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June 2021 / £3.95

RISHAN BENJAMIN ANTON DU BEKE AND GIOVANNI PERNICE RAMBERT SCHOOL HUGO MARCHAND

www.dancing-times.co.uk

Britain’s leading dance monthly

TOUR 2021

Artistic Director CHRISTOPHER MARNEY Le Corsaire Act 1 Joseph Mazilier/Marius Petipa | jigsaw Charlotte Edmonds | Highland Fling Act 2 Matthew Bourne HORNCHURCH | 17 JUNE Queen’s Theatre Hornchurch queens-theatre.co.uk

BURY ST EDMUNDS | 2 JULY Theatre Royal theatreroyal.org

BIRMINGHAM | 8 JULY The Crescent Theatre crescent-theatre.co.uk

CAMBRIDGE | 16 JULY ADC Theatre adctheatre.com

CHELMSFORD | 24 JUNE Civic Theatre chelmsford.gov.uk/theatres

GUILDFORD | 3 JULY Yvonne Arnaud Theatre yvonne-arnaud.co.uk

TONBRIDGE | 9 JULY EM Forster Theatre emftheatre.com

LONDON | 20-21 JULY Britten Theatre rcm.ac.uk/events/

CORBY | 30 JUNE The Core at Corby Cube thecorecorby.com

CRAWLEY | 5 JULY The Hawth Theatre hawth.co.uk

WINCHESTER | 11 JULY Theatre Royal Winchester theatreroyalwinchester.co.uk

Dancers: Matteo Zecca, Sakura Kawamura, Xholindi Muci, Kotone Sugiyama Photography: ASH Photography Design: feastcreative.com

balletcentral.co.uk Central School of Ballet Reg. Charity No. 285398 Co. No. 1657717 VAT Reg. No. 305 6274 18 Central School of Ballet The Countess of Wessex Studios 21/22 Hatfields, Paris Garden London, SE1 8DJ

Contents

June 2021 Volume 111 Issue 1330

Cover Stories

22

56 – Tips on technique

By James Whitehead

15 – Profoundly affected Laura Cappelle talks to the Paris Opéra Ballet étoile Hugo Marchand

19 – The odd couple Nicola Rayner hears about Him and Me from Anton Du Beke and Giovanni Pernice

57 – Technique clinic

By Phil Meacham

58 – Simon’s Guide to Swing

By Simon Selmon

59 – Stepping Out

By Pete Meager

37 – 101 years Deborah Weiss visits Rambert School of Ballet and Contemporary Dance

63 – Dancer of the Month

Marcelino Sambé and Yakub Saunders.

60 – Somewhere in time

By Jack Reavely

Regulars 6 – News

Margaret Willis interviews Scottish Ballet’s Rishan Benjamin

Matthew Bourne’s new show

Features

13 – Talking Point

10 – Letters

By Teresa Guerreiro

22 – Ballet for all?

13

Scottish Ballet in Dive.

Kenneth Olumuyiwa Tharp continues his discussion on diversifying classical ballet

28 – Keep on going

By Laura Cappelle

48 – Letter from St Petersburg

Fátima Nollén meets Rubén Olmo, director of Ballet Nacional de España

By Igor Stupnikov

33 – Design revolution

By Jack Anderson

Jane Pritchard highlights the career of Claud Lovat Fraser

66 – Obituaries

41 – Creating Pinocchio

Jacques d’Amboise, Shirley Hancock, Ismael Ivo

Gavin McCaig describes the choreographic process behind his first children’s ballet

15

46 – FRANCE/dance

50 – Notes from New York

69 – Media 71 – Products

44 – The Cinderella men

73 – Education

Graham Watts talks to music directors Koen Kessels and Gavin Sutherland

Ballet Central on tour

Dance Today

74 – Health

By Debbie Malina

77 – Classifieds

54 – Back to business

28 Photographs: Top RACHEL HOLLINGS. Middle ANDY ROSS. Bottom left FRANCK SEGUIN © FLAMMARION. Bottom right JAMES RAJOTTE.

Vikki Jane Vile catches up with the Strictly Come Dancing professionals

78 – Calendar 82 – Last Dance

WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 3

Editoria Editorial S

o theatres are finally open again in the UK. Despite the potential new threat of an “Indian” variant of COVID-19 spreading across the country, dance companies were able to return to the stage from May 17 after an absense of more than five months.

Those performances took place too late to be included in this issue of the magazine, but I am pleased to announce that Dancing Times will be publishing reviews from Birmingham Royal Ballet, English National Ballet, Northern Ballet, Rambert and The Royal Ballet next month in Dance Scene International – it seems a very long time to

have been deprived of live performances of dance in an indoor venue, but now they are back, let’s hope they will remain so.

There is a lot to read in the magazine this month: Laura Cappelle talks to Hugo Marchand, an étoile at the Paris Opéra Ballet; Fátima Nollén discovers how Ballet Nacional de España has been managing to continue performing on stage despite the pandemic in Spain; Vikki Jane Vile finds out what some of the Strictly Come Dancing professionals have been up to in lockdown; and Northern Ballet’s Gavin McCaig recounts what it has been like to create a new children’s ballet during the past 12 months.

I write this during a torrential downpour, but despite the inclement weather outside, it really does feel like spring has finally arrived!

JONATHAN GRAY

is a London-based Portuguese journalist.

After a career in news and current affairs with the BBC World Service Radio, she is now free to indulge in her life-long passion for dance. She co-edits the balletposition.com website.

Gavin McCaig

is a Scottish dancer who performs with Northern Ballet. He trained at English National Ballet School and, prior to this, The Dance School of Scotland.

He has written several articles for Dancing Times.

Jane Pritchard

is curator of dance at the Victoria and Albert Museum, London. With Geoffrey Marsh she curated the Diaghilev and the Golden Age of the Ballets Russes, 1909–1929 exhibition and edited the accompanying book. Previously she was 4 • DANCING TIMES

The Dancing Times Limited 36 Battersea Square, London, SW11 3RA t: 020 7250 3006 dancing-times.co.uk Subscriptions e: subscriptions@warnersgroup.co.uk t: 01778 392039

Contributors Teresa Guerreiro

Scottish Ballet’s Rishan Benjamin.

Editor: Jonathan Gray e: jonathan@dancing-times.co.uk

archivist for Rambert Dance Company and English National Ballet, and created the Contemporary Dance Trust Archive. Her other exhibitions include Les Ballets 1933, Rambert Dance Company at 75, and A Flash of Light: The Dance Photography of Chris Nash.

She lectures widely on dance and has made BBC radio programmes on the Ballets Russes and the 19th-century composer for dance Georges Jacobi.

Nicola Rayner

was editor of Dancing Times’ sister magazine, Dance Today, from 2010 to 2015. She has written for The Guardian, The Independent and Time Out Buenos Aires, where she cut her teeth as a dance journalist working on the tango section. She continues to dance everything from ballroom to breakdance with varying degrees of finesse.

Following the success

of her debut novel, The Girl BeforeYou, her second novel, You and Me, was published in 2020 by Avon.

Vikki Jane Vile

is a freelance dance writer.

She started writing for Dance Today and Dancing Times magazines while studying for her BA degree at Royal Holloway, University of London.

She has been a regular contributor ever since, as well as a theatre reviewer for PlayShakespeare. com and the Society of London Theatre.

For subscriptions and back issues ring

01778 392039

Editorial Advisors: Clement Crisp, Jann Parry, Rachel Rist Production Editor: Simon Oliver e: simon@dancing-times.co.uk Assistant Editor: Nicola Rayner e: nicola@dancing-times.co.uk Advertising Manager: Ann Mottram e: ann@dancing-times.co.uk Finance Director: Beverley King e: beverley@dancing-times.co.uk Company Directors: Jonathan Gray, Beverley King, Peter Shepherd Printed in the UK by Warners Midlands plc. www.warners.co.uk Distributed by Warners Group Publications plc, The Maltings, West Street, Bourne, LINCS The Dancing Times Founded in 1910

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Photograph: RIMBAUD PATRON.

News

Keeping you up to date with the world of dance

National Dance Awards 2021 THE DANCE SECTION OF THE CRITICS’ CIRCLE has announced the short-listed nominations for the National Dance Awards 2021. Due to the impact of the pandemic, the qualifying period for performances, both live in the UK and digital (available in the UK), was extended by four months to between September 1, 2019 and December 31, 2020. Four new awards have been introduced this year to recognise the dance sector’s response to the pandemic: Best Company Response to the Pandemic, Best Digital Choreography, Best Dance Film and Best Short Dance Film.

Nominees for the Dancing Times Award for Best Male Dancer are Matthew Ball (The Royal Ballet), Jeffrey Cirio (English National Ballet – ENB), César Morales (Birmingham Royal Ballet – BRB), Vadim Muntagirov (The Royal Ballet) and Marcelino Sambé (The Royal Ballet); for Best Female Dancer, Alina Cojocaru (ENB), Lauren Cuthbertson (The Royal Ballet), Simone Damberg Würtz (Rambert), Marianela Nuñez (The Royal Ballet) and Anna Rose O’Sullivan (The Royal Ballet).

Nominated for Outstanding Company are Alvin Ailey American Dance Theater, Northern Ballet, Richard Alston Dance Company, The Royal Ballet and Scottish Ballet. Shortlisted for Best Independent Company are 2Faced Dance, Acosta Danza, Boy Blue 6 • DANCING TIMES

Entertainment, Rhiannon Faith Company and Scottish Dance Theatre.

The shortlist for the award for Best Classical Choreography is Cathy Marston for The Cellist (The Royal Ballet), Kenneth Tindall for both Geisha and The Shape of Sound (Northern Ballet), Will Tuckett for Lazuli Sky (BRB) and Valentino Zucchetti for Scherzo (The Royal Ballet). Nominees for Best Modern Choreography are Michael Keegan-Dolan for MÁM (Teać Damsa), Dada Masilo for Giselle (Dada Masilo), Crystal Pite and Jonathon Young for Revisor (Kidd Pivot), Luca Silvestrini for The Little Prince (Luca Silvestrini’s Protein) and Gisèle Vienne for Crowd (Gisèle Vienne/ Dance Umbrella).

Dancers nominated for the Emerging Artist Award are Aitor Arrieta (ENB), Jerome Anthony Barnes (Scottish Ballet), Leo Dixon (The Royal Ballet), Azara Meghie (multi-disciplinary artist) and Arielle Smith (choreographer).

Shortlisted for the award for Outstanding Female Modern Performance are Jemima Brown in Step Sonic (Tom Dale Company), Oona Doherty in Hope Hunt (and the ascension into Lazarus) (Oona Doherty/ Dance Umbrella), Dana Fouras in MaliphantWorks3 (Russell Maliphant Dance Company), Dada Masilo in the title role of Giselle (Dada Masilo) and Rachel Poirier

in MÁM (Teać Damsa).

Nominees for Outstanding Male Modern Performance are Dane Hurst in Staging Schiele (Shobana Jeyasingh Dance), Llewellyn Mnguni as Myrtha in Giselle (Dada Masilo), Guillaume Quéau in Draw From Within (Rambert), Kenrick H20 Sandy in REDD (Boy Blue Entertainment) and Jermaine Spivey in Revisor (Kidd Pivot).

Nominees for Outstanding Female Classical Performance are Begoña Cao in Five Brahms Waltzes in the Manner of Isadora Duncan (Viviana Durante Company), Lauren Cuthbertson in The Cellist (The Royal Ballet), Momoko Hirata in the title role of Giselle (BRB), Fumi Kaneko as Princess Aurora in The Sleeping Beauty (The Royal Ballet) and Beatriz StixBrunel in The Cellist (The Royal Ballet). Dancers shortlisted for Outstanding Male Classical Performance are Matthew Ball as Lensky in Onegin (The Royal Ballet), William Bracewell in Dances at a Gathering (The Royal Ballet), Jeffrey Cirio as Conrad in Le Corsaire (ENB), César Morales as Albrecht in Giselle (BRB) and Marcelino Sambé as the Instrument in The Cellist (The Royal Ballet).

Short-listed for Outstanding Creative Contribution are Koen Kessels (conductor and music director, The Royal Ballet and BRB), John Macfarlane (artist and designer), Frank Moon (composer and musician), Jess and

Morgs (film-makers), Jeannie Steele (celebrating Merce Cunningham’s centenary) and Philip Selway (musician).

The companies nominated for Best Company Response to the Pandemic are BRB, Dutch National Ballet, ENB, New York City Ballet, Rambert and Scottish Ballet.

Short-listed for Best Digital Choreography are Rhiannon Faith for Drowntown Lockdown (Rhiannon Faith Company), Jessica Lang for Ghost Variations (Pacific Northwest Ballet), Stina Quagebeur for Take Five Blues (ENB), Arielle Smith for Jolly Folly (ENB) and Wim Vandekeybus for Draw From Within (Rambert). The shortlist for Best Dance Film is ENB for the five new films in its digital season, Paul Lightfoot and Sol Léon for Standby/ She Remembers, Michael Nunn and William Trevitt for Romeo and Juliet Beyond Words, Alice Pennefather for her dance films in the Summer Shorts Festival and Scottish Ballet for The Secret Theatre. Finally, the nominees for Best Short Dance Film are Alleyne Dance for (Re) United (Alleyne Dance), Corey Baker Dance for Swan Lake Bath Ballet (Corey Baker Dance), Sophie Laplane for Indoors (Scottish Ballet), Lost Dog for In a Nutshell (Lost Dog) and Christopher Wheeldon for Boléro (The Royal Ballet).

The winners will be announced at an online ceremony to be streamed on June 27. The event will also announce the winner of the De Valois Award for Outstanding Achievement, for which there are no prior nominations.

News

Matthew Bourne’s The Midnight Bell THE WORLD PREMIERE OF Matthew Bourne’s The Midnight Bell opens at Cheltenham’s Everyman on September 9, as part of a UK tour to 13 venues including a season at Sadler’s Wells from October 4 to 9. Exploring the under-belly of 1930s London life, where ordinary people emerge from boarding houses nightly to pour out their passions, hopes and dreams in the pubs and bars of fogbound Soho and Fitzrovia, the titular Midnight Bell is a tavern where one particular lonely-hearts club gathers.

The Midnight Bell is inspired by the great English novelist Patrick Hamilton, who created stories borne out of years of social interactions at his favourite location – the London pub. “Patrick Hamilton’s literary world could be seen as the flip-side of his close contemporary, Noël Coward, whose witty and glamorous world of cocktails and high society made him so fashionable and successful,”

said Bourne. “Hamilton, on the other hand, wrote about the lives of everyday people, full of pathos, comedy and thwarted romance. Indeed his own personal setbacks and increasingly serious drinking problem became the source from which he created his finest and most individual work. More than any other author of the time, Hamilton’s characters speak with the authentic voice of the era and it’s the raw passion and secret lives that lie beneath the conventional exterior that appeals to me so much.”

Stamp of approval CANADA POST CELEBRATED THE illustrious careers of two ballet legends, Karen Kain and Fernand Nault, with commemorative stamps released on International Dance Day. Recognised as one of the most gifted classical dancers of her era, Kain joined the National

Ballet of Canada (NBC) in 1969. She was promoted to principal dancer in 1971 and in 2005 became NBC’s artistic director.

In 2019 she celebrated her 50th anniversary with the company.

Fernand Nault spent two decades with American Ballet Theatre before joining what is now Les Grands Ballets Canadiens de Montréal as resident choreographer and coartistic director in 1965.

For more than 25 years, he added a diverse range of works to the company’s repertoire and often

Photographs: Top JOHAN PERSSON. Bottom CANADA POST.

Bourne again joins forces with the award-winning team of Terry Davies (music), Lez Brotherston (designs), Paule Constable (lighting) and Paul Groothuis (sound) for the new production. The cast will feature 12 of New Adventures’ performers in roles that explore the darker reaches of the human heart: Paris Fitzpatrick, Glenn Graham, Bryony Harrison, Daisy May Kemp, Kate Lyons, Michela Meazza, Andrew Monaghan, Liam Mower, Danny Reubens, Christopher Thomas, Richard Winsor and Bryony Wood.

For more information, visit new-adventures.net.

Publicity shot for The Midnight Bell.

contributed as guest choreographer abroad.

Designed by Stéphane Huot, each stamp features a black and white photo of the featured artist in performance, against a simple background with metallic gold accents. Stamps and collectibles are available at canadapost.ca/shop and postal outlets across Canada.

News in brief H Sadler’s Wells has revealed plans for welcoming audiences back to its theatres at full capacity in the coming months.

Christopher Matthews presents a Wild Card in late June. In September, Hofesh Shechter and Akram Khan present world premieres, and Kate Prince’s Message In A Bottle returns to the Peacock Theatre.

Also in September, the Peacock Theatre hosts Breakin’ Convention Presents: The Ruggeds and Motionhouse’s new production, Nobody.

Tickets are on public sale now via sadlerswells.com.

H The Royal Ballet has announced the promotion of the following dancers: Fumi Kaneko and Cesar Corrales to principal with immediate effect; Mayara Magri and Anna Rose O’Sullivan to principal from September 2021. Meaghan Grace Hinkis, Nicol Edmonds and Calvin Richardson to first soloist; Gina Storm-Jensen and Joseph Sissens to soloist; and Leticia Dias, Mariko Sasaki and Harry Churches to first artist.

H Kevin Clifton, Faye Tozer, Charlotte Gooch and Cavin Cornwall are to join Adam Cooper to lead the Chichester Festival Theatre and Stage Entertainment production of Singin’ in the Rain. The production will play at Sadler’s Wells from July 30 to September 5, ahead of a 2022 UK tour (casting to be announced).

WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 7

News

BBC Dance Season ON INTERNATIONAL DANCE DAY, April 29, the BBC called out to dance talent from across the UK as it announced the return of the Dance Season to BBC TV, radio and digital platforms in early 2022. Celebrating the best of UK dance today, the season aims to showcase exciting new talent in a broad range of dance, as well as in choreography, film-making and interactivity, and to support inspiring collaborations across the sector.

It will be inviting applications for BBC Young

Dancer and for Dance Passion, in collaboration with One Dance UK, including opportunities for five short films and five interactive projects. Dance Passion’s mission is to celebrate the UK dance sector with a wide range of projects featuring established names and rising stars, broadcast across BBC TV, radio and online.

As part of this celebration, BBC Arts and One Dance UK will be asking dance companies, independent artists, choreographers and associated technical partners to apply for funding for short

Paradise Lost

form films and interactive projects which will entertain existing dance lovers and bring new audiences to the art form. Applications for the Open Call are open until June 16. Go to onedanceuk. org/dancepassion2022.

BBC Young Dancer returns to showcase the best of dance in the UK today and aims to celebrate a wide variety of talent across more styles of dancing. The competition’s new Open Call for applications across all genres

– contemporary, hip hop, South Asian, ballet, voguing, flamenco, African, tap and more – means that young solo dancers, aged 16 to 21, devoted to any style, will be considered. Applications from the disability dance sector (with a 16 to 25 age bracket) are also encouraged.

Successful applicants will be invited to participate in the second stage of BBC Young Dancer 2022. The Grand Final will be filmed in January 2022 and broadcast on BBC Two. Young dancers can apply now at bbc.co.uk/ programmes/b07gbzxt.

Invitation from BRB

Dancers of Birmingham Royal Ballet in Imminent.

LOST DOG’S PARADISE LOST (LIES UNOPENED BESIDE ME) is to be revived and re-staged in June and July. Written, directed and performed by the dancer/ actor Ben Duke, the oneman show, inspired by John Milton’s 1667 epic poem, opened in 2015 and toured almost non-stop for two years. Paradise Lost… combines theatre, comedy and movement on a journey through the story of the creation of everything, condensed into 80 minutes, beginning with Lucifer’s rebellion and ending with 8 • DANCING TIMES

Ben Duke in Paradise Lost...

Adam and Eve’s expulsion from The Garden of Eden.

“For me, 2020 was a time of panic and creative paralysis.

I felt unsafe and it made me realise what a privileged position I normally occupy in order to have the headspace for art,” said Duke. “It is a

BIRMINGHAM ROYAL BALLET (BRB) is inviting readers of Dancing Times to enjoy a rare opportunity to join director Carlos Acosta for an exclusive free Zoom event at 6.30pm on June 7, ahead of the company’s return to the stage this month with the triple bill Curated by Carlos and David Bintley’s Cinderella. Acosta will be joined by guests from the company for this roundtable discussion, sharing his vision for the future including BRB’s autumn season and behind-the-scenes insights ahead of the company’s June season at Birmingham REP. Book at brb.org.uk/ DT-event. Please note numbers are limited, so tickets will be allocated on a first-come, first-served basis. luxury and one that I took for granted before March 2020. Secondly, in the name of ‘coming back greener’ I am offering not something new but something old. I am upcycling Paradise Lost… which involves getting

rid of the cobwebs on the smoke machine and getting a new costume with a larger waist!” Paradise Lost… opens at London’s The Place on June 5. For further details of dates and venues, go to lostdogdance.co.uk.

Photograph: Left DANILO MORENO. Right TOM MAYFIELD.

Letters Star Letter Dear Editor –– What a pleasure it was to read Nathalie Harrison’s uplifting Talking Point article in the April issue of Dancing Times. We hear so much about the downsides of a career in ballet – injury, sacrifice, eating disorders to name but a few – so this positive and inspiring piece was a real tonic and a reminder of why we love this art form so much. I wish her all the very best for what I am sure will be a bright and successful future. –– Yours sincerely, Louise Sheaves Dorchester The author of our Star Letter will win a year’s print subscription or an extension to a current subscription

Versatility – some replies Dear Editor –– Well done Michael Corder for expressing in his Talking Point column last month what I, and some of my colleagues, also felt about Karen Berry’s article on versatility in dance training published in the February issue of Dancing Times.

Most professional dancers start their dance tuition at a local private dance school that provides more than one dance discipline.

With examinations and attending courses at Easter, Christmas, and summer holidays, young dancers are exposed to various ways of moving. However, if you want to concentrate and master the most difficult balletic discipline, you have to forsake some dance styles to perfect the demanding rigours of the classical technique. It does not mean you are restricting your potential; it gives you freedom to express yourself as a creator and interpreter and allows you to work with many different choreographers with their varied demands and styles. –– Yours sincerely, Brenda Last London 10 • DANCING TIMES

Dear Editor –– I very much welcome the response from Michael Corder to my article on versatility printed in February’s Dancing Times.

It is exactly these kinds of conversations that are necessary for our profession to evolve. My request, however, remains the same: for our profession to review training programmes and re-examine how we achieve expertise. The request is supported by ongoing developments in sport science, education and performance psychology, which we, as teachers, directors and educators cannot choose to ignore.

In response to Michael Corder’s views, I don’t suggest an age at which specialisation needs to occur,

Your news and views rather I present the evidence from research. The debate in relation to classical ballet is there to be had. Regardless, early specialisation can have a negative impact on children’s long-term skill development, and physical and mental health. Inhibited social and psychological development, increased risk of injury, fatigue and drop out are well documented risks. We must consider the well-being of all our trainee dancers – not just the small percentage of those that will secure a classical performing career.

I disagree that to be skilful on pointe a trainee requires to start pointe work at an early age. Physiological issues surrounding bone development, as well as the student’s readiness, physically, mentally and technically, are the determining factors, not age, and for some this may well have to be later than their peers. Starting pointe work late is not a disadvantage if teamed with expert tuition and deliberate practice.

Dance teaching is imbued with tradition; accepted practices and standards are passed down from one generation to the next.

Dance teachers often teach

as they themselves were taught and this loyalty to tradition can unfortunately be the enemy of change.

As a result, new thinking, methodologies and practices can often be overlooked or misunderstood. As I have explained, breadth can be the friend of depth not the foe, therefore when specialisation does occur a more generalist approach can ensure we are fully preparing our students for what lies ahead.

Michael Corder worries that strategies such as diversification are ineffective.

There are many forms of diversification and contextual variety that teachers can use within class to develop students’ motor learning and enhance their progress and versatility. An example of one strategy already used with great success at The Royal Ballet School is where teachers regularly diversify the structure and adapt the pace of class.

For example, challenging stamina and strength in allegro, whilst balancing recovery and endurance with adagio. Centre exercises are interspersed within the barre to allow for development of control, alignment and transfer of weight, helping to emulate what may be required in actual performance. This has the additional benefit of helping to ensure students’ physical well-being, especially on developing bodies.

I realise that consideration of any change may mean a fundamental examination into the roots of what and how we are teaching, and in turn could cause teachers to fear a loss of identity. This may, in part, explain our profession’s past hesitancy to

Letters acknowledge developments in scientific advancements in the study of teaching and learning. However, we must remain open-minded to help ensure that our beloved art form continues to evolve and thrive in this new era of challenge and opportunity.

–– Yours sincerely, Karen Berry Aberdeen

Theatre and Performance Collection Dear Editor –– I am writing in protest against the planned closure of the Victoria and Albert Museum’s Theatre and Performance Department, fleshed out in the April issue of Dancing Times.

The proposed cuts and reorganisation are heartbreaking, and seriously jeopardise the Dance Collection – it is in danger of losing its identity and unique value if plans to split the collection up go ahead and if cuts in staffing dispense with the expert knowledge of the dance curators, librarians and archivists that currently take excellent care of it. It is a matter of urgency and of truthfulness to the UK’s past that the museum’s management reconsiders its plans and keep on protecting dance history with the particular care and expertise that it demands and deserves. –– Yours sincerely, Cristina de Lucas, co-chair, Society for Dance Research

Shirley Hancock Dear Editor –– I was saddened to hear of the sudden death of Shirley Hancock, the dancers’ physiotherapist. I had the good fortune to be recommended and introduced to her about 40 years ago by my good friend and former ballerina of The Royal Ballet, Maryon Lane, who used to visit and

teach my senior students.

Shirley was a remarkable person with a wonderful sense of humour. She was wise, kind, highly intelligent and an exceptional physiotherapist. She really knew and understood the dancer’s body and the physical demands made upon it with the everincreasing workloads the professional dancer incurs.

Shirley was an inspiration to all the students that attended The Abingdon Ballet Seminars, which I ran from the mid-1980s through to 2000. She, along with Alan Herdman, the renowned Pilates teacher, would give a joint class every morning to the three different levels of students, helping them to work correctly so that they could protect themselves from serious injury. This theme was carried through into the classical classes that followed. Her reputation took her to work with many well known companies around the world, and her knowledge and expertise are going to be sorely missed by all those who had the good fortune to be cared for and healed by her. –– Yours sincerely, Sarah Doidge Abingdon For another tribute to Shirley Hancock, see page 66.

Jimmy Gamonet de los Heros Dear Editor –– I’m writing to say how very saddened I was to read, in the April issue of Dancing Times, that Jimmy Gamonet de los Heros had died from COVID-19, and to thank you for printing Fátima Nollén’s informative and well deserving obituary for him. This man was brilliant, and to have been taken so young is so sad.

the death of this talented man. –– Yours sincerely, Dee Mac Norwich

Bravo!

I consider myself extremely fortunate to have been living in south Florida during the 1990s at the exact time Edward Villella and Jimmy Gamonet were building the new Miami City Ballet. I was able to attend nearly every performance, and I could not miss anything that Gamonet had choreographed for the company. He, and they, were superb from the start. The dancers’ technical ability, enthusiasm and energy was so evident when they danced his choreography, which seemed to fit the diverse mix of dancers, including those from the US, Brazil and Cuba, like a glove.

Gamonet’s choreography created a lasting, beautiful impression on me. His ballets were full of musicality, flow, vibrancy and excitement.

He and Villella were the perfect team, with Villella concentrating on building the George Balanchine repertoire, and Gamonet creating new works. Gamonet’s ballets were always the highlight of the evening, and I loved their Latin-American flavour.

I feel so grateful that I witnessed his 13-year career at Miami City Ballet – watching the company being created before my eyes was a wonderful experience.

