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Two of the West End’s most treasured leading ladies in theatre have announced upcoming solo concerts at the Hippodrome Casino in Leicester Square, London, as a delight to fans who will be able to see the icons up close. It was recently announced the Casino would host the ladies in their own concerts: Kerry Ellis and Bonnie Langford have announced solo concerts at the venue, as two much-loved stars.

An Evening with Bonnie Langford will take place on 31 March and will see Langford singing songs and telling stories alongside special guests (further details yet to be announced). She will be accompanied by the Winston Rollins Band with musical direction by Anthony England. Langford’s theatre credits include Spamalot, Dirty Rotten Scoundrels and Gypsy, and her nieces – the successful Strallen girls – have followed closely in their aunt’s footsteps and have too forged hugely successful careers. Langford can currently be seen in BBC1’s EastEnders.

Separately, Kerry Ellis Live will also take over the Hippodrome Casino. As well as infamously playing both Wicked roles of Elphaba and Grizabella, Ellis also originated the role of Meat in We Will Rock You and has starred in West End productions of Oliver!, Miss Saigon and Les Miserables. From her beginnings at Laine Theatre Arts, Ellis has gone on to make a huge name for herself in the world of showbiz. Fans of Wicked and Cats will here get the opportunity to see another musical theatre legend up close in a unique location.

Whilst further information is still to be announced, tickets to the concerts – produced by Club 11 – can already be purchased.

A major industry-wide conference looking at challenges within the theatrical sector is set to take place in May this year, aiming to establish what needs to be done to ensure success and sustainability within the industry of theatre. Tipped as the largest industry-wide conference open to everyone who cares about the future of the theatre in the UK, the conference will run over Thursday 12 May and Friday 13 May.

Additionally, Theatre 2016 will celebrate the fact that the UK is a world leader in theatre, and that the sector does much to contribute to the cultural, social, educational and economic health of the nation. There have been major challenges the world of theatre in recent years, beginning with the arts cuts of 2011, so it is encouraging to be able to see tickets selling and actors working. Despite setbacks for many organisations and individuals, it is clear in places that the theatre industry in the UK is somewhat thriving.

Consisting of keynotes, panel sessions and mini-conferences, the Theatre 2016 conference will celebrate the success of theatre and provide some informed and challenging opinions on what needs to change to ensure the success of the sector’s future. Delegates can then take part in a total of six mini-conferences of discussion and debate on key questions for the sector. Whatever an individual’s specialism or length of career, the conference is open to all.

It is clearly acknowledged that while there will be celebrations of the sector, there will also be a focus on the changes taking place for theatre in the UK, with new – and current – issues for the sector that must be addressed. Theatre 2016 will discuss and attempt to reach some consensus on what the sector needs to do ensure it is successful, sustainable and even more relevant in 2026.

The Royal Ballet and the Bolshoi Theatre of Russia have announced the first co-production between the two companies. Established choreographer Christopher Wheeldon has worked on a new ballet named Strapless, which recently received its world premiere in London. The piece was part of an all-Wheeldon mixed programme which also included After the Rain and Within the Golden Hour. The Bolshoi will consequently stage the same programme in 2017.

Wheeldon is the Royal Ballet’s Artistic Associate; in combining forces with the Bolshoi Theatre this act nods to the close association between the two companies, fused by a new production to be staged by them both. Two such historic organisations which have seen some incredible creative talents working in dance, music and design, will now see their legends combined. The pair have a long-term relationship through many years of collaboration however February marked the first co-production through Wheeldon’s new choreography. As a leading choreographer of his generation, it is clear Strapless will develop further ahead of its transition to Russia.

The co-production of Strapless is part of an ongoing collaboration between the Royal Ballet and the Bolshoi Theatre of Russia, with other recent activities including the annual World Ballet Day, a live digital stream behind the scenes of the world’s-leading ballet companies and the Royal Ballet’s tour to the Bolshoi Theatre in 2014. The Bolshoi Ballet returns to the Royal Opera House in July this year for a three week residency marking the 60th anniversary of its first visit in 1956, demonstrating that art only developed through collaboration and the production of new work.

The Bolshoi Ballet will visit London specifically from 25 July through to 13 August, along with the orchestra of the Bolshoi Theatre, for a three week season of Don Quixote, Swan Lake, The Taming of the Shrew, Flames of Paris and Le Corsaire.

BalletBoyz, the male dance company based in Kingston is partnering with YMCA London South West in order to deliver creative movement sessions for people aged 14 and over with a disability, as part of the YMCA Inclusive Lives programme. The workshops will provide a space to explore movement and dance, and to encourage creative and collaborative work. The company has demonstrated it is committed to working in and with the local community, now offering inclusive classes that excite, inspire and enthuse.

The organisations are excited to build a regular group of participants for the classes as part of the new project. Classes cost just £2 per participant and it is clear the membership will grow rapidly. The sessions have been seen to have had huge therapeutic benefits for participants, helping to build sensory integration, cognitive skills and physical awareness. In addition to the wellbeing dance encourages, the classes look set to be hugely popular.

