Ideas for new narrative ballets

I am mostly interested in contemporary dance and ballet, which generally avoids linear narrative and any kind of 'traditional' storytelling. But I also go and see, and often greatly enjoy, more (or completely) traditional full-length narrative ballet.

Matthew Bourne's New Adventures is probably the UK's leading company producing new full-length narrative work, although other companies have produced new full-length ballets based on non-traditional ballet stories - Wuthering Heights, Dracula, for example.

Obviously the scale and cost of producing fully-cast full-length narrative ballet with sets, costumes and special effects can be prohibitative and may not suit the structure of many companies, but if Matthew Bourne can make a ballet based on The Servant or Edward Scissorhands, or his latest, The Picture of Dorian Gray, what other stories would be suitably compelling, visually potent and narratively robust enough to be translated from novel, play or film and transformed into the pure movement of ballet or contemporary dance?

Here are a few suggestions...

Interview with a Vampire
American Beauty
Sweeney Todd
Brokeback Mountain - already being developed as an opera
Donnie Darko

Any ideas?

2009 - the Year in Dance

February
Henri Oguike Dance Company at Contact Theatre *****

March
The Overcoat by Gecko at Contact Theatre *****
Richard Alston Dance Company at The Lowry *****
Boulevard of Broken Dreams at the Dancehouse **** (It would have been ***** if there had been more than 20-30 people there...)
Designer Body by balletLORENT at The Lowry ***** (Beautiful and mesmerising)
Mission Possible: Lads & Dads Move! by State of Emergency at Contact Theatre *****

April
Sylvia by the Birmingham Royal Ballet at The Lowry **** (Rather silly, tremendous fun, beautifully staged and some lovely performances)
Destino on the Road (Dance United) at Contact Theatre ***** (Some very powerful pieces full of meaning by a mostly male company (again). Full Circle, featuring a young cast drawn from West Yorkshire communities, many of whom have never danced before, was strikingly moving and challenged my negative perceptions of 'community' dance. The Empire's Fall [right], choreographed and soundtracked by Hofesh Schechter, was very reminscent of the two other pieces I've seen by him but still managed to be fresh and dramatically distinctive - and thoroughly compelling.)

May
Dancing On Your Grave by The Cholmondleys and the Featherstonehaughs at the greenroom ***
Romeo & Juliet by Northern Ballet Theatre at Manchester Opera House ***** (A lavish and spectacular production, with Prokofiev's fabulous score, made for a thoroughly enoyable evening of more traditional ballet.)

June
The Rain Parade by Lost Dog at The Lowry *** (An interesting show with two very appealling performers - Ben Duke and Raquel Mesequer - but it really only came to life for me when they danced and I wished there was more of it, but I'd certainly go and see Lost Dog again.)
New English Contemporary Ballet at the Dancehouse ***** (Simply gorgeous contemporary choreography, inspired music and stunning performances. I love NECB and wish them every success.)
NDT2 at The Lowry ***** (Wonderfully talented dancers perform breathtaking choreography to an edgy crystal-clear soundtrack with brilliantly atmospheric staging. World class contemporary ballet company marred only by the dreaded audience participation. Gods and Dogs especially was simply breathtaking. An unforgettable evening.)
Verve 09 at The Lowry *** (Interesting movement too often marred by some unlistenable specially commissioned 'music')

July
Love and Loss - Birmingham Royal Ballet at The Lowry *** (Galenteries * was pretty but dull, dull, dull. The Dance House *** was rather interesting with a fantastic central pas de deux. The Dream **** - which I had the lowest expectations of - was charming, fun, vivid and intensely colourful. The mixed programme by BRB was, as usual, notably for the company's extremely talented dancers and the technical quality of the ballet and presentation.)

September
Giselle by English National Ballet at Manchester Palace Theatre
Comedy of Change by Rambert Dance Company at The Lowry

October
Matthew Bourne's Dorian Gray at The Lowry

New Lowry Season - Autumn 2009

First details of the new Lowry season are being released.

In addition to the previously mentioned return of the Rambert Dance Company with their Comedy of Change Tour, the first 'proper' show by new Manchester-based dance company Chameleon has been confirmed for 30 September - titled Kith/Kin. The show was to have been previewed this month but was cancelled due to injury befalling one of the dancers.

Rites, a male duet performed/created by Anthony Missen and Kevin Turner is powerful and poignant in its exploration of the events and experiences that shape us as friends, brothers, fathers and sons.

Before Night Fell, choreographed by Beth Cassani uses games and physical risk to cast a female perspective on the duo's friendship.

Stride, a young men’s dance project developed by Chameleon and Dance Initiative Greater Manchester will culminate in a performance in the public areas of the building at 6.30pm.

Rites commissioned by Dance Initiative Greater Manchester.

Manchester audiences will also get a chance to see the Bonachela Dance Company on 3 November 2009 when they bring their show The Land of Yes and The Land of No to The Lowry's Quays Theatre.

As soon as we leave our homes, we are told what to do and more often what not to do. But these instructions are not only physical; they have emotional resonances which go beyond the literal commands.

In his first work for his own company since his appointment as Artistic Director of Sydney Dance Company, Rafael Bonachela explores this duality and how it affects us. He has collaborated with contemporary composer Ezio Bosso and designer Alan Macdonald to develop the work.

And another date for next year's diaries - Birmingham Royal Ballet make a welcome return with their production of Tchaikovsky's Sleeping Beauty 30 March - 3 April 2010.

More news to follow as and when...

Lowry calls Royal Opera House's northen ambitions 'bad for the arts'

The Royal Opera House's plan for a northern base is 'bad for the arts' and must be scrapped, the trustees of The Lowry arts centre have said.

The Royal Opera House said last year it was in talks to establish a presence at Manchester's Palace Theatre.

But the Salford-based Lowry has claimed the proposal would threaten £116m of public money already invested in it.

Instead, it supports a 'dual-house' model, where The Lowry would be a home for dance, including the Royal Ballet.

Opera and music would be concentrated at the new facility at the refurbished Palace Theatre.

In a statement, the Royal Opera House (ROH) said it was still committed to pursuing the proposals.

The call by The Lowry follows talks with the ROH and Manchester City Council about the artistic programme of the new facility.

Research commissioned by The Lowry concluded the plan could not work without destroying the arts centre's business model, thus threatening its £116m investment.

However, The Lowry said it 'remained committed' to the overall vision of bringing the ROH to Manchester.

