DanceLife Blog

A whimsical, fairytale setting and Tchaikovsky's music transports us to the world of Swan Lake, not the Classical ballet but the Ice skating ballet.

Performed by ‘The Imperial Ice Stars' who hail from Russia and as the website tells us "have performed to nearly 3 million people across five continents...even in Cyprus in an outdoor amphitheatre in temperatures of 40C!"

The sets and costumes are traditional and as expected are lovely and glamorous. The Ice Stars are award-winning performers and most of them have been on blades since they could walk, so you get the idea of how talented they are.

The Lyric Theatre seemed somewhat limiting size-wise for the ice skaters. As a spectator I found I wanted them to have more freedom to build up to some of the tricks and flips and there were a few near misses where a few raggy fingers socked the side of the set.

The stand-out artists were the two female Ice Stars who played Odette (white swan) and Odile (black swan) who were both lovely, very balletic with long, lithe lines, graceful and elegant.

There are elements of Swan Lake being performed as an ice ballet as opposed to a traditional ballet which made me cringe a little. Firstly, ballet in boots doesn't allow the artists to point their feet, therefore every-time they perform an arabesque or do lifts with extended legs the boot spoils the line. Secondly, the lifts aren't as seamless on the set- down because of the skating boot and blade.

Don't get me wrong, I love skating and always watch the ice skating competitions when they're televised, however if I see Swan Lake, which conjures up images of the ballet I want something more along the lines of Sylvie Guillem with death-defying arches. The subtle and pure aesthetic beauty gets lost when performed on ice. Also the flashy trickery of lifts and spins breaks the audience mid-choreography into clapping frenzies which loses the mystique of the ballet-world and turns it more into sport, which by definition it is but I don't think that's what the Imperial Ice Stars are trying to convey in this production.

An absolute highlight for me was the visual spectacle of the group of swans on the lake which is simply stunning. Absolutely beautiful patterns and symmetry creates mesmerising images, almost like a moving painting.

This show is fun, a little kitsch and filled with tricks, lifts, spins, splits and more including a flame ring which blazes from the ice and Count Von Rothbart ends Act I surrounded by this crackle of fire. If you or your family love ‘wow-y' lifts and spins that are so fast they look like they're going to drill through the stage grab a ticket now this is definitely a fun night out.

By Emma Bell

www.emmabell.com

Tarantara Tarantara! The song the Sergeant of Police, Todd Keys sings with his ‘lads' all donned in English policeman garb was going around in my head on the way to the carpark! I was surprised how much I enjoyed The Pirates of Penzance!

Written by WS Gilbert and Arthur Sullivan this show was first performed in 1879 and is still as much fun now as I'm sure it was then, however, don't expect a rockin' out Jon English musical, this is the original comic opera version performed by Opera Australia.

The gorgeous mood-enhancing lighting by designer, Trudy Dalgleish is complemented by a minimalist set designed by Richard Roberts, which has a raked stage, framed by lights and a calm backdrop, with clouds intermittently projected onto it. The actors themselves play a part in the set, wheeling on large props. They roll trees and statues onto the stage, that look like pop-art, cardboard cartoons - but it works! Although inauthentic these props really add to the kitsch-ness of the production and makes for a jolly ol' time.

Opera Australia headed up by the ever-entertaining Anthony Warlow will have some of the younger audience members thinking he is ‘channeling' the ultimate Pirate King, Johnny Depp from the ‘Pirates of the Caribbean' films. In fact the program cover looks very similar to Johnny Depp on the cover of ‘Pirates of the Caribbean - The Curse of the Black Pearl'. With due credit though, Warlow is very funny and frolics and rollicks around the stage leading his enthusiastic and sometimes camp gaggle of pirates.

Dainty blonde Mabel is played by Rosemarie Harris and the charming, endearing Frederic played by Matthew Robinson is extremely well cast and this couple are matched well though don't produce fireworks.

There are some definite highlights which are a hoot, one being when the cluster of ‘daughters' are approached by Frederic and they shuffle about the stage as a huddle of white lace and boaters and then threaten him with their lace parasols. Their father, the Major-General Stanley, played by the amazing Peter Carroll, is hilarious and sings the famous tongue-twisting "I am the very model of a modern Major-General" song to a wild applause, this number is definitely one of the stand-outs in the show.

With an energetic, mischievous cast and dynamic numbers, topped off by massive cartoon roses framing the set at the end this is an absolute hoot of a show - A comic, hearty opera for the whole family!

