Author: Jessica Wilson

The award-winning collaborative duo Stiles and Drewe have recently announced a new Mentorship Award for musical theatre writers. What is tipped to become an inaugural award will help the next generation of musical theatre writing talent, following the success of the pair themselves.

The new award aims to help support and develop musical theatre writing in the UK, initiated by the Olivier Award-winning writing duo George Stiles and Anthony Drewe, who know a thing or two about writing for the stage, and successfully. Named as the MTI Stiles + Drewe Mentorship Award, the accolade will help to raise winners’ profiles in the industry and provide them with mentorship and support to help develop a new musical over a twelve-month period, culminating in an industry showcase.

There is no doubt that writing and developing a musical, be it for the West End, Broadway or Fringe theatre, is difficult work. Stiles and Drewe have acknowledged this too and have been championing new writers in the UK, now able to offer them support. The new Mentorship Award is hoped to make a significant difference to the quality of musical theatre writing in the UK: the pair will mentor the next generation of musical writers using their knowledge of the industry and the work required.

Stiles and Drewe found success as a partnership after winning the first Vivian Ellis Prize in 1985 for their musical Just So and their credits since then have includes Honk!, Betty Blue Eyes and Mary Poppins. Producer Cameron Mackintosh was an individual who provided Stiles and Drewe with advice and support during the early years of their careers, and even produced their first musical. Mackintosh has worked with the duo for over 30 years, so can vouch for their successful writing collaboration.

Submissions for the award are now being accepted, closing on 9 March. Winners of the award will be selected by Stiles and Drewe and a panel of judges.

The 16th Critics’ Circle National Dance Awards were presented at The Place on 25 January – hosted by Arlene Phillips CBE – highlighting many achievements in dance for 2015. There was a great breadth of nominations, with over 400 dancers, choreographers and companies deemed of such high quality by critics to be recommended for an award this year from a range of genres, surpassing last year’s record.

The awards celebrate excellence across a rich diversity of dance forms that have both entertained and challenged audiences throughout 2015. This year it was unusual that the judges presented two De Valois awards for Outstanding Achievement, in recognition of the unique achievements of two women. Sylvie Guillem, the most famous ballerina of her generation, brought her 30 year dance career to an end with her Life in Progress tour; and over her ten year tenure as the Chief Executive of Dance UK, Caroline Miller gave dance a political voice and merged together four major dance organisations to produce one to represent all facets of the national dance profession.

Although this ceremony generally saw new winners, choreographer Wayne McGregor picked up his fourth award, winning the Best Classical Choreography for Woolf Works. The 52 year old Italian ballerina, Alessandra Ferri – formerly a principal dancer with the Royal Ballet – returned as a guest artist to star in Woolf Works, for which she won Best Female Dancer. Sir Matthew Bourne’s New Adventures, won the award for Outstanding Company, and New Adventures dancer Zizi Strallen won Outstanding Female Performance (Modern) for her portrayal of Lana in The Car Man.

Other highlights included the award for Best Modern Choreography going to Canadian choreographer, Crystal Pite, and a high commendation for exceptional artistry went to two great contemporary flamenco artists, Israel Galván and Rocío Molina. The Dance UK Industry Award, determined by a separate panel of judges chosen by Dance UK, went to Tamara McLorg, the internationally-renowned dance educator and choreographer.

Last seen in the UK in 2012, one of the world’s most celebrated contemporary dance companies, Nederlands Dans Theater 2, will return to the UK this spring. As part of a Dance Consortium tour, the company will begin in Woking in April and conclude at Sadler’s Wells, London in May. While the tour programme is subject to alteration, the company will also visit Southampton, Salford, Edinburgh, Newcastle, Bradford, Birmingham, Plymouth, Nottingham and Brighton.

Under the artistic directorship of British-born Paul Lightfoot, Nederlands Dans Theater has its headquarters at the Lucent Danstheater in The Hague. Since its foundation in 1959, this pioneering company has built a rich repertoire of more than 600 works by choreographers Jiří Kylián and Hans van Manen, renowned house choreographers Sol León & Paul Lightfoot, associate choreographers Crystal Pite and Marco Goecke and high-profiled guests such as Gabriela Carrizo, Hofesh Shechter, Johan Inger, Alexander Ekman and Sharon Eyal & Gai Behar.

