Ballet Revolution is about to hit Australia with its synergy of explosive Cuban rhythms and spectacular dance technique!

We had a chance to check in with Australian Producer, Mark Brady, and Australian Choreographer, Aaron Cash to find out a little more about their journey, their contribution to the entertainment industry and this amazing show!

Mark Brady – Producer

Mark Brady - Producer

Mark is a leading Australian producer with a passion for making live entertainment infused with cultural richness and diversity accessible to western audiences.  He is a third generation entertainment industry promoter and producer who developed the theatrical show arm of the family business. His first success was Gaelforce Dance, which he co-created during the era of Riverdance and Lord of the Dance. It went on to tour Australia, New Zealand, USA, Canada and spent three years touring Austria, Germany and Switzerland.

In London during the late 90s, Mark met Jon Lee, whom he collaborated with and director Toby Gough to re-produce and launch Lady Salsa in Australia which was a great success and spent most of its life touring Europe. Motivated by this success  and inspired by several documentaries on Cuba, Mark along with Jon Lee and Toby Gough investigated the famous quarter in Havana, Buena Vista. Home to the intensely passionate music and dance for which Cuba is famous, they created an extraordinary show The Bar at Buena Vista featuring three legends from Buena Vista, who tell its history through music and dance. The Bar at Buena Vista has been touring the world for eight years.

We asked Mark …

What do you feel is the most captivating element of the show?

The power, the dynamics and passion of the dancers is incomparable to anything on the Australian stage. The Cuban flavour that flows through the dancers is intoxicating. The passion of every individual transcends onto the stage.

How do you see the Australian audiences responding to Ballet Revolución?

Having originally toured Australia in 2011, we have experienced the love Australian audiences have for the show. They loved it then and we expect them to love it even more now! The show has developed a lot over the years and we can’t wait to bring it to Australian audiences; it was great then and will be even better in 2013

The Cuban dancers have been described as ‘living’ dance – can you further comment?

In Cuba, dance is like breathing. They live and breathe dance it’s such a natural part of life. Along with music they are born with an unparalleled passion for it. Not just dance but the arts in general are such an integral part of the Cuban Nation. Even the worst Cuban dancers is amazing, it’s in their bones, it’s what they know how to do.

What inspiration can Australian dancers draw from this show?

The interaction between the audience and the dancers is so raw; there is no barrier between the performers allowing their passion to transcend to every audience member. The audience is drawn into the world of intense passion that is felt by Cubans whenever they dance.

Any tips for young Australian talent wishing to follow a similar career path as yourself?

It is definitely not a career path for everybody. I don’t think or consider it a job rather a way of life that you feel you have to do. To dedicate your life to show business takes a lot of commitment and passion. In order to forge a career the dedication must be there.

Aaron Cash – Choreographer

Originally from Brisbane, Aaron Cash is a talented performer and one of the original “Tap Dogs“. Early in his career, world renowned choreographer Kenny Ortega (Dirty Dancing and High School Musical 1& 2) cast Aaron in Cher’s Love Hurts Tour. This opportunity culminated in an impressive 10-year touring relationship as Cher’s lead dancer.

In the early 1990’s, Twyla Tharp hand-picked Aaron to become her personal Pas de Deux partner and the legendary Mikhail Baryshnikov added Aaron to their world tour.

His innovative and creative skills as a performer, choreographer, and artistic consultant are now highly sought after the world over. He has consulted in a variety of mediums, from his work with Wet Design (the company responsible for the Belagio fountain in Las Vegas) on their fountain at Steven Wynn’s latest luxury hotel in Macao, China to serving as the personal tango coach for Jolie Richardson on Nip/Tuck.

Aaron recently completed the role of the Matador in the Los Angeles Opera’s production of La Traviata. He has been featured in films such as Titanic and Hook, The Curious Case of Benjamin Button and Bolt. He travels the world extensively, hosting, coaching and teaching choreographic and dance seminars.

We asked Aaron …

Aaron Cash - Choreographer

What drew you to this production / how did you become involved?

John Lee, producer of the show, who I have worked with on various shows from 1997 originally called me as he wanted my resume to broaden his options, then two days later he asked me to come to Cuba and audition dancers. I have been involved choreographing ever since.

Which elements of choreographing for Ballet Revolución have you found most challenging / most rewarding?

All challenging! This is the biggest event I have partaken in and was very overwhelmed by the task. But once I found I was more than capable and worked through my own insecurities I was able to relax into the role and really enjoy working with the Cuban dancers. I have a great working dance knowledge and have being able to utilize that has been an absolute dream.

As co-choreographer to Cuban dancers, have found any language or interpretational barriers?

Some of the dancers speak English so there hasn’t been too much of a barrier. Through the years my Spanish has definitely improved so the language barriers have definitely lessened.

What have you enjoyed the most about working on this production and with these dancers?

It has been an amazing healing experience for me. The dancers have shown me a great amount of appreciation a feeling that I have been able to reciprocate. In a time when dancing is no longer capable for me I am able to dance through them. I am so grateful for the dances empathy and warmth throughout this experience, we have truly become like a family.

