Category: News

For many dancers, cracking joints are part of everyday life and dancers often pop them subconsciously, whether for relief in the joint or just through habit. There has been much debate as to whether this is safe, or whether the noise is simply an exaggeration of what is really going on in the joint, making it sound worse than it really is.

The hip joints are possibly the part of the body that is cracked the most, with some dancers even experiencing snapping hip syndrome. For many dancers, they simply have to crack their hips, otherwise they would struggle to turn out or get their leg up high enough; they also pop their joints because it feels good, it can help with mobility, and it can often seem truly necessary. When the hips are ‘popped’ it should not induce pain, just relief for the joint and reduce any pain that is already felt there.

There are several different ways you might pop in your hip, and this sound is from the tendons moving over the hip’s bone structure. Tendons connect muscle to bone and usually cross a joint. They are held in place by tough fascia and bony structures, but they can sometimes get temporarily caught on the joint as you are moving through a large range of motion. When this is not smooth it results in the audible “pop” and/or a pop that you can feel. This can happen either by force or on its own.

Everyone’s joints are fairly similar in shape, but how tight or loose the soft tissues are around the joint, and whether or not someone can pop their hips or not, can differ a lot between individuals. Occasional snapping of the hip is acceptable however if it is done repetitively or habitually, this can result in irritation of the tendon or inflammation of the tendon and the joint capsule. This can cause genuine pain and discomfort, tears and decreased dance function.

It is interesting that many people involved in the dance industry are unaware that Freed of London make pointe shoes, and are only aware that the factory makes Ballroom & Latin shoes, or vice versa, only having experience of one of the shoe styles. However, both aspects are covered under the one roof of the legendary factory tucked away in Hackney, east London, and it is often a pleasant surprise to visitors that the factory is constantly busy designing and producing shoes for both ballet and the ballroom floor.

From the outside the factory looks fairly modest in size, however it extends a long way back in order to incorporate a number of different rooms and activities. From the design office to the finishing room, each area is buzzing with activity. What is reassuring to customers is that all the shoes of Freed of London are, in fact, made in England, specifically in the east London factory. With high quality and craftsmanship of iconic trademarks of all the shoes that are produced by Freed, customers are safe in the knowledge they have bought something of high quality, made with love.

For pointe shoes in particular, this area of the factory is awash with the unique ‘new pointe shoes’ smell that is loved by so many dancers. There are a number of ‘makers’ for pointe shoes, each concentrating on the specifications of both catalogue pointe shoes and more bespoke orders. Part of the factory’s work is also made up of supplying ballet companies with their dancers’ pointe shoes; many dancers like to remain with one maker throughout their careers, making small changes to their shoes as per their working requirements. The hard work truly begins when a maker retires, and it is the responsibility of one person to ensure there is a smooth changeover to another maker for the dancers relying on their particular expertise.

Whilst factory tours are few and far between, there is a magical world behind those factory doors.

Strictly Come Dancing’s assistant Charleston choreographer, Scott Cupit, recently led hundreds of swing dancers and members of the public in an attempt to break the Guinness World Records title for the Largest Charleston dance. Taking place at noon on 11 October at Spitalfields Market, London, the routine was also taught at 40 venues across London, and it could be learned by people all over the country by watching the Youtube video instruction.

Cupit, who has coached the likes of Daniel O’Donnell, Scott Mills, Judy Murray and Alison Hammond, founded the BBC Dragons’ Den swing dance school success, Swing Patrol, in which Deborah Meaden invested. In his leading of the huge mass of swing dancers to break the world record, this was also raising money for Guy’s Cancer Centre Appeal. Dedicated dancers of all levels, from absolute beginners to international professionals, were encouraged to learn the routine at a Swing Patrol class.

The attempt to achieve the Guinness World Records title for the Largest Charleston dance formed part of a swing dancing Megaday – which included an event exploring Scott Cupit’s first book ‘Swing Dance: Fashion, music, culture and key moves’ in the afternoon as well as swing dancing lessons, live music and social dancing at one of London’s best ballrooms, the Bishopsgate Institute, in the evening. The day also included swing music from BBC TV Record Breakers’ presenter, jazz musician and record breaking dancer, the late Roy Castle, who died from lung cancer.

