The Trocks (Les Ballets Trockadero De Monte Carlo)

Les Ballets Trockadero de Monte Carlo & Shirley Maclaine in 1977

Founded in 1974, the concept of Les Ballets Trockadero de Monte Carlo was formulated by a group of ballet enthusiasts with the purpose of presenting a playful, entertaining view of traditional, classical ballet danced by males dancers.

The original concept has not changed: The Trocks, as they are affectionately known, make up a company of professional male dancers who have the fantastic talent to perform the full range of the ballet and modern dance repertoire, including classical and original works in playful mimicking renditions of the manners of those dance styles. Comedy is a huge part of The Trocks’ work, achieved by incorporating and exaggerating the accidents and mistakes that can happen with dance.

The dancers turn their hands (and feet!) to dancing swans, sylphs, romantic princesses, whilst performing skilled point work in giant shoes and enhancing the spirit of dance as an art form with their male forms. Whilst some may see The Trocks as ostentatious, their talent is undeniable in performing great classical roles with a few trip-ups and shoving partners thrown in for good measure! They are in no way demure and are ruthless in their fight against each other to become the ‘star’.

The company began by performing in the late-late shows in Off-Off Broadway lofts and quickly gained major critical acclaim, which established the Company as an artistic and popular success. By mid-1975, The Trocks had successfully blended their loving knowledge of dance and comic approach. Since then the company has developed an extensive touring schedule, with the US based company appearing in over 30 countries and over 500 cities worldwide since its founding.

As a testament to their success, The Trocks have won numerous awards including best classical repertoire from the Critic’s Circle National Dance Awards (2007) (UK), the Theatrical Managers Award (2006) (UK) and the 2007 Positano Award (Italy) for excellence in dance. In December 2008 the Trocks appeared at the 80th anniversary Royal Variety Performance, in aid of the Entertainment Artistes’ Benevolent Fund.

Image courtesy of Wikimedia Commons.

In Conversation With Lucy Jane Adcock: The West End’s Sweetheart

Lucy Jane Adcock - Top Hat

Lucy Jane Adcock is an incredibly talented and accomplished musical theatre star-in-the-making. She is currently performing in A Chorus Line at the London Palladium and understudies Scarlett Strallen, who plays the lead Cassie. Lucy Jane has also performed in other musicals such as Chicago, Fame, Starlight Express and Beauty and the Beast, giving her a huge repertory of exciting and inspiring jobs.

Coincidentally Lucy Jane met her husband, Jon Cooper, on the Starlight Express tour – he works as a bass player and was working in the Starlight band when the performing pair met.

Having trained at Laine Theatre Arts, Lucy Jane’s dance beginning is never far from her mind, reminding herself of the gift she has to give to audiences and how far she has come to achieve so much on stage. Here Lucy Jane shares a few words on her training, jobs and belief in what she does so well…

When did you begin dancing, and why? 

I started dancing when I was 3 at Caren Lumsdale’s School of Dance in South Shields. It was actually because of my babysitter at the time. She mentioned to my parents about the school so off I went with tap shoes in hand. Unfortunately I was the most unconfident, uncoordinated child ever and I’m sure I was a bit of a nightmare for Caren at times. The only thing I did have was determination and willpower, which luckily helped me stick it out until I improved!

What were your early years of dancing and training like?

I only trained in tap for the first few years until I was about 7. I think that’s why tap still remains one of my absolute favourite styles of dance to perform and to watch.  I was quite late starting my ballet training which I always regret because I’ve always struggled with my technique! Luckily it hasn’t really stopped me! I progressed with the Lumsdale’s and competed in lots of competitions and festivals, and as the years went on I realised how much I LOVED performing and the thought of actually making a living doing what I loved was very attractive!

