inside the magazine from Northern Ballet Theatre Issue 1 January 2007
TALES OF LOVE & BETRAYAL Your pull-out and keep guide to next season EXCLUSIVELY YOURS When Friends come to visit COSTUME DRAMA Behind the scenes in the costume department
inside: thenews
I hope you enjoy our new magazine and I look forward to seeing you at a performance or event sometime soon.
NBT receive a Royal visit
Best wishes,
On Friday 6 October, TRH the Earl and Countess of Wessex attended a performance of NBT’s The Three Musketeers at the New Victoria Theatre, Woking. HRH The Earl of Wessex, KCVO is the Royal Patron of NBT, a position he has held since 2003. Their Royal Highnesses attended a private reception prior to the performance and afterwards went backstage to meet the cast and orchestra.
inside
Alongside the work of the touring Company,NBT offers a programme of diverse and far-reaching participatory activities for everyone that enhance people's experience of dance and of NBT. In this issue of inside we look at two examples of projects from our Learning & Access
issue 1
5.
6-7.
When Friends come to visit
From Page to Stage turning Jérôme Kaplan’s costume designs into reality
10-11. NBT season poster your pull-out-and-keep guide to the best in ballet
18. School of Dreams welcome to the Classical Training department
12-15.
A woman’s place... is centre stage
Front Cover: NBT Coryphée Nathalie Leger. Photo: Darren Goldsmith
Page 6: From the sketchbook of Jérôme Kaplan, the Blue king in A Sleeping Beauty Tale
Mark Skipper is Manager of the Year
NBT join the celebrations in Belfast On 21 October, Belfast Grand Opera House celebrated its £10 million extension and refurbishment programme with a gala celebration filmed by BBC Northern Ireland. Two of NBT’s lead dancers, Patrick Howell and Keiko Amemori, were invited to perform at the event which featured a mix of top Irish and international artists from the worlds of music, drama, comedy and dance. Patrick and Keiko performed one of the romantic pas de deux from The Three Musketeers, in which the two play young lovers, D’Artagnan and Constance. NBT will return to the Belfast Grand Opera House to perform The Three Musketeers from 16-19 May 2007.
The Theatrical Management Association (TMA) has awarded Mark Skipper, NBT’s Chief Executive, the accolade of Manager of the Year 2006. The award aims to recognise the quality of management within the performing arts industry, and highlight the skill and expertise demonstrated by an individual during the course of the year. Mark was particularly commended for his work on securing the development of NBT’s new building project in central Leeds. Photo: Charlie Hopkinson
David Nixon Artistic Director
Leeds Met and NBT partnership recognised Leeds Metropolitan University and NBT have been awarded the Arts, Business & Employees Award by Arts & Business Yorkshire. The award recognises the innovative and dynamic relationship that has developed between both organisations into a strategic partnership involving staff and students.
Join the debate
Prix de Lausanne
Arts Council England has launched the arts debate, its first-ever public value inquiry. The Arts Council aims to explore how people value the arts and, by gaining a deeper understanding of what is important to them, become more accountable to the public it serves. You can have your say by logging on to the interactive discussion forum on the arts debate website: www.artsdebate.org.uk
David Nixon is taking part in this year’s Prix de Lausanne (Switzerland), the annual international competition for young dancers, which is celebrating its 35th anniversary. David will take part in a seminar entitled ‘Ballet meets Business’ where he will discuss ‘Performance on Demand’ with George Kohlrieser, Professor of Leadership and Organizational Behaviour at the IMD Business School. Siobhan Davies (Artistic Director of Siobhan Davies Dance Company) will also take part.
A Double from Dance Europe Readers Readers of Dance Europe magazine have voted David Nixon Director of the year 2006. David won the same award in 2003, making him the only Director to have won it twice.
Three in a Row NBT has received the 2006 Audience Award at the Critics’ Circle National Dance Awards for the third successive time. It is the only category to be voted for entirely by the public, once again making NBT the nations favourite dance company.
Dance Manifesto NBT is supporting the Dance Manifesto, a lobbying document which communicates the key ambitions of the dance sector to government. Produced by the National Campaign for the Arts and Dance UK, the Manifesto sets out four key ambitions for dance: to be supported and developed as an art form, an integral part of every child’s education, available and affordable for everyone to watch and participate in, and a sustainable career and healthy profession. An All Party Parliamentary Dance Group has been established and is Chaired by Sir Gerald Kaufmann MP. For further information and to pledge your support for the Manifesto visit www.danceuk.org
Photo: Will Shively
I am also able to update you on progress with NBT's new building. Last November we crossed a major hurdle when Leeds City Council's Executive Board approved the project. We have 90% of the £8million funding for the project in place, and our Fundraising team are working hard on the capital campaign to raise the remaining funds. The building has been designed by DLA Architects with Rushbond PLC as developer.
Photo: Merlin Hendy
gives you all the news from NBT, and provides an insight into the many different aspects of the Company; and this year there is a lot to look forward to... NBT will tour my new production, A Sleeping Beauty Tale, from February 2007. For this ballet I have collaborated with Patricia Doyle on the scenario, and two French designers, Jérôme Kaplan and Olivier Oudiou, who have conceived brilliant, futuristic sets, costumes and lighting. I worked with Jérôme and Olivier last year when choreographing Ondine for Ballet du Rhin, and it's been great to have the opportunity to renew that partnership. Later this year I will start work on a brand new seasonal NBT ballet - a traditional Nutcracker, with designer Charles Cusick Smith.
Photo: Darren Goldsmith
David Nixon Artistic Director inside NBT
department and we will also introduce our growing Classical Training department. NBT offers training to young people who hope to pursue a career in dance, through our Associates and Yorkshire Young Dancer initiatives.
Photo: Richard Moran
Happy New Year and welcome to the first edition of inside, Northern Ballet Theatre's brand new magazine.
David Nixon resurrects Dracula for BalletMet Columbus David Nixon returned to BalletMet Columbus, USA, in October 2006 to revive his highly successful production of Dracula. Nixon’s dramatic retelling of Bram Stoker’s 1897 gothic horror tale brings to life the tormented world of the immortal Count. Nixon created Dracula for BalletMet in 1999 whilst he was Artistic Director; in 2005 he restaged the production for NBT.
Company Movements Georgina May has been promoted from Coryphée to Junior Soloist while Hannah Bateman and Victoria Sibson have been promoted to Coryphée. Apprentices Julia Davies and James Muller return for the Spring/ Summer 2007 season.
3
inside: thenews
I hope you enjoy our new magazine and I look forward to seeing you at a performance or event sometime soon.
NBT receive a Royal visit
Best wishes,
On Friday 6 October, TRH the Earl and Countess of Wessex attended a performance of NBT’s The Three Musketeers at the New Victoria Theatre, Woking. HRH The Earl of Wessex, KCVO is the Royal Patron of NBT, a position he has held since 2003. Their Royal Highnesses attended a private reception prior to the performance and afterwards went backstage to meet the cast and orchestra.
inside
Alongside the work of the touring Company,NBT offers a programme of diverse and far-reaching participatory activities for everyone that enhance people's experience of dance and of NBT. In this issue of inside we look at two examples of projects from our Learning & Access
issue 1
5.
6-7.
When Friends come to visit
From Page to Stage turning Jérôme Kaplan’s costume designs into reality
10-11. NBT season poster your pull-out-and-keep guide to the best in ballet
18. School of Dreams welcome to the Classical Training department
12-15.
A woman’s place... is centre stage
Front Cover: NBT Coryphée Nathalie Leger. Photo: Darren Goldsmith
Page 6: From the sketchbook of Jérôme Kaplan, the Blue king in A Sleeping Beauty Tale
Mark Skipper is Manager of the Year
NBT join the celebrations in Belfast On 21 October, Belfast Grand Opera House celebrated its £10 million extension and refurbishment programme with a gala celebration filmed by BBC Northern Ireland. Two of NBT’s lead dancers, Patrick Howell and Keiko Amemori, were invited to perform at the event which featured a mix of top Irish and international artists from the worlds of music, drama, comedy and dance. Patrick and Keiko performed one of the romantic pas de deux from The Three Musketeers, in which the two play young lovers, D’Artagnan and Constance. NBT will return to the Belfast Grand Opera House to perform The Three Musketeers from 16-19 May 2007.