Any tips for Australian dancers / choreographers wishing to follow a similar path to international success like yourself?

Don’t give up. It may be very hard in Australia due to the lack of industry opportunities but if you want it you can achieve it. Dancers have a short time period to be successful so go hard be hungry and don’t get discouraged. And remember to keep getting back up no matter how many times you hear the word no.

Show details:

QPAC, Brisbane – Dates: Wed 19 – Sat 22 June

Tickets:A Reserve: Adult $101.30, Adult (12+) $81.80, School Groups (12+) $71.60. B Reserve: Adult $ 92.10, Conc $81.80, Adult (12+) $81.80, School Groups (12+) $71.60

Bookings: www.qpac.com.au

State Theatre, Sydney – Dates: Tue 25 – Sun 30 June

Tickets: A Reserve: $98.90, B Reserve: $89.90, Conc $79.90, Groups (12+) $79.90, Student/Dance Schools (20+): $69.90 Tue & Wed night only

Bookings: www.ticketmaster.com.auor 136 100

Arts Centre Melbourne – Dates: Wed 17 – Sun 21 July

Tickets: Premium: $95.90, A Reserve: Adult $89.90, Conc $79.90, Groups (6+) $79.90, Youth U26 $49.90. B Reserve: Adult $79.90, Conc $69.90, Groups (6+) $69.90, Youth U26 $49.90

Bookings: www.ticketmaster.com.auor 1300 182 183

Her Majesty’s Theatre, Adelaide – Dates: Tue 23 – Sun 28 July

Tickets:A Reserve: $98.90, B Reserve: $89.90,Conc $79.90, Groups (8+) $79.90

Bookings: www.adelaidefestivalcentre.com.au

Crown Theatre, Perth – Dates: Tue 30 July – Sun 4 August

Tickets: A Reserve: $98.90, B Reserve: $89.90, Conc $79.90, Groups (12+) $79.90, Students/Dance Schools: $69.90

Bookings: www.crownperth.com.au

Regional Centres

The Arts Centre, Gold Coast -Dates: Wed 3 – Sat 6 July

“Everything was done with effortless cohesion and
precision which made it all look so easy. Next plane
to Havana anyone?“
T h e Au s t r a l i a n , Au s t r a l i a

What are bunions by Sally Harrison - Perfect Form Physio

ASK THE PHYSIO………

What are Bunions?

Many dancers may be concerned at the possibility of developing unsightly and painful bunions on their toes as a result of dance. Whether this be as a direct result of pointe work, heeled shoes or even with dynamic foot control dancing barefoot. Although this is a valid concern, and can be true in some situations, it doesn’t need to be the case.

What Are Bunions?

A bunion (Hallux Valgus) develops around the big toe joint and can ultimately be quite painful and restrictive with movement. It is a mal-alignment of the big toe joint, when the end part of the big toe begins to angle in towards the other toes, and the base of the toe (first metatarsal) drifts away from the second metatarsal. Extra bony growth (osteophyte lipping ) around the 1^st toe joint can also be referred to as a bunion and can be equally painful.

History And Causes Of Bunions

A bunion is normally a result of altered lower limb mechanics and control. This means that the leg doesn’t move very efficiently when walking or dancing. Over time the 1^st toe joint is subjected to more stress than it is supposed to take and this leads it to become irritated and sore. This repeated irritation leads to new bony growth around the joint to make it stronger and resist more loading. However, it becomes very painful and further restricts normal movement of the toe.

The cause of this irritation is often due to poor movement control higher up in the hip and pelvic region. Good hip, pelvic and core control is essential for strong and efficient leg and foot control when dancing.  Over turning out from the knee, with poor turnout control in the hips, can lead the feet to over pronate in 1^st and 5^th position and irritate the 1^st the joint.  This is also the case with repeated landing in jumps and leaps with weak hip control from above.

Symptoms

Pain is normally the first indication that we have a problem in this area. Pain is felt along the joint line of the 1^st toe. It may even be tender to touch and can sometimes look red and inflammed. It will also be very painful in a demi pointe position and can lead the dancer to sickle the foot to avoid full toe extension and pain into the toe joint.  This is the case whether dancing barefoot/ballet shoes or being forced into demi pointe in a heeled shoe.

The toes no longer look straight due to the drift inwards and it can be problematic fitting shoes, both for dance and normal street wear.

Diagnosis

Diagnosis can almost be made by the individual. Assessment of why it has occurred however will need to be done by a trained physio/ clinician. Pinpointing the primary cause of the movement dysfunction is of paramount importance for treatment and corrective rehab.

Treatment

The earlier you start rehab the better!

1. Taping to help to correct the toe alignment and offload the joint. Many people use toe separators, and this may help prevent the big toe from crossing the second toe, however it does not solve the real problem. It is preferable to tape under the head of the first metatarsal, draw the tape up and over the knuckle and de-rotate the first metatarsal. The tape is then wrapped around the big toe. A tape can also be used to keep the head of the first metatarsal in closer to the second and reduce sideways drift.
2. Correct use and strengthening of the small intrinsic muscles of the foot to support the transverse and longitudinal arches of the foot
3. Awareness of foot placement, ‘tripod’ positioning with even weight over 3 points of the foot.
4. Supportive foot wear with correct width and arch support if required. Avoid wearing heels too often!
5. Mild padding (foam doughnut) may ease pressure if placed over the bunion in a dance shoe.
6. Corrective exercise for the leg and pelvis to ensure correct alignment and stability for the lower limb.
7. In very severe cases, the toe can be operated upon and straightened and pinned in place. The toe however is now very immobile so a lot of function is lost leading to problems further up into the body in the hip, knee and spine.

