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Applications are now open for The Old Vic 12, a new scheme to support 12 emerging artists looking to make the next step in their careers, supported by the London theatre. The scheme will offer the lucky Old Vic 12 an opportunity to expand their networks, receive first class mentorship and benefit from association with The Old Vic – a prestigious theatre of the capital – through Matthew Warchus’ first season as Artistic Director of theatre.

As part of the scheme, three directors, three producers, three writers, one designer, one composer and one choreographer will work alongside each other to develop their skills and eventually present a work in progress to an audience. The scheme will take place over a year, in which the 12 artists will gain paid experience in the theatre. Through the exciting new project the artists will be encouraged to share their learnings through 12 masterclasses aimed at artists at the very beginning of their careers.

Spanning the year, the artists will explore their creative potential and carve out the next stage in their artistic careers. To mark the end of programme, three brand new pieces of work will be created and then presented by the participants in a culmination of a lot of hard work.

It is vital for new talent to be encouraged and supported in their endeavours in order to create the next generation of artistic talent. In The Old Vic inviting emerging talent to join the theatre for Warchus’ first season, it is hoped that working in a creative hub will inspire the first Old Vic 12. The scheme is the first for the theatre, embracing the many talents across many artistic disciplines, encouraging collaboration and a positive result.

Stretching can often have a ‘good cop, bad cop’ reputation. Whilst it is something dancers partake in regularly, research and results over the years have marked out the boundaries of stretching in terms of what and when to do it. There is no illusion: stretching safely has a number of benefits, both in terms of dance technique and flexibility, as well as the health and wellbeing of the body.

Stretching after the body is warm (not before) means the muscles have sufficient blood flowing through them and this decreases the risk of injury when dancing. The improved range of motion allows the body to move more efficiently, improving physical performance and then reducing the risk of injury as the muscles are pliable. Stretching improves the body’s suppleness and as a dancer becomes fitter and more flexible, movements come with more ease.

After a class, rehearsal or performance stretching enables the body to cool down effectively and work the muscles that have been performing hard. This reduces the muscle soreness that often occurs after trying new movements or having to work hard in a new routine to achieve what is required, limiting the delayed onset muscle soreness. After working the body, gradually stretch your muscles through full range of motion and hold in a static stretch for up to 30 seconds. Deep breathing provides the muscles with oxygen and relaxes the body into the stretch. Look after the body and ensure it can continue working at its peak for as long as possible.

Stretching the legs specifically also improves the body day-to-day, reducing the stress on the back and lengthening your posture. Not only does it significantly increase flexibility in this area, it will also improve everyday movement. The muscles in the back are contracted throughout the day to support the body and can become tight, so ensure you work to combat this, and keep on dancing!

A new 900 seat theatre overlooking Tower Bridge is set to open in the spring of 2017, as a result of the partnership between the former National Theatre team, Nicholas Hytner and Nick Starr. The pair’s new London Theatre Company is the brains behind the new venture, in an iconic and and brave venture.

The venue, which – according to the London Theatre Company’s website – will answer the needs of contemporary audiences and theatre-makers alike, will also provide a playing house which is both innovative and most certainly eye-catching. It will be part of the One Tower Bridge development which is taking place, and will be designed by Steve Tompkins and Roger Watts of Haworth Tompkins. The architects previously worked with Hytner and Starr on the NT Future renovation of the National Theatre, in addition to the NT’s Temporary Theatre.

Following 12 years of leading the world renowned National Theatre, Hytner – who himself has won an Olivier Award – left the organisation following a number of impressive achievements. Starr himself left in 2014, and during their time at the venue between them the pair introduced initiatives such as the Travelex seasons, NT Live and produced hit productions including War Horse; One Man, Two Guvnors and The Curious Incident Of The Dog In The Night-Time.

It is hoped that the new theatre will be a home for ambitious new work predominantly, providing the ‘modern comfort and facilities’ that will introduce new audiences, playwrights, directors and actors to the capital’s audiences. The Tower Bridge theatre is not the only venture the pair have set their sights on; their ambitions reach far beyond the development, despite it becoming their flagship theatre. In the years following its opening, the pair hope to launch other theatres of different scales following similar principles.

