London Trip May 2013: Viva Forever, Top Hat and A Chorus Line

My mum and I had our annual trip to London at the end of May this year and, as usual, we spent most of our time inside theatres watching musicals!

The first show we went to see was the much-discussed 'Viva Forever!'. A lazy script full of characters based on ones from television comedy shows, poorly constructed story-lines and deseprate attempts to make fun of popular culture. My point of view on these elements of the show agree with that of critics, however, what the critics have failed to appreciate is the cast, set, music, acting, singing and dancing. A Spice Girls fan at heart, this show was very enjoyable, included many of the Spice Girls' big hits and the singers and musicians made them sound show-stopping. The acting and dancing were energetic and exciting and the whole show was really good fun. We were dancing in the aisles, spicing up our lives girl power-style. Magic.

The second show we went to see was the Olivier award-winning 'Top Hat'. Stunning, traditional musical comedy poured from the stage from curtain up. The band were terrific and dancing energetic, characterised and typically 30s. The costumes and set were wonderful, and all of the elements of a fantastic musical theatre show fitted together perfectly. It had the 'feel good' factor and filled the gap within the theatre world at the moment where there are only a few old-style musicals with traditional charm and humour. I was so sad to hear that this show is to close as it was truly the best show I've seen in years.

Our final theatre-trip of the London holiday was to see 'A Chorus Line'. I had heard a lot about this show, including the fact that there was no interval! My mum was quite tired that night but managed through the one-act show due to it's engaging content, fantastic score and well-scripted characters. This show had thought-provoking content, taking each character as an individual including great songs, striking monologues and, at times, quite crazy dancing! The ending was so fitting to the role of a chorine and, although it was set in the 70s (or 80s?), so many of the stories are so relevant to people today. I was laughing, crying, stunned to silence and energised beyond belief all in the one show. I hope I get the chance to go and see this show again...really soon!

Bring on London 2014 Mum :)

Scottish Ballet's Highland Fling- Matthew Bourne

My mum and I went to see Matthew Bourne's Highland Fling performed by the Scottish Ballet in the Theatre Royal, Glasgow. I am still very excited when Scottish Ballet do contemporary ballets as I think it has really brought the company on in the past few years and attracted more people back to the theatre which is great!

Highland Fling was a lovely "wee ballet" with a plot to rival an episode of Jeremy Kyle, set in the east end of Glasgow. Beautifully danced, particularly by the lead male on the night we went, Owen Thorne, who seemed completely natural as the part of James. When dancing with The Sylph (Bethany Kingsley-Garner), they drew me into their weird, sometimes grotty world and transformed the classical ballet expected from this company into Bourne's vision of La Sylphide, Scottish style.

At times it was gory, inelegant, truthful, dirty and rough...but wow it was striking. Go see it if you have the chance. A great job done by Scottish Ballet, bring on the next one!

Ruth Mills Dance Spring Intensive

This wasn't my first experience of dancing with Ruth, but it was my first time at one of her intensives...and my girls weren't telling me lies...it was everything I needed and more!

The technique classes were exhilarating  exhausting, inspiring, energising, demon-butt-building, side-stretching hours of bliss. Starting with Mills' own technique and then moving onto release gave a great start to each day, my body soon remembered where those muscles were that I only use when I dance.

The afternoons were themed on duets and partnering, and this is where I felt out of my depth. I have danced my whole life, but apart from rock n roll, I have always been alone. Working with someone else, with my eyes closed, feeling them move with and against me was a strange but amazing experience. At times it really didn't feel like we were dancing at all, I worried that I was moving awkwardly and nothing felt like it flowed. I believe that the satisfaction of contact will come with time, I just need to relax into it and respond creatively as I feel.

At the end of the intensive, Ruth gave a lecture on some things that have been interesting her, one being the Fibonacci sequence of numbers. My two worlds felt like they were colliding...finally someone who was living in dance was also saying they were fascinated by maths and physics. I get fed up defending myself to people who don't understand how you can be creative and scientific all in the one brain. So now I won't...if they don't find both intriguing and don't want to believe that they are interconnected then it is their loss.