The Theatrical Management Association (TMA) has awarded Mark Skipper, NBT’s Chief Executive, the accolade of Manager of the Year 2006. The award aims to recognise the quality of management within the performing arts industry, and highlight the skill and expertise demonstrated by an individual during the course of the year. Mark was particularly commended for his work on securing the development of NBT’s new building project in central Leeds. Photo: Charlie Hopkinson
David Nixon Artistic Director
Leeds Met and NBT partnership recognised Leeds Metropolitan University and NBT have been awarded the Arts, Business & Employees Award by Arts & Business Yorkshire. The award recognises the innovative and dynamic relationship that has developed between both organisations into a strategic partnership involving staff and students.
Join the debate
Prix de Lausanne
Arts Council England has launched the arts debate, its first-ever public value inquiry. The Arts Council aims to explore how people value the arts and, by gaining a deeper understanding of what is important to them, become more accountable to the public it serves. You can have your say by logging on to the interactive discussion forum on the arts debate website: www.artsdebate.org.uk
David Nixon is taking part in this year’s Prix de Lausanne (Switzerland), the annual international competition for young dancers, which is celebrating its 35th anniversary. David will take part in a seminar entitled ‘Ballet meets Business’ where he will discuss ‘Performance on Demand’ with George Kohlrieser, Professor of Leadership and Organizational Behaviour at the IMD Business School. Siobhan Davies (Artistic Director of Siobhan Davies Dance Company) will also take part.
A Double from Dance Europe Readers Readers of Dance Europe magazine have voted David Nixon Director of the year 2006. David won the same award in 2003, making him the only Director to have won it twice.
Three in a Row NBT has received the 2006 Audience Award at the Critics’ Circle National Dance Awards for the third successive time. It is the only category to be voted for entirely by the public, once again making NBT the nations favourite dance company.
Dance Manifesto NBT is supporting the Dance Manifesto, a lobbying document which communicates the key ambitions of the dance sector to government. Produced by the National Campaign for the Arts and Dance UK, the Manifesto sets out four key ambitions for dance: to be supported and developed as an art form, an integral part of every child’s education, available and affordable for everyone to watch and participate in, and a sustainable career and healthy profession. An All Party Parliamentary Dance Group has been established and is Chaired by Sir Gerald Kaufmann MP. For further information and to pledge your support for the Manifesto visit www.danceuk.org
Photo: Will Shively
I am also able to update you on progress with NBT's new building. Last November we crossed a major hurdle when Leeds City Council's Executive Board approved the project. We have 90% of the £8million funding for the project in place, and our Fundraising team are working hard on the capital campaign to raise the remaining funds. The building has been designed by DLA Architects with Rushbond PLC as developer.
Photo: Merlin Hendy
gives you all the news from NBT, and provides an insight into the many different aspects of the Company; and this year there is a lot to look forward to... NBT will tour my new production, A Sleeping Beauty Tale, from February 2007. For this ballet I have collaborated with Patricia Doyle on the scenario, and two French designers, Jérôme Kaplan and Olivier Oudiou, who have conceived brilliant, futuristic sets, costumes and lighting. I worked with Jérôme and Olivier last year when choreographing Ondine for Ballet du Rhin, and it's been great to have the opportunity to renew that partnership. Later this year I will start work on a brand new seasonal NBT ballet - a traditional Nutcracker, with designer Charles Cusick Smith.
Photo: Darren Goldsmith
David Nixon Artistic Director inside NBT
department and we will also introduce our growing Classical Training department. NBT offers training to young people who hope to pursue a career in dance, through our Associates and Yorkshire Young Dancer initiatives.
Photo: Richard Moran
Happy New Year and welcome to the first edition of inside, Northern Ballet Theatre's brand new magazine.
David Nixon resurrects Dracula for BalletMet Columbus David Nixon returned to BalletMet Columbus, USA, in October 2006 to revive his highly successful production of Dracula. Nixon’s dramatic retelling of Bram Stoker’s 1897 gothic horror tale brings to life the tormented world of the immortal Count. Nixon created Dracula for BalletMet in 1999 whilst he was Artistic Director; in 2005 he restaged the production for NBT.
Company Movements Georgina May has been promoted from Coryphée to Junior Soloist while Hannah Bateman and Victoria Sibson have been promoted to Coryphée. Apprentices Julia Davies and James Muller return for the Spring/ Summer 2007 season.
3
inside: reviewing NBT’s Autumn/Winter season 2006
inside: with friends
Exclusively yours dress rehearsals for the Friends of NBT When the curtain goes up on another spectacular NBT performance, it’s hard to imagine how everything comes together so beautifully. So what better way to find out, than to attend a dress rehearsal. We joined some of the Friends of NBT on their recent visit to ask what they enjoy from seeing the creative process unfold. On Tuesday 7th November, the Friends of NBT attended a dress rehearsal of A Christmas Carol at the Marlowe Theatre, Canterbury. Dress rehearsals are exclusive events for our Friends and their guests, and they are an opportunity to see a production in a slightly different way than you would at a public performance. They provide an insight into the rehearsal process – you hear the notes given to the performers during the rehearsal from the Rehearsal Director or Artistic Director, and see our technicians, making finishing touches to the
AToast toChristmasPast Singing Carol’s praises
The Three Musketeers premièred on 23 September at the Alhambra Theatre, Bradford, and was seen by more than 21,000 people at 28 performances over four venues.
A Christmas Carol premièred in 1992, and in 2006 it was seen by more than 49,000 people at 54 performances, in six venues, achieving almost £1million at the box office.The tour concluded with two weeks at the newly refurbished Grand Theatre, Leeds.
‘It’s all round great entertainment and the audience laps it up.’ Daily Telegraph, 27 September 2006 ‘Another must see production from Northern Ballet Theatre.’ Sunday Express, 8 October 2006
‘The whole experience won us over so completely that we expected to step out into the streets shimmering with snow, beneath reindeer-speckled skies.’ Norwich Evening News, 15 November 2006
‘The choreography is highly satisfying and the production must be adjudged one of Nixon’s best ballets to date.’ Dance Europe, November 2006
‘This is strong, accomplished ballet with a dramatic edge for a modern audience.’ The Stage, 9 November 2006
production. Sylvia, who travelled to Canterbury from Eastbourne, hadn’t been to a dress rehearsal before as they are often held in the north of England. Sylvia has been a Friend of NBT for five years and is a big fan of the Company. ’The dancers are all characters, when they perform you can see their individual personalities coming through.’ Jean from Herne Bay has also been a Friend for five years,‘I like the Company because NBT produce really creative productions.’ For Jean the dress rehearsal was a chance to see
how productions are put together. Geoffrey from Hythe agrees: ’I love the creativity in NBT productions.’ He had taken the day off especially to come to the dress rehearsal – we appreciate your dedication Geoffrey.
Best seats in the house We are already planning more exclusive opportunities for Friends to watch NBT’s dress rehearsals. Our next event takes place at Leeds Grand Theatre, prior to the opening of A Sleeping Beauty Tale, when Friends will be amongst the first people to see David Nixon’s new production. Visit our Friends forum on the NBT website to read exclusive news and interviews, and to give us your feedback on inside or any other NBT activity.
Photo: Brian Slater
One for all...
Photo: Brian Slater
Last season Northern Ballet Theatre toured David Nixon’s new production The Three Musketeers, and A Christmas Carol made a welcome return to repertoire after a three-year absence.
