Category: News

Dance Consortium recently announced its Alvin Ailey American Dance Theater UK Tour for 2016: in the UK this will begin with a two-week season at Sadler’s Wells, London. The tour will then journey to Plymouth, Birmingham, Bradford, Nottingham, Cardiff, Salford Quays, Southampton, Canterbury and Edinburgh, and will include five premieres. The UK premieres consist of works by Robert Battle, Artistic Director, and choreographers Rennie Harris, Ronald K. Brown and Aszure Barton. Two company premieres are a pas de deux by Christopher Wheeldon, with an additional piece by Paul Taylor.

No Alvin Ailey American Dance Theater appearance would be complete without its signature masterpiece Revelations, performed in addition to other company classics by company founder Alvin Ailey, Cry and Night Creature. The appearance of the company in the UK is following a six year absence, it’s return presented again by Dance Consortium. The diverse repertoire of works and premieres means audiences will be both entertained and fulfilled.

Founded in 1958, Alvin Ailey American Dance Theater is recognised as one of the world’s most popular dance companies. Under the leadership of Battle, Ailey’s performances celebrate the human spirit through the African-American cultural experience and the American modern dance tradition. In almost six decades, Ailey’s artists have performed for over 25 million people in 71 countries on six continents, and continue to wow audiences and critics around the world. The 2016 autumn tour will mark the fourth time Ailey is presented by Dance Consortium, and begins on 6 September with its four-programme season at Sadler’s Wells. It concludes at Festival Theatre, Edinburgh on 19 October.

Additionally, in London and Southampton, Ailey’s Mini Matinee is the perfect introduction to the company’s repertoire. Aimed at family audiences, Mini Matinees are 60 minutes long and include short introductions before each work, as well as a post-performance Q&A with members of the company.

London is set to welcome the classic musical An American in Paris, Broadway’s Tony Award-winning new musical at the Dominion Theatre from March 2017. With tickets now on sale, the musical tells the story of Jerry Mulligan, an American GI striving to make it as a painter in a city bursting with hope and possibility. Following a chance encounter with a young dancer named Lise, the streets of Paris become the backdrop to a ‘modern romance of art, friendship and love in the aftermath of war’.

An American in Paris is inspired by the Oscar® winning film of the same name, and features the timeless music and lyrics of George Gershwin and Ira Gershwin. It will head to London and burst onto the West End stage for the first time next year, with the official opening night on 21 March 2017 (with preview performances from 4 March). An American in Paris features many of George and Ira Gershwin’s most iconic songs including I Got Rhythm, ‘S Wonderful, and They Can’t Take That Away From Me.

The multi award-winning musical will again be choreographed by Christopher Wheeldon, who will also be directing An American in Paris. The internationally renowned, British-born Wheeldon, recipient of the Tony Award 2015: Best Choreographer for this production, is an Artistic Associate of the Royal Ballet. Wheeldon received an OBE in the 2016 New Year’s Honours, highlighting his work in the industry.

Wheeldon’s reinvention of the MGM film, which originally starred Gene Kelly and Leslie Caron, premiered in 2014 at the Théâtre du Châtelet in Paris to ecstatic reviews before transferring to The Palace Theatre on Broadway, where it is now in its second hit year, becoming the most awarded musical of the 2015/16 season. Fresh from originating their roles on Broadway, Robert Fairchild (New York City Ballet Principal dancer) will play Jerry Mulligan and Leanne Cope (British Royal Ballet dancer) will play Lise Dassin. The pair will be making their West End debuts, and will lead a company of over 50 other actors, dancers and musicians.

A recent study in dance injury has suggested that ‘bio-banding’ could reduce the risk of injury for ballet dancers. Bio-banding refers to grouping dancers by physical maturity – rather than age – in classes. This could better suit late-maturing girls in coping with intense training, rather than apply a blanket-style, objective teaching to all students without considering their individual development.

The study, published in the Journal of Adolescence, highlighted how time differences in maturing have important implications for talent identification and development, as well as personal self-esteem. This has specific implications for ballet and dance training, where these issues can be more apparent. It could be more beneficial, therefore, to group young dancers by their developmental rather than chronological age in order to lower their risk of injury, and provide a more sensitive and specific training method for them.

