Nicholas Afoa – Lion King life

New cast have joined the London production of Disney’s The Lion King this summer, including New Zealander Nicholas Afoa who has taken on the role of Simba at the Lyceum Theatre.

Afoa made his stage debut in the Australian production in 2013 and played Simba in the Sydney production of the musical between 2013 and 2016, performing more than 860 times. The opportunity to play the role in the West End brings Afoa to London for the first time, as he embarks on his second professional theatre engagement.

The Auckland-raised performer had a promising rugby career with the All Blacks until he was sidelined by injury. After recovering and dedicating himself to his theatre career, nearly a decade later the 30 year-old beat 400 other hopefuls to the role of Simba in the Australian production.

What caused your transition from rugby pitch to stage?

I suffered an ACL and miniscus tear in a rugby game when I was 23. My introduction to theatre wasn’t until years later as I spent a lot of time trying to rehab the knee and come back to rugby. I also spent time trying to start a band and focus on my solo music. I eventually accepted the fate that was the end of a rugby dream and focused on these artistic qualities; I feel so lucky to be where I am right now.

Did you undertake any formal training as a result?

My formal dance training really started once I had landed the role. Now being part of the show has become such a huge part of my life and I feel like I am training and improving my skills every day. It is great to be around so many talented performers and teachers in an environment where everyone is constantly learning.

Describe a day in your life.

I like to spend time with my wife, go to the gym, keep in touch with family back home and go to vocal classes or ballet classes to keep my body up to speed.

How important is your ranging and diverse world experience in your work today?

I wouldn’t be able to bring the same depth to the role if it wasn’t for my life experience over the last 10 years, the interactions I have had with people, the trials I have overcome and what I have learnt from overcoming them. I worked as a youth counsellor for four years, where I learnt so much about adolescent behaviour and the way young people (like Simba) view the world around them and perceive themselves – these are all things that helped me to bring Simba to life.

What’s the most rewarding thing about the performing arts?

The most rewarding thing is how, through your passion, you can also inspire and move others. That’s what drives me, especially if I’m feeling tired. The fact that somebody in that audience, young or old, is being positively affected by the show is the most rewarding thing.

Do you have any pre-show rituals?

I always say a little prayer moments before swinging on stage. Whenever I can I will watch young Simba and Mufasa in the first act. Their scene gives me an extra emotional boost that I carry through into the second act.

What is it like being part of The Lion King?

It’s very humbling. Every day I learn something new. I’m in an amazing show surrounded by talented, passionate people. I still consider myself very fortunate and never once take it for granted.

What were you most looking forward to about beginning your Lion King contract in London?

What I was looking forward to most was learning and experiencing new energies and actors, seeing how that would affect me as a performer and being able to see what contribution I could make. It was also a chance to experience life outside Australasia as I have never been this far away from home.

What is your advice to an aspiring dancer?

I see with the dancers I work with how dedicated every dancer is to maintaining their own standards. What dancers’ bodies go through is mind-blowing. It inspires me to keep bettering myself. My advice would be to keep working hard, but also give yourself time and space to heal when you need and to also take in some of the world around you. While it’s good to be driven we can get so set on our dreams that sometimes we lose touch with our surroundings. This is also where we learn the most about ourselves and in turn makes us better and rounded performers.

Getting The Most Out Of Your Dance Class

As children, parents and carers spend lots of time and money committing to dance lessons, even when they take joy from watching rather than doing. Taking children to dancing lessons requires energy and time, not to mention additional funds for competitions, costumes and extra performances. For a child, it is not until later that they see dance lessons in the same way, as an investment. Only then do they see that time, money and energy go to waste when they do not make the most of their dance lessons.

It is understandable that every dancer experiences a rut in their training, where they may not want to attend classes or feel they are not improving at the rate they should be. Despite this, it is not the dancers that stretch the most, sweat more or practice at home at all hours that necessarily get the most out of their dance classes either. The correct mental attitude is hugely important in dance training, to understand the purpose of dance for yourself and how to experience it in the best possible way.

When dancers become older, their adult freedom equates to a similar responsibility for themselves, be it getting themselves to classes, paying for their own training or beginning to assist with the teaching at the local dance studio. With these aspects comes heightened responsibility, for learning, fuelling and directing your dancing. It goes without saying that dancers must therefore arrive early and prepared for class, being focused and dedicated to the class, taking and applying corrections that are given to the class and spending time on the parts that need the most improvement, even if that means going back to basics.

Making mistakes is a large part of dance training; it will mean you will discover something new about the dancing body, through listening, watching, or error, even if this feels uncomfortable. Don’t forget to enjoy the process and thank your teachers for giving you the tools to better yourself and work hard in each class you take.

