#Kevin O&039;Hare

[gramilano]

Royal Ballet Principal dancer Edward Watson retires after 27 years

Royal Ballet Principal Edward Watson will make his final performance with the company on Saturday 30 October in Wayne McGregor’s new work, The Dante Project.

Royal Ballet Principal Dancer Edward Watson will make his final performance with the company on Saturday 30 October in Wayne McGregor’s new work, The Dante Project. “Edward Watson, the most distinctive interpreter of McGregor’s work and the most significant English dancer of the past 20 years.” – Sarah Crompton, The Guardian Edward Watson and Fumi Kaneko in The Dante Project, The Royal Ballet…

[dccomicsnews]

Constantine: City of Demons Coming To Blu-ray This October

Constantine: City of Demons Coming To Blu-ray This October #ConstantineDemons #ConstantineCityOfDemons #Constantine #WBAnimation #CWSeed #DCComics #DCComicsNews

From executive producers David S. Gover and Greg Berlanti, The Hellblazer is back in an all-new twisted tale of mystery, intrigue and the occult with Constantine: City of Demons, a full-length, R-rated feature film based on the acclaimed DC animated series from CW Seed. Produced by Warner Bros. Animation, Blue Ribbon Content and DC Entertainment, the action-packed movie will be distributed by…

[thomwade]

Yo Ho Ho! Let's Restart! (Pirates of the Caribbean: On Stranger Tides, 2011)

Yo Ho Ho! Let’s Restart! (Pirates of the Caribbean: On Stranger Tides, 2011)

After a somewhat lackluster reaction to At World’s End (don’t get me wrong, it made money) the franchise went quiet.  And it may be that it could have been just left at being a trilogy. But Disney wanted to keep it going, and four years gave us On Stranger Tides.  This time, they leave aside Will and Elizabeth Turner.  Will is apparently off being the new Captain of the Flying Dutchman, content…

[olivierdemangeon]

,

  Synopsis : En 140 après J.-C., l’Empire romain s’étend jusqu’à l’actuelle Angleterre. Marcus Aquila, un jeune centurion, est déterminé à restaurer l’honneur de son père, disparu mystérieusement vingt ans plus tôt avec la Neuvième Légion qu’il commandait dans le nord de l’île. C’est ainsi qu’il part à la recherche de l’Aigle d’or, l’emblème que transportait son père et qui aurait été vu dans un temple tribal des terres du nord. Il décide de s’y rendre avec Esca, son esclave. Mais dans ces contrées inconnues et sauvages, Marcus va devoir affronter les plus redoutables dangers pour avoir une chance de trouver la vérité…

Origine du film : États-Unis, Royaume-Uni Réalisateur : Kevin Macdonald Scénariste : Jeremy Brock Acteurs : Channing Tatum, Jamie Bell, Donald Sutherland, Mark Strong, Denis O’Hare Musique : Atli Örvarsson Genre : Action, Aventure, Drame, Histoire,, Péplum Durée : 1 heure et 54 minutes Date de sortie : 4 mai 2011 (France) Année de production : 2011 Sociétés de production : Toledo Productions, Film4 Productions, DMG Entertainment Distribué par : Focus Features, Universal Pictures Titre original : The Eagle Notre note : ★★★★☆

Notre commentaire : “The Eagle” ou “L’aigle de la Neuvième Légion” pour la distribution française, est un film d’action historique datant de 2011, dirigé par Kevin Macdonald, à qui l’on doit également “Black Sea” (2014). Les acteurs principaux sont Channing Tatum, qu’on a pu voir dans “22 Jump Street” (2014), Jamie Bell, qu’on a pu voir dans “Dos au Mur” (2012), Mark Strong, qu’on a pu voir dans “Kick-Ass” (2010), Donald Sutherland, qu’on a pu voir dans “American Haunting” (2005), et Denis O’Hare, qu’on a pu voir dans “Pyramide” (2014). Le film est adapté du roman de Rosemary Sutcliff intitulé The Eagle of the Ninth (1954).

L’histoire proposée par “L’aigle de la Neuvième Légion” est basée sur cette légion romaine supposée avoir disparue en Angleterre. Le métrage est une co-production anglo-américaine, paru en Amérique du Nord le 11 février 2011 et au Royaume-Uni le 25 mars 2011. Ce n’est que le 4 mai 2011 que ce film est sorti dans les salles françaises. 