In a statement, Rod Aldridge, chairman of the The Lowry trustees, said: 'It is clear that the current proposal is not viable and cannot be made to work without causing unacceptable damage to existing arts provision.

At The Lowry, we are proud of the enviable reputation we have established for bringing world-class opera and ballet to the region.

Our research provides clear evidence that that the current proposal presents significant threats to the viability of The Lowry. It would destroy what we have achieved and would put the £116m of public money invested in The Lowry at severe risk.

Mr Aldridge added that the dual-house model still involved 'substantial uncertainties' and required significant further work.

He said: 'The current proposal cannot be made to work. It is bad for Manchester, bad for the arts and bad for the taxpayer. In the interests of the whole region, it must now be abandoned.

The ROH wants a northern home for the Royal Opera and Royal Ballet, in addition to their base in London's Covent Garden.

In March, a report from Arts Council England said it had the potential to transform the artistic life of the north west'.

But it also warned the scheme was 'not yet viable' and would require 'significant' public investment.

The ROH said: 'The Royal Opera House and Manchester City Council believe that there is a very exciting and viable way forward for Royal Opera House Manchester and the arts in the North West as a whole.

'Discussions are ongoing regarding how this might most effectively be achieved, and the more potential partners are brought into the discussions, the more exciting the proposals are becoming.

'To deny the current proposal at this stage without those wider discussions taking place is premature, and the Royal Opera House remains convinced that there will be a solution that will bring great benefit, both artistically and economically, to Manchester and the greater north west region.'

Sir Richard Leese, leader of Manchester City Council said the council was 'disappointed' with The Lowry's remarks.

'I find it difficult to understand, as whilst at a meeting yesterday with The Lowry Trustees where I thought we agreed a way forward, a statement was issued on the contrary,' he said.

'The meeting explored the mutual benefits and options to develop this exceptional opportunity in partnership.

'The potential to transform the artistic life of the north west is widely recognised and although we recognise The Lowry's concerns we will continue to work with them and other major arts bodies to drive forward our ambition for the future.'

BBC

For me, the idea of the Royal Opera House establishing a Northern base is an interesting one, but I don't genuinely believe it is viable.

I completely reject the idea of anything that damages or compromises The Lowry in any way - as a world-class venue for opera and dance, as a centre for artistic excellence, as a business, or as a charity.

Whilst I applaud the notion of 'bringing world-class opera and ballet to the region', I don't see how the Royal Opera House would deliver that in any way other than in their own terms and I'm not wholly convinced that there is a substantial market for such 'elitist' fare. I suspect Manchester has more of an appetite for more innovative, cutting edge, non-traditional art - otherwise these companies and their ilk would visit more often.

Once again, I propose that rather than damage The Lowry and investing millions in dragging the Palace Theatre [right] into the modern age we should look first at the Opera House on Quay Street, the former Theatre Royal on Peter Street - recently mentioned in connection with a new home for the Library Theatre - or better still, we look at completely redeveloping the BBC site on Oxford Road into a new purpose-built Royal Opera House Manchester, incorporating the Dancehouse opposite, creating an additional smaller venue with studios, and merging the existing dance school into a new Royal Ballet School North.

Or simpler still, base the Royal Opera House at The Lowry, which already has the established market, the venues and staging infrastructure, the public spaces and the iconic building to create something really special - but Manchester City Council are never going to accept that...

From an entirely personal perspective as a fan of dance, I would be one hundred per cent more interested in a proposal for a northern base for Sadler's Wells... now that would be something.

Bad Karma Chameleon

New Manchester-based dance duo Company Chameleon were due to preview their new work and launch their new company at the Lowry Studio on Friday and Saturday (19 & 20 June).

Unfortunately both shows were cancelled due to one of the pair sustaining a head injury during the dress rehearsal - I think Anthony Missen, as I saw his dance partner Kevin Turner talking to friends in the Lowry bar shortly before the cancellation of Friday night's performance - I was there to see Verve 09 and had a ticket for Chameleon on the Saturday.

I have seen this talented pair earlier this year at the Contact Theatre and was greatly looking forward to their interesting-sounding programme of dance exploring men and masculinity.

The show was a preview in advance of a full company launch in September so I wish Anthony and Kevin well and hope to see them back with a vengeance then.

Company Chameleon

Rambert's Comedy of Change 2009

The Rambert Dance Company return to the Lowry in September with their Comedy of Change Tour 2009, almost exactly a year after their last visit.

The programme will consist of:

A Linha Curva
The chequer-board stage of Itzik Galili's A Linha Curva is filled with rhythmic pulses and sexual tension, with irresistible samba-inspired lines and curves blended with a Brazilian style and contemporary dance technique. This new version for Rambert by one of Israel's most talented choreographers features a live percussion band and large cast. The original music, composed by Dutch percussion band Percossa, drives the rhythms and electrifies the atmosphere to an incredibly powerful level.

Carnival of the Animals
Set to Saint-Saëns' beautiful and melodic music, Carnival of the Animals is arguably Siobhan Davies' most popular and endearing work. Reinvigorated for the 21st century the work reunites Rambert dancers with this outstanding, Olivier Award-winning artist.

Comedy of Change
Following the national successes of Constant Speed (2005) and Eternal Light (2008), Artistic Director, Mark Baldwin returns to the world of science.

Combining the fascinating and exuberant worlds of evolution and dance, Mark Baldwin creates Comedy of Change, a vigorous and beautiful new work. Courtship dances, display and nature's use of camouflage are all enhanced with music and design by some of the very best contemporary artists.

Comedy of Change is set to a specially commissioned score by renowned British composer Julian Anderson and production design by one of Paris' leading lights of contemporary art, Kader Attia. It skilfully blends dance and science into a stunning, energetic and striking performance

© Eric Richmond and Joe Swift. Background image © Charles Smith, Corbis

The Lowry
23 - 25 September

See website for other dates and venues. Programme varies for other venues.

Comedy of Change Tour 2009 microsite

I must confess to not being that impressed by the Rambert Dance Company last year, the first time I have seen them. I found Eternal Light overblown and empty for the most part (not to mention hideously costumed) although I enjoyed some sections. I also had a mixed response to the other pieces of the programme. But I'm still of the view that I'm much more interested in seeing them again and hoping for a different experience than declaring that 'I don't like the Rambert, and choosing not to go.

