Showing posts sorted by relevance for query ballet. Sort by date Show all posts
Showing posts sorted by relevance for query ballet. Sort by date Show all posts
Wednesday 23 October 2024
Experience the Magic of Christmas with the Royal Ballet and Opera: Performances, Events, and Festive Delights at Covent Garden
This Christmas season, the Royal Ballet and Opera (RBO) invites you to celebrate with enchanting performances, festive food, curated gifts, and more at Covent Garden. From a dazzling tutu Christmas tree to magical shows like Cinderella and Hansel and Gretel, plus behind-the-scenes tours and family-friendly events, there’s something for everyone to enjoy this holiday season.
For the first time ever, the Royal Ballet and Opera is unveiling a stunning tutu Christmas tree in the Linbury Theatre Foyer starting Friday, November 22. Designed by Hugo Dalton and made from recycled tulle and borrowed tutus, this tree symbolises the elegance and creativity of the RBO. Complemented by a snow-themed décor, it sets the scene for a truly magical holiday experience.
Captivating Performances on Stage
This winter, the Royal Ballet brings the timeless fairytale of Cinderella to life, while the Royal Opera showcases a storybook production of Hansel and Gretel by Antony McDonald. For opera lovers, La bohème, set against the backdrop of Paris at Christmastime, will be conducted by Speranza Scappucci. The Linbury Theatre offers something unique with Ruination, an inventive twist on the Greek myth of Medea.
RBO continues its commitment to accessibility, offering performances designed for neurodiverse audiences and those with specific access needs. Notable events include relaxed performances of Cinderella and Hansel and Gretel.
Seasonal Treats and Festive Dining
Warm up with festive cocktails such as the Gingerbread House or a Down the Rabbit Hole mocktail at the Linbury Foyer Bar, or indulge in holiday-themed coffees and pastries at the RBO Café. For a truly decadent experience, the rooftop Piazza Restaurant is offering a special three-course Christmas menu from November 29, featuring traditional holiday dishes and mouthwatering desserts, all made with the finest local ingredients.
Exclusive Tours and Family-Friendly Events
The "Making of Cinderella" tour gives audiences a behind-the-scenes look at this beloved ballet, while children can enjoy the Cinderella Adventure Tour, a family-friendly exploration of the magical world of Cinderella. Don’t miss the Christmas Cracker Family Sunday on December 15, featuring sing-alongs, dance workshops, and a Cinderella Ball – perfect for creating holiday memories with the whole family.
Unique Gifts and Holiday Shopping
The RBO Shop offers an array of exclusive, beautifully crafted gifts, including festive decorations, jewelry, books, and more. Gift wrapping and delivery services make holiday shopping a breeze, whether in-store or online.
Royal Ballet and Opera at Home and in Cinemas
Can’t make it to Covent Garden? Enjoy the festive spirit from the comfort of your home with Royal Ballet and Opera Stream, featuring holiday favourites like The Nutcracker and Cinderella. Alternatively, catch a live screening at your local cinema, bringing the magic of ballet and opera straight to your doorstep.
Discover more and book your holiday experiences today at the RBO website.
photo credit: Tristram Kenton
Wednesday 5 June 2019
The Firebird / A Month in the Country / Symphony in C, Royal Opera House | Review
The Firebird / A Month in the Country / Symphony in C
Royal Opera House
Reviewed onTuesday 4th June 2019 by Olivia Mitchell
★★★★
The Royal Ballet are wrapping their summer season up with a trio of delightful works by three of the greatest choreographers. Together they form a night entertainment that is full of surprise, and more importantly variety. The versatility of ballet is showcased, as are the spectacular dancers who fizzle with precision and energy at once.
The proceedings open with The Firebird which is strange but feisty. Combining Russian folklore with Stravinsky's score and classical ballet, the result is a crackling piece of theatre which is exciting and superbly easy on the eyes. The Firebird herself, Yasmine Naghdi really does flame across the stage as she vanquishes the sorcerer and creates moments of magic. Naghdi is nail bitingly sharp in every step and her technical precision screams out. Alongside her musicality, gentleness and stage presence, her interpretation is powerful and inviting.
Christina Arestis is beautiful and graceful as the Tsarevna; and alongside Edward Watson's persistent Tsarevich the pair make a lasting statement. Gary Avis is suitably gnarled as Kostcheï and brings both humour and menace to the theatrical character.
The Royal Ballet staple, A Month in the Country is the stand out of the trio, proving what a masterful choreographer Frederick Ashton was. Marianela Nuñez is divinely light as precise as Natalia who truly is The Nutcracker's Clara, all grown up. Her delightful performance and flirtations throughout the piece are marvellous to watch and the grace she moves with is truly mesmerising.
Matthew Ball is handsome and powerful as Beliaev the tutor who has the ladies of the house fawning after his. The pax de deux's Ball dances with both Francesca Hayward and Romany Pajdak are impeccably strong and emotive.
Chopin's sumptuous melodies also add to the enthralling nature of this piece and one can't help but find themselves wrapped up in the sweetness and warmth of it all.
The final treat of the series is Balanchine's Symphony in C which rattles along to close the programme on a high. Anthony Dowell's simplistic backdrop perfectly highlights the magic of ballet, with the dazzling white tutus creating a striking and magnificent contrast to the blue screen behind them. Each dance, both solo and in the corps de ballet gave stellar performances. Special mention must go to Fumi Kaneko who stepped in at the last minute to give an enchanting performance.
Together, these works create a triple bill that is a swoon worthy, explosion of exuberant dance.
photo credit: Tristram Kenton
Friday 30 November 2018
The Nutcracker (UK Tour), New Victoria Theatre | Review
The Nutcracker (UK Tour)
New Victoria Theatre
Reviewed on Thursday 29th November 2018 by Olivia Mitchell
★★★★
As the festive season steps up a gear, it seems only fitting that The Nutcracker should be required viewing, and the Northern Ballet's current production provides festivity and magic in abundance. David Nixon's choreography and a sublimely talented cast make this an enchanting show, which exudes youth and generates a true feel-good factor.
