The Success Blueprint for the Dance Studio Owner

By Deborah Searle.

If there’s ever been a book that will take you to the next level when running your dance studio, It’s Your Turn! The Success Blueprint for the Dance Studio Owner is it.

In It’s Your Turn the dynamic team of Steve Sirico, Angela D’Valda Sirico and Robert Landau take you on a journey of self-discovery to explore how you can achieve success both in your business and personal life. Steve and Angela are well established authorities when it comes to all things that have to do with owning and operating a dance studio. Their DanceTeacherWeb.com membership website and yearly dance teacher conference attract hundreds within the dance industry.

“After twenty one years, we wanted to share our insight, philosophies and methods that have helped us in running a successful dance studio,” said Steve Sirico. “We felt there was a need for a book that not only provided practical tips but also much needed encouragement and inspiration for the busy studio owner. We want studio owners to feel that they are not alone but rather part of a large and successful dance teacher community,” followed Angela D’Valda Sirico.

Some of the many topics covered within the book’s pages are: finding the motivation and balance you need to get through your day, how to deal with difficult staff and customers, how to best market your studio, and how to be organized, making every task a success.

“Speaking from personal experience, I know how important and empowering it is to have answers to many of the questions we face on a daily basis. We designed the book so that readers would have ideas from three different people, so that they can see that there isn’t always just one way to resolve issues or to move forward and be successful,” explained Angela.

And although not a studio owner himself, Robert Landu provides key insights into successful business management in It’s Your Turn. Robert is an international motivational speaker and positive results expert that has worked with countless businesses to successfully take their operations to the next level.

“It’s one thing to have a picture of how one wants things to run, but it’s another bringing that picture to life”, says Robert. “We realized that there really wasn’t a book out there that addressed all aspects of what it is to operate a studio, particularly in these challenging times. The book is a perfect balance of practical and motivational advice. It’s a quick but informative read and the facts are laid out in an easy-to-digest manner.”

As studio owners, your time is already stretched, but why not spend a little time learning how to best run your studio? It could save you a lot of time and heartache in the long run, and bring you much joy in the process.

“I believe the number one mistake that studio owners make is not fully realizing that THEY are the business and that everything they do or don’t do has a direct influence on staff, faculty, parents and students. It is just then a matter of using that influence in a positive and informed way”, shares Angela.

And helpful, inspiring information is where it’s at. “Dance studio owners and teachers so often feel isolated. It’s Your Turn will not only give practical information that they constantly need, but also the motivation to expect more from their lives both in business and on the personal side”, adds Angela. “This book will help the studio owner in all areas of running the business, finding the fine balance of running a business while maintaining artistic integrity”, explains Steve. “It’s a much needed tool kit to help the studio owner achieve their ultimate success.”

It’s Your Turn! The Success Blueprint for the Dance Studio Owner is now available on www.raisethebarreconsulting.com . It can make a great tool book for yourself or a helpful Christmas gift for the studio owner in your life.

By Emily C. Harrison MS, RD, LD.

1. Eat more vegetables

I can’t stress the importance of this strongly enough.  Aim for at least 4 servings per day, and the more colorful your selection the better.  Vegetables contain important bioactive compounds such as phytonutrients like polyphenols, flavonoids, carotenoids and lycopene. These are powerful cancer fighters.  Dancers can’t go wrong with eating more vegetables. Veggies are low calorie, low fat, high in fibre, and high in vitamins and minerals such as vitamin C, folic acid and selenium.

2. Eat more fruits

Fruits also contain the cancer fighting phytonutrients listed above. Fruit is the ultimate convenience snack. It is easily portable, tasty, and many varieties don’t need refrigeration. Throw an apple or orange in your dance bag today. Keep a bowl of washed grapes in your fridge for healthy snacking when you want something quick.  Fruit is delicious, easy, low calorie and packed with nutrients. Try to get your fruit from the whole fruit and limit or avoid sugary juices.

3. Reduce your consumption of meat

Eating a plant based diet has been shown again and again to reduce risk for cancers, not to mention the risk of heart disease and diabetes. The American Dietetic Association states that vegetarian diets can be healthy for persons of all ages and activity levels and may prevent certain diseases.   It is entirely possible to eat a more plant based diet if you are a dancer or other athlete. Get important nutrients like protein, iron and zinc from a well varied diet that includes beans, nuts, seeds, whole grains, and vegetables.  Dancers need slightly more protein and iron, but high meat intakes and excessive heme iron (from meat) may actually increase cancer risk.  Beans and leafy greens contain iron and these foods help fight cancer.  If you are a vegan you will need to supplement your diet with B12. Plant based diets also help reduce greenhouse gases and are better for the environment.  If you are interested, talk to a registered dietician about planning well balanced plant based meals.