I'm still learning and enthusiastic - and hope I always will be. (Although I already have a bad feeling about Carnival of the Animals - please no more animal costumes!)

Finding the gay in Dorian Gray

No one could deny that there is a huge homosexual subtext in Oscar Wilde's The Picture of Dorian Gray - so it's good to see that Matthew Bourne's dance version, updated to the modern world of celebrity and media, is milking it for all it's worth.

After the disappointment of Edward Scissorhands, I am really excited about the prospect of seeing this show later in the year. I hope my excitement is justified - and I hope the dancing is up to scratch. I thought Scissorhands was all about the acting and staging and the dancing was oddly missing and little better than touring musical theatre standard (he says dismissively).

It's all very well reinterpreting and popularising full-length narrative ballet for a new audience but let's not let great dancing and choreography get lost in the new mix.

I'm certainly looking forward to seeing Richard Winsor recreate the role of Dorian.

Dance Consortium 2010

Those of us who live outside London and love dance have much to be grateful to Dance Consortium for, and because it is never too soon to get excited about going to see dance companies, Dance Consortium will be promoting and supporting tours by the following companies in 2010:

Danza Contemporanea de Cuba
Companhia de Danca Deborah Colker
Alvin Ailey Dance Theater

NDT 2 at the Lowry

To start off with a negative, I loathe audience participation. Especially if it includes clowns (thanks, Cirque du Soleil).

I'm firmly of the opinion that I'm in the audience for a reason. My fear of getting dragged onto the stage by the dancers of NDT2 during their third and final piece Minus 16 - never let it be said that I don't do my research - was such that I forsook my decent stalls seat (already further back than I would have chosen) and fled to the circle after the second interval. In the end the piece was great fun and the chosen 'lucky' 16 generally made a game effort - especially one lady who unexpectedly found herself with a featured role. Parts of Minus 16 were very witty and exciting and the dancing was certainly impressive, but I still cringed, even as I clapped along. It ended the show on a high of sorts, and with a third, huge ovation, but this 'novelty' number didn't offer the emotional satisfaction of the rest of the programme.

The rest of my review for NDT2 is full of nothing but superlatives. Opening piece Offspring, choreographed by Lukas Tumulak, was quite beautiful. Second piece, Gods and Dogs, choreographed by Jiri Kylian, was quite simply one of the most beautiful and powerful dance pieces I have seen so far by any company.

The young dancers of NDT2 - the company range from 17-23 - were superlative. Technically extraordinary, clearly expert technicians of classical ballet, they took the strength, speed, flexibility and grace of classical dance and transformed it to the highest imaginable levels of contemporary style. Some of the extensions, contortions, lifts and spins seemed almost physically impossible. Such strength, fluidity and speed was beautiful to watch and the choreography was challenging and innovative to match and push the boundaries. Good balance between male and female dancers too - and all incredibly talented.

I have never seen a more beautifully lit dance show, the use of lasers and atmospheric, subtly changing lighting was absolutely lovely - and the costumes, especially for Offspring, were also lovely. I don't think I've ever heard better sound at the Lowry either. NDT2's challenging soundtrack of classical music interspersed with other sounds and electronics was varied, exciting and wonderfully mixed - and loud and crystal clear.

I'd heard good things about NDT and NDT2 from other people, but now I've seen them myself I can only add my view that the Netherlands Dance Theater are at the very highest end of the contemporary dance spectrum.

I've not enjoyed a company of this type so much since Stephen Petronio - although I still love New English Contemporary Ballet - who have the potential to be as good, I think.

One of those transforming nights when you see things that make you want to keep seeing more and more dance... and not miss anything. God, I love dance.

Insane in the Brain Bounces to the Lowry this autumn

With street dance very much in the news with two street dance groups in the final of Britain's Got Talent - one of whom, Diversity, of course went on to win, a street dance version of One Flew Over the Cuckoo’s Nest has just been announced to appear the Lowry this autumn. Dance Touring Partnership present Swedish company Bounce.

The classic story of One Flew Over the Cuckoo’s Nest is injected with a large dose of Hip Hop energy by Bounce. This exciting company is known for creating high energy, imaginative street-dance theatre, enjoying hit runs at both Sadler’s Wells and the Roundhouse.

In the confines of a psychiatric hospital, breakdance becomes a way of expressing freedom and rebelling against the iron rule of Nurse Ratched, who happens to be a ballet fan.

Based on the play by Dale Wasserman and the novel by Ken Kesey, the show features a fantastic soundtrack including hits from Missy Elliot, Dizzie Rascal, Gotan Project, David Holmes and Cypress Hill. Inventive set design, bungee-jumping breakdancers, film and choreography combine to produce a fast-paced show that is at times funny, at times moving, and always packed to the rafters with high-octane dance moves.

The Lowry
Saturday 21 November 2009

Companies I really want to see 2 - Cedar Lake Contemporary Ballet

Sidi Larbi Cherkaoui - Orbo Novo process from Caleb Custer on Vimeo.

Cedar Lake are my favourite dance company I've never seen - every bit of footage of them seems quite extraordinary and I long for the chance to see them. Maybe one day.

Talking Shop: Matthew Bourne

Matthew Bourne talks to the BBC about his production of Dorian Gray

Motionhouse Scattered at the Lowry in 2010

It's good to plan ahead - and I love to know what to look forward to - even if the performance is not scheduled until Spring 2010!

Anyway, I can reveal (because it's on their website) that (very) physical theatre company Motionhouse will be bringing their new touring show Scattered to the Lowry in Spring 2010. From the write up and venue specifications I'm guessing that they will appear in the Lyric Theatre - the largest of the Lowry's three performance spaces.

Scattered combines Motionhouse's trademark highly physical dance theatre and mesmerizing aerial imagery with film and graphics, to create a unique visual performance event. Performed on a huge curved floor, which disappears skywards upstage, Scattered uses multiple projection technology to create a world in which the dancers move in, on and through the image. Scattered delves into the beauty and absurdity of water in different elements. Seven dancers dive into a moving stream, wrestle a raging tide and slide on an avalanche to a frozen landscape of arctic beauty.


Scattered explores our relationship with water and how it surrounds us in different forms throughout our lives: in birth water ties us to life and on a more elemental scale, in ice, floods and tides, it can wash our lives away.

I'm excited already.