The Northern Ballet Sinfonia lead the show musically with control and effectiveness. Showing off Tchaikovsky's stunning score, they are led fearlessly and faultlessly by Brett Morris.
Other than the dancing, this is a visually stunning show thanks to Charles Cusick Smith's inventive and luxurious set which not only frames the choreography but adds another level of intricacy and interest. Act III's Garden of Delights is especially mesmerising thanks to the beautiful tones of burgundy, gold, peach and green which are woven into both the set and costumes (David Nixon). The Russian Cossacks, French Ballet Dancers and Arabian Princesses are all incredibly unique in design but work cohesively to create a strong flow throughout.
Despite these intricacies, the more simplistic moments are also incredibly moving, such as the Pas De Deux between the Sugar Plum Fairy (Antoinette Brooks-Daw) and Cavalier (Kevin Poeung) which despite being surrounded by opulence, is purely focussed on the faultless ballet.
Ommaira Kanga Perez's beaming smile and innocent attitude is perfect for the young Clara who is overwhelmed by a world of magic and sparkle, just like the audience watching her. Literally brought to life by glitter, our Prince, Riku Ito is outstanding. Mention also goes to Harris Beattie and Natalia Kerner who caught the eye from the start, Mlindi Kulashi who is suitably mystical and attractive as Drosselmeyer and the Mouse King (Lorenzo Trossello) who gave a fully humourous performance, including flossing which brought the piece right up to date.
The Northern Ballet's production of The Nutcracker is a real treat of a show that has magic and enchantment that will keep both adults and children entertained and enthralled.
The Nutcracker runs at the New Victoria Theatre until December 1st before continuing it's tour.
photo credit: Emma Kauldhar
The Nutcracker runs at the New Victoria Theatre until December 1st before continuing it's tour.
photo credit: Emma Kauldhar
Friday 11 November 2022
The Nutcracker, (Northern Ballet Tour) New Victoria Theatre | Review
The Nutcracker (UK Tour)
New Victoria Theatre
Reviewed on Thursday 10th November 2022 by Olivia Mitchell
★★★★
Returning to the New Victoria Theatre, Woking after its triumphant run in 2018, Northern Ballet's The Nutcracker is just as magical as ever and a must see this festive season. This enchantingly magical show is brought to life by a stunningly talented cast and completely embodies joy and magic.
David Nixon's choreography makes this a spectacle of a show that fits perfectly on a touring stage whilst still providing a wow factor. Whilst it's not quite as intricate or dark as other productions, it's a real sweet treat that's perfect for all ages and thanks to the talented dancers every step is performed to perfection.
Not a moment of Tchaikovsky's glorious score is wasted in this show, from the overture we are introduced to a number of characters who scurry around the front of the stage preparing the grand house for its Christmas party. Small details are a real feature of this production, especially during Act One when there are multiple engagements and mini plot lines going on between characters. This attention to detail makes it really engaging and makes the whole Christmas party feel incredibly realistic- there's even Grandpa (Wesley Branch) drunkenly falling over!
We're soon introduced to Clara who is played wonderfully by Rachael Gillespie, who's beaming smile and childlike wonder exude from the stage and make the audience share in her joy. As her Nutcracker Prince, Harris Beattie is dashing to watch and he sparkles on stage like the glitter he was created with. The duo's Pax de Deux against the snowy backdrop is truly magical.
It in Act Two when a lot of the real magic happens, with a number of absolutely breathtaking moments. Perhaps the most magical being the Sugar Plum Fairy (Saeka Shirai) solo and Pax de Deux with her Cavalier (Jonathan Hanks), both of which are completely mesmerising. Despite the stage being filled with opulent sets, the audience can't help but watch only the dancers, and Saeka's solo especially, is a true showcase of ballet at its finest.
As Drosselmeyer Gavin McCaig is mystical and a dream to watch as his magical, glittering cape flows around him. Bruno Serraclara is witty as the Mouse King and each and every soloist is wonderful.
Aside from the dancing, this is a visually and aurally pleasing show. The Northern Ballet Sinfonia do complete justice to the glorious music, and under the baton of Jonathan Lo they sound utterly virtuosic. Charles Cusick Smith's set alongside Mark Jonathan's lighting are a design match made in heaven; perfectly balancing magic and spectacle, whilst also allowing dance to be the star of the show.
The Northern Ballet's production of The Nutcracker is everything you could want in the lead up to Christmas. Enchantment paired with stellar dancing means you'll have a captivating time, whether you're an adult or child.
photo credit: Emma Kauldhar
Tuesday 14 April 2020
Keep Up Your Craft in Lockdown | Online Theatre Classes
We may be confined to our homes but thankfully the theatre community are coming together to create an abundance of online resources and classes to keep us entertained, fit and ready for our return to the real world... whenever that may be.