Ballet Barre fitness is taking the world by storm. With a multitude of different fitness classes popping up in gyms across the world, Ballet Barre is no different. A number of distinct benefits set barre fitness aside however; for those unfamiliar with the technique, an alternative way to get in shape can be ballet.

As with dance for the aesthetics of professional dancers, barre fitness works to sculpt lean muscle, which make the body appear more toned. It is particularly effective for toning the hips, calves, thighs and buttocks, as well as flattening the abdominals as the back and stomach are naturally strengthened. In turn this improves posture, making the body taller and appear leaner as the muscles support the body in a much more efficient way. It is a workout that is easy on the joints: controlled movements add strength and flexibility without the danger of injury, so you can have a great workout without bouncing or jumping.

Ballet barre fitness requires constant awareness of posture and alignment to be part way towards performing the required movements correctly. With increased body awareness and longer, leaner muscles, the technique naturally gives way to improved confidence and poise. In mastering the more difficult moves this will also aid confidence in addition to looking and feeling better to improve self-esteem. Once you’ve been performing a barre routine for a while, you’ll discover that you are walking taller and experiencing greater overall strength. When you’re working at the barre, your core muscles are always engaged so you’ll definitely feel it the next day!

Additional benefits include improved flexibility and reduced stress levels as you are concentrating on the body and its ability. Barre exercises can be done at home, whenever they fit into your schedule, and the routines can be changed often. There are a wide variety of exercises that can be performed to any style of music, so you can change the content in keeping with your mood for the day, your musical preference, or simply your ability level.

Compression products for dance are becoming more popular, having been used for other forms of exercise previously. Amongst the many benefits these products offer, those wearing the compression products on their legs can experience better recovery from exercise, an enhanced warm-up due to increased skin temperature, increased jump height and power (for dancers), and a reduction in delayed onset muscle soreness (DOMS).

For dancers specifically, wearing compression items whilst they are training can improve their performances and recovery. There are various compression products on the market, some of which are aimed specifically at dancers. Those which are marketed to a more general athletic audience are also popular amongst dancers, particularly ballet dancers.

It is clear that medical compression stockings have been used for several decades to great success, such as to improve blood flow. The idea appropriate for dance training is that there is some evidence that compression garments may enhance the removal of lactate from muscles, which is linked to DOMS. The improved warm up that the products provide mean that jumping power is increased and risk of injury is consequently reduced.

Many dancers use compression garments for recovery between shows and sometimes even overnight when their legs are tired to restore them to full working order. If a dancer experiences a lot of fatigue in the lower legs, the products help to ease tension and promote fast recovery, making them a useful training tool. These positive effects during exercise and the recovery period will not occur however if the products do not provide enough pressure to promote blood flow. Some dancers describe the effect of wearing compression garments during and post training like soaking the lower legs in ice to aid recovery, just without the ice water!

To celebrate Back to School season we are offering one lucky customer the opportunity to WIN a complete Back to School uniform, with items chosen from our current Back to School catalogue!

The competition is open to all UK residents until Midnight 31st August 2015 via the Dance Direct Facebook Page (www.facebook.com/dancedirect).

Simply comment on any of the relevant competition posts on Facebook and let us know Why You Are Looking Forward to Going Back to Dance Class!

We will choose one answer at random and the winner will be announced via our Facebook page on September 1st 2015.

 

Terms & Conditions:

Win a ‘Back to School Uniform’ Facebook Competition – Terms & Conditions

The Win a ‘Back to School Uniform’ Competition is brought to you by Dance Direct – www.dancedirect.com/uk.

Entries can only be made via the Dance Direct Facebook page – https://www.facebook.com/dancedirect and the competition is only open to UK residents.

To enter, simply visit the above mentioned Facebook page and comment an answer to the given question on any of the applicable competition posts. You will then be entered into a draw to Win a ‘Back to School Uniform’.

The competition is valid until Midnight on 31st August 2015 when a winning answer will be chosen at random.

The winner will be announced on the Dance Direct Facebook Page on 1st September 2015.

