Dance Direct Blog. News, Reviews & Advice About Dance

The Carlton Dance

Alfonso Ribeiro's "Carlton Dance" Eagerly awaited on this year’s I’m a Celebrity, Get Me Out of Here was The Carlton Dance, made famous by American actor Alfonso Ribeiro during the hit TV show The Fresh Prince of Bel-Air. With the IACGMOOH series now over for 2013, it is clear that the contestants bonded from the off and worked together throughout.

Audiences had to be incredibly patient to see Alfonso’s flawless moves, and perseverance finally paid off. Alfonso both demonstrated and taught the Carlton dance to his I’m a Celebrity campmates, injecting some fun and sun into some of the relatively darker mood days. Alfonso, up to this point, had maintained that there “will be no dance until I am voted out” however he burst into action on the reality show after getting a pep talk from fashion designer David Emanuel.

The campmates joined in with great gusto, with the signature dance moves learnt by Olympic Gold Medallist Rebecca Adlington, reality star Joey Essex and professional dancer Vincent Simone also joining in. Rebecca was particularly pleased that Alfonso taught the dance to his campmates having been desperate to learn the routine. The impromptu dance lessons from Alfonso was a welcome distraction from camp life for the campmates following surprise evictions and rising tensions.

The camp’s efforts at learning the dance were rewarded with some music after dinner, and the campmates looked blissfully happy to hear the Tom Jones classic “It’s not Unusual”, with each campmate performing the routine. Thankfully spirits in camp were restored to a higher level than had previously been seem, but not for long as it was revealed the following morning that Matthew Wright and Vincent Simone were out!

For those of you who don’t know “The Carlton Dance” here it is performed by Will Smith and Alfonso in an episode of “The Fresh Princeof Bel-Air”!

Neal Street Productions’ Original material

Sam Mendes’ Neal Street Productions has revealed its next musical theatre projects will be completely original shows that are not based on existing source material.

While this statement is irrelevant in terms of news, it is notable due to the fact a lot of musical theatre work in the capital alone is remaking originals and rarely never-seen-before work. Moving away from the capital into fringe, regional and local theatre, musicals based on existing source material are even more popular, due to lack of resources and the requirement to bring audiences into theatres. A sure fire way of doing this is by offering musical theatre that is well-known and popular.

Having presented Shrek and Charlie and the Chocolate Factory, Neal Street Productions is perhaps now more known for its work with existing films rather than existing musical theatre material. It has been said that Neal Street Productions has its eye on a couple of musicals, and these could be film titles. However, this is not its aim, first and foremost, so it is perhaps likely that its next two productions will be completely new. Neal Street Productions also co-produced Heidi Thomas’ play, The House of Special Purpose, with Chichester Festival Theatre, emphasising the revival of contemporary plays as an additional strand for Neal Street Productions in presenting on which had been overlooked.

This may be a significant next venture for Neal Street Productions in the reviving of contemporary classics, bringing work back to theatres which has not been seen by the next generation of theatre audiences. These works are often contemporary plays which don’t get revived for minor reasons, and them fall by the wayside as other work comes along which may be more appealing in terms of production and facility.

Gemma Sutton: Magical Talent

Gemma Sutton is a magical leading lady. With her feet firmly on the ground Gemma has played a number of coveted musical theatre roles, her most current being Roxie in Chicago at Leicester’s Curve Theatre. Gemma trained for three years on the Musical Theatre course at ArtsEd, having previously engaged with a number of Amateur Dramatic performances. She hasn’t stopped since, and here offers a snippet of her life, both onstage and off.

When, where and why did you begin dancing?

I began dancing at my local dance school in Macclesfield when I was 8, encouraged by the girls I was doing pantomime with in our local Amateur Dramatics Society. My first teacher soon retired, and the teacher who took over from her taught me until I was 18 and became a very close friend over the years as I began teaching for her in the few years before I went to Drama school.

What were your early years of training like?