Wings and Sickles

The aesthetics of ballet are continuing to evolve, however something which has remained a constant is the appearance of the foot when it is fully pointed. The ankle joint has limited movement outwards and inwards, however the adjustments of the foot’s position can make a big difference to how it looks to the audience.

The foot as an extension of the ankle can elongate an arabesque or alternatively turn it inwards and demonstrate a weaker foot by sickling. When the foot is pointed in a neutral position an invisible line can be traced up through the floor, foot and into the ankle. Whilst this is technically correct, a winged shape can be seen as more desirable in that the toes are pointed outwards, extending the line. Sickling the foot might indicate poor training or weakness in the ankle, as well as demonstrating a more unsightly line.

The ankle has a slightly larger range of motion inwards, so students may be prone to sickling regardless. Genetics or anatomy can also contribute to a student’s tendency to sickle, and injuries can occur when the foot is both sickled and weight-bearing. This pulls the tendons of the ankle out of alignment, yet injury can occur when winging the foot too. Sickling can even be the intention for some choreographers, if that is what the movement or piece demands, yet for the majority of times, improving ankle strength and stability will minimise sickling.

If the foot winging is supporting weight, this too pulls the ankle joint out of alignment. Dancers may force their heels forward with tendus, instead of using their turnout. This places stress on the tendons on the inside of the foot and twists the knee joints. Despite this, winging could be encouraged in non-weight bearing positions in order to improve individual aesthetics and enhance the line – and limited turn out – the dancer is creating. Turn out must be fully engaged however, so as not to solely rely on the shape of the foot.

Dance-inspired Fit

There are many dance-inspired fitness methods on the market today, from fitness trainers who used to be dancers to those who use dance as a means to remaining happy and healthy, whilst not having a dance background. Aerobics and Zumba classes still have their place, but these are now two of many different options for class participants. Workouts of these kind offer a combination of dance, fitness and wellbeing, and there is truly something to suit everyone, be it at sports centres or the local dance studio.

Today dance-inspired fitness – such as ballet-inspired workouts, dance cardio and toning barre classes – use dancers’ graceful and athletic bodies as a start point, aiming to emulate the idea of dance and being a dancer, rather than aspiring to lose weight or tone up. Strength, lengthening and athleticism can be just two focuses in classes of this kind, aiding existing fitness regimes for both non-dancers and dancers alike. Equally, classes such as HIIT (high intensity interval training), yoga and Zumba can be offered at dance studios that may have previously only offered technique classes.

Barre-style workouts can be used for physical as well as mental fitness benefits. They usually use the body’s own weight to gain lean muscle and a balanced mindset, where the focus is purely on the own body. Many may combine barre, Pilates and dance, and may even incorporate hand weights to aid the body’s training. Mixing up the body’s fitness routine – whether it is from a dance or fitness perspective – continues to challenge the body, and help participants find both energy and strength in the change in fitness activity.

Dance and fitness of course go hand in hand, so trying something different can renew your passion for the reason behind the workout, offering a range of benefits for both body and mind.

Twyla Tharp Dance heading to Italy

Twyla Tharp Dance recently took the premiere of its choreographer’s latest creation to Italy, performed at the end of June when the company visited Florence, Ravenna and Rome. This Italian tour saw the preview of a new work as well as two works performed from Tharp’s repertory. She has been creating dance for 50 years, and during that time she has choreographed over 160 works. These include 129 dances, 12 television specials, six Hollywood films, four full-length ballets, four Broadway shows and two figure skating routines.

Within this creative circuit, Tharp has not only created work for her own company, but for most American dance companies, such as American Ballet Theatre and the Martha Graham Dance Company, as well as the Paris Opera Ballet, the Royal Ballet and Australian Ballet. In her time as a modern dance choreographer she has earned herself two Emmy Awards, and the 2002 Broadway dance musical Movin’ Out won her a Tony Award. In 2008 she was awarded the Jerome Robbins Prize and the Kennedy Centre Honour, and she has received 19 honorary doctorates.

Tharp formed her company at 23 years old, looking for dancers with high levels of technique and strong personalities, but who are also open-minded and willing to forget that they know anything else about dance. The Italian tour for the company saw eight dancers perform, presenting the preview of Beethoven Opus 130, as well as Country Dances and Brahms Paganini.

The new creation, Beethoven Opus 130, received its official premiere at the Saratoga Performing Arts Centre. The piece was originally kept completely secret, apart from some workshop shots taken during the Catskill Mountain Foundation residency in April. Country Dances premiered at the Edinburgh Festival in 1976, inspired by American music and traditions. Brahms Paganini, from 1980, is set to Brahms’s Variations on a Theme by Paganini.