Bio-banding is growing in prominence for other sports, and the research done by the UK’s Bath and Bristol universities indicates that the current practices for grouping and evaluating young dancers could be counterproductive. The study has so far focused purely on girls, essentially because girls of the same chronological age can vary greatly biologically, with some maturing in advance or delay of others. Those maturing later are ­potentially placed at a disadvantage in class, during important phases of their development. A dance teacher’s general role can be paramount for a young dancer, so their ability to manage maturation in dancers could then positively affect the girls’ self-esteem and confidence.

Applying bio-banding elements to dance could improve the experiences of dancers, reduce injury risks and also ensure talent is not wasted by promoting a positive learning environment. Currently dancers in vocational training are grouped by age and can begin full-time training for up to six days a week from as young as 11 years old. Here they would be provided with the most developmentally appropriate learning contexts, and would not be put under undue stress at the wrong points in their development.

Sadler’s Wells, The Lowry and Birmingham Hippodrome theatres have formed a collaborative producing partnership, supported by funding from Arts Council England’s Ambition for Excellence fund. This is in order to develop and deliver an ambitious programme of high-quality large-scale dance. Named The Movement, the collaboration is set to be a dynamic partnership between three of the country’s leading dance venues.

Through a two-year pilot initiative for the theatres – that has been awarded a grant of £749,948 – they will strive to nurture dance talent as like-minded partners who share a commitment to growing new audiences together. Reaching and developing new audiences for dance through a programme of work will be co-produced by the three venues, with the line up including Company Wayne McGregor, Birmingham Royal Ballet, BBC Young Dancer finalist Vidya Patel, world tango champions German Cornejo and Gisela Galeassi, hip hop company Pockemon Crew, and Sidi Larbi Cherkaoui’s Faun.

The Movement will launch at Birmingham Hippodrome on 17 and 18 May with Dance: Sampled, the first production to be presented via the partnership and as part of the International Dance Festival Birmingham 2016. Dance: Sampled is inspired by the popular Sampled format Sadler’s Wells introduced, which offers audiences a taster selection of different dance styles all in one programme. The production will then run for two nights at The Lowry in February 2017. The theatres will work closely to commission and stage dance together, helping to support talent and inspire large audiences across the UK.

Outside of London, Birmingham Hippodrome is an independent, not-for-profit, registered charity welcoming an average of 500,000 visits annually making it the most popular single auditorium in the UK. The Lowry is the most visited cultural destination in the North West. It plays host to one of the one of the UK’s most vibrant and diverse theatre programmes, as well as a visual arts programme.

Daniel Davidson, born in Edinburgh, UK, trained at both The Dance School of Scotland and Millennium Dance 2000. He joined dance company Rambert in August 2014 after 8 years with Scottish Ballet, and since joining he has created roles in works by Alexander Whitley and Didy Veldman as well as performing The Rooster Man in Bruce’s Rooster. He has also danced in works by Jeyasingh, Brandstrup, Baldwin, Page and Cunningham.

Whilst at Scottish Ballet, Daniel created principal roles such as Petrushka in Petrushka at the Edinburgh International Festival and Don José in Richard Alston’s Carmen. He has originated works for choreographers such as Page, Alston, Caniparoli, Lawrence, Pastor and Petronio. Additionally, he performed in works by Forsythe, Ashton, MacMillan, Balanchine, Bourne, Bruce, Tharp, Brown and Elo as well as Mercutio in Pastor’s Romeo and Juliet.


Photo credit © Benedict Johnson


Have always wanted to be on stage?

My mum took me along to my first dance lesson in our local church when I was five and I loved it. I think I was around ten years old when I knew it was what I wanted to do for a living.

Where did you train, and what was it like?

I trained at The Dance School of Scotland… a boarding school in Glasgow where I trained in ballet and did my school studies alongside. After spending six years there, I moved to London where I trained at Millennium Dance 2000. My college was predominantly musical theatre based. As well as contemporary dance, I studied singing, acting, tap and jazz.