Emma Bell is writer, reviewer and interviewer and can be found at www.emmabell.com.au

We have some of the best dancers in the world here in Australia!! BUT they aren't getting paid to even live right!

We have some of the best creators and artists working their butts off and loving it but they can't live like this for ever. We can't live like this forever! It's the new generation! Dance is recognised now and famous to the youth just as much as football. Trust me I'm touring Australia as we speak, touring into dance schools and communities (I'm in Tennant Creek working with the youth out here to get them up on stage to perform at the Desert Harmony Festival, big job). We are athlete's! It takes a decade of dancing everyday to become a professional to start making money! Intense training, investment into dance classes, study, oversea's trips to get better training (injuries pulling you back). I've done 4 trips and spent over $10,000 every time.

I make my money through teaching but teaching and not performing is killing my soul. As much as I love giving, I can't afford to be doing it all my life at this extreme. I need to perform, I need to dance full out before my body can't do it anymore. I loose my athleticism from teaching because it's draining doing the same movements over and over! I could be 10 times more amazing!

If dancers were paid like Lawyers and Doctors.....Wow Imagine the arts level in Australia??

We are doctors of our own kind, with more then 4-8 years training at Uni and we get paid just $10,000 a year to actually entertain(the best part) and to earn that we are entertaining the Lawyers/ Doctors child to keep them from seeing the Doctor or Lawyer. We can't get loans because we are self employed and don't have full time job's because there isn't enough job's? When in fact we are working full time just not being paid on someone's pay roll("Lamb's over looked my shoulder and added").

I feel it's because of this tall poppy disease running around in Australia?

I feel the stereo type footballer Australian hating on me because I dance ("you're a poofter if you dance".....?). But aren't they the one's running around in hot pants tackling other men? I'm the one dancing with the ladies everyday of my life rocking out top moves and have pashed some of the hottest women I have ever seen? Including my adorable princess Nicole Lamb that I'm with now struggling to travel to the next destination to inspire youth to grow and not think like the stereo typed Aussy! We are Aussy, we love to dance and we are the future to having a free mind and doing what you love!

Now if it were supported more in Australia we would have a healthier country and open country and a country full of happiness! movement Creates happiness!!!

MTV, SONY, Aria Awards etc I get offered gig's from you to make other artists like Britney Spears, Fergie and Dizzy Rascal to name few look good and yet I'm offered to do it for free? I love what I do! This is all I do, this is all I know! I love it alright! But if you want me to make your artists look good, look after us and we will rock that gig more then you will ever know. So they turn us down because we ask to get paid more then $0-$250.00 for over 20 hours of rehearsal and rocking a performance of the artist they are making money out of? Then you know what they do is get the other dancers that are up and coming and are frothing to get that spot to put on their CV!

This is not how it should be! I just choreographed a major Australian artists last film clip, where not much dancing was used. BUT not one of the extra's were paid! This happens to professional dancers in film clips, It's an "experience". This was an experience most of those people will never do again, for all the hours getting bossed around and treated like shit. I'm heated about this as a new generation child coming up as a major artist for this country! I could have left off to USA and stayed an had a great career, but I'm choosing to stay and support and make Australia grow in the arts! Our new generation here is really full of talent, your sons, daughters, little cousins, nephew's and nieces could be a real star and your stopping them due to your opinion or the governments?

Deal with my spelling, you know what I'm getting at! My passion took over my English ok! haha

Pretty good whinge I think haha COP IT

THIS IS AN ISSUE! I'll BATTLE YOUR OPINION!

WATCH THE ABOVE VIDEO, IT HELPS BUT IT's HALF CLOSE TO THE REAL WORLD OF A DANCER!

THIS ISSUE WILL BE DISCUSSED AT UTOPIAN DREAM 2011 www.utopiandream.com.au

LOVE & LIGHT
Travers Ross
www.traversross.com.au

All dancers need to keep their bodies in tip-top shape. In order to succeed as a paid professional we also need to be dancing to the BEST of our ability. Do you have the skills to be offered a job?

Many full-time Dance courses are available & will be auditioning soon. So if you want your body & dancing to be at its peak, enhance your performance skills, knowledge & passion for dance, then start preparing for your audition now!

I recently spoke with Sarah Boulter-Evans who is a director at Ev & Bow. Ev & Bow is a full-time dance training centre located in Southern Sydney. Many know Sarah as an outstanding choreographer, from Australia's" So You Think You Can Dance". Sarah gives us some audition advise.

