#Rambert Dance Company

[ulrichgebert]

Irgendwie auch unterschlagen habe ich bei den Fernsehserien, keine Ahnung warum, es ist schon eine Weile her und ging relativ lange, weil ich zwischendurch ohne die verstorbene Helen McCrory nicht weitermachen wollte, Peaky Blinders, die großangelegte Familiensaga über die kriminellen Banden von Birmingham mit dem großen gutaussehenden Mann, der aus dem Dunkeln kommt mit einer roten Hand (er hat gerade einen Oscar bekommen). Die gibt es jetzt auch als Tanztheater, zeitgenössisches, unter dem etwas sperrigen Namen Peaky Blinders: Rambert's The Redemtion of Thomas Shelby (Rambert ist die Tanzkompagnie), was ja nun auch nicht jeder Fernsehserie passiert, aber schön passt, weil sie dort schon immer sehr anachronistische Musik verwendet haben, und es überhaupt sehr theatralisch zugeht. Es ist nicht so ganz so bewegend, wie Tanztheater sein kann, aber dafür aufregender, als es oft ist.

[goodvibesdaria]

Rambert Dance Company - a Dance Company You Must Know about

[lorenzoberni]

The show, the fashion, the energy and the poetry of movements.

Patrick McDowell

“A Tragedy of Fashion”

SS24 @patrick__mcdowell & @rambertdance

📸 An absolute pleasure

[evolvingsidekick]

BD - winners where are they now (incomplete)

I think someone requested this somewhere

Most females and recent males because there are just too many to do rn

At companies:

Miriam Gittens (s2013): Gibney Company

Alyssa Allen (s2014): Ballets Jazz Montreal

Brianne Sellars (s2014): Dallas Black Dance Theatre

Ashley Green (s2015): Alvin Ailey American dance Theater

Payton Johnson (j2012, t2015, s2017): L.A. Dance Project

Vivian Ruiz (s2019): Ballet BC

Kelis Robinson (t2018, s2020): The Batsheva Dance Company; The Juilliard School

Kiarra Waidelich (m2016, j2018, t2020): Royal Flux Company

Quinn Starner (t2017): New York City Ballet Corps de Ballet

Emma Sutherland (j2014, t2016): MashUp Contemporary Dance Co.

Sarah Pippin (t2011): Ballet BC

Timmy Blankenship (s2017): Sydney Dance Company; choreographer

Brady Farrar (m2014, j2017, t2021): ABT Junior Company

Easton Magliarditi (t2020): Royal Flux Company

Graham Feeny (t2015): Artistic associate at Gibney Company

Logan Hernandez (t2015): Göteborgs Operans Danskompani

Zenon Zubyk (t2013): Nederlands Dans Theater

Jonathan Wade (j2011, s2016): Rambert Dance Company

Wyeth Walker (s2017): Rubberband Dance Company

Faculty/teacher/choreography:

Lucy Vallely (t2015, s2018): Broadway Dance Center, freelance choreographer

Jayci Kalb ( j2011, t2014, s2016): The Dance Centre; Radio City Clara 2010

Taylor Sieve (s2016): Jump Dance Convention

Jenna Johnson (s2012): DWTS pro, 24 Seven Dance Convention

Jazzmin James (t2012, s2015): faculty several intensives

Jaycee Wilkins (j2015): Club Dance Studio

Sophia Lucia (j2014): Dancelab OC

Brynn Rumfallo (m2014): Strive Dance Workshop (own project)

Talia Seitel (m2012): Project 21 (part-time)

Lex Ishimoto (t2014, s2016): Jump Dance Convention

at University/college:

Ellie Wagner (s2019): Ohio State University Dance Team

Ella Horan (s2021): USC Kaufman

Kayla Mak (m2014, s2021): The Juilliard School; Radio City Clara 2014, 2015

Brianna Keingatti (s2022): The Juilliard School

Julia Lowe (s2023): USC Kaufman

Ava Wagner (j2018): University of Minnesota Dance Team

Avery Gay (m2015, j2017): University of Arizona School of Dance

Leara Stanley (m2011): Duke University

Sam Fine (s2023): USC Kaufman; Young Arts 2022

Seth Gibson: The Juilliard School

Alex Shulman (s2022): New York University Tisch Dance

Joziah German (m2014, t2018, s2020): The Juilliard School

Joey Gertin (t2018): The Juilliard School

Professional dancer/choreographer:

Simrin Player (t2014, s2017): The Voice, Missy Elliot, Justin Bieber, RBD

Jaxon Williard (s2021): Rihanna, Madonna, Lil Nas X

D'Angelo Castro (j2012, t2016, s2019): DWTS troupe

Findlay Mcconnell (t2017, s2019): Tate McRace

Christian Smith (s2018): Tate McRae, NBC's Saved by the Bell

Keanu Uchida (s2014): Dancer the Musical; also a big advocate for protecting dancers and calling out inappropriate behaviour

Eric Schloesser (s2014): Lady Gaga, Katy Perry, Dua Lipa, Billie Eilish, J Balvin; choreographer, creative director, designer; Dana Foglia Dance Company

Other/a combo of things:

Bianca Melchior (s2011): actor, dancer, singer; Nick Jonas, Alessia Cara, own music; faculty at On The Floor dance competition

Tate McRae (m2013, j2015, t2018): singer/songwriter

Bostyn Brown (j2016, t2019): Professional assistant at DanceOne

Megan Goldstein (t2017); dancer, photographer

Christina Ricucci (t2013): actor, musician, dancer

Bella Klassen (j2017): The Space, vlogger

Kalani Hilliker (j2013): influencer, teaching at several places (Danceplex, MBA)

