Ondine

The source is here in the post above. The point I was making is that to dance Ashton a Cecchetti training is useful, as Ashton's choreography and style is very much based on that. When Christopher Carr is talking of whole body movement, and how many dancers don't get it and so find Ashton difficult, same with all the fleet footwork, it's because it's now not familiar to them. Which is actually in my view a pity. As the years go on, how Ashton would have wanted his ballets to be performed will be diluted and diluted. We've talked of this on other threads. BTW in the comment on that vid link above it says the Australian Ballet segment for WBD will be online 30 days so I suspect it is the same for the rest. Catch it all while you can.

I'll add this here. A documentary, made with no funding by Wendy Richardson, on the life and work of Joan Littewood, and really interesting it is too. British theatre history, in the physical sense and the wider sense. (Free Vimeo link, no copyright issues.)

Also early in his career Bluebird, with Yuhui Choe, another of those who many wonder why she has not been made a principal. https://balletassociation.co.uk/pages/reports-2007-zachary-faruque And what is he doing now? https://www.crunchbase.com/person/zachary-faruque-76b9

Perhaps not specifically but: In 1962 Peggy van Praagh returned to Australia as founding Artistic Director of The Australian Ballet. The company’s charter was to stage the classics from the nineteenth century, the most distinguished ballets of the twentieth century from all countries in both classical and contemporary styles, and new works of Australian origin. She guided the company’s growth from its beginnings to that of International status. In fact, on the company’s first international tour Dame Peggy van Praagh’s production of Giselle won the Grand Prix de Paris in 1965. Despite being a fledging company, new Australian works from the onset were included by – Betty Pounder, Robert Helpmann, and Rex Reid. She insisted on a greater academic exactitude of technique, than had been previously experienced by the dancers she accepted in the Company.[ii] To quote principal dancer Garth Welch “Dame Peggy let no detail in class pass by…”[iii], whilst founding dancer and later Ballet Mistress, Rhyl Kennell stated: Other things that I now know were part of her Cecchetti background were the insistence on the lower leg work, so necessary for those small fast allegros such an important part of our Cecchetti inheritance. This was all very important for the Ashton ballets especially.[iv] Included in the company’s first programme November 1962, was the Lev Ivanov and Enrico Cecchetti production of Coppélia with revisions by van Praagh and Ashton’s Les Rendezvous.[v] Dame Peggy van Praagh’s association with The Australian Ballet spanned thirteen years as Artistic Director including a period of co-direction with Sir Robert Helpmann [vi] Helpmann of course initially danced with Pavlova, pupil of Cecchetti. (Tudor trained with Rambert.)

I keep banging this drum, but... Cecchetti. I think I posted this above but here it is again. Lose this and you lose so much of the essence of Ashton. See second and third pieces 🙂 https://cicb.org/peggy-van-praagh/

Just spotted on YouTube! Unpacking Frederick Ashton's The Dream | The Australian Ballet Guest stager Christopher Carr unpacks Frederick Ashton's whimsical ballet. Discover more: https://bit.ly/2023doublebill Frederick Ashton's The Dream comes to Sydney Opera House 10 - 25 November 2023.

Did it morph into BBC Young Dancer? https://en.wikipedia.org/wiki/Young_British_Dancer_of_the_Year

Yes it's confusing as the ROH official bio says 2007! https://www.roh.org.uk/people/william-bracewell And here https://www.royalballetschool.org.uk/2017/04/28/five-students-to-join-the-royal-ballet-aud-jebsen-young-dancers-programme-201718/ Also worth noting William Bracewell was a soloist at BRB (took four years) and joined the RB as a soloist also.

And Young British Dancer of the Year in 2007. https://www.walesonline.co.uk/lifestyle/showbiz/william-bracewell-swansea-schoolboy-birmingham-2023016 Bracewell was initially trained at local school Pamela Miller Ballet School (Cecchetti) before the RBS at 11. Some young people don't want to live in London and want to tour. Freedom must be very tempting, especially after White Lodge & Upper School! There are some great companies abroad, centred in beautiful theatres and cities, with varied rep. Some young people who have trained at the RBS want to return to be nearer to their country of origin and family. So many things to consider at 18! Also of course, an AD has to consider if there is actually a vacancy and if there is finance to hire. No money no jobs. The Aud Jebson scheme is relatively new really. (Not a guarantee that a year there means a company place either.)

