Category: News

Vidya Patel is a Kathak dancer from Birmingham, learning under the tutelage of her teacher Sujata Banerjee. After graduating from the Centre of Advanced Training Kathak strand at Birmingham’s DanceXchange, Vidya represented the South Asian category in the Grand Finals of BBC Young Dancer 2015 held at Sadler’s Wells. Recently, Vidya performed at the Sadler’s Wells Gala at the Renaissance Hotel, as well as Dance Proms at the Royal Albert Hall.

Vidya will be appearing in Sadler’s Wells Sampled on 29 and 30 January 2016, the dance taster festival featuring world-class dance and a series of workshops and foyer activities. In March 2016 Vidya will join Richard Alston Dance Company to perform in the new creation ‘An Italian in Madrid’. After Vidya’s classical Kathak dance graduation in 2016 she hopes to continue to represent the Indian classical dance form, eventually creating her own work and collaborating with other dancers and choreographers.

 

Have you always wanted to dance?

I’ve always secretly wanted to become a dancer since a very young age. I was initially going to study Fine Art at university knowing that I’d be able to steer my way to performance eventually. Instead of going to university I decided to take a gap year after sixth form to further pursue dance. It was a lucky coincidence that BBC Young Dancer was starting in the same year.

 

How did you get into dance?

Just like many Indian parents, mine wanted me and my sisters to retain something of our culture being British Asians, so they enrolled us into the local Indian Classical dance classes from a young age. When I was twelve I auditioned for the Centre of Advanced Training Kathak strand at Birmingham’s DanceXchange and attended until 2015, my graduating year. I looked forward to every intensive and the different workshops working with professionals. CAT was one of the reasons I wanted to become a dancer.

 

Where do you train now and what is it like?

I train in London with Sujata Banerjee, based in Harrow. Classes are twice a week and other days involve rehearsals and training. It’s brilliant because my dance teacher has a dance studio in her back garden and if rehearsals spanned over a few days I would just stay and use the studio when I can. Currently under the Sujata Banerjee Young Dance Company we’re rehearsing a piece to present at the ‘Vasant Utsav’, a very prestigious dance festival held in Delhi in celebration of Pandit Birju Maharraji – a Kathak legend.

 

What is a day in the life of Vidya like?

It usually varies depending on whether I’m in London where I go to classes, or in Birmingham where I live. When I’m in Birmingham I usually fit in some practice in the mornings, go to the gym and then in free time meet up with friends and spend time with my family. When I’m in London it’s always for dance practice or rehearsals. Currently I’m rehearsing with the Richard Alston Dance Company for the new creation ‘An Italian in Madrid’ which is such a privilege.

 

What was competing in BBC’s British Young Dancer like?

It was one of the best experiences! It was a positive challenge which pushed me mentally and physically. Through the process I’ve met some amazing people, including all the other finalists. Normally, meeting other dancers training in other styles doesn’t happen so easily and through the competition this was possible. One the other great things was to able to train with my teacher and have her create new pieces on me. After contacting one of my favourite music artists, Shammi Pithia, I was able to dance to live accompaniment played by him in both the category and grand finals which was unbelievable.

 

How do you think you have changed as a dancer as a result?

BBC Young Dancer has acted as a catalyst for me and has led onto amazing opportunities. As a dancer it has given me the recognition of being a South Asian Classical dancer which otherwise would have taken several years to establish.

 

Do you have any pre-show rituals?

When I start getting ready – applying my make-up, jewellery, costume – that’s when my pre-show ritual begins. Warming up and getting mentally ready means I always do some deep breathing, go through the choreography and visualise it. If I’m performing and my Guru/teacher is away, I always give her a last minute call for some wise words and blessings.

 

What are your dance aspirations for the future?

I would really like to inspire more young dancers to take up Indian classical dance professionally and provide opportunities for other dancers doing it. I’m starting to teach children this year which I’m really looking forward to. Hopefully I can inspire them and make dance important and enjoyable in their lives too. Ultimately, as a performer I would love to work with more dancers and choreographers, one day going on to create my own work.

 

What has been your favorite dance moment to date?

My favourite dance moment was on the stage of Sadler’s Wells at the end of the BBC Young Dancer Grand Finals. I remember the audience all applauding as the other finalists, judges and myself all stood together on stage – it was an overwhelming moment that I won’t ever forget.