We are looking for a dancer that shows self discipline , maturity creativity and sound technical attributes. We look for a dancer that has sensitivity of movement and also a dancer that appears to enjoy what he/ she is doing. Someone that has strong goals and focus , and whom is driven to seek opportunities. We look for a dancer that has knowledge about their craft. In our audition we are interested in learning about each individual dancer so it is important they be themselves.

Plan before hand to ensure the audition day goes smoothly & avoid last minute panic. Auditions can be gruelling. Attend regular classes to increase stamina.

Know the location & allow extra time for travel. Allow plenty of time for warm-up.

Have a nutritious breakfast that will sustain you. Low Gi foods break down slowly during digestion & release blood sugar gradually into the bloodstream. Low Gi breakfast foods include Muesli made from whole grains, breads-whole grain, whole wheat, whole rye or any combination, some cereal (rice, corn or maize tends to be high Gi however oats or wheat tend to be low to medium), eggs, most fruit & smoothies made from whole fruit & low fat yoghurt, milk with added oats.

Dress appropriately. Hair should be neat & tidy. If wearing make-up ensure that its natural, flattering & has staying power through the sweat. Make sure shoes are clean. In a nut-shell you want to knock their socks of so plan your wardrobe to ensure you stand out!

Spend time researching the best course for you. Courses vary from theatrical, classical or contemporary dance. They may include vocal training & many offer a vocational certificate upon completion. Fees will also vary. Some courses offer performance opportunities & keep you up-to -date with audition information.

Auditions for 2011 places are fast approaching for some of the best full-time courses throughout Australia.

For a listing of Full Time Courses for 2011 go to DanceLife's Online Guide To Full Time HERE.

By Alana Hyde

This is one of the most common questions dancers ask me and to be honest, the answer isn't a simple one.

Firstly, and most importantly you must eat something! It takes energy to sleep (that's why we always weigh ourselves in the morning) and you don't want to be woken up in the middle of the night by hunger pangs! Eating a potion controlled healthy meal late at night, while not affecting your weight (despite the myths filling the media), will have a positive impact on your sleep. Let me explain...

It doesn't matter what time you put food into your mouth so long as the food your putting in is healthy, portion controlled and balanced in carbohydrates, protein and healthy fats. Lets look at two different scenarios, which explain the situation:

Scenario 1:
You are busy dancing all day so you eat small lunches and snacks that you squeeze into your routine until 8pm rolls around and you're starving! You decide to munch down a big healthy meal. In this case - even though you had a bigger meal late at night you are still in "calorie deficient" so you still may have lost a little bit of weight.

Scenario 2:
You go out for a massive lunch that goes on for hours and includes soft drink and plenty of food. Then you are still hungry at 3pm and have a sandwich. It get's to dinner and you're just not hungry so you have a light salad at 6pm and nothing after this time. You will still be over your calorie budget and therefore will still have put on weight even though you ate nothing after 6pm.
Can you now see that the time you ate isn't important, what you ate and the amount is what really matters?!
So having a light dinner when you get home isn't going to make you stack on the pounds unless you have already over eaten throughout the day.

In relation to sleeping. Eating just before you go to bed can cause indigestion, reflux and or heart burn if the food hasn't had a chance to digest before you lie down. Another problem with eating just before bed is that it takes energy to digest the food. This can take away from the energy needed to sleep which may result in a restless nights sleep.

So what's the answer?
Try eating something; however make it a small light meal that is easy to digest. Some examples could include: A light salad with tuna or a small bowl of chicken and vegetable soup and a piece of toast.

Remember the food you put in your mouth is like the money you put in the bank, it doesn't matter what time of the day you make deposits, the amount you are depositing is what really counts!

By Mia Ballenden from www.bodyfusion.com.au

Dance celebrity make up artist Tina Sparks gives us Make up hygiene in plain BLACK & WHITE!

We all know sharing make up isn't a good idea but just how bad is it? We often look to our fellow dancers for a lend of that Hair spray, bobby pins, bun nets & sometimes it's easier to use their lip stick, foundation or mascara as well.

Sharing good moral in the dressing room is the only thing that should be passed around. Often you may have eaten something in a hurry, still have food left on your lips and use your lip stick, then share that with your friends that have also eaten something or have had a cold and that's the start to all sorts of nasties beginning to be passed around.

Number 1 no no's on sharing make up.

