Month: September 2016

The entertainment group Global Creatures, the co-producers of Baz Luhrmann’s Strictly Ballroom at the West Yorkshire Playhouse, has confirmed it will bring Luhrmann’s Moulin Rouge! to the stage. Another hit production from Luhrmann, Moulin Rouge! tells the story of a young poet and writer, named Christian, who falls in love with the star of the famous Moulin Rouge cabaret show, the actress and courtesan Satine. The story uses the musical setting of the Montmartre Quarter of Paris, France.

The new production will have a book by John Logan (Tony Award-winner for Red), and will be directed by Alex Timbers (Rocky, Here Lies Love). The show is currently in development and a venue and dates are yet to be announced, however it looks as though the show is already highly anticipated. Luhrmann is a talented storyteller, with a number of iconic titles under his belt. Luhrmann’s 2001 film of the story, starring Ewan McGregor and Nicole Kidman, premiered at the 2001 Cannes Film Festival and was nominated for eight Oscars at the 74th Academy Awards, winning two.

Following in the footsteps of McGregor and Kidman, the performers set to take on the leading roles of the production look as though they have big shoes to fill. There is no word yet on whether the new production will also adopt the film’s musical score and songs, which were adapted popular hits for the big screen. The film was a success as a result, and this approach has been similarly emulated by films such as Luhrmann’s The Great Gatsby. It is clearly a formula that works, and audiences may even see this production on stage in the not too distant future.

Dancers are often compared to athletes in the sense of their aesthetic performance, however it is clear the dancing body is just that – an athlete. As an athlete that places huge demands on the body, there is often no let up for the dancer to have a break, let alone an adequate break within the working day in the studio.

Some companies like to to keep their dancers warm in an attempt to keep them injury free but of course this is not the case for all studios. Warm or not, sweat is a natural part of a dancer and athletes’ work, working their bodies for long periods of time throughout classes, auditions, rehearsals and performances. Throughout the busy day of a dancer it is important to aid your body, and to keep your body properly hydrated, replacing the water lost through sweat throughout the day.

Without keeping the body properly hydrated, even mild dehydration can affect dancers’ performance. Many people cannot tell they are dehydrated before it is too late, and many also mistake their thirst for hunger. Ensuring dancers are hydrated means they are less likely to overheat or negatively affect their performance in any way. The first signs of dehydration are fatigue and poor balance, so helping the body promote heat loss through sweat will improve athletic performance and aid in recovery, especially important for dancers performing under hot stage lights.

Water makes up approximately 60% of the body’s weight and is the largest component of the human body. Muscles are made up of around 73% water, in addition to blood being about 93% water. Not only does water stave off dehydration but it also aids digestion and is important in the transport and elimination systems of the body, a vital part of bodily functions.

Colleges and universities which offer dance as a course of study have recently changed tack in what they offer students. For many, training students in a practical way – focusing on technique and the aesthetic – was as far as the course went. Students were left to graduate from the programme and blindly battle in the competitive sea of other dance graduates. However, there is now the realisation that this is only part of what a student needs – they must also learn about professionalism, creativity, entrepreneurship, networking skills, and have a strong sense of personal values. This rethinking is aimed at preparing students for more sustainable dance careers.

Courses are now beginning to encourage students to think about the wider dance sector, and consider how different factors may affect their future career, be it performing, choreographing, casting or working behind the scenes. Aside from technique classes, the academic side of the course – such as criticism, dance history, science or professional studies – is now working to prompt students to think about target audiences, marketing strategies and branding considerations, and how these might affect them. Even awareness of these aspects and how they feed into the dance sector is beneficial.

Entrepreneurial skills, for example, are perhaps what are leant on most in order to succeed – being resourceful and proactive in a very competitive environment. This is opposed to what has been taught in the past, doing little to help prepare a student for life outside an institution. Whilst there is no doubt that students must learn how to survive without relying on their tutors, there is still some responsibility of the course they enrol in to provide students with the best possible start into their chosen sector.

Alongside the technical training a student receives, this shift in approach can only be a good thing for students. Currently the dance sector is extremely saturated, and many graduates find that the only opportunities are those they create themselves through their own projects and companies.