’The dancers are all characters; when they perform you can see their individual personalities coming through’
Access all areas: Throughout the season NBT’s Learning & Access department held 97 workshops for more than 3400 participants, to coincide with the tour. Here’s what some of the teachers said about our workshops: ‘Excellent. Well paced and well explained and demonstrated. Engaged the children’s attention at all times. Huge change in attitude towards dance from a group of very self-conscious,“macho” boys.’ Jane Hurford,Beecroft Primary School,Leeds ‘It helped to promote ‘boys and dance’. It gave students a chance to be creative and experience working with professional artists.’Marianna Heaton, Parkside School, Bradford
4
top: Darren Goldsmith as Scrooge and Steven Wheeler as The Ghost of Christmas Yet to Come in A Christmas Carol Photo: Brian Slater
5
inside: reviewing NBT’s Autumn/Winter season 2006
inside: with friends
Exclusively yours dress rehearsals for the Friends of NBT When the curtain goes up on another spectacular NBT performance, it’s hard to imagine how everything comes together so beautifully. So what better way to find out, than to attend a dress rehearsal. We joined some of the Friends of NBT on their recent visit to ask what they enjoy from seeing the creative process unfold. On Tuesday 7th November, the Friends of NBT attended a dress rehearsal of A Christmas Carol at the Marlowe Theatre, Canterbury. Dress rehearsals are exclusive events for our Friends and their guests, and they are an opportunity to see a production in a slightly different way than you would at a public performance. They provide an insight into the rehearsal process – you hear the notes given to the performers during the rehearsal from the Rehearsal Director or Artistic Director, and see our technicians, making finishing touches to the
AToast toChristmasPast Singing Carol’s praises
The Three Musketeers premièred on 23 September at the Alhambra Theatre, Bradford, and was seen by more than 21,000 people at 28 performances over four venues.
A Christmas Carol premièred in 1992, and in 2006 it was seen by more than 49,000 people at 54 performances, in six venues, achieving almost £1million at the box office.The tour concluded with two weeks at the newly refurbished Grand Theatre, Leeds.
‘It’s all round great entertainment and the audience laps it up.’ Daily Telegraph, 27 September 2006 ‘Another must see production from Northern Ballet Theatre.’ Sunday Express, 8 October 2006
‘The whole experience won us over so completely that we expected to step out into the streets shimmering with snow, beneath reindeer-speckled skies.’ Norwich Evening News, 15 November 2006
‘The choreography is highly satisfying and the production must be adjudged one of Nixon’s best ballets to date.’ Dance Europe, November 2006
‘This is strong, accomplished ballet with a dramatic edge for a modern audience.’ The Stage, 9 November 2006
production. Sylvia, who travelled to Canterbury from Eastbourne, hadn’t been to a dress rehearsal before as they are often held in the north of England. Sylvia has been a Friend of NBT for five years and is a big fan of the Company. ’The dancers are all characters, when they perform you can see their individual personalities coming through.’ Jean from Herne Bay has also been a Friend for five years,‘I like the Company because NBT produce really creative productions.’ For Jean the dress rehearsal was a chance to see
how productions are put together. Geoffrey from Hythe agrees: ’I love the creativity in NBT productions.’ He had taken the day off especially to come to the dress rehearsal – we appreciate your dedication Geoffrey.
Best seats in the house We are already planning more exclusive opportunities for Friends to watch NBT’s dress rehearsals. Our next event takes place at Leeds Grand Theatre, prior to the opening of A Sleeping Beauty Tale, when Friends will be amongst the first people to see David Nixon’s new production. Visit our Friends forum on the NBT website to read exclusive news and interviews, and to give us your feedback on inside or any other NBT activity.
Photo: Brian Slater
One for all...
Photo: Brian Slater
Last season Northern Ballet Theatre toured David Nixon’s new production The Three Musketeers, and A Christmas Carol made a welcome return to repertoire after a three-year absence.
’The dancers are all characters; when they perform you can see their individual personalities coming through’
Access all areas: Throughout the season NBT’s Learning & Access department held 97 workshops for more than 3400 participants, to coincide with the tour. Here’s what some of the teachers said about our workshops: ‘Excellent. Well paced and well explained and demonstrated. Engaged the children’s attention at all times. Huge change in attitude towards dance from a group of very self-conscious,“macho” boys.’ Jane Hurford,Beecroft Primary School,Leeds ‘It helped to promote ‘boys and dance’. It gave students a chance to be creative and experience working with professional artists.’Marianna Heaton, Parkside School, Bradford
4
top: Darren Goldsmith as Scrooge and Steven Wheeler as The Ghost of Christmas Yet to Come in A Christmas Carol Photo: Brian Slater
5
inside: the costume department
from page to stage Jérôme Kaplan has designed sets and costumes for David Nixon’s new full-length ballet A Sleeping Beauty Tale. NBT’s Costume Supervisor Beth Stocks, reveals the process involved in transforming his costume designs from page to stage. Once we receive the designs from Jérôme and the fabric samples he’s sourced, I break down what’s involved and work out the costs depending on how the garments are to be constructed, obviously working within a certain budget. It’s a juggling act to find the most cost effective way of creating the costumes without compromising the look or quality of the show. Each design is allocated to costume makers who specialise in the different techniques required. For A Sleeping Beauty Tale we’re using around 15 different costume makers and we prioritise those designs that require prototypes so they can be used in rehearsals. Some elements of the designs are more of an artist’s impression, so we may have to adapt them slightly to fit the body correctly and feel right for the dancers. Jérôme will attend the initial fittings to see if his design ideas have been realised correctly.
images, from left to right: Jérôme Kaplan’s design’s for the Red King; Aurora; sketches; fabric swatches for A Sleeping Beauty Tale.
6
“I can’t wait to see the end product of something I’ve been a part of creatively,not many people get a chance to do that in their work.”
For A Sleeping Beauty Tale Jérôme wanted the costumes to look futuristic, but not too specific, so it doesn’t date quickly. There is definitely a colour theme representing darkness and light, and the red and blue planets that feature in the story. Aurora has the iridescent costume designs, which represent her purity and beauty. Jérôme’s designs are visually arresting and striking, and really do help to portray another world. He’s interested in showing the body, so he’s using a lot of translucent fabrics, and he’s interested in texture, so he has chosen fabrics that lend a richness and depth to the costumes. We’re making around 94 costumes, a few of which are duplicates of the same design. We aim
to have the majority of costumes ready two weeks before the show opens, so we have time to make sure they are working for the dancers and to make any alterations. Once we get to the theatre we also have to see how the costumes look on the set and under the stage lights, just in case we need to make colour alterations. Jérôme is passionate and has made me feel part of the collaborative process. Making the costumes work on dancers and seeing a physical product on stage is very exciting. It’s such a collaborative process and I work to bring it all together. I can’t wait to see the end product of something I’ve been a part of creatively, not many people get a chance to do that in their work. ‘A Sleeping Beauty Tale’ premières at Leeds Grand Theatre (24 Feb–3 March), and then tours to Nottingham Theatre Royal (13–17 March) and Woking New Victoria Theatre (19–23 June). See centre pages for full tour listings.
7
inside: the costume department
from page to stage Jérôme Kaplan has designed sets and costumes for David Nixon’s new full-length ballet A Sleeping Beauty Tale. NBT’s Costume Supervisor Beth Stocks, reveals the process involved in transforming his costume designs from page to stage. Once we receive the designs from Jérôme and the fabric samples he’s sourced, I break down what’s involved and work out the costs depending on how the garments are to be constructed, obviously working within a certain budget. It’s a juggling act to find the most cost effective way of creating the costumes without compromising the look or quality of the show. Each design is allocated to costume makers who specialise in the different techniques required. For A Sleeping Beauty Tale we’re using around 15 different costume makers and we prioritise those designs that require prototypes so they can be used in rehearsals. Some elements of the designs are more of an artist’s impression, so we may have to adapt them slightly to fit the body correctly and feel right for the dancers. Jérôme will attend the initial fittings to see if his design ideas have been realised correctly.
images, from left to right: Jérôme Kaplan’s design’s for the Red King; Aurora; sketches; fabric swatches for A Sleeping Beauty Tale.
6
“I can’t wait to see the end product of something I’ve been a part of creatively,not many people get a chance to do that in their work.”
For A Sleeping Beauty Tale Jérôme wanted the costumes to look futuristic, but not too specific, so it doesn’t date quickly. There is definitely a colour theme representing darkness and light, and the red and blue planets that feature in the story. Aurora has the iridescent costume designs, which represent her purity and beauty. Jérôme’s designs are visually arresting and striking, and really do help to portray another world. He’s interested in showing the body, so he’s using a lot of translucent fabrics, and he’s interested in texture, so he has chosen fabrics that lend a richness and depth to the costumes. We’re making around 94 costumes, a few of which are duplicates of the same design. We aim
to have the majority of costumes ready two weeks before the show opens, so we have time to make sure they are working for the dancers and to make any alterations. Once we get to the theatre we also have to see how the costumes look on the set and under the stage lights, just in case we need to make colour alterations. Jérôme is passionate and has made me feel part of the collaborative process. Making the costumes work on dancers and seeing a physical product on stage is very exciting. It’s such a collaborative process and I work to bring it all together. I can’t wait to see the end product of something I’ve been a part of creatively, not many people get a chance to do that in their work. ‘A Sleeping Beauty Tale’ premières at Leeds Grand Theatre (24 Feb–3 March), and then tours to Nottingham Theatre Royal (13–17 March) and Woking New Victoria Theatre (19–23 June). See centre pages for full tour listings.