Elliana Walmsley (m2018): influencer, DWTS Junior, Radio City Clara 2019

Diana Pombo (m2016): singer/songwriter, dancer, actor; Young Arts voice 2023+2024

Morgan Higgins (t2016, s2018): dancer, aerialist

Zelig Williams (s2013):dancer/actor: MJ the Musical, Hamilton

Daniel Gaymon (s2011): dancer/actor; Broadway (Cats, The Lion King); Hamilton national tour, La La Land

Ricky Ubeda (t2011, s2012): choreographer, actor; Steven Spielberg's West Side Story

Michael Hall (s2015): Saturday Night Fever the Musical, tv dancer in Cairo, Egypt; teacher

Julian Elia (t2014): Steven Spielberg's Westside Story, working on the development of a new Broadway musical

Sage Rosen (t2016): influencer; DWTS Junior

Ryan Maw (j2015, t2017): choreographer, dancer, actor: High School Musical: The Musical - The Series

Holden Maples (j2016, t2019): dancer, teacher, choreographer

Competing/not graduated honorable mentions:

Cameron Voorhees (m2018, j2021, t2023): Evolve Dance Complex; starting career as a teacher/choreographer

Crystal Huang (m2019, j2021, t2023): The Rock Center for Dance, Bayer Ballet Academy; Prix De Lausanne 2024, Young Arts 2024, Radio City Clara 2021

Hailey Bills (m2017, t2022): Center Stage Performing Arts Studio, DWTS Junior

Brightyn Brems (m2017): DWTS Junior

Avery Hall (t2022): Danceology; Young Arts 2023

Savannah Kristich (t2021): The Rock Center For Dance; Twyla Now

Savannah Manzel (m2020): Larkin Dance Studio, Radio City Clara 2023

Kya Massimino (m2021): Radio City Clara 2023

Ian Stegeman (m2019, j2021, t2023): Woodbury Dance Center, Young Arts 2024

[maximumwobblerbanditdonut]

You'll never guess what happened to James McAvoy @jamesmcavoyrealdeal at #VogueWorld. During the fifth act of Vogue World: London, stars including Sienna Miller, James McAvoy, Cush Jumbo, Damien Lewis, and James Corden made a surprise appearance in the stalls. In a script written by James Graham, the actors vent some of the frustrations that young theatremakers share (including dealing with unruly patrons).

It's all fun and games-and it's an important reminder of the meaning behind this year's Vogue World event: 100 percent of net ticket proceeds from the event will go to support performing arts organizations, including the National Theatre, the Royal Opera House, South Bank Sinfonia, and the Rambert dance company.

#voguemagazine #JamesMcAvoy #VogueWorld #London #SiennaMiller #CushJumbo #actors #Damien Lewis #JamesCorden #JamesGraham #theatremakers #NationalTheatre #support #RoyalOperaHouse#South BankSinfonia #Rambertdancecompany #fundraiser

[jules-has-notes]

Beauty & the Bieber (Unexpected Musical) — PattyCake Productions music video

Continuing their signature style of combining childhood classics with modern music, the PattyCake guys decided to tackle a tale as old as time for their next project. In addition to Justin Bieber's melodies and the musical motifs from the 1991 animated film, they also included elements from the forthcoming 2017 live action remake.

Details:

title: Unexpected Musicals — Beauty and the Bieber

performers: Jamie Fritz (Belle); Earl Elkins, Jr. (Beast); E. Michael Evans (Gaston); Joey D'Angelo-LaJoie (LaFou); Alexander Browne (Lumiere); Brad Pettitt (Prince Adam); Leah Lowman (village girls); Anita Wakim (Enchantress)

original songs / performers: [0:15] "I'll Show You" by Justin Bieber; [0:53] "Baby" by Justin Bieber, feat. Ludacris; [1:09] "Love Yourself" by Justin Bieber; [1:21] "Never Say Never" by Justin Bieber, feat. Jaden; [2:12] "Boyfriend" by Justin Bieber; [2:36] "Company" by Justin Bieber; [3:30] "Beauty and a Beat" by Justin Bieber, feat. Nicki Minaj; [4:10] "Sorry" by Justin Bieber; [4:22] "Let Me Love You" by DJ Snake, feat. Justin Bieber; [4:44] "Cold Water" by Major Lazer, feat. Justin Bieber & MØ

written by: "I'll Show You" by Justin Bieber, Michael "BloodPop" Tucker, Sonny "Skrillex" Moore, Theron "Neff-U" Feemster, & Joshua Gudwin; "Baby" by Justin Bieber, Christopher "Tricky" Stewart, Terius "The-Dream" Nash, Christopher "Ludacris" Bridges, & Christina Milian; "Love Yourself" by Justin Bieber, Benjamin "Benny Blanco" Levin, & Ed Sheeran; "Never Say Never" by Adam "Messy" Messinger, Nasri Atweh, Thaddis "Kuk" Harrell, Jaden Smith, Omarr Rambert, & Justin Bieber; "Boyfriend" by Mike Posner, Mason Levy, Matthew "Blackbear" Musto, & Justin Bieber; "Company" by Justin Bieber, Andreas Schuller, James Wong, Leroy Clampitt, Jason "Poo Bear" Boyd, James "JHart" Abrahart, & Thomas Troelsen; "Beauty and a Beat" by Max Martin, Anton "Zedd" Zaslavski, Savan Kotecha, & Nicki Minaj; "Sorry" by Justin Bieber, Michael "BloodPop" Tucker, Sonny "Skrillex" Moore, Justin Tranter, & Julia Michaels; "Let Me Love You" by William "DJ Snake" Grigahcine, Justin Bieber, Andrew "Watt" Wotman, Ali Tamposi, Brian Lee, & Louis Bell; "Cold Water" by Thomas "Diplo" Pentz, Justin Bieber, Karen Marie "MØ" Ørsted, Benjamin "Benny Blanco" Levin, "King Henry" Allen, Philip "Jr Blender" Meckseper, Ed Sheeran, & Jamie Scott

arranged by: Layne Stein & Tony Wakim

release date: 17 March 2017

My favorite bits:

combining the rhythmic strings and the villagers' greetings from "Belle" with the melody for "I'll Show You"