The creative movement workshops are part of YMCA London South West’s Inclusive Lives project, which enables people with disabilities to make positive lifestyle choices through access to a wide range of health and wellbeing activities. YMCA London South West works to provide a range of services including supported housing; children’s work; sports, health, exercise and fitness; youth work; catering services and conference facilities; short stay hostel accommodation and community programmes.

The multi award-winning BalletBoyz is one of the most original and innovative forces in modern dance. Led by former Royal Ballet lead dancers Michael Nunn and William Trevitt, the company thrills audiences and critics the world over with its highly distinctive style, which fuses spectacular dance both energetic and graceful, with stunning music and film. With its inclusive arm, it works to inspire dance in a range of settings, and ultimately promote the art form.

English National Ballet will present its Swan Lake in-the-round at the Royal Albert Hall from 1-12 June 2016, a production which, in the past, has been described as “a sumptuous spectacle”. Choreographer Derek Deane’s critically acclaimed production of Swan Lake in-the-round will be presented at the iconic venue, the largest production of its kind.

English National Ballet’s Swan Lake features over 120 dancers, receiving its world premiere in 1997. The production has since been enjoyed by over 500,000 people worldwide. Many would argue that Swan Lake is the most popular ballet ever created; it tells the story of Prince Siegfried’s love for the Swan Queen, Odette, their battle against the evil magician, Rothbart, and an encounter with the manipulative Odile. Deane’s production features acrobats, jugglers and 60 swans, made up of the company’s corps de ballet and additional dancers.

Bringing the romance and high drama of this iconic ballet alive, the production is set to Tchaikovsky’s memorable score played live by the English National Ballet Philharmonic. English National Ballet’s aim of continuing to work with the very best talent from around the world will see guest artists Osiel Gouneo, who stunned audiences recently in English National Ballet’s production of Le Corsaire, and Constantine Allen, a Principal with Stuttgart Ballet, join the company. They will partner Alina Cojocaru, who makes her debut in Deane’s in-the-round production, and Laurretta Summerscales, who was recently promoted to Principal dancer on stage after a performance.

Other principal casting includes Lead Principal dancers Tamara Rojo and Isaac Hernandez, who makes his debut in the role, Fernanda Oliveira and Alejandro Virelles, Erina Takahashi and Yonah Acosta, and young emerging talent Shiori Kase and Cesar Corrales, who both make their debut in the roles.

Members of the House of Lords have recently criticised the government’s decision to exclude creative subjects from the English Baccalaureate taught in mainstream schools, additionally claiming that an EBacc without the arts should be unthinkable. This news will be welcome amongst the arts community who have supported the inclusion and importance of arts in schools, providing children with a balanced education and the chance to pursue a career in any direction.

The lack of mandatory creative subjects in the EBacc has ignited concerns regarding the effects a curriculum without compulsory arts subjects, and how that could affect the education and influence on young people. Artist and crossbench peer Nicholas Trench maintained that a core curriculum without the arts will not raise standards of young people in schools, denying them the chance to flourish within the arts and be rewarded by them, the same way a student focuses on maths is rewarded by success in that subject.

Plans for the EBacc, which the government has said it hopes will be used by 90% of secondary school pupils, requires GCSE students to study English, maths, science, a language and either history or geography, with no focus on the arts subjects of any kind. Whilst many think the EBacc should either be reformed or dropped entirely, to others it is just unthinkable as to why an EBacc with no cultural component was being encouraged by the government.

It is clear the English Baccalaureate is not a broad and balanced curriculum; schools minister Nick Gibb previously and illogically claimed that concerns over the lack of arts subjects in the EBacc were unjustified, as it allowed pupils to participate in creative subjects outside the formal curriculum. Without the support of arts from schools, the subjects will simply decline. Recent figures from the Department for Culture, Media and Sport showed that the UK’s creative industries are now worth £84.1 billion per year to the economy, something the government might miss if it dwindled.

For young dancers who aspire to become professionals, it is important to stay inspired by, and educated about, the dance world. This can often feel daunting, considering the mammoth competition in the world of dance, so how can you make your dreams a reality? How can you gain access to the world of dance? Mentorship by another member of the dance community is the best way to answer those questions and gain guidance about your next steps.

A mentor is someone who can guide you on your journey and be your very own personal life coach for dance. They will have experience and expertise in dance and can therefore help you progress towards your goals by uncovering opportunities on the way. Offering solutions to perceived problems can be a real turning point for a young dancer, gaining insight into the best way to achieve. A mentor can help you learn about key people and companies in the arts, and how they fit into your learning. Most importantly, they can help shape your dance experience through giving you confidence, which is paramount.

Finding a mentor for dance does not have to be difficult: it can be as easy as writing an email to someone you admire or a teacher you think suits your way of learning about dance. It takes just one person to shift you onto the correct path, give you that pep talk or find you that new technique class. Do your research and think about what you want to achieve, so you can find someone who has similar career path. Be proactive in your search and remain dedicated to your cause – you are serious about your career and your mentor will see that by the fact you are continuing your dance education, attending classes, auditions and seminars.