Dans les faits “L’aigle de la Neuvième Légion” peut être considéré comme une suite du film “Centurion” (2010), écrit et réalisé par Neil Marshall, parce que le personnage de Channing Tatum est Marcus Flavius Aquila, le fils de Titus Flavius Virilus qui menait la Neuvième Légion qui a été décimée dans le nord de l’Angleterre, personnage qui était interprété par Dominic West dans Centurion. L’histoire de “L’aigle de la Neuvième Légion” se situe donc après la disparition de la Neuvième Légion qui affronta les Picts dans ce qui est maintenant le nord de l’Écosse, au-delà du mur d’Hadrien. Marcus Flavius Aquila (Channing Tatum) accompagné d’Esca (Jamie Bell), son esclave, tente de comprendre ce qui est arrivé à son père, et de récupérer l’aigle royal, symbole de la légion et de Rome, afin de restaurer l’honneur de sa famille.

Dans ce type de film, qui nous ramène dans l’atmosphère des péplums d’antan, il est toujours impressionnant d’observer le soin particulier qui est apporté aux costumes ainsi qu’aux décors, qui permettent de s’immerger dans l’époque où se déroulent les faits racontés. Dans “L’aigle de la Neuvième Légion” on appréciera également les décors naturels magnifiés par la photographie d’Anthony Dod Mantle. Doté d’un budget de 25 millions de dollars, les prises de vue ont été réalisées en Hongrie ainsi qu’en Écosse.

L’histoire est intéressante, et met l’accent sur la quête d’honneur sans être pleinement dénuée d’ego. Le personnage interprété par Channing Tatum veut laver l’honneur de son père, victime de la rumeur populaire selon laquelle il serait mort en lâche à la tête de cette fameuse légion. L’acteur offre une prestation intéressante, apportant beaucoup de noirceur à son personnage, accompagné d’un courage et d’une détermination. 

Jamie Bell, qui interprète Esca, un esclave au service du personnage de Channing Tatum, dispose également d’un rôle intéressant. Son personnage, fils d’un chef de guerre qui jadis a affronté la Neuvième Légion et qui périt dans la bataille, déteste Rome. Pourtant, sans qu’on ne comprenne réellement pourquoi, il va aider Marcus Flavius Aquila, à retrouver l’aigle, dans un périple qui va conduire les deux hommes aux confins de l’Écosse, au péril de leur vie. 

Globalement, “L’aigle de la Neuvième Légion” nous est apparu plus réussi que son prédécesseur. La mise en scène est plus dramatique, la photographie est nettement supérieure, l’histoire est plus forte et l’intrigue est plus intense. Ce film développe donc un attrait agréable tout en livrant une aventure et des scènes d’action traditionnelles. 

“L’Aigle de la Neuvième Légion” a fait l’objet d’une édition en DVD ainsi qu’en Blu-ray, paru le 8 septembre 2011 chez Seven7. Pour de plus amples renseignements, n’hésitez pas à consulter la fiche du film sur le site DVD.Fr.

En conclusion, “L’aigle de la Neuvième Légion” est un film d’aventure dramatique dynamique et disposant d’une histoire intéressante focalisée sur l’honneur et la fierté. Les scènes d’action sont dynamiques et l’intrigue est bien construite. La photographie est magnifique et la distribution offre de bonnes prestations. Le duo formé par Channing Tatum et Jamie Bell fonctionne bien de par leurs différences et l’opposition de leur personnage. Un film qui se veut être un agréable divertissement. 

  Bande-annonce :

L’AIGLE DE LA NEUVIÈME LÉGION (2011) ★★★★☆ , Synopsis : En 140 après J.-C., l’Empire romain s’étend jusqu’à l’actuelle Angleterre. Marcus Aquila, un jeune centurion, est déterminé à restaurer l’honneur de son père, disparu mystérieusement vingt ans plus tôt avec la Neuvième Légion qu’il commandait dans le nord de l’île.