7
inside: the music
A dedication to Sir Malcolm Arnold
At NBT, music – particularly live music – is central to our performances, rehearsals and Company training. inside talks to NBT’s Artistic Director, David Nixon about his approach to working with music.
If you’ve attended a performance by Northern Ballet Theatre you cannot have failed to notice the marriage of dance and music. Imagine watching the same performance without music, imagine sitting in the theatre without dance. How does David bring the two together? ‘Initially I am attracted to music if it speaks to me emotionally. One piece of music can be a starting point for a whole work. For example, with Dracula my starting point was a section of music by Arvo Pärt, which I used for the pas de deux for Dracula and Mina in Act 2. From there I worked closely with the Music Director at BalletMet and the rest of the score fell into place.’
8
NBT uses a mixture of commissioned scores for its ballets and also specially arranged scores of existing music. David couldn’t find any recorded music that suited his ideas for Peter Pan, but he admired Stephen Warbeck’s soundtrack for the film Shakespeare in Love and so invited him to create a new score for the ballet. Philip Feeney has written new scores for a number of NBT works, including Dracula (1996 version) and A Streetcar Named Desire. David has also invited Philip to create original music for a new production that will première in Spring 2008.
“I like the stuff I can sing in my head”
Good to dance to
David likes working with new scores but he is inspired more often by pre-recorded music, ‘I like the stuff I can sing in my head.’ And he doesn’t shy away from working with music by the grand masters. David chose music by Mendelssohn and Brahms for A Midsummer Night’s Dream; and Swan Lake and A Sleeping Beauty Tale are set to, or inspired by, Tchaikovsky’s famous scores. To begin with he looks at how the narrative, action and emotion of a ballet fit with a piece of music. If there’s something that doesn’t work David, with John Longstaff, NBT Orchestrator, very respectfully adjusts the music to suit his ideas.
John Pryce-Jones, NBT Music Director, believes that music for dance must have energy, contrast and shape and be able to stand-alone, so it exists as a work on its own merit. An excellent example of this is the music for The Three Musketeers, which is largely a collection of orchestral and chamber music. David agrees,‘live accompaniment is not just a sound but an energy, it creates a dynamic for and with the movement.’ Using live, as opposed to recorded, music adds further dynamic to a performance but also to rehearsal and Company training. In performance, dancers respond to an
orchestra, they can lose their spontaneity if working only with recordings; live music forces the dancer to interpret and listen to the music. In rehearsal, musicians can help a choreographer find the nuances of a work and also give them the freedom to change the speed at which the movement is rehearsed. In Company training, the rhythm of the music helps the dancer physically engage the body and the accompanist helps motivate the dancers bodies to work.The performance audiences see and hear is, therefore, only part of a much wider relationship between dance and music at NBT. above, from left to right: Julie Charlet, Lori Gilhchrist, Ayana Kanda, Michela Paolacci, Sarah Kundi as Washer Women in The Three Musketeers Photo: Merlin Hendy
“Malcolm Arnold’s music is full of rich melody and urgent rhythms and constitutes a felicitous dance score to which David Nixon has responded with enthusiasm and skill.” Dance Europe, November 2006 “His score provides stirring accompaniment for what is a fun packed adventure.” The Stage, 5 October 2006 “Arnold’s music has the effect of a big glass of pre-theatre wine: it swells the emotions and smoothes off any rough edges, niggling details and petty cynicism.” Daily Telegraph, 27 September 2006
9
Photo of Sir Malcolm Arnold: Fritz Curzon
lords of the dance
The Three Musketeers is performed to an arranged score of memorable music by Sir Malcolm Arnold, who was one of the UK’s most prolific and respected composers. Sir Malcolm was invited to compose the music for The Three Musketeers when the ballet was originally conceived by David Drew 30 years ago, but circumstances prevented the completion of the project. Years later, when David Nixon chose to create the ballet for NBT, the music was already part of the plan. As David explains:“Malcolm Arnold’s music is absolutely right for the piece. It is very filmic, which suits the dramatic and fun nature of Musketeers. In fact, the melodrama of film scores lends itself well to full-length ballets of this type.” On Saturday 23 September 2006, shortly before the curtain rose on the world première of The Three Musketeers, David Nixon received the sad news of the death of Sir Malcolm Arnold. David addressed the audience and dedicated the performance to Sir Malcolm,“the score for The Three Musketeers is a compilation of his symphonies, chamber pieces and film music - and when you hear it you appreciate the prolific amount of music he produced. He was not only a great composer he was a great Englishman, and his music had a sense of Englishness about it which I think was a very special quality." NBT would like to extend its sympathy to Sir Malcolm Arnold’s family and friends. We are honoured to be celebrating his music through this production.
inside: the music
A dedication to Sir Malcolm Arnold
At NBT, music – particularly live music – is central to our performances, rehearsals and Company training. inside talks to NBT’s Artistic Director, David Nixon about his approach to working with music.
If you’ve attended a performance by Northern Ballet Theatre you cannot have failed to notice the marriage of dance and music. Imagine watching the same performance without music, imagine sitting in the theatre without dance. How does David bring the two together? ‘Initially I am attracted to music if it speaks to me emotionally. One piece of music can be a starting point for a whole work. For example, with Dracula my starting point was a section of music by Arvo Pärt, which I used for the pas de deux for Dracula and Mina in Act 2. From there I worked closely with the Music Director at BalletMet and the rest of the score fell into place.’
8
NBT uses a mixture of commissioned scores for its ballets and also specially arranged scores of existing music. David couldn’t find any recorded music that suited his ideas for Peter Pan, but he admired Stephen Warbeck’s soundtrack for the film Shakespeare in Love and so invited him to create a new score for the ballet. Philip Feeney has written new scores for a number of NBT works, including Dracula (1996 version) and A Streetcar Named Desire. David has also invited Philip to create original music for a new production that will première in Spring 2008.
“I like the stuff I can sing in my head”
Good to dance to
David likes working with new scores but he is inspired more often by pre-recorded music, ‘I like the stuff I can sing in my head.’ And he doesn’t shy away from working with music by the grand masters. David chose music by Mendelssohn and Brahms for A Midsummer Night’s Dream; and Swan Lake and A Sleeping Beauty Tale are set to, or inspired by, Tchaikovsky’s famous scores. To begin with he looks at how the narrative, action and emotion of a ballet fit with a piece of music. If there’s something that doesn’t work David, with John Longstaff, NBT Orchestrator, very respectfully adjusts the music to suit his ideas.
