inside the magazine from Northern Ballet Theatre Issue 3 Spring/Summer 2008
POSTCARDS FROM CHINA The China tour HAMLET Patricia Doyle Associate Artist LET’S HEAR IT FOR THE BOYS Inside talks to leading male artists on flying and pre-show nerves
NBT gains momentum and an Olivier award nomination. Photo: Richard Moran
inside
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3 Bringing you the news 5 Creating a Storm
David Nixon Artistic Director NBT
Read reviews of last season’s productions. Hello and welcome to inside. 2008 has already proved to be a busy year for Northern Ballet Theatre. As soon as we touched down from our four-week tour of China we went straight into rehearsals for our new production of Hamlet.
6 Postcards from China Four weeks, ten performances, six cities. NBT takes Madame Butterfly to China.
At the end of last year we enjoyed success with both audiences and critics with our new Nutcracker. It was great family entertainment while providing the Company with a new challenge. Hamlet is a very different production: it will be equally spectacular, but it is perhaps darker than you are used to seeing with NBT. I think it will be a fantastic addition to the repertoire and perfect for our Shakespeare tour this spring, which also includes A Midsummer Night’s Dream and Romeo & Juliet.
7 Creating a new role Patricia Doyle talks about her relationship with NBT and her work as co-director on Hamlet.
10 Shakespeare season
This edition of inside features an interview with our Associate Artist Patricia Doyle. Patricia is co-directing Hamlet with me and we have both wanted to create this ballet for some time. I performed the role of Hamlet as a dancer in Patrice Montagnon’s 1987 ballet for the Deutsche Oper Berlin. With an illustrious career in the theatre Patricia also has an enduring interest in Hamlet, and I’m delighted to be working with her on it.
A handy pull-out guide to performances throughout the season.
12 Let’s hear it for the boys inside talks to NBT’s leading male artists, about preparing for their roles, the difficulties of flying and overcoming pre-performance nerves.
I am enjoying the opportunity to choreograph to an original composition from the brilliant composer, Philip Feeney. Philip has a wonderful reputation for his compositions for dance and he has created something truly inspirational for Hamlet. Ex-NBT dancer, Chris Giles, is designing Hamlet, which is set in 1940s occupied Paris. I didn’t want Chris to design an exact replica of that period; I wanted him to design his own interpretation of this time. He has come up with something highly original, which I am looking forward to sharing with you.
16 A fairy good Christmas To the delight of young ballerinas, the Sugar Plum Fairy pays a visit to Fenwicks of York.
17 The Paralympics spirit The Integrated Paralympics Project brought together the British Council, the China Disabled Persons Federation and our own Learning & Access team.
18 Associates 10th Anniversary Celebrating ten years of access to the best possible classical training.
Cover image & back cover: Costume designs for Hamlet. Design and artwork by Chris Giles.
As always, inside keeps you up to date with all the news from NBT. In this edition you can read about our China tour, including the impressive project delivered by our Learning & Access team with disabled and nondisabled people in Beijing, their first international project. We celebrate the ten year anniversary of our Associate training programme by talking to the people who make it happen. Our leading men reveal how they prepare for their roles on stage, and we also have a look at why the Sugar Plum Fairy was spotted shopping in York before Christmas. Best wishes, David Nixon
inside: thenews
In December, NBT won the Dance category of the Manchester Evening News Theatre Awards for The Three Musketeers. The Company was nominated for the award alongside some of the worlds leading dance artists: Alvin Ailey American Dance Theater, Carlos Acosta, Henri Oguike Dance Company and Richard Alston Dance Company. The Three Musketeers has also been nominated for a prestigious Laurence Olivier Award in the Best New Dance Production category. Other nominees in the category include The Royal Ballet, Mark Morris Dance Group and Fabulous Beast Dance. The winners will be announced at a star-studded ceremony on 9 March at Grosvenor House in London.
Reaching out to the East
A multicultural approach to dance and literacy This spring, NBT is involved in a project that takes a new approach to literacy with creative writer Maya Chowhdry and musician Rashmi Sudhir from Kala Sangam. Tales from Ancient India and Indian themed dance workshops will come together at Montagu Junior School in Mexborough, Sheffield. 60 pupils aged 9-10 will explore the themes of new beginnings and the seasons through dance and creative and narrative writing.
Throughout January and February, 120 youngsters aged 9-11 from three primary schools in the West Park area of Leeds reached for the stars with NBT. During a series of workshops Dance Education Officer Sophie Alder created dance pieces inspired by Space with the pupils. The education partnership was part of a new approach to the National Curriculum Science syllabus.