LIP STICK: our Red warning alert is lip stick. This should never be shared no matter what! Their saliva, food, and dry skin will all be transferred to your lips!

Foundation: Our skin carries all sorts of oils and dirt that I'm sure you wouldn't want to share with your best friend!

MASCARA: Eye infections are the easiest to spread and the longest to hang around. Even sharing your mascara with your own eyes sometimes can cause a problem. As soon as you get any sort of eye infection, throw your own mascara away and get a new one!

EYE SHADOW, BLUSH 7 POWDER: All the same nasties mentioned about will be transferred from these dry shadows!

SPONGES & BRUSHES: even if your make up is clean it may be what you are putting it on with that is problem. Sponges should only be used once. The moisture in those little white sponges are a perfect home for bacteria. Brushes have lots of tiny little bristles that also provide hidey holes for germs to live in.

TOP TIPS ON SHARING:

Let's face it, we know we shouldn't share but sometimes we still do. If you absolutely have to share at the last minute then grab mums hand sanitizer and a tissue and gently wipe over your:
• Lip stick
• Cream foundation
• Lip & eye pencils (or sharpen in between)
• Lip gloss

For all your powder products when you get home pour a small amount of isocol alcohol in a spray bottle and gently spray a fine mist from around 10-20cm away (be careful not to WET your make up as it will set it permanently) then place your shadows, blush and powders in the sun on a table for an hour to kill those germs.

Also remember never Blow on your make up or brushes as germs love the moisture from your breath.

Where possible use your own make up & brushes and be sure to clean them after each performance. You shouldn't spend your time worrying about those little break outs caused by sharing your make up but instead your focus should be on giving a stand out performance every time!

Visit www.standoutcosmetics.com.au for more tips and tricks on Dance make up from Tina Sparks!

For most, motivation reflects the drive to achieve. What most people are not aware of, however, is that motivation can be positive or negative. Positive motivation comes from within - the desire to achieve. Negative motivation comes from outside the person - the threat of the negative consequences of not achieving.

Negative motivation involves feelings of being pushed or cajoled by an outside entity, perhaps by a dance partner, coach or significant others - this may bring the desired result, but can leave a person feeling disempowered - not a good place for a dancer to be. Negative motivation can also be easily recognised through your own internal language. Words like "should", "must" "got to" and similar are all indicators of negativity. Changing to "want to", "will" and so on can create a more positive slant on a situation. We are all in control of our own selves, and negative can easily be changed to positive through altering the way a situation is viewed and internalised.

Positive emotion is an underpinning element of success on and off the floor
and this is evident in all top performers.

Let me introduce two new terms - the in-dividual (your unconscious mind) and the out-dividual (your conscious mind). You'll easily recognise these in your own experience. The in-dividual knows what to do and simply wants to get on with it and enjoy the experience of dong it well. The out-dividual is that voice "in your head" ... that ongoing commentary that is quick to judge. You know where I'm coming from; we've all got our own examples to draw upon. You will easily identify which words will create negative or positive motivation.

So, how can these two powerful forces - the instructing out-dividual and
the doing in-individual - develop a solid "working relationship",
one that will lead to a high level of performance.

You need to appreciate that the in-dividual mind learns best through visual imagery. It has the ability to repeat an action after "seeing" it even only once - it knows what nerves are required, what muscles to engage and so on. The out-dividual tends to not trust the in-dividual mind (your nerves, muscles etc) to utilise natural learning processes, and takes on tasks it is not suited for, creating conflict and impeding progress.

Over instruction and negative criticism inhibits best performances from being achieved.

What would happen if you "trained" both "dividuals" to focus on those tasks they were designed to do, allowing a positive working relationship to develop, and positive outcomes to be experienced - in real terms, greater enjoyment of your dancing as well as improved performance through the now gainful utilisation of energy that was previously employed in criticism and self destruction.

How can we achieve outcomes rather than good or bad performances - because an outcome denotes an action leading to a result? Further, how can we maximise the attainment of desired outcomes and minimise those outcomes that don't bring the rewards sought? Achieving what we desire creates its own positive mental attitude that in turn leads to even more achievement ... and the desire to continue doing so (positive motivation).

The first step is to become aware of how each "dividual" works.

Your out-dividual:
- has the job of observing, evaluating, setting goals
- needs to give the in-dividual the freedom to do its job (to imagine) and the trust that it can turn imagination into reality
- must let go of the criticisms, the demands, the recriminations - "beating yourself up" - that perpetuate the problem.