Guy’s and St Thomas’ NHS Foundation Trust is building a new Cancer Centre at Guy’s Hospital to help meet the needs of over two million people across the South East. Each year the Centre will see 20,000 suspected cancer cases and treat 6,500 cancer patients. When the new Cancer Centre opens at Guy’s in 2016 it will bring together most treatment and research under one roof. Uniting world-leading scientists and clinicians under the same roof will give more patients the opportunity to take part in the latest clinical trials and benefit from the most advanced treatments in development. Crucially, it will help to discover better treatments and cures faster.

Almost every form of dance has the option of some kind of partnering, with ballet, ballroom and Latin being the main styles in which this occurs. When learning ballroom and Latin, many dancers feel like they are thrown straight in at the deep end when they are partnered with another dancer straight away – often a stranger – so they can learn to move as one. A strong partnership in dance is integral in any form of partnering.

Physical contact is the main aspect of partnering, and in ballroom and Latin particularly, personal space is non existent. As a dancer, the mind and body are trained to pick up the movement quickly, and with skill. Previous dance training will mean the body is able to adapt well to different styles yet for some, adding a partner throws everything off! Trust is also integral to dancing with a partner, in addition to giving up personal space and control. Despite these feelings of anxiety, every time you trust your partner a little more, your dancing together improves. Communication is also key: a poor connection between the dancers will mean signals will be lost or misunderstood and a constant struggle will ensue.

When these three elements of physical contact, trust, and communication come together, the magic of ballroom and Latin is overwhelming, with two bodies moving as one. Once they get used to it, many people – dancers and non-dancers alike – learn to love the partnership that ballroom and Latin requires through much give and take. Whatever the technique employed during ballroom and Latin dance, even if the bodies are not in full closed position, they are still connected and move in response to one another. Whether it is the first time or the hundredth time, there is still something ultimately satisfying about dancing with a partner.

ZooNation Dance Company’s acclaimed show is set to return. Into the Hoods: Remixed, the newly revamped version of the award-winning production that stormed the West End in 2008, returns to The Peacock from 23 October–14 November, before embarking on a national tour in 2016.

The company uses its trademark narrative hip hop dance theatre style to tell the story of two school children, lost in the Ruff Endz Estate. They have been tasked by the Landlord to find an iPod touch as white as milk, trainers as pure as gold, a hoodie as red as blood and some weave as yellow as corn. Along the way, they meet DJ Spinderella, wannabe singer Lil Red, vivacious rapper Rap On Zel and budding music producer Jaxx. Together they embark upon a storybook adventure, set to music from James Brown, Queen Latifah, Jay Z, Jennifer Hudson, Kool + The Gang, Salt n Pepa, Chemical Brothers and MC Hammer.

The original Into The Hoods received universal praise at two Edinburgh Fringe runs and during its West End run in 2008, winning the What’s On Stage Award for Best Ensemble Performance. Its success has had a huge impact on the profile of hip hop dance in the UK; the production became the first ever hip hop dance show to open in the West End and one of the longest running dance shows in the West End’s history. The much-loved show returns to the stage with a cast featuring Corey Culverwell and Mikey Ureta, former members of ZooNation Youth Company and finalists on Britain’s Got Talent with their crew BoyBand.

Sadler’s Wells Associate Artist Kate Prince founded ZooNation Dance Company in 2002. In 2008 Kate choreographed the West End cast of Into the Hoods for a special performance for Nelson Mandela’s 90th Birthday Concert in Hyde Park. Following many other successes, Kate’s most recent work includes writing, directing and co-choreographing ZooNation’s productions Groove On Down The Road for the Queen Elizabeth Hall, Southbank Centre, and The Mad Hatter’s Tea Party, which was the first hip hop dance piece to be commissioned by the Royal Opera House.

Andrew Lloyd Webber’s hit musical Sunset Boulevard is heading to London’s West End next year, accompanied by Academy Award nominee Glenn Close who will make her West End debut in the production. Next April will see Close reprise her Tony Award-winning role in Sunset Boulevard, also famous for roles such as in Damages and Fatal Attraction. The US star will lead the semi-staged production at the London Coliseum, brought to the venue as part of the English National Opera’s partnership with the GradeLinnit Company.