I remember my Mum being a constant taxi service, taking me to dancing classes 4 times a week, along with singing lessons, piano lessons, and three different Am Dram societies. I don’t know when I had chance to eat, never mind do my homework! I took dance exams in Modern, Tap and Ballet, with IDTA. I used to love going to the IDTA conferences and learning from the great guest teachers they had there.

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

The first show I was ever in was The King and I at the local Am Dram Society after my Mum answered an advert in the local paper saying they were looking for children to audition. From that day on I was hooked. I also used to sing in local nursing homes and concerts with my Dad accompanying me as he is an excellent pianist. Over the years I was in shows such as Crazy For You, Me and My Girl, Godspell, Sweet Charity, West Side Story, Barnum, Kiss Me Kate… it gave me such good experience and stood me in good stead for when I went off to Drama School at 18.

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

I trained at ArtsEd in Chiswick, London, on the three year Musical Theatre degree course. It was very intense and I couldn’t have wished for better training. We’d start at 8.30am and finish at 6pm Monday to Friday and each day had a variety of lessons, usually starting with a one and a half hour ballet or jazz class, sometimes one after the other (!) and then lessons such as acting, improvisation, physical theatre, ensemble singing, solo singing lessons, street jazz, pilates, history of musical theatre, alexander technique… I remember being so tired I’d be in bed by 9pm each night. I learnt such a lot there and worked with amazing industry professionals, many of whom I’ve worked with since graduating into the profession.

What is a typical day like now?

My routine changes all the time depending on if I’m in a show or not. When I’m working, like I am now in the musical Chicago at the Leicester Curve Theatre, I tend to get as much sleep as I can, then get out and about in the day (at the moment to do my Christmas shopping), I may go for a run if I’m feeling particularly virtuous. We have to be in at 6pm on a ‘one show’ day, and 12pm on a matinee day. We would then have a physical and vocal warm up, get notes from the dance captain and resident director to keep the show on top form, get wigs, microphones, costume and make up on and then do the show. It’s hard to go to sleep soon after the show as my adrenaline takes a while to settle down after the excitement of the evening’s performance! If I’m not in a show, my day may consist of preparing and going to auditions, going to singing lessons, and doing part time work to keep the pennies coming in. I’ve done loads of different things from bar work to office temping. There are so many talented people in the industry, we all have times out of work, but you just have to keep going and never give up.

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

When I’m working I find that doing the show each night and being very focused in the vocal and physical warm up helps to keep my technique sharp. I’m really enjoying our Chicago warm up; we do a lot of yoga and ballet exercises which makes a nice change from the usual star jumps and press ups that warm ups often consist of! When I’m not working I go to regular singing lessons and do a lot of running, strength training and yoga. Keeping fit is so important in this industry as you never know what you’re going to be asked to do in a dance audition and you need to be on top form all the time.

What’s the best part of performing?

Having been on the tour of Hairspray for the majority of this year, I’ve been lucky enough to experience the most wonderful reaction from the audience in the finale number You Can’t Stop the Beat, night after night. It is so lovely to see the audience up on their feet, dancing away. It’s great to know you’ve made people happy and hopefully taken them away from the stresses of normal life for a few hours!

Which part of Chicago do you enjoy most?

That’s a tricky one! It’s such a well written show and all the numbers are great and so varied. I sing a number called Roxie in the first act where my character starts to realise that she’s going to be able to be the celebrity she’s always dreamt of being after working for years as a chorus girl in a dodgy nightclub. I’m joined on stage by male ensemble and it’s very exciting to be surrounded by these amazing dancers, all doing Drew McOnie’s amazing choreography, with a massive neon Roxie sign as the backdrop.

What are rehearsals like?

Intense! We only had three weeks to rehearse Chicago so we worked long hours and were totally consumed by it all day, every day. We usually start with a vocal and physical warm up at 10am and the day would be split between scene work, choreography and working through the music. This show has been particularly interesting as we have new choreography, not the Bob Fosse staging that all big productions of Chicago over the years have used. The choreographer also wanted us to create it with him, so it has been very fulfilling putting the show together. As we came closer to opening we would do runs of the show in the rehearsal room with lots of notes after and then a week of technical rehearsals in the theatre, adding the set, costumes, lighting, sound and orchestra.