Your in-dividual learns the only way it knows how, through:
- visual imagery (not verbal control).
- programming positively towards achieving anticipated outcomes

A strong working relationship comes from a mutually positive understanding between the two "dividuals" along with discipline on both their parts. Protect your in/out-dividuals.

What you think about ... visualise ... can determine a future performance more effectively than simply allowing your out-dividual self to look for ways of dodging errors and poor performances. You can move past a "mistake" simply by acknowledging an error has occurred, then let it go ... move on ... because you can't change what has happened. Instead, visualise what the preferred outcome was, and the action required to achieve it. Allow both your "dividuals" to try to get it right next time - ask your in-dividual self to visualise how it will look and feel, then ask you out-dividual to trust this will happen. When you "get it right" praise both your "dividuals" for a job well done. Reinforce this outcome through visual replay, using all your senses to appreciate the event. Invite yourself to do the same again next time ... and trust that it will when the time comes.

So, motivation and how to live it - positively or negatively? I suppose the answer lies in the result, and in how a person prefers to entice themselves into action. Either way, motivation doesn't happen by itself. The clever person uses both their ind-vidual and out-dividual selves to make the best of what has been dealt them.

What comes next depends on you - is your glass half full ... or ... half empty ...

By Jeff Withers
www.redriverjourney.com.au

A large cast these days might be 30 or 40 people in some larger musicals like Hairspray, Fame or even Mary Poppins...
Try over 1,200 performers in one cast!

It's called CREATIVE GENERATION - STATE SCHOOLS ONSTAGE.

I've just finished an epic week of choreography with more than 1200 Queensland state school students coming together at the Brisbane Convention and Exhibition Centre, South Bank, to show Queensland the wealth of talent of today's youth.

The show they put on was a dynamite collection of high quality singing and dancing performances by the youth with heaps of Queensland entertainment companies jumping on board including VELOCITY DANCE, FLIPSIDE CIRCUS and RAW DANCE COMPANY.

They say that Generation Y & Z have this instant gratification method they live by because of the speed at which they can accomplish things (thanks to technology). But what I was most proud of at this concert spectacular was that these kids didn't have this lazy mentality... instead, they worked hard, were determined and committed to seeing the hundreds of hours of rehearsals through and making this show a high quality one.

What was also exciting was the blend of primary schools kids, high school students and mentors all being fuelled by the same passion for entertainment, expression and creativity.

Thus, I have come to the conclusion that it doesn't matter whether you are a Baby Boomer, Gen Y, X or Z - what we really are is the Creative Generation. What we have is our various forms of creativity to unite us and project us into the future. There is no greater time than now to stand together and show the world how we sing and dance, bringing the magic of theatre to life.

A big, fat, cheeky congratulations to everyone involved!

If you missed it, then you can watch the televised version on Sunday 26th September at 2pm on Channel 10.

Logging off..

Callum Mansfield

Performers want to perform. Many believe they must perform to survive - they need it. Need the applause, the adrenalin, the creative outlet: the fantasy. The wonderful full feeling, the knowing: you are in exactly the right place at the right time - synchronous bliss!

Unfortunately performers, creative artists, whatever your title may be, if your sole focus isn't making money and instead expressing your art, life presents a few challenges. Particularly in Australia. One of those challenges is finding and maintaining a stable lifestyle while doing what you love. By stable I mean we all have to eat, sleep (somewhere), cloth ourselves and most of all keep that creative spark bright.

So off you go to audition after audition, training, rehearsing, researching eager to show off your wares in the hope of attaining the golden grail: performance. You miss out a couple of times, then finally you get it! It's amazing! You perform your season for maybe 1 week, 1 month, 1 year.

Then the cycle goes round again. Except this time your finances dwindle in between jobs due to the luxurious extras you became accustomed to while working, so you decide to get a day job to bridge the gap. The day job is hard to get out of when you get those last minute auditions, you step on some toes, lose a job here or there, get frustrated but keep firmly towards your goal to perform. You receive some great jobs and reviews (and some ordinary ones,) some performing, some in a cafe or bar.

Ten years later you are still living in share houses touring the country or overseas to get a longer contract, feeling a little less excited than you were in the beginning. You may be harbouring an injury or two, stepped on a few more toes and feeling a little lost. Do you decide to keep trying or settle down and get a real job?

