Happily, that is exactly what we can expect for Northern Ballet will dance three of Sir Kenneth's works at the Bradford Alhambra between the 5 and 7 Oct 2017. An excellent venue for the Alhambra is arguably Yorkshire's finest theatre by a country mile. The ballets that the company will perform are:
Concerto and Las Hermanas were originally created for German companies though Las Hermanas found its way into the repertoires of Western Theatre Ballet (now Scottish Ballet) and The Royal Ballet where I first saw it. Gloria was created for The Royal Ballet shortly after he had ceased to be that company's artistic director.
Nothern Ballet also plans to dance the triple bill in Leeds next year.
The Wales Theatre Awards recognize excellence in theatre, dance and opera created and presented in Wales. Nominations for the 2017 awards were made by 40 English and Welsh language critics working throughout Wales for print, broadcast and online platforms. They made 830 nominations for 281 artists and 157 shows from 89 companies (see Mike Smith Wales Theatre Awards - The Winners25 Feb 2017 Art Scene in Wales).
The best male dance artist award was won by Phil Willians of Cascade Dance Theatre. I have not yet made the acquaintance of Mr Williams or his company but I hope to do so before long. His company describes itself as
"a repertory touring company working with the Creu Cymru dance touring network to provide ensemble dance that is artist-led with a Wales and international perspective, having high production values and with an equal emphasis on quality of the art and a passion to speak to a general public audience."
For the benefit of readers outside Wales, I should say that Creu Cymru is the development agency for theatres and arts centres in Wales. Its members include nearly all the professionally run theatres, arts centres and other venues in Wales.
Last year was a good year for Ballet Cymru having been nominated for the second year running for one of the National Dance Awards. It has recruited some fine young dancers one of whom was my outstanding young dancer for 2016 (see The Terpsichore Titles: Outstanding Young Dancers of 201628 Dec 2016). We hope to see more of them in Ballet Cymru's Spring Tour with its new production, The Light Princess which I previewed in Ballet Cymru's The Light Princess25 Jan 2017 and A Midsummer Night;s Dreamthat I also mentioned in that post. Ballet Cymru has now supplied us with the photo for The Light Princess with its press release which I have posted above.
Standard YouTube Licence Northern BalletCasanova Grand Theatre, Leeds, 11 March 2017, 19:30 I started to take an interest in Northern Ballet when I first read about it in Dance and Dancersin 1969. I seem to remember that it was called Northern Dance Theatre in those days. The first performance by that company that I actually saw was Gillian Lynn's A Simple Man in 1987 (see Northern Ballet's "A Simple Man"14 Sep 2013). I have followed the company ever since - remaining loyal to it even after it moved to Halifax. I have therefore seen a lot of performances by Northern Ballet over the years. It is a very long time since I saw a show by Northern Ballet that I enjoyed as much as I enjoyed Casanova last night. It is certainly the best I have seen from Northern Ballet since the company crossed the Pennines.
Casanova is Kenneth Tindall's first full length ballet. He had already impressed the public and critics with his such works as The Architect and Luminous Junc•turebut as he agreed in his interview with me "the jump from one-act to full-length is an exponential and qualitative leap - not merely doubling or tripling of effort" (see "A Many Sided Genius" - Tindall on Casanova4 March 2017). In my judgment Tindall has landed successfully in making that leap. I liked every aspect of the production: Tindall's choreography, the story that he created with Casanova's biographer Ian Kelly, Kerry Muzzey's score, Christopher Oram's designs and, of course, the dancers.
The ballet focusses on two episodes of Casanova's life. The first is his youth in Venice where he is introduced by Father Balbi to the Kabbalah, a proscribed text, which brings him to the attention of the Inquisition or secret police. They imprison him in the Piombi. Thesecond episode ishis exile in France where he meets Madame de Pompadour and Voltaire. At various times women flit in and out of his life - two young girls Nanetta and Marta Savorgnan, a nun known as MM, Bellino and Henriette. Sex is in the story - it could hardly be avoided in view of the detail in which Casanova wrote about it and his popular reputation - but it is not the only story. The politics of the time, the repression of women of which Bellino and Henriette were victims, and other issues were also addressed.