The Lowry
9 - 10 February 2010

Motionhouse - Scattered

An Evening of Contemporary Dance at the greenroom

Most of the theatres in the area are coming to the end of their current seasons and about to enter what always seems like a lull before they announce their new seasons - although there is still much to see - NDT2, Northern Ballet Theatre's Romeo and Juliet, New English Contemporary Ballet, Nigel Charnock, the return of Birmingham Royal Ballet, The Rain Parade, Verve 09, Carlos Acosta's MIF appearance and more from now until July.

There's even a few things announced for later in the year - English National Ballet's Giselle at the Palace in September, the much-anticipated Dorian Gray at the Lowry in October.

Anyway, another event has slipped unnoticed onto the greenroom [pictured] schedule.

Billed slightly oddly as An Evening of Contemporary Dance, Peter Grist&Company make their debut at the greenroom with four brand new pieces Megiddo, Alice, Roots and Picking on Me.

All four pieces look to be either duets or solos but it looks like an interesting programme.

Friday, 26 June 2009
greenroom

These pieces are all choreographed by Peter Grist and music is conceived and mixed by Jake Shaw.

I believe Peter Grist is a graduate of the Northern School of Contemporary Dance.

Support NECB in Manchester

New English Contemporary Ballet make a return visit to Manchester's Dancehouse theatre on Friday, 5 June following their June 2008 visit.

I was lucky enough to see NECB last year and I've booked to see them again as I thought they were excellent - exactly the type of contemporary dance I enjoy: thoroughly modern in style but with skills and technique firmly rooted in classical dance.

Now I may be being unduly pessimistic, but when I saw them in June at the Dancehouse the theatre was less than half full. I've been to see another dance performance at the Dancehouse this year that was even less well attended. I go and see a lot of dance in Manchester, mostly at the Lowry, but increasingly this year at the Contact theatre, and performances tend to be fairly to very well attended.

I think the Dancehouse does well with comedy shows and they seem to book some fairly big comedy names but (ironically) I suspect the Dancehouse is a bit of a disaster when it comes to dance. They seem to book the kind of small to medium touring companies that would suit the venue only sporadically. Their marketing is minimal and much of the public space is rather shabby, dull and neglected looking. I suspect this is down to funding as much as anything. The auditorium itself is pleasant and rather pretty with a large, low stage and steeply-tiered seating affording all seats a good view.

The other issue with the Dancehouse (for me, anyway) is the fact they outsource their ticket sales to Ticketline, which in itself is not a problem. I think Ticketline are a great company, but the fact is their comission charges and booking fees and convenience fees really bump up the cost of modestly-priced dance shows. With NECB, for example, Ticketline turn a £12 ticket into a £15.45 ticket (you can save 20p by collecting yourself from the venue), and the seating selection is completely inflexible. This compares very poorly with the Contact and greenroom's minimal or non-existent fees and unreserved seating and the Lowry's low booking fee and seat choice flexibility.

So, what am I saying? Two things: the Dancehouse is a wasted opportunity in Manchester - great location, a nice period venue with lots of potential, but completely lacking in any kind of buzz or excitement or visitor appeal - compare with the greenroom. I find this especially sad as every single national and international company puts in an appearance at Sadler's Wells and its supporting venues in London, whereas Manchester gets a lot but misses a whole lot more

- and secondly:

Don't be put off by the Dancehouse - New English Contemporary Ballet are fantastic and completely worth seeing - so support this great English company and enjoy their wonderful programme.

I See Swans - Beautiful Swans!

Matthew Bourne's Swan Lake will return to Sadler's Wells this Christmas for a 7 week season from 10 December.

The production received its World Premiere at the 'old' Sadler's Wells in November 1995 and was last seen at the venue for the Christmas Season 2006/7.

Casting news will be announced on the New Adventures website in the coming months.


I would like to think that this production will then go on tour in 2010 - hopefully stopping by the waterside at the Lowry for a few nights - as I would love an opportunity to see this groundbreaking production.

Might even make a special Christmas trip to London!

Companies I really want to see 1 - Wayne McGregor | Random Dance

Dorian Gray's revealing new portrait

New Adventures' Dorian Gray star Richard Winsor has appeared in some revealing shots for the May 'Naked Issue' of gay magazine Attitude.

Winsor will be recreated his starring role as Dorian Gray in the much anticipated UK tour of Matthew Bourne's latest creation - and often not wearing much more than in these shots by Ellis Parrinder.

Matthew Bourne's
Dorian Gray
The Lowry
22 - 24 October

Richard and 15 other male celebrities can be found tastefully disrobed on newstands nationally round about now.

New from NECB - NECB2

New from favourite company New English Contemporary Ballet, New English Contemporary Ballet 2 is a 1 – 2 year dance company for recent graduates aged 18 – 22 years. NECB2 consists of a group of up to 20 dancers.

Increasingly dance graduates are being required to have more relevant company
level experience before being offered auditions for employment. Company styles have evolved in recent years, competition for limited opportunities are intense. Graduates believing their training is complete, realise their professional training has only just begun!

NECB2 specifically designs a training and performance regime which will meet the requirements of young graduates, indeed one that provides that professional level guidance which is so critical. Company members will perform works created on them by a successful artistic team within New English Contemporary Ballet and will also learn and perform works created for the main Company by leading international choreographers.

I look forward to an opportunity to see this young - in both senses of the word - company when they start touring - sounds great.

Cheshire boy wins place at Bolshoi Ballet

A Cheshire teenager has become only the third British boy to win a place at the elite Bolshoi Ballet School in the Russian academy's 233-year history.

Daniel Dolan, 16, from Widnes, started his dance career aged four when he swapped his rugby boots for ballet shoes, said his father Peter.

Male Bolshoi dancers are known for power and athleticism. Daniel said: "I hope to uphold this tradition."

The dancer starts at the academy in August if he can find the £15,000 fees.

His father said the family were looking for sponsors and charitable donations. "This opportunity is a great honour and if he fails in finding help with the fees he will be unable to attend," he said.

Before being accepted for the Moscow ballet school, Daniel had already shown his talent.

He won a scholarship to summer camp at America's number one academy, New York's Julliard which only accepted 44 students from around the world.

Daniel trained at Liverpool's Elliot Clarke School of Dance until he was 11 and continued his training with a scholarship at The Hammond School in Chester until present.

He has performed with the Birmingham Royal Ballet and the English Youth Ballet.

Daniel said: "I'm very much looking forward to adding the stages of New York and Moscow to this list."

