Dance Direct Blog. News, Reviews & Advice About Dance

A new reality TV show about West End performers – which currently has the working title Life’s A Stage – is being developed for a pilot filming session during August. The show has been commissioned by a major broadcaster: if the pilot is well-received, it is expected to be commissioned for a full series.

Production company Znak and Jones is now casting for the pilot episode, which will not be broadcast, and is seeking performers of any experience, aged 18 to 35. Znak and Jones was set up by former ITV head of factual Natalka Znak and Simon Jones, former chief operating officer of Syco Television USA.

The inspiration for the show was the West End casts performing at the Royal Variety Performance, the annual fundraising gala. Casts change so rapidly for West End shows, as well as the life expectancies of the shows themselves. Life’s A Stage will therefore centre around a cast of West End performers living together in one house, with the juxtaposition of the glamour of the stage and the reality of living. As well as documenting both the work lives and social lives of actors, musicians and dancers, the show will also include planned performances of songs from West End shows.

The show is not set to be a documentary about actors, but it also will not be as scripted as shows such as Made In Chelsea and The Only Way Is Essex, which are heavily constructed. Scenes will not be set up for the real-life actors to interact with each other, but will be a real reflection of life and their real actions and reactions will remain. A simple storyline will be added using the talents of those involved, making for an entertaining insight into the world of showbiz.

Hypermobility is not always something to aspire to. Although it is useful for a dancer to be flexible to enable the body to achieve what it is asked in dance, the swayback knees, flexible spine and high arched feet can also have their drawbacks. Dancers who have these attributes generally don’t have to work hard to be flexible, due to their inherited joint flexibility (their connective tissue which binds the body together is not as tightly woven together).

Whilst it may seem a hardship to have to work for flexibility, there are clear drawbacks to hypermobility and far reaching consequences. Dancers who are hypermobile will also have flexibility where they do not need it, such as in their finger joints, wrists, elbows and knees, even their skin. As a result, it is difficult for these dancers to build strength, control and stabilise their bodies; wear and tear and even dislocation can take place.

All dancers need good stability around joints, but the hypermobile dancer needs it even more to counteract the lack of restriction and protection in their ligaments. The condition must therefore be handled with care, in order to coordinate their bodies and so not to compromise balance and correct alignment. If this is not ensured, overuse injuries and trauma can occur.

It is important to understand the requirements of the hypermobile body, so the beautiful lines and flexibility can be displayed once strength, stability and coordination have been acquired. It is clear in dance that different body types require a different emphasis on certain part of training, so understanding the hypermobile body means dancers can train with realistic aims. Ensuring there is stability and control in the dancer through increased strength is imperative, meaning cross training is necessary for this particular body type.

Sadler’s Wells’ National Youth Dance Company, and guests, are set to present Apex Rising, an eclectic mix of choreographers such as Jasmin Vardimon, Akram Khan, Sidi Larbi Cherkaoui, Wayne McGregor, Hofesh Shechter, Anna Kenrick and Kerry Nicholls on 4–5 September.

The special weekend of dance will be hosted by the National Youth Dance Company, celebrating the innovative and exciting work being performed and created by young dancers today. This inaugural Apex Rising festival will unite some of the most highly esteemed figures in contemporary dance, including the three past NYDC Guest Artistic Directors, Vardimon, Khan and Cherakoui in the line-up.

Featuring work by four national youth dance companies from around the UK and abroad, the festival sees these internationally acclaimed artists illustrate their commitment to young dancers and to initiatives that build exceptional artistic talent, and nurture the dance landscape of tomorrow. This new annual festival consists of two contrasting programmes that capture the power young dancers have in shaping the future of dance.

