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Bad news is good news

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Manchester Metropolitan University's performance-based degrees had had a base in Crewe - their Cheshire campus - for many years but in 2019/20 are consolidating the Cheshire campus back into Manchester city centre, based in the new Arts and Humanities building currently under construction on the corner of All Saints next to Manchester School of Art.

The Axis Arts Centre will therefore no longer be programming.

However, the good news for Manchester is that their dance programme and dance students will be returning to the city centre and it seems as if this can only be good news for dance life in the city.

Dancing in the Blitz: How World War II Made British Ballet back on BBC iPlayer

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David Bintley, director of the Birmingham Royal Ballet, explores how the Second World War was the making of British ballet and how fundamental the years of hardship and adversity were in getting the British public to embrace ballet.

Bintley shows how the then Sadler's Wells Ballet Company, led by Ninette de Valois and featuring a star-studded generation of British dancers and choreographers including Margot Fonteyn and Frederick Ashton, was forged during the Second World War.

It's the story of how de Valois and her small company of dancers took what was essentially a foreign art form and made it British despite the falling bombs, the rationing and the call-up. Plus it is the story of how Britain, as a nation, fell in love with ballet.

Using rare and previously unseen footage and interviews with dance icons such as Dame Gillian Lynne and Dame Beryl Grey, Bintley shows how the Sadler's Wells Ballet company survived an encounter with Nazi forces in Holland, dancing whilst the bombs were falling in the Blitz, rationing and a punishing touring schedule to bring ballet to the British people as an antidote to the austerity the country faced to emerge, postwar, as the Royal Ballet.

https://www.bbc.co.uk/iplayer/episode/p01s4z2h/dancing-in-the-blitz-how-world-war-ii-made-british-ballet

Polish Dance Theatre - Forefather's Eve_Copy.Doc

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This show Forefather's Eve_Copy.Doc by Polish Dance Theatre is showing at Trinity Laban on 14-15 March.

I think it looks like a really interesting piece - and features nudity, which is a special interest area of mine - but it looks as if this is the only UK appearance (typically).

Mockumentary of a Contemporary Saviour by Ultima Vez

Europe, after the Rain

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The simple truth, it seems to me, is that after we leave the EU - assuming the insane plan of the disaster capitalists goes ahead - outside of London and the major festivals - Edinburgh, Brighton, Birmingham International Dance Festival - there will be minimal or no opportunities to see European dance companies in the UK.

It also has to be borne in mind that although well-funded companies with dancers under contract may be protected to an extent, the livelihoods of European dancers in the UK and UK dancers in the EU - especially those that are independent and/or freelance - are under serious threat. Although one imagines that EU member states are likely to be considerably less culturally suicidal than our own idiot nation.

Not to forget that choreographers, musicians, costume and lighting designers and technicians will be in the same leaky, Brexity boat.

Even for companies with under-contract dancers, having to protect the right to work in the UK for former-EU dancers, in addition to those from the Americas and the Far East etc. will place an additional administrative and financial burden on those companies and even when budgets appear generous money is still pretty tight.

For those living and working on a grant by grant basis, who knows that the future holds.  Sixty years of British dance progress down the Brexit toilet?




The Soldier with a Secret Talent - Ballet [BBC]

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Twenty-two-year-old Alex Smith is a serving soldier in the British Army who nearly went into a very different profession - ballet. For two years he kept his talents a secret from his fellow soldiers.

Trooper Alex Smith of the Queen's Dragoon Guards is wearing his uniform and he's ready for duty. But today, unusually, he's in a theatre.

Alex is appearing in a contemporary dance production called 5 Soldiers, a work created by choreographer Rosie Kay about all aspects of military life - the rigorous training, the friendships and the stress of going into conflict.

[read more]

[BBC]

Rosie Kay Dance Company's 5 Soliders and the new expended version 10 Soldiers will not be showing in a theatre near you if you live in Manchester. See here for tour 2019 tour dates. 

Not The Greatest Dancer

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I have generally found BBC1's Saturday night 'entertainment' show The Greatest Dancer completely unbearable, largely due to the complete lack of criticality and how handing over complete control to the audience (unlike Strictly, where the public only get to make the wrong choice in the final) has resulted in rewarding emotion, hollow spectacle and moves and tricks that look impressive regardless of any technical or creative merit.

Not to mention the rewarding of anyone with a physical disadvantage being able to move at all.