4. Stop smoking now

Seriously, enough said.  Not smoking is one of the single most important things you can do for your health and the health of those who breathe the air around you.

5. Lose the extra pounds if you are overweight

Excess weight is a major risk factor for many different cancers.  The Center for Science in the Public Interest recently reported that putting on weight when younger (in your 20s or 30s) as opposed to later in life can increase risk for endometrial cancer.  Preventing or delaying weight gain can pay off in lower cancer risk.  Meeting with a registered dietitian can help you develop a plan that you can stick to long term. It’s not about losing a few pounds quickly, real health comes from lifestyle changes that you can live with over time.  Start off by limiting portion sizes and eating more veggies, then gradually add more steps until you reach your goals.

6. Eat more naturally and limit processed foods

I know we are all busy, but dancers have to be judicious about what they feed their bodies. Processed foods (including soft drinks) are not only more expensive, but usually pack a high calorie punch.  They can contain preservatives, additives, high-fructose corn syrup, and other unhealthy stuff that dancers don’t need. Buy foods in bulk, make big portions when cooking and freeze the extra. Invest in a slow cooker so you can throw some ingredients in and it will be all ready when you come home from a long day.

7. Get adequate vitamin D, but don’t mega dose

As dancers we all know the importance of vitamin D in strong bone density (preventing stress fractures). But you may not know that vitamin D has been shown to also be cancer protective.  For the dancers that I work with, I typically recommend getting approximately 800 IU per day.  That may mean having to supplement for dancers who are avoiding dairy. Getting 10-15 minutes of sun can be a good source too, but of course we don’t want to increase our skin cancer risk by baking in the sun for too long. If you supplement, be careful not to mega dose. Vitamin D can be toxic in high amounts.

8. Exercise regularly

Most dancers get plenty of exercise, but if you are recovering from an injury or if you are a former dancer it helps to schedule exercise just like you would schedule anything else.  Try something new or out of your comfort zone like a different style of dance, martial arts, yoga, or rock climbing. If you are currently dancing regularly; swimming or pilates can be great activities for cross training on days off.

9. Limit alcoholic beverages

New reports from the US National Institutes of Health state that women who have one drink per day can increase their breast cancer risk by 5%. Heavier drinking can increase risk by as much as 50%. Women who have a strong family history of breast cancer should avoid drinking altogether.  Another consideration for dancers is that even one drink can negatively affect athletic performance for several days after consumption.

10. Avoid BPA in canned foods and plastic containers, and don’t microwave food in plastic

BPA is a building block of plastics and exposure (especially in children) may increase cancer risk.  BPA can be found in some plastic containers and in the lining inside cans. The Center for Science in the Public Interest, The Environmental Working Group, and the Harvard School of Public Health all warn of the dangers of exposure to BPA.  Try using glass containers to store food, or look for “BPA free” if you must use plastic. We can all benefit from less plastic in our lives.  Plus eating fresh is always better.

Emily Harrison
Emily Cook Harrison MS, RD, LD
Emily is a registered dietitian and holds both a bachelor’s and master’s degree in nutrition from Georgia State University, USA. Her master’s thesis research was on elite level ballet dancers and nutrition and she has experience providing nutrition services for weight management, sports nutrition, disordered eating, disease prevention, and food allergies. Emily was a professional dancer for eleven years with the Atlanta Ballet and several other companies. She is a dance educator and the mother of two young children. She now runs the Centre for Dance Nutrition and Healthy Lifestyles. She can be reached at emily@dancernutrition.com www.dancernutrition.com

Sources and additional information can be found at:

Alcohol and cancer risk: www.nlm.nih.gov/medlineplus/news/fullstory_123484.html

BPA: www.hsph.harvard.edu/news/press-releases/2011-releases/bpa-exposure-behavioral-difficulties.html

The Environmental Working Group: www.ewg.org
www.ewg.org/meateatersguide

Plant based diets and disease prevention: The Physicians Committee for Responsible Medicine www.pcrm.org

Scarborough P, Allender S, Clarke D, Wickramasinghe K, Rayner M.  Plant based diets and the environment: Modelling the health impact of environmentally sustainable dietary scenarios in the UK. Eur J Clin Nutr. 2012 Apr 11

Campbell T C, Campbell TM.  The China Study. Ben Bella Books, 2009.

ADA position statement on vegetarian diets: www.eatright.org/about/content.aspx?id=8357

Murphy MM, Barraj LM, Herman, D, Xiaoyu BI, Cheatham R, Randolph RK. Phytonutrient intake by adults in the United States in relation to fruit and vegetable consumption.  Journal of the American Dietetic Association. Feb, 2012.