The dance/science lecture set me up for the sharing which followed. Having missed the final morning, I didn't have a lot to share, but everything I had learned technically and mentally during the intensive allowed me to enjoy every second. I felt connected to the material myself and my partner had created and I felt confident that if one of us forgot what came next that we had each other to explore and figure out where to go next. I have never had that feeling before, in any previous sharing or performance.

The final icing on the cake was that a friend actually came to see the performance. None of the friends I have known for years seem interested in dance, so when my lovely artist friend Sarah said she would love to come I was so so excited. Having her there was amazing, and I learned about how she can work as an artist while I danced, using gesture drawing as her focus. The drawings were nothing like anything I've seen before. They were dynamic and intricate and I felt like they radiated the energy we gave when dancing.

This intensive opened my eyes to a new way of moving, thinking and feeling. I can't wait for more.

Casus' "Knee Deep"- Edinburgh Fringe 2012

Casus are an Australian circus company, specialising in work containing acrobalance, aerial, dance and physical theatre. I had been recommended their Fringe show "Knee Deep"by my Dad who had read a 5* review a few weeks previous.

The venue was the Spiegeltent Teatro in Assembly George Square. A combination between a big top and a cabaret club, it had a great atmosphere for this intimate show. The venue was packed and although Casus were nearing the end of a sold out run, they seemd anything but tired.

I was overwhelmed by the delicate strenght of the sole female performer (Emma Serjeant), who stood out as a strong technical artist. I was excited to see such a powerful female presence in Casus' work as it contrasted with the over-use of females in circus as the elegant, vulnerable assistant, spending her time on the top of balances or being passed between male performers. The male cast members were equally as powerful (and elegant!) making Casus' performance refreshingly genderless, showing each performer for their individual strengths without stereotyping or making the obvious choices according to gender or looks.

"Knee Deep" lasted an hour, but not one second was wasted, with the highlights for me including the head balance on the static trapeze and delicate work on top of eggs. The range of skills mastered by these 4 performers seemed unlimited, and it is definitely one of the most captivating performances I have seen. I will definitely buy a ticket for a Casus show again if they return to Scotland in the future.

Smallpetitklein Kick Start

Last week I attend SPK's Kick Start summer intensive at The Space in Dundee. It was a 4day intensive with fundamental technique and dynamic work in the mornings followed by rep and creative work in the afternoon.

My body went into shock after the first day! I started running this summer and haven't been in the studio for months so my body wasn't best pleased by the range of movement I was expecting it to attempt. I am sure I looked anything but elegant but wow I felt like an angel dancing on clouds. That is the fantastic thing about dance, it can make you really FEEL. I can't describe how dance does it, but I feel alive as I move, and nothing else matters.

Ruth Mills took the first day and the first class (Graham-based and a dash of Beyonce) of each following day. I know Ruth's classes though I haven't been for a long time so it was wonderful to be back in the studio with her, her wit and fantastically encouraging way of giving corrections. Never have I known a dance teacher to inspire strength and energy like she does. Her classes are truly invigorating.

Tommy's Cunningham-based  classes were dynamic, challenging, exhausting but wonderful! Cunningham has a way of making me feel like I am moving freely, giving into gravity and letting my body take me where it wants to naturally. Even though I don't think have ever felt so much discomfort in my quads, moving felt amazing. Tommy's music choices really helped bring out my energy too, I couldn't stop smiling.

After I seized up and attempted to eat through the tiredness over lunchtime, creative work at times felt like a chore. The initial challenges of working with someone you don't know anything about dance-wise (or otherwise) were soon put aside and I found myself moving with and against my partner and creating work reflecting characters from SPK's production 'CUT'. I won't tell you much about it, you have to go and see it at the 2013 Fringe! I worked alone on character choreography and involved voice and physical theatre elements which I enjoyed too. Bringing everyone together to share their material was great as some pieces had similarities where others couldn't have been more different. Everyone I worked with this week was encouraging, friendly and very talented, I couldn't have asked for a better group of students to share in the intensive.