The limited run in the West End will give London audiences the chance to see Close play the iconic role of faded silent movie star Norma Desmond, a part that was highly acclaimed in America. It also won her numerous accolades following her appearing in the show’s Broadway premiere production more than twenty years ago, making it a role close to the star’s heart. Close is no stranger to the stage, with many Broadway credits, including high-profile productions of The Real Thing, Death And The Maiden and A Streetcar Named Desire.

The Emma Thompson-led Sweeney Todd is currently running at the London Coliseum as part of a similar agreement between English National Opera and the GradeLinnit Company. Sweeney Todd’s director Lonny Price will return to the venue to direct the musical, which will see the full ENO orchestra on stage alongside the cast, performing tracks such as the musical’s title, in addition to As If We Never Said Goodbye and Every Movie’s A Circus.

Based on Billy Wilder’s 1950 classic film, Golden Globe and Emmy Award winner Close is the forgotten movie star Desmond who passes the time living in her fantasy world. When an impoverished screen writer stumbles into her life, he finds himself seduced by the intriguing star and her luxurious, but ultimately suffocating, world. When another woman comes into the picture, her attempts to break him free from Desmond’s hold lead to dramatic consequences.
Sunset Boulevard will play at the London Coliseum for a limited season of 43 performances from 1 April to 7 May.

As a training dancer on the cusp of your professional career, your experience of the dance world around you will be varied and gaining depth. However, for dancers just starting to study dance seriously, there is a daunting world out there of differing techniques, opinions and choreographic styles. It is important to supplement your training with opposing techniques to balance your body and your viewpoint, taking influence from different parts of the dance world to ensure you are a well-rounded dancer, ready to become a professional.

In the ever-changing dance world, it is no longer enough to train in one technique and solely stick to that one. In school children have lessons in a number of different subjects and many believe it should be the same for dance training to educate both the body and mind. In terms of essential techniques for the dancer, ballet is a must-have as the base of all foundations in dance, however the rest is down to personal preference and individual development.

For professionals, 21st-century dancers are asked to do everything. Even when you have a job in a classical ballet company, you must also be a talented contemporary dancer; for example, contemporary choreographer Wayne McGregor is an Associate Artist of the Royal Opera House. Dancers must have an open mind, not limit their thinking and their relationship to the art form only through a certain kind of repertoire. Becoming familiar with other techniques will further your development and individual style as a dancer.

A strong foundation in classical techniques goes without saying, even in today’s world. Having a clean, adaptable movement style is ultimately what is important, so a neutral base will provide you with the most professional options. The majority of today’s training institutions follow a hybrid of methods so dancers can easily pick up and switch between styles. Modern dance is also one of the essentials of dance to create a balanced professional. Modern techniques such as Graham and Cunningham, with their codified modern techniques, linear positions and structures, are similar to ballet. The structure of the classes appeals to classical training rigour, and working in parallel strengthens underused muscles and helps prevent injury.

Born and raised in the UK, Toby Hawker discovered his passion for dancing at the age of six. At 16 his professional dancing career began, following training in a wide range of disciplines, leading him on an exciting and varied career path.

Next Toby moved to Paris to perform for the world-renowned Walt Disney Company. From there he has performed on TV shows and in films such as HBO’s ‘The Oaks’, BBC’s ‘Holby City’ and ‘Sherlock Holmes 2’. Whilst fulfilling a part time modelling career, Toby trained in Cirque and Aerial Skills and has since travelled the world, performing on five different cruise lines including Celebrity, Fred.Olsen, Princess, Costa and Regent Seven Seas.

As a professional dancer and aerialist, Toby is a jewel in the crown of the RSSC Mariner ship on which he is currently employed. His outstanding experience in the dance industry is underpinned by his huge dedication to his work, with his passion emanating clearly. With professional experience in cabaret, theatre, on board cruise ships, on television and in films, his unique and exceptional talents have taken him on a varied and fulfilling professional career in the performing arts.

Now with a rare opportunity to perform in the longest running show on the strip of Las Vegas, Toby’s intriguing story is waiting to be told…
 

Have you always wanted to be on stage?