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

If you really want to succeed, never give up. It is such a tough industry and once you realise that and come to terms with the fact that you won’t be working constantly (92% of performers are out of work at any one time – it’s a very scary statistic!), all you can do is keep going and don’t give up hope. Get a part time job that you get fulfilment from or you’ll just get depressed and that can grind you down after a while. Keep going to see lots of shows and performances, watch great films and listen to great music to keep being inspired so you are reminded of why you wanted to choose this career in the first place. Choose carefully which drama school or course you are going to audition for as they are all different, do your research and keep working hard in your classes!

Rambert’s New Home For Dance

Rambert Dance Company Logo Britain’s national contemporary dance company Rambert has taken up residence in its new home on London’s South Bank, which includes dance studios, treatment and body conditioning rooms, workshops, offices and an archive. The location has been made available to Rambert by Coin Street Community Builders in return for a commitment to provide a significant community dance programme in the local area, and for a rent of one pair of ballet shoes a year. The facility will nurture, develop and realise the creative visions of the best of today and tomorrow’s choreographers and dancers; the ambition is that the landmark dances for the next 100 years will be created in the building, therefore giving dance a permanent home on the South Bank

Rambert will take its work to people throughout the UK, with the most far-reaching touring programme of any British contemporary dance company. Currently over three-quarters of Rambert’s performances take place outside of London, complemented by equally extensive education and community-based work. Closer to home, the new premises will hold connections with the local neighbourhood. People of all ages and abilities will be welcomed into the building to join in dance classes, and the daily activity of the building will be opened up to visitors, as will the extensive archive of Britain’s oldest dance company. The hope is that everyone who comes into the building will be inspired with confidence and ambition for Rambert’s future as Britain’s national contemporary dance company.

During the first year in its new building, Rambert’s home will be a hub for making new works, restaging classic repertory, creative collaborations and community engagement. Plans include, three new large-scale commissions for the company (Artistic Director Mark Baldwin, Shobana Jeyasingh – one of the UK’s foremost independent choreographers – and Alexander Whitley, a former Rambert dancer recently appointed associate artist with the company. Two classic works from Rambert’s past repertoire will be revived, namely Christopher Bruce’s iconic Rooster, first performed by Rambert in 1994 and last revived in 2001, and Four Elements, a 1990 commission for Rambert by celebrated US choreographer Lucinda Childs.

Rambert’s new home is the first major, purpose-built dance facility to open in London for 10 years. The building’s three main studios have been named the Marie Rambert Studio, after the company’s founder; the Mercury Studio, acknowledging the Mercury Theatre, the company’s first home; and the Anya Linden Studio, in recognition of the generous contribution to the fundraising campaign from two of the Sainsbury Family Charitable Trusts: Monument Trust and Linbury Trust. The Marie Rambert studio is 306.75 square metres – the equivalent size of the stage at Sadler’s Wells which is the largest theatre space the Company regularly tours to.

Huge Audiences For TheatreCraft 2013

Future theatre-makers came together at the Royal Opera House earlier in November as part of the huge theatrical careers fair TheatreCraft. Over 1,000 passionate 16 to 25 year olds attended the free event to learn more about theatrical careers beyond the stage in a rich experience from those who have already worked in these areas. Some even boarded buses in Leeds at 3am in order to attend the event!

Jamie Lloyd opened the event, a young director whose work as part of the Trafalgar Transformed season has been acclaimed in the West End recently, and can be seen at the St James theatre next year. Lloyd spoke about it being OK to not to have an idea of what exactly you want to do in theatre or why, because it is your passion and drive to be part of the industry which is the most important thing. TheatreCraft, therefore, gives young people the chance to explore theatrical passions as part of an important and successful event. Breaking into work in the theatre can be challenging an isolating, ad not just for the performers on stage. TheatreCraft enables driven young people to stand face to face with potential employers and provide the chance for a much better angle to portray passions for the arts.

