Training In Fosse-Style Jazz

Bob FosseLike many other choreographers, such as George Balanchine and Martha Graham, Bob Fosse is one who created lots of spectacular work and an entire stylistic repertoire. His movements are slinky and sensual yet always have much emotional depth.

Fosse died over 25 years ago yet his style is still desired and emulated widely, especially throughout the US. The revival of Chicago the musical, choreographed by Fosse devotee Ann Reinking, is still running on Broadway and Pippin (with Fosse-inspired choreography by Chet Walker) is also back. Fosse’s work continues to inspire.

Fosse didn’t codify a technique to train dancers, yet his style serves as an essential base for students of all disciplines; Fosse’s smooth style and attention to detail are invaluable. Fosse is known to have called his dancers “actors”, emphasising that their primary job is to communicate a story as everything he did had an emotional, mental, political and ethical side to it. The dancers he trained are complete entertainers through their deep understanding of performance. Each step has intent behind it and you have to bring out every aspect of the character to convey it.

Fosse style encourages dancers to engage emotionally and also helps develop ensemble skills. In addition to dancers working together as a group, attention to detail is paramount. The intricate nature of Fosse’s choreography means so much can be conveyed through the subtlety of a single finger wag or a sideways glance. The style requires an incredible work ethic because much of the work is based on intricate isolations, so dancers develop a heightened body awareness and focus.

While the process of learning the work is intense, it is apparent there are two huge payoffs in auditions and onstage. You must be able to watch and replicate in a detailed and multi-layered way, and a diligent rehearsal process ensures confidence in performance.

UK theatres under threat

Brighton HippodromeThe Brighton Hippodrome, Plymouth’s Palace Theatre and the Victoria Theatre in Salford are at the top of this year’s Theatre Buildings at Risk Register, which lists 33 venues around the UK. Although the number of theatres has decreased, the Theatres Trust has warned the drop is partly down to changes to the way it focuses on venues under immediate threat. The Theatre Buildings at Risk Register is published annually, and identifies venues at risk from demolition, change of use, development, sale, decay and neglect, lack of funding and poor building operation.

Eight venues are new to the list in 2014, with the Trust claiming many of these are on it because local authorities no longer want responsibility for funding or operating them. These include the Secombe Theatre in London and the Muni Arts Centre in Pontypridd. Two venues from Blackpool are new to the register: the Winter Gardens Pavilion and the North Pier Theatre.

A worry for many involved is the extent to which more local authority cuts will lead to further closures, however the Trust’s advisers are working hard to help communities and local authorities find possible solutions. For the first time this year, venues have also been rated according to how important a venue is to its community, alongside risks to the building and quality of the theatre, however this is seemingly difficult to engage.

Brighton’s Hippodrome, which was at the top of the list last year, was labelled the most significant case for the Trust, with efforts ongoing to prevent it from being redeveloped as an eight-screen cinema and restaurant complex. Meanwhile, the Palace in Plymouth was used as a theatre until 1980 before becoming a nightclub, but has been disused since 2006. The Trust said it was supporting the Plymouth Palace Project to develop a business and management plan for the venue.

Image courtesy of Wikimedia Commons.

The Many Facets Of Dance

Zumba ClassRegardless of your favourite dance discipline, it is important to maintain your practice in other dance forms to both complement and balance your training. Whilst one discipline may be concentrated on, it is beneficial both physically and mentally to take part in other dance forms other than your main interest.

Many teachers encourage their students to try everything to ensure their dance training is well-rounded and dance interests are well-informed. The more dance styles and dance knowledge you have under your belt, the better!

Once dance students begin to venture into dance careers, the different dance styles lend themselves to performances in different ways, and can even influence the roles you are cast for and whether you may have a role created on you in the future. Having a multitude of dance skills at your disposal means dancers are even more of an asset to the dance companies they join. Dance companies demand a lot from their dancers, so the more you can offer, the better.

Despite this, sometimes extreme pressure is placed on the body (and mind) when something completely new is required. Different styles to what you are used to can be difficult to get used to, but by cross-training your body, it will become easier to manage these changes.

