Uncategorised – Page 58 – Dance Direct Blog. News, Reviews & Advice About Dance

Miss Saigon To Hit Broadway?

Producer Cameron Mackintosh may be considering taking his new London production of Miss Saigon to Broadway in 2015, depending on the success of the production currently running in the West End, and if a suitable theatre becomes available in New York.

Miss Saigon is an iconic musical production about a doomed romance between a young Vietnamese woman and a marine before the fall of the city Saigon. The show opened on Broadway in 1991 and became a huge hit, grossing $285 million before closing in 2001; it remains the 12th longest running show in Broadway history. The London revival began performances in May, with extremely strong sales. There have been new designs for the scenery and the helicopter, and a new song “Maybe” has been added, performed by the character of Ellen, and not included in the Broadway run.

It has been claimed that Mackintosh, who led the British musical invasion of Broadway in the 1980s with Cats, Les Misérables, and The Phantom of the Opera, would like to open the new Miss Saigon in Toronto first and then go to Broadway. The London-Toronto-Broadway path would be similar to the one taken by his latest revival of Les Misérables, which opened in New York in March.

When asked for his comments on the Broadway run, Mackintosh confirmed the gossip as speculative but highlighted that he would like to take the show to both Toronto and New York, especially due to the fact the Princess of Wales theatre in Toronto was built to house the original production of Miss Saigon. However, with incredibly busy international openings of several different titles over the next two years, and the very limited number of theatres that could house a production as big as Miss Saigon on Broadway, it looks unlikely that the production will hit New York soon.

The Royal Ballet School Announces New Teachers’ Course

The Royal Ballet School will launch a new teachers’ course starting in September 2014: the Diploma of Dance Teaching will build on the highly successful Professional Dancer Teachers’ Course and the expertise of the school’s Dance Partnership & Access Programme, to provide a good foundation in both technical and creative approaches to teaching ballet. The course will be delivered by Royal Ballet School staff and visiting lecturers in The Royal Ballet School’s state of the art studios in Covent Garden, London.

The two-year part time course includes opportunities to specialise in teaching in either vocational or educational settings: the Diploma is suitable for both current and ex-professional dancers and teachers and will provide a sound foundation in teaching ballet to a broad range of students. The course will cover classical ballet technique, anatomy, education practice, reflective practice, psychology and child development and work place context.

The course is a particularly special one for the organisation in that it not only offers flexibility in learning, but also gives teachers a broad body of knowledge on which to build a successful career in dance. The Dance Partnership & Access Programme was established in 2004 to provide broader access to ballet and the work of The Royal Ballet School. Over ten years a national programme of long term, sustainable primary and secondary school projects has been established, providing introducing ballet to a new generation by the school’s graduates.

The School’s mission is to train and educate outstanding classical ballet dancers for The Royal Ballet, Birmingham Royal Ballet and other top international dance companies, and in doing so to set the standards in dance training, nationally and internationally. The School offers an eight-year carefully structured dance course, aligned with an extensive academic programme, giving the students the best possible education to equip them for a career in the world of dance.

Rambert And Cunningham

Rambert Dance Company Logo Rambert, Britain’s oldest dance company, is set to perform a site-specific version of Merce Cunningham’s signature works, Events, at its new South Bank building this summer. Cunningham is seen as many as one of the fathers of post-modern dance as we know it today within the contemporary sphere, with many artistic directors of Rambert having studied in the then-Cunningham studios in New York.

Events marks the first time the touring dance company will stage a professional show of its own at its new £19 million home, which opened in December 2013 with the original intention of operating solely as a rehearsal space. It will stage Rambert Event – which will see Cunningham’s choreography arranged in a new version by Jeannie Steele – in two of its studios, which will accommodate 120 people from 28 June to 12 July. Previously Rambert has only partnered with the nearby National Theatre, using the Rambert studios to stage performances of The Curious Incident of the Dog in the Nighttime following the collapse of the theatre the show was playing in.

The promenade show will feature new music written and performed by Philip Selway, from rock band Radiohead, and designs by painter Gerhard Richter. It will be the first performance of Cunningham’s Events since the closure of the choreographer’s dance company in 2011, following his death in 2009. The company presented a number of Events throughout its lifetime, accumulating in a farewell tour which came to a triumphant close on New Year’s Eve in 2011.

The performance has been made possible due to a £100,000 donation by Ambassador Theatre Group chief executives Howard Panter and Rosemary Squire. Panter is chair of the dance company and their donation has launched Rambert’s New Work Commissioning Fund, which will raise private money to develop exceptional projects that are additional to the company’s normal repertoire.