[mysylphwrites]

The Royal Academy of Dance awards gala - The Royal Ballet - The Royal Academy of Dance - Darcey Bussell - Queen Elizabeth II Coronation Award - Claridge's - Tatler

The Royal Academy of Dance awards gala – The Royal Ballet – The Royal Academy of Dance – Darcey Bussell – Queen Elizabeth II Coronation Award – Claridge’s – Tatler

The Royal Academy of Dance awards gala – The Royal Ballet – The Royal Academy of Dance – Darcey Bussell – Queen Elizabeth II Coronation Award – Claridge’s – Tatler.

[gramilano]

#WorldBalletDay 2021 - the global celebration of dance

The Royal Ballet, Bolshoi Ballet and The Australian Ballet have announced that #WorldBalletDay 2021 will take place on 19 October.

The Royal Ballet, Bolshoi Ballet and The Australian Ballet have announced that #WorldBalletDay 2021 will take place on 19 October. The global celebration returns for its eighth year, bringing together many of the world’s leading companies. During the day, rehearsals, discussions and classes will be streamed worldwide, with behind-the-scenes glimpses of ballet’s established stars and upcoming…

[gramilano]

Royal Ballet promotions 2021

The Royal Ballet promotions 2021 have been announced by artistic director Kevin O'Hare with new dancers at all ranks.

Fumi Kaneko. © Andrej Uspenski On announcing The Royal Ballet’s new promotions, Artistic Director Kevin O’Hare said, With our eagerly awaited return to the stage, it is wonderful to mark this moment with some celebratory promotions for the dancers. I am always delighted to recognise the exceptional artistry of our Company members and it feels even more special at this time as we emerge from…

[gramilano]

#WorldBalletDay 2020

World Ballet Day returns on 29 October 2020 for a global celebration to unite the dance community as it faces the challenges brought about by the COVID-19 pandemic.

World Ballet Day was launched in 2014 and now returns for its seventh year, showing the best of global dance and allowing audiences to go behind the scenes at The Australian Ballet, Bolshoi Ballet and The Royal Ballet. The full…

[gramilano]

Francesca Hayward prepares for a performance of Romeo and Juliet © Dasa Wharton

Francesca Hayward, Principal dancer of The Royal Ballet, has a leading role in the film adaptation of Andrew Lloyd Webber’s musical Cats, directed by Academy Award winner Tom Hooper (The King’s Speech, Les Misérables, The Danish Girl). The much-criticised film – both positively and negatively, though mostly the latter – has seen praise poured on Hayward who plays the white cat, Victoria.

Here are interviews with Hayward on Gramilano, since she was a soloist in 2015 and articles and photos albums.

Francesca Hayward answers the Gramilano Questionnaire… Dancers’ Edition

Find out her greatest fear, favourite ballet and greatest love, among 38 questions.

Interview with The Royal Ballet’s hot couple: Francesca Hayward and Alexander Campbell

Hayward and Campbell have been dancing a lot together, most recently for the opening night of Coppélia at The Royal Opera House. In this 2018 interview she says of The Royal Ballet’s director:

When Kevin O’Hare, [Director of The Royal Ballet] promoted me I hadn’t done any big tutu roles yet — The Sugar Plum Fairy and Aurora were yet to come — so I think he saw the potential for that, but really I think he saw that I was capable of dancing the bigger roles because I could convincingly tell a story which is essential to nearly any ballet.

I think he also knows that I’m generally pretty calm and I take everything in my stride both on stage and off.

Promotions at The Royal Ballet – Alexander Campbell, Francesca Hayward, Ryoichi Hirano, Akane Takada © ROH, 2016. Photographed by Andrej Uspenski

Plus:

Backstage at The Royal Ballet: Francesca Hayward and Cesar Corrales

When Dasa Wharton took her camera backstage earlier this year to glimpse Francesca Hayward and Cesar Corrales preparing for a performance of Romeo and Juliet at The Royal Opera House.

Francesca Hayward and Cesar Corrales, Romeo and Juliet © Dasa Wharton

Royal Ballet’s uplifting Nutcracker with Francesca Hayward, Alexander Campbell, Anna Rose O’Sullivan, James Hay and the ubiquitous Gary Avis

My view of Hayward in Nutcracker:

She is THE musical box ballerina: delicate and poised with perfect proportions. She’s as light as a feather, and radiates serenity as her face illuminates the stage. Those off-axis epaulement positions which can seem forced are incorporated seamlessly into her dancing and all is presented with great ease, and also freshness, as though she’s inventing steps on the spur of the moment.