And then there's this:

The Disturbing Racial Bias of The Greatest Dancer [the Guardian]

Matthew Morrison, Cheryl and Oti Mabuse in The Greatest Dancer (BBC)

Olivier Awards 2019: the dance nominations

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This year's Olivier Award nominations have been announced.

The Olivier Award winners are announced Sunday 7 April at the Royal Albert Hall, hosted by Jason Manford.

The nominations in the dance categories are below:

BEST NEW DANCE PRODUCTION

16 A Room/Solo Echo/Bill by Ballet British Columbia at Sadler's Wells

Blkdog by Botis Seva at Sadler's Wells

Playlist (Track 1, 2) by William Forsythe for English National Ballet at Sadler's Wells

The Unknown Soldier by Alastair Marriott for The Royal Ballet at Royal Opera House



OUTSTANDING ACHIEVEMENT IN DANCE

Akram Khan for his performance in Xenos at Sadler's Wells

John Macfarlane for his design of Swan Lake at Royal Opera House

Dimitris Papaioannou for his choreography of The Great Tamer at Sadler's Wells

Scottish Dance Theatre announce new Artistic Director

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Photo: Nicole Guarino
Scottish Dance Theatre have announced the appointment of Catalan choreographer Joan Clevillé as their new Artistic Director. 

The internationally renowned choreographer becomes the seventh artistic director of this award-winning company. Clevillé has a long history with Scottish Dance Theatre joining as a dancer in 2009. As a choreographer he made his first piece for the company Dreamt for Light Years in 2011. Joan made Dundee his permanent home following his departure from the company in 2013 and in 2015 founded Joan Clevillé Dance (JCD).

Emanuel Gat Dance - WORKS

Twenty dance-related (and other arts-based) wishes for 2011... REDUX

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Twenty dance-related (and other arts-based) wishes for 2011...


I recently uncovered this list that wrote in 2011. I thought I would update it (for my own interest, at least).



  1. That I see as much ballet, dance & physical theatre as I did in 2009 and '10.
    I have managed to roughly maintain the level of dance and movement-based theatre I see on a yearly basis. Somehow.


    1. That no dance company goes under because of the destructive slashing of arts budgets by national or local government. The Arts Council re-funding lottery will be announced 30 March 2011. As a result companies will topple all year as their business models collapse.

    Lots of companies have either disappeared or gone into hiatus, presumably due to a mix of funding difficulties and creative decisions.


    1. That at least one of the people I have taken to see dance goes to see some more - either with me or because they liked it enough to want to see more and have bought tickets.

    I believe that there are people go to see dance – or have at least seen dance – because of me. But probably not that many.


    1. That the following companies (and many more) visit Manchester / Salford: DV8 Physical Theatre, Jasmin Vardimon Company, Henri Oguike Dance Company, Rafael Bonachela Company, Chunky Move (Australia), Cedar Lake Contemporary Ballet (US), Stephen Petronio Company (US), Toronto Dance Theatre (Canada) - basically that a combination of arts cuts, financial downturn, absurd visa restrictions on artists and performers don't result in an end to national and international touring.

    • DV8 Physical Theatre went into a long period of hiatus in 2015.
    • Jasmin Vardimon Company continues to make work and tour successfully.
    • Henri Oguike Dance Company lost their funding soon after and folded. I have seen or heard nothing of Henri Oguike since.
    • Rafael Bonachela went as Artistic Director to Sydney Dance Company shortly after and closed his own company.
    • Chunky Move have never returned to the UK to my knowledge.
    • Cedar Lake Contemporary Ballet were hugely successful and even toured the UK once but didn't appear at The Lowry. However the company were philanthropically established by Walmart heiress Nancy Walton Laurie and the company was closed in 2015. Former Artistic Director Benoit Swan Pouffer has recently taken over the AD role at Rambert (and is shaking it up nicely).
    • Stephen Petronio has never brought his company back to the UK. They seem to work almost entirely in NYC.
    • Toronto Dance Theater have not visited the UK to my knowledge.
    1. That Contact Theatre starts booking more dance and is less focused on its own narrow arts agenda. Contact Theatre actually seems to be widening its artistic agenda. This may be due to Barry Priest's role within the organisation...?

    Contact Theatre has now been closed for about a year for a major capital infrastructure build to improve and modernise their facilities. They have continued to programme their own work in other venues around the city. It will be interesting to see what they are offering when they reopen.



