Category: News

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!

The Royal Ballet Benevolent Fund and the Dance Teachers’ Benevolent Fund have recently announced the merging of the two organisations, following extensive liaison between the charities. In the joining of the organisations, the Royal Ballet Benevolent Fund will continue as a registered charity, remaining as an important dance welfare organisation for dancers.

The Royal Ballet Benevolent Fund was founded almost 80 years ago, in 1936. It aims to provide grants, bursaries, advice and support to current and former members of the UK dance profession. More recently, the Dance Teachers’ Benevolent Fund was founded in 1979, and provides financial and practical assistance to qualified dance teachers of any age. The aim of the merger is for the new organisation to serve the needs of deserving professionals in the world of dance more fully, offering a cohesive level of support to a wider range of professionals who are in need of it.

In 1936, the Vic Wells Ballet Fund was established to help the struggling company at Sadler’s Wells Theatre recover its financial difficulties. At this time, the focus of the fund was on the funding of ballets which were being created. In 1942 it gave grants to dancers serving overseas in the war, and in 1943 the first welfare grant was given to a Sadler’s Wells dancer, following a knee injury, so the dancer could be financially supported while they were unable to work. The fund changed its names too when Sadler’s Wells Ballet became the Royal Ballet in 1956, and since then the fund has reached out to more dancers, beyond the original grants made only to members of the Royal Ballet.

As a result of its work, the Royal Ballet Benevolent Fund is the largest UK welfare charity offering support for professional dancers in the classical and contemporary dance fields, during their careers and also once they have retired. The fund aims to support dancers despite any problem, be it injury or illness, or even the effects of financial hardship or loneliness. The fund also offers support and help for choreographers, choreologists and dance teachers.

Dance competitions, whether hugely popular and mainstream on the television or in a small town attended by 50 people, can be very positive experiences for the dancers who take part. Many may suggest any number of reasons why competitions may be detrimental to a dancer’s progression, even stating that the competitive element is not healthy, however competitions are a dance activity enjoyed all over, and can provide a well-rounded dance experience.

For dancers young and old, competitions provide on-stage experience, usually alone. Whilst this is useful for your future dance experiences and once you are back practising in the studio, it also means it develops skills such as thinking on your feet (literally!) and presenting yourself well to the audience. This in turn promotes confidence both on stage and off – if you can perform alone on stage it is likely you can do anything!

Winning a competition is, of course, an experience that dancers aspire to, however there can only be one winner amongst the many entrants. When you begin to compete you may find that your confidence and performance levels are not quite up to the standard of others’, meaning it may be a while before you are awarded first place. However, even after lots of stage experience and practise, it may be the case that you simply did not win the judges over. Competitions therefore teach graciousness, in congratulating the winner and accepting any constructive criticism you may receive.

If it is a dancer’s aim to make a professional career from the fun they have performing, competitions are an ideal way to gain more experience of the outside dance world, opening your eyes to what other people are doing with their routines, where they are training and the dance influences they are exposed to. It is easy to learn a lot while watching others dance, so competitions are a good way to hone your performance. In turn this raises your standards as you work harder and strive for more.

Von Aroldingen will work with current principals of New York City Ballet for the two recordings, accompanied by the solo pianist of the New York City Ballet Orchestra. Under the working methodologies of the George Balanchine Foundation, the recordings of the two pieces will be supervised by a former NYCB dancer and now a George Balanchine répétiteur, along with the Foundation’s director of research.

Von Aroldingen’s career with NYCB spans 22 years, and a further 30 years as one of the company’s ballet masters. She joined American Festival Ballet at 16 and Frankfurt Ballet at 17. At NYCB she worked her way up the ranks and was named principal dancer in 1972. Balanchine choreographed 18 roles for von Aroldingen, and now she is a trustee of the Balanchine Trust, overseeing the distribution of Balanchine’s ballets worldwide.

The George Balanchine Foundation was established in 1983 to create programmes of work that educate the public and further Balanchine’s work. The Foundation’s Video Archives include the Interpreters Archive, in which dancers who worked closely with Balanchine teach their roles, and the Archive of Lost Choreography, recreating Balanchine ballets that are rarely performed and in danger of disappearing.

Harry Smallman, at just 14 years old, has been dancing since he was nine. In the year preceding his GCSEs at school, Harry obtained a Music and Dance Award, however his real achievement lies in his part in the hit television show ‘Dance Mums’.

Dance Mums has seen Harry awarded the Inspiration Award as a result of his time on the show, having successfully auditioned for a full time place. For now Harry hopes to continue to excel in his dance and singing career and enter more competitions. Despite the short life of his performing career to date, Harry has achieved so much and has set the bar high for himself.

 

Have you always wanted to be involved in dance?

Since I was about six years old I wanted to dance.

 

How did it start?

I was inspired by watching High School Musical when I was younger, but I didn’t actually start dancing until I was nine years old.

 

What is a day in your life like?

I go to school at 9am and I am there until 6pm everyday. Also on Saturday mornings I have to do my academic classes, and fit in my dance classes. We have around an hour and a half of ballet during normal school hours then we have two hours dancing from 4pm until 6pm. Sometimes I also attend other dance classes at night.

 

What is it like being a dancer?

I love being a dancer: it’s hard work but also really enjoyable and keeps you very fit. I spend all my time dancing.

 

What is your favourite thing about being on Dancemums?

I loved being at the competitions and competing. Being part of the Jennifer Ellison Dance Team is amazing. I love dancing with all of the girls. It was so much fun, and hard at the same time.

 

What is your favourite style of dance and why?

I love Contemporary and Lyrical as you can express yourself with the music and style of dance. I also love to try and get some acro into the dance too.

 

What’s the best thing about dance?

Learning new moves, and taking classes with different choreographers. I have met some amazing people and friends through dance. I love trying new things and challenging myself.

 

And what’s the hardest?

Learning lots of new routines at the same time. And staying focused as I tend to daydream a bit!

 

What are your dance dreams?

My dream is to be the best I can and hopefully make it to the West End/Broadway one day. I would also love to teach others how to dance and maybe one day have my own dance school.

 

If you could dance with anyone, who would it be?

I would love to dance with Maddie Ziegler or any of the Dance Moms girls.

 

Do you have any advice for a young dancer who would like to be a professional?

Just don’t give up and try your hardest. Even if you have a bad day, keep going. Train hard and enjoy doing it.

 

What’s next for you?

I am going to keep training hard and hopefully have a good future.