Posted on August 29, 2014
Our September 2014 issue is here! As dancers and dance schools come back for the new season, we welcome the new academic year with features on training with the BalletBoyz, in Germany and in Russia, plus designer Jérôme Kaplan’s work in dance and ballerina Alicia Markova celebrated at Ivy House. We think there’s an autumnal look to our gorgeous cover, which shows Scottish Ballet’s Andrew Peasgood and Luciana Ravizzi: the company’s autumn tour includes the world premiere of Helen Pickett’s The Crucible.
Dance in Russia
Margaret Willis visits St Petersburg and Moscow, watching performances, galas, masterclasses and rehearsals with Russian and visiting dancers. At the Maryinsky:
“Viktoria Tereshkina and Vladimir Shklyarov made their debuts in the sexiest of Scheherazades – she preening and seducing with style; he flying around the stage with exotic bravura. The principal roles in the first two ballets were danced with confidence and finesse, not by seasoned dancers but by coryphées and a corps de ballet member. Later, meeting up with the Maryinsky’s ballet director, Yuri Fateev, he told me that it was his plan to show off the company’s talented younger dancers…”
Designing for dance
Jérôme Kaplan’s work in dance ranges from his punky designs for Alexei Ratmansky’s Cinderella to the Jazz Age elegance of The Great Gatsby, which Northern Ballet revive this month. He speaks to Paul Arrowsmith about clarity and collaboration in his work with choreographers.
“Many designers regard The Sleeping Beauty as a particular challenge but, according to Kaplan, so too is any full-length ballet. ‘When I finish a big ballet, I feel free and think never again. Then I forget the pain and wait for my next project. Regarding my two Beauties, a different chorographer and team create a completely different ballet…”
Cross training for dancers
Birmingham Royal Ballet’s Dominic Antonucci reveals dancers’ changing attitudes to cross training, looking at how other kinds of exercise can improve your dancing. As well as speaking to BRB principals Jamie Bond and Jenna Roberts, Dominic shares his own experience:
“…a snapshot image came into my mind of how the studios had looked in 1994 compared to 2014. Everything about the studio itself was exactly the same. The amazing thing was that instead of a large ashtray propping open one of the doors with just a few dancers stretching on the floor – as you would have seen 20 years ago – the studio was now full of dancers busy doing their morning training routines…”
Also in the September issue…
Laura Dodge sees the BalletBoyz’ Dancers’ Course in action in Kingston upon Thames.
Clement Crisp remembers his friendship with the ballerina Dame Alicia Markova, who danced for Diaghilev’s Ballets Russes and helped to found British ballet.
Jenny Veldhuis finds out about the “Ballet Studio” of the Badisches Staatsballett Karlsruhe, a youth company directed by Birgit Keil.
Rambert’s Dane Hurst explains what he learned from a postgraduate choreography course.
Debbie Malina explores new developments in physiotherapy for dancers.
Margaret Willis meets Rambert’s Pierre Tappon, our Dancer of the Month.
Zoë Anderson looks at Dracula in dance, as Northern Ballet and Mark Bruce Company bring the vampire count to the stage.
Plus news of NDCWales, Russian avant-garde theatre at the V&A, reviews of the Maryinsky Ballet in London and St Petersburg, San Francisco Ballet in Paris, Wendy Whelan, Carlos Acosta, Natalia Osipova and Ivan Vasiliev, English National Ballet, Rosemary Lee in Milton Keynes, Hong Kong Ballet, Bavarian State Ballet, Les Ballets de Monte-Carlo, new dance books, DVDs and more!