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Daniel Davidson, born in Edinburgh, UK, trained at both The Dance School of Scotland and Millennium Dance 2000. He joined dance company Rambert in August 2014 after 8 years with Scottish Ballet, and since joining he has created roles in works by Alexander Whitley and Didy Veldman as well as performing The Rooster Man in Bruce’s Rooster. He has also danced in works by Jeyasingh, Brandstrup, Baldwin, Page and Cunningham.

Whilst at Scottish Ballet, Daniel created principal roles such as Petrushka in Petrushka at the Edinburgh International Festival and Don José in Richard Alston’s Carmen. He has originated works for choreographers such as Page, Alston, Caniparoli, Lawrence, Pastor and Petronio. Additionally, he performed in works by Forsythe, Ashton, MacMillan, Balanchine, Bourne, Bruce, Tharp, Brown and Elo as well as Mercutio in Pastor’s Romeo and Juliet.


Photo credit © Benedict Johnson


Have always wanted to be on stage?

My mum took me along to my first dance lesson in our local church when I was five and I loved it. I think I was around ten years old when I knew it was what I wanted to do for a living.

Where did you train, and what was it like?

I trained at The Dance School of Scotland… a boarding school in Glasgow where I trained in ballet and did my school studies alongside. After spending six years there, I moved to London where I trained at Millennium Dance 2000. My college was predominantly musical theatre based. As well as contemporary dance, I studied singing, acting, tap and jazz.

Describe a day in your life now.

I take class every morning for an hour and a half. Our classes alternate between ballet and contemporary so we can train equally in both. After class, we rehearse for two hours before lunch and for three hours after finishing at 6pm weekdays and 2pm on Saturdays. We rehearse pieces that we will be performing on our tours around the UK. Right now we are rehearsing three works for our performances at Sadler’s Wells in May.

What are you looking forward to most about the Sadler’s Wells Murder, Mystery and a Party programme?

I’m looking forward to premiering our new piece Tomorrow by Lucy Guerin. We’ve been working hard on it in the studio for around four weeks now. It’s been a very different kind of process than usual for us and I’m looking forward to hearing some feedback from the audience.

What are rehearsals like?

Rehearsal experiences vary depending on whether we’re rehearsing a new creation or an existing work. Right now I’m rehearsing one piece I’ve already danced, one existing work that I’ve not yet performed and one new creation. Each process is very different but equally rewarding. I would say that I enjoy being involved in new creations the most… I love the process of creating and collaborating with different choreographers.

Do you have any pre-show rituals?

Not really. I like to have a shower, put on my make up and have a stretch on stage before curtain up. Some dancers have a set routine and they’re slightly superstitious about their preparation but I’m not. I like to vary how I prepare.

What has been the defining moment of your career?

Performing the role of The Rooster Man in Christopher Bruce’s Rooster to a full house at Sadler’s Wells. It was an honour to dance such an iconic work. Definite career highlight.

What has been the most challenging?

Whilst with Scottish Ballet I danced many works by our director Ashley Page. His version of Sleeping Beauty was very hard and a wonderful challenge for a dancer. I danced the Bluebird… That was the most challenging of all roles for me. It was tricky, hard partnering, required a lot of stamina… Brilliant fun though!

What’s the most rewarding thing about dance?

The most rewarding thing is the performance. All of the hard work and preparation is absolutely worth it when you hear the audience’s applause and appreciation.

What’s the worst thing?

I wouldn’t say it’s the ‘worst’ thing but the hardest thing about dancing is the toll it takes on my body. Long hours can be tough too…

What is your advice to an aspiring dancer?

Work hard. Stick at it. Some days will be tough but some days will be so rewarding and fulfilling. Also, your taste will change… Don’t be afraid to keep trying new things.

Daniel Davidson will be performing at Sadler’s Wells from 10-14 May, as part of Rambert’s Murder Mystery and a Party. To find out more and to book tickets: http://www.sadlerswells.com/whats-on/2016/rambert-a-linha-curva-and-other-works/

The George Balanchine Foundation has announced the launch of its official YouTube channel, launching with content from its Video Archives Collection. The Foundation is adamant that it is important to share the late choreographer’s work, meaning the Foundation will begin by posting nearly 50 video interviews from the Collection. As digital media continues to expand, the general public will have unprecedented access to this valuable source.