    1. That greenroom books more dance.

    Manchester’s greenroom famously lost its ACE funding in 2011 and closed. The space is now occupied by Gorilla who use the theatre space (a railway arch) for gigs and club events. Elements of greenroom decamped to Z-Arts and elsewhere but as an arts venue it has never been replaced.


    1. That the Royal Exchange Studio continues to book small-scale touring dance - in fact, more of it. At the moment they seem to have stopped booking any...

    The Royal Exchange Studio programmes almost no dance and hasn't for years. They apparently do not have a policy not to, but neither do they have a policy to…


    1. That some fantastic redevelopment plan is announced for The Dancehouse - one that brings the theatre into more use, improves the public spaces and facilities, improves the standing of the attached dance school and Manchester City Ballet and increases the amount of dance actually programmed to appear in the theatre (i.e. some). This is pure fantasy. This does indeed seem to be pure fantasy.

    Still fantasy.


    1. That the BBC site on Oxford Road is earmarked for a landmark urban regeneration project and not a mixed use hotel/offices/apartments/retail units yawnfest.

    The above-mentioned mixed use redevelopment is under construction as we speak. Welcome Circle Square.


    1. That the Liverpool Playhouse continues to programme really great dance and that their investment plans don't fall through. Liverpool Playhouse and sister theatre the Everyman have had their funding significantly cut by Liverpool City Council. They are optimistic this is survivable.

    The theatres survive. Liverpool Playhouse appears to have stopped programming dance. I have not been there since 2015.


    1. That the Manchester International Festival thrives in 2011 and isn't scaled down by arts funding cuts. The Manchester International Festival announced a programme in March full of music and with no dance events planned whatsoever. Over-familiar, dreary even, this year's MIF should be hugely successful...

    Manchester International Festival goes from strength to strength. They finally programmed a major dance event in 2015 (Wayne McGregor’s Tree of Codes), programmed more dance in 2017 (Lucinda Childs’ Available Light and Boris Charmatz’s remarkable 10,000 Gestures) and have a project with Rambert and US installation choreographer Trajal Harrell for 2019. Dance appears to be firmly part of the MIF mix now and they will likely need to the scale and ambition of dance to help populate The Factory when it is built.


    1. That Urban Moves returns in 2012 and is promoted more effectively - perhaps tying the free public performances in with some theatrical events...?

    Dance Manchester lost its ACE funding and survives but Urban Moves hasn't, last appearing in 2014.


    1. That some theatrical use is found for the Theatre Royal (Peter Street) if it's not going to be the new home of the Library Theatre.

    Owned by Radisson Blu’s Edwardian Group the theatre is earmarked for conferences (ugh) but is currently being used for storage. They are doing some cyclical maintenance by the theatre remains unused and unloved since 2009. Built in 1845, it is Manchester’s oldest surviving purpose-built theatre and although not been used as a theatre since 1921 – it was a cinema and a nightclub in the intervening years – but would still be useable as a theatre. The Theatres Trust identify it as one of the best surviving examples of theatre architecture from the period and note that: ‘the conversion of the building to nightclub use obscured rather than destroyed the theatre interior, which appears to be capable of restoration.’ It is to be expected that the next conversion would entirely destroy any hope of theatrical restoration.


    The Library Theatre, of course, reappeared unrecognisable at HOME. It is now apparent that the Library’s following and audience were entirely lost in the transition period and HOME has struggled to establish itself as a producing theatre, with a fanatic space they seem unable to programme for weeks at a time.


    1. That Queer Up North returns - but with a less narrow artistic agenda. Queer Up North have lost their funding from Manchester City Council and with no announcements, no pre- events and no update to the website looks to have folded?

    Queer Up North morphed into Queer Contact, largely down to the sterling efforts of Barry Priest, who has since left Contact. The changing and expanding nature of the LGBTQI etc. ‘community’ means that the festival thrives but has shifted its delivery and targets accordingly.


    1. That there is some positive movement on the former Odeon on Oxford Street (although imagining that it will be restored to its former Paramount glory or returned to any kind of theatrical use is pure, pointless fantasy).

    More pointless fantasy. The former Odeon/Paramount was demolished in 2017 and a new skyscraper is currently under construction on the site.