 

What’s the best thing about dance for you?

It’s enriching experience. The dancers you watch, the people you meet and the memories you create through dance is something really special and rewarding.

 

What’s the worst thing?

The worst thing is being over-critical when trying to improve your dance. Sometimes you just have to be realistic and learn to be patient with yourself.

 

What is your advice to an aspiring performer?

Perform sincerely. Hard work and effort will lead to success.

 

What’s next for you?

This year I’ll be performing with Richard Alston Dance Company in March at Sadler’s Wells. I’ll be preparing for my ‘Manch Pravesh’ (Indian Classical dance graduation) which is a performance by the student once the teacher feels the student is ready. There are also some exciting projects and collaborations in the making which I’m really looking forward to.

With the new year not quite behind us, there are resolutions continuing to come out of our ears. It is without a doubt that dancers continue to aspire to better themselves (not just at new year), and a common area they wish to improve is their flexibility. Stretching in order to achieve this can be a contentious subject, with different ideas about how to create a safe and successful stretching routine.

Many dancers constantly stretch to push themselves past the limits of their flexibility, in hopes of extending their physical capabilities, however the way this is done must be safe. Over-stretching can be a very real problem, especially for dancers whose muscles are still developing; it can even limit flexibility through causing unnecessary damage to muscles. It is important not to fall into bad stretching habits, especially if a stretch routine has been built up over time. Here there is a danger of simply going through the motions and not connecting the body with the mind to inform the routine with how we are feeling.

Make sure you prepare for deep stretches sufficiently, in a way that means you will get the most flexibility results and the smallest risk of injury. Respect your body and its ability – you only have one! – by paying attention to how you enter a stretch. Start from a stable place to keep you safe and secure throughout the stretch and take note of the pathway of how you enter a stretch. Tune into your breath while stretching, and lengthen your spine as you breathe in. As your breathe out, go deeper into the stretch and try to maintain the deeper position after that breath cycle.

It is vital that stretching is not rushed: take care of your timing to avoid the risk of injury. Work with your body rather than against it, and don’t force it into a place it isn’t ready to go. Not only can this overstretch and strain muscles but it can also hinder your flexibility progress. Stretching causes tiny tears in the muscles, and the muscle lengthens when the fibres heal and re-connect longer than they were before. Ensure your body has time to recover, rather than continue to stretch and cause scar tissue which causes soreness and fatigue.

BalletBoyz has recently announced it will tour its brand new production Life, which will receive its world premiere at London’s Sadler’s Wells in April 2016, from 20 April to 4 June this year. Additional tour dates have also been announced, meaning the company’s work will reach further than it has done previously amongst its contemporary-loving audiences.

The show features new commissions by choreographers Javier de Frutos and Pontus Lidberg, shifting the focus of the company as a result of the extensive and varied experience of the pair. After opening the production at Sadler’s Wells in April – where BalletBoyz is an Associate Artist – the production will embark on a UK tour, followed by a tour of the USA in 2017. In further excitement, taking the production overseas to the USA means that the Boyz will reach even further, extending their talent across the Atlantic.

Marked as one of the world’s most forward-thinking dance companies, it is hoped the new piece will generate engaging material and ideas to delight its audiences. The piece is co-produced by Sadler’s Wells in association with artsdepot and it will be performed by the award-winning all-male company of ten dancers. The show features an original score and the evening will take an elegant, powerful and provocative look at life and death, presented in BalletBoyz’ notable style.

After premiering in London at Sadler’s Wells, the production will tour to Worthing, London (artsdepot), Oxford, Exeter, Guildford, Yeovil, Edinburgh, Dundee, Southport, Lichfield, Cheltenham and Cambridge, and tickets for most venues are now on sale. Tickets for the Octagon Theatre in Yeovil and the Everyman Theatre in Cheltenham will be on sale soon.

A hotel specifically geared towards the arts is set to open in spring 2016 as the first of its kind. Named Green Rooms, the hotel has been designed to inspire creativity in those that stay there, situated in the country’s capital against the arts-heavy backdrop of the city of London. The hotel will be the first of its kind, acting as a creative hub, hosting artists and encouraging exhibitions, events and performances.

