Former Royal Ballet star Carlos Acosta is set to make his feature film debut in The Day of the Flowers, due to receive its world premiere at the Edinburgh Film Festival on June 25, with the UK release due later in 2012. The plot follows two Scottish sisters leading very separate lives, who have a mutual clue to follow. This sees them rush to the airport in a vintage white Mini Cooper and set off for Cuba, where their parents spent many happy years in the 1970s, with the film sharing a very vintage feel with its audience.
Acosta plays a ballet teacher who is working a double life as a tourist guide in order to survive. One ballet scene, enabling Acosta to revert to his ballet shoe roots, sees him take on an extremely authoritative manner. Another dance scene emerges when one sister asks Acosta to dance in a club, forgetting the whole of Cuba can dance, as can Acosta. Whilst previously partnered with pointe shoes and sparkling tutu skirt wearing ballerinas, Acosta again demonstrates his sheer versatility. Despite this, the film is not programmed to showcase his dancing to new audiences, but to wow existing fans vying for another glimpse of the star in another capacity: acting. A far cry from his previous ballet tights and tunics, Acosta meets the sisters as a tour guide, inevitably rescuing their inexperienced Cuban presumptions.
Aside from taking on this role within The Day of the Flowers, Acosta also has strong links of this kind with his nephew Yonah Acosta, who currently dances with English National Ballet and won the People’s Award earlier this year. Combining the rosin-laden stage with the film set, the Acosta family continues to demonstrate there are no limits to their talents.
Image courtesy of scillystuff on Flickr.
As part of British choreographer Matthew Bourne’s company New Adventures‘ 25th anniversary celebrations, old works have been revived and new ones are being created.
A triple bill was presented in May this year, showcasing works – for the second time – that launched Bourne’s career, and will undoubtedly propel his choreographic status further today. Spitfire was Bourne’s first creation in 1988, placing the most famous 19th century ballet showstopper in the world of men’s underwear advertising. A far cry from the dance tights and tunics of the day, Bourne’s men are costumed in revealing shorts and vests, a springboard for his success. Town and Country from 1991 saw Bourne’s and New Adventures’ first Olivier nomination as it immortalised the Bourne dance style in its ironically witty yet moving creation. Bygone eras and national characters are explored, a recurring theme in most of Bourne’s work. The Infernal Galop was inspired by 1930s and 1940s French icons, as seen by the “stiff upper lips” of English imagination to delight Bourne’s audiences.
Summer 2012 has recently seen the next instalment of celebrations. Bourne’s Play Without Words, in association with the National Theatre, depicts Chelsea in 1965 and the paradox of domestic social order and struggles for power in a spellbinding production. Its first revival as part of the 25th anniversary since 2002 at the National Theatre is seen to be another critical and popular success, making its debut at Sadler’s Wells and repeating its Olivier nominated work in such a prestigious dance house is a sure mark of the company’s success. Play Without Words won the 2003 Awards for Best Entertainment and Best Theatre Choreographer.
The 25th birthday of New Adventures will culminate with the world premier of Bourne’s latest re-imagining of the ballet classic The Sleeping Beauty. This will complete the trio of ballet masterworks that began with Nutcracker! and continued to reveal the international hit Swan Lake, minus the twirling tiaras of the originals. Again featuring touches of the Olivier, award winners will collaborate to create another Bourne magic, if potentially haunting production as a supernatural love story.
Not one for employing pointe shoes and pristine tutus, Bourne has contributed uniquely to both the British and international dance scene, providing sheer entertainment and arguably igniting a love of dance for many audience members.
Celebrating its 15th year, Kids Week is back and planning an action-packed month of theatrical fun from 1-31 August 2012 for children aged 16 and under. Kids Week is administered by The Society of London Theatre, which is a trade association that represents the producers, theatre owners and managers of the major commercial and grant-aided theatres in London.
During Kids Week, the magic of London theatre can be truly experienced and engaged with, be it the show-stopping tap shoes of Singin’ In The Rain, the wonderful mix of ballet shoes and boxing gloves of Billy Elliot or the animal print leotards of the inspiring The Lion King.