Classical Training open days
Photo: Linda Rich
NBT’s Learning & Access department has, for the first time, taken its work to an international level. The team led an innovative dance project in Beijing for young people with and without disabilities as part of the British Council’s Paralympics project. The project took place in December for 20 participants from Beijing aged 1825 and was a partnership with the British Council and the China Disabled Persons’ Federation. (Read more on page 17)
Yorkshire Youngsters ‘Reach for the stars’
Yorkshire school pupils dance for joy at new partnership NBT and the Halifax are delighted to announce a new partnership to support NBT’s schools programme. Halifax is investing £25,000 to enable 180 pupils from Calderdale, aged between 9 and 13, to take part in a series of workshops and theatre visits. A further 600 pupils from across Yorkshire will benefit from theatre visits subsidised by Halifax. (Read more at www.north ernballettheatre.co.uk/prarchive)
The Classical Training department is searching for new students to train with NBT from September 2008. They have held free workshops in five local primary schools in order to give local children more information about the courses on offer and to find undiscovered talent. In addition they have held a number of open days around Yorkshire for children aged 10-12 years. Auditions for all the Classical Training programmes will be held in March.
Photo: Lisa Stonehouse
Olivier nomination and MEN award for The Three Musketeers
In February, our Patron, HRH the Earl of Wessex, attended the launch of momentum, the fundraising campaign for our new building with Phoenix Dance Theatre. momentum will raise the remaining £1.5million of our £12million building, which will open in 2010. Visit www.building-momentum.co.uk for further information or contact our Capital Campaign Officer Melanie Aram.
The Sugar Plum Fairy comes to town NBT’s Sugar Plum Fairy went Christmas shopping at Fenwick in York. The in-store appearance by NBT dancer Julie Charlet delighted shoppers and local ballet school pupils. Fenwick is a bronze-level supporter of NBT. (Read more on page 16) Meanwhile, NBT dancer Georgina May launched Gateway Yorkshire’s charity Christmas card scheme. Each year the Tourist Information Centre sells cards, advent calendars, children’s presents and wrapping to support a wide range of charities.
NBT roadshow NBT’s Communications team created a ‘roadshow’ for schools in our local area. The roadshow, delivered during school assemblies, aimed to raise awareness of NBT’s work and included interviews with dancers and footage from class and rehearsals. The roadshow toured to 24 schools, reaching 4,200 pupils aged 4-11 years.
Photo: Gateway Yorkshire
Photo: Linda Rich
Photo: Merlin Hendy
Our capital campaign gains momentum
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inside: thenews Staff movements
Photo: Ian Howarth
We wish the very best to the following people who have left NBT: Company Manager, Louise Tischler; Flyman, Joe Marchant; Stage Manager, John Kearney; Wardrobe Assistants, Paula McIntosh and Eilidh Gilmour; Chief Stage Technician, Lee Rook; Principal Horn, Liz Chell; Dancer, Bendik Mildestveit and Apprentices Daniel Fajardo and Lewis Landini.
Yorkshire touches down in China
Photo: Bill Cooper
Photo: Darren Goldsmith
A delegation of Yorkshire’s finest took off for China in December as NBT embarked on a four-week, six-city tour that included Hangzhou, Shanghai and Beijing. Leeds City Council, Leeds Metropolitan University and Yorkshire Forward supported the tour and representatives from each organisation travelled to China to act as ambassadors for their organisations and for the Yorkshire region.The Company flew to China from Manchester airport and were happy to pose for photos for our sponsor, Manchester Airports Group. (Read more on page 6)
Congratulations to Chun-Yen Chia who has been promoted from Deputy Stage Manager to Stage Manager. Planning Manager Andy Waddington is now Technical Director whilst also remaining responsible for international tour planning. Classical Training Manager Annemarie Donoghue is on maternity leave and we are delighted that baby Edward arrived safely in November. We are also delighted to announce that Jane Tucker, a member of our Classical Training teaching faculty, gave birth to a baby girl, Rosemarie Louisa, in December.
NBT extends a warm welcome to the following new members of the NBT team: Selina McGonagle is Director of Learning & Access. Selina came to NBT from the Northern School of Contemporary Dance (NSCD) where she was Head of Education and Community Programmes. Selina trained at the NSCD and began her career as a freelance dancer and dance artist.
Angela Stafford has joined our Classical Training department as Student Support Administrator, Rebecca Drinkall and Cara O'Shea have joined the teaching faculty.
Melanie Aram has joined our Fundraising department as Capital Campaign Officer.
Kate Laho has joined our Learning & Access department as an Assistant on a nine month work placement from the University of Surrey. Emily Anderson has joined the PR team on work placement one day per week until April. Emily is a final year PR student at Leeds Metropolitan University.
Steve Hughes is our new Company Manager, Steve Wilkins our new Chief Stage Technician, and Katie Turner our new Assistant Stage Manager.
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Amy Hind is our new Wardrobe Assistant. Patti Hines is working with the Company as a guest dancer for Hamlet.
