I think one of the biggest issues in encouraging young boys to get involved with ballet is convincing them that it is ‘cool’. It can be tough for boys starting ballet whilst still at school: they might experience bullying and name calling, or they may feel they have to hide what they do in their spare time. There is also (as always) simply a lack of boys dancing, which is such a shame. I think anything that can help make boys think it’s cool to dance therefore deserves a huge amount of support. Even if only the dancers themselves find it cool, it can be a great way to encourage them to be proud of being a dancer. Continue reading
I still can’t quite believe it. Last weekend, I danced in the Bristol Russian Youth Ballet Company’s production of Cinderella at Stockport Plaza. Not only did I get the chance to perform in front of hundreds of people to raise money for a fantastic charity, but I also got to share the stage with two of the country’s greatest dancers: Elena Glurdjidze and Arionel Vargas. Continue reading
This is going to be a quick blog post – written in a coffee break between PhD work (I’m “writing up” my thesis at the moment – lots of work!).
I can’t believe it, but I’ll be performing in Cinderella on Sunday! It’s suddenly appeared out of nowhere – it seems like yesterday we were just learning which roles we’d be playing (for me: Dance Teacher in Act I and King in Act II). Continue reading
This week has been a little bit of a rollercoaster for me.
Firstly, I was very humbled to see that my blog has reached 1,000,000 hits! (A hit is a unique visit per 24 hours) I’m pretty sure most are probably spam, but I’m grateful for all you ‘real’ people who have checked out my articles. I hope that over the last three or so years I’ve helped inspire people to give ballet a shot – if I can do it then I guarantee that anyone can! It also seems a good time to remind you that if you ever have any questions then you can always get in touch: either by posting a comment here, shooting me an email, tweeting me, or posting on Facebook. Continue reading
Sorry for the lack of posts recently – I’ve been completely swamped with work and job stuff…
To start, I’ve begun writing my PhD thesis. As in actually putting words on paper (well, typing them into the computer) that will eventually make their way into a thesis that will (hopefully) earn me a PhD. I can’t explain how freakily scary that is! The aim is to submit my thesis around July 2014 so I’m hoping to have a first draft done over the next few months; then I can start thinking of entering the Dance Your PhD competition… This is alongside a couple of paper submissions in my research group and covering for a couple of lectures (for 300+ undergraduates!). I’ve also gone from not having any post-PhD plans to having a whole load of job applications on the go. I’m not quite sure what my future holds: what my job will entail or what city/country/continent I’ll be in. Continue reading
A couple of weeks ago I got an email from RESEO, who are “the unique European network for education, participation and creative learning in opera and dance”. They consist of representatives of all the major opera and ballet houses in Europe, and host bi-annual conferences to discuss important ideas in engaging audiences with opera and dance. Their current conference (10-12 Oct) is titled GENERATION Y: Engaging young adults in opera and dance.
After a really stimulating Skype call with Clare from RESEO, I was asked to write a couple of pages about ideas for engaging Generation Y in ballet. It would mainly be thoughts on what I think works (and doesn’t) and would be printed out (including a French translation!) and given to the conference attendees during one of the ballet-themed sessions.
I was very honoured to be asked, and was happy to help. Unfortunately the request came right in the middle of a big academic paper deadline so the finished article is a bit rushed. Hopefully though it was of use to the conference-goers! I thought I’d reproduce the article here on my blog (along with a few added pics/videos) to see what my readers think. In particular, I’d love to hear whether you agree/disagree, or have any other thoughts on engaging 18-30 year olds to both watch and participate in ballet.
I’m a Computer Science PhD student who, three years ago, started taking ballet classes. Having mainly been interested in sports (rowing, cycling, triathlon) in the past, I got absolutely hooked and now take hours of class a week alongside regularly watching live ballet. I run a blog about my journey (http://www.davetriesballet.com) and have written reviews and pieces for national websites. Recently, I was selected to be a Royal Opera House Student Ambassador, and so spend time promoting opera and ballet around campus to my peers.
It might seem a little strange that I started ballet so late (I was 23 when I first started class), and I’m certainly not “the norm” – but there’s no reason I couldn’t be. Ballet offers a great all-round workout, helps increase flexibility, and promotes lean muscle. It’s important however, to dispel certain misconceptions and stigmas associated with it.