Link A, Balaguer F, Goel A. Cancer chemoprevention by dietary polyphenols: promising role for epigenetics. Biochem Pharmacol. 2010 Dec 15;80(12):1771-92

Krishnan AV, Trump DL, Johnson CS, Feldman D.The role of vitamin d in cancer prevention and treatment. Rheum Dis Clin North Am. 2012 Feb;38(1):161-78.

Photo: © Braden Gunem | Dreamstime.com

Published by Dance Informa dance magazine -covering dance Australia, dance training, dance auditions, dance teacher resources and more.

By Rain Francis.

A little over three years ago, household dance fans across the country sat biting their nails as they waited to see who would win the third season of So You Think You Can Dance Australia. But having made it to that stage meant that Jess Hesketh was already winning: her dream was about to come true. Crowned runner-up of the reality TV show, Jess was awarded one of the most coveted posts in the dance world – a contract with Australian Dance Theatre.

After a decade of adoring the Adelaide-based contemporary company, just knowing that the contract was available helped Jess propel herself through the competition. Even now, having worked with the company since September 2010, she says it’s “still a bit surreal”.

ADT is currently rehearsing to take its acclaimed work Be Your Self to Sydney, as well as performing an excerpt in Let’s Dance, a gala season that is part of The Australian Ballet’s 50^th anniversary.

Jess in rehearsals with ADT. Photos by Chris Herzfeld

Be Your Self draws on investigations into neurobiology and Buddhist philosophy. These two positions in one sense are worlds apart, in another, they are two sides of one coin: the science of poetry – or the poetry of science. To use Jess’ own eloquent description of the work, “it cross-examines the vast complexity of who we are and what we’re made of. It really looks into the subject of selfhood. Not only the physical aspects, but the emotional aspect of what makes us human, and how the physical and emotional sides do work together to create us as humans.”

As with all of ADT’s works, Be Your Self, with its fusion of contemporary dance, breaking and tumbling, is incredibly demanding physically. However, Jess says that the emotional side of the work is equally challenging. In the research stages, Artistic Director and Choreographer Garry Stewart consulted with Professor of Physiology Ian Gibbons from the Flinders Medical Centre. The insights he shared into the neurobiological functions of the body have greatly informed the work. The result? An added depth and dimension to the movement, which Jess says she is “really attached to”.

To add yet another dimension, Stewart engaged leading design studio Diller Scofidio + Renfro to create a set piece. The cutting-edge New York-based firm are responsible for multi-million dollar architectural projects, such as the complete refurbishment of the Lincoln Centre for the Performing Arts, and the expansion of the School of American Ballet. With their backgrounds in the visual arts, DS+R like to, as Stewart says “keep one foot in the arts” and “were kind enough to lend their support to Be Your Self”. The resulting set piece seeks to reconstruct our perspective on the body.

Jess in rehearsals for 'Proximity'

Be Your Self is in fact the first piece that Jess worked on when joining the company. At that time, the work had already been created, however the whole second half was about to undergo a drastic revamp. This would be Jess’s first real experience not only as a professional dancer, but as a creative collaborator in the developmental stages of a dance theatre work – a role she still finds challenging.

“Creating and choreographing are areas that I haven’t really delved into a lot throughout my training,” she explains, adding that she is grateful to the familial atmosphere at ADT. “The other dancers are awesome. They’re so supportive and they’re always helping me and giving me tips. It’s almost like my own personal choreography lesson every time I have to make up a new solo.”

With the freshly developed Be Your Self in their arsenal, the formidable ADT embarked on a three-month European tour early in 2011. Returning home, they collaborated with visual artist Thom Buchanan and third year students of the Adelaide College of the Arts on a new multi-media project titled Worldhood. Next, they developed and performed Proximity, in conjunction with French video engineer and artist Thomas Pachoud. After the current season of Be Your Self, it will be back to Proximity for another European adventure.

“It’s just one thrill after another,” says Jess. “I’m living my dream. ADT is something that I’ve wanted to do for such a long time. Actually being here and being part of these amazing  productions is a heap of fun every day.”

And it seems she has fit well into her new home. Stewart calls Jess “a really beautiful dancer with incredible facility, remarkable versatility and the ability to do anything that she puts her mind to.” He adds that it has been “interesting with her coming up through the commercial field and through television, but that has given her a lot of ability to connect with a performative presence.”

Another thing that television exposure gave her, Jess says, is a diverse wealth of experience. She acknowledges that after full-time training, dancers and other artists often find it difficult to find work and transition into developing themselves professionally. “Having SYTYCD was the perfect bridge to close that gap,” she says. “It opened so many doors for me. The amount of choreographers that I was exposed to and I got to work with on the show was just incredible. It set me up for a great start – and the ball continues to roll.”

Australian Dance Theatre’s Be Your Self Sydney premiere season
31 May – 3 June
Sydney Theatre at Walsh Bay

Published by Dance Informa dance magazine -covering dance in Australia, dance training, dance auditions, dance teacher resources, dancewear and fashion and more.