A fantastic selection of shows can be seen for free at certain performances when children are accompanied by a full price paying adult, including many of the new additions to the West End such as Matilda the Musical, Chariots of Fire and Ghost the Musical. Two additional children can also attend at half price, able to take part in the fantastic ethos of Kids Week in all its musical theatre dancewear finery.
There is a fantastic range of free activities and events for children to take part in also, an incredible selection including plays, musicals, comedy and entertainment with packages also available, aside from the fabulous ticket offers available to top London shows. These activities are free to participate in when tickets are purchased as part of a Show & Activity package. Inspirational standalone workshops are on offer too, encouraging children of all ages to don their dance trainers and grab the nearest microphone, connecting with their inner star. Children are given the chance to explore the exciting world of theatre and discover what goes on behind those illusionistic scenes.
West End LIVE, in association with MasterCard, is returning to Trafalgar Square on June 23 and 24 2012 for free! Presented by Westminster City Council and the Society of London Theatre, West End LIVE showcases the quality and diversity of performing arts entertainment on offer in the heart of London… free for all. The iconic setting of Trafalgar Square demonstrates and promotes the West End as an exciting venue for all the family, whether it is musical theatre, contemporary dance or show-stopping voices that take your fancy.
Featuring showcase performances from every West End musical alongside interactive exhibits from London’s top attractions such as live bands, museums, galleries and cultural institutions, West End LIVE has been a great success in previous years, and 2012 looks to provide no less. It is a unique event that has grown and emerged as a hugely popular fixture in London’s entertainment calendar. As an all dancing and all singing spectacular, West End LIVE is a whirlwind of coloured costumes and performance tights, showing off the high kicking character shoes and the daring moves of jazz sneakers whilst providing a fantastic musical soundtrack.
Featuring highlights from west end musicals such as Thriller Live, The Wizard of Oz, Matilda the Musical and Chicago, West End LIVE is a sure-fire way to get your theatrical taste buds tingling as you experience a wealth of performances free of charge. Other exhibitors include Madame Tussauds, the Science Museum and Ripley’s Believe It Or Not, with performances from the Angelina Ballerina Dance Academy, National Youth Music Theatre, West End Kids and Big Dance. With something for everyone of all ages and interests, West End LIVE looks sure to entice and excite you with its fantastic offerings for 2012.
Dancing on the whole without ballet shoes, or diamond encrusted tutus, male ballet dancers are mostly utilised on stage to display the female ballerina in the best possible light to the audience and critics alike. While this has been a tradition of classical ballet for many centuries, the twenty-first century has marked a series of changes in the male-female relationship on stage, with increasing numbers of female dancers required to lift and support their male partners in dance genres.
Balletboyz, an all-male company has also turned the male classical ballet dancer tradition on its head, and sometimes quite literally. Made up of 8 young men, the Boyz are more likely to sport jazz shoes than the white tights and unitards of their male dancer predecessors. Whilst this history is an integral part of dance today, it seems important that the dance sector should not become stagnant – it should continue to evolve and adjust to the shifts in the industry, and the social and cultural contexts of everyday life.
As the creation of Michael Nunn and William Trevitt, Balletboyz was founded in 2001 as contemporary and classically driven company. Both founders were members of The Royal Ballet, both dancing principal roles including Romeo, Prince Siegfried and King of the Sweets. They have additionally created roles for choreographers such as Kenneth MacMillan, Twyla Tharp, William Forsythe and Christopher Wheeldon. Through the formation of Balletboyz, Nunn and Trevitt have fused the classical and contemporary, moving away from the soft shoes they were once used to, and creating a passion-fuelled company full of inspiring young men.
In 2005 Balletboyz became Associate Artists at Sadler’s Wells, London’s leading dance house, and 2010 saw the first edition of Balletboyz’ groundbreaking project, the TALENT. Nunn and Trevitt selected nine male dancers from a variety of backgrounds, working with them closely to create a company of performers. The show toured nationally and internationally receiving fantastic reviews, confirming that Balletboyz do indeed wear the dance crown, and will continue to push themselves physically and creatively.