Belle explicitly giving Gaston the brush-off

the tinkling minor motif from the animated movie as Belle enters the castle

Earl's fantastic growl at the end of "Never Say Never"

LaFou's gleeful fawning over Gaston and dancing on the tables

the sneaky ♫ "May-be" ♫ from "Company" overlapping with the tavern scene and leading into the "Be Our Guest" instrumentation

the Beast's lovely vulnerability during the dinner and dancing

using the crunchy horn motif from "Battle on the Tower" to create menace in this version of "Let Me Love You"

Earl's voice being layered over the final lyrics after the transformation

Trivia:

○ The obvious starting point for this project was Jusin Beiber's "Beauty and a Beat", which Tony and Layne had performed as part of VoicePlay's "Wow! Vol. 1" medley during the 2015 Sing-Off tour, but one song does not a full plot make. The guys delved into his extended catalogue to find songs that fit certain story beats and would blend well with the animated movie's score.

○ This was an incredibly ambtious undertaking. According to the PattyCake guys, preparations took five months, and filming spanned "six long days" (and nights, clearly).

○ All that hard work paid off, though, since they were able to time their YouTube release for the same day that the Emma Watson movie hit theaters.

○ VoicePlay recorded a Beauty and the Beast medley for "Once Upon an Ever After" (2012), their first album with Tony as a member of the group. Excerpts from that arrangement later appeared in their music videos "Be Our Guest", "Aca Top 10 – Disney Sidekicks", and "Aca Top 10 – Disney Villains". They also included "Belle" in their "Aca Top 10 – Broadway" countdown.

○ "Love Yourself" was the first song in VoicePlay's PartWork series, which they started as preparation for Tony leaving the group.

○ Layne occasionally used "Baby" as his interruption at the end of VoicePlay's "Road Trip" medley / comedy sketch.

○ On top of their usual studio work, this production required multiple location shoots:

The outdoor village scenes were filmed at the Casa Feliz museum.

Beast's castle interior was the Ballroom at Church Street, which closed in 2019, and was demolished 2023.

The tavern was an actual bar, the Tap Room at Dubsdread.

○ Between the main cast and dozens of background folks, they needed so many costumes that Tony enlisted his mom Anita to help wrangle them all.

○ There are several of Tony's fellow "Beetlejuice Revue" alumni among the main cast:

Michael (Gaston) played Dracula and Frankenstein's monster.

Joey (LaFou) played Wolfman and Dracula.

Brad (Prince Adam) was a dancer in the final "Mashup" iteration of the show.

○ There are also many friends and family among the background cast and crew, including several cast members from previous Unexpected Musicals. Olivia Adkins and Leah Lowman are among the village crowd as Snow White and Cinderella. Rachel Copeland and Matthew Buckner are in the tavern crowd, but not as their previous characters. Many of the other villagers were clubgoers in "Hocus Heathens".

○ This video got a nice write-up on Huffington Post.

[rebeccalouisaferguson]

The BBC has unveiled its Christmas schedule featuring a wealth of pre-announced scripted content, a recording of the Peaky Blinders: The Redemption of Thomas Shelby live performance and a Rebecca Ferguson-narrated natural history doc about Scandinavia. The Peaky Blinders performance will be specially filmed at the Birmingham Hippodrome and air on BBC Four over Christmas. Adapted for the stage by Peaky Blinders creator Steven Knight and choreographed and directed by Rambert’s Artistic Director Benoit Swan Pouffer, the performance includes the full company of Rambert dancers and marks 10 years since the first episode aired. Meanwhile, Dune star Ferguson is narrating Wild Scandinavia, which celebrates the stunning wildlife, dramatic landscapes and unique culture of the furthest northern reaches of Europe and is co-produced for PBS and SVT. There are also fresh docs on the slate about the Kanneh-Mason performers, Caroline Aherne, Noel Coward and Adrian Chiles. The slate is helmed by a wealth of pre-announced scripted content including Nicolas Winding Refn’s The Famous Five, Ghosts Christmas Special and second seasons of Vigil and The Tourist.

[european-dance-college]

Dance Studios in London: Where Passion and Technique Meet

Meet Our Instructors: Passion and Expertise

At the European Dance College, the heart of our exceptional dance education lies in our team of talented and experienced instructors. Each instructor brings a unique blend of professional background, passion for dance, and dedication to teaching, creating an inspiring and enriching learning environment for our students. Let’s introduce you to some of the remarkable instructors who make the Dance Studios London a premier destination for dance education.

Jane Thompson: Ballet Maestro

Professional Background

Jane Thompson is a renowned ballet instructor with over 20 years of experience in the world of classical dance. A graduate of the Royal Ballet School, Jane has performed with prestigious companies such as the Royal Ballet and the English National Ballet. Her extensive performance career has seen her grace stages around the globe, from the Royal Opera House in London to the Bolshoi Theatre in Moscow.

Teaching Philosophy

Jane’s teaching philosophy is rooted in discipline, precision, and artistry. She believes in building a strong technical foundation while nurturing each student’s unique artistic expression. Jane is known for her meticulous attention to detail and her ability to inspire students to push beyond their limits.