    1. That Birmingham Royal Ballet, the English National Ballet and Northern Ballet bring some more fabulous fully-staged narrative ballet (not just Swan Lake, Cinderella, The Sleeping Beauty, The Nutcracker and Romeo & Juliet - much as we love them). Actually, I'm about ready for another Swan Lake. Birmingham Royal Ballet are bringing Coppelia (which I've never seen). English National Ballet are bringing their Strictly Gershwin show (should be popular with the Palace's mainstream audience but leaves me cold). The Northern Ballet are bringing The Nutcracker in November (again), although they have a number of other interesting productions on the go - their new ballet Cleopatra, Beauty and the Beast, Hamlet and Giselle. It looks as if BRB may be touring less next year as they have announce their 2011-12 season and have no Lowry dates as yet...

    The Birmingham Royal Ballet and English National Ballet still tend to bring the classics to the city in rotation. The English National Ballet have been modernising for some years and Northern Ballet are mostly producing a series of new narrative ballet based on literary classics. The fact is, Manchester’s ballet audience isn't large enough for the big three classical companies to take too many risks, although ENB have made steps with their MIF co-production of Akram Khan’s Giselle and the 1418NOW Lest We Forget programme.


    1. That I see some amazing contemporary company that I've never seen before who really excite me.

    Touch wood, this is why I am still plugging away.


    1. That I go and see something in London that I never get the chance to see in Manchester.

    It took me until 2014 to do this and I now travel to London on an intermittent basis each year for shows that I ‘must’ see and seriously doubt would otherwise get the chance: and travelling to other cities generally to see dance that increasingly doesn't look like it’s coming to Manchester or Salford. I realise this is a luxury.


    1. That I will finish writing my ballet synopsis and send it to someone.

    I gave this idea up long ago.


    1. That my reviews for The Public Reviews get better and get read.

    The Public Reviews is now The Reviews Hub. My reviews continue to vary in quality – writing about dance can be hard – and I still have no idea how many people read them as I get almost no comments.



    Updated 29 March 2011/10 April 2019

    Arts contribute more to UK economy than agriculture – report

    Dance Manchester dies the death of a thousand cuts.

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    Following the loss of Arts Council England NPO funding effective from 2018 and an extensive organisational development review, Dance Manchester, the dance development organisation for Greater Manchester has announced that it will close for business after 27 years of trading. In keeping with its longstanding tradition of support for the Greater Manchester dance sector, Dance Manchester will transfer its remit to Company Chameleon, an organisation it helped to seed over 12 years ago.

    The transfer, supported by Arts Council England and Greater Manchester Combined Authority was made to ensure investment into the North West dance sector is maintained and that dance continues to flourish in the region.

    Alison Clark, Director, Arts Council North and National Director, Combined Arts, said,

    “Dance Manchester has been a long standing and significant part of the Greater Manchester dance ecology. It leaves behind it a substantial legacy for dance development in the North West.  Continued service provision for the area has been assured by Company Chameleon.  We look forward to seeing Company Chameleon foster the talent of homegrown dance artists and young dancers in the future, as well as engaging and developing new audiences for dance in Manchester and beyond.”


    Marie-Claire Daly, Principal, Cultural and Creative Policy at Greater Manchester Combined Authority, said,

    “We’re confident that Company Chameleon will build on Dance Manchester’s track record and reputation in its provision of high quality dance development opportunities, live events and dance projects for dance artists and people of all ages across Greater Manchester’s communities.”

    A spokesperson for the Dance Manchester Board of Trustees said,

    “Dance Manchester has had a fantastic run and our longstanding record of creative output and support speaks for itself. We are grateful to our generous donors and our loyal audiences for all the support we have enjoyed to date. We extend our heartfelt thanks to our former Director, Deb Ashby, for her many years of service and unstinting creativity and commitment, and to all the creative artists who have worked with us over the last 27 years to propel Dance Manchester into the highly successful creative enterprise it became, but now it feels like the right time to pass the torch.

    By transferring the Greater Manchester dance development remit to Company Chameleon, an organisation whose objectives match our own, we will be ensuring continued support for the local dance ecology of Greater Manchester and its role in a community that we have had the privilege to work for and with for over quarter of a century.”

    During its tenure, Dance Manchester brought incredible dance experiences and access to dance opportunities to communities across Greater Manchester, working with schools, youth centres, pupil referral units, with universities, in care homes & much more, and supported the development of professional dancers through training, development and commissioning programmes across Manchester.