The finale of the week was our sharing, which members of the company, friends and staff from The Space attended. I wasn't sure at first how it would all look to them, and I am still none the wiser, however I look forward to seeing the film footage! It felt great getting so close to the audience and making direct eye contact, ensuring that they were sucked into the atmosphere we had created inside the studio. They seemed really engaged and joined in with the sections of the piece where we wanted some interaction and audience participation. The addition of props, pigs, cellophane and a huge red dress made the piece exciting, complex and (now I've lost all modesty), a bit of a spectacle for a studio sharing!

I now proudly wear my 'I love SPK ' t-shirt knowing I worked hard for it, and really do love the company! I can't wait until next year, but in the meantime, I'll be back at Graham in 2weeks.

Cats- A Dollar Academy Production

Dollar Academy took on one of my favourite shows and I will admit, I was worried! I knew that the school had some fantastic vocalists but, as a dance show, I had the suspicion that Cats would be too big a challenge.

I was pleasantly surprised. Not only did those amazing vocals find their way perfectly though Lloyd Webber's score, there was some beautiful pieces of movement too.

On the whole I felt that it needed more dance as there was too many moments of stillness on stage during the big songs, but there were a few girls in particular who absolutely nailed it. They moved like felines, whether waiting at the side of the stage, sitting posed, walking or dancing, every muscle movement was thought out. It was a pleasure to watch these few girls who had clearly looked for inspiration from their nearest pussy cat.

I had hoped to see more choreography from Cats, which is so famous as a dance show. The school has the talent, it just needs to be nurtured, polished up and choreographed.....if these things had been done this show could have been outstanding.

I can't believe some of the kids were only in 4th year....what a magical show. This school delivers once again with stunning scenery and costumes.... I went to the dress rehearsal so that really says something! The sound was spot on and the band sounded great....all done by school pupils. I heard the rest of the show week was a great success- congratulations!

Dance Moms

So I've discovered the TV show 'Dance Moms' online and all I can say is WOW-those kids can dance! The girls in the competition team have lovely technique, great poise and the fighting spirit that will help them make it in the dance world. As for the teacher.....well apparantly she produces 'employable' dancers but she needs to be more professional and stop starting arguments with the mums in front of the children. It's horrible to see adults behaving in this way and they should be setting an example for these young girls so that they grow up to be polite but confident in their dance careers.

I love watching this for the dance as the girls do a competition every week. The rest of the chat and drama-rama that goes on with the mums is irritating and at times I skip to the dances and put my laptop on mute.

Try it....it's addictive!

Richard Alston Theatre Royal 26th May 2011

This was the second time I had seen the Richard Alston Dance Company on stage at the Theatre Royal in Glasgow and this time I took my mum with me.

As expected, the music really made the dance, starting with 4 movements from Prokofiev's 6th Piano Sonata. 'Out of the Strong' featured most of the company and lead me through different emotions, from anger to apathy, joy and excitement. Each movement was different and the dancers' movements expressed every feeling with a fabulous synchronicity during the company piece.

'Lie of the Land' 's movement to Rorem's 4th String Quartet was a lovely contrast to the first piece, sweet and sassy with lots of surprise encounters between dancers, keeping me on my toes and not knowing who to watch next.

Finally 'Roughcut' ended this diverse show, a lovely selection for the final piece by the Theatre Royal. With a wealth of dancers, increased stage size and subtle lighting, I felt like I was a fly on the wall of a theatre, getting a sneak-peek of a private movement conversation or rehearsal. The exuberance of the dancers portrayed the 'young performers' roles perfectly, as Alston describes in the programme as youthful and articulate raw talent.

Richard Alston filled the theatre with promise and hope for the future, giving off an ideally accessible form of contemporary dance that I'm sure everyone could relate to.

Dance HQ

I've been terrible at writing this blog so thought I'd pop online to let you know what I've been up to dance-wise. In the last few weeks I've started taking class at the newest studios in town, Dance HQ.