By Rebecca Martin.

Rasta Thomas is returning to Australia with his production Rock The Ballet, to show audiences that ballet is still as relevant as ever.  Fusing classic ballet technique with hip hop, martial arts, tap, gymnastics, contemporary, and musical theatre, the sexy and versatile dancers are set to impress new and old ballet audiences alike with a soundtrack consisting of U2, Michael Jackson, Prince, Queen, and Lenny Kravitz.  Thomas’s unique brand of pop ballet was founded in 2007 with Bad Boys of Dance, which became Rock the Ballet the following year. Comprising of six buff boys and one alluring girl, the production will no doubt be as entertaining for ballet lovers as it is for novice theatre goers.

A multi award winning director and principal dancer, Rasta Thomas has a CV which most dancers can only dream about.  The first ever American to become a member of the renowned Kirov Ballet, Thomas has also performed with Dance Theatre of Harlem, American Ballet Theater, Le Jeune Ballet de France, Hartford Ballet, and Japan’s K-Ballet. Additionally, he has also starred in Twyla Tharp’s hit musical Movin’ Out, and danced some of classical ballet’s greatest roles.  Oh, and Thomas has performed at The Academy Awards, danced at The White House, and made a film with Patrick Swayze. Then of course there was the phone call from Michael Jackson asking to meet with him….

Rasta Thomas with wife Adrienne Canterna in 'Rock The Ballet'

It was Thomas’ desire to create his own work and imbue new roles with his own flair that pulled him away from the traditional ballet companies to form Rock The Ballet.  When Dance Informa spoke to him from Maryland in the US, Thomas said he was “bored to an extent” with ballet, but acknowledged that it has taught him a lot.  However, the passion and energy he sought from ballet was missing: “I felt like I was doing the same steps I had been doing since I started ballet class at eight years old almost 20 years later.  The audience demographic was slightly older and more reserved, and (ballet) seemed to be for the elite and lofty.  The stereotype of ballet being boring and old was there, and I would tell my friends to come and see me in a ballet, and they would be like ‘nah, I’m OK…’ I tried to figure out how I could get my peers and friends to come and see ballet and why they weren’t open to that.  You know, I worked really hard and the ballets were beautiful but it just wasn’t translating.”  Thomas endeavoured to remedy the stereotype and to add another flavour to ballet in order to get younger generations into the audience and have them excited about ballet. Without encouraging new audiences, he fears that when the current generation of ballet lovers has gone, there will be no one left to fill the theatres.

Rock The Ballet keeps ballet lovers satisfied with its use of traditional technique but is also able to excite those that have never seen a ballet or even a dance performance before. “Sometimes going to the ballet is like going to the museum”, explains Thomas.  “You’re not going to call someone from the museum and say ‘oh my, you’ve got to come see this painting!’, but we try to capture that fun-ness and excitement that comes with seeing something that you’ve never seen before.  There is so much seriousness in dance, with pieces that interpret war and other subjects through movement that only the choreographer really understands.  It is often too deep so it goes over everyone’s heads and I think the contemporary scene has been plagued by that abstractness.  I just wanted to make something that gets audiences excited and is accessible.  I think that is a noble goal in itself.”

When I asked Thomas what he looks for when hiring dancers for Rock The Ballet, he said, “the demands of the audience are the highest they’ve ever been – they’ve seen Swan Lakes, they’ve seen the greatest contemporary choreographers like Kylian, Nacho Duato or whoever – the choreographers now have to push the envelope even further and challenge the dancers even more.  So, versatility is the key, in addition to someone who is just born to dance.  A lot of dancers look at dance as a job because they need to put food on the table, but I’m more interested in the types of dancers who, once the show is over, want to go out to dance, go back to their homes to think about dance.  They just dream, live, and eat dance.  And it helps if they are sexy”, he adds with a laugh.

Rock The Ballet

And meeting Michael Jackson?  “It was a dream.  I can’t remember a year when I was training that I wasn’t listening to his music.  He was embedded deep in my being for years so when I found out he actually called to say he wanted to meet me… He was very candid and open and very inspired by me being a dancer.  He just wanted to get into the studio and share the creative process.  He considered himself a dancer first and a singer second.  He was so humble and genuine, especially when I said that I was a fan of his songs. It was surreal.  I can’t say enough good things about him.”

As for what audiences can expect when Rock The Ballet hits our shores, Thomas says the shows “will make you feel good”…

Check out Dance Informa’s review of Rock The Ballet on its US tour – www.danceinforma.com/USA_magazine/2010/04/27/rasta-thomas%e2%80%99-rock-the-ballet-%e2%80%93-bay-boys-of-dance/

For tour information and tickets visit www.rocktheballet.com.au

Rock The Ballet will be performed in Melbourne, Wellington, Auckland, Sydney, Brisbane, Adelaide and Perth.