At that time south Florida really was a “cultural wasteland” and it made the experience even sweeter! I shed a tear when I read about

Dear Editor –– I would just like to say how welcome the paper wrapper for the subscription copies of the Dancing Times is.

Bravo. The wrapper is a good weight of paper, the magazine is protected, and I can make simple notepads with the envelope. No one should simply bin it! With admiration for being able to continue your monthly output throughout 2020 and beyond –– Yours sincerely, Ann Whitley North Yorkshire Dear Editor –– A pleasure, as always, to receive Dancing Times in the post – but the May edition took a circuitous route to me in north west London. An elderly neighbour with dementia, living in our building, went walkabout without the knowledge of her carer. Thanks to the efforts of the police she was found in south London and returned home safely. That was because our neighbour had taken with her my copy of the magazine on her excursion, thereby providing the police with a clue to her address. Thanks to the police, and Dancing Times! –– Yours sincerely, Paul Arrowsmith London Post correspondence to The Editor, Dancing Times, 36 Battersea Square, London, SW11 3RA, or email letters@ dancing-times.co.uk Letters must be accompanied by a full name and address although this may be withheld on request.

Letters may be edited.

Anonymous letters can never be considered.

WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 11

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Talking P int

Views on the world of dance

Teresa Guerreiro takes a look at dance on screen

T

he strictures imposed on all of us by the long-lasting COVID-19 pandemic have led to fears that much of what we used to take for granted, including the performing arts, would be devastated or, in more apocalyptic predictions, obliterated by the enforced stoppage. It is true, certainly in the UK, that many question marks remain over the viability of smaller outfits and the future of many freelance performing arts workers, who’ve had little or no government support for over a year now.

Yet, human beings are adaptable, and artists more so. Not only did most dancers continue to dance, but the sector developed new ways of existing and evolving; and one of the most promising is the new relationship between dance and film. One particular work, Scottish Ballet’s Dive, has opened new avenues for the marriage of the two art forms.

Dance and film, of course, have been close acquaintances for a century or more. The fragmentary,

blurry, all-too-brief moving images of Anna Pavlova’s Dying Swan, filmed in 1925, are one of the early examples of film’s fascination with this very special form of moving art, and throughout the years we’ve been grateful to film for allowing us to see what otherwise we would have missed.

Beyond documenting, film has also sought to interpret dance, to give it an earthier dimension. I’m thinking here, for example, of the BalletBoyz’ awardwinning 2016 film of Young Men, shot on location on the killing fields of World War I, and more recently their 2019 recreation of The Royal Ballet’s Romeo and Juliet, dragged to the riotous, muddy, rain-swept streets of (mock) Renaissance Verona.

When lockdown hit, companies who were lucky enough to have archives of professionally filmed performances – say, New York City Ballet, The Royal Ballet or the Bolshoi Ballet – resorted to streaming these to keep some kind of hold on their audiences.

There was nothing new as such in those films; they

“Lockdown generated one work in which dance and film are inseparable, where one simply doesn’t exist without the other: Scottish Ballet’s Dive. Created by choreographer-inresidence Sophie Laplane with stage director James Bonas and film-maker Oscar Samson, Dive is a work of mesmerising complexity, in which two choreographies merge to such an extent that each feeds off and informs the other. Break them apart and both die”

were simply records of live performances, though some exhibited the kind of flair and intelligence that director Ross McGibbon has brought to his work for The Royal Ballet. However, as the seemingly endless lockdown continued, some companies started looking for more creative ways to bring new work to our homes. English National Ballet paired five choreographers with five film-makers for a series of commissions which were streamed for five consecutive weeks in the autumn; Rambert did the same with two cutting-edge new works streamed live in real time.

Interestingly, both companies are bringing these works to the stage, in other words, acknowledging that a separation from their original medium – film – is possible (and desirable?). ockdown generated one work in which dance and film are inseparable, where one simply doesn’t exist without the other: Scottish Ballet’s Dive.

Created by choreographerin-residence Sophie Laplane with stage director James Bonas and film-maker Oscar Samson, Dive is a work of mesmerising complexity, in which two choreographies – of dance and of film direction/ editing – merge to such an extent that each feeds off and informs the other. Break them apart and both die.

Visually it is striking, a riff on the intense, hypnotic colour created by the painter Yves Klein, now known as International Klein Blue. Structurally it’s kaleidoscopic, each of its images bursting onto our

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screen, creating daring, humorous, truly innovative sequences. Do you really want an explanation for the appearance of an impossibly elegant alpaca among the dancers? Of course you don’t! You just revel in its glorious improbability.

You can imagine youngsters, all digital natives now, being quite taken with Dive and its fast-moving juxtaposition of images flowing across their small screens. Has Dive devised one way of attracting more young people to dance?

It’s not surprising Dive should have came from Scottish Ballet, the first UK dance company to launch a digital season back in 2017.

I remember feeling slightly disoriented when, at the launch of that season, I was offered a virtual headset that allowed me to direct the motion of two dancers through a series of rooms as I dizzily moved around.

Little did I know then that a digital season would, of necessity, become all the rage in the dark days of 2020–21... and, who knows, perhaps point new directions for dance to explore when some kind of normality returns. n HAVE YOUR SAY: We should very much like to hear your views on the subjects discussed here, on any of our other articles or reviews, or indeed on anything else dance-related that you feel strongly about. Please email letters@dancing-times.co.uk or post your letters to the address on page 4. Please note: the opinions expressed in this column are the author’s own and are not necessarily shared by Dancing Times.

WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 13

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PROFOUNDLY AFFECTED Laura Cappelle talks to the Paris Opéra Ballet étoile Hugo Marchand about his career and the pandemic

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t’s been a season of stop-start highs and lows for the Paris Opéra Ballet. After a brief run of performances last October, the French company was forced to close its two theatres again due to the pandemic – initially with a planned reopening date in December, only for it to be

Hugo Marchand rehearsing (top) Roland Petit’s Le Jeune Homme et la Mort, and (left) Rudolf Nureyev’s Romeo and Juliet.

reversed. One étoile had a busier winter than most, however: Hugo Marchand, one of the young stars to have emerged from the “Millepied generation,” released a book about his life and career in February, Danser, published by Arthaud. He returns to the stage this month in Roland Petit’s Le Jeune Homme et la Mort and Rudolf Nureyev’s Romeo and Juliet.

LC: What have the past six months been like for you, as the company rehearsed productions such as La Bayadère and Angelin Preljocaj’s Le Parc that were subsequently cancelled?

HM: We worked a lot, as if we were going on stage each time.

When La Bayadère was cancelled in December just days before we were supposed to reopen, the company’s morale really took a blow. It was Photograph: Top ANN RAY. Bottom AGATHE POUPENEY. Both images courtesy of the OPÉRA NATIONALE DE PARIS.

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WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 15

Hugo Marchand very hard mentally and physically to keep going over the winter.

LC: You were featured in live streams of Act II of La Bayadère and Grand Pas Classique. Was it difficult to film these ballets without an audience?

HM: The second act from Bayadère [the betrothal scene in Nureyev’s production] is nerve-racking under normal circumstances, but with 10,000 people watching live online and no one in the theatre, I had a difficult time. It felt like the black, empty auditorium was sucking all the energy and passion out of us. I came out of it demoralised at the thought that it might be the future of our profession, because there was no sense of exchange, no communication. Grand Pas Classique was easier because it wasn’t done live: we had time to film it really well.

LC: What kept you going during that time?

HM: My book was released in February, and it ended up being the perfect timing. I had no idea it would get this much mainstream media coverage, and it really helped: I couldn’t be on stage, but at least I was able to keep talking about dance, to share my passion with the public in a different way.

LC: You show a very vulnerable side of yourself in the book. Why did you opt to go in that direction?

HM: It took three years overall. I was very surprised when the publishing house contacted me to ask if I would do the book. I wondered what readers might get out of it: 27 is quite a young age to release an autobiography of sorts. Then I thought of young readers, because when I was 14 or 15 and going through difficult times at the Paris Opéra Ballet School, it would have been reassuring to read about the difficulties, the self-doubt others had faced. If you show your weaknesses, other people will too.

That’s how we connect as humans.

LC: You had a co-author, the journalist Caroline de Bodinat.

How did you work together?

HM: It was a hugely collaborative process. Caroline wrote most of the book, and she was amazing: we got to know each other very well and I 16 • DANCING TIMES

told her things I haven’t really told anyone else. It was almost like therapy for me. Originally the publisher had suggested a dance writer, but it didn’t feel quite right. It was good that Caroline didn’t know the ballet world: she didn’t necessarily understand everything I was telling her, so I had to use different words.

I think it allows the book to speak to people from different walks of life.

LC: You go into disagreements with some of your stage partners in some chapters. Did they react to the book at all?

HM: I don’t think many of my colleagues have read it, simply because dancers usually don’t want to read about dance in their free time. There is nothing shocking about the parts involving Amandine [Albisson] or Sae-Eun [Park]: I tried to approach it neutrally, to avoid any hurt, and I’m not saying I was necessarily right.

These are old artistic disagreements, from three or four years ago, and my relationship with Amandine, for instance, is completely different now. At that point, we didn’t know each other, and I was too young to understand that sometimes the relationship you have with a partner is instinctive, and sometimes you build it over years. I may be less insecure now, too. I’ve matured, and I was really moved to dance with her again in Bayadère in December. We both felt that we’d finally connected artistically.

LC: You also delve into the solitude that you felt came with becoming an étoile. Has it changed in the years since you started writing the book?

HM: It ebbs and flows. This past year has been very strange because we were even more isolated as soloists than usual, with dedicated classes and rehearsals, due to safety protocols. However, I think I was in a small part responsible for the isolation I felt, too, and since I have control over that part, I’ve decided to spend more time with others.

My work does remain quite lonely. At the moment, at noon I’m hanging myself as the Jeune Homme in one studio, at 1:30pm I’m Romeo in another, at 2pm Juliet is dead… I love it, but it’s intense and troubling. I can’t go out and

Above: Hugo Marchand and Laura Hecquet in rehearsal for Le Jeune Homme et la Mort.

laugh with people immediately afterwards. It’s like diving: you need decompression chambers.

LC: How are you managing your energy and emotions as you prepare to go back on stage?

HM: I know that I’m not going to want to approach Le Jeune Homme et la Mort with any distance. I haven’t danced in front of an audience in months, and I want to be that Jeune Homme fully, to lose myself in the role, even if it’s just for 15 minutes. Then I’ll need to recuperate in time for Romeo, because Nureyev’s Romeo and Juliet is so long and physically demanding.

LC: You’re dancing Romeo and Juliet with your favourite partner, Dorothée Gilbert. In your book, you discuss at length your connection and your debut in the ballet. Are you approaching it differently this time?

HM: We wondered what would be left of it when we started rehearsals Photograph: ANN RAY / OPÉRA NATIONALE DE PARIS.

Profoundly affected again, but a lot came back. The first time around, it took so many hours to figure out the coordination, because the partnering is difficult and there are just so many steps. I was really lucky to learn the ballet with Patricia Ruanne and Frederic Jahn [who created the roles of Juliet

and Tybalt with London Festival Ballet]. Now all we need is to run it through and add details. This time around, we’ve focused on how much Nureyev drew inspiration from George Balanchine, from Jerome Robbins, from a form of jazziness. It helps make it less finicky and more fluid.

Left: Hugo Marchand and Dorothée Gilbert rehearsing Romeo and Juliet. Above: The cover of Hugo Marchand’s autobiography, Danser.

LC: Le Jeune Homme et la Mort is a new ballet for you. What have you discovered about it so far?

HM: What was surprising is that we worked without music for the first two weeks, just like when it was first created in 1946. What guided us was the rhythm and Luigi Bonino’s [who is staging the ballet] voice. There are steps you have to do in three counts, but no real cues: it just needs to finish at the right time. I’m thrilled to be learning it with Laura Hecquet. I think she’ll be exceptional as Death, and that character resonates with a lot of my demons.

LC: How so?

HM: As I write in the book, at the age of ten I became conscious of dying, and it changed my life. It was like a sword of Damocles. Some people never realise that or are afraid to talk about death, but the idea of that void after the end keeps me up at night, and the Jeune Homme really echoes that. The ballet also feels right for our times: young people have been profoundly affected by the past year, and we still count the dead every day. Not a day goes by that death isn’t part of my life, and I’m only 27. n Hugo Marchand’s autobiography, Danser, is published in French

by Arthaud. It can be obtained from amazon.co.uk.

Photograph: Top FRANCK SEGUIN © FLAMMARION. Bottom AGATHE POUPENEY / OPÉRA NATIONALE DE PARIS.

WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 17

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Nicola Rayner hears from Anton Du Beke and Giovanni Pernice about their new show, Him and Me Photographs by Image 1st London

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hen you think of Anton Du Beke and Giovanni Pernice, the Strictly Come Dancing professionals who have teamed up for Him and Me, which opens this month, it’s their contrasting qualities that spring to mind first.

“The fun will be in the fact we’re so different... He’s obviously much older than me,” jokes Du Beke, “and he’s Italian with his shirt open to his naval, while I’m known for my traditional

Giovanni Pernice and Anton Du Beke.

English style – with a top hat and a cane – but it’s been a lovely coming together of the two styles, the two worlds. Not just the ballroom and Latin world – it’s so much more than that.

The show is about our personalities, which is going to be great fun.

“I’ve traditionally only ever done shows with Erin [Boag],” he continues, ➣ WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 19

Anton Du Beke and Giovanni Pernice “and I didn’t fancy doing a show with another woman as such – just replacing Erin with another woman.

I didn’t see the value in that, but the idea of doing something with Giovanni was really exciting. I thought we could have a bit of fun with it.”

The two are more similar than you might initially think. “I always think that Giovanni has a great charm,” he continues. “He’s quite a cheeky chap and I have a sort of boyish charm too – though, of course, I would say that – and I think that’s a real source of fun as well.”

“I love Anton and I think he’s a legend,” Pernice declares. “When we decided to do a show together, we tried for a couple of years to make it happen and then, finally, we had the chance. I’m very excited to share the stage with one of my idols.”

Did he know Du Beke before he joined Strictly in 2015? “I knew of him obviously.” What was his first impression of the show’s longeststanding professional?

“He’s the one who really helped me, actually, more than anybody else, you know, because my English wasn’t the best when I joined.

“I always look at him and think, ‘What would Anton do in this case?’

For me really he is a legend. It’s not just about dancing – it’s about the personality, the persona.

To be on television for 17 years and have people love you the way they do – you have to have done something right.” If a dancer has a strong personality, it’s something that can come through in their dancing, isn’t it? “For sure,” Pernice agrees, “but for Anton it happens as soon as he walks in the room. It’s like, ‘OK, people, I’m here.’ It’s a remarkable thing – his personality is huge.”

Him and Me will be directed by West End performer Alan Burkitt, who has performed in Curtains with Jason 20 • DANCING TIMES

Manford and Ore Oduba, Top Hat and We Will Rock You. Burkitt has also choreographed for Strictly and So You Think You Can Dance?, as well as the UK theatre tour for Fascinating Aida.

“I didn’t want to have a ballroom and Latin choreographer, and I certainly didn’t want to do it myself,” Du Beke notes. “I didn’t think it was a good idea if we did it together. I thought it was important to have a third person doing it, to have a different eye and a

Giovanni Pernice.

different vision – then you can have a nice collaboration… I didn’t want it to be a ballroom show in the traditional sense, so it’s going to be more than that. It allows us to play with our personalities a bit more with a narrative that will be running through the show.”

Many of the ensemble dancers are also from the musical theatre world. Will they dance ballroom and Latin with the Strictly stars? “There might not be that

much in it,” he reveals. “Of the strict sort – there will be bits. There’s going to be a great tango-paso doble number, but it’s going to be very theatrical; I’m not going to do a feather step, three step, reverse turn, hover cross, if you know what I mean… It’s going to travel from top-hatand-cane style, all the way through to some wonderful contemporary pieces.

It’s going to be a lovely journey through the ages. For example, we’ve got, ‘There May Be Trouble Ahead’ in it, but not in the traditional way.

We’re going to change it up and, with that, it’s going to give us a lot of opportunity to make it more theatrical.” Du Beke’s previous shows have had a Hollywood golden age feel to them.

“When I’m dancing with Erin certainly,” he agrees, “but don’t worry, I’m not hanging up the tail suit and getting out the vest for this.

“In the shows with Erin, we have the orchestra on stage, and we’ve got singers and dancers, but this is going to be a full dancing show – there will be singing, but not in quite the same way; there will be ensemble pieces – and we have ten dancers on stage with us.” That’s a lot! “Yes, it is. We had the auditions the other day and it was so exciting to be in the room with all the dancers and just see them coming through.” After our interview, the ten ensemble dancers were announced: Lauren Oakley, Jasmine Joy, Joshua James Moore, Jordan Rose, Katie Ella Dunsden, Grace Durkin, Liam Marcellino, Matthew Caputo, Michelle Andrews and Sarah-Faith Brown.

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ow has the pandemic been for Du Beke? “Twofold, really,” he muses. “As a family, we’ve had the best of times, with our young children, [the twins] who are four now, but professionally it’s been the worst of times. I’ve been out of the studio for

The odd couple a year – that’s why being back the other day, doing the auditions for the dancers, was just the most incredible experience. I loved every second of it, so I can’t wait to get back in the studio and have a dance.” Hasn’t he been giving classes online? “I’ve been doing the odd thing here and there, but two steps forward and you’re out of shot isn’t quite the same.”

Pernice is more enthusiastic about his experience of online teaching.

“The most important thing I’ve been doing is my lockdown dance classes,” he says. “I’ve been doing them every day for the past 18 weeks and they’re still going. It’s like a family, because we all know each other, we speak to each other and we’ve been keeping each other company. The good thing is that people still actually want to carry on, so I’m happy that they’ve fallen in love with dancing.”

What level are the dancers who join in?

“It’s a mixture. After the classes, I ask them to send me videos so I can look at their improvements, which have been outstanding, so I’m very pleased.”

Will they continue after lockdown? “I think so, but it depends. When I can, definitely… We started with basic steps but we’ve built up to full-on choreography with timing and talking about technique, which people have fallen in love with. They’re people who’ve come to it through Strictly Come Dancing and they want to know what the terms mean.”

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ow was Strictly this year?

“Obviously, it was different,” admits Pernice, “but the fact we didn’t have the audience wasn’t too bad. The celebrities sometimes get distracted by the audience – especially if their kids have come to watch, or something like that – so I didn’t feel too bad about it.”

Pernice is one of those dancers who always seems to bring the best out of their partners. Why does he think that is? “The first thing I do is understand what my partners are good at, and make that a priority… trying to make people do what they’re not very good at is pointless.

It’s better just to take it away, and bring out the best of what they can do. For example, Ranvir [Singh] was fantastic at ballroom,” he points out.

Anton Du Beke.

As for Du Beke, this year saw him take a seat on the judging panel. “I enjoyed it,” he enthuses. “I wish I could have stayed on for the rest of the series. I felt really comfortable doing it. Having the experience of having done it, you know – being on the floor and competing with the celebrity, I know exactly how it feels. I hoped to bring that empathy, understanding and experience to my judging, knowing

what’s attainable in the time that you have and appreciating what a great moment was based upon what I felt the couples were able to do.”

Who did he enjoy watching? “All of them to a degree. I thought HRVY was great. I think his rhinestone tail suit number – ‘One’ – is still one of the best numbers I’ve ever seen on Strictly. It’s lovely to see a boy like that coming from a different world and embracing ours so well. Bill was terrific. He did very, very well. I enjoyed Giovanni’s partner, Ranvir; her ballroom was super.

Maisie was terrific – a firecracker. I mean, you never really got to see the best of Maisie actually. In the dress rehearsal and in the bandcall in the morning, she was often remarkable. Often her worst performance of the day was in the live show, so imagine how good she could have been – because she was brilliant.”

I caught up with Du Beke and Pernice during the run-up to May 17, when theatres opened again, and the diaries of both dancers were looking pretty full. Du Beke has a new book on the way, We’ll Meet Again, the fourth instalment in his Buckingham series, which comes out in November, and a new show with Boag, Showtime, planned for the other side of Strictly.

Meanwhile Pernice’s solo tour, This Is Me, returns in March 2022.

For now, though, they’re looking forward to getting started with Him and Me and performing in front of a live audience again. “After the pandemic, all I want to do is go on stage with Anton Du Beke and make people laugh,” admits Pernice.

“If you want a good time, there’ll be no better show than this.” n Tickets for Him and Me are on sale now and can be booked directly through the theatres or at antonandgiovanni.com.

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Kenneth Olumuyiwa Tharp continues his discussion with directors of the UK’s leading companies on diversifying ballet.

Photographs by Rachel Hollings

he Black Lives Matter movement has impacted all of the UK’s ballet companies.

Many of the directors felt the break to the normal routine enforced by COVID-19 had given them more time to reflect and to listen to their dancers. At least six companies have put in place a formal group and process of some kind, with representatives from across the organisation, as a forum for discussing equality, diversity and inclusion. These are spaces to tackle some of the more nuanced issues that perhaps had not previously been discussed as openly or as honestly as they ought to have been. The rather formal hierarchies of larger companies do not naturally lend themselves to cross-organisational conversations on an equal footing.

Dispelling the fear, for example, that a dancer will harm their future by speaking out, seems to have been a key component in creating the right tone and context for such discussions.

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22 • DANCING TIMES

What changes have been made within your company in the last year as a result of the murder of George Floyd and the Black Lives Matter movement?

Patrick Harrison, English National Ballet’s (ENB) executive director, replied: “The process of listening, reflection and debate that happened last summer amplified the voices of those who had been, or felt, excluded, marginalised or misrepresented. This in turn led to new ways of thinking about how to facilitate more inclusive discussion within an art form that is comparatively hierarchical, and can often feel more comfortable with physical rather than verbal expression.”

Northern Ballet formed an equity, inclusion and diversity advisory panel, made up of people from every department. Director David Nixon explained, “The first thing to discuss was racism as it pertained to Northern Ballet.” The company undertook online training about protected characteristics, then unconscious bias training, including work with Tonic Theatre, understanding the micro-aggressions that can come from the unconscious part of the brain.

The advisory panel produced a report and the organisation has now to decide how thoughts and recommendations from it are taken forward.

Ballet Cymru runs a training programme, funded by the Paul Hamlyn

Foundation, with 125 scholars across Wales who have access to free classes.

When these young children come to see the company on stage, they are as likely to see a dancer in a wheelchair as they are dancers of all shapes, sizes and colours. Their first encounter with ballet is one where they immediately see it as being diverse. Ballet Cymru is, as far as directors Darius James and Amy Doughty know, the only UK ballet company to have a professional disabled ballet dancer. Joseph Isaac Powell-Main had trained at The Royal Ballet School from the age of 11, but, after being injured, ended up with a disability that means he now dances with crutches, or in a wheelchair.

At New Adventures, Matthew Bourne explained how the company instigated a company-wide Equality, Diversity and Inclusion (EDI) workgroup to help the organisation hold itself to account. Training sessions had been made available for the entire company, staff and board on unconscious bias, allyship, inclusion and disability. Some also attended “Speak, Listen, Heal, Reset”, a series of anti-racist symposia run by Inc Arts and UK Theatre, supported by Arts Council England, that included Black actors re-enacting anonymised testimonies from those who’d experienced racism at work.

Ballet for all?

As 90 per cent of New Adventures employees are freelancers, a new training and induction programme has been put in place for each new production, to ensure everyone upholds the same ethos and values and has a point of shared understanding. Meanwhile, a new apprenticeship scheme, funded by the Archie Lloyd Foundation, will allow young dancers of colour direct entry into the company from college. The company has also been talking to external partners such as Tonic Theatre, Inc Arts and Parents and Carers in Performing Arts.

Christopher Hampson explained how, at Scottish Ballet, changes had started much earlier, but “since that iteration of Black Lives Matter last year, we are speaking far more openly as a company, throughout the dancers, the staff, and at board level, about antiracism. Initially, I got quite a lot of push to put a boiler statement out there and I absolutely flatly refused, because

“Ballet will remain relevant in tomorrow’s world through the choices its leaders make today” I felt we needed to be able to talk to each other about this before we started speaking about how we want to make an impact beyond our walls. So the biggest change is leading conversations with the company. I chair an EDI steering group. We actually thought we’d meet monthly, leading to quarterly, but we’re still meeting weekly because there’s so much to talk about and to set in motion. We will hold the entire organisation to account on anti-racism, and the board are absolutely behind it.”

At The Royal Ballet, where a diversity and inclusion group that spans the entire company has been set up, director Kevin O’Hare noted that the past year and the internal discussions had given him an awareness and thinking he might not previously have had.

His natural preference is for action, not simply talking, and he hates the idea of tokenism, but stressed the

importance of having had more time to listen and understand how dancers of colour in the company could be better supported without thrusting on them the burden of solving the issues.

Unsurprisingly, things such as hair, make-up and costuming were some of the issues that impacted the dancers of colour. Following discussions at The Royal Ballet’s Diversity and Inclusion Group, which includes both dancers and company management, it was decided that all dancers, not just those of colour, should have the opportunity to input into how they are represented on stage. The wardrobe department recently carried out a consultation with the dancers to ensure that in future all costumes, tights, make-up and hair are appropriate for each individual.

O’ Hare explained: “The dancers feel it is a positive step forward, recognising we are all unique. Obviously this is a work in progress and will continually be in review, production by production.”

This seems to be part of a bigger conscious culture shift, led by O’Hare, to free things up in the company, whether on stage or behind-the-scenes.

Ballet Black has a very helpful resource on its website: A Concise Guide to Equality in your Dance Company or Institution, along with A Concise Guide to Increasing Equality in your Ballet School. It’s available for anyone to use, though I sense director Cassa Pancho is appreciative when people have the courtesy to acknowledge where the resource came from.

What are your hopes for the future in relation to diversity and representation in ballet? “In five years’ time, I hope we’ll be seeing huge improvements,” says Pancho, “but I think we’ll be

Royal Ballet principal Marcelino Sambé and 11-year-old Yakub Saunders, who appeared on ITV’s Britain’s Got Talent in 2020, working in the studio on a dance to accompany “It’s Time to Heal”. The song is created by S.O.S from the Kids, a not-for-profit group that works alongside young people to write and sing songs as a wakeup call for climate action. It will be released in September in advance of the UK hosting COP26, the United Nations Climate Change Conference.

more or less where we are now, with small improvements.” Bourne adds, “I’d love us to be a company that all young people in any audience will look at and think, ‘That’s a world I want to be part of, and can be part of.’”

O’Hare thinks, “Ballet can be universal, and we’ve got to make it reflect where we are in the world, what you see on stage, the teams that make it, the stories we tell, always evolving, never a full stop, and not to be afraid of talking about diversity. If we don’t, we’ll never break down the barriers.”

Hampson is mindful that, “There will be a time after me. What I’d like to leave is that this is embedded so firmly into our values it will be in someone’s job description.” Birmingham Royal Ballet’s (BRB) director, Carlos Acosta, says: “I’m very keen for a company like ours to have a voice, and to not just keep riding solemnly and only with the vehicles of the past. The past plays an important part, but we also have to put our stamp on this art form.” Nixon adds: “My moment is when this isn’t being discussed, because it doesn’t need to be, because it’s just a natural thing, where things are inclusive… but that is probably very far away, unfortunately.”

“It would be great if ballet training was more open to the idea of learning to work with people with disabilities,” says Doughty. “Some schools say there

WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 23

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Diversifying dance is no point in training disabled dancers if companies don’t want them. We’re happy to take them.” James also thinks, “What’s the point of an art form if it’s not relevant? If we make ballet accessible, we can take ballet into the future.”

At the time of writing, ENB recently announced the launch of a new ballet talent pipeline project. The high-quality, early-stage training programme for children aged between eight and 12 years of age will run in association with five dance schools across England. The five-year programme aims to contribute to and promote a diverse classical landscape by proactively encouraging and incentivising more dancers from traditionally underrepresented groups to participate in professional ballet training at the earliest opportunity. ENB’s senior leadership team will work with members of the company’s artistic staff, as well as company dancer Sarah Kundi, who will help shape the programme and be a mentor to the children involved in the project. An initial 12-month pilot phase begins next month.

