Review
Dance May 2011 ÂŁ1.95 where sold
Uncovering the facts about size myths
Making the most of mirrors
Cinderella at its best
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2 DanceReview | May2011
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Features 7
14
An outstanding performance Following its world premiere season in Birmingham and subsequent Christmas Day BBC Television debut, we review Birmingham Royal Ballet’s new production of Cinderella, by Director David Bintley.
Take time to reflect When you think about a dance or exercise studio, it would be easy to take for granted the set up of the room but they aren’t all the same and here we provide advice on choosing the right mirrors for your studio.
16
I’ll have my cake and eat it!
18
From injury to performance
22
Image isn’t everything
Mark Edward examines why, over the years, size has become an issue and an ever growing concern of the Western culture of today.
Nouska Hanly looks at the subject of injury and how it is being addressed by experts around the UK
We provide a guide to buying the right clothing and footwear to ensure that you stay injury free.
Regulars 4 News 8 Previews 10 Competitions 27
Centre Stage
28 Events
Editorial / Design: Editor: Tracey Rushton-Thorpe 01733 266990 tracey@dancereview.co.uk Address: PO Box 1162, Spalding, Lincolnshire, PE11 1BD Design: Chilli Design & Print 0845 6769295 design@chilli-mp.co.uk Advertising: Vicky Senkey-Dunn 01775 888403 vicky@dancereview.co.uk Printing: Printed by The Magazine Printing Company plc, Mollison Avenue, Enfield, Middlesex, EN3 7NT Publishing: Published by: Eastfield Media Ltd. PO Box 1162, Spalding, Lincolnshire, PE11 9BD The editor is pleased to receive contributions for Dance Review in the form of letters, news items, features and photographs (preferably high resolution digital images). Material, whether commissioned or submitted is provided at own risk of the contributor. Eastfield Media Ltd cannot be held responsible for loss or damage howsoever caused. Every care is taken to avoid errors in this magazine; however no liability can be accepted for any which may occur. The opinions and views expressed by authors and contributors within Dance Review are not necessarily those of the editor or Eastfield Media Ltd. © Eastfield Media Ltd 2011. All rights reserved. No part of this magazine may be reproduced or transmitted in any form by any means, electronic or mechanical including photocopying, recording or by any information storage and retrieval system without prior permission in writing from the copyright owner. Multiple copying of the content of the magazine without prior written approval is not permitted
Contents Editor’s Note They do say that time flies when you are having fun and I can definitely agree with that because this month has quite literally flown by.
In fact it’s been really busy for everyone in the Dance Review office and while my colleagues have been busy working in the office I have been out and about exploring new ideas for future issues – although some of it has been so much fun that I’m not sure it really should be classed as work! One of the highlights of the month was attending the London premiere of Birmingham Royal Ballet’s Cinderella which I have to say was excellent. I love all different types of dance but it was ballet which I grew up with from the age of about 3 when I attended my first ballet lesson. Because of this it has always had a special place in my heart and I jump at the chance to see a new performance. I won’t spoil it for you because we have a full review on page 7 but suffice to say that if you get the opportunity then you really should see it. This brought me onto thinking about which other performances I would like to see and a quick look through our listings and review pages shows that there is a huge choice at the moment – is it just me or are we really being spoilt because I could fill at least four nights a week with productions that I would like to see. So if you’re stuck for something to do now that the nights are getting lighter then why not explore something new – and if you do then don’t forget to let us know what you think because it’s always good to hear what other people have enjoyed seeing. Well it’s back to work now as we are in the process of finalising the new website so I must get cracking – watch this space – I’m really excited about it and I know you’re going to love it. See you next month
Tracey Front Cover
Flawless will be appearing at The Peacock Theatre from 10 - 28 May for the final stop on their 2011 UK tour. Photo by Eric Richmond
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May2011 | DanceReview 3
Pick the right partner
A triumph for John Winner John Rhys Halliwell with (L-R) judges Therese Cantine, Jean Bedells, and Jonathan Cope, CBE. Photo by Mark Lees
By Stacey Swannell and Charlotte Norris, Event Managers, Haven Specialist Sales Department
As Group Sales Managers, we’ve been to dozens of dance events to ensure everything runs as smoothly as possible and greeting guests and making sure they’re happy with their accommodation and all the facilities on the holiday parks is one of the most interesting aspects of our job. And even if you started out with no particular interest in the activity, it’s impossible not to get swept along with the infectious enthusiasm of many of the dancers taking part in competitions, masterclasses or special get-togethers. In fact interest in dance spilled over to become part of the happiest day of Charlotte’s life when she and her 6ft 2ins husband Anthony enthralled wedding guests with their American Smooth first dance to Bobby Darin’s Beyond the Sea. Charlotte said: “We had lessons for several months leading up to the big day and thoroughly enjoyed every minute of it. Unfortunately pressure of everyday life has encroached and we haven’t been back to classes for a
while although we’ve every intention of doing so.” Learning how to look good on the dance floor for special occasions is becoming increasingly popular and is fast becoming a growth area for dance schools. We know that, just as having a great partner on the dance floor is crucial for the performance, so having great partners in organising the event is absolutely vital. Haven has been welcoming guests to our parks for over 40 years. Our experience is first class and we have a wealth of awards for our standards and the quality of our facilities. We also pride ourselves on our having the best trained and most helpful team members in the business! We hold awards from Investors in People and score amongst the top ten Best Big Companies to Work For – so organisers can be assured that they’ll be well looked after. For more information click on www.havengroups.co.uk/ dance or call 0871 230 1911 and quote Dance Review.
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ixteen-year-old John Rhys Halliwell, a finalist in the 2006 Fonteyn Nureyev Young Dancers Competition, has won the prestigious Phyllis Bedells Bursary held on Sunday 27 March 2011 at Royal Academy of Dance (RAD) Headquarters. Held in honour of Miss Phyllis Bedells, founding member and Vice President of the RAD, the bursary was instituted to encourage talented young dancers to further their careers in classical ballet. It is open to RAD members under 17-years-old who have passed the Academy’s Advanced 1 Examination with distinction but have yet to take the Advanced 2 Examination. This year’s internationallyrecognised competition attracted 29 candidates from six different countries including France, Germany, Spain and Thailand and they contested for the bursary of up to £1,000 to use for further professional development training. The prize
can be offset against existing tuition fees where the winner may be studying, or against material or equipment needed for the student to continue their training. Jean Bedells, daughter of Phyllis Bedells, chaired the panel of judges and handed out photographs of her mother to all candidates signed by herself and fellow judges Thérèse Cantine, RAD Vocational Graded Examiner, and Jonathan Cope, CBE. Thérèse Cantine spoke of her fellow judges and the achievements of the winner: “It was a real privilege to work again with Jean Bedells who has such a unique link with the very foundations of the Academy, and to have Jonathan Cope as a co-judge - one of the finest artists that England has produced in the last decade. The winner danced with his whole being - I wish him and all the candidates much luck and happiness in their chosen careers.”
Success for Candoco Dance Company
T
he application by Candoco Dance Company to the National Portfolio Funding programme has been successful and Arts Council England has offered funding of £400,000 for the year 201213 with a further £405,000 in the year 2013-14 and £415,530 in the final year. This investment recognises the contribution Candoco Dance Company has made over the last 20 years to the performing arts sector by producing and presenting high quality, innovative works by disabled and non-disabled dancers. The funding will allow them to continue to commission choreographers to create excellent and profound experiences for audiences and participants that excite, change and broaden perceptions of art and ability, are bold and unpredictable, and place people and collaboration at the heart.
4 DanceReview | May2011
News
A dream opportunity A
talented dance student from Edge Hill University is flying high after landing a dream opportunity to tour with a world-renowned aerial performance company.
to learn more about bungee assisted aerial performance and other techniques using a rope and harness allowing vertical dance or ground to air movement.
Connor Quill, who is in his second year on the BA (Hons) Dance and Drama with Aerial Performance programme, has been chosen to be an understudy with Wired Aerial Theatre (leading experts in this genre of dance) when they perform at festivals across the country later this year.
His natural flair for performing in the air impressed the company so much that they approached him to perform in As the World Tipped, which is being directed by Nigel Jamieson who has choreographed for the Olympic Games ceremonies.
The chance arose when the University introduced aerial performance as part of its degree syllabus last year in conjunction with Wired Aerial Theatre. Connor was one of the first students in the country to take the unique module
Connor: “It’s such an exciting opportunity. I was told that I was chosen because I showed flair, initiative and talent when I took the module led by Wired Aerial Theatre last year. I absolutely loved this part of the course and when I was asked to be one of their
understudies for this new outdoor stage work I grabbed the opportunity because it’s such invaluable experience.” During rehearsals Connor will have to learn to fly up to 30ft in the air and use his balancing skills when the moving stage turns upside down in dramatic scenes to capture climate change, floods and droughts. “It’s really challenging but being able to work with professionals has been so inspirational for me. I don’t think people realise how much work goes on behind the scenes to develop a routine but they are so focused and it’s great to be working in such a creative environment. To be involved in such a high-profile project is like a dream come true for me,” said Connor.
Wendy joins Southbank Centre
W
endy Martin has been appointed as Head of Performance and Dance at the Southbank Centre. Wendy, who comes from the Sydney Opera House, has a wealth of relevant experience for this role. She first joined the Sydney Opera House in 2000 as a producer, before becoming a producer for Performing Lines (2004-2005), an organisation which develops, produces and tours Australian performing arts to national and international audiences. In 2005 she returned to the Sydney Opera House as a producer and programmer and became the Head of Theatre and Dance in 2007. In this role, Wendy developed and produced Australia’s only international dance festival, Spring Dance, which was established in 2009. Jude Kelly, Artistic Director at Southbank Centre, said: “Wendy brings enormous knowledge of performance and dance from Australasia as well as being plugged in to the best of what’s happening in Europe and the Americas. As we expand our programme through festivals and international collaborations, I’m delighted to welcome Wendy to Southbank Centre and look forward to working with her.”
perfect for dance events, training weekends, workshops or national championships... With 35 UK Parks in fabulous locations, Haven can offer venues, leisure facilities and booking support for all types of Dance events and competitions. Make your first step a call to our dedicated booking team, who can individually design your event to suit your requirements from as little as 5 accommodations to the hire of the entire Park. 4 Fantastic savings, book 2012 now! 4 Venues & leisure facilities for private hire 4 Top quality Holiday Home accommodation 4 A variety of meal options 4 Tailor-make your Dance Event 4 Your own personal adviser 4 Allocation together on Park
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Calls to the number above will cost no more than 10p per minute from a BT landline - calls from other networks may vary. Terms & Conditions: Book 5 or more Holiday Homes to qualify for event discounts. *£99 is based on 17 October at Golden Sands for 4 nights in a Standard 3 bedroom accommodation - please call for details. †Free venue hire is subject to availability at the time of booking. A minimum number of units may apply. Please speak to one or our Specialist Sales Advisors for more information. All offers are subjected to availability, apply to new bookings only and are subjected to terms and conditions as stated in the current Haven brochure. Prices are correct at time of going to press. We reserve the right to amend price, or remove offers without notice on selected Parks or accommodation grades at any time. Bourne Leisure Limited is registered in England no.04011660. 1 Park Lane Hemel Hempstead HP2 4YL. 43425/GS
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An outstanding
Review
performance
F
ollowing its world premiere season in Birmingham and subsequent Christmas Day BBC Television debut, Birmingham Royal Ballet’s new production of Cinderella, by Director David Bintley, received its London premiere at the London Coliseum in March.
and mistreated by her stepmother and sisters, this was a fairy tale with a very modern twist. The sisters for example are very appropriately named dumpy (because she eats all the time) and skinny (who has an eating disorder brought on by the excesses of her sister).