HRH The Earl of Wessex catches a Dream On Friday 23 November, HRH The Earl of Wessex attended an evening performance of A Midsummer Night’s Dream at the New Victoria Theatre, Woking. His wife, The Countess of Wessex, and a number of family friends accompanied the Earl.
inside: reviewing NBT’s Autumn/Winter season 2007
Creating a storm
Last season saw the World Première of David Nixon’s magical production of The Nutcracker.NBT continued to tour Romeo & Juliet and A Midsummer Night’s Dream made a welcome return to the repertoire after a three-year absence.
A Cracking performance True romance The Nutcracker premièred on 11 October 2007 at The Palace Theatre, Manchester, and was seen by 38,977 people at 36 performances across four venues. “It’s been done before but rarely so delightfully.” Manchester Evening News, October 2007
“The world will think more highly of Nixon and NBT, not just for taking on this challenge but conquering it so unequivocally.” Sunday Express, October 2007
“It is a tribute to David Nixon that his new version for Northern Ballet Theatre finds a rare middle way – putting a fresh spin on what is still a very traditional-looking production.” top: Jessica Morgan, Lori Gilchrist, Amy Johnson, Christie Duncan, Pippa Moore, Isabella Gasparini, Dreda Blow, Sarah Kundi as Snow Flakes, Ayana Kanda as Clara and David Ward as the Nutcracker Prince in The Nutcracker. Photo: Bill Cooper
The Guardian, November 2007
Romeo & Juliet premièred in 1991, and in Autumn 2007 it was seen by more than 11,175 people at 14 performances, across two venues. “Stunning dance interpretation of Romeo & Juliet is just enthralling.” Derby Trader, September 2007
“An unforgettable interpretation of a timeless story.”
Widening participation In 2007, our Learning & Access department delivered a total of 109 dance workshops and 19 bespoke projects, involving more than 5,600 people. The team worked with schools, community and youth groups and organisations for people with Visual impairments and disabilities.
Bradford Telegraph & Argus, October 2007
Sweet Dreams A Midsummer Night’s Dream premièred in 2003, and in 2007 it was seen by more than 17,132 people at 26 performances, across three venues. “Spellbinding stuff.” Yorkshire Evening Post, September 2007
“…the Company is back on the Nutcracker trail with a stylish, lucid and most enjoyable new touring production.”
“...a dazzling ballet.” Leighton Buzzard Observer, November 2007
The Times, November 2007
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inside: the China tour
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Postcards from China (Photos 1, 2) A few days after the final performance of The Nutcracker in Leeds, two busloads of dancers, the stage management team, a physiotherapist and a pianist left Manchester airport for a tour of China. Northern Ballet Theatre spent four weeks over Christmas and new year performing David Nixon’s Madame Butterfly on a tour supported by Leeds Metropolitan University, Yorkshire Forward and Leeds City Council. (3, 4) NBT gave ten performances of Madame Butterfly in six different Chinese cities: Wuxi, Hangzhou, Nanjing, Yangzhou, Shanghai and Beijing, where the Company gave the closing performances of the celebrated Fifth Beijing International Dance Festival. (5, 6) Daily life included company class, rehearsals, performances, news conferences, and attending events by our tour partners. (7, 8) The time off the Company had was spent resting and, of course, sightseeing and shopping. (9, 10) Three different Chinese orchestras accompanied NBT’s performances. Assistant Music Director Nigel Gaynor spent two weeks rehearsing the orchestras prior to the start of the tour.
Image 1 and 2 by Ian Howarth. Image 7 courtesy of Martha Leebolt. All other images by Neil Jarman.
(11, 12) The technical team did a brilliant job responding to the various challenges faced at each venue. Each theatre worked to a different system using equipment that often seemed to have a mind of its own, all the time negotiating through an interpreter. The NBT team was supported by an excellent Chinese crew. (13) The whole Company celebrated Christmas and new year together, away from family but surrounded by friends. (14) We would like to thank Leeds Metropolitan University, Leeds City Council and Yorkshire Forward for supporting the tour. Our supporters held corporate events in Hangzhou, Beijing and Shanghai as part of our tour. Damart generously donated thermals to NBT to keep the Company warm in the cold Chinese climate. More about the China tour can be found on the NBT blog: http://northernballettheatre.wordpress.com/
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inside: with NBT’s Associate Artist
Creating a new role An interview with Patricia Doyle Hamlet is a new ballet from David Nixon. Set in occupied Paris during the 1940s, Hamlet’s mind unravels against a backdrop of one of the most terrifying periods of the 20th century. As his world descends into chaos, he no longer knows who he can trust and the boundaries between real and imaginary become blurred. Hamlet is choreographed and directed by David Nixon and co-directed by Patricia Doyle.
Patricia Doyle is Northern Ballet Theatre’s Associate Artist. In this article we ask Patricia about her long-standing relationship with the Company and about the production of Hamlet.