DDMIX – Diverse Dance Mix – is new for 2016 in the dance fitness market. It is a full body aerobic workout programme, devised by former prima ballerina Darcey Bussell CBE, alongside Nathan Clarke. Adding another string to her bow, Bussell has since led DDMIX training sessions and one off workshops, adding her famous face to the longevity of DDMIX.

As with all dance fitness ventures, DDMIX is based on a range of easy to follow, yet diverse, dance styles. It is far from dance technique, but an opportunity to engage with many different styles of dance under the guise of dance fitness. It aims to be stimulating, fun and entertaining, and has trained teachers throughout the year to take on the DDMIX brand and teach their own classes.

Bussell and Clarke have used their knowledge of dance to draw on different genres to fulfil DDMIX, with a number of short routines adding up to a DDMIX mix, a little like Zumba. With the different routines and dance styles, for DDMIX there is emphasis on different cardio rates for the body and varying this to challenge the body. DDMIX incorporates two to three minute stints of different dance styles – from jive to salsa to Bollywood – keeping the movements fresh and interesting. Each genre places a different demand on the body and provides a taste of that same style for participants.

The core philosophy behind DDMIX is the distraction from the workout by fun and easy to follow aerobic dance moves, with short sections combined to form a longer workout. As a result DDMIX aims to appeal to a wide audience, from fitness fanatics to those erring of the side of dance. Either way it seems participants are eager to take part. The short sections of DDMIX are manageable and fun, supplementing missing dance knowledge that may be required in a straight dance class.

A new comedy web-series, Stage Mums, is the latest craze to hit screens, following in the wake of similar shows such as the US Dance Moms and the UK Dance Mums. For anyone who has been involved in a dance competition, they will immediately connect with the escapades and trials of the dance world for aspiring dancers.

Stage Mums stars Anna Massey-Waters and Tara Page, as Shaz and Trace respectively, debuted online and are now presenting a second series. The tongue-in-cheek creation, created by Massey-Waters, has been a YouTube sensation. Shaz and Trace are two ‘stereotypical’ Australian stage mums, both proud parents of talented triple threat teenage daughters, Shenaya and Abcde. The pair of mothers discuss pretentious children, parents, Australian eisteddfods, social media and castings, and will do whatever it takes to make their daughters stars.

Starting as an actress, Massey-Waters met Page during a local stage production and talked about collaborating for many years before beginning to write, and star in, Stage Mums. Massey-Waters is a former drama teacher; her daughter was an actress in a children’s television series and therefore the characters of Shaz and Trace are drawn from real-life experiences. For some, Stage Mums may be a little too close to the truth – stagey parents can be notorious for their reputation – however it seems to be a hit!

The series is filmed in Massey-Waters’ Gold Coast home by her husband, a camera operator and editor. He shoots several episodes simultaneously, with each one taking around two weeks to produce and upload to YouTube. At first Stage Mums began as a whim, however its many international hits online is definitely proving otherwise.

The UK & Irish premiere of new musical The Addams Family is scheduled to open at the Festival Theatre, Edinburgh on 20 April 2017, directed by Matthew White. As a musical comedy, with book by Marshall Brickman and Rick Elice( the creators of multi award-winning Jersey Boys) the show is set to delight fans across the country. Music and lyrics are by Andrew Lippa, based on the characters created by Charles Addams.

As a touring production, the show will see Wednesday Addams all grown up, with a secret that only Gomez knows; she’s fallen in love with a young man from a respectable family, far from The Addams family! Gomez Addams must now keep a secret from his beloved wife, Morticia. Everything will change for the whole family on the fateful night they host a dinner for Wednesday’s “normal” boyfriend and his parents, with all the usual clan present, including Uncle Fester, Lurch and son Pugsley.

The original Broadway production, starring Nathan Lane as Gomez and Bebe Neuwirth as Morticia, ran for just under two years at the Lunt-Fontanne Theatre. The production also toured the US and international productions have been seen in Canada, Brazil, Mexico, Japan, Australia, Germany and the Czech Republic. Now it is the turn of UK and Irish audiences to relish the performances; British director White has directed the recent UK Tour of The Producers, and the UK Tour and West End run of Top Hat, so audiences are in for a treat. For the Menier Chocolate Factory, he has also directed Candide, Sweet Charity (and in the West End) and Little Shop of Horrors (also West End).