Now I have seen Cinderella performed numerous times, but I can safely say that this was by far the best performance to date with Iain Mackay and Elisha Willis putting on what can only be described as an amazing performance.
This in my opinion is what ballet should be about – a classic story line with a modern twist which brings it alive for a more modern day audience. Yes we got the usual characters of the Princes and Princesses and the Kings and Queens and as with all good fairy stories there was the required element of escape from real life. But this performance gave us so much more and drew you in to the story line in a way that many ballets fail to.
Family favourite This is without a doubt a true family favourite, and it was great to see so many young people in the audience who were clearly a spell bound as I was by this classic fairytale. But even though it is a classic fairytale which tells the story of Cinderella who is neglected
As well as the excellent portrayal of the characters, the dancing was second to none and the comedy routines by the ugly sisters, sat very well alongside the solo performances by the four seasons which were truly spectacular.
Carol-Anne Millar as Dumpy and Gaylene Cummerfield as Skinny. Photo by Bill Cooper
I would be hard to pick out my favourite act, but as a bit of an old romantic I defy anyone not to be
Elisha Willis as Cinderella and Iain Mackay as the Prince. Photo by Bill Cooper
moved by the final scenes when the transformation of Cinderella takes place, because not only did you identify with Elisha’s character, but the depth of her performance made it ever more believable.
Collaboration The production brought together, in their first-ever collaboration, the award-winning Director and choreographer David Bintley and internationally recognised artist and designer
John Macfarlane. Cinderella also saw Bintley collaborating with lighting designer David Finn for the first time, a fact which was clearly integral to the success of the production. Birmingham Royal Ballet’s Cinderella was performed to one of Prokofiev’s most popular and melodious compositions, which was composed between 1940 and 1944, and was played by the Royal Ballet Sinfonia, the Orchestra of Birmingham Royal Ballet.
May2011 | DanceReview 7
Previews A riot of dance
Street dance fans are in for a treat this month with the return of World Street Dance Champions and Britain’s Got Talent finalists, Flawless who are coming to the West End this spring, to thrill audiences at the Peacock Theatre from 10 28 May for the final stop on their 2011 UK tour. Since storming to fame as runners up in 2009’s Britain’s Got Talent, the ten-strong dance act has starred in the hit film StreetDance 3D and appeared in music videos with Madonna, Beyonce, Leona Lewis and Westlife. They have also previously performed as part of Sadler’s Wells’ acclaimed international festival of hip hop dance, Breakin’ Convention.
If musicals are more your thing, then look out for tickets to see South Pacific. Breathtaking and lavish, this Lincoln Center Theater production which reinvented the classic Rodgers and Hammerstein musical, won seven Tony Awards in 2008, played to sold-out houses on Broadway for two years and is currently selling out across North America.
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Set on a tropical island during World War II, this is the sweeping romantic story of two couples, threatened by the realities of war and by their own prejudices. Its portrayal of Americans stationed in an unfamiliar culture in wartime remains as relevant today as when it first thrilled audiences. o
Christmas 2010, Flawless continue to entertain audiences across the UK with their energy, originality and striking unison. Choreographer and lead member of Flawless Marlon Wallen, 26, formed the group in 2004. A self-taught dancer, Wallen was inspired by Fred Astaire, Gene Kelly, Michael Jackson and James Brown. Wallen and the rest of Flawless work closely together to produce new choreography to make dance more accessible and enjoyable for everyone. The other members of Flawless are: Anthony ‘A.D.’ Duncan, Nathan ‘Oddey’ Kabongo, Paul ‘Breaker’ Samuels, Allan ‘Boogie’ Kabeja, Christian ‘Bounce’ Alozie, Leroy ‘FX’ Dos Santo, Simon ‘Shock’ Smith, Paul ‘Steady’ Steadman, and Nathan ‘Neo’ Gordon. What you can look forward to are the outstanding street
8 DanceReview | May2011
South Pacific on sale now
Tickets are now on sale for the European premiere at the Barbican which runs from Monday 15 August – Saturday 1 October.
nd
Following a sold-out run of Chase the Dream at the Edinburgh Fringe Festival and a stint at London’s Southbank Centre over
dance routines that made the group famous, and the group’s diverse range of dance skills both collectively and as individual performers.
Considered one of the finest musicals ever written, the score includes Some Enchanted Evening, I’m Gonna Wash That Man Right Outa My Hair and There is Nothin’ Like a Dame. Featuring a cast of 40 and an orchestra of 25, this landmark production arrives at the Barbican for a strictly limited sevenweek London season. South Pacific is directed by Bartlett Sher, musical staging is by Christopher Gattelli, sets are by Michael Yeargan, lighting is by Donald Holder, costumes are by Catherine Zuber, sound is by Scott Lehrer, music direction is by Ted Sperling and original orchestrations are by Robert Russell Bennett.
Spring Loaded at The Place The Place has a number of new productions in the spring season. Amongst this line up is the Sonia Sabri Company with their production of Kathakbox on Saturday 7 May, which looks set to be an exciting blend of the precise grace and vigour of Kathak dance with the verbal dexterity of beatboxing and multi-lingual spoken word.
Director Sonia Sabri finds natural meeting points between these different forms, with Jonzi D injecting a dose of hip hop attitude as the production’s artistic consultant and the acclaimed poet Zena Edwards acting as guest composer. Individual stories are told through spoken and unspoken languages; rhythm, movement, poetry and rap in English, Hindi, Punjabi and Urdu. Harnessing the spontaneous nature of both Kathak and hip hop, the artists challenge each other’s space and our expectations with energy, rhyme and rhythm.
Celebrate the heritage of ballet This month I have more exciting news, but this time from Birmingham Royal Ballet with the announcement of their 2011 – 2012 season at Birmingham Hippodrome. Birmingham Royal Ballet is fortunate to be part of a great English tradition of excellence and creativity, which has resulted in a unique style and repertory dating back to the 1930s. The Company has spent the last 20 years in Birmingham strengthening and augmenting this. Given the current economic climate this is likely to be a tough year for the Company, but Birmingham Royal Ballet is prepared for this. By taking this opportunity to look back
Spring Loaded at The Place. Photo by Chris Nash, Requardt Company
at some of the key works of the Company’s repertory in The Dream, Hobson’s Choice and Far from the Madding Crowd, we celebrate the rich and varied storytelling tradition of this country. The first production to look out for is Beauty and the Beast which runs from 28 September – 2 October 2011. Beauty and the Beast is a gothic fairytale from David Bintley, the creator of Birmingham Royal Ballet’s smash-hit Cinderella. A cruel Prince, cursed to spend the rest of his life living in a fantastical castle with the animals he callously hunted, finds salvation in the heart of a beautiful girl, Belle. Caught stealing a single rose, Belle’s desperate father exchanges his life for the freedom of his youngest daughter and in his distant castle the Beast, stripped of his handsome features, must win her heart, or spend the rest of his life in solitude. A beautiful girl, a hideous beast, a golden ballroom full of animals, two outrageously haughty sisters and a grumpy grandmother worthy of Roald Dahl, dance, prance and rage through the unfolding pages of Philip Prowse’s stunning storybook sets of forests and castles. David Bintley’s rich choreography brings to life magical transformations, wild waltzes, soaring formations of birds and a relationship between Belle and the Beast that is at first terrifying, but ultimately serene and beautiful. This is definitely one to look out for.
May2011 | DanceReview 9
Save lives through dance If you are stuck for something to do over the next few weeks then why not show your support for the British Red Cross and take part in Dance for Life.
B
ritain’s Got Talent winners Diversity are encouraging as many young people across London to get involved in this year’s British Red Cross Dance for Life project. In 2011, Dance for Life hopes to get over 5,000 young people supporting it at the 45 events taking place at theatres and performing arts centres until July. Diversity said: “We are proud to support the British Red Cross Dance for Life project as it is a great opportunity for more young people to enjoy dance and performance. We hope you will be part of Dance for Life.” Full details of where this year’s heats will be taking place can be found on the website so why not take a look and see where you can enter – an added bonus is that be entering you will get
the opportunity to compete in the very first national final which will be held at the prestigious IndigO2 at the O2 in London.
You can take part Primary schools, secondary schools and special schools, colleges, dance groups and youth groups are all invited to be part of Dance for Life 2011, the exciting youth dance project that raises funds for the British Red Cross. The events are open to all young people who love to dance, regardless of their ability. Maddy Wynne-Jones from Highgate Ballet School in London said: “Our group participated in the event last
year, and it was such a rewarding and inspiring opportunity for everyone. The Kids loved being a part of something so special and important – not only did they have a great time meeting and watching all the other dance groups, but they really got behind the importance of what British Red Cross does and were proud to help in such an exciting way.”
British Red Cross Dance for Life Project Manager Laura Deacon said: “By taking part in Dance for Life, you could join the 15,000 young performers from across the country who have already come together to do something amazing for charity and celebrate the work of the Red Cross through dance. With your help we hope to raise even more money for vulnerable people in crisis in the UK and overseas. By taking part in Dance for Life you really can make a difference.” In 2010 the British Red Cross responded to disasters including the earthquake in Haiti and the floods in Pakistan thanks to the help of money raised through Dance for Life. It’s also been hard at work closer to home – for example, teaching first aid and helping people get back on their feet after a stay in hospital. Funds raised through Dance for Life help the British Red Cross to continue its work across the world and here in the UK.
10 DanceReview | May2011
To take part in Dance for Life and to find out more information about dates and venues near you, visit: www.redcross.org.uk/danceforlife or call Laura on 01962 891678.
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May2011 | DanceReview 11
Summer Schools Round-Up Following on from our Summer Schools issue last month here is a further selection for you to consider. Tring Park Associates Summer School 2011: 25 – 27 July. A 3-day summer dance school taking place in Tring’s new Park Studios with classes in Classical Ballet, Modern, Street, Character, Repertoire and Musical Theatre. Students can choose to take either the complete course or individual days. Tring Park has exceptional facilities and teachers and the course offers a unique experience for a wide range of abilities and ages. For more information and an application form go to www.tringpark.com/ whats-happening/holiday-courses or call 01442 824255.
