couple's meeting, the tentative relaxing of their masks and the creation of trust between them. The development of trust was demonstrated by some rather scary looking tombés (I use that term in the loosest possible sense because I do not know how else to describe her fall) by Blow into the arms of Costadini. In the questions and answers that followed, Blow was asked how she felt when she performed that step. She replied that it was not easy at first but she had worked with Costadini before and gradually perfected it.

After the Q and A in which Bateman and McCaig joined Contadini and Blow. we were shown another extract from the ballet. This was by members of the corps representing Casanova's fellow seminarians when he was studying for the priesthood. There followed a fencing exercise which somehow transformed itself into a music lesson, the foils becoming violin bows. Altogether very ingenious and very attractive choreography.

There was another Q & A, this time with Tindall, Kelly and Nixon.  I asked Tindall about the mechanics of his collaboration with the composer Kerry Muzzey who was following the event in the United States. I asked him whether he worked as Petipa had with his composers specifying the phrases he needed for particular steps. Tindall replied that the collaboration went both ways. Having written music for film, Muzzey could envisage the interpretation of his work which Tindall had found useful.

After the presentations, Nixon invited the audience to drinks.  In some ways, this was the most valuable part of the evening because it afforded an opportunity to meet the collaborators and dancers informally and explore the work in greater depth. I had a particularly rewarding conversation with Ian Kelly about his methodology as history is forensic but theatre is expressive. Kelly well understood the difference having read history as a first degree.  I expect his work to be scholarly as well as entertaining.

The drinks were served in the atrium of Northern Ballet and Phoenix Dance Theatre's studios at Quarry Hill. Those who have entered the building will remember a landing where costumes are occasionally exhibited. Last night costumes from Casanova were arranged along that landing. Nixon reminded us that these come at a cost and that there is an appeal for wigs and costumes to which I invite all my readers to contribute.

Scottish Ballet's Young Dancer Mentoring Scheme

Standard YouTube Licence


Scottish Ballet's Christmas appeal is in support of the company's mentoring scheme (see Hansel and Gretel, and You Appeal  on Scottish Ballet's website).

Noting that one of the themes of Hansel and Gretel is that Gretel looks after her little brother and that Hansel looks up to Gretel as a role model, Scottish Ballet has devised a mentoring scheme that reflects that supportive relationship whereby established performers advise and assist the next generation of young dancers.

The video shows Constance Devernay coaching two promising young students.  The thrill of working with  one of the finest artists on the British stage must be enormous. Also, Devernay derives enormous satisfaction from passing on her considerable skill and knowledge.

Donations of £40 or above will be acknowledged on the appeal web page and those over £80 in the company's programme.

I have a personal interest in this appeal because I was a sort of mentee of Professor John Steer who became the company's chair when I was at St Andrews. It was he who cultivated my appreciation of ballet and introduced me to Peter Darrell and his dancers shortly after their move from Bristol. I have followed the company and attended its performances ever since (see Scottish Ballet 20 Dec 2013).

I strongly recommend Christopher Hampson's Hansel and Gretel. I saw it in Glasgow in 2013 and you will find my review at Scottish Ballet's Hansel and Gretel 23 Dec 2013).

A Cause for Double Celebration at the Robin's Nest

Natasha Watson

Copyright 2016 Ballet West: all rights reserved

Reproduced with kind permission of the Principal

One doesn't need much of an excuse to visit the Robin's Nest bur if one has something to celebrate there are far worse ways of doing so than indulging in one of that establishment's cakes and pastries (see the photo of a slice of their sponge cake in Taynuilt - where better to create ballet? 31 Aug 2013 before Gita devoured it). I fancy that quite a lot of folk in Taynuilt will have had something to celebrate today because Natasha Watson and Andrew McFarlane have just been hired by English National Ballet (see Ballet West's home page). Hearty congratulations to both of them.

As I said in Thinking Out Loud About Ballet West on 8 Feb 2016 that ballet school must be one of the most remarkable educational institutions in the United Kingdom. These are not many institutions that can cultivate excellence in alumni like Watson and McFarlane while making dance accessible to a large section of the general public through its associate programmes, summer schools and outreach work.

Of course, such an enterprise requires facilities and the 2016 tour programme reports a £1.2 million project to build new studios on its site at Taynuilt:

"In addition to meeting the needs of the students the new studio complex will provide rehearsal space for Ballet West's full scale classical productions which tour Scotland and internationally. It has the potential of being used as a performance space and will open up all Ballet West's facilities for greater use by the local community."

Just what's needed to burn off the calories after a slap up tea at the Robin's Nest.

To help pay for this project Ballet West has appealed to the public for support and one can do so n many ways. One can slip them a few quid through their website or one can become a patron, sponsor a dancer or, if you have a business, you can become a corporate sponsor or benefactor.  If you want to find out more, call Ballet West on +44 (0)1866 822641 or email balletwest@btconnect.com.

English National Ballet's Appeal for Funds for its Parkinson's Classes

I should have mentioned this earlier (and would have done had I kept up to date with my emails) but English National Ballet are raising money to fund their classes for persons suffering from Parkinson's disease (see The Big Give: Dance for Parkinson’s 27 Nov 2015 English National Ballet blog). Their main fund raising effort took place on 4 and 5 Dec 2015 but members of the public can still contribute up to 17:00 on 14 Dec 2015 through the Big Give website.