Recovery

Over time with guided treatment and help with taping, there may be some degree of correction in alignment of the toe; however any extra bony growth will remain. The main aim of treatment through guided rehab with the appropriate exercises is to prevent it worsening and minimise the frequency of ‘flare ups’.

Prevention

Will my dance shoes cause my bunion?

Just as continuous use of ill-fitting street shoes can cause damage to the toes, it is feasible that ill-fitting dance shoes will lead to the same outcome. However, if shoes are fitted well and the width is correct with good support there shouldn’t be a problem. If dancing frequently in heels however, be mindful to wear flat shoes and allow the feet to move normally when off stage.

In Summary

• Bunions can be avoided with strong feet, hips and core.
• It is very important to have well fitting dance shoes. A professional fitting is required for a pair of pointe shoes.
• Alternate foot wear from heels to flats. Have bare feet to allow the feet to strengthen also.

If you have any further questions or require assistance with your dance rehab we will be very happy to guide you further (www.perfectformphysio.com)

Photograph by Ken Sparrow

THE METHODOLOGY OF TEACHING

–        by Francois Klaus and Robyn White –

Dear All,

Quite recently I was most lucky to be made aware of a new website belonging to Francois Klaus [ ex – Artistic Director of the Queensland Ballet ] and his wife Robyn White [ ex – Artistic Associate of the Queensland Ballet ]

Upon visiting the website I found the most interesting and in depth commentary from both artists on their “methodology “ of teaching classical ballet.

Whilst it is true that their comments pertain mainly to working with professional dancers in the context of teaching classical ballet, I found that their awareness of all that it takes to communicate dance from one person to another quite extraordinary. And I feel that this knowledge could cross all genres of dance and teaching at all levels, as it really gave me pause for thought.

With their permission, I have provided below an exact transcript of their words – in truth a copy and paste job, for you all to read.

There is so much wisdom, intellect, thought, passion, and artistry in both person’s comments and a true insight into the world of teaching dance that I trust all teachers, aspiring teachers, dancers and professionals will enjoy soaking up their philosophies and basking in their methodology for a moment or two.

So – please – enjoy the wisdom that comes from a lifetime and two careers, dedicated to dance and passing on a very specialized craft from one generation to the next!

FRANCOIS COMMENTS ON THE METHODOLOGY OF TEACHING

You would think there’d be no secret to training a ballet company. The rules of classical ballet are very well defined; set curriculums and systems of progression in teaching exists in all the major ballet schools of thought. There is also a significant amount of literature left by influential ballet teachers giving numerous examples of step combinations. Furthermore, any teacher or ballet master is sure to have been a dancer at some point of with an enormous amount of experience in ballet classes. Yet I know that professional ballet training across the world ranges equally from training that truly develops the dancers’ craft to training that merely “warms up”, or even training that is frankly so bad that its only asset is to teach you what not to do.

Throughout my life as a dancer I was exposed to many different approaches to teaching. In my early training I was exposed to the French School with a strong influence from Rudolf Nureyv (who was working with Marika Besabresova at the time) and Erik Bruhn who introduced me to Bournonville.

Later on in Stuttgart I was exposed to the systems of the Royal Ballet School (John Cranko liked the clear lines and intricate footwork of the English) and at Hamburg Ballet there was a strong Balanchine influence under Truman Finney. Finally, Irena Jacobsen reintroduced me to the Kirov school of thought in my later dancing years.

I worked under these different methods for years at a time. Eventually I was able to determine how the different approaches developed different strengths (as well as weaknesses in some domains). This is an understanding that took time to develop however; as a dancer it is easy to tell whether a class feels ‘good’ or not but it can be difficult to distinguish between step combinations that encourage real progress and combinations that are merely fun or even just fashionable (some popular combinations really aren’t very good but become such a staple they are practiced everywhere).

As dancers start to teach, they tend to cater to dancers of their own body type and temperament, forgetting to take the vast array of different body types and abilities of a full company into account. For example, dancers who were very fast and naturally agile have the tendency to give class a little too fast. Similarly, a teacher with choreographic aspirations may create complicated combinations in class for his own fulfillment rather than for the development of his dancers.

With this in mind, good teaching fundamentally requires an understanding of classical ballet on many levels that may not be immediately apparent to the dancer. The most fundamental of these in my opinion is an awareness of how to structure sequences with musical sensitivity. For example, many teachers miscalculate the time it takes to do difficult steps cleanly leading to a mismatch with the music. This means that if the dancer executes one step of the combination well, it makes him late for the next one. The result is that the dancers either fight to be on the music and sacrifice the cleanliness of the exercise or ignore the music in order to do the steps properly.

