Uncategorised – Page 72 – Dance Direct Blog. News, Reviews & Advice About Dance

Let’s Make A Ballet with Chelmsford Ballet Company

The Chelmsford Ballet Company, an amateur company with professional standards, is holding its annual Let’s Make a Ballet at The Sandon School in Essex on Sunday 20 October 2013. Let’s Make a Ballet is a choreographic workshop resulting in a short ballet production for young dancers wishing to get a taste of what it is like to be choreographed into a ballet production.

By application students will be able to see first-hand what the Chelmsford Ballet Company epitomises by giving young aspiring classical dancers the opportunity to dance roles they may not have chance to – take part in Let’s Make a Ballet and you could find yourself dancing Aurora or the Lilac Fairy! This is in addition to experiencing costume and work set specifically on you.

Let’s Make a Ballet is an engaging choreographic workshop and fantastic performance opportunity suitable for students between the ages of 7 and 14 years (on the 1 September 2013). The day will see children working with the Chelmsford Ballet Company’s Artistic Director in order to create a short ballet in a day. This new production will then be open for family and friends to watch the performance.

The Chelmsford Ballet Company is an amateur company who set professional standards, offering choreographed shows, workshops and classes. The company is not a dance school, but a not for profit organisation. The company constantly strives to promote and maintain interest in ballet and provide addition ballet training to that already received in regular dance classes.

For more details and an application form visit: www.thechelmsfordballetcompany.co.uk

American Ballet Theatre’s Project Plié

ABT Logo American Ballet Theater has announced a diversity programme in beginning a partnership with the Boys and Girls Clubs of America and regional ballet companies across the country in order to increase the number of minority dancers. Project Plié will offer scholarships to talented young dancers and train dance teachers who work in underrepresented groups and communities, boosting diversity within ballet to reflect the US population.

ABT Soloist Misty Copeland has become the face of the new national initiative following appearances in a Diet Dr. Pepper advert – her stretches and pirouettes viewed almost half a million times on YouTube – and in magazines such as New York, Forbes, and Essence. These have hooked fans from outside the ballet world: ultimately, the company hopes to attract not only more dancers, but also more audience members from minority groups. Copeland values her commercial opportunities which enable her to present ballet as a mainstream not just in a grand theatre where young aspiring children may not have the chance to gain inspiration from ballet dancers’ work.

Project Plié will not just be taking steps to encourage broader participation in classical ballet but also addressing the issue of training access, which can be limited for children by cultural, economic and geographic factors. Project Plié aims to find the next Misty Copeland how she was discovered: by participating in Boys and Girls Club activities when a local dance teacher came to offer free classes, Copeland’s physique was noted and encouraged to begin studying ballet, aged 13. This is considered late by balletic standards yet Copeland had entered American Ballet Theatre’s corps de ballet by 19.

One-hour presentations will be launched at select Boys and Girls Clubs around the country with an introduction to ballet and hands-on play with pointe shoes and tutus, followed by a movement class. Children of high potential will be identified and eligible for one of 10 scholarships that could cover costs such as classes, shoes and transportation, for a year of study with an ABT-certified teacher in their area. Upon completion, those students will be eligible for scholarships to ABT’s Young Dancer Summer Workshop.

Matthew Golding – New For The Royal Ballet

Matthew Golding, Principal dancer with Dutch National Ballet, is set to join The Royal Ballet as a Principal in February 2014. The Canadian dancer has recently appeared on London soil during English National Ballet’s run of Swan Lake earlier this year in which Golding’s ‘dance’ acting, or lack of, was scrutinised by critics. An expansive dancer with exceedingly long legs, Golding is seemingly the mute prince, unable to express himself through the choreography.

Despite this, Golding’s first performance with The Royal Ballet will be in The Sleeping Beauty later this season, partnering new addition Natalia Osipova on 27 March. Osipova is arguably the coup of the pair of dancers for The Royal Ballet, with her fiery passion and outstanding technical ability. Not to say Golding is without these traits, simply the ability to narrate through his facial expressions.

Golding trained at the Royal Winnipeg Ballet and the Universal Ballet Academy in Washington D.C. In 2002, he was awarded the Grand Prix from the Youth American Ballet Competition and received a prize scholarship at The Prix de Lausanne to attend The Royal Ballet School. Following his studies there he graduated in 2003 and went on to join American Ballet Theatre. He then made the move to Dutch National Ballet in 2009.

Golding made his UK debut with The Royal Ballet last Season in which he danced as a Guest Artist, partnering Zenaida Yanowsky in La Bayadére. The roster of Principal dancers at The Royal Ballet is without a doubt impressive, yet is rivalled considerably by that of English National Ballet. Artistic Director Tamara Rojo – taking on the role following her Principal contract with The Royal Ballet – has done much to build the company up to an even higher status than it held under previous director Wayne Eagling, and looks set to achieve even more before the year is out.