Merce Cunningham

Merce Cunningham born 16 April in 1919

Merce Cunningham born in Centralia, Washington, received his first formal dance and theatre training at the Cornish School - Cornish College of the Arts - in Seattle, where he met his life-partner John Cage, who was a piano accompanist for dance classes.

From 1939 to 1945, he was a soloist in the company of Martha Graham. He presented his first New York solo concert with John Cage in April 1944. Merce Cunningham Dance Company was formed in 1953. Since that time Cunningham has choreographed around 200 works for his company. His work has been presented in many of the world's leading dance theatres including the New York City Ballet, the Ballet of the Paris Opéra, American Ballet Theatre, Boston Ballet, Zurich Ballet, London's Rambert Dance Company, and many others.

Along with their close friends, painters Robert Rauschenberg and Jasper Johns, Cunningham and Cage and other like-minded young gay artists defined an alternative creative art scene in 1950s New York that was an essential part of the development of what was to be known as post-modernism.

Cunningham's contribution to modern dance has several key elements. Cunningham applied the same use of chance to his choreography that Cage utilises in his music, so choices about sequences of movement would be determined randomly, making new relationships between movement, music and other applied arts and creating exciting new forms of narrative. He also applied conventions of classical ballet to everyday activities, finding the structured yet fluid dance in running and walking for example. He also re-envisioned the use of dance space on stage, bringing the full dance area into play, wherever the dancer faces being 'front'. Rather than express sexuality through mixed or same-sex couples, combinations of dancers occur with the same use of 'chance', making gender and thus sexuality fluid and almost irrelevant.

Cunningham has always embraced new technology in his work, with Cage, pioneering multimedia in dance and creating some of the first dance work to integrate music, movement, visual art and verse in equal balance. Since the 1990s Cunningham has worked with a complex computer program called Life Forms, which provides a new way of creating choreography, and integrates the creation of images for projection during performance. He continues to experiment with music, recent works choreographed to the music of Radiohead and Sigur Ros.

The inspirational personal and professional relationship between Merce Cunningham and John Cage lasted for 54 years, until Cage's death in 1992.

Merce Cunningham is one of the most significant and influential American choreographers of the 20th century, helping define modern dance and redefine elements of classical dance. Although he no longer dances, he continues his work.

Chunky Move - Mortal Engine

This mixed media dance show by leading Australian Contemporary dance company Chunky Move looks amazing.

Chunky Move appeared at Manchester's Contact Theatre in 2008 and I was dumb enough to miss them. I hope they return to the UK soon so I can make amends for my apparent stupidity...

Antony Tudor (1908-1987)

Antony Tudor born 4 April 1908 (d. 1987)

Antony Tudor was a highly influential English ballet choreographer, dancer and teacher.

Born William Cook, the Cockney-born Tudor, who discovered dance accidentally, began dancing professionally with Marie Rambert in 1928, becoming general assistant for her Ballet Club the next year. A precocious choreographer, at age twenty-three he created for her dancers Cross Garter'd, then Lysistrata, The Planets and other works at the little Mercury Theatre, and his two most famous and revolutionary, Jardin Aux Lilas (Lilac Garden) and Dark Elegies, before the age of thirty, himself dancing main roles.

In 1938, he founded the London Ballet with Rambert members, including his future life-long partner, Hugh Laing, Andreé Howard and Agnes de Mille, but, with the onset of World War II, in 1940 was invited with them to New York, joining Richard Pleasant's and Lucia Chase's Ballet Theater. Chase's company was later to become the American Ballet Theatre, with which Tudor was closely associated for the rest of his life. He was resident choreographer with Ballet Theater for ten years, restaging some of his earlier works but also creating major new work.


Hugh Laing, Maude Lloyd, Antony Tudor, and Peggy van Praagh in Tudor's Jardin aux Lilas (1936). (Photograph from the Dance Division, New York Public Library for the Performing Arts, Astor, Lenox, and Tilden Foundations.)

Retiring from dancing in 1950, he headed the faculty of the Metropolitan Opera Ballet School, taught at the Juilliard School recurrently from 1950 onwards, and was artistic director for the Royal Swedish Ballet from 1963 to 1964. He choreographed three works for the New York City Ballet. Tudor continued his teaching career as Professor of Ballet Technique at the Department of Dance, University of California from 1973, while rejoining American Ballet Theater in 1974 as associate artistic director, creating The Leaves Are Fading and Tiller In the Fields, his last major work, in 1978.

Antony Tudor is generally accepted to be one of the great originals of modern dance forms. Along with George Balanchine, he is seen as a principal transformer of ballet into a modern art, but of a genius that uses, rather than proceeds from, ballet forms. His work is usually considered as modern 'psychological' expression, but characterised by austerity, elegance and nobility.

Mikhail Baryshnikov once stated: 'We do Tudor's ballets because we must. Tudor's work is our conscience.'

It's very Queer Up North

OK - the bad news is that there are no dance events programmed for this year's Queer Up North International Festival.

The good news is that there is a varied and very interesting looking programme of music, comedy, performance, mixed media, drama, discussion and queer cabaret and possibly more.

The full website has finally launched with the full programme so check it out at the link below - and go see something!

Queer Up North

It's Queer Up North again soon

Queer Up North - the queer arts festival is getting underway from 12th - 25th May - back after its Arts Council funding scare last year. For anyone who wants a QUN experience sooner, Ronnie Burkett’s 'marvellous marionette puppetry' is back.

Billy Twinkle is a middle-aged cruise ship puppeteer who dazzles audiences with his ‘Stars in Miniature’ marionette nightclub act. Billy is the best in the business and on top of the world as he floats through life, until he is fired. Standing at the edge of the ship contemplating a watery demise, Billy is abruptly called back to reality when his dead mentor appears as a hand puppet and forces Billy to re-enact his life as a puppet show in order to rekindle the passion he once had for puppets, people and a glamorous life.

I've never seen Ronnie Burkett's marionette shows before but I have heard fantastic reports (and seen an awful review for this particular show in The Guardian) - anyway, I'm giving it a go in a spirit of openness and adventure - and as someone who tries to support Queer Up North through attendance.

The full QUN programme is yet to be announced but I will bring news of any dance events featured or promoted by this rather wonderful and worthwhile festival. Last year QUP brought over the wonderful Stephen Petronio Company and supported the visit of the equally fantastic DV8, so I'm hoping for some great dance this year... here's hoping.