The Nutcracker with Francesca Hayward and Alexander Campbell. © ROH, Helen Maybanks 2016

The Nutcracker with Francesca Hayward and Alexander Campbell. © ROH, Helen Maybanks 2016

Photo Album: preview of tonight’s opening cast of Manon with Francesca Hayward and Federico Bonelli

A series of photos from 2018 of Kenneth MacMillan’s Manon, which marked the 25th anniversary of his death with an opening cast featuring Francesca Hayward, Federico Bonelli and Alexander Campbell.

Manon with Christopher Saunders as Monsieur GM, Francesca Hayward and Alexander Campbell as Lescaut ©ROH, 2018, Bill Cooper

Francesca Hayward – find out more about The Royal Ballet’s star of the movie Cats Francesca Hayward, Principal dancer of The Royal Ballet, has a leading role in the film adaptation of Andrew Lloyd Webber's musical…

[gramilano]

Cesar Corrales will join The Royal Ballet as a First Soloist at the start of the 2018/19 Season

Kevin O’Hare, Director of The Royal Ballet said,  Cesar approached me in October, having resigned from English National Ballet, about joining The Royal Ballet. I was happy to be in a position to be able to offer him a contract as a First Soloist from the beginning of the 2018/19 Season and I look forward to welcoming him into the Company. Cesar Corrales is currently a Principal with English…

[gramilano]

Coppélia with Vadim Muntagirov and Marianela Nunez, photo by Bill Cooper ROH

Everyone who has followed The Royal Ballet in rehearsal during World Ballet Day or watched the interval clips and interviews during the intervals of the company’s live cinema relays will know Christopher Carr. The Royal Ballet’s Guest Principal Ballet Master isn’t afraid of raising his voice, clapping his hands loudly and stamping the floor with his feet. He gets results, which is why, at nearly 70, and after 50 years with the company, he is still called back to whip the company into shape. Most recently, for Coppélia.

I always do my damnedest to get the best out of the person I’m coaching. Because of the ballet and the choreographer who I am representing – because I mostly do ballets by people who’ve died – I have to do my very best. Also, it’s the dancer’s reputation, it’s the company’s reputation, it’s my reputation, and it’s the choreographer’s reputation. It’s incredibly important. It’s a lot to handle

Coppélia was first staged by Nicholas Sergeyev for the Vic-Wells Ballet (the company that evolved into The Royal Ballet) with Ninette de Valois as Swanilda in 1933. The current production is a staging by de Valois created in 1954 using the Lev Ivanov and Enrico Cecchetti version from 1894 which was based on Petipa’s choreography and preserved in the Sergeyev Collection. Nadia Nerina and David Blair were Swanilda and Franz, and Dr Coppélius was played by Frederick Ashton.

I think de Valois’ choreography is incredibly musical. It absolutely goes hand in hand with the music, and Delibes, of course, created this score which tells the story incredibly well just with the music alone, so add the mime sequences, of which there are quite a lot, and it all fits together perfectly. In fact, when we’re rehearsing, I sometimes say to the music the words that they are miming because they are so compatible, it’s unbelievable,

De Valois was a very strong woman. She was the director of the company when I was at the school, and so I knew her when I did a couple of lead roles in my school performance, which was in 1967, I think, and she oversaw some of that.

When I became ballet master, we were still doing her production of The Sleeping Beauty so I worked alongside her a little. I thought she was fantastic and direct. She was a bit like me really. She said what she thought and if people didn’t like it, that was tough.

The last outing of de Valois’ Coppelia was in 2006 with dancers such as Xander Parish and Steven McRae hidden away down the cast list. One dancer was making her debut as Swanilda, Marianela Nuñez.

We haven’t done it for 13 years and not long before that it was dropped completely from the repertoire here. I joined the touring company in 1967 and I joined this company in 1970 and it was not performed in either.

Coppélia with Gary Avis and Marianela Nunez, photo Bill Cooper ROH

Coppélia with Gary Avis and Marianel Nunez, photo by Bill Cooper ROH

In fact, for 30 years, until 2000, the ballet was absent from The Royal Ballet repertoire.