I've complied a list of some of these classes and activities which may peak your interest…
Musical Theatre
West End Bootcamp are providing Monday masterclasses at 7pm. These include choreographed routines, vocal classes performing arts masterclasses. Classes are £7.50 for 75 minutes and can be booked by emailing theteam@westendbookcamps.com (Insta: @westendbootcamp)
West End Bootcamp are providing Monday masterclasses at 7pm. These include choreographed routines, vocal classes performing arts masterclasses. Classes are £7.50 for 75 minutes and can be booked by emailing theteam@westendbookcamps.com (Insta: @westendbootcamp)
Pros From The Shows, directed by Layton Williams, are giving daily 30 minute workshops with 15 minute Q&As at the end. The workshops are run on a pay-what-you-can basis and have so far featured Marisha Wallace, Lucie Jones, Liam Mower and many more. To book, email info@prosfromtheshows.com (Insta: @prosfromtheshows)
London Singer Studio have free classes at 11am each day, focussing on all aspects of singing and vocal health. (Insta: @londonsingerstudio)
Kreate Academy are providing dance classes, challenges, live q and a’s and so much more. All their classes are free and there’s a whole variety to choose from. (Insta: @kreateacademyofperformingarts)
The Sing Space have a mixture of paid and free regular classes with industry professionals. These include breathing workshops and West End Fit classes. They also have free daily singing warm ups with West End vocal coach, Rachel Lynes, each morning at 10.30. Many of the classes take place on Zoom or Facebook at The Sing Space Singer’s Hub (Insta: @thesingspace)
MT Livestreamers is a group of musical theatre students who are teaching a variety of Instagram live classes, from tap to relaxation, MT and Bollywood. (Insta: @mt_livestreamers)
Live Stream Arts Fitness are providing a vast timetable of fitness and MT classes which are all free. Most take place on Instagram live, with some on YouTube, Facebook and Zoom. (Insta: @livestreamartsfitness)
Lockdown Live London hosts a daily 6pm workout with a West End star; these have include the Queens of Six, Kelly Mathieson, Sarah O Connor and Jonathan Bailey. They take place on instagram live and stay up for 24 hours. (@lockdownlivelondon)
Broadway Weekends at Home is a hub for all things MT and all the classes are free. All classes are taught by Broadway and West End Performers and there are ones for all ages. (Facebook: Broadway Weekends at Home)
Dance
Magnetic Movement are offering a whole timetable of weekly classes from industry professionals. From beginners tap to pilates and advanced jazz there's something for everyone. The classes take part live on Facebook and Instagram and there are also tutorials on the Instagram page. (Insta: @mageneticmovement_1)
LaDuca Shoes have a host of classes and Q&As, including musical theatre jazz, contemporary and ballet. (Insta: @laducashoesuk)
Sharpe Academy have daily instagram live routines, fitness classes and audition workshops with industry professionals. These have included a Six routine with Vicki Manser and a ballet barre masterclass with Bradley Shelver. (Insta: @sharpeacademy)
MXM have dance classes every Monday, Wednesday and Friday night and some children’s morning classes. They are 1 hour technique and routine classes which take place on instagram. (Insta: @mxmasterclass)
CLI Studios have regular live class events with renowned choreographers. Most classes are Intermediate/Advanced and are mainly Hip-Hop and contemporary. For any fans of The Ellen Show, this Sunday (19th) features a class with Twitch! (Insta: @clistudios)
Debbie Allen (Fame, Greys Anatomy) is holding weekly dance classes on Wednesdays and Saturdays (Insta: @therealdebbieallen) as well as offering Zoom classes through her dance academy, more information is available on www.debbieallendanceacademy.com
Capezio are offering a big timetable of instagram classes, with Body Conditioning, Locking and Tapping and Commercial just some of what’s available. (Insta: @capezio)
Ballet Specific
Tierney Heap is a current member of the Royal Ballet and a Bloch influencer, she is holding Instagram live classes on Tuesday and Thursday mornings at 10.30. (Insta: @tierneyheap)
Sander Blommaert is a former Royal Ballet dancer and is holding classes at 11am each morning on Instagram live. (Insta: @sanderblommaert)
Charise Logan (Renouf) is running barre focussed classes on Monday, Wednesday and Friday mornings at 10.30. (Insta: @charise_renouf_)
Sarah Du-Feu is running a whopping 18 Instagram live classes a week suitable for all ages with a mixture of basic and intermediate classes. (Insta: @theballetcoach)
Russian Pointe Brand are running classes for all levels on their instagram, including flexibility and pilates classes. (Insta: @russianpointebrand)
Q&As/Masterclasses
Beyond the Boards is a new theatre podcast which is holding weekly Q&As with performers about their advice for thriving and surviving during lockdown. Previous guests have included Arun Blair-Mangat, Richard Carson and Genesis Lynea. (Insta: @beyondtheboardspod)
SingEasy have launched the SingEasy Diaries where they chats to special guests each Monday, Wednesday and Friday at 8pm. Guests include Jodie Steele, Amy Hart and Jai McDowall. (Insta: @singeasywestend)
London Theatre Direct are hosting Q&As, takeovers, bake-alongs and more, with stars of the West End in their Stagey Lockdown. (Instagram: @londontheatredirect)
The Showbiz Clinic run by dancer and choreographer Xena Gusthart is currently doing a series called Pivot Through a Pandemic which is £5 a session and takes place Monday's at 10am. There are also free one to one's available as well as live instagram Q&As. (Insta: @theshowbizclinic)
Stage One have begun a series on online webinars with industry professionals. They take place on Zoom and participants have the chance to ask questions as well as hear stories and advice. (Insta: @stageonenewprod)
There are so many more classes than this but these are just some of the ones on my radar. If you know of anymore, please let me know and I’ll keep this list as updated and comprehensive as possible.
Stay safe and stay stagey!
Olivia x
Thursday 3 October 2019
Manon, Royal Opera House | Review
Manon
Royal Opera House
Reviewed on Wednesday 2nd October 2019 by Olivia Mitchell
★★★★
The Royal Ballet's new season opens with Manon, Kenneth MacMillan's tale of doomed love and sexual exploitation. It's a ballet that puts the greed and debauchery of the 18th-century world at it's forefront whilst highlighting the company's skill at storytelling.
Formed in 1974, Manon remains one of the company's most popular works, with the title role a dream to play for many dancers. The emotional story of the heroine who falls for the young hero whilst being drawn to a life of luxury as a rich man's mistress, is moving and exquisite to see onstage.
Compared to other ballets where the leading female is a fully formed character, in Manon our leading lady is an almost ambiguous presence who floats around the stage engaging in all the action but taking on the forms of varying emotions. Almost embodying the feelings of those around her, she seems to be a passive player in a world dominated by men and money. Massenet's beautifully hypnotic music guides her around the stage and the people surrounding her lead her story.