The second programme of the festival, following the first including the NYDC, is an evening featuring a confluence of styles and energy, staging work by youth dance companies of France, Scotland, Wales and England. Leading French youth dance company Groupe Grenade – Josette Baïz performs extracts from Entity by Sadler’s Wells Associate Artist McGregor, and Uprising by Sadler’s Wells Associate Artist Shechter. The evening also sees National Youth Dance Company of Scotland perform Stuck in My Throat by YDance Artistic Director Kenrick as part of the company’s 2015 tour, and Dawns Genedlaethol Ieuenctid Cymru / National Youth Dance Wales perform a newly commissioned piece by Nicholls. It is completed by NYDC’s restaged excerpt of Akram Khan’s Vertical Road.

The experience young dancers gain through initiatives like NYDC not only supports them, but pushes them further into the world of dance to aspire to achieve more.

Many dancers are great fans of Pilates, even elite dancers who have already reached the height of physical fitness and undertake eight or more hours a day of dancing activity. Pilates supports their day-to-day technical requirements, but with a different focus on their bodies.

Pilates is a physical fitness system which was developed by Joseph Pilates in the early 20th century; it is currently practiced by over 11 million people worldwide. Pilates does not build bulky muscles, which dancers prefer, instead championing strength of the entire physical structure. Pilates can be used to release and work through tension in the body, as well as to increase strength and flexibility.

Pilates benefits elite dancers because it works against the tolls of dance on the body, helping them to correct imbalances and find space outside the studio to release and reconnect. Pilates is a subtle technique, which also helps dancers to rehabilitate injuries and become stronger for the challenges of rehearsals or performances. Many dancers believe Pilates is the key to having a healthy strong body to keep up with the physical demands of dance.

Following careers on stage, many dancers retrain to become Pilates instructors once they have hung up their shoes, especially ballet dancers. They have felt the benefits personally and enjoy the journey of discovery and focused work Pilates endorses. Pilates is a perfect match for ballet, considering the core strength with focus on alignment and length. Pilates gives dancers more awareness and understanding of what they are asking the body to do. It provides security and freedom in dancing through strength and control, as well as lengthening the muscles, improving coordination of breath and becoming more aware of engaging the mind’s awareness of the body.

Iconic choreographer Wayne McGregor, alongside the Mayor of London Boris Johnson, has launched a new dance module for the London Curriculum at City Hall this month. The London Curriculum is an initiative for secondary schools in the capital, aimed to help pupils learn more about their city and experience the wealth of cultural opportunities London has to offer. Running alongside the National Curriculum, the programme already includes modules in English, Art, Music, Geography and History.

Developed in partnership with Sadler’s Wells, the new dance module for 11 to 14 year olds will involve visits to organisations including the Royal Opera House, as well as dance classes and workshops with artists and choreographers, offering a wealth of artistic opportunity to the students. The London Curriculum is an exciting programme that will bring the new national curriculum to life, ultimately inspired by ‘London’s people, places and heritage.’

McGregor maintains the importance of enabling children to learn about dance within education, as it nurtures creativity, helps with self-expression and boosts confidence and self-esteem. It is clear that dance inspires young people to work in the creative industries: people who study dance become more focused, motivated and disciplined throughout the rest of their lives.

Teachers are encouraged to register in order to receive the high-quality teaching resources to help learning in and outside school, developed by the Royal Geographical Society, Museum of London, Institute of Education and other experts; exclusive evening sessions for teachers at leading London venues including the National Portrait Gallery, British Library, British Museum and Shakespeare’s Globe, inspiring teachers to use the city to enrich their teaching; and competitions, events and other opportunities for students to showcase their learning.

The London Curriculum currently supports key stage 3 in English, Music, Art and Design, Geography and History. New resources in STEM subjects will be available from July. Languages, Personal, Social and Health Education (PSHE), citizenship and RE will follow in 2016.

Theatre producer Cameron Mackintosh has unveiled his theatrical vision for the West End’s new Sondheim Theatre, which he aims to turn into a home for shows from subsidised venues around the UK that would otherwise be under threat of vanishing following their runs. Named after the esteemed Stephen Sondheim, the site is expected to flourish under Mackintosh.