The London initiative of annual “how to” sessions for 16-25 year olds, Masterclass, is 10 years old in 2012, and is celebrating by providing attendees with fantastic ticket offers. Within the arts sector, as with life itself, the reason for its continuance and success is the result of human beings and their individual wants and needs. Many young people who have trained in the stereotypical ballet, tap and modern, donning pretty pink ballet shoes, huge varieties of jazz shoes and every child’s dream of noisy tap shoes. However, not every young thespian or ballerina grows up chasing the dream of performing on stage for most nights of their lives.
Masterclass is a fantastic project which can be an aid to these individuals, providing worthwhile and alternative advice for those who love theatre, but with aspirations sometimes straying from the stage. For example, Masterclass 2012 in London will see a Theatre Careers Advice Panel, a Getting into Drama School, and Musical Theatre talks, catering for numerous involved with the arts, whatever their tastes. A Masterclass event to be held in Sheffield, additionally, will include a Maureen Lipman Masterclass, a Masterclass Patron, at the International Student Drama Festival as one of Britain’s best loved actresses and comedians. As part of the Masterclass vein, Lipman, CBE, will share her invaluable knowledge of working on the British stage with the next generation of emerging theatre artists.
Many are inclined to forget those who are responsible for theatre and the arts sector who are not in the spotlight on-stage in the high-heeled New Yorker shoes and shining show tights. However, in order to make the show in hand possible, numerous backstage and administration staff are required, all of whom in the making are catered for at Masterclass.
Image courtesy of Wikimedia Commons.
Image courtesy of Laurent Liotardo Photography.
The Prima ballerina of English National Ballet, Daria Klimentova, is performing alongside her pas de deux partner, Vadim Muntagirov and the rest of the Company in Sydney until June 17, epitomising the worldwide success of English National Ballet, and the international recognition they will continue to receive in the arrival of new Artistic Director Tamara Rojo in August. Sydney will see Klimentova and Muntagirov perform a fantastic display including the Black Swan pas de deux from Swan Lake.
As one of the pointe shoe primas in the twenty-first century, Klimentova is a beacon for English National Ballet, hired by then Artistic Director Derek Deane and partnering Muntagirov for recent years. The now stars of the company were thrown together by current Artistic Director Wayne Eagling, and are now being marketed as today’s Dame Margot Fonteyn and Rudolf Nureyev, the most famous ballet duet in dance history. Fonteyn and Nureyev also had an age gap of 19 years, yet against the odds, both couples have internationally wowed critics and shone to perfection in their respective tutu and dance tights grandeur.
Kilimentova’s life, however, does not stop at performing. Each summer she runs a season of international ballet classes in Prague, her hometown. She is in high demand by the Czech National Ballet, which requested her as its own Director three times, turned down each time by Klimentova due to her continuing desire to dance. With English National Ballet Klimentova and Muntagirov are also in high demand as a duo: after their stint in Sydney they will also be visiting Denmark, performing Swan Lake in London, a gala in Mexico, Swan Lake again in Moscow, culminating with a week in Singapore.
2012 alone demonstrates the sheer power of the grace, unity and strength of the Klimentova-Muntagirov partnership, the tiara on the head twenty-first century ballet and the yardstick from which aspiring ballet dancers must extend their technique and performance.
A new dance collaboration has been launched by Mass Movement, a London based dance talent agency sourcing and representing some of the best choreographers and dancers in the world, ranging across the board with a number of different specialities and abilities. Their new project group, “The Movement”, encompasses a tight-knit and powerful collaboration of respected industry chorographers and dancers. Each Mass Movement choreographer offers different styles and skills across Modern Commercial, Contemporary, Jazz, Street Dance and Hip Hop, with extensive experience in Artist Creative Direction and New Artist Development contributing also. The works of the choreographers of Mass Movement have been featured in a variety of media, such as music tours and videos, TV specials and commercials, and live corporate events.
Self-titled as the UK’s latest dance phenomenon, The Movement hosts 16 remarkable dancers fusing dance disciplines. Aiming to take the dance sector to an entirely new level that has never been seen before, The Movement is operating under the direction of Creative Director Christian Storm and some of the most highly acclaimed choreographers of the industry. Fusing a multitude of dance genres with fantastic skill ranges and talents, The Movement looks set to become a “super group”, creating a remarkable new concept for dance. Whether your interest is “pretty in pink” pointe shoes, the dapper tap shoe or the urban skills of those in dance trainers, Mass Movement is sure to hit the spot.
