Author: Jessica Wilson

Academy Of Northern Ballet Celebrates!

Academy Of Northern BalletThe Academy of Northern Ballet will celebrate the 10th anniversary of the Centre for Advanced Training (CAT) programme it runs with a fundraising Gala to support the dancing stars of the future. The summer garden themed Gala will take place on 29 June, organised by Northern Ballet’s Leading Soloist Hannah Bateman. It will include exclusive performances by the Academy’s CAT students, past and present, as well as afternoon tea and a drinks reception.

The Academy of Northern Ballet is the official school of Leeds based Northern Ballet, one of the foremost professional ballet companies. It specialises in offering a holistic approach to teaching, nurturing and inspiring the professional dancers of the future and is the only recognised Centre for Advanced Training specialising in Classical Ballet in the UK, with students securing vocational training places at schools including the Royal Conservatoire of Scotland and English National Ballet School. Training programmes are offered at professional level, and a wide range of classes at recreational level are available for anyone from the age of 18 months up.

The Gala performance will take place in Northern Ballet’s Stanley & Audrey Burton Theatre and will see current CAT programme students perform as well as returning CAT graduates. Performers include Matthew Topliss, now dancing full-time with Northern Ballet, Andrew Tomlinson, who has been training at Canada’s National Ballet School since graduating from the Academy in 2012, and Charlotte Tonkinson, who graduated in 2013 and was the Academy’s first to go on to train at the Royal Ballet Upper School.

Northern Ballet’s CAT programme runs in collaboration with Northern School of Contemporary Dance which offers contemporary dance CAT training. Together, the combined CAT scheme was the first in the UK and has now been joined by a further nine Centres for Advanced Training in the UK offering dance training to young people.

Festival News From Wilton’s Music Hall

Wiltons Music HallThe iconic East London performance venue Wilton’s Music Hall is set to host a three-day dance festival this autumn in order to showcase new work by emerging artists, and forge relationships for future collaborations. In addition, the organisation is also looking for potential companies to partner with on future commissions across different dance forms, widening their reach to new and potential dance audiences who may have not engaged with the music hall venue before.

The venue will stage the event, to be called Wilton’s Strike!, as part of its interim arts programme that is running while the venue’s restoration continues, providing an unmissable opportunity for emerging dance artists and choreographers all over the city and beyond. Wilton’s is inviting applications from dance groups to take part in the festival, by submitting an idea for a piece of choreography, up to 30 minutes in length, based on the theme of metamorphosis.

Following applications, six of those applicants will be selected to appear in the festival in the autumn of this year, and will be given £1,500 and rehearsal time to develop their work, as well as mentoring from contemporary dancer Jonathan Goddard and other artists. The chance to be mentored by dancers of this calibre alone is an incredible opportunity and not one to be missed. Goddard danced at Wilton’s Music Hall last summer in the title role of Mark Bruce’s Dracula to great critical acclaim.

Wilton’s Strike! will take place from 25-27 September, with two companies of the six selected performing per night. Dance and theatre critics will be invited to attend the festival and view the performances, and each performance will be live streamed online to expand the festival’s reach.

The deadline for festival application submissions is 23 June.

Dance For Young People At The Place

The PlaceYoung people in the capital are asked to watch, learn, create and perform this summer as part of The Place’s summer activities throughout July. It is a month packed with exciting dance for children, young people and families. The hugely popular Something Happening For Kids family festival then returns on 19 July to take the under 10s and their families on a whirlwind tour of dance. For older children there is Summer Fusion, a five-day summer school for young people aged 6-16, which starts on 28 July.

The Place will present two events that showcase the quality and creativity of the young dancers who participate in the Children and Youth Dance programmes at The Place; Without Compromise and All Over The Place. All proceeds raised through ticket sales will go towards the Iris Tomlinson Fund which helps children from all backgrounds fulfil their dancing potential by providing small bursaries to help with the cost of their dance classes at The Place.