Green Rooms will be a four-storey hotel dedicated solely to the theatre and the arts. It will have 20 double rooms, two studio apartments and two dormitory rooms which each sleep up to 12 people. The hotel will be located in North London in Wood Green which has fast tube connections into the city centre, and rooms start from £18. Double rooms are priced a little higher at £50 per night, however still far below the prices of budget hotels across the city.

With prices in London ever-increasing, and fees for artists remaining the same, it is all too apparent that London is an expensive place to stay in. Many of those people securing themselves a place in the creative industries do not have a lot of disposable income after they have paid for living, food and travel. The rooms of the hotel aim to be far more positive places to stay, becoming a creative hub for those that stay there.

Green Rooms has developed relationships with Somerset House, LIFT, Create London and the Royal Court Theatre to plan their programme of happenings, including a free monthly programme of cultural events, artist in residence opportunities, and even a rotational restaurant residency for upcoming chefs. The hotel will become a creative and inspiring environment, making way for new collaborations and projects devised in its rooms.

Upon graduating from London Studio Centre with a BA (Hons) in Theatre Dance, Marie has strutted and twirled her way around the world.

From 2009-2012 she choreographed and danced for singer ‘Bryan Ferry’ on UK, American and European tours, including a very emotional last Roxy Music ‘For Your Pleasure’ tour of Australia. Corporate work includes dancing, modelling and presenting for brands such as Hitachi, Gucci, IWC, H&M, Dorothy Perkins, TU Clothing and Stephen Webster.

Her recent film and TV credits include Walt Disney’s ‘Maleficent’, several series of BBC’s ‘Horrible Histories’, ‘You, Me & Them’, ‘Pompidou’ (BBC), ‘Strictly Come Dancing’ (BBC) and ‘A Little Chaos’, directed by Alan Rickman.

Marie is currently working with a variety of acts including The Kitts Project and the renowned ‘It Girls’, sparkling and waving her feathers across the UK and beyond. She also sometimes assists celebrated choreographer Lucie Pankhurst as well as choreographing for bands, festivals, theatre schools, fashion and hair shows in her own right.

Marie has an extensive ten year teaching background teaching dance and fitness in the UK and abroad, was co-founder of the TenPilates (Notting Hill) TenBarre Syllabus, assisting with the launch of BabyBop Dance in China and has recently passed her DDI in Modern Theatre Dance.

 

Have you always wanted to be involved in dance?

My mum took me to ballet classes at the tender age of three and it all really stemmed from there. I’ve had two brief blips since then, one at 11 years old when I thought about giving up, but my ballet teacher Elisabeth Swan suggested I try modern in addition to ballet. A year later I had also taken up tap and jazz.

My second ‘dance cross-road’ occurred during my A Levels. I had followed the UCAS route and applied to university, even interviewing at Cambridge to study Geography, but something just didn’t feel right – my heart wasn’t in it. I thank the support of my school teachers who guided me towards what would make me the happiest, and after auditioning at several professional colleges I enrolled at London Studio Centre.

I’ve always been a performer, even as a very young child, putting on shows in the living room, kitchen, garden for whoever would watch. As I grew older – and still to this day – it is the feeling of moving, controlling, sweeping and winding my body through the music. It’s a way to express and process other things that are happening in my life as well as share something I am truly passionate about with others.

 

Where did you train, and what was it like?

My early training at The Weston School of Dance really ignited my desire to become a dancer and then later at London Studio Centre, they gave me the breadth of techniques and skills to make a career out of a hobby. I feel grateful everyday that I get to do what I love as a living. I initially found full-time training really tough – I definitely turned up on the first day thinking it was going to be like ‘Fame’ – boy, was I wrong! The pace was gruelling and the competition was fierce but I would never say that in a negative way: we were supported but not mollycoddled.

 

What was a typical day like?

I commuted into London from Essex so it involved an early train and then into ballet first thing. This is something almost a decade later I still really miss. The familiarity, the rigour of that early morning ballet class, the security and comfort of the progression from pliés through to allegro. The rest of the day was a whirl of singing, voice classes, street, jazz, dance history to name just a few. Taking a moment in between classes to look in at the older students, wondering how long it would take me to be able to dance like that. Then back on the tube, train, home, dinner, bath, bed. It was a relentless routine through term time and I wonder how I had the energy, but I wouldn’t change a minute because it’s got me to where I am today.

