Meet the Founder

 

Wondered how Dance Niche came to be? Come and read about how it all began and the face behind it!

Meet our founder

Get In Touch

 

Here at DNHQ, we love to connect with our followers, it is called ‘social‘ media after all! Leave us a message on here or any of our other platforms such as Instagram, Facebook and Twitter and we will gladly reply!

Let’s Work Together

 

Are you in the dance or arts genre? Do you have a business that relates and want to team up? Here’s where to start.

Let’s work together

Category: Theatre

English National Ballet’s MANON Review

English National Ballet’s MANON Review

Arriving at the beautiful Opera House in Manchester, you can’t help but notice that the Grade II listed building is perfect for hosting such an opulent and decadent production such as Manon, with it’s hunters green upholstery and gold brocade accents. It truely sets the scene for the ensuing scenes of early 18th century France.

Kenneth MacMillan’s production premiered in 1974 and uses scores by Jules Massenet, although not from his Opera, rather using his other well know works. Manon is based on the novel, Manon Lescaut, by Abbe Prevost. The novel was actually banned in France at the time due to its scandalous, controversial and explicit details! It did however prove to be incredibly popular, with pirate copies being widely distributed. I wonder what they would have thought to 50 Shades?!

English-National-Ballet-Manon-c-Laurent-Liotardo
English National Ballet Manon – Laurent Liotardo

The curtain rises on ACT 1 to unveil a scene at The Courtyard at the Inn. We are immediately drawn to the differences in the classes. The present folk are disheveled and dirty, dressed in rags, with their hearty and robust allegro and vigorous, almost out of control pirouettes. They convey a light hearted, fun filled demeanour. This is in stark contrast to the gentry and aristocrats who also visit the Inn. Their costumes of rich, heavy embroidered velvets, corsets, frills and pleats, adds to their grandeur presence. Such restrictive clothing exaggerates their straight, nose in the air posture. Their choreography was bold and regal, proudly displaying like peacocks but always maintaining absolute control and pose. We are introduced to Lescaut  who is awaiting the arrival of his sister Manon, before her departure to a convent. Lescaut – played by Jefferey Ciriotis with his good friend Des Grieux – Joseph Caley , a penniless student. Manon’s arrival attracts the attention of everyone, including that of weathly Monsieur GM – James Streeter

Jeffrey-Cirio-in-Manon-c-Laurent-Liotardo-1
Jeffrey Cirio in Manon – Laurent Liotardo

Manon – Alina Cjocaru – and Des Grieux  have a chance meeting and it’s love at first sight. At first Manon is coy but relents to her feelings. The pas de deux has a beautiful quality to it. The choreography is light and fluid with seemingly gravity defying lifts, echoing those wonderful feelings of walking on air and butterflies experienced with a new relationship. They hatch a plan to run away to Paris together. Whilst Des Grieux goes to post a letter to his uncle, Lescaut arrives with Monsieur, who has promised Manon to him for a tidy sum. Initially Manon  resists Monsieur’s advances but she is easily swayed by gifts or fur coats and diamonds. The pas de trois between these 3 characters is wonderfully creative. Manon is passed between the 2 men, like a toy. She snakes her way around Monsieur with imaginative lifts. It is clear that Monsieur sees her as a trophy, something to be glorified and lusted over. he displays infatuation more than love and Manon enjoys the power she yeilds over him, using it to her advantage. Lescaut is compliant and convinces his sister to leave with Monsieur. She looks back one last time before being escorted away.

Alina-Cojocaru-and-Joseph-Caley-in-Manon-c-Laurent-Liotardo
Alina Cojocaru and Joseph Caley in Manon (c) Laurent Liotardo

ACT 2 opens on a a party held at a house of ill repute (where prostitutes can be found if you’re unaware of that term). The music is playful and energetic which mirrors the suggestive and coquettish nature of the ‘ladies’ dancing for the highest bidder. We see Manon, draped in more finery, and Monsieur. This scene includes surprising comedic antics, the audience actually laughing out loud at points. The skill and strength displayed by Jeffrey Cirio is astonishing! To be able to dance as if under the influence of alcohol, stumbling and swaying, whilst still maintaining enough control to be able to lift your partner above your head is highly commendable! Love striken Des Grieux arrives, distraught by the betrayal. Manon is dancing for Monsieur. She sees Des Grieux, but refuses to make eye contact with him, denying her true feelings, but love creeps in, and she begins to flirt and dance for Des Grieux when Monsieur isn’t looking. She’s tempted by more gifts of diamonds but ultimately choses love over money and runs to Des Grieux. A fight breaks out. Swords are brandished. The scene is beautifully lit, casting the shadows off the dual on the backdrop. The lovers flee and plan to leave for Paris. They argue over taking the diamond braclet Monsieur gave, but agree to leave it behind. Monsieur tracks them down and has Manon arrested and kills Lescaut in front of her.

Joseph-Caley-and-James-Streeter-in-Manon-c-Laurent-Liotardo.jpg
Joseph Caley and James Streeter in Manon (c) Laurent Liotardo

ACT 3 begins in the dockyard of New Orleans, where Manon and all the other prostitutes have been shipped to. Des Grieux has followed under the premise that he is her husband. The music has a naval theme which turns into the progressive like motion of the waves of the sea. The ladies are all clearly distressed and almost unable to stand. The Gaoler turns his attention to Manon. He thinks she can be bought and offers her diamonds, but she has changed her way and refuses. He forces himself upon her in what is a particularly distressing scene to watch. Des Grieux bursts in and kills the Gaoler. The couple flee into the swamps but the effects of the long journey, assault and heat prove too much for Manon. She has bursts of life, repeating similar steps to the previous pas de duex but shaky and unsteady, then suddenly becoming limp. Her life and recent events flash before her and she gives up. Des Grieux is inconsolable.

