Category: News

The world of musical theatre, where belief is suspended and the magic of illusion is welcomed, is ultimately the culmination of years of training and hard work by the performers. In order to succeed in the best way possible, performers are still required to be a “triple-threat” in mastering singing, acting and dance, and to go further still.

New productions, and even casting for those which are well-established, require an ever-increasing range of skills, such as puppetry, stilt-walking, acrobatics, playing a musical instrument and roller-skating, alongside such high levels of dancing, singing and acting. Performers must have a multitude of skills under their belts, and must be confident enough to be able to attempt to master everything presented to them, either in an audition or in rehearsals.

A music theatre performer needs a broad range of skills to stand out from the crowd, and be quadruple or even quintuple-threat performers. Even considering dance alone, to have the best chance at continuous work performers need to be strong across all three traditional disciplines of ballet, jazz and tap, and have extra skills as well, such as pas de deux. Most musical theatre performers start in the industry as ensemble or understudies, which means they need to be as good as every ensemble member in the show, able to jump into any role at any time.

The weighting of the performer’s skill set depends on the show: musicals such as A Chorus Line or West Side Story need faultless dancers, as well as being a singer and actor. In contrast, for Les Miserables you need to be a strong singer. The landscape of musical theatre is continually changing to reflect culture and commercialism; it is advisable therefore for performers to keep broadening their skills, and learning other dance genres such as hip hop and ballroom. Aside from dance, the more you can do, the more shows you are right for and the more you will work, so ensure you stand out from the crowd and keep opening the door to more opportunities.

You have got your first job as a professional dancer, in a long-running theatrical production. Whilst this is not always the preferred option with performers – due to the monotony of the day-to-day repetition of movement and life itself – working in a theatre on a production which has its feet under the table can be very rewarding.

However, if you are worried you may not last in your first job in a long-running production, there are ways to survive! It is important to get into your own routine quickly, one which enables you to get enough sleep and eat regular meals, and also conserve energy for the show. Most of the time you won’t be required at work until late afternoon, so ensure you do not become complacent and jeopardise your discipline and stamina required for working on a long run. In addition, it is also helpful to have a life away from the theatre, so you are not living and breathing the profession constantly. Life in a long run can get very claustrophobic, both physically and mentally, seeing the same faces over again and facing and company politics.

Make time for yourself whilst you are working on a long run. It is easy to feel like you have no influence on the production if you have a smaller role or are understudying. Take some time aside to work on something you are passionate about, be it part of the industry or not, such as writing or even forging alternative careers. Even if doing something for yourself means taking classes, they will help keep you feeling fresh, through something such as yoga, Pilates or even an alternative dance technique. It will help with your health, wellbeing and sanity!

Above all, listen to others. Don’t go into autopilot mode and and just go through the motions, or even try to manufacture spontaneity. The director is there to help and advise you, and many theatre notes are often for the long-running performers.

The Alexander McQueen biopic will transfer to the Theatre Royal Haymarket this August, following its successful run at the St James Theatre. Stephen Wight will reprise his role as the fashion designer in James Phillip’s play, alongside Carly Bawden (Assassins, Menier Chocolate Factory) as Dahlia for the West End run from 13 August–7 November. Wight originally starred alongside Glee’s Dianna Agron when the show premiered in May.

Taking audiences on a journey into the visionary imagination of one of Britain’s most legendary designers, McQueen follows the story of a girl who climbs down from the tree in which she’s been watching him and breaks into McQueen’s Mayfair home to steal a dress. Catching her in the act, McQueen has the chance to call the police but instead they embark on a journey through London, visiting figures – both dead and alive – encountered throughout his troubled life.

Directed by John Caird, and with choreography by Christopher Marney, McQueen will open at the Haymarket following the current run of the Broadway transfer The Elephant Man starring Bradley Cooper, which closes on 8 August. Tracy-Ann Oberman and Laura Rees, who both appeared in the show’s original run, will reprise their roles as Isabella Blow and Arabella alongside Wight, with Michael Bertenshaw (Anne Boleyn, Shakespeare’s Globe) joining the cast as Savile Row tailor Mr Hitchcock.

The popular theatrical notion is that if a production plays successfully at the Chichester Festival Theatre, it is very likely the show will receive a West End transfer. Here McQueen breaks the mould, transferring from a London venue to the very heart of Theatreland. Playwright Phillips has spoken of his opportunity to refine some things from the original production, with the show set to delight audiences yet again through this McQueen insight.

