Jessica Wilson – Page 129 – Dance Direct Blog. News, Reviews & Advice About Dance

Ticketmaster Research

Recent research commissioned by Ticketmaster has revealed that a higher proportion of people went to the theatre last year than attended a music concert or sporting event, with teenagers saying they are more likely to go than older people. Going against teenage stereotypes, the research also goes against theatrical stereotypes in which audiences are middle-class and middle-aged, with the most likely age group to say they will attend the theatre is 16 to 19 year olds, with 45 to 54 year olds least likely to attend.

The younger and less affluent customer base for theatre tickets has surprised Ticketmaster, however it is ironic to note the ticket prices to West End shows in particular are extortionate, and not reflective of the general budget of teenage fans. With some musicals charging well over £100 per seat, it is questionable as to how teenage audiences can afford to attend the theatre often. However, the survey did reveal that 87% of 16 to 19 year olds said they were likely to see something at a theatre, compared with 66% of 45 to 54 year olds. It is clear that the targeting of younger audiences by theatres is beginning to pay off.

The report also throws up interesting attitudes towards behaviour in the theatre, with 13% thinking it acceptable to whisper and 80% admitting to doing so. Meanwhile, 10% thought it acceptable to take a photograph, 8% thought it acceptable to check your phone which was less than the figure for eating (17%). Nearly one in four tweet about what they have seen or are about to see, which rises to 47% among 16 to 19 year olds.

Finally, the report suggested that the best-known show is Phantom of the Opera, with 94% of people showing awareness, compared with Once the Musical, which was under 30%.

Xander Parish – Russian Romeo Debut

Mariinsky Logo Former Royal Ballet dancer Xander Parish made his debut as principal in the Mariinsky Ballet’s production of Romeo and Juliet on 18 October in St Petersburg, having been scouted by Artistic Director Yuri Fateyev three years ago. As a British dancer, Parish trained at the Royal Ballet School and consequently joined the Royal Ballet. After five years, in 2010, Parish was invited to join the Mariinsky, with Fateyev sufficiently impressed by Parish’s artistic potential.

Parish made his Mariinsky debut as Béranger in the ballet Raymonda, going on to dance classic roles such as Giselle (Count Albrecht), Swan Lake, La Sylphide,The Nutcracker (Elegant Cavaliers), Études, Apollo (Apollo), Serenade, Symphony in C and Jewels (Emeralds, Diamonds). Non-classical roles for Parish also include those by Alexei Ratmansky, Benjamin Millepied and Angelin Preljocaj.

As a result, Parish’s role as Romeo will mark the first time this highly acclaimed young dancer – the first British dancer ever to join the Mariinsky – will perform a leading role in a three act ballet, a true presentation of classical choreography marrying Mariinsky technique with British drama. The classic role is a test not only of technique and artistry, but also of endurance. Parish has demonstrated his readiness to take on more leading roles to Fateyev, with this classic tale a rather personal debut.

Being part of the Mariinsky Ballet means Parish has extensive opportunity to tour and perform as a guest with other ballet companies too. The level of opportunity at the company’s home is additionally opportunistic; last season he danced 11 principal, 35 soloist and 21 corps de ballet performances which included 9 debuts. Parish has toured to Germany, the USA, Canada, Great Britain, Italy and the United Arab Emirates with the Mariinsky Ballet, and Fateyev is eager to give Parish more exciting opportunities.

Muddles of Memorising Movement

Memorising Movement Picking up choreography in class or rehearsal can be an arduous task. If, as a dance student, it is something that you struggle with, it can be frustrating and inhibiting to observe peers grasping the movement while you are still worrying about the first eight counts. The movement can have the utmost simplicity, the counts can be clear and you can be familiar with the music, however putting the movements together and remembering them in that order can be a feat.

A term which can be used to describe the process of quickly picking up choreography is ‘sight-reading’; quickly observing the movement once and repeating it with precision and attention to detail. The act – or skill – of sight-reading is hugely important to dancers, and can be developed over time for both class and rehearsal, and then performance. It can be used in any dance discipline and generally improves with time. The longer you take classes, the easier it becomes to read and remember movement.

Choreography does not have to be out of reach. An app available – Dance Journal – can be used to take note of what is learnt during each class, adding images and video to make the process of remembering a more pleasant process. Entries can be sorted by teacher, date or dance discipline, the the entry can even be shared with others within the app.

Video can also be used to record the movement sequences or combinations to play back time and again outside of class and rehearsal. This amount of repetitions may not be practical or available in the studio, so working on the movement in your own time can be extremely beneficial in memorising what is required.

Taking class regularly with the same teacher can also improve the sight-reading skill as you are becoming more familiar with the movement they use, meaning your ability to pick up their movements should improve. This sense of mastery adds confidence to your ability and in turn improves the memorising process in future.

