Wednesday, 31 August 2016

Back to the Barre #4

The latest update in my adult ballet learning adventure... 

July 2016

It's my final classes with Transform before the summer, and things are starting to improve. In particular, my pirouettes en dehors are getting better. 

I find that if I think 'strong' (and actually say the word to myself in my head) as I plié to prepare, I’m able to relevé into a better position, with my core muscles engaged, my spine lengthened and my arms at the correct height. I'm still not getting round every time, but it's a marked improvement.

On the last class of term, I speak to the teacher about when she thinks I might be ready to take the exam, and she says that I should enter as soon as possible (replying to my pirouette protestations with the words "pirouettes schmirouettes!"). I'm thrilled, but as she's not the teacher who actually enters students for RAD exams, I'll have to wait for an official assessment with the other teacher in September. All being well though, I'll be able to complete the exam before Christmas.

I take the rest of the month off from ballet and instead enjoy summer picnics, a day trip to the seaside and other fun activities. I feel guilty and worry that I’ll lose my technique during my time off, but I keep reminding myself that I’m doing ballet for enjoyment and not to be perfect.

August 2016

It’s time to start thinking seriously about my ballet exam. I realise – on reading the RAD Intermediate specification – that I need to wear demi-pointe shoes and so I order a pair online. I sew on the ribbons and immediately test out a few barre exercises (using my lovely kitchen worktop). My feet have to work extra-hard to extend and balancing on demi-pointe is much more difficult (which is ironic really, considering the name of the shoes). I’ll have to start wearing them every time I practise from now on.

I also order a fake bun that I can clip in over my bob-length hair to look more professional ballerina-y. And I indulge myself by buying a practice tutu skirt too, which I can wear in the exam for the variation.

I’m still enjoying learning the RAD syllabus but I really want to be back onstage again. I audition to be in an amateur musical and am unsuccessful, which I take as a sign that I’m best sticking to ballet. I research adult ballet companies and find that there are very few. When affordability, location, rehearsal time and level are factored in, there’s only one option that’s suitable – the London Performance Company. I sign up for its Sunday afternoon classes starting in September, meaning that my weekends will now be filled with ballet (with RAD Intermediate classes taking up Saturday mornings).

We’ll be learning Hans van Manen's Five Tangos ready for a performance in December. It’s a quirky contemporary ballet piece set to tango music, but I have no idea how much of it will be taught or whether it will be adapted/simplified. In any case, I’m excited about getting ready to perform again.

Thursday, 30 June 2016

Back to the Barre #3

Here's the latest update in my RAD Intermediate-learning adventure...

May 2016

This month starts well as I’ve signed up for syllabus classes commencing in June. Unfortunately however, my knee injury has returned, so I’m forced to go back to my physiotherapist-recommended strengthening exercises and avoid jumping.

After a couple of weeks, my knee feels better and I learn the last two syllabus exercises – pirouettes en dedans and révérence. The former has the challenges of double pirouttes en dedans – without the help of a handy fouetté foot motion – as well as a sequence of seven posé pirouettes at a dizzyingly brisk pace, and it’s the examiner (and not the dancer) who chooses whether they’re performed to the right or left. The latter, however, is a lovely combination of running, courus, and of course, curtseys.

My pointe work is improving, thanks to my leg press training at the gym. I’m finding the centre exercises less tiring and now have the energy to focus on the accompanying port de bras and head movements rather than just my feet and legs.

I’m rather enjoying my ballet journey so far. In fact, I’m enjoying it so much that I feel inspired to pose in arabesque in the beautiful countryside of Box Hill. I post the photo on Facebook and Daria Klimentova (former principal ballerina at English National Ballet) even jokes that it’s a better arabesque than hers. I reply with lots of ‘crying with laughter’ emojis.

June 2016

The classes I’ve signed up for are with Transform, and are for two full hours on a Saturday morning in a small group of just four students. I’m looking forward to this intensity of training and want to make the most of it, so I practise as much as I can. I also teach myself the syllabus variation, a dancey solo that is more like stage choreography than a technical exercise.

There are two choices, so I watch both on the DVD and prefer the more lyrical variation A. With floaty harp music, it feels like a Sleeping Beauty prologue fairy or Don Quixote dream sequence solo. I enjoy the challenge of learning it, but find the choreography somewhat disjointed with the more technical movements interspersed with lots of classical running. Perhaps I should try to imagine myself wearing a glorious tutu and imitating a beautiful ballet fairy in flight?!

Starting classes is nothing short of revelatory. There are a thousand things I find that I’m doing wrong, from silly syllabus mis-learning to bad technique habits that I’ve picked up during my years without training. My most frequent correction is to look up rather than at the floor – something I never had problems with in the past and which is probably representative of the fact I feel much less confident in my skills than I did as a teenager.