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

I’ve been performing for many years but professionally performing since 2002. I had my first taste of professional work whilst training. I was ensemble in two pantomimes in 2000 and 2001. I was lucky enough to leave college and go straight into the national tour of Disney’s Beauty and the Beast as a Silly Girl. I can’t even begin to tell you how amazing this experience was… It still remains one of my all time favourite jobs! I couldn’t believe I was getting paid for it! How naive!! Since finishing the tour I have been very, very fortunate to have performed in many West End and touring shows.

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

I trained at Laine Theatre Arts, an amazing college in Epsom, Surrey. I remember starting there in 1999 and thinking, this is where I belong! It was a very hard three years but excellent preparation for a career in this business. I think if you haven’t got the stamina, strength and thick skin to get through three years of training then that proves that you haven’t got what it takes! A typical day would be maybe an hour and a half of ballet, followed closely by an hour and a half of jazz, then maybe a small lunch break (if I wasn’t sneaking into another jazz class!),a singing/drama lesson in the afternoon followed by a musical theatre class and there was always something going on after college, a rehearsal for something or performance classes. College would start at 8.30 in the morning and I wouldn’t normally get home until 6 or 7 at night!

But like I said great preparation as there have been times over the years when I’ve had to ‘double up’ on jobs which would mean rehearsing for one show during the day and performing another show at night… Hardcore!

What is a typical day like now?

To be honest every day is different for me. If I take a typical week at A Chorus Line, I often teach or take workshops, so every now and then my days are taken up with this, otherwise if I have a ‘rest’ day, I will walk my dog, maybe go for a small run. It is sometimes on these days that I will maybe have a sports massage or see the osteopath. I have to think a lot about what to eat during the day and what time so that I will have enough energy for the show especially if I am on for my understudy, Cassie! It is the hardest role I have ever played!

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

I don’t tend to take classes to be honest. Doing a show like A Chorus Line is enough for me. We do quite an intense warm up before each show which helps me keep on top of things. I also teach a lot of jazz classes so this helps too.

I’ve been very lucky over the years to go from show to show so this has kept me fit and at the top of my game. It is very important in my opinion to keep your fitness levels up so if I do have a short break from working I would tend to work-out or run and keep myself looking good for the next lot of auditions!

What’s the best part of performing in the west end?

There are so many amazing reasons why I love working in the West End… The first has to be that it was my absolute lifetime ambition to be working on a West End stage and any day that I feel a bit tired or under the weather I remind myself of this and how many other people would kill to be in my position. Too many people these days take this for granted and I get very annoyed at lazy people with no passion! I feel very lucky to still have this love of what I do after 11 years in the business because obviously it’s not all highs..! I get such a buzz when I’m performing… It’s like a drug for me and I see myself doing it forever. In A Chorus Line, the director Zach asks us, the characters, what we will do when we can’t dance anymore. He’s asked us that question every night for seven months and I still don’t know what I will do. I tell students that I teach that this is the best way to be. When you’re training if you have something ‘to fall back on’ you will tend to ‘fall back’.

Another reason I love working in the West End is the people I get to meet and work with. My rehearsal period for A Chorus Line was just amazing, working with Bob Avian and Baayork Lee. I’ve worked with Stephen Mear and Bill Deamer too and its just so inspiring working with choreographers with such passion, not to mention all of the people I have learnt so much from over the years. I also did a short tour with musical theatre legend Ruthie Henshall who I have always admired. When I did Chicago in the West End it was like a master class for me watching people like Linzi Hately and Leigh Zimmerman.

Which part of A Chorus Line do you enjoy most?

Like I mentioned already I LOVED the rehearsal period of A Chorus Line. I’ve never known anything like it. It was very intense starting with an hour’s boot camp every morning but there wasn’t a day that the whole cast weren’t in tears (of joy!) it was so special and the show is so drenched in history; hearing original stories from Bob and Baayork was so emotional.