Alina Cojucaru plays Manon beautifully. The way she was able to portray feelings with a simple glance and gesture of a hand was exquisite. Her playful and light mood when dancing with Des Grieux resonates to the audience. The greed in her eyes when she is bestowed with gifts and her enjoyment at being objectified make you despise her. And in the last dance with Des Grieux, her weak, lifeless and limp body whilst she is moved around like a rag doll, makes it evident that this is her swan song, and you pity her. Alina is able to shine on stage without the presence of heavily embellished attire and diamonds.

English-National-Ballet-in-Manon-c-Laurent-Liotardo
English National Ballet in Manon (c) Laurent Liotardo

Joseph Caley perfectly captures the essence of a young man in love, full of exuberance and vigour. The way he looks at Manon is reminiscent of a puppy dog. Her betrayal leave him completely distraught and his dancing becomes slightly on the border of uncontrollable, lashing out just as one would. When Manon dies in his arms, you can hear his cry without him making a sound, it comes from his soul.

Joseph-Caley-in-Manon-c-Laurent-Liotardo
Joseph Caley in Manon (c) Laurent Liotardo

You can also read insights of performing with the English National Ballet with other lead principals Jurgita Dronina and Isaac Hernandez along with their take on Manon, just following this link ENB Q&A With Isaac Hernández and Jurgita Dronina

Kenneth MacMillan’s production of Manon is an emotional rollercoaster of love, greed and despair. Never have I ever watched a production that has left me so tense and brought tears to my eyes. Unlike the other tragic love stories like Swan Lake or Giselle, Manon is infinitely raw because it could be real. The story is one of life, the dilemmas  presented, the decisions made and the life altering consequences. I defy you to leave the theatre without it having a profound effect on you.

 

Manon is showing at the Opera House Manchester until Saturday 20th October before it moves onto Milton Keynes Theatre 24-27th October and finally at The Mayflower Southampton 31 oct – 3rd Nov. Tickets can be booked through AGT website here. AGT TICKETS

Dance Niche

 

Want a bigger dance fix? Follow us:
ENB Q&A With Isaac Hernández and Jurgita Dronina

ENB Q&A With Isaac Hernández and Jurgita Dronina

The English National Ballet are touring with Kenneth Macmillan’s Manon for only the second time in 30 years. It has been selected as one of ‘Autum 2018 unmissable events’ by The Guardian, The Sunday Times, The Sunday Telegraph and The Mail on Sunday.

Ahead of being invited to the premier for review next week, we thought we’d give you a tantalising teaser with a Q&A with 2 of the lead principals – Isaac Hernández and Jurgita Dronina.

Isaac Hernández, Lead Principal at English National Ballet

Q. How did you get into ballet?

I.H. Both my parents were ballet dancers, so it was in the family. I grew up in Mexico, the seventh of eleven children. We were home schooled, and alongside our academic studies, we also did ballet classes. It was a great childhood and I was hooked on ballet as an art form from an early age. I then headed off at the age of 13, to the Rock School for Dance Education in Philadelphia.

Q. What’s special about Manon – in particular, this version by Kenneth MacMillan?

I.H. For me, it’s the narrative – the roles are well defined and so you get a real sense of a story unfolding on stage. I think it’s the most dramatic ballet I’ve ever danced – your acting ability as a dancer is really tested, which I enjoy.

Q. Tell us about the role you are dancing in Manon?

I.H. I’m dancing the role of Des Grieux, the penniless student who the central character Manon falls in love with. It’s a great role to dance – he’s naïve, romantic and a bit of a dreamer and so taking on his character allows you to go back to the simplicity of being a young man, experiencing life for the first time, and the emotions that go with that.

Q. What is your favourite thing about touring with English National Ballet?

I.H. For me, it’s being able to perform for audiences all around the UK – it feels like we build a connection with the cities we tour to and returning to these audiences feels special.

Q. Give us 3 words that sum up the ballet Manon for you?

I.H. Passion, jealousy, tragedy.

Jurgita Dronina, Lead Principal at English National Ballet

Q. How did you get into ballet?

J.D. I did lots of different types of dancing as a child – hip hop, street dance, ballroom. I also tried gymnastics, but I didn’t like it, so my teacher suggested I give ballet a go. My mum took me to see a ballet performance and I really liked it. I then auditioned and got into the National Ballet School in Lithuania, and my career started there!

Q. What’s special about Manon – in particular, this version by Kenneth MacMillan?

J.D. This is one of MacMillan’s masterpieces. The storytelling is just fabulous. As with all of MacMillan’s ballets, he finds the human relationships, emotion and realness in the story. In that sense I can find how to relate this ballet to modern life, and the way that one decision can have such an impact. In this story, you see Manon’s decision and how she can’t escape the consequences that spiral out of control in her life from then on. The audience sees her tragic destiny unfold.

Q. Tell us about the role you are dancing in Manon?

J.D. I’ll be making my debut in the role of Manon – it really is one of the dream roles for a ballet dancer, and one which I feel I’ve been waiting to do for a long time. She has a complex character and I enjoy working through the different layers and challenges she must face and working out how to best portray them on stage. The way you walk, stand, gesture – it all adds up to her character. I find there is a very clear idea of how she is seen by others and what she is to herself. There’s also her interactions with others on stage and the way the movement can convey the different relationships she has with each of them. It’s fascinating and very interesting to work it out.

Q. What is your favourite thing about touring with English National Ballet?

J.D. As we tour we bring the best that English National Ballet has to offer all around the UK. We bring an exciting and varied repertoire to different cities and different audiences and for me that’s really special.

Q. Give us 3 words that best sum up the ballet Manon?

J.D. Love, desire, destiny.

English National Ballet performs Manon at Manchester Opera House, 17-20 October 2018, before heading onto the Milton Keynes Theatre, 24 – 27 October, Southampton’s Mayflower Theatre, 31 October – 03 November and finally st London Coliseum 16-20 January. Tickets can be purchased by visiting the website http://www.atgtickets.com

Don’t forget to follow our Facebook http://www.facebook.com/danceniche and Instagram http://www.instagram.com/danceniche pages for up to date news and inside information at the premiere of Manon next week, and check back here o our website for our review article on what we really think of it!