The 20th International Annual Consort de Danse Baroque: 19 – 29 August This non-residential course concentrates on the technique, presentation and reconstruction of Baroque dance and is designed for all levels. This intensive course equips newcomers to Baroque
dance with a thorough grounding in basic skills, and provides experienced dancers with the opportunity for more in-depth study. Each module can be attended independently and consists of three full days’ tuition. With approximately twenty-four hours of tuition per module, participants may enrol for the first weekend, for one, two or three modules, or on a part-time basis (for example, local students may wish to attend just the morning technique sessions). For more information visit www.ukbaroquedance.com or call 02920 490680
Interlude Dance Troupe Street Dance Summer Kamp 2011: 8-12 August Learn from professional dancers in the sell out show Kidz Take Kontrol. Explore different styles including street, popping, breaking, rock, old skool and new skool. 25 places available, book now to avoid disappointment by downloading your form from www. interludedance.com or calling 0203 2310083
Street Dance Camp: 31 July – 5 August If you are looking to improve your street dance techniques then look no further than Let Me Dance at Elmhurst School for Dance, Birmingham This camp is run by leading industry dance professionals who have worked with a range of well known artists who come together for the camp to use their vast experience to teach participants the ins and outs of street dance. Participants can expect to learn several styles of dance including popping, locking, breaking and street. The camp provides the opportunity to learn new skills and moves in an intense dance environment. The week culminates with a filmed performance which is professionally choreographed for participants. Visit www.letmedance.co.uk for more information.
12 DanceReview | May2011
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Tring Park Associates Tring Park Associates Summer School 2011 For fees and application form go to www.tringpark.com Daily dance classes Drama from age 7 Performance singing from age 11
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Modern and Jazz classes Scholarships available
For further information, fees and application form see Tring Park website www.tringpark.com or contact nicola.denton@tringpark.com Tel. 01442 824255
No audition necessary for 3-8 year olds
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ZooNation Summer Academy
Learn from the incredibly talented ZooNation Dance Company, stars of number 1 box office hit ‘StreetDance 3D’ and the 5* hit West End show ‘Into the Hoods’. This intensive week long course will cover a variety of Hip Hop dance styles from Lockin, Poppin, House, to Breaking & Nu Skool. The week will finish with a special showcase open to friends and family.
WHERE: Sylvia Young Theatre School, London W1H 5YZ 10 - 25 Year olds - 2 classes WHO: Beg/Int and Int-Adv WHEN: 22-26th August 2011
Places are limited get in touch now to avoid disappointment! 020 7837 6555 or 07807 055 337 info@zoonation.co.uk www. zoonation.co.uk May2011 | DanceReview 13
Take time
to reflect Take time When you think about a dance or exercise studio, it would be easy to take for granted the set up of the room because one studio is much the same as the next. In the same way many people believe that one mirror is just as good as the next – well they are aren’t they?
A
ctually they’re not and certainly as far as mirrors are concerned there are a number of very important factors which need to be taken into consideration. One of the main considerations which you need to take into account is the need for studio mirrors. Now this may seem fairly obvious but it is worth noting that they are not just part of the furniture – they are
a fundamental piece of equipment to any dance or exercise studio. In terms of teaching, mirrors provide an instant picture of what the teacher is trying to convey or perhaps correct, and the students can easily see how a move should be performed and whether they are doing it correctly. What’s more, mirrors do not lie so they can be relied upon to project what is happening in real time and provide an instant picture.
Sharon Simpson, Director of The Ballet Barre Company says: “As a company that supplies and installs studio mirrors, one of the main things which we take into account is how the mirrors are being used and who will be using them as this will determine the height at which they need to be positioned. For example dancers will require a taller mirror than a yoga studio which is why we visit the studio and measure the wall area before cutting the mirrors to suit the requirements. It is also important to achieve a uniform finish and therefore all of the mirrors will be cut into equal sized panels which fit into the space available.”
Reflective properties It doesn’t matter what you buy, there will always be a cheaper alternative and while that may be fine for breakfast cereal or biscuits, when it comes to mirrors you get what you pay for. There are a lot of inexpensive low-quality mirrors on the market which simply do not give a high-quality reflection and you can usually identify these by the price as they will fall into a much cheaper category. Another big mistake for studios is acrylic mirrors which offer a very wobbly reflection and thus are not suitable for a dance studio. Sharon agrees that low-quality mirrors are not the answer: “The thickness and quality of the glass used for the mirror will
14 DanceReview | May2011
also affect the price, but once again you get what you pay for. We only use 6mm thickness which provides greater strength and rigidity and ensures a flat, uniform reflection, and while other companies do offer a 4mm mirror, we don’t believe that it offers the best value for money.”
Custom installation Another thing which may sound obvious but which is often overlooked is consideration of the wall onto which the mirrors will be fixed. It should ideally be smooth, flat and free of any obstacles such as light switches and plug sockets. However, this isn’t always easy to achieve and a reputable company will be able to work around these issues without too many problems. Sharon says: “At a recent installation for a London studio we had to cut the mirrors to fit around the plug sockets and in addition we had to remove the face plates and fill the spaces with a custom wood panelling to match the rest of the studio.” The message here is that anything is possible so don’t be afraid to state your requirements at the start.
Wear and tear In a busy dance or fitness studio, all of the equipment will have to stand up to a lot of daily use and therefore you need to have the piece of mind that anything which is installed is robust.
Look out for mirrors which offer a greater resistance to natural atmospheric corrosion and improved protection against chemicals used in many cleaning products. You also need to consider their resistance to impact – they should meet the requirements of BS 6206 Class A which basically means that should something untoward cause the mirror to break, it will not shatter but will remain on the wall until it can be safely removed. It is also wise to consider the fitting of curtains, particularly in a multi-use venue such as a school as this will not only help to protect your investment, it will also eliminate unwanted distraction during teaching or exams.
use venue such as a school as this will not only help to protect your investment, it will also eliminate unwanted distraction during teaching or exams.
And finally As far as mirrors are concerned there are numerous different ways for you to achieve the perfect solution for the space which you have available however I cannot stress enough how important it is to work with a professional company. You may be able to find a cheaper solution but in the long term you have to ask yourself if it is worth the hassle or whether it makes more sense to just get it right first time.
The alternative If, like many people, you have limited space in your studio and the installation of permanent mirrors is not an option then you could consider mobile mirrors which are sturdy mobile units with a safety glass mirror which is mounted onto a stainless steel frame with four rolling, lockable casters. These types of units are specially designed to roll under a standard doorway and will nest together when not in use to ensure that they take up the minimal amount of storage space. It is also wise to consider the fitting of curtains, particularly in a multi-
acrylic mirrors May2011 | DanceReview 15
Size Matters I’ll have my cake and eat it!
by Mark Edwards
S
omeone once ranted at me that ‘fat was a feminist issue’ whilst I was walking out of the dance studio. At the time I was munching on a mars bar and drinking a can of coke (the fat one as opposed to the diet one). I was all of just over eight stone in weight and couldn’t care less if it was or wasn’t a feminist issue. At the time it certainly wasn’t my issue. In those days the only concern I had was enduring the powdery taste of Strawberry Weight Gain compound (compliments of my GP) and having to run around the shower just to get wet. Over the years, however, size has become my issue just like it has become an ever growing concern of the Western culture of today. These days I would be found guilty of snacking at the Last Supper as well as pretending to relish in skinny lattes. Underscored with secret desires to ask the cashier at Starbucks for a double choc chip muffin with the hope no one I know from the dance ‘scene’ is in ear shot. Gone are the days of my care free mars bar munching moments and coca cola slurping delights, coupled with the ‘delightful’ chalky Weight Gain compound. In their place now stands the sign posts of body consciousness, size visibility, gym central and Botox boulevard - the shedding of creases in hope of removing visual (hi)stories, age giveaways and so on. Have I (with my abandonment of sugary foods) now bought into body fascism and bodily politics?
Am I now entrenched in an ever increasing physical lobotomy of Western contemporary social and cultural society, inveigled by a world of a ‘celeb’ and commercially image driven culture? Or have I just become Mr Health Conscious as I’ve got older?
Breaking the mould Over the years the Western dancing body has shifted from that of a fuller body (pre early part of the 20th Century) to a more aspiring architectural masculinised body of a post 1980’s British contemporary dance culture. It seems dance forms have become concerned with force, speed and acrobatics. Albright notes that such bodies have stretched ‘dance movements to the outer limits of physical possibility and endurance’ (Albright, 1997: 28). In adopting such muscular bodies are many female dancers crossing over gender forms? The gender of many performing dancers becomes almost unrecognisable when female and male bodies are viewed alongside one another. In social terms, we only need to take a trip down the historical express-way to see that the European courts were fascinated with beauty and even the Greeks worshiped the Adonis and engaged in body admiration. Indeed the ballet aesthetic of the latter half of the 20th century highlights physical shifts in the dancing female form, resulting in a more refined and silent slenderness hierarchy (which apparently signifies beauty).
Being comfortable in one’s own skin cannot be taught; it has to be embodied and accepted over a period of time. 16 DanceReview | May2011
This shape shifting capacity appears to be high on the global West’s dancing agenda. A slim and toned body encouraged (or enforced) as an ideal, yet who creates these ideals and why? And do we actually own our body? In a world saturated by a celebrity culture, which ultimately has brought us an unpleasant notion of involvement in the creation and evolution of internationally recognised forms, if you scratch the surface of this social catwalk plasticity you witness the true nature of the masked canvas of a narrow and limited body type, restricting age and ethnic inclusivity. The aesthetics of a dancer beyond a certain ‘ideal’ weight is viewed with suspicion and, at times, even repulsion and rejection as a decent and ethic representative form of embodiment. A stark contrast to that of other cultural dancing where the ‘body beautification’ is spring boarded and performed by those with bigger bodies. This current wave of danceorexia and (fan)orexia seems to be affecting both the male as well as the female dancer both in the UK and overseas.