All Over The Place will see young dancers aged 5-15 take audiences on an exploration of movement on 5 July. There will be site-specific performances, where you could find anything, from haunted houses to superheroes in training. The tour culminates with a simple dance which audiences can take part in, inspired by the national Big Dance celebrations. On 12 July The Place will present new work created for and by young artists aged 10-18, Without Compromise. The platform gives young dance makers a voice and opportunity to develop their choreographic skills and style, supported by professional dance artists and expert technical staff.

Summer Fusion is a five day summer school from 28 July-1 August for dancers who enjoy being creative. Participants will work with highly skilled dance artists, and live music will feature in all technique classes allowing young dancers to develop their musicality. The creative sessions will also allow them to explore innovative movement, working creatively to produce short dance pieces that will be shared on the final day.

Dancers’ Career Development & The Royal Ballet School

Dancers’ Career Development (DCD) LogoDancers’ Career Development and The Royal Ballet School are set to work in partnership to embed a culture of Continuing Professional Development within the curriculum at the school in a partnership which is the first of its kind in the UK. It demonstrates The Royal Ballet School’s practical approach to safeguarding its students’ welfare beyond their time at the school, educating students about dancer transitions through the leadership of Dancers’ Career Development.

The partnership will support dance students at a key time in their personal development: they will be encouraged to consider a wider view of the world around them and to build upon transferable skills developed through study. Dancers’ Career Development will engage with students in all three years of study at The Royal Ballet Upper School.

Adopting a practical approach to learning, the programme will include an Introduction to Transition in Year One. In Year Two, students will participate in visits to Dancers’ Career Development beneficiaries working in multiple, diverse careers and will have the opportunity to meet and network with current and former professional dancers. In the Graduate Year, students will take a detailed look at the practicalities of transition and the Transition Support Services provided by Dancers’ Career Development.

The partnership is set to be particularly valuable in giving students a chance to think more broadly about a future beyond dance; Dancers’ Career Development will give them the support they need to understand how the life skills they learn during their training will one day serve them in other disciplines. As a world leader in dance transition, Dancers’ Career Development welcomes the opportunity to engage with and support the dancers of the future to be fully prepared for their performance careers and beyond, recognising their unique talents, skills and abilities.

Floriana Frassetto: Decades Of Dance

Floriana FrassettoFloriana Frassetto was born in 1950 to Italian emigrants in the States (Norfolk, Virginia). She studied at Alessandro Fersen’s Theatre Academia in Rome from 1967 to 1969 and completed her training as actress attending a comprehensive course (mime, acrobatics, dance) at Roy Bosier’s Teatro Studio.

Having worked in Rome in several pantomime and theatre productions, the idea of founding MUMMENSCHANZ resulted from meeting Andres Bossard and Bernie Schürch: two young Swiss clowns called Before and Lost in 1972.

Floriana has since co-invented the repertoire of MUMMENSCHANZ and played in each performance. The creation of costumes, the choreography of Giancarlo Sbragia “Faust” played in the Roman amphitheatre of Taormina (Sicily), the staging of some MUMMENSCHANZ scenes for André Heller’s musical Body and Soul, the artistic collaboration with Isabelle Baudet for the children musical Oliver Twist in Lausanne (Switzerland) all rank among her greatest individual achievements.

When did you begin performing, where and why?

As a very shy child I loved to express myself through movement, clown and mime: my inner world. I started performing when I was 17 in Rome, Italy.

What were your early years of performing like?

As a youngster I was full of dreams, criticism against part of the society which I did not agree with. I was, of course, a ’68 flower child. I performed in schools, in warehouses and in the streets of Rome.

With whom and where did you train?

I trained with Alexandro Fersen, a private acting school in Rome and with Roy Bosier, a Swiss Mime in Rome.

What is a typical day like now?

Doing some office work and maintaining the materials, the masks, the costumes, the shapes. Occasionally creating a new sketch.

How do you maintain your technique?

If there is the occasion I would love to [take class]. I keep on top of my technique by training.

What’s the best part about performing?

The interaction with the audience.

What would you say was your greatest achievement to date?

Having co-created more than a 100 sketches in 40 years and wakened that innocent child which is the same all over the world.

Which part of dance do you enjoy most?

I am not really a dancer but I love when dancers truly dance with passion and a baggage full of technique

What’s next for you?