Oram had cleverly projected Venice and Versailles in his set designs. I was reminded of the richness of St Mark's with a brief appearance of the Bridge of Sighs and the confines of the prison house crashing down on Casanova in the last scene of the first act. I was reminded of the Hall of Mirrors of Versailles in the second. Although it was not referred to as such in the programme, there was actually an epilogue representing his employment as a librarian in Prague, There he wrote his life story at the behest of his shrink as a therapy for depression. That episode was represented by a shower of falling paper and the entry of the characters he had encountered in his life.
Muzzey's score suited the story and decor well. It was rhythmic. I noticed several of those around me silently tapping out the beat with their fingers. I even caught myself doing it too at times. It was emphatic. I particularly admired Muzzey's use of percussion. It was lyrical. In some of the softer scenes, he would repeat a refrain. Maybe not an earworm but nevertheless quite beautiful and memorable.
At the preview, Casanova Unmaskedon 15Feb, I realized that there was great depth and quite a lot of detail to Tindall's choreography. Not all of it is immediately obvious. The duet between Casanova and Bellino where Bellino tests Casanova and learns to trust him might well have escaped me had Tindall not explained it in the preview. However, there were some bits of the choreography that were eloquent. The binding of Bellino's breasts so that she could pose as a castrato and the joy of her womanhood that she expressed once those bandages had been removed. Of course, Bellino was not trans but it is a relief all trans-folk know.
Casanova was danced by Giuliano Contadini. A good choice, I thought. He is tall, athletic, muscular and, of course, Italian. I am not sure that he resembled the historical Casanova whose portrait accompanies my article but he was the right chap for Tindall's ballet. At the end of the performance, he was presented with flowers - a gesture that rarely happens in England but was entirely appropriate on this occasion. My only regret is that his leading ladies, Dreda Blow who danced Bellino, and Hannah Bateman, his Henriette, did not get any for they deserved flowers as well. So, too, did the other women in Casanova's life such as Abigail Prudames and Minju Kang, Casanova's young initiators and Ailen Ramos Betancourt who danced the nun, MM. There were powerful performances by Javier Torres as Casanova's patron, Brigadin, and Mlindi Kulashe as his persecutor. As I said earlier today in Facebook, at another time and in another place, yesterday's performance might well have earned a flower throw.
There has been a lot of hype for Casanova as there was last Autumn for Akram Khan's Giselle but in this case, the hype was entirely justified. All my expectations were met. All my hopes fulfilled. Northern Ballet danced in a way that I had not seen them dance for many years. I was not in the most receptive mood for ballet when the show started as I had run from Quarry Hill in my least comfortable but most fashionable heels over slippery pavements having languished for 45 minutes in a traffic jam caused, so far as I could see, quite gratuitously by appalling traffic management on the part of the local authority. It is to the artists' credit that I left the theatre on a high.
I have often written about the close relationship between Manchester and English National Ballet (see Manchester's Favourite Ballet Company29 Nov 2015). That relationship will be fortified on 11 Oct 2017 when the company performs La Sylphideand The Song of the Earthin our city. Set in the Highlands and probably inspired by the novels of Sir Walter Scott, La Sylphide ought to be our national ballet (see La Sylphide7 Aug 2015).
This is a beautiful ballet with a simple story of human frailty and a charming score. It is important to the history of dance as it was the first ballet in which dancing en pointe was used to achieve an impression of flying. English National Ballet has staged a version of this ballet before. In 1979 it presented Peter Schaufuss's version and it was that version that the Queensland Ballet brought back to London (see Jane Lambert and Gita Mistry A dream realized: the Queensland Ballet in London17 Aug 2015). The Royal Ballet also has a version but that has not been performed since 21 May 2012 (see La Sylphide on the Royal Ballet's website). Our only other experience of that ballet was in Jan 2015 when principals and soloists of the Royal Danish Ballet performed extracts from the work at the Peacock Theatre (see Royal Danish Ballet Soloists and Principals in celebration of Bournonville11 Jan 2015).