It sounds counterintuitive, but often the most effective way to connect with my generation is by not “trying too hard”. There’s been a couple of really great role models for guys (or girls) starting ballet in their 20s+ recently. The first is Hollywood star Ryan Gosling who revealed that he takes class at an LA studio. He doesn’t do it to get snapped by the paparazzi, and doesn’t take private classes – just takes class like the rest of us. Similarly, British Olympic swimmer Liam Tancock uses ballet seriously within his training. I think one of the best things about Tancock is that he’s so “matter of fact” about doing ballet. Being interviewed by the BBC (BBC Article) he points out the benefits of ballet and how it’s impacted his performance. It’s not a big fuss and that’s awesome – the easiest way to make ballet accessible is by making it seem “normal”.
The link between sport and ballet is a powerful, but tricky, one. Ballet is indeed a great way to increase fitness, but care is needed to avoid lumping it with Zumba and other purely fitness-based dance classes. When I talk to my friends about ballet class, I tend to emphasise the control needed, along with the fitness and strength (plus grace, artistry and many other factors). It’s also fun to tell them “Why lift weights when you can lift girls” – perhaps not precisely the right sentiment (I’m not advocating guys starting ballet just to meet girls!) but a good conversation starter.
One event that I think connected ballet and sport in a clever way to create genuine interest in both watching and doing ballet was an Royal Opera House “Insiders” (Under-30 Friends) evening hosted by Rugby Ralph Lauren (ROH Article). Alongside a preview of the fashion brand’s upcoming collection, the event featured a conversation between a Royal Ballet Soloist and professional rugby player. Although outwardly two very different disciplines, surprising similarities can arise between ballet and sports. This gives supporters and players of sports a tangible connection to ballet which can prompt them to go see ballet, or even take a class!
Whether we like it or not, social media and the web now surround us in our daily life. I initially set up a Twitter account when I started ballet as it gave me an informal way to ask (usually pretty stupid) questions about taking class. The relaxed feel of twitter meant I could ask fairly minor questions (“what is the difference between a glisse and jete?” or “should I wear a suit jacket to see a ballet?”) and get honest answers.
Harnessing the web was taken a step further in the hugely successful Royal Ballet Live (with accompanying Twitter hashtag #RBLive). I found this a great way to show my friends what dancing is like – I could post the livestream link to my Facebook wall and my friends could watch daily class, rehearsals and more. One particularly important part of the day in my eyes, was the fact that the host (TV and Radio Presenter George Lamb) had no prior knowledge of ballet. He was ably joined by Royal Ballet Soloist Kristen McNally (who has previously live-choreographed to Kanye West in an Apple Store (ROH Advert) – very cool!) which meant he could ask all the questions the non-experienced viewers wanted to ask. Throw in a Q&A/studio session with Wayne McGregor and Mark Ronson and ballet was indeed shown to be “cool” and “current”.
Putting ballet out of context is an awesome way of grabbing new audiences. In my opinion, one of the best ballet videos online is “Royal Ballet. Not what you think.” (embedded above) which was created by First Soloist Bennet Gartside. This features clips from ballets (classical and contemporary) backed with rap music. There’s such a cool juxtaposition between the dancing and music and it just “works” (even though it, perhaps, shouldn’t!). All my mates I have shown this to has been amazed and impressed, and more interested in going to see a live ballet. It reckons it’s best summed up in the following YouTube comment: “This is truly awesome. Unconventional but fantastic combo of music and dance. Brilliantly edited. Offers a totally different perspective on the passion, dedication, athleticism and artistry required for ballet. Absolutely love it, love it, love it!”.
It can be notoriously difficult to engage Generation Y, with their MTV-attention spans and heads constantly buried in their iPhones. One thing I’d encourage more than anything is to talk to youths who are already interested in ballet and try to harness their passion and knowledge. I happily spend a lot of time encouraging people to be interested in ballet, simply due to my passion for the artform – many others will do the same!
If you have any questions or want to discuss this further please feel free to email me on email@example.com – I hope my thoughts have been of use!
So those are my (slightly rambling) thoughts. What do you think? Do you agree with my points, or disagree? Do you have any other ideas about what works/doesn’t work when engaging younger audiences? Let me know in the comments below – I’d love to get a debate going!
Until next time, keep on dancing!
It is no secret that one of my favourite ballets is MacMillan’s Romeo & Juliet. The last time the Royal Ballet performed it I saw three casts and I wrote a guest post about MacMillan’s choreography for A Younger Theatre. The Royal Ballet are reviving it again next month and I will be seeing it twice: once with my favourite pairing from last time, Cuthbertson & Bonelli, and once with a new pairing, Hamilton & Watson.
As I enjoy the ballet so much, I’ve decided to delve a bit deeper and analyse the piece. Alongside this post which discusses the ballet’s Pas de Deux, I’m also hoping to look at topics like the music and use of narrative devices in future posts. Hope you enjoy!