John Pryce-Jones, NBT Music Director, believes that music for dance must have energy, contrast and shape and be able to stand-alone, so it exists as a work on its own merit. An excellent example of this is the music for The Three Musketeers, which is largely a collection of orchestral and chamber music. David agrees,‘live accompaniment is not just a sound but an energy, it creates a dynamic for and with the movement.’ Using live, as opposed to recorded, music adds further dynamic to a performance but also to rehearsal and Company training. In performance, dancers respond to an
orchestra, they can lose their spontaneity if working only with recordings; live music forces the dancer to interpret and listen to the music. In rehearsal, musicians can help a choreographer find the nuances of a work and also give them the freedom to change the speed at which the movement is rehearsed. In Company training, the rhythm of the music helps the dancer physically engage the body and the accompanist helps motivate the dancers bodies to work.The performance audiences see and hear is, therefore, only part of a much wider relationship between dance and music at NBT. above, from left to right: Julie Charlet, Lori Gilhchrist, Ayana Kanda, Michela Paolacci, Sarah Kundi as Washer Women in The Three Musketeers Photo: Merlin Hendy
“Malcolm Arnold’s music is full of rich melody and urgent rhythms and constitutes a felicitous dance score to which David Nixon has responded with enthusiasm and skill.” Dance Europe, November 2006 “His score provides stirring accompaniment for what is a fun packed adventure.” The Stage, 5 October 2006 “Arnold’s music has the effect of a big glass of pre-theatre wine: it swells the emotions and smoothes off any rough edges, niggling details and petty cynicism.” Daily Telegraph, 27 September 2006
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Photo of Sir Malcolm Arnold: Fritz Curzon
lords of the dance
The Three Musketeers is performed to an arranged score of memorable music by Sir Malcolm Arnold, who was one of the UK’s most prolific and respected composers. Sir Malcolm was invited to compose the music for The Three Musketeers when the ballet was originally conceived by David Drew 30 years ago, but circumstances prevented the completion of the project. Years later, when David Nixon chose to create the ballet for NBT, the music was already part of the plan. As David explains:“Malcolm Arnold’s music is absolutely right for the piece. It is very filmic, which suits the dramatic and fun nature of Musketeers. In fact, the melodrama of film scores lends itself well to full-length ballets of this type.” On Saturday 23 September 2006, shortly before the curtain rose on the world première of The Three Musketeers, David Nixon received the sad news of the death of Sir Malcolm Arnold. David addressed the audience and dedicated the performance to Sir Malcolm,“the score for The Three Musketeers is a compilation of his symphonies, chamber pieces and film music - and when you hear it you appreciate the prolific amount of music he produced. He was not only a great composer he was a great Englishman, and his music had a sense of Englishness about it which I think was a very special quality." NBT would like to extend its sympathy to Sir Malcolm Arnold’s family and friends. We are honoured to be celebrating his music through this production.
inside: friends events
Tales of
Love & Betrayal
Photo: Brian Slater
Photo: HANSON
Sat 24 February – Sat 3 March Leeds Grand Theatre Box Office: 0870 122 2815 Monday 5 & Monday 12 February Dancing with David West Park Centre,Leeds Tuesday 13 & Thursday 15 February Open Rehearsals West Park Centre,Leeds Friday 23 February Dress Rehearsal Leeds Grand Theatre
Photo: Merlin Hendy
Your pull-out-and-keep guide to NBT’s exciting Spring / Summer Season 2007
Saturday 24 February Creative Workshop Leeds Grand Theatre
Thurs 19 – Sat 21 April Llandudno, Venue Cymru Box Office: 01492 872000
Tues 13 – Sat 17 March Nottingham, Theatre Royal Box Office: 0115 989 5555
Tues 24 – Sat 28 April Cardiff, New Theatre Box Office: 029 2087 8889
Tues 19 – Sat 23 June Woking, New Victoria Theatre Box Office: 0870 060 6645
Tues 1 – Sat 5 May Canterbury, The Marlowe Theatre Box Office: 01227 787787
Tues 22 – Sat 26 May Milton Keynes Theatre Box Office: 0870 060 6652
Weds 7 - Sat 10 March Edinburgh, Festival Theatre Box Office: 0131 529 6000
Saturday 26 May A Day at the Theatre Milton Keynes Theatre
Saturday 10 March A Day at the Theatre Edinburgh,Festival Theatre Tues 20 – Sat 24 March Sheffield, Lyceum Theatre Box Office: 0114 249 6000 Weds 28 – Sat 31 March Norwich, Theatre Royal Box Office: 01603 630 000
Weds 9 – Sat 12 May Manchester, Opera House Box Office: 0870 401 9000 Weds 16 – Sat 19 May Belfast, Grand Opera House Box Office: (028) 9024 1919 Tues 05 - Sun 10 June London, Sadler’s Wells 0870 737 7737
inside: friends events
Tales of
Love & Betrayal
Photo: Brian Slater
Photo: HANSON
Sat 24 February – Sat 3 March Leeds Grand Theatre Box Office: 0870 122 2815 Monday 5 & Monday 12 February Dancing with David West Park Centre,Leeds Tuesday 13 & Thursday 15 February Open Rehearsals West Park Centre,Leeds Friday 23 February Dress Rehearsal Leeds Grand Theatre
Photo: Merlin Hendy
Your pull-out-and-keep guide to NBT’s exciting Spring / Summer Season 2007
Saturday 24 February Creative Workshop Leeds Grand Theatre
Thurs 19 – Sat 21 April Llandudno, Venue Cymru Box Office: 01492 872000
Tues 13 – Sat 17 March Nottingham, Theatre Royal Box Office: 0115 989 5555
Tues 24 – Sat 28 April Cardiff, New Theatre Box Office: 029 2087 8889
Tues 19 – Sat 23 June Woking, New Victoria Theatre Box Office: 0870 060 6645
Tues 1 – Sat 5 May Canterbury, The Marlowe Theatre Box Office: 01227 787787
Tues 22 – Sat 26 May Milton Keynes Theatre Box Office: 0870 060 6652
Weds 7 - Sat 10 March Edinburgh, Festival Theatre Box Office: 0131 529 6000
Saturday 26 May A Day at the Theatre Milton Keynes Theatre
Saturday 10 March A Day at the Theatre Edinburgh,Festival Theatre Tues 20 – Sat 24 March Sheffield, Lyceum Theatre Box Office: 0114 249 6000 Weds 28 – Sat 31 March Norwich, Theatre Royal Box Office: 01603 630 000
Weds 9 – Sat 12 May Manchester, Opera House Box Office: 0870 401 9000 Weds 16 – Sat 19 May Belfast, Grand Opera House Box Office: (028) 9024 1919 Tues 05 - Sun 10 June London, Sadler’s Wells 0870 737 7737
inside: the big interview
Throughout Spring and Summer 2007, Northern Ballet Theatre will tour three productions that have strong roles for our female dancers. We asked NBT’s leading dancers, Keiko Amemori, Pippa Moore, Chiaki Nagao and Desiré Samaii, how they prepare for their stage roles.
women’s
movement How do you research a character when preparing to dance a lead role? Desiré Samaii: I wait until we start rehearsing the production because we have no idea what angle the story is going to take. NBT puts a new spin on things; we don’t necessarily follow the story as the general public know it. You have to see what the choreographer has in store, what the scenario is, and only then can you make, shape and decide what you’re going to do with your individual role. Chiaki Nagao: We often read the books or watch the films. Pippa Moore: I read ‘Memoirs of a Geisha’, for Madame Butterfly, and watched Finding Neverland for Peter Pan.
PM: We even went to the Yorkshire Moors on a walk to experience what it was like. I saw a stage version of A Midsummer Night’s Dream, and found hearing the text helped. Does the importance placed on acting and dancing effect how you approach a role? DS: David is enjoyable to work with as a choreographer because he doesn’t dictate; he bounces ideas off us as well. I remember him saying when we did Butterfly, that he’s got all these different Butterflies, yet he can enjoy watching any of them. There is a lot of guidance but we feel we can add our own interpretations to a role. The gesture is as important as a facial expression so that you just lose yourself, and try and become the character.
Keiko Amemori: When we performed Wuthering Heights everyone watched the film.
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13
inside: the big interview
Throughout Spring and Summer 2007, Northern Ballet Theatre will tour three productions that have strong roles for our female dancers. We asked NBT’s leading dancers, Keiko Amemori, Pippa Moore, Chiaki Nagao and Desiré Samaii, how they prepare for their stage roles.
women’s
movement How do you research a character when preparing to dance a lead role? Desiré Samaii: I wait until we start rehearsing the production because we have no idea what angle the story is going to take. NBT puts a new spin on things; we don’t necessarily follow the story as the general public know it. You have to see what the choreographer has in store, what the scenario is, and only then can you make, shape and decide what you’re going to do with your individual role. Chiaki Nagao: We often read the books or watch the films. Pippa Moore: I read ‘Memoirs of a Geisha’, for Madame Butterfly, and watched Finding Neverland for Peter Pan.