In 1978, Nederlands Dans Theater founded NDT2, its junior division specifically focusing on talent development for young dancers aged 18-23. Over a three year period NDT2 prepares 16 classically trained dancers (plus two apprentice dancers for the UK tour) from around the world for NDT2. Working with more established choreographers, the dancers perfect a range of styles and genres in which technique is a means to achieving their artistic aims as world class performers.

At various venues during the tour, three works will showcase the choreographic relationship between NDT’s artistic advisor Sol León and artistic director Paul Lightfoot. León & Lightfoot started creating work together over 26 years ago and since then have created over fifty pieces for NDT. As part of the Dance Consortium tour, the work will be experienced by thousands of people across all parts of the UK, as Dance Consortium is made up of a group of 17 large scale venues. Since its formation in 2000 Dance Consortium has presented 37 tours by 22 different companies.

As the Australia Day celebrations subside, The Australian Ballet are busy preparing for its London performances in July 2016, with Graeme Murphy’s Swan Lake on the bill from 13–16 July and Alexei Ratmansky’s Cinderella from 20–23 July at the London Coliseum. Under the artistic helm of David McAllister, The Australian Ballet was last seen in the UK in 2008, and 2016 will see a thrilling two-week season of ballet following sell-out performances around the world.

Both productions to be presented have become signature works for the company, remaining true to tradition whilst daring to be different. With choreographic challenges and multi-layered characters, the company drives the storytelling. Murphy’s critically-acclaimed Swan Lake sees the tale unfolding with a contemporary twist, produced to mark the company’s 40th anniversary in 2002. Odette is betrothed to Prince Siegfried, but she is apprehensive about his relationship with Baroness von Rothbart. Odette is committed to a sanatorium where she finds comfort and escape amongst white swans in a frozen dream world.

With an ever-developing repertoire, The Australian Ballet is known for producing new versions of the classics and inviting the finest contemporary choreographers to produce exciting new works. Ratmansky is one of the world’s most sought-after dance makers and his production of Cinderella for The Australian Ballet will be the first time it has performed in Europe. Commissioned by McAllister in 2013, Ratmansky’s Cinderella is re-imagined in 20th-century Russia and in an abandoned theatre. When Cinderella loses her slipper the Prince must embark on a world-wide journey to find his lost love, visiting many tempting lands before they are reunited.

Founded in 1962, The Australian Ballet prides itself on a commitment to artistic excellence, a spirited style and a willingness to take risks, defining the company both on and offstage. The company hosts 79 dancers, and presents over 250 shows and audience engagement events each year. It tours regularly overseas and has performed to critical acclaim around the world to cities including New York, Tokyo, London, Paris and Beijing.

The BBC recently announced the 2016 Shakespeare Festival, with big star names involved in the celebrations including David Tennant, Judi Dench and Benedict Cumberbatch. Tennant will host the programme, which will be broadcast during the weekend of Shakespeare’s birthday in April. Directed by Royal Shakespeare Company artistic director Gregory Doran, the cast will include – aside from Dench – Ian McKellen and Joseph Fiennes. With such stars’ names associated with the plans, the programme looks set to be a triumph.

The programme will mark the 400th anniversary of Shakespeare’s death and will include the line-up for BBC Two’s Shakespeare Live! from the RSC. Shakespeare Live! will act as a variety bill, performed by some of the greatest classical actors today, to epitomise Shakespeare’s work with live performance.

Further highlights of the celebration include BBC Two’s The Hollow Crown: The Wars of the Roses, featuring a wealth of talent including Cumberbatch, Dench, Keeley Hawes, Sophie Okonedo and Sir Michael Gambon. Additionally Matt Lucas, Maxine Peake and Elaine Paige will star in A Midsummer Night’s Dream on BBC One. Back on BBC Two, David Mitchell will play the role of the bard opposite Liza Tarbuck as his wife, and Horrible Histories returns to CBBC with a special episode about the life and times of Shakespeare.