Pas de Deux in MacMillan’s Romeo & Juliet
As Frymoyer () notes:
In the world onstage, balletic gesture reveals how Romeo and Juliet understand themselves and the world around them. Nowhere is this communication stronger than in the three central Pas de Deux where the lovers discover their love, and then experience the ultimate heartbreak.
Unlike more classical ballets, the Pas de Deux in Romeo & Juliet do not follow the standard structure of adage/alegro, variations and coda. This is partly due to the musical characteristics of these segments:
Rapid shifts of meter, tempo, harmonic and rhythmic texture, and affect give the music a spontaneous nature that presents to us the psyche of the protagonists ().
The Pas de Deux are so important, in fact, that Prokofiev gives them the central `Romeo & Juliet Theme’, the
musical centerpiece of the ballet (). As Bennett notes, the theme contains
not only the rhapsodic ecstasy of the love dance, but also the unspeakable tragedy of death (), something MacMillan’s choreography also reflects over the three Pas de Deux.
Pas de Deux 1: Balcony Scene
I have chosen my favourite pairing to showcase the stunning Balcony Pas de Deux – Lauren Cuthbertson and Federico Bonelli of the Royal Ballet
The first Act of the ballet culminates in perhaps the most preminant scene in all theatre, Romeo confessing his love to Juliet on her balcony. As the scene opens, we see Juliet standing on her balcony and Romeo’s theme is played on an organ as she wistfully dreams of love and marraige.
Following Romeo’s stealthy entrance, Juliet almost skips down the stairs, barely containing her excitement at seeing her new love. Her innocence is reaffirmed with her placing Romeo’s hand on her breast to feel her beating heart, and Romeo tells her to wait as he declares his love (2:25).
Romeo’s musical theme reappears in an altered form to form Romeo’s variation () which starts very grounded, with a string of renverses, attitude turns and saute de basques. The speed of MacMillan’s choreography seems to reveal Romeo’s excitement and he is only paused on the approach of Juliet. Juliet lays her head on his hand (3:10), which seems a choreographic nod to the lines:
See how she leans her cheek upon her hand
O that I were a glove upon that hand,
That I might touch that cheek!
This is followed by a combination almost entirely based around expansive leaps (acting almost as a reprise to the earlier section) – revealing a more expressive Romeo.
As Romeo’s theme culminates (3:35), Juliet opens her pirouette into arabesque with her arms wide as if opening her heart to the world. This is one of my favourite parts in any ballet (it gives me goosebumps every time!) and signals the start of the “Love Dance”, whose theme has
emerged out of the Romeo theme like a butterfly from a chrysalis (). As the pair dance together the fluidity of the choreography speaks of their predestined love, something the dancers have to achieve to give this duet its potency.
The lovers present themselves to the world, unashamed of their love, in a slightly unusual promenade arabesque (with Juliet’s inside leg raised) finishing facing the audience asking for acceptance from society (4:22). The lovers proceed to open up to each other with arabesques, developpes and lifts all more expansive than the last.
As Romeo falls deeper in love, with a gesture to place his head on Juliet’s dress, she flits away to pose in the opening expansive arabesque that started the dance, trusting Romeo to come and catch her (5:10). Once more asking for acceptance from society, Romeo lifts Juliet high above his head (5:25), perhaps as if to place her back in the safety of her balcony.
Giving Romeo the opportunity to fully express his love, Juliet suddenly worries for Romeo (5:45), checking for her family:
If they do see thee, they will murder thee (II.ii 74). She then runs back to Romeo who once again raises her high above him, in the iconic lift (5:50) that seems to echo his lines:
O, speak again, bright angel! for thou art
As glorious to this night, being o’er my head
As is a winged messenger of heaven
Juliet now gets a chance to show her love with a playful combination (6:15) almost mimicking Romeo’s earlier renverses and attitude pirouettes, before skipping her way around him delicately en pointe, a movement MacMillan uses to emphasise her childlike playfulness (contrasting her more stately walking when meeting Paris). Romeo supports her in a sequence of arabesques (6:50) – as she literally falls into his arms declaring her love.
Finishing with two even more trusting lifts (7:20), the couple take a moment to truly see each other. Romeo lifts Juliet onto pointe and, well, Juliet’s slightly shocked expressions says it all. With a final touch of their reaching arms, the curtains close on one of the most beautiful pas de deux in ballet. I really feel that MacMillan got the perfect balance between telling the story through the dancing, but not sacrificing the beauty or flow to do so.