This summer will see Bloomberg dedicate its annual festival at the Camden Roundhouse to introducing new audiences to innovative culture, opening with Utopia, a major new installation. Alongside the installation, the Roundhouse presents two thrilling and enchanting evenings of dance, circus, cabaret and spoken word as part of Utopia Live Lates, a series of evening events that will be based around a different provocation and theme from the installation.

Curated around the concept of a genderless world, Circus Director Paul Evans will premiere a brand new circus aerial piece ‘Don’t Mention The F Word’, and Zoonation Youth Company will be joined by Roundhouse street Circus Collective and Tommy Franzen to perform a mash-up of ballroom and street dance in an electric brand new commission choreographed by the legendary Arlene Phillips.

6 August in particular presents a Late which will celebrate the genderless world through circus and cabaret. The anti-drag queen David Hoyle will bring a special performance that promises to be provocative and highly funny, and performance artist Andie Macario will also take to the stage. Fresh from headlining the Block9 field at Glastonbury this year, infamous international DJ Honey Dijon will take partygoers into the night with her distinct Chicago sound with the deep New York underground, mixing classic house and disco, techno and tech house.

A second Late on 12 August will see money, inheritance and celebrity put in the spotlight through dance, spoken word and live art. Tommy Franzen, ZooNation Youth Company, Roundhouse Street Circus Collective and established ballroom dancers will perform a mash-up of ballroom and street dance in a brand new commission especially created and choreographed for Utopia by Phillips. The commission will bring together dancers of all generations as Phillips will also deliver her impassioned provocation, for a world without material inheritance.

A new reality TV show about West End performers – which currently has the working title Life’s A Stage – is being developed for a pilot filming session during August. The show has been commissioned by a major broadcaster: if the pilot is well-received, it is expected to be commissioned for a full series.

Production company Znak and Jones is now casting for the pilot episode, which will not be broadcast, and is seeking performers of any experience, aged 18 to 35. Znak and Jones was set up by former ITV head of factual Natalka Znak and Simon Jones, former chief operating officer of Syco Television USA.

The inspiration for the show was the West End casts performing at the Royal Variety Performance, the annual fundraising gala. Casts change so rapidly for West End shows, as well as the life expectancies of the shows themselves. Life’s A Stage will therefore centre around a cast of West End performers living together in one house, with the juxtaposition of the glamour of the stage and the reality of living. As well as documenting both the work lives and social lives of actors, musicians and dancers, the show will also include planned performances of songs from West End shows.

The show is not set to be a documentary about actors, but it also will not be as scripted as shows such as Made In Chelsea and The Only Way Is Essex, which are heavily constructed. Scenes will not be set up for the real-life actors to interact with each other, but will be a real reflection of life and their real actions and reactions will remain. A simple storyline will be added using the talents of those involved, making for an entertaining insight into the world of showbiz.

Hypermobility is not always something to aspire to. Although it is useful for a dancer to be flexible to enable the body to achieve what it is asked in dance, the swayback knees, flexible spine and high arched feet can also have their drawbacks. Dancers who have these attributes generally don’t have to work hard to be flexible, due to their inherited joint flexibility (their connective tissue which binds the body together is not as tightly woven together).

Whilst it may seem a hardship to have to work for flexibility, there are clear drawbacks to hypermobility and far reaching consequences. Dancers who are hypermobile will also have flexibility where they do not need it, such as in their finger joints, wrists, elbows and knees, even their skin. As a result, it is difficult for these dancers to build strength, control and stabilise their bodies; wear and tear and even dislocation can take place.

All dancers need good stability around joints, but the hypermobile dancer needs it even more to counteract the lack of restriction and protection in their ligaments. The condition must therefore be handled with care, in order to coordinate their bodies and so not to compromise balance and correct alignment. If this is not ensured, overuse injuries and trauma can occur.

It is important to understand the requirements of the hypermobile body, so the beautiful lines and flexibility can be displayed once strength, stability and coordination have been acquired. It is clear in dance that different body types require a different emphasis on certain part of training, so understanding the hypermobile body means dancers can train with realistic aims. Ensuring there is stability and control in the dancer through increased strength is imperative, meaning cross training is necessary for this particular body type.

Sadler’s Wells’ National Youth Dance Company, and guests, are set to present Apex Rising, an eclectic mix of choreographers such as Jasmin Vardimon, Akram Khan, Sidi Larbi Cherkaoui, Wayne McGregor, Hofesh Shechter, Anna Kenrick and Kerry Nicholls on 4–5 September.