Dance HQ opened in 2010 and was founded by Susan Elena, dancer and choreographer. There are two studios with lovely floors, barres and mirrors and, with huge windows, a lovely New York loft feel about them. They are situated by Glasgow Green and there's plenty of parking as well as being 5minutes from the centre so handy for everyone.

The range of classes is great and they offer a better range of class levels than other Glasgow studios. Classes I'd particularly like to try are advanced contemporary and pilates (strengthen that old back of mine) but unfortunately at the moment the evenings they are on don't suit me.You can try classes from beginners to professional in tap, ballet, street, hip hop, break, jazz, mtv, yoga and many more! Each class runs a block of 6-8weeks or it's around £6.50 for each class as a drop in.

These studios have something to offer everyone, what I'd like to see in Glasgow now is an advanced technical jazz class, advanced tap, body conditioning for dance and daytime classes....I wish there was a buzz for dance here as much as in London, Dance HQ is a much nicer place to be than pineapple!

Everybody cut FOOTLOOSE!

Pantheon is a club I have been eager to join for years after being a member of the other big Glasgow am-dram club, The Apollo Players. They always deliver a great show and footloose didn't disappoint!

I have to say I could be bias here as my boyfriend was playing guitar in the band and one of my best girls Faye Wiggins was a comedy character and dancer.

Faye belted out "Been working so hard!" to open the show and already won me over! I loved every minute of her performance and was so happy to be genuinely ecstatic about a friend's performance! She was full of enthusiasm, her facial expressions, attention to detail and strong dance ability making her easily one of the strongest cast members.

Donna Douglas, playing the character of Urleen shone out from the others in the main dance sequences, her accuracy of footwork coupled by natural charisma drew my attention to her everytime she came on stage.

The cast were overall really professional, the odd technical hitch with microphones hardly affected the powerful voice of Ariel and every one of the young male singers were matched in ability to the lead. As is usual for an amateur group, there is always one male lead that sticks out by having little dance ability. This was a little awkward to start but once he got into the show a bit more, his character took over and the movement flowed better.

I was so energised by Pantheon's production I left feeling really excited and desperate to get back into musicals myself! The club is going from strength to strength and I am seriously considering auditioning for their next production, High School Musical.

STOMP!

Wow! After seeing Strictly Tap Dance Fever, Tap Dogs and now Stomp, I really have had the best year at the theatre!

Stomp was a fast=paced, energetic 1 hour 40 minute straight-through show. The musicality of each performer was used to the highest level and the characters developed during each section were intriguing and funny.

My favourite sequence was the newspapers. The ways they were used to create sound and rhythm was inventive and original, each new sequence delivered with astounding accuracy.

The cast looked at all time like they were having the time of their lives, and so they should! I would kill to perform in this show!

This is definitely a show for all the family and I'm not one to use that phrase! Usually it describes shows for me that are for couples with children but Stomp was honestly the most fun performance I have seen in a long time, enjoyed by the small child in front of me as much as the elderly couple behind.

I am feeling very spoiled after a very rhythmical 2010 so far!

Document 8 and Maryhill Integration Network

Document 8, a forward-thinking film and performance festival took place this week at the CCA in Glasgow. My interest lay in the story of Iranian dancers, who were exiled for their passion, dance treated as a crime.

This real-life Footloose story affected me deeply, even imagining dance and the arts being illegal leaves me feeling empty and restricted. After seeing the documentary film, I really appreciated how dance can be free and uplifting, bringing people together in a community, much more than a technique or performance art.

The performance by Maryhill Integration Network was colourful, energetic and to the point. I struggled to forgive the poor attempts at Highland dancing until the younger members of the cast began their freestyle section, showing individual character, expression and freedom. The cast communicated the highs and lows of living in their home nations and their journeys since living in Glasgow. It is hard to fault this group, as technical performers they may be lacking in experience but they are so much more than performers. These are real people, telling a story through movement which we can all relate to. The integration network brings these people together and gives them a common goal where their creativity can blossom.