Readers may remember one of the company's classes on World Ballet Day. These seem to be adult ballet classes just like any in that they start with barre work, continue in the centre and end with a reverence for the instructor and musicians. The students may not be able to do everything that takes place in other adult ballet classes but they clearly do a lot. These are rightly described as high quality dance classes and the company's artistic director has every right to be proud of the initiative.

Classes take place at Cardiff, Ipswich, Liverpool, London and Oxford and English National Ballet hope to open a sixth venue with the funds that they expect to raise. They bring considerable benefits for the students which are mentioned in Dance for Parkinson’s study results announced 30 Oct 2015 English National Ballet blog.

I congratulate English National Ballet and wish them well with this project. I hope other companies will undertake similar initiatives in other parts of the UK and overseas. I wish the instructors, students, musicians, management and everyone participating in these classes a very merry Christmas and a happy New Year.

What we can learn from Rihanna

Last week the singer Rihanna saw off an appeal by Top Shop against a decision of the High Court ordering the retailer to stop selling t-shirts reproducing her likeness in a way that suggested that she approved or endorsed Top Shop's products. If you want to understand the legal issues you can read my case notes in my law blog on the original decision in 2013 and the appeal.

"Very interesting" you may say "but what's it to do with ballet?" Well quite a lot actually because if more money is to come into dance and the other performing arts it will have to come from merchandising and endorsements. As I said in Ballet as a Brand? How to bring More Money into Dance for Companies and Dancers 13 March 2013 there is a limit to how much the long suffering British public will pay for the arts whether in the form of ticket prices or subsidies from the Arts Council.

Sports stars and performers in other art forms such as Rihanna have long known that there is a lot of money to be made from advertising, endorsement, merchandizing and sponsorship. As the Court of Appeal noted, Rihanna runs very large merchandizing and endorsement businesses. Over the years has had endorsement deaks with Nike, Gillette, Clinique and LG Mobile. She has also been very active in fashion in her own right and has made considerable efforts to associate herself in the public mind with that industry.

As I noted in my article last year:

"A few companies are already making a little extra money from advertising. The Royal Opera House shop offers a wide range of merchandise bearing the Royal Ballet name and crest such as books, calendars, greeting cards, t-shirts and videos. Other companies sell t-shirts. A website called Balletgifts, which appears to be based in New Cross. markets various items of clothing and other merchandise for the Birmingham Royal Ballet, the Bolshoi and the Mariinsky. Many companies hire out rooms in their studios or their orchestras. Most also have schemes by which businesses and individuals can become friends or patrons of a company or sponsor individual productions or dancers."

Also, a few dancers are also beginning to exploit their value as brands:

"A few superstars like Carlos Acosta and Darcey Bussell have websites through which they market branded merchandise. Acosta offersclothing and posters and advertises his book with links to Amazon and Waterstones. Bussell markets a range of children's dancewear, books and games and DVDs from her site."

However, much more can be done. You don't have to be the Royal Ballet or Carlos Acosta to make money from advertising, endorsements, merchandising and sponsorship. Every company - even quite small ones has its following - and it is not just ballerinas and premiers danseurs nobles who have fans. Look how I gush over Brill, Coracy, DePrince, Gillespie, Kundi and other favourite artistes as well as the principals of their companies.  And it's not just performers who have brands. So, too do studios, dance schools and even individual teachers.

I made some suggestions as to what companies, theatres, dancers and increasingly individual teachers can do to protect their goodwill in  Branding and Ballet - Ten Top Tips 13 June 2014. The Rihanna case is likely to be discussed at a seminar at St Pancras on the law relating to branding and fashion and luxury goods at which I shall be speaking on 10 Feb 2015. If you want to attend the seminar you can book on-line.

Scottish Ballet Costume Appeal

Between 13 Dec 2014 and 14 Feb 2015 Scottish Ballet are touring Scotland and the North of England with Peter Darrell's The Nutcracker. This was a sumptuous production when first performed as  can be seen from the photos on the 1970s web page of the website of the Peter Darrell Trust. Recreating this magnificent ballet does not come cheap and Scottish Ballet are appealing for contributions to the cost of the costumes.

You can pay £35 for a party dress

£70 for a rodent

£150 for a snow flake

£300 for Clara

£500 for the Sugar Plum

£1,000 for the Nutcracker

Whatever you want to

pay for anything else

The contributions received so far have been acknowledged on the costume appeal website and will be recorded in the programme. You can contribute to the appeal by clicking this link and filling out the form.

If you want to see the ballet in Edinburgh, Glasgow, Aberdeen or Inverness you can click this link here for details. If you want to see it in Newcastle you can click here. I do hope Scottish Ballet will take The Nutcracker to the rest of the UK. It has a lot of fans throughout the country, particularly London where there is a massive audience for dance and Bristol where the company began.

If you want to learn more about this production there are pre-show talks and post show discussions in the theatres where the ballet is performed (see "Get Closer"). There are also films, photos of the costumes and rehearsals and details of workshops for kids and adults in Edinburgh and Glasgow which one little boy in London would just love if he could only get to Scotland.

I learnt to love ballet in Scotland which is why Scottish Ballet occupies a special place in my affections (see Scottish Ballet and Ballet West 3 Oct 2014). I do hope folk will support the costume appeal generously.