Describe a day in your life now.

I take class every morning for an hour and a half. Our classes alternate between ballet and contemporary so we can train equally in both. After class, we rehearse for two hours before lunch and for three hours after finishing at 6pm weekdays and 2pm on Saturdays. We rehearse pieces that we will be performing on our tours around the UK. Right now we are rehearsing three works for our performances at Sadler’s Wells in May.

What are you looking forward to most about the Sadler’s Wells Murder, Mystery and a Party programme?

I’m looking forward to premiering our new piece Tomorrow by Lucy Guerin. We’ve been working hard on it in the studio for around four weeks now. It’s been a very different kind of process than usual for us and I’m looking forward to hearing some feedback from the audience.

What are rehearsals like?

Rehearsal experiences vary depending on whether we’re rehearsing a new creation or an existing work. Right now I’m rehearsing one piece I’ve already danced, one existing work that I’ve not yet performed and one new creation. Each process is very different but equally rewarding. I would say that I enjoy being involved in new creations the most… I love the process of creating and collaborating with different choreographers.

Do you have any pre-show rituals?

Not really. I like to have a shower, put on my make up and have a stretch on stage before curtain up. Some dancers have a set routine and they’re slightly superstitious about their preparation but I’m not. I like to vary how I prepare.

What has been the defining moment of your career?

Performing the role of The Rooster Man in Christopher Bruce’s Rooster to a full house at Sadler’s Wells. It was an honour to dance such an iconic work. Definite career highlight.

What has been the most challenging?

Whilst with Scottish Ballet I danced many works by our director Ashley Page. His version of Sleeping Beauty was very hard and a wonderful challenge for a dancer. I danced the Bluebird… That was the most challenging of all roles for me. It was tricky, hard partnering, required a lot of stamina… Brilliant fun though!

What’s the most rewarding thing about dance?

The most rewarding thing is the performance. All of the hard work and preparation is absolutely worth it when you hear the audience’s applause and appreciation.

What’s the worst thing?

I wouldn’t say it’s the ‘worst’ thing but the hardest thing about dancing is the toll it takes on my body. Long hours can be tough too…

What is your advice to an aspiring dancer?

Work hard. Stick at it. Some days will be tough but some days will be so rewarding and fulfilling. Also, your taste will change… Don’t be afraid to keep trying new things.

Daniel Davidson will be performing at Sadler’s Wells from 10-14 May, as part of Rambert’s Murder Mystery and a Party. To find out more and to book tickets: http://www.sadlerswells.com/whats-on/2016/rambert-a-linha-curva-and-other-works/

The George Balanchine Foundation has announced the launch of its official YouTube channel, launching with content from its Video Archives Collection. The Foundation is adamant that it is important to share the late choreographer’s work, meaning the Foundation will begin by posting nearly 50 video interviews from the Collection. As digital media continues to expand, the general public will have unprecedented access to this valuable source.

As a not-for-profit corporation founded in 1983, the mission of the Foundation is to create programmes that educate the public, and further Balanchine’s work and aesthetic in order to continue his high standards of excellence in dance. Featured in the films are dancers Balanchine created for, or taught his ballets to, who worked to coach today’s dancers in these particular roles.

The George Balanchine Foundation’s Video Archive Collection was designed to document Balanchine’s work as closely as possible, in detailing his original intent for his work as he choreographed it. The recorded coaching sessions provide invaluable insights into Balanchine’s creative process, in addition to including an interview of the original interpreter with a dance historian or critic at the end of each coaching session. The interviews serve to further develop Balanchine’s work and the interviews will be accessible through the YouTube channel too.

Nancy Reynolds, dance historian and writer – and the Foundation’s director of research – continues to direct the programme following her initiation of this, assisted by independent film maker and film professor Virginia Brooks, Gus Reed, a New York City based film maker, and Paul Boos, a répétiteur with the George Balanchine Trust. Boos was a former dancer with the New York City Ballet.