Terms & Conditions:

1. The ‘Back to School’ Facebook competition is open to all UK residents aged 14 and over. Entrants under 16 should receive parental permission before entering.

2. All entries must be made via the Dance Direct Facebook page [facebook.com/dancedirect] only. Entries via any other method or source will not be counted/included in the final draw.

3. The prize consists of a total 5 items from the current Back to School Catalogue: PLUME JUNE/P01, P70, P60/69, SANSHA 5AC, CAPEZIO B114. These items are subject to change at any time throughout the competition. The winner must advise of required sizes of items on acceptance of the prize, if the requested size is unavailable a replacement item will be chosen by the company (Dance Direct).

4. The winner will be announced via a Facebook post on the Dance Direct Page on the 1st September 2015 and the winner will be asked to contact Dance Direct to arrange delivery to a UK address. The winner must respond within 14 working days or the prize will be forfeited and another, new winner will be chosen at random.

5. Only one entry per person will be counted and entries via any third party, supplier or agency are invalid.

6. No payment is required to enter this competition.

7. The prize is non-transferable and no cash alternative will be offered/given.

8. Dance Direct holds no liability for any losses sustained as a result of an entrant not winning the competition.

9. Dance Direct holds no liability for any answers that are not received.

10. The full name of the winner may be published in future Dance Direct catalogues, social media, websites, press releases and other marketing materials.

11. Dance Direct reserves the right to cancel and/or amend this competition without notice.

12. Employees of Dance Direct are not eligible to enter.

13. By entering the competition it is assumed that the entrant has read and agreed to these terms and conditions and is therefore bound by them.

Dollie Henry has led a respected career of 30 years as a performer, choreographer, director and educator and is recognised as one of the most formidable exponents of Artistic Jazz Dance and creative theatre dance and movement direction in the UK.

Her innovative and distinctive style captures the energy and flair so needed for the dance industry of today. Her creative works have been commissioned and performed at theatres and venues both nationwide and worldwide. She continues to teach internationally as a guest choreographer, delivering jazz dance and musical theatre residencies, masterclasses and workshops.

Dollie epitomises all it is to be a consummate, all-encompassing creative jazz artist. A fusion of expertise and genuine expression of creative spirit allows Dollie to sustain her position as the catalyst for artistic Jazz dance and theatre creativity the UK has yet to recognise.

Photography by Simon Richardson

Have you always wanted to be involved in dance?

For as long as I can remember… I started dancing at the age of four and from that time back in the early 1960s until now dance has been my life, career, passion, creative and personal expression. Even more incredible is now at a wiser and more mature age in life it’s also clear dance has been my healer.

Where did you train and what was it like?

My formal dance training started at Mollie Mayhew School of Dance in Northampton. As said aged four, I threw myself into dance. It was incredibly natural for me to dance. I trained first in ballet (RAD). I recognise without that incredible start and discipline of a solid training in ballet maybe my choices and decisions for a career in dance theatre may have come out very differently.

Once a week training became four days a week training in ballet, modern, tap, national dance, competitions, and excelling in the examinations that went with it. I loved everything. I also added to this drama, theatre studies and show performances. All adding to my desire and dream to be a performer.

In 1979 aged 16, I arrived at Laine Theatre Arts as a full time student for three years. Within this time of creative exploration and learning I found myself, my vocation and a springboard for my creative passion… I knew from an early age I wanted to be more than a performer, I made a decision very early on in my career that I wanted to choreograph and be a creative artist.

Although at times it was a lonely journey as I was the only black student for three years at Laine, being immersed in dance on a daily basis was nothing but incredible. By the time I left Laine in 1981, I had achieved my AISTD teaching qualifications, choreographed numerous dance pieces, was honoured with “Outstanding Student” and was head girl for three terms in my third year. I can safely say I started my leadership skills and creative dance footprint by the time I left Laine in 1981.

What was a typical day like?