PM: We even went to the Yorkshire Moors on a walk to experience what it was like. I saw a stage version of A Midsummer Night’s Dream, and found hearing the text helped. Does the importance placed on acting and dancing effect how you approach a role? DS: David is enjoyable to work with as a choreographer because he doesn’t dictate; he bounces ideas off us as well. I remember him saying when we did Butterfly, that he’s got all these different Butterflies, yet he can enjoy watching any of them. There is a lot of guidance but we feel we can add our own interpretations to a role. The gesture is as important as a facial expression so that you just lose yourself, and try and become the character.
Keiko Amemori: When we performed Wuthering Heights everyone watched the film.
12
13
inside: the big interview
KA: When I’m on stage I don’t feel like I’m acting any more, I am that character, it just comes naturally and the music helps with the emotions. PM: It’s what NBT has built its reputation on – dance theatre – and I think we all feel a responsibility to uphold that tradition. How do you prepare for a performance? DS: I think we all prepare very differently. Chiaki’s an early bird.
below: Chiaki Nagao as Madame Butterfly and Darren Goldsmith as Pinkerton in Madame Butterfly Photo: Brian Slater previous page: Pippa Moore as Wendy in Peter Pan Photo: Linda Rich
PM: I like to be organised, I hate being flustered at the last minute, finding you haven’t got something, or your costume doesn’t fit, or it needs an extra button. I like to know that everything is ready. DS: Sometimes we finish rehearsal at 5.30pm, so there is very little time to have any kind of ritual. Usually I have something to eat, have a shower, and get ready. I think it would be different if we performed less – there would
David kept saying ‘try to not be pretty’ and I’m thinking, ‘thanks for the compliment,but that’s not helping!’
probably be a massive build up to each show.
Is there a role you’ve yet to dance that you’d really like to?
PM: For me it’s about mental as well as physical preparation. I like to be calm and quiet just before the show.
CN: The Nurse in Romeo & Juliet and Mrs Fezziwig in A Christmas Carol, it looks like so much fun.
DS: Pippa’s usually in some dark corner at the back of the theatre, where no one can find her!
DS: I keep asking David to choreograph a Tango in one of his productions; I’ve always wanted to tango. He loves it as well, so I won’t give up!
Does it affect you emotionally when playing lead roles – especially those with tragic elements? PM: I remember feeling exhausted after dancing Juliet (Romeo & Juliet) because it’s not just the two hours of acting and dancing; it’s the whole journey she’s been on that is emotionally draining. DS:You feel like there is a hill you’re climbing and then at the end you’ve done it and that’s it – it’s gone,but you have to start all over again the next day. KA: Sometimes it’s depressing because you have to kill yourself in the end, and then do the same again the next day. What has been your favourite role to play and why? PM: I think I have favourite aspects, rather than favourite roles. I enjoyed Helena (A Midsummer Night’s Dream), probably because of the humorous side of the character.
KA: I wanted to perform a George Balanchine work when I was younger, his choreography is very classical. Considering the 2007 Spring/Summer touring productions, what are the lead female roles like to dance? KA: Constance (The Three Musketeers) is really tiring... there is a lot of dance. In the second act, it’s non-stop. DS: Milady (The Three Musketeers) is special to perform; I’ve never played a mean character before. I found the aggression quite hard to come to grips with, having to fight Keiko and try to kill her did not come naturally! I was really daunted by trying to look aggressive. David kept saying ‘try to not be pretty’ and I’m thinking,‘thanks for the compliment, but that’s not helping’. I’m looking forward to doing it again though.
Chiaki, Desiré, Keiko and Pippa will all be performing lead roles in A Sleeping Beauty Tale, The Three Musketeers and Romeo & Juliet throughout the Spring/Summer 2007 season. See centre pages for full tour listings.
above: Keiko Amemori as Constance in The Three Musketeers Photo: Merlin Hendy below: Desiré Samaai as Margeurite & Jonathan Byrne Ollivier as Armand in La Traviata Photo: Brian Slater
DS: I keep changing my mind. Probably Juliet (Romeo & Juliet) because the last time I performed it I danced with my husband, (Jonathan Byrne Ollivier), which was something special. I loved Butterfly as well; I was intimidated because I’m not Japanese, but it was an achievement for me that people actually believed in me when I performed it. CN: For me, it’s Butterfly, everything about the production is special to me. Playing Juliet was a dream come true, I never thought I could do it. I hated playing Helena, it’s a great show but I was so nervous because it’s not me at all, I think comedy is hard to do. KA: Butterfly was my first leading role for NBT, also I performed Cathy (Wuthering Heights) when I was an understudy, and everybody helped me out, it was so special.
14
15
inside: the big interview
KA: When I’m on stage I don’t feel like I’m acting any more, I am that character, it just comes naturally and the music helps with the emotions. PM: It’s what NBT has built its reputation on – dance theatre – and I think we all feel a responsibility to uphold that tradition. How do you prepare for a performance? DS: I think we all prepare very differently. Chiaki’s an early bird.
below: Chiaki Nagao as Madame Butterfly and Darren Goldsmith as Pinkerton in Madame Butterfly Photo: Brian Slater previous page: Pippa Moore as Wendy in Peter Pan Photo: Linda Rich
PM: I like to be organised, I hate being flustered at the last minute, finding you haven’t got something, or your costume doesn’t fit, or it needs an extra button. I like to know that everything is ready. DS: Sometimes we finish rehearsal at 5.30pm, so there is very little time to have any kind of ritual. Usually I have something to eat, have a shower, and get ready. I think it would be different if we performed less – there would
David kept saying ‘try to not be pretty’ and I’m thinking, ‘thanks for the compliment,but that’s not helping!’
probably be a massive build up to each show.
Is there a role you’ve yet to dance that you’d really like to?
PM: For me it’s about mental as well as physical preparation. I like to be calm and quiet just before the show.
CN: The Nurse in Romeo & Juliet and Mrs Fezziwig in A Christmas Carol, it looks like so much fun.
DS: Pippa’s usually in some dark corner at the back of the theatre, where no one can find her!
DS: I keep asking David to choreograph a Tango in one of his productions; I’ve always wanted to tango. He loves it as well, so I won’t give up!
Does it affect you emotionally when playing lead roles – especially those with tragic elements? PM: I remember feeling exhausted after dancing Juliet (Romeo & Juliet) because it’s not just the two hours of acting and dancing; it’s the whole journey she’s been on that is emotionally draining. DS:You feel like there is a hill you’re climbing and then at the end you’ve done it and that’s it – it’s gone,but you have to start all over again the next day. KA: Sometimes it’s depressing because you have to kill yourself in the end, and then do the same again the next day. What has been your favourite role to play and why? PM: I think I have favourite aspects, rather than favourite roles. I enjoyed Helena (A Midsummer Night’s Dream), probably because of the humorous side of the character.
KA: I wanted to perform a George Balanchine work when I was younger, his choreography is very classical. Considering the 2007 Spring/Summer touring productions, what are the lead female roles like to dance? KA: Constance (The Three Musketeers) is really tiring... there is a lot of dance. In the second act, it’s non-stop. DS: Milady (The Three Musketeers) is special to perform; I’ve never played a mean character before. I found the aggression quite hard to come to grips with, having to fight Keiko and try to kill her did not come naturally! I was really daunted by trying to look aggressive. David kept saying ‘try to not be pretty’ and I’m thinking,‘thanks for the compliment, but that’s not helping’. I’m looking forward to doing it again though.
Chiaki, Desiré, Keiko and Pippa will all be performing lead roles in A Sleeping Beauty Tale, The Three Musketeers and Romeo & Juliet throughout the Spring/Summer 2007 season. See centre pages for full tour listings.
above: Keiko Amemori as Constance in The Three Musketeers Photo: Merlin Hendy below: Desiré Samaai as Margeurite & Jonathan Byrne Ollivier as Armand in La Traviata Photo: Brian Slater
DS: I keep changing my mind. Probably Juliet (Romeo & Juliet) because the last time I performed it I danced with my husband, (Jonathan Byrne Ollivier), which was something special. I loved Butterfly as well; I was intimidated because I’m not Japanese, but it was an achievement for me that people actually believed in me when I performed it. CN: For me, it’s Butterfly, everything about the production is special to me. Playing Juliet was a dream come true, I never thought I could do it. I hated playing Helena, it’s a great show but I was so nervous because it’s not me at all, I think comedy is hard to do. KA: Butterfly was my first leading role for NBT, also I performed Cathy (Wuthering Heights) when I was an understudy, and everybody helped me out, it was so special.