“The future was there,in his two questions: do you want to write scenarios? Do you want to direct a ballet?” Patricia Doyle on the late Christopher Gable Photo: Brian Slater
Patricia Doyle has worked with both previous NBT Artistic Director, the late Christopher Gable, and current Artistic Director David Nixon. In recent history Patricia was director of A Streetcar Named Desire and Carmen, cowriter of A Sleeping Beauty Tale, co-writer and co-director of Peter Pan and A Midsummer Night’s Dream; dramatic associate for Swan Lake, and theatre associate and dramaturge for Wuthering Heights. This lady of many titles has now had her relationship with NBT cemented in the creation of the new position of Associate Artist. This was something she felt was important.“Some time ago I was introduced at a first night as ‘this is Patricia, she does the drama bits’ and I never forgot it. I felt that it would be good now to have a recognised title as my contribution alters from ballet to ballet and people don't really know what I actually do!” Patricia has had a long career in the theatre as a respected actress, director, dramaturge and lecturer. Her passion for the art form and for NBT is apparent and she enjoys recounting how her relationship with the Company began. Patricia trained in ballet until she was 14 but decided acting was more for her and, for the next 25 years she pursued a successful career as an actress, then as director with her own company. At a time when physical theatre was developing in practice, Patricia wondered why, conversely, dancers weren’t doing more acting. “I knew of course of Christopher Gable. In the early
days of his switch from being a dancer in the Royal Ballet, there was a bit of ungenerous resentment from some in the theatre. Lots of people, myself included, thought ‘just because he’s been a big star there, why is he now in Peter Brook’s A Midsummer Night’s Dream in Stratford-upon-Avon. Can he cut the mustard?’ And of course he did brilliantly.” “We’d all seen the televised version of A Simple Man, and we all thought (gasp), this is incredible.” Patricia saw NBT when the Company performed Swan Lake in London and was “absolutely blown away by it. There was only one word used in it, when the Prince goes into the lake and he suddenly cries out ‘no’, and my heart broke. I could see everything Christopher was trying to do.” Patricia thought that NBT was the perfect company in which to take forward her ideas about dancers and acting. Patricia and Christopher had, in fact, almost worked together as they both performed in Peter Brook’s seminal production of A Midsummer Night’s Dream.“Christopher was in the Royal Shakespeare Company’s production in Stratford, and I performed it on the Company’s long, long, world tour.” Patricia met with Christopher and he certainly made an impression on her,“He said to me ‘right you’ve got half an hour, what are you here for?’, and I began to talk, and he said ‘what do you mean, do you want to write scenarios then? Do you want to direct?’ and I’d never got that far, to actually thinking about what I might do. I’d really just thought about helping them with the acting.”That meeting set off some extraordinary events, as Patricia puts it, “the future was there, in his two questions: do you want to write scenarios? Do you want to
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inside: with NBT’s Associate Artist
“There was only one word used in it,when the Prince goes into the lake and he suddenly cries out ‘no’, and my heart broke. I could see everything Christopher was trying to do.”
direct a ballet?” Some six months later Patricia was invited by Christopher to do a weeks’ workshop with the dancers, leading acting exercises and text work. Afterwards she was invited to work on Christopher’s Dracula, codirected by Michael Pink. The rest, you could say, is history and Patricia believes that the strong acting skills and style of NBT is Christopher Gable’s legacy, now taken on and developed by David Nixon. With David in post Patricia wasn’t sure of her future with the Company, but she has become one of David’s greatest allies and collaborators.“After the opening night of Wuthering Heights he asked me whether I would co-direct Midsummer’s with him and I thought the heavens had opened. We were going to do a version of David’s that existed but I wanted to do a new version and he very generously said we would.” A Midsummer Night’s Dream went on to become one of NBT’s most popular and critically acclaimed productions and has returned once again to the Company’s current touring repertoire. It is part of a Shakespeare season alongside Romeo & Juliet and David Nixon’s new ballet of Hamlet. Patricia and David had both wanted to produce a Hamlet ballet for a long time, then two years ago, they met at David’s house in London,“as it has a good long table”, sat down and talked about it.
above: Flag from Hamlet leaflet design by DesignIT. far right: Dancer David Ward in Hamlet. Photo: HANSON
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“We discussed doing the ballet more traditionally but we found ourselves talking about Fascism and Italy and then it became
the German Occupation of France. We then needed to work out how we could express the hierarchy and usurpation, as we wouldn't be in a Royal Court.” Is she excited about Hamlet? “I am very excited. David has danced the role and I have seen many Hamlets.The first was with my best friend from school in Stratford-upon-Avon. I was 17 and didn't know the play at all and Michael Redgrave, who was playing Hamlet, was over 50, with a blonde wig and blue eye shadow. But for me he was 18 and a student of philosophy. I fell in love with him and Hamlet at the same time.” Patricia realises working on one of the world’s greatest plays is daring and people will have high expectations.“It is daunting as we won't have any of the words and the famous soliloquies but we must express these in dance and with emotion. We have a really good creative team and we are all committed to the idea.” Patricia believes that Hamlet is perfect material for a ballet as she explains, “Hamlet seems to connect with all people and doesn't lose its hold, in any age. Many of us wonder what it would be like if we just ended it, if we weren't there any more,‘To be or not to be....‘.The poetry seems to stay with us and it is a universal experience, hence so many productions of it.” David Nixon has approached Hamlet in a nontraditional way, giving his own unique interpretation of the classic, supported all the way by Patricia. Talking about their version of Hamlet she says,“we try to get inside the mind of this good, kind young man who cannot bear the burden of all that happens to him.