Pas de Deux 2: Bedroom Scene
The Bedroom Pas de Deux is here performed by one of the most famous Romeo and Juliet partnerships: Tamara Rojo and Carlos Acosta at The Royal Ballet.
As the curtain rises on Act III, the newly married lovers are in Juliet’s bed (the Capulet’s orchard in the play). The bedroom Pas de Deux is a clever counterpart to the Balcony Pas de Deux: motifs reappear from Act I but in distorted forms to display the change in the lovers’ relationship. The Pas de Deux as a whole is a lot more physical and extreme – as if to sacrifice beauty for emotion, reflecting Romeo and Juliet’s acceptance of the harsh reality of their love.
Romeo rises and, thinking on the fatal actions of the previous day, dons his cloak. In a mirroring of the balcony scene he intends to hide from Juliet, only this time to sneak away. As Romeo looks out at the rising sun, foretelling his departure to Mantua, Juliet wakes and begs him to stay:
Therefore stay yet; thou need’st not to be gone. (III.v 16)
Reminding Romeo of their love (both physical and emotional) Juliet recalls movements from the Balcony Pas de Deux, though slightly altered. Instead of the open, expansive arms in arabesque, Juliet now reaches forward as if yearning to escape the nightmare she has found herself in (1:50). Romeo drags her back and embraces her to remind her of his devotion. As he lowers her to the side, she turns away from him and the overhead lift becomes less ecstatic and more a sign of resignation to fate (2:18).
The following sequence references the previous love duet, but the feel of the piece has completely changed. Juliet is restrained, and Romeo seems to become the instigator of the dance. As he spins her you feel like Juliet is losing her grip on the situation, reflected in her dejected and resigned movements. She has accepted the impossibility of their love, shown in the agonising reprise of the previously defiant arabesque pose at 3:26 – both lovers accepting their doomed fate.
Romeo lifts Juliet high above his head (3:52) once again, but this gesture is reminiscant of a crucifixion, foretelling Juliet’s coming death. As she drops into his arms she appears lifeless before escaping his grasp to present herself to the unyielding morning sun, as if a sacrifice against the dawn. Romeo pulls her back (4:07), spinning her into his arms with great force.
As Juliet pleads once more with Romeo, she falls at his feet (4:35) – a role reversal from the Love Dance. Echoing the motif from Act I, Juliet falls from arabesque into Romeo’s arms (4:45). The movement is much more extreme now, Romeo catches her whilst standing before dropping to the knee, Juliet’s previously low arabesque is nearer vertical, and she visibly strains against him. This is all evidence of how much more is at stake now; their heightened emotions are pushing at the boundaries of their bodies and hearts.
We hear the light hearted theme that Juliet skipped away from Romeo to in Act I, but she now leaps through an entrelace (5:00), and runs to the corner where she stops in shock. As she breaks down, she opens herself up but this time Romeo stifles her movement to pull her away. She reaches to escape in a series of arabesques (5:15) and we cannot help but feel her torn anguish as she collapses to the floor.
Just as with the Balcony Pas de Deux, we finish with a kiss and an outstretched arm: the first almost pitying, and the latter unreciprocated as Juliet bids Romeo farewell:
O, now be gone; more light and light it grows. (III.v 35)
Pas de Deux 3: Death Scene
The final scene of the ballet is here performed at La Scala by the Prima Ballerina Assoluta Alessandra Ferri and Angel Corella.
The final scene of the ballet takes place in the Capulet Crypt. The music pronounces the stately elegiac ‘Death Theme’ as Juliet lies on her bier. With Paris mourning by her side, Romeo appears in the shadows, but makes no attempt to hide as he stabs Paris (2:55).
Romeo emulates the start of Act III as he climbs next to Juliet. He drags the unconscious body across the stage, approaching the corners as if to emulate their triumphant pose from Act I (3:15). As  discusses, choreography is the lovers’ primary way to communicate so Romeo shares his grief through it.
Romeo tries to echo the final triumphant lifts of the balcony pas de deux (3:30) as we hear the love theme emerge from the deathly orchestrations. As the music resumes it’s funereal theme, Romeo places Juliet back on her bier and takes the poison (5:30).
As Juliet wakes she discovers Romeo lying dead and, reverting to her childlike naiveity, trys to shake him awake (7:00). She futilely tries to pick him up, as if for one more dance.
At this point
Prokofiev renders the music “undanceable” () and MacMillan leaves Juliet rooted to the spot as
orchestral sound sweeps over her, negating the visual space and “envoicing” rather than “dancing” her grief (). This is the final proof that all is lost for Juliet – even her ability to express herself through her movements has been taken from her.