Performing this show has been out of this world. My favourite part to play is Cassie of course! I understudy Scarlett Strallen who plays the role, and it is by far the best role I have ever had chance to play. I get to act, sing and dance on my own on the London Palladium stage with John Partridge (who I adore!) – I’m a very lucky girl!

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

There is so much I would want to say to someone aspiring to be in this business. The first would be exactly what Miss Laine said to me at my audition for Laine Theatre Arts. If there is even a shred of doubt in your mind as to whether you want to do this for a living then leave now. This business requires 100 percent dedication and you end up sacrificing a lot over the years to get to where you want to be. If you’re not prepared to give that then there are 1000 other people waiting in the wings!

Try to build a thick skin, there are so many knockbacks and times when you feel like giving up. We are generally very sensitive in this world, it really helps after a bad audition to forget it and move on, obviously easier said than done, but that is a skill I’m still trying to perfect many years on! The final piece of advice I’d give is to always give 100 percent when you are onstage, whether it be a cruise, a pantomime, a summer season, a UK tour or a West End show. Whenever you are performing in front of a paying audience you must remember what you’ve been through to get there and you never know who might be watching. It could be the casting director of your next big job! Too many people get complacent once they’ve been in a job for a few months, I think it’s very important to always remind yourself of why you’re there and how shortlived this career can be. In the song we sing at the end of A Chorus Line, ‘The gift was ours to borrow…’

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

This is one of the toughest questions. As I explained a little earlier performing is like a drug for me and I am at my happiest and most content in life when I am working hard and doing something that I love. I have mentioned earlier in the interview how fortunate I have been over the years to do some amazing shows but along with luck also comes a lot of hard work and sacrifice. I think knowing how much work has gone into that one moment on stage is another amazing feeling. Sometimes I can’t believe I get paid for what I do! I remember saying when I was at college that Fame was my dream show: I said “I’ll sweep the stage on that show just as long as I’m there!” I was lucky enough to do Fame in 2004 in the West End. So, if you believe in ‘The Secret’ and putting it out into the universe, it definitely worked for me on that one!

What’s next for you?

A Chorus Line will be a very hard show to follow for me. I can’t believe it’s coming to an end so soon. I’m very much hoping that it goes on tour at some point next year as I don’t feel quite ready to give it up yet. Knowing it will tour will make it easier for me to say goodbye to it at the Palladium! I live from month to month really, but all I know is I was put on this earth to perform and I will continue to do so until my body tells me to stop!

Kerry Ellis Returns To Rent

Kerry EllisWith songs such as Seasons of Love, Out Tonight, and Without You, Rent the musical is a tale of a group of friends living n the East Village of New York City, about falling in love, finding your voice and living for today under the shadow of HIV/AIDS. Rent is based loosely on La Boheme, and has won the Tony Award for Best Musical and the Pulitzer Prize for Drama, a pop cultural musical phenomenon.

For this hugely significant musical, there is an extremely significant musical theatre star set to join the show’s ranks. Kerry Ellis will be joining the Rent in Concert 2014 Tour, following the announcement of a third and final leg to the current UK tour of Rent in Concert. Ellis will be helping to celebrate 20 years since the first staged performance of Rent, with the West End leading lady and Broadway star returning to the role of Mimi in this iconic concert version.

The show toured the UK earlier this year in April starring Ellis, Rory Taylor and Nikki Davis-Jones. Last month it was announced that the show will return in November starring Atomic Kitten’s Natasha Hamilton and Taylor, before its final run in January and February 2014 with Ellis.

Ellis quickly built up a reputation of a leading lady, with starring roles in London and on Broadway. Beginning by originating the role of Meat in Queen’s We Will Rock You, Ellis became the first British Elphaba in the West End’s Wicked. Ellis then transferred Broadway and played Elphaba in the same musical for six months before returning to London. Ellis has turned her hand to many other West End roles since, with other leading role credits include Nancy in Oliver!, Eliza Doolittle in My Fair Lady, Ellen in Miss Saigon and Fantine in Les Miserables. Add the 20th anniversary celebratory tour of Rent to that list and you have an incredibly versatile and entertaining performer.