You can sign up to our website for free and receive all new articles directly to your inbox so you don’t miss out! Just follow this link SUBSCRIBE HERE

Dance Niche

Want a bigger dance fix? Follow us:
Be A Responsible Dancer | Use Eco Friendly Glitter

Be A Responsible Dancer | Use Eco Friendly Glitter

Show me a dancer’s make up kit without glitter and I’ll eat my jazz shoes! But are we doing our bit to help the most sparkliest thing we have – our planet? Read on to find out how even a small change can contribute to a big difference.

JUST A BIT OF FUN

Glitter has always been around. In my day, we only had glitter hair spray in a can, (which if you had dark hair, just looked like you had dandruff) or glitter gel, and boy was that stuff sticky! They were items of every dancers caboodle (80’s kids won’t have to Google that) Dance festival?Glitter on! School showcase? Do I have enough skin left for more glitter?! You get the picture.

Today is no different. Glitter body art is BIG news. Performers everywhere have at least a small dusting around their eyes, not to mention those that choose to wear it in place of clothes!!!! And if you thought glitter nail varnish was a nightmare to get rid of, try removing glitter that seems like it’s been welded to your skin!!!! The best and quickest way to get rid of it (not to mention most gentle way for your skin) is to wash it off, and marvel at your bath that looks like a unicorn dissolved in it. You get out, dry off and think nothing more of it.

five assorted color glitter foundation
Photo by Anderson Guerra on Pexels.com

WHERE IT GOES

What happens to those hundreds of chunky rainbow coloured flakes after they’ve gone down the plug hole? NOTHING. Glitter is made of plastic, there for does not break down. Washing it off in the shower maybe kinder for you skin but I don’t think Mother Nature feels the same. It enters our seas and oceans and contributes to the massive and very real current problem that is microplastics.

Microplastics – according to the U.S. National Oceanic and Atmospheric Administration – are anything manufactured from plastic measuring less then 5mm in diameter. Microbeads are less then 1mm. Most commonly found in scrubs and exfoliators, there are also a surprising number of products you wouldn’t even realise contained microbeads –
Some brands of foundation for example!!!! (You can find a full list of products that contain microplastics here http://www.beatthemicrobeads.org )

These tiny particles slip through water filtration systems and directly into our seas and oceans. They take hundreds of years to break down, if at all, and transfer toxic chemicals to our marine life.Thankfully bans are slowly being brought into place to stop the manufacturing of such products, but glitter is being overlooked.

chrome circle close up droplets
Photo by icon0.com on Pexels.com

WHAT WE CAN DO ABOUT IT

You may be thinking what difference would it make? One more person wearing glitter for a performance isn’t that big of a deal is it? It is if everyone has that opinion. Think of how many hundreds of glitter parties end up down the plug hole after 1 show. Multiply that by how many shows you do. Then again by how many identical performers are in the show. Soon adds up doesn’t it. And that’s not on using the maths about how many dance shows are currently on tour going on at any one time. We can all play our part, good or bad, so isn’t it time we sided with Mother Nature and made responsible choices?!

Dust&Dance are an online glitter and cosmetic company doing just that. Since the beginning of 2018, they have released a whole line of bio friendly body and cosmetic glitter. It’s made from plant cellose, so fully bio degrable, even compostable. It means it doesn’t pose a risk to our marine life and it’s also environmentally sourced, making it cruelty free too. Another bonus is that it’s softer than plastic, making it kinder to your skin – no more red inflamed skin from scrubbing!

Not content with stopping there, Dust&Dance ‘s ethos is that everyone deserves to feel sparkly, so from every sale made, they donate 10% to Young Minds – a charity dedicated in ensuring better mental health services to young people. So by purchasing bio glitter from Dust&Dance, not only do you help the oceans, you’re helping fellow human beings in need too. Doesn’t that make you feel all warm and fuzzy inside?!

assorted color sequins
Photo by Sharon McCutcheon on Pexels.com

SPARKLE ON

Being a dancer is being an artist, using your body as visual moving art, but this should not be at the expense of our planet. So next time you need some glitter for your next performance, think ahead. Think about bio glitter. You can find their whole range on their website using this link CLICK HERE

Dance Niche

Want a bigger dance fix? Follow us:
Fame The Musical | UK Tour

Fame The Musical | UK Tour

Fame is synonymous with the 80’s, shiny spandex and a myriad of coloured leg warmers.  Following the huge success of the original 1980 film, a subsiquent spin-off series was aired, and the immensely talented cast also went on to have a string of creative successes of their own. So the word ‘FAME’ is heavily ingrained in people’s minds, and hearts, but just how well would this new 30th anniversary musical production stand up to the die hard Fame fanatics (myself included) , I was about to find out.

Sat in the auditorium of The Palace Theatre Manchester, there is a buzz of excitement like I’ve never known before a production. As everyone takes their seats, theres a burst of brightly coloured neon lights, and we open on a drummer and guitarist playing the oh-so-familiar chords of a certain ‘light up the sky like a flame’ song. But its just a tantalisingly  slither, as we realise its the beginning scene of auditions at New York’s Performing Arts School. (You can read our advice about auditions here Top Audition Hacks ) We then cut intermintenly to the other auditionees, until the final line up is revealed.

We soon get to the nitty gritty of the production with the freshman year, “a discovery of self” proclaims Mr Myres, the resident drama teacher, (played by Cameron Johnson). We get to meet the main characters, suitably nervous and unsure in disposition, well, apart from the gregarious, larger than life Joe, played effortlessly by Albey Brookes, who knows where the actor end and the character begins?!

Nick Piazza, played by Keith Jack (who shot to fame in the BBC series ‘Any Dream Will Do’) is a serious classical actor, solely focused on honing his skills, and oblivious to the romantic advances of his classmates, Serena Katz aka Molly McGuire, who’s vocals will blow you away in contrast to her nerdy and unasuming character!