It was only when I was a ballet master that Anthony Dowell saw the designs somewhere [by Osbert Lancaster] and he thought how fantastic they were and decided to revive the ballet. That was when I got introduced to it. I had danced Franz and a peasant boy with a small group of dancers, which used to be called Ballet for All, years before, but I’d never danced the ballet with the company, so it was a big learning curve for me. We had the Benesh notation score, which is fantastic and we use it a lot here. And of course, we had video and other things to look at. This time Kevin O’Hare and I have slightly adjusted things – just a tiny bit. We’ve made it a little more believable.

For example?

When we got down on the stage the very first time for Act Three I did know, but I’d forgotten, that actually the church doors are practical, you can open them, and there’s a backing and everything, and you can get up on the stairs. But in the third act we never actually used that entrance at all. So I said to Kevin why don’t we use it. So we did, and it works very well.

What’s changed?

For example, before the pas de deux starts in Act Three, what used to happen up until now was that Franz used to come to the stage and he used to, first of all, say to the betrothal couples, “Have you seen Swanilda?”, and they’d say, no. And then he would go over to the inn, and he’d ask the innkeeper, “Have you seen Swanilda?”, and he would say, no. And then she would appear from out of her house, which was slightly corny. So I suggested to Kevin, why on earth don’t we actually bring them both out of the church? So we did. And they both come out of the church doors, down the steps, there’s a sprinkle of confetti, and then they do the wedding pas de deux, which I think is magic because it’s if they’ve just been married.

What would Madam have said?

I have asked for forgiveness from Dame Ninette de Valois, and I think she’s granted it.

Christopher Carr

Christopher, when you are restaging a ballet, how free are you to change elements of the staging or choreography? If you have a dancer in front of you who can do three instead of two pirouettes would you put it in?

No, I do not do that. I mean, that is what is done with a new ballet. Frederick Ashton was very clever with that. Kenneth MacMillan, with whom I worked very closely, was very clever too at casting someone who was correct for the role, and then during the choreographic process, he would extract from the dancer their best possible quality. If a girl could turn well, he would put lots of turns in, if a girl could jump well, there’d be lots of jumps, if she could beat really well, there’d be lots of beats. So that is the choreographer’s job and that is what set down on paper. But it is not my job to start changing stuff like that.

The only thing I would change, though I seldom change anything, is if a dancer is struggling with a certain section of a ballet or a certain step and they find a way of doing it, which is slightly easier. I would allow them to do it because, at the end, the choreographer is going to look better, the dancer is going to look better, and the public will be more satisfied because there are no problems and the dancer is comfortable with what he or she is doing. And that is the only reason I would change anything. But if somebody’s doing a solo in a ballet and you change one thing to make it more comfortable, and you change another, and you change maybe another, and you’re up to about three, then in the end they’re miscast. They should not be doing the role. Otherwise, I’m re-choreographing the whole thing.

What about modifying acting styles? So much has changed since the 1950s, and Coppélia is famous for its possible cutesiness.

I retired as a full-time ballet master 12 years ago, but when Kevin said that he wanted to bring Coppélia back for Christmas and that he’d like me to do it, I got to work on it and I thought to myself that it was a brave choice. Why did you want to do this? But as we started it, and we got into it, we made some minor adjustments that has changed it a lot.

It really took off at the general rehearsal, when the house is kind of half full. Marianela was doing it, who had done it before, and Vadim too, who had not done it before, and the house was ablaze. You could tell it was going to be a success from that rehearsal. It was fantastic. Absolutely fabulous.

And the laughs?

Oh yes. Even the girls creeping into the house and back into the room and everything, they find amusing. As I said, the mime is fairly simple and it fits the music, so I think the public, even if they’re not ballet educated, can understand it.

There are lots of performances and lots of casts. Can you tell me something about the first-night cast and the cast that will be seen in the cinema relay? Marianela Nuñez?

Marianela had done it before. I think she was one of Swanilda’s friends and she made it to Swanilda before we lost it for 13 years, and she has got a lot of experience both in acting and in ballet technique. Of course, her confidence was enormous, and if you watch the live screening, you will see that she is totally into it big time. She knows how to play the jokes, and her timing is impeccable.

Coppélia with Francesca Hayward Gary Avis, photo Bill Cooper ROH

And Francesca Hayward, who danced on the opening night?