Whilst having a mentor is highly valuable, be sure you don’t rely on their expertise to propel you – it can be easy to take the relationship for granted and wait for your mentor to solve all your problems. Ask questions and pick their brains, but remain at the forefront of your learning.

Martha Graham, while perhaps not a familiar name to all dance students, was undeniably a major force in developing contemporary and modern dance we see today. She was the founder of one of America’s oldest dance companies, creating over 180 dance works and simultaneously challenged physical, artistic and aesthetic conventions. Graham technique is just part of the legacy she has left modern dance, having tackled numerous themes in her work, from the psychological to the political.

April 2016 marks the 90th anniversary of the late Graham’s pioneering dance company. The reach of the company has only increased since her death nearly 25 years ago, with her legacy still living on. The Graham company today is very much audience-led, with its leaders’ artistic decisions reflecting both tradition and a forward-thinking strategy. Whilst, for example, the late Merce Cunningham’s company disbanded following his death, Graham’s work continues to live on.

With the company at 90, it has established itself back at the forefront of modern dance, and continues to secure the Graham legacy for well into the future. Dance works by other artists have been introduced to the company’s repertory, something which has had a strong audience response. Commissioning is now an integral part of the company’s programming vision, combined with Graham classics to achieve a balance of tradition and invention.

Like many arts organisations, the company is adapting to an increasingly digital age, competing with on-demand entertainment options. Online engagement with the company is being translated into filling theatres in order to connect with audiences in non-traditional ways, such as by mixing video footage with Graham’s works to generate original interpretations. Satellite celebrations are also taking place all over the world for the company’s anniversary, such as an art installation in the Paris Opera House, commemorative performances of Graham works by the Paul Taylor Dance Company and L.A. Dance Project, and a five-country tour, which was completed last November.

MOVE IT is the UK’s biggest event for dance and the performing arts, running this year from 18-20 March in the UK’s capital. Usually attended by around 22,000 dancers, this year it is running over three days at the venue of ExCeL. The event is packed with live performances, classes in a number of different dance genres, career advice for the dance and musical theatre industry, celebrity appearances and shopping opportunities to delight even the youngest dancer of the family.

Attracting everyone from dance enthusiasts to teachers and professional level dancers, and championing dance styles as wide-ranging as ballet, Bollywood and street dance, no matter your level or passion there will be something for you at this huge celebration of all things dance. As well as a chance for potential vocational students to research their future training opportunities, MOVE IT is also a place to indulge in the world of dance and soak up the exciting atmosphere of demonstrations, performances and masterclasses. 

Shopping all things dance is yet another element of the show, in addition to the awe-inspiring performances on the Main Stage. All your dance needs will be met with all levels and styles of dance classes, performing arts workshops for acting and vocal skills and the chance to discover new dance career opportunities in the MOVE IT PRO series. 

For more information, including Main Stage line-up and class timetables, visit moveitdance.co.uk

COMPETITION – WIN TICKETS TO MOVE IT 2016

If MOVE IT sounds like something you’d like to attend, or even if you’re an experienced visitor,  CLICK HERE TO VISIT OUR FACEBOOK PAGE  before Midnight on the 2nd March and answer a simple question to be in with the chance of winning a pair of entry tickets to the show – we have 16 pairs of tickets to give away!

The tickets will be posted out to the lucky winners (selected at random) ahead of the event taking place from 18-20 March.

UK Residents only, must be 16 years or over to enter. Full terms and conditions.

The importance of dance in schools has been a hot topic of conversation recently, in politics, media and education itself. There has also been much focus on subjects which could be classed as purely ‘academic’ and how studying these alone prevents students from thinking and acting creatively; the arts would fall by the wayside. Support for creative outlets has been vast from the sector itself, thinking about how young people are able to express themselves in a way which isn’t scoring high in a test.

In some schools, dance falls into PE classes, but often led by a teacher with a sports and science background, rather than an artistic one. Dance comes into its own subject at GCSE and A level, but the support for these classes is not common outside of dance itself. Whilst there may be a school choir, band or theatre group, dance can be neglected, unless it is supported within vocational training schools. Introducing dance to a mainstream school can be challenging but it is a big step that is rewarding too, especially for students.

A specialised dance programme can often be misunderstood, purely because it is not seen as academic and of value, however the way students learn and the way they develop is completely relative, and opinions on dance are entirely subjective. For dance students, the importance of the subject is undeniable, like science is for those students and sport is for that group of students. With the incorporation of dance in the school system, the improvements in students’ school work and attitude toward school is of note, often providing a creative outlet for students to express themselves through movement, especially for those who do not gel with school.

As an academic discipline, dance is a different learning experience for everyone, creating freedom and movement. Dance creates undeniable bonds between peers which last well beyond school; and can offer a support network too. Dance should have more relevance for schools in developing students.