We meet Tyrone jackson, (Jamal Crawford) who plays a typical wayward teen, angry at the injustice in the world, particularly surrounding race, but who’s passion and natural flare for dance carry him through. He is instantly attracted to Iris Kelly (Jorgie Porter of Hollyoaks fame) who’s a prima ballerina in the making with all the airs and graces that seemingly come with it. She confides in him that its all an act and she desperately poor, and once her guards are down, they become romantically involved.

Fiery latina Carmen Diaz is played by Stephanie Rojas, is ravenous for fame and will stop at nothing to reach her goal. She strikes up an unlikely partnership with Schlomo (Simon Anthony) a classical trained violinist, who’s father is also a famous violinist, but who’s rather be tickling the ivories of a piano, and sets up a rock band. Mr Sheinkopf is the German music teacher, and vocal about his dislike for rock and roll.

Lambchops played by Louisa Beadal, is the rock chic tomboy, who is the drummer of the band, never taking school seriously, and is constantly mocked by Goody, the trumpet player in the band, for being ‘a girl’.

Then there is Mabel Washington aka Hayley Johnston. She’s a talented dancer/singer, but struggles to reign in her love for food, and consequently, her weight, to the dismay of resident choreographer, Miss Bell, played by Katie Warsop.

All this is headed up by Principal Miss Sherman, (renowned Mica Paris) who’s comes down hard on the kids for not performing well enough academically, but truly loves and cares for every one of them and has the best interests at heart.

The quality of the dancing throughout the show is tremendous, and the energy never wains! We are treated to technically beautiful ballet scenes. Jorgie Porter positively glows whilst executing them, nailing double pirouettes into arabesques effortlessly! (Jorgie told us about her previous dance training when we interviewed her during a press afternoon. You can read about it here Jorgie Porter Talks Fame The Musical ) In stark contrast, the hip hop and jazz styles certainly pack a punch, as do the enviable leg extensions by the ensemble! The whole cast take on each genre with finesse and sense of style, completely maliable and adaptable, which are sought after characteristics in they arts.

Dance and music go hand in hand, and the live instrumentals played by the multitalented cast are seamlessly woven into each scene. You truly believe you are peering in on a band rehearsal, jamming away. As for the vocals, you will be left with goosebumps, multiple times. Keith Jack has a way of story telling to his singing, perfect for the stage. Molly’s high notes are angelic to the ear. Stephanie has a real raw quality to her voice, in perfect harmony to what her character goes through. And last but certainly not least, Mica’s soulful and earthy rendition of “These are my children” received a standing ovation from the audience, mid scene! She blasts out the lyrics without loosing a drop of sincerity, in what is a completely believable emotion and performance.

The show takes us on a journey from freshman year, to senior year show, in which you see the journey the characters make, as they blossom and fulfil their destinies. Those years are melted away by clever snippets of dialogue and scenes to show progression of time. This means there are huge amounts of swift changes for the cast and scenery, but its done in a way to mimic the fast paced nature of being in the arts. Subtle effects like the hushed sound of traffic in the background, add to the believability of New York life. I also have to mention the wonderful addition of the original cast of Fame headshots are illuminated as the backdrop, which light and fade echoing who’s currently in the scene. The journey ends with the whole auditorium on its feet, dancing and singing your cares away to the title song track, in what is almost an immersive theatre experience! I defy you not to join in!

Fame is as relevant and real now, as it was back in the 80’s. Controversial topics such as discrimination, race, drugs, teen angst and unrequited love hit home to many. Being a performing arts student, putting yourself on show and subject to criticism is a tough job, one made incessantly harder by dealing with the normal difficulties of growing up. To quote Miss Bell ” artists are special” and if you’ve got a special something within you, you need to work hard, fight to let it shine and the rewards will be limitless.

The production is currently running at the Palace and Opera House Manchester until 28th July 18, before embarking on it’s mamouth nationwide tour, ending August 2019. To find your nearest venue, dates, and how to book, visit the official website Fame The Musical UK Tour

FAME LIVES FOREVER

Dance Niche

Want a bigger dance fix? Follow us:
Jorgie Porter Talks Fame The Musical

Jorgie Porter Talks Fame The Musical

We spoke with Jorgie about her upcoming role as Iris Kelly in the new production of Fame, her dance background, how she prepared for the role and advice for pre-professionals who want to succeed in dance or performing arts.

Marching through the busy streets of Manchester, I finally arrived at Studio 25, purpose built dance Studios with all the mod cons. As I’m guided through, I get a glimpse of Jorgie through the window, finishing off her previous interview – this girl is busy! She was in London appearing on a t.v show only the night previous, getting the first morning train to Manchester and heading straight into photo shoots, PR events and interviews. Oh the life of a pro!

I’m ushered in and greeted with a beaming, infectious smile and energy to rival a 2 year old after a nap! Her aura is open and sincere and I’m immediately at ease. It takes no time at all for us to strike up a conversation.

D.N Fame is such an iconic dance movie (which we included in our all time top dance movie list Top Dance Movies You Need To Watch ) Had you watched it growing up?

J.P – It wasn’t really my era, it was more the music. When you’re in dance school and do a show, music from Grease and other films are always used, as was music from Fame. I remember opening a show with a kick *demonstrates* to a Fame track. Obviously I’ve seen every show and production of it now, I needed to find out ‘who am I?!’

D.N – Your character, Iris, is a trained classical dancer. Can you tell us a little about your training?

J.P – So I danced from when I was 3, with my local ballet teacher. She was like a second mum to us. We adored her, never wanted to put a foot wrong, we respected her. I learnt so much self respect and discipline through ballet. She then encouraged me to audition and I was offered a scholarship at The Hammond in Chester, a prestigious college. It’s been 10 years and I’ve been so lucky to do Hollyoaks in between, but now coming back to it, I’m so much more confident.

D.N – Iris puts on a facade of being wealthy and upper class. Is it easy to be drawn into pretending to be something your not, in the industry your in?