Destino on the Road

Destino on the Road
Contact Theatre
Manchester 17 & 18 April 2009

'Sadler's Wells of the north-west'?

The current direction of the Lowry is "a vision which would have to change radically if the ROH Manchester proposal were implemented". What should happen to it – should it become the dance house, the "Sadler's Wells of the north-west"? Incidentally, Marchant [Graham Marchant - Arts Council England, who commissioned the report into the viability of a Manchester base for the Royal Opera House] reckons that Manchester International Festival would become annual if ROHM went ahead.

Charlotte Higgins on Culture blog in The Guardian

That would earn two big thumbs-ups from me. Still not entirely convinced however.

Carlos Acosta at Manchester International Festival

At MIF 2007, Carlos Acosta thrilled packed houses at The Lowry with a series of breathtaking performances. Two years later, the greatest male ballet dancer of his generation returns to the city, joined by the BBC Philharmonic and a number of other awe-inspiring dancers in an exclusive programme of works both classic and modern.

Following in the footsteps of such giants as Nijinsky and Nureyev, Acosta will be exploring the nature of the male muse in classical ballet. The programme includes Balanchine’s classic Apollo and Robbins’ A Suite of Dances, the latter never before performed by Acosta in public. And there’ll also be a brand new work entitled Young Apollo, specially commissioned with Salford City Council from rising-star choreographer Adam Hougland. Book early: Acosta’s 2007 shows were near-instant sell-outs.

Afternoon of a Faun
Choreography: Jerome Robbins
Music: Claude Debussy

Young Apollo
Choreography: Adam Houghland
Music: Benjamin Britten

A Suite of Dances
Choreography: Jerome Robbins
Music: JS Bach

Apollo
Choreography: George Balanchine
Music: Igor Stravinsky

Music
BBC Philharmonic
Conducted by André de Ridder

Carlos Acosta
BBC Philharmonic
Thu 9 - Sat 11 July / The Lowry

Sergei Diaghilev 1872-1929

Sergei Diaghilev born 19 March 1872 (d. 1929)

Sergei Diaghilev was a Russian impressario and founder of the Ballet Russes. He is one of the most significant artistic figures of the early 20th century.

In 1905 he staged an exhibition of Russian portrait painting in St Petersburg, and the following year took a major exhibition of Russian art to Paris. He went on to present concerts of Russian music and opera in Paris, and this lead to the invitation which prompted him to create the Ballet Russes - with the most exciting young Russian dancers, among them Anna Pavlova and Vaslav Nijinsky. They were an instant success.

Diaghilev's contribution to the artistic growth and richness of his era was his dedication to the notion of 'total theatre', which saw him bring together not only the finest dancers, but commission exciting new music from Claude Debussy, Maurice Ravel, Erik Satie, Richard Strauss, Sergei Prokofiev, Francis Poulenc, Ottorino Respighi and Igor Stravinsky; he sought design contributions from Jean Cocteau, Pablo Picasso, Leon Bakst. He took ballet and made it exciting, cutting edge and gave it massive popular appeal - the Ballet Russes had a wide cultural effect. He fathered the rebirth of ballet through supporting pioneering choreography to dynamic and challenging new music, with astonishingly original set designs and costumes - erotic and exotic.

Initially choreographed by Michel Fokine, Diaghilev encouraged his lover and star dancer to choreograph for the Ballet Russes, and Vaslav Nijinsky duly rewrote the visual vocabulary of dance. Lovers from 1909 until 1913, when Nijinsky married and was briefly exiled, they were the most celebrated gay couple of their age.

Diaghilev had a series of relationships with his younger star dancers, but each was loving and long-term, and each was encouraged to grow artistically and each went on to make a huge contribution to ballet as choreographers and artistic directors. He not only loved them for their youth and beauty but in each he identified and nurtured their genius: Leonide Massine - one of the greatest 20th century choreographers; Anton Dolin - great British dancer; Serge Lifar - later director of the Paris Opera Ballet; and Boris Kochno - his last love who became an associate director of the Ballet Russes.

Other members of the Ballet Russes went on to found great ballets in the US and England - George Balanchine, Ninette de Valois, Marie Rambert.

Although he could be possessive and controlling, he inspired love and admiration, as his lovers' autobiographies bear witness. Stories that he corrupted Nijinsky and contributed to his mental illness are a spiteful re-write of history. Diaghilev created a massive gay-friendly international organisation of incredible creativity and influence, passionately committed to excellence and modernism; and his sexual relationships with men were central to that creative force.

He died in Venice, Italy in 1929 of complications from diabetes. Lifar, Kochno, and friends Coco Chanel, Misia Sert & Baroness Catherine d'Erlanger were at his bedside.

Rudolph Nureyev 1938-1983

Rudolph Nureyev born 17 March 1938 (d. 1983)

Rudolph Nureyev was the greatest male ballet dancer of his generation - and one of the two most significant of the 20th Century - the other being Nijinsky.

Born on a train somewhere in Siberia in 1938, he was a small, sensitive, somewhat deprived boy, bullied and tormented by the other children. But he had a flair for folk-dancing, and was discovered, taught and encouraged by two exiled ballerinas living in Ufa. His father was less than pleased on his return from the Second World War to discover his son studying ballet - picture a Russian Billy Elliot. His natural ability and an unshakeable self-belief gave him his escape.

Aged 17, he found himself enrolled at the Leningrad Ballet School, where he was brilliant and difficult. In 1958, following graduation he became a soloist with the Kirov Ballet. Having always struggled with the confining rules of the Soviet way of life, he fell foul of the Soviet security regulations while on tour with the Kirov Ballet in Paris in 1961, and rather than be sent back to the USSR, sought political asylum in France - his 'great leap to freedom'.

Tried and convicted of treason in his absence, he spent the rest of his life fearing kidnap or assassination, for his defection had made headlines around the world and a superstar of the young Nureyev.

His physical beauty, extraordinarily athletic and sexual dance persona, and bags of Russian charm, made him a leading light in the glittering world of international cafe society. But his passport to lasting success was the way he transformed the role of the male ballet dancer, much as Nijinsky had done years before - the solo male again became electric and thrilling.

He became a soloist with the London Royal Ballet, the Chicago Opera Ballet and the Paris Opera Ballet, as well as forming his own touring companies and achieving great success as an artistic director and choreographer - particularly re-energising the established classics such as Giselle, Swan Lake, The Nutcracker and Romeo & Juliet.