As a not-for-profit corporation founded in 1983, the mission of the Foundation is to create programmes that educate the public, and further Balanchine’s work and aesthetic in order to continue his high standards of excellence in dance. Featured in the films are dancers Balanchine created for, or taught his ballets to, who worked to coach today’s dancers in these particular roles.

The George Balanchine Foundation’s Video Archive Collection was designed to document Balanchine’s work as closely as possible, in detailing his original intent for his work as he choreographed it. The recorded coaching sessions provide invaluable insights into Balanchine’s creative process, in addition to including an interview of the original interpreter with a dance historian or critic at the end of each coaching session. The interviews serve to further develop Balanchine’s work and the interviews will be accessible through the YouTube channel too.

Nancy Reynolds, dance historian and writer – and the Foundation’s director of research – continues to direct the programme following her initiation of this, assisted by independent film maker and film professor Virginia Brooks, Gus Reed, a New York City based film maker, and Paul Boos, a répétiteur with the George Balanchine Trust. Boos was a former dancer with the New York City Ballet.

Complete versions of the George Balanchine Video Archives files – which include entire coaching sessions – are available through public libraries and universities, as a result of the Foundation’s partnership with Alexander Street Press.

Considering the success of musical Gypsy in London’s West End, it is no wonder that there will be a film revival of Gypsy too, by STX Entertainment. STX is currently in negotiations to make Gypsy again with the Grammy and Oscar winner Barbara Streisand taking the lead role of Mama Rose, and Oscar winner Barry Levinson directing. Production on the film was delayed last year following several years of development with Universal Pictures, but now it seems the project is full steam ahead.

It is said that Streisand will produce the film alongside Joel Silver, and she is additionally involved in developing the script. Streisand will play one of the most infamous stage mothers in history, following the iconic Imelda Staunton in the role on the London stage: some of Mama Rose’s hits include the signature numbers of “Everything’s Coming Up Roses” and “Rose’s Turn.” Previous actresses who have also played the legendary role include Angela Lansbury and Bernadette Peters.

It is rumoured that production could start as early as this year, with STX aiming to turn this new Gypsy into a ‘motion picture event’. As one of the most famous musicals in production, it could be deemed Streisand’s last movie musical of her career. The icon of a story was first made into a film in 1962, with Rosalind Russell playing Mama Rose and Natalie Wood starring as Gypsy Rose Lee. It has seen much success in London and on regional stages, so the film is hoped to see no less.

Gypsy tells the story of the burlesque legend Gypsy Rose Lee’s troubled childhood, growing up with a fiercely ambitious mother, whose mission was to push her daughters up the vaudeville ladder. Gypsy could be argued as one of the greatest musicals ever made, with numerous successful stars adding to this accolade.

Chiara Castania is an all-round performing artist, originally from the small northern Italian town of Iseo. She took up ballet at  five years old under her mothers’ wishes; a former ballerina.

Chiara moved to London to further progress her training as it offered her a more extensive selection of education. After winning scholarships at both A.L.R.A. in London and Bodyworks Dance Studios in Cambridge, she succeeded in acquiring a succession of leading roles with a variety of major cruise companies; P&O ‘Oriana’ and Cunard ‘QE2’ were two famous ships she worked on. Chiara is now a solo headliner on cruise ships and has been performing her acts on cruise lines such as Celebrity, Carnival, NCL and Fred Olsen.

Chiara also had the experience of being part of two well-established girl groups under professional management; one of which had songs produced by the world-renowned ‘Boney M’. She continued her music career by developing her own producing and writing skills in conjunction with various London producers, and worked on two albums.

Chiara is currently pursuing a musical theatre path. Never afraid of trying something new or taking on a challenge, her motto faithfully stands as “variety is the spice of life”.

Have always wanted to be on stage?

Yes, I started twirling around from the age of one! I did have ideas of maybe being an air hostess or hairdresser, but that didn’t last long! I really decided, though, when I was seven or eight, when my Nan – who was a singer – introduced me to all the old musical films. Gene Kelly, Cyd Charisse, Debbie Reynolds… I was hooked!

Where did you train and what was it like?

I first trained at a very strict Italian ballet school in Italy with a Russian who had a big wooden stick and terrified me! I later started at a weekend dance and singing school from the age of 11 and joined the choir.