Storm’s enthusiasm for the dance and leotard clan of Laine Theatre Arts where he trained, lead him to open his own talent agency and live event production company, having worked in this capacity for so many of his own performing and choreographic years. Mass Movement ensures that the very best talents and the most elite professional dancers in varying genres are within easy reach of clients. Storm’s choreographic and directive success relies on his unique combination of incredible talent and innovative, creative ideas which are delivered by his personable yet professional nature. Storm is renowned also for instinctively knowing how to achieve the best from the performers and clients he works with, instilling confidence that Mass Movement is able to deliver with style.
The Dance WE Made, presented by Big Dance 2012 and Sadler’s Wells, is a unique interactive pop-up dance project taking place at locations across London throughout June and July 2012, as part of the London 2012 Cultural Olympiad’s Big Dance programme. The project will be staged at 20 iconic London landmarks over a 20 day period, in which members of the public will be invited to devise some of their own original choreography – leotards, sweat bands and leg warmers optional!
The Dance WE Made is being produced in collaboration with professional dancer and choreographer Tim Casson who studied at the BRIT school and Bird College, before joining the Jasmin Vardimon Company as an apprentice through London Contemporary Dance School. Casson became a full member of the company after a year of work, going on to complete his MA in Contemporary Dance and adding a wealth of commercial and contemporary experience to his already over-flowing CV.
For The Dance WE Made, each London location will see four to eight people have the chance to work with Casson resulting in the creation of a unique two minute dance piece, requiring no previous dance or choreographic experience from participants. Whether you tend to sport dancewear, jazz sneakers, or just everyday clothes, The Dance WE Made is the opportunity to discuss creative ideas, creating movement from boundless inspiration and see your piece performed and showcased by Casson in each location, which will be filmed and posted online on www.thedancewemade.co.uk and other social networking and video sharing websites.
Each of the two minute segments will be combined to create a single dance solo for Casson, which will set a new world record for the largest number of choreographers contributing to a single dance work. Being part of the creative process looks set to be challenging but completely rewarding, creating the extraordinary from the ordinary.
The Dance WE Made London Tour dates – full tour schedule to be announced:
- 3 Jun 2012 New River Festival – Enfield
- 11 Jun 2012 Spitalfields Market
- 13 Jun 2012 Exmouth Market
- 14 Jun 2012 Brixton Village
- 20 Jun 2012 Peter’s Hill for The Millennium Bridge
- 21 Jun 2012 Barbican Lakeside Terrace
- 27 Jun 2012 Camden Market
- 8 Jul 2012 The Scoop
- 10 Jul 2012 Covent Garden Piazza
A month-long season of 10 works by the late German choreographer Pina Bausch is being presented by the Barbican and Sadler’s Wells until July 9 2012, each work aiming to explore a different world city.
Tanztheater Wuppertal began with controversy, with Bausch appointed as director of dance for the Wuppertal theatres in 1973. She developed a specific dance form as part of her role as a mixture of dance and theatre, which was at first, wholly unfamiliar. With her dancers speaking and singing, in addition to performing dance, Bausch’s work succeeded in establishing itself as a unique venture.
Unlike the many twirling tutus and pristine pointe shoes seen on stages today, Bausch’s work in the early years sowed the seeds for a dance revolution which eventually redefined modern dance throughout the world. This certain strand of dance theatre became its own genre, separating itself from the stomping tap shoes and jazz shoes of chorus lines dominating many Western stages. Choreographers of both theatrical and classical backgrounds were inspired to create, which spelled global success for Bausch’s work, always surrounding a “universal need”: love, intimacy and emotional security.
Accordingly, Bausch developed an artistic form which was able to incorporate highly diverse cultural influences, investigating what brings humans closer to fulfilling these universal needs, and the factors which distance them. Her research continues to generate experiences and memories in her audiences, with “moving images of inner landscapes, exploring the precise state of human feelings while never giving up hope that the longing for love can one day be met”. A close engagement with reality is an additional key aspect of Bausch’s work, having resided within each creation over the 36 years of her career until her death in 2009, shaping the work of the Tanztheater Wuppertal considerably.
Image courtesy of Duisburger Philharmoniker at Flickr.