“I believe there are spaces to be filled in the dance training system for young artists who are representative of the world we live in, the stories we want to tell, and the people who tell them,” says ENB’s director Tamara Rojo. “I’m excited that by working with dance schools, this project will provide gifted and talented individuals the space to grow into their potential as young artists. I’m delighted that, together with these schools, we [ENB] will be enabling them to increase their natural aptitude, harness their confidence, understand their artistic personality, and help them find their places in the dance world of the future.”

SOME CONCLUSIONS As a young professional dancer, working for the first time with adults with learning difficulties, and later with adults with sensory impairment or physical disabilities, I remember the fear of getting things wrong, of saying or doing the wrong thing, of upsetting or offending someone unintentionally. The best advice I received was a reminder that people with disabilities know themselves and their needs extremely well – “if in doubt, just ask them”.

Later, working with young dancers at The Royal Ballet Summer School over 12 years, the two most common fears expressed by the young students 24 • DANCING TIMES

in my creative classes were of falling over and of going wrong. I would try and burst that fear bubble by asking them to fall over on the count of three.

Fear is a fact of life. Few of us are fearless all the time, though we may be good at hiding it, or getting on with things regardless. The combination of an understandable nervousness around the sensitivities of race, identity and systemic racism, combined with a certain politeness in the culture of ballet, when added to what seems a notable trait in the UK of looking the other way and hoping something will disappear, is a potentially overwhelming and debilitating combination of factors.

They draw from me a sympathy for those in leadership positions trying to navigate these challenging waters.

Apart from developing a stoic determination to keep going in the face of all challenges, few things in their years of dance training could have prepared today’s dance leaders for what has happened in the last year. It has given us all a sharp wakeup call, as though the curtain went up unexpectedly, and the audience has caught us still in our practice clothes, the work not yet finished.

None are immune to these fears, least of all ballet directors who may be facing multiple worries at any one time: fear of saying or doing the wrong thing; fear of speaking out or not speaking out; fear of being called out; fear of losing a treasured heritage or alienating audiences by making certain choices; fear of not having a safe space where they can be really honest and know they won’t be

Ballet for all? flayed alive if they make a mistake. How dance leaders learn to live with their own fears, and not be stifled by them or prevented from moving forwards, seems key, as is the need to help dispel fear in others by creating safe spaces where dance schools, companies, organisations and the profession as a whole can continue to talk to each other honestly and openly about these challenges. There can be something quite liberating, both for the individual and for the people around them, when the person in charge admits to being vulnerable and having fears like everyone else. Personally, I don’t think it makes you a poorer leader; in fact, I think it makes you a better one.

Every dance company has its own culture. Yet part of the culture of ballet is to fit in, to toe the line, to not challenge the status quo, and to quietly get on with it. This mindset seems deeply ingrained, and it makes it harder to have frank and more equitable conversations – the ones we need to have about equality, equity and inclusion, in society, in dance. We have to be able to have the uncomfortable conversations about systemic racism within ballet.

It was clear the directors recognised both the necessity and the opportunity to change the culture and practice within their own companies, and many were already doing it. The circumstances of the last year, however, has given significantly more urgency to the debate around the poor representation of Black, Asian and ethnically diverse dancers in ballet, and at the same time more space to listen, reflect and begin to address things that had not always come so prominently to the top of a busy director’s to do list – not least the everyday experiences of dancers of colour as they go about their daily job.

There is welcome appreciation for the urgent need to change, but also a recognition that this is a long-term journey, and that mere window dressing, or performative, quick-fix cosmetics will simply add insult to injury and not do justice to the issues at hand.

Conversations are happening that wouldn’t have happened before, or if they did, with a sharper attention and renewed purpose, a genuine focus on listening first and foremost, and using that understanding to inform change.

Cutting through the hierarchy of ballet companies to create a more balanced, empathetic culture is long overdue.

I feel this is under way and is to be welcomed. Changing the culture within takes courage, patience, persistence and enlightened leadership. Much of it will be done outside the public gaze, and this itself poses another challenge because until people perceive change from the outside, they could be forgiven for thinking nothing is happening. Perhaps there is need for simultaneously finding ways of signalling these changes, if not to the wider world, at least within the sector so that changes and developments in practice, mindset and culture can begin to filter right down through the chain. Only by doing this will the culture of ballet evolve to where it needs to be. ompanies can lead the way; clear and visible role models are needed, but if we are to develop a healthy pipeline of diverse talent, we have to have significant grassroots engagement to stimulate interest from hitherto untapped sources, and ensure clear pathways of support that enable progression right the way through. The relationship between companies and dance schools, from vocational training right down to the local ballet school, is critical and something that warrants its own separate, in-depth discussion.

It’s perfectly possible for a young dancer to go through their entire ballet training and never have been taught by a teacher of colour. Where are the Black and brown ballet teachers in our schools?

Ballet Black’s school has a Black teacher, a South Asian teacher, a white teacher and a mixed-race /dual heritage teacher.

The student body is over 75 per cent non-white. As Pancho says: “None of these kids have ever considered the idea they cannot do ballet, because everyone in a position of power looks like them.”

With few exceptions, ballet is taught almost exclusively through private dance schools and therefore open only to those children whose parents can afford to pay for lessons. Recognition of the financial barriers, as well as the possible cultural ones that can prevent access to classical ballet at an early age, is an essential nut to crack. We need to create a big enough pool of diverse talent to meet the needs and aspirations of our companies, who say they don’t have a big enough pool of talent to draw upon.

For ballet to remain relevant to the widest possible audience, it’s not only a matter of who’s on stage; it’s also about

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what is performed, who is creating the choreography, the designs, who makes up the creative teams, what stories are told and to whom they speak. If companies genuinely want “ballet for all”, they have to risk making bold moves that reach audiences they are not yet reaching. In doing so, they cannot always expect those audiences to come to them – they will have to reach out into the communities they wish to serve. any directors spoke of the importance of creating work that reflected today’s world, of the need to make and showcase ballets that resonate with a more diverse audience. Rather than simply feeling over-burdened with the weight of the past, there is an opportunity to create new traditions and legacies that break the mould and speak to audiences with a sense of connection to today’s world.

Why hasn’t this happened before?

Part of ballet’s historical challenge has been an over-attachment to treasured choreography, and to a very particular aesthetic. This has led some to believe nothing from the past can be questioned or challenged, let alone altered or let go.

The aesthetics of ballet have also led to fears amongst some of destroying the purity of the “ballet blanc”, a worry that a black or brown body amongst a sea of whiteness would destroy the symmetry, or even the suggestion from some that “Black bodies can’t do ballet”.

We’ve all heard those horror stories.

In terms of repertoire, it’s hard to know why things have not been challenged more vigorously. For people on the outside, the casual viewer or occasional audience member, perhaps they don’t feel qualified enough to challenge an art form or call it out on clumsy racist stereotypes; whilst aficionados may have been too close to it for too long to be objective in deciding where the line is drawn between habit and tradition. Ballet cannot afford to turn a blind eye to the things that do not work in today’s world without risk of alienating an increasingly large proportion of its future audience. It will remain relevant in tomorrow’s world through the choices its leaders make today.

Whilst some directors felt there was no need to throw the baby out with the bathwater, almost all agreed historical works could and should be ➣

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WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 25

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Ballet for all? looked at with fresh eyes. One or two were very clear that ballets such as Petrushka or La Bayadère, that included uncomfortable racial stereotypes, should not be performed at all, whilst another director felt we should be promoting cultural appreciation, not appropriation. Elsewhere there was a consensus that ballets should be re-examined and reworked.

Several directors pointed out that ballet is a living, breathing art form, something that makes that heritage and the sense of lineage personal and precious. One of the beautiful things about dance is the way essential knowledge is handed on, not in books, but in the studio, from dancer to dancer.

As a young student, I attended the Yorkshire Ballet Seminars, run then by the wonderful David Gayle, where I was taught by living legends such as Alicia Markova, Irina Baronova and Alexandra Danilova. Amongst my fellow students were Kevin O’Hare, and his older brother, Michael (former principal dancer with BRB and now senior ballet master), Iain Webb (director of Sarasosta Ballet), and choreographer Russell Maliphant. We were all inheritors of that lineage – the art of dancing handed down the generations, and spanning great arcs of time. With the ballets themselves, however, there is a dynamic tension between ballet’s past, and its place in the here and now, and future; between its relationship with much-loved classics and the desire to cut new ground. The two do not have to be mutually exclusive, but failure to keep ballet moving forward will impair its vitality and viability. Changes can be made, but the will has to be there.

When Akram Khan’s Giselle for ENB had its world premiere in 2016, it was hailed by the New York Times as a “beautiful, intelligent re-working of a timeless classic”. Khan, as he began the creative process to re-imagine a work first performed in Paris in 1841, said he could “feel the weight of history”, but understood that in spite of that, “you have to find your own pathway, but still within the same forest… for a classical work to stay important and relevant to the next generation, it has to adapt, it has to evolve.”

When I spoke to six Royal Ballet dancers in October 2020 (see last month’s article), none suggested getting rid of the classical canon; they did, however, as

“Ballet is taught almost exclusively through private dance schools and therefore open only to those children whose parents can afford to pay for lessons.

Recognition of the financial barriers, as well as the possible cultural ones that can prevent access to classical ballet at an early age, is an essential nut to crack” dancers of colour, want to see new works that broke the mould, that told different stories made by a broader and more diverse set of creators. There may come a point where we don’t just risk alienating audiences, but the dancers themselves who bring a 21st-century mindset to the studio, and who may lose the desire to continue performing works that no longer speak to their lived experience. t was good to hear ballet’s leading lights share their excitement about the future, with perhaps the biggest and most creative opportunities for change lying in the new work being created. This is already firmly in the DNA of smaller companies such as Ballet Black and Ballet Cymru, or New Adventures, none of whom carry the weight of a large repertoire of historic works. Instead, they are making new ones, made especially for the companies.

Across the board, one thing that really heartened me was the strong sense that directors view this process of evolution as a long-term journey. From all of them came a clear understanding that when it comes to addressing the issues of racial equality, mere window dressing, or cosmetic fixes, are not enough to create lasting or systemic change.

One subject that emerged was the recognition of “intersectionality”. In simplest terms, if we were considering barriers to social mobility, for example, a dancer may be Black, but if they also happen to be gay, and a woman, from a low socio-economic background, and with a disability (whether hidden or visible) they will potentially be facing at least five separate layers of disadvantage.

Whilst the focus right now is quite rightly on anti-racism and identity, if our ultimate aim is to build a truly inclusive culture for all our ballet companies and organisations, then we need to give

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equal weight and attention to ensuring that all the protected characteristics are given equal consideration.

Rather than being overwhelmed at that thought, I believe if we can begin to get one thing right, it will make it much easier to address the others. We should be no more surprised to see same-sex relationships represented in ballet (something Bourne does with ease), than to see black and brown dancers in a line of swans.

Talking to the UK’s ballet directors has given me genuine hope that their commitment to change is heartfelt and sincere. Dance folk are amongst the most tenacious, resilient and determined of people. I firmly believe that where there is the will, and where we can openly embrace change, then the way forward will be found. I hope my colleagues in the ballet world, having opened the doors, will keep them wide open; otherwise, Ballet Black will have to carry on with its mission of becoming “wonderfully unnecessary” for another 20 years.

The art form has probably benefited more from talking about things in this past year than at any other time in recent memory. Conversations need to continue, with honesty, humility, courage and purpose. Ambitions need to be set high, but with real plans in place to achieve them. Sacred cows need to be held up for question, and, rather than feeling something is being lost, ballet’s leaders should adopt a mindset that recognises just how much there is to gain by doing things differently, and demand support from their boards.

As stated earlier, ballet will remain relevant in tomorrow’s world through the choices its leaders make today. n Next month, I look beyond ballet to other forms of dance.

WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 27

KEEP ON GOING

Fátima Nollén talks to Rubén Olmo, the new director of Ballet Nacional de España

ne of the countries that has kept its theatres open during the global pandemic, allowing the performing arts to continue, is Spain. When theatres did close, it was mainly in local areas and depended on the incidence of coronavirus cases, thus avoiding the painful severance of the special communion that takes place between audience and performer.

As far as live theatre is concerned, Spain has been the envy of Europe.

Ballet Nacional de España (BNE) has been able to maintain its work on site, and for the 2020-2021 season kept some of its national engagements – in Madrid, Barcelona and Seville – whenever conditions allowed. A group of its dancers even performed at Russia’s Dance Open festival.

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Rubén Olmo, an award-winning dancer and choreographer, became the artistic director of BNE in September 2019, taking over the reins from Antonio Najarro, who had successfully run the company for eight years (the maximum length of time that is legally allowed in Spain). Najarro had made the company more visible during his stint through consistent educational and audio-visual projects, as well as connections with other arts movements, from fashion to photography, attempting to gain a new audience.

This was supposed to be the canvas for Olmo to continue. He arrived in the post full of ideas and excited to work again, though in a different position, in the company where he started dancing professionally at the age of 18 and for which he later created a number of works as a guest choreographer. He had to adjust to what the pandemic threw at him almost straight away, and swiftly shift the way the company worked.

Olmo is tall and slim, an incredible dancer who performs with beautiful

expressiveness. Days before our interview, I saw him live on Spanish television in a mesmerising, moving solo, Danza del Ave Fenix, dancing with a huge Manila Shawl, during a ceremony to remember the victims of terrorism in Europe. One can say that behind the strong Andalusian accent, and a CV that includes work with the best in Spain (plus his own company), he is a torrent of creativity, the kind of person who won’t allow a good project to fail.

I spoke to him after a rehearsal at the end of March; he looked happy and relaxed on the screen, despite admitting the many difficulties he has had to face, including seven months away from the stage. BNE returned to work at its base in June 2020, following the first Spanish lockdown.

“Many of our engagements fell through not because of us, as we kept working in our studios, but because for some theatres it was a challenge to offer all the health infrastructure needed for a company of our size. We have 57 dancers and Photograph: JAVIER FERGO.

Keep on going

nine musicians on stage. Our shows require up to 240 costumes, and sets, so you need to add on the technicians, seamstresses and masseurs. There could be between 80 and 90 people travelling,” Olmo explains. He says the company increased its digital presence immediately, streaming live rehearsals and choreographic workshops not just for the general public but for the dancers affected in the private sector who had to stop work completely.

They also invited teachers from outside BNE, “which is everybody’s home”.

“In our studios, each of which is 300 square metres in diameter, we were divided into four groups – two in the morning, two in the afternoon.

It was a big challenge for the dancers, répétiteurs and me, particularly when mounting new ballets. All COVID-19 safety measures, such as tests, masks and social distancing, were taken.

Still, one day the virus managed to enter a studio with 14 dancers manipulating their Manila shawls, and the fan effect made it spread. We had to stop for two weeks and disinfect everything,” the director continued with regret and just a hint of humour.

“Almost all our repertoire requires big numbers to create the impact that characterises BNE,” he added, “which is what our audiences want to see. Regrettably, we don’t have works for seven or eight dancers, like those created by Jiří Kylián or William Forsythe,” he laughs, “that’s not our image. So, it was a battle.”

Interested to hear a dancer’s perspective, I contacted principal Inmaculada Salomón, who joined BNE 14 years ago. “It was difficult to get fit again in 2020 after stopping for ten weeks. Today we work with hope, but we also feel some fear and frustration because we never know if our next show, the only one that Photographs: PABLO GUIDALI.

Gades, is the official guardian of all genres within Spanish dance: escuela bolera (bolera school), danza estilizada (stylised dance), flamenco and folk dancing from around the country. Dancers are required to have a rigorous and varied education; they take daily class in classical ballet, contemporary dance and Spanish styles. Auditions occur whenever the director needs new dancers, and contracts are renewed annually.

“I like having young dancers in the company,” Olmo says. “They bring energy, and with the experience of the older dancers it creates a wonderful balance on stage. BNE is a unique

Left: Ballet Nacional de España in Invocación.

Above: Ballet Nacional de España in Estampas Flamencas. Below: Rubén Olmo, director of Ballet Nacional de España.

month maybe, will be cancelled. It adds stress. We worked on something for three weeks and suddenly our tour got cancelled. It breaks your heart after all the hard work,” she confessed with a sigh. “We literally don’t know if our work will reach the stage.”

Salomón explained there are no fixed partnerships within the company. She often used to dance with Sergio Bernal, who has now left BNE. “It depends on the choreography, the style of dance, the personalities and types of role; we dance with different partners”.

She admits Olmo’s way of working is different from Najarro’s, but is pleased he allows the dancers to work outside of BNE. As with many dancers, for Salomón the pandemic has been a time for reflection and introspection.

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he company, founded in 1978 under the direction of Antonio

company because it is so versatile in many styles. Our registers are broad, so artistically we present a fusion with pieces that could be very contemporary, and others that bring old-fashioned flamenco or an avant-garde version of it, while at the same time we use an instrument in our hands [castanets] if the piece is escuela bolera, the closest to classical ballet. That is why we look for a very complete dancer in terms of education, with great musicality, especially in their footwork.”

As a director, Olmo has creative freedom and his decisions are based on the proposals he made to INAEM (National Institute for the Performing Arts and Music), a branch of the Spanish Ministry of Culture and Sports, when he applied for his position.

He wanted to rescue the work of the masters of Spanish dance, adding their ballets to BNE’s repertoire, as well ➣

WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 29

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Keep on going as giving flamenco a new impulse, bringing more narrative to the stage, making new creations and continuing to develop the dancers artistically and technically whilst allowing for experimentation. All these points are reflected in the programmes BNE is currently working on.

For Invocación, premiered in Jerez in March 2020 before the first lockdown in Spain, Olmo included a tribute to a master of contemporary flamenco, Mario Maya, who died in 2008. “We worked very hard to recover his legacy, even looking at his personal archive, and chose to perform the second part of his 1994 ballet De lo Flamenco. Maya’s flamenco was very innovative and this choreography suits BNE very well.”

To celebrate the centenary of Antonio – Antonio Ruiz Soler (El Bailarín) – this year, Olmo created a programme dedicated to him that was presented in Seville in April to a moving reception from the audience. “Antonio changed the way we dance. He was the most complete dancer, choreographer and director in history and dominated all our disciplines”, he explains. A mix of his wonderful Fantasía Galaica and the classic Zapateado de Sarasate – which Antonio performed at every charity event – were chosen, together with his Sonata, last performed in 1982. “Sonata depicts perfectly the influence classical technique had on Antonio’s style”. he most ambitious project for Olmo so far is his new full-length work La Bella Otero (The Beautiful Otero) which will premiere at Madrid’s Teatro de la Zarzuela next month (see Calendar). “I’m a choreographer who likes a show with an argument, a story,” he reveals. “Years ago, in Barcelona, I came across an old postcard with the image of someone called Carolina Otero, known as La Belle Otero, and I started researching who she was. It really surprised me that her life as a dancer, singer and courtesan hadn’t made it to the stage.

“After living for many years in my imagination, I finally have in BNE the big company I need to depict her incredible life. She was from a small town in Pontevedra and became the star of the Folies Bergère in Paris at the height of the Belle Époque, of which she was a central figure. In Pontevedra she had been abused,

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Photographs: Left JAMES RAJOTTE. Right MANU TORO.

Below: Ballet Nacional de España principal dancer Inmaculada Salomón.

Right: Publicity image for Ballet Nacional de España’s production of La Bella Otero.

then escaped and travelled to Brussels and New York. She was lover to six kings. This woman invented a life for herself but ended up living alone and forgotten in a room in Nice for 40 years after losing all her money at the casino in Monte Carlo,” the choreographer narrates enthusiastically.

“I invited Patricia Guerrero to create the title role because I needed a bailaora with magnetism and power, and she knows my way of working and thinking very well.” Guerrero, who has her own company, met Olmo when he was director of Ballet Flamenco de Andalucía. “Patricia also represents what is relevant in flamenco today,” he concludes.

This dramatic two-act work has original music by various composers led by musician and conductor Manuel Busto. It takes the audience from Spain’s regions to the music and dances of the Belle Époque, including the can-can. Olmo is excited about the costumes and sets designed by Yaiza Pinillos and Eduardo Moreno, while the libretto has been developed

by Gregor Acuña-Pohl. It sounds

ambitious, I say. “Yes, it is, but done with lots of love too,” was his reply.

What does Olmo miss the most from pre-pandemic times? “Fridays”, Olmo shoots back. “What really made me feel sad was having to stop our open-door rehearsals on Friday nights. We had pensioners, students, people who just created a lovely atmosphere. We reach Fridays very tired, and these people in our studio were a way to pick up energy.”

Having followed BNE for many years on social media, I mention to Olmo that the company seems to have a great time whilst working.

“Our cameras are always on during rehearsals. We really enjoy our work; the atmosphere is fantastic and people can see it and say it to me. Dancers’ wellbeing and happiness are an important part of directing, I believe.

So, we forget about the cameras and what you see is the truth.” BNE has a strong education programme, and all its rehearsals and tours are shared across digital platforms.

Uncertainty over COVID-19 is still around in Spain, but Olmo hopes BNE’s planned international tours for 2022 will happen. “All the dates and countries are there, we just need to see how this pandemic behaves,” he says cautiously, while letting the words Japan and Mexico drop into his answer. What about London?

“We’d love to come back.” n To find out more about Ballet Nacional de España, visit balletnacional.mcu.es.

WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 31

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Designrevolution Jane Pritchard highlights the career of the stage designer Claud Lovat Fraser

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une 18, 2021, marks the centenary of the death of one of the UK’s most exciting theatre designers.

Claud Lovat Fraser, whose last work was for ballet, is a name that deserves to be recognised widely, although his career was unfortunately cut short as a result of poor health aggravated by service during World War I. At present, four of his designs for Tamara Karsavina’s group created a century ago are on display in the Theatre and Performance Gallery of the Victoria and Albert Museum, London, as part of On Point: Royal Academy of Dance at 100 (see Calendar). This is highly appropriate, as Fraser was one of the first contemporary theatre artists whose work was collected by the museum. While the 50th anniversary of his death was marked by a series of international exhibitions, little attention is now given to his work.

Claud Lovat Fraser (1890 to 1921) was an illustrator and designer for the stage. He was described by Haldane Macfall in The Art of Claud Lovat Fraser as having “a consummate sense of theatre”. In some respects, he could be regarded as the UK’s answer to Léon Bakst. His use of colour harmonies to express drama and emotion equalled that of the best designers for the theatre and, like Bakst, he took a keen interest in all aspects of stage art. His designs evoke the atmosphere required, rather than slavishly putting realism on stage.

His As You Like It, mounted initially for the 1919 Shakespeare Festival at Stratford-upon-Avon, caused controversy as it showed a stylised Forest of Arden that broke away from the realistic traditions of Shakespearean productions familiar in pre-war productions. The Morning Post complained the costumes were “so daring and colouring so extravagant in conception that they seem, to conservative minds at any rate, all out of key with Shakespeare.” Other critics

described the production as futuristic, but as his wife, Grace, noted “the odd thing was that so far were the dresses from being futuristic that they were the most realistic that Fraser ever attempted.

The lines and the colours were all carefully copied from contemporary missals, contemporary that is with the supposed date of the action of the play”.

It must be said, when it was re-staged at Hammersmith, the critic of the Spectator considered Fraser’s designs as “nearer perfection than any stage production that I have ever seen. Probably Mr Granville-Barker’s production of Twelfth Night and the Russian Ballet’s GoodHumoured Ladies ought to be excepted, but I think that many people will rank Mr Playfair’s production quite as high, and some will prefer it.”

Educated at Charterhouse, Fraser was briefly employed by his father’s law firm but, from 1911, with his father’s blessing, he pursued a career in art. He studied briefly under Walter Sickert at Westminster Technical Institute but quickly began to illustrate and decorate publications, most significantly collaborating with Holbrook Jackson to illustrate poetry and chapbooks.

Never particularly healthy (he suffered from rheumatic fever), in 1914 he nevertheless signed up for war service with the Durham Light Infantry. He

All images: V&A IMAGES, DEPARTMENT OF THEATRE AND PERFORMANCE.

Left: Costume designed by Claud Lovat Fraser for The Lord in Jack in the Green, which was also used in the Divertissement at the London Coliseum. Right: Costume design for the corps de ballet in Fuschias.

fought at Ypres but early in 1916, after the battle of Loos, was invalided home with shell-shock and the effects of gas. Thereafter he remained on duty in England until he was demobilised in March 1919. In 1917 he married the American singer Grace Crawford who was also handy with a needle. She made many of the costumes he designed and would go on to do the same for the Ballets Russes. For example, many of the costumes for the Hunting scene in The Sleeping Princess were her work.

Fraser’s stage career took off at the end of the war when his friend, Nigel Playfair, reopened the Lyric Theatre, Hammersmith, and asked him to design productions. The most famous was The Beggar’s Opera, which ran for 1,469 performances and was later revived.

Economic restrictions permitted him one adaptable set that could be modified by changing the panels behind the arcade to a variety of locations, from elegant drawing room to prison. In a generally symmetrical set, Fraser was advised by his friend Edward Gordon Craig to place the constantly present chandelier ➣

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Claud Lovat Fraser

slightly off-centre. Craig appeared to be delighted to see a variant on his changing panels working so effectively. t was for Karsavina that Fraser designed for dance. A decade before the Camargo Society took off, Karsavina was one of a group who felt artists and composers in the UK should be invited to collaborate on dance productions, and by the time Fraser worked for her, she had already joined forces with artist Paul Nash and composer Arnold Bax. Karsavina’s career after she left revolutionary Russia for London is less well documented than her earlier years. She was welcomed back to the Ballets Russes but, just as she had combined appearing for Diaghilev with performances with the Imperial Ballet in pre-war years, after 1918 she balanced a freelance career and motherhood with guesting for the Ballets Russes. In 1920, between the two seasons in Paris for which the Nightingale in La Chant du Rossignol and Pimpinella in Pulchinella were created on her by Léonide Massine, she performed at the London Coliseum in J M Barrie’s play The Truth about Russian Dancers, for which she devised her own dances. Thereafter Karsavina frequently choreographed and presented her own programmes at the Coliseum with a small pick-up company and a partner. She based her activity in London but also toured to central Europe, Paris and, in 1924, the US. Her series of articles for the Dancing

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Times in the 1960s give considerable insight into her freelance work.

Clearly one of the designers Karsavina was eager to work with was Fraser.

As Karsavina recalled in Theatre Street: “With all due deference I approached the much-admired artist, Hugh Walpole acting as mediator. Next day Lovat brought me some designs for our ballet, and at the same time with our work started a greater intimacy that bound me to him and Grace, his wife; it needed no preliminaries…”

Karsavina and Henry Bruce, her husband since 1918, had known Walpole, the novelist, in Russia since 1916, when he had been invited to set up the Anglo-Russian Bureau to counteract German propaganda. He had a wide circle of friends in the art world as well as at the British Embassy where Bruce was working.

Descriptions of the start of the collaboration are recorded by both Grace and Bruce1. In the autumn of 1920, the artist and stage designer Albert Rutherston (1881 to 1953) organised a party at which Karsavina was guest of honour and to which Grace and Lovat were invited.

Karsavina and Grace hit it off, as Karsavina was still a nervous English speaker and found it more relaxing to talk to Grace in French. Neither of the Frasers were impressed by Bruce, who they initially found “cold and stand-offish”. Two weeks later, Walpole invited both couples to a luncheon and

Grace was dismayed to discover she was seated next to Bruce. The purpose of the lunch was to enable Bruce to ask Lovat to design for Karsavina’s Christmas production, but he was painfully shy. Trying to pluck up the courage, he followed the Frasers home, going upstairs on the bus with them, getting off at their stop and tagging along to Lovat’s studio where they felt obliged to ask him in to tea. By the time tea was brewed, Bruce had managed to relax and deliver the request, which was accepted. They then went around to where Karsavina and Bruce were living in Thurloe Square to plan the production.