inside: with NBT’s Associate Artist
We have the chance to show some of his life before it all went so wrong so quickly. We can see him happy with Ophelia, with his loving parents, with all his life before him. We can be free in this way as we can suggest whatever we want in dance and are not fixed by a script. Although we are staying true to Shakespeare and his inspiration and imagination, we can tell it in another way, and at the same time make it even more contemporary by relating it to a fairly recent past.” Patricia explains how the scenario is brought to life during the rehearsal process,“the scenario changes through the dancers’ interpretation and the choreography may release new thoughts on the story as it is being created. We talk about the research we have been doing so we can remind the dancers where the work is coming from and add new bits of historical research as we find it. We also take them back to the original script of a play in sessions with me, before they go into the studio and as rehearsals progress.”
“Many of us wonder what it would be like if we just ended it, if we weren't there any more, ‘To be or not to be....‘.” So, with a proven track record as an actress, how does Patricia rate the acting skills of NBT’s dancers? “They are extraordinarily committed and surprise me constantly as they find their own way into the scenario and the emotional life of their character. With each performance they develop emotionally as they grow into the choreography. Acting is part of the tradition of this company and I feel they have a wonderful mixture of dance and acting that gives their work its own character.” As the opening night draws closer, does Patricia get nervous? “No I don't actually if I know we have made what we wanted to. I believe our job is to take the dancers to the point where the work is theirs and they are confident and creative with it.They are an extraordinary company of dancers and somehow always pull off a confident performance on these occasions.”
See centre pages for full tour listings.
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inside: tour listings
Shakespea
Photo: HANSON
Your pull-out-and-keep guide to NBT’s Spring / Summer Season 2008
A MIDSUMMER NIGHT’S DREAM
HAMLET Sat 16 – Sat 23 February Leeds, Grand Theatre WORLD PREMIÈRE Box Office: 0844 848 2701 Tues 26 February – Sat 1 March Canterbury, Marlowe Theatre Box Office: 01227 787 787 Tues 11 – Sat 15 March Nottingham, Theatre Royal Box Office: 0115 989 5555
Tues 22 – Sat 26 April London, Sadler’s Wells Box Office: 0844 412 4300
Weds 5 – Sat 8 March Edinburgh, Festival Theatre Box Office: 0131 529 6000
Tues 20 – Sat 24 May Milton Keynes Theatre Box Office: 0870 060 6652
Tues 1 – Sat 5 April Belfast, Grand Opera House Box Office: 02890 24 19 19 Weds 30 April – Sat 3 May Norwich, Theatre Royal Box Office: 01603 63 00 00
Photo: Merlin Hendy
Photo: Merlin Hendy
are season
ROMEO & JULIET Weds 14 – Sat 17 May Manchester, Palace Theatre Box Office: 0844 847 2275
Tues 6 – Sat 10 May Sheffield, Lyceum Theatre Box Office: 0114 249 6000
Tues 27 – Sat 31 May Cardiff, New Theatre Box Office: 029 2087 8889 Weds 4 – Sat 7 June Llandudno, Venue Cymru Box Office: 01492 872 000 Please note, booking fees may apply
inside: the big interview
Let’s hear it for the boys NBT has a reputation for creating strong lead roles for its male dancers, from romantic heroes to dastardly villains and Musketeers to Aliens. inside talked to NBT’s leading male artists, Darren Goldsmith, Christopher Hinton-Lewis, Hironao Takahashi, Kenneth Tindall and Steven Wheeler about preparing for their roles, the difficulties of flying and overcoming pre-performance nerves.
Under the artistic direction of David Nixon, NBT produces, on average, two new productions each year. How are you involved in the creation of new roles? Darren Goldsmith (DG): David likes the creative process to be a joint effort. Obviously the movement has to be something we’re comfortable doing on stage and it has to fit with his overall vision for the piece.
Darren Goldsmith as Pinkerton in Madame Butterfly. Photo: Linda Rich
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Kenneth Tindall (KT): David allows lots of room for us to contribute ideas and then he refines them. It helps to draw on other sources for ideas that you think will fit with the characteristics of the role you’re playing. If you were playing a quirky role for example, you could look at some of the movements Johnny Depp uses in Pirates of the Caribbean and try to develop them into dance moves.