Language barriers are never an issue when conversing through movement. This performance shed light on the differing cultures living in the city of Glasgow, beautiful interactions, free choreography and engaging personalities. A thoroughly enjoyable evening.

Cirque de Glace-Theatre Royal Glasgow

The Russian Ice Stars are a favourite of mine, with their skill on the ice and wealth of talent in dance and circus, their shows always make for a great night of entertainment.

Cirque de Glace Evolution followed the story of the beginning of time, from the earth being formed right up to a present day metropolis. Parts of the story didn't fit but it honestly didn't matter, the spetacle of the production was enough on its own.

The silks work was particularly well presented, the three female aerialists showing beautiful poise and technical accuracy. It was a shame that the contortionist lost her balance near the start but she made up for it nearer the end by repeating the position that had knocked her off initially. Indeed, it was still very impressive as she performed on top of a globe!

I will definitley be buying a ticket for the next tour and I'm looking forward to what other performance arts the cast can turn their hand to!

Tap Dance Fever, Theatre Royal

When my mum bought me tickets for this show for my birthday I was over the moon! Let’s just get one thing straight before I tell you about this show, I LOVE TAP DANCING!!!

Tap Dance Fever took me through the art of rhythmic dance from the era of Fred Astaire and Ginger Rogers right up to the newer body-percussive styles of Stomp and Tap Dogs.

Due to my dance experience and slightly crazy obsession with tap I was going to be a fairly difficult audience member to please! Initially I struggled to ignore the dodgy click tracks and unconvincing miming from the chorus and not least the terrible combinations of jazz-style tap shoes and skirts (very unflattering on the legs)! I felt disappointed in the costumes for scenes from 42nd Street where they didn’t always co-ordinate through the chorus members and just didn’t have quite enough sparkle!!!

By the end of the first half, all of my criticisms for costumes and backing tracks were well and truly forgotten and I was totally won over by the abilities of each and every member of the cast. When they performed in unison, it sounded like there was only one dancer on the stage, a tell-tale sign of perfect timing and spot-on rhythms.

The main female singer in the cast bared an uncanny vocal resemblance to Christina Aguilera, which was shown off when the girls of the company performed a fabulous cover of “Candy Man”. Unfortunately, there wasn’t a programme available for this show so I can’t name all of my favourites!

The interaction between the dancers was amazing, it was clear that they were having the time of their lives and so was the audience. The energy and spirit held right to the very end of what must have been an exhausting performance!

The standing ovation during the final piece summed up the performance. Tap Dance Fever was an outstanding, fast paced and invigorating show.

They had rhythm, who could ask for anything more?!!!

Richard Alston, Theatre Royal, Glasgow

I was so excited to have got a 2 for 1 offer on tickets plus free pre-show talk with Richard Alston at the Theatre Royal. I hadn’t seen any of his work before but had heard really good things and knew he was the artistic director at The Place in London too, so he must be good?!!!

I took my boyfriend and we went to the pre-show talk which was very educational for me in terms of Alston’s choreographic processes. He appealed to my other half too as a musician due to most of his ideas and decisions for movement being influenced by music.

When it came to the performance itself, however, I have to admit I was slightly disappointed and don’t really have much to say. One more mature female dancer stood out as excellent amongst a fairly un-expressive company. I just didn’t “feel” the pieces shown, maybe I wasn’t in the right move or maybe the pre-show talk left me with too high expectations.

The second piece I found highly enjoyable in terms of movement and the lighting effects to create the “light through a window” were magical. Unfortunately, the lighting was more convincing than what Alston had described earlier as an intense emotional connection between man and woman. The dancers faces were still and I didn’t feel connected to the movement, although the choreography was beautifully subtle with bursts of light in amongst modest shade.

I will go and see more pieces by Richard Alston as I believe that he must have more in his repertoire that would suit my tastes more. Would I go to another pre-show talk? I’m not sure; I think that this one made me enjoy the performance less, what do you think?