She screams as the music crescendos (7:20):
strings shriek up and down two octaves, great screams of anguish that reach heights that our nerves and ears can scarcely bear (). She rushes to pick up the dagger from Paris, and delivers her own fatal blow (7:45). Collapsing on the bed she drags herself towards her lover, and stretches out a hand to him, just as at the end of the balcony scene, when their love was still pure and innocent, and the end of the bedroom scene, where their ending was foretold.
The death scene is really beyond words, and usually renders me completely speechless at performances. The quotation of movements from earlier in the ballet just makes it all the more poignant and affecting. A fitting end to the most tragic of love stories.
I hope that you have enjoyed reading this post – it took some effort to research but I’ve found it fascinating to delve deeper into one of my favourite ballets. I’m hoping to do some more “in depth” posts on ballets (not just Romeo & Juliet), the history of ballet, and technique. Let me know if there is anything you think I should cover – just pop a comment on this post.
Until next time, keep on dancing!
 Bennett, Karen. Star-Cross’d Lovers: Shakespeare and Prokofiev’s `pas de deux’ in Romeo and Juliet. The Cambridge Quaterly, Vol. 32, No. 4, 2003.
 Frymoyer, Johanna. Ballet as the Subject’s Speech: Defining Classical Gesture in Prokofiev’s Romeo and Juliet. Proc. of Sound Moves Conference, 2005.
They say that time flies when you are having fun. This is certainly the case when I realised that this week marks my 3rd “Ballet-versary” – it’s three years since my first ever ballet lesson!
I can’t quite believe it. It seems like only yesterday that I did my first ever plié and got confused by “the glissande-thing” (at least I know my terminology has improved since then!).
Since my first class I’ve managed to do so many things I could have never imagined. I daren’t think of my reaction if you’d told me before that first class that I’d perform in a full-length Swan Lake as Rothbart, or that I’d perform the full adage from the Le Corsaire pas de deux.
The only reason I’ve been able to do so much is that I’ve been lucky enough to have some truly amazing teachers. Not only have they been patient and welcoming, but they’ve inspired me to push and stretch myself beyond my self-imposed boundaries. I cannot thank them enough, and hope that they can see just how grateful I am.
I also need to thank all you readers! You help inspire me with every comment, tweet, or hit to the website. In particular, I love receiving emails from people just starting ballet. If you have any questions then feel free to tweet me or send an email to firstname.lastname@example.org. And if you thinking about taking the leap into your first ballet class – DO IT!
Something else that happened this last week that I’d never have imagined three years ago. Thanks to being a Student Ambassador for the Royal Opera House last year, I was chosen to get a week’s work experience there. I was working with the Digital Development and Digital Media teams and had an amazing time! I can’t go into much detail about the actual work but I got to work on some exciting projects for their website and even wrote a couple of news pieces – my first ever article on the ROH website is about the awesome mezzo-soprano Joyce DiDonato!
Just being part of such an institution for the week was highly inspiring – everyone I worked with seemed so passionate about their work. Plus, walking past dancers like Lauren Cuthbertson, Steven McRae, Thiago Soares and Bennet Gartside in the corridor (and mainly being too ballet starstruck to say hello!) was obviously a massive inspiration, even if I never managed to escape work to go see Don Quixote rehearsals… I guess I’ll just have to wait until the opening gala at the end of the month!
This last Sunday (just like every fortnight) I had 4.5 hours of ballet – and loved every second. It was jam packed – my teachers had me learning Basilio’s variation from Don Quixote, the opening section of the Swan Lake Pas de Trois, and the following Pas de Quatre from Raymonda‘s Grand Pas de Dix:
I’m going to try to update the blog a bit more regularly than recently – my life is settling down into a bit of a routine so should be able to fit in more blogging. Unfortunately, work has meant I’ve had to stop my Tuesday class each week, but I’ll still be taking class every Wednesday and Friday, and every other Sunday for my mammoth rehearsal sessions. I’ll be blogging about stuff happening in class and preparations for two productions I’m going to be in – La Fille mal Gardée with the adult group in December (I’ll be performing as Colas), and Cinderella with the youth ballet company in March (I’ll be performing as the King and Dance Teacher). I’m also planning some pieces on specific ballets – Romeo & Juliet is top of the list (as it’s my favourite ballet!). Please let me know if there’s anything you want to read about.
You’ll also notice some changes to the DaveTriesBallet website over the next few weeks. I’ve been having some real difficulties with WordPress at the moment – all of my comments have vanished from the dashboard! So I’m also taking this as an opportunity to freshen up the site a bit – any feedback on the changes is very welcome.