Classes

Beginner Ballet: Focuses on basic techniques, positions, and developing strength.

Intermediate Ballet: Introduces more complex movements and combinations.

Advanced Ballet: Challenges students with intricate choreography and advanced techniques.

Mark Edwards: Contemporary Visionary

Professional Background

Mark Edwards is a leading contemporary dance instructor with a dynamic career that spans performance, choreography, and teaching. He trained at the Martha Graham School in New York and has performed with notable contemporary dance companies such as Alvin Ailey American Dance Theater and Rambert Dance Company. Mark’s choreography has been featured in international dance festivals and contemporary dance productions worldwide.

Teaching Philosophy

Mark’s approach to teaching contemporary dance emphasizes creativity, emotional expression, and technical versatility. He encourages students to explore their personal movement styles and to use dance as a medium for storytelling. Mark’s classes are known for their innovative choreography and expressive freedom.

Classes

Beginner Contemporary: Introduces fundamental techniques and creative movement.

Intermediate Contemporary: Focuses on complex choreography and partnering work.

Advanced Contemporary: Challenges students with innovative and expressive routines.

Lisa Kim: Jazz and Musical Theatre Specialist

Professional Background

Lisa Kim is a dynamic jazz and musical theatre dance instructor with a vibrant career in stage performance and choreography. She holds a degree in Dance from Juilliard School and has performed in numerous Broadway productions, including “Chicago,” “The Lion King,” and “Wicked.” Lisa’s choreography credits include several high-profile musicals and dance productions.

Teaching Philosophy

Lisa’s teaching philosophy centers around energy, style, and performance quality. She believes in creating a fun and supportive environment where students can develop their skills and confidence. Lisa’s classes are energetic and engaging, with a focus on rhythm, coordination, and stage presence.

Classes

Beginner Jazz: Covers basic jazz techniques and simple combinations.

Intermediate Jazz: Introduces more advanced movements and styles.

Advanced Jazz: Focuses on intricate choreography and performance techniques.

James Brown: Hip-Hop Innovator

Professional Background

James Brown is a celebrated hip-hop instructor with a rich background in street dance and urban choreography. He trained under some of the pioneers of hip-hop dance and has performed with top hip-hop crews such as the Jabbawockeez and Kinjaz. James has also choreographed for popular music videos, commercials, and live performances.

Teaching Philosophy

James’s teaching philosophy is all about authenticity, creativity, and self-expression. He encourages students to embrace the culture of hip-hop and to develop their unique style. James’s classes are high-energy and focus on rhythm, musicality, and freestyle techniques.

Classes

Beginner Hip-Hop: Focuses on basic moves, grooves, and simple routines.

Intermediate Hip-Hop: Introduces more complex choreography and freestyle elements.

Advanced Hip-Hop: Challenges students with advanced tricks and performance projects.

Emily Davis: Tap Dance Virtuoso

Professional Background

Emily Davis is a distinguished tap dance instructor with a celebrated career in performance and choreography. She trained at the American Tap Dance Foundation and has performed in numerous tap dance productions and festivals. Emily has also choreographed for stage shows, television, and film.

Teaching Philosophy

Emily’s teaching philosophy emphasizes rhythm, precision, and musicality. She believes in creating a fun and engaging environment where students can develop their tap skills and express themselves through rhythm. Emily’s classes are known for their technical rigor and creative flair.

Classes

Beginner Tap: Introduces basic tap steps and rhythms.

Intermediate Tap: Focuses on more complex steps and combinations.

Advanced Tap: Challenges students with fast-paced routines and advanced techniques.

Conclusion: Join Our Passionate Dance Community

The instructors at the European Dance College are more than just teachers; they are mentors, artists, and passionate advocates of dance. Their diverse professional backgrounds and dedicated teaching philosophies create a rich and inspiring environment for students. Whether you are interested in ballet, contemporary, jazz, hip-hop, or tap, our instructors are here to guide you on your dance journey. Join the Dance Studios London today and experience the passion, expertise, and community that define our exceptional dance education.

[thedimpause]

At the Donald Gordon Theatre, Wales Millennium Centre for Death Trap, two short pieces by Rambert dance company.

In Cerberus, enter a world where dance is literally a matter of life or death. This is a bittersweet musing on myth and mortality, complete with funeral couture. Goat is inspired by the music and spirit of Nina Simone, with a live on-stage band performing her iconic songs including Feelings, Feeling Good and Ain’t Got No/I Got, Life.

[alibashirtllc]

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The second act, thrillingly, provided a stark contrast to the Official nicole Rifkin The New Yorker On the M Train Oct 9, 2023 Art shirt Additionally,I will love this first: FKA Twigs storming the stage with dancers from Rambert to perform a mesmerizing original piece dreamt up by the dance company’s artistic director Benoit Swan Pouffer and set to Opus III’s “It’s a Fine Day.” The mood? Riotous and punkish, much like the ensembles worn by the models who were then seen weaving through the theater. One of the most goosebump-inducing moments in the entire show came when Stormzy, flanked by his choir, sang “Crown” from his second studio album Heavy Is the Head. If that wasn’t enough, while he rapped, two giant crates appeared on stage, as well as Sophie Okonedo, who was dressed in its contents: hand-painted Vivienne Westwood couture, inspired by the late designer’s autumn/winter 1997 collection, which referenced Tudor portraits and, specifically, Elizabeth I. Then, Okonedo performed the soliloquy from Henry IV Part II which ends with the line, “Uneasy lies the head that wears a crown,” and was crowned herself. The sequence formed a powerful collision of past and present, with the actor and musician paying tribute to another fellow Londoner, Shakespeare, despite being separated by four centuries.