The annual event of TheatreCraft, which is now in its eighth year, offered more than 70 workshops, more than 50 exhibitors and an ask the experts zone for one-to-one advice sessions. Staged by the Theatre Royal Haymarket Masterclass Trust, Royal Opera House, Mousetrap Theatre Projects, Society of London Theatre and Creative & Cultural Skills, it covered areas from producing to designing, theatre journalism to wig-making, and boasted contributors including producer Kim Poster, journalism Lyn Gardner and playwright Vickie Donoghue.

Here’s to 2014!

Rambert’s Evening Of New Choreography

Rambert Dance Company Logo Rambert’s Evening Of New Choreography comes soon after its opening of its new premises on London’s south bank, to be held at the Lilian Baylis Studio on 17 and 18 December 2013, 7.45pm. The event is one much anticipated in the dancing calendar, enabling Rambert’s dancers to present the latest offering of new work from them. The Evening is an opportunity to see a new generation of emerging choreographic talent and will feature new works created by Malgorzata Dzierzon, Dane Hurst, Estela Merlos, Mbulelo Ndabeni and Patricia Okenwa, accompanied by the Rambert Orchestra.

Rambert has nurtured generations of choreographers who have gone on to enjoy long-standing and influential careers. They include Rambert’s current artistic director Mark Baldwin and such other notable names as Christopher Bruce, Michael Clark and Rafael Bonachela. It is fitting that the 2013 programme is comprised of the first works to have been made in the studios at Rambert’s new home.

Reminisence from Dane Hurst sees his continued collaboration with award-winning jazz composer Tommy Evans. Here he addresses ideas of cherished memory, failed romance, violent passion and solitude.

Hikikomori, the phenomenon of reclusive young adults withdrawn from social life, is the provocation for Malgorzata Dzierzon’s work about the impact of cyberspace on human relationships. Rambert Music Fellow Kate Whitley has composed a string quartet for the piece – her first commission since taking up post.

Mbulelo Ndabeni offers an exploration of the female spirit. Inspired by his South African roots, this work will be performed to a driving percussive score by Rob Millett.

Entre tú y yo is Estella Merlos’s portrayal of obsession and confrontation within the illusory sense of self, accompanied by an electronic and baroque score featuring Fennesz, Monsieur de Sainte-Colombe and Plastikman.

Patricia Okenwa’s collaboration with dancer Antonette Dayritt sends her on a personal quest to uncover a dance near the edge of her ability. Set to music by Geoff and James Holroyde that takes Lockgroove records and experimental jazz as a starting point for a unique score.

Strictly-Themed Workout Programme From Bristol

A Bristol fitness instructor and diet adviser Sarah Buscemi has added a new Strictly-themed exercise regime to her usual repertoire to enable clients to dance their way to fitness with a new Strictly-themed workout programme. Sarah has joined other Rosemary Conley consultants around the country to train in FitSteps, which was launched earlier this year by Strictly stars Natalie Lowe and Ian Waite.

The programme is based on some of most popular Latin and ballroom dances, also seen on the hit television show Strictly Come Dancing, including the jive, cha cha, samba, tango, waltz and quickstep, but for FitSteps it is broken down into easy sections. As a result FitSteps has been made suitable for dancers of all abilities, even if you have never danced before

Sarah runs 10 Rosemary Conley classes each week in Bristol and South Gloucestershire, with the 90-minute session including a 45-minute exercise session, and now FitSteps. Like all FitSteps instructors, Sarah was personally introduced to the moves by Natalie and Ian, and can download new dances to teach her clients from the FitSteps website, keeping the programme both fresh and up to date.

With television shows such as Strictly growing in popularity, it is no wonder that FitSteps is appealing: it is around 50% dance and 50% aerobic moves, but the combination of the two makes for an intense workout. With FitSteps there is no need for a partner, and supports all levels and abilities, whether they work out often, or can’t remember the last time they put on their fitness shoes.

If you would like to try your hand (and feet!) at FitSteps, visit fitsteps.co.uk to find a class near you.