On the margins Most dance conservatoires (unlike the more liberal arts university courses) and the UK TV dance culture seem more obsessed with the ‘training body’ and appear to have less regard about the education of the mind and dancing scholarly activity. Learning to hate yourself is not a module found in liberal arts courses, with a learning outcome of a lead role and a rejection of self. It is thanks to the development of the mind and the security one finds in one’s own skin that body-normativity is not encouraged. Educating the dance artist requires dancers to be comfortable in their own
skin, not to embody and fight a living contradiction going against their natural inscription. Such contradictions are regurgitated from expanding commercial culture and archaic social and institutional dance ideologies where institutionalised fattest-phobias disempower, demoralise and contribute to self worthlessness. Not to mention depression and a creation of a negative self image in dance and performance arenas. Dance artists often have to grapple with hostile working environments as it is, without the added size(ist) brigade policing their every size expansion or calorie intake! Large bodies can’t dance is a myth: a size myth that needs throwing in the trash can along with all the recipes for disaster – otherwise known as diet books. We should enjoy the body we have and acknowledge that dance is a broad arena, and that each individual is a work in progress in a unique process of a state of permanent evolving, growing and becoming. I like the notion of people mapping their bodies in space through self-identity
and ownership of the dance language (whatever that maybe) regardless of its size. I am a firm believer in people being a habitant of their own skin being able to execute their dance ability with confidence and (re)assurance. Is it with age, and performing maturity I can say this? Do I have a more refined knowledge of dance language in my bones as opposed to a refined figure? I may not have a great body but I do have a great attitude towards dancing. Organically, with this wisdom, I have moved away from having to conform and perform to a set of soul-crippling codified established practices and dancing ideals, and have come to recognise that I am free to dance as I like when I like. Heck, next I may even say ‘routine’ as opposed to ‘phrase.’ As an older artist, I can readily engage with and draw upon a range of embodied knowledge with substance, truthfulness and lived experiences, and perhaps this ‘coming out’ of body acceptance is part of this. Being comfortable in one’s own skin cannot be taught; it has to be embodied and accepted over a period of time.
We are in constant dialogue with our bodies, resulting in a rich intense relationship we have with ourselves. The dancing body should not be size questioned, architecturally refined, but should be celebrated in all its differing forms. I, for one, shall be in full attendance at the ‘coming out’ party of dancing diversity, whether others tut or not as I reach for my third Ferrero Rocher, is of nil importance to me. References: Albright, A.C. (1997) Choreographing Difference: The Body and Identity in Contemporary Dance. Wesleyan University Press: Hanover.
Mark Edward is director of Mark Edward & Company and an independent dance maker, writer and performer, as well as a part-time Senior Lecturer in Performance at Edge Hill University. He has worked for Rambert Dance and a range of other dance companies/organisations. May2011 | DanceReview 17
From injury to performance
English National Ballet The Beautiful Game. Choreographed by Jenna Leefor The New Football Pools. Dancers left to right: Grant Rae, Kei Akahoshi, and Shevelle Dynott. Photographer Helen Maybanks
18 DanceReview | May2011
By Nouska Hanly
T
he subject of injury is one which we take very seriously and it was the focus of a recent conference (From Injury to Performance: lessons to share in dance and sports) which was jointly organised by Dance UK and the Royal Society of Medicine and included experts in dance and sports medicine, doctors, surgeons and research consultants from across the UK. Rambert dancer, Angela Towler was one of the first to speak, giving an emotional recollection of her battle with serious injury. After tearing the labrum of her left hip Angela recalled the utter despair she felt at the prospect of not being able to dance. She had carried on dancing with her injury long after she should, for fear of letting her colleagues and company down because: “No one told me to stop”. Angela reflected on what she has learnt with hindsight: “I would like to see a centre where you can get quicker diagnosis...get from A to B quicker, with a psychologist on hand to help and a team to create a complete programme for recovery”.
Effective prevention The case for a model of thinking for the prevention and treatment of dance injuries was put forward by medical representatives based on the lessons that the sports world has to offer. Dr Colin Fuller, Research Consultant for the FIFA Medical Assessment and Research Centre explained the initial reluctance of the sports world a decade ago to acknowledge the issue of risk management. Coming from a corporate background he conceded that, were the risks as high in industry as they are in sports and dance: “industry would be closed down”. The hard-hitting message was intended to emphasise the importance of risk management and the vital role it plays in mitigating against high risk activities. He also highlighted the need for large-scale epidemiological research and a consensus on the way injuries are recorded in order to more accurately identify the causes of injury and effective prevention strategies. The evidence that this model (rigorous screening and accumulation of data to inform practice) really works is becoming evident at BRB, where injuries sustained by the company have halved. Mr Nick Allen is in the 6th year of an ongoing longitudinal study at the Jerwood Centre for the Prevention and Treatment of Dance Injuries. The main focus of his research is not only to identify the incidence of certain injuries and their severity but to record them in a manner which is clinically useful and comparable to other disciplines. He is working with colleagues at other leading dance companies and training establishments, brought together by Dance UK, with an aim of achieving consensus on dance injury definitions and data collection procedures.
Fitness and strength The particular focus for preventative programmes at BRB’s Jerwood Centre is fitness. It may come as a shock but dancers have low overall fitness and strength levels compared to sports professionals. What they lack in fitness and strength they make up for in tremendous skill and technical superiority but this is a superficial asset when it comes to injury prevention. If a rugby player for example makes a technical mistake, this is compensated for by the general robustness of fitness levels and potential injury is often averted, but if these fitness levels are not present, the chance of avoidance is compromised and the risk of injury therefore greater. There were plenty more pearls of wisdom on offer from the likes of Britt Tajet-Foxell, Consultant Psychologist to The Royal Ballet. She likened the inner voice of the injured performer to that of a radio antenna tuned in to a negative wavelength and in need of finding a more positive frequency. She remarked: “The memory performers often have of their injuries is fractured and fragmented as it is so ingrained with their identity. Symptoms can be similar to post traumatic stress.” Britt spoke about how the effects of injury can remain in the muscle memory of the body long after the actual injury has healed, leaving a princess and the pea scenario behind, whereby the performer still has to overcome the residual apprehension and anticipation of the pain to fully function. There were illuminating nutritional facts on offer from Nathan Lewis, Senior Performance Nutritionist for the English Institute of Sport. He emphasised the damage an elite performer can engender through a restricted diet, which he concluded not only leads to higher levels of body fat but also compromises the healing process, increases the risk of stress fractures and damages the reproductive system. His advice for athletes and elite performers was to “never go more than three hours without a meal and eat soon after exercising”. Vegan and vegetarian diets were deemed insufficient in terms of optimum nutrition and not ideal for the elite performer.
Greater collaboration The most emphatic messages of the day were the need for greater cohesion, collaboration and consensus not only between the worlds of dance and sport but in the dance community itself. It is worth acknowledging how far the dance industry has come over the past decade and the tremendous work which has already gone into initiatives such as the Healthier Dancer Programme (Dance UK) which has been running since the mid ‘90s. Without these driving forces, the collaboration and exchange which was such a key feature of this valuable conference would not be facilitated at all. There is some provision now for the injuries of dancers which is excellent, as Helen Laws, Manager of the HDP at Dance UK pointed out: “The Royal Ballet and Birmingham Royal Ballet have full multidisciplinary healthcare teams; medical and science facilities at the Jerwood Centre and TrinityLaban and several new developments for other dance companies will all include space for treatment, rehabilitation and fitness. What is missing is comprehensive provision for all dancers including those in the small/medium scale and freelance dancers. The only way we’ll achieve this is by working together and pooling resources. Dance UK is working to achieve this by establishing the National Institute of Dance Medicine and Science for which we are currently fundraising.” Dr Chinmay Gupte, Consultant Orthopaedic Surgeon explained: “The problem comes when we work in isolation”. If the theme of the day was exchange, then this conference fully achieved its purpose. If we’re going to fight the war on injuries, we already have the perfect coalition.”
May2011 | DanceReview 19
Harlequin floors developed for dancers
C
hoosing the correct floor for dance is important for health, safety and artistic performance. Whether for the world’s leading dance companies or classes in a village hall, the same fundamental criteria apply. But what factors contribute to a suitable floor is constantly being refined based on input from dance professionals, research into causes of dance injuries and advances in materials and engineering technologies to actually build the floors. British Harlequin brings more than three decades of experience working closely with the dance community to gain important insights into critical factors that work toward a safer work environment for dancers and in helping fund research. Because the dance floor is such an essential and important part of the dancer’s work environment, ensuring
the quality is as good as can be achieved, Harlequin has always worked closely with dancers and others within the dance community. So when Dance UK organised an event to support a call for funding towards the creation of the National Institute of Dance Medicine and Science, the world’s leading dance floor manufacturer answered with a major £30,000 contribution. Star dancers, a former manager of the England football team, a leading choreographer and specialists in dance medicine lined up at the Dance UK organised event. Speaking to the invited audience at the Royal Society of Medicine, Graham Taylor outlined the parallels between injuries sustained by elite athletes, in particular professional footballers and professional dancers and contrasted the huge disparity between the two in terms of comprehensive medical facilities,
Laban Dance Science support and guidance. When Graham Taylor’s playing career was cut short by injury, football at that time was in a similar situation to dance today. “I was shocked to discover the lack of health facilities to look after dancers.” said Graham. “What Dance UK and their partners are trying to achieve in setting up a National Institute of Dance Medicine and Science will make a huge difference.” Welcoming the British Harlequin contribution he expressed the wish that other companies would follow Harlequin’s lead. Dr Emma Redding (dancer and Head of Dance Science, Trinity Laban Conservatoire of Music and Dance) then led a discussion between acclaimed Rambert Dance Company dancer, Angela Towler, Kate Prince, Artistic Director of ZooNation, and Camilla Dallerup, TV presenter and 2008 Strictly Come Dancing champion, who talked about their experience of injury and how they were affected physically and psychologically. Caroline Miller of Dance UK praising the Harlequin philanthropy said: “The £30,000 generous donation from British Harlequin is another major step towards the creation of the UK’s first National Institute of Dance Medicine and Science. The vision is that all top level dancers will have access to the high quality, comprehensive, dance specific healthcare and dance science support services they need, on a par with those enjoyed by elite athletes and dancers in the largest ballet companies.” Videos of the event can be viewed online at http://www.harlequinfloors.com/uk/ video-zone.html . British Harlequin provides essential information about everything you need for a dance studio in a free to request guide titled ‘The Guide to Dance Floors’.
20 DanceReview | May2011
Street Dance Camp
31 July to 5 August 2011 - Elmhurst School for Dance - Overnight Residential Camp
eâáá|tÇ UtÄÄxà fÉv|xàç Founded in 1923 by N. Nicolaeva Legat
(the only Society with the remit to foster and promote the Legat System of ballet training in the Russian Classical style)
INTERNATIONAL SUMMER BALLET COURSE Directed by EUNICE BIEDRYSKI BARTELL
13th August - 27th August 2011
at LORETTO SCHOOL, near EDINBURGH, Scotland
CLASSES
Classical Ballet (Legat System) • Character Dance • Modern Dance • Jazz • Pointe Work Repertoire • Variation • Pas de Deux • Boys Technique • Choreography
End-of-Course PERFORMANCE Friday 26th August 2011 at 7.30pm
STUDENTS accepted from age 13 to professional standard Limited number of scholarships available for boys Information and application forms: The Secretary, Russian Ballet Society, P.O. Box 17319, Edinburgh EH12 1BB, Scotland Tel: (+44) (0)131 334 2031 Fax: (+44) (0)131 334 3702 Email: russianballetsociety@hotmail.co.uk Web: www.russianballetsociety.co.uk
May2011 | DanceReview 21
Image isn’t You are constantly being reminded about your health and wellbeing enough to dance and it is right to place a high amount of importance need to bear in mind to ensure that you avoid injury and that is your
It’s
always great fun when you attend a show such as Move It to walk round the stands and do some shopping – I personally love the shopping part so I know where you are coming from. But on a more serious note it isn’t just about keeping up with the latest trends because a lot of the clothing has a more serious function.