While it is true that the optimum speed of any step varies with every dancer’s body type and temperament, at the same time most steps, in particular jumps and turns, have a “natural tempo” of execution that should be respected. Of course it can be brilliant to watch a step combination taken out of its comfort zone but in my view this is more of choreographic interest and should remain an exception in class. In training, excessively fast or excessively slow tempos that go beyond the dancers’ control encourage faults.

In a healthy step combination on the other hand, the timing and relationship of steps to one another encourages the dancer to do the steps correctly. This requires a thorough understanding of the required body mechanics as well as an understanding of how one step transitions into another; the execution of any step will vary according to its preceding and the following steps. Finally, the combination must be phrased with musical sensitivity.

There is yet another level of understanding which has to do with reaction and opposition to movement. To use a simple example, if the dancer pushes and opens his arm to the right, his body will automatically push to the left a bit. A similar effect will take place if he closes his left arm towards him; his body will automatically push to the left. The timing of these actions will greatly affect the dancers’ ability to turn and pirouette. Some dancers grasp this principle instantly through natural coordination.  However, even though they may be able to demonstrate with surety, an excellent dancer whose technical achievements are primarily reliant on instinct and natural coordination will find these body mechanics difficult to teach and explain.

Finally, there are some other factors to consider. You have to develop an understanding of choreographic complexity, the use and limits of repetition and an ability to balance the composition of the class with a natural evolution of exercises (a brilliant combination at the wrong part of the day can be disastrous.) But the biggest secret is probably this; there are some pieces of advice that are fundamentally applicable to all dancers, and others that are deeply personal to you. Dancers react differently  to different approaches,  according to physical type and temperament. So be able to distinguish between the universal and the individual, and share your personal gems pragmatically.

ROBYN’S COMMENTS

People often speak of technique and artistic quality as two separate and unrelated concepts. I believe they belong together.  A dancer may feel they can express a lot but without a framework or the “corset” of good technique, their expressive dancing will very likely just look amateur. Conversely, a dancer may be able to do many pirouettes, jumps and fashionable “tricks” but if these steps are poorly linked, if the dancing is not harmonious and smoothly co-coordinated, their dancing will have more to do with sport than art. In both cases the problem is more that of emotional disposition than physical limitations. My work as a teacher endeavors to tackle these problems and develop technique and artistic sensibilities simultaneously.

I believe the first step is to create an atmosphere conducive to this in the morning class.  It is the first part of any dancers’ daily work where they will train in groups of anything from 15 to 60 dancers at a time.  When you walk into the studio as company teacher, the dancers are invariably lying down, stretching and talking amongst themselves; they are tired, some are sore, some injured, some caffeine-deprived and some possibly hung-over. Probably none of them really feel like engaging in the total physical commitment and exertion that is going to be expected of them.  Nevertheless your job as teacher is to bring them from this slipshod state to one of energy, focus, productivity and enjoyment – all within 75 to 90 minutes.

Many teachers resort to their own personal energy input and charisma in order to achieve this. They talk in a loud voice and give a running commentary of corrections and/or encouragement. Indeed, in the early days of my dancing career a good teacher was synonymous with these sort of motivational tactics; the class was easily as much about the teacher as it was about the dancers.

Under the influence of George Balanchine and the likes of Stanley Williams in New York however, an alternative, quieter atmosphere was introduced encouraging a focus initiating from the dancers rather than the teacher. Fuelled by the embrace of jazz and contemporary music by choreographers throughout the 20^th century, this school of thought also encouraged teachers and dancers to rhythmically train the muscles to the music (previously it was fashionable for ballet pianists to alter the music so as to follow the dancer rather than other way round.) Doubly developing technique and a degree of rhythmical musical sensitivity, this became a most productive way to use the barre to warm up.

The body feels marvelous when worked consistently in this fashion.  It is a method that I was fortunate in being able to study for some years and which, with the support of excellent pianists, I have incorporated into my own class.  Little time is spent explaining in the first part of the class, the exercises follow in quick succession and need to be rhythmically perfectly calculated. From a teacher’s perspective the added advantage is that the dancers’ concentration is more on the actual class than on the teacher’s personality. Working together on a daily basis the dancers are going to get tired of you, no matter how entertaining or charismatic you may be, so bringing the focus back to them is a good antidote to this.

Even in class, it is easy to see that most dancers tend to work unequally with regard to their technique and artistry. In great dancers however, both aspects are not only well developed but co-dependant and this is the ideal to strive for.

For dancers who are spiritually free with facility of movement but impatient and unclean, you need to find a way to “rein them in”; to have them understand that detail and discipline are very much a part of a mature approach to an art form.  This doesn’t mean you have to resort to constant nagging; it can be done with humor and good grace.

On the other end of the spectrum are the dancers who are born perfectionists with natural discipline but have trouble with abandonment in their dancing.  They may struggle with interpretation, projection or musical phrasing. In dancers with this particular problem, imagination needs to be encouraged at all times. I think it’s so important for dancers of any age to feel there is no limit to the use of their imagination; it breathes life into the rules and discipline of classical ballet.  Imagination also doesn’t need to be treated with much reverence. I find drawing unexpected, even silly analogies with what needs to be achieved is a very effective method of drawing dancers “out of their skin”. For this reason I also feel that associated disciplines such as drama, physical theatre, music and other dance forms are very useful for the dancer’s overall versatility and flexibility of spirit.