As the somewhat aloof leading lady, Sarah Lamb is delightful. Despite at times lacking the extremes of passion or sadness, Lamb is consistently fluent and earnest. Lamb's performance as Manon is beautifully danced, highly nuanced in terms of her emotional acting, and overall is pure joy to watch.
The most intoxicating moments are seen when Lamb joins with Vadim Muntagirov as Des Grieux who is resplendent throughout. Equal measures of innocence, vulnerability and passion make every second of his stage time a delight. Together the pair bring light and darkness to the stage in a way which is devastating and stunning all at once. Melting together is moments of pure bliss and bouncing away from one another in playful affection, the two dancers really do seem like a match made in ballet heaven.
As Manon's charismatic, pimping brother Lescaut, Ryoichi Hirano excels. His drunken dance is choreographed madness as he swirls round the stage in an alcohol induced wobble, but retains poise and grace throughout. His comedic timing is second to none as is the underlying current of threat which he imbues into each moment. In the role of his mistress, Itziar Mendizabal is bold and sultry as always. Her emotional performance is striking and she really gives some of the stand out moments of the night.
This is an excellent opening to the season, filled with sharp, clean and fresh dancing which invites the audience to bask in the emotion and drama unfurling in front of them. An ideal first-time-ballet this is a must-see as well as a must-hear thanks to Martin Yates' sumptuous re-orchestrations.
photo credit: Alice Pennefather
Wednesday 22 November 2017
The Little Mermaid (UK Tour), New Victoria Theatre | Review
The Little Mermaid
New Victoria Theatre
Reviewed on Tuesday 21st November 2017 by Melanie Mitchell
★★★★★
Being a ballet novice, having only seen 2 before, I was a little unsure what to expect from
this production. I have to say, that in my humble opinion, The Little Mermaid is a masterful
adaptation, especially as the idea to create a completely new ballet was only borne in
September 2016. David Nixon and his team have produced a stunning piece of work in only
13 months.
Most of us know the story of The Little Mermaid from the now famous Disney film and show,
however those of us, perhaps a bit older will remember the much darker and sinister tale by
Hans Christian Anderson. This is the tale on which the production is based.
After seeing the picture of a handsome young prince in a locket, Marilla a young mermaid
falls in love. On rescuing the prince from a shipwreck she longs to be with him and sacrifices
her beautiful voice in exchange for human life. Although she is able to walk, every step
causes her unimaginable pain, yet she is unable to cry. The principle dancer made this
feeling so palpable with her agonised movement and silent screams.
Disorientated the prince awakens and mistakes a passing girl for the owner of the beautiful
voice he had previously heard, the mermaid is now unable to tell him that it was her, shattering her dreams and aspirations. This production doesn’t have the happy ever after of
the Disney story and is true to the Hans Christian Anderson original with its moral core.
The staging and costumes are stunning, with the colours and fabrics perfectly reflecting the
magical dwellers of the sea and the hard solid land. Absolutely transporting the audience to
the ethereal reflective underwater world.
The dancers especially the principles and soloists are magnificent, moving with absolute
grace and ease. The strength of the male dancers is incredible with the females looking
absolutely weightless as if under the waves at times. I wondered how it would be possible to
give the impression of the graceful movements of the mermaids. This has certainly been
achieved and it is truly mesmerising.
The music, an original score composed by Sally Beamish is hauntingly beautiful throughout,
perfectly suiting and setting the tone and mood to every scene. It is played wonderfully by
the Northern Ballet Sinfonia, with John Pryce-Jones as its musical director.
This World Premiere production makes for a truly magical evening at the theatre. If you are
already a lover of the ballet, a newcomer as I am, or have never seen one, then I urge you to
see it if you can and be immersed into the mystical, magical underwater world.
Sunday 15 July 2018
A Stagey Guide To Singing... Josefina Gabrielle | Chicago | Stagey Sunday
Welcome back to Stagey Sunday! I hope you're all well and not too saddened by the football... although if you're reading this, the chances are that you were at the theatre instead of in front of a TV! Anyway, this weeks guide to singing is brought to you by the female lead of Chicago the musical, Josefina Gabrielle who plays Velma. Josefina started her career as a dancer before transitioning into the world of singing so it's really interesting to hear how she built up her voice and stamina to be able to perform such a demanding role...
Can you tell me a bit about your vocal journey?
Well I went to a theatre school, Arts Educational school, from about the age of 10 so we had an all round performing arts education. It incorporated singing, ballet, jazz, modern, tap, drama, you name it! So I had that in my life for as long as I can remember.
Then I specialised in Classical ballet, so I danced only for quite a few years and, I worked abroad. When I came home to London after about 8 years, I joined Carousel the musical which was being done at the National Theatre. They needed strong ballet dancers so there was this perfect break from one world into the next so then I was surrounded by singing again and kind of got back on the saddle with that.
I had been a soprano and hadn’t really experimented with the musical theatre sound, mixing or belting or anything like that so I learnt a lot about that during my time at Carousel. I learnt a lot about different voice types as I joined different companies and slowly developed a belt voice which was quite daunting at first because it’s quite muscular, you know you can push the wrong way and make yourself hoarse. So that was quite an interesting journey and I think having a typical dancer mentality I pushed it quite a lot which made it strong but compromised it’s flexibility. So that’s been my journey into different sounds!
Then I specialised in Classical ballet, so I danced only for quite a few years and, I worked abroad. When I came home to London after about 8 years, I joined Carousel the musical which was being done at the National Theatre. They needed strong ballet dancers so there was this perfect break from one world into the next so then I was surrounded by singing again and kind of got back on the saddle with that.
I had been a soprano and hadn’t really experimented with the musical theatre sound, mixing or belting or anything like that so I learnt a lot about that during my time at Carousel. I learnt a lot about different voice types as I joined different companies and slowly developed a belt voice which was quite daunting at first because it’s quite muscular, you know you can push the wrong way and make yourself hoarse. So that was quite an interesting journey and I think having a typical dancer mentality I pushed it quite a lot which made it strong but compromised it’s flexibility. So that’s been my journey into different sounds!