That’s an easy one. Yes! As a young boy I always dreamed of being in a large-scale production and would try to imagine that feeling of adrenaline when you’re in the wings waiting for the curtains to open and reveal a sea of eager faces in the audience. I used to love that feeling of nerves! Growing up, the annual school production was always the highlight of my year but I didn’t even realise it was a future career option at that age. It was so much fun it never crossed my mind that people might get paid for this!

 

How did you kick-start your training?

I guess I could say that my training in order to become the dancer that I am now started back in secondary school when I began taking multiple dance classes in technical jazz and ballet. By the age of 13 I was taking four classes a week at London’s Pineapple Dance Studios; my eyes were opened to the professional dance industry and my passion was fiercely sparked. When I first started taking professional level classes at Pineapple, I was far younger than everyone else, but I learned fast and gained confidence. Ultimately I was proud of how much I had improved in a busy year at the studios and how much my talent had developed.

When I was 16 I embarked on a two year Dance course at Godalming College in Surrey. The course caught my attention because of its focus on contemporary dance technique in addition to the history of dance to go with it. I learnt to use my body in different ways and I absolutely loved broadening my knowledge base with knowledge about the great choreographers and artists of the world. The rest, as they say, is history!

 

What has been your favourite audition to date and why?

My favourite audition was for David King’s ‘Spirit Productions’, purely for how much fun I had on the day. Unplanned, I bumped into a few of my close friends I had previously worked with while we were queuing outside. The company were looking to take boys who would be suitable for an international tour that involved four completely different shows. They required versatile dancers with experience in styles ranging from jazz to commercial to rock ‘n’ roll and Irish dance. Each round was completely varied but I kept making the cuts. Eventually, after the final cut, it was just my friends and I who remained. As a close group of ex-colleagues we performed all the material we had learnt that day to the table of employers. We were clearly relaxed with a great rapport, and had great fun dancing alongside one another. It must have shown as we were all offered positions together in the company the following day. It was an audition filled with positivity and excitement rather than nerves and competition.

 

What is a day in the life of Toby like?

On a show day (on board the ship) I try and relax as much as possible. If I have performed, I don’t usually go to bed until the early hours of the morning. For this reason I don’t set an alarm for the next day because I want my body to have the natural amount of sleep it needs. I have a big lunch which would be my main meal of the day then a really light dinner about two hours before curtain up.

This job requires you to be semi-nocturnal and it’s rare to have an evening free, so I’ve got used to planning to see friends and going about my business in the late afternoon. I hate rushing to warm-up, pre-set my costumes and do my hair and make up before a show, so I’m normally in the theatre about an hour and a half before show time.

 

What is it like working away and travelling while you do it?

I was anxious at first before embarking, but immediately loved working away from home purely because of the unexpected experiences I’ve gained. It’s always difficult saying goodbye to loved ones for long periods of time but technology today has enabled us to always be in touch with anyone in the world at any time. I’ve never once felt like I was far from home.

Accepting contracts abroad has taken me to places in the world that most people only fantasise about. We get the odd matinée here and there, but most of the time I only perform shows in the evening which leaves you with the whole day to go and explore your surroundings. It’s amazing! I love working abroad – I’ve had the best experiences of my life.

 

Whats the best thing about performing?

My favourite thing about performing is that it’s always a pleasure, and my job doesn’t become boring. It’s something I always wanted to do and in no way does it feel like ‘work’ to me. I would be doing what I do as a hobby if I weren’t a professional. I also love the deep satisfaction you get when you know you’re performing something that the audience are really enjoying. You can see on their faces that your efforts are being truly appreciated and I always leave the theatre feeling – more so than usual – like I’ve done something productive with my time at work.

 

What would you put your success down to?

Firstly, a positive attitude. Staying focused and passionate is so important in this career. It can be very easy to become heavy hearted when you get cut from auditions. Your heart needs to give its all when performing because it is so easy to spot someone who feels inadequate compared to others in an audition. It’s the last thing a table of employers want to see and you’ll get cut.

I think my success in auditions is from turning a blind eye to my emotions, no matter how stupid I may feel sometimes, and just going for it! You must stay positive and remember why you’re putting yourself through it in the first place. Also, the way I have worked is to focus on one goal, such as being part of a particular company or show, at a time. I know how much I want it and I chase it wholeheartedly: having one focus keeps me driven. If I don’t have a particular focus and start going to auditions without fully knowing what the job is or show is about, I slowly start to feel lost and it drains my positivity and passion, which are crucial.