Until next time, keep on dancing!
P.S. An update on the website: Thanks to the truly amazing @clouddancefest comments should now be working! Unfortunately I’ve lost all previous comments (*sadface*) but new ones should work – yay!
Once again I have taken ages since my last post to update the blog – apologies! This has partly been down to moving flat (finally done!), partly due to work/future career stress (my supervisors want me to submit my thesis in June/July – argh!?! The real world beckons…), and partly as I’ve been feeling down and didn’t want to fill a post with me moaning. So what’s been happening?
Four weeks ago was my Russian Youth Ballet Company’s Summer School. I’d been excited about this for months – two weeks of daily class, repertoire and pas de deux work. Pure bliss!
Arriving on the Monday I was slightly nervous – would I be completely out of place both in terms of technique and age? This was answered immediately: sat in a circle we took turns to introduce ourselves. Virtually all the dancers were around 16 and at vocational schools: Royal Ballet School, Elmhurst, English National Ballet School; even four girls who had travelled over from Japan! Luckily there were a few familiar faces among the students – including the only other guy who I know from the YBC (he’s an amazing dancer and is off to ENBS!). I had no time to worry how out of place I’d be though, it was straight to the barre and on with class.
During the week I was pushed harder than ever before in ballet. Class was fast-paced, tricky, and physically demanding with longer and mor complex combinatins than my normal classes. As the girls got ready for pointe, me and the other guy worked on a male variation with my teacher. He taught us a variation from Gayane – a ballet by Khachaturian, the same compose as Spartacus. It was the hardest, and longest, variation I’ve ever danced and, as you can probably tell from the following recording of the music, it was epic!
Following the girls pointe class (a quick 20 minute break for the boys) it was on to a combination of pas de deux, repertoire, and character. The PdD involved a series of combinations culminating in a short section of the Adage from Don Quixote. The repertoire was a waltz from La Fille mal Gardée – the Russian versin, not the Ashton – and included some really nice partnerwork. Finally, the character piece was a set barre work music from Carmen, taught by a guest teacher who danced with my teachers in Russian – the piece had a very flamenco feel!
Every day I came back to my house sore and tired, but with a huge grin on my face (even if rush hour traffic meant a 2 hour drive!). On the Friday things were slightly different: after a quick barre we started rehearsing for the end of week performance to family and friends. We’d be doing a selection of centre exercises, the other guy and I would each perform the male variation, the girls would demonstrate some pointe exercises, we’d work through the PdD exercises, before finally performing the Carmen and La Fille mal Gardee pieces. I had to keep reminding myself to mark during rehearsals to save my energy. Thankfully, before I even had time to get nervous it was time to start!
Centre exercises went well (even if I did forget the brisé at the end of the petit allegro…) and then came my variation. Eek! I was going first and took my place downstage right of the studio. With a small bow to the audience I ran to the upstage left corner to start my opening diagonal of leaps, including an awesome “Spartacus-esque” leap. The was followed by a pirouette combination before heading to the back of the stage to collect my “flaming torches” (there weren’t any actual torches, so we had to just pick up thin air). Next up were a sting of three soutenous to tours en l’air to the knee, followed by a “torch-wielding” pirouette. With another small bow to the audience there was a more lyrical renversé-grand fouetté combination leading me downstage for a manège of more fun leaps. Finally, with lungs bursting and legs screaming, there was a diagonal of grand jeté en tournant sulminating with a tour en l’air to the floor. Phew! Here’s the only video I can find on YouTube of someone dancing the variation – it’s not exactly the same choreography but is close:
By some small miracle I managed to both remember the whole variation and execute it as cleanly as I could have possibly hoped for. I was ecstatic and really proud of myself. I watched the other guy perform – he absolutely blew me away! He was truly awesome: double tours left-right-and-centre and fantastic ballonne in his leaps. So inspiring to watch! As we both tried to catch our breath we joined the girls after pointework for PdD. This also went really well – even the penchée promenade – and it was on to the two repertoire pieces. Both went well and I didn’t feel completely stupid letting my inner-matador out for the Carmen piece (olé!). Then all to quickly it was time to head home, with the weekend to recover before week 2.
That night I was shifting some stuff from my old flat to my new house when I noticed a sharp pain in my left bicep. I ignored it and had pretty much forgotten about it the next day when I drove to help my brother and his wife move into their first house. Sure enough, a couple of bags of garden clippings later and I felt the same pain, but this time much worse. By the evening it was hurting to do most things involving moving my arm and when I brushed the inside of the bicep against anything I felt a really sharp electric pain that lingered for quite a while. This certainly din’t seem a good sign.
