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Tag: what’s on in Manchester

Matilda The Musical Review

Matilda The Musical Review

The story of Matilda is a childhood classic, written by one of the nation’s favourite children’s authors, Roald Dahl, and is celebrating its 30 year! The musical adaptation will soon be entering it’s 9th year, and is now a classic in its own right, with critical acclaim and no less than 85 awards under its belt! once you’ve seen it, its not hard to see why.

There are so many individual factors that all play their part in making Matilda The Musical such a huge success. The stage adaptation written by Denis Kelly, and the catchy songs and lyrics by Tim Minchin are the corner stones. Imagine the daunting task of taking something as beloved as Roald Dahl’s Matilda, and adapting it for the stage, that would serve the original justice, yet tell a more visual story. The songs and lyrics sit perfectly well within the scenes, blending effortlessly and further enhance the plight of Matilda. You can even buy the Matilda the Musical soundtrack on CD or download it, meaning you can carry on signing them long after you’ve left the theatre!

Next, has to be the innovative and complex stage set. I was lucky enough to go behind the scenes of Matilda at the Palace Theatre Manchester, and the sheer scale of design and function was jaw dropping. Without spoiling the magic of the production for anyone, the stage setting and scenes have their own choreography. Things (and people) fly, slide, and manouver around the stage seemingly effortlessly, yet timings and placements have to be exact and precise, when you factor in the actors on stage at the same time. They harmoniously dance around each other

The already larger than life characters, thanks to the genius imagination of Dahl, are brought to life, larger than ever, by a wonderful adult cast, and enhanced with a ingenious costume wardrobe! Miss Trunchbull, by far one of the most loved characters, or love to hate, is traditionally played by a man. Craig Els is the current actor. His comedic edge, flouncy walk and penetrating stare do the character justice, and evoke hoards of laughter and reactions from the audience. His stature is lofty, but further enhanced by his costume, towers over the children to emphasise the difference.

The biggest mention by far, has to go to the children’s cast, and in particular, of course Matilda. They are Sam Lathwood”s (assistant dance captain and swing) favourite to work with! You can read our interview with him on his role here What does it take to be a musical theatre swing? There are actually 4 whole different children cast that work on a rota basis. The Royal Shakespeare Company do a sterling job of looking after the wellbeing of all the children, even supplying tutors and having their school work posted to them so they do not fall behind academically. The maturity and professionalism shown from ones so young is admirable, their parents must all be so proud! Matilda was played by Emma Moore the night I watched. She blew me away. Her talent is extraordinary. She adds sorrow and cheekiness in equal measures. She builds intensity as Matilda grows in confidence, and particularly in her song ‘Quiet’ is so authentic in her skills, she becomes Matilda.

As for the rest, it is that special touch of magic that you can’t quite put you’re finger on. Just how does Bruce Bogtrotter eat ALL that cake? How does that glass move all on its own? It’s the story of how someone so small and insignificant overpowers rule to fight for whats right, the equality, the justice, the self belief. We all love an underdog story, because it gives us hope and faith of better things to come. That’s what I took away with me from watching Matilda The Musical. That no matter how bad things seem, there is always something that can be done, always light at the end of the tunnel. If you believe in yourself wholeheartedly, then you are an unstoppable force. What a wonderful sentiment to be presenting to our children.

I would recommend for anyone of any age to watch Matilda The Musical. Its family entertainment at its finest, and is sure to capture the hearts of the next generation, continuing the legacy. Matilda is currently on stage at the Palace Manchester until 24th Nov, before moving on to the Wales Millennium Centre, Cardiff over the Christmas and New Year period, and various other venues until summer 2019! For more information on dates and locations, go to the official website Matilda The Musical

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What does it take to be a musical theatre swing?

What does it take to be a musical theatre swing?

Musical theatre is a tough genre to succeed in. You have to be equally proficient in all 3 styles – dancing, singing and acting – a triple threat. So imagine being hired in a show and having to memorize EVERY SINGLE ROLE! That’s the mammoth task undertaken by a ‘swing’.

Swings are absolutely vital to the smooth running of any theatre production. Not only do they help with prompting of lines, if, heaven forbid, someone forgets, but they are instantly on hand, ready to fill in for roles due to sickness, or any sort of absence. Sam Lathwood is the current swing and assistant dance captain for the Royal Shakespeare Company’s MATILDA THE MUSICAL. Unlike other productions, at least half the cast are children, including the main part. We all know how quickly children can become ill, and you can’t do a show without the lead, so being a swing for Matilda the Musical is most certainly one of the most demanding roles. We spoke with Sam about his job, how he copes, his favourite role, and what it’s like working with the younger members of the cast!

DN. You’re the current assistant dance captain / swing for Matilda the Musical. How do remember all the choreography so well without actually being in the roles permanently?

SL. When we first started to learn the show back in January, it took a lot of staying behind after rehearsals and dancing in my living room to help solidify all of the information in my brain. I work both visually and practically to get the choreography into my muscle memory, and once the choreography has gone in, it’s all about recapping the information, referring back to notes/ maps of the routines and watching the show as much as I can (when I’m not already on stage performing) to help retain the information.

DN. Knowing all the roles so well, who is your favourite character in Matilda and why?

SL. I would say my favourite character in the show has to be Miss Trunchbull, she has some brilliant dialogue, she’s intimidating and dark yet comical and outrageous. She gets to perform a whole solo dance routine with a ribbon in an extremely difficult costume and fly over a vault in her Olympics uniform/skirt. What’s not to like!

DN. It’s a well-known saying that you should never work with animals or children! What’s it been like working so closely with the younger members of the cast of Matilda?