J.P – Obviously with acting, it’s different, you’re pretending to be a different character. My friends literally save my life! It’s a lot harder to pretend or hide when you’ve got friends around. Iris Kelly doesn’t have that, but she finds it in a romantic relationship with Tyrone Jackson, that’s why they become so close, so tight. She opens up to him about being poor. As a kid, you think not having the right clothes and trainers matter, it’s a big deal. The show deals with so much issues, it’s so good!

D.N – You said you had 10 years off dance. How did you prepare for this role?

J.P – Basically, rehearsals for this have been enough! It’s mind boggling! When your mind has moved away from making your body move, it takes a little while to reconnect it. Rehearsals are so intense, every day, with everyone! Some are just out of college and have so much energy, amazing! I’m so lucky to be in it with them! All your training comes back, you have to do it full out every time. You know know, to be better, you just have to try harder.

D.N – Do you go en pointe in the production?

J.P – I can do pointe, but the fact that the tour is so long and a lot of the stages are so raked, I didn’t want to do it it and have to come off it. I didn’t want to jeopardise the whole show for one night of brilliant pointe shoe movement. I’d love to do pointe all the way through, it’s just not ideal. There’s other dances in it like street dance, and there’s just no time, it’s so fast paced this show!

D.N – Lastly, what advice would give anyone who’s wanting to peruse a career in dance or the stage?

J.P – It is the hardest thing ever! If you aren’t fully immersed into the hard work, if you think you’re going to have an easy time, it’s not for you. You have to take criticism and make it into a good thing, because you will get criticised no matter what.

(You can read our advice on how to take criticism and corrections here Receiving Corrections- How to be a good student )

You can watch the rest of the interview over on our Instagram page @danceniche using the new IGTV feature or on our YouTube channel using this link Jorgie Porter Fame Full Interview

Fame is premiering Friday 20th July at The Palace & Opera House Manchester, where it runs until 28th July. You can buy tickets through the website https://www.atgtickets.com/shows/fame-the-musical/palace-theatre-manchester/ or by calling 0844 871 3019. The Production then heads off to Glasgow to continue its nationwide tour lasting until August 2019! More more information on dates and venues, you can visit the official Fame The Musical website http://fameuktour.co.uk/

#famelivesforever

#iwannaliveforever

Dance Niche

Want a bigger dance fix? Follow us:
ENB’s ‘My First Ballet – Swan Lake’ Review

ENB’s ‘My First Ballet – Swan Lake’ Review

The English National Ballet have created their ‘My First Ballet’programme, retelling classic ballet stories with more of a U rating, (let’s face it, the world of ballet is often gory and tragic) suitable for little eyes, but still as much artistry and original scores to satisfy any ballet enthusiast. With help from a narrator and a shortened running time, they bring ballet productions to the masses, inspiring the next generation of art lovers.

The Swan Lake production starts with a friendly and theatrical narrator, Louise Calf, on stage, setting the scene and detailing the backstory. She is enthusiastic and expressive, perfect for captivating little minds and getting them to engage, yet quietly sits at the front of the stage and observes the following scenes, as not to become a distraction.

The dancers themselves are all members of ENB’s ballet school. It gives them valuable performance experience, as well as a taster of what it’s like to tour with a production and dance those iconic roles that are the pinnacle of every professional ballet dancer’s career. However, don’t let the fact that the cast are still students put you off. The English National Ballet School is a prestigious education system for only the very best emerging artistes of the future.Although, Swan Lake is regarded as one of the most demanding productions, not least because the characters Odette/Odile are traditionally played by the same dancer, here they are individual roles. However, even the legendary 32 fouettés (series of difficult, consecutive turns en pointe) have been included in this production. On this particular showing, I only counted 29, whether I miscounted whilst being in awe, or the dancer felt something was amiss and didn’t complete the whole series, that in itself is no mean feat, and they were executed perfectly!

The production has been cleverly reworked by Lou Cope, with choreography by Antonio Castilla and musical arrangements by Gavin Sutherland. There is a great emphasis on ballet mime, with is echoed through the narration, further helping to bring the story to life for the younger ones. The music scores have been shortened to keep production time down yet still include the most beloved melodies, and the choreography still contains some of the classic repertoire whilst injecting moments of humour and simplicity. No diving to her death for Odette here. The story now goes that Odile cannot go on with the trickery of the evil Rothbart’s plan, so she reveals her true identity at the ball, scuppering Rothbart’s efforts, and sides with Prince Siegfried and Odette, helping them to overcome the sorcerer and follow the path of true love, whilst Rothbart himself is released from the clutches of the dark side, to live harmoniously, and everyone, in true Disney style, lives happily ever after.

I’d also like to mention the wonderful programme that has been put together, again with little ones in mind. It contains beautiful illustrations by Mark Ruffle, the storyline written down with photos and picture symbols depicting the plot, some classic ballet moves and mimes to spot and even pages to colour in. And of course who can resist production merchandise at the end?!

From start to finish, My First Ballet Swan Lake is a complete sensory experience. It’s a wonderful way to introduce a younger audience to the world of ballet and the arts, perfect for their first to the theatre, and no doubt will encourage them to want to see more productions, as well as perhaps inspiring them into becoming the ballet stars of the future.

The tour is showing at The Opera House Manchester until Sunday 29th, with last minute tickets still available via this link http://www.atgtickets.com/shows/my-first-ballet-swan-lake/opera-house-manchester/or call the box office on 0844 871 3018. They then continue on to;

The Grand Theatre, Blackpool 5th & 6th May

http://www.blackpoolgrand.co.uk/event/my-first-ballet-swan-lake/

New Victoria Theatre, Woking 12th & 13th May

http://www.atgtickets.com/shows/my-first-ballet-swan-lake/new-victoria-theatre/

Princess Theatre, Torquay 19th & 20th May

http://www.atgtickets.com/shows/my-first-ballet-swan-lake/princess-theatre-torquay/

All information can also be found on ENB’s website www.ballet.org/myfirstballet

Dance Niche

Want a bigger dance fix? Follow us:
Rambert – A Linha Curva

Rambert – A Linha Curva

Sitting down to watch the famous Rambert Company put on their production at my local theatre – Theatr Clwyd, I was not sure what to expect. I’ve seen productions before, but non quite like this! It consists of individual, very distinct pieces, each with their own feel , costumes and choice in music, not to mention the style of dancing in each piece! It’s almost like separate productions, which most certainly keep you entertained the whole way through, interest never waning.