The special weekend of dance will be hosted by the National Youth Dance Company, celebrating the innovative and exciting work being performed and created by young dancers today. This inaugural Apex Rising festival will unite some of the most highly esteemed figures in contemporary dance, including the three past NYDC Guest Artistic Directors, Vardimon, Khan and Cherakoui in the line-up.

Featuring work by four national youth dance companies from around the UK and abroad, the festival sees these internationally acclaimed artists illustrate their commitment to young dancers and to initiatives that build exceptional artistic talent, and nurture the dance landscape of tomorrow. This new annual festival consists of two contrasting programmes that capture the power young dancers have in shaping the future of dance.

The second programme of the festival, following the first including the NYDC, is an evening featuring a confluence of styles and energy, staging work by youth dance companies of France, Scotland, Wales and England. Leading French youth dance company Groupe Grenade – Josette Baïz performs extracts from Entity by Sadler’s Wells Associate Artist McGregor, and Uprising by Sadler’s Wells Associate Artist Shechter. The evening also sees National Youth Dance Company of Scotland perform Stuck in My Throat by YDance Artistic Director Kenrick as part of the company’s 2015 tour, and Dawns Genedlaethol Ieuenctid Cymru / National Youth Dance Wales perform a newly commissioned piece by Nicholls. It is completed by NYDC’s restaged excerpt of Akram Khan’s Vertical Road.

The experience young dancers gain through initiatives like NYDC not only supports them, but pushes them further into the world of dance to aspire to achieve more.

Many dancers are great fans of Pilates, even elite dancers who have already reached the height of physical fitness and undertake eight or more hours a day of dancing activity. Pilates supports their day-to-day technical requirements, but with a different focus on their bodies.

Pilates is a physical fitness system which was developed by Joseph Pilates in the early 20th century; it is currently practiced by over 11 million people worldwide. Pilates does not build bulky muscles, which dancers prefer, instead championing strength of the entire physical structure. Pilates can be used to release and work through tension in the body, as well as to increase strength and flexibility.

Pilates benefits elite dancers because it works against the tolls of dance on the body, helping them to correct imbalances and find space outside the studio to release and reconnect. Pilates is a subtle technique, which also helps dancers to rehabilitate injuries and become stronger for the challenges of rehearsals or performances. Many dancers believe Pilates is the key to having a healthy strong body to keep up with the physical demands of dance.

Following careers on stage, many dancers retrain to become Pilates instructors once they have hung up their shoes, especially ballet dancers. They have felt the benefits personally and enjoy the journey of discovery and focused work Pilates endorses. Pilates is a perfect match for ballet, considering the core strength with focus on alignment and length. Pilates gives dancers more awareness and understanding of what they are asking the body to do. It provides security and freedom in dancing through strength and control, as well as lengthening the muscles, improving coordination of breath and becoming more aware of engaging the mind’s awareness of the body.

Iconic choreographer Wayne McGregor, alongside the Mayor of London Boris Johnson, has launched a new dance module for the London Curriculum at City Hall this month. The London Curriculum is an initiative for secondary schools in the capital, aimed to help pupils learn more about their city and experience the wealth of cultural opportunities London has to offer. Running alongside the National Curriculum, the programme already includes modules in English, Art, Music, Geography and History.

Developed in partnership with Sadler’s Wells, the new dance module for 11 to 14 year olds will involve visits to organisations including the Royal Opera House, as well as dance classes and workshops with artists and choreographers, offering a wealth of artistic opportunity to the students. The London Curriculum is an exciting programme that will bring the new national curriculum to life, ultimately inspired by ‘London’s people, places and heritage.’

McGregor maintains the importance of enabling children to learn about dance within education, as it nurtures creativity, helps with self-expression and boosts confidence and self-esteem. It is clear that dance inspires young people to work in the creative industries: people who study dance become more focused, motivated and disciplined throughout the rest of their lives.

Teachers are encouraged to register in order to receive the high-quality teaching resources to help learning in and outside school, developed by the Royal Geographical Society, Museum of London, Institute of Education and other experts; exclusive evening sessions for teachers at leading London venues including the National Portrait Gallery, British Library, British Museum and Shakespeare’s Globe, inspiring teachers to use the city to enrich their teaching; and competitions, events and other opportunities for students to showcase their learning.

The London Curriculum currently supports key stage 3 in English, Music, Art and Design, Geography and History. New resources in STEM subjects will be available from July. Languages, Personal, Social and Health Education (PSHE), citizenship and RE will follow in 2016.