London Book Launch Of Irina Baronova And The Ballets Russes De Monte Carlo

Irina BaronovaVictoria Tennant, acclaimed actress and daughter of Russian prima ballerina Irina Baronova, is set to launch a new book on her late mother, Irina Baronova and the Ballets Russes de Monte Carlo, on Wednesday 10 December at the Royal Academy of Dance in London. Baronova is renowned as one of the iconic choreographer George Balanchine’s protégés, one of his Baby Ballerinas.

In conversation with dance archivist Jane Pritchard, Victoria Tennant will deliver a presentation on the book as well as showing previously unseen film footage of her mother, followed by a Q&A session and book signing. Tickets are available at £15 for non-members, £10 for RAD members and £7 for enrolled RAD students. Your ticket will include a glass of wine and the chance to buy a signed copy of the book at a greatly discounted price of £30 (RRP £38).

This sumptuous, illustrated history tells the story of Irina Baronova (1919–2008), prima ballerina for the Ballets Russes de Monte Carlo and later for Ballet Theatre in New York. She was also Vice President of the RAD and was honoured with the QEII Coronation Award in 1996. Drawing on rare photographs, letters, correspondence, oral histories and interviews, Victoria Tennant warmly recounts her mother’s dramatic life.

The launch takes place from 7–8.30pm in the Genée studio at RAD headquarters, 36 Battersea Square, London SW11 3RA. To book your place at what is sure to be a fascinating event, promising to tell the story of one of ballet’s most glamorous stars, contact Sarah-Jane Lewis at [email protected] or call 020 7326 8051.

The Hunger Games Is Coming To London

The Hunger Games Stage ShowThe Hunger Games phenomenon is heading to the London stage. The unique theatrical experience based on the popular young-adult novels and Lionsgate film franchise will launch in summer 2016 in a new purpose-built theatre next to Wembley Stadium in London. The company is partnering with Dutch media company Imagine Nation and US-based Triangular Entertainment, who will use innovative and immersive staging techniques to bring the dystopian story to the stage.

The theatrical experience – as it is being referred to – will be produced by award-winning Broadway producer and Imagine Nation co-founder Robin de Levita, UK promoter Harvey Goldsmith, Triangular Entertainment’s Warren Adams, Brandon Victor Dixon of WalkRunFly Productions and entertainment executives Robert Harris and R&R Media’s Gary Ricci.

De Levita recently created groundbreaking presentations for two Holland stage shows. For the sold-out Dutch musical Soldier of Orange, the audience sits in a 360-degree rotating auditorium that turns from set to set. ANNE, the first authorised play in 55 years based on The Diary of Anne Frank, uses rotating life-size stage sets. As a result it seems de Levita and the rest of the production team are the perfect partners for extending The Hunger Games into a live experience.

Creative genius, world-class production values and state-of-the-art technology will combine to provide a uniquely immersive experience for fans around the world, with a tale that resonates so deeply with global audiences, now for an innovative next-generation studio.

The first two installments of the Hunger Games film franchise have grossed more than $1.5 billion at the worldwide box office. Hunger Games: Mockingjay — Part 1, the first of the two-part final installment, will hit cinemas in late November. The stage show is just the latest extension of Lionsgate’s popular, Jennifer Lawrence-starring story, with the company considering a theme park among other business opportunities.

Knee Nemesis

Knee Skeleton DiagramDo your knees hurt when you land from a jump, go downstairs, do grands pliés, or sit with them bent for long periods of time? “Jumper’s knee” could be the problem, a strain of the patellar tendon that runs from the lower kneecap to the upper shin. It is common in male ballet dancers and basketball players, who also jump a lot.

Other problems with the patella include pain from subluxation, where it goes out and back in, and dislocation where it goes all the way out and stays out. These conditions are common in adolescent females with hypermobility, especially in ballet dancers who turn out from the knee rather than the hip.

The juvenile version of the Jumper’s Knee, occurs at the other end of the patellar tendon, where it attaches to the growth plate, which is called Osgood-Schlatter’s Disease. It is a condition often seen in young (mostly male) athletes where they strain the attachment of the patellar tendon at its insertion to the growth plate on the upper tibia. It forms a swollen, tender lump below the knee and is related to running and jumping. It tends to come and go but disappears when growth is over.