It stayed as bad all throughout Sunday and after a restless night’s sleep I got an appointment with the University Nurse on the Monday morning. After examining it (ouch!) she told me she thought it was superficial thrombophlebitis which is (as far I understand) a small clot near the surface of the arm that surrounds a vein (which causes the pain). Even though I knew the answer, I asked about ballet – “four weeks of absolute rest” for the arm was the treatment. I was gutted. Not only did I have the second week of the summer school starting that day, but the guest teacher was the Senior Principal of English National Ballet, Elena Glurdjidze.
I tried to pick myself up and started the hour’s drive to Bristol – if I couldn’t dance then I could at least watch class. Perched on an aerobics step at the side of the studio I watched the students warm up and get ready for class. Elena took class and you could definitely tell that she had been at school with my teachers – there was the same methodology behind her exercises which was great to watch. Moving to centre, she introduced some exercise with a Raymonda feel – this was no coincidence as she would be teaching the girls the Act III Variation later in the day. As class finished the two boys (both also from the Youth Ballet Company) started learning a short variation from La Fille mal Gardée which I could mark the legs for at the back of the studio. It was a really happy and chirpy piece that looked really fun to dance.
Next up was Elena teaching the girls Raymonda – wow! Having recently played the eponymous role with ENB, Elena was every inch the icy imperial queen whilst demontrating (such a transformation from her lovely self!). It was amazing to watch: every movement told the story and the smallest of breaths became as important as an arabesque. To be able to watch such a demonstration up close was an honour and hugely inspirational. It was also inspiring to see how quickly the girls picked up the variation, and by the end of the session some were already adding the little nuances that Elena had talked about. Here’s Elena dancing Raymonda with Ivan Putrov – amazing!
As I headed home that night I was glad I had been able to observe, although I was still absolutely gutted not to be able to dance. I returned on the Tuesday to observe again, before working on Wednesday and Thursday. Finally on Friday I headed in to watch the end-of-week performance. I was so impressed and could see clearly the improvements in the students, especially the girls in the Raymonda variation. I definitely saw some future stars in the group!
So following that I’ve had three weeks of doing no ballet. It’s been so frustrating! It doesn’t help that I’ve been stressed with moving flat and work – ballet usually chills me out so I’ve been a bit highly strung. I’ve tried to do some cross training but it’s been surprisingly difficult to find things I enjoy that don’t use my arm – no swimming or rowing for starters.
Last week my arm finally started to feel (almost) back to normal. Perfect timing as I had the start of rehearsals for Cinderella that the Youth Ballet Company will be performing in February. I’m so excited for this, and found out I’ll be playing the King in Act II, as well as sharing the role of the Dance Teacher in Act I. With 4 days of rehearsals I’ve had a lot of choreography thrown at me, but I think a lot of it has stuck. At least I hope so!
The choreography is proving much more difficult to learn than Swan Lake: unlike Tchaikovksy, the Prokofiev score offers very little distinct music cues so much longer sections have to be learnt all together. It is also much more physical than Swan Lake – I get thrown around by the step-mother (my teacher in drag) which is proving a lot of fun!
I also got some exciting news last week. The adult group I dance with is putting on a shortened version of La Fille mal Gardee, and the girl who is choreographing it has asked me to be Colas! I’m really excited about this (although not so excited about the yellow tights!) and can’t wait to get stuck into rehearsals.
So that’s my (overly long) round up of the last few weeks. I’m now off to work… at the Royal Opera House!!! I’m here for my week’s work experience working with their Digital teams. Look out for an update next week!
Until next time, keep dancing!
This Saturday I performed at a local Gala for a charity’s 60th birthday. The charity had got a local stately house to open up its grounds and were celebrating by having a day filled with arts and crafts stalls, picnics and live entertainment. As it turns out, both of the local groups I dance with had been asked to perform, and I would be dancing with both on the day – with only 20 minutes break in between!
With the adult group I’d be performing three pieces – Pas de Deesses (a Pas de Quatre), a selection from the Precious Stones Suite in Sleeping Beauty (a variation and a short closing segment) and the male variation from the Pas de Trois in Swan Lake. With the youth ballet company I’m in I’d be performing five pieces in total: Act III Spanish from Swan Lake, the pirate character dance from Le Corsaire, the waltz from Cinderella, a new contemporary piece, and the most exciting/scary piece of all: the Adage from the Le Corsaire Pas de Deux!
Whilst all the pieces with the adult group I had performed before (even if the variation from the Pas de Trois had been learnt in a rather hurried fashion), four of the pieces with the youth ballet company were new to me.