You can also develop a dancer’s artistic sensibility from a more technical standpoint. The linking of steps for example, the understanding of the correct transfer of weight, is something that is often neglected by teachers and some teaching systems. It is vital for both harmony of movement, without which it is difficult to have an artistic quality, as well as technical prowess. I am so glad to have been able to study it for some years with Kirov teacher Irene Jacobsen. It is a concept you can use advantageously on all levels, from children onwards and on all physiques, including those not particularly cut out for careers in classical ballet.

Finally, with regard to both technique and artistic development, it is essential that you nurture the dancer’s ability to learn. This means that for clarity’s sake, you need to differentiate between corrections that can be given dogmatically and those that can’t.  For example, you can be very firm about righting a sickled foot, hunched shoulders or unmusical dancing; these are universal corrections. There are other pieces of advice you will have gleaned from your own years of personal experience however; these will probably work for some dancers but not for all. Body types and temperaments are so different that while you may have a storehouse of personal tricks that serve you well, it doesn’t mean they should be considered universal revelations in dance technique. I usually qualify these personal directions with “I suggest you try” or “Try this, you may be asked to do it another way, but for now try this way.” Even with younger dancers, this introduces the idea of an unending search, the permanent evolution of dance technique and keeps the concepts of flexibility and ongoing analysis alive. Only a dancer who is analytical and curious can stay on the path of constant development.

So – as I said earlier – food for thought! And sumptuous food at that!

May you all enjoy basking in the joy of reading those words and perhaps taking some of their concepts into the classroom with you when you next teach.

And for more information on Robyn and Francois – feel free to visit their website for yourselves: www.fklaus.com

Till next time – love dance and share the joy,

Christine Denny

www.tapatakoz.com.au

Advertorial - Jason Coleman's Ministry of Dance, National Workshop Tour

Jason Coleman’s Ministry of Dance – National Workshop Program

Ministry of Dance provides accessible dance to every person, of every age, of every skill level furthering their education, knowledge and experience in dance and performance, all delivered in a supportive and caring environment.

Through the National Workshop Program, the Ministry of Dance are able to spread their love and passion for dance and take on the road the key tools that are needed to establish a successful and sustainable career in the industry.

Jason Coleman and his key teaching faculty provide an experience of a lifetime; delivering engaging workshops able to be catered for any group and customised to suit specific programs and needs. The National Workshop Program is suitable for Primary and Secondary Schools and Specialist Dance programs for Dance and Performance studios anywhere in Australia.

The National Workshop Program gives participants the opportunity to work with the best in the business, ask the questions they’ve always wanted to know the answers to, and be inspired by the people that have made it happen. Not only will participants receive feedback on dance and performance, they will also be mentored in team-building, leadership, confidence, growing independently and individual thinking.

Jason Coleman’s Ministry of Dance are dedicated to dance, and want every person to experience this for themselves.

Contact the Education Team today for further information on the National Workshop tour education@theministryofdance.com.au

We would love to visit you and your students.

Link to Video:  http://www.theministryofdance.com.au/video/all

Break the Ballet

It was a brisk morning in September 2009. Anticipation and nervousness was buzzing in the air, bouncing frenetically off the studio mirrors at Urban Dance Centre. Over 60 students filled the room, psyching themselves up in preparation to give the best audition for a spot in the 2010 Fulltime course @ UDC.

Before today there had already been over 100 applicants audition, places were limited and they all knew it.

The audition panel assembled, calling everyone to attention.

“Today we want to see you doing what you love. Show us your strengths and we will look for potential where you are weak. Enjoy yourselves and prepared to be challenged in different genres of dance. Don’t hold back and let’s have fun!” Juliette Verne’s (a.k.a Jet) voice echoed around the studio and excitement began to replace the nervousness in the eyes of many of the auditionees.

“The day will be split into 5 sections. Ballet, Jazz and Hip Hop will be first, then Singing and Acting, in that order.”

A young 17 year old sandy haired boy from Como West with his hat on sideways scanned the room intensely.

“Ballet!?” he thought,

“This is meant to be a school of Hip Hop! I’m here to show them my Break Dancing not get into a pair of tights…” Jeremy Gates was having doubts if this was the right place for him.

The ballet barres were in place and the applicants ordered into their position by name and then, it was on!

Classical music piped through the speakers and beads of sweat immediately sprung to life on Jeremy’s forehead within moments of Adrian Van Winklehof taking them through the basic ballet forms and the day turned into a blur of choreography, physical exertion, acting, singing and before he knew it Jeremy was standing there, on his own, blinking in front of the 3 person panel before him.

“So tell us Jeremy, why do you want to do this course?”

The question hung in the air for a moment as Jeremy ran through the day and also his motivation for being here in the first place.

“I’ve come to be a better breaker and hip hop dancer.” he said “that’s what I do.”

“You understand Jeremy that this course requires you to tackle different genres of dance and Ballet is one of those?” Jet said.