    As a key part of the national infrastructure supporting the dance sector, Dance Manchester brought high quality dance direct to the public, including, Urban Moves International Dance Festival from 2005-2014 which presented professional dance performances for outdoors and in unusual spaces across Manchester from Belgium, France, Greece, Italy, Spain, South Korea and the UK. It also worked in partnership with Company Chameleon on STRIDE, Greater Manchester’s annual young men’s dance project.

    Leanne Feeley, General Manager, Company Chameleon said,

    “Since establishing Company Chameleon twelve years ago, we’ve proudly flown the flag for dance in Greater Manchester, and throughout this time, always been committed to reaching as many people as possible through dance.

    We’ve taken dance into theatres, onto the streets, into schools, community settings, prisons and hospitals, in many instances introducing people to dance for the first time. On the other end of the spectrum we’ve fostered and invested in the development of graduates and welcomed celebrated artists from all over the world to the region for professional development and employment.

    It’s fantastic that GMCA is committed in their continuing support and development of dance in the region and that we can work in partnership with them to fulfil this commitment. With their support, we can build on our work to date and further develop the network that we’ve created.

    More than anything, we want dance in Greater Manchester to be on the map and we want it to be celebrated in every way that it can be.  With GMCA’s support, we look forward to continuing this drive and getting more people in Greater Manchester, of all ages and levels, experiencing, enjoying and taking part in dance.”

    From 1st July 2019 all enquiries for dance development opportunities in Greater Manchester should be directed to Company Chameleon at info@companychameleon.com / 0161 223 6280.

    SHARON EYAL, GAI BEHAR AND L-E-V LIVE IN LONDON, FIRST UK RESIDENCY COMMISSIONED BY BOLD TENDENCIES.

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    This summer, Sharon Eyal, Gai Behar and their full company of dancers and creative team are coming to London to Bold Tendencies.

    L-E-V (meaning heart) is the confluence of movement, light, fashion, music and technology. With performances as much at home in a nightclub as they are the opera house, L-E-V will now occupy the top floors of a brutalist multi-storey car park.

    The company will perform some of their live repertoire (it sounds as if this may combine OCD Love and Love Chapter 2) with a special open rehearsal on 25 July 2019 followed by two performances 26-27 July.

    The month-long residency will see Eyal re-stage Used To be Blonde with the National Youth Dance Company (for whom it was commissioned in) 2018 with a special open rehearsal on 1 August followed by two performances 2-3 August.

    Next will be live performances with Young Turks (Jamie XX and Koreless) on 8 August (special open rehearsal) and 9 & 11 August.

    This will be followed by the debut of a new work for L-E-V, made during the residency with a special open  rehearsal on 15 August followed by two performance 17-18 August.

    This is a remarkable opportunity to see a significant amount of Eyal & Behar's work - new and repertoire - in a unique location. The killer for me is that it all takes place in London. But I will be sure to make at least one of the performances (probably the new commission).

    Used To Be Blonde



    NATIONAL YOUTH DANCE COMPANY ANNOUNCES GUEST ARTISTIC DIRECTORS FOR 2019 – 2021

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    NYDC has appointed its next two Guest Artistic Directors: Sadler’s Wells Associate Artist Russell Maliphant in 2019-20 and acclaimed choreographer Alesandra Seutin in 2020-21.

    The company will begin creating a new commission with Russell Maliphant in autumn 2019. He takes over from 2018-19 Guest Artistic Director, the Olivier award-winning dance artist Botis Seva whose work for NYDC, MADHEAD, premiered at DanceEast in Ipswich on 20 April. MADHEAD toured to six further venues across England this summer, closing at Sadler’s Wells on 19 July.


    Frustratingly, NYDC do not appear to be a priority for The Lowry - the only venue in the area with the right kind of theatre to host their tours - although The Lowry does appear on their list of partners and host venues. 

    Their 2016 production In-Nocentes, choreographed by Michael Keegan-Dolan did appear at The Lowry as part of the U-Dance festival. I now remember that I missed it because I was away at the time: Michael Keegan-Dolan was an attractor, although the U-Dance festival is something that doesn't generally appeal to me: much as I support youth dance I don't necessarily have the appetite to watch it. 

    NYDC also appeared at The Lowry in 2013 with Jasmin Vardimon's (in between), which I didn't see and have no recollection of.