The Days Run Away Like Wild Horses

The opening scene is that of a house, with a table and chairs, a window, a bed and various doors. This piece is based upon a short animation film ‘Tango’ released in 1981. It begins with a woman sat motionless at the table, staring intently in front. She never moves. Slowly, one by one, we are introduced to new ‘characters’, the boy with the ball, the school girls, the loved up couples, the couple who’ve obviously had an argument, the woman with the baby, the athlete, the toilet repair man, the woman with shopping bags, the bedraggled woman still in her nightdress, and my favourite – the man in a twee Jumper carrying a Christmas tree! They enter through the various doors (with slams echoing the music) or window, with their own set movements lasting a couple of bars, moving individually around the room, then exiting before appearing again to perform the exact same movements. Like layers of paper mache, it begins with just one solitary story, then builds as each new character enters, ending in a bustling room full of people living their daily lives, yet never colliding, the rhythm of life. As you watch, you get a real sense of just how habitual humans are, stuck in a never ending cycle, Groundhog Day.

Symbiosis

An altogether different feel, contrasting greatly from the first piece. Symbiosis begins with a slatted screen, curving in the centre, an almost sun like shape, silhouetted by a stark bright light behind. The sinister music immediately puts you on edge – the type of music in a film where the main character is being hunted down or similar stressful situation. This is also reflected in the dancing, with the dancers interacting with each other and the choreography much more athletic, almost acrobatic. For me, it took on an Eastern feel part way through, with the constant humming of a gong bath, and the lighting behind changing to red, which with the shape of the slatted scenery, was reminiscent of the Japanese flag. This was also echoed in the choreography, becoming Thai Chi like in execution – controlled and purposeful yet fluid and free flowing. Again, the music and choreography are cleverly brought together, with athletic jumps that upon landing, echoed the beat being played by the live orchestra, adding yet another level to the percussion.

A Linha Curva

This makes a huge impact on curtain up, being dazzled by the reflective collars of the dancers, and the bellowing sound of them chanting, enough to startle you! This tribal theme is also represented in the music, which I defy you not to move in your seat to! There is a section that is acapella , with only the sounds of the jumps, claps and grunts of the dancers dictating the rhythm. We then see a group of male dancers and a single solitary female dancer. This section takes on that of a courting ritual of the bird of paradise – each male displaying his skills of athleticism, hoping to woo the female. The woman then decides she can dance better than her suitors, showing them just how it ought to be done, accompanied by the whoops and cheers from the men which are almost cat calling like. So the boys are left to their own devices and naturally, rivalry kicks in. What can only be described as a testosterone filled dance off between the alpha males. Then the climax. With music straight from a carnival in Brazil, and individual squares of brightly coloured lighting creating a grid on the floor of the stage. It’s such an intricate piece, with each dancer staying within a square of light, but still using the whole space of the stage. It’s hard to tell if the dancers are following the light patterns, or the lights are following the dancers. The precision needed by the dancers to perform the choreography yet train within their meter squared space is commendable. You cannot help but be swept away by the party atmosphere with this last piece, an audible and visual delight to conclude the production!

I must mention that there was a woman to the right of the stage, miming the music. She was so intricate in her movements that a first glance, I thought she was actually playing an instrument. This just goes to show how integral the music is to the whole of the production, that it requires someone to mime and explain the sounds of each piece to those with hearing difficulties, thus giving them the complete experience.

Rambert are performing at Theatr Clwyd until Saturday 10th March. Tickets are still available. To book, call the box office on 01352 701521 or visit their website www.theatrclwyd.com

They then head off to continue their tour with A Linha Curva and other productions at the following places;

Waterside Theatre, Aylesbury

Thu 15 – Sat 17 Mar 2018

www.atgtickets.com

Theatre Royal Brighton

Wed 21 – Sat 24 Mar 2018

www.atgtickets.com

New Victoria Theatre, Woking

Tue 27 – Thu 29 Mar 2018

www.atgtickets.com

Sadler’s Wells, London

Tue 22 – Sat 26 May 2018

www.sadlerswells.com

Bergen International Festival, Norway

Wed 6 Jun 2018

www.fib.no

Festival Theatre, Edinburgh

Thu 22 – Sat 24 Nov 2018

www.capitaltheatres.com

All this information can also be found on Rambert’s website www.rambert.org.uk

Dance Niche

Want a bigger dance fix? Follow us:
Q&A with Flashdance the musical’s Gloria aka Hollie Ann Lowe

Q&A with Flashdance the musical’s Gloria aka Hollie Ann Lowe

Flashdance is ingrained in history as being a monumental and iconic film! That’s why we included it in our top dance movies to watch! You can see what else made the list here https://danceniche.com/2017/12/28/top-dance-movies-you-need-to-watch/ It tells the tale of a young hopeful Alex. A welder by day, dancer in a bar by night, who yearns to make it as a professional dancer. Hers, and most of the characters in the story are one that many of us are all too familiar with. The self doubt, trying to please others, still needing money to pay bills. We spoke to Hollie Ann Lowe who plays ‘Gloria’……….Gloria I think they got your number! (Sorry, I couldn’t help myself) about the show, her character and and the parallels between the show and real life.

Hi Hollie! Thanks so much for taking the time to answer our questions! Let’s begin….

DN: Dance Niche named Flashdance as one of their top must see dance movies. Were you a fan of the film before the Musical?

H: Since performing in a youth version of Flashdance when I was 14, it has been one of my favourite films and musicals. The film is so iconic and will never get old!

DN: Flashdance is an iconic film, that paved the way for perms and leg warmers! How does the Musical stand up to the film? Do you still own leg warmers?