Starting out Whatever your chosen form of dance is, there will inevitably be a lot of kit and as with any activity it is imperative that you get the right kit for the job, but if you are just starting out and you’re not sure if you will like then it raises the question should you shell out a fortune before you have even started. There are many lines of argument here because some would say that you need to have all the right kit in order to get the best out of your classes, but then another school of thought suggests that you should try out the classes for a few weeks before spending your hard earned money on getting all the kit. I would fall into the second line of thinking because if you decide to pursue a career in dance then you will spend enough money in the years ahead. But at the same time you have to be sensible and ensure that whatever clothing and footwear you do choose is fit for
22 DanceReview | May2011
purpose – so no high heels for your first ballet lesson!
Kitted out Once you have decided that you do want to carry on with your lessons then it is time to invest in the right gear and if you don’t have an endless supply of money then footwear is the place to start. The best way forward is to take the advice of your teacher as they will know what type of shoes you should be buying and what would be the best range to suit your level of ability. What you do need to remember is that where footwear is concerned you should not take a ‘one size fits all’ approach because everyone is different and the continuous innovation in design and manufacture means that styles and designs are constantly changing. If you are unsure about what you should be looking for then take a look at Katz dancewear, Grishko or Capezio, all of whom have extensive websites which detail the vast ranges of dance footwear which is available.
Keeping warm Once you have your footwear sorted then you need to move onto clothing, and while looking good is of course of high importance, it is the functionality of the clothing which you should be looking for.
Keeping warm is one area where you can’t afford to skimp because if you let your muscles get cold then you are more likely to suffer an injury. You also need to pay close consideration to the type of dancewear which is suitable for the classes which you take. Once again you don’t need to opt for the most expensive option but you do need to ensure that the clothes which you choose do not restrict your movement in any way.
Avoid injury Even with the right footwear and clothing you are still likely to suffer from sore muscles and because of this it is worth investing in some pain relief.
everything and about ensuring that you eat the right food in order to stay fit on all of these things. However, there are other things which you clothing and footwear. I recently came across Star Balm which is a new generation of herbal-based muscle treatments formulated and developed by a Chinese chemist with many years of experience working with herbal remedies. This new range is perfect for easing mild discomfort and maintaining suppleness and mobility, and the highly effective, camphor-free and non-staining formula comes in two strengths and a range of easily absorbed balm, spray and plaster
formats to deliver immediate and effective joint and muscle pain relief. The regular strength version is very easy to apply and comes in a handy 10g tin which is perfect for keeping in your dance bag at all times. There is also a 25g jar which is good for keeping at home, an extra strength version which provides a more intense effect and a pack of four Aqua Gel Warm Plasters which are particularly good for use on knee, elbow, shoulder and back strains. Obviously you need to decide what works best for you, and remember that if you are in any doubt over an injury then you should seek the advice of a medical professional as soon as possible.
And finally We all like to look good but having the right kit is not just about image – it’s about providing yourself with the right tools for the job and in this case it’s about avoiding injury. If you’re unsure then do seek advice from your teacher or fellow students and they will be able to point you in the direction of a reputable shop or manufacturer who will help you out. But whatever you choose remember that just because something is right for everyone else it doesn’t mean it will be right for you. So next time you are out shopping don’t just follow the herd – make sure that whatever you buy will provide the right level of function and support for your chosen style of dance.
Reader Giveaway We have a selection of products from the Star Balm range to give away. To be in with a chance of winning simply email: tracey@dancereview.co.uk with your name and address before the closing date of 01 June.
May2011 | DanceReview 23
Healthy Feet in Pointe shoes - a Few Essential Pointes.
Dance Review talks to Amanda Hill (www.grishko.co.uk) and Linda Reid Lobatto (www.pointeshoefitting.co.uk) Why are demi-Pointe shoes so vital in preparing for Pointe? We were not anatomically designed to stand on our toes in pointe shoes, yet most people, when they think of ballet, imagine a dancer on pointe, and so it is every girl’s dream to reach that stage whether a hobby dancer or not. Teachers therefore often feel pressure to put girls on pointe for fear of them giving up ballet. Many girls go on pointe before they are truly ready, often finding it so painful that they then give up ballet anyway! In addition to taking up an extra hour of ballet a week, and doing many preparatory foot and core strength exercises, we believe that demi pointe shoes have an amazing role to play, and ultimately can make the teacher, the dancer and the pointe shoe fitter’s life much much easier! Why? A demi pointe shoe: • encourages better ankle control and balance due its thicker sole, • works the intrinsic muscles in the foot much harder • gets the foot used to working in a confined space • looks like a pointe shoe- the emotional aspects of starting Pointe for the older girls in a ballet school are often overlooked. To the observer outside a class, they cannot tell whether a girl is wearing pointes or demis, and so if half the girls in the class are on pointe and some are not, it is not so easily noticeable. It means everybody can stay working in their demi pointe shoes until they are individually ready to move up to full Pointe. • Makes fitting of a pointe shoe far easier when the time comes- our experience is that it is dramatically quicker to get to the required supportive fit. According to Alison Whitaker, (BSc (Hons) GSR, Sports Rehabilitator, Specialising in Dance), “the design of demi-pointe shoes provides a transition stage between soft ‘flatties’ and pointe shoes that better prepare the feet for the higher demands of pointe work when they are worn before pointe work starts.
24 DanceReview | May2011
Many dancers, however, go straight from soft ‘flatties’ to pointe shoes in this critical stage of their training. Without a gradual transition phase between shoes the dancer is more likely to suffer an injury later on because they haven’t been as carefully prepared for the higher demands expected of them in pointe work. It is therefore advisable that a young dancer wears demi-pointe shoes for at least six months before they start pointe work in addition to preparatory strengthening exercises.”
Why do you need intrinsic foot muscle strength? When the foot is in the pointe shoe, correctly pointed (long straight toes) and correctly supported in the shoe, it is the intrinsic foot muscles that do all the work, supporting most of the body weight. When a shoe is too big, allowing toes to scrunch
muscles have to do the work, to hold the foot out of the shoe, and the lovely line at the ankle is lost. Intrinsic muscles can be strengthened with use of demi pointe shoes, and exercises such as metatarsal lifts, therabands, wobble boards and other exercises. None of these exercises take very long and should be done daily.
Why do you need excellent core muscles and good turnout? When you dance on pointe you not only rely on the shoe for support, but also to dance ‘out’ of the shoe you need huge strength in your leg, hip and abdominal muscles. Pointe work is not just about feet. Core stability is as important- it doesn’t matter how strong your feet and ankles are, if your body is not correctly aligned, and your core stability is weak, dancing on pointe will be more difficult. It is healthier and safer for you to take slightly longer preparing your body, allowing some skeletal maturity to have taken place, than to have started at a too young an age, maybe causing you damage that could bring your dancing to an early finish.
Why do Grishko Pointes need to be fitted so snugly?
When a shoe is snug and supporting the foot, the foot is able to point correctly using intrinsic muscles, the ankle is allowed to extend forward and push over the box, maintaining a vertical alignment. When the shoe is too big, the foot crumples into the box.
down in the shoe when on pointe, the leg
A snug shoe correctly fitted- looks like part of the foot everywhere
Grishkos are designed to support the whole foot, encasing and gripping the metatarsal heads into the box. When a Grishko fits correctly, the shank of the shoe melts into
The shoe on the right looks like part of her foot. With pointe shoes that are too large, the shank cannot mould with the arch even with full body weight on the foot- this is an SS shoe which should mould easily into the arch but there is so much padding in the shoe that it cannot fit properly.
the arch, supporting the rest of the foot. If a shoe is too big, this will never happen. The dancer will also not be able to get over the box, and will not be able to pull herself out of the shoe. This creates uneven balance on the shank and box and leads to early breakdown.
Why is shape of the pointe shoe and vamp height important? Pointe shoes should be considered an extension of a dancer’s foot, so when buying a pointe shoe you firstly need to look at the shape of your foot, then look at the available Pointes to see which shoe matches your foot shape and start there. Choosing the wrong shape pointe shoe can lead to the following:- A square box that is too wide for your foot, will feel like your foot is sinking down to the floor causing pain in the toes. With short toes and the vamp too long, you will have problems rolling up
to pointe. With long toes and the vamp too short, you may not have enough support. You need to find the correct vamp height that allows your foot to roll up onto pointe yet be able to push the shoe over so that the whole platform is being used. If you find the correct Grishko shoe for your foot but find the vamp is too high or low, talk to your fitter- Grishko can reduce the height, or change a round vamp shape to a v shape. This will be a Special Order and you will need to allow 6-8 weeks for your shoes to be made. If you are unable to push right over the platform, the vamp height should be looked at first
What is the best way to break in Pointe Shoes? Each Grishko pointe shoe is beautifully hand crafted. Please do not hammer, shut them in doors or anything else that will damage them. Pointe shoes should be prepared correctly before dancing in them. Treat them with respect and they will serve you well. Face the barre, with two hands on the barre for support. 1) Rise onto pointe, then roll down, very slowly, on both feet. 2) Pony trots, alternating feet. 3) Rise onto pointe, bend both knees forwards and push over on to, and right over the box. 4) Repeat, but on alternate feet. 5) repeat steps 1 to 4 in turnout position. (Repeat until you find the shoes softening at the demi pointe break)
need to own more than one pair of shoes. These dancers should have a minimum of 3 pairs on the go at the same time, changing them after 45- 60 mins of work. If your feet perspire heavily, change them after 30 mins work. Pointe shoes will last longer if they are changed, drying out thoroughly for a MINIMUM of 24 hours before re using. (take any padding out!) The average life span of a pair of shoes is actually only 4-12 hour hours of work but it can vary dramatically depending on type and fit of the shoe, type of classes you are taking, and the level of pointe work you are studying. Fortunately, Grishko’s are generally known for their durability. However, when pointe shoes have reached the end of their life, injuries can occur. An experienced dancer will know when her shoe is worn out, but if you are new to Pointe work, then please ask your teacher for advice. Pointe shoes usually need to be replaced when • either the platform is no longer stiff, • the toe box has become too soft, • or the shank no longer offers you the support you are used to. You need to be aware enough to notice these things. You may: • start feeling pain in areas you never felt before, • find you are no longer able to push right over the box, • be falling off pointe when you try to balance, or • find yourself falling forwards out of turns. If the toe box or shank becomes mushy, soft, cracked or damaged in any way, it is definitely time for a new pair of shoes. A lot of dancers only use the shank as a guide to when a pair of shoes needs to be replaced, but the box is essential too for support of all those toe joints. Never dance in shoes that have become too soft as the shoe could collapse.