“Yeah, well, I don’t really want to do ballet. That’s something girls do right?…”

The audition panel was silent for a moment.

“Ballet is a great foundation to build strength and flexibility Jeremy. It’s not something ‘just girls do‘ and if anything it will make you a better and more versatile dancer. Something that is important if you want to work in the industry. This course requires you to be ready to commit and willing to challenge yourself to new things both physically and mentally, especially if you want to have a chance of getting somewhere.” Jet stared at Jeremy waiting for a response.

“Do you think you have what it takes? Do you think you’re strong enough ? I dare you to accept the challenge.” Jet said with a smile on her face.

Jeremy “Gatesy” Gates was discovering something new, he didn’t know exactly what it was but the muscles in his body were screaming at him after the days audition, and it felt good…

‘I dont know how I’m going to explain these black tights to my mates back home.’ he thought

‘BUT I’m not going to back away from this challenge, especially if it’s going to make me stronger!”

“I can do it!” he said in a strong confident voice, a big smile on his face and determination in his eyes.

Those words echoed around the room with grins from the panel and Gatesy’s journey had begun!

2010 was a year of unsurpassed commitment,dedication,perspiration and positivity at Urban Dance Centre with training and guidance from some of the best faculty the industry has to offer.
Fast forward with his discovered love of ballet:
2011 saw Jeremy move on to further study with the wonderful Tanya Pearson.
2012 Jeremy travelled with Tanya Pearson’s European Ballet tour across Belgium, Germany and Switzerland and was offered placement at 4 different schools. After much deliberation he accepted a place at Mannheim, returning to Australia later in the year to appear in performances such as the Nutcracker and others.
2013 present day – Jeremy Gates has scored a Full Contract in a Ballet Company!! After auditioning for 4 different companies Jeremy was successful in securing a spot in the Thuringian State Ballet. Happily for Gatesy his girlfriend also scored a contract in the same company!

Gatesy says his break and hip hop training actually gave him the edge over the other male ballet dancer’s who auditioned because the choreographer wanted that “something different” flavour.

Some messages from Gatesy whilst abroad in Europe:

2012 – Mannheim (after being at the school for a few weeks)

“I start warming up at 8:15am and do a 2 hr classical class with 4 other boys Monday to Saturday 9 till 11. It is the most intense thing I have ever done I am dripping with sweat by half way through barre and exhausted after class. We do an hour barre, 30 mins on centre/pirouettes, then jump for 30 mins, we then have a 30 minute break and for the rest of the day either a pas de deux class, modern,character, more ballet centre practice or Pilates. Some days don’t end until 8:30 pm like tonight and last night.

I am loving it so much and I feel improvement already its a way of not just working hard, but also smart so everything becomes much more clean and placed.

….

2013 – After scoring a Full Contract in a Ballet company

Stacks of love,

Gatesy”

Story by Doug Blaikie

LET’S DO THE TIME WARP AGAIN!

THE BRAND NEW 40^th ANNIVERSARY PARTY PRODUCTION OF THE WORLD’S FAVOURITE ROCK N ROLL MUSICAL

 Richard O’Brien’s The Rocky Horror Show is back! Fish out the fishnets and sharpen those stilettos for the rockiest ride of your life! Producers Howard Panter and John Frost today announced that the much loved iconic musical will open on December 31, 2013 at the Lyric Theatre, QPAC, Brisbane followed by seasons at the Crown Theatre, Perth in February, and the Festival Theatre, Adelaide in March. This fresh production is currently playing in the UK to sell out houses, and our exciting new production will feature a sexy and very surprising all-Australian star cast.

 “STILL THE FUNNIEST AND SEXIEST SHOW AROUND” – Evening Standard

 The Rocky Horror Show is a true classic and one of theatre’s most endearing and outrageously fun shows. It opened at London’s Royal Court Theatre on June 19, 1973, quickly developing a cult following, and was adapted into the 1975 film The Rocky Horror Picture Show, which has the longest-running release in film history. This iconic brand holds a unique place in theatre history, a show which has defied the decades and continued to grow in popularity. In 2010 the music of Rocky Horror was showcased in the smash hit TV show Glee, seen by over 20 million people worldwide.  Rocky Horror even has its own postage stamp.  This exclusive new 40^th Anniversary Production is proving more popular than ever with new audiences and fans alike.

 One dark and stormy night, follow squeaky clean sweethearts Brad and Janet embark upon an adventure they’ll never ever forget, when they stumble upon the scandalous Frank N Furter, the rippling Rocky, a mysterious Riff Raff, the vivacious Magenta and the ultimate show stopping toe tapping gal Columbia.  Get ready for a night of fun of frolics and frivolity in this all new production of Richard O’Brien’s classic iconic story. 

 Millions of people all over the world have and continue to see  productions of The Rocky Horror Show and sung along to classics like Sweet Transvestite, Dammit Janet, I Can Make You A Man, Touch-a Touch-a Touch Me, Over At The Frankenstein Place and of course The Time Warp. 