I went to a singing teacher for a little while who gave me all the knowledge on how to belt but it felt painful, so I shied away from it. But as I came to acquire, note by note slowly, I was able to process what she’d told me to do. But at the time it felt scary. It’s like doing push-ups! Twang and tilt are also an important part of that- I’ve learnt all the terms along the way!
Was there anyone or anything that got you into music in the first place?
I’ve always enjoyed music, my primary school before I went to ArtsEd- my mum has since told me cause you don’t think about these things as a child- focussed a lot on the arts so we did have a lot of musical appreciation. I remember playing all the percussion stuff and recorder and clarinet and things. So I’d already started that journey at my primary school so I think it's always been a part of my life.
And then in the classical ballet world you dance to so much music. I feel like I’ve got quite a nice, wide variety of music that I appreciate and it’s quite wonderful to identify and recognise composers easily because I’ve acquired it as opposed to studied it. Rodgers and Hammerstein are a musical duo that I absolutely adore and Stephen Sondheim as well because there’s so much research and such an education while you're performing and learning the subjects and your journey. It's fascinating. And the structure of the way they write just does it for you really.
I think maybe because I’ve come through dance, I’ve been a little gung-ho with my singing and sometimes I've not thought “well this is as good as it gets”; I've dared to be a bit rough on my voice and sort of thought, well, I’ll just face the consequences… I don't find that pure singing comes easily to me so I focus very much on telling the story through song and that seems to find my voice; so there’s always the thing of juggling the X and the Y, the technique and the emotion and I think I focus more on the emotion and hope the technique will follow!
 |
| Josefina Gabrielle and Hugh Jackman as Laurey and Curly in Rodgers and Hammerstein's Carousel |
You've had a long career with Chicago now so you must know a lot of it like the back of your hand but are there any moments you still find hard or have to put extra focus on?
I do find every every show that I do, I play my voice in, I’m not a person that can just pick something up and sing it beautifully. I need to almost dig a trench in my voice so once it’s played in I can do it. I’ve found that if I just treat it with respect but don’t get too fixated on it, it will find it’s way. I find a lot of that is once the breathing becomes choreography, you automatically prepare in the right way and you know when to hold, when to let go and when to not step on the gas. That just comes with repetition. I think that the moment my breathing has sorted out it’s choreography then I’m in safe hands. I also feel that I'm very much a voice that works with a mic. So the mic informs how I’m going to hold back or let go.
You've recently had Mazz Murray join the cast of Chicago as Mama who your character Velma is very close to; what’s your process like when you work with someone new in terms of figuring out how to blend and balance one another?
Again that comes with time, we’re early on so we’re still blending. But she's a wonderful musician and has one of my favourite voices. You know you're in fantastic hands and you just you feel and you listen and that’s how you come together, just like any orchestra would really.
What are your tips for maintaining good vocal health?
Drink a lot of water, the usual. Sleep, always get a decent amount of sleep. I have to be careful with acid reflux so I try not to eat too late at night. If I do eat too late at night or am feeling full or even just in case, I’m never far from Gaviscon Advance. Until you know about acid reflux, you may not even know you have it; it’s basically where the acid comes up your oesophagus and can sit on your cords and swell them. I didn’t realise but I’d often wake up coughing at night and I now know it’s because of the acid so now I'm very aware of that as it got me a lot of trouble in the past.
I have an excellent warm up tape from by singing teacher Mark Meylan which I do religiously before every show and even when I'm not working, I’ll try and do that warm up regularly because my singing muscle needs to be looked after regularly. I’m not a person that can just sing, I need warming up well for flexibility.
Who would your dream duet partner be?
I’ve never really though about that! Well I just had the most amazing time singing with Ruthie Henshall; that felt wonderfully organic and I enjoyed it enormously. I'm now having a wonderful time working with Mazz and we're on a new journey. I even put this in Mazz Murray’s card on opening night that I have a laminated wish list of leading ladies I'd like to work with and two of them have come along at once!
Could you tell me your top piece of advice for aspiring performers in terms of finding and maintaining their voice?
Well I’ve kind of already blended those answers into my others but I’d say, don’t get upset because the emotions really affect your voice, they’re both in the same place so it can hinder performance. Breathing is terribly important and don’t push something they doesn’t want to go there- coax it gently and it will come!
A huge thank you to Josefina for taking the time to give her stories and advice on singing. You can catch her in Chicago at the Phoenix Theatre until 5th January 2019.
See you next Sunday for the final instalment of our singing guides!
Friday 15 February 2019
The Cunning Little Vixen/The Two Pigeons, Royal Opera House | Review
The Cunning Little Vixen/The Two Pigeons
Royal Opera House
Reviewed on Thursday 14th February 2019 by Olivia Mitchell
★★★★
In a charming night of theatre, we see artist-in-residence Liam Scalett's forty minute ballet, The Cunning Little Vixen, for The Royal Ballet School; paired with Frederick Ashton's stylish piece, The Two Pigeons. The two works create a programme that evokes warmth and feels ever so magical.
Scarlett's musicality is evident in The Cunning Little Vixen as he allows Leoš Janáček's score (arranged by Peter Breiner) to guide the piece. Scarlett has also made clever use of projection (designed by Finn Ross and Ash J Woodward) in the form of a children's cartoon which embellishes the story and adds a humourous layer, but doesn't detract from the dancers. Instead it works in conjunction with them. As chickens and feathers fly on screen, they also fly on stage and create a frenetic energy amongst the cast.
The cast of younger and older dancers join together to give a wonderfully gleeful and heartwarming show. The story is nothing groundbreaking but is a vibrant and a perfect introduction to ballet.