For more information on Grishko Pointe Shoes or Pointe Shoe Fitting courses, please contact: Amanda Hill Phone: +441223 861425 Email: info@grishko.co.uk www.grishko.co.uk
You can also wear your new shoes around the house with a pair of socks over them (never go up and down stairs), or even sleep in them!
When is a shoe dead? If you are dancing en Pointe daily, then you
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May2011 | DanceReview 25
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26 DanceReview | May2011
Centre Stage Spotlight on
Shreya Kumar T
his month we talk to 26 year old Shreya Kumar who began her dance training in Bharatanatyam in India where she performed individually and also toured extensively with the Natya Vriksha Dance Company. She then graduated from the London Contemporary Dance School, The Place and has recently toured with Mayuri Boonham’s ATMA Dance. Shreya has performed in pieces created by Colin Poole, Jorge Crecis and Anna Williams at The Place and Sankalpam at the National Theatre and Purcell Room. As a choreographer she has also created collaborative and interdisciplinary work for Akademi, Rich Dance and Haunch of Venison and has toured her solo work at various venues including Southbank, Rich Mix, Laban, Twickenham Stadium and Sadler’s Wells. How old were you when you first started dancing? I started dancing at the age of six because I loved the sound of the beats and the music every time I passed the dance studio so I asked whether I could join in! Who is your inspiration? There are many people who have influenced my understanding of dance and its purpose - Pina Bausch, Trisha Brown, Anne Teresa De Keersmaeker, Mayuri Boonham, Yasmin Vardimon, Shobana Jeyasingh and Guru Geeta Chandran are a few. In other walks of life my inspirations include Ekhart Tolle, Anish Kapoor and my mum!
What is the best piece of advice you have ever been given? Be intensely alive in everything you do because you learn something everyday. What is the high point of your career so far? That would have to be dancing with ATMA dance. Which performance would you most like to appear in?
I would have liked to be an environmentalist, because if I had the means, it would have helped me to advocate for or protect the natural resources the Earth has provided us with. What do you do in your free time? I don’t have a huge amount of free time, but when I do I like to read, swim, do yoga and listen to music. Mayuri Boonahms/ATMA Dance will be performing at The Place, London, on 12 May. ATMA Dance is touring Sivaloka and Ghatam across the UK.
If it was possible I would like to be a part of any Pina Bausch pieces because she was able to express her visual vocabulary in a very human way. I also love the way she created the atmosphere on stage with different stage floors. What is the most memorable performance which you have seen? In March this year I saw Masquerade by Tilted productions, which was choreographed by Maresa Von Stockert at The Place, and I found it extremely exciting to see how clever and creative a surrealism piece can be. If you weren’t a dancer what would you most like to be?
Shreya Kumar in Ghatam, ATMA Dance, Photo by Nuno Santos
May2011 | DanceReview 27
Listings LONDON
ARTS DEPOT, TALLY HO CORNER May 6 Dierdot’s Collection, Wayne McGregor Random Dance BARBICAN Tel: 0845 1207511 www.barbican.org.uk Jul 14-16 Royal New Zealand Ballet Jul 19-24 Circa NEW WIMBLEDON THEATRE Tel: 0870 0606646 www.ambassadortickets.com May 3-7 Matthew Bourne’s Cinderella Jun 23-25 Spirit of the Dance Jul 22-24 Dance Overture O2 ARENA www.theo2.co.uk Jun 17-19 Romeo & Juliet, The Royal Ballet ROYAL ALBERT HALL Jun 9-19 Strictly Gershwin ROYAL OPERA HOUSE Tel: 0207 3044000 www.roh.org.uk May 13-25 Ballo Della Regina / New McGregor / Danse à Grande Vitesse May 25-28 Clara / Howl May 28-Jun 11 Scènes de ballet / Voluntaries / The Rite of Spring Jun 17-25 Cocteau Voices (ROH2 Linbury Studio Theatre) Jun 29 – Jul 2 The Royal Ballet School Summer School Performances Jul 8 The Royal Ballet School Annual Performance Jul 25-Aug 8 Swan Lake, Mariinsky Ballet Jul 29-Aug 1 Homage to Fokine: Chopiniana / Scheherazade / The Firebird, Mariinsky Ballet SADLER’S WELLS Tel: 0844 8710090 www.sadlerswells.com May 3-7 Tap Ole, Peacock Theatre May 5-7 Maria Pages & Sidi Larbi Cherkaoui May 5-7 les ballets C de la B / Rosalba Torres Guerrero / Lucas Racasse – Penombre, Lilian Baylis Theatre May 12-14 Dutch National Ballet May 17-21 Northern Ballet May 24-28 Rambert Dance Company May 31 Sum of Parts May 31- Jul 3 The Merchants of Bollywood, Peacock Theatre Jun 2-4 Dave St-Pierre Company Jun 4 Nats Nus Dansa, Lilian Bayliss Theatre Jun 9,10 Jasmin Vardimon Company Jun 15,16 Saburo Teshigawara / KARAS Jun 21 Martin Creed Jun 23,24 Sol Picó Dance Company Jun 29-Jul 2 les ballets C de la B Alain Platel / Frank Van Laecke Jul 5-9 Sylvie Guillem Evening Jul 12-16 Hofesh Shechter STRATFORD CIRCUS May 6 Dance + Circus, Swings & Roundabouts THE COLISEUM Tel 0871 9110200 www.eno.org May 15,16 In memoriam : Galina Ulanova Jul 11-17 Sir Frederick Ashton’s Romeo & Juliet, Peter Schaufuss Ballet Jul 20-24 English National Ballet – Roland Petit Jul 27-30 Carlos Acosta Premieres Plus THE PLACE Tel: 0207 1211100 www.theplace.org.uk
May 4,5 Probe, Antonia Grove May 7 Kathakbox, Sonia Sabri Company May 10 Trilogy, Vera Tussing & Albert Quesada May 12 Sivaloka & Ghatam ATMA Dance / Mayuri Boonham May 14 5 Soldiers, Rosie Kay Dance Company May 19 The Fault Index, Charles Linehan Jun 3,4 EPISODE, Requardt Company Jun 8 Menage a Trois, Gary Clarke Jun 9 Reel Lives with Hofesh Shechter Jun 11 La Porte & Eteins Pas / EDD, Mickael Marso Riviere & Supple Jun 14 The Devil and the Details / Big Mouth, Rachel Lopez de la Nieta / Niv Shenfield & Oren Laos Jun16 Something or Nothing, Guy Dartnell Jun 18 In Good Company, Hofesh Shechter Company Dancers THE UNICORN THEATRE Jul 14-16 Ballet Central & Central School of Ballet
SOUTH EAST ANDOVER THE LIGHTS Tel: 01264 368268 May 26 Dance Festival Jun 4 Summer Jump & Jive, The New Antonians BASINGSTOKE THE ANVIL Tel: 01256 331733 www.anvilarts.org.uk May 7 MG Dance Academy May 14 Tango Fire Jun 24,25 Centre Stage Dance Academy Jul 2 Petite School of Dancing Jul 2,3 The Lynden School of Dance Jul 9 Starlet Dance School Jul 10 Vanessa Golborn School of Dance (Juniors) Jul 16 Vanessa Golborn School of Dance (Seniors) Jul 22,23 Cullum Dance Academy Jul 23 Lisa Jane School of Dance Jul 28 Basingstoke Academy of Dance BOGNOR REGIS REGIS CENTRE Jun 25 Dance for Life Jul 17 RnB Dance Show BOURNEMOUTH PAVILION THEATRE Tel: 0844 5763000 May 5-7 Spirit of the Dance Jun 28 The Vienna Proms BRACKNELL SOUTH HILL PARK ARTS CENTRE Tel: 01344 484123 May 21 Vienna Festival Ballet May 29,30 Lynnette Stephenson Academy of Dance Jun 12 Youth Dance Fundraiser Jun 18 Barch Dance Academy Jun 19 Ballet Central Jun 26,27 Lin School of Dance BRIGHTON BRIGHTON CONCERT HALL May 11 Les ballets C de la B May 18 Apocrifu, Sidi Larbi Cherkaoui CORN EXCHANGE May 7-9 Chouf Ouchouf May 16 The Fault Index / The Clearing, Charles Linehan Company Jun 7 Hofesh Shechter Dance Company PAVILION THEATRE May 23 Working Title BURGESS HILL MARTLETS HALL May 20 Let’s Dance The Musicals
28 DanceReview | May2011