Sergei to join the YBSS gala

The Yorkshire Ballet Summer School gala set to be held at Sadler’s Wells on 29 September has added an extra star to its performing ranks. Sergei Polunin, one of the most talked about male ballet stars of the twenty-first century will be joining the star-studded gala to celebrate the 40th anniversary of the Yorkshire Ballet Summer School, hosted by Sir Anthony Dowell and Sir Derek Jacobi, produced by Marguerite Porter and Richard Clifford.

Polunin will be joining other world class theatrical and dance names such as Wayne Sleep and Samantha Bond performing ‘We’re A Couple of Swells’ (originated by Fred Astaire and Judy Garland in ‘Easter Parade’); dancers from the Northern Ballet in ‘Bitter Earth’ choreographed by Kenneth Tindall; Imelda Staunton and Michael Ball; Elizabeth Harrod, Soloist with the Royal Ballet; ‘Le Corsaire’ performed by ENB soloist Lauretta Summerscales; the BalletBoyz and the Talent 2013, Steven McCrae with his own tap version of Gene Kelly’s ‘I Got Rhythm’; Dane Hurst in Mark Baldwin’s solo ‘Inala’, and dancers from Birmingham Royal Ballet.

The YBSS grew out of the Yorkshire Ballet Seminars which began in 1973 by ex-Royal Ballet dancer and teacher David Gayle MBE to give young people the chance to meet ballet professionals and learn about opportunities to further their ballet interests. Within two years the Seminars had morphed into the YBSS, the country’s first residential ballet course. Porter likens the YBSS to talent scouting: “We wanted to help regional children to meet and be seen by experienced artists and teachers…40 years later we are still in a privileged position because of our contacts in the ballet world and are so pleased to be able to continue directing promising students to vocational schools”.

It must be noted that both Imelda Staunton and Jim Carter have great admiration for the venture, as it “does wonderful work introducing children to the world of dance by providing them with world class tuition” and they only hope that sciatica and a dodgy hamstring won’t prevent them premiering the Dolores Umbridge and Carson pas de deux to a dance hungry public!

Tickets: £12 to £85 www.sadlerswells.com

Image courtesy of Wikimedia Commons.

Alan Burkitt: A Fred Astaire For Our Time

Alan Burkitt, a Fred Astaire for today, covers the lead Jerry Travers in the hit West End show Top Hat. From his beginnings as a young tap extraordinaire, to three years vocational training at Performers College, Alan has become a versatile performer who takes ultimate pride in his work in the capital’s West End. Here he talks about his early dancing years, his incredible life in Top Hat and the exciting venture which is up next for his career…

When did you begin dancing, and why?

I began dancing at the age of five in my hometown of Whitstable, in Kent. It was really something that I wanted to do and after much prancing around the kitchen my parents gave in and shipped me off to a local dance school. Still to this day I’m not quite sure what attracted me to dance as it does not run in our family and my parents are not particularly ‘stagey’… so I guess I got their share too!

What were your early years of dancing and training like?

At the age of 10 I started at the Deborah Capon School of Dance. Unfortunately Deborah passed away last month, taken from us in her prime. She was an exceptional teacher who instilled a depth of knowledge and understanding in me that has stayed with me all through my professional years. I also studied Jazz, Ballet and National and was a Junior Associate at the Royal Ballet School. After Top Hat, I think lots of people see me as Alan: the tapper. It was Deborah that taught me about light and shade, fluidity of rhythm and presentation. Now in my performing years, a dear friend… I will miss her greatly.

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

I performed in many shows and dance festivals growing up. I loved competing and going up to London for the day was always such a valuable and rewarding experience. As I was the only boy at our dance school I had the pick of the girls!

Where did you train? What was it like?

After staying on at school to do my A-Levels I went to Performers College in Essex. I can honestly say I loved my three years there and could easily go back and do it all again! The all-round training I received was excellent and the general atmosphere was something special to be a part of. I had an amazing Classical teacher there called Lorraine Swain. She pushed me technically in a direction I never thought possible and is part of the reason why I have been able to be so diverse in my professional career.

What is a typical day like for you?

A typical day?! I rise at about 9am… 9.30… ok, 10am! I have a healthy breakfast of a bacon butty and a cup of coffee then get the train into work on a Matinee [afternoon performance] day. (We have three!) We then have one show at 2.30pm, a quick dinner and 15 minutes shut-eye then we do it all over again at 7.30pm. It’s then back home at about 12am ready to do it all again the next day! It is tiring but we do it because we love it, and I think that’s the way performers are programmed and therefore function. We go into work everyday to do a job we love and are proud of… brilliant eh?!