Steven Wheeler (SW): David lets me have quite a free reign with characterisation. If I do something he doesn’t like then he will tell me. Some characters keep developing as time goes on, all the things you’ve been trying differently come together and the character evolves. The NBT repertoire draws from a wide range of sources including well-known novels, operas, plays and ballets. How do you research your roles? DG: I always read the original material – especially Shakespeare – for insight into the characters. If films are available I’ll usually watch them too. Hironao Takahashi (HT): I always look at the original material, particularly the things I don’t know as well. Sometimes that only helps to a certain extent because David’s version
will always be different so you have to research more widely. CHL: I have the Hamlet script and the scenario in my bag as we speak. Because of the setting of this production I have been looking at old war movies and I have read a book from the first Gulf War about how captured soldiers felt when they were reunited with their families. NBT’s Hamlet is set in 1940s occupied Paris against one of the most terrifying backdrops of the 20th Century.How are you feeling about this new challenge? CHL: Hamlet is such a powerful play – the ups and downs that this man goes through are immense, he is on a roller-coaster. Has he really gone mad? Is he just playing everyone else for fools? It’s a pleasure to play and very exciting to try and get all this across without words.
“The majority of preparation is physical but because you have to tell the story through your character you do have to get psyched up.”
DG: I’m very excited about this production.I think it’s a great play – a difficult play to do – and I think David’s been very brave with his decisions on it so far. Acting is major part of the tradition of NBT.How difficult is the acting aspect of performance and how do you develop these skills? HT: The acting element is something you learn and develop as you go along.It’s really important to pitch your performance at the right level:not to overact or underplay a role. But you have to approach each performance flexibly – you need to be able to adapt to things as they happen. SW: If you don’t understand the character then it shows in your body.The audience needs to be able to tell if you’re angry or whatever.It’s not just the words or the face it has to be in the whole body.
KT: We’ve done a lot of workshops with Pat (Patricia Doyle), reading scripts and acting scenes out. We do exercises too like question and answer sessions in character. As a dancer the acting part isn’t so unnatural but the talking part is difficult and you worry you’re going to stumble over your words, but you learn to breathe and take your time. Does it affect you emotionally when you perform a lead role – especially perhaps one with tragic elements? KT: If you’re performing properly you’re really involved in it and then it’s exhausting.To go through any kind of tragedy in real life can leave you wrecked for weeks so it’s hard to perform that emotion in a night and then do it all over again. At the same time, if it’s a lighter role in a happy scenario it can leave you feeling great.
HT: I find roles like Dracula challenging because you have to get into the mind of someone very different to you – so, mentally and emotionally it’s a more tiring role to perform. SW: One role that upsets me to play is Scrooge – in the third act when Tiny Tim dies. It’s his mum’s reaction that makes me really emotional on stage. I’ve actually cried – which is hard when you’re wearing a lot of make up and you don’t want it to run! How do you prepare before a performance? Do you get nervous? CHL: There’s not a time I go on stage when I’m not nervous. I feel if I’ve gone through my routine then it’ll be a good show - its just one of those psychological things. It’s like Jonny Wilkinson taking a kick: he goes through the same routine every time,
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inside: the big interview
“...wearing a harness is very, uncomfortable – especially for hours on end in rehearsal. I’ll spare you the details.” Christopher HintonLewis on NBT’s Peter Pan
Hironao Takahashi as Romeo in Romeo & Juliet. Photo: Merlin Hendy
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however long it takes to calm himself down before he kicks the ball and he gets it through those posts nine times out of ten. So if you need to do that then do it. KT: The majority of preparation is physical but because you have to tell the story through your character you do have to get psyched up.You can’t be in the dressing room messing about one minute and then on stage performing seriously the next. I still get nervous but I’m more anxious now than nervous. Before I thought,“will I be able to do this?” whereas now it’s more like, “I hope I can do it as well as I’ve done it before”. It’s more about me meeting my own expectations. SW: I get mentally prepared as I’m putting the make-up on. Once you’ve finished that half an hour process and you look at yourself, you’ve sort of become that person. I nearly always
look at myself in the mirror before I go on stage just so that I can see what the audience is going to see, and who I’ve become. They say dancing is the closest thing to flying, but you’ve actually flown in Peter Pan. Is it as much fun as it looks? HT: Actually, one of the hardest things to learn was flying for Peter Pan. It’s difficult to do it the way you’re instructed to! You need to coordinate with the guy pulling the ropes and you’ve wires above your head, which you have to try not to get trapped in. CHL: Flying really isn’t as fun as it looks. It’s actually really hard because the harness pulls you out of alignment so it’s hard to do certain moves. Wearing a harness is very, very uncomfortable – especially for hours on end in rehearsal. I’ll spare you the details.
What about sword fighting – is it difficult to learn? DG: With Romeo & Juliet the fight scenes are hard. The dancing is hard but then that is something we do every day! With the fighting we have to be very mechanical and strict in rehearsal. I dance the roles of both Romeo and Tybalt so I have to learn the fighting on both sides, which is quite a challenge! KT: Sword fighting is great. Both my parents are martial arts practitioners so I had used other weapons before. I really enjoy martial arts, less for the actual fighting element and more for the aesthetic of it. What are you looking forward to in the forthcoming season? KT: I’m looking forward to all of it! It’s an intense season but it has some great roles.