In Jumper’s Knee, the pain usually comes from a specific point in the attachment of the tendon to the tip of the patella and not from the knee joint itself. Most of the time it is a chronic, ongoing condition that slowly gets worse with time. The diagnosis can be confirmed by injecting local anesthetic into the sore spot: if it relieves the pain, then the diagnosis is confirmed. It occurs from tightness of the quadriceps mechanism and weakness when the muscle lengthens as you plié. The condition is usually due to one part of the tendon that has pulled loose from the patella and has failed to heal, and must be treated.

Rhiannon Munson-Hobbs – Showgirl Stardom

Rhiannon Munson-HobbsAfter graduating from London Studio Centre’s Intoto Dance Company, Rhiannon toured the UK with various dance groups and appeared in numerous TV and corporate events. She recently finished her first season as resident showgirl and cancan dancer at La Nouvelle Eve in Paris, and has been booked to work with other companies in Paris so will continue to perform there over the winter season.

When did you begin dancing, where and why?

I started dance when I was six at an after school club where we learnt ballet and tap. To be honest, I only went because my best friends at the time went too. We eventually got put forward to do our exam, I loved getting shiny new satin shoes and having my hair done in a bun with a little ribbon. From then on, I was hooked.

How long have you been performing? Did you start young?

I performed in various events with my dance school whilst I was younger, but my first real experience was performing with The National Youth Ballet of Great Britain when I was 16. It was the first time I’d had to go through a real audition experience, and once the season started we had summer intensives at Elmhurst and Tring, which was a whole new world to me. We worked with brilliant choreographers such as Drew McOnie and Jo Meredith, and were lucky enough to dance at theatres such as Sadler’s Wells and the Birmingham Hippodrome. It sounds silly, but up until then I hadn’t really realised that dance could be a career, not just a hobby. The following year I successfully auditioned to be in One From The Heart’s production of Cinderella, and working with professional dancers and performers made me realise that I wanted to do this for a living.

Where did you train and what was a typical day like?

I trained at London Studio Centre where I studied all dance techniques; ballet, contemporary classes such as Limon, Graham and Cunningham, Matt Mattox jazz technique, hip hop, commercial, lyrical jazz, as well acting and singing. We also had lectures four times a week and at the end of my three years of vocational training I graduated with a BA (Hons) in Theatre Dance. A typical day started at 9am and finished around 5pm.

What is a typical day like now?

My day is now much more nocturnal! At La Nouvelle Eve [where I recently worked in Paris] we have two shows a night, six nights a week. We have to be in work to warm up and get ready by 6.30pm as the first show starts at 8pm, and the second is at 10pm. The show normally finishes around midnight, and once you’ve showered, prepped your costumes for the next day and taken your make up off it’s usually around 12.30am. To chill out after the show we’ll normally go for a drink somewhere local, or maybe go for a bite to eat. Getting to sleep in the early hours of the morning means that I don’t usually wake up until around midday the following day. Usually I meet up with friends, explore somewhere new in Paris, or go to one of our favourite cafes or shops – vintage shopping around Pigalle and Abesses is amazing, and there’s hundreds of little cafes or restaurants to check out.

Do you still take classes? How do you keep on top of your technique?

The show at La Nouvelle Eve keeps us very much in shape and it’s quite technical, but there are dance studios in Paris where you can go and train during the day as well – my favourite class to do at the moment is Yanis Marshall’s at Studio Harmonic, because it’s so so different to the style of dance we do in our cabaret show.

What’s the best part about performing in Paris?

The lifestyle is absolutely incredible in Paris, and I love that there are so many cabaret shows to discover and enjoy. There are so many things about my job that I love. Meeting and working with different people all the time is great. The fact that it allows me to travel is awesome too, I doubt I would have spent seven months living in Paris otherwise. Seeing progression and growth in kids you’ve taught over the years is also wonderful but nothing will beat the feeling of being on stage – when you’re waiting for the curtain to open, with your make up and costume on, your friends around you, with the lights on you, a packed audience waiting to see you dance. It’s an amazing feeling. I loved watching people’s reaction to the cancan at La Nouvelle Eve. I think a lot of people don’t know what to expect, seeing the shock and amazement on their faces reminds me just how lucky I am to be part of their Paris experience

What advice would you give to someone aspiring to be part of the dance industry?