Image courtesy of Wikimedia Commons.

One Year On: Gymnastics And Dance

2012 Olympic Opening CeremonyA year on from the London 2012 Olympic Games, there is much celebration about the phenomenal events which happened precisely one year ago. Over the past year much has come from the Olympic legacy, with sports and cultural institutions benefitting from the heat wave emanating from the dust of the Olympics in the capital.

Dance has rarely been out of the news over the past year, for example focusing on the ordered Bolshoi Ballet acid attack and Tamara Rojo’s incredible steering of the English National Ballet, of which she is Artistic Director and Lead Principal dancer. Despite the fact that not all the dance news for 2013 has been good news, it has been a positive sight to see dance get so much recognition from national press, not just specific dance rags.

Many may be hopeful, following the year’s events for dance and the series of ‘firsts’ that have been seen, such as the Bolshoi performing at the Royal Opera House for over 5 years, that dance may one day be present at the Olympic Games. It is clear that dance is not only a complementary discipline to other activities, but its own success in its own right: will we see dance in Rio at the 2016 Olympics? The 2012 ideals ‘faster, higher, stronger’ are extremely applicable to the art of dance, with Albert Einstein and then Martha Graham maintaining that ‘dancers are the athletes of God’.

It is arguable that dance could qualify as an Olympic event through its artistry, strength and flexibility, very similar to that of Gymnastics and Rhythmic Gymnastics, and maybe even Diving and Equine Dressage! For rhythmic gymnastics in particular, the discipline is a combination of gymnastics and dance, and its origins lie in a wide variety of disciplines, including classical ballet.

The Academic And Vocational

Dance in the MainstreamAs the end of the last school and college holidays draw near, students all over begin to contemplate the future. In collecting their A2 results from Sixth Form or college, there is much speculation as to whether the student achieved the grades to get into their selected universities, and then study the subject they applied for initially.

Some students may have already decided that performing arts vocational college is the right direction for them to go in, having already auditioned and gained a place at their chosen college, ready to start high-kicking and channelling Othello come September. In choosing the path following college or Sixth Form, it’s easy to forget the student must choose what is right for their talent and dreams of the future: many choose vocational college, whereas others may choose to go down a more academic route and study dance, drama or performing arts at a university as the higher education provider.

In favouring academic study, students are able to glean the best from both worlds. Many university courses offer a 50/50 split of academic study and practical study, enabling the student to learn their craft in a different environment, and then learn – for example – a more in depth history of their passion and the context behind it. However, a more academic course is not for everyone, which is why students must weigh up their talents and options carefully.

On the other hand, some students may still be considering their future in the wait for their exam results this month, perhaps contemplating taking a year out from study to travel or work. Many universities and higher education providers offer places on courses through clearing, meaning there still may be a chance to study in September in an area which holds a great deal of passion.

Busby Berkeley

Busby BerkeleyBusby Berkeley, born November 29 1895 (died March 14 1976) was a highly influential Hollywood director and musical choreographer, famous for his elaborate musical production numbers that involved complex choreography through geometric patterns. Berkeley’s works used large numbers of showgirls and props as fantasy elements in on-screen performances which were both captivating and impressive.

Berkeley made his stage debut aged five, acting in the company of his performing family. Following his serving in World War I, during the 1920s Berkeley became a dance director for nearly 30 Broadway musicals. As a choreographer, Berkeley was more interested in his chorus girls’ ability to form attractive geometric patterns, creating an awe-inspiringly regimented display perhaps inspired by his army experiences. However, his audiences experiencing the Great Depression of America made Berkeley very popular, and he went on to choreograph four musicals back-to-back for Warner Bros.: 42nd Street, Footlight Parade, Gold Diggers of 1933 and Fashions of 1934.