Image courtesy of Wikimedia Commons.

Too Late To Dance?

For new starters of dance, or those who are contemplating it, a common question is a simple one: is it too late to dance?

It is never too late to dance! The practice of dance and dance classes can be done at any age or any time. Categorised by both style and ability, first dance classes needn’t be daunting and can be initiated at any age. Recently the BBC reported a story of older dance learners and an increase in the number of people taking up dance lessons. Scottish Ballet’s Regenerate classes for older moves, for example, were spotlighted, demonstrating the unity and sheer enjoyment behind the ballet barre for all the participants.

Younger dancers ask this question too, however, but geared towards a timescale of dancing professionally, and whether it is too late to attempt this. It is not too late to begin to dance as a teenager and go on to become a professional performer, rather than hold dance as a pastime. Many dancers have done this as older students, such as modern dance pioneer Martha Graham and choreographic guru Matthew Bourne. It is neither impossible to secure dance as a primary occupation at 30 or 40: age has minimal impact on a struggle to ‘make it’.

Dance is definitely a choice; personal and general obstacles may mean some lovers of dance may choose not to pursue a career in dance, in any form, but this is entirely unrelated to age. You must have sufficient knowledge to reasonably choose to continue through obstacles towards a career in dance, or to take on another lifestyle choice. There are no right or wrong choices, and the latter does not mean that dance is no longer a part of your life, just not your primary occupation. Similarly, if you do choose pursue a dance career, it may still evolve into another avenue which is just as fulfilling.

Image courtesy of Wikimedia Commons.

NYCD To Work With Akram Khan

The National Youth Dance Company is an exciting new company, as part of Sadler’s Wells, that aims to create and perform innovative and influential youth dance. It has announced that it will be working with Sadler’s Wells Associate Artist and acclaimed choreographer Akram Khan as next guest Artistic Director. Following the company’s work with similarly celebrated choreographer Jasmin Vardimon, 30 new members will joining the current company to present a new work specifically created for NYDC; the piece will receive its world premiere on 16 April 2014 at Sadler’s Wells. The new work will be performed as part of a double bill that will feature a reworked excerpt of Khan’s Vertical Road.

The newly recruited members were selected from sixteen workshops held in 9 different regions across the country, resulting in 20 male and 10 female dancers aged 15 – 19 gaining the privilege to work with award-winning dancer and choreographer Khan. Khan thoroughly enjoys working with young people with passion and ambition. He believes, and rightly so, that the positive role of the arts in our society is fundamental in providing young people with the skills they need to succeed in any walk of life. NYDC is a fantastic opportunity to nurture the next generation of artists and inspire a host of young people to get involved with dance.

Since its inception in 2012 NYDC has seen over 500 young dancers attend 27 workshops across England. Over June and July 2013 NYDC took part in nine performances seen by over 5,000 people in a range of venues, from large scale theatres to site specific outdoor stages, in locations stretching from London to Leeds, Bristol to Kent. Having set a very high standard with their sold out debut performance of Jasmin Vardimon’s (in between), the young dancers of NYDC have shown that they can hold their own alongside established companies on the main stage at Sadler’s Wells.

Khan is one of the most celebrated and respected dance artists today. In just over a decade he has created a body of work that has contributed significantly to the cultural arts in the UK and abroad and his reputation has gained from his imaginative, highly accessible and relevant productions such as DESH, Vertical Road, Gnosis and zero degrees.

Ben Tackles Ballet For Strictly

Ben Cohen One of the nations favourite evening entertainment television shows, Strictly Come Dancing, has already gone through the usual set of harsh critiques, soft touches and goodbyes for its contestants. Ex-prima ballerina Darcey Bussell – and President of the Royal Academy of Dance – is back on the hit show for a second series as judge, bringing a feminine and arguably more human touch to the panel, and that is discounting her more effeminate male counterparts!

Aside from the usual waltzing, jiving and cha-cha-ing, contestants have already found themselves subject to extra training. Former rugby star Ben Cohen has found himself at the ballet barre, having been sent to ballet lessons as part of last week’s training for Strictly. Cohen is one of the bulkier contestants, implying he must work doubly hard to achieve the expected lines and performance quality.

Cohen’s professional partner Kristina Rihanoff had previously voiced her concerns about how much weight training he had been doing, leaving him much too stiff and bulky for dancing. As a result Cohen has been attending ballet lessons in an attempt to make him more nimble. Cohen freely admits his lack of good posture, aiming to improve this, along with his overall dancing appearance.

It is hoped that Cohen’s ballet lesson stint lasted him through to his next performance, a waltz to What The World Needs Now – however in order to prolong the result of ballet Cohen must embark on a much longer commitment to ballet classes, rather than just those required by the cameras and public relations for the show itself. Cohen has commented on his extra stretch and improved poise for his waltz, ready for former Royal Ballet principal dancer Bussell’s eagle eye.