Madison Bailey as Sharp-Ears The Vixen is delightful and mischievous and alongside Liam Boswell as Goldspur The Fox, the pair create some fabulously playful and enjoyable moments. The entire cast of animals are brought to life not just by their animated and spirited performances but by the bright costumes which bring childhood joy to life on stage as well as providing humour and movement on their own. From bumblebees to ladybirds and a frog, each animal is uniquely and clearly characterised and looks wonderful under Les Bone's lighting. Scarlett really has done a wonderful job on this piece.
In The Two Pigeons, the musicality and purity of Ashton's choreography, leads to the focus being solely on the dance and technique. Whilst Jacques Dupont's fantastic costumes bring life and vibrance to the stage, the core of this production is on the ballet itself. The intensely emotional choreographic style is especially moving in the final moments of the piece and the reunion pas de deux we have all been waiting for, is pulled off with delicacy and sincerity and is certainly worth the wait.
Yuhui Choe as The Young Girl is pretty much perfect in her debut as she performs with desire and a hint of petulance. Alexander Campbell is suitably 'artistic' in his frustrations between the ballerina and the gypsy. Itziar Mendizabal is seductive and calculating and she fights and flirts in equal measure through her strong and impressive dance.
Featuring moments which feel almost impressionistic as well as purely classical, The Two Pigeons is an entertaining and heartwarming piece. Act one tells most of the story so act two does drag a little as nothing happens to move the plot along but the energy and height with which the dancers perform, helps to keep the audience invested and enthralled.
This is a perfect programme for a whimsical but beautifully performed evening out and is a wonderful opportunity for current students to experience the professional world.
photo credit: Tristram Kenton
Wednesday 15 February 2023
Matthew Bourne's Sleeping Beauty (Tour), New Victoria Theatre | Review
Matthew Bourne's Sleeping Beauty
New Victoria Theatre
Reviewed on Tuesday 14th February 2023
★★★★
In this spookily spellbinding production, Matthew Bourne entices us into a darkly fantastical world full of fairies and vampires. Bourne's signature spin of surrealism is combined with Tchaikovsky's timeless score to create a twisted ballet that is engaging, if at times lacking in soaring emotion.
Whilst Sleeping Beauty is a much-loved fairytale, if the Disney version is your only reference point, you'll be quite surprised at what takes place on stage. This modern interpretation of an originally medieval tale, toes the line between reality and fantasy and really leans in to the Gothic elements to create a ballet with distinct acts that span centuries and allow for some very interesting moments.
From the outset Lez Brotherston's set takes us to palace which feels eerily perfect and things go from there. Alongside Paule Constable's lighting, the whole show always feels like it's teetering on being a dream (or a nightmare) and you never quite know what's real and what's not.
The show is a real frenzy of drama, with various characters on their own personal journeys, and at times there's a slight lack of fluidity but on the other hand, this chaotic energy does add to the dark, frantic vibes.
As always, Bourne has assembled a stellar cast of dancers who perform both stunning solos and precise ensemble numbers. Katrina Lyndon is stunning in her youthful portrayal of the cursed Princess Aurora, whilst her suitor, Leo, The Royal Gamekeeper is played gloriously by Stephen Murray. The duo work especially well together and really shine in their romantic moments. Paris Fitzpatrick is suitably menacing as Caradoc and is a sort of omnipresent demon overseeing the ballet. Stephanie Billers also gives an emotively strong performance as Queen Eleanor and Daisy May Kemp is also a standout in her role of Miss Maddox.
In the metaverse of Matthew Bourne, this show completes his trio of twisted fairytales, and there's even somewhat of an ode to Swan Lake with the Act Two fairy dance. Whilst it's not the most moving of pieces, it's certainly got some outstanding moments and is a change from the usual takes on a classic story. For something uniquely dark, Sleeping Beauty is well worth a visit.
photo credit: Johan Persson
{AD PR Invite- tickets gifted in exchange for honest review}
Wednesday 17 April 2019
Matthew Bourne's Swan Lake (UK Tour), New Wimbledon Theatre | Review
Matthew Bourne's Swan Lake (UK Tour)
New Wimbledon Theatre
Reviewed on Tuesday 16th April 2019 by Olivia Mitchell
★★★★
Matthew Bourne's Swan Lake premiered in 1995 and has since received critical and audience acclaim. Bourne's Swan Lake which replaces the female swans with an ensemble of skilled, menacing men, is one of the most groundbreaking ballet retellings and remains fresh and innovative today.
In typically Bourne fashion, the storyline is dark but with many injections of humour and fine attention to detail (the adorable Corgi which crosses the stage is just one example). The set is extravagant and luxurious enough to make you forget you're watching a touring production. Equally, Lez Brotherston has done an outstanding job with the delicately designed costumes which conjure up the atmosphere of each scene and setting wonderfully. Particularly impressive are the glamorous ballroom scenes where everything sparkles and shines; and the sinister hospital scene where masks bring a nightmarish world to life against stark white.
The entirety of this ballet is fantastically nuanced, with every emotion interpreted perfectly. The balance between dance, comedy and drama is exquisite and there are often so many brilliant things happening at once that you don't know where to look. This production is truly a feast for the eyes.
Tchaikovsky's score also provides a feast for the ears. The Swan Lake Orchestra's lush, virtuosic recording shines and soars exactly as one would wish. The recognisable music, accompanied by masculine dance has the audience transfixed from open to close.
Max Westwell as The Swan is outstandingly multi-faceted. At times he is menacing as he rears up, but equally calm and regal as he defensively bows down. The contrast is amazing to watch as is the way the Price (Dominic North) complements him. The pair are both strong and delicate as they create a thrilling union on stage.
Nicole Kabera is suitably regal as the queen, with Freya Field a complete contrast, constantly stepping on toes and causing laughs as the Girlfriend. Both ladies are highlights of the production.
Swan Lake is a sumptuous production full of glorious moments which you'd be hard pressed not to revel in. A powerful, intricately choreographed and danced show, this is a must see for ballet regulars and newbies alike.