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Even with the Official nicole Rifkin The New Yorker On the M Train Oct 9, 2023 Art shirt Additionally,I will love this royals in attendance, the former British Vogue cover star provided the biggest sartorial talking point of the night, arriving in sculptural, bump-bearing Schiaparelli. (Miller is currently expecting her second child with her boyfriend, the model Oli Green.) Later in the night, a costume change was in order for the actor, as she donned one of the aforementioned red coats designed by Charles Jeffrey to moonlight as an usher—and pulled that off with the same aplomb. The show kicked off with the ringing of Big Ben, and then backstage footage of John Galliano dressing Kate Moss in custom Maison Margiela. After that, opera singer Hongni Wu, one of the Royal Opera House’s brightest young stars, delivered a moving rendition of “When I Am Laid In Earth” from Henry Purcell’s Dido and Aeneas, accompanied by the Southbank Sinfonia. Dido’s heartbreaking lament, sung as she’s forsaken by her lover and preparing to step onto a funeral pyre, is a plea to be remembered, and it connected to the overarching theme of the show’s first act: namely, a meditation on the ephemerality of life and of beauty, as well as that of runway shows and theatrical productions. As she continued singing, we were given another glimpse of Moss dancing under a layer of tulle and then, finally, joining Wu on stage—the supermodel’s dress, now in full view, was fittingly ethereal and delicate, but also one that no one could possibly forget.

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[denimbex1986]

'The creator of Peaky Blinders has spoken about how Liverpool influenced the show during the filming.

Steven Knight, the creator and writer of Peaky Blinders, told the ECHO how an "incredible" part of Liverpool where they were filming for the first season helped create the "theme and tone" for the whole show.

Speaking to the ECHO following the announcement of the Peaky Blinders stage show set to come to the Liverpool Empire Theatre next year, Steven spoke about how the Stanley Dock and Tobacco Warehouse area influenced the series.

He told the ECHO: "In series one we were in an incredible place at the Liverpool docks, filming at the warehouses [on Stanley Dock].

"You felt dwarfed by the dimensions of the buildings. It was an amazing building that really helped us to establish the theme and tone of the show.

"It was grungy. It was working class. It was everything Peaky Blinders."

Speaking about the show, which will combine dance by the Rambert dance company with his own Shelby story lines, Steven said it first came about after the company featured on the show during season four, and he got talking to a director there about turning it into a "larger show."

He said: "Within the TV show music is always really important. Among the working class men at the time there was an absolute willingness to move into dance.

"That's what I've tried to bring to the stage with this show.

"The other thing I found incredible is the way Rambert depict violence and fights, which are so vicious and so well done."

The theatre show Peaky Blinders: The Redemption of Thomas Shelby will come to Liverpool next year.

Adapted for the stage by Peaky Blinders’ creator Steven Knight, the show will tour stages across the UK from September 13, 2024.

Having included an exclusive plot and characters never seen on screen, Steven Knight opens the story in the trenches of The Somme in 1916 to tell a personal story of post-war industrial Birmingham, where the Shelby family navigate the decisions that determine their fate and Tommy is intoxicated by mysterious newcomer, Grace.

Peaky Blinders: The Redemption of Thomas Shelby lands at the Liverpool Empire Theatre from September 17 until September 24, 2024...'

[perfettamentechic]

Peter Speliopoulos, nato nel 1961 a Springfield, nel Massachusetts, è uno stilista americano.

Peter Speliopoulos è nato nel 1961 in Grecia. I suoi genitori greci viaggiavano costantemente tra New York e Parigi. Trascorse la sua infanzia a Springfield nel Massachusetts e infine si stabilì a New York. Speliopoulos ha studiato moda alla Parsons School of Design di New York e si è laureato con un BFA nel 1981. Peter è il migliore amico dello stilista Isaac Mizrahi che ha anche frequentato Parsons. Il suo primo lavoro come stilista è stato come assistente stilista con Laura Biagiotti a Roma nel 1982. Ha poi lavorato brevemente nella casa di moda francese di Christian Dior e successivamente per la designer di abbigliamento sportivo di New York Gloria Sachs la cui etichetta è fallita nel 1992. Nel 1985, Speliopoulos è stato nominato direttore creativo di Carolyne Roehm Inc., una casa di moda di New York che è stata creata nel 1984. Ha lasciato nel 1991 per diventare direttore della moda con Joseph Abboud.

Dal 1993 al 1997, Speliopoulos ha lavorato come designer per Donna Karan a New York. Ha sostituito Narcisco Rodriguez a capo del design per la collezione femminile di Nino Cerruti a metà del 1997. Durante la sua permanenza in Cerruti, ha donato all’etichetta un aspetto fresco e moderno, utilizzando dettagli e tessuti raffinati. Ha lasciato Cerruti nel 2002 per tornare a New York come Vice Presidente del Design per Donna Karan New York. Da allora è rimasto con Donna Karan, una casa di moda di proprietà del gruppo francese LVMH .

Speliopoulos ha anche lavorato come costumista per Karole Armitage, una ballerina di New York proprietaria di una compagnia di ballo. Nell’estate del 2000, ha disegnato i costumi per la produzione dell’Opera di Atene di The Birds di Aristofane. La collaborazione con Armitage è continuata fino al 2003. Ha anche lavorato come costumista con la Rambert Dance Company di Londra per la quale Karole Armitage è stata coreografa.