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

I’ll be honest and say not really! I do a lot of teaching however. I am hugely passionate about educating and inspiring others and I treat those lessons as my workout too! I also try to go to the gym to keep up a level of strength… I always find I have more energy and dynamics on stage when I’ve been more active in the day.

What do you like best about performing in the West End?

I love working in the West End because I feel a sense of pride and achievement. It’s so many young people’s dream to ‘make it’ there and I can actually say… “I’ve done that!” It’s lovely to be at home too so you can enjoy home and work life, and try to obtain some sort of balance?!

Which part of Top Hat do you enjoy most?

I love my track in the show but when I go on for the Lead ‘Jerry Travers’… you just can’t beat the feeling!! It is a dream role for me because it is a style of dance that I have adored from such a young age. I remember when I was little I won a tap competition and the adjudicator commented that I was like a mini Fred Astaire… since then I have been a huge fan of his films and to recreate one on stage is both exciting and an honour.

What advice would you give to someone aspiring to be part of the musical theatre world?

Easy… you have to wake up in the morning and want to do this more than anything else. That means growing a thick skin as there will be rejection along the way, but more than anything you have to live and breath music or dance. It’s hard at times… but trust me, it pays off!!

What would you say is the best part about dance and performing for you?

The best part about performing for me is when you completely let go and immerse yourself in a character on stage. It is an escape from day-to-day life that is so rewarding and diverse. There’s a moment in every show, when after rehearsals you suddenly just relax and ‘become’ that character and no longer have to think about the steps because they just happen… that’s when an audience forget they’re sitting in a theatre and are transported somewhere magical!

Tell us something about yourself we may not expect…

I’ll soon be thirty two!!! Hard to believe one could still look so fresh and young?!

What’s next for you?

I’m currently choreographing ‘Fascinating Aida’ for a new UK tour called Charm Offensive!… plug plug! It’s going to be great and the girls are an absolute hoot to work with. Go and support this wonderful show as they travel to a town near you!

Other than that it’s back to auditioning and planning the next step in my career… I’ll let you know!

Pushy Parents?

Dance Moms It has been the subject of much speculation over many years, however with the turn of the twenty-first century it seems that dancers will stop at nothing to achieve. Behind these dancers are their parents and dance teachers, encouraging and even directing these young students into a dance world they may not wish to be a part of. In addition to this, they not by physically ready for this kind of work either.

The work of subject is high pressure and high performance dance contests in which applying the same amount of make up and fake tan to a small child as a dancer on Strictly Come Dancing has been rather controversial. Whilst the child may enjoy the dancing, the music, and the social life that comes with dance classes and competitions, it must be noted that they do not have the knowledge of any alternative, and therefore the motivation to pursue another activity.

Whilst younger children are more flexible then their older counterparts, it is apparent that many dance teachers and parents abuse this, pushing the dancers to force their bodies to contort and lengthen before they are perhaps quite ready, substituting health and wellbeing for a leg up by the side of the head and a box jump greater than that in the hit movie Fame. Starting this work (too) early may be detrimental to the dancer’s future and is not a pre-requisite for a successful dancing life.

It is an assumption to label these parents and teachers as “pushy”, as seen on television programmes featuring dance phenomenons such as Baby Ballroom and Baby Disco: it is clear that overall each parent has the child’s interests at heart, however sometimes this gets lost on the way to our television and computer screens.

Nutrition In Winter

Nutrition Pyramid For dancers, the body is not just ‘the body’ but the means to achieve. Maintaining your optimum health and ensuring you are always at your peak is a constant thought in a dancer’s life at the best of times, but with the colder months ahead of us, it is something that requires even more attention.

In terms of general wellbeing, the winter brings cold studios and difficult warm ups in order to prepare the body sufficiently. Dancers must be particularly aware of chilblains (from resting parts of the body on heat for prolonged periods of time) and stress to joints in the cold: your body must be suitably warm for the dance class, rehearsal or performance ahead.

What a dancer puts into their body during winter is also highly important. It is much easier to eat healthily during summer when salads and light dishes are most appealing. However, when the cold comes it is all too easy to ‘treat’ ourselves (treat being the operative word) to a hot chocolate or chips. A treat once in a while does no harm, but lots of unhealthy choices can cause problems. It is easier to think of your body like a car. A petrol car cannot run on diesel: you have to fuel your body with the right things, as it won’t work sufficiently if you fuel it with with things such as processed food, which won’t aid your overall performance.

It is also important to eat to maintain a healthy immune system, which will fight germs and mean you can dance properly, sooner. Multivitamins can help, but best is the consumption of cereals, protein, dairy and lots of fruit and vegetables, full of antioxidants. Soups can be a great way to have a hot, nutritious meal whilst dancing all day. Regular meals containing all 5 food groups will maintain a healthy balance meaning your body will be ready to face the winter!