Dane Quixall: A Spotlight

A relatively late starter, Dane Quixall began dancing aged 16. He went on to gain a Full Scholarship at the Urdang Academy aged 18, and upon graduating, joined an International Touring Company. With a stellar success story such as Dane’s, with credits such as CATS the musical, it is any wonder that he is a true professional and works incredibly hard.

When did you begin dancing, where and why?

I started dancing around my house when I was about 16 after seeing the video of CATS. I used to watch it EVERY night and dance along. I went to drama clubs prior to this and attended a local dance school on a Saturday where we used to learn routines, but I didn’t learn to do a plié until I was 18.

What were your early years of dancing and training like?

I attended the Urdang Academy in Covent Garden on a Full Scholarship and I am so thankful for that. I found training difficult as I had to work every night and weekend to pay for my rent, food and travel. A typical day was getting up at 6am to leave and get to central London to start Ballet at 8.45am, classes all day until 6p, and then start work Front of House at 6.15pm. I would work until 11pm, get home by 12pm, sleep for 6 hours and start again. I was tired and moody the whole time so not the best experience of my life, but it made me grow up and I learnt a lot in those 3 years.

A typical day…

I would start with ballet and we had great teachers who really gave a great basic training in the first year, which helped me to get to the standard of others who had been dancing since they were 3 years old. We had contempary classes, tap classes, singing lessons, gymnastics, jazz classes and acting classes. I enjoyed most of the lessons but I NEVER do, and still don’t, think of myself as a ‘dancer’. I think of myself as a Musical Theatre performer, so I much perferred the jazz classes and Musical Theatre lessons and workshops.

At the moment…

I have just finished 3 years and just under 800 shows of CATS on the European Tour, playing nearly all the boys and on occassions some of the girls! I’m resting until the end of January 2014 when I start rehearsals again for the UK Tour of CATS again as a Swing.

A typical day now…

When performing I usually get up about 11am. I have never been a morning person so working nights is great for me. If I’m on that evening I usually get a call around that time to let me know which character I am going to play. I would then spend time thinking about that ‘track’ and maybe watch the DVD if it has been a while. I prefer to do this early in the day an once I get to theatre I can go over the finer details after warm up, if there is partner work or a number, for example.

I would usually leave for the theatre about 2pm, go and get lunch about 3.30pm so it has time to digest and give me energy. I like to get to the theatre in enough time so my make up and wig is on and ready for warm up (as I don’t want to sit down for another 30 minutes after the warm up). The show starts at 7.30pm and if I’m on stage its non stop for 2 and a half hours. Unfortunately the show looks easy and effortless, and I guess it’s supposed to as you never see a Cat out of breath (!) but sometimes I wish people could understand just how difficult it is. It’s over 30 hours a week of cardio! You are always on stage or in the wings for 30 seconds to do a change, but you are always crawling, jumping, running and leaping.

The show finishes about 10.30pm so I try and take 5 minutes to stretch and then take my make up off. I would have had a few snacks throughout the show but I’m usually starving by the end, so probably have some food, a bath and then try and relax… and then bed!

How long have you been performing?

I guess I have been performing since Junior school, doing little plays and things like that. As for performing professionally, I left Urdang and within 3 weeks I had signed my first contract for a UK Tour, so I have been a professional since 2005. I have had the odd time when I’ve had to do other work, but most of the time I have already had a job to go to… I’m very lucky.

Did I start young?

No, but I really wish I had. I would have loved to have done gymnastics, although I think I would have wanted to be a rhythmic gymnast! But, the thing about starting late is that I really knew it was what I wanted and I was going to get it, no matter what. I don’t know if it was arrogant or childhood fooliness but the thought of me not acheiving was never there. I wasn’t competitve with anyone else, just myself; I want to be the best that I can be.

Do I still take classes?

Absolutely. You have to look after yourself and I enjoy it so much. It takes my mind away from everything. I go to class and I watch YouTube a lot for inspiration. When I was growing up the Internet was very new: people now can learn anything from the Internet. I had a few programmes and a few videos to inspire me.

Whats the best part of performing?