14
15
inside: the fundraising department
inside: with learning & access
Accenture:
Dance Matters
a global partner for NBT NBT relies upon funding from trusts, foundations, businesses and private donors. Accenture are a global management, consulting, technology services and outsourcing company, and has supported NBT for almost two years. Phil Swallow, Global Managing Director, Government Quality and Client Satisfaction, and Pauline Eagle, Events and Sponsorships Manager, explain why Accenture support NBT.
Through sponsoring NBT, Accenture aims to increase its cultural footprint across the whole of the UK, and specifically the north of England. Phil Swallow explains,“We had sponsored performances in London but very little outside the capital city. NBT appealed to us because, as a touring Company, they have a UK-wide remit. Accenture has, for example, sponsored the NBT Edinburgh season for two years running, and supported performances in Bradford, Manchester and Leeds. From the outset, NBT were very switched on; they have been great partners to work with and the partnership has exceeded expectations.” Accenture use their sponsorship for corporate entertainment - entertaining clients and employees at NBT performances. These events have proved successful and always attract long waiting lists. Pauline Eagle explains,“Guests will invariably hear a talk by David Nixon, which enables them to get to know the story better, watch the performance and then meet dancers after the show.This makes for a very attractive package.” Pauline also appreciates the on-site support NBT is able to offer which she describes as “invaluable.” Phil Swallow is a ballet fan and personally sponsors productions by the Royal Ballet. He speaks with an informed knowledge about ballet and isn’t shy in waxing lyrical about the art form.“I admire ballet so much
16
because I know how dedicated the dancers are. When you move beyond the spectacle of performance you realise that it is an art form where expression is communicated in a highly sophisticated way. I know how much there is to discover and learn.” For Phil, working with NBT is a particular pleasure as he is able to mix this passion for ballet with sound business practice.“If you are passionate about something, that passion rubs off on the people around you. It means that you are able to offer events with a far more personal touch.”
Mossbrook School,Sheffield
Talking Dance
Mossbrook School is an infant and junior school located on the outskirts of Sheffield. Most children at the school have been diagnosed as being on the autistic spectrum, so the school employs different methods of teaching to help with these learning difficulties.
Talking Dance is the latest project in which the Learning & Access team works with visually impaired people. The project aims to discover whether, and how, visually impaired people enjoy experiencing dance. A group of elderly people, some with visual impairments, is working with a group of students from the dance department and visually impaired unit of Ralph Thoresby Community Arts College.
NBT’s Dance Education Officer, Sophie Alder and Company Pianist, Richard Kenwood-Herriott, are taking part in a project at the school, led by Creative Partnerships Sheffield, with Digital Artist Matt Butt, and Creative Writer Ann Hamblen. Every two weeks, the artists will be working with children and teachers, to develop new learning and teaching techniques to stimulate the children’s imagination and enhance their learning. Starting with one class of pupils, the project will, by the end, progress to involve the whole school. It is hoped it will develop the children’s emotional and visual literacy.
Phil believes NBT has a very different style, “it’s traditional ballet but it’s not high brow, it’s accessible and enjoyable.” His favourite production to date is The Three Musketeers, “there are some wonderful set pieces, the closing act with the passing of the necklace is fantastic.” Accenture also use NBT events to attract the UK’s best graduates, and recently at Leeds Grand Theatre, some very special guests attended a performance of A Christmas Carol. Patients and staff from St James’ Hospital and Leeds General Infirmary, along with people who had recently left hospital, were treated to a tea party and tickets to the performance, courtesy of Accenture. Such an unexpected outcome of a partnership with business is very welcome, and NBT appreciates Accenture’s continuing support.
The group is exploring different approaches to creating and performing dance with the aim of creating a brand new DVD, which will be screened to an invited audience at both the school and at Leeds Grand Theatre. As well as joining in the dancing, everyone is working hard to find ways to describe the dance, so that the final DVD will be accessible to visually impaired people.
Working alongside Film Maker Will Docherty, both the young people and the NBT team are learning about audio description, filmmaking, dancing and communication, and everyone is getting a tremendous amount from working in such a diverse group.
NBT is dedicated to working with visually impaired people in the community.
"It was as if she had found a new body. We didn't believe she could move like that." Eve McLeish,Ralph Thoresby, Visually Impaired Unit Team Leader
photo: Chiaki Nagao as the Ghost of Christmas Past in A Christmas Carol Photo: Brian Slater
Photo: Brian Slater
NBT’s relationship with Accenture began, when the Company donated performance tickets as a raffle prize for Accenture’s Olympic bid road shows.The relationship progressed; Accenture became Platinum level sponsors in 2005-6, and have renewed their sponsorship for 2006-7.
Northern Ballet Theatre’s Learning & Access department manage a full programme of dance activities, including post-show talks, workshops and long-term projects. Currently, the team are working on a number of innovative projects that aim to enhance learning through dance. Here we look at two of these projects.
17 17
inside: the fundraising department
inside: with learning & access
Accenture:
Dance Matters
a global partner for NBT NBT relies upon funding from trusts, foundations, businesses and private donors. Accenture are a global management, consulting, technology services and outsourcing company, and has supported NBT for almost two years. Phil Swallow, Global Managing Director, Government Quality and Client Satisfaction, and Pauline Eagle, Events and Sponsorships Manager, explain why Accenture support NBT.
Through sponsoring NBT, Accenture aims to increase its cultural footprint across the whole of the UK, and specifically the north of England. Phil Swallow explains,“We had sponsored performances in London but very little outside the capital city. NBT appealed to us because, as a touring Company, they have a UK-wide remit. Accenture has, for example, sponsored the NBT Edinburgh season for two years running, and supported performances in Bradford, Manchester and Leeds. From the outset, NBT were very switched on; they have been great partners to work with and the partnership has exceeded expectations.” Accenture use their sponsorship for corporate entertainment - entertaining clients and employees at NBT performances. These events have proved successful and always attract long waiting lists. Pauline Eagle explains,“Guests will invariably hear a talk by David Nixon, which enables them to get to know the story better, watch the performance and then meet dancers after the show.This makes for a very attractive package.” Pauline also appreciates the on-site support NBT is able to offer which she describes as “invaluable.” Phil Swallow is a ballet fan and personally sponsors productions by the Royal Ballet. He speaks with an informed knowledge about ballet and isn’t shy in waxing lyrical about the art form.“I admire ballet so much
16
because I know how dedicated the dancers are. When you move beyond the spectacle of performance you realise that it is an art form where expression is communicated in a highly sophisticated way. I know how much there is to discover and learn.” For Phil, working with NBT is a particular pleasure as he is able to mix this passion for ballet with sound business practice.“If you are passionate about something, that passion rubs off on the people around you. It means that you are able to offer events with a far more personal touch.”
Mossbrook School,Sheffield
Talking Dance
Mossbrook School is an infant and junior school located on the outskirts of Sheffield. Most children at the school have been diagnosed as being on the autistic spectrum, so the school employs different methods of teaching to help with these learning difficulties.
Talking Dance is the latest project in which the Learning & Access team works with visually impaired people. The project aims to discover whether, and how, visually impaired people enjoy experiencing dance. A group of elderly people, some with visual impairments, is working with a group of students from the dance department and visually impaired unit of Ralph Thoresby Community Arts College.
NBT’s Dance Education Officer, Sophie Alder and Company Pianist, Richard Kenwood-Herriott, are taking part in a project at the school, led by Creative Partnerships Sheffield, with Digital Artist Matt Butt, and Creative Writer Ann Hamblen. Every two weeks, the artists will be working with children and teachers, to develop new learning and teaching techniques to stimulate the children’s imagination and enhance their learning. Starting with one class of pupils, the project will, by the end, progress to involve the whole school. It is hoped it will develop the children’s emotional and visual literacy.
Phil believes NBT has a very different style, “it’s traditional ballet but it’s not high brow, it’s accessible and enjoyable.” His favourite production to date is The Three Musketeers, “there are some wonderful set pieces, the closing act with the passing of the necklace is fantastic.” Accenture also use NBT events to attract the UK’s best graduates, and recently at Leeds Grand Theatre, some very special guests attended a performance of A Christmas Carol. Patients and staff from St James’ Hospital and Leeds General Infirmary, along with people who had recently left hospital, were treated to a tea party and tickets to the performance, courtesy of Accenture. Such an unexpected outcome of a partnership with business is very welcome, and NBT appreciates Accenture’s continuing support.