Published by Dance Informa dance magazine -covering dance in Australia, dance training, dance auditions, dance teacher resources, dancewear and fashion and more.

By Kristy Johnson.

She’s just won the latest season of Dancing With The Stars US, alongside partner Donald Driver, making her hot property. Here, Dance Informa caught up with Aussie native Peta Murgatroyd, to find out how she stays looking so good outside of the dance studio.

How would you describe your exercise regime? What forms of exercise do you enjoy the most?

I have to work out every day. I need to break a sweat. Running is my main go-to, whether on the road or on the treadmill. I also love to go hiking at Runyon Canyon.

How important is it for you to exercise outside of the dance studio?

Right now with the current season of The US Dancing With The Stars, I haven’t done much exercise outside of dancing. During the off-season I really need to keep my body in shape, as I’m not dancing as much as I do when I’m on Dancing With The Stars.

Do you work with a personal trainer?

Yes, his name is David Walters. I work out with him twice a week. We do strength training, to keep my body strong, and Muay Thai.

Photos by Rod Foster

Are there any fitness trends you would be keen on giving a go?

Zumba and Bikram Yoga.

Are you quite strict with your diet? What would you eat on an average day?

I usually eat chicken salads, granola bars, vegetables and a little bit of chocolate.

What would be your favourite healthy snacks to eat, when you’re on the go?

I love granola bars, dried fruit and Gatorade.

Do you have any guilty pleasures?

Yes, I love bread and pasta.

Being a professional dancer, do you find pressure to always stay looking so good?

Always – especially coming from a ballet background, as you always have to keep slim.

When you have free time, how do you like to pamper yourself?

With massages, facials, pedicures and all the girly stuff.

Published by Dance Informa dance magazine -covering dance in Australia, dance training, dance auditions, dance teacher resources and more.

By Belinda Adams.

Chloe Thiel is an 11 year old girl who for the past 10 weeks has been on the ride of her life. Chloe was one of the three lucky girls who shared the role of Annie in Annie the Musical in Brisbane. I was lucky enough to sit down with Chloe to share her excitement about the role and find out more about her experience.

Chloe, you have obviously trained in the performing arts. How many years have you been dancing, singing and acting?

I have been singing, dancing and acting since I was 2 1/2 years old.

Where do you attend classes?

I go to Qld National Ballet and Northside School of Dance for dance classes, and Debbie Bradford for my singing and voice coaching. I also perform with Brisbane Junior Theatre.

What led you to audition for the role of Annie?

The main reason I wanted to audition for Annie was because I remember from a very young age watching Annie the movie and just falling in love with the character of Annie. I love her outlook on life. Plus, she’s an amazing role for an 11yr old to play.

It was a very competitive audition. What do you think set you apart from the hundreds of other girls auditioning?

I’d like to think my preparation helped set me apart and also hopefully that I listened and followed instructions well at the auditions. I found a lot of girls were loud prior to the audition, but went quiet during the audition. My singing voice I think helped me. I love ‘Tomorrow’!

Were you confident that you had the role after the audition process?

A little part inside kept telling me I had a great chance of having the role, but doubts kept creeping in.

Do you think you have a similar personality to your character?

I feel there are a few aspects of Annie’s personality that reflect my own, the main one being her ‘happy go lucky’ outlook on life. I hope this really showed through in my acting due to the fact that I could relate to it! However, I’m lucky, I have loving parents – but maybe a Daddy Warbucks would be nice! Haha!

Did you have fun with the rest of the cast?

I really enjoyed working with the whole cast, especially Anthony Warlow, Nancye Hayes and Julie Goodwin. I had such fun with Anthony, he tells the best jokes! I feel we all connected well and right from the start I thought we’d glow on stage.

After being around such famous people it must be hard to go back to normal life. Do the kids at school or dance treat you differently now that you are a ‘star’?

I have found since Annie that more students speak to me now, asking questions about the show and my wonderful experience. A lot want to know what the stars are really like.

What is the best part of playing Annie?

I would have to say the most exciting part for me was the honour of performing Annie on Official Opening Night (April 12th). Being able to perform with such amazing stars and getting a standing ovation from an amazing audience was wonderful! Then of course I got to read great reviews the next day after the thrill of the party as well. It was AWESOME!!

What did you do to prepare for the stage each night?

Before I went on stage I felt it was important to have quiet time with myself, just preparing my mind set for the rest of the night. I would rethink all the notes I’d been given by the director/choreographer/musical director or adult cast about my character.

Even though you wear the famous red wigs on stage, have you been recognized by a complete stranger?