The new ballet was Nursery Rhymes, with four sections selected by Fraser and presented to music by Schubert.

The cast was completed by Laurent Novikoff, Louis Veslow and a corps de ballet from the Mayfair School of Dancing. Performed at the Coliseum for a fortnight from January 3, 1921, the ballet opened with The Pirate, inspired by a line from Robert Louis Stevenson’s poem Moral Emblems: “Industrious Pirate see him sweep / The Vasty bosom of the Deep”. Lovat selected this to exploit Novikoff’s “habitual gloom to perfection”. At the end, the Pirate reforms and the corps de ballet, dressed “in grey and black empire style dresses with huge poke bonnets”, join him to be his respectable companions.

Karsavina danced in the other three sections; a solo called Little Jumping

Design revolution of new turns. For the two weeks of the ballet the rest of the bill was made up of clowns, jugglers, serio-comics and some adorable performing seals to which Tamara and I fed scraps of fish when no one was looking. The final dress rehearsal was enlivened by an offer by the stage manager of what he called ‘The Louis Set’ to save the trouble of setting up Lovat’s great sweep of emerald curtains... The worst difficulty was the lighting, for Lovat wanted a clear cold light that would not alter his colours and every time he managed to get this, he was frustrated by a shout from the stage manager of ‘Put up yer ambers, Bill.’

In the end by dint of cajoling and mock loss of temper he got rid of the amber and the final result was enchanting.” fter the success of Nursery Rhymes a second season was planned for the summer and, at the same time, Cyril Beaumont invited Fraser to contribute illustrations to Svetlov’s biography of Karsavina, the “first authorised account of the career of this world-famous ballerina”. Fraser worked speedily, and in February produced the “outlines for colour” that appeared in the volume published in 1922.

In the early summer of 1921, while the new programme was being created, Fraser went on holiday to Dymchurch.

He was completing the designs when he died, but the Divertissement went ahead as a memorial. On this occasion it was a series of separate ballet-miniatures that were performed with a setting described in The Observer as “luminous blue curtains, with one straight pillar of dark shade in the centre, a thing of extraordinary simplicity, yet majestic”.

Against this the bright colours of the costumes sung. Described in The Times, these included the “charming red and purple dresses and the short red gloves of the ballet in a fuschia dance” to Glazunov’s Waltz Opus 47 for the corps de ballet of eight women and Karsavina’s own orange-yellow “Dolly Vardon” dress for the Polka, “a quaint conceit of a dress which amused the audience intensely”.

The costume for Novikoff’s Fire Dance, to music by Sinding orchestrated

by Arthur Bliss, was described in The Sunday Times as “a miracle of expressiveness both in its colour and pattern. We can no doubt trace the influence of Gordon Craig in the

A Above from the left: Costume design for and photograph of Tamara Karsavina performing Little Jumping Joan in Nursery Rhymes. Karsavina dancing the Polka in Old Wives Tales and Fraser’s design for her costume for Polka Les Vendredis.

Joan, a pas de deux with Novikoff titled The Two Blackbirds, and the finale for the full company, The Queen of Hearts, with Karsavina as the Queen, Louis Veslow the King and Novikoff the Knave of Hearts. Apparently, Fraser created “a delightfully clumsy and hiccuping step” for the King that was incorporated into the ballet.

Significantly, Nursery Rhymes was completed by its own simple but effective setting, and this caused some problems. Although companies such as the Ballets Russes brought their own sets with them, most smaller acts operated on a more modest scale.

Fraser designed a huge semi-circular emerald green curtain which included slits for entrances, as the wings were obliterated. At the centre-back was a colourfully-decorated constructed arch with columns, as well as a short flight of stairs down which Karsavina entered, en pointe, as the Queen of Hearts.

Grace’s account of the rehearsals is enlightening of conditions that small groups of dancers experienced when performing at the Coliseum.

“Rehearsals… were hectic and difficult as they had to be sandwiched in between performances or the rehearsal

effective headpiece with its flowing ribbons, but the jagged drapery streaming from the right sleeve is a stroke of original genius, which only needs a little movement to be transfigured into sparks flying upward.”

Some of the Karsavina-Fraser collaborations, such as Little Jumping Joan and the Polka Les Vendredis remained in Karsavina’s repertoire for several years.

The music for the latter, by Glazunov, Liadov and Sokolov, was suggested to her by Edwin Evans, and Karsavina said of it in the April 1967 issue of Dancing Times, it was called Friday that was “the day when the composers regularly met at the club founded by a musical patron and editor. A new composition had to be written for the day of this reunion. I often wondered whether this composite effort had been written on the same principle as the game of consequences.”

The dance was one of Karsavina’s most popular solos, the subject of a series of drawings by Ernst Oppler, and Karsavina was featured dancing it in a Parisian café scene in the film Old Wives Tales (1921). As Poppœa Vanda wrote, “Fraser designed a costume which fitted both the music and the dance perfectly. In a flame coloured dress with a bustle, pink tights, black shoes, a queer little flat plate of a hat poised insecurely on the side of her head and her hair done in bunches of little ringlets bobbed round her face, Karsavina danced the polka… it was utterly unlike anything else she did. It was an adorable little dance, all clean sharp movements, perhaps slightly puppet-like; but it was a real person playing puppet… and the whole was pervaded by a dignified pertness.”

Karsavina’s ballets may have been minor works at the time of so much inventive activity on the dance stage, but they suggest Claud Lovat Fraser was on the verge of even greater things.

Macfall, in his obituary in the Graphic, noted that the “large canvas of theatre” brought out Fraser’s “dramatic sense of massed colour and broad simplification of design”. With his death at the age of just 31, we lost a great talent, one who Bruce had described as “the artist who revolutionised English stage design”. n NOTES 1. In the Days of my Youth, Grace Lovat Fraser, London: Cassell, 1970 pp.276-8; and Thirty Dozen Moons, H J Bruce, London: Constable, 1949 pp.40-43.

WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 35

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101 YEARS Deborah Weiss visits the Rambert School of Ballet and Contemporary Dance in west London

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ambert School of Ballet and Contemporary Dance celebrates its 100th anniversary (or 101st, to be precise) this year, the festivities for which were postponed in 2020 because of COVID-19. In spite of the circumstances, the school is thriving, looking forward and achieving success. A glimpse at a couple of ballet classes, and an opportunity to watch Monique Jonas rehearsing her new creation for the students to perform at the Linbury Studio Theatre this month, proves the point.

Amanda Britton, chief executive, principal and artistic director explains that she was working as head of Academic Studies at the school when she applied for the directorship. As a former student, then a member of the company, she was keen to remain within the “Rambert fold” as she calls it. “I love this school – I probably don’t need to tell you that.” After teaching briefly elsewhere she felt it was time to return. “Twickenham is my home and

I just decided one day that I should ring Ross [McKim, director at the time] and ask him if there was ever an opportunity, would he consider me.

They were about to validate a degree programme for the students and I had just completed my Master’s degree, as well as teaching contemporary dance,

Photographs: Top NICOLE GUARINO. Bottom GIGI GIANNELLA PHOTOGRAPHY

so he invited me to come and run the degree. I jumped at the chance. So I was back in 2005, just as we were moving into this building. Eventually I became deputy principal, and when he announced he was going to retire, I thought I would just go for it!”

McKim had been at the helm for 30 years, so Britton was keen to move forward but also acknowledges the strengths the school had achieved under his guidance. “Right the way through, the strands of technique, performance, creativity, choreography – training choreographers as well as performers – have been so strong here.

When I took over, I had to look at how contemporary dance has changed – unbelievably – in the last 20 years.

There’s been an explosion of new work. There have also been changes in how contemporary dance is taught.

The students want, and they need, to be trained in so many different styles, not just Martha Graham technique. I wanted to keep the core techniques, which I feel very strongly about, but also think about bringing it into the 21st century; making sure the students were equipped and open to all the different sorts of styles that are out there. At the same time, I wanted to keep refreshing and reinvigorating our links with the profession. Those were the two big things we wanted to change, plus really upping the intensity of the training.

“Ballet is an extremely important part of the training. I have absolutely ➣

Above: Students of Rambert School in a ballet class. Below: Paul Liburd (centre) teaching a contemporary class.

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Rambert School stuck to that. So we’re 50/50 in terms of the hours we deliver in ballet and contemporary dance. I make it very clear that this is what you’re buying into when you accept a place here.

So many choreographers now make works using tasks, so when you go to an audition you’ve got to be able to do your ballet, contemporary, repertoire, improvisation, creative tasks, have an interview, roll on the floor, jump in the air – you name it.

They are well prepared for it, but being versatile is number one.” nother of Britton’s achievements has been to set up a graded syllabus for contemporary dance. “I had the idea to do this years ago. It’s

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happened. “It was all ready to go, we did a rehearsal in the theatre which we didn’t even film and that was the last we saw of it,” Britton says. “I was absolutely heartbroken – the work was so amazing!”

Contemporary teacher Paul Liburd had worked hard with the thirdyear students on the Bruce piece. He explained, “We couldn’t even stage it this year because those students have left and got jobs all over the world.” Britton is positive, though: “We’ve grieved for that, but who would have thought you could teach our entire programme on Zoom! I have to say I’m absolutely staggered how well the students coped.”

Grades One to Eight, and where better to start it than Rambert! We joined with our colleagues in the company because we share the name and the heritage, but it took a few years to get the joint venture officially formed.

“At the same time as setting out the legal, structural stuff, we developed a programme that has three strands: technique, creative and performance.

Technique is teaching the basics of contemporary dance, the fundamentals.

Creative is teaching students as young as seven to improvise, and for the performance strand, Hofesh Shechter created a solo that is Grade Eight/ professional level but we’ve distilled it all the way down to Grade One. Later this year Alesandra Seutin will create another solo and then after that, Benoit Swan Pouffer.

38 • DANCING TIMES

This page: Students of Rambert School of Ballet and Contemporary Dance in class.

“Before the pandemic, we did a pilot year, which went very well and we’ve had enormous interest – schools that need a structure when they aren’t so familiar with teaching contemporary.

It’s really accessible, inclusive – it’s an absolute passion of mine.”

The pandemic unfortunately struck just as the school launched the start of the celebrations for its centenary. A much anticipated performance, which included excerpts from Frederick Ashton’s Façade (he was a former student at the school), a revival of Christopher Bruce’s Dancing Day, and a piece by Arielle Smith, never

ritton was also integral to the development of Rambert2, a platform for young dancers to gain professional experience before, hopefully, joining the main company.

“Mark Baldwin was directing the company at the time and we’d already started doing some collaborative projects where he would use the students. I always say to them, it’s not about the dancing – they’re physically ready – it’s all the other things like psychological skills, how to be in a rehearsal room when you’re not the first cast. The great thing is that Rambert2 shares the building with the main company, so there’s plenty of mentoring.”

Apart from dealing with the complications of a pandemic, Black Lives Matter has highlighted issues surrounding diversity. Britton explains,

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Photographs: NICOLE GUARINO.

101 years “It’s actually been something we have been working on ever since I took over in 2015. We started an outreach programme from scratch and have built on it over five years. We have an Access Participation Plan, which is part of our higher education obligation with the government. It’s important. I want a school that’s representative of our society, our world as it is now. It’s at the top of every agenda: issues of racial equality, our staff, our student agendas, our academic board. We’re working with BAID [Black Artists in Dance], which we’re really enjoying.”

Liburd believes it’s all about going back to grass roots. “It’s about exposure – the more we can get out into schools the better. I know the government has changed things over the years and has gone down the route of core subjects, but the arts have to be brought back in. Not everyone is academically minded – some people need to express themselves creatively. I went to a normal academic school in Leeds but once a week we had a dance class and I found I could express myself. What we need to do is get young children to find joy in dance, not bombard them with technique. I think because I grew up in Leeds, surrounded by all ethnicities, the colour thing just wasn’t there.”

“The other big debate we’re having is around gender,” Britton continues. “We’re in an interesting place – we’ve actually choreographed some gender neutral solos and some classical solos that can be danced by men or women. It’s a learning process that’s been student led.”

fter a long and successful performing career, Liburd is now teaching Graham technique to all three year groups at Rambert School.

“Rambert offers training in many different styles, but I think Graham gives you discipline,” he explains.

“Contemporary dance can become very personal to your body whereas I think Graham is so very specific, and that’s really important when you are training.

It’s very stylised, but it’s about human nature as well and what that person can bring to their technique on a daily basis. I will be very specific in what I call the architecture of the work, but I also want to see them as people. How they evolve, how they emote, how they can be dramatic, how they perform – it’s got to be unique to them because everybody’s physicality is very different.

“I spent some time in the US for my own development and watched the Graham dancers. When I returned I spoke to Bob Cohan about my experience and he told me I had to remember it has to be relevant to the people you’ve got in front of you. So I teach Graham, but I teach the Cohan method, what he taught me. It has more breath about it; it’s actually simpler.

Bob stripped it down. He was very much into the shape of the leg, how you use the torso, the internalisation of movement but also the aesthetics.

“Rambert School has such a broad range of styles, which is good because not every style suits every dancer. I would say it’s nice for them to explore the differences. Dancers have to be so versatile these days. What is more important than anything is giving the students the tools to adapt, so that whatever is thrown at them in an audition or in a working environment they can be open and like a sponge.”

Britton concludes by saying, “You can change a curriculum, you can refresh everything, but I think what we’ve really tried to do is keep the core spirit. There is something distinctively Rambert about this place and we shouldn’t lose that. We nurture individuals. Marie Rambert always said that the school shouldn’t be a sausage factory and I can’t think of a better way of saying it.” n

Below left: Rambert School’s principal Amanda Britton. Below right: Rosanna Lindsey.

For further information about Rambert School of Ballet and Contemporary Dance, visit rambertschool.org.uk.

have to send in videos, so when they decide, they haven’t actually seen us in person. If they like the video, then we have to do a Zoom audition. It’s all a bit scary: a lot of us feel like we aren’t in the third year because it’s been so different. However, some people in our year have already got jobs, which is reassuring. Overall, I think I’ve gained a lot of confidence, found my own style and my own creativity.

That’s partly because we have a lot of choreography processes, student platforms creating our own pieces.”

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osanna Lindsey is in her third year at the school and believes she made the right decision to complete her training at Rambert. “I went to a stage school before and have done a lot of ballet, modern and musical theatre, but almost no contemporary.

I feel a lot more versatile now. My teacher was keen for me to come here because of the balance between ballet and contemporary. I think I want to join a company that has a mix of both.

I have a real love of neoclassical ballet.

“I’ve done some auditions already, but it’s all on Zoom so it’s not been a normal third year. I’ve been applying to everywhere that is asking for dancers because there aren’t a lot companies looking right now. When we apply we

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Photographs: Left TERESA WALTON. Right CHRIS NASH.

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CREATING P I N O C C H I O Northern Ballet’s Gavin McCaig describes the choreographic process behind his first children’s ballet.

Photographs by George Liang

uppets have always intrigued me. Aged six, I vividly remember being taken to Purves Puppets, based at the Biggar Puppet Theatre in Scotland. It was my first experience of live theatre and it undoubtedly sparked my interest in performance and the idea of the impersonation of life. Fast forward some 16 years, I played around with the idea of puppetry in a film, Silenced, commissioned by Northern Ballet for the company’s first foray into the world of short dance films.

When I realised in early 2019 that there was no new children’s production

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Top: Filippo di Vilio and Albert Orts rehearsing Pinocchio with Gavin McCaig.

Bottom: Filippo di Vilio as Pinocchio.

lined up for the following year, I decided to chance my luck and draft a proposal. It seemed obvious to me to delve further into my curiosity about puppetry and write an original scenario based on Carlo Collodi’s 1883 book The Adventures of Pinocchio. It is a dark, tragicomic story, filled with unpleasant occurrences, but has all the fundamentals of a good base for interpretation. I pitched the idea to the senior management team for a reimagined, child-friendly production which had playful characters and a moral lesson at its core. ➣ WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 41

Northern Ballet’s Pinocchio Our Pinocchio will tell the story of a lonely carpenter who discovers a wishing well and drops a coin into it whilst making a wish. Geppetto asks for a child and, with a little magic from a water sprite, his wish is granted. Pinocchio, one of his wooden creations, comes to life and must learn right from wrong to be in with the chance of being granted a beating heart. It goes without saying his story is anything but plain-sailing.

I was commissioned in late 2019 and started seeking out a creative team immediately. I found Ian Stephens, a musical genius and all-round-gentleman whose music was spritely and, at times, eccentric.

Music is a key ingredient for Northern Ballet’s children’s productions – as well as the introduction to live dance, it’s an introduction to live music.

The four-piece band that produces the music for all performances does an incredible job, but I was keen to see if I could push it further. I asked Ian if it was possible to double-up some of the players’ instruments, giving us the capability for a wider range of sounds and, ultimately, a different feel from previous productions. The most exciting addition for me is that, for the first time, a saxophone will feature in the score: lending itself marvellously to the weight and domineering personality of The Showmaster. The score was completed

by April 2020, which gave me some eight months to get to know it inside out, thanks to lockdown and the inevitable shifting of the creation period and premiere date to this year.

For the set design, I discovered Frankie Bradshaw, who has worked with the company previously as assistant designer on Kenneth Tindall’s Casanova. I loved some of the designs I found in her online portfolio, one in particular demonstrating a beautiful use of wood textures which figuratively guided me straight into a carpenter’s workshop. Her work 42 • DANCING TIMES

Below left: Alessandra Bramante as the Water Sprite.

Right: Rehearsal assistant Matthew Topliss with Gavin McCaig.

on various pantomimes also excited me: colourful and quirky, they were ideal for a children’s show. The set has taken an exuberant and unexpected direction, which has ended up influencing the narrative journey our characters go on. The costumes will be done in-house, by Carley Marsh and Kim Brassley, although work on these has yet to begin.

I was keen to include a range of dance styles in the piece, not only classical steps. After all, my own passion for classical dance stemmed from jazz, tap and hip hop. I opted for a tap-dancing duo to reroute Pinocchio from his errands and off to the circus to become a performer. Tap is so energetic and rhythmic, so I believe it will come across well for our young audiences and also add a burst of excitement midway through the show.

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aving danced in many short ballets during my first few years

in the company, it was important to me to make sure the process for the dancers was as enjoyable as possible. That depended on my own energy, organisation and articulation.

It’s no secret that a healthy studio environment breeds confidence and creativity in artists, so I tried my best to facilitate that. At times, when I felt a little lost or mildly bonkers, the dancers and my rehearsal assistant and colleague, Matthew Topliss, were always quick to step in and offer options, interpretations or solutions.

I now fully understand why our director often describes the company’s dancers as collaborative artists, having stood on the other side of the room.

It is a privilege to create work for the stage on a company such as Northern Ballet, but to do so in the middle of a pandemic was a sobering experience. We had two and a half weeks of studio time to get the piece finished and it flew by. Creating without any physical contact with

Creating Pinocchio sprite was a definite highlight. I wanted to challenge the dancers, but with three performances a day, you also have to be mindful of how much allegro you can use. The show will tour to venues not always specifically built for dance, so it’s important to be mindful of this.

With two casts in the studio, another delight was watching my colleagues develop throughout the process and showcase their own interpretations of the characters when both casts did a “run-through” at the end of the creation period. They embraced my vision wholeheartedly, and I can’t wait to see how the ballet develops further before it opens.

Amidst the magic, excitement and adventure that underpin the show, at the heart of most children’s stories is, of course, a moral lesson. Our Pinocchio is a story about honesty, but it’s also about forgiveness, second chances and learning from our mistakes.

Many say dance should be apolitical, but I feel that – in this case and at a time when accountability appears to be of little consideration at the most senior levels in our society – the morals I share through this creative

Right: Albert Orts as Pinocchio.

the dancers was a challenge. Anyone coming to see Pinocchio will notice there is very little contact between the characters at all, mainly because when we created the ballet back in January we had to socially distance. Luckily, our story didn’t really lend itself much to pas de deux or an excessive need to partner, which was helpful.

However, it was difficult for me to stay in one half of the room and try not to enter the dancers’ working space.

Because work for young people has to be expressive in its delivery, at times I just wanted to dive into the space and interact with the characters in a larger-than-life way to demonstrate the sort of interpretation I was after.

Building a language for each of the characters was lots of fun. “How would this character move?”, “What are they saying here?” I found myself grateful for my eight years in the company

doing predominantly narrative work with choreographers such as David Nixon, Cathy Marston and Kenneth Tindall. The devil is in the detail and often it was more important how the dancer was moving, not what movement they were doing.

Manipulating the classical vocabulary and building a variation for the water

experience will be life-long lessons, dressed in playful theatricality that I hope will stay with young audiences through to adulthood. n Pinocchio will receive its world premiere at the Stanley and Audrey Burton Theatre, Leeds, on October 26 in advance of a UK tour.

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THE CINDERELLA MEN

Graham Watts talks to music directors Koen Kessels and Gavin Sutherland t’s often mooted that orchestras regard ballet as the poor relation amongst their varied work. Is this true, and if it is, why do some conductors choose to become ballet specialists? To find out, I spoke to Belgian conductor Koen Kessels (music director of both Birmingham Royal Ballet and The Royal Ballet) and Gavin Sutherland, his equivalent at English National Ballet (ENB). They took very different routes to conducting for ballet.

Sutherland’s musical connection to dance started as a pianist at a local ballet school, aged 12; Kessels originally trained to become a concert pianist and arrived at conducting for ballet as a by-product of his work in opera.

Gavin Sutherland is just about to enter his 30th year as a ballet conductor.

“Nobody has found me out, yet,” he chuckled, self-deprecatingly. He had wanted to conduct from the age of six: “Not for anything to do with power,” he explained, “but just to be amongst musicians, making

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44 • DANCING TIMES

music.” The opportunity, however, seemed out of his reach. “I came from an area in the UK that bred factory fodder, and the best I was likely to get was at an operatic society or to become a music teacher.” In fact, it was playing piano for that local ballet school – which he continued to do throughout his teenage years – that offered the route to a musical career.

He became an occasional pianist for Northern Ballet Theatre while still studying at university. When John Pryce-Jones became the music director, he recognised Sutherland’s potential as a conductor and arranged his first performance, which was conducting Romeo and Juliet at the Theatre Royal, Nottingham, in April 1992. Not yet 20, his youthful exuberance for his art never waned. “From that day to this, I still feel the same thrill and hint of nervousness when I go into the pit.”

Sutherland succeeded Northern Ballet Theatre’s assistant conductor, Paul Mann and, later, picked up conducting work with Birmingham Royal Ballet. A trip to New Zealand to conduct Michael Pink’s Dracula led to performances in Australia and, he said, “The spiralling,

Gavin Sutherland in rehearsal with the English National Ballet Philharmonic.

continued from there.” He became ENB’s music director in 2008.

Koen Kessels first worked at the Brussels Opera before becoming assistant conductor with the Flemish Opera in Antwerp. He was called upon to take over a ballet performance of Cinderella at short notice (like Sutherland, he also began with Prokofiev) and recalled some hectic preparation for that first experience: “I spent every available minute with the pianist, who taught me the right tempi.”

Invitations as a guest ballet conductor at other opera houses followed, eventually leading to a long association with the Paris Opéra where, over ten years, Kessels conducted some 300 performances. It provided some calling cards for the future: “I worked with Aurélie Dupont, Nicolas Le Riche, Manuel Legris and others who went on to run companies and asked me to come and conduct for them.” It took a couple of decades, but – as a pianist who had never played for a dance class and a conductor who started in opera Photograph: LAURENT LIOTARDO.

The Cinderella men – Kessels eventually became one of the world’s busiest ballet conductors. He once conducted in Tokyo, Rome and Amsterdam on consecutive days, which, he said, “wasn’t an unusual schedule!” utherland believes passionately that choreographers often lack adventure in their choice of music.

“They will come with a composer attached, which is their safe haven, whereas I like to see the chemistry that sparks when you put choreographers and composers together for the first time.” He also feels extant music is often overlooked for the purposes of dance, citing John Neumeier choreographing Spring and Fall to Dvořák’s Serenade for Strings and Alexei Ratmansky’s use of Mussorgsky’s Pictures at an Exhibition as exceptions. Sutherland wishes emerging choreographers would search for other unused gems.

Both men are concerned about the tendency to move away from live music in ballet. “The balance between live music and dance on stage is an essential part of the performance,” argues Sutherland. Kessels agrees: “I feel that some choreographers don’t use the orchestra because they’re afraid of it. They don’t understand its flexibility.

It’s like buying a modern house with up-to-date facilities but only using the garden shed because you don’t know how to use the other rooms!”

Messing around with the music is another concern. “Choreographers might use, for example, a Bach Partita or a solo cello work and they will make it so loud it offends the ear,” said Sutherland. “Nowadays,

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Photograph: N TIMONERA, courtesy of the ROYAL OPERA HOUSE.

people pump music into their heads with noise-cancelling headphones and the human brain has become wired only to the sound that it is hearing. It’s not taking into account the need for the sound to breathe.”

Tempi is always to the fore in any discussion about ballet music. “The Inuit have 60 words for snow and ballet dancers have 60 words for slow,” Sutherland joked. “I have had dancers ask if the music could be a little more rhapsodic or to make the music as wide as possible. One even asked me to make it broader. They all meant slower!” He recalled that his concert debut at the Proms came just after conducting a performance of Swan Lake. The Grand Pas de Deux from The Nutcracker was on the programme and, at the rehearsal, he had to stop after a few bars and apologise to the orchestra for still being in Christmas ballet mode before resuming the work at the speed Tchaikovsky had originally intended.

“Sylvie Guillem is named a lot for bringing tempi down,” Kessels adds with a laugh. “It’s the same challenge with virtuoso dancers as it is with a coloratura soprano, which is to find the best way of integrating the performers on stage with those in the orchestra pit.

Many dancers just need the phrasing to be clear so that they know where they are; others need to be challenged.”

Kessels still carries a metronome to be able – whenever necessary – to settle tempi in the studio and scatters Post-it notes all over his scores (“saying things like Marianela ‘down’… make time Koen Kessels on the podium.

for Vadim to do a triple, and so on”).

When we talked about dancers, Sutherland immediately mentioned Alina Cojocaru. “The very last thing she would say to me before every performance was ‘Look after me, maestro’, meaning she never knew where the performance was going to take her – that is an artist speaking.” asked them both about the “Cinderella” status of ballet amongst musicians. Although Sutherland has made many recordings and conducted concerts all over the world, his early roots in ballet led to a certain prejudice from within the musical establishment.

“Ballet conducting is often felt to be a poor relation of opera and an even poorer relation of symphonic conducting. I’ve always tried to impress on people that it can be far more important because ballet conductors are the ‘non-dancing dancers’. We have to be able to read bodies and interpret choreography with the music. As dancers’ techniques have improved, conductors must also improve.”

Kessels believes orchestras have a variable regard for ballet. “In London they treat the ballet well, but in Vienna and Paris they don’t like to play for ballet so much and often you will have substitutions – ‘extras’ – within the orchestra, even during a performance.”

When Kessels first conducted at the Bolshoi Theatre, Pavel Sorokin, the company’s regular conductor, promised to take care of him. “He meant he would make sure I always had the same musicians,” he explained.

Kessels believes some orchestras don’t react well to artistic policies in ballet and this has left a legacy of disinterest. “Orchestras are often not challenged enough by music for dance.

What happens in such cases is that the orchestra plays the best repertoire with the best conductors one day [for opera] and then the next it is playing less respected repertoire with not the best conductors. Orchestras need to be motivated.” He also explained another essential contrast. “Ballet conductors are generally hired by ex-ballet dancers, but opera conductors are invariably hired by a musician and that makes a difference. Ballet is still seen as a kind of divertissement. People come to watch ballet, rather than to listen, but they come to hear a concert or an opera.” n

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FRANCE/dance

By Laura Cappelle

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t used to be a yearly ritual. In the era of the pandemic, however, season announcements have come to feel like a bold roll of the dice. Sure, you think, looking over performance dates in late 2021 and 2022, it would be nice if these productions made it to the stage, but will they?