My day when at college started with a 6.30am cross-country run. I lived near Epsom Downs and had a professional running partner… it was so good for my muscles and allowed me to build my stamina and physical power. It also informed my mental structure and discipline. I would then head into college for 8.30am ready to start my daily timetable of dance, drama and vocal classes. Most times I was in early and out late at college. I would either be choreographing a dance with or for my fellow students for in-house performances and college shows, or just in a free studio creating for my own pleasure and finding my own creative jazz dance expression.

What is a typical day like now?

Now with a career that has spanned over 30 years, the day is somewhat fuller, more hectic, however just as rewarding. I am at the steering wheel of my own Jazz Theatre company which I founded in 1996: BODY OF PEOPLE, aka BOP. That in itself is a full time job. Add to that my work as a freelance choreographer, director, my continued roles of practitioner and mentor, fulfilled with traveling the world on a regular basis, being a mum throughout and a wife. I would say today life is very full. As a creative
artist you are in charge of your own creative journey and schedule so it’s a full time 24/7 job most of the time.

You have to truly love your chosen artistic endeavours and trust your journey to keep going and succeed. Even when the going gets tough, you have to get tougher… as the saying goes “You get nothing back if you put nothing in”, and truly it’s back-breaking at times, but I wouldn’t change it for anything. I am happy with my choice to be a passionate, creative artist.

Tell me more about your dance ethos and BOP?

As a dance and musical theatre performer I have had the pleasure and opportunity to perform with and for some very special and unique creatives, who have inspired, encouraged and supported my own career. However coming through I always wished to belong to an artistic company that took the genre of jazz as its creative and artistic expression, and in particular the black creative expression. Unfortunately, I have to say this has never happened for me in the UK and so for this reason I founded a jazz company that would provide a platform for the artistic development and ongoing journey of the jazz art form, and a home where I could realise my own creative expression.

Often we connect jazz dance with musical theatre, I know as I spent years in the West End performing in shows that proclaimed the choreography of jazz dance, but actually the expression and soul of the art form simply got lost in the commercial aspects of putting on a show. In other parts of the world jazz dance was and still is recognised as “High Art”, a dance art form on the same level as ballet and contemporary dance. However the UK still struggles with that kind of definition for jazz, not quite being able to dislodge the clutches of colonialism. In fact the reality is that the very nature of jazz is its inclusivity, and it informs so many aspects of the arts and entertainment industry making it the most important art form of the 20th century. The philosophy of BOP is to give dancers, musicians, performers and creative artists a jazz home to develop as a community and as individual artists. Through BOP we look to continue the legacy of the artistic and creative narrative and exploration of jazz dance, jazz music and jazz theatre making.

What is your favourite thing about dance?

It’s all or nothing! When you love what you do it’s not questioned or put into a box. It is what it is and for me it’s about the truth and passion that connects us through movement. Living life through dance and movement, the ability to connect and be symbiotic with music, the expression and performing through the medium of dance is part of my daily regime and creative journey. All the above and more sum up my favourite things about dance and being a dance artist.

I am my happiest when I am in my studio, free to express and share myself without any boundaries or inhibition. To pass on to others the spirited and soulful message of dance has always given me a sense of peace and connection with something that is greater than just myself but yet brings us together as a community. It’s is also a great way to heal oneself.

And the worst thing about dance?

When the art of dance is taken for granted and not respected. I look for diversity in what is available, but also in what is supported. To be honest there is not a lot of support for jazz dance as a highly artistic interpretive creative dance expression, unless it seen as a musical, TV, video dance. Jazz in particular has become so commercialised that it is slowly losing its creative and inspirational roots. What is sad is there seem to be fewer dancers aiming to be creative artists or build a track record of experience and knowledge and yet we have more dancers calling themselves teachers, choreographers and directors before they have the experience or craft skills. More and more “children” are teaching children in colleges and dance schools, so we are developing a new generation of dancers who have not been taught a craft, but just the basics of faking it.

When work is limited and at times poorly paid, inexperience often wins over experience. It’s clear if the pay is low you will of course get someone with less experience who just wants to work, but has little in experience to teach, mentor or create at a distinct and qualified level. It all has a knock on effect on our industry. As an experienced performer, choreographer and educationalist I see this problem first hand, the evidence of this is very real.