I was once approached in the street by someone asking if I was one of the ‘Annie’s'! Also when coming out of the QPAC carpark once, a lady said to me, “you’re Chloe Thiel right? I’ve seen all three Annie’s and I loved your performance so much, I’m coming again!” It was really lovely to hear and made me realise I must be doing an OK job!

Could you get used to being a star?

Of course! It’s amazing getting all the attention. Although, I’d imagine that if you weren’t feeling well or something that having lots of people surrounding you when you just want to go home after a performance to get better might be a bit hard.

What do you want to do with your talent after Annie?

Now that Annie is finished I want to carry on with my training and do any auditions I can to gain as much experience as I can. I want to fulfill my passion for musical theatre and maybe one day become a star like Nancye Hayes and Anthony Warlow.

How have you found the experience as a whole and would you do it all over again?

My mum told me that this experience would make or break my love of musical theatre as it would be hard work. She was right….it was hard, but SO much fun!!! It has made me want to continue auditioning and striving for bigger and (if possible) better things. I would do it all over again in a heartbeat!

Chloe Thiel is a very talented little girl who has a very bright future in the performing arts. She captivated audiences during the show’s five week run in Brisbane and received much recognition from both audiences and critics. Remember the name ‘Chloe Thiel’ as she has only just begun what is sure to be an amazing career in the theatre.

Photos by Mark Calleja

Published by Dance Informa dance magazine -covering dance Australia, dance training, dance auditions, dance teacher resources and more.

Dance Teacher Web and Dance Informa invite you to attend a Conference & Expo unlike any other in an unparalleled setting – the Red Rock Resort, Las Vegas! Described by attendees as “the one and only conference truly for dance teachers and studio owners,” Dance Teacher Web LIVE is three full days packed with interactive sessions, expo resources and special events. This must attend conference will provide you with the very best in teaching tools and products to enhance your business, career and life.

For more information and to register visit www.danceteacherconferenceexpo.com

Sydney Opera House
May 2012

By Lynne Lancaster.

What a glorious revival of this production by The Australian Ballet! Lavish and spectacular, Onegin showcases some extraordinary choreography and brilliant dancing. The company are in fine form – an excellent way to celebrate their 50^th anniversary this year.

Based on the Pushkin novel, Onegin features stunning opulent sets and costumes as designed by Jurgen Rose. The lacy dripping flowers of Act 2 are exquisite and in the ballroom scene of Act 3, the sleeves of the women’s dresses are like flowers too.

Cranko’s demanding choreography is seamless and in some of the pas de deux, in particular, there are some very difficult lifts and throws. There is lots for the corps to perform with ballroom waltzes and character dancing, but this ballet is mainly a vehicle for the  main characters, with a huge dreamy pas de deux for Tatiana and Onegin in Act 1 and a despairing farewell pas de deux as the climax in Act 3 . Add to this Lensky and Olga with their joyous pas de deux in Act 1, the ballroom flirting in Act 2 and a showpiece pas de deux for Tatiana and her husband Prince Gremin in Act 3.

The Australian Ballet's 'Onegin'. Photos by Branco Gaica.

The bright, joyful character dancing of the corps in Act 1 is contrasted with the agonizing sculptural tableaux for Tatiana and Olga in Act 2 when they beg Lensky to call off the duel.

We see Onegin’s change of heart as brilliantly portrayed by Rudy Hawkes.  In Act 1 he is cold, elegant, aloof, a Byronic /Mr Darcy hero in black, who determinedly breaks Tatiana’s heart by tearing up and returning her letter. He then seeks to cause major mischief by flirting with Olga. In Act 1 there is the wonderful ‘mirror’ pas de deux where Tatiana dreams of him as her hero and lover. In Act 3 the tables are turned and Onegin is an explosive whirlwind of passion, kneeling at Tatiana’s feet, begging for  love and understanding, but alas it is too late.

Our leading lady, Tatiana, was marvellously danced by Rachel Rawlings. We see her develop from a shy, bookish teenager who falls foolishly and passionately in love with Onegin in Act 1, to Act 3 where she has blossomed into an elegant society wife with her doting husband Prince Gremin.

As Lensky, Onegin’s friend and Olga’s fiancée, Ty King-Wall is magnificent – at times jaw-dropping. He has a fabulous long stretched line and wonderful soft ballon. He is all charm and youthful exuberance. The young and happy, deliciously in love pas de deux for Lensky and Olga in Act 1 is delightful.

Olga, Tatiana’s sister, is delightfully danced by Lana Jones. She is more light-hearted and frivolous than Tatiana and does not seem to realise the consequences of her flirtation with Onegin until it is too late. She is exquisite in the Act 1 pas de deux especially.