Work hard and be a nice person. The dance world is so small that everyone knows everyone. If you’re the sort of person no one wants to share a dressing room with, after a while people just won’t work with you. Working hard goes without saying – you have to keep learning, keep improving, keep up your technique classes and also keep remembering why you decided to do this in the first place. There’s nothing more compelling to watch than someone on stage who is clearly enjoying themselves.

What’s next for you?

I want to stay in Paris for a while; I’ve completely fallen in love with cabaret, and with being a showgirl. I’ve booked a few more jobs out there to keep me busy over winter and I’ll be back working at La Nouvelle Eve and with another company next season.

National Dance Awards Nominations

National Dance Awards Critics' CircleThe nominations for the 15th National Dance awards promise a ‘vintage list’ of eventual winners as traditional dance boundaries are broken down and the spotlight falls on the younger, rising stars. The nominations have been whittled down from a long list of nearly 400 names, and from a year’s worth of performances that took place between 1 September 2013 and 31 August 2014. A new category, the emerging artist award, was added this year to ensure younger and less established dancers and choreographers were acknowledged, keeping the spectrum of talent as broad as possible.

It is clear that the category boundaries are not clear-cut: for example, Akram Khan’s two nominations as dancer and choreographer of Dust both appear in the contemporary categories, even though the work itself was commissioned and performed by English National Ballet.

The winners of each category will be announced on 26 January 2015.

Best Male Dancer

  • Jonathan Goddard (Mark Bruce Company, New Movement Collective, HeadSpaceDance)
  • Vadim Muntagirov (ENB, Royal Ballet)
  • Steven McRae (Royal Ballet)
  • Edward Watson (Royal Ballet)

Best Female Dancer

  • Alina Cojocaru (ENB)
  • Marianela Nuñez (Royal Ballet)
  • Natalia Osipova (Royal Ballet)
  • Diana Vishneva (Mariinsky Ballet)

Outstanding Company

  • English National Ballet
  • Mark Morris Dance Group
  • Northern Ballet
  • Stuttgart Ballet
  • Tanztheater Wuppertal Pina Bausch
  • Ballet Black
  • HeadSpaceDance
  • Mark Bruce Company
  • New Movement Collective

Best Classical Choreography

  • David Dawson (The Human Seasons for the Royal Ballet)
  • Arthur Pita (A Dream Within a Midsummer Night’s Dream for Ballet Black)
  • Liam Scarlett (No Man’s Land for ENB)
  • Christopher Wheeldon (The Winter’s Tale for the Royal Ballet)

Best Modern Choreography

  • Richard Alston (The Britten Bill for Richard Alston Dance Company)
  • Mark Bruce (Dracula for Mark Bruce Company)
  • Akram Khan (Dust for ENB)
  • Arthur Pita (Facada in Osipova and Vasiliev’s Solo for Two)
  • Crystal Pite (The Tempest Replica for Kidd Pivot)

Emerging Artist Award

  • Francesca Hayward (dancer, Royal Ballet)
  • Drew McOnie (choreographer, the McOnie Company)
  • Kevin Poeung (dancer, Northern Ballet)
  • Marcelino Sambé (dancer, Royal Ballet)
  • Alexander Whitley (choreographer, Alexander Whitley Dance Company)

Outstanding Female Performance (Classical)

  • Alina Cojocaru (Medora in Le Corsaire for ENB)
  • Francesca Hayward (in Rhapsody for the Royal Ballet)
  • Natalia Osipova (as Giselle for the Royal Ballet)
  • Kristina Shapran (Terpsichore in Apollo for the Mariinsky)

Outstanding Male Performance (Classical)

  • Yonah Acosta (Conrad in Le Corsaire for ENB)
  • Alexander Jones (Petruchio in The Taming of the Shrew for Stuttgart Ballet)
  • Vadim Muntagirov (Conrad in Le Corsaire for ENB)
  • Xander Parish (as Apollo for the Mariinsky)

Outstanding Female Performance (Modern)