Annual World Hip Hop Championship to hit Vegas

The 15th Annual World Hip Hop Championship is set to hit Las Vegas in August, where the world’s top hip hop and street dancers will be competing at the 2016 World Hip Hop DANCE Championship and World Battles. Otherwise referred to as “the Olympics of hip hop dance”, it will see a record number of 3,500 dancers representing 50 countries compete.

The championship will take place in early August, and competitors will be aspiring to win the gold medals and the world title, and score the perfect 10. The championship will begin with the USA Hip Hop DANCE Championship to determine those who will represent America. Over 100 Crews (made up of five to eight dancers) and MegaCrews (made up of 15-40 dancers each) from throughout the US will travel to Las Vegas to compete for the top three spots advancing to the World Championship.

The championship continues with the World Hip Hop DANCE Championship which will see over 250 Dance Crews and MegaCrews from 50 nations compete in qualifying rounds at the Westin Lake Las Vegas Resort, leading up to the World Finals at Thomas & Mack Centre. Here the World Battles will witness the world’s best street dancers go head to head for world titles for B-boys, Poppers, Lockers and All-Stylers.

The championship was created by Hip Hop International, the originator of the most respected and largest street dance competitions in the world, as well as the creator of “America’s Best Dance Crew”. Founded in 2001, Hip Hop International highlighted street dance, pushing it to the forefront of mainstream popular culture. The world championship is therefore viewed as the ultimate competition in street dance, launching the careers of dancers for artists and companies such as Justin Bieber, Jennifer Lopez, Rhianna and Cirque Du Soleil.

Sir Matthew Bourne’s QEII Award

At the end of June, former ballerina Darcey Bussell CBE, in her capacity as President of the Royal Academy of Dance, escorted Sir Matthew Bourne to Buckingham Palace for a special occasion. In this exciting event as the Patron of the Royal Academy of Dance, Her Majesty The Queen presented the recently-knighted Sir Matthew Bourne with the Academy’s Queen Elizabeth II Coronation (QEII) Award, internationally renowned as one of the most coveted honours in dance. Bourne has contributed above and beyond to the dance industry, introducing new audiences and dancers to his world of performing.

The QEII Award is the Royal Academy of Dance’s most prestigious award. Instituted in 1953 to commemorate the coronation of Queen Elizabeth II, it was first given to Dame Ninette De Valois in 1954, in front of an audience including the presidents of the four Royal Academies (Arts, Music, Dramatic Art and Dance). It has been awarded nearly every year to many theatrical personalities in recognition of outstanding services to the art of ballet and dance. 2014 saw the award given to The Royal Ballet, accepted by director Kevin O’Hare.

After the presentation, Darcey Bussell hosted a champagne luncheon in honour of Sir Matthew in the ballroom of the Mandarin Oriental, London, where The Queen took dance classes as a child. He was joined by many from the entertainment and dance world including Sir Matthew’s company dancers. From choreographer Arlene Phillips to Darcey Bussell’s Strictly Come Dancing colleagues, the audience also included Bussell’s friend Dawn French, following their much-loved pas de deux on television in The Vicar of Dibley.

The Royal Academy of Dance is one of the largest and most influential dance education and training organisations in the world. Established in the 1920s, to improve standards of dance training, the Academy helps and encourages its teachers to perfect their teaching skills and pass on this knowledge to their students.

What does Brexit mean for the arts?

With the news of the UK’s exit from the European Union still reverberating, there has been lots to take in since the announcement of the referendum result on 24 June. Voting remain or leave have many different viewpoints attached, however in terms of the arts it is clear that the UK would have benefitted from remaining in the European Union.

The UK cultural sector could face restricted access to European funding and depleted talent pools of workers as a result of Britain’s withdrawal from the European Union. Arts leaders have called for unity as a result of the vote, specifying that theatre and the arts will suffer as a result of a potential decrease in funding for work to continue to develop. Leading campaigners have argued that theatre and the arts have been endangered following the UK’s decision to exit the European Union, with less security now than previously.

Noting other departures from parliament following the resignation of Prime Minister David Cameron, the Shadow culture secretary Maria Eagle has also resigned. At the end of June she became the 18th politician to depart the shadow cabinet in the space of 48 hours, leaving uncertainty and fear in her wake. With news of exiting the European Union still fresh and raw, it seems the biggest problem is the uncertainty the vote has brought. The country – and the arts – appears to be in a purgatory, uncertain as to what the future holds and with little information formany reasonable conclusions.

One arts leader in particular, National Theatre director Rufus Norris, has urged the performing arts industry not to show fear, but use the arts to give a voice to society following the European Union referendum result. It is ironic that the arts are often used to escape the everyday world, and are much needed now, but with a potential loss of funding this may not always be the case.