    Julia Farron 1922-2019

    Emily Molnar Moves to Europe

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    Nederlands Dans Theater (NDT) is very pleased to announce that from August 2020 Canadian Emily Molnar (1973) will commence her tenure as the new Artistic Director of the company. 

    She succeeds Paul Lightfoot who in the summer of 2020 will resign as Artistic Director after nine successful and artistically blossoming years.
    Image: Michael Slobodian / PNG


    Molnar is one of Canada's most acclaimed dance artists. She graduated from the National Ballet School of Canada, and danced with the National Ballet of Canada, Ballet BC and the Frankfurt Ballet under the direction of William Forsythe. She has created various works as a choreographer and since 2009, Molnar has been the Artistic Director of Ballet BC in Vancouver, Canada. In 2014, Molnar also took on the role of Artistic Director and Curator of Dance at the cultural education institute Banff Center in Banff, Canada.

    Vancouver Sun


    Repertoire - Sharon Eyal

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    Not pretending this is about dance in Manchester or the north west (something that is virtually dead in any case, so far as one can tell). This is obsession. 
    • AUTODANCE (2017) (GOTEBORGS OPERANS DANSKOMPANI, SWEDEN)
    • BEDROOM FOLK (2015) (NDT1)
    • BILL (2010) (BATSHEVA DANCE COMPANY) (BALLET BRITISH COLUMBIA, CANADA)
    • CORPS DE WALK (2011) (CARTE BLANCHE, NORWAY)
    • FEELINGS (2016) (NDT2)
    • HALF LIFE (ROYAL SWEDISH BALLET) (STAATSBALLET BERLIN)
    • HOUSE (2011) (BATSHEVA DANCE COMPANY)
    • KILLER PIG (2009)(CARTE BLANCHE,NORWAY) (RAMBERT 2)
    • LOVE CHAPTER 2 (2016) (L-E-V)
    • LOVE CHAPTER 3: THE BRUTAL JOURNEY OF THE HEART(2019) (L-E-V)
    • OCD LOVE (2015) (L-E-V)
    • PLAFOMA (2012) (TANZCOMPAGNIE OLDENBURG, GERMANY)
    • PROCESS DAY (SCOTTISH DANCE THEATRE, UK)
    • R A K M D L G D (L-E-V) (2019)
    • SALT WOMB (2016) (NDT1)
    • SARA (2013) (NDT2)
    • THE LOOK (2019) (BATSHEVA DANCE COMPANY, ISRAEL)
    • TOO BEAUCOUP (2011) (HUBBARD STREET DANCE CHICAGO, USA)
    • UNTITLED BLACK (2012) (GOTEBORGS OPERANS DANSKOMPANI, SWEDEN)
    • USED TO BE BLONDE (NATIONAL YOUTH DANCE COMPANY, UK) (2018)
    Key: Title of work (Year created) (Company created for) (Production staged by a different company - this means I have seen this production).
    Anything in bold the author has seen performed. 

    Half Life | Berlin Staatsballett

    Killer Pig | Rambert2

    Parts of Love @ Bold Tendencies | L-E-V

    Manchester? No, sorry 2020

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    My annual list of companies that miss Manchester (or Salford) from their touring. Just for information. Will be updated if there is news.

    BalletBoyz

    An 18-venue spring tour has been announced for their new show Deluxe in 2020 with more dates to be announced. But not Manchester or Salford, and the company consistently now miss the city entirely. 

    Mark Bruce Company 

    Spring dates for 2020 announced for new production Return to Heaven but the company has not visited Manchester since the Dracula tour in 2014 (missing the last two shows, The Odyssey and Macbeth)

    2019 BroadwayWorld UK Awards

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    The shortlist is announced for the 2019 BroadwayWorld UK Awards, celebrating the best long-running West End productions and best new productions from around the country.

    CLICK HERE TO VOTE

    Voting is open until Friday, 22 November, with the winners announced soon afterwards.

    The only significant dance category (apart from Best Choreography of a New Production of a Play or Musical) is:

    Outstanding Achievement in a New Dance Production


    • Four Quartets, Pam Tanowitz, Barbican
    • Matthew Bourne's Romeo + Juliet, Matthew Bourne/New Adventures, UK Tour
    • Pendulum/Click!/Ingoma, Ballet Black, UK Tour
    • She Persisted, English National Ballet, Sadler's Wells
    • The Mother, Arthur Pita, Queen Elizabeth Hall
    • Victoria, Northern Ballet, UK Tour
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