Those principals and soloists reminded us that La Sylphide was created by August Bournonville for the Royal Danish Ballet where he was resident choreographer and ballet master. One of his illustrious successors in the Roya Danish Ballet is Frank Andersen who served as its artistic director of that company from 1985 to 1994 and from 2002 to 2008. Andersen has produced La Sylphide in many companies around the world (see La Sylphidein the Productions section of his website). One of the countries in which he has staged the ballet is China where Andersen has a particularly strong following in China as a choreographer, director and teacher (see Frank in China on his website).
Andersen will create the version that the English National Ballet will dance in Manchester (see 2017-18 Autumn/Winter Season Announcement9 March 2017 on the company's blog). The company will also dance the ballet in Milton Keynes between 17 and 21 Oct 2017 and at the Coliseum between 9 and 13 Jan 2018. I look forward to this production very much indeed.
Women’s ballet wear can be expensive at the best of times. Often sizing being one of trial and error. Especially if one’s body shape doesn’t conform to the slim of hip, long of limb and small chest of the traditional look of the ballerina. And one which dance garments are usually designed and sizing guides are appropriate for. Being just shy of 5’2” myself and hardly fitting the type (I’m more towards the mesomorph body type), I find most items to be unsuitable.
That said, a recent online sale by Capezio on their knitwear, prompted me to indulge in several items. One of which was a pair of their ‘Essential 18” Stirrup Legwarmers’ (style no BG019). I am pleased to report they have been a worthwhile purchase. I was concerned that (despite the length given) they might be too long when fully stretched. However, they ended just below the knee pit at the top of the calf and didn’t obstruct movement. They are 13” from the top of the heel/stirrup so should give others a reasonable indication of suitability. They were instantly warming and did not slip down during class (1 – 1½ hrs worn over tights).
I’ve also done a mini-trial without tights, albeit at home, whilst doing sautés and échappés and again, they stayed in place. Their feel is soft to the touch, not itchy at all and the thickness of the 100% acrylic knit provides a look and feel befitting their ‘essential’ description: and rightly so. I hope you found this helpful; my next review shall be Capezio’s 27” Stirrup Legwarmers.
Standard YouTube Licence Miami City Ballet will hold open auditions in New York City for its 2017-18 season on Sunday, 26 March 2017 between 15:00 and 20:00 at the School of American Ballet on 165 W. 65 Street, New York (W. 65th St. is between Amsterdam and Broadway). There are very precise directions to the School on the Visiting Us page on the School of American Ballet's website. It seems to be easily accessible by public transport with the 66th Street Subway (tube) station and several bus stops nearby and there is parking at the Lincoln Centre car park.
The company is looking for classically trained (minimum of 10 years) and professional male and female dancers to join it at all levels (corps, soloists and principals). Training in the Balanchine technique will be an advantage.
Pre-registration for the audition is required. Candidates are asked to send
a resumé (curriculum vitae);
a current headshot;
2-3 full-body dance photographs, and
recent video (link) to a classical work, variation
to Mr Michael Sebesto at Msebesto@miamicityballet.org. Receipt of pre-registration materials will be acknowledged by email. Candidates are asked not to telephone the company.
Those invited to the audition should bring their resumés (CV), headshots and dance photos with them.
Those who would like to be considered for the company but are unable to attend the auditions in New York should send their specified pre-registration materials to Mr Sebesto as it may be possible to invite them to an audition in Miami.