 

Do you have a life mantra?

I know it sounds clichéd but honestly, life is too short. I never wait for anything and I’m always being pro-active to get to my next contract. If I am undecided about what to do next then I am at least researching it. Always.

 

Do you have any pre-show rituals?

I wouldn’t say I have any rituals as such but there’s one thing I always have backstage before a show and that’s music. I pack my speakers into my backstage bag before anything else! I love putting on some lively tunes while getting ready. All the casts I’ve been part of enjoy it as well. It gets everyone going before the show and sparks a positive attitude backstage. A warm up obviously goes without saying – I spend ten minutes warming my hips up alone!

 

What is your advice to an aspiring performer?

Love what you do and do what you love. Only tackle the industry if you’re willing to dedicate ‘your all’ to it. The job requires so much more than just talent. It demands a huge amount of patience and endurance, and you must always focus on staying positive and remembering why you’re doing it. Always be nice to others and talk to one another if you have the chance. I have learnt so much from fellow dancers just as I have shared my own experiences with them. Help one another and ignore those who put you down. Be confident, but not arrogant!

Most importantly, live your life. Don’t wait. Just do it and enjoy it. Give it your all and only do it if it makes you happy.

Elmhurst School for Dance’s new Health and Wellbeing Centre is creating new waves in developing professional dancers for the industry. Elmhurst is the oldest vocational school in the UK, yet is constantly striving to bring a holistic approach to students’ all-round health and wellbeing during the intensity of full time dance training, helping students to develop into independent and collaborative artists.

The school currently offers students access to a range of health services, including doctors, physiotherapy, nutrition advice, strength and conditioning, and is now building the new centre in order to acquire an on-site state of the art Health and Wellbeing Centre. This facility will enable an even greater programme of health and wellbeing services within a purpose built environment, to develop the Elmhurst ethos. Through added relaxation classes, individual nutritional advice and counselling alongside strength and individual conditioning programmes, the new Centre will become the first of its kind in the UK within vocational training. It will create a closer working relationship between healthcare, artistic and boarding staff, emphasising the desired holistic approach to health and wellbeing in dance.

Elmhurst is acutely aware that classical ballet training has always put huge demands on the bodies of those who choose it as their vocation, and the school aims to understand as much as possible about the negative impact of these demands on dancers’ bodies and how that impact can be minimised through the new centre. It will also focus on the particular issues of dancers’ bone mineral density and posture, and consequently low bone mineral density and osteoporosis among female professional dancers.

A fitness suite at Elmhurst will complement the new centre, acknowledging the additional demands of modern dance repertoire on dancers; Elmhurst’s graduates are expected to have exceptional fitness and stamina levels in order to succeed. The onsite fitness suite includes a wide range of cardiovascular and weight-training equipment.

Founded by the accredited ballet dancer and choreographer Ricardo Cecílio, Genesis Ballet is a newly formed dance company born in the heart of London. As a brainchild of artistic experimentation, Genesis Ballet endeavours to innovate high quality dance productions in the most traditional theatre settings, as well as within contemporary filmmaking as another branch. It’s launchpad performance will be held in Covent Garden, the heart of London’s Theatreland, marking a new direction for dance performance and balletic technique.

Maintaining creative development is key to the Genesis production process, and professional collaborations are also significant to the company’s journey. Fusing classical ballet and contemporary techniques with the vibrant energy of commercial dance styles, truly unique perspectives are brought to the company’s storylines of its productions, the work the company performs on stage. To this end, Genesis Ballet aims to continue to develop its founding concepts and move forward from these too, in order to extend its work and continue to challenge itself and its values.

The founding performances for Genesis Ballet will be held at Swiss Church in Covent Garden, from 6-8 November inclusive. Introducing the company to its new audiences will be Genesis’ 10 dancers, made up of different ages and many different styles of dance, dancers who have been working together since February. In presenting itself to a wide audience base, the show has classical and contemporary-based technique, together with a fusion of jazz and pop commercial dance. Accompanying the eclectic movement choices will be a fusion of well-known music from the pop genre, blended together with a number of classical composers.

The tickets are on sale at https://thelittleboxoffice.com/genesisballet/