Complete versions of the George Balanchine Video Archives files – which include entire coaching sessions – are available through public libraries and universities, as a result of the Foundation’s partnership with Alexander Street Press.

Considering the success of musical Gypsy in London’s West End, it is no wonder that there will be a film revival of Gypsy too, by STX Entertainment. STX is currently in negotiations to make Gypsy again with the Grammy and Oscar winner Barbara Streisand taking the lead role of Mama Rose, and Oscar winner Barry Levinson directing. Production on the film was delayed last year following several years of development with Universal Pictures, but now it seems the project is full steam ahead.

It is said that Streisand will produce the film alongside Joel Silver, and she is additionally involved in developing the script. Streisand will play one of the most infamous stage mothers in history, following the iconic Imelda Staunton in the role on the London stage: some of Mama Rose’s hits include the signature numbers of “Everything’s Coming Up Roses” and “Rose’s Turn.” Previous actresses who have also played the legendary role include Angela Lansbury and Bernadette Peters.

It is rumoured that production could start as early as this year, with STX aiming to turn this new Gypsy into a ‘motion picture event’. As one of the most famous musicals in production, it could be deemed Streisand’s last movie musical of her career. The icon of a story was first made into a film in 1962, with Rosalind Russell playing Mama Rose and Natalie Wood starring as Gypsy Rose Lee. It has seen much success in London and on regional stages, so the film is hoped to see no less.

Gypsy tells the story of the burlesque legend Gypsy Rose Lee’s troubled childhood, growing up with a fiercely ambitious mother, whose mission was to push her daughters up the vaudeville ladder. Gypsy could be argued as one of the greatest musicals ever made, with numerous successful stars adding to this accolade.

Chiara Castania is an all-round performing artist, originally from the small northern Italian town of Iseo. She took up ballet at  five years old under her mothers’ wishes; a former ballerina.

Chiara moved to London to further progress her training as it offered her a more extensive selection of education. After winning scholarships at both A.L.R.A. in London and Bodyworks Dance Studios in Cambridge, she succeeded in acquiring a succession of leading roles with a variety of major cruise companies; P&O ‘Oriana’ and Cunard ‘QE2’ were two famous ships she worked on. Chiara is now a solo headliner on cruise ships and has been performing her acts on cruise lines such as Celebrity, Carnival, NCL and Fred Olsen.

Chiara also had the experience of being part of two well-established girl groups under professional management; one of which had songs produced by the world-renowned ‘Boney M’. She continued her music career by developing her own producing and writing skills in conjunction with various London producers, and worked on two albums.

Chiara is currently pursuing a musical theatre path. Never afraid of trying something new or taking on a challenge, her motto faithfully stands as “variety is the spice of life”.

Have always wanted to be on stage?

Yes, I started twirling around from the age of one! I did have ideas of maybe being an air hostess or hairdresser, but that didn’t last long! I really decided, though, when I was seven or eight, when my Nan – who was a singer – introduced me to all the old musical films. Gene Kelly, Cyd Charisse, Debbie Reynolds… I was hooked!

Where did you train and what was it like?

I first trained at a very strict Italian ballet school in Italy with a Russian who had a big wooden stick and terrified me! I later started at a weekend dance and singing school from the age of 11 and joined the choir.

I then applied to study at performing arts schools and trained at ALRA (Academy of Live and Recorded Arts) in London, and Bodyworks Dance Studios in Cambridge which was great training! I was blessed in being awarded scholarships for all my training as I wouldn’t have been able to afford it otherwise.

I still take classes at Pineapple Studios as I love it still and like keeping up my technique, and I sometimes take private singing classes too.

What was your first job? What was it like?

My first ‘job’ was in a girl group called Sirens, directed and produced by Boney M, the famous 70s group! It was an interesting experience! I went on to be in another girl group and appeared on television in Celebrity Soccer, playing football with The Darkness, Take That, CBBC presenters, Cheryl Cole and Girls Aloud, Liberty X… again, another interesting experience!