 The show has always attracted notable cast members, and those who have put their hands on their hips and done plenty of pelvis-thrusting include Reg Livermore, Craig McLachlan, Jason Donovan, iOTA, Kate Fitzpatrick, Daniel Aberneri, Tim Curry, Tracey Ullman, RuPaul, Jerry Springer, David Arquette, rockers Joan Jett and Sebastian Bach, plus Russell Crowe, Luke Perry, Anthony Head, Tim McInnerney, Michael Aspel, Ben Forster (currently playing Jesus in Jesus Christ Superstar in Australia), Robbie Williams, Steve Pemberton, Roger Lloyd Pack and Windsor Davies.

 “It’s time to dust off the fishnets and do the Time Warp again,” said John Frost and Howard Panter. “Following our successful collaboration on Legally Blonde, we wondered what should be the next musical we produce together in Australia. People are always talking about The Rocky Horror Show, and wanting to see it again. Why? I think the answer is simple – it’s a guaranteed fun night out, a full on party. Audiences know many of the words, they know many of the dance moves, and no matter how many times they may have seen it before, they want to come back for more! But be sure, this witty new production has many new twists. A classic that is fresh again.”

 Richard O’Brien’s The Rocky Horror Show has not been seen in Brisbane, Perth and Adelaide for 15 years. Tickets go on sale on Monday July 1. If you have voyeuristic intentions, you know what to do – buy a ticket before madness takes its toll.

 www.rockyhorrormusical.com.au

/RockyHorrorShowAustralia

@rockyhorrorau

Erica Sobol

THE HIGHLY ANTICIPATED WORK OF ERICA SOBOL HITS SYDNEY & MELBOURNE

The incredible international choreographic talents of Erica Sobol have hit Australian shores with high anticipation for her upcoming production tour WALLOW (then run, gypsy, run!).

Wallow (then run, gypsy, run!) is the final showcase of the collidEdance intensive – a celebration of the connection of skill, energy and spirituality in the practice of dance. The project’s name reflects two significant elements of the dancer’s journey. To wallow is the recognition of the time, energy and commitment it takes to achieve a dancer’s goals – but that wallow is soon replaced with a call to Run, Gypsy, Run! It is an appeal to that itinerant, energetic gypsy artist in the dancer to run, to release the past in order for more opportunity to grow.

The collidEdance Intensive: Australia is a 6-week long dance program led by renowned Los Angeles dancer and choreographer Erica Sobol. Held in Sydney and Melbourne over six weeks, Erica’s intensive has given 20 highly skilled Australian dancers the opportunity to develop a stronger connection of mind to body in their art. This merging of soul and skill is the inspiration for their showcase performances, held in both Melbourne and Sydney in late May.

Erica Sobol is the founder and artistic director of collidEdance, an ever-evolving professional dance initiative dedicated to blurring the line between dance and theatre. Her extensive international work focuses on creating and affirming the community of dance – encouraging dancers from all over the world to work together, blur boundaries and make great art.

Australia is the first stop of Erica’s international teaching tour, and Wallow promises to be filled with the energy and creative force that has seen collidEdance shows sell-out in New York and Los Angeles.

SYDNEY: 25th & 26th of May at Bangarra Dance Theatre.
BOOKINGS: www.trybooking.com/cvvz

MELBOURNE: May 30th-1st June at TheatreWorks
BOOKINGS: www.theatreworks.org.au

Caitlin Gray with Kelley Abbey - Great Gatsby Sydney Premiere Party

New York Choreographer, Caitlin Gray, has wowed Sydney’s VIP’s with her creations to match Baz Luhrmann’s vision of Gatsby decadence at the Premiere’s after party on Wednesday 22nd May.

Caitlin spoke to us at length about what she has loved working with Baz on both the New York and Sydney Australia premiere events.

DanceLife: What do you love about Australian dancers?Caitlin Gray: ‘The Sydney dancers are amazing … the energy … that’s what I’ve always loved about them since I’ve been coming to Australia over the past three years. That’s probably what distinguishes them from every other dancer that I’ve worked with in New York or anywhere else – it’s their energy and their passion, their attack when they perform. They are at 100% right off the bat. I love Australian dancers!

DL: Did you find the Hordern Pavillion space very different to work with in comparison to New York’s Plaza Hotel?

Caitlin Gray: ‘Its a much larger space, which presented more challenges but we have a really wonderful director and technical crew and stage manager etc that make my job easier.

DL: How have you found working with Baz Luhrmann?

Caitlin Gray: ‘He is a creative genius! There aren’t many, if any, other people that function on that level. He looks at a room and he ‘sees it’ from director’s point of view, with director’s eyes. Everybody should learn to take notes when he’s in the room – purely from his level of experience and his creative mind.’

DL: Baz has said he is ‘passionate about reinventing the modern musical’. Do you think he has achieved that with The Great Gatsby?

Caitlin Gray: ‘Oh definitely, it reaches the younger generation and that’s the whole point really. He’s a genius with the soundtrack, and that’s the way Baz has communicated to the younger audience. They connect to the music, they connect to the 3D element, the modern actors and his spin and take on the story and what he chose to focus on is very different to the Gatsby movies that have been made before it.’