Frankie is a much sweeter dancer, a much softer dancer and it was a more childlike approach. It was the very first time she had done it and for the two weeks leading up to her first performance, which was the first night, she was ill! She hadn’t even completed the ballet at all, and she didn’t learn all the ballet until the day before the actual opening night, but she danced very, very well.

Gary Avis as Dr Coppélius?

Gary Avis, I believe he told me, had done it before with English National Ballet. I think in Ronnie Hynde’s production, which I’ve not seen. I’ve not seen, dare I say, any of the productions of Coppélia except this one, not even Peter Wright’s. Gary’s absolutely fantastic. Once again, the experience comes out. He’s a brilliant actor, the timing’s impeccable with the jokes, it’s a fantastic, and fully believable performance.

The cinema Franz, Vadim Muntagirov?

Vadim is a fantastic technician, a beautiful dancer, and he has the most incredible jump. Also, he is one of the nicest people I’ve ever met in my life. When I did The Two Pigeons, which was the very first time I worked with him, we were about two weeks into the rehearsals when I said to him, Vadim, are you really as nice a person as you seem? Nobody is as nice as that. And you know what? He is! There’s not a bit of venom or malice or anything in his body at all. He is goodness beyond belief and a fantastic dancer.

And the first night Franz, Alexander Campbell?

Alex Campbell did amazingly well. He’s very good on stage. A very good actor, and he gave a very confident performance. He’s also a good technician. He really came up to the mark with Frankie. Fantastic. Yes, really, really good.

It’s obviously hard work being a dancer, but it looks like a very hard job being a ballet master, especially with the responsibility it entails.

You know, everybody thinks it’s really easy sitting in the front and taking the rehearsal but it’s not, there are so many facets to it. If there’s a room full of people, you’ve got to conduct all the people, make sure they’re watching what you’re doing, that they’re not talking but listening, and they’re not on their phones… there must be none of that going on. You must direct the music, you’ve got to make sure the steps are right, you’ve got to police the steps because if you don’t police it some of it will erode. It’s not deliberate, but subconsciously the dancers will make it become slightly easier. You’ve got to keep a grip on all these things and keep the energy going, which is sometimes hard until half-past six at night. But you know, it’s what you have to do.

As you’re whipping everyone into shape, you must also see bad habits creep in.

Oh yes. There are dancers, for some reason, who think they’re going to get a better arabesque line if their leg is not behind their hip but it’s absolutely not true. It should be directly behind your hip and then you get a true arabesque line.

Chassés are also really difficult. Ashton ballets are full of chassés, where you push your foot across the floor with a bent knee. It’s extremely difficult to do, and quite tiring, but Ashton loved them and to get people to do them is not easy. It’s much easier when you just do a step, like walking, instead of pushing into the floor. But the thing about the chassé is that actually it gives the work more depth and more gravity. If you’re just stepping you’re always up, whereas it’s fantastic when you dance, if you get a lower down and then you get a higher up, which if you don’t do the chassé properly, doesn’t happen.

Things like that go, unless you tell them and then you’ll get it eventually. Not everybody will because you’re only working with a certain person’s talent at that stage in their career. You’re always working to see what they can do at this stage in their lives. Of course, I try to push because it’s going to be a better product in the end, but you’ve got to be careful when you’re pushing because you can actually push to injury.

How do you judge where the line is that you’re not going to push someone over?

You’ve got to weigh up carefully what you’re doing – is it going to get better, will they achieve more, or is it better to leave it, and maybe try again in another day or another week.

So you’re also a psychologist.

Quite a bit of psychology goes on as well. I have been rehearsing now probably 35 or 40 years, and it’s taken me all my time to get to this, to have this knowledge that I now have, with the musicality, the choreography and the psychology and how to try and manipulate the room and get the best you can possibly get.

I just do my absolute best every time.

Coppélia with Marianela Nunez, photo by Bill Cooper ROH

Coppélia from The Royal Opera House is live in cinemas worldwide on 10 December 2019 at 19.15 GMT

Interview: The Royal Ballet’s Ballet Master, Christopher Carr, on mounting Coppélia, the company’s dancers and technique Everyone who has followed The Royal Ballet in rehearsal during World Ballet Day or watched the interval clips and interviews during the intervals of the company’s live cinema relays will know Christopher Carr.