I then applied to study at performing arts schools and trained at ALRA (Academy of Live and Recorded Arts) in London, and Bodyworks Dance Studios in Cambridge which was great training! I was blessed in being awarded scholarships for all my training as I wouldn’t have been able to afford it otherwise.

I still take classes at Pineapple Studios as I love it still and like keeping up my technique, and I sometimes take private singing classes too.

What was your first job? What was it like?

My first ‘job’ was in a girl group called Sirens, directed and produced by Boney M, the famous 70s group! It was an interesting experience! I went on to be in another girl group and appeared on television in Celebrity Soccer, playing football with The Darkness, Take That, CBBC presenters, Cheryl Cole and Girls Aloud, Liberty X… again, another interesting experience!

My first real job was my first cruise contract with Sea Cruises… hard work, but great first job. I got into a bit of trouble though because I was so flamboyant and crazy! I got a warning for wearing too much glitter, feather boas and sitting on bar stools sipping cocktails with the officers! Hilarious. This job taught me many skills for the industry though and prepared me for years to come. I worked out very quickly that the cruising life really suited me, and that soon I would become addicted to the lifestyle.

What is a day in the life of Chiara like?

My days can be busy, stressful and frantic at times. I’m not a morning person and frequently need very strong espresso coffee! I like to keep busy so rehearsals are a must if I’m on a contract. I also like time to have a read, go to the gym and eat at some point – I love my food! My daily meditation is really important too as it chills me out a little…

What is it like working away on a cruise ship?

I love working away and traveling – I’m completely addicted to the excitement and diversity as I get restless easily… I need variety or I get bored. I miss home, friends and my man the most though… it is incredibly hard being in a long-distance relationship and I wouldn’t wish it on anyone!

What’s the best thing about performing on a cruise ship?

The best thing about performing is seeing people’s smiling faces, or hearing that I’ve made someone’s holiday. I love the escapism if offers, reinventing yourself a hundred times over and the joy I get from singing and dancing. If I had a choice I would have been more of a dancer though, as that’s my first love! I’ve been part of two dance companies and it’s been one of my greatest satisfactions and accomplishments in my life. I have flat feet, bent knees, an arched back (that gives me back pain every day) and not the greatest classical lines… yet I can dance! I like to challenge my limitations and am as stubborn as hell… you can achieve so much more than you think!

What would you put your success down to?

My success is just hard work and perseverance… believing in myself and going for my dreams. I have so many more dreams, just keep reaching and working hard, to maintain and improve on what you have. I am also spiritual, so being thankful means you will receive much more back… I pray and I stay positive.

Do you have a life mantra?

Not a life mantra, but I love ‘Variety is the spice of life’!

What is your advice to an aspiring performer?

Don’t allow anyone to squash your dreams, only you can decide if it’s possible. Stay positive, have faith in yourself and do your research!

Multiple award-winning ballerina Natalia Osipova will soon take on a programme of new contemporary work commissioned by herself and produced by Sadler’s Wells. The programme will feature work by renowned contemporary choreographers Sidi Larbi Cherkaoui, Russell Maliphant and Arthur Pita, and run from 29 June to 3 July.

The trio of choreographers will create pieces inspired by Osipova for the production, which will go on to visit the Festival Theatre, Edinburgh as part of the 2016 Edinburgh International Festival in August. Currently a Principal with the Royal Ballet, Osipova will be joined on stage by Sergei Polunin, which marks the first time that they will have danced together in the UK, amongst much romantic speculation.

Russian dancer Osipova joined the company in 2013 after her guest appearance in Swan Lake, and has performed lead roles in Giselle, Don Quixote, The Nutcracker, La Fille mal gardée and DGV: Danse à grande vitesse. She began her formal ballet training at the age of eight, before joining the Bolshoi Ballet at 18. She has also danced with American Ballet Theatre and Mikhailovsky Ballet, and has appeared as a guest artist with companies around the world, such as American Ballet Theatre.

In terms of the new programme of works, Sadler’s Wells Associate Artist and Artistic Director of Royal Ballet of Flanders Cherkaoui will create Qutb, a new trio for Osipova and two male dancers. It will combine Cherkaoui’s trademark mix of movement vocabularies, musical genres and cultures. Cherkaoui is acknowledged as one of Europe’s most exciting choreographers.