The Benefits of Dance

Whilst exercise is renowned for its stress-busting and happiness-inducing benefits, the same benefits of dance are sometimes overlooked. There are the obvious physical benefits of dance, in that it keeps the body fit and healthy, encouraging strong, lean muscle mass and a good range of flexibility, another valued strand of overall fitness. Often the mental benefits of dance – and exercise – are focused on less, however they have just as much value for the body, mind and wellbeing.

Dance is a surefire way of escaping the realities of the everyday, a welcome distraction from the stresses of life. Dance may come with its own stresses, such as cleaning choreography or remembering a new variation, however these are minor in comparison to the amount of joy dance brings. Experiencing stress can have a damaging effect on the body so dance and exercise can remedy this. As a result of dancing, the chemicals that are released into the brain help control how it deals with stress.

Similar to some forms of exercise, dance falls under the umbrella of moderate to high intensity aerobic workouts, with added style and artistry! This can help reduce feelings of anxiety as a result of the boost to the brain we experience through dance, improving the brain’s functioning and performance, as well as stimulating the development of new brain cells. Dance does not just aid young, aspiring students: here it is clear that older dancers will too reap the benefits of dance slowing the deterioration of key parts of the brain. Dance makes the brain’s neurones stronger and more efficient, aiding learning and memory.

Overall dance makes its participants happy. As the ultimate mental benefit, using the body in such a way, focusing on the self and forgetting everything else means the chemicals created in the brain through dance lead us straight to happiness. Exercising or dancing for just 30 minutes a few times a week can instantly boost your mood and make you happier.

Ricardo Walker-Harris – Roaring His Way to the Top

Ricardo Walker-Harris is one of the newest cast members in Disney’s The Lion King, currently playing at the Lyceum Theatre in London.

Born and raised in Angel, Islington, Ricardo always loved to dance but was unaware it was a possible career option. He did not even know what a drama school was until it was suggested he attend one, but he successfully gained a place at Urdang on the foundation course and subsequently got a scholarship to train there for a further three years.

Ricardo auditioned for Disney’s The Lion King in December 2015 and joined the production in May 2016. See Ricardo in action here.

Have you always wanted to be on stage?

When I was ten years old I told my entire primary school I wanted to be the ‘English Will Smith’ so I guess there has always been a part of me that has enjoyed performing in front of people, whether that was in the playground when I was younger or now on a West End stage.

Where did you train, and what was it like?

I trained at The Urdang Academy for four years. I did the foundation course for a year and then went on to do the three year diploma course. It was tough, especially in my first year. I had pretty much no experience when it came to musical theatre, but as you get into it you learn what you’re good at and you have plenty of people to help you with the skills you are lacking.

Describe a day in your life now.

I always have a nice and relaxing morning, and often spend it baking cakes for the cast to eat. The evenings are unpredictable as I share a dressing room with seven other boys. It could be nice and peaceful while we all nap to some jazz music or there could be some samba being played!

How important is your ranging and diverse training in your work today?

For me it’s incredibly important to be as diverse as possible. As a dancer it’s always good to know as many styles as possible so you are ready for any audition and this often requires being able to sing. With so many new musicals coming out at the moment a casting might go out for a hip-hop dancer with the ability to rap or a strong jazz dancer who can sing opera. You just never know when you work in an ever-changing industry.

What’s the most rewarding thing about dance and the performing arts?

For me it would be the ability to inspire people wherever you are. A lot of people will be inspired by going to watch shows but inspiration can be found in so many places; I was inspired by a relative dancing in the front room of my mum’s house.

Do you have any pre-show rituals?

After I’ve stretched and done my warm up I usually start tap dancing. I always fidget when I’m nervous, so that’s my way of releasing my nerves without looking too crazy in front of the cast!

What were rehearsals like for The Lion King?

Amazing, but without a doubt the most rigorous rehearsal process I’ve ever been through. We always started with the most complex choreography in the morning, so I always made sure I got in at least thirty minutes before we started so I could really warm up my body. If anything goes wrong, we repeat the number. By the time I did my first performance in front of an audience, I knew the choreography so thoroughly, and it is this attention to detail that makes The Lion King such an outstanding show.

What were you most looking forward to about starting your Lion King contract?

It was such an amazing moment when I found out I was going to be joining The Lion King. It is such a massive production to be a part of and there is so much talent amongst the cast and creatives of the show. I loved trying on the costumes, as every time I tried on a different outfit, it would feel more real.

What is your advice to an aspiring dancer?

Never stop trying to be the best. If you get injured be patient, wait for your body to heal. If you can’t afford to go to class then dance in your kitchen – I sure did and I still do! If you have people pushing you and making sure you don’t get a minute’s rest just know those are the people who truly care about you. I wouldn’t be where I am now if it was not for my mum, and you wouldn’t be reading this either! I owe it all to her and that’s because she is always there making sure I am giving it everything I have. If you feel like you have no one to support you though don’t worry, be brave and tell yourself you can do this.