Swan Lake runs at the New Wimbledon Theatre until April 20th, before continuing its tour.
photo credit: Johan Persson
Friday 6 March 2020
Swan Lake, Royal Opera House | Review
Swan Lake
Royal Opera House
Reviewed on Thursday 5th March 2020 by Olivia Mitchell
★★★★
Liam Scarlett's Swan Lake is impressively grand, impeccably danced and a joy to experience. From a dark, misty lakeside to a glittering palace, this is a ballet that balances storytelling and spectacle perfectly. The entire company dance exquisitely, with Marianela Nuñez and Vadim Muntagirov completely shining in the lead roles.
With John Macfarlane's lush designs, this is a highly confident production which keeps pace throughout and allows the dancing to shine. Based in the 1890s the sets and costumes are sumptuous and evocative. Even the park outside the palace gates feels magical. The more abstract lake is ragged and bleak but provides a perfect, (almost) blank canvas to showcase the many swans. The palace is astounding, with a sweeping staircase, marble walls, golden decoration and a crimson curtain. It's a gasp worthy set that really does stun. Macfarlane's costumes are structured but wonderfully airy. The white tutu's of the swans are delicate and almost snow-like as they pepper the stage. Alongside them, David Finn's lighting keeps everything gleaming and makes sure not a step is missed by the enraptured audience.
Scarlett has kept Petipa and Ivanov's original choreography as well as seamlessly adding his own sequences. The new Act One Waltz is divine, with Marcelino Sambé's Benno bringing excellent lighthearted and sprightly moments. Act Three features a series of national dances, with Itziar Mendizabal's sultry Spanish princess really shining. The newly updated Neapolitan Dance feels modern and uplifting thanks to the addition of tambourines which are deftly used.
The Act Four pas de deux is one of the most magical ballet moments I have ever witnessed. The gentleness with which Siegfried and Odette interact is mesmirising and crushing to watch; and the almost broken choreography from Odette is immensely effective and makes the lack of reunion at the end even more devastating.
Nuñez's dancing is as floaty and measured as you could dream of. The control with which every step is taken is a testament to the hours of work which have clearly been put into perfecting her craft. Extremely evident in the seemingly endless series of fouettés which really astound. Even in the seductive Black Swan moments, there is a delicacy to her dancing which draws you in and manages to make the vast Opera House feel intimate. Muntagirov is the prince of dreams as he combines romance and aristocratic grace. His elevations and soft as anything landings are magnificent to watch and his entire performance is a treat.
This is a hugely moving production which must be the definitive version of Swan Lake. The stellar cast and orchestra under the baton of Koen Kessels provide treats for all the senses and a truly magical night out. Everything really is beautiful at the ballet.
Monday 3 February 2020
Stephanie Billers on starring in Matthew Bourne's The Red Shoes
Matthew Bourne's New Adventures company continually wows audiences around the world with their intricate, unique and entertaining ballets. Currently touring the UK after a stint at Sadler's Wells is The Red Shoes. Having previously starred in Swan Lake and Cinderella for New Adventures, we sat down with Stephanie Billers a dancer from the company as she told us all about herself and her roles within the ballet.
The Red Shoes is a tale of obsession, possession and one girl's dream to be the greatest dancer in the world. Victoria Page lives to dance but her ambitions become a battleground between the two men who inspire her passion.
Set to the achingly romantic music of golden-age Hollywood composer Bernard Herrmann, The Red Shoes is orchestrated by Terry Davis and played by the New Adventures Orchestra, with cinematic designs by Lez Brotherson, lighting by Paule Constable, sound by Paul Groothuis and projection from Duncan McLean.
Watch Stephanie discuss her characters in the ballet and get a sneak peek backstage here
Get to know more about Stephanie and her life outside of dance here
The Red Shoes next plays at the New Victoria Theatre, Woking from 4th-8th March and then continues it's tour around the UK
Sunday 27 October 2024
THEATRE NEWS ROUNDUP 20th-26th October 2024
This week in the theatre world saw anniversaries, cast announcements, world premieres and pantomime news....
The highlight of the event was a powerful rendition of The Circle of Life, featuring five Rafikis from productions across Europe, sung in multiple languages.
The UK Theatre Awards 2024 celebrated excellence across British theatre, with Leeds Playhouse’s Oliver! leading the way, winning Best Musical Production and Best Performance in a Musical. Jenny Sealey OBE received the Outstanding Contribution to British Theatre Award, and Polka Theatre was named UK’s Most Welcoming Theatre.
Celebrate Back to the Future Day with a special cameo appearance in the hit musical, and look forward to new international productions and exclusive backstage content.
Historalia Productions will premiere Anne Boleyn the Musical in August 2025, telling the Queen’s powerful story at her childhood home.
Anne-Marie Duff leads a star-studded cast in the revival of Lillian Hellman’s The Little Foxes at the Young Vic, directed by Lyndsey Turner.
Stalled is a powerful new musical premiering at King’s Head Theatre, exploring the intersecting lives of diverse characters with soul-stirring melodies and a commitment to inclusivity.
Matthew Bourne's award-winning show returns, bringing its poignant tales of love and longing on a nationwide UK tour.
The classic holiday musical White Christmas will play at The Mill at Sonning with a heartwarming story, featuring an all-star cast and timeless Irving Berlin hits like "Blue Skies" and the beloved title song.
The Lightning Thief: The Percy Jackson Musical London premiere reveals its star-studded cast, bringing Rick Riordan's beloved characters to life in an epic musical adventure this November.
Celebrate the holidays with the Royal Ballet and Opera at Covent Garden, featuring stunning performances, festive events, delicious dining, and unique gift shopping.
The hit musical comedy embarks on a UK and Ireland tour in 2025, bringing the beloved TV show to life with a fast-paced, laugh-out-loud original score.
Starring Drag Race UK’s Ella Vaday as one of the Ugly Stepsisters and Maddy Erzan-Essien as Cinderella, the production promises a magical mix of comedy, puppetry, and audience participation.