CHL: Obviously I am looking forward to Hamlet. Midsummer is quite special because Demetrius was my first creation and it’s such a great role to perform. SW: I absolutely love the duet that I do with CHL as Hamlet father and son. It’s very short but there is something really moving about it. Chris says he doesn’t even see me, and he is not supposed to really because I am sort of a ghost or a memory.The Wardrobe Master in Midsummer is one of my favourite roles: it was made for me. It’s like an alter ego.
Main pic: Above left: Steven Wheeler as the Wardrobe Master in A Midsummer Night’s Dream. Photo: Merlin Hendy Above top: Christopher Hinton-Lewis as the Nutcracker Prince in The Nutcracker. Photo: Brian Slater. Above bottom: Kenneth Tindall as Drosselmeyer in The Nutcracker. Photo: Brian Slater
Darren, Christopher, Hironao, Kenneth and Steven will all be performing lead roles in Hamlet, A Midsummer Night’s Dream and Romeo & Juliet throughout the Spring/Summer 2008 season. See centre pages for full tour listings.
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inside: the fundraising department
A fairy good christmas Northern Ballet Theatre corporate partner Fenwick, the department store chain, wanted to find a way to connect with their younger customers around Christmas time and to bring a little festive magic into their York store. We thought this sounded like a job for the Sugar Plum Fairy…
appearance by NBT’s Sugar Plum Fairy. The event also helped Fenwick to promote their store as a Christmas shopping location, with local press coverage and follow up features on NBT’s website. The Sugar Plum Fairy’s visit was a huge hit with shoppers and staff alike, and caused great excitement amongst young dancers from a local ballet school. Nicola Johnson, Managing Director at Fenwick, was delighted to see dancer Julie Charlet surprising her customers. “Sugarplum’s visit to Fenwick York really helped kick off our Christmas shopping campaign. We had some very happy little ballerinas in store! We initiated a colouring contest to win family tickets to The Nutcracker and we were delighted with the response. We secured some excellent regional newspaper coverage while supporting the NBT cause.”
Julie Charlet as the Sugar Plum Fairy from The Nutcracker with young dancers from the Isobel Dunn dance school. Photos: Lisa Stonehouse
NBT’s corporate membership scheme attracts companies from all sectors of the business world, from regions throughout the UK. They include retail organisations like Fenwick, media outlets, financial and educational institutions, transport, property and technology firms. This diverse group of companies are united by a desire to support the arts, and to see their brand grow through an association with NBT’s nationally renowned touring company. Our corporate partners use their membership in lots of different ways. Some choose to host events for their clients or staff, while others aim to reach new customers, or to bring ballet to disadvantaged communities. We try to help our members to get the most out of the partnership, and sometimes this means coming up with creative solutions to their marketing challenges.
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The colouring competition provided young visitors to Fenwick’s toy department and restaurant with the opportunity to colour their entry in-store, offering a welcome break from Christmas shopping for lots of eager youngsters. Three lucky winners were able to treat their family and friends to a special day out at the theatre.
More in store Over the Christmas period Fenwick decided that it was time to bring the benefits of their partnership with NBT direct to their younger customers, and that meant directly into the store with a surprise
Fenwick’s imaginative use of their corporate membership allowed them to reach a key target audience and to bring their association with NBT to life. Watch out for the Sugar Plum Fairy at locations around the country next Christmas – you never know where you might find her!
inside: with learning & access
Developing the Paralympics Spirit While Northern Ballet Theatre was on tour in China, our Learning & Access department was busy delivering a very special project with the British Council in Beijing: The Integrated Paralympics Project, Young Advocates Programme - Developing the Paralympics Spirit.
This was the first time NBT had taken its Learning & Access work to an international level. We were able to use our approach of making dance accessible to all, regardless of ability or disability and break down perceptions about who can dance and what dance can be.
“We were able to use our approach of making dance accessible to all, regardless of ability or disability and break down perceptions about who can dance and what dance can be.“
Photos: Neil Jarman
The Young Advocates Programme aims to help China and the UK secure an international legacy to their Paralympic Games, by developing skills in a core group of young people and, through them, raise awareness of the potential of sport to benefit a diverse range of people in the community. The Integrated Paralympics Project was the first project in a programme of work designed to develop the skills of the Beijing Young Advocates who will meet with their international counterparts in September 2008 at the start of the Paralympics in Beijing. It brought together the British Council, the China Disabled Persons Federation and our Learning & Access team. The aim of the project was to work with a group of disabled and non-disabled young people to create a new dance work based on the theme of communication. The creative process would develop the participant’s self-confidence, team work and leadership skills.