This question and many versions of it, comes up for so many creatives at various points in their career. Having lived my own experience as a professional triple threat performer onstage, employed with less than 2 months break between contracts in music theatre from the age of 18 to 28 - I know how it feels. I have now successfully transitioned into a number of jobs after deciding I had, for the moment, finished my time ‘on the boards' and was passionately interested in exploring the many other elements of my creativity. I have since lectured at the VCA and other institutions in stage craft, I have choreographed and directed a variety of shows and events and am now an Associate Producer. I have also re-educated in Pilates, Yoga, Web design and Multimedia. Crazy you say! Yes probably ...but here you see a creative actively engaging in life wherever possible.

I believe every person has the need and desire to be creative. Some of us are more connected to it, others are creative with numbers with design there really is no end to it. The most important thing I have found is the psychology we utilise, our mental capacity to deal with the challenges and make the most of every opportunity.

The best way to provide yourself with a strong platform to soar from in the beginning, is a sound training in a specific area or in a broader range of areas if you aren't 100% certain which path you would like to venture. Research online, read magazines, ask role models questions to source the right training for your needs.

With anything, the more research you do the more confident you will be with the decision you finally make. While training, look to as many sources of inspiration as possible through music, visual art, performing arts, literature, mentors. A steady diet of incoming creative nourishment will appear in your work and drive your motivation.

Ensure your physical vehicle - your body - is also nourished with fresh food, hydration and rest. Train in moderation, be aware of your postural form and seek professional advice from a recommended professional for any sharp pain.

Be aware of your mental state while training, in preparation and during performance. Are you allowing a negative critique to cloud your creative flow? Give yourself the care and consideration you would offer a loved one trying something new whenever you have the chance. Be your most loyal support and spread that generosity to those around you also doing their best.

Once you feel ready to audition and make your art your business, investigate agents and companies you would like to work with comprehensively. It's not enough to Google wikipedia or the like. Speak to people, start creating relationships. Remember to treat everyone you meet with courtesy and respect, you never know who they may be connected to or how much you may want to be working with them or their mother, father, partner, best friend in the future!

Relationships with work colleagues, employees, teachers - anyone - are the most important part of an enduring career full of support, constructive feedback, collaboration and expanded networks.

By Cara Dinley

It was with great excitement that I attended a preview of the new Cameron Mackintosh presentation of ‘Mary Poppins', the stage musical last night. Who doesn't love the 1964 film featuring Julie Andrews and Dick Van Dyke? The author apparently... The Disney movie has become a cult favourite inspiring the imaginations of young minds all over the world for nearly 50 years and sing-a-longs that rival ‘The Sound of Music'. So I was surprised to learn the Australian born author, PL Travers, was not at all impressed with the popularised film version as mentioned by Mackintosh in an interview with The Australian on 21 July.

The Melbourne stage version featured Australian music theatre royalty: Debra Byrne, Marina Prior, Phillip Quast and Jack Webster in leading roles. But it was newcomer Verity Hunt-Ballard that truly stole the show. Her interpretation of Poppins was ‘pratically perfect' as the lyrics suggest. The very fact that Mackintosh gambled by placing an unknown in this role is admirable. Particularly in the current climate of television personality filled music theatre roles, whose larger distribution base hopes to ensure audience attendance. This casting choice, made by one of the most legendary stage producers, knighted for his efforts, was inspired, elevating Hunt-Ballard into an echelon of performers that are not only triple threats, but whose true star quality is something that seems reserved for the grand dames of the black and white hollywood era.

A standout favourite was marathon ‘Step in Time' ensemble number, armed with a brilliant extended orchestration and syncopated tapping to boot. It is imperative to deliver such a well loved piece so as not to disappoint. The choreography was tight, effective and en mass! Matt Lee's dance proficiency and proscenium tapping - if only there was more! All I could think of while watching was: if only the entire cast was strung up all over the stage on their various levelled roof tops. Something completely unattainable on stage, but an issue I see as an unfortunate restriction to music theatre in this current generation. The tantalising digital rides we get taken on in film can never be matched on stage and this is where sourcing a younger audience for theatre may prove more difficult in future years. However in this show there were plenty of flying persons and origami set transitions to keep the audience in awe. The linkage and pace of the show wreaked a lifetime of crafty creatives: musicians, lighting, set designers, technical directors, choreographers and producers working collaboratively to tell a story the best way they know how. The audience reaction - clapping along voluntarily numerous times throughout and standing ovation was testament to this show's appeal.

More info on Mary Poppins.

Review by Cara Dinley.