In terms of other creatives’ credits, Andrew Lippa wrote the music and lyrics for the Broadway musical, Big Fish, the music for the Broadway production of Aaron Sorkin’s play The Farnsworth Invention and the book, music and lyrics for the Drama Desk award-winning musical The Wild Party.

In Rambert’s 90th anniversary year, the company will open the doors of its South Bank home to the public for a special two-week edition of Rambert Revealed – the company’s annual programme of public events, tours and workshops. In addition to watching dance, people will also have the chance to take part in a range of masterclasses exploring the company’s repertoire, heritage, and creativity, by sharing the broad range of activity that takes place in its studios.

Rambert Revealed runs until Saturday 22 October, building on the success of the project over the past three years. The creative initiative has doubled in size for 2016, offering more opportunities for independent dance practitioners, teachers, students and members of the public to explore Rambert, participate in workshops, preview upcoming work and develop their dance practice.

Highlights include open rehearsals for Ghost Dances and the Rambert Event, as well as the chance to learn choreography from some of Rambert’s classic repertoire, including Ghost Dances and A Linha Curva. There will also be the opportunity to preview new works or works-in-progress from the company’s choreographic platform, which will feature work by independent dance artists affiliated with the company, Rambert dancers and Rambert’s new choreography fellow Julie Cunningham.

Other opportunities for professional dancers and choreographers include classical and contemporary classes led by Rambert rehearsal directors, as well as a two-hour workshop with Rambert’s Artistic Associate Peggy Olislaegers. This workshop will give dancers and choreographers the opportunity to deconstruct three pieces from Rambert’s repertoire before reconstructing them with new choreography informed by each work.

Rambert Live will return for its second year giving behind the scenes access to audiences and members of the public across the UK. The live-stream feed will feature a contemporary class with the Rambert dancers, previews of some of the works touring this autumn – including Christopher Bruce’s Ghost Dances and Itzik Galili’s A Linha Curva – and a choreographic platform performance, featuring works by Joss Arnott, Julie Cunningham and Carlos Pons Guerra.

Ingrid Gow was born in Randwick, Sydney in 1987. She knew from the age of four that she wanted to grow up to be a ballerina. Her training began at Academy Ballet in Sydney and continued at New Zealand School of Dance. In 2007 Ingrid successfully auditioned for Royal New Zealand Ballet, where she danced for three years. Ingrid joined The Australian Ballet in 2010 and was promoted to coryphée in 2013.

Ingrid’s repertoire includes Princess Royal in Graeme Murphy’s Swan Lake 2015, Frederick Ashton’s Symphonic Variations 2015, Jiří Kylián’s Petite Mort 2014 and Bella Figura 2013, Skinny Stepsister in Alexei Ratmansky’s Cinderella 2016, 2015, 2013 and Lady Capulet in Graeme Murphy’s Romeo & Juliet 2011.

You may not know that Ingrid also loves reading and adding to her high heel collection!

The Australian Ballet will be screened in the UK for the first time by CinemaLive. The Fairy Tale Series – a series of three world premieres – will be screened across the UK on three nights only: The Sleeping Beauty on 4 October, Cinderella on 23 November and Coppelia on 19 April 2017.

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Did you always want to dance?

I started ballet at four years old and once I had had my first experience on stage at the end of year concert I was hooked, with classes in jazz, contemporary, character and a little bit of tap. Once I hit about 14 years I started thinking of ballet as a career option and from then on everything I did was to help secure that path.

Where did you train and what was it like?

I started my training at Academy Ballet in Sydney and studied there until I was 16. It was my second home for all of those years, and I have made lifelong friends with the students and the teachers. At 16, I moved to New Zealand to complete three years of full time dance at New Zealand School of Dance in Wellington and graduated with a National Diploma in Dance Performance. Those three years helped me to realise that the hard work does pay off.

How did you come to be part of The Australian Ballet?

I joined The Australian Ballet in 2010 after three years with Royal New Zealand Ballet. I had lived in New Zealand for six years to study and work, and I wanted to come home and spend more time with my family. I grew up watching The Australian Ballet perform in Sydney at the Opera House and it was always where I hoped I would continue my career.

Who or what inspires you?

My fellow dancers inspire me every day. Talent only gets you so far. It’s the passion and hard work I see in the rehearsals and performances that makes me proud to be a part of The Australian Ballet.

What has been the most memorable moment of your performing career to date?