The gap for a flexible, small-scale theatre in central London is clear: it is something which often limits other venues, such as the National Theatre, and the Sondheim space could provide a non-proscenium arch home for many of its productions which originate in the subsidised sector. The venue would be an important West End venture to provide subsidised theatres with a home away from home.

The reimagined theatre will host productions for runs of between eight and 16 weeks, and is being created to give shows from venues such as the Donmar and studio spaces at Sheffield Theatres and Leicester’s Curve a future life. In order for it to take shape, the Ambassadors Theatre will be redeveloped, with a flexible performance space with around 450 to 475 seats. The building will also have a new floor built above the auditorium that will house a rehearsal space for larger shows.

It will also include a redeveloped foyer, new dressing rooms and a cabaret space, which will be created in the basement bar; the theatre’s current ceiling will be dismantled and repositioned as part of the redevelopment. The theatre is planned to open in 2017, and will be able to accommodate around four or five shows a year, programmed a year or more in advance. There will also be one slot left available for a surprise show which may arise that that needs a London space.

The National Theatre’s Connections Festival is 21 in 2016, and to celebrate, the theatre is involving more young people than ever in making theatre through ‘Connections 500’. The National Theatre is looking for 500 youth theatres and schools to stage 12 plays, picked from over 150 that have been commissioned for young people since 1995.  

The theatre pledges to provide all participants with all the support needed to fulfil the task, and the chance to stage the play in one of its 40 partner theatres across the UK. Connections 500 is open to any company of young people aged 13-19. Whether a school, youth theatre, voluntary organisation or an organisation which has never staged a production before, the group can apply to be part of Connections. 

Engaging young people in existing and new theatre is an admirable concept, made possible by the size and prestige of the National Theatre. Its ability to ensure the full 500 youth theatres and schools will be able to take part is guaranteed by its stature within the arts industry. Overall, Connections aims to inspire 13-19 year olds with high quality new playwriting, give companies the knowledge, skills and confidence to bring the plays to life, encourage young people to get involved in all aspects of theatre-making and celebrate young people’s talent.  

2016 will mark the National Theatre’s biggest ever Connections Festival – don’t miss out. Confirmation of the play the youth theatre or school will be producing will take place in early September, and 2-4 October marks the Directors Weekend at the National Theatre. In February and March next year the Home Performances will take place, and from mid March to mid May will see the Partner Theatre Festivals. Early July will welcome the National Theatre Festival!

Two recent announcements from the Young Vic theatre in the capital hold exciting future prospects: director and playwright Gbolahan Obisesan has been named the Young Vic’s new Genesis Fellow and the acclaimed dance commonly BirdGang Dance Company are the Young Vic’s new Associate Company. These new creative voices will contribute fresh ideas and new energy, as well as helping other younger artists find their voice.

Obisesan began his relationship with the theatre when he directed Sus in 2009, followed by his plays Mad About the Boy and Feast. The Genesis Fellowship, a two year grant supported by the Genesis Foundation, enables the recipient to develop their craft as a theatre director whilst working closely with Young Vic Artistic Director David Lan. Opportunities whilst in post include directing a show at the Young Vic, supporting the theatre’s programming and artistic planning, contributing to the work of the Young Vic’s Directors Program and mentoring Genesis Future Directors Award-recipients.

BirdGang is the first dance company to be an associate of the Young Vic, now based in offices at the theatre. Led by artistic directors Ivan Blackstock, Simeon Qsyea, Quails (Ukweli Roach) and Kendra J Horsburgh, the company was established in 2005. It will have the opportunity to collaborate with and be supported by the theatre’s team whilst pursuing future projects. BirdGang and the Young Vic developed a relationship on A Harlem Dream, which debuted as part of Dance Umbrella 2014.

BirdGang has roots in hip hop culture, with the company interested in stimulating audiences through a combination of movement, music, film and striking lighting design, and their unique style of movement that draws on influences including hip hop, jazz, contemporary, physical theatre, spoken word, illusion, and film. The company produces performances for a variety of spaces across the UK and internationally, telling powerful stories and painting vivid pictures.