Peter afferma di essere sempre ispirato dalla costruzione di Balenciaga, dall’essenzialissimo di Halston e dal genio di Yves St. Laurent. Cerca di rendere i suoi capi un mix di sensualità femminile e sartoria maschile, creando versatilità nel guardaroba di una donna.

Sebbene abbia studiato ceramica dal 2011, Speliopoulos ha deciso di dedicarsi ad essa solo dopo la chiusura di Donna Karan nel 2015. Ha lavorato creando crepe e smalti, ma ben presto si è reso conto di quanto gli mancassero i suoi legami con l’Italia e l’atelier di tessuti.

Speliopoulos è stato a lungo un pilastro nel mondo della moda, negli ultimi anni, tuttavia, è passato dai tessuti pregiati all’argilla.

Speliopoulos – insieme al suo partner da oltre 20 anni, Robert Turner – è donatore del Fondo annuale Friends for Life presso il GMHC.

aggiornato al 17 ottobre 2019

Autore: Lynda Di Natale Fonte: wikipedia.org, web

Peter Speliopoulos #peterspeliopoilos #speliopoulos #creatoredellostile #creatoredellamoda #perfettamentechic #felicementechic #lynda Peter Speliopoulos, nato nel 1961 a Springfield, nel Massachusetts, è uno stilista americano. Peter Speliopoulos…

[ballet-symphonie]

Hello Ale, hope you're fine. I wanted to ask you which Royal Ballet dancers are considered as the best in contemporary and neoclassical style?

Oof this is a tricky question.

Neoclassical is difficult because neoclassical is such a hodgepodge of a genre. It looks totally different depending on the choreographer. You've got a decent argument in saying that ROH does the best performances of work by choreographers such as Kenneth MacMillian or Frederik Ashton. But Balanchine? Robbins? Cranko? Serge Lifar? Each company prioritizes a different repertoire and the skills of their dancers are shaped as a result. There's a reason NYCB dancers aren't the greatest in traditional Petipa works...

Contemporary, there's no way. While Royal Ballet does contemporary exceptionally well, (particularly the aesthetic of McGregor and Forsythe) there are many incredible companies that devote all of their energy to cultivating mind-blowing contemporary dancers. Additionally, contemporary ballet is now becoming much more detached from contemporary dance as a whole. The genre is so vast and stylistically diverse but some of the first names of companies that came to mind: Netherlands Dans Theatre, Batsheva Dance Company, Rosas, LA Dance Project, Rambert etc. And that's even excluding more strictly traditional 'modern' based companies Graham, Taylor, Ailey etc

None of this is a jab at the amazing ROH artists, I just think that answering 'best of' questions quickly become dicey and delicate

[audreyhepburninblackandwhite]

Audrey Hepburn’s life story featured in the Portuguese publication Album dos Artistas issue number 13 of the 2nd Volume, published in 1957.

Part 1 • Part 2 • Part 3 • Part 4 • Part 5 • Part 6 • Part 7 • Part 8 • Part 9 • Part 10

ROUGHLY TRANSLATED STORY (Originally published in Portuguese)

Outside of studio work, Audrey never stopped being the simple, naive, and captivating girl that the public became accustomed to judge her through her films.

And yet, there have been passages in Audrey's life that arrive to mold a pessimistic temperament and a heart that does not believe in the joy of living.

Audrey Hepburn for Funny Face (1957) Photography by Richard Avedon

Charity recitals were held in some private houses to raise funds for the Fifth Column. Audrey participated as one of the main attractions. Her mother prepared her dresses for the performance using old drapes and scant clothes and ornaments. With her charming personality, the girl managed to get enthusiastic applause from the audience.

However, these Black Recitals, as they were called, were a constant danger for those who performed or watched them, since they incurred the possibility of getting a secret police record. Any complaint or suspicion would have led the police to arrest the child.

In spite of everything, Audrey, oblivious to the danger, continued to offer Récitas Negras, their interpretations of classical ballet, crossing an improvised scenario in the figure of a winged swan. If she raised his head, at times, thinking she heard a loud knocking at the door or the footsteps of a patrol sounding in the street, no one among the public was aware of her fears.

Audrey reached the end of the war always bearing the specter of past horrors on her face and her soul. She was sent to England, where they were put under a severe recovery regime. The doctors doubted they could save this exhausted girl, who had reached the limit of her physical endurance after long years of deprivation.

Audrey, however, was not only saved, but also resumed her artistic activities. Thus, in 1948, she joined the Rambert School of Ballet. A year later, she got a job at London's Cambridge Theater.

The baroness was not in agreement with her daughter's new occupation, but Edda managed to convince her with a logical argument.

"I already know that the job of an ensemble dancer is obscure and poorly paid, but our situation is difficult and we need to secure our livelihood."

Audrey Hepburn wearing a Hubert de Givenchy dress for Funny Face (1957) Photography by Richard Avedon

Audrey is the perfect antithesis of "sex bombs" for companies that have Sophia Loren or Jayne Mansfield as their two great poles of attraction.

"Perhaps you are right, my daughter but you haven't thought yet that you are very young."

" Don't insist, Mama. I will always remember your advice."

In reality, it was an obscure and poorly paid job, but it was also the first step in the fight for a better life. Shortly after, Audrey was able to act simultaneously on television, in small supporting roles, which helped her to better withstand the difficulties of those days.

Audrey Hepburn and her mother, the Baroness Ella van Heemstra December 1953 Here is one of the rare photographs of Audrey with her mother, Baroness Van Heemstra. Audrey has had virtually no contact with her father, the Irish businessman Joseph Hepburn-Ruston, for many years, as a result of the divorce that put an end to their parents' life together.