His partnership with Margot Fonteyn [pictured] made both their stars burn brighter. His dancing career was long and he toured the world extensively, raising the profile of ballet and his own central role as its most shining star.

Nureyev's other significance was his openness about his own sexuality - ballet was ironically very closeted because of its effeminate image. Because he made no effort to appear heterosexual and yet was an incredibly athletic and male performer, he was able to explore and express roles without restrictions, which gave a depth not only to his performances but to the range of artistic expression for male dancers. This openness however, may have had much to do with his extreme arrogance and super-sized ego.

Famously well-endowed, his sexual life was the stuff of legend - the gay playboy of the western world. But he also enjoyed several long-term relationships.

In 1983, Nureyev was diagnosed with HIV. Rudolph Nureyev died of an Aids-related illness in Paris in April, 1993.

Although his will was disputed by at least one long-term partner, Nureyev left the bulk of his fortune to establish foundations to promote dance and medical research.

Rudolph Nureyev Foundation
Rudolph Nureyev - The Life

Top Photo of Rudolph Nureyev and nude photo by Richard Avedon. Second photo: RUDOLPH NUREYEV, ROYAL BALLET SCHOOL, LONDON, 1963 by SNOWDON

We're in the mood for dancing

From The Guardian 15 March 2009 -

Children are taking up dance lessons with such enthusiasm that the activity is now second in popularity only to football in Britain's schools. The number of pupils choosing dance has risen 83% in four years, according to research by the Arts Council. A third of those are boys.

Spurred on by role models such as Darren Gough, the England cricketer who was the first male winner of BBC1's show Strictly Come Dancing, they have been getting involved in a range of genres from ballroom to hip hop and jazz.

The National Dance Teachers Association says the nature of school sport is changing to meet the target of five hours a week of required physical activity announced by Gordon Brown in July 2007. "The latest survey shows that 96% of schools are offering dance, which is a massive change over the last few years," said Annette Montague, the association's schools director. "Dance has benefited by being promoted by specialist schools in both arts and sports categories and by counting towards both the Artsmark and Sportsmark awards."

Entries for dance GCSE have gone up from 10,091 three years ago to 17,855 last year, and the number of BTEC performing arts dance awards has almost doubled over the same period.

Teachers say that boys involved in more traditional sports, such as rugby, make good dancers because of their strength and overall fitness.

Former state school pupil and rugby player Chris Scott has led a dance revolution at Bradfield College, an indepndent boarding school near Pangbourne, Berkshire, after winning a scholarship to the sixth form there. Asked to do something in return for his award, the teenager, who played rugby for Berkshire, decided to promote dance for boys at the school, which until then had offered only ballet lessons for girls.Eighteen months later many star members of Bradfield College's football and basketball teams are performing contemporary dance to rapturous applause in a new company, of which half the performers are boys. Scott has also created a precedent by becoming the first head boy not to be in one of the school's traditional sports teams.

Dance is well established at Scott's old school, Park House comprehensive in Newbury – England and Leicester rugby player Tom Croft was one of the first pupils to take a dance GCSE there. The head of dance at Park House, Sue Llewellyn, said: "All the boys have to do dance as part of PE and you get some who moan about it but I've only had two serious conflicts in 20 years. The majority enjoy it as much as they enjoy any physical activity and we've got four boys this year going on to dance school who are all successful in other areas, such as playing rugby at county level."

Scott, who has given up rugby to concentrate on dance, says he thought he might be picked on for his love of dance when he arrived at Bradfield. "The boys were sceptical to begin with but I didn't have a single problem," he said. "There were only 20 at the first auditions but more than 60 turned up this year, and half of them were boys." He is also involved in running workshops for disengaged teenagers: "Dance can help to keep young people out of trouble and there are great benefits from feeling that you are part of the team. Everyone tries hard because no one wants to let the other dancers down."

Peter Roberts, headmaster of Bradfield, said: "Dance not only improves overall fitness but it helps brings out the creative side in boys. Chris Scott has been emblematic. In this school it is now cool to dance."

Theatre Royal, Peter Street, Manchester

The Grade II-listed Theatre Royal was built in 1845 and is Manchester's oldest surviving theatre.

The auditorium was built on four levels, with stalls and no fewer than three balconies, and originally designed for drama and opera productions - at this point I'm wondering why on earth they are considering spending £100 million converting the Palace Theatre when we have this long-neglected and overlooked gem in the city centre.

In 1921 the theatre was converted for cinema use and remodelled again in 1963 for Cinerama. In 1972 the theatre became a bingo hall and eventually ended up as a nightclub in the 1990s.

According to reports (possibly rumours) the theatre is earmarked as the new permanent home for the Library Theatre when it moves out of the Central Library, which is being extensively refurbished.

Considering the cosy, small scale of the Library Theatre, this would arguably mark a radical upscaling of operations and make the Library much larger than the Royal Exchange - theoretically Manchester's leading (though not always better) theatre company - unless they are planning on only using a portion of the potential auditorium space... interesting times indeed.

[Info about the Theatre Royal from arthurlloyd.co.uk]

Library Theatre to tour Manchester?

From Manchester Confidential -

After the Sleuth story last week about the Library Theatre eventually moving to the old Theatre Royal on Peter Street when the renovation of the Central Library starts, Sleuth hears more gossip. Initially it seems the Library Theatre will take up residence in The Lowry at Salford Quays whilst the Theatre Royal (or some other venue) is prepared. This will give the Lowry a rep theatre which is what they’ve sought for a while. The Library will also during this interim period perform in various locations around the City of Manchester. They’ll have to, as the move would obviously present a problem. The Library Theatre is after all funded by the City of Manchester, it is their theatre, so having it in Salford for a while might raise the ire of the Manchester rate-payers. Well the petty ones at least.

I don't have a problem with the Library Theatre (which I love) moving into the Theatre Royal, although the place hasn't been used as theatre for longer than I can remember - must check that out - or to the Lowry as a temporary measure... apart from the fact that they must be thinking of using the smaller Quays Theatre, which is the space the Lowry utilises for their medium to small touring dance productions.

I imagine that this is not necessarily a problem with clever use of scheduling. I wonder what sort of timeframe is in play here? Or is it all smoke and mirrors?

From the BBC - Northern opera base 'needs cash'

From the BBC -

Millions of extra pounds of investment is needed if plans for a northern base for the Royal Opera House are to be realised, a report has concluded.