My first real job was my first cruise contract with Sea Cruises… hard work, but great first job. I got into a bit of trouble though because I was so flamboyant and crazy! I got a warning for wearing too much glitter, feather boas and sitting on bar stools sipping cocktails with the officers! Hilarious. This job taught me many skills for the industry though and prepared me for years to come. I worked out very quickly that the cruising life really suited me, and that soon I would become addicted to the lifestyle.

What is a day in the life of Chiara like?

My days can be busy, stressful and frantic at times. I’m not a morning person and frequently need very strong espresso coffee! I like to keep busy so rehearsals are a must if I’m on a contract. I also like time to have a read, go to the gym and eat at some point – I love my food! My daily meditation is really important too as it chills me out a little…

What is it like working away on a cruise ship?

I love working away and traveling – I’m completely addicted to the excitement and diversity as I get restless easily… I need variety or I get bored. I miss home, friends and my man the most though… it is incredibly hard being in a long-distance relationship and I wouldn’t wish it on anyone!

What’s the best thing about performing on a cruise ship?

The best thing about performing is seeing people’s smiling faces, or hearing that I’ve made someone’s holiday. I love the escapism if offers, reinventing yourself a hundred times over and the joy I get from singing and dancing. If I had a choice I would have been more of a dancer though, as that’s my first love! I’ve been part of two dance companies and it’s been one of my greatest satisfactions and accomplishments in my life. I have flat feet, bent knees, an arched back (that gives me back pain every day) and not the greatest classical lines… yet I can dance! I like to challenge my limitations and am as stubborn as hell… you can achieve so much more than you think!

What would you put your success down to?

My success is just hard work and perseverance… believing in myself and going for my dreams. I have so many more dreams, just keep reaching and working hard, to maintain and improve on what you have. I am also spiritual, so being thankful means you will receive much more back… I pray and I stay positive.

Do you have a life mantra?

Not a life mantra, but I love ‘Variety is the spice of life’!

What is your advice to an aspiring performer?

Don’t allow anyone to squash your dreams, only you can decide if it’s possible. Stay positive, have faith in yourself and do your research!

Multiple award-winning ballerina Natalia Osipova will soon take on a programme of new contemporary work commissioned by herself and produced by Sadler’s Wells. The programme will feature work by renowned contemporary choreographers Sidi Larbi Cherkaoui, Russell Maliphant and Arthur Pita, and run from 29 June to 3 July.

The trio of choreographers will create pieces inspired by Osipova for the production, which will go on to visit the Festival Theatre, Edinburgh as part of the 2016 Edinburgh International Festival in August. Currently a Principal with the Royal Ballet, Osipova will be joined on stage by Sergei Polunin, which marks the first time that they will have danced together in the UK, amongst much romantic speculation.

Russian dancer Osipova joined the company in 2013 after her guest appearance in Swan Lake, and has performed lead roles in Giselle, Don Quixote, The Nutcracker, La Fille mal gardée and DGV: Danse à grande vitesse. She began her formal ballet training at the age of eight, before joining the Bolshoi Ballet at 18. She has also danced with American Ballet Theatre and Mikhailovsky Ballet, and has appeared as a guest artist with companies around the world, such as American Ballet Theatre.

In terms of the new programme of works, Sadler’s Wells Associate Artist and Artistic Director of Royal Ballet of Flanders Cherkaoui will create Qutb, a new trio for Osipova and two male dancers. It will combine Cherkaoui’s trademark mix of movement vocabularies, musical genres and cultures. Cherkaoui is acknowledged as one of Europe’s most exciting choreographers.

Maliphant will create a new duet for Osipova and Polunin, as one of the longest-standing Associate Artists of Sadler’s Wells. He trained at the Royal Ballet School and graduated into Sadler’s Wells Royal Ballet Company before pursuing a career in independent dance. He also studied anatomy, physiology and bio-mechanics, certifying as a practitioner of Structural Integration.

Pita will also create a new duet for Osipova and Polunin entitled Run Mary Run, in a dark, comedic story highlighting Osipova’s acting. Pita has also choreographed movement for plays, operas and musicals, including Women Beware Women at the National Theatre, Becky Shaw at the Almeida and La Bohème and Show Boat at the Royal Albert Hall.