 

What is a typical day like now?

No two days are ever the same, which I adore. I have regular teaching posts now so there is some predictability to my week but then a job comes in! For example recently I was assisting choreographer Lucie Pankhurst at a hair show in Dublin which had a crazy Tron/Fantasy theme, and I then touched down at Stansted to run off to teaching (I’ve just launched a barre class in Essex called Barre Fusion (www.barrefusion.uk), before heading back to the airport to fly to Monaco to perform with a band I dance and co-choreograph for.

 

What has been the most memorable moment of your career?

There honestly has been so many it’s hard to choose! Touring with Bryan Ferry and Roxy Music for several years was so much fun and playing to arenas and huge festivals definitely fulfilled a lifelong dream. Nowadays I’m lucky enough to work regularly with two groups that are filled with some of my best friends (The It Girls and The Kitts Band/Project) there’s something really special and comforting about being on stage with your mates. I have been fortunate enough to also dance on screen in TV and film – my favourite was Disney’s Maleficent. Stepping onto a set that big, it was like entering another world.

Also, seeing students I teach perform gives me an immense sense of pride. I consider myself lucky that I love teaching so much and have always done it on and off from an early age – giving workshops at my old secondary school, running after school dance clubs, even flying to Switzerland to teach drama at the International School in Geneva. I am a people person and I’m fortunate now to teach all ages from three years to adult, beginners to advanced as well as delivering a variety of workshops to students with SEN. The arts are a fantastic tool in schools to develop confidence, creativity and explore new subject matter.

 

Tell us about your newest teaching venture…

Barre Fusion is a fast growing worldwide phenomena that brings a new element to your workout as a fusion of ballet, pilates and yoga set to upbeat popular music. Using the techniques and disciplines from the ballet world, the core strengthening of pilates and the flow and stretching of yoga it delivers a high energy high impact workout that combines strength and toning with flexibility and cardio all in one. It aims to deliver the lean toned dancer silhouette, improve tone, posture and flexibility.

After being approached by a fellow dancer in 2014 we developed a syllabus for a London chain of studios and in collaboration with my old dance school ‘The Weston School of Dance & Performing Arts’ we decided to launch and adapted version in Chelmsford, Essex. We’re literally in our early weeks but the response has been great and I love teaching it, it gives great results and helps me maintain the physique and fitness level I need to continue performing.

 

What is your favourite thing about dance and the performing arts industry?

The people you meet! You develop relationships very quickly when you are stuck with each other away on a job 24/7 and you’re are often sharing really unique experiences with people that stay with you forever. For example, earlier this year I did a gig in the Seychelles, going snorkelling and kayaking before the gig with the other dancers is something I’ll never forget – we all spent the whole trip pinching ourselves.

 

And the worst?

It saddens me the way performers have become economically undervalued. Obviously, I understand that with the recession the industry suffered massively but the number of jobs advertised for free or low pay is ever increasing. It’s just not good enough, we’re highly skilled professionals that have invested years of training and money into becoming professional artists. Yes, we are lucky to do a job we love but I don’t do the job for the love of it. I’m good at it because I love it but we still have a livelihood to make. You wouldn’t ask an accountant or a builder to work for the love of it or for the experience/exposure. Of course there are always cases where like-minded individuals are trying to create something that is non-profit and mutually beneficial in terms of experience and exposure, but more and more often I am seeing advertisements online to the contrary. I’ve been really lucky in my career to always be paid and treated fairly but as an industry, along with our wonderful unions, societies and agents, we need to work together to give everyone a fair chance at creating a sustainable career.

 

What or who inspires you most on a daily basis?

I’m inspired by lots of different things, I love looking at videos of dance online – I’m really into The LXD at the moment, which started life as a web series – it combines so many different styles and their precision is ridiculous. Just this morning I watched a performance by Patrick Swayze and his wife Lisa Nieme from the 90s, it was a jazz piece to a Whitney Houston track devoid of tricks, showing beautiful jazz pas de deux, fabulous technique, facility and line.