[gramilano]

Another Royal Ballet dancer joins the cast of Cats the movie - Olivia Cowley

Another Royal Ballet dancer joins the cast of Cats the movie – Olivia Cowley

Balanchine’s Apollo with Olivia Cowley as Calliope © ROH, Dave Morgan

Kevin O’Hare faces the possibility of ever more complicated cast changes on the Covent Garden stage when filming of the adaptation of the Andrew Lloyd Webber’s stage musical musical Cats begins as another Royal Ballet dancer joins the movie cast.

Soloist Olivia Cowley will be joining her colleagues Francesca Hayward and Steven…

[gramilano]

(L R) Boris Gruzin, Sir Peter Wright, Lauren Cuthbertson, Federico Bonelli. © ROH, 2016. Photo by Alastair Muir

Last night The Royal Ballet dedicated the performance of The Nutcracker to its choreographer Sir Peter Wright who tomorrow, 25 November,celebrates his 90th birthday. His production of the Christmas favourite is the most performed production that the Company has in its repertoire.

(L R) Alex Beard, Kevin O’Hare, Sir Peter Wright, and the Company of The Royal Ballet © ROH, 2016. Photo by Alastair Muir

His other production for The Royal Ballet, Giselle, is another of the most popular works that the Company performs.

Right then – Wright then? – that his 90th birthday should be celebrated on the stage of The Royal Opera House. It was done in style after the performance with both a dropped in ‘Happy Birthday’ sign and an extravagant cake perfectly in keeping with the designs of the ballet. A sprightly Sir Peter looked delighted!

(L R) Boris Gruzin, Sir Peter Wright, Lauren Cuthebrtson, Federico Bonelli © ROH, 2016. Photo by Alastair Muir

Peter Wright made his debut as a dancer with Ballets Jooss during World War II. He created his first ballet, A Blue Rose, for Sadler’s Wells Theatre Ballet in 1957. In 1961 he joined John Cranko’s new Stuttgart company as Teacher and Ballet Master. In 1969 he joined The Royal Ballet as Associate to the Directors, later Associate Director. In 1977 he was appointed Director of Sadler’s Wells Royal Ballet, supervising the company’s transformation into Birmingham Royal Ballet in 1990. He had the title Director Laureate conferred on him by Princess Margaret on his retirement from the company in 1995.

(L R) Gary Avis, Kevin O’Hare, Sir Peter Wright, Lauren Cuthbertson. © ROH, 2016. Photo by Alastair Muir

(L R) Gary Avis, Boris Gruzin, Sir Peter Wright, Lauren Cuthbertson, Federico Bonelli. © ROH, 2016. Photo by Alastair Muir

(L R) Gary Avis, Alex BEard, Sir Peter Wright, Boris Gruzin. © ROH, 2016. Photo by Alastair Muir

In 1990 Wright was presented with the Queen Elizabeth II Coronation Award by the Royal Academy of Dance, an Honorary Doctorate from London University and in 1991 was made a Fellow of the Birmingham Conservatoire of Music. He was awarded a knighthood in 1993, an Honorary Doctorate of Letters from the University of Birmingham a year later, the De Valois Award for Outstanding Achievement in Dance in 2004 and the Centenary Award for Dance in 2013. He is President of the Benesh Institute, a Vice-President of the Royal Academy of Dance and Patron of the London Ballet Circle. His autobiography

His autobiography Wrights & Wrongs: My Life in Dance was published in 2016.

(L R) Kevin O’Hare, Alex Beard, Boris Gruzin, Sir Peter Wright © ROH, 2016. Photo by Alastair Muir

The Royal Ballet celebrates Peter Wright’s 90th birthday Last night The Royal Ballet dedicated the performance of The Nutcracker to its choreographer Sir Peter Wright…

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Royal Ballet announces new details about its new Hofesh Shechter ballet

Royal Ballet announces new details about its new Hofesh Shechter ballet

Sarah Lamb and Artists of The Royal Ballet in Song of The Earth – photo ROH, Johan Persson

The new ballet by Hofesh Shechter for The Royal Ballet, which can be seen from 27 March until 14 April with Balanchine’s The Four Temperaments and MacMillan’s Song of the Earth, still has no title, but it will feature the entire company. Shechter, who is renowned for his unique style of contemporary dance,…