Who knows anymore?

Yet there was hopefulness in the air in May when a handful of French companies officially announced their 2021–22 season, the same week theatres, museums and cinemas reopened after France’s third lockdown.

The Ballet du Rhin in 46 • DANCING TIMES

eastern France went first, and despite its smaller size, the company run by Bruno Bouché will perform more creations next season than Bouché’s alma mater, the Paris Opéra Ballet.

After a Schubert-inspired evening of draft works in October, Bouché will present at last his eveninglength adaptation of Wim Wenders’ film Wings of Desire, postponed from this season. The patchwork score involves new music by the London-based composer Jamie Man. The other major world premiere, in February 2022, is an adaptation of Alice’s

Adventures in Wonderland with a brand-new score by Philip Glass. The UK’s Amir Hosseinpour and Jonathan Lunn have teamed up to choreograph and direct it.

An intriguing series of shows next January is also set to bring together no fewer than 11 European ballet companies (nine of them French, with Hessisches Staatsballett and Ballett Theatre Basel joining them) for a 21stCentury European Ballet mixed bill. With big and small companies participating, including the Paris Opéra Ballet, it should be a good opportunity to

Above: The Palais Garnier, home of the Paris Opéra Ballet. Opposite top: Aurélie Dupont. Opposite bottom: The Paris Opéra Ballet in Rudolf Nureyev’s La Bayadère.

evaluate what ballet really means in the context of French dance today. he Paris Opéra Ballet’s 2021–22 line-up seems somewhat timid by comparison, with two creations out of ten full programmes and the opening gala. The big news is the long-awaited premiere of Pierre Lacotte’s three-act adaptation of Stendhal’s novel Le Rouge et le Noir (The Red and the Black) – a

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Photograph: JEAN-PIERRE DELAGARDE.

France/Dance

“It remains difficult to ascertain what Dupont’s artistic vision is, but after two very difficult seasons between last year’s strike and the pandemic, the 2021–22 season certainly has enough blockbuster productions to draw audiences back to the Palais Garnier and Opéra Bastille” French classic. The 89-yearold choreographer – whose last major production for the Paris Opéra Ballet was 2001’s Paquita – has been hard at work on the ballet this spring already, and will also design the sets and costumes.

The other creation, a new Afternoon of a Faun, will mark Sharon Eyal’s Paris Opéra debut in December.

It’s part of an intriguing programme featuring Frederick Ashton’s Rhapsody, not performed by the company since 1996, and the Millicent Hodson/Kenneth Archer reconstruction of Vaslav Nijinsky’s Le Sacre du printemps, less frequently seen in Paris than Pina Bausch’s version.

Hofesh Shechter, now a regular on ballet stages,

will return with a double bill of company premieres, Uprising and In Your Rooms.

After a number of seasons featuring just a couple of 19th-century classics, the Paris Opéra Ballet director Aurélie Dupont may be listening to balletomanes: in 2021–22, there will be three – Rudolf Nureyev’s stagings of Don Quixote and La Bayadère, and Giselle.

The rest of the season is all revivals of recent productions, including Alexander Ekman’s Play, Crystal Pite’s Body and Soul, Mats Ek’s Boléro triple bill and George Balanchine’s A Midsummer Night’s Dream.

It remains difficult to ascertain what Dupont’s artistic vision is, but after two very difficult seasons between last year’s strike

Photographs: Top MATTHEW BROOKES. Bottom SVETLANA LOBOFF. All photographs courtesy of the OPÉRA NATIONALE DE PARIS.

and the pandemic, the 2021–22 season certainly has enough blockbuster productions to draw audiences back to the Palais Garnier and Opéra Bastille.

For the many dancers who have had their careers interrupted just as they were hitting their stride, too, it will be a relief to pencil in opening nights again. n

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By Igor Stupnikov he premiere of Boris Eifman’s Passions of Molière, or Don Juan’s Mask, set to music by Mozart, Berlioz and Lully in a libretto by Eifman himself, took place on the stage of the Alexandrinsky Theatre on April 6. It’s not the first time the choreographer has brought historical personages to the stage – Tchaikovsky, Olga Spessivtseva, Catherine the Great are among them – and he knows well how to turn the events of the past into a vivid theatrical canvas. At the heart of the ballet lies the life and career of the famous French dramatist and actor Jean Baptist Molière. The two-act ballet includes a variety of impressive scenes describing the hero’s pilgrimage in a cart along the roads of France and the final triumphs of his theatrical troupe at the Palais-Royal.

The performance begins with a backstage scene where a wardrobe is stuffed with skirts, shawls, jackets and all sorts of theatrical paraphernalia.

Struggling through the thicket of hanging garments, Molière appears before the audience, inviting the patrons to see his comedy.

This bright beginning suddenly changes: at the side of the stage one can see an old, ailing Molière sitting at a table writing a new play. At the same time, his unfaithful wife Armande is enjoying a rendezvous with her paramour. Molière is furious; he cannot cope with his jealousy and the only way to appease his rage is to revive in his mind the days of his youth.

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48 • DANCING TIMES

The troupe appears in Paris in a cart. Young histrionics dressed in motley garb jump, leap and somersault, inviting the mob to their performance. It is they who, moments later, become the characters in extracts from Les Précieuses ridicules, Le Malade imaginaire and Le Médicine malgré lui.

Success follows success, which Molière shares with Madeleine, a talented actress and friend of long standing, as well as her little daughter Armande.

Tartuffe created a great scandal in Molière’s career, with its bold depiction of religious hypocrisy. A male corps de ballet, dressed in long black robes with hoods, press Molière down on to the earth. The play is banned, but the dramatist is saved from the terrible situation Oleg Gabyshev as Molière and Lyubov Andreyeva as Armande in Molière, or Don Juan’s Mask.

by King Louis XIV whom, in previous scenes, Molière had taught exquisite, elegant dances to music by Lully.

Meanwhile, Armande becomes Molière’s wife though her mother, Madeleine, is very much against the union. The duet for the mother and daughter is the most emotional and touching scene in the whole ballet. As a result, Madeleine leaves the troupe. Life goes on, and Molière creates a gorgeous performance with the participation of Louis XIV as The Sun and Armande as the Moon.

Molière’s family life does not improve: frivolous and flippant, Armande is surrounded by society rakes.

In order to take revenge on the fops at court, Molière creates a new play – Don Juan – but Eifman does not follow the original story word for word, and he changes the course of events. During a ball at the

Commendatore’s castle, the host is killed by Don Juan and Donna Anna commits suicide, resulting in a paradoxical situation: Molière envies Don Juan and his diabolic charm to conquer women and, in his dreams, tries on Don Juan’s mask in order to return Armande’s love.

All his efforts are in vain.

Letter from St Petersburg

“It’s not the first time the choreographer has brought historical personages to the stage – Tchaikovsky, Olga Spessivtseva, Catherine the Great are among them – and he knows well how to turn the events of the past into a vivid theatrical canvas”

The play is banned, the company is ruined, and its property seized. In a dream, the dying Molière sees Madeleine. Eifman does not make the final scene too pathetic: groups of people dressed in black and holding candles approach an armchair in which the great dramatist spent many hours creating his immortal plays.

Lubov Andreyeva was excellent as Armande. Her technique was amazing, and overflowed with emotional nuance. She sailed effortlessly through the choreographer’s complicated patterns, and conveyed musical impact and much dramatic feeling. Oleg Gabyshev, the recognised leading man of Eifman’s company, danced and acted brilliantly as Molière, his technique and strong histrionic abilities bringing marvellous amplitude to the role. Esenia Anushenkova, a pupil at Eifman’s Ballet School in St Petersburg, displayed youthful charm as little Armande. She danced her tricky steps without All photographs: EVGENY MATVEEV.

Top left: A scene from Molière, or Don Juan’s Mask. Top right: Oleg Gabyshev as Molière and Lyubov Andreyeva as Armande. Above: Oleg Gabyshev as Molière.

tremor and with wholehearted sincerity in her duet with Molière. Maria Abashova’s Madeleine evoked the complex inner

world of her character through restrained, charged gestures, and she eloquently interpreted Madeleine’s life as a continually changing drama of unpredictability, sadness and torment.

The fine-boned and handsomely proportioned Sergei Volobuyev was an admirable Don Juan – all proud glamour, bravado and arrogance.

Viacheslav Okunev’s scenery and costumes were marvellous, with each costume in an individual shade selected from a spectrum of gold, silver, pink, grey and brown. The sets, which present spacious squares, the gorgeous chambers of Louis XIV, and Molière’s private abode, were created with taste and a feeling for the epoch. n

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New York

Notes from

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he New York dance calendar used to be simple. Things got under way in the autumn with ballet and modern dance companies, including some big touring ones.

Then came winter’s holiday presentations, especially The Nutcracker. Spring brought more big companies, and when summer arrived, troupes either dispersed until the autumn came round again, or went off to summer festivals.

Of course, things were never quite that simple.

There were always surprises, and as an increased number of dance events began to crowd the calendar, seasonal distinctions started blurring.

That blurring has increased both with the coming of the pandemic and with the use of Zoom to record new dances or resurrect old ones. It can sometimes be difficult to determine where the dance before one’s eyes is taking place.

Is this New York or New Zealand? A theatre? Which one? Where? Or, since most New York theatres remain shuttered, is this an event in some exterior cityscape or landscape? Once conditions have returned to a semblance of “normal,” it would be a pity if dancers ceased exploring the space around them, for there have been imaginative examples of environmental dance.

What about time? When did the dance one has just seen actually occur.

Yesterday? A decade ago?

How has time been stopped?

Companies have made invaluable contributions to dance history by taking films or tapes of worthy old productions out of storage 50 • DANCING TIMES

and showing them again.

Through technology, they have also introduced recent creations everywhere.

For instance, there was Ephrat Asherie Dance in Odeon. Although Odeon has been presented live in many locations, it was unknown to me until I saw it via Zoom from the Joyce Theater; it was a pleasant discovery. The New Yorkbased choreographer, adept at ballet, modern dance and various street dance forms, bears the nickname of Bounce. She and her dancers did just that to a score compiled from music by Ernesto Nazareth (1863 to 1934), a Brazilian composer whose infectious tunes and jaunty rhythms can be irresistible.

Asherie’s choreography brought dancers together, twisting, pivoting, clapping hands, stamping feet and occasionally drumming on hand-held percussion instruments; everyone was immersed in the spirit of the music and choreography.

Although there were some headstands and other acrobatic feats associated with street dance, Odeon was neither blatant athleticism nor emotional frenzy, but an affirmation of good cheer. ood cheer is something not ordinarily associated with Anna

G

Natasha M Diamond-Walker in Martha Graham’s Spectre-1914.

Sokolow’s dances, but this choreographic prophet of gloom and alienation was always concerned with the restless energy of urban life. Would she have liked Odeon? That question came to me after watching a Zoom discussion of her life and career sponsored by the Sokolow Theater/Dance Ensemble. Participants included James May, the

“It can sometimes be difficult to determine where the dance before one’s eyes is taking place. Is this New York or New Zealand? A theatre? Which one? Where?

Or, since most New York theatres remain shuttered, is this an event in some exterior cityscape or landscape?”

By Jack Anderson

ensemble’s director; Daniel Lewis, a former Sokolow dancer who became founding dean of dance at Miami’s New World School of the Arts; Christine Jowers, editor-in-chief of Dance Enthusiast magazine; and Donna H Krasnow, Lewis’ biographer. All agreed Sokolow could be an intimidating presence and a severe disciplinarian. They also agreed that, as Lewis put it, “Anna liked people.”

She might have liked Odeon.

From 1930 to 1939, Sokolow danced with Martha Graham, who exerted a great influence upon her, as she did upon many modern dance choreographers of her time. The Martha Graham Dance Company has been celebrating its 95th anniversary in GrahamFest 95, an ongoing Zoom series of Photograph: MELISSA SHERWOOD.

Notes from New York

Above from left: Manon Bal, Matthew West and Ephrat Bounce in Odeon. Below: San Francisco Ballet in George Balanchine’s Emeralds.

defiant gestures, yet free of propagandistic rant: Spectre – 1914 (1932), and Deep Song and Immediate Tragedy (both 1937). Xin Yan tried to wiggle capriciously through Graham’s whimsical Satyric Festival Song (1932), although new décor by the painter Mary Heilmann – multi-coloured blobs and stripes – though attractive, overwhelmed the action.

Graham dances performed by company members, as well as works by Grahaminfluenced choreographers.

Presentations I saw on May 1 included solos and

a duet. Appropriately for May Day, three Graham pieces from the 1930s were socially-conscious solos abounding in moral fervour and both anguished and

Photographs: Top NEL SHELBY PRODUCTIONS. Bottom ERIK TOMASSON.

With its sharply etched movements, Elisa Monte’s Treading, a duet from 1979, danced here by Charlotte Landreau and Lloyd Knight, suggested that Graham’s

influence continued on through the decades. ew York City Ballet (NYCB) has often been generous about sharing its George Balanchine repertoire, especially with troupes already associated with NYCB. One such company is San Francisco Ballet (SFB), connected to NYCB through the Christensen brothers, early associates of Balanchine in the US. Lew Christensen, the premier danseur of Balanchine’s American Ballet of the 1930s, became SFB’s director in 1951; its present director is former NYCB star Helgi Tomasson.

Now the company has given the nation a complete online Balanchine Jewels, staged by the late Elyse Borne, to whom the production is dedicated, and Judith Fugate.

It began in a lovely fashion with the opening tableau of Emeralds melting into motion, but the ensuing ensemble action, though gracious, was somewhat too cautious. Undue caution also plagued Rubies, which needed more snap and glee and, especially during the finale, sharper, jazzier accents.

Diamonds brought Jewels to a dignified conclusion.

With increased confidence, all these Jewels should shine more brightly. n

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LOOKING FOR A DANCE SCHOOL? The “Featured Schools” page on our website has inspiration and information

Visit tinyurl.com/yalbnvql/ to take a look

Giovanni Pernice in Here Come the Boys in 2019. More on the show’s return overleaf.

54 - Back to business

56 - Tips on technique

Vikki Jane Vile catches up with the Strictly pros

James Whitehead on the need for speed

Photograph: CHRIS RICHARDSON.

58 - Simon’s Guide to Swing Remembering a Lindy icon

59 - Stepping Out Pete Meager hears from the ISTD

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Back to

business Vikki Jane Vile catches up with the Strictly Come Dancing professionals to find out their plans for the coming months

s COVID-19 restrictions relax in the coming weeks, live indoor theatre performances are returning. However, for the Strictly Come Dancing professionals, whose second half of the year is consumed by the show that makes them household names, those prime touring months have been lost for another year. Having found themselves locked down and with limited opportunities to perform, how have they adapted to these extraordinary times? What have they packed into their diaries before they find themselves with another cohort of celebrities to teach? Here’s what they’ve been up to and where you can catch a few of them in the coming months…

Initially planned for March, Here Come the Boys, first seen in 2019, is now set for a ten-day run at the London Palladium with an everexpanding cast including Karim Zeroual, Robin Windsor and Nadiya Bychkova. The production will then tour the UK with its original line-up

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54 • DANCING TIMES

Above: Shirley Ballas, and the cover of her book Behind the Sequins. Below: Oti Mabuse, AJ Pritchard and Katya Jones perform in the dress rehearsal of Strictly Come Dancing: The Professionals in 2019.

of Aljaž Škorjanec, Pasha Kovalev and Graziano Di Prima. For Di Prima, the excitement of being involved

in the show with his fiancée, Giada Lini, has helped alleviate some personal disappointment. “We feel incredibly lucky that we can work together on the show,” he says.

“Unfortunately we had to postpone our wedding for the second time, but we are thrilled to be back and to dance live again across the UK for all our fans before I return to Strictly.

“When Strictly finished, we went straight back to Italy... All our work had to be postponed or cancelled, so we did our dance classes online to keep us busy and do what we love.

We were also fortunate to spend lots of precious time with our families.”

Pre-pandemic it would have been unthinkable to see just one “official” tour bearing the BBC show’s name, but Strictly Come Dancing: The Professionals is the sole survivor of 2021. Following on from a highly successful 2019 run, the cast includes Karen Hauer, Gorka Marquez and Johannes Radebe, as well as recent additions Janette Manrara and Joshua Keefe, who’s best known for partnering Courtney Act on Dancing with the Stars in Australia.

Unlike Graziano, Radebe found himself unable to visit his home in South Africa and has spent much of the lockdown in the UK. “I am so happy that the postponed Professionals tour is finally now starting rehearsals in early June and touring across the UK,” he admits. “When Strictly ended in December, I wanted to go home to South Africa, but because of the pandemic I had to stay in the UK. I was fortunate that I had work, including filming Celebrity

Photographs: Top JUDE EDGINTON. Bottom DAVE J HOGAN.

Back to business Dowden remains excited for how busy the coming months are set to be. On June 4, she will be part of the judging panel for a one-off fundraiser Strictly NHS, a glamorous evening at the Blackpool Winter Gardens also featuring Flavia Cacace, Giovanni Pernice and Ian Waite. As one of the first post-lockdown events, Dowden is thrilled her students will be part of a showcase for the evening.

“We’re just so grateful to be able to have the opportunity to go out and perform after so long.” She will also take part in a number of dance workshops where she is looking forward to meeting fans, as well as appearing at Donahey’s in July.

Above: Aljaž Škorjanec, Giovanni Pernice and Gorka Marquez in Here Come the Boys in 2019. Right: Graziano Di Prima.

Far right: Johannes Radebe.

MasterChef, which is coming out in the summer.” He hopes to make it home as soon as his schedule allows.

Following on from the release of her autobiography, Behind the Sequins, last year, Shirley Ballas will be embarking on a socially distanced tour. An Evening with Shirley Ballas will see her recount tales from her illustrious international dance career, as well as from her experiences as Strictly’s head judge.

The tour covers London, Birmingham and Ballas’ native Liverpool. way from the stage, ITV’s spinoff The Masked Dancer follows on from the huge success of the singing competition. Double Strictly champion Oti Mabuse fills a slot on the judging panel for what will surely be some more welcome escapism.

Lockdown has remained a busy time for Mabuse, who has just released her first children’s book Dance with Oti, continued to work in her dance studio through a host of online classes and is set to welcome back students to real-life classes this month. Her much anticipated first solo tour, I Am Here, has been rescheduled to 2022.

Former Strictly finalist Amy Dowden has also kept herself busy with her own dance studio.

“Normally January and February are for the Strictly arena tour, which I love, but lockdown has provided me with time for other projects. Of

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Photographs: Top CHRIS RICHARDSON Bottom DAVE J HOGAN.

course one of them is my dance academy, Art In Motion. My home!”

Along with the rest of the dance community, Dowden has embraced online teaching. “Teaching over Zoom was brilliant, being able to keep connected and improving my students, but also frustrating at the same time as you are still very limited in what you can do with space, not being able to dance with your partner, internet connections...

However, we got through it together with my fabulous teaching team.”

When we spoke, she was looking forward to dance schools reopening on May 17 – and it can’t come soon enough for her students. “The kids at the academy have missed out on so much: competitions, medal exams. They’re really hungry to get back to normal,” she notes.

This year, other touring projects have also had to be put on hold, but

Away from teaching and performances, podcasts have been a vital part of many of our workfrom-home routines. In January, Dianne Buswell launched Di’s Salon. The Strictly favourite is also a professional hairdresser and each week welcomes a guest to her virtual salon for a chat and style tips. It’s a sweet, light listen. For something a little meatier, Joanne Clifton’s She’s Just a Dancer is also worth checking out as she chats to female peers about not only the glitz and glamour of the dance world but also some of the heavier issues faced by a life in the industry. Guests include Katya Jones and Janette Manrara. ■ UPDATE! At the time of going to press, the 2021 UK tours of Strictly Come Dancing: The Professionals and Here Come the Boys were postponed until 2022.

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Tips on

technique

The need for speed James Whitehead looks at dancing fast and slow

dances, there is no doubt body speed is a necessary quality. With significant drive and movement

through the step, this creates momentum to allow the swing to follow in our step and swing-style dances. At a good level, it becomes a requirement to be able to shift the body across the floor. The caveat here is to ensure the swing, or the reaction, is proportional to the previous action. There is nothing worse than seeing more energy put into the swing than was shown in the prior driving step. Even if

you are just dancing socially, the proportionality of the drive and then allowing the movement to continue rolling are such an important natural characteristic.

Standing alone, the tango is unique, devoid of the requirements for step and swing actions. Whilst body speed is an important area Top ballroom dancers Victor Fung and Anastasia Muryavyeva are masters of light and shade in the tango.

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here was an interesting thread on social media recently discussing speed in dancing, with a variety of opinions of its importance.

It was eye-opening to read the huge range of reactions, particularly referencing current trends and thoughts on past dancing. This month, I wanted to pick up on that theme and give some focus to body speed, the how-tos and the importance of speed in our dancing choreography.

There are perhaps two differing interpretations of the term speed in dancing.

We might be referring to the high frequency of actions (rapid changes, steps or looks to the dance) – and perhaps that is what we more commonly mean by commenting on dancers being so very fast. The other meaning is that the body is moving fast because the distance covered is relatively far, say, with the first few steps of the slow foxtrot feather step by some of the world’s top professionals (body speed being fast because the separation of the feet is great). Of course, it is entirely possible to be dancing fast and slow simultaneously, but the broad principles are well understood.

Looking a little into the latter first, and perhaps this relates better to the ballroom 56 • DANCING TIMES

Photograph: RON SELF.

Tips on technique to understand in tango, the best rewards come from applying a balance of fast and slow. Tango is crying out for the contrast of those wonderful, slow creeping walks, punctuated by fast staccato actions.

For those who have danced some Argentine tango, the walk is perhaps even more fundamental.

Tango without the slow walks is a dance that lacks a sense of anticipation.

Dancing a full slow also allows greater opportunity for the development of compression, torsion and release to show contrasting fast actions.

For me, dancing slows in tango fundamentally allow you to articulate the necessary light and shade.

Yet what about the sense of speed we mentioned at the outset; where the actions are danced at such a high frequency? There is again absolutely no doubt this is a key skill for the dancer.

It allows more dynamics, interest and surprise for the viewer. The development of strong, flexible feet and ankles, fast legs and quick body actions all enable increasing abilities with speed from dancers. It is no mystery to develop speed; it takes concerted, incremental practice. The body needs to learn how to use joints and muscle groups, also how and when to breathe.

Ironically, one of the best ways to conquer that section of choreography we feel is too fast is to slow it down. Get the body moving through the actions correctly first, and then incrementally increase the speed. There are two usual barriers to development: first, the psychology surrounding not being able to do something. When you recognise that, you can plan your development

accordingly. Second, there is the pitfall of trying to move fast and failing to move fast enough, giving a sense of the impossible. Keep your development well structured and maintain your patience and positivity. iven time, and the right approach, you should reach your goal.

However, the cherry on the cake is achieved by going beyond the requirements of the choreography. Once you can consistently dance the choreography well, at speed, then ensure you have another two or three per cent of speed in hand. If you can dance it a fraction faster than required, then when you perform, it will be comfortably within your limits rather than having to aspire to your maximum each time.

Finally, a mention of the all-important b-word in all of this – balance!

It is no good learning to dance tens of consecutive spins at speed if it cannot be performed and ended on balance. I remember as a student being inspired

by Nicole Cutler dancing a guest spot in Burn the Floor. She span like a top – maybe 20 spins under the expert lead of Matthew Cutler – but then stopped on a dime, as though it were all too easy. It is the necessary control to be able to stop after moving so quickly that forms a vital part of the package.

We could discuss the technicalities of speed in dancing for many more pages, but hopefully this has given you some thoughts in your own dancing. Take care of your balance, practise slow to go fast, and when you think you are finally fast enough, keep training hard for more. Keep up the good practice. ■

G

echnique clinic Our Dance Doctor, Phil Meacham, on the value of a good partnership

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s we start to come out of social distancing restrictions, we are all no doubt looking forward enormously to being able to hold our dance partners in our arms and work in couples again.

Working as a dancing couple is at the very heart of dancing ballroom and Latin American styles, and so I thought it would be useful to reflect upon the value of a good partnership. I have often said that dancing the ballroom and Latin American dances is like trying to move around the floor as a four-legged creature.

By creating this four-legged unison of movement, it does create a number of different questions.

For example, who is in charge? Is it the leader or the follower? Quite simply, neither, but both are equally responsible at all times. Being a four-legged creature also means we have two sets of eyes, one looking one way and one looking the other, so we’re both equally responsible for things such as floor craft and guidance around the dance space. However, it goes much deeper than that. When we start analysing the inside and outside of turn, which is the action used any time a couple rotate, one person is on the inside turn and one person is on the outside. If you’re on the inside, it’s your responsibility to create an open feeling so the person on the outside is able to exercise the more difficult outside rotation without losing contact with their partner. On the second half of the turn the complete opposite applies, so you can see that this whole concept of who is in charge changes, depending on who is doing what. Therefore, as I have said, it is the responsibility of both partners.

When we think about something such as the ballroom hold and frame, the leader creates the frame, and the follower creates the picture. By that I mean that if you use the example of a beautiful oil painting, the leader is the highly decorative carved frame on the outside of the picture, whilst the follower creates the actual picture on the inside. You could also use an example of a vase of flowers. The leader is the vase, and the follower the flowers. One cannot survive without the other, and indeed one complements the other. So, once again, no one is in charge, but everyone is responsible for the overall vision.

Simply put, a good partnership is absolutely a joint effort. One of the main qualities of a good dance partnership, like any partnership, is adaptation and compromise. Working with each other to ensure the best possible result for the eye of the onlooker is what the partnership is about. So chose your partner carefully, be prepared to compromise, work and adapt, and then you will see the value of a good partnership. ■ Email nicola@dancing-times.co.uk if you would like to consult our Dance Doctor, Phil Meacham.

WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 57

Simon’s guide to Swing

Simon Selmon (far left) with Lindy hop legend Frankie Manning (centre) and other swing dance friends in 1997.

Simon Selmon remembers Frankie Manning and his role in the history of Lindy hop

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ast month, May, is always a very special time in the Lindy hopper’s calendar, because that’s when we celebrate the birthday of Frankie Manning. There are numerous reasons why Frankie is an icon of the Lindy hop, both from his early and later years.

Born on May 26, 1914, he was there at the beginning of the Lindy hop story.

In 1935, Frankie became part of what few would disagree to call the greatest troupe of all times: Whitey’s Lindy Hoppers. Frankie was a leading member of the troupe and choreographed many of their synchronised ensemble routines. He was also a major influencer at the time in changing the style of the dance from its more upright early beginnings to “getting down” and swingin’ out real low, at times almost horizontal to the ground.

58 • DANCING TIMES

Frankie also helped to popularise the signature swivel for followers by encouraging the dancers in his troupe to make it part of their styling, and he incorporated steps from the popular Big Apple dance into the Lindy hop vocabulary.

If this wasn’t enough, he is personally credited with introducing the first Lindy hop air step (over the back) during a dance contest. All this was to help elevate the dance from a social ballroom fad into a show-stopping performance dance.

In this new form, the Lindy hop opened the doors to a different life for Frankie and members of Whitey’s: they performed at infamous nightclubs, such as the Cotton Club, toured all across the US and even the world, with many of the top Black artists and orchestras of the day including Bill Robinson on Broadway. After one performance in London,

Frankie got to shake hands with the Queen – something he was especially proud of. f course, it’s the movies the troupe made, such as Hellzapoppin’ and Hot Chocolate, that were to reach countless dancers and ensured their lasting footprint on the world of dance. These movies, shorts and various newsreels would have been seen all across the US, and around the globe, at a time when the cinema was in its golden age of popularity. Their reach would be comparable

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to a video going viral on social media today.