Louis McCartney reprises his award-winning role, marking his highly anticipated Broadway debut in 2025.
See you next Sunday for another theatre news recap! In the meantime, keep an eye on our socials for live news and updates.
Tuesday 7 June 2022
Full Cast and Creative Team Announced for Billy Elliot the Musical
Curve has announced the cast and creative team for its upcoming Made at Curve production of Billy Elliot the Musical.
The first new UK production is directed by Nikolai Foster (A Chorus Line, Sunset Boulevard – At Home, West Side Story) and will run at the Leicester theatre for six weeks only from Thursday 7 July to Sunday 14 August. Press night will take place on Thursday 14 July.
The titular role of Billy Elliot, the miner’s son with a passion for ballet, will be performed by Leo Hollingsworth from Nottinghamshire, Alfie Napolitano from Northamptonshire, Samuel Newby from Hertfordshire and Jaden Shentall-Lee, whose family live in Leicestershire.
Billy’s dance teacher Mrs. Wilkinson will be played by West End and Broadway legend Sally Ann Triplett, whose iconic roles include Reno Sweeney in Anything Goes (National Theatre and Theatre Royal Drury Lane) and Young Phyllis in Follies (Shaftesbury Theatre), as well as Martha in the recent Made at Curve UK tour of White Christmas.
Michael, Billy’s best friend will be performed by Bobby Donald, Lucas Haywood, Ethan Shimwell and Leicester’s Prem Masani, who will make his stage debut in the production.
All hailing from the East Midlands, Pearl Ball, Caitlin Cole, Lola Johnstone and Ellie Copping – who returns to Curve’s stage having previously appeared as Susan Waverly in the 2018 Made at Curve production of White Christmas - will share the role of Debbie, Mrs. Wilkinson’s daughter.
Joe Caffrey, who previously performed in the West End production of Billy Elliot the Musical, will join the cast as Billy’s Dad Jackie, while Broadway and West End sensation Rachel Izen will play Billy’s Grandma Edna. Luke Baker (Everybody’s Talking About Jamie, the Made at Curve UK tour of Grease) will play Billy’s older brother Tony and Jessica Daley (recently seen in Made at Curve productions of White Christmas and The Music of Andrew Lloyd Webber) will play Billy’s Mum.
The adult company will be completed by Craig Armstrong as George, Minal Patel as Big Davey, Cameron Johnson as Mr. Braithwaite, Micky Cochrane as Scab, Robin Paley Yorke as Lesley, Christopher Wright as Mr. Wilkinson, Michael Lin as Pit Supervisor, Jonathan Dryden Taylor as Posh Dad, William Atkinson as Older Billy and ensemble, and Steph Asamoah, Tori McDougall, Anna Rossa and Louie Wood as members of the ensemble.
The young company of ballet dancers and boxers, most of which are Midlands-based or have local family connections, will feature Willow Adamson, Maddie Seren Ashley, Oliver Back, Aneeka Kaur Bains, Ella-Rose Blackburn Price, Harvey Clarridge, Lily Corkill, Miley Dalton, Matisse Didier, Isabelle Francis, Ethan Galeotti, Rahul Gandabhai, Isla Granville, Uzziah Gray, Orlaith Rae Hunt, Ava Rose Johnson, Ava Mia Komisarczuk, Kyrelle Lammy, Lienna-Jean Langdon, Tahlia Maddox, Lorcan Murphy, Nesisa Mhindu, Sophia Pirie, Hayden Polanco, Gopal Thacker and Mirabelle Varakantam.
The Made at Curve production of Billy Elliot the Musical will by choreographed by Lucy Hind, with Musical Supervisor and Musical Director George Dyer. The set will be designed by Michael Taylor with costumes designed by Edd Lindley. Also joining the creative team are Lighting Designer and Curve Associate Ben Cracknell, Sound Designer Adam Fisher, Props Supervisor Lizzie Frankl, RYTDS Resident Assistant Director Lilac Yosiphon, Birkbeck Trainee Director Thyrza Abrahams, Associate Choreographer James Berkery, Dialect Coach Elspeth Morrison, Fight Director Kev McCurdy and Head Chaperone Helen ‘H’ Mclaren-Frost.
Children’s casting is managed by Jo Hawes, with adult casting led by Curve Associate Kay Magson CDG.
Curve’s Chief Executive Chris Stafford and Artistic Director Nikolai Foster said:
“We are beyond excited to share our extraordinary cast for Lee Hall and Elton John’s astonishing musical Billy Elliot, ensuring this summer in Leicester is truly memorable.“Billy Elliot is a musical filled with incredible characters, epic ideas and at its heart, the story of a young boy who has the passion and courage to dance down a different path from the one prescribed for him. We are thrilled to be working with our four Billys - Alfie, Leo, Jaden and Sam - and the entire young company - all hugely talented, brimming with energy and representing the very best young talent in the UK today.“And leading the entire company, theatre legend Sally Ann Triplett takes on the role of the inspirational teacher we all need in our lives, Mrs. Wilkinson. Joining Sally, we are proud to welcome a first-class company to Curve, totally 55 performers! This is by far the most ambitious show we have staged at Curve and there is no better time to present this musical which recognises the value of culture in our society, the importance of expressing your truest self and gives a voice to the courageous working-class communities who are depicted in Lee Hall’s astonishing play. All beautifully framed by Elton John’s electrifying score.”
Based on Stephen Daldry’s BAFTA-winning 2000 film starring Jamie Bell and Julie Walters, Billy Elliot the Musical features music from Elton John and book and lyrics by Lee Hall. The musical first premiered at London’s Victoria Palace Theatre in 2005 and went on to win a host of international awards, including four Olivier Awards and ten Tony Awards.
Tickets for Billy Elliot the Musical at Curve be purchased on Curve’s website www.curveonline.co.uk, over the phone by calling 0116 242 3595 or in-person at Curve’s Box Office.
photo credit: Marc Brenner
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