The festival will also feature new Radio 3 dramas inspired by the life and work of Shakespeare, with focuses on The Merchant of Venice, a new version of King Lear and Julius Caesar in a new three-part production. This is a fantastic initiative to bring Shakespeare’s legacy to audiences all over the UK, using household names and providing many chances for everyone to experience the work. Shakespeare fans around the world will be able to join in the celebrations with Shakespeare Day Live on 23 April, hosted in Birmingham and co-curated by the BBC and British Council. This will bring together interpretations of Shakespeare’s work in one digital space for audiences around the world to experience.

Have you been to see a show recently and wondered what the term “swing” means in the programme? While there may be star names topping the cast lists, many advocate that the unsung heroes of the show are the swing dancers, the performers who cover multiple roles in the production. These performers may have to step on stage for any track of the show at any time; they may be replacing an injured dancer or may, for any reason, have to join the show part way through. Many performers began their professional performances as a swing, requiring a lot of talent and skill.

Swings must have incredible attention to detail. When learning the tracks, cues must be picked up fast to keep abreast of the action, in addition to learning the choreography and music quickly. In performing, not only must you have the skill set to perform every track that you cover, you also need to retain every small detail and be able to draw on this at a moment’s notice. Aside from remembering the different tracks, swings must also know all the important information such as on and offstage traffic, prop details and the correct entrance and exit wings – phew!

Multitasking is an ideal attribute for a swing. You must have the ability to juggle various roles, memorise lots of conflicting details for different tracks and keep yourself organised. Keeping calm under pressure is also useful for both yourself and the other performers, making everyone on stage feel at ease and confident in your ability. While it sounds as though swings are busy all the time, there may be a few swing performers in a cast so not everyone will be able to perform every night; it can be hard for new or aspiring performers when they are not called upon, causing them to feel like they are not part of the team.

There is no doubt that the role of a swing is stressful and highly demanding, however it is also fun and extremely rewarding. Swings know the show inside out and will have gained lots of varied performance experience while doing so.

Touring in a production is a common part of performers’ lives, travelling to different theatres both nationally and internationally. Tours can last from a few weeks to a year or more, and shows can play at theatres for one night only or several weeks. Touring can suit some completely, with the excitement of being ‘on the road’ with fellow cast and travelling to new cities or countries. However others find touring tough, being away from home, family and familiar surroundings for long periods of time. Living in hotel rooms out of a suitcase is not glamorous however the experience of touring is a valuable one for all performers.

It is vital to look after your body as a performer, not only because it is your instrument but it will make life easier for you. When you’re travelling for long periods of time before a show it is important to warm up sufficiently, as only you are responsible for this. Dancers especially should know what their body needs and it should be an intrinsic part of your pre-show preparation, like putting on make up and styling your hair.

In addition to warming up, fuelling the body correctly is also important. Touring can mean that healthy habits fly out the window as these options aren’t always readily available, but going a little way to prepare for touring can be extremely beneficial. Your body is your job and it must be kept in tip-top shape to perform each week. The touring lifestyle can take its toll with long travel days, living in hotels and eating out often, however ensure you keep yourself able to perform. Drink plenty of water, eat fresh fruit and vegetables, get enough sleep and keep your body conditioned for the show you are performing in.

To give yourself the most positive experience possible, be kind to both yourself and others. Treating others well, whether they are fellow cast mates, crew or the hotel porter, enhances your experience and goes a long way. Thanking others for the work they have done for you is rewarding too, as everyone is working to ensure the show looks its best on stage. While touring means you are part of a big bonded group, travelling, living and working together, remember to also take notice of what you need to flourish on a personal level.

For some dancers, the ultimate goal is to become a performer, however others set their hearts on teaching, and others aspire to create. For the upcoming choreographers of the dance world, the shift to the creative side of dance is a result of identifying the interest and building on this choreographic experience. Some dancers move over to the choreographic side of dance after their performing career has petered out, and other choreographers are simply non-performers who are drawn to creating dance.