Daily class is one of the best ways to cope with the extremes of different styles, as it warms the body up and prepares it for the day ahead. Keeping the body strong and confident is important, so eating well and looking after your body outside of the studio is also vital to succeeding.

Don’t forget that the opportunity to work on lots of different things in lots of different styles is the best way to develop as a dancer, and keep on learning!

Image courtesy of Wikimedia Commons.

Phoenix Dance Theatre At Home

Phoenix Dance TheatrePhoenix Dance Theatre will celebrate the 50th anniversary of the ground-breaking 1964 Civil Rights Act by presenting Tenacity, a specially curated programme that commemorates the Act as a landmark piece of American legislation that allowed voices to be heard. It became a catalyst for change in many parts of the world. Presented at the Stanley & Audrey Burton Theatre in Leeds, Tenacity is a mixed bill curated from Phoenix’s archive, reflecting the company’s own heritage through a range of choreographic voices and paying tribute to the global civil rights movement.

Alesandra Seutin’s 1976 tells the story of the Soweto uprising in South Africa, where a group of children were shot dead during a bloody protest for their rights. Longevity is an emotional duet by Gary Lambert, inspired by Martin Luther King’s ‘I have a Dream’ speech delivered during the Civil Rights March in 1963. The Audacious One, by Warren Adams is a passionate look into a world of political intrigue and power.

To accompany the Tenacity season Phoenix Dance Theatre will present a unique multi-media Symposium – including dance, lectures, film and audience discussions – that further explores how dance and choreography address historical and current political issues. It will consider the history in this programme and explore how movement can approach historical moments and express the forces that fuelled them.

Phoenix will then embark on a 7-venue national tour with its new triple bill of exciting and diverse works as part of its 2014 national tour, including a week-long season at Linbury Studio Theatre, Royal Opera House. The London season features a double bill by Christopher Bruce including Shadows, a brand new work created especially for Phoenix Dance Theatre, and a restaging of Christopher’s classic study of life in the 1940’s, Shift. Having choreographed works for leading dance companies across the globe, this is the first time that Phoenix will perform any of this renowned choreographer’s work.

The Inner Critic

Edgar Degas - Dancer Stretching at the Barre

Dancers are perfectionists, no matter how high the achiever. Despite this, needing constant approval from your teachers, peers and even yourself can be detrimental for you both physically and mentally. It can result in doing too much, feeling anxious and not making enough time for yourself. Great results can sometimes be at the expense of other things, and it can be easy to forget what is important.

If this sounds familiar, focus on how the need for approval is causing you to work too hard – seeking approval can negatively impact your performance, as well as leading you to turn down new opportunities and challenges and even withdraw from dance or give up all together. Seeking constant approval can hold you back from doing the important things, being free to create and achieve.

It is difficult to ‘let go’ of needing others’ approval and to increase your own sense of self-worth and wellbeing. It is important to continue to build self-acceptance of yourself. Remind yourself of things you’re proud of or moments you achieved: when you feel that you’re not good enough remember those moments. Don’t let your inner critic run wild with your imagination – have confidence in your own ability and choices.

When you perform it is natural to think about and value the evaluation and opinions of others. Remember to value how you feel about the performance too, and what it meant to you – constructively evaluate how you could improve it for next time. When you take on a new commitment, think about your decision and how much of it is lead by what you want to do, don’t think too long or hard about deciding to do it for others’ approval. Do it because it’s right for you, and whether it is important to you.

Image courtesy of Wikimedia Commons.

Common Foot Problems For Dancers

Foot ThongThe feet are important to any human being, in terms of posture, gait and movement. For dancers the feet are constantly put under pressure as dance relies predominantly on flexible, mobile and healthy feet. Despite this there are a few common foot injuries in dancers:

Hallux Valgus and Bunions

The big toe tilts sideways towards the second toe and becomes painful, often developing bunion at its base. The pain is usually worse when wearing tight footwear, or when putting excessive pressure through the affected area, such as when on demi-pointe. The entire leg’s biomechanics are often involved: to manage the problem there are options of manual therapy, stretches and strengthening exercises for the feet, ankles, knees and hips. Failing this, surgery may be required.