SL. I adore working with the children. They never fail to make you laugh and smile. Their work ethic is always second to none. This is the 5th show I’ve done which has had children in the cast and I find they bring such a unique and exciting energy to the theatre both onstage and offstage that you don’t always get on other shows. I always find that the work our children at Matilda do on stage every evening is very inspiring.

DN. You’ve worked in many musical theatre hits such as Charlie and the Chocolate Factory and Elf the Musical to name a couple. How does Matilda differ to the others?

SL. Matilda actually has the same choreographer as Charlie and the Chocolate Factory (Peter Darling) so I started Matilda with an understanding of the way the choreography might work. But compared to other shows I’ve done, the storytelling in Matilda is very detailed, specific and plentiful. The show also has a very dark story throughout, unlike Charlie Bucket, Matilda doesn’t get her ‘golden ticket’ until the very end of her story.

DN. Which is the most challenging scene and choreography in Matilda to work on?

SL. I would have to say all of the gate choreography in ‘School Song’. It makes a lot of sense and flows nicely once you’ve got it, but it took many more rehearsals to get there. What I love about the number is that you still get that massive rush of adrenaline each time you dance on the gates.

DN. This year, Matilda celebrated its 30th year since first being published, and has since won many accolades, particularly with the musical adaptation. Where do you see yourself at 30?

SL. I’m in total denial that one day I’ll no longer be in my twenties that I haven’t even thought about being 30 yet! Hopefully I’ll be happy and dancing my 30 year old heart out.

DN. Lastly, a famous quote from Matilda is “somewhere inside all of us is the power to change the world” If you could make 1 change, what would it be?

SL. My one change would be to somehow eliminate the huge amount of plastic that is contaminating our planet. I’m a huge fan of watching Blue Planet and it disappoints me that over 8 million tonnes of plastic and rubbish ends up in the ocean each year, come on humans!

Well said Sam.

 

Matilda the Musical is currently on stage at the Palace & Opera House Manchester until 24th November. Tickets are still available at ATG Tickets Palace Theatre , with an incredible special rate of only £5 for 16-25 year olds (terms and conditions apply) before it continues on it’s spell binding tour of the UK finishing August 2019! You can find more details of tour dates, locations and book tickets on the website here Matilda the Musical . Watch out for my review article of the production, and vlog from when I went backstage at the Palace Theatre Manchester, and got to nosey around the dressing rooms of the cast!

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SIX! The Musical | Review

SIX! The Musical | Review

SIX ex wives, joining forces to hate on their ex, may sound like a title from the Jeremy Kyle show, but it’s actually a brand new musical, with a concept that fresh, that it’s already reaching a whole new audience and enticing virgin theatre goers to experience their first taste of theatre action30179563607_509a23a020_k

Six! The Musical, tells the individual stories of the six wives of Henry VIII (that’s Henry 8th, good job I listened in history lessons). Written by Toby Marlow and Lucy Moss, the show has already recieved critical acclaim after selling over 10,000 tickets at this year’s Edinburgh Fringe Festival. Since then, Six has been gaining momentum with a multitude of 5 star reviews, nominations in 4 categories for the Broadway UK Awards and shows no sign of slowing down. This musical juggernaut is pelting full steam ahead and seemingly nothing can stand in it’s way, not even Henry VIII.43303878010_598e720c24_k

But just what is it exactly that makes the production so appealing???? Is it the talent?! The six girls cast as the wives all have individual vocal credibilities, including tours with 42nd St, The Colour Purple and Thoroughly Modern Millie. Is it the music?! Songs like ‘Don’t lose your head’ ‘Ex Wives’ and my particular favourite ‘Haus of Holbein’ will creep into your ears and take over your brain with their catchy melodies and clever lyrics. Is it the hint of feminism?! Hell hath no fury than a woman scorned, so throw 5 more into the mix, you’ve got a vengeful tribe, shouting out to women with a sorry story to tell to stand up and fight back! Or is it the fact that it re writes history, telling a story that is all too familiar to us, but bringing it bang up to date with 21 century sass-itutde! And a happy ending, we all love a happy ending!44397214974_5ef74388c7_k

The fact that this production has moved away from the traditional stage musical format, opting instead for a pop concert vibe is genius!  The chemistry the six wives have on stage is tangible, yet genuine. So much so, that you’d be forgiven for thinking they were an actual girl band – Spice Girls eat your heart out! Watching this musical is more like attending a greatest hits tour! Yet they all have their individuality. Jarneia Richard-Noel  (Catherine of Aragon) the wise wise, loyal one. Millie O’Connell (Anne Boleyn) the cheeky seductressNatalie Paris (Jane Seymour) the soft endearing one. Alexia McIntosh (Anne of Cleves) the smug one. Aimee Atkinson (Katherine Howard) the niave  misunderstood one and finally Maiya Quansah-Breed (Catherine Parr) the last one and the peacemaker. Their dancing and costumes also reflect this.44397204634_5a54b61549_k

I cannot recommend Six! The musical enough! Perfect for hen do’s, birthday surprises or simply someone looking for a feel good factor show. Not only is it 75 minutes of pure pop hits (songs that would undoubtably rival any current chart topper) but it introduces a whole new audience to the world of theatre, encouraging and inspiring a younger generation to keep theatre alive for the future.  Never mind pop princesses, these queens are taking over, the new royals of theatre land have been coronated and long may they reign!31243712258_6cbafec169_k

 

Six! is currently touring and will be appearing at The Lowry Salford 4th-16th Dec, before heading off to Glasgow SEC 20-30th Dec and finally London Arts Theatre 17th Jan – 5th May. All details and ticket information can be found on their website here Six The Musical 

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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?!

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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

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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.

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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.

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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

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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!

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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

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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

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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

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