The Royal Opera House said last year it was in talks to establish a presence at Manchester's Palace Theatre.

The report from Arts Council England said it had the "potential to transform the artistic life of the north west".

But it also warned the scheme was "not yet viable" and would require "significant" public investment.

The ROH wants a northern home for the Royal Opera and Royal Ballet, in addition to their base in London's Covent Garden.

Refurbishment

Arts consultant Graham Marchant, who prepared the Arts Council-commissioned report, said the proposals required further work.

The estimated £100m cost of refurbishing the Palace Theatre, and the £12-£15m annual funding required for the project, would have to be found from central government, Mr Marchant said.

He also looked at the impact the ROH could have on other cultural institutions in the area, such as The Lowry, in Salford, and concluded an additional £5m annual fund would be needed to support organisations that would be affected by the change.

If the funding was not available, he said, then the negative effect on other arts organisations meant the scheme "should not go ahead".

Rod Aldridge, chairman of the trustees at The Lowry, said despite the "extraordinary benefits" the ROH could bring to the area, there were still "significant obstacles" to overcome.

He said: "We welcome the recognition that the massive impact on other arts organisations must be managed properly to ensure the plans truly enhance cultural provision in the region.

"Secondly, The Lowry strongly supports the recommendation that the proposal should only proceed if at least £20m in additional annual funding can be found to cover the costs of the new facility and to support arts organisations likely to be affected by the proposal."

Ambitious

Mr Marchant also suggested the proposal should be changed such that the Palace Theatre becomes "the home for opera and ballet in the region, led by ROH" in partnership with other companies, such as Opera North.

Alan Davey, chief executive of Arts Council England said: "This is an ambitious and exciting proposal which could bring real benefits to audiences and arts organisations working across the north west of England. But as Graham's report points out, realising the vision will require significant additional public investment.

"Graham's report maintains that an idea of this scale cannot be done 'on the cheap' and his assessment of both the set-up and annual running costs shows that the level of public investment required will be significant, and higher than originally expected."

Royal Opera House chief executive Tony Hall said: "I am excited about the potential of this project to further develop relationships with regional and national music and dance companies, and to make ROH a resource for the nation."

The scheme would create more the equivalent of more than 500 full-time jobs, and provide a "unique hub" for the development of creative skills training in the city, said Sir Richard Leese, leader of Manchester City Council.

Please add your comments - what do you think of this proposal? Madness or marvellous?

The Dancehouse the final stop on the Boulevard of Broken Dreams

Spring 2009 sees the World Premiere of Boulevard of Broken Dreams - a unique collaboration between live music and dance, which makes its final appearance (for now, at any rate) at Manchester's Dancehouse.

Featuring a specially-written musical score by composer Charlie Barber, and with choreography by Jean Abreu, Boulevard of Broken Dreams brings four stunning young dancers and four brilliant young musicians – The Mavron String Quartet - on stage together. The result is an explosive mix of Latin influences, live music, world beats, dance and physical theatre.

Jean Abreu will draw on his mix of Latin dance roots, capoeira and contemporary dance whilst Charlie Barber will explore his passion for world music, electro-acoustic soundscapes and new trends in classical composition. Featuring four dancers (including Jean Abreu) and the Mavron String Quartet, the work will explore and contrast aspects of gender as well as exploiting the interaction between the two quartets.

The Mavron Quartet will perform on stage as part of the action and the overall visual concept of the production. The string quartet will also be amplified. The live music will have a cinematic soundtrack quality, both in scale and content, and will be mixed and manipulated by a sound technician who will interweave the live sound material with electronically generated soundscapes.



sound affairs is a South Wales-based non-profit making organisation that exists to promote concerts of new music and co-ordinate related activities such as workshops and education projects.

Cardiff-based composer Charlie Barber has a strong local and national following. His prolific output as a composer, and talent for combining musical influences and genres, have brought him acclaim from audiences and critics alike. His recent performance and touring programmes have featured musicians, dancers, DJs, street performers and multi-media content.

Jean Abreu was born in Brazil and is now based in London. His distinctive choreographic style merges his Latin dance roots and his British contemporary dance training, and has led to him winning The Jerwood Award and The Place Prize commission.

The Mavron String Quartet formed in 2002. It has since worked with artists as diverse as Judie Tzuke, Alex Parks and Sibrydion. Based in Cardiff, the Quartet is resident at the Gate Arts Centre and recently gave a series of recitals in Ischia, Italy.

Thursday 12th March - 7.45 pm - at the Dancehouse

Review: Boulevard of Broken Dreams was a wonderful show characterised by memorable and vibrant music by Charlie Barber, beautifully played live by The Mavron Quartet mixed with additional beats and electronics.

The choreography by Jean Abreu - ably performed by Christopher Rook, Robbie Synge, Ming Hei Wong and Abreu himself - all excellent - was a thoroughly modern and imaginative mix of contemporary dance, street dance, capoeira and other styles, that told the tale of four disparate strangers who find themselves in an urban space - a city square - over the course of a day - a vagrant, an old man, a 'hoodie' and a tourist, showing the ways ordinary people, men especially, interact with one another - wary, distant, helpful, playful, violent... seeming to find the ballet in ordinary movement rather than the other way around.

The work had a real sense of place and made great use of naturalistic dance acting, the dancers keeping solidly in character and interacting with The Mavron String Quartet, who were placed in the scene as if busking.

The only issue was the appalling lack of audience - there can't have been more than twenty to thirty people there - in a venue that must be able to hold five times that many. The dancers did well to ignore the scarcity of the audience, but it must be soul-destroying on the final night of a tour to look out on so few, no matter how warmly they receive your performance - which we did.

Whether it is the indifference (or small size) of the Manchester dance audience (?), people's unwillingness to try something or somewhere 'unusual', or something to do with the Dancehouse theatre's lack of profile, marketing flair and general drabness, I don't know.

People, you missed a treat.

Vaslav Nijinsky 1890-1950

Vaslav Nijinsky born 12 March 1890

Vaslav Nijinsky at Gay For Today

Probably the greatest male ballet dancer of all time, Nijinsky's two greatest achievements, assisted by his impresario lover Sergei Diaghilev, were to bring the role of the male dancer to the fore, and to revitalise a world of classical ballet which had entered a period of decline - probably setting the foundations for contemporary ballet in the process.