Hallux Rigidus

This condition becomes apparent during full demi-pointe and is characterised by pain and reduced ability to achieve a 90 degree angle at the joint between the big toe and the rest of the foot. Forcing demi-pointes causes the joint surfaces to become irritated and bony spurs can develop. Half demi-pointes should be encouraged as the forces through the affected structures are then reduced. Cryotherapy (ice treatment), mobilisation and regular stretches can help in reducing pain and inflammation.

Plantar Fasciitis

Characterised by pain on the sole of the foot that is often worse in the mornings or after a strenuous exercise session. It is caused by an irritation and inflammation of the fascial covering of the sole of the foot and, in dancers, it is often linked to dancing for long hours on hard floors. Rest, cryotherapy, anti-inflammatories and manual therapy are all helpful in its management. Orthotics and splints can be used in chronic cases to help alleviate the symptoms.

Metatarsalgia

Characterised by pain over the ball of the foot. It is usually caused by years of overuse and overstretch of the ligaments of the toes; the associated joints become too unstable to sustain body weight and pressure which leads to metatarsalgia. Rest and cryotherapy are recommended, and metatarsal pads can be used to relieve pain and pressure, and strengthening exercises is encouraged.

English National Ballet’s 2014/2015 season

ENB LogoThere has been lots of exciting news for English National Ballet recently, including its presenting Modern Masters: Icons of 20th Century Choreography at Sadler’s Wells in March 2015 (including works by Forsythe, Neumeier and Kylián), two new regional hubs for English National Ballet’s Dance for Parkinson’s programme, the My First Ballet series continuing with a brand new version of Swan Lake and a large international tour to take place in 2015.

Modern Masters will include works from two choreographers new to the Company’s repertoire; William Forsythe’s In the Middle, Somewhat Elevated and Spring and Fall by John Neumeier. The triple bill also includes Jiří Kylián’s Petite Mort, first performed by the Company in Ecstasy and Death in 2013. Originally created for Hamburg Ballet, Neumeier’s Spring and Fall is not in the repertoire of any other UK company. Set to Dvořák’s Serenade for Strings in E Major, it features two couples and corps de ballet.

English National Ballet is committed to presenting the very best of both traditional and contemporary ballet to audiences across the UK: bringing these works to Sadler’s Wells continues this commitment and offers the opportunity to reach new audiences. Continuing to develop its work with Dance for Parkinson’s, English National Ballet will expand its regional class programmes to include DanceEast in Ipswich and National Dance Company Wales in Cardiff.

English National Ballet will take its critically acclaimed production of Coppélia to Southampton, Oxford and Bristol, and ahead of its run at the Coliseum in January 2015, Derek Deane’s Swan Lake will tour to Manchester, Milton Keynes and Liverpool. Making ballet accessible to audiences as young as three years old, the popular My First Ballet… series continues with My First Ballet: Swan Lake. The production will run at the Peacock Theatre, London, followed by a six week UK tour.

Birmingham Royal Ballet’s Autumn Season

Birmingham Royal BalletBirmingham Royal Ballet’s autumn season at Sadler’s Wells has recently been announced, including three one-act ballets touched in some way by war under the umbrella title of Shadows of War, and a revival of David Bintley’s fairytale, Beauty and the Beast

BRB will be returning to its old London home with two fantastic productions for a run from 14 to 18 October. The Company will perform David Bintley’s full length gothic fairy tale ballet, the ever-popular Beauty and the Beast, followed by Shadows of War, the triple bill of ballets inspired by the effects of war.

Beauty and the Beast tells the story of a cruel Prince, cursed to spend his life as a Beast. A beautiful girl, a hideous beast, a golden ballroom full of animals, two haughty sisters and a grumpy grandmother dance through Philip Prowse’s stunning storybook set, while Bintley’s rich choreography brings magical transformations to life, wild waltzes, and a relationship between Belle and the Beast that is at first terrifying, but ultimately beautiful.