Choreographer Lucie Pankhurst has featured throughout my career right from my first job out of college (a big show in Milan), and her approach to the rehearsal process and the way she looks after her dancers has always inspired me, and I’ve tried to put this into practise myself. I’ve been fortunate to work with her on a really broad range of productions from avant-garde hair shows, BBC’s Horrible Histories and Disney’s Maleficent to a beautiful contemporary combination of text and dance written by Simon Stephens and performed at the Camden Roundhouse – each piece is uniquely different as required by the brief but ultimately, recognisably ‘Lucie’. Watching her work with dancers and non-dancers is a marvel – she always puts everyone at ease and makes us all feel confident and fabulous.

I’m inspired by the people I teach and dancers I work with, both children and adults – you can always learn from people no matter where they come from or how old they are, everyone has a perspective, a style, an energy and an interpretation they bring to the choreography.

 

What advice would you offer to an aspiring performer?

Be gracious and fun to be around, work hard and love what you do. OBSERVE – it’s amazing whether in the studio, theatre or on set how much you can learn from what’s going on around you, not just from other dancers but lighting, sound, production. Be interested in all aspects of the industry that you’re in – you’d be surprised where these observations and connections could lead.

 

What’s next for you?

Who knows! I had various gigs in the run up to Christmas both with The It Girls and The Kitts Project and the schools I teach at have been preparing for Christmas performances which came around all too soon. That’s the exciting part of the industry you never know what’s around the corner.

In January, on Monday, tomorrow – setting ourselves resolutions is something which never gets old. Bettering ourselves in the dance studio and feeling like we are progressing further along our dance journeys is hugely fulfilling, so the new year is a time when lots of dancers enjoy setting a few goals to aim for during the year ahead and beyond.

Whether it is becoming a better turner on the left (or right!) hand side, learning a new dance skill or simply reaching out to new dancing friends, 2016 looks set to welcome a multitude of resolutions as dancers return to the studios after a break. Creating goals is a process that requires motivation, in aspiring to achieve more and simultaneously enjoying the dance studio. Goals are also a chance to take an in-depth look at exactly what you want to achieve, and the attention and action the goals will require.

Goal setting and resolution-making is something personal and individual to each dancer. While there is no limit to your dancing dreams and goals you wish to master, success may be swifter by focusing on a select number of goals at one time, continuing to reflect your dreams, values and passions but also making sure they are attainable.

For some dancers, the ultimate dream is joining a professional dance company and performing on stage. If one day you would love to do this too, make sure you prepare: do your research and ensure you are building up the relevant and useful skills that will help make your dream a reality. Research schools, teachers, companies’ repertoire and become familiar with what is happening in the dance world. Take different classes to build up your skills and continue to hone your craft.

Be confident in class and embrace new challenges. If your objective in dance is simply to have fun and become the best dancer you can be, don’t forget why you love dance. This is especially important when you are faced with a tricky combination, or you suddenly end up on the studio floor without knowing how you got there – all you know is that it was the pirouette’s fault! Having a positive attitude is one of the best attributes a dancer can have and it can go a long way in ensuring you continue to achieve your dance goals. See challenges as an opportunity to grow into the best dancer you can be!

The New Year is also a great time to try new dance classes and skills: you might fall in love with a new technique, or discover your aptitude for a certain step or trick. If you attend a regular class at a dance school, it is easy to supplement your learning by attending open dance classes in other techniques and taken by different dance teachers. If you usually focus solely on ballet, why not temporarily lose the fifth position and try a contemporary class? If you are a keen tapper, why not try yoga or Pilates to add another dimension to your training? You could find new rhythms in a tap class and deeper stretches in a conditioning class, just don’t be afraid to try!

If your dance goals are more general, such as increasing your flexibility or strength, you can still measure your success in order to better your dancing self. A balance between strength and flexibility is important to all dancers because it helps in performing dance moves correctly and reduces the likelihood of injury, so working on improving this aspect of your technique is thoroughly beneficial. Set time each day to work on these aspects, in increasing your muscular flexibility and also the strength which lends itself to the control and grace of your movements.

Above all, take time to review your goals and consider how far you have come. Telling your dance teacher about your aims for the new dancing year mean they can help you to be accountable for your goals and give you a support system in providing pointers and corrections. With your teachers and peers helping to guide you towards your goals, and a positive outlook for the new year, it will soon be time to start thinking about the following year’s goals!