However, everything has a cycle and the wheel continues to turn. There are also many wonderful dancers who I have had the joy to work with and employ who are striving to make the ART of dance a real existence in their lives. Treating dance as a job is not the same as treating dance as a career. It’s a vocation so with that comes more than just waiting for a pay cheque. Developing yourself is the key. The more you know the more you grow!.

What inspires you most on a daily basis, and in terms of dance too?

Many things inspire me on a daily basis, some that have nothing to do with anyone else but my own understanding that… if I don’t get up and keep going my dreams and aspirations for the provision of the jazz art form and my own creative journey will not be realised. I have always been inspired by those creatives, writers, musicians that have gone before and shown their artistic and creative impression within the artistic and historic landscape. Alvin Ailey, Katherine Dunham, Shirley MacLaine, Cyd Charise, Miles Davis, Maya Angelou are just a few of my creative inspirations. Their journey in life and their creative genius is a great leveller, and although of another era, they have had an important impact on my drive to become an accomplished creative artist.
I am also inspired by LIFE. It’s never dull that’s for sure, so that keeps the feet moving and the soul questioning, eventually the answers come, that is inspiration.

What advice would you offer to an aspiring dance artist, choreographer or teacher?

My advice is… just be HONEST… be true to yourself and that will be reflected in your artistic endeavours. To take on a creative life there is not really anywhere to hide. I believe continued training and a drive to keep yourself at the top of your game is vital, there is no end game.

I often say to students, make a choice which way you want to go. You can be a jobbing dancer or a forward thinking performing dance artist; the two are quite different and so the work ethic and discipline to obtaining your goals has to be different. Not all dancers make that movement into being choreographers and teachers. It takes incredible skill, knowledge and vision that I believe is in the creative DNA. I knew from a very early age that I had a creative streak and wanted to be a choreographer and teach, my journey was to know my craft. Not just the dance, but the mechanics of production, leadership and making myself available to be open to receive, the more I did the more I learnt from those directors and choreographers who gave me opportunities to learn and define my own path.

So yes, my advice is… get a thick skin, take criticisms and learn from them and WORK WORK WORK, not just on your art, but on your personal self too. You have to know yourself to be able to give yourself at your best for the business of entertainment. The clue is in the title SHOW BUSINESS… Knowing your BUSINESS is as important as been able to SHOW it.

What’s next for you?

I shall continue to run my company BOP with my co-creative director and partner in life Paul Jenkins. We are now in our creative process of developing and devising the BOP Company’s 20th Anniversary production for 2016. I am also now looking for new dance artists to join the company fold. The beginning of July took me to Austria as guest jazz choreographer and on my return, I started our fourth international BOP Jazz Summer Residency, which brought together dancers from all over the world to experience a week of intensive training with BOP.

Throughout August my creative projects will be in New York. We will present our production BACK 2 BLACK in NYC starring West End musical star Ray Shell at Cornelia Street Café Theatre in Greenwich Village. I will also be presenting my BOP jazz master classes at Broadway Dance Center throughout August and returning to the Faison Firehouse Theatre as a guest to present jazz masterclasses and work with my mentor and dear friend, producer/director/choreographer, George Faison, on his concert production THE WIZ.

That’s the good stuff, the more tiring part of my ongoing schedule is seeking funding and support for the company and keeping the jazz art form present and ongoing, whilst working on myself, staying fit and connected. At some point I may think about taking a proper holiday and recharging my batteries. Christmas Caribbean sun in my ancestral home of Grenada could be an option, but if I’m working, it might be a quick weekend trip to the Sussex coast to breathe some fresh air and clear the mind… Let’s see how
the rest of the year pans out!

Dollie Henry–‐ Artistic Director |Choreographer |Creative Jazz Artist |Educator
+44 (0)7508 589812 |[email protected] |www.bop.org.uk

The legend that is Julie Andrews is set to direct a new version of My Fair Lady, returning to the production she starred in 60 years ago. The actress who has immortalised many iconic stories such as The Sound of Music, The Princess Diaries, Mary Poppins and of course My Fair Lady, is a star in a completely different league.