Shadows of War will include Kenneth MacMillan’s La Fin du jour, Robert Helpmann’s Miracle in the Gorbals and Bintley’s Flowers of the Forest. La Fin captures the glamorous lifestyle of the Depression era with a group of trendy, bright young people ignoring the looming threat of war which will call time on their careless enjoyment and high spirits. The 1944 Miracle is set in a run-down and dangerous Glasgow suburb: after the shock of a girl’s suicide, the arrival of a mysterious stranger is able to bring her back to life. This ground-breaking dance drama is being re-created by Dame Gillian Lynne (a member of the original cast). Flowers of the Forest is a ballet in two parts presenting a light hearted and nostalgic ‘picture postcard’ view of Scotland, and including a more serious note.

Can Dance Ever Be An Academic Subject?

LectureWhile dance is a physically and mentally demanding subject, many people are still of the opinion that dance cannot be an academic subject and should not be included in a school’s curriculum. Dance as a school subject still faces negative perceptions despite numerous counter-arguments, and can be misunderstood as a ‘soft option’.

However, dance is just as rigorous, challenging and worthwhile as any other academic subject, holding great purpose amongst ‘arts education’ as a whole. There may not be as many students applying for dance as other subjects, but this does not lessen its worth, and the applicant number is actually rising.

Dance too requires academic thinking, with thinking required of both the brain and body. Dancers need to have good control of the body and its movements, in order to express ideas, emotions and create something artistically through the body’s physicality of muscles and joints.

The theory and history of dance also add stature to the subject of dance, in addition to studying dance criticism and dance science. These aspects must then be applied in both theoretic and physical terms. Unlike other subjects where you may not be required to show what you learn in practice or real life contexts, for dance you must know and understand the theory behind what you do on both the stage and in the studio.

Dancers are also creative, good problem solvers and quick, critical thinkers, which is useful day to day, and also as part of choreography. Dancers used methods such as risk, improvisation, flexibility and exploration to discover movement and fulfil what is required of them. Dance is full of new content and things to explore, not regurgitated every year as with other academic subjects. Students therefore make valuable contributions to the art form through what they create, actively engaging in the field.

Image courtesy of Wikimedia Commons.

Site Specific Sweeney Todd

Tooting Arts ClubLondon’s oldest pie and mash shop is set to host a site-specific production of Sweeney Todd from the end of October for around four weeks: Harrington’s Pie and Mash shop in Tooting will become the setting for Stephen Sondheim’s musical thriller in a production by Tooting Arts Club.

The show will run from 21 October to 29 November, and will begin with audiences congregating across the road in a traditional barber shop before moving over to Harrington’s, which opened in 1908, for the performance. The performances will fulfil even the most immersive theatre hunter’s expectations in a production you won’t forget in a hurry!

The production will be directed by Bill Buckhurst, who recently co-directed Shakespeare’s Globe’s Globe to Globe Hamlet. The producer of Tooting Arts Club, Rachel Edwards, has said that “It has been a long-held dream to do Sweeney Todd at this venue, and I am so pleased that it has been made possible by the generosity of the owners of Harrington’s”. The essence of Tooting Arts Club is completely summed up by the Sweeney Todd project by creating inventive work that has been born from lots of exciting collaborations with people at the heart of the Tooting community, it is hoped that this will be the first of many projects of this nature.

Another production of Sweeney Todd is also set to open this month at newly-formed Twickenham Theatre, while it has been reported that a production of the musical, starring Emma Thompson and Bryn Terfel, will lead English National Opera’s musical theatre season at the London Coliseum next year. David Bedella is to star as Sweeney, who won an Olivier award in 2004 for Jerry Springer the Opera. He will be joined by Sarah Ingram as Mrs Lovett. Her credits include Martin Guerre and Oklahama! It will run from 10 September to 4 October.