DL: The fact that he has incorporated song and dance – how does that appeal to you as an American regarding an American iconic story such as Gatsby?

Caitlin Gray: ‘As a choreographer, music enhances everything for me so a good soundtrack is like having the perfect outfit for an event. It really is just an accompaniment that can either make or break a show, a film, a live performance – anything – so it’s really a key factor in a successful production.’

For more information on Caitlin Gray – her career and achievements – read more here

The interior of Sydney’s Hordern Pavilion was last night transformed into the decadent Gatsby Mansion. Lavishly decorated in opulent gold and silver with a massive tinsel chandelier encircling the rooftop, the room is set to host ‘Party of the Year’ and celebration of the brilliance that is Baz Luhrmann.

Having already grossed over $135 Million at the box office since opening in New York two weeks ago, The Great Gatsby is set to become yet another Luhrmann triumph. Whilst reviews are mixed from the myriad of critics, lovers of musical theatre will undoubtedly revel in Luhrmann’s reinvention of the classic 1920’s romantic drama written by F. Scott Fitzgerald.

Baz Luhrmann is internationally renowned for adding his creative genius to great stories as a ‘reinvention of the modern musical’. With a stunning list of successes beginning with the ‘Red Curtain Trilogy’ of ‘Romeo & Juliet’, ‘Strictly Ballroom’ and ‘Moulin Rouge’, Baz changed the face of film-making and storytelling here in Australia and around the world. Whilst ‘Australia’ deviated from Baz’s formula of mixing a great modern soundtrack with musical theatre based storytelling, ‘The Great Gatsby’ brings back that award-winning combination with the brilliance of a stellar cast including Leonardo DiCaprio, Tobey Maguire, Carey Mulligan, Joel Edgerton, Elizabeth Debicki, and Isla Fisher. It follows the life and times of millionaire Jay Gatsby and his neighbor Nick, who recounts his encounter with Gatsby at the height of the Roaring Twenties. Luhrmann’s narrative is told through the internal dialogue of Nick – a new and fascinating delivery of this jazz-age tale.

Last night’s red carpet and screening brought out Sydney’s entertainment industry in droves. Not even the wet weather could dampen the spirits of revelers at the invitation-only after party. With multiple magnums of Moet flowing and a feast fit for the opulent Jay Gatsby laid out buffet-style, the night was set to swing. Many of Sydney’s finest dancers were cast in 2011 to the impressively choreographed party scenes by John ‘Cha Cha’ O’Connell. Many of the same dancers and some new cast surprised last night’s party goers with an entertainment package of the highest calibre. Choreographed by Caitlin Gray who also created the New York Premiere party scenes, Cameron Mitchell described the entertainment as ‘a feast’. He said, ‘It was just like WOW! It captured everything that Baz Luhrmann is about – every single piece to overload you and get you in the mood straight away just like every single film of his – it was amazing!

Cameron Mitchell and Lucas Newland with Caitlin Gray

Lucas Newland described the vibe as a ‘mix between 1920’s and new-school decadence’ and Kelley Abbey felt it was ‘opulent, stylish, classy, elegant and fabulous’. Kelley went on to say that Baz Luhrmann is ‘… so great for our industry, he brings the films to Sydney when he doesn’t have to and he provides a great forum for all of our dancers, talent and Australian actors … it’s fabulous!’

Dancers Morgan Choice, Lisa Viola and Tiffany Duncan were on hand to express how much they enjoyed the whole experience and working with Caitlin Gray under the direction of Baz. Tiffany said the level of detail was ‘brilliant … from the intricately choreographed pieces to the hair and makeup, the whole experience was fantastic and Caitlin just really kept everything alive’.

The only unfortunate incident of the evening involved headlining act iOTA, who appears in the film as Trimalchio, the slightly insane orchestra leader at Jay Gatsby’s West Egg party mansion. After emerging on stage surrounded by dancers dressed in 1920s flapper outfits, iOTA burst into an energetic song and dance routine. But the routine, which he had done at the New York and Cannes premieres, contained one step too many, and he sailed straight off the front of the stage into the stunned crowd. Despite suspecting he had broken his arm, iOTA barely missed a beat, carrying on with the show at full energy and sass.

Phenomenal vocal performances from Bonnie Anderson and Prinnie Stevens also ensured the evening met with approval from the star-studded VIP crowd.

Baz Luhrmann with Chris Duncan & dancer Tiffany

As the night crept into the early hours of this morning, Baz finally ventured from the VIP area to commune with the throng of inspired guests. We asked him briefly where his inspiration came from to ‘reinvent the modern musical’ to which he responded that it was ‘purely his passion’. He then caught a short dance break with Caitlin to Salt’n’Pepper’s ‘Push It’ among squeals of delight from the professional and other dancers who also hit the floor.

To read our interview with Caitlin Gray, please view separate article here

Click on these links for The Great Gatsby official website and Facebook page. There is now an official Twitter page posting fantastic links, including a slideshow of the lavish movie sets and soundtrack information (with a full track listing).

DANCELIFE PREDICTION: The Great Gatsby Soundtrack will be ‘THE next big thing’ for dance studio competition and concert routines. Get a copy as soon as you can and make sure you see the film!!