Julie Andrews was the original Eliza Doolittle in My Fair Lady. She will be directing a new production of the show – that arguably launched her career – which is set to open next August at the Sydney Opera House in Australia. The production will celebrate the 60th anniversary of the show, which originally opened on Broadway at the Mark Hellinger Theatre in 1956. Julie, who can add ‘being made a Dame’ to her list of achievements, starred alongside Rex Harrison in the classic production.

Julie has said she is looking forward to heading to Sydney herself this November in order to cast the production, and begin the process of bringing this great musical to life once again. She will be part of a team including Tony-award winning choreographer Christopher Gattelli (South Pacific) and associates of the musical’s original designers, Cecil Beaton and Oliver Smith. Both Australian and international audiences are in for a treat with the new production at the Sydney Opera House, especially with the original Eliza Doolittle directing the 60 years later.

The new production is testament to the talent of Julie Andrews, both as an actress and incredible singer, but also now as a director of such an iconic show. In the years following her appearance in the original Broadway production of My Fair Lady, she went on to star in the previously mentioned Sound of Music, Mary Poppins as well as Thoroughly Modern Millie, and soon became a national treasure, an accolade she continues to live up to!

In a The Rocky Horror Show gala performance, Stephen Fry, The Great British Bake Off’s Mel Giedroyc and Spice Girl Emma Bunton will join Richard O’Brien on stage on 17 September when the production will be live screened to cinemas across the UK and Europe. The news will be welcomed across a whole host of audiences, fans of the stars and fans of the show too.

In similar starring role news, Olivier Award winner David Bedella has been announced as making his West End return in the role of Frank ‘N’ Furter in the show, alongside O’Brien, Ben Forster and Haley Flaherty for the show’s week-long residency at the Playhouse Theatre from 11–19 September. Without much chance to see this production, it will be safe to say tickets will be in high demand!

Bedella, who won an Olivier Award in 2004 for his role in Jerry Springer – The Opera, returns to the London stage following recent performances in Southwark Playhouse’s In The Heights, and Putting It Together at the St James Theatre. Winner of ITV’s Superstar, Forster takes on the role of Brad prior to his performance as Buddy in Elf at the Dominion Theatre this Christmas, while Matilda The Musical’s Flaherty will play Janet. All three performers have previous experience of appearing in The Rocky Horror Show, either on tour or in the UK capital.

The Rocky Horror Show will begin its limited run at the Playhouse Theatre following Robert Icke and Duncan Macmillan’s acclaimed take on 1984, which closes on 5 September. While the West End trio will appear for all 11 performances of the cult hit, Fry, Giedroyc and Bunton are set to make guest appearances for one night only in the gala performance held in aid of Amnesty International, in a unique cinematic experience.

Musical theatre mogul and composer Andrew Lloyd Webber has revealed his plans for a new London production of Joseph and the Amazing Technicolor Dreamcoat, which will celebrate 50 years of the iconic musical. For many this news will be greeted with delight, having seen the original production, welcoming the iconic musical.

Lloyd Webber has been having ongoing talks with a major London theatre which could very much result in a new production of the show, which was his first performed collaboration with lyricist Tim Rice. The 50 year old friendship has seen a multitude of successful works produced with Joseph being the first. It is the most performed musical of Lloyd Webber’s in the United States and is hugely popular.

Lloyd Webber’s latest work, a musical adaptation of School of Rock, is set to open soon on Broadway; other upcoming plans include a new West End production of Sunset Boulevard, starring Glenn Close. It is likely that the new production will be produced as part of English National Opera’s partnership with producers Grade-Linnit, expanding the composer’s reach considerably. With so many ideas and schemes, it is clear Lloyd Webber has no intention of letting up any time soon, continuing to create for his audiences.

There is further call for celebration for Lloyd Webber too: next year his The Phantom of the Opera will celebrate its 30th birthday in the West End. Meanwhile, on Broadway, where it opened 16 months after London, it is also still running and holds the record for the longest-running musical in Broadway history. He has twice accomplished the feat of having three of his musicals running simultaneously in both the West End and on Broadway, in 1983 and again in 1988.