For his choreographic work, Berkeley began to develop his theatrical techniques for the musical numbers of films, such as Samuel Goldwyn’s Eddie Cantor musicals. Here he trialled and extended techniques such as the “parade of faces” in which each chorus girl’s face was shot with an individual, loving close-up. He also began to move his dancers around the stage, and later beyond the stage in shooting highly cinematic shots containing as many kaleidoscopic patterns as possible. The ‘top shot’ filming technique, shot from above, became synonymous with Berkeley’s work, another kaleidoscope shot which also appeared in the Cantor films.

As a choreographer Berkeley was allowed much independence in his direction of musical numbers, yet they were often in great contrast to the narrative sections of the films, focusing on decoration and the aesthetics of dance and glamour. Many of his innovative creations have been heavily analysed, some critiqued for their display, or perhaps exploitation, of the female form as seen through the “male gaze”. However Berkeley always denied any significance of his work, arguing that his main professional goals were to constantly improve his work and never repeat his past accomplishments.

Image courtesy of Wikipedia.

Focus On Leanne Benjamin

Leanne BenjaminLeanne Benjamin, the recently retired Principal of The Royal Ballet Company, is perhaps one of the recently departed dancers who will be the most greatly missed. She recently appeared in Carlos Acosta’s Classical Selection, dancing roles in extracts from some of the best-loved classical and neo-classical pieces such as Mayerling and Manon, with passionate vigour and full commitment to the production.

The Australian Benjamin trained at the Royal Ballet School from the age of sixteen, and won the prestigious Adeline Genée (now Genée International Ballet Competition) prize and the Prix de Lausanne on her way to the top. She joined The Royal Ballet as a First Soloist in 1992 after dancing with Sadler’s Wells Royal Ballet, Deutsche Oper Ballet and London Festival Ballet (now English National Ballet). She was promoted to the rank of Principal in 1993 and since then has danced all leading (and very dramatic) classical roles such as MacMillan’s Manon, Romeo and Juliet and Mayerling. In addition to this Benjamin has had a number of roles created on her by choreographers including Wayne McGregor for his athletic Qualia, Christopher Wheeldon, Kim Brandstrup and Alexei Ratmansky.

This fiery and versatile dancer is renowned for excelling in the MacMillan repertory, yet Benjamin also worked with Frederick Ashton and Ninette De Valois: as a result she was awarded an OBE in 2005 for services to dance. Benjamin felt that performing Mayerling was the perfect way to step out of her ballet career as it was the piece which brought her into the company by Kenneth MacMillan, who died backstage soon after she joined the company. MacMillan acted as a mentor to Benjamin, changing her dancing career forever in seeing her potential at Berlin’s Deutsche Oper Ballet.

Benjamin give her final Covent Garden performance with The Royal Ballet with Mayerling earlier this year in June, a dramatic portrayal of false love and, equally, passion.

Northern Ballet Rehearsal Open To All!

Northern BalletNorthern Ballet is offering audiences the opportunity to go behind the scenes and discover many theatrical secrets of ‘backstage’ at a free rehearsal event at its headquarters in Leeds.  Deemed as the perfect treat for ballet lovers or an introduction to ballet, the event is set to take place on the evening of 14th August, offering audiences the chance to enjoy a cheeky preview of Northern Ballet’s latest production A Midsummer Night’s Dream. The events are the perfect chance to see Northern Ballet’s talented dancers up close and get a taste for the less well-known production, which will run from 6-14 September 2013.

The audience will have the opportunity to go behind the scenes at Northern Ballet and experience the rehearsal process for themselves; for first-timers of ballet seeing the dancers working up close can be a magical and illusive experience. The event is a great opportunity for new and existing audiences to sample A Midsummer Night’s Dream and see for themselves the transformation that takes place during a ballet’s journey from the rehearsal room to the stage.