While I’m making gradual improvements with all the other exercises, pirouettes are still my nemesis and I’m only getting round on doubles about 10-20% of the time. My teacher offers various suggestions as to where I may be going wrong – not ‘spotting’ effectively, having the arms too low in first position, not turning out the working leg enough, not pulling up through the centre body line etc. My summer homework is definitely to practise, practise, practise!

Thursday, 19 May 2016

ENB Emerging Dancer 2016

Cesar Corrales in Diana and Acteon
Photo: Laurent Liotardo


Emerging Dancer, English National Ballet, London Palladium - reviewed on 17th May

Dance competitions are always problematic as it's impossible to compare like for like. Even if all dancers perform the same solos, the repertoire will suit some more than others. If they choose different pieces, how do you judge a dancer who performs eight pirouettes in a virtuosic Petipa variation against someone who excels in a lyrical, dramatic or contemporary work?

Cesar Corrales
Photo: Laurent Liotardo
In spite of these reservations, English National Ballet's annual Emerging Dancer competition holds a particular fondness for me, as it was the first show I reviewed as a dance critic five years ago. It's also been interesting to see how the event has become bigger and better each year, with developments including the addition of duets, an increasingly diverse judging panel, and a move to perform in large West End theatres.

At the London Palladium on Tuesday, there was one dancer who was in an entirely different league to the rest. Whilst everyone else had at least a few wobbles, junior soloist Cesar Corrales was immaculate in both his dynamic Diana and Acteon pas de deux and his less choreographically-exciting Contrabajo para Hombre contemporary solo.

Corrales' multiple pirouettes were superbly-controlled, his leaps sky-high and his partnering confident and secure. He was therefore very deserving of the Emerging Dancer Award, and it was unsurprising that he was also selected by ENB audiences to win the People's Choice Award.

Isabelle Brouwers with Erik Woolhouse
in The Talisman pas-de-deux
Photo: Laurent Liotardo
One other notable performance came from artist Isabelle Brouwers. In  relatively un-virtuosic repertoire, she stood out for her light, delicate and effortless technique and sunny stage presence. I spotted her a few years ago in the Young British Dancer of the Year competition where she was the most captivating performer onstage, and she radiated just as much joy in her dancing this time. She was also thoroughly engaging in the torso isolations and striking arm poses of Charlotte Edmonds' new solo, Pelican.

ENB's Emerging Dancer is important not just for the winner but for all the competitors, who have the opportunity - early in their career - to learn and be seen in repertoire typically reserved for soloists and principals. It's this chance for them to grow that is exciting, as well as the way in which the competition showcases and celebrates the talent and commitment of the company's hard-working lower ranking dancers. 

ENB director Tamara Rojo took the celebration a step further this year, with a Corps de Ballet Award given to artist Jennie Harrington who has "gone beyond the call of duty" in her involvement with the company's outreach work (on top of an already heavy schedule). Harrington's tears on acceptance showed just how much it means to be recognised.

Friday, 29 April 2016

Back to the Barre #2

Here's the latest update in my adult ballet learning adventure...

March 2016

I'm learning more of the RAD Intermediate centre exercises, and the recurring theme is speed! The centre practice involves tendus, grand battements and pirouettes with quick changes of weight and little time for preparation. My single pirouettes are just about passable, but my doubles currently involve a lot of hopping/falling/faking.

Likewise, the second allegro exercise is all about rapid footwork and changes of direction. I feel like my feet are getting tied up in knots, so I’m practising with a slower alternative music. Particularly trying are the brisés that conclude the exercise. Mentally I know what I’m trying to do, but my body seems incapable of bending over my legs and I frequently find my feet landing one on top of each other rather than side by side in the perfect fifth position I intend. 

On the plus side, I have the opportunity to practise in front of a mirror for the first time while staying in a hotel. I'm pleased with how things are looking and am able to give myself a few minor corrections, such as ensuring my arabesque is right behind me. 

I also teach myself the third (grand) allegro, which is a lovely dancey exercise full of hops in lots of different positions. It's tiring in a wonderful way (I feel like I've really worked hard by the end of the exercise) and finishes with two grand jetés and a free jump. I choose a pas de chat and chassé taking one arm to fifth and one to my hip to give a satisfying Don Quixote feel (and match the Don Q music!). 

April 2016

I'm focusing on adage and pointe work. The RAD Intermediate adage exercise is extremely challenging with long-held leg lifts and tricky timing, but it has some lovely moments and I can feel my strength building each time I perform it. 

