April 2013:
Friday, 26 April 2013In this month’s issue of Dancing Times, we have no fewer than four artistic directors offering their opinions! In Talking Point, Cathy Marston, director of Bern Ballett, explores some of the themes discussed at DanceEast’s recent Rural Retreat for dance directors. On page 15, Michael Crabb talks to Karen Kain, artistic director of National Ballet of Canada, in advance of the company’s first visit to the UK in over a quarter of a century; Liv Lorent, director of balletLORENT, discusses with Kevin Berry on page 25 the history of her company based at Dance City in Newcastle-upon-Tyne; and on page 22 Kevin O’Hare reveals to Zoë Anderson his plans for The Royal Ballet’s 2013–14 season and further ahead.
March 2013:
Monday, 25 March 2013In this bumper issue of Dancing Times, you will find a wide range of up-to-date news, interviews, features, and reviews that reflect the many aspects of the UK dance scene. On page 23, we publish the results of the Critics’ Circle National Dance Awards for 2012, and on page 25, Daniel Pratt considers what makes that intrepid dance company, Ballet Black, so special in the run-up to its new spring season.
February 2013:
Tuesday, 26 February 2013In this month’s Dancing Times, we talk to two international choreographers about the new works they are about to present with UK ballet companies – David Bintley and Alexei Ratmansky. Bintley discusses the ideas behind his full-length Aladdin for Birmingham Royal Ballet with David Mead on page 14; whilst Ratmansky talks candidly to Zoë Anderson on page 33 about his one-act work for The Royal Ballet, as well as his career in Russia, Denmark and the US. Kevin Berry takes a behind-the-scenes look at Northern Ballet Academy on page 38, and on page 25 we introduce a new column, What If.., in which Gerald Dowler wonders what if there were no Marius Petipa?
January 2013:
Tuesday, 12 February 2013In this month’s Dancing Times, we talk to two international choreographers about the new works they are about to present with UK ballet companies – David Bintley and Alexei Ratmansky. Bintley discusses the ideas behind his full-length Aladdin for Birmingham Royal Ballet with David Mead on page 14; whilst Ratmansky talks candidly to Zoë Anderson on page 33 about his one-act work for The Royal Ballet, as well as his career in Russia, Denmark and the US. Kevin Berry takes a behind-the-scenes look at Northern Ballet Academy on page 38, and on page 25 we introduce a new column, What If.., in which Gerald Dowler wonders what if there were no Marius Petipa?
December 2012:
Tuesday, 18 December 2012As 2012 draws to a close, we reflect on a year that saw a number of changes within the UK dance world. There were three new artistic directors of leading UK dance companies, cuts in Arts Council funding and threats to the inclusion of arts subjects in the new English Baccalaureate exams from 2015. (Click here for the link) One reason to be cheerful, however, was the formation of the National Institute of Dance Medicine and Science, on which we reported in our February 2012 issue.
November 2012:
Monday, 26 November 2012The 2012–13 dance season is now fully under way, and in this month’s issue of Dancing Times we review the opening performances of Northern Ballet in Leeds, Birmingham Royal Ballet in Birmingham, and Richard Alston Dance Company and The Royal Ballet in London, as well as The Royal Danish Ballet in Copenhagen and The Australian Ballet in Melbourne.
October 2012:
Monday, 29 October 2012Who doesn’t love those great dance routines in Hollywood musicals, performed by such stars as Fred Astaire, Ginger Rogers or Gene Kelly? Well, some of those wonderful musicals, along with an exciting array of other movies, are celebrated in a major new exhibition, Hollywood Costume, which opens at the Victoria and Albert Museum later this month.
September 2012:
Tuesday, 25 September 2012September marks the beginning of the 2012–13 season, and in this month’s magazine we take a look at the various roles artistic directors of dance companies play in the UK and abroad. On page 35, Graham Watts investigates the balance of power between an artistic director of a company and its Board, Margaret Willis travels to St Petersburg to meet Arthur Mitchell, founder of Dance Theatre of Harlem on page 27, Zoë Anderson talks to San Francisco Ballet’s Helgi Tomasson on page 43 in advance of the company’s season at Sadler’s Wells later this month, and Sharon Watson of Phoenix Dance Theatre asks why elite dancers aren’t held in the same esteem as elite athletes on page 19.