Daniel Bolton: Rising Star

Daniel Bolton Daniel trained at Laine Theatre Arts and has appeared as a parade performer, ice skater, sky runner and dancer at Disneyland Paris for several successful seasons. His television credits include Britannia High (ITV) and Libra Television schools documentary, and his theatre credits include Peter Pan (White Rock Theatre, Hasting) and Sleeping Beauty (Civic Theatre, Chelmsford).

When did you begin dancing, singing and acting, and where and why?

I was 9 years old when I joined a local Amateur Dramatic society in Horwich (my home town) for the year 2000 production of Oliver. I then continued to do a number of productions with various adult and youth societies in and around Bolton. By the age of 13, I decided I wanted to try to do this as a career, so I decided to start some formal training in dance. I joined Frances Bleasdales School of Dance in Bolton and started to follow ballet, modern and tap gradings.

What were your early years of performing arts like?

Fantastic, I loved my time performing in various amdram productions around Bolton. This is where my hunger for performing on stage began.

How long have you been performing? Did you start young?

I was 9 when I started performing on stage, but I only started formal dance training at 13. So I suppose I was a late starter for a dancer, as most people start to learn to dance from the age of 3!

Where did you train and what was a typical day like?

I trained professionally for 3 years at Laine Theatre Arts, in Epsom. My typical day would start at 8.30am and finish at 6pm. It would consist primarily of dance. I had ballet and jazz lessons at least once a day.

What is a typical day like now?

I am currently touring with Fiddler on the Roof, so my day depends on if it’s a double show day or just an evening show. On an evening performance day, we have to be at the theatre for 6pm for warm up. Warm up consists of a 20 minute dance and 20 minute vocal, leaving time to tune musical instruments and run anything that needs to be ‘cleaned up’ before the performance. The reason we have musical instruments is that the show is actor-musician, so we don’t have an orchestra and we all have to play the music as well as act, sing and dance. I also try to get to see some of the city or town we are currently performing at and do a spot of sight-seeing.

What’s the best part about performing?

I really like the challenge of this production of Fiddler on the Roof, as I have had to learn how to combine playing a musical instrument with my acting, singing and dancing. It adds a whole new vibe to our cast, we have to be listening very carefully to all the other performers even more than in any other production I have been involved in. Even when I’m in the wings, I have to be in the music booth playing the music for my fellow cast mates.

What would you say was your greatest achievement to date?

I think Iid have to say my persistence in wanting to train at one of the top training colleges. My journey to college had its ups and downs and it’s quite a long story but I feel I should share it with you. I auditioned for Laine Theatre Arts for 3 consecutive years and each time I was offered a place but fell at the funding stage!

I couldn’t afford to self-fund so I took on all types of jobs for 3 years, saving as much as I could and writing to charities and trust funds to find any means I could to acquire the fees. Jobs that I did were waiting on tables in restaurants, call centres and my favourite was working at Disneyland Paris. It really was an incredible time at Disney.

On my third attempt to get the funding for Laine, once again, I wasn’t offered the 3 year DaDa funding but Miss Laine offered to help with a 1 year bursary. With the money I had saved and the kind donations from the hundreds of letters/application forms I completed for trust funds, I was finally in a position to feel I could financially take up my place that had been there for me for 3 years.

I was beaming; I moved to Epsom that summer and found myself a part-time job to help me pay for my living costs. At that point I knew I had finances to help me get through approximately half of the 3 year course. So I continued to write to trust funds to continue to search for additional funding for the second half of the course.

Towards the end of my first year, Miss Laine offered me a 2 year DaDa which provided me with the funding for my final two years tuition fees. I will always be very grateful to all the people that helped me find the finances I needed to get through the 3 year course. However, with determination to not give up, I graduated last summer and started an incredible job with Fiddler on the Roof.

What advice would you give to someone aspiring to be part of the dance industry?

“It’s ok to fail, but NEVER be defeated.” Napoleon Hill

I think this quote pretty much sums up my time to date, not just in the industry, but also for during the training required. I strongly believe that if you want something, you can get it, if you are never defeated.

What’s next for you?

I will be moving back to Epsom after my tour finishes. I have just got my job back waiting on tables. I will be attending class to keep the training up and back in the audition rooms hoping to find my second job in the career I love.

Carolyn Bolton: Rising To Rambert

Carolyn Bolton

Carolyn Bolton was born in Columbia, USA, and trained at South Carolina Governor’s School for the Arts and Humanities, the Martha Graham School of Contemporary Dance and University of South Carolina. She joined Rambert in 2013 after working with the Wideman/Davis Dance Company, Unbound Dance Company, and Spartanburg Ballet.