Frankie left showbiz around 1955 when the popularity of the Lindy waned and had a successful 30-year career in the US Post Office. However, from the late 1970s, things on the Lindy hop front started to bubble up again. The creation of the Swedish Swing Society was soon followed, around the summer of 1985, by the formation of the Rhythm Hot Shots, a breakaway troupe of enthusiasts who convinced Frankie to come over to Europe to teach this enthusiastic group. They eventually went on to set up an influential dance camp in Herräng, Sweden, a yearly event that was to become a huge shot in the arm to the swing resurgence.

In good old Blighty in the 1980s, avid rock ’n’ roll dancers Terry Monaghan and Warren Heyes learnt their Lindy hop from visiting Harlem dancer Louise “Mama Lou” Parks and formed their performance team the Jiving Lindy Hoppers around 1983–84. I took my first Lindy class with Heyes and, following a trip to New York in 1986, formed the London Swing Dance Society, becoming part of the Lindy hop heritage myself. ■ Next month, Simon continues his memories of Frankie Manning.

“There are numerous reasons why Frankie is an icon of the Lindy hop, both from his early and later years... He was there at the beginning of the Lindy hop story.

In 1935, he became part of what few would disagree to call the greatest troupe of all times: Whitey’s Lindy Hoppers”

Photograph: Courtesy of SIMON SELMON.

Stepping Out The same-sex ballroom and Latin dance scene Pete Meager looks at how equality dancing is developing around the UK in some of our teaching and competitive environments or this month’s column, I spoke to Ginny Brown, chief executive of the Imperial Society of Teachers of Dancing (ISTD). I was curious to find out if an organisation such as the ISTD has any specific initiatives aimed at promoting teaching in a gender-free environment.

“The ISTD is firmly committed to removing barriers to the society and has recently instigated a number of ‘think tanks’ that are looking at different areas of equality, diversity and inclusion,” she began.

“One of these groups is specifically focused on LGBTQIA+ and gender and includes several teachers who actively promote samegender partner dancing.

“Our Faculty Committees are also currently reviewing syllabus materials so that instructions are phrased in gender neutral terms,” she continued. “For example, in future we will use ‘leader’ and ‘follower’, rather than ‘man’ and ‘lady’. Many of our teachers already use these terms, particularly those involved with teaching same-gender partnerships, but this will ensure we have a clear and consistent approach.”

This news was great to hear. I believe it will ensure we help make teaching terms more accessible to

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Photograph: Courtesy of GINNY BROWN.

everyone who comes into our studios without the necessity to apply gender to their experience.

I also wanted to understand what a large organisation like the ISTD felt were the opportunities going forward. How can we inspire and encourage younger dancers coming through the system to become greater advocates for equality dancing? “The society’s main activity is dance examinations and for years now pupils have been able to take partner dance exams as either ‘leader’ or ‘follower,’” said Brown.

“What we need to do better is to ensure that everyone knows that gender-free dancing is accepted and welcomed. So, we are making an active effort to promote diversity in all its forms and to be clear about the changes we are making.”

Of course, this starts with the way in which we teach, from our youngest dancers to the more experienced. I’m sure we

all can remember our very first teacher and how their use of language engaged us – or not! “The main challenge is to ensure that dance teachers keep abreast of the changing attitudes,” Brown summarised, “so that everyone feels welcomed and accommodated in their classes.”

UK-based teacher and supporter of equality dancing, Darren Hulme, shared his perspective of training and working under UKA Dance. “The UKA has always been an inclusive society, for as long as I have been a member, which is 26 years,” he said. “We’re dance teachers employed to teach dance, so whoever walks through the door we need to ensure they receive the same friendly welcome.” When discussing opportunities for equality dancing in the near future,

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Ginny Brown, chief executive of the Imperial Society of Teachers of Dancing (ISTD).

Darren was excited to share: “In 2022, I’m hosting the very first World Formation Championships at the Blackpool Tower, which will also include a same-sex category. I’m delighted to be providing another great opportunity for same-sex dancers coming from all over the world.” Change is never easy, Darren added, but we all need to play our small part in helping people understand, provide alternative perspectives and collectively encourage a healthier equality dance culture.

Another strong dance scene lies within our universities, where competitions take place nearly every weekend around the UK. Jannine Davies, from NuSteps Dance Studio in Nottingham, regularly coaches same-sex couples as part of the Inter Varsity Dance Association (IVDA) circuits. “We have run classes specifically for the LGBTQ+ community with great success and now some of these couples attend some of our other wider group classes,” she noted.

“Within the IVDA circuit it’s great that there are samesex categories, but, above and beyond that, same-sex couples can freely enter any of the other categories – it’s totally inclusive because the university circuit is very much about people being themselves, not having to stick to stereotypes. The categories are always well represented by same-sex couples and extremely well received by spectators.”

It’s fantastic to see young dancers just being themselves, and dancing in any partnership, irrelevant of gender. We should never underestimate that all of these dance experiences help shape our dance teachers of the future. ■

WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 59

S mewhere in time

Ballroom’s golden age

Jack Reavely looks back at Blackpool in 1950

Harry Smith-Hampshire and Doreen Casey went on to win at the International Championships.

B

y the beginning of the 1950s, dancing had become an integral part of life for many in the UK. Demonstrators had a field day as they were in such demand all over the country, and spectators, who had been starved of dance for so many years, flocked to the local palais de danse, as they were often called. It was a golden age for dance.

The British Professional Championship of 1950 was one that imprinted itself indelibly on my mind. The build-up started when potential spectators arrived at 9.30am, breaking the earlybird records as they were queuing to gain admission to the nighttime proceedings, which 60 • DANCING TIMES

included the finals of the Professional Ballroom Championship. The previous record for earlybird arrival had been 10.15am in 1949.

Mrs Wood Sr and her daughter-in-law Mrs Wood Jr sat on the floor outside the entrance to the Winter Gardens and, in their bags, they carried goodies and drinks for the day ahead. By the evening, prior to the opening of the ballroom again, the queue snaked for what seemed like hundreds of yards.

During the festival that year, Harry Smith-Hampshire and Doreen Casey had won the British Amateur Ballroom Championship for the second time and announced that they now wished to dance

as professionals. Harry and Doreen had been trained by the festival organiser, Ida Ilett, who ran a successful dance school and used the Empress Ballroom for club evenings. Locals idolised Harry and Doreen and, as a matter of interest, when Doreen changed the colour of her dresses, she also ensured her hair was dyed to match that colour. Jean Darley, a well-known hairdresser, had a successful business in Blackpool at that time.

She was ultra-popular with dancers, because of Doreen, and appointments with her were in great demand.

Not long after their debut as professionals, Harry and Doreen danced in the International Championships at the Royal Albert Hall in London. In the early days of that great event, it was organised by Elsa Wells and her husband on behalf of Friends of Jewish Agriculture, to which charity all the profits went.

During the afternoon heats, ladies tended to wear afternoon dresses and usually hats and gloves too.

Imagine the consternation, then, when Harry danced with Doreen in the very first rounds and, as they danced a spin, it was revealed Doreen had on black stockings and also suspenders.

Without sacrificing her dance posture in any way, she danced as if she was unsure why the applause was so enthusiastic on that occasion. Of course, she knew all too well why it was. ack at Blackpool, 1950 saw a contingent of Danish dancers attending

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the festival. They had all been practising like mad and very much looking forward to competing.

Anker Johensen was in charge and it had been decided that they would all hire a coach and go on a trip to visit a coal mine. Unfortunately, the coach broke down when it neared Preston, 17 miles from Blackpool. Despite Herculean efforts, it could not be repaired in time to transport the Danish dancers back to Blackpool and they returned too late to compete. It was as if they had the winning set of numbers for a lottery ticket they’d forgotten to buy.

A glimpse of the future was seen at Blackpool the same year when the great Sonny Binick competed in the Professional Ballroom Championship.

He was dancing with a comparatively new partner, Doris Prater, who was an extremely well-known dressmaker. She became renowned in Japan, because she invited Japanese couples to stay in her home each year. They used to call her “Mummy” and when the Prince of Japan visited Blackpool Dance Festival, he requested a meeting with her to thank her for her kindness over many years. Sonny and Doris were delighted to make the grand final in foxtrot and quickstep that year.

The Amateur Ballroom Championship provided a major sensation in 1950 when the couple who had won the Star failed to gain sufficient marks from the judges to reach the grand final. Their names were Archie Stevens and Doris Skelsey, and Archie enhanced his reputation by not complaining in any way about the result.

What a great example. ■ Photograph: DANCING TIMES ARCHIVE.

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SCOTTISHBALLET.CO.UK/MEMBERSHIP *THERE MAY BE WEE CHARGES FOR EVENTS AND CLASSES | L-R ARTISTS ANNA WILLIAMS AND RISHAN BENJAMIN PHOTOGRAPHY BY NICOLA SELBY | REGISTERED IN SCOTLAND NO.SC065497 | SCOTTISH CHARITY NO.SC008037

Dancer of the month Interviewed by Margaret Willis

Rishan Benjamin

BORN: August 1999 COMPANY: Scottish Ballet STUDIED/TRAINED: Central School of Ballet MAJOR PERFORMANCES: Tituba in The Crucible, “Calliope Rag” in Elite Syncopations

“

I

just loved dancing the ‘Calliope Rag’ from Elite Syncopations,” enthused Scottish Ballet’s Rishan Benjamin, our Dancer of the Month. “It is so sassy – cheeky showgirl stuff.

You just let yourself go and show off to your audience.”

This vision is certainly a far cry from the little seven-year-old hiding herself in the back row in primary school, hoping she wouldn’t be noticed by the visitors who were looking for prospective students on The Royal Ballet’s Chance to Dance programme. “I loved doing street dancing whenever I heard music,

and was just engrossed in my own little world when the people came in to watch us,” she continued. “Then suddenly my name was called and the next thing I remember was that I was going to ballet classes once a week at The Royal Ballet School in Covent Garden.”

Despite knowing nothing about ballet, Rishan surprised herself when she realised that she was enjoying the classes.

However, ballet was no more than a hobby – something to do after school. To become a Black ballerina was not on her horizon – then.

Rishan, who was born in south London on August

Photographs: Left EVE MCCONNACHIE. Right NICOLA SELBY PHOTOGRAPHY.

6, 1999, went on to attend the Saturday classes offered

by The Royal Ballet School Junior Associates, which brought her into contact with students who had been studying ballet regularly. “I was aware that they were good because they were taking more classes than I was, but I never felt I had to prove myself or compete.

I just danced, looking no further than seeing these classes as an out-of-school activity. I didn’t take ballet too seriously, though I always did my best and enjoyed it. Then I was told I should be taking a second class each week at the Royal Academy of Dance, and

Above left: Rishan Benjamin.

Above: Rishan in a publicity shot for Scottish Ballet’s Digital Season.

mum had to find the money to pay for these classes, so I’m very grateful to her.”

Rishan studied only classical ballet and considered herself extremely lucky with all the opportunities she was given. After years of “just enjoying dancing”, she had a “lightbulb” moment when she was 16, and knew she wanted to dance professionally. She applied to Central School of Ballet ➣

WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 63

Rishan Benjamin in London and was given a place. Now her dance world suddenly expanded with singing, jazz, contemporary, character and baroque classes, as well as ballet.

“I drifted into contemporary, having never danced it, and I immediately loved its freedom of movement, and started concentrating more and more on it. I also loved our third year at college when we students went out on tour as a company – we felt very grown up as we learnt all the lessons of being professional dancers and about life on the road.” fter graduating from Central, Rishan was offered a contract with Scottish Ballet and moved up to Scotland. That was in 2018. “I love being in Scottish Ballet. Everyone is nice and it has been quite easy to settle down and feel comfortable here. I like Glasgow, especially the people, though sometimes the Glaswegian accent defeats me. In the taxi coming here for the first time, I had no idea what the driver was asking. It was like a foreign language. I have enjoyed in past years going on our tours in Scotland and really hope we will get down to London again one day soon. My favourite roles so far in full-length ballets have been Tituba in The Crucible and, of course, the ‘Calliope Rag.’” She giggled when I asked her about her ritual before performances.

“I have to have my red scarf. It keeps my curly hair neat and flat before all my performances, but no, it’s not a disaster if I can’t find it – I’ll always use another one.”

When we chatted over Skype, Rishan had just completed filming a fiveminute solo for the Safe to be Me festival that was planned

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64 • DANCING TIMES

to take place throughout Scotland during May. This schools’ programme encourages diversity, and works with ten-to 23-year-olds in exploring identities, teaching how to respect and accept others of differing views and life styles, and focusing on bullying, prejudice and discrimination.

“My solo was based on a poem of a boy trapped in a girl’s body and the choreography was basically gestural movements signifying who you are, and how difficult it is to be truly what you want to be.

I did two days of rehearsals and two more of filming.”

Then she announced, “I have to say that I actually prefer performing for digital than being on stage. I’m not as nervous doing a film as when performing live on stage. If something goes wrong with filming, you can stop, sort it out

and have another go. On stage, of course, where you are striving for perfection, you don’t have that option. Digital is a completely different feeling, of expressing oneself in a different way. You look deep into the camera and there’s a closeness, an intimacy between your audience, the film and your performance.

You also get to see dancers up close who you wouldn’t normally focus on.

“When you are in the wings for a live performance, it’s very different. You have a feeling of excitement, anticipation and hope that everything will go well. Then you step onto the stage and your fears and thoughts disappear.”

When filming, don’t you miss the buzz of live audience reaction? Rishan laughed. “Well, yes – and no!” At some performances the people are incredible.

At others, especially when

we have all felt it has been a great show, they react poorly and we can’t think why.

Occasionally, when there’s comedy in the ballet and we’re having a great time on stage, there’s been no reaction from the audience and all the ‘jokes’ have fallen flat for no obvious reason. Of course, I miss the applause at the curtain calls, and we haven’t had performances this past year due to the pandemic “I have to say that digital films take me out of my comfort zone and challenge me. It’s all very exciting,” she continued. Rishan has performed in many diverse films since joining the company. Among them, are the slick, funny Tremble, where she is transformed, along with other diners, into waiters with wobbly trays of jelly; the gritty Frontiers set in an underpass; and the newly-released Dive, complete with a live alpaca.

Photograph: ANDY ROSS.

Dancer of the month

In the memerising Oxymore, created for the Edinburgh International Festival in 2020, she dances alongside Anna Williams. The piece is filled with sharp, staccato attacking and quick and quirky non-stop movement.

“For such pieces, especially when I haven’t done contemporary for a while, I have to get well warmed up and with an open mind.

I have to think about, and learn the steps so well, then add a bit of myself into the dancing. In Oxymore we are two dancers mirror-imaging each other, so we have to be exact, precise. I just think about my moving body and its impetus – which is so unlike ballet where you have to concentrate more on your body style and perfect placement. In ballet you also have to get involved with both your character and those around you. In contemporary, it’s all very different. You think

about moving your body more rather than being so placed. It’s all about letting go and interpreting the music. Once I know the choreography and what the choreographer wants, it’s just a question of moving – I don’t have thought processes or connections – I know what is coming next.

It comes naturally. That said, I actually prefer classical even though I do really enjoy contemporary and find it a lot easier. In ballet, I feel I have to be pushed – you never feel comfortable.

There is always something you want to work on.” nother of the short digital works in which Risgan was involved was created last year for International Women’s Day. Being a Black Woman was produced by Emma Flett from Lucille Clifton’s book about racism. Parts of a poem were read by Nicola

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Photographs: Left RIMBAUD PATRON. Right. ANDY ROSS.

Hughes, while Rishan used hand gestures to express each sentence. “There was a good reaction, which surprised me,” reported Rishan. “A lot of people mentioned the impact the short film had on them. I hope I inspired them to fulfil their dreams. I had never felt that I might not go far due to the colour of my skin. My mum didn’t make me aware of differences when I was growing up, so I was not expectant either of challenges by being Black, nor the assumption that ‘only white girls get into classical companies.’

I grew up being me.”

Time was running out. Her lunch hour was almost over and there was more work to be done that afternoon, but Rishan was happy. “It’s good to be back in the studio – albeit in ‘bubbles’ – and hopefully the long isolation is over. We were well taken care of during our lockdown

From left: Rishan and Claire Souet in Scottish Ballet’s film Dive by Sophie Laplane, co-created by James Bonas. Rishan with Kendall Gray in rehearsal for David Dawson’s Swan Lake. Nicholas Shoesmith and Rishan in Sophie Laplane’s Dextera.

with dance mats, barres and classes provided. I really enjoyed being on my own.

I liked the feeling of being quiet doing class. I could concentrate better than in a studio in a live class where there are many distractions.

However, I’m very happy to be back together with the other dancers, working as normal again, even though our performing schedule has been reduced, and we are not touring as usual.

That will come,” she said with a huge grin as she ran off to a rehearsal, no doubt to let herself go in true ragtime style. n

WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 65

Obituaries Shirley Hancock

S

hirley Hancock, the highly regarded physiotherapist who worked closely with dance professionals of all styles and techniques, has died.

A chartered physiotherapist, Hancock worked extensively with dancers from the mid 1970s, incorporating treatment whilst seeking the causes of dancers’ problems. She travelled widely using her expertise, and was an advisor for the Royal Danish Ballet. As well as

being a guest lecturer for Birbeck College, Hancock was one of the lecturers at the Alan Herdman Training Course for Pilates Instructors and also taught on the Professional Dancer’s Teacher Diploma course at the Royal Academy of Dance. A great deal of her work was concerned with the treatment of young dancers, for whom the most difficult stages of training often coincide with growing spurts. She was also physiotherapist

to Millennium Dance 2000 Theatre School and the author of several books.

Debbie Malina writes: Shirley Hancock provided the Dancing Times with the benefit of her wealth of experience over the course of more than three decades.

Having worked with such a wide variety of individuals, from students, dancers and teachers to company directors and medical consultants, she could always be relied upon to give a balanced, informative

and appropriate answer to any question you might put to her. She was always happy to talk about most forms of dance and their particular challenges from a physiotherapist’s point of view – invariably using entertaining and fascinating anecdotes to illustrate a specific point. Above all, Shirley was always keen to emphasise the need to reduce the risk of injury in students and young dancers by helping them gain a better understanding of how their bodies work.

Shirley Hancock, died April 12, 2021.

Ismael Ivo

I

smael Ivo (pictured right), the Brazilian-born dancer, choreographer, teacher and director, has died in Brazil at the age of 66 after contracting COVID-19.

Born in Vila Prudente in 1955 and raised in São Paulo, Ivo came from a humble background and it was his mother, an unmarried domestic worker, who encouraged him in his dance training. He obtained a scholarship to study contemporary dance, and worked with the Galpão Dance Theatre in São Paulo.

Choreographer Klauss Vianna then asked him to join an experimental dance group at the Theatro Municipal in Rio de Janeiro, where Ivo remained for two years.

In 1983, Ivo was spotted

by Alvin Ailey who invited him to join the Alvin Ailey American Dance Theater in New York. He later 66 • DANCING TIMES

moved to Europe, and from 1984, together with artistic director Karl Regensburger, founded ImPulsTanz in Vienna, one of the largest international contemporary dance festivals in Europe.

During this period in his career, Ivo resided in Berlin, collaborating with German choreographer Johann Kresnik and Japanese artist Ushio Amagtsu of Sankai Juku. He was also in demand as guest artist and solo dancer in many productions, collaborated with Pina Bausch and William Forsythe, and from the 1990s worked with his own dance company – Compagnie Ismael Ivo, based in Stuttgart.

Ivo made his debut at the Venice Biennale in the solo Mapplethorpe in 2002, which proved so popular with audiences that repeat performances had to be quickly arranged. He later

became director of Dance there from 2005 until 2012, where he created further works (Erendira and Illuminata), arranged dance programmes the Biennale described as “unconventional”, and led teaching sessions with young dancers in the Arsenale della Danza.

Returning to Brazil in 2017, Ivo became director of the São Paulo Dance Company, a position he held until 2020 when complaints were made about his behaviour, although none were upheld.

In June 2020, he suffered two strokes, and from March 2021

he was hospitalised with the coronavirus at the Hospital Sírio-Libanês in São Paulo, where he died on April 8.

Paying tribute to Ivo Ismael, the Venice Biennale said: “This is a loss for the entire world of dance, as well as for the city of Venice, which loved him for his charisma and his joie-de-vivre, and for the Dance Department, the institution he had helped to expand and consolidate at the international level.”

JONATHAN GRAY Ismael Ivo, born January 17, 1955; died April 8, 2021.

Photograph: Courtesy of the VENICE BIENNALE.

Obituaries

Jacques d’Amboise

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acques d’Amboise, one of the greatest stars of New York City Ballet (NYCB), who appeared in several Hollywood musicals, has died following a stroke at the age of 86.

Born Joseph Jacques Ahearn in July 1934 in Dedham, Massachusetts, the son of an Irish American father, Andrew Ahearn, and a redoubtable French Canadian mother, Georgiana d’Amboise, known as “The Boss”, he grew up in Manhattan after his parents moved there in the late 1930s. In his charmingly personable autobiography, I Was a Dancer, d’Amboise described himself as a “street kid”, but it was “The Boss” who ensured he received an education in dance, drama and music, taking him to the best teachers she could find.

Fortunately, Jacques took a shine to ballet and was eventually enrolled at the School of American Ballet (SAB), where his teachers included Anatole Oboukhoff and Pierre Vladimiroff.

Shortly after entering SAB, “The Boss” convinced her husband to change the family name to d’Amboise, insisting it was a better name for a ballet dancer.

The young boy caught the eye of choreographer George Balanchine, who cast him in child roles with Ballet Society and offered him a place, aged 15, with NYCB. His dancing quickly gained public attention and, as well as appearing in ballets by Balanchine and Jerome Robbins, d’Amboise worked with John Cranko and Frederick Ashton, most notably as Tristan in Ashton’s Picnic at Tintagel.

Walter Terry, in Great Male Dancers of the Ballet,

described d’Amboise as: “big, tall, and with an infectious grin, [he] was the model of clean American youth, the boy next door… With the most open, engaging manner American ballet had ever seen, he added superb physical virtuosity to his dancing. Just as [André] Eglevsky could ‘sit’ in air, so could Jacques – all six feet of him – pause vertical in the air with all the impact of a kinetic exclamation point… he had an easy takeoff for his great leaps and a remarkably soft, unhurried landing. The pirouettes were multiple, very multiple…”

D’Amboise enjoyed an illustrious career with NYCB, dancing with the company until 1984 and creating roles in Balanchine’s Western Symphony, Stars and Stripes, Episodes, Movements for Piano and Orchestra, Jewels, Who Cares?, and Robert Schumann’s

Photograph: Courtesy of NEW YORK CITY BALLET ARCHIVES.

Davidsbündlertänze. It was as Balanchine’s Apollo (pictured above), however, that he was best known.

In his autobiography, d’Amboise said the role “launched me on a new trajectory.” Walter Terry wrote, “when he danced...

Apollo, there was no question but that a Greek god had deigned to visit us mortals... [his] portrayal became, for nearly two decades, the definitive one.”

In addition to dancing with NYCB, where he also choreographed, d’Amboise appeared in Hollywood musicals, including Seven Brides for Seven Brothers, Carousel and The Best Things in Life Are Free. He also performed in the Broadway musical Shinbone Alley in 1957.

In the 1960s, after the birth of his sons, George and Christopher, d’Amboise encouraged boys to take up dancing, and in 1976 founded the National Dance Institute (NDI), a nonprofit project that attracted children (and sometimes adults) from all parts of New York City and gave them basic dance training with the aim of enhancing their self-confidence and demonstrating that dance was a natural and satisfying means of expression.

A documentary about d’Amboise and his work with NDI, He Makes Me Feel Like Dancin’, directed by Emile Ardolino, won the Academy Award for Best Documentary Feature in 1983.

Jacques d’Amboise’s wife, the former NYCB dancer Carolyne George whom he married in 1956, died in 2009.

He is survived by his four children, George, Christopher (a former NYCB dancer), Charlotte and Catherine. n JG Jacques d’Amboise, born July 28, 1934; died May 2, 2021.

Other losses We record with regret the death, on April 26, at the age of 93, of Nancy Lassalle, a former student of the School of American Ballet (SAB) in New York who became a life-long champion and supporter of both SAB and New York City Ballet (NYCB). A founding member of the boards for both institutions, she was also passionate about documenting, recording and preserving NYCB and SAB’s history through work with a number of institutions.

WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 67

Media M

Featuring new CDs and more

New ballroom and Latin CDs

ONE THING TO REALLY brighten up the miserable days we were going through last year was the release towards the end of 2020 of two double albums of great dance music. WRD MUSIC, whose CDs I have had the pleasure to review for many years, have done it again and produced two double albums of dance and listening music that is certain to both please and surprise you.

The first is WR2CD 5092 the ultimate Ballroom album 23, subtitled after one of the tracks, “The Power of Now”. It is two hours and 22 minutes long, with 44 tracks covering all five of the ballroom dances. It cannot be just coincidence that the first waltz is “Waltz For Karen” and the first tango “Tango for Marcus”, both from Sergey Suryrin.

Marcus and Karen Hilton, both holding their MBEs, must be delighted. As usual Dj Ice has taken care of all the premastering in addition

to including his own tracks.

I always enjoy his input, because he produces very enjoyable music for dancers.

For over 20 years the WRD team has produced amazing music using both original and re-mastered “cover version” tracks, with skilful production expertise to satisfy dancers and listeners. Both Dj Ice and Tony Bridges are to be congratulated for their diligent work.

Most of the artists on the CD were new to me, although I was pleased to see the inclusion of The Jive Aces, whose music I really like, and the Alfred Hause Orchestra.

If the many new to me artists are also new to

you, then you will share my enjoyment at hearing them. There are 11 each of foxtrots and quicksteps on the first CD, followed by ten waltzes, seven tangos and five Viennese waltzes.

The second new release is WR2CD 5093 the ultimate Latin album 21, and again sub-headed with one of the titles from the tracks, “Nails Hair Hips Heels”.

That track from Dj Ice is a terrific cha cha.

Two hours and 23 minutes of great Latin music with 42 tracks, and again a vast many of these were quite new to me. However, I am sure you will find them great to dance and listen to. The sambas are strong and punchy, the cha chas catchy, and the jives inviting. The rumbas were at 25 bpm, which I am told is appreciated by many dancers, with two more at 24 bpm. I have three favourites: two were cha chas and one a jive, the “Rock Around the Clock” medley, but that is probably because it reminds me of my mis-spent youth. n BRYAN ALLEN

Other releases

H Romeo and Juliet The latest DVD and Blu-ray release from the Opus Arte label is a live recording of The Royal Ballet in Kenneth MacMillan’s perennial favourite, Romeo and Juliet. First performed in 1964, and filmed a number of times by the company since then with various casts, this new disc is a performance captured for relay in cinemas in 2019 and directed by Ross MacGibbon. One of the main attractions of the release is the pairing of Yasmine Naghdi and Matthew Ball as Juliet and Romeo, both bringing a wonderful sense of youth, fluency and dramatic conviction to their roles. The couple are joined by the brilliant Gary Avis as Tybalt – one of the finest interpreters of the role – as well as Valentino Zucchetti as Mercutio, Benjamin Ella as Benvolio, Nicol Edmonds as Paris and the irrepressible Marcelino Sambé leading the Mandolin Dance.

JONATHAN GRAY

WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 69

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Lisa leotard from Dance Elite Lisa is an elegant leotard that manages to be both stylish and graceful. The sweetheart front of this design works harmoniously with the intricate floral embroidered mesh shoulders. This design comes in wine, steel grey, midnight blue, pink, black and white. Find this design, and many more, at DanceElite.co.uk.

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LONDON JUNIOR AND SENIOR BALLET Founder: Mary Goodhew Principal: José Martin

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Education Edu

Auditions, performances, funding, summer schools and awards

Dance School of the Year The Dance School of the Year award ceremony will be held this year at 6.30pm at Sandy Park, Exeter, on October 29. The red-carpet event will be packed with dance teachers and their supporters, all hoping to be crowned winner of Dance School of the Year for 2021.