Your comprehensive guide to what’s on near you. CAMBERLEY THE CAMBERLEY THEATRE Jun 12 Vienna Proms Jul 10 Precious Little Sleep, Wayne Sleep CANTERBURY GULBENKIAN THEATRE Tel: 01227 769075 May 5 EDge 2011 Jun 9 Verve 2011 Jul 22 Precious Little Sleep, Wayne Sleep CHATHAM CENTRAL THEATRE May 1 Coppelia, European Ballet CHELMSFORD THE CIVIC CENTRE Tel: 01245 606505 May 5 Ballet Central Jun 24 An Evening of Burlesque CHESHAM ELGIVA THEATRE Tel: 01494 582900 Jun 5 Cinderella, Vienna Festival Ballet Jun 23-26 Dancing All Over the World, Maggie Monk School of Dance CRAWLEY THE HAWTH Tel: 01293 553636 May 9 Transitions Dance Company Jun 16 Ballet Central Jul 16 Dance Off Jul 24 A Time to Dance, Happy Feet CROYDON FAIRFIELD HALLS Tel: 0208 6889291 Jun 13 Ashcroft Theatre Jazz Dance Company Jul 3 Spirit of the Dance DARTFORD THE ORCHARD THEATRE Tel: 01322 220000 May 3 Tango Fire Jul 1 An Evening of Burlesque DORKING DORKING HALLS Tel: 01306 881717 May 13 Dance Challenge Jun 2 Cinderella, Vienna Festival Ballet EASTBOURNE CONGRESS THEATRE Tel: 01323 412000 Jun 19 Vienna Proms EAST GRINSTEAD CHEQUER MEAD THEATRE Tel: 01342 302000 May 18,19 Cinderella, Vienna Festival Ballet May 24 Essence of Ireland EPSOM EPSOM PLAYHOUSE Tel: 01372 742555 May 30 Spirit of the Dance Jul 28 Precious Little Sleep, Wayne Sleep FAREHAM FERNEHAM HALL Tel: 01329 231942 May 18 Essence of Ireland Jun 4 Vienna Proms Jul 10 Dance Divas Present Divatastic! GRAVESEND WOODVILLE HALLS Tel: 01474 337459 Jun 8 Vienna Proms Jul 15,16 Tutu’s & Tap Shoes, Julia Young School of Performing Arts HAYES BECK THEATRE Tel: 0208 5618371 Jun 3,4 Futunity UK Jul 1 Spirit of the Dance Jul 2 Maria Anderson School of Dance & Drama, Tributes in Dance
Jul 8,9 Freedom of Dance, Dance Mania 2011 HORSHAM THE CAPITOL THEATRE May 22 Essence of Ireland May 24 Dance Challenge Jul 10 Phoenix Creative Arts Show Live MAIDSTONE HAZLITT THEATRE Tel: 01622 758611 Jun 9 Tchaikovsky Gala NEWBURY CORN EXCHANGE Tel: 01635 522733 May 19 Ballet Central Jun 7 In Our Blood, Lîla Dance Jun 16 Jaleo Flamenco POTTERS BAR WYLLYOTTS THEATRE Tel: 01707 645005 May 15 Cinderella, Vienna Festival Ballet RADLETT THE RADLETT CENTRE Tel: 01293 859291 May 7 Cinderella, Vienna Festival Ballet READING THE HEXAGON Tel: 0118 9606060 May 21 Essence of Ireland RICKMANSWORTH WATERSMEET Tel: 01923 711063 May 20 Tchaikovsky Gala, Vienna Festival Ballet SOUTHEND CLIFFS PAVILION Tel: 01702 351135 www.thecliffspavilion.co.uk May 23 Essence of Ireland Jul 18-23 Midnight Tango, Vincent & Flavia SOUTHSEA KING’S THEATRE Tel: 02392 828282 Jul 16 Timestep School of Dance Dancemania TUNBRIDGE WELLS ASSEMBLY HALLS Tel: 01892 530613 May 1 Tango Fire May 26 Essence of Ireland Jun 16 Dance Challenge Jul 16,17 Rhythm Nation, Italia Conti Associates WOKING NEW VICTORIA THEATRE Tel: 0844 8717645 www.ambassadortickets.com May 9-14 Midnight Tango, Vincent & Flavia Jun 7 Richard Alston Dance Company WORTHING PAVILION THEATRE Tel: 01903 206206 May 26 Cinderella, Vienna Festival Ballet May 28 Spirit of the Dance
SOUTH WEST BARNSTAPLE QUEEN’S THEATRE Tel: 01271 324242 May 26 Essence of Ireland Jul 16 Dance 2011 BRISTOL HIPPODROME Tel: 0844 8471735 May 17-21 Matthew Bourne’s Cinderella Jun 20 Spirit of the Dance Jul 12-16 Midnight Tango, Vincent & Flavia
CHRISTCHURCH REGENT CENTRE Jun 20 Swan Lake, Bolshoi Ballet (broadcast) Jul 16 Mad 4 Dance – Dancing Dreams EXETER CORN EXCHANGE Tel: 01392 665866 Jun 22 Jaleo Flamenco NORTHCOTT Tel: 01392 493493 Jun 17,18 Beauty & The Beast, Ballet Cymru Jun 19 Chance to Dance FROME MEMORIAL THEATRE & ASSEMBLY ROOMS Jul 8-10 Danceworks ILFRACOMBE LANDMARK THEATRE Tel: 01271 324242 May 26 Essence of Ireland PLYMOUTH PAVILIONS Tel: 0845 1461460 May 31-Jun 4 Midnight Tango, Vincent & Flavia POOLE LIGHTHOUSE THEATRE Tel: 0844 4068666 Jun 14 In Our Blood, Lîla Dance Jun 21 Images of Dance Jun 22 Jazz Dance Company Jun 24,25 Footlights Dance Academy Jun 26 A Chance to Dance Jul 14-16 The Snow Queen, South Coast Ballet Company Jul 23 MOVE-E SALISBURY CITY HALL Tel: 01722 434434 May 21 Salisbury International Arts Festival - Circa SWINDON WYVERN THEATRE Tel: 01793 524481 Jun 21,22 Spirit of the Dance Jul 8 An Evening of Burlesque TAUNTON THE BREWHOUSE May 11,12 Vienna Festival Ballet Jun 6,7 Dance Your Dreams Jun 10 Under Milk Wood – Ballet Cymru Jun 14 Jaleo Flamenco TORQUAY PRINCESS THEATRE Tel: 0844 8472315 May 5 Cinderella, Vienna Festival Ballet Jul 6 Spirit of the Dance TRURO HALL FOR CORNWALL May 28,29 Essence of Ireland Jun 21 Wayne McGregor Jul 7-9 Spirit of the Dance WESTON SUPER MARE PLAYHOUSE THEATRE May 27 Essence of Ireland WEYMOUTH PAVILION Tel: 01305 783225 Jul 1 Let’s Dance YEOVIL OCTAGON THEATRE Tel: 01935 422884 May 4,5 Centre Stage May 11-15 Peter Pan on Ice Jun 10 Dance, Dance, Dance! Jun 15 London Studio Centre’s Jazz Dance Company Jun 22 Ballet Central Jun 30 Spirit of the Dance
MIDLANDS BANBURY MILL ARTS CENTRE Tel: 01295 279002 May 1 Cinderella, Vienna Festival Ballet May 7,8 Strictly Banbury Jun 11 Tango!! 100 Years of Passion Jun 17 Zulu Jul 8 Youth Dance Showcase
BIRMINGHAM HIPPODROME Tel: 0844 3385000 May 23-28 Midnight Tango, Vincent & Flavia Jun 14-18 Coppelia, Birmingham Royal Ballet Jun 22-25 Passion & Ecstacy, Birmingham Royal Ballet BROMSGROVE ARTRIX Tel: 01527 577330 May 29 Mystique, Amy Greaves School of Dance BUXTON OPERA HOUSE May 16 Tutu! An Evening of Ballet & Dance May 28 Coppelia, European Ballet Jul 15 Beauty & The Beast, Ballet Cymru DERBY THE ASSEMBLY ROOMS Tel: 01332 255800 May 6 Tango Fire May 7 Star Steppers Anniversary Show: Let It Shine DUNSTABLE GROVE THEATRE Tel: 01582 602080 May 6 Cinderella, European Ballet EVESHAM ARTS CENTRE Tel: 01386 446944 Jun 8 ENO, Royal Ballet & National Theatre: All Done on Ginger Beer Jul 9,10 DeNovo Dance Summer Gala FELIXSTOWE SPA PAVILION Tel: 01394 282126 May 24 Cinderella, Vienna Festival Ballet GRANTHAM GUILDHALL ARTS CENTRE Tel: 01476 406158 May 19 Jean Abreu Dance - Inside HEREFORD THE COURTYARD CENTRE FOR THE ARTS May 15 Essence of Ireland KETTERING THE LIGHTHOUSE THEATRE Jul 8,9 LF Dance, Dance Goes Pop KING’S LYNN CORN EXCHANGE Tel: 01553 764864 www.kingslynncornexchange. co.uk May 17-21 Peter Pan on Ice May 31-Jun 1 Dance Fusion LEICESTER CURVE Tel: 0116 2423595 www.curveonline.co.uk May 12-20 Let’s Dance at Curve May 31-Jun 1 Rip Fold Scrunch Jun 2 Box Jun 7-11 Five Jun 9,10 Consequences, Ludus Dance LICHFIELD LICHFIELD GARRICK Tel: 01543 412121 May 13,14 Vienna Festival Ballet Jun 15 The Ladyboys of Bangkok LUDLOW ASSEMBLY ROOMS May 25 Beauty & The Beast, Ballet Cymru MALVERN FESTIVAL THEATRE Tel: 01684 892277 May 25 Beauty & The Beast, Ballet Cymru MILTON KEYNES MILTON KEYNES THEATRE Tel: 0844 8717627 May 3-7 Cleopatra, Northern Ballet Jun 14-18 Midnight Tango, Vincent & Flavia NORWICH THEATRE ROYAL Tel: 01603 630000 May 13,14 Chouf Ouchouf May 20,21 Dualia & Le Leyenda, Ballet Nacional de Espana
Jun 1-4 Spirit of the Dance Jul 4-9 Midnight Tango, Vincent & Flavia NOTTINGHAM LAKESIDE Tel: 0115 8467777 May 18 Edge 2011 Jun 21 Ballet Black presents 10 year anniversary programme ROYAL CONCERT HALL May 17-21 Midnight Tango OXFORD NEW THEATRE Tel: 0844 3727272 May 10-14 Matthew Bourne’s Cinderella PLAYHOUSE Tel: 01865 305300 Jun 1,2 Richard Alston Dance Company Jun 17 Jaleo Flamenco PERSHORE NUMBER 8 Tel: 01386 555488 May 29 Coppelia, Bolshoi Ballet (broadcast) RETFORD MAJESTIC THEATRE Jun 24,25 Alice in Wonderland, DeBurnay’s School of Dance Jun 30 The Ladyboys of Bangkok SHREWSBURY THEATRE SEVERN Tel: 01743 281281 May 12,13 Richard Alston Dance Company May 27 Tchaikovsky Gala, Vienna Festival Ballet Jun 19 Spirit of the Dance SKEGNESS EMBASSY THEATRE Tel: 0845 6740505 May 25-29 Peter Pan on Ice Jun 12 Spirit of the Dance Jul 29 An Evening of Burlesque – The Ultimate Tease SPALDING SOUTH HOLLAND CENTRE May 20 Beauty & The Beast, Ballet Cymru Jul 15-17 Flash Back, Spalding School of Dance STAMFORD CORN EXCHANGE THEATRE Tel: 01780 766455 Jun 4 Cinderella, Vienna Festival Ballet Jul 2 Bourne to Dance Show STEVENAGE GORDON CRAIG THEATRE Tel: 01438 363200 May 14,15 Dance Beat, Energy Jun 21 Dance Extravaganza Jul 5 Spirit of the Dance STOKE ON TRENT REGENT THEATRE May 10-14 The Imperial Ice Stars Jun 24,25 The Nutcracker, English Youth Ballet TELFORD OAKENGATES THEATRE Tel: 01952 382382 May 13 Essence of Ireland Jun 23 HLC Dance Festival 2011 Jun 29 The Ladyboys of Bangkok Jul 9,10 Time To Say Goodbye, Gaston-Payne Dance & Theatre School WELLINGBOROUGH THE CASTLE Tel: 01933 270007 Jul 16 Summer Dance Showcase Jul 21 Dexterity, Estha Jones School of Dance