Amongst the many key qualities which may be required as an aspiring choreographer, it is vital to foster the desire to create, exploring this in order to shape your choreographic journey and influence the choices that choreographers make throughout their careers. Look to other choreographers to observe their work practices and work out which way of working suits you best. Take in as much information as possible and learn something from everything.

Create choreographic and staging opportunities for your work, don’t wait for opportunities to come to you. As an emerging choreographer you must recognise and seize opportunities to create and present ideas, in addition to thinking for yourself and deciding how best to present your work to audiences. Other opportunities can be in the form of workshops, residencies and grant funding, as well as competitions. And while talent, creativity and ability are essential to a choreographer, determination and persistence are just as important.

Be brave to take the steps from creating work in the studio to presenting work in space; choreography is not just the dance, it is also the staging, the lights, the music and using your dancers to the best of their ability. Ensure you network with other dance artists in the industry and keep abreast of new developments and other work being commissioned locally and more widely. Being engaged and resourceful will help with applying for funding and choreographic programmes to advance your work. The act of networking lends also itself to the collaborative nature of choreography. Create your own unique style whilst being inspired by others, working to maintain the balance between these.

On 15 January Birmingham Royal Ballet played host to a day of new dance creations as a result of the newly formed Midlands Dance Hub. The day welcomed a varied selection of Midlands-based dance practitioners and creators into its home studios for a day of combined classes and workshops focused on the creation and presentation of new works.

Choreographers and dancers from Birmingham Royal Ballet and other prominent Midlands dance companies such as Motionhouse, Rosie Kay Dance Company and Sonia Sabri Company, among others, presented works in progress on the platform for emerging dance makers to meet, share and experience each other’s work in the Midlands.

The day also offered all dancers involved the chance to take part in a ‘class mash’ which involved three teachers leading and teaching a classical ballet barre, a contemporary dance element, and segments based on other international styles in one class. In particular, the class mash paid homage to the focus of the day on the combination of dance from widely differing traditions.

It is clear that the technique demanded by modern ballet today enables the body to do extraordinary things, resonating in the gathering of new choreographers and external companies at Birmingham Royal Ballet’s base, very different to the company and its work. The event, and the sharing of work in particular, highlighted the importance of taking inspiration from different sources and dance hybrids. It offered upcoming and established choreographers within the region an opportunity to meet and share their current work with peers, highlighting influences from other dance disciplines that make up the rich mixture that is dance in the Midlands.

Originally from Australia, Ashley grew up in Nelson Bay where she first began dancing at the age of three. She trained in classical ballet, contemporary and jazz at the Marie Walton-Mahon Dance Academy in Newcastle, where she studied fulltime for two years. At 15 she was awarded the Royal Academy of Dance Solo Seal and competed as a semi-finalist in the Genée International Ballet Competition, held in Athens, Greece.

In 2005 she moved to the UK to attend Elmhurst School for Dance in association with the Birmingham Royal Ballet. She graduated in 2008 with a Diploma of Dance. She then spent two years dancing on cruise ships around the world with Royal Caribbean Productions based in Florida.

Now with Matthew Bourne’s New Adventures, Ashley has danced in Swan Lake (2009/10 and 2013/14 tours) and Cinderella (2010/11 tour) where she danced the title role. She then played Princess Sugar in the 20th anniversary tour of Nutcracker! (2011/12), and Aurora in the 2012/13 international tour of Sleeping Beauty. Most recently Ashley has performed the principal roles of Kim Boggs in Edward Scissorhands (2014/15) and Lana in The Car Man (2015).

Ashley is currently dancing Aurora in Matthew Bourne’s Sleeping Beauty at Sadler’s Wells.

 

Have you always wanted to perform?

Absolutely! I first got up on stage when I was about three or four and never looked back – I absolutely loved it!

 

How did you get into dance?

I think my mum just thought it would be cute to send me to dance lessons so I could wear pretty tutus! Then I guess the teachers saw some potential and it very quickly turned into to something much more serious for me.