Uniform Standards

Dance Uniform Whilst the stereotypical uniform for dance is much the same, different uniform is required for different dance schools, different exam boards and even different dance grades. For a non-dancer, the assumption of pink ballet tights and a leotard for ballet is not so far from the truth, the stereotypes also formed for tap and modern jazz. Contemporary and lyrical classes tend to be a little more free and liberal in terms of what the dancer dons, and can range from anything to short shorts and tights tops to tracksuit bottoms and baggy pyjama-style tops, known on the whole as ‘baggies’, often used in any dance class for warming up.

Despite the stereotypes, dance teachers all employ certain uniform and dance wear standards for their students. Some prefer their dancers to be comfortable with what they are wearing, whereas others maintain that a dancewear uniform enforces discipline and technique as the teachers are able to see the dancers’ bodies easily. For those who like to see their dance school uniform worn, or neat dance wear purchased, their dancers are more likely to adhere to the standards required during dance exams too. Some dance examination boards define each grade through different coloured leotards, waist elastics or style of ballet shoe.

Aside from ballet, jazz dance and modern jazz is also sometimes subject to requirements such as these. Some exam classes, or even individual teaches, will ask that no split sole jazz shoes be worn, for example, or alternatively that split sole jazz shoes are preferable. Some argue that split sole shoes – be it jazz, ballet, jazz trainers or even tap shoes – offer no support and a full sole provides more for the technique. However, dance shoes, like the rest of the catalogues and wardrobes full of dance wear, are usually dictated by teachers and dancers grow up with these views instilled.

25 Years Of East London Dance

In celebrating the past, present and future of East London Dance, its celebration of 25 years of dancing success saw a huge variety of performances come together under one roof at Stratford Circus. The abundance of vitality and passion was overwhelming, with one piece even gaining the Royal seal of approval: ‘Family Tree’ was originally conceived as part of the Coronation Festival earlier this year. Featuring performers from Middlesex University, Kingston University, University of East London and One Youth Dance, it was packed full of energy and celebrated the influence of the Commonwealth on contemporary Britain.

Wayne McGregor’s ‘FAR’ was also featured, inspired by the controversial Age of Enlightenment. As a previous neighbour of East London Dance as the Redbridge Council dance co-ordinator, McGregor’s work epitomises aesthetic qualities of contemporary dance. Particularly representative of McGregor’s specific performance style, ‘FAR’ marked a similar milestone for the prestigious company and the renowned choreographer’s repertoire of work. Folk Dance Remixed, a fusion of street dance and folk dance, presented ‘Step Hop House’ which merged live music, folk and breakdance, and even beat boxing in an eclectic mix. A true crowd-pleaser, ‘Step Hop House’ demonstrated the versatility and variety of all East London Dance has achieved. The piece was a unique combination of humour and skill, and even included some signature Michael Jackson moves.

It was the representation of youth dance however which truly celebrated East London Dance, the future. Companies such as Avant Garde Youth and Unity Academy were fierce, slick and professional in their sharp expression; the young dancers gave much hope for the future of dance, particularly in the East of London. The sheer dedication of all involved in celebrating the 25 years were full of optimism, championing the many skills and concepts as just a snapshot of what dance can offer in the future whilst maintaining the legacy of East London Dance.

Learning To Be Carabosse By Birmingham Royal Ballet

Birmingham Royal Ballet, the sister of the capital’s Royal Ballet, is renowned for its outreach and engagement activities. Just recently audiences were able to get a taste of what it is like to be truly ballet wicked, in a workshop with Birmingham Royal Ballet’s Assistant Director Marion Tait.

As part of Birmingham’s 4 Squares weekender (6-8 September) participants from the Midlands and surrounding areas were able to engage in an open rehearsal, in which Tait taught the role of Carabosse, the wicked fairy from The Sleeping Beauty. While Carabosse is usually played by a male dancer each member of the rehearsal audience were able to experience the mood and emotion behind the character.

Tait focused on the mime of Carabosse rather than the choreographed steps, making the rehearsal accessible to ballet lovers of all ages and abilities, rather than confusing the process by including the technical jargon of classical ballet. Tait shared many tips and secrets of the role for her varied audience, having been a ballerina in her prime and also a renowned dance actress. The audience were also able to watch a dancer of the Birmingham Royal Ballet within the rehearsal who was being taught by Tait: First Artist Callie Roberts, who will be taking on the role of Carabosse for the first time as part of Birmingham Royal Ballet’s autumn performances of the classic tale.

The weekend-long festival also included a performance by Freefall, Birmingham’s acclaimed company for highly gifted young people with learning difficulties. The performance was also interspersed with Birmingham Royal Ballet dances, led by dancers no longer with the company, and staff from Fox Hollies Performing Arts College. The audience were, again, a special part of the dance here, provided with a rare chance to see this unique company on stage.