There are many awards on offer. The annual awards for schools with up to 100 pupils, 100 to 150 pupils, 151 to 250 pupils, 251 to 350 pupils and 350 plus pupils will be joined by The 2021 Award for Innovation during COVID-19, as well as a host of awards presented by dance awarding bodies.

These are the ABD Award for Community Services to Dance, the Association of Russian Theatre Arts for Outstanding Achievement in Classical Ballet, the John Travis Award for Accessibility to Dance (supported by bbodance), the BTDA Award For Outstanding Contribution to Student Well Being Through Dance, the IDTA Award for Artistic Endeavour, the ISTD Award for Innovation in the Teaching of Dance, the NATD Award for the Inspirational School Involved in Developing and Nurturing New Professionals, the Project B Award for Innovation in the Teaching of Male Dance (supported by Royal Academy of Dance), and the UKA Award.

The evening commences with a drinks reception sponsored by Melody Bear, followed by a four-course dinner and dancing to a live band “The 60s Explosion”, sponsored by Class Talent.

Photograph: CHRIS PAVLIC.

During the afternoon there will be a Devon cream tea and a photo opportunity for the short-listed schools sponsored by UK Dance Class Championships.

Anne Walker MBE, Class Manager, Dance Den, Dancing Times, Dincwear, DSI London, Dancing With A Difference, Elite Dancewear, M D Dancewear, Reigate School of Ballet and Performing Arts, South Central Dance, Studio Marketing, The Small Accountant and Wild Edric Media are the other sponsors.

Entries are not open yet but now is the time to start preparing. Visit danceschooloftheyear. com to find out more.

Ballet Central on tour Ballet Central, the graduate performing company of London’s Central School of Ballet, is scheduled to go on tour this summer. Taking in 11 venues across England over a five-week period, the tour will commence on June 17 at the Queens Theatre, Hornchurch (see Calendar for full tour details). Under the artistic direction of Christopher Marney, the dancers will be performing extracts from Le Corsaire, Act II of Matthew Bourne’s Highland Fling, and a new work, jigsaw, choreographed by Charlotte Edmonds to a commissioned score by Philip Feeney.

After a year when students had to train at home during lockdown, the cohort of 39 dancers will be split into two casts under the COVID-19 protocols advised by the UK Government’s elite training guidelines. Having two casts

allows Christopher Marney, artistic director, to alternate performances by venue as the tour progresses, as well as protecting the dancers alongside regular testing and rehearsing in bubbles. “The dancers have demonstrated great determination and resilience by continuing to train throughout the restrictions of the pandemic,” said Marney. “Confined to training at home for long periods, we are now back in the studio, with all protocols

in place, rehearsing for this year’s tour. We are thrilled to be returning to so many venues where audiences have welcomed the skill and technique of our young performers. The tour is a unique opportunity to bring the works of world-class choreographers to audiences outside of London.”

Ballet Central’s dancers not only perform on stage, but also help with technical aspects including lighting, sound, staging and wardrobe. ■

David McAllister receives RAD award THE ROYAL ACADEMY OF DANCE (RAD) has announced it has awarded its highest honour, the Queen Elizabeth II Coronation Award, to David McAllister, former artistic director of The Australian Ballet and a vice-president of the RAD. The award was bestowed in recognition of his contribution to The Australian Ballet as a dancer and director, as well as being a vital supporter and advocate for dance.

The QEII Coronation Award, the RAD’s most prestigious accolade, was instituted in 1953 to commemorate the coronation of Her Majesty Queen Elizabeth II. The first recipient in 1954 was Dame Ninette de Valois. Since then it has been awarded to many of the greatest names in dance, in recognition of outstanding services to the art form. The medal was presented to McAllister at a gala lunch in Sydney on April 28 organised by the Friends of The Australian Ballet. Unbeknown to him, the event was a special occasion, marking the end of McAllister’s tenure with the company and the perfect opportunity to surprise him with the award. The medal was presented by the RAD’s president, Darcey Bussell (joining virtually), and by Audrey Nicholls.

WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 73

Health

By Debbie Malina

A guide to health, medicine and science This month we provide a guide to some of the principal bodies involved with health, medicine and science that are of particular relevance for the dance world

G

iven the ever increasing range and scope of organisations concerned with the health and welfare of dancers, perhaps it is not surprising if students, performers, parents and even teachers may sometimes feel the need for a greater degree of direction when seeking advice, information or support for issues relating to dance medicine and science.

BAPAM BAPAM – the British Association for Performing Arts Medicine – is a nonprofit organisation helping students and professionals in the performing arts deal with work-related health issues, both physical and psychological. BAPAM runs clinics in London and around the UK: Belfast, Birmingham, Cardiff, Glasgow, Leeds, Liverpool and Newcastle Gateshead. The organisation provides free, confidential advice from healthcare clinicians who understand the demands of a career in the performing arts. Its Practitioner Directory lists clinicians with a particular interest in working with 74 • DANCING TIMES

actors, dancers, musicians and other performing artists. Visit bapam.org.uk, telephone 020 8167 4775 or email info@bapam.org.uk.

BRB’s Jerwood Centre Birmingham Royal Ballet’s (BRB) Jerwood Centre for the Prevention and Treatment of Dance Injuires1 offers private specialist health care services for the general public. It provides access to a multi-disciplinary team for all aspects of performance screening, conditioning and injury management.

As well as clinical, medical and rehabilitation services, the Jerwood Centre offers education and research facilities. The Jerwood Centre is also a partner in the National Institute of Dance Medicine and Science (NIDMS), and provides musculoskeletal health and injury screening for professional and student dancers. Screening is available through the Performance Optimisation Programme (POP). Visit brb.org.uk/the-company/ the-jerwood-centre or telephone 0121 245 3544.

be able to help dancers manage injury and prevent minor injuries developing into major complications.

The Foundation works together with NIDMS to improve dancers’ access to fast specialist treatment through their NHS dance medicine clinic in Bath.

NIDMS offers dancers treatment across the UK through its network of dance medicine clinics providing experienced therapists, sports physicians and surgeons.

Visit danceagain.org or email enquiries@danceagain.org.

DPF

The Dance Professionals Fund (DPF) supports dancers, dance teachers and choreographers throughout their careers. It provides general advice and some financial help towards costs following injury and also mental wellbeing.

The DPF signposts

specialist assessment and treatment for dance professionals. In particular, the DPF works with NIDMS to identify dancers most in need of further treatment, enabling them to return to full performance fitness.

The organisation also refers dance professionals to the confidential advice clinics run by BAPAM. Visit dancefund.org.uk, or email info@dancefund.org.uk.

Equity – Bullying and Harassment Information Equity is the UK trade union that represents performers and other artists working across the live and recorded entertainment industry. It is committed to helping those who have endured bullying, threats or attacks as well as changing the industry’s culture to stop perpetrators and to let them know they will be held accountable for their actions.

Dance Again Foundation The Dance Again Foundation is a charity providing support and advice for professional dancers, enabling them to return safely to their career after injury. Through early intervention and enhanced rehabilitation, the Foundation hopes to

Illustration: TEX VECTOR - SHUTTERSTOCK.

Health Equity members can report incidents to the Bullying and Harassment Helpline and also receive advice. Visit equity.org.uk, telephone 020 7670 0268 or email harassment@equity.org.uk.

GMC The General Medical Council (GMC) is an independent organisation that helps to protect patients and improve medical education and practice. Within the UK all practicing medical doctors must be registered with the GMC. Since 2012 the GMC has been responsible for a licensing and revalidation system for practicing doctors in the UK. The medical register held by the GMC is an online list of doctors in the UK, showing their registration status, training and other relevant information. Before they are able to join the register, every applicant has their identity and qualifications checked.

The General Medical Council has offices in Belfast, Cardiff, Edinburgh, London and Manchester.

Visit gmc-uk-org, telephone 0161 923 6602 or email gmc@gmc-uk.org.

Medicine and Science – aims to enhance the health, wellbeing, training and performance of dancers by cultivating medical, scientific and educational excellence. Resource papers and publications on many topics are available through the organisation. Its database brings together latest research papers, documents and videos for members to share and contribute to.

Membership of IADMS – for individuals and organisations – is available to anyone with an interest in the field of dance medicine and science. Members come from more than 50 countries worldwide, and include a wide range of professionals from athletic trainers, bodywork practitioners and dancers to physicians, psychiatrists, students and surgeons.

In response to COVID-19, IADMS has created a public webinar series Helping Dancers Help Themselves, and a dedicated resource guide for professionals and performers in the field. Visit iadms.org or email contact@iadms.org.

NIDMS IADMS IADMS – the International Association for Dance

The National Institute of Dance Medicine and Science (NIDMS) provides the dance sector with access to high quality, affordable dance-specific healthcare and dance science support services in private practice and the NHS. Its healthcare practitioners aim to work with dance professionals and students to understand the demands and requirements of training and performance, enabling the dance sector to be healthy and well.

The organisation evolved from the needs expressed by the dance sector, identified through the initial work of Dance UK’s “Fit to Dance” research. In this, three

national scale studies of health and injury revealed that each year 80 per cent of dancers sustain an injury and 92 per cent report a mental health concern. The Healthier Dancer Programme (HDP) responded to this requirement by creating education and conferences, reaching nearly 20,000 people since 1995.

In 2012, the formation of NIDMS addressed the need for affordable dance-specific healthcare and to develop a greater understanding of how to reduce and treat injuries effectively. Six nationwide partners make up NIDMS: Birmingham Royal Ballet, One Dance UK, The Royal Ballet, Trinity Laban Conservatoire of Music and Dance, the University of Birmingham and the University of Wolverhampton. It has enabled the setting up of two NHS injury clinics in London, at the Queen Elizabeth Hospital in Birmingham and also the Royal United Hospital in Bath. Appointments may be booked by your GP through the e-Referral System (e-RS).

There are two clinics available in London. The emergency dance injury clinic is for anyone who has sustained a serious or acute injury in the last 72 hours that requires emergency medical attention. Visit the London emergency dance injury clinic via A&E at The Royal London Hospital or Newham Hospital. If you have an acute injury that does not require emergency medical attention use the dance injury clinic at Mile End Hospital.

NIDMS’ Performance Optimisation Package (POP) provides a BHSF cash plan, employee assistance programme and optional musculoskeletal health and injury screening for dance professionals and students.

POP is an add-on for One Dance UK membership and complements healthcare available through NIDMS’ NHS clinics. Any individual can take out the package; companies and schools may also wish to add it to their existing healthcare options. Check the website for further details.

The organisation also offers mental health guidance with links for support through its website. This includes help for dance professionals and students with concerns such as anxiety, bereavement, eating disorders and perfectionism, as well as advice on addressing safeguarding concerns or abuse issues.

Education is available on developing psychological wellbeing and, for leaders, on creating safe and supportive psychological environments.

Visit nidms.co.uk, telephone 020 7940 9804 or email manager@nidms.co.uk.

One Dance UK’s HDP The Healthier Dancer Programme (HDP) advocates and provides education to support dancers’ performance enhancement, and physical, psychological and social health. Advocacy to government, employers and other stakeholders includes campaigns, establishment of industry standards and providing a forum for a strong, united voice for dancers’ health.

Education includes resources and publications, free online workshops, Healthier Dancer Talks for companies, schools, trainees and established dance leaders, plus conferences and networking events focused on safe dance practice, dancers’ health, dance medicine and science.

HDP’s Healthcare Practitioners Directory lists medical practitioners ➣

WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 75

A guide to health, medicine and science with specific experience in working with dancers including acupuncture counselling/psychotherapy, dietetics, osteopathy, physiotherapy, Pilates, podiatry, somatic practices, sports massage, Gyrotonic and Gyrokinesis, and NeuroLinguistic Programming.

Visit onedanceuk.org, telephone 020 7713 0730 or email hdp@onedanceuk.org.

People Dancing

People Dancing is the development organisation and membership body for community and participatory dance, and works across the UK and internationally.

The organisation joined forces with One Dance UK in 2017 to better support dance artists, teachers and organisations, striving to make dance and its health, and social and creative benefits more accessible and inclusive.

In combination, they aim to build strong relationships with the health and wellbeing sector, supporting the diverse benefits of dance and strengthening the evidence and knowledge base through research and resources. The website Dance in Health and Wellbeing brings together the work of both organisations. Visit danceinhealthandwellbeing. uk or communitydance. org.uk, telephone 0116 253 3453 or email info@ communitydance.org.uk.

PAMA

Performing Arts Medicine Association (PAMA) aims to improve the healthcare of performing artists, and comprises health professionals, artists, educators and administrators.

The association was incorporated in 1988 by a group of physicians who had been involved, individually, with the medical care of 76 • DANCING TIMES

musicians and dancers.

While PAMA was initially a medical organisation for physicians, it grew to include other health professionals, as well as performers, educators and administrators in the fields of music and dance. Several members act as medical consultants to dance and musical organisations, while others work directly for dance companies and orchestras.

Based in Colorado in the US, one fifth of the membership comes from across the world, facilitating a diversity of activities and collaborating with a variety of artistic organisations. Visit artsmed.org, telephone +1 (0) 303 808 5643, or email services@artsmed.org for enquiries about membership.

SiDl

Safe in Dance International (SiDl) was formed in 2013 with the aim of raising awareness of safe and healthy dance practice worldwide and supporting all dance practitioners to integrate basic core principles into their work.

It operates worldwide with colleges, schools, studios and individuals to promote and endorse safe and effective dance practice. SiDl works with NIDMS, Healthy Dancer Canada and has a close relationship with IADMS. Visit safeindance.com, telephone 07702 358 171 or email info@safeindance.com.

Safer Dance

The Dance School Safeguarding Working Group is a collective voice promoting high standards of safeguarding in the dance school sector to protect children and young adults. Visit dsswg. org.uk or email peter. flew@roehampton.ac.uk.

for the Performance Optimisation Package (POP) musculoskeletal health and injury screening sessions for dance professionals and students. Visit trinitylaban. ac.uk, telephone 020 8305 9479, email dancescience@ trinitylaban.ac.uk or NIDMSmanager@ nidms.co.uk.

Trinity Laban Health

University of Edinburgh

Trinity Laban Conservatoire of Music and Dance provides a range of treatments and therapies available to the general public as well as its students.

Much of the treatment offered focuses on injury prevention, management and rehabilitation. Therapies include acupuncture, craniosacral therapy, dance-specific strength and conditioning, Feldenkrais, physiotherapy, Pilates, sports massage and yoga.

Practitioners have a particular interest in the health of dancers, musicians, circus performers and musical theatre performers.

Student concessions are available with a valid student ID. Visit trinitylaban. ac.uk, telephone 020 8305 9479/9482 or email health@ trinitylaban.ac.uk.

Trinity Laban Health and Fitness Screening

As a partner of NIDMS, Trinity Laban Conservatoire of Music and Dance is the London-based centre

NIDMS opened a musculoskeletal health and injury screening centre at the University of Edinburgh in March 2018.

This is the Scottish hub for NIDMS, complementing the organisation’s other screening centres in the Midlands – Birmingham Royal Ballet’s Jerwood Centre for the prevention and treatment of dance injuries and the University of Wolverhampton – as well as Trinity Laban Conservatoire of Music and Dance in London.

Visit ed.ac.uk, telephone 0131 651 6138 or email manager@nidms.co.uk.

YPAD

Youth Protection Advocates in Dance (YPAD) was born as a response and solution to negative trends that exploit young people and adults in the performing arts. It provides researchbased educational courses for dance professionals and the industry as a whole.

YPAD online courses educate dance studios and communities worldwide on the core elements required in constructing an environment focused on the wellbeing of young dancers.

Visit ypadnow.com. n NOTES 1. Given current government restrictions, screening bookings are on hold at all centres. Check the NIDMS website for regular updates.

Illustration: PANUWATCCN - SHUTTERSTOCK.

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Calendar NOTE: Performances may be cancelled at short notice because of restrictions placed on companies and theatres due to the coronavirus. These listings are made as comprehensive as possible but inclusion does not necessarily mean recommendation Copy deadline for possible entries is always the 1st of the preceding month. Please send to editorial@dancing-times.co.uk or post to the usual address. Entry subject to space available.

Inclusion of dates is dependent upon information received.

In addition, we have details of some advance programmes. For more details (subject to availability) email as above or call 020 7250 3006.

All programmes, casts and information subject to change

UNITED KINGDOM COMPANIES Ballet Central www.balletcentral.co.uk 2021 tour performed by graduating students of Central School of Ballet in a programme that includes extracts from Le Corsaire (ch: Petipa), jigsaw (ch: Edmonds), and Highland Fling Act II (ch: Bourne).

See website for booking details JUNE 17: HORNCHURCH, Queens Theatre 24: CHELMSFORD, Civic Theatre 30: CORBY, The Core at Corby Cube JULY 2: BURY ST EDMUNDS, Theatre Royal 3: GUILDFORD, Yvonne Arnaud Theatre 5: CRAWLEY, Hawth Theatre 8: BIRMINGHAM, Crescent Theatre 9: TONBRIDGE, EM Forster Theatre 11: WINCHESTER, Theatre Royal 16: CAMBRIDGE, ADC Theatre 20-21: LONDON, Britten Theatre

Ballet Theatre UK www.ballettheatreuk.com Tour of The Snow Queen (ch: Moore).

See website for booking details OCTOBER 24: MANSFIELD, Palace Theatre 26: SOLIHULL, Core Theatre 31M&E: WORCESTER, Swan Theatre NOVEMBER 4: STOURPORT-ON-SEVERN, Stourport Civic Centre 6: SKEGNESS, Embassy Theatre 14: WINCHESTER, Theatre Royal 15M&E,16M&E: BURY, Theatre Royal 18: MIDDLETON ARENA 19: EAST GRINSTEAD, Chequer Mead Theatre 20: REDHILL, Harlequin Theatre 21: MARGATE, Theatre Royal 26: COVENTRY, Albany Theatre 28: BURNLEY MECHANICS THEATRE DECEMBER 2: TAUNTON, The Tacchi-Morris Arts Centre 4M&E: TAMWORTH, Assembly Rooms 5M&E: HENLEY-ON-THAMES, Kenton Theatre 7: CANNOCK, Prince of Wales Centre 10M&E: ANDOVER, The Lights

78 • DANCING TIMES

On stage this month Eliot Smith Dance www.eliotsmithdance.com The company celebrates its tenth anniverary with a tour of Homecoming, a programme that includes Bloom (ch: Salazar), Messiah (ch: Baldwin), Onward (ch: Vincent) and TroY (ch: Smith).

See website for booking details JULY 3: ALNMOUTH, The Old School House Gallery 4: NEWCASTLE UPON TYNE, Gosforth Civic Theatre

English National Ballet 11: MONMOUTH, Blake Theatre 15: BASINGSTOKE, Anvil Arts 17,18M&E,19: NEWBURY, Arlington Arts Tour continues - we hold details

Bedknobs and Broomsticks www.bedknobsonstage.com UK tour of the Disney musical with choreography by Neil Bettles.

See website for booking details AUGUST 14-21: NEWCASTLE, Theatre Royal 25-29: CANTERBURY, Marlowe Theatre SEPTEMBER 1-5: SOUTHEND, Cliffs Pavilion 14-19: MILTON KEYNES THEATRE 21-25: WOKING, New Victoria Theatre 28-Oct 3: NORWICH, Theatre Royal OCTOBER 6-10: NOTTINGHAM, Theatre Royal 13-17: EASTBOURNE, Congress Theatre 19-24: MANCHESTER, Palace Theatre 26-30: SHEFFIELD, Lyceum Theatre NOVEMBER 2-7: GLASGOW, King’s Theatre 10-14: BIRMINGHAM, Alexandra Theatre 17-21: ABERDEEN, His Majesty’s Theatre 24-28: DARTFORD, Orchard Theatre DECEMBER 8-Jan 9: LEEDS, Grand Theatre Tour continues - we hold details

Birmingham Royal Ballet www.brb.org.uk Tour of City of a Thousand Trades (ch: Altunaga), Imminent (ch: Cardim), Chacona (ch: Montero) JUNE 10-12: BIRMINGHAM REPERTORY THEATRE Tel: 0121 236 4455 Tour of Cinderella (ch: Bintley) JUNE 18-26: BIRMINGHAM REPERTORY THEATRE Tel: 0121 236 4455 Casting: 18,20M: Hirata, Morales 19M: Doorbar, Monaghan 19E: Parma, Dingman 23,25: Shang, Singleton 24,26E: Mizutani, Atsuji 26M: Kurihara, Lawrence JULY 5-10: PLYMOUTH, Theatre Royal Tel: 01752 267 222

www.ballet.org.uk Solstice - extracts from repertoire works, including Swan Lake (prod: Deane), The Sleeping Beauty (prod: MacMillan), Le Corsaire (prod: Holmes), Broken Wings (ch: Lopez Ochoa), Coppélia (prod: Hynd), Dust (ch: Khan), Three Preludes (ch: Stevenson), Playlist (Track 1, 2) (ch: Forsythe) JUNE 16-26: LONDON, Royal Festival Hall Tel: 0871 663 2501 Creature (ch: Khan) SEPTEMBER 23-Oct 2: LONDON, Sadler’s Wells Tel: 020 7863 8000 The Nutcracker (ch: Eagling) DECEMBER 16-Jan 8: LONDON COLISEUM Tel: 020 7845 9300

Everybody’s Talking About Jamie www.everybodystalkingaboutjamie. co.uk/2020-uk-tour UK tour of the hit musical with choreography by Kate Prince.

See website for booking details SEPTEMBER 1-12: SALFORD, The Lowry 13-17: BIRMINGHAM, Alexandra Theatre 20-25: LEICESTER, Curve OCTOBER 5-9: WOLVERHAMPTON, Grand Theatre 11-16: CANTERBURY, Marlowe Theatre 19-23: BRISTOL HIPPODROME 25-30: NEWCASTLE, Theatre Royal NOVEMBER 2-6: LEEDS, Grand Theatre 9-13: ABERDEEN, His Majesty’s Theatre 15-20: CARDIFF, Wales Millennium Centre 23-27: LIVERPOOL EMPIRE Tour continues - we hold details

Grease www.greasethemusicalontour.com UK tour of the popular musical with choreography by Arlene Phillips.

See website for booking details JULY 30-31: LEICESTER, Curve AUGUST 3-7: PLYMOUTH, Theatre Royal 9-14: CANTERBURY, Marlowe Theatre

17-21: NOTTINGHAM, Theatre Royal 23-28: MILTON KEYNES THEATRE 30-Sep 4: STOKE, Regent Theatre SEPTEMBER 7-11: WOKING, New Victoria Theatre 13-18: DARTFORD, Orchard Theatre 21-25: BRISTOL HIPPODROME 27-Oct 2: EDINBURGH, Festival Theatre OCTOBER 5-9: SHEFFIELD, Lyceum Theatre 11-23: MANCHESTER, Opera House 26-30: BELFAST, Grand Opera House NOVEMBER 2-6: BIRMINGHAM, Alexandra Theatre 9-13: SOUTHAMPTON, Mayflower Theatre 15-20: LIVERPOOL EMPIRE 22-27: CARDIFF, Wales Millennium Centre

Here Come the Boys www.herecometheboysshow.com UK tour featuring Strictly Come Dancing’s Aljaž Škorjanec, Pasha Kovalev, Graziano di Prima, Robin Windsor, Karim Zeroual and Nadiya Bychkova.

Choreography by Gareth Walker.

See website for booking details JUNE 10: PORTSMOUTH, Guildhall 11: OXFORD, New Theatre 12: CAMBRIDGE, Corn Exchange 13: AYLESBURY, Waterside 15: BASINGSTOKE, The Anvil 16: DARTFORD, Orchard Theatre 17: NORTHAMPTON, Derngate 18: LONDON, Eventim Apollo 19: PETERBOROUGH, New Theatre 20: NEWCASTLE, Theatre Royal 22: CARLISLE, Sands Centre 23: EDINBURGH, Usher Hall 24: ABERDEEN, Music Hall 25: GLASGOW, Royal Concert Hall 26: LEICESTER, De Montfort Hall 27: BILLINGHAM, Forum Theatre 29: HULL, Bonus Arena 30: YORK, Barbican JULY 1: BRADFORD, St George’s Hall 2: LIVERPOOL, Philharmonic Hall 3: BIRMINGHAM, Symphony Hall 4: NOTTINGHAM, Royal Concert Hall 6: MANCHESTER, Bridgewater Hall 7: STOKE, Regent Theatre 9: BATH, Forum 10: CARDIFF, St David’s Hall 11: WOKING, New Victoria Theatre 12: IPSWICH, Regent’s Theatre 13: SWINDON, Wyvern Theatre 15: TORQUAY, Princess Theatre 16: YEOVIL, Octagon Theatre 17: BOURNEMOUTH, International Centre 18: SOUTHEND, Cliffs Pavilion 19: NORWICH, Theatre Royal

National Dance Company Wales www.ndcwales.co.uk Outdoor performances of Why Are People Clapping!? (ch: Myhill) and Fan the Flames (ch: Carsley).

Calendar See website for booking details AUGUST 3: MOLD, Theatr Clwyd Further dates TBA

New Adventures www.new-adventures.net The Car Man (ch: Bourne).

See website for booking details JUNE 17-27: LONDON, Royal Albert Hall Tour of Nutcracker! (ch: Bourne).

See website for booking details NOVEMBER 15-20: PLYMOUTH, Theatre Royal 23-Dec 4: SALFORD, The Lowry DECEMBER 7-Jan 30: LONDON, Sadler’s Wells Tour continues - we hold details

9 to 5: The Musical www.9to5themusical.co.uk UK tour of the Dolly Parton stage musical. See website for booking details JUNE 21-26: LEEDS, Grand Theatre 29-Jul 3: SHEFFIELD, Lyceum Theatre JULY 20-24: PLYMOUTH, Theatre Royal 27-31: SOUTHEND, Cliffs Pavilion AUGUST 3-7: WOLVERHAMPTON, Grand Theatre 10-14: WOKING, New Victoria Theatre 17-21: MANCHESTER, Palace Theatre 24-28: GLASGOW, King’s Theatre 31-Sep 4: SOUTHAMPTON, Mayflower Theatre SEPTEMBER 14-18: EDINBURGH PLAYHOUSE 28-Oct 2: AYLESBURY, Waterside Theatre OCTOBER 5-9: LLANDUDNO, Venue Cymru 12-16: BRISTOL HIPPODROME 19-23: LONDON, New Wimbledon Theatre 26-30: NOTTINGHAM, Theatre Royal NOVEMBER 2-6: LIVERPOOL EMPIRE 9-13: SUNDERLAND EMPIRE 16-20: BIRMINGHAM, Alexandra Theatre

Northern Ballet www.northernballet.com Tour of Dangerous Liaisons (ch: Nixon) JUNE 1-5: SALFORD, The Lowry Tel: 0343 208 6000 8-10: LONDON, Sadler’s Wells Tel: 020 7863 8000 Tour of Contemporary Cuts – States of Mind (ch: Tindall), For An Instant (ch: Lebrun), Little Monsters (ch: Volpi), plus extracts from 1984 (ch: Watkins) and Jane Eyre (ch: Marston) JUNE 11-12: LONDON, Sadler’s Wells Tel: 020 7863 8000 Tour of Swan Lake (prod: Nixon) JUNE 17-26: LEEDS, Grand Theatre Tel: 0844 848 2700 Tour of Merlin (ch: McOnie) SEPTEMBER 25-Oct 2: NOTTINGHAM,

Theatre Royal Tel: 0115 989 5555 OCTOBER 12-16: HULL, New Theatre Tel: 01482 300 306 19-23: NORWICH, Theatre Royal Tel: 01603 630 000 NOVEMBER 2-6: SHEFFIELD, Lyceum Theatre Tel: 0114 249 6000 9-20: LEEDS, Grand Theatre Tel: 0844 848 2700 DECEMBER 2-4: SOUTHAMPTON, Mayflower Theatre Tel: 02380 711 811

Tel: 01244 409 113 16-17: NOTTINGHAM, Theatre Royal Tel: 0115 989 5555 OCTOBER 1: LONDON, Artsdepot Tel: 020 8369 5454 5-7: LEICESTER, Curve Tel: 0116 242 3595 12-13: OXFORD PLAYHOUSE Tel: 01865 305 305 20-21: NORWICH, Theatre Playhouse Tel: 01603 630 000 26-27: EXETER, Northcott Theatre Tel: 01392 726 363

Phoenix Dance Theatre

www.rockofagesmusical.co.uk UK tour of the musical directed and choreographed by Nick Winston.