I've now learnt all the syllabus pointe and my favourite exercise is the posé and coupé fouetté raccourci, though I don't really have enough space to travel it along my kitchen worktop! I particularly enjoy its rapid pas de bourées piqués. 

The centre pointe work is pretty exhausting, with four repetitions of each exercise (twice on each side) and I struggle to land my relevés through the foot each time. I mention this to a friend who works in dance heath and she suggests I add rises onto demi-pointe into the leg presses I already do at the gym. 

I go to a free ballet class and get some advice on those pesky pirouettes. Apparently I'm holding my arms too high in first position which is forcing my weight back and knocking me off balance. Next month, I'm signing up for syllabus classes. 

Tuesday, 15 March 2016

Back to the Barre #1

This year, I'm taking a step back from reviewing dance to focus on dancing myself. But unable to stay away from writing completely, I've decided to write a monthly diary about my progress – hope you enjoy reading! More entries to follow...

January 2016

One of my 2016 resolutions is to take-up ballet again. It's been 10 years since I left dance school and apart from a brief stint in an amateur adult company, I've stayed away from the barre. But I now go to the gym regularly and am feeling fit and healthy, so I think I’m ready to get back into it. I want to rediscover the wonderful sense of enjoyment in dance whilst also building up towards performing onstage.

I start the new year well – attending a class on 4 January at Central School of Ballet. It's not too tiring, and I don't look as horrific in a leotard as I have feared. But my right knee isn't happy and I sustain a hamstring injury during a jump.

I take two weeks' rest to heal and think more about what I want from ballet. I feel like I need a goal – something achievable but challenging to work towards. My last ballet exam (taken in 2004) was ISTD Intermediate. I decide that working towards the RAD Intermediate exam – which is now open for adult candidates – will be ideal. I watch all the exercises on the syllabus DVD and make a mental note of the greatest challenges – pirouettes and pointe work are going to be really tough.

My knee is still niggling, so I see a dance-specialist physiotherapist. He explains that my hamstring has been overworked repeatedly over the last few months (in my intense gym workouts) and needs to build up strength through various exercises. Luckily, my injury isn't serious – I can start dancing again right away but need to avoid jumps for four weeks.

New pointe shoes
February 2016

I start teaching myself the RAD Intermediate barre work. I perform the exercises while watching the DVD and then try again without to test my memory. They aren't too difficult technically, but I struggle to remember the varied endings.

I particularly love the pliés music from The Pharaoh's Daughter. I can feel my strength build up as I repeat each exercise – the balances, leg lifts and rises to demi-pointe are gradually getting easier. 

I'm worried that my feet have lost all their strength, so I decide to face my fears and go shopping for pointe shoes. I expect the fitting staff to be judgemental of my age and less-than-perfect ballet figure but they are lovely. The woman who helps me also takes adult classes herself and recommends a teacher at Central School of Ballet. I stick with Gaynor Mindens (my shoe of choice from 10 years ago) and can't wait to sew on the ribbons.

I try some gentle rises and relevés holding onto the kitchen counter and am pleasantly surprised. I feel – and probably look – like I’m wearing a pair of bricks, but I can do more than I thought I’d be able to. I can even do some echappés and slow courus in the centre (of the kitchen).

I spend an hour teaching myself the syllabus port de bras, trying to understand the written syllabus and then checking the DVD. There's a huge sense of satisfaction when I'm finally able to perform the whole exercise. I feel beautiful bending and curving my body into those familiar ballet shapes; I feel like I'm really dancing again. But I'm very sure there are a million things I'm doing wrong, so I start researching adult syllabus classes. My next step is to get a teacher's opinion.

Thursday, 31 December 2015

December Round-up

Carlos Acosta
in A Classical Selection
Photo: Johan Persson
This month there are blogs about Carlos Acosta's A Classical Selection and Nutcracker on Ice at the Royal Albert Hall.

The latest instalment of the Dance Musings ballet steps series explores balancés.

Other writing:
An interview with Royal Ballet dancer Leticia Stock on Londondance
A feature article about London Studio Centre (p.TBC) in Dancing Times, January issue

Wednesday, 30 December 2015

The Nutcracker on Ice

The Nutcracker on Ice, Imperial Ice Stars, Royal Albert Hall - reviewed on 29th December

When the Imperial Ice Stars performed The Nutcracker on Ice in 2013, they were hampered by the small size of the London Palladium stage. Now at the much larger Royal Albert Hall, I expected bigger and better tricks, but whilst Tony Mercer's choreography has several brilliant moments, much of it fails to impress.

Movements seem to bear little connection with the music, performers are out of time with each other, and - with the notable exception of Nutcracker Prince Vladislav Lysoi - there's a lack of artistry and effective conveyance of character. Tchaikovsky's gorgeous score is also completely butchered, with the ordering completely altered and various segments repeated to excess.