Audrey's performance at the Cambridge Theater did not go unnoticed despite participating only in ensembles in the company of several dozen other girls.

The on-scene magazine sought its secession through the beauty of its stars. In the last rows of the group of anonymous dances, the young Audrey managed to stand out for her elegance, grace, and personality. Her name soon appeared on the poster, in small font, and on the last line. It was the first decisive step towards her meteoric artistic career and her international fame.

The Cambridge Theater put on another magazine, with Audrey still in her modest chorus role. But the restless young woman was already longing for a wider field for her artistic activities.

"Mama," said Audrey, "one day, I believe that my future is in the cinema. You will see that I will still be a great star."

"Don't be too delusional, my dear."

Tall, exceedingly thin, but flexible, with a refined education and a natural elegance, the young Audrey was able to quickly make her way into the art of images. Her relevant physical and artistic qualities allowed her to intervene, albeit in roles of little importance, in three English films, in one of which she had a humorous romantic scene with the famous actor Nigel Patrick.

When the film was screened for the first time in the studio's private cinema, Audrey could not contain her excitement.

Audrey Hepburn in a publicity photograph for Funny Face (1957) Photography by Bud Fraker

It was an Irishman, Edward Quinn, who first knew how to take advantage of the splendid photogenics of the lovely actress. Thanks to a series of portraits by Quinn, Audrey was able to be called to take her exams in Hollywood.

Source: NSANTO: Portuguese Magazines

[gorbigorbi]

Alicia Markova (1 December 1910–2 December 2004) was a British ballerina and a choreographer, director and teacher of classical ballet. Most noted for her career with Sergei Diaghilev's Ballets Russes and touring internationally, she was widely considered to be one of the greatest classical ballet dancers of the twentieth century. She was the first British dancer to become the principal dancer of a ballet company and, with Dame Margot Fonteyn, is one of only two English dancers to be recognised as a prima ballerina assoluta.  Markova was a founder dancer of the Rambert Dance Company, The Royal Ballet and American Ballet Theatre, and was co-founder and director of the English National Ballet.

[swanlake1998]

Article: Julie Felix: the brilliant Black ballerina who was forced to leave Britain

Date: March 3, 2021

By: Steve Rose

(CW: racism, anti black racism, police brutality, violence, murder mention)

She was told there was no room for a ‘brown swan’ in the London Festival Ballet, so she went to the US. There she found enormous success, dancing for everyone from Michael Jackson to Prince

The turning point in Julie Felix’s career came in 1975. A student at Rambert ballet school in London, she was selected to dance in Rudolf Nureyev’s production of Sleeping Beauty with the London Festival Ballet (now the English National Ballet). Nureyev was the god of British ballet – and he lived up to his reputation on the first day of rehearsal, Felix recalls. “He was late, but everybody said he was always late. All of a sudden, the doors flew open and in he came. He was well renowned for these big boots he used to wear, and a big fur coat. He took the coat off like a matador and threw it so it slid across the dance studio floor. Everybody jumped up and stood to attention. He was there for probably about half an hour.” At the time, 17-year-old Felix was awestruck. In hindsight, half a century later, she is less impressed: “Talk about unprofessional.”

In the fairytale version of Felix’s life, having acquitted herself on stage with Nureyev, she would have joined the London Festival Ballet and become the first Black British dancer to begin her ascent through the ranks of a British ballet company. Instead, she was told she was a “lovely dancer”, but was not going to be given a contract, “because of the colour of my skin. I would mess up the line of the corps de ballet, because you can’t have a whole row of white swans and then there’s a brown one at the end.”

Felix was stunned: “It hit me like a thunderbolt.” Her mother was white British and her father African-Caribbean, from Saint Lucia. She had never thought of the refined world of ballet as being what we might now describe as institutionally racist. “It sounds ridiculous, but because I didn’t experience any racial issues or difficulties before that, I didn’t think there was anything wrong with the colour of my skin. I thought that I was talented and that would be enough.”

Having grown up in Ealing, west London, in the 60s, Felix certainly knew about racial difference. She rarely saw any faces that were not white in the neighbourhood or at school, she says. After her parents had met on a bench in Hyde Park, her mother’s family disapproved. “They said: ‘If you marry that man, we’re going to disown you.’ And my mum just said: ‘Well, fair enough, I still want to marry him.’”

Her father, who worked as a foreman at the Hoover factory, was quite the charmer, says Felix. “He was the proudest man. He would paint the front door a different colour every year. He was always up the ladder washing his windows. He would grow fruits and vegetables in the back garden. But I would say my dad had a big chip on his shoulder.”

She describes how he would dress like a dandy, in 40s suits and spats, even if he was just going to do the shopping. “He would always berate the grocers and say: ‘You’re picking the bruised fruit and vegetables because I’m Black. You think I can’t see this?’” She laughs. “Why would you move somewhere if you’re going to spend your life being concerned about the way other people look at you and your colour?”

There was an incident when she was eight or nine, when her father returned from work very late, his shirt ripped and covered in blood. A colleague had attacked him outside the factory gates with a meat cleaver on a chain. “He didn’t like, one, the way my dad spoke to him and, two, because my dad was Black,” she says.

Culturally, the Felix household was “100% British”, she says. She had no connection to her Saint Lucian family, although she would see her British grandparents in Essex regularly (relations had thawed when Felix’s elder sister and she were born). Musically, her father liked American crooners such as Frank Sinatra and Nat King Cole; her mother preferred classical music and had once aspired to be an opera singer. “So, when it came to my wanting to dance, there was a local ballet school around the corner in Ealing that I would go to, and Mum said: ‘Well, as long as you keep working hard and you’re enjoying it, I will fund it for you.’ She wasn’t a pushy, stereotypical ballet mother, but she knew that I loved it. And because she’d been stopped doing what she wanted to do, she was there 100% for me.” When she passed the audition for the Rambert, her parents could not afford the fees; Felix won a grant from the Inner London Education Authority, which paid 75%.