Katie Mason is currently the Elders Programme Coordinator and an Animateur at Rambert, in addition to being a freelance community dance artist working for companies such as English National Ballet, as well as independently, Katie teaches different ages in different community settings, such as school workshops, elders groups and sessions in hospitals, as well as regularly teaching early years at Rambert.

She graduated with a BA Hons in Dance from the University of Chichester in 2012 and subsequently from Trinity Laban with a Diploma in Dance Teaching and Learning. For three summers Katie assisted in New York as a group leader/mentor for AileyCamp, a summer school run by the Alvin Ailey Dance Foundation for disadvantaged young children. In 2011 Katie also visited Cape Town to deliver workshops for Dance for All, a charitable organisation taking dance into the townships of South Africa.
 

Have you always wanted to be involved in dance? How did your involvement begin?

I started dancing when I was a very young, covering different styles. It was when I was introduced to contemporary dance at the age of 14, and subsequently going on to study it for A Level that I that I started to see the possibilities of where dance could lead me in the future.

 

Did you train? Where, and what was it like?

I went to Chichester University to do BA Hons in Dance which I really enjoyed as it gave me a general overview of the dance industry at a high standard. There was a lot of practical elements to the course; technique, performing, choreography and teaching as well as the theoretical elements to back it all up. Allowing me to explore the community dance aspect at university inspired me to study further for the Diploma in Dance Teaching and Learning at Trinity Laban. This course taught me about different teaching settings and helped me to become reflective of my own practice. By taking a part time course it enabled me to work in the community dance industry alongside studying so I could put my learning into practice which I felt was invaluable.

 

What is a typical day like now?

Being a freelance dance artist and Elders Programme Coordinator allows my days to be incredibly varied and sometimes chaotic! Often when I’m in the office, I will start the day assisting in a Dance for Parkinson’s class and then the afternoon will be spent answering emails and administrating the six projects on the Rambert Elders Programme that has been funded by City Bridge Trust. Another day I may spend the morning teaching movement to patients in a hospital, followed by a school workshop in the afternoon. Saturdays you can find me teaching 2-7 year olds at Rambert, which is a definite contrast to the rest of the week!

 

Tell us more about your work with older dancers – what do you enjoy most about it?

Our Elders Programme at Rambert includes Dance for Dementia and Dance for Parkinson’s workshops in local day centres, Hounslow Senior Group and outpatient workshops at Chelsea and Westminster Hospital. Although they are all for over 60s they are each so varied and bring their own joy and challenges! I am lucky enough to teach on two of the projects; Hounslow Seniors Dance Group and the workshops at Chelsea and Westminster. The participants are always enthusiastic and many have not danced before or know about Rambert and contemporary dance so to see them taking part in something out of their comfort zone is brilliant. We always end our sessions with refreshments and this is always a lovely part to engage in and listen to our participants thoughts and fascinating life stories! Many older adults find TV their main companion: by bringing dance to them we are combating physical inactivity and increasing social lives. To know the physical and psychological benefits that participants can gain from taking part in our dance classes makes it rewarding.

 

What has been the most memorable moment of your career to date?

Most probably working in America assisting with AileyCamp Newark for three consecutive summers. It was an incredibly inspiring project, the staff put so much energy into making it as successful for the campers as possible and by the end of six weeks to see the change in the campers was so rewarding. I feel very privileged to have been a part of that project!

 

What is your favourite thing about dance?

Our sessions are full of smiles, creativity and joy for all ages and abilities – that’s what dance is all about!

 

And the worst?

Still the lack of recognition from the NHS and government about how important dance can be in schools and during treatment as well as for the elderly.

 

What or who inspires you most on a daily basis?

My colleagues for their determination and dedication to making dance and the arts accessible for everyone.

 

What advice would you offer to someone hoping to go into a career in teaching?

To be open and positive, teaching can vary so much – day to day, session to session and you just have to go with it to be able to give your participants the best that you can.

It is no surprise that there are constant shifts to the shows opening and closing in London’s West End, however two recent changes have been significant. Billy Elliot – The Musical has announced it will play its final performance at the Victoria Palace Theatre on 9 April 2016 and a West End transfer has been announced for new show School of Rock – The Musical, which opened at the Winter Garden Theatre on Broadway earlier this year.