The pirate character dance is a really fun dance, where I even got a pair of pistols to wield! I was dancing with one of the girls from the youth ballet company, along with six girls from the school. Although technically not the most difficult piece (apart from a few grand saute de basques to the knee) it involved a lot of running around and jumping! Turns out pirates, or at least balletic ones, were an athletic bunch! Here’s the music for the dance to give you a feel for it:
The waltz from Cinderella was a big group piece and, as the only male dancer, I had a little solo string of saut de basques to the knee, followed by some pirouettes and then a bit of partnering (some nice simple little lifts with a couple of the girls) before a final pose. The contemporary was a new piece our contemporary teacher had created on us to the most beautiful piece of music: Quintett N.1 by Dustin O’Halloran. The dance ended up being Cunningham-based (an artifact of being a youth ballet company I guess) and really lovely. There was a recurring movement which was, to me, akin to an emotional shock and made the piece quite cathartic to dance.
So the biggest piece for me to perform was the Adage from the Corsaire Pas de Deux. I’d be dancing with Ellie, a girl from the youth ballet company who is a beautiful dancer who is off to vocational school next year. Because we could only start after Swan Lake was over, and because the youth ballet company only meets every 2-3 weeks, we only had three rehearsal sessions before the performance. Because of this, we added an extra hour-long rehearsal with my awesome teacher on the day of the performance (just before I had to go dance with the adult group!).
The Adage is, without question, the hardest piece I’ve ever performed. There isn’t much solo-work, but there is a lot of partnering, and some quite tricky bits! So as well as getting my assisted pirouettes up to scratch, I had an attitude promenade, arabesque carry/lift, penchee promenade, turning grande jete catch, assisted grand jete, assisted grande saute de basque and a gateway turn to contend with! Luckily me and Ellie ‘synced’ with our partnering fairly quickly, and whilst the first rehearsal was a bit tricky (it felt like I was “putting on the brakes” in pirouettes – entirely my fault) the later ones went really well.
By the final rehearsal we had all the steps learnt and were working on the polish and characterisation. As the slave I had to be deferential to Ellie’s Medora, but I also had to personally work on making all my movements more expansive (a problem I always have).
There were a couple of problems once we arrived at the venue: most significantly the fact that it was 31C and bright sunshine! As all of my costumes for both groups involved multiple layers of tights and tunics (made out of lovely thick material) this meant that I spent most of my day very very sweaty and didn’t even get a tan out of it! On a more serious note, it meant I had to be really careful about dehydration – I had a headache most of the day and even after drinking 3+ litres of water I didn’t need the toilet… not a good sign!
The stage itself was a small raised platform. It was rather small which meant I had to be a bit careful about jumping off the stage (seriously!). It was also black, which meant it absorbed all of the heat from the sun, meaning that we couldn’t put down the marley floor without risking it melting! In fact, the heat coming through my shoes whilst standing on it was quite uncomfortable. It wasn’t actually too bad to dance on, not too slippy, but we had to be careful not to trip over or land on any of the joins of the various platforms.
The performances themselves went pretty well. The first two pieces with the adult group went without a hitch (except for nearly kicking one of my partners in Pas de Deesses because of the small stage!). I then took my place for the variation from Pas de Trois – starting in croise attitude downstage with the music meant to start during my first entrelace. Unfortunately, when the music started it was the wrong piece! Turns out the wrong piece of music had been added to the CD and there wasn’t much I could do except for sneak off the stage whilst the music continued…
The youth ballet company was next and I honestly don’t think any of the pieces could have gone any better! No mistakes, I managed to stay on the small stage (although the Cinderella string of 3 saute de basques to the knee were a tight squeeze!), and perhaps most importantly I really enjoyed every dance. In fact, I think I enjoyed the Corsaire Adage the most; I reckon it’s my best performance I’ve ever given.
I’m rather excited and nervous (after checking it was okay with my partner Ellie) to post a video of the Adage on here. It’s the first video of me performing I’ve posted and I hope you enjoy – any tips would be welcome, but be nice!
And with that I’ll sign off this (unintentionally wordy) blog post. In the coming weeks I’ve got my birthday, followed by two weeks of Summer School with my Russian teachers in Bristol (including some guest teaching from Elena Glurdjidze, Senior Principal at ENB!) – I’ll make sure I post an update about it. What are your dancing plans for this summer? Let me know in the comments below.
Until next time, keep on dancing!
P.S. If you want to see the pro’s dance the Le Corsaire Pas de Deux, here’s a rather gorgeous version by Marianela Nunez and Thiago Soares (on a slightly larger stage….!):