Image courtesy of Wikipedia.

Camilla Sacre-Dallerup: A Strictly Sensation

Danish born Camilla Sacre-Dallerup moved to England 18 years ago; she had a long, successful career as a top professional ballroom dancer before she became a regular on British TV screens.

Camilla rose to fame as Strictly Come Dancing’s most successful female professional dancer. In 2008, after six series she won the trophy and decided to move onto other challenges. Camilla’s most recent venture has been touring the UK in the hugely successful Calendar Girls.

Camilla has always been passionate about mind and body harmony which has led to two fitness DVDs and a regular column in Bodyfit magazine. Camilla has run her own business for 12 years which includes professional dance shows, team building and a recently launched business www.camillasacredallerup.com, dedicated to corporate motivational speaking and coaching. Camilla is confident that a positive mindset has made a huge difference in her successful career and she is currently working on her first motivational book.

Camilla plans to share some simple tools to help others find inner peace and calm and to be content with who they are, as well as set goals and make a plan of action to make their dreams come true at this year’s Mind, Body, Soul Experience Exhibition at London’s Olympia on 25, 26 and 27 October.

The exhibition runs parallel to the Yoga Show. This year visitors to the Mind Body Soul Experience will also have the opportunity to enter the OM Yoga Show for free as the two shows are being held at the same time in adjoining Olympia Halls, and the exhibition can be entered with one Yoga Show ticket.

Camilla is hoping that by sharing her journey she will inspire others to follow their dreams too, so come and meet her at this year’s Mind Body Soul Experience.

When did you begin dancing, and why?

My mum brought me along to a dance school called Lilli Nicolaisen dance and performing arts school when I was two and a half years old in Aalborg Denmark, and I have pretty much danced ever since. She thought it would be a good way to learn to interact with other children and to gain confidence.

What were your early years of dancing and training like?

I loved performing, I did all types of dancing from tap to ballet and ballroom. I had a little boy I danced with from the beginning, continuing for seven years. I loved it, I wish it would have been all day long and not just after school. We danced, sang and did drama too.

How long have you been choreographing?

I have always found coming up with steps for myself interesting and then it naturally progressed to choreographing whole routines and especially on Strictly Come Dancing. It was exciting to come up with new ideas each week, and even for the professionals and the big numbers for the Strictly tour.

What is a typical day like now?

Well, now I do so many different things like for example I have just toured with the play Calendar Girls for two years, acting rather than dancing, I run my own motivational coaching and speaking business – www.camillasacredallerup.com – and right this moment dancing is at the forefront of my life again as I’m working on this year’s Strictly as an Assistant Choreographer. I’m so grateful to have grown up in the world of dance, it has prepared me well for life. You learn to have confidence, tenacity, and to be disciplined in what you do: these skills are valuable skills in whatever you do in life.

Do you still take classes?

I have always kept a foot in the door. I still perform sometimes with my professional partner Ian Waite and I still teach. I watch videos and talk to colleges about new trends. At this stage in my life though I’m fascinated by helping preparing students mentally for auditions, shows and competitions.

How do you keep on top of your technique?

I still do basic technique work exercising often on my own or with students, and yoga helps my core stay strong.

What do you like best about choreographing and performing?

I just love connecting with an audience whether it’s dancing, speaking or acting. To make other people connect with emotions through your performance or choreography is the most wonderful feeling.

What inspired your interest in the Yoga Show?

I believe in mind and body harmony, when I have that I perform at my best. I do my speaking now to inspire others to follow their dreams by sharing how I have achieved my goals, and how to focus on finding confidence and happiness within.

What advice would you give to someone aspiring to be part of the performing arts/dance world?

Whatever you do in life, choose the thing you have a burning desire and most passion for, that way you will never feel like its work even when you are working hard. Always commit 100%. Take rejection as just a hurdle you have to jump to get to where you want to go. I know it can be hard at times, but the best advice ever given to me is from my Mum, you probably know it. She said, “Camilla, when you get knocked down, just get back up, dust yourself off and carry on. Never let anyone tell you it’s not possible, how would they know, they are not you!”

What would you say is the best part about dance and movement for you?

It engages the mind as well as the body and you feel completely immersed in the present, it’s almost like meditating. When the body and the music are in harmony it’s amazing.

Tell us something about yourself we may not expect…

I threw my dance shoes in the bin at 19 and said I never wanted to dance again and took two years off from it.

What’s next for you?

When I finish Strictly I’m off to do Panto at Bridlington playing the Fairy Godmother which I’m really excited about. I also hope to finish writing my own motivational book, Dream, Act, Believe = Succeed.