The best part is that I’m living the dream. I feel very lucky to be able to do that and that I can bring joy to other people with this show, which changed my life. As I am getting older I also understand that we are all human and I go to work each day and give the best I can. I might be sick or upset or exhausted, but I try my best. I can only give what I have on that day. Somedays are better than others – but with CATS if you’re angry you can use that in the show and usually after the Jellicle Ball you’ll feel great – you’ll want to be sick, but you’ll feel great!

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

My advice is that you have to work extremely hard and enjoy doing that, or this business might not be for you. With reality TV shows at the moment ‘Show Business’ is very popular but people believe that they don’t have to work hard and they can just go to one audition! It takes years of training and countless rejections before you will get anywhere. If you want security and a nice house and a car by 25 years old, this isn’t the business for you. You have to be honest with yourself and go for parts that you are right for. You never stop learning, and try and be nice, because NO ONE wants to work with someone who is difficult and arrogant! The last thing is ‘HARD WORK beats Talent when Talent doesn’t WORK HARD!’

The WhatsOnStage Awards

WhatsOnStage Awards 2014 The WhatsOnStage Awards are the only major theatre awards in which the audience are the judges. By voting the audience decide on the winners of my different theatrical categories.

The WhatsOnStage Awards began almost by accident: in early 2001, the shortlists for that year’s Laurence Olivier Awards was published by accident, covering the 2,000 theatregoing year, and invited site visitors to vote online for who they thought should win in the various Olivier categories, and their results differed greatly from the Olivier judges. For the 2002 Awards the shortlists were compiled by the WhatsOnStage editors, and in 2003, the first Launch Party was held to announce the shortlists to about 200 industry guests.

For the 2014 Awards, covering the 2013 theatre year, key dates are 1 November – nominations open; 30 November – nominations close; 6 December – Launch party, shortlists announced, voting opens; 31 January – Voting closes; and 23 February – Awards Ceremony and Concert, winners announced.

Each year, the Awards shortlists – covering the best of London theatre – are drawn up with the help of thousands of theatregoers who nominate favourites across over 20 awards categories. After nominations are announced voting opens and runs until the end of January the following year.

All professional productions that opened in London between 1 December and 30 November are eligible for awards consideration, with just a few special categories. Best Takeover in a Role recognises new performers in longer-running productions, while Best Regional Production looks beyond the capital. To celebrate the tenth anniversary of the awards in 2010, introduced was a new category for Best West End Show, which applies to all current West End productions, including long-running blockbusters.

The 2014 WhatsOnStage Awards Concert will return to the West End’s Prince of Wales Theatre on 23 February 2014.

Scottish Ballet’s App

Scottish Ballet's iPad App Scottish Ballet has recently launched an app for iPad, free to download for users and full of secrets from behind the scenes of Scotland’s company. The app can be downloaded by browsing for Scottish Ballet in the App Store and tapping FREE followed by INSTALL APP. Once installed, your new app will be sitting on your Newsstand shelf waiting to be read!

The app enables users to uncover the spectacular secrets behind the making of Scottish Ballet’s productions, from choreographic processes to musical scores, with Scottish Ballet’s brand new release on the iPad Newsstand. Audiences can find out more about their favourite productions and the process of staging them for Scottish Ballet.

For this free issue, the app takes a look at Scottish Ballet’s next production of Hansel & Gretel, offering a glimpse backstage with features on the making of the Company’s newest production, including fascinating video interviews, photo galleries, audio excerpts, set and costume designs and the chance to find out more about this enchanting show before you go.

As subscription is free, any changes made to the app will be made evident by notifications of all future Scottish Ballet Newsstand apps for iPad when they’re launched, instructing users to download the new version. New issues will also be complete with free behind the scenes galleries, interviews and much more.

In another strand of success for Scottish Ballet, it was recently announced that three finalists from the prestigious Genée International Ballet Competition are now working alongside Scottish Ballet for their new production of Hansel & Gretel. Pascal Johnson, from Tring Park School for the Performing Arts, has been offered a temporary contract, and Natasha Watson (bronze medallist) and Katie Rogers are on student secondment from Ballet West and Royal Conservatoire Scotland respectively.