The latest neoclassical programme from New English Ballet Theatre is The Four Seasons / Remembrance, a stylish double bill that combines the abstract and the historical.
The vibrant young modern ballet company prides itself on creating refreshing new works for developing dancers, thereby furthering the art form and nurturing promising artists. Indeed, Artistic Director and CEO Karen Pilkington-Miksa has been recruiting a fresh batch of dancers each year since founding New English Ballet Theatre in 2011. These dancers receive a 12-month contract which affords them training and development opportunities with exciting creatives, as well as coveted time spent dancing on tour and in the West End.
While past offerings have thrown a spotlight on emerging choreographers, The Four Seasons / Remembrance features works from established dancemakers Jenna Lee and Wayne Eagling.
New English Ballet Theatre is returning to The Peacock Theatre in London’s West End this week with a brand new double bill, The Four Seasons / Remembrance.
As a modern ballet company, New English Ballet Theatre makes a heroic effort to drive the art of classical ballet forward through continual reinvention. It proudly promotes the talents of the next generation of exceptional artists – not only showcasing fledgling dancers but also emerging choreographers, musicians, designers and visual artists – by giving them paid employment in a profession they love.
As a result, the critically acclaimed neoclassical troupe – which was founded by its visionary artistic director, Karen Pilkington-Miksa, in 2011 – is developing a reputation for being one of Britain’s most exciting young ballet companies.
This autumn’s double bill promises to be a visual and musical spectacle of passion, hope and remembrance.
Dazzling dance musical An American in Paris is a breathtakingly beautiful show.
The acclaimed stage adaptation of the classic 1951 Hollywood film, which starred Gene Kelly and Leslie Caron, is directed and choreographed by Christopher Wheeldon. Widely admired on both sides of the Atlantic, thanks to his work with The Royal Ballet and New York City Ballet, Wheeldon is a seasoned master who skilfully uses the power of dance to drive the whole musical.
An American In Paris features an impressive array of dance styles and really seems to be the epitome of the maxim “why walk when you can dance?”. Everything moves with a spring in its step – from the radiant lead performers to the stunning sets – and there is a remarkable fluidity as the cast dance their way through the sensuous tale of art, friendship and love.
This lavish production certainly made me fall in love with dance all over again, and I thought I was already as besotted as it is possible to be!
Madcap musical Wonderland is currently whisking visitors to Milton Keynes Theatre off on a magical adventure. Now, call me mad, but this contemporary creation – which reflects aspects of modern day life while cleverly capturing the peculiar charm of Lewis Carroll’s Alice’s Adventures in Wonderland and Through the Looking Glass – managed to speak to both the girl I used to be and the woman I hope to become.
We all have days when thoughts of escaping the practicalities of living in the real world for a while consume us. We imagine how wonderful it would be to flee our humdrum existence, abandon our responsibilities and free ourselves from the shackles of expectation… Still, we don’t all cope with days like this by following a random rabbit and ending up in a kooky kingdom. Of course, as we all know, Alice does follow that rabbit. She follows him when he slips down a rabbit hole and finds herself visiting a realm which is home to the strangely talkative White Rabbit and a host of curious characters including the Mad Hatter, Caterpillar, Cheshire Cat, March Hare and the pompous Queen of Hearts.
An entertaining experience from the start, Wonderland irrefutably illustrates that every adventure requires a first step and insists we are all capable of taking that step – no matter who we are or how grown up we may consider ourselves to be. Starring West End sensation Kerry Ellis, it’s essentially a loud and proud exploration of who we are and who we want to be.
Acclaimed choreographer and theatre/television director Dame Gillian Lynne is a legendary figure in the arts, with a career spanning more than 70 years.
Her achievements include being a ballerina with Sadler’s Wells Ballet (now The Royal Ballet), performing centre stage as the London Palladium’s lead dancer and choreographing some of the world’s most iconic musicals.
Georgina Butler made the most of an opportunity to converse with this multi award-winning dance superstar…
Gillian Lynne is a household name – a VIP in the world of dance and theatre. Her CV is packed with soloist roles as a ballerina; guest appearances as a dancer on the stage and on television; and countless productions on which she has worked her magic as an internationally sought-after director and choreographer.
Joining the Ballet Guild in 1942, aged 16, marked the beginning of Gillian’s career as a professional dancer. By chance, Ninette de Valois, the founder of Sadler’s Wells Ballet (which later became The Royal Ballet), saw Gillian dancing as Odette in Ballet Guild’s production of Swan Lake and immediately decided she wanted the talented young artist in her company. When Gillian accepted this invitation, she was the first dancer to join Sadler’s Wells Ballet who had not studied at its prestigious feeder school (now The Royal Ballet School). Possessing a gift for dancing; a desire to follow her dreams; and a tenacious work ethic, Gillian flourished as a ballerina and was later an instant success at the London Palladium and in subsequent roles in the West End.
Perhaps most famous for her ground-breaking choreography in Cats and The Phantom of the Opera (both with Andrew Lloyd Webber), Gillian has choreographed or directed over 60 productions in the West End and on Broadway. These productions have won numerous accolades and Gillian has been presented with multiple awards, including two Olivier Awards – one an Award for Outstanding Achievement for her choreography of Cats in 1981, the other a Lifetime Achievement ‘Special’ Olivier presented to her in 2013.