Carolyn’s career highlights include performing with New York City Ballet in the USC Dance Company’s annual gala and featuring in the 2007 ETV documentary Sketches from Chronicle for the Martha Graham Company.

Carolyn has also choreographed works during the South Carolina Governor’s School for the Arts and Humanities year round programme, the University of South Carolina academic year and Summer Program, Benedict College After School Dance Program, as well as works for Litchfield Dance Arts Academy. In addition, Carolyn has choreographed solos for numerous dance competitions including the prestigious Youth America Grand Prix Competition.

When did you begin dancing, where and why?

I began dancing quite late, aged eleven. I auditioned for a dance programme at my local middle school in South Carolina and was accepted. Initially I was inspired to move by images on the television ranging from Olympic events, such as figure skating and gymnastics, to more fantasy based programmes like the Power Rangers. However it was seeing Julie Kent from American Ballet Theatre perform Le Corsaire that ultimately sparked my interest. I loved the music, costumes, and the beauty of each step and knew I wanted to dance too.

What were your early years of dancing like?

When I began dancing it was only for fifty minutes a day, five days a week. My school did an excellent job of exposing me to various modern techniques as well as classical ballet. They also brought in professionals, such as Carolyn Adams, to work with us and set established pieces like Donald McKayle’s ‘Rainbow Etude’. My teacher also encouraged me to take classes outside of school and provided me with free after school lessons at a local studio.

How long have you been performing? Did you start young?

I have been performing for about fourteen years now. I started performing shortly after I started. My school would put on several productions a year, including one large production at the end of each year. I also had the opportunity to participate in performances with local companies in South Carolina.

Where did you train and what was a typical day like?

I did my pre-professional training at the South Carolina Governor’s School for the Arts and Humanities. A typical day for me included a ballet technique class in the morning, followed by a pointe class, and three hours of repertory. I would then complete my academic course work and continue rehearsals into the evening. After rehearsals I would have about two hours of free studio space, so I would continue to work on my own choreography or improving technical skills. Each Saturday I would take either a Horton, Cunningham, or Jazz class in addition to my normal ballet class and rehearsal schedule.

What is a typical day like now?

A typical day now consists of a morning technique class either ballet or contemporary, followed by five hours of rehearsals.

Do you still take classes? How do you keep on top of your technique?

I try to stay on top of my technique by taking daily classes provided by Rambert, as well as maintaining pilates exercises to target my weak areas.

What’s the best part about performing?

The best part of performing for me is the silence and moment of stillness I feel when I step on the stage. It’s an indescribable feeling to have all the focus on you. It’s also a lot of pressure, and that knowledge of everyone watching you gives you an adrenaline rush which is unmatched by any other experience.

What would you say was your greatest achievement to date?

My greatest achievement to date is to be dancing for Rambert. I have had the privilege and honour to work with so many artists in America, but Rambert has truly opened a new world of dance to me. It is a pleasure to be in the midst of such talented and diverse artists each day.

Which part of dance do you enjoy the most?

I truly enjoy taking class every morning. For me class is a form of meditation; a way of centering the body, reconnecting with myself and getting in touch with how I am feeling each day. Class allows me to take risks and improve on my technique and artistry prior to stepping on stage.

What advice would you give to someone aspiring to be part of the dance industry?

I would advise someone aspiring to enter the dance industry to cherish every moment and opportunity presented. The dance world can be very fickle but it is vital to remember that ultimately, you are in charge of your destiny. It is important to persevere even when it appears things may not work out. By maintaining a positive attitude and looking for solutions rather than problems, achievement is inevitable.

What’s next for you?

I am looking forward to more touring and performing with Rambert. I am also interested in further exploring my choreographic vision while simultaneously teaching for companies/schools.

Photo © Astrid Julen

Life Without Dance?

Red Cross As a passionate young dance student, it can be hard to conceive of a life without dance. Perhaps you’ve been injured, or can’t get a job or even discovered a full dancing life just isn’t for you. You may be able to return to dancing, and if you do your body will not have forgotten, and you’ll be able to bring more to your dancing than previously.

For many, letting dance go and getting a different job is a welcome change. The change from dancing can be refreshing and the shift in routine can be a welcome break from a sometimes intense dance existence. Injury might also mean you need to take a break from dance and, if it permits, with the right rehabilitation you can return your body to dance.

In the return to dance it is important to retrain the body to return it to its optimum health. A combined programme of, for example, running for cardio, skipping for lower leg strength, Bikram yoga for flexibility, lunges for thigh strength and ballet classes for overall strength, coordination and movement pathways can get the body back into condition.