That said, there is plenty to enjoy in The Nutcracker on Ice's duets and solos, with tricks including lifts, jumps and numerous pirouettes. The lyrical duet between Mariia Vygaloca and Lysoi at the end of Act I is really beautiful, Diana Malygina and Mariya Kayl wow with their Arabian aerial tricks performed 10 metres off the ground.

I'd prefer a more artistic and musical Nutcracker (such as Peter Wright's ballet at the Royal Opera House) but there's still a touch of magic and plenty of festive spirit in the Imperial Ice Stars' version. Yesterday evening's audience even gave the production a standing ovation.

Thursday, 10 December 2015

Carlos Acosta's A Classical Selection

A Classical Selection, Carlos Acosta and friends, London Coliseum - reviewed on 8th December

A Classical Selection is Carlos Acosta's stylish swansong before he retires from the ballet world. In a diverse array of repertoire celebrating his remarkable career, he's accompanied by eight dancers from the Royal Ballet - including both well-known principals such as Zenaida Yanowsky and younger, rising corps de ballet members.

Marianela Nunez and Carlos Acosta 
in Diana and Actaeon pas de deux
Photo: Johan Persson
At 42, Acosta freely admits that he's "not doing the steps as brilliantly" as when he was younger. But he excels in the evening's bravura tricks, pirouetting and leaping spectacularly in a thoroughly sparkling Diana and Actaeon pas de deux alongside (an equally radiant) Marianela Nuñez. He also perfectly demonstrates what he describes as being "in a different artistic league" to his younger self. Ben Van Cauwenbergh's Les Bourgeois solo is a gala staple with its humorous drunkeness and dynamic jumps, but Acosta takes it to another level with crisp gestures conveying the choreography's narrative with real clarity.

Acosta's other performances are less memorable. An extract from George Balanchine's Agon is technically pleasing but doesn't inspire, and in the evening's finale - Georges Garcia's Majisimo - the eight-strong cast lacks synchronicity.

Repertoire by Acosta's Royal Ballet co-stars is generally strong, but it's Yuhui Choe who shines brightest. She's charming and delicate in the title role of La Sylphide (Act II pas de deux) and contrastingly striking and powerful in Van Cauwenbergh's Je ne regrette rien.

What is most interesting in A Classical Selection, however, is Acosta's inclusion of a dancer rest area - consisting of two sofas and a barre - at the back of the stage. Hidden by a curtain during performances, the area comes into view between repertoire and at the end of the show. We see dancers stretching, adjusting their costumes, changing shoes and drinking water in an intimate portrayal of life backstage.

It's as if Acosta wants to show the joy he experiences not only when performing but also in these quieter moments with his ballet dancing family. As he moves onto pastures new, it's clear that he'll be very much missed by both his colleagues and audiences alike.

Tuesday, 1 December 2015

Ballet Steps: Balancés

The latest instalment of the Dance Musings ballet steps series explores balancés.

Balancés are small ‘waltzing’ movements that involve three steps of the feet. In a balancé de côté (sideways), one leg steps out to the side – as widely as possible – onto a flat foot, with the other foot following with a step behind on demi-pointe (the ball of the foot). Staying on the spot, the movement is completed with a final flat-footed step on the front foot. All steps are en fondu (with bent knees). 

As well as sideways, balancés can be performed en avant (to the front) or en arrière (to the back). Regardless of the direction of the first step, the second foot always steps behind the front foot, although sometimes the step is taken on pointe rather than demi-pointe. A similar movement – the pas de valse or waltz step – is identical to a balancé except that the second leg steps in front of the first. Both balancés and waltz steps are usually performed in sequence – going side to side or backwards and forwards – and can also travel, typically backwards or en tournant (turning).

There are a wide variety of arm lines for balancés. When taken sideways, the arms are often placed in either 3rd or 4th, with the same arm as front leg out to the side (changing each time the balancé changes side). Alternatively, one hand may be placed on the hip with the other moving between demi-bras and 1st position. For balancés forward, arms are often in 1st arabesque, whilst for balancés backward, 3rd position is common.

Balancés and waltz steps are found in many classical ballets, such as The Sleeping Beauty, The Nutcracker and Coppelia. Here’s the Friends dance from Sleeping Beauty, which includes balancés at 1.15:

Monday, 30 November 2015

November Round-up

A Laine Theatre Arts student
This month there's a blog about the Royal New Zealand Ballet's A Passing Cloud quadruple bill.

Other writing:
An interview with English National Ballet dancer Madison Keesler on Londondance
A review of Elf the Musical on Londonist
A feature article about Laine Theatre Arts (p.TBC) in Dancing Times, December issue