  • Fang-Yi Sheu (in PastPresent and Two x Two at Sadler’s Wells)
  • Wendy Houstoun (in Pact With Pointlessness)
  • Carys Staton (in Still Current for Russell Maliphant Company)
  • Clemmie Sveaas (in If Play Is Play for HeadSpaceDance)

Outstanding Male Performance (Modern)

  • Miguel Altunaga (in Rooster for Rambert)
  • Jonathan Goddard (as Dracula for Mark Bruce Company)
  • Akram Khan (in Dust for ENB)
  • Liam Riddick (in Illuminations for Richard Alston Dance Company)

Equity Opposes Child Performer Plans

EquityEquity has responded to plans to allow child performers to start work at 7am – an hour earlier than adults – and has called for more clarification on streamlining child performance regulations. The government has just completed consultation over bringing the regulations for children working on screen or stage in line with each other: when children can take part in performances and the breaks they must have.

The government states that the earliest time young performers can currently start work is between 7am and 10am, depending on age, but that it is proposing to make it 7am for all children. However, Equity has responded by claiming that the proposed time is too early, especially when taking into account the time required for performers to travel to a place of work and the fact adults start later. The upper limit for broadcast work is 7pm for children nine and over, and 4.30pm for those under nine. The government has unjustly suggested children over five work no later than 11pm, children aged between two and four no later than 10pm and not beyond 4pm for those under two.

Equity is additionally concerned that there is a proposal that children aged over five have just three breaks in eight hours and has rejected a proposal to reduce the minimum duration of lunch breaks from an hour to 45 minutes. It is clear that a break of anything less than one hour is simply not enough, for the child performers to come out of costume, take comfort breaks, eat and drink, have enough time to digest their food and keep hydrated and also have time to relax and play. Following this, the government is currently assessing the responses it has received.

English National Ballet – Sadler’s Wells’ First Associate Ballet Company

ENB LogoIt has been announced that English National Ballet will become Sadler’s Wells’ first associate ballet company. This exciting relationship will see ENB present two annual seasons at Sadler’s in the spring and autumn of each year from March 2015 onwards.

Future plans include a new triple bill with choreography by William Forsythe, John Neumeier and Jiří Kylián, the return of the acclaimed Lest We Forget programme, and a new production of Giselle choreographed by Akram Khan in autumn 2016.

The company is renowned for its commitment to bringing ballet and contemporary choreography to the widest possible audiences, making it the perfect match for Sadler’s. The new contemporary work commissioned by Artistic Director Tamara Rojo has added an exciting dimension to ENB’s reputation and repertoire, the result of a clear vision for ballet in the 21st century. Rojo will continue to honour great classical works, keeping them relevant to today’s audience, while introducing new works into the company’s repertoire; the classics of the future with Sadler’s as a platform to present them.

ENB’s new triple bill Modern Masters: Icons of 20th Century Choreography programme includes the UK premiere of Neumeier’s Spring and Fall, Forsythe’s In the Middle, Somewhat Elevated, which is new to the company’s repertoire, with Kylián’s Petite Mort completing the programme.

Lest We Forget, inspired by the centenary of the First World War, includes work by three British choreographers; Dust, by Khan, looking at the empowerment of women in war as the main workforce in the country; Sadler’s Wells Associate Artist Russell Maliphant’s Second Breath about the sacrifice of men; and No Man’s Land by Liam Scarlett, exploring relationships and the loss and longing felt by women left behind by their partners.

Meanwhile, Khan’s new version of Giselle aims to give this iconic ballet his own unique interpretation that fulfils an important part of the company’s vision; to commission and present innovative collaborations that honour and enhance both traditional and contemporary ballet.

Sleepless In The West End?

Sleepless In SeattleRumour has it, the brand new musical adaptation of the classic 1993 movie Sleepless In Seattle could be making its way to the West End in 2015, delighting fans all over.

Having recently had its world premiere at the Pasadena Playhouse in June, Sleepless In Seattle: The New Musical hopes to bring the show to the West End and Broadway before embarking on a worldwide tour. The show’s management team have launched a Crowd Funder campaign to raise a whopping $2.5 million, and are already 80% of the way there, having raised $2 million so far. The plans aim to redevelop the musical in the spring of 2015 before opening it in London later in the year.