With the combination of a dramatic love story, Tchaikovsky’s glorious music, lavish, sumptuous sets and costumes, and Cranko’s swooping, expressive choreography terrifically danced, Onegin is a tremendous production that has audiences swooning.

The world-renowned English National Ballet will tour to Australia for an exclusive season in Sydney at the new, The Concourse, Chatswood, from Friday June 8 to Sunday June 17, 2012.

Tickets are already selling fast as dancers and lovers of dance gather to see the company which hasn’t toured to Australia since 2001.

Under the leadership of Artistic Director, Wayne Eagling, this highly respected European company will bring its top soloists and principal artists, presenting a programme suited to young and old in the intimate 500 seat theatre at The Concourse.

The English National Ballet was established in the 1950s and has since emerged as one of the foremost touring companies in Europe. This internationally acclaimed classical ballet company tours both nationally and worldwide. Founded by two British ballet greats Alicia Markova and Anton Dolin, the English National Ballet grew out of a series of gala performances. Today, with 67 dancers from 20 different countries, they provide a group of dancers who enrich each repertoire they perform. The original 1950s aspiration for the Company, to take popular ballet to the widest geographical audience at a price they can afford, remains as valid today as when first expressed by the Company’s founders.

English National Ballet's Anais Chalendard and Vadim Muntagirov in Suite en Blanc

Recently the subject of the popular BBC reality series The Agony and the Ecstasy the English National Ballet is enjoying an international recognition unheard of in classical dance circles. And it is not only the public who are supporters of the English National Ballet. The prestigious company has enjoyed the patronage of Diana, Princess of Wales and currently HRH Prince Andrew, The Duke of York.

The Australian programme, accompanied by a live orchestra, will open with George Balanchine’s neo-classical masterpiece Apollo and close with Serge Lifar’s spectacular bravura piece, Suite en blanc. These two great classics will frame a selection of favourite pas de deux from Manon, Don Quixote or Black Swan, and Trois Gnossiennes, featuring the company’s stars. Set to an Erik Satie solo piano piece, contemporary choreographer Hans Van Manen’s Trois Gnossiennes, will showcase the great finesse, control and superb classical technique of the English National Ballet dancers.

Suite en blanc was described by its choreographer, Serge Lifar, as “a real parade of stars”. A plotless display of classical technique, with strict emphasis on the perfection of line, the ballet was created in 1943 to showcase the virtuosity and elegance of the Paris Opera Ballet. With its white costumes against an inky black setting, the ballet remains a stunning showcase of dance, as glittering and exhilarating as its first performance nearly seven decades ago.

Don’t miss this unique opportunity to see the English National Ballet. Tickets are now on sale at www.theconcourse.com.au/enb

Top photo: Dancer Anais Chalendard of English National Ballet in Apollo. Photo by Laurent Liotardo.

Published by Dance Informa dance magazine – everything dance in Australia – dance auditions, dance news, dance events and resources for dance teachers.

By Brian Nolan.

If there is one person who exemplifies a true Classical Diva of Dance then Audrey Nicholls is it. She hails from Townsville in north Queensland, but after training in Sydney and then furthering her training in London, our second diva made her home in Victoria.  (If you didn’t catch my interview with our first diva, Carole Oliver, click here)

In the world of RAD (Royal Academy of Dance) and in the performing arena Audrey Nicholls stands pointe shoes and tutus over the rest. She is renowned throughout Australasia and internationally for her contribution to the RAD and in 2010 was honoured by the board of trustees at the Academy headquarters in England with a Fellowship in recognition of her contribution and remarkable, dedicated service to the Academy.

Audrey Nicholls dances with Robert Pomie in the Pas de Deux from Don Quixote

With a career spanning 61 years, Audrey, along with Colin Peasley,  is one of the longest serving and dare I say one of the more ‘’mature’’ dancers still performing in Australia. As a valued guest artist of the Australian Ballet Company (where she has been guesting since 1992), Audrey is not only constantly performing character roles with them but still has roles created on her!

Audrey has had a very illustrious career and in her day she graced some of the world’s best stages. A soubrette, with a sensitive lyrical and artistic quality, coupled with assiduous attention to detail and a resounding technique, enabled Audrey to perform and portray a huge variety of roles.

Audrey commenced her career in 1950 where at the very young age of 16 she joined the Borovansky Ballet (now the Australian Ballet) as a member of the corps de ballet. In 1951, she won the inaugural Frances Scully Memorial Scholarship and travelled to London to further her studies. In 1952, she joined the Rambert Ballet as a soloist and in 1953 was promoted to a principal dancer. In 1955, she returned to Australia and rejoined the Borovansky Ballet as a senior soloist.  In 1958, the Ballet Guild of Victoria (Ballet Victoria) was her next stepping-stone with some outstanding principal roles especially in Giselle and Coppelia.