The award-winning musical Billy Elliot will move from the Victoria Palace next year due to a refurbishment programme at the theatre but in a compensation for the closure, the musical will embark on its first UK and Ireland tour, which will open in Plymouth in February. The tour is currently booking until May 2017 giving regional audiences the chance to experience the much-loved musical and see Billy achieve his dreams. Billy Elliot opened in the West End in May 2004 and will have played over 4,600 performances in its eleven years by the time it closes. The West End cast currently includes stars Ruthie Henshall and Deka Walmsley, and recently welcomed its 42nd Billy.

In a new treat for London audiences, Andrew Lloyd Webber’s adaptation of School of Rock – The Musical is set to open at the London Palladium in the autumn of 2016. School of Rock – The Musical is based on the film of the same name which originally starred Jack Black and follows a failed rock star posing as a substitute teacher. The world premiere on Broadway was received very well by audiences, and the next chapter of the show’s journey will be to stage it in London.

Alongside the transfer news, Lloyd Webber also announced that School of Rock will embark on a US tour in autumn 2017, presenting the musical to more people across the country, extending the musical’s reach considerably. The show features music by Lloyd Webber, lyrics by Glenn Slater and a book by Julian Fellowes. The production is directed by Laurence Connor.

Melbourne Dance Theatre has recently officially relaunched itself as the Victorian State Ballet over in down under, with the new name for the Australian dance company announced at a special gala performance. Melbourne Dance Theatre has been performing since 2003 as a pro-am (professional-amateur company). Following lasting success for the company the directors have been able to provide paid employment to an increasing number of professional dancers.

In 2014, Melbourne Dance Theatre was able to pay 16 dancers on around two month contracts, underpinning the hard work and good results of the company. For 2016, the directors anticipate they will be able to employ 15 dancers and two apprentices on season contracts. The success experienced by Melbourne Dance Theatre therefore led to the rebirth of the company through its new name, better reflecting its work and plans for the future. The directors also instilled the rename in order to distinguish the company from the two other Melbourne-based classical companies: Melbourne Ballet Company and Melbourne City Ballet.

The vision for the company is to become the central hub for dance in Victoria, Australia, and to connect people and dance across the state by providing them with an exciting and challenging programme of works. The directors plan to collaborate with leading artists and organisations as part of their mission statement, extending the reach of the company to new audiences. Negotiations are already underway with other performing arts centres in Warrnambool and Benalla in Victoria, and the company also plan to travel interstate to Adelaide for a season.

Other plans by the directors of the Victorian State Ballet are to present their own classical ballet repertoire and contemporary dance works, with three full length ballets and other shorter new ballets being prepared for. The repertoire will include Don Quixote, Cinderella, The Nutcracker, Les Sylphides and a children’s season of La Boutique Fantasque.

Family Weekend, Sadler’s Wells theatre’s annual two-day festival of family friendly events, returns for 25 and 26 March 2016. Family Weekend will take over the building, with the shows on the Sadler’s Wells and Lilian Baylis Studio stages – Snow White and Digitopia – being complemented by fun activities for all ages.

Following its award winning Rapunzel, balletLORENT brings its latest dance theatre fairytale production, Snow White, to Sadler’s Wells. This production takes inspiration from the original Brothers Grimm fairytale, where Snow White’s real mother, rather than her stepmother, becomes consumed by jealousy for her beautiful daughter. balletLORENT’s 11 professional dancers will be joined by a cast of 12 local children from the Islington borough, aged 6-9 years old.

At the Lilian Baylis studio, Tom Dale Company has partnered with MOKO Dance to present Digitopia – a dancing digital wonderland inspired by two dimensional lines, curves and three dimensions. Using and testing the boundaries of contemporary dance, Tom Dale Company’s collaborative practice focuses on the synergy between urban contemporary dance, electronic music and digital art, all for young children. Digitopia integrates live dance and digital technology to create an abstract world that defies the usual rules of gravity and physics, using a sci-fi-like environment full of digital animations and brightly coloured patterns alongside the movement of dancers.

The work has been specifically programmed for children and their families to enjoy together, with the same high production values that audiences experience at Sadler’s Wells throughout the year. These memorable theatrical experiences aim to capture children’s imaginations and inspire an interest in live performance from a young age. In addition to performances, a Creative Dance Workshop by MOKO Dance will explore themes from Digitopia with an emphasis on fun, musicality and creativity, aimed at children aged 5-8 years and parents.