An alternative return to dance may be through teaching, either within an institution or, more likely, freelance. It is important to take it slowly and set good foundations as a gradual return will put your body at less risk. Focusing on gently increasing your flexibility, strength and fitness means there is less chance of injury.

If you’ve managed to stay fairly active, you might not find the physical side of returning to dance too tough, but it is still important not to be too hard on the body in the beginning by keeping your legs low and not at maximum turn out. If you haven’t been active, start with simple things like brisk walking, swimming or gentle yoga classes. Pilates is always useful for core strength, flexibility and overall conditioning.

Prepare yourself mentally for the fact that you body may have changed, especially if you are a little older or if you’ve had a particularly long break. This is not a limitation however, but a positive change in a new direction and an opportunity to learn more.

Osipova And Vasiliev Reunite!

Two of the world’s most celebrated dancing partners, Natalia Osipova and Ivan Vasiliev are to be re-united this summer at the London Coliseum from 6-9 August. They will appear in Sergei Danilian’s production of Solo for Two: three diverse pieces including two world premieres commissioned by the Segerstrom Center for the Arts and Ardani Artists.

The evening will open with a piece to be confirmed, followed by Passo by Ohad Naharin, artistic director of Batsheva Dance Company. Naharin has choreographed more than 20 works for Batsheva and its junior division, Batsheva Ensemble. Naharin has also worked with Nederlands Dans Theater, Ballett Frankfurt, Paris Opéra Ballet, Cedar Lake, and Alvin Ailey American Dance Theater. The evening will conclude with a new work by Arthur Pita named Facada. Pita is a highly talented and versatile choreographer and director. He has created works for Johannesburg’s Dance Umbrella, Resolution! and Spring Loaded at The Place, Royal Shakespeare Company, Phoenix Dance Theatre, CandoCo Dance Company and The Metamorphosis for The Linbury Studio Theatre Royal Opera House.

Osipova graduated from the Bolshoi Ballet Academy and joined the Bolshoi Ballet the same year, going on to reach the position of Principal Dancer. She has been a guest artist with the Mariinsky Ballet, Teatro alla Scala, Paris Opéra Ballet and American Ballet Theatre, and is currently a principal dancer with the Royal Ballet and American Ballet Theatre. Her vast repertoire includes Nikiya, Aurora, Juliet, Medora, Kitri, Swanilda and Giselle amongst many others.

Vasiliev is currently a principal dancer with American Ballet Theatre, having studied at the Dnepropetrovsk Ballet School in Ukraine and later at the Belorussian State Choreographic College in Minsk. In 2006, he was invited to join the Bolshoi Ballet as a soloist, making his debut with the Company, at age 17, and was soon promoted to the rank of principal dancer. Vasiliev has been a guest artist at the International Rudolf Nureyev Festival in Kazan and has appeared with the Novosibirsk Opera and Ballet Theater Mikhailovsky Ballet in St. Petersburg.

Image courtesy of Wikimedia Commons.

Soft Tissue Therapy For Dancers

Soft tissue therapy is a method used to assist dancers in building and maintaining flexibility and facility, as well as treating injuries, in keeping the body both strong and supple. Using soft tissue therapy aids dancers in reaching their potential: sometimes referred to as massage, the technique covers such a broad range of entities the term massage cannot encompass them.

In soft tissue therapy, all the soft tissues of the body are concentrated on, as well as the systems of the body which maintain wellness. Dancers must maintain their bodies as their instrument, and in that comes muscles, ligaments, tendons, fascia, connective tissue and so on. Dancers may seek the therapy because of injury, or even small aches and pains. Others may come to increase flexibility or fluidity, and to check they are working at their capacity. As a result, soft tissue therapy can be about both improving performance as well as diagnosing and treating injuries.

For some therapists, working on soft tissues is not always about being ‘hands-on’, but also about working with occupational therapy and the mind-body connection which both affect the state of soft tissues. Dancers sometimes have to be trained to let the body relax and release tension to enable them to perform better – visualisation and relaxation techniques can help along with concentrating on breathing. Positive thinking is another technique that is encouraged to help dancers, along with visualisation techniques to help them see the body doing what they want.

In enhancing the benefits of soft tissue therapy it is important to be aware of the body and not ignore things, as early intervention is the best intervention. To get the best out your body you must ultimately believe in yourself, and believe that your body can do what you want it to do.