This is a gem of a company and Jewels will be the first ballet of its new season. If you aspire to be a ruby, emerald or diamond I wish you all the best. I have to say that I had never met the expression "Balanchine technique" so I looked it up in Wikipedia. The characteristics are said to be:
"Extreme speed and very deep plié
Emphasis on line, with use of unconventional, asymmetrical, abstract arm and hand placement
Pirouettes en dehors taken from a lunge in fourth position rather than the conventional plié in fourth
Distinctive arabesque line with the hip open to the audience and the side arm pressed back
(c) 2017 David Murley: all rights reserved Reproduced with kind permission of the author
Ballet Black, Red Riding Hood Workshop, Barbican Pit Theatre, 25 Feb 2017 David Murley
On Saturday the 25th February 2017, Ballet Black held a workshop, or Weekend Labs referred to by the Barbican. Aside from my own excitement of getting to dance some of Annabelle Lopez Ochoa’s steps, there was the unexpected, the unseen. What was going to happen? How many people were going to turn up? Were only students going to be present? Was it going to be a positive and encouraging environment? Etc. Despite graduating from college 15 years ago, all of these thoughts still run through my mind.
Red Riding Hood Workshop
(c) 2017 David Murley: all rights reserved Reproduced with kind permission of the author
The morning started off with ballet class by the incomparable Damien Johnson, a senior artist with Ballet Black. The group who turned up for 9h30 on an overcast Saturday morning was an intimate one comprised of six. We were three women and three men. Essentially perfect. Johnson did not waste any time and put us all through our paces, offering positive corrections and beautiful enchaînements to execute. Lopez Ochoa arrived smiling during pirouettes exercise in the centre. Although we were only six, you could feel the concentration level in the studio magnify and thicken. With an intensified level of concentration, the rest of centre flew by and before we knew it we were put into male/female couples to learn some of Lopez Ochoa’s choreography from her creation Red Riding Hood for Ballet Black’s newest Triple Bill Premiere at the Barbican commencing on the 2nd March 2017.
We had the opportunity to learn snippets from three different scenes from Lopez Ochoa’s creation. The first scene was when the Wolf meets Red Riding Hood. The second was the Wolf’s solo and some partner work with one of the lady wolves. Lastly, was a brief outtake when Red Riding Hood goes to visit Grandma. What all of us took away from the workshop is the Wolf has some serious moves! Fluid, stylish, sensual, rhythmic and hypnotic the Wolf winds, twists and jêtés his way from one of the stage to the other causing the other characters to swoon and faint upon first gaze. Not to mention, oozing his way around Red Riding Hood effortlessly tempting her. Unsurprisingly, the Wolf wins, and Red Riding Hood is well on the pathway to growing up.
Throughout the course of the workshop, Lopez Ochoa was engaging, positive, uplifting and encouraging. Lopez Ochoa interacted with all six of us and spent quality time giving us what would appear to be a semi-private lesson. Invaluable. We received lots of attention. Despite having left school years ago, I learned so much, which is undoubtedly awesome, hands down inspiring and humbling. The atmosphere was professional, and all involved in the workshop had a cohesive energy. For me, it felt like we were specially selected from somewhere beyond our control and comprehension. We were all of similar mind set and similar approach. The Weekend Lab flowed with ease. Honestly, the six of us lucked out numbers wise. Another two couples would have easily changed the dynamic.
In my opinion, the six of us were an interesting, knowledge thirsty, personable and undoubtedly artistic group of individuals. Two of us were professional dancers, having already graduated. However, I was at one end of the spectrum having completed my training 15 odd years ago, and she graduated from Central School of Ballet last year. We had two dancers still in training. One was in full-time training at Central School of Ballet and the other was in the midst of her Textile and Biology A-levels and studying dance at DuPont School of Dance in Leicester. The remaining two workshop participants were non-dancers. One the midst of her studies at The Royal College of Art currently focusing on sculpting and the other remaining gentleman who dances at the weekend for his own pleasure. Everyone gave their best that day, and danced to the fullest of their abilities, and no doubt like myself, learned something too. Aside from us Weekend Lab participants being receptive to the experiences that lie before us that day, the welcoming attitude, professionalism and preparation from Annabelle Lopez Ochoa and Ballet Black dancers Damien Johnson and Mthuthuzeli November tremendously helped the day unfold to be what was a delightful, fun-filled and an educational success.
I, personally, would love to see Ballet Black hold another Weekend Lab/workshop. If they do, I highly recommend you attend and savour the experience. They are a company to be valued and cherished.