The group is exploring different approaches to creating and performing dance with the aim of creating a brand new DVD, which will be screened to an invited audience at both the school and at Leeds Grand Theatre. As well as joining in the dancing, everyone is working hard to find ways to describe the dance, so that the final DVD will be accessible to visually impaired people.
Working alongside Film Maker Will Docherty, both the young people and the NBT team are learning about audio description, filmmaking, dancing and communication, and everyone is getting a tremendous amount from working in such a diverse group.
NBT is dedicated to working with visually impaired people in the community.
"It was as if she had found a new body. We didn't believe she could move like that." Eve McLeish,Ralph Thoresby, Visually Impaired Unit Team Leader
photo: Chiaki Nagao as the Ghost of Christmas Past in A Christmas Carol Photo: Brian Slater
Photo: Brian Slater
NBT’s relationship with Accenture began, when the Company donated performance tickets as a raffle prize for Accenture’s Olympic bid road shows.The relationship progressed; Accenture became Platinum level sponsors in 2005-6, and have renewed their sponsorship for 2006-7.
Northern Ballet Theatre’s Learning & Access department manage a full programme of dance activities, including post-show talks, workshops and long-term projects. Currently, the team are working on a number of innovative projects that aim to enhance learning through dance. Here we look at two of these projects.
17 17
inside:the classical training department
Welcome to the school of dreams
inside is published biannually by Northern Ballet Theatre
Northern Ballet Theatre’s Classical Training department offers a variety of dance classes and programmes for young dancers. All training programmes are directly informed by the training of the Company. Under the leadership of Yoko Ichino (NBT Ballet Mistress) and the teaching faculty, the young dancers work to further strengthen their classical technique in an atmosphere that is centred on a healthy dancer and individual learning. This unique experience will have a significant impact on the artistic and technical development of each individual dancer.
Auditions for the 2007 Classical Training Programmes will take place on:
Young dancers
29 May – 1 June Final intensive audition week for Yorkshire Young Dancer Centre for Advanced Training
The Yorkshire Young Dancer (YYD) Centre for Advanced Training Classical Programme is for students who have exceptional potential in classical dance. The programme is funded by the Department for Education and Skills (DfES), and YYD was the first Centre for Advanced Training in classical dance in the country.This unique intensive training programme enables young people to achieve their potential as classical dancers. All students are mentored throughout their time on the course.The YYD programme is run in partnership with the Northern School of Contemporary Dance who offer training in contemporary dance.
Associates NBT’s Associate Programme is aimed at young people contemplating dance as a career.The programme serves to enhance the student’s regular dance training and help prepare them for full-time vocational training.
Open Days Open days for the 2007 intake of YYD and Associate students will be held throughout February and March across the Yorkshire region and are an opportunity for young dancers to take part in a training session and find out more about the programmes.
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Sunday 11 March Preliminary auditions for Associate Programme Sunday 25 March Final auditions for all Associate Programmes Summer School audition Sunday 1 April Preliminary auditions for Yorkshire Young Dancer Centre for Advanced Training
For further information please contact the Classical Training department at NBT.
A dream come true NBT Coryphée Victoria Sibson started her career as one of the first ever Associates with the Company, in September 1998 when she was 14. She joined Central School of Ballet in 2000, returning to NBT for the International Summer School. In 2002, NBT was rehearsing for the World Premiére of Wuthering Heights at the Alhambra Theatre when Pippa Moore, who was due to play the part of young Cathy, broke her wrist. Having seen Vicky at the NBT Summer School, David Nixon selected her to play the role, and asked Central to allow her to join the Company on tour. Afterwards she returned to Central to complete her final year and joined the Company full time in August 2003. Last season Vicky played Milady de Winter in The Three Musketeers and Mrs Fezziwig in A Christmas Carol.
main picture: Victoria Sibson in The Three Musteteers Photo: Merlin Hendy inset: Victoria in International Summer School, 2000 Photo: Brian Slater
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 OBE (Chairman) Jo Butterworth Graham Dewhirst Judith Donovan CBE David Forbes Jon Hammond Juliet Jowitt ARTISTIC DIRECTOR David Nixon CHIEF EXECUTIVE Mark Skipper MUSIC DIRECTOR John Pryce-Jones INSIDE EDITORIAL TEAM Laraine Penson May Goodliffe Ruth Greenwood 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 483113
Printed by Axis 01484 722 732 Supported by:
Charity No: 259140 VAT No: 146 6307 66 Company Registration No: 947096 Registered in England and Wales Company limited by guarantee and share capital
inside:the classical training department
Welcome to the school of dreams
inside is published biannually by Northern Ballet Theatre
Northern Ballet Theatre’s Classical Training department offers a variety of dance classes and programmes for young dancers. All training programmes are directly informed by the training of the Company. Under the leadership of Yoko Ichino (NBT Ballet Mistress) and the teaching faculty, the young dancers work to further strengthen their classical technique in an atmosphere that is centred on a healthy dancer and individual learning. This unique experience will have a significant impact on the artistic and technical development of each individual dancer.
Auditions for the 2007 Classical Training Programmes will take place on:
Young dancers
29 May – 1 June Final intensive audition week for Yorkshire Young Dancer Centre for Advanced Training
The Yorkshire Young Dancer (YYD) Centre for Advanced Training Classical Programme is for students who have exceptional potential in classical dance. The programme is funded by the Department for Education and Skills (DfES), and YYD was the first Centre for Advanced Training in classical dance in the country.This unique intensive training programme enables young people to achieve their potential as classical dancers. All students are mentored throughout their time on the course.The YYD programme is run in partnership with the Northern School of Contemporary Dance who offer training in contemporary dance.
Associates NBT’s Associate Programme is aimed at young people contemplating dance as a career.The programme serves to enhance the student’s regular dance training and help prepare them for full-time vocational training.
Open Days Open days for the 2007 intake of YYD and Associate students will be held throughout February and March across the Yorkshire region and are an opportunity for young dancers to take part in a training session and find out more about the programmes.
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Sunday 11 March Preliminary auditions for Associate Programme Sunday 25 March Final auditions for all Associate Programmes Summer School audition Sunday 1 April Preliminary auditions for Yorkshire Young Dancer Centre for Advanced Training
For further information please contact the Classical Training department at NBT.
A dream come true NBT Coryphée Victoria Sibson started her career as one of the first ever Associates with the Company, in September 1998 when she was 14. She joined Central School of Ballet in 2000, returning to NBT for the International Summer School. In 2002, NBT was rehearsing for the World Premiére of Wuthering Heights at the Alhambra Theatre when Pippa Moore, who was due to play the part of young Cathy, broke her wrist. Having seen Vicky at the NBT Summer School, David Nixon selected her to play the role, and asked Central to allow her to join the Company on tour. Afterwards she returned to Central to complete her final year and joined the Company full time in August 2003. Last season Vicky played Milady de Winter in The Three Musketeers and Mrs Fezziwig in A Christmas Carol.
main picture: Victoria Sibson in The Three Musteteers Photo: Merlin Hendy inset: Victoria in International Summer School, 2000 Photo: Brian Slater
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 OBE (Chairman) Jo Butterworth Graham Dewhirst Judith Donovan CBE David Forbes Jon Hammond Juliet Jowitt ARTISTIC DIRECTOR David Nixon CHIEF EXECUTIVE Mark Skipper MUSIC DIRECTOR John Pryce-Jones INSIDE EDITORIAL TEAM Laraine Penson May Goodliffe Ruth Greenwood 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 483113
Printed by Axis 01484 722 732 Supported by:
Charity No: 259140 VAT No: 146 6307 66 Company Registration No: 947096 Registered in England and Wales Company limited by guarantee and share capital
inside the magazine from Northern Ballet Theatre Issue 1 January 2007
TALES OF LOVE & BETRAYAL Your pull-out and keep guide to next season EXCLUSIVELY YOURS When Friends come to visit COSTUME DRAMA Behind the scenes in the costume department