Joined as an artist and then dropped out of ballet altogether.

It was rumoured (as mentioned in this old thread) Monica Mason didn't take Muntigirov into the company as she thought him too shy. Darcey Bussell: After Bussell graduated from White Lodge in 1987, she was taken into the Sadler’s Wells Royal Ballet (later Birmingham Royal Ballet). A year later she was back at the Royal Ballet as a soloist, having been selected to create the role of Princess Rose in Sir Kenneth MacMillan’s new version of The Prince of the Pagodas. She was promoted to principal dancer the day after its premiere in 1989, and in 1990 she was named Dance & Dancers magazine’s Dancer of the Year. https://www.britannica.com/biography/Darcey-Bussell

Also, last night & tonight

Will you be lustily singing Verse Six? Asking for many in Scotland. "Lord grant that Marshal Wade, May by thy mighty aid, Victory bring. May he sedition hush, And like a torrent rush, Rebellious Scots to crush, God Save the King."

My goodness! Momone Sano won second place Japan semi finals. Graduation Ball solo.

Lonely Goatherd though. I bet there are many dancers who wish that had never been written. 😶

Restoring The Red Shoes (short film) Official link

This is simply wonderful; documentary, dates from 1948, made by the National Film Board. So much to love! Packed with information, ballet and other footage, history. A period gem! Spotlight On Australian Ballet ...we present this film revealing the roots of ballet in Australia and the story of the overseas dancers who brought their art to Australia. This encouraged the rise of local dancers who proved themselves adept in the classic ballets of Russia, France and Great Britain. It traces the birth of Australian choreography, decor and mounting with Australian dancers shown performing an Australian musical composition with Australian themes. Influential figures such as Edouard Borovansky, Tchinarova and Margot Stevenson are featured as well as the Borovansky Ballet, the Ballet Guild and the Bodenwieser Modern Expressive Ballet. It is the history of ballet in Australia that ultimately lead to the formation of the prestigious and internationally recognised company The Australian Ballet. (Official link to YouTube)

The thread began with Australian Ballet and I mentioned Dame Peggy Van Praagh I thought I'd add this here, an extract from a three part doc on the history of the company. What a woman she was. What a company! When I was young (yes long time ago!) there was a series of books called 'How I became' and I still have her 'How I became a ballet dancer', 1954 long before she founded the company! Written for young people but worth reading for those interested in ballet history. https://www.abebooks.co.uk/became-Ballet-Dancer-PRAAGH-Peggy-1910-1990/11477213022/bd

https://up-front.com/puppet-theatre/ Another new (ish) theatre. It's in Cumbria. An attached museum of puppetry is in the making. It has won awards. As it's in the frozen north it hasn't had a great deal of attention outside the county. It's run as an arts charity. (It isn't only used for puppets, though it is specially designed for puppets, but for music and at times other theatre related events.) Recent acquisitions include a collection of toy theatres bought at auction (featured on a TV programme) and the Stanelli circus* is given regular performances. (*Funded by National Heritage Lottery)

Here's the link, for anyone catching up with WBD.

I thought it was 'news and information'.

Yes... he's now dancing with a mainly different cast to that of last night which was this https://www.roh.org.uk/tickets-and-events/43/anemoi-the-cellist-by-valentino-zucchetti-and-cathy-marston/cast-list/54550 Great opportunity for Harrison Lee! https://www.roh.org.uk/tickets-and-events/43/anemoi-the-cellist-by-valentino-zucchetti-and-cathy-marston/cast-list/54543

Cecchetti was fond of classical music for his exercises... including Beethoven! https://cicb.org/discovered-torino-manuscript/

And here she is as a tiddler. Aaaaah! https://www.manchestereveningnews.co.uk/news/greater-manchester-news/singer-duncan-james-little-star-4706059

WBD appears to have overshadowed this, 2 - 5 November YGP Paris ~ Pre-Competitive Classical Competition ~ #1 - #39 YAGP - Youth America Grand Prix