Northern Ballet is renowned for producing ballets that reach diverse audiences and the company is completely committed to opening up dance and audience opportunities for as many people as possible to experience the work done by both the dancers and the ‘behind-the-scenes’ staff. The rehearsal event is ticket only, and must be booked in advance.

Northern Ballet’s adaptation of Shakespeare’s classic A Midsummer Night’s Dream is directed by David Nixon. The romantic antics of a touring dance company are played out as it travels by sleeper train from London to Edinburgh, with Nixon’s choreography bringing out the comedy and entanglements of the classic tale. His Dior-inspired costumes, along with monochrome sets give a fantastic contrast to the mysterious and colourful dream world.

 

New Artistic Director For The Royal Ballet School

The Royal Ballet SchoolThe prestigious Royal Ballet School announced the appointment of Christopher Powney as their Artistic Director Designate last month, who is due to step into the role in April 2014. The current Artistic Director, Gailene Stock, is sadly unwell, and will retire from her post on 31 August 2014. As a result, the summer term of 2014 will see Powney taking over the running of the School after a transitional period. Jay Jolley will continue in the role of Acting Director and will lead the School’s artistic programmes into the 2013/14 academic year.

As one of the top classical dance training centres in the world, the Royal Ballet School has flourished under Stock and is hoped to continue this journey under Powney, selected unanimously to take the school further forward as the driving force behind exceptionally talented and motivated young dancers.

Powney, a former teacher at The Royal Ballet Upper School, is currently Artistic Director of the Dutch National Ballet Academy and has danced himself with Northern Ballet, English National Ballet and Ballet Rambert, as it was then known. During his career he has worked with some of the world’s leading artists, such as Rudolf Nureyev, Jiri Kylian, Lynn Seymour, Christopher Bruce, Twyla Tharp, Frederick Franklin, and Glen Tetley.

Powney later went on to focus on teaching, having qualified with The Royal Ballet School’s Professional Dancers Teachers’ Course. He was Assistant Artistic Director of the Central School of Ballet’s graduate touring company, and in 2000, he joined the teaching staff of The Royal Ballet Upper School. 2006 saw him invited to take on the position of graduate teacher with the dance department of the Royal Conservatoire in The Hague. Powney has also been a member of the board for the British Association of Performing Arts Medicine and was a jury member of the 2011 Prix de Lausanne competition.

Theatre Traditions

The Journal Tyne TheatreThe theatre is a world of mystique, intrigue and illusion, serving to delight and entertain its audience with spectacle, no matter how otherworldly. This tradition of theatre is still upheld in many venues and arts spaces across the country and even across the world, but equally much of the previous spectacle has developed to accommodate the twenty first century. Productions have alternative intents, aiming to shock and provoke audiences rather than provide a successful model of theatre which has been proven to work.

Despite many changes, developments and modernisations of the theatre, many of the time-old traditions remain stuck to the people, productions and venues. Superstition and performance ritual is just a small part of theatrical tradition, yet play a meaningful role in much of what is said and occurs without a second thought. Ever wondered why Shakespeare’s Macbeth is referred to as The Scottish Play, and not by its real name in the theatre? Why the Green Room is called just that? Why many dancers are wished good luck through “break a leg”, despite this being the worst thing that could happen to them?

A theatre or performance space is never without a Green Room, a place for the performers to rest, a limbo or sort of purgatory between the dressing rooms and the stage, somewhere to eat or sleep. There are many interpretations as to why this space – which may not even be green – is named as such, with one being that travelling actors would traditionally perform on the village or town green, and stay in the adjoining public house, usually called The Green Rooms.

Another name which has stuck is that of the theatre’s crew, responsible for set changes, scenery construction and other technical tasks which lift the production out of the rehearsal room. It is said that they are so called because traditionally they would be sailors, a ship’s crew, who would work in the theatre in between sea voyages. Despite many changes taking place to theatre over many years, these are just two features which have stuck.

Image courtesy of Wikimedia Commons.