To study and to sacrifice until they achieve and find their own language.

Top Hat Tour!

Top Hat - The MusicalAlan Burkitt and Charlotte Gooch, stars of the recent West End run of the much-loved musical Top Hat, will return to play the lead roles when the show tours the UK later this year.

Gooch will star as Dale Tremont in the UK tour; Gooch took over the lead role of Tremont from leading lady Summer Strallen when the production ran in the West End. Her credits include Dirty Dancing at the Piccadilly Theatre and in the national tour, the UK tour of Grease and the German tour of Cats. Burkitt, whose credits include Singin’ in the Rain and 42nd Street at Chichester Festival Theatre, and We Will Rock You at the Dominion Theatre, understudied the lead role of Jerry Travers as part of the original West End cast of Top Hat at the Aldwych Theatre.

The touring cast of the the Irving Berlin’s musical will be joined by Clive Hayward as Horace Hardwick, Rebecca Thornhill as Madge Hardwick, Sebastien Torkia as Alberto Beddini and John Conroy as Bates. The cast also includes Lucy Ashenden, Thomas Audibert, Caroline Bateson, Sophie Camble, Matthew Caputo, Kristy Cullen, Paul Farrell, Ian Goss, Carys Gray, Alyn Hawke, Rebecca Hodge, Samuel Humphreys, Thomas Inge, Thomas-Lee Kidd, Sarah-Marie Maxwell, David McKechnie, John McManus, George Olney, Ben Palmer, Holly Rostron, Maria Ward, Amy West and Monique Young.

The production will begin a 47 week tour on 12 August at the New Wimbledon Theatre before visiting venues across the UK, finishing in Eastbourne in July 2015. Directed by Matthew White, Top Hat is choreographed by Bill Deamer, with design by Hildegard Bechtler, costume by Jon Morrell, lighting by Peter Mumford, sound by Gareth Owen, musical supervision by Richard Balcombe and new orchestrations by Chris Walker. Top Hat is produced by Kenny Wax, with Stewart Lane and Bonnie Comlet.

Kids Week 2014

Kids Weeek 2014Kids Week is back for 2014 with a bang, offering an incredible 36 London shows with free tickets and amazing exclusive activities for children throughout the whole of August. This year sees everything from hilarious page to stage adaptations to dramatic long-running musicals each taking their place in the line-up.

Kids Week is now in its 17th year and shows no sign of stopping. From 1-31 August, one child aged 16 or younger can go free for every adult ticket purchased to a participating show, plus a further two children’s tickets can be purchased at half price. Shows such as – for the younger theatre-goers – acclaimed picture book stage adaptations Aliens Love Underpants, The Tiger Who Came To Tea and What The Ladybird Heard are on the cards, as well as those such as Charlie And The Chocolate Factory, The Lion King, Mamma Mia!, Matilda The Musical, Les Misérables, The Phantom Of The Opera and Wicked.

For families wanting a slightly different theatrical experience, there are shows on offer that aren’t so much in the mainstream such as The 39 Steps, Stomp or book to stage adaptation War Horse. Also included in the Kids Week celebration is Beatles concert extravaganza Let It Be and Michael Jackson tribute show Thriller Live. For slightly older children, Billy Elliot The Musical, The Bodyguard, The Curious Incident Of The Dog In The Night-Time, The Mousetrap and The Woman In Black all return to take part in Kids Week.

Each show offers a unique theatrical experience regardless of age category; ticket holders can also explore life on stage or behind the scenes with a host of fantastic activities. From attending a tea party with The Tiger Who Came To Tea to taking a Billy Elliot ballet class, there is something for everyone.

Miss Saigon To Hit Broadway?

Miss SaigonProducer Cameron Mackintosh may be considering taking his new London production of Miss Saigon to Broadway in 2015, depending on the success of the production currently running in the West End, and if a suitable theatre becomes available in New York.