H: I was born in 96, however growing up I loved all things 80’s! I do still own leg warmers and they often make an appearance in warm up! Ha. Our musical is adapted slightly but there are so many iconic outfits, songs, dance movements…it’s a real flash back to the 80’s!

DN: As well as acting, there’s a lot of dance content and choreography involved with being a cast member of Flashdance. What is your dance background and what is your favourite genre of dance?

H: I started dancing at 5, and have danced my whole life. Training in different styles, I moved to London when I was 17 to train in dance and musical theatre professionally and had the time of my life for three years training in all styles of dance, singing and acting before starting with Flashdance!

DN: The world of professional Dance is a tough one to break into, do you identify with the themes of the story and feelings of the main characters?

H: Alex Owens, is the epitome of any young dancer or performer wanting to break into the industry. We are faced with many challenges along the way but it is the passion, love and drive that keeps us going and gives us the best job there is!

DN: Your character Gloria, really encourages Alex to go for the audition at Shipley’s. How did you feel when auditioning for Flashdance and who encouraged you to go for it? Did you watch the film as part of your prep?!

H: Very similar to both Alex and Gloria, it’s a big scary world when auditioning. However this show and film has been so close to my heart for years that I had the most amazing experience and loved every second of the audition process! My family have always encouraged me, especially my Mum who growing up would always encourage me to reach for higher.

DN: Being a professional dancer yourself and having successfully made a career in dance, what would you say your top tip for dancers at auditions is?

H: My top tip would be to enjoy every second….even an audition! Things will come and go but most important thing is to every step of the journey, even the rejection…be grateful for the lesson learnt and enjoy moving forward.

DN: Lastly, what would you say to anyone who might be thinking about coming to see the show?

H: With edgy choreography and exciting musical arrangements, Flashdance is a must see show for everyone!! You will be taken on a journey back to the 80’s and have a fun filled night out!

Thanks Hollie for the insight! Break a leg with the rest of the tour!

Flashdance is finishing its run here at the amazing Manchester Opera House, however the rest of the tour dates can be found here http://www.flashdanceuktour.co.uk/tour-schedule

This is definitely one show that is bound to get you out of your seats dancing and singing along, leg warmers mandatory!

Dance Niche

Want a bigger dance fix? Follow us:
Dance Mum Etiquette – How to be good parent.

Dance Mum Etiquette – How to be good parent.

Being a Dance Mum is hard, REAL hard and it’s a rollercoaster of high emotions and situations which can be tough to tackle week on week. I know this because I am a Dance Mum myself. Not only did I dance when I was younger, my eldest daughter is currently dancing, and I’m now also a dance teacher myself, so I’m in a unique position of seeing things from all sides. I’ve put together a few do’s and don’ts to hopefully make it a smoother ride.

DO make sure you are organised.

There are going to be so many dates to remember, exams, rehearsals, festivals, shows, workshops, fundraising, you name it. Get yourself a calendar specifically for ‘dance’. As soon as you get anything important through from the school or studio, write it down straight away. Even if the exact dates are not known until closer to the time, you can always mark with a star or TBC so you know roughly when or at least have those dates in the back of your mind if anything else were to crop up. When each event draws nearer, write a list of all the things that will be needed, costume, make up, accessories, food. If your child is older, you can give them some responsibility and compile the list together. Come the day, you can check everything off the list, and avoid a whole lot of stress.

DO make sure you pay fees on time.

This may not be your child’s calling in life, it may just be a flash in the pan hobby for them. For the studio owner and teaching staff, it’s a career, a livelihood. Blood, sweat and tears are literally invested into not only the studio, but the children. So by making sure all tuition fees are paid when they are due, you are thanking the staff for all their hard work and efforts, not just paying their wages. If you pay by direct debit, check that all details are up to date and correct to ensure a smooth transaction every month.

DO teach your child about responsibilities and commitment. Yes, they may only be young. No, the local studio is not a professional gig. Yes, your child may have exams coming up. It’s your job as a parent to teach your children some fundamental life lessons to prepare them for the real world. Ultimately if your child no longer wants to take dance lessons, wait until the end of that term. It disrupts the flow of the class to have children leaving mid term. You may have already pair the term upfront anyway, so notify the teacher beforehand that your child has requested to leave. Don’t worry, it’s not against the law, it just gives everyone time to adjust to the news before it happens and allows them to say their goodbyes. In particular, if there is a show or production coming up that your child is included in, please please wait till the end of the show before pulling out. It is every teacher’s nightmare to suddenly have bodies missing from a group dance, that may not be able to be replaced. Not only that, if your child has committed themselves to being part of that team, then they cannot let the rest of their team members down. Teach the the value of sticking it out until the end, for everyone’s sake. In the real world, they won’t have mummy or daddy to fall back on and give excuses out for them when they decide that they can no longer be bothered.

DON’T live your life through your child.

Perhaps you always wanted to dance but never got the opportunity. Perhaps you were destined for greatness but an injury ended your career before it started. It is plain to see when a child is being ‘pushed’ into dance more than they want to be. The passion is just not there. There is no sparkle behind their eyes. They grow to dislike dance more and more with every passing week that they are ushered to classes. Just because they have amazing ability or a general interest, does not mean they want the same things as you did. Dance may just be a fun hobby, or outlet for them. Don’t take that away from them by inadvertently placing your own dreams upon their shoulders. It’s heartbreaking to see, and not only will they resent taking classes, in the end the will resent you too. Listen, really listen to your child.

DON’T compare.With a mixture of different fortes and personalities, it’s easy to start comparing your child with someone else’s. So what if one child’s leg is higher than your child’s, or has an oversplit when leaping, or pirouettes like a spinning top. As soon as you start comparing one thing, you’ll soon find your picking at more and more things and the list suddenly begins to grow. One of my favourite quotes is “comparison is the theif of joy” ~ Theodore Roosevelt. When you compare your child to another, you are instantly sending a message to your child that they aren’t good enough. Not only will it kill the joy for you, but it will sap all of the joy out of dance for your child as well. Their confidence takes a huge nose dive. Think about it. It also works the other way around. No one likes someone who gloats. So what if your child has won 5 trophies last week, nailed her fouetté turns and been chosen to represent some brand. Everyone is happy for you, but it doesn’t make you any better than the rest. Stay grounded.