See website for booking details AUGUST 19-21: BIRMINGHAM, Alexandra Theatre 24-28: SUNDERLAND EMPIRE 31-Sep 4: GLASGOW, King’s Theatre SEPTEMBER 14-18: LIVERPOOL EMPIRE 21-25: LONDON, New Wimbledon Theatre 28-Oct 2: MILTON KEYNES THEATRE OCTOBER 5-9: MANCHESTER, Opera House 19-23: EXETER, Northcott Theatre 25-31: DARTFORD, Orchard Theatre NOVEMBER 2-6: STOKE ON TRENT, Regent Theatre 8-13: CHELTENHAM, Everyman Theatre 16-20: HAYES, Beck Theatre 23-27: DARLINGTON HIPPODROME 30-Dec 4: GRIMSBY AUDITORIUM Tour continues - we hold details

www.phoenixdancetheatre.co.uk Tour of West Side Story Symphonic Dances (ch: Hurst), performed on a double bill with the Leonard Bernstein one-act opera Trouble in Tahiti. A coproduction with Opera North.

See website for booking details OCTOBER 16,20,22,29-30: LEEDS, Grand Theatre NOVEMBER 4,6: NEWCASTLE, Theatre Royal 11,13: SALFORD, The Lowry 18,20: NOTTINGHAM, Theatre Royal

Priscilla, Queen of the Desert www.priscillauktour.com UK tour of the popular stage musical. Choreography by Ross Coleman and Andrew Hallsworth.

See website for booking details JUNE 21-Jul 3: CHELTENHAM, Everyman Theatre JULY 5-10: LEEDS, Grand Theatre 12-17: HULL, New Theatre 26-31: BATH, Theatre Royal AUGUST 2-7: NORTHAMPTON, Royal and Derngate 9-14: GLASGOW, King’s Theatre 16-21: LONDON, New Wimbledon Theatre 23-28: OXFORD, New Theatre 30-Sep 4: BIRMINGHAM HIPPODROME SEPTEMBER 6-11: SOUTHEND, Cliffs Pavilion 13-18: LEICESTER, Curve 27-Oct 2: BRISTOL HIPPODROME OCTOBER 4-9: SOUTHAMPTON, Mayflower Theatre 18-23: WOKING, New Victoria Theatre 25-30: BROMLEY, Churchill Theatre

Rambert www.rambert.org.uk Tour of Draw from Within (ch: Vandekeybus) JUNE 2-5: LONDON, Sadler’s Wells Tel: 020 7863 8000 25-26: SOUTHAMPTON, Mayflower Theatre Tel: 02380 711 811

Rambert2 www.rambert.org.uk Tour of Home (ch: Taylor) and Killer Pig (ch: Eyal, Behar) JUNE 1-2: DONCASTER, CAST Tel: 01302 303 959 8-9: CHESTER, Storyhouse

Rock of Ages

The Royal Ballet www.roh.org.uk LONDON, Royal Opera House Tel: 020 7304 4000 JUNE 4,7,13M: Apollo (ch: Balanchine) (Muntagirov, Naghdi, O’Sullivan, Magri), Tchaikovsky Pas de Deux (ch: Balanchine) (Osipova, Clarke), Dances at a Gathering (ch: Robbins) (Nuñez, Hayward, Hinkis, Kaneko, Morera, Campbell, Bonelli, Bracewell, Zucchetti, Acri) 5,9,11: Apollo (Ball, Hamilton, Calvert, Kaneko), Tchaikovsky Pas de Deux (Nunez, Muntagirov), Dances at a Gathering (Naghdi, Magri, O’Sullivan, Pajdak, TBA, Sambé, Clarke, Dubreuil, Ella, Hay) 8: Apollo (as June 5), Tchaikovsky Pas de Deux (Takada, Corrales), Dances at a Gathering (as June 5) 10: Apollo (as June 4), Tchaikovsky Pas de Deux (as June 8), Dances at a Gathering (as June 4) 26,28: Anemoi (ch: Zucchetti) (Sasaki, Dias, Bjørneboe Brændsrød, Nakao), Divertissements, The Sleeping Beauty Act III (ch: Petipa) 30: Anemoi (Park, Sasaki, Donnelly, Ikarashi), Divertissements, The Sleeping Beauty Act III JULY 2,8-9: Anemoi (Sasaki, Dias, Bjørneboe Brændsrød, Nakao), Divertissements, The Sleeping Beauty Act III 3,11M: Anemoi (Park, Sasaki,

Donnelly, Ikarashi), Divertissements, The Sleeping Beauty Act III 10M: The Royal Ballet School Annual Matinée

Scottish Ballet www.scottishballet.co.uk Tour of The Nutcracker (ch: Darrell) DECEMBER 1-31: EDINBURGH, Festival Theatre Tel: 0131 529 6000 JANUARY 2022 5-15: GLASGOW, Theatre Royal Tel: 0844 871 7647 19-22: ABERDEEN, His Majesty’s Theatre Tel: 01224 641 122 26-29: INVERNESS, Eden Court Tel: 01463 234 234 FEBRUARY 2022 2-5: NEWCASTLE, Theatre Royal Tel: 08448 112 121 9-12: BELFAST, Grand Opera House Tel: 028 9024 1919

EVENTS On Point: Royal Academy of Dance at 100 www.vam.ac.uk Victoria and Albert Museum, London SW7 Tel: 020 7942 2000 Exhibition exploring the 100-year history of the Royal Academy of Dance. Includes costume, designs, film and other unique material

VENUES EASTERN ENGLAND Theatre Royal NORWICH | Tel: 01603 630 000 www.theatreroyalnorwich.co.uk JULY 19: Here Come the Boys 21-22: English Youth Ballet in Coppélia

LONDON Barbican Centre Silk Street, EC2 Tel: 0845 120 7500 www.barbican.org.uk BARBICAN THEATRE JULY 23-Oct 17: Anything Goes (ch: Marshall)

London Coliseum St Martin’s Lane, WC2 Tel: 020 7845 9300 www.eno.org JUNE 22-Sep 29: Hairspray (ch: Mitchell)

New Wimbledon Theatre The Broadway, SW19 Tel: 0844 871 7646 www.atgtickets.com/venues/ new-wimbledon-theatre AUGUST 16-24: Priscilla, Queen of the Desert (ch: Coleman, Hallsworth) 4-11: Waitress 21-25: Rock of Ages (ch: Winston) 27-29: Riverdance - The New 25th Anniversary Show

Royal Opera House Covent Garden, WC2 Tel: 020 7304 4000 | www.roh.org.uk

WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 79

Calendar For Main Stage see The Royal Ballet LINBURY THEATRE JUNE 16-17: Rambert School of Ballet and Contemporary Dance 23-26: The Royal Ballet School in works by Carlos Acosta, Kenneth MacMillan, Ashley Page, Marius Petipa, Ben Stevenson, Didy Veldman and Valentino Zucchetti JULY 1-3: The Royal Ballet in Draft Works

Sadler’s Wells Rosebery Avenue, EC1 Tel: 020 7863 8000 www.sadlerswells.com JUNE 2-5: Rambert in Draw from Within (ch: Vandekeybus) 8-9: Northern Ballet in Contemporary Cuts 11-12: Northern Ballet in Dangerous Liaisons (ch: Nixon) JULY 1-4: Breakin’ Convention 24: National Youth Dance Company in Speak Volumes (ch: Seutin) 30-Sep 5: Singin’ in the Rain (ch: Wright)

Southbank Centre Belvedere Road, SE1 Tel: 0871 663 2501 www.southbankcentre.co.uk ROYAL FESTIVAL HALL JUNE 16-26: English National Ballet in Solstice

MIDLANDS Birmingham Hippodrome BIRMINGHAM | Tel: 0844 338 5000 www.birminghamhippodrome.com AUGUST 30-Sep 4: Priscilla, Queen of the Desert (ch: Coleman, Hallsworth)

Curve LEICESTER | Tel: 0116 242 3595 www.curveonline.co.uk JULY 4: Anton Du Beke and Giovanni Pernice in Him and Me 30-31: Grease (ch: Phillips)

Royal and Derngate NORTHAMPTON Tel: 01604 624 811 www.royalandderngate.co.uk JUNE 17: Here Come the Boys JULY 24: Anton Du Beke and Giovanni Pernice in Him and Me

NORTH WEST The Lowry SALFORD | Tel: 0843 208 6000 www.thelowry.com LYRIC THEATRE JUNE 1-5: Northern Ballet in Dangerous Liaisons (ch: Nixon) 26-27: Strictly Come Dancing - The Professionals JULY 6: Anton Du Beke and Giovanni Pernice in Him and Me

SCOTLAND Festival Theatre EDINBURGH | Tel: 0131 529 6000 www.capitaltheatres.com

80 • DANCING TIMES

JUNE 3-4: Strictly Come Dancing - The Professionals JULY 15: Burn The Floor

SOUTH EAST The Churchill BROMLEY | Tel: 0844 871 7620 www.churchilltheatre.co.uk JUNE 20: Burn The Floor

The Hawth

www.sheffieldtheatres.co.uk JUNE 15-19: Northern Ballet in Dangerous Liaisons (ch: Nixon) 22-26: Chicago (ch: Reinking) 29-Jul 3: 9 to 5: The Musical JULY 6-10: The Addams Family AUGUST 3-14: Everybody’ Talking About Jamie (ch: Prince) 16-21: Hairspray (ch: Mitchell)

LONDON MUSICALS

CRAWLEY | Tel: 01293 553 636 www.hawth.co.uk JULY 5: Ballet Central 9: Anton Du Beke and Giovanni Pernice in Him and Me

9 to 5: The Musical

Marlowe Theatre

www.ameliethemusical.com CRITERION THEATRE, London W1 Tel: 0333 3202 895, dir: Fentiman

CANTERBURY | Tel: 01227 787 787 www.marlowetheatre.com JUNE 8-27: Six JULY 26-31: The Rocky Horror Show AUGUST 9-14: Grease (ch: Phillips) 25-29: Bedknobs and Broomsticks (ch: Bettles)

Milton Keynes Theatre MILTON KEYNES Tel: 0844 871 7652 www.miltonkeynestheatre.com AUGUST 2-7: The Rocky Horror Show 23-28: Grease (ch: Phillips) 31-Sep 2: The Addams Family

Theatre Royal BRIGHTON | Tel: 0844 871 7650 www.atgtickets.com/venues/ theatre-royal-brighton JULY 6-10: Dirty Dancing AUGUST 3-11: Six

SOUTH WEST The Lighthouse POOLE | Tel: 0844 406 8666 www.lighthousepoole.co.uk JULY 7: Aakash Odedra in Rising 10: Anton Du Beke and Giovanni Pernice in Him and Me

YORKSHIRE AND HUMBERSIDE CAST DONCASTER | Tel: 01302 303 959 www.castindoncaster.com JUNE 1-2: Rambert 2

Grand Theatre LEEDS | Tel: 0844 848 2700 www.leedsheritagetheatres.com JUNE 17-26: Northern Ballet in Swan Lake (prod: Nixon) 29-Jul 3: Six JULY 6-10: Priscilla, Queen of the Desert (ch: Coleman, Hallsworth) 15: Anton Du Beke and Giovanni Pernice in Him and Me 28-Aug 14: Heathers (ch: Lloyd)

Sheffield Lyceum SHEFFIELD | Tel: 0114 249 6000

www.9to5themusical.co.uk SAVOY THEATRE, London WC2 Tel: 0844 871 7687, ch: Stevens

Amélie The Musical

& Juliet www.andjulietthemusical.co.uk SHAFTESBURY THEATRE, London WC2 Tel: 020 7379 5399, ch: Weber

Anything Goes www.barbican.org.uk BARBICAN THEATRE, London EC1 Tel: 020 7638 8891, ch: Marshall Limited season – July 23 to October 17

Back to the Future The Musical www.backtothefuturemusical.com ADELPHI THEATRE, London WC2 Tel: 020 7087 7754, ch: Bailey Opens August 20

The Book of Mormon www.bookofmormonlondon.com PRINCE OF WALES THEATRE, London W1 Tel: 0844 482 5110, ch: Nicholaw

Cinderella www.andrewlloydwebbers cinderella.com GILLIAN LYNNE THEATRE, London WC2 Tel: 020 7087 7750, ch: Hunter

Come From Away www.comefromawaylondon.co.uk PHOENIX THEATRE, London WC2 Tel: 0844 871 7615, dir: Ashley

Dear Evan Hansen www.dearevanhansen.com/london NOËL COWARD THEATRE, London WC2 Tel: 0344 482 5151, dir: Mefford

Everybody’s Talking About Jamie

ch: Blankenbuehler

Heathers www.heathersthemusical.com THEATRE ROYAL, HAYMARKET, London SW1 Tel: 020 7930 8800, ch: Lloyd

Here Come the Boys www.herecometheboysshow.com LONDON PALLADIUM, London W1 Tel: 020 7087 7747, ch: Walker Limited season until June 9

Jersey Boys www.jerseyboyslondon.com TRAFALGAR THEATRE, London SW1 Tel: 0844 871 7632, ch: Trujillo

The Lion King www.thelionking.co.uk LYCEUM THEATRE, London WC2 Tel: 0844 871 3000, ch: Fagan

Mamma Mia! www.mamma-mia.com NOVELLO THEATRE, London WC2 Tel: 0844 482 5115, ch: Van Laast

Mary Poppins www.delfontmackintosh.co.uk PRINCE EDWARD THEATRE, London W1 Tel: 0844 482 5151, ch: Bourne, Mear

Matilda The Musical www.matildathemusical.com CAMBRIDGE THEATRE, London WC2 Tel: 0844 412 4652, ch: Darling

Les Misérables www.lesmis.com QUEENS THEATRE, London W1 Tel: 0870 890 1110

The Phantom of the Opera www.thephantomoftheopera.com HER MAJESTY’S THEATRE, London SW1 Tel: 0870 890 1106, ch: Lynne

Pretty Woman: The Musical www.prettywomanthemusical.com PICCADILLY THEATRE, London W1 Tel: 0844 412 6666, ch: Mitchell

The Prince of Egypt www.theprinceofegyptmusical.com DOMINION THEATRE, London W1 Tel: 0345 200 7982, ch: Cheesman

Singin’ in the Rain www.sadlerswells.com SADLER’S WELLS, London EC1 Tel: 020 7863 8000, ch: Wright Limited season – July 30 to September 5

www.everybodystalkingabout jamie.co.uk APOLLO THEATRE, London W1 Tel: 0330 333 4809, ch: Prince

Six

Hairspray

Thriller Live

www.hairspraythemusical.co.uk LONDON COLISEUM, London W1 Tel: 020 7845 9300, ch: Mitchell

www.thrillerlive.co.uk LYRIC THEATRE, London W1 Tel: 0844 482 9674, ch: Lloyd

Hamilton

Tina: The Musical

www.hamiltonthemusical.co.uk VICTORIA PALACE THEATRE, London SW1 Tel: 0844 248 5000,

www.tinathemusical.com ALDWYCH THEATRE, London WC2 Tel: 0845 200 7981, ch: Van Laast

www.sixthemusical.com LYRIC THEATRE, London W1 Tel: 0330 333 4812, ch: Ingrouille

Calendar Wicked www.wickedthemusical.co.uk APOLLO VICTORIA THEATRE, London SW1 Tel: 0870 400 0889, dir: Mantello

OVERSEAS Resident/Guest performances are listed alphabetically by country, then by company name.

AUSTRALIA The Australian Ballet www.australianballet.com.au Tour of Serenade (ch: Balanchine), The Four Temperaments (ch: Balanchine), new Tanowitz work JUNE 3-12: MELBOURNE, Arts Centre Tour of Anna Karenina (ch: Possokhov) JUNE 18-29: MELBOURNE, Arts Centre JULY 9-15: ADELAIDE, Festival Centre

Bangarra Dance Theatre www.bangarra.com.au Tour of Sand Song (ch: Page, Rings) JUNE 10-Jul 10: SYDNEY OPERA HOUSE JULY 15-17: CANBERRA THEATRE CENTRE 23-24: BENDIGO, Ulumbarra Theatre AUGUST 13-21: BRISBANE, QPAC 27-Sep 4: MELBOURNE, Arts Centre

Chunky Move www.chunkymove.com Tour of Yung Lung (ch: Hamilton) JUNE 3-5: MELBOURNE, RISING Arts Festival

Queensland Ballet www.queenslandballet.com.au BRISBANE, Lyric Theatre JUNE 4-19: The Sleeping Beauty (prod: Horsman) Tour of Tutus on Tour (ch: Lisner, Klaus, Horsman) JULY 24M&E: REDLAND, Performing Arts Centre 30: GLADSTONE, Entertainment Convention Centre AUGUST 7: ROCKHAMPTON, Pilbeam Theatre 10: GOONDIWINDI WAGGAMBA, Community Cultural Centre 14: TOOWOOMBA, Empire Theatre 18: REDCLIFFE, Entertainment Centre 20: LOGAN, Entertainment Centre 25: MARYBOROUGH, Brolga Centre

West Australian Ballet www.waballet.com.au PERTH, Heath Ledger Theatre JUNE 24-Jul 3: Air and Other Invisible Forces (ch: Murphy), new Lane work, GAINSBOURG (ch: Alzaim)

AUSTRIA

HOLLAND

Vienna State Ballet

Dutch National Ballet

www.wiener-staatsoper.at VIENNA, Staatsoper JUNE 4-5,7,11: Glass Pieces (ch: Robbins), Duo Concertant (ch: Balanchine), A Suite of Dances (ch: Robbins)

www.het-nationale-ballet.nl AMSTERDAM, Het Muziektheater JUNE 12,15,18,22,24-26: Grosse Fuge (ch: Van Manen), Prometheus (ch: Kuindersma, Meisner, Wörtmeyer), The Four Seasons (ch: Dawson)

CZECH REPUBLIC Czech National Ballet www.narodni-divadlo.cz PRAGUE, New Stage (NS), National Theatre (NT), State Opera (SO) JUNE 12: Solo for the Two of Us (ch: Zuska) (NS) 20,22-23: Bella Figura, Gods and Dogs, Petite Mort, Five Dances (all ch: Kylián) (NT) 30: Swan Lake (prod: Cranko) (SO) JULY 1: Swan Lake (SO)

HONG KONG Hong Kong Ballet www.hkballet.com HONG KONG, Cultural Centre JUNE 18-20: Romeo and Juliet (ch: Webre)

ITALY Ballet of Teatro di San Carlo

DENMARK

www.teatrosancarlo.it NAPLES, Teatro di San Carlo JULY 30: Come un respiro (ch: Bigonzetti), Bolero (ch: Picone)

Royal Danish Ballet

JAPAN

www.kglteater.dk COPENHAGEN, Opera House JUNE 3-4: Mahler’s Third Symphony (ch: Neumeier) 3-6: Two Lions and a Castle (ch: Assaf)

FRANCE Ballet de l’Opéra National de Bordeaux www.opera-bordeaux.com BORDEAUX, Opéra National de Bordeaux JUNE 29-Jul 8: Snow White (ch: Preljocaj)

Paris Opéra Ballet

National Ballet of Japan www.nntt.jac.go.jp TOKYO, Opera Palace JUNE 5-13: Raymonda (ch: Petipa) JULY 24-27: RYUGUU - The Turtle Princess (ch: Moriyama)

NEW ZEALAND Royal New Zealand Ballet www.rnzb.org.nz Tour of Giselle (prod: Kobborg, Stiefel) JUNE 4-5: CHRISTCHURCH, Isaac Theatre Royal 9: DUNEDIN, Regent Theatre

www.operadeparis.fr PARIS, Palais Garnier (PG), Opéra Bastille (OB) JUNE 1-2,4,5M&E,7-8,10-11,15,19,25-26: Le Jeune homme et la Mort, Carmen, Le rendez-vous (PG) 9-10,12,15-17,20M,21,23-24,28-30: Romeo and Juliet (ch: Nureyev) (OB)

www.balletdebarcelona.com Tour of Swan Lake Act II (ch: Ivanov), TONGUES (ch: Prunty, Rodriguez) JUNE 11-13: BARCELONA, Teatre Condal

GERMANY

Ballet Nacional de España

Bavarian State Ballet www.staatsballett.de MUNICH, National Theatre JUNE 2,5: Romeo and Juliet (ch: Cranko) 8,18: The Blizzard (ch: Kaidanovskiy) JULY 1: The Blizzard 6: Romeo and Juliet 9: Cinderella (ch: Wheeldon)

Hamburg Ballet www.hamburgballett.de HAMBURG, Opera House JUNE 13-14,22: Hamlet 21 (ch: Neumeier) 15-16: Ghost Light (ch: Neumeier) 17-18: Beethoven Project II (ch: Neumeier) 19-20: Death in Venice (ch: Neumeier) 23-24: Beethoven Project I (ch: Neumeier) 25: A Midsummer Night’s Dream (ch: Neumeier) 27M&E: Nijinsky Gala XLVII

SPAIN Ballet de Barcelona

www.cndanza.mcu.es Tour of La Bella Otero (ch: Olmo) JULY 7-18: MADRID, Teatro de la Zarzuela

Compañía Nacional de Danza www.cndanza.mcu.es/en Tour of Carmen (ch: Inger) JUNE 5: ÚBEDA, Plaza de Toros de Úbeda 13-14: SEVILLE, Teatro de la Maestranza Tour of Giselle (prod: De Luz) JUNE 18: GRANADA, Jardines Generalife 23-26: VALENCIA, Palau de les Arts

(ch: Clug), Kleines Requiem (ch: Van Manen), Walking Mad (ch: Inger) 4,11,18: The Second Detail, Approximate Sonata 2016, One Flat Thing, reproduced (all ch: Forsythe)

USA American Ballet Theatre www.abt.org THE MUSIC CENTER JERRY MOSS PLAZA, Los Angeles JUNE 2-6: Dance at Dusk GREEN BOX ARTS FESTIVAL, Colorado JUNE 25-26: Repertoire TBA JULY Tour of Ballet Across America.

Programme includes La Follia Variations (ch: Lovette), Let Me Sing Forevermore (ch: Lang), Indestructible Light (ch: Grand Moultrie) 1: PIONEERS PARK, Lincoln, Nebraska 4: HANCHER GREEN, Iowa City, Iowa 8: CHICAGO PARK TBA/ AUDITORIUM THEATRE, Chicago, Illinois 10M&E,11M&E: MINNESOTA LANDSCAPE ARBORETUM, University of Minnesota, Minneapolis 14M&E: FOREST PARK, St Louis, Missouri 17: CHARLESTON GAILLARD CENTER, Charleston, South Carolina 19: SALAMANDER RESORT AND SPA, Middleburg, Virginia 21: ROCKEFELLER CENTER, New York

Houston Ballet www.houstonballet.org HOUSTON, Wortham Center JUNE 1-6: Dyad 1929 (ch: McGregor), new Mennite work, The Rite of Spring (ch: Welch) 10-20: Aladdin (ch: Bintley)

Jacob’s Pillow Dance Festival www.jacobspillow.org JACOB’S PILLOW, Massachusetts JUNE 30-Jul 4: Dorrance Dance JULY 7-11: Contra-Tiempo 14-18: Ballet Hispanico 21-25: Brian Brooks / Moving Company 28-Aug 1: Life Encounters: Archie Burnett AUGUST 4-8: Dallas Black Dance Theatre 11-15: Latasha Barnes presents Jazz Continuum 18-22: STREB 25-29: Ballet Coast to Coast

URUGUAY Ballet Nacional Sodre

SWITZERLAND Zürich Ballet www.zuercherballett.ch ZÜRICH, Opera House JUNE 1-2,5,13,16: Chamber Minds

www.bns.gub.uy MONTEVIDEO, Auditorio Nacional del Sodre JULY 1-11: The Wizard of Oz (ch: Ventriglia)

WWW.DANCING-TIMES.CO.UK • JUNE 2021 • 81

Last Dance Isadora and Swan Lake

By Mary Clarke KENNETH MACMILLAN’S TWO-ACT BALLET Isadora, which runs for nearly three hours, received its first performance at Covent Garden on April 30, the opening night of the 50th Anniversary Season of The Royal Ballet. A huge and ambitious undertaking – MacMillan was working to a score commissioned from Richard Rodney Bennett – it suffered lastminute misfortunes in the indisposition of David Wall, who should have created the role of Edward Gordon Craig, and also an enforced change in the lighting designer which necessitated extra rehearsal time to the extent that a performance of Swan Lake was cancelled. Both factors mitigated against the first performance and, returning to see the ballet again on May 7 with cast changes, one realised that the premiere was something in the nature of a run-in. But, although it was moving smoothly by the later performances, and

Sitter Out THE TEA DANCE SEEMS to be having a comeback.

Towards the end of May The Times published a large photograph of the newly restored Palm Court Lounge of the Waldorf Hotel in the Aldwych, London, with small tables set for proper afternoon tea and a group 82 • DANCING TIMES

strengthened by cast changes, basic criticisms about the work, voiced after the first night, remained. And those criticisms are that MacMillan has packed far, far too much into his ballet and allowed the dramatic or explanatory episodes to smother the dancing. As a stage depiction of a stormy and tragic life it (just) holds the interest.

But by using cinematic techniques, quick dissolves from scene to interminable scene, and by sharing the role of Isadora between an actress (Mary Miller) to reminisce, Pictured: Merle Park and Mary Miller as Isadora Duncan in Kenneth MacMillan’s Isadora.

of musicians to provide music for dancing. We are always being asked if places such as this still exist and we can happily report that the Waldorf Palm Court is a charming period setting – fresh, pretty and restful. We must warn, however, that the cost of afternoon tea – toasted scones, sandwiches, bread and butter and jams,

explain, expostulate, and a dancer (Merle Park at the first performance) to interpret the danced scenes, MacMillan almost fatally falls between two kinds of theatre. The dance interest is too slight to sustain it as a ballet; the dialogue, chosen by Mary Miller from the memoirs of Isadora Duncan and other reported conversations, is too trite to stand repeated hearings. Or so I think after two viewings.

H H H A DEBUT WHICH HAD been announced, and which received an enormous amount of publicity, was Bryony Brind’s first Odette-Odile in Swan Lake on the afternoon of April 18… Covent Garden was packed for the occasion and the ovation and floral tributes gigantic.

From the archives

Brind’s debut had been carefully planned and prepared… [and] certainly there was no discernible trace of nerves… She is English and English-trained, yet there is a kind of Kirov-like refinement in her dancing, a Russian quality in her back, her expressive arms, the exceptional height of extension in the legs and open attitude position. She has yet to find any real characterisation for Odette and she is not very strong in petit batterie, but she is already a happily scheming Odile and even the fouettés held no terrors. She now has years to find her way into the heart of the ballet – and find the depth of feeling Fonteyn eventually found.

JUNE 1981

Pictured: Bryony Brind in Swan Lake. Photograph by Leslie E Spatt.

Phillida goes dancing COSTUME BALLS, limited to one country or period, have become quite popular of late, and are really very charming, when they are not spoilt by a certain few whose motto on these occasions appears to be “when in doubt, there’s always a jazz pierrot”.

JUNE 1921

and a choice of cakes – isn’t exactly cheap, but well worth it for a glimpse of a

world we all thought had gone with World War II. n JUNE 1981 Photographs: DANCING TIMES ARCHIVE.

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