Miss Saigon is an iconic musical production about a doomed romance between a young Vietnamese woman and a marine before the fall of the city Saigon. The show opened on Broadway in 1991 and became a huge hit, grossing $285 million before closing in 2001; it remains the 12th longest running show in Broadway history. The London revival began performances in May, with extremely strong sales. There have been new designs for the scenery and the helicopter, and a new song “Maybe” has been added, performed by the character of Ellen, and not included in the Broadway run.

It has been claimed that Mackintosh, who led the British musical invasion of Broadway in the 1980s with Cats, Les Misérables, and The Phantom of the Opera, would like to open the new Miss Saigon in Toronto first and then go to Broadway. The London-Toronto-Broadway path would be similar to the one taken by his latest revival of Les Misérables, which opened in New York in March.

When asked for his comments on the Broadway run, Mackintosh confirmed the gossip as speculative but highlighted that he would like to take the show to both Toronto and New York, especially due to the fact the Princess of Wales theatre in Toronto was built to house the original production of Miss Saigon. However, with incredibly busy international openings of several different titles over the next two years, and the very limited number of theatres that could house a production as big as Miss Saigon on Broadway, it looks unlikely that the production will hit New York soon.

The Royal Ballet School Announces New Teachers’ Course

The Royal Ballet SchoolThe Royal Ballet School will launch a new teachers’ course starting in September 2014: the Diploma of Dance Teaching will build on the highly successful Professional Dancer Teachers’ Course and the expertise of the school’s Dance Partnership & Access Programme, to provide a good foundation in both technical and creative approaches to teaching ballet. The course will be delivered by Royal Ballet School staff and visiting lecturers in The Royal Ballet School’s state of the art studios in Covent Garden, London.

The two-year part time course includes opportunities to specialise in teaching in either vocational or educational settings: the Diploma is suitable for both current and ex-professional dancers and teachers and will provide a sound foundation in teaching ballet to a broad range of students. The course will cover classical ballet technique, anatomy, education practice, reflective practice, psychology and child development and work place context.

The course is a particularly special one for the organisation in that it not only offers flexibility in learning, but also gives teachers a broad body of knowledge on which to build a successful career in dance. The Dance Partnership & Access Programme was established in 2004 to provide broader access to ballet and the work of The Royal Ballet School. Over ten years a national programme of long term, sustainable primary and secondary school projects has been established, providing introducing ballet to a new generation by the school’s graduates.

The School’s mission is to train and educate outstanding classical ballet dancers for The Royal Ballet, Birmingham Royal Ballet and other top international dance companies, and in doing so to set the standards in dance training, nationally and internationally. The School offers an eight-year carefully structured dance course, aligned with an extensive academic programme, giving the students the best possible education to equip them for a career in the world of dance.

Rambert And Cunningham

Rambert Dance Company LogoRambert, Britain’s oldest dance company, is set to perform a site-specific version of Merce Cunningham’s signature works, Events, at its new South Bank building this summer. Cunningham is seen as many as one of the fathers of post-modern dance as we know it today within the contemporary sphere, with many artistic directors of Rambert having studied in the then-Cunningham studios in New York.

Events marks the first time the touring dance company will stage a professional show of its own at its new £19 million home, which opened in December 2013 with the original intention of operating solely as a rehearsal space. It will stage Rambert Event – which will see Cunningham’s choreography arranged in a new version by Jeannie Steele – in two of its studios, which will accommodate 120 people from 28 June to 12 July. Previously Rambert has only partnered with the nearby National Theatre, using the Rambert studios to stage performances of The Curious Incident of the Dog in the Nighttime following the collapse of the theatre the show was playing in.

The promenade show will feature new music written and performed by Philip Selway, from rock band Radiohead, and designs by painter Gerhard Richter. It will be the first performance of Cunningham’s Events since the closure of the choreographer’s dance company in 2011, following his death in 2009. The company presented a number of Events throughout its lifetime, accumulating in a farewell tour which came to a triumphant close on New Year’s Eve in 2011.

The performance has been made possible due to a £100,000 donation by Ambassador Theatre Group chief executives Howard Panter and Rosemary Squire. Panter is chair of the dance company and their donation has launched Rambert’s New Work Commissioning Fund, which will raise private money to develop exceptional projects that are additional to the company’s normal repertoire.