My most memorable time was the creation of Alexei Ratmansky’s Cinderella. Watching him develop the characters of the Step family was the most fun I have ever had in the studio and we felt that we could really make them our own. Sometimes I’m not sure if I’m truly acting the role of the Skinny Stepsister or if it has become an alter ego!

What has been the most challenging?

The most challenging part for me is finding the balance between my professional and personal life. We give so much of ourselves in the day to day activities we don’t always give the time for the recovery of the body as well as the mind.

What is a day in your life like now?

At the moment we are rehearsing for the season of Nijinsky, so after a morning ballet class we rehearse all day in the studio until 6:30pm, with a break of about an hour and a half throughout the day. If I have an extra break from rehearsal I’ll be in the gym and after work it’s home for dinner. At the weekend I will try to be more social and spend time with friends, but if I have two days off work, one of them will involve a quick trip to the gym to get my blood pumping.

What is the best thing about the dance and performing arts industry?

I have always felt that dance is selfish in a way, I do it for myself and no one else, quite simply it feels good and makes me happy and I want to do it every day. I can’t imagine feeling like that about any other kind of work. However, I also love that it creates conversation and discussion. It’s designed for the audience to feel enjoyment, love, hate, and to be challenged. It is art.

What would you like to change?

I wish there was more of an understanding from the outside world of what goes into making dance a career. The Australian Ballet is part of that change with several behind the scenes activities and a large online presence. We are slowly infiltrating the masses.

What would be your advice to an aspiring dancer?

Look after your mental health as it’s just as important as a healthy body.

What’s next for you?

I hope to continue to enjoy my career here with The Australian Ballet for as long as possible. I’m not sure what the next phase of my life will entail, but I’m sure that it will be just as satisfying.

Setbacks are, unfortunately, part of a dancer’s life. Whether you didn’t get the part in the production you wanted, you didn’t achieve the highest mark band in your exam or you are healing from an injury, there are many reasons why your enjoyment of and development in dance may falter.

At some point along the dancing journey, every dancer will experience something they perhaps were not expecting, or even anticipating. Setbacks can sometimes be unavoidable, but it is the way the dancer deals with these setbacks that is the most important thing. Whether they are big or small, it can be difficult at first to look past what has happened, but eventually it will inform you as a dancer.

Setbacks can be hard deal with if it means an injury is stopping you perform or dance to your full potential in a class, Injuries are frustrating, but this time rehabilitating the body can mean you learn more about it, and about your attitude to dance. Observing classes mean you learn so much from other dancers, and the way your teacher takes the class. Rejection too can be frustrating and disappointing, however it can mean you have a refreshed outlook when you return to class, determined to nail that pirouette or top note.

Setbacks generally knock a dancer’s confidence, and it is normal to feel upset or disheartened. It is important to allow yourself to feel the disappointment of what has happened, but ultimately this will build your resilience for next time around and will help you to grow as a dancer. Make sure you view the setback as an experience, and ensure you can take a lesson from it – definitely an opportunity in disguise!

The classic musical 42nd Street is set to open at Theatre Royal Drury Lane in London’s West End next year, delighting fans of the iconic musical which has not been seen for some time. Popular with amateur dramatic companies, the musical follows the lives of performers as they struggle to make their names on Broadway. When the show opens at Theatre Royal Drury Lane, it will feature a cast of 50.

The show, which has a book by Michael Stewart and Mark Bramble, music from Harry Warren and lyrics from Al Dubin, is an adaptation of the 1932 novel and the 1933 film. Its songs within the musical include “We’re In The Money”, “Lullaby of Broadway” and “Shuffle Off To Buffalo”, and many more classic hits which audiences know and love. In 1981, the original Broadway production won the Tony Award for Best Musical, and it is thought that this London production will achieve the same kind of success.

Previews of the revival will begin on 20 March 2017, and the production will be directed by Bramble, who has previously directed Barnum, Treasure Island and The Three Musketeers. The show follows the announcement that Charlie and the Chocolate Factory will come to the end of its run at Drury Lane, and head out on a UK tour and Broadway run following its success in the UK capital. For 42nd Street, the creative team believe the theme of the show speaks louder today than ever before: follow your dreams and with talent and hard work they can come true.

The original production of 42nd Street was similar in look to a Warner Brothers black and white film. This time the team is focused on creating an MGM Technicolor version of the musical with additional songs and dances.