Maliphant will create a new duet for Osipova and Polunin, as one of the longest-standing Associate Artists of Sadler’s Wells. He trained at the Royal Ballet School and graduated into Sadler’s Wells Royal Ballet Company before pursuing a career in independent dance. He also studied anatomy, physiology and bio-mechanics, certifying as a practitioner of Structural Integration.

Pita will also create a new duet for Osipova and Polunin entitled Run Mary Run, in a dark, comedic story highlighting Osipova’s acting. Pita has also choreographed movement for plays, operas and musicals, including Women Beware Women at the National Theatre, Becky Shaw at the Almeida and La Bohème and Show Boat at the Royal Albert Hall.

One Dance UK, Greenwich Dance and Trinity Laban have showed support for a recent announcement for an increase of funding for sport in schools, seeing it as an ideal opportunity to encourage more primary schools to use this for dance. The Government announced it is doubling the primary school PE and sport premium, meaning more school children could be learning to dance as a result.

The increase in funding will come into play from September 2017 when the Government will give further support for the scheme, from £160m to £320m per year. It has been noted that many schools are already using the premium in order to enhance the dance offerings, by investing in teacher training, bringing in dance specialists and building partnerships with external dance organisations.

Since its launch in 2013, the scheme has prompted 23% of schools to introduce dance to PE lessons, according to research by the Department for Education. Dance has also been the most popular activity for schools to introduce in extra-curricular time, with 29% doing so. Eligible primary schools currently receive £8,000 plus £5 per pupil per year to spend on improving the quality of their PE and sports activities, and in turn dance. The increase is expected to boost the number of schools offering dance, both in school and as an extra-curricular activity.

Schools will consequently be encouraged to teach dance as part of the PE National Curriculum. It is anticipated that the increased investment from the Department for Education will encourage schools to develop their dance curriculum and the dance skills of their teachers, in order to inspire students. As a result, and parallel with the news, new schemes and projects are being devised in order to bring more dance into schools, and inspire young people to engage further with the art form.

After a successful pilot festival in 2014, Wilton’s Strike! Dance Festival returns in 2016, to premiere six new works by emerging contemporary dance artists. Audiences attending – or instead, watching the live stream online – will be able to get a glimpse of promising performers and choreographers at the start of their artistic careers.

Taking place from 3-5 May at Wilton’s Music Hall, the theme resides around memory: the six selected choreographers have been commissioned to develop their work to performance level, with mentoring from professionals. Submissions were judged by a panel including Viviana Durante, former Principal Dancer with the Royal Ballet and Guest and Principal the world over; Critics Choice award winner, Jonathan Goddard, who has performed with Rambert, Scottish Dance Theatre and English National Ballet and founded the Dancespinner education project; and Lee Smikle, teacher, choreographer, producer and artistic director as well as Resident Artist with Matthew Bourne’s New Adventures and Re:Bourne.

The six works will be showcased in front of a live audience as well as being live-streamed worldwide, and an open Q&A session will follow the performances on each of the three nights. For 2016 the festival has also been extended, now including Youth Strike!, which will see a group of East London secondary school pupils choreograph and perform their own work, also on the theme of memory. The students – led by Jo Meredith and Sean Bruno, who created one of the pieces for 2014, will perform their pieces as a curtain raiser on the first night of this year’s festival.

In partnership with Eastside Educational Trust, a second school group will film rehearsals and their development to create introductory videos for each piece of work as well as working with ArtStreaming TV at the dress rehearsal to learn about live broadcasting.

April 2016 saw the legendary choreographer Sir Matthew Bourne announce a new adaptation of the iconic Powell and Pressburger film, The Red Shoes. His company will present the production at Sadler’s Wells this Christmas, as a world premiere. The show will reunite the award-winning creative team behind the New Adventures’ world-wide hit, Sleeping Beauty, made up of Lez Brotherston (set and costume), Paule Constable (lighting) and Paul Groothuis (sound).

Bourne’s choreography will be set to a new score arranged by Terry Davies using the mesmerising music of golden-age Hollywood composer, Bernard Herrmann. Herrmann is most famous for his collaborations with Alfred Hitchcock, Orson Welles and Martin Scorsese, this time played live by the New Adventures Orchestra for the talented cast. Through the soundtrack and talent of Bourne’s dancers, The Red Shoes will present its drama where life imitates art with fateful consequences.