Crazy for Gershwin

Late April saw the new Crazy for Gershwin tour announced for October and November of this year. It is set to be a celebration of the works of George Gershwin, including classic orchestral compositions alongside a selection of show-stopping numbers, written in collaboration with his lyricist brother, Ira. The pair formed one of the most successful partnerships in the music industry and their music is known worldwide.

The performances from the Gershwin repertoire of music, song and dance will include ‘Rhapsody In Blue’; ‘I’ve Got A Crush On You’; ‘Someone To Watch Over Me’, ‘Oh, Lady Be Good!’, ‘Fascinatin’ Rhythm’; ‘S’Wonderful’; ‘Strike Up The Band’; ‘A Foggy Day (In London Town)’ and highlights from ‘Porgy and Bess’ such as ‘Summertime’ and ‘It Ain’t Necessarily So’. Performers for the tour then include the London Concert Orchestra: Jonathan Scott on piano, Meeta Raval as soprano, Rodney Earl Clarke as baritone and Richard Balcombe as conductor. The performances will also include a ballroom dancing duet and two tap dancers.

There have been other takes on the Gershwin success in other performances, such as English National Ballet’s production of Strictly Gershwin, which was staged in the round at the Royal Albert Hall and then in proscenium arch theatres around the country on the company’s tour. The performances included Gershwin hits such as those above, adding a multitude of ballerinas into the mix. There was a ballroom dancing duo here as well as some of the dancers donning their tap shoes and adding syncopated rhythm to their performances.

Dates and venues of the Crazy for Gershwin tour are yet to be formally announced but when they are the tour looks set to be perfect for any Gershwin or simply musical theatre fan.

Tamara Ashley: A Figurehead In Digital Dance

Tamara Ashley works as an artistic director, curator, academic, writer and choreographer. She is currently the Artistic Director of dancedigital and also directs the MA Dance Performance and Choreography programme at the University of Bedfordshire. As Artistic Director of dancedigital, she has led on projects such as Digital Futures in Dance and the recent dancedigital festival, with a particular focus on supporting artists in the development of their work.

Tamara began her dance education in Hertfordshire as a member of the Herts Youth Dance Company in the early 1990s. Following that she undertook her undergraduate dance training at Roehampton Institute London and Goucher College, USA. With the support of a full scholarship she went on to earn an MFA in Choreography and PhD in Dance from Texas Woman’s University.

Where did it all begin?

Coincidentally I joined Hertfordshire youth dance company which is now taken care of by dancedigital! I went on to study at university which led to me studying in the ISA and establishing myself as a dance artist. I then moved into teaching dance and working on projects before becoming part of dancedigital which I’ve been leading for four years. We had a rocky, challenging period of funding cuts, structural reviews and renewal of our focus but now we are expanding.

What is a typical day like at dancedigital?

Wow! First I check in with the staff and producers and go through the agenda for the day. I then work through my emails and speak to the artists we are working with, such as helping them plan. I talk to teachers, funders, write funding applications, present the organisation to national bodies and above all try to advance digital dance. I am also mentoring on the Youth Dance England Young Creatives scheme in which I give advice as the participants look at their work in progress. My main role however is to represent our organisation in advising and mentoring younger artists.

What do you like most about dance?

Aside from the digital aspects I am also really interested in the health and wellness side of dance. I am also a yoga instructor and look closely at connecting with the body and connecting interactive projections with somatic experiences. I look at new experiences of embodiment, leading onto the 4D experience of the body with digital dance as a view into the future. It is important to develop and understand the body’s place within the world.

Explain the idea behind the newest dancedigital project…

The dancedigitall festival is to be presented at the University of Bedfordshire from 25-27 May, including presentations by Focus, Essex’s youth dance company. Focus is for 14-18 year old dancers and the company is directed by Robert Gentle, a digital dance development specialist. The main focus of the group is on the creative skills of the dancers. The festival will be a full weekend of talks, performances, installations and immersive dance, such as that with lights which are fed by movement.

dancedigital received funding from the Royal Opera House bridge which prompted further experimentation with new digital techniques, meaning the organisation is the first to do this. The support for arts and technology came early on, resulting in interactive and light based work, 3D work, partnering and a rich quality of movement with detailed movement vocabulary.

What is your greatest achievement to date?

At the moment it is seeing the work of the artists of dancedigital and their innovation and success. They have secured funding and touring commissions which makes me very proud. I would also say the technological focus of the youth dance company is also a great achievement, as it is an innovation in their field and a very special experience for young people.

What’s next for you?

We are looking at the future network of the schools we work with in Essex and Hertfordshire, as well as working on a new app. It will be a choreographic app for young people to encourage them to make movement for themselves and to inspire them. It will be aimed at primary school children as a movement project for them.