The Crowd Funder campaign has meant that a mechanism has been provided to enable smaller investors to be able to participate in bringing Sleepless in Seattle to the stage. It is an equity arrangement and differs from other fundraising vehicles, such as Kickstarter, in that the team is not requesting contributions. The link will be left active for a maximum of 60 days or until it has been fully subscribed.

The iconic romance story follows widowed architect Sam Baldwin as his young son encourages him to find love again. The classic tale is filled with charm, romance and wit; the fresh and lively book by Academy Award-nominee Jeff Arch (the film’s original writer) blends easily with the beloved movie. The brand new musical score bursts with heart and humour, giving audiences everywhere a foolproof recipe for a theatrical affair that will be remembered forever.

Stylish Swing Dance Balls

Swing Patrol LogoThousands of dancers – from professionals to absolute beginners – are set to join Swing Patrol’s Swing Dance balls across the UK from late October to the end of November. The balls celebrate the first tour of the UK from lindy hop legend, Frankie Manning, in the UK’s biggest series of swing dance events. “Swing”, “jitterbug” and “lindy hop” are all synonyms for the street dance style popularised by Manning and other dancers in New York City from the late 1920s to late 1940s as they fused style, energy and fun.

November has been dubbed UK Frankie Manning month by Swing Patrol in honour of the Harlem lindy hopper who was the world’s leading authority on swing dancing. The Swing Dance balls for UK Frankie Manning month will be organised in collaboration with local swing dance scenes around the nation and kick off in Birmingham (25 October), before moving onto Manchester (1 November), Bristol (14 November), London (15 November) and Edinburgh (28 November).

Each Swing Dance Ball will be hosted by Swing Patrol’s founder, Scott Cupit, who will lead lessons for hundreds of absolute beginners so everyone attending can join in, even if they’ve never danced a step in their lives. Swing Patrol’s professional performers will then perform some of Frankie Manning’s signature moves – including his favourite acrobatic lifts, jumps and flips – to delight the guests. During November, Swing Patrol’s regular classes will focus on teaching Manning’s moves and Cupit will also be giving talks about Frankie Manning, swing music and dancing to jazz music.

From ballroom to break dancing, Frankie Manning’s moves have had a massive impact on dance culture. Consequently, the awareness of the mix of classic and contemporary style of swing dancing has rocketed since Swing Patrol’s success on Dragons’ Den, spreading the joy of this energetic and sociable pastime.

Northern Ballet’s Plans For 2015

Northern BalletLeeds-based company Northern Ballet has recently announced its plans for 2015, following a very successful year on the stage and in the studio in 2014. Having staged a number of successful productions with the dust slowly settling, 2015 looks set to be another exciting year for the company.

The company’s plans will include a new adaptation of George Orwell’s 1984 by Jonathan Watkins, a season of love stories, a new mixed bill and much-loved tale, the children’s ballet The Elves and the Shoemaker. Recently the company has also staged fairytales such as The Ugly Duckling to critical acclaim, so audiences look set for a real treat with The Elves and the Shoemaker.

In February 2015, the company will dance the UK premiere of Jean-Christophe Maillot’s Romeo and Juliet in Edinburgh, and will go on to tour David Nixon’s ballets Wuthering Heights and The Great Gatsby. Following an increase in funding from Arts Council England from 2015 to 2018, the company has introduced a new strand of touring: Madame Butterfly and Christopher Hampson’s Perpetuum Mobile will be taken to nine new venues, giving Northern Ballet the potential to reach an additional 18,000 people.

Northern Ballet will mark its 45th anniversary with a Sapphire Gala at Leeds Grand Theatre in March 2015, and in May it will dance a mixed programme in Leeds and at the Royal Opera House’s Linbury Studio theatre. This programme will include the London premiere of Kenneth Tindall’s work The Architect, his most recent work.

In addition, a choreographic ‘laboratory’ workshop will be held in Leeds in May and June; it will work to invite emerging dance makers to work with the company dancers on new narrative material. Not only will this uncover new work for the ascending company, but will also provide unique opportunities for aspiring dance makers.