The fairytale story – where fairytales are common amongst Bourne’s work – will be set in the theatrical world of a touring dance (ballet) company, about dance and dancers. For Bourne, the film’s genius is to make that theatrical world surreal, larger than life and highly cinematic, and he aims to capture that surreal quality within a more natural theatre setting. The show is based on the Academy Award-winning movie which seduced audiences and inspired generations of dancers with its tale of obsession, possession and one girl’s dream to be the greatest dancer in the world.

New Adventures recently auditioned 300 talented dancers, whittled down from the 1,100 applications the company received, vying for a place with Bourne’s company. In light of this, the lucky dancers who are successful will find themselves swept along with this dancing fairytale too.

The 40th anniversary Olivier Awards, which took place on 3 April at the Royal Opera House, London, were again a momentous occasion. Broadway musicals Kinky Boots and In the Heights took three wins each, and the classic musical Gypsy won four awards, the most of any single production. Kinky Boots won the accolade of Best New Musical, and its star Matt Henry was named Best Actor in a Musical. In the Heights saw a much deserved award to choreographer Drew McOnie for his work on the production.

The ceremony, one of the stagiest events of the year in the UK, featured extracts from all the shows nominated for Best Musical and Best Musical Revival, in addition to a finale of “What I Did for Love?” from A Chorus Line, the show that won Best Musical in 1976, and performed by past winners that included Maria Friedman, Joanna Riding, Leanne Jones, Jill Halfpenny and Lesley Mackie.

Next year’s ceremony will take place on 9 April at the new venue of the Royal Albert Hall. Additional nominations and winners on the night included:

Best Entertainment and Family

Alice’s Adventures Underground at The Vaults
Dr. Seuss’s The Lorax at The Old Vic
I Want My Hat Back at National Theatre, Temporary Theatre
Peter Pan at Regent’s Park Open Air Theatre
WINNER – Showstopper! The Improvised Musical at Apollo Theatre

Best New Dance Production

He Who Falls (Celui Qui Tombe) by Compagnie Yoann Bourgeois at the Barbican
Romeo Et Juliette by Les Ballets de Monte Carlo at London Coliseum
WINNER – Woolf Works by Wayne McGregor at Royal Opera House

Outstanding Achievement in Dance

WINNER – Alessandra Ferri for her performances in Chéri and Woolf Works at Royal Opera House
Javier De Frutos for his choreography of Anatomy Of A Passing Cloud at the Linbury Studio Theatre, Royal Opera House
Sasha Waltz for her choreography of Sacre at Sadler’s Wells

Best Theatre Choreographer

Carlos Acosta and Andrew Wright for Guys And Dolls at Savoy Theatre
WINNER – Drew McOnie for In The Heights at King’s Cross Theatre
Stephen Mear for Gypsy at Savoy Theatre
Jerry Mitchell for Kinky Boots at Adelphi Theatre

Best Musical Revival

Bugsy Malone at Lyric Hammersmith
Guys And Dolls at Savoy Theatre
WINNER – Gypsy at Savoy Theatre
Seven Brides For Seven Brothers at Regent’s Park Open Air Theatre

Best Actor in a Musical

Ian Bartholomew for Mrs Henderson Presents at Noël Coward Theatre
Killian Donnelly for Kinky Boots at Adelphi Theatre
David Haig for Guys And Dolls at Savoy Theatre
WINNER – Matt Henry for Kinky Boots at Adelphi Theatre
Jamie Parker for Guys And Dolls at Savoy Theatre

Best Actress in a Musical

Tracie Bennett for Mrs Henderson Presents at Noël Coward Theatre
Natalie Dew for Bend It Like Beckham at Phoenix Theatre
Laura Pitt-Pulford for Seven Brides For Seven Brothers at Regent’s Park Open Air Theatre
WINNER – Imelda Staunton for Gypsy at Savoy Theatre
Sophie Thompson for Guys And Dolls at Savoy Theatre

MasterCard Best New Musical

Bend It Like Beckham at Phoenix Theatre
WINNER – In the Heights at King’s Cross Theatre
Kinky Boots at Adelphi Theatre
Mrs. Henderson Presents at Noël Coward Theatre