DON’T question teacher decisions.

As a parent, you can have a very blinkered view on your child and their ability. As teachers, we see them as an individual but as a whole group as well. We carefully consider every action and outcome before deciding upon anything, and it’s ALWAYS with the child’s welfare at heart. If your child isn’t on the front row for a particular number, if she didn’t make the cut at all, if she’s not yet been invited to pre pointe class, if she doesn’t have a solo, if she isn’t taking the exam, it’s because there’s a good reason. It may be your child has already been at the front and we want all the other children to have a fair chance. It may be your child’s feet are beautifully arched but not yet strong enough to meet the demands that pointe requires. It may be your child is a wonderful dancer as a team, but we’ve seen them struggle to cope on their own. It may be we genuinely don’t think they’re ready for that exam, when a couple more months hard work will have them ready and confident enough to achieve the marks we know they are capable of. If we make a decision it’s either based on health and safety or the wellbeing of your child. Please respect that and back us up.

Being a dance mum or Dad is a tough gig. The relentless taxi service you provide, the endless supply of money, family meals altogether a thing of the past, the stress and anxiousness you feel in their behalf. We, as teachers, are eternally grateful to you, as without you and the support you give your children, we would have nobody to teach, we wouldn’t have jobs! Just remember why. You do all of this because they don’t just love dance, they live it, and you love them, unconditionally. One day, when they’re grown and a family of their own, they will understand everything you did for them, and they will thank you for it. In the mean time, stay strong, and keep reminding yourself why you do it whilst opening a bottle, you’ve definitely earned it!

If you enjoyed reading this, you might like previous article on how to be a good student! http://danceniche.com/2017/05/30/class-etiquette-a-guide-to-good-class-manners/

Dance Niche

Want a bigger dance fix? Follow us:
Shrek the Musical

Shrek the Musical

As I sat waiting in trepidation, the green hues of the lights and the sea of ogre ear headbands had already begun to transport me to a land far, far, away. Even the stage curtain was that of a forest canopy. The scene was set! I wasn’t sure how one of the most loved computer animated movies was going to transpire to the stage. Would the writers and creative directors be able to pull it off?! Only time would tell.

In classic fairytale style, a gigantic story book magically opened before our eyes, with the characters seemingly appearing from nowhere. It told the story of a young Shrek, and how he came to be on his own in the swamp. Away with the book, it was time for the real story to begin.

Shrek in the film is such a loveable rogue, brought to life by the incredibly talented Mike Myers. His voice and mannerisms are the very fibres of the character, so how would it be to watch an actor? Would it feel like the actor was simply imitating?! I needn’t have worried. Steffan Harri plays a wonderful Shrek, making the character truly his own, almost, if not, more loveable than the animated version. His ogre game is strong.

Every hero needs a side kick, and boy do you get a kick out of Doneky! Marcus Aynton is the best ass ever to have tread the boards! His comedic timing and one liners make him an instant hit with the children, with the writers even throwing a few adult jokes in that are well over the little ones heads, they’ll be too captivated with Donkey’s slick dance moves!

Princess Fiona is played by non other than ‘Call the Midwife’ actress Laura Main. When we first meet her, she is every inch the traditional princess with her fiery long locks and emerald green dress, but as we get to know her more, she really comes out of herself. I guess having freedom after all that time locked in a tower will do funny things to you! Laura brings real grit and a toughness to Fiona that makes you warm to her instantly. Her voice packs a powerful punch, knocking sweet singing birds out of their nests no less and the campfire scene where she has a – let’s just say ‘windy’ competition with Shrek, is pure comedy gold. Toilet humour never fails to crack a smile!

That’s not even the funniest part. Lord Farquaaaaad, played by Samual Holmes, wins the funniest performance award hands down! What he is lacking in stature, he most certainly makes up for in laughs! With the help of some very clever wardrobe tricks and facial expressions to rival that of Jim Carey, you only need to look at him to be amused, and that’s all I’m going to say about it, I don’t want to spoil it for you!

As for the rest of the multitasking cast, I’m tired just watching them!They play various familiar story book characters as well as soldiers, village people, tap dancing rats and 3 particular mice one can only assume were blinded by their own sassiness. Some of their costume changes must have been similar to that of a magicians assistant who steps behind the curtain and out the other side with a completely different ensemble! Their signing, acting and dancing skills are put to the test with each number being so different in style and genre and to pull it off so well is a sign of a true professional.

What I especially liked, being a theatre geek, are all the tiny references to some of the other great musicals around – a trademark dance move here or there, familiar lyrics hidden within a song, and a certain flag flying high to mention a few. Watch closely and see how many you can spot!

All in all, it’s the most fun I’ve had at the theatre in a long time. The joy every single one of the cast is having whilst on that stage is almost tangible, and that transfers to the audience in a way similar to that of a panto – boo and hisses, cheers, cued laughter and up out of your seat dancing to the finale song to finish on a high! Whatever your age, young and old, children and adults alike will not fail to be entertained. It’s such a family affair, I can well see this becoming a tradition for many. Bonding, building fond memories and laughing – lots of laughing, crying with laughter, together. That’s what theatre is all about after all. So follow in the footsteps of Shrek and Fiona, Donkey and Dragon and all the story book folk, embrace your weirdness and find your happily ever after that begins with watching Shrek the Musical.

The show will be staying at the Manchester Palace Theatre untill 28th January. You can book your tickets using this link or telephone number below. https://atgtickets.com/manchester/

Tel:0844 871 3019

The rest of the tour dates can be found on the website https://shrekthemusical.co.uk/

Special thanks to the Palace Theatre Manchester and We Blog North for my first press night. I had a blast, but next time I’ll have my own novelty headband ready!

Dance Niche

Want a bigger dance fix? Follow us:

Email newsletter

Please follow & give us a like!

Enjoy this blog? Share with your dance crew!