Birth Control

What gives a woman an identity? I think that identity is something that most of us seek, and though it can at times make us the same it more often than not drives us apart. Are we restricted by culture, fashion and outside opinions?
What all women can share, if they choose to, is the natural experience of childbirth. According to Kate E Deeming, performer and choreographer of “Birth Control”, it is during labour when a woman finds her true voice.

The pre-show discussion gave me an idea of what I might expect from this work and the audience were chatty and enthusiastic about the issues she had raised concerning identity. Without warning other than “this could get a bit weird”, Kate E’s screaming and groaning silenced me as her piece took form. Initially unaccompanied, I felt a little uneasy watching what looked to be someone giving birth. Perhaps this is because I am not a mother myself, but neither is Kate E, which ironically intrigued me and held my attention. I couldn’t understand why someone could have such a fascination with something they hadn’t experienced themselves but I was soon engrossed.

After an initial feeling of discomfort, the piece transformed into an unidentifiable moving figure, having been re-born and moving freely and fluently. I was struck by the way the suitably-coloured blue scarf hid Kate E’s face, a colour in the past reserved for royalty. My attention was drawn to the movement of the body, the body seeming to move unconnected to the person, exactly as Kate E intended.
I feel that women enjoying their bodies and feeling comfortable and free in the way they move is rare. I left this work-in-progress feeling lifted, free and inspired as a woman.

I am interested to see how this piece develops and into what type of performance. My feeling is that as a theatre/cabaret piece, it doesn’t work in its current form. I feel that more movement by way of an introduction before the birth would be necessary to engage the audience from the start. This way, I think that the audience feel more comfortable in witnessing the intimate and vulnerable movements of the birth. As Kate E said herself, the piece would be suited to film and she will be continuing to work on this piece well into 2011.

Overall, the piece was free and inspiring, once I got over the shock of the initial material! By collaborating with musician Simone Welsh and communicating through instrumental and body percussion, I feel that the piece would appeal to music, dance and art enthusiasts alike. I hope that Kate E continues to develop “Birth Control” with Simone and further investigates how to communicate using the body of the unidentifiable mover.

Journey Dance Company "Prey" Work in Progress

Laura Forbes, artistic director of Journey Dance Company dances in and presents her latest choreographic piece, “Prey” as a work in progress. This sharing, at Dance House was developed further from a previous residency at Dance Base and involves BA dancers from LIPA and Edinburgh’s Telford College, where Laura herself graduated in 2008.

Laura’s ideas developed from natural relationships between predators and prey, her dancers revealing something about themselves in their movements. “Prey” was, to me, a vivid and exciting piece, bringing to the audience the personalities of four individually powerful dancers, who together produced an alluring performance.

With open windows in the Glasgow City Centre Studio, my concern lay with my attention span with so much background noise. I need not have worried. From the moment Jo Jeffries began to slowly explore the space in front of me, I was captured by “Prey”. Laura Forbes’ choreography is mesmerising, she has considered every part of the dancer’s body during each careful choreographic step. Agnes Bell’s light fingers traced the ground with an intricate path along which her body then followed. This style of movement lent itself well to the intimate nature of a studio sharing and I am interested to see how Laura develops such expression for the stage.

Joined by Laura herself and Sophia McGregor, the dancers related beautifully by means of a web-like elastic. This brought another dimension to the piece when Jo entrusted her with the care of this material. My reaction to this was natural, as if we had all been part of the idea in the beginning, a hugely successful outcome to the sharing, whether or not it was a choreographic intention!

I felt each dancer brought their personality to the piece and created four very different characters that could be further developed. Satya Dunning of Dance House discussed development with Laura and suggested that she continue to develop this piece, even after she tours in June. My feelings reflect those of Satya as I think that Laura would enjoy having more time to look into the themes of the piece and continue to develop solo material for her dancers.

Journey Dance Company created, for me, a special bond between the dancers and audience. This is an enchanting piece of contemporary dance, on which I must commend Laura Forbes and her company dancers for putting across so beautifully. I am looking forward to watching this piece grow and adapt to new spaces on its tour.
See “Prey” this month with Foundations Dance Collectives’ tour, “Founding Roots”.