Free Events From Rambert On The South Bank

Rambert Dance Company Logo Rambert is set to move to its new purpose-built home on the South Bank later this year and joining with music, film, theatre and the visual arts at what will be London’s cultural hub.

To celebrate this the Company will be hosting a series of events showcasing all that Rambert does, connecting people with leading industry professionals from Monday 2 – Saturday 14 December, when Rambert will be inviting the public to explore the state-of-the-art facilities. Visitors will be able to tour the building, watch rehearsals for upcoming performances, observe Rambert’s world class dancers at work in their daily technique class and take part in classes. Workshops will be on offer for people of all ages, experienced dancers and those who are completely new to dance.

The two week programme also includes performances of Artistic Director Mark Baldwin’s The Rite of Spring by the Rambert School of Ballet and Contemporary Dance, concerts by the Rambert Orchestra, and Vintage Rambert, a cross-arts performance piece created in response to Rambert’s Archive by young people aged 16-25. The choreographic process of Baldwin will also be demonstrated as he creates new work in the studio.

The new building project has been over twelve years in development, with construction beginning in November 2011. The site was made available to Rambert by Coin Street Community Builders, one of the UK’s leading social enterprises, in return for a commitment to lead a significant community dance programme in the local area and for the rent of one pair of ballet shoes per year.

All programme events are free, but booking is essential as capacity is limited. They can be viewed online at www.rambert.org.uk/rambert_moves. To book a place on any Rambert Moves event please email [email protected].

Moving and Experiencing: Somatics In Theory And Practice

The University of Chichester, renowned for its dance course, is holding a day of talks, workshops and performances on 9 November, named Moving and Experiencing: Somatics in theory and practice.

Somatic practice in relation to dance is an alternative movement method to rigorous techniques studied in order to both oppose and balance these. Techniques such as Release, the Feldenkrais method and alternatives such as Tai Chi all promote a very different approach to dance and the body-mind connection, emphasising this use of the body as the basis for movement.

The day promises to bring together a range of professionals working in the field of somatic practice and arts-making in a series of research events to deepen knowledge and practice, enabling new possibilities. There will also be taster workshops, new dance performance research and a keynote talk for somatic practices. Each workshop will be an introduction to a particular way of a working, facilitating a deep and embodied awareness of the connections embedded in these practices.

For dance artists working in any aspect of the dance industry, the day is hoped to give way to deeper understandings amongst the respective somatic practices as well as providing a meaningful experience. The day’s practitioners will make an initial offering to a further enquiry into the depth and breadth of dance and somatic practices both in and beyond Higher Education. Those involved include Professor Jane Bacon, University of Chichester, Linda Hartley, Institute of Integrative Bodywork and Movement Therapy, Sharna Travers Smith, University of Chichester (Body-Mind Centering), Dr Jill Hayes, University of Chichester, (Dance Movement Psychotherapy) and Amanda Williamson, Visiting Fellow, University of Chichester (Mystical/Spiritual in Somatic Practices).

It is hoped that the University of Chichester will run a series of events similar to this.

Extension To Charlie And The Chocolate Factory

As perhaps the most sugar-filled delight of London’s West End, the reasonably new production of Charlie And The Chocolate Factory has recently announced that it will continue to run at the Theatre Royal Drury Lane until November 2014. The extension to this mouth-watering musical will come as great news to many theatregoers who will have even more chance to see this production of one of Roald Dahl’s greatest tales.

Sam Mendes’s production of the Willy Wonka classic has been running at the Theatre Royal since May 2013. It tells the tale of a young boy, Charlie Bucket, who discovers a golden ticket and consequently wins the chance to peek inside an ambiguous and intriguing chocolate factory along with a group of other children. Dahl’s much-loved tale, and now the musical too, is a delectable mix of spectacular visuals and comical moments of the other owners of the hugely sought after golden tickets meeting a sticky end, leaving Charlie as the winner.

The production has now welcomed almost 300,000 audience members and the extension of the run now means that there are now 400,000 more golden tickets available for the hit production. Full of Oompa-Loompas, dancing squirrels and mouth-watering treats, Charlie And The Chocolate Factory has delighted many audiences and will continue to do so in this slick and delicious take of the tale, and retaining Dahl’s magic touches and wicked humour.

The show has since released an official cast album featuring each of the musical’s tracks, from Must Be Believed To Be Seen to Pure Imagination, allowing audiences to take home the sounds of Wonka’s fantastical world of delights. This features the show’s stars such as Olivier Award winner Douglas Hodge as the mysterious chocolate factory owner, Nigel Planer, Clive Carter, Jasna Ivir, Paul J Medford, Iris Roberts, Billy Boyle, Alex Clatworthy, Roni Page, Myra Sands and Jack Shalloo.