 

Where did you train and what was it like?

I trained at the Marie Walton-Mahon Dance Academy in Newcastle, Australia until I was 15, then I moved to England to attend Elmhurst School for Dance which was in association with the Birmingham Royal Ballet. Both were excellent schools that made me the dancer I am today. Lots of hard work and long hours though.

 

What was a typical day like?

We would usually start around 8.30am with Pilates or warm up, then ballet class every morning at 9am. We would work until about 8pm that night, having five or six different classes through out the day. Pointe, repertoire, jazz, contemporary, pas de deux, solos, musical theatre, tap, choreography, rehearsals… It was quite full on! Plus we would sometimes have academic classes in the evening too.

 

When did you decide you wanted to dance professionally?

I always knew I wanted to be dancer… I never imagined I’d be anything else. But it was probably when I was about 15 and made the move from Australia to the UK that I actually really made that decision. It was such a huge commitment I had to be sure.

 

What is a typical day like now?

On a normal show day with New Adventures we are usually called at around 3pm for class. (11am if we have a double show day.) We have class everyday, either ballet or contemporary, for about an 1 hour and 15 minutes. We would then usually have rehearsal or notes with Matt. We have lots of note sessions so we always get feedback about the shows. It’s great because the show is always developing and changing… Keeping it fresh is very important.

After that we’d have an hour meal break and get ready for the show at 7.30pm. It’s nice to go for a drink after the show too, unwind and socialise with everyone. Plus you’re on such a high when you finish the show you’re not quite ready for bed even though it’s late. I’m such a night owl… I’ll usually go to bed around 2am.

 

What is dancing with New Adventures like?

Dancing for New Adventures is absolutely a dream come true for me. We do lots of shows and work very hard, but the repertoire and the company are just brilliant! There’s a real family vibe, we always look after each other and have a good time.

Matthew Bourne is known for creating ‘Dance Theatre’ and giving traditional ballets a modern twist. So it’s just incredible to be part of these amazing, unique shows… And the public loves them! We perform to a packed house almost every night and get to tour the world dancing, what could be better than that?!

 

Do you have any pre-show rituals?

I’m not superstitious or anything like that, so I don’t really have any ‘rituals’, but I have a fairly similar preparation each night. I’ll always start with a nice hot shower and use a lavender shower gel… I like to feel relaxed and calm before a show. My dressing room buddy Didi, and I like to watch trashy TV whilst we do our make up too. Shows like Made in Chelsea or Don’t Tell The Bride are a perfect background to put us in a good mood! Once I’ve got my make up done, wig on and been very tightly laced up into my Aurora corset… I’ll then go down to stage and do a good warm up or ballet barre. It’s the one thing I’m quite particular about before a show. I know exactly what I need to do for my body before stepping out on stage and I like to stick to it!

 

What has been your favourite dance moment to date?

My favourite has to be the first time I went on as Cinderella. I was the cover and it was the first time I’d ever got to perform a principal role. The love and support from everyone was just so overwhelming. You have those moments in life where you look back and remember yourself dreaming of this exact moment and you realise how far you’ve come. That’s what it was for me, a dream come true.

 

What’s the best thing about dance for you?

The best thing about dance, for me, is the joy and freedom it brings. There’s no better feeling than being on stage and completely losing yourself in the movement and music.

 

And the worst thing?

All the aches and pains! Dance can be very tough on your body. As Aurora I dance barefoot for the entire show and my feet constantly split and bleed. That’s the only bit that’s not so fun.

 

What is your advice for an aspiring performer?

Just to work hard, grow a thick skin and never give up on your dreams! Also, explore different genres of dance and performance, and be open to new things. There’s so many wonderful shows and companies out there, don’t restrict yourself. Learn as much as you can.

 

What’s next for you?

Well, I don’t really know for sure yet! But I love working with Matthew Bourne and New Adventures and still have a lot I want to do with the company. Matthew is choreographing a brand new show next year that I’d love to do. Being part of the creation would be very exciting! As long as I’m dancing though, I’ll be happy… Watch this space!