During the week the group took part in a daily warm-up followed by creative workshops where the students developed movement ideas. The group attended a performance of Madame Butterfly in Beijing’s Poly Theatre and were taught steps from the production, including some lifts. At the end of the week the students performed exercises from class and the dances they had created to each other and invited guests. During the project the group surprised themselves, and each other, with their achievements. We were impressed by the level of commitment and support our Chinese partners poured into this project. Everyone threw themselves into the sessions with energy and enthusiasm and this was the key to the project’s success. We hope this is the beginning of a successful working relationship between the three organisations, which will continue up to London 2012.
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inside:the classical training department
Associates celebrate ten yearanniversary 2008 marks the ten year anniversary of Northern Ballet Theatre’s Associate training programme. Created in 1998 by former NBT Artistic Director Christopher Gable and his wife Carole, the programme has given aspiring dancers access to the best possible classical training.
Now under the guidance of NBT Ballet Mistress Yoko Ichino and Artistic Director David Nixon, the Associate programme is growing from strength to strength, offering excellence in dance training for young dancers from across the country. Diane Tabern, PA to the Directors looks back to 1998: “Christopher and Carole had a vision to set up a training programme to provide opportunities for young dancers to train in the North, rather than moving to undertake training in London. They were both passionate that young people received expert training and knowledge of being a dancer, beyond dance technique.
much broader range of experience.” Viki Westall was a Principal Dancer at NBT for ten years and was among the first Associate teachers,“The Associate programme reflects Yoko’s methodology and the practical experience of teachers like myself. I think the unique thing about it is that students get such a rounded experience with teachers who have actually been successful dancers. It’s a real advantage to be so near the Company’s dancers and to be able to see how good you have to be to make it.”
Students on the Classical Training programme at NBT work with Yoko Ichino and the teaching faculty to develop their classical technique in an atmosphere centred on individual learning and development.
With the ten year anniversary has come the exciting news that NBT is to have a new building in Leeds city centre.Yoko Ichino looks forward to the prospect of improved facilities and more opportunities for current and potential students,“The new building will be testament to the hard work of so many NBT staff. Christopher and Carole left a fantastic foundation of learning and dedication, on which David and I have worked towards building an established 21st century training programme. The new building will see the fulfilment of these dreams.
NBT dancer Victoria Sibson was one of the first Associate students. She says “The Associate programme was a brilliant addition to my regular training. The range of teachers and the blend of contemporary and ballet classes meant the training was really different to my regular syllabus work. It was fun and gave me lots of confidence and a
“‘The facilities incorporate seven dance studios including a performance space and will greatly improve the training experience of our students. We hope some day soon we will have a full-time school, providing a holistic approach to teaching that will incorporate all aspects of becoming a professional dancer. This is a really exciting time for us all.”
“David and Yoko brought their vast experience from their ballet school in Columbus and have worked extremely hard over the past seven years to ensure the Associate programme offers a rounded approach to training.”
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The Associate programme has been, and will continue to be, a great asset to NBT. Past students have gone on to professional vocational training at schools that include White Lodge, Elmhurst School for Dance and English National Ballet School. Graduates include Luke Murphy who now dances with Matthew Bourne’s New Adventures, and Lewis Landini, now dancing at Scottish Ballet.
“The Associate programme was a brilliant addition to my regular training.The range of teachers and the blend of contemporary and ballet classes meant the training was really different to my regular syllabus work.” Victoria Sibson on the Associate Programme
Luke looks back fondly on his time as an Associate student,“In a professional company I train with teachers from across the world. I can honestly say that NBT Associates is where I received some of my best training and I can take all I learnt from there with me wherever my career takes me.” As the programme grows from strength to strength the future looks bright for the ballet stars of tomorrow. Ex-associate students Lewis Landini and Bethany Eyre. Photo: Darren Goldsmith
inside is published biannually by Northern Ballet Theatre Northern Ballet Theatre West Park Centre Spen Lane Leeds LS16 5BE Telephone +44 (0)113 274 5355 Fax +44 (0)113 274 5381 www.northernballettheatre.co.uk BOARD OF DIRECTORS Councillor Bernard Atha CBE (Chairman) Dr Jo Butterworth Graham Dewhirst Judith Donovan CBE David Forbes Jon Hammond Susie Hargreaves Juliet Jowitt Professor Simon Lee ARTISTIC DIRECTOR David Nixon CHIEF EXECUTIVE Mark Skipper MUSIC DIRECTOR John Pryce-Jones INSIDE EDITORIAL TEAM Laraine Penson Ruth Burke-Kennedy Catherine Mullaney Northern Ballet Theatre is a touring narrative dance company whose distinctive blend of classical dance and theatre is renowned for captivating new audiences. For up to 30 weeks of the year NBT’s company of 40 dancers tour a combination of new work and acclaimed repertory pieces to all four UK countries and overseas.This extensive touring schedule demonstrates NBT’s commitment to providing opportunities for all people to have access to excellence in dance performance and participation. Designed by Andrassy Design 01484 434844
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Illustraions: Chris Giles