NORTH BARROW IN FURNESS THE FORUM Tel: 01229 820000 Jun 7,8 Dance Mania Showdown BLACKBURN KING GEORGE’S HALL Tel 01524 582579 May 9 Cinderella, Vienna Festival Ballet
BLACKPOOL WINTER GARDENS May 26 – Jun 3 Blackpool Dance Festival BLACKPOOL TOWER Tel: 01253 622242 May 14 An Evening of Dance with Darren & Lilia BOLTON BOLTON ALBERT HALLS Jun 19 Just Dance BRADFORD ALHAMBRA THEATRE Tel: 01274 432000 www.bradford-theatres.co.uk Jun 19 Just DanceJul 20 Royal New Zealand Ballet, From Here to There BURNLEY BURNLEY MECHANICS Tel: 01282 664400 Jun 25,26 Showstoppers 2011 Jul 9, 10 Charity Dance Spectacular BUXTON OPERA HOUSE Tel: 08451 272190 May 16 Tutu: An Evening of Ballet & Dance May 28 Coppelia, European Ballet Jul 15 Beauty & The Beast, Ballet Cymru CARLISLE THE SANDS CENTRE Tel: 01228 625444 May 29 Coppelia, European Ballet Jun 19 Heroes Cheerleading Jul 9 Dancerz – Misson 3000 DONCASTER CIVIC THEATRE Tel: 01302 342349 May 11 Dance Youth Platform May 12 The Living Room – Yael Flexer & Nic Sandiland Dance & Digital Works May 30-Jun 4 2 Counties Dance Festival Jun 10,11 Dance to the Stars 2011 Jun 18 June Burns Variety Show, June Burns School of Dance Jun 24,25 A Touch of Magic, Riley School of Dance GATESHEAD THE SAGE Tel: 0191 4434661 May 4 Tango Fire Jun 19 Jaleo Flamenco GRIMSBY AUDITORIUM Tel: 0844 8472426 Jun 11 Spirit of the Dance HARROGATE HARROGATE THEATRE Jul 1 Pepa Molina HEXHAM QUEEN’S HALL Tel: 01434 652477 Jun 24,25 Ballet Central Jun 25 Ballet Central Workshop Jun 27 U Dance Northumberland HULL HULL NEW THEATRE Tel: 01482 226655 Jun 18 An Evening of Burlesque HULL TRUCK THEATRE May 26,27 The Mill, Ockham’s Razor LANCASTER GRAND THEATRE Tel: 01524 64695 May 8 Cinderella, Vienna Festival Ballet May 14 Essence of Ireland May 15 Dance Crazy 2011, Alysia Gilda School of Dance Jul 8 Creations Dance Academy present Rhythmical LEEDS GRAND THEATRE Tel: 0844 8482706 www.leedsgrandtheatre.com May 8 Cinderella, Vienna Festival Ballet May 14 Essence of Ireland May 25-28 Giselle, Northern Ballet LIVERPOOL LIVERPOOL EMPIRE Tel: 0844 8472525 www.liverpoolempire.org.uk
May2011 | DanceReview 29
Listings May 3-7 The Imperial Ice Stars – Swan Lake Jun 16,17 Spirit of the Dance PHILHARMONIC HALL Tel: 0151 7093789 May 8 Tango Fire, Flames of Desire LOUGHBOROUGH CHARNWOOD THEATRE Tel: 01509 231914 May 21 Northern Soul Jun 4 Jaleo Flamenco MANCHESTER GREEN ROOM Tel: 0161 6150500 May 6 Abandoned Things, Joseph Lau Jun 3 EDge, London Contemporary Dance School OPERA HOUSE Jun 9,10 Spirit of the Dance MANSFIELD PALACE THEATRE Tel: 01623 633133 May 6,7 Syncopation, Syncopation School of Dance May 21,22 MADD Junior Showcase, Dance Fusion! May 28,29 A Chance to Dance 2011 – Sarah Adamson School of Dancing Jun 12 The Show 8 – Expressions Academy of Performing Arts Jun 16,17 Just Dance – DANCEMANIA NEW BRIGHTON FLORAL PAVILION THEATRE Tel: 0151 6660000 May 1 Essence of Ireland Jun 3 Cinderella, Vienna Festival Ballet Jun 21 That’s Entertainment 2011 Jun 28 The Ladyboys of Bangkok NEWCASTLE UNDER LYNE NEW VIC THEATRE Tel: 01782 717962 Jul 4 Sonia Sabri Company present Kathakbox NEWCASTLE UPON TYNE JOURNAL TYNE THEATRE Tel: 0844 4939999 Jul 9 Elaine Pygall School of Dance present A Century of Dance ROTHERHAM ROTHERHAM CIVIC THEATRE Tel: 01709 823640 May 17 Cinderella, Vienna Festival Ballet Jun 6-8 Dance Extravaganza Jun 21-25 Legends, Janet Mitchell School of Dance SALFORD THE LOWRY Tel: 0843 2086000 May 8 Sutra – Creativity in Tradition May 15 Tango Fire, Flames of Desire May 23 Ballet Central Tour 2011 May 25 Romance Inverse & By Singing Light, National Dance Company Wales May 26,27 The Working Class Movement May 31 Verve, Northern School of Contemporary Dance Jun 8-11 Coppelia, Birmingham Royal Ballet Jun 18 Akhilam Madhuram, Rama Vaidyanathan Jul 7-9 Modulate, The National Dance CAT Jul 9 The Indian Hereafter Jul 11 Transfer, Ruth Tyson-Jones Jul 17 Annual Dance Showcase 2011 Jul 24,25 Premieres Plus, Carlos Acosta Jul 28,29 Cecchetti International Classical Ballet Competition Jul 30 Cecchetti International
Classical Ballet Gala SHEFFIELD LYCEUM THEATRE Tel: 0114 2496000 May 3-7 Midnight Tango May 24-28 Matthew Bourne’s Cinderella Jun 18 Jaleo Flamenco STOCKTON STOCKTON ARC Tel: 01642 525199 May 19 Renditions STOKE ON TRENT REGENT THEATRE Tel: 01782 213808 May 10-14 Swan Lake on Ice, The Imperial Ice Stars Jun 24,25 English Youth Ballet, The Nutcracker SUNDERLAND THE EMPIRE THEATRE Tel: 0191 5142517 www.sunderlandempire.org.uk Jun 7-11 Midnight Tango, Vincent & Flavia Jun 30 Sunderland Schools Dance Festival ULVERSTON CORONATION HALL Tel: 01229 587140 May 12 Essence of Ireland WAKEFIELD THEATRE ROYAL Tel: 01924 211311 Jun 21 Moves Together Jun 22 Mirror Images, Manasamitra Jun 24 Time Gentlemen Please, The Demon Barber Roadshow YORK GRAND OPERA HOUSE Tel: 0844 8472322 May 10 Tango Fire Jun 7 Spirit of the Dance THEATRE ROYAL Tel: 01904 623568 Jun 2 Rip, Fold, Scrunch, Half Moon
WALES BRECON THEATR BRYCHEINIOG Tel: 01874 611622 May 28,29 The Chorus Line / Mid Wales Dance Academy Jul 9,10 Ribbons / Mid Wales Dance Academy 16th Annual Spectacular CARDIFF WALES MILLENIUM CENTRE Tel: 08700 402000 www.wmc.org.uk May 4-7 Alice, Scottish Ballet Jun 22-26 Midnight Tango, Vincent & Flavia Jul 11 From Here to There, Royal New Zealand Ballet NEW THEATRE Tel: 02920 878444 Jul 29,20 Coppelia, English Youth Ballet CWMBRAN CONGRESS THEATRE Tel: 01633 868239 May 4 Cinderella, Vienna Festival Ballet May 6,7 Flashdance Academy presents Dance With Your Heart LLANDUDNO VENUE CYMRU Tel: 01492 872000 May 5 Beauty & The Beast, Independent Ballet Wales May 16 Spirit of the Dance May 22 Romeo & Juliet MILFORD HAVEN TORCH THEATRE
30 DanceReview | May2011
Your comprehensive guide to what’s on near you. Tel: 01646 695267 May 10,11 By Singing Light, National Dance Company Wales Jun 16 Beauty & The Beast, Ballet Cymru Jun 23 Jaleo Flamenco NEWPORT THE RIVERFRONT Jun 23 Beauty & The Beast, Ballet Cymru Jul 16 Rubicon SWANSEA GRAND THEATRE May 3 Beauty & The Beast, Ballet Cymru May 11,12 Spirit of the Dance Jul 16 The Grand Theatre School of Drama & The Louise Edwards School of Dance TALIESIN ARTS CENTRE Tel: 01792 602060 May 12 Yesterday – Jasmin Vardimon Dance Company Jun 10 Northern School of Contemporary Dance Jun 23,24 Primary Dance Project TREORCHY PARC & DARE CENTRE Tel: 01443 773112 May 28 RSD Dance Extravaganza Jun 30 Dance Back to Broadway
SCOTLAND ABERDEEN HIS MAJESTY’S THEATRE May 11-14 Alice, Scottish Ballet AYR CITADEL LEISURE CENTRE Tel: 01292 269793 Jul 21 The Ladyboys of Bangkok DUMFRIES & GALLOWAY BUCCLEUCH CENTRE Tel: 01387 381196 Jun 26 Just Dance 2011 DG ONE Tel: 01387 381196 Jun 3 The Vienna Proms DUNFERMLINE ALHAMBRA THEATRE Tel: 01383 740384 May 20 Frederick Ashton’s Romeo & Juliet, Peter Schaufuss Dance EDINBURGH PLAYHOUSE THEATRE Tel: 0844 8471660 Jun 28-Jul 2 Midnight Tango, Vincent & Flavia GLASGOW THEATRE ROYAL Tel: 0844 8717647 May 26 Richard Alston Dance Company Jun 12 Dance Republic Jun 17,18 Dance School of Scotland Jul 26-30 Midnight Tango, Vincent & Flavia GLENROTHES BRUNTON THEATRE Tel: 0131 6652240 May 5 Claire Cunningham Jun 23-25 Yvonne Gray Dance Studio presents “The Greatest Show on Earth” MUSSELBURGH BRUNTON THEATRE Tel: 0131 6652240 Jun 29 Verve, Northern School of Contemporary Dance ST ANDREWS THE BYRE THEATRE Tel: 01334 475000 May 3 Strike A Pose Jun 17 Memories Jul 25 Dance Summer Camp
ISLE OF MAN Jun 17-19 Isle Of Man Bay Festival
CHANNEL ISLANDS JERSEY JERSEY OPERA HOUSE Tel: 01534 511115 May 5,6 Histoire du Tango, Ola & James Jordan
NORTHERN IRELAND ARMAGH MARKET PLACE THEATRE Tel: 02837 521821 May 13 Coppelia, European Ballet May 20 The Grease & Dirty Dancing Show BELFAST GRAND OPERA HOUSE Tel: 02890 241919 www.goh.co.uk May 11-14 Cleopatra, Northern Ballet WATERFRONT THEATRE Tel: 02890 334455 Jun 25 Sarah Muskett Performing Arts DERRY MILLENNIUM FORUM Tel: 02871 521821 May 21,22 Mary McLaughlin Memorial Feis Jul 7 Philipine Ballet Gala Concert
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