Audrey Nicholls performs 'Waltz' in Le Sylphides with the Ballet Rambert in London, 1954

A career in television from 1958 – 68 saw her immortalized on the small screen with both Channel 7 and Channel 2 (ABC). During this time Audrey commenced teaching the RAD Syllabus.

In 1973, Audrey Nicholls was appointed as a Graded Examiner of the Royal Academy of Dance. From 1982 to today, she has taught RAD teaching courses and classes throughout Australia. Audrey instigated the Victorian Grade Awards and was honoured when the awards were named after her this year.

Audrey is a truly remarkable lady, who is forever smiling. Her warmth and passion for the people around her and the art she loves is evident. When taking workshops or courses, teachers specifically ask for Audrey as they know that the students all come out of class beaming.

Audrey Nicholls FRAD ARAD

What influenced you to become a teacher?

I had been a professional dancer since the age of sixteen and continued until I was about 36. During this time at around 23, I was passionate about teaching ballet and wanted to give back to aspiring young students my love and experience in dance. Along with professional dancer Eve King, I began what was to become a long and rewarding journey of teaching ballet.

When you first started teaching what were your aims and ambitions?

To give the students a pure classical technique and to inspire their love of music. When I hear music, I immediately have a physical reaction to move and express myself and to bring out the artistry of the dance step. I also wanted to offer knowledge of other influential teachers and use the expertise of Martin Rubinstein (Maestro), Lynn Golding, Jack Manual and Christine Howard. We were very privileged to be a part of their education.

Have you achieved these goals?

I do feel a sense of achievement and feel rewarded to have trained many students who have gone on to wonderful professional careers not only as classical dancers but also qualified examiners, teachers, actors and stage managers. I have also trained Genee gold medallist Holly Smart and bronze medallist Pamela Smith, as well as several soloists in the Australian Ballet and Royal Ballet Companies including Delia Harrington and James Newman. One former student of note is Christine Howard who is the Character teacher at the Australian Ballet School (30 years).

What is your proudest moment in all your years of teaching?

Being recognized by my peers and having the honour to be awarded the Fellowship of the Royal Academy of Dance (2011). Also the achievement of 40 years of collaboration with Eve King and our teaching together in our ballet school.

Where do you think ballet is headed in the next 10 years?

Supply & demand – we have the supply of many talented dancers, choreographers, designers, composers and of course teachers! Dancers today have the opportunity to receive excellent training with technical ability being pushed beyond their boundaries. Contemporary and classical demands the utmost from the dancer- today there is no limit to where and what will happen in the next 10 years.

What do you think is the most important thing that has happened or influenced dance in the last 10 years?

Televised live broadcasts of performances reach thousands of people who might not normally have the opportunity to see a ballet. In addition, one of the biggest of all: YouTube

What is your favourite ballet?

I am a bit of a traditionalist, so I will say Giselle. I love the first act, the communicative story telling in the demi character style, told with drama and heartfelt emotion especially with Giselle’s acting in the ‘mad scene’.  Then the pure classicalism of Act 11, the choreography raises so many sentiments and reactions that enable the dancers to put their hearts on the line. It is a wonderful vehicle for the dancer.I grew up on Giselle, starting in the corps de ballet, then Pas de Six, Peasant Pas de Deux, Queen of the Willis and eventually the title role of Giselle.

Who is your favourite dancer?

There are three exquisite women and it is impossible for me to choose between them, they are: Natalia Makarova, Darcy Bussell and Natalia Osipova – for me they are the epitome of dance.

You are an RAD examiner. Why did you choose RAD and do you still examine?

My original teachers were Gwen Hardie and Ann Roberts FRAD, ARAD who both taught the RAD syllabi.  I found the syllabi structure and exam preparation beneficial and certainly challenging. Therefore, when I commenced teaching, the transition to RAD was a natural progression. Becoming an RAD examiner seemed to follow automatically.

I will always be grateful to Martin Rubinstein for his mentoring and guidance when I was becoming an examiner in those early days and to this day. I loved examining, meeting the different teachers and exchanging ideas. I enjoyed helping to sort out problems and addressing the needs of the country teachers where little access to examiners or experienced teachers was available. I have travelled internationally and throughout Australasia for 33 years as an examiner. As an examiner, we all were continually updated with education in dance, psychology, syllabus and new methods. It has been a very rewarding career and I continue as an RAD tutor on different faculties for courses, workshops for teachers and students, and as a Juror for RAD events.

How would you like to be remembered?

Fondly – I hope!  But also for my lifelong love of dance and my devotion to my husband David and my family.

Top photo: Audrey Nicholls in the Pas de Trios from Swan Lake – Ballet Rambert 1954.

Published by Dance Informa dance magazine – everything dance in Australia – dance auditions, dance news, dance events and resources for dance teachers.