Felix says no one is “born to dance”, but, as a student, her passion for ballet was boundless. “I can remember the feeling of waking up in the morning, earlier than I needed to, getting on the underground and going into Notting Hill Gate, where the school was. I was the first one in the door. The cleaner was still there.

“I could not get enough of it. My friend and me would stretch and practise our fouettés in the lunch break. We’d be the last ones out of the building. Get back on the train, go home. My feet would be bleeding. I’d have blisters all over my toes. And I didn’t care. I just knew this was what was required. I soaked my feet in salt water, dabbed surgical spirit on them to get the skin to heal and get them dried out so that I could get up the next morning and get on that train again.”

After all her dedication, being rejected for her colour was devastating. “It didn’t last long, mind you,” she says. “Part of my personality is: sink or swim. And I thought: ‘I am not going to sink here.’ So I just flipped it around and just said: ‘Watch me. I’m going to show you I can do it.’”

She didn’t have to wait too long. The previous summer, the Dance Theatre of Harlem (DTH) had come to perform in London. This was a pioneering Black ballet company founded in 1969 by Arthur Mitchell, the first top-flight Black dancer in US ballet. While they were in town, Felix went along, auditioned for Mitchell and was immediately offered a contract. She declined. When her teacher at Rambert found out, “she absolutely hit the roof”, Felix recalls. “She said: ‘You can’t pick and choose. You’ve been offered a job!’” Fortunately, the DTH returned to London a few months after her Nureyev experience. Felix auditioned and was offered a job a second time. She did not turn it down.

This time, Felix’s skin colour was to her advantage, although working with an all-Black company in the US was a curious reversal: “I’d gone from all of my ballet training, and growing up not really being aware of anything to do with Black people, to going to New York and there’s no white people.” Before relocating to New York, Felix had never had a passport, left the UK or flown in an aeroplane.

“Within two weeks of being there, Arthur Mitchell said to me: ‘We’ve got to knock the British out of you.’ And I took umbrage, because I’m really proud of being British,” Felix says. In retrospect, she knows what he meant: “It was the wishy-washy way I approached my technique and my ballet training. But it wasn’t just about that; it was everything that Arthur Mitchell taught and portrayed and wanted us to portray within our work. He wanted to show that Black people really can do this.”

DTH’s sense of purpose aligned with Felix’s own. She stayed with the company for 10 years, earning her place as a soloist and touring the US and beyond (including a satisfying return to the Royal Opera House). Life in the US put British racism into perspective, says Felix. In her first week in New York, she witnessed a young Black man being shot dead in the street by two white police officers for shoplifting. A touring performance in Mississippi in 1978 had to be cancelled because the Ku Klux Klan staged a protest outside the theatre, in white hoods, burning cross and all. “No words can describe that feeling,” she says.

There were more good times than bad, though. Felix shared the stage with, and danced for, luminaries from Ronald Reagan to her hero, Luciano Pavarotti. She danced with Lionel Richie to All Night Long at the 1984 Los Angeles Olympics closing ceremony; visitors to her shows included Michael Jackson and Prince. Jackson wanted to cast the dancers in his ill-fated Peter Pan movie, she says. He came to a matinee in Pasadena, California, supposedly incognito, but in full Jackson regalia: black sunglasses, Jheri curl and military-style outfit, with a complement of bodyguards. “I was annoyed, because I was there to deliver the performance, but you had all these girls screaming in the audience,” says Felix. “Anyway, after it finished, he came backstage and said to us, very, very quietly: ‘I really enjoyed your performance. I just think you’re fantastic.’ What a humble man.”

A year later, Prince came to a show, by coincidence at the same theatre. He was similarly “incognito”, in a sequined, hooded purple cape. He never took the hood down. “At the end of the performance, he got back in his limo and left and didn’t say thank you, hello, anything. Really quite rude.”

By 1986, aged 30, Felix was beginning to feel the physical toll of ballet life. She also missed home. She returned to the UK and became a teacher and remedial coach for Sadler’s Wells Royal Ballet, first in London, then in Birmingham, where the company relocated when it became Birmingham Royal Ballet, in 1990. She married and had three daughters (none of whom followed in their mother’s footsteps).

She then became head of dance at a local school. Now it was her turn to “knock the British out” of her students. “They don’t seem to know how to really push themselves,” she says. “Ballet is really painful. If you don’t feel that, then you’re not doing it properly.” Ballet has also always required a highly specific form of physicality, Felix points out. “It needs very arched feet, it requires good natural rotation of your hip sockets, a slender body, long, lithe muscles, long neck, small head.” Regardless of talent or musicality, she says, dancers who do not conform to this body type will struggle. Perhaps it is this inherent discrimination that has made other forms of prejudice easier to disguise.

British ballet has made some progress since the 70s, but it could do more. Birmingham Royal Ballet, for example, had a successful workshop programme with local schools, whose pupils were often from Black, Asian or minority ethnic backgrounds, but such programmes seem to have “fizzled out” as a result of local authority budget cuts, Felix says. On the other hand, there are institutions such as Ballet Black, which advocates for diversity in professional ballet. At the time of its founding in 2001, there were still no women of colour performing in any British company. The Royal Ballet recruited its first Black, British-born male dancer, Solomon Golding, only in 2013.

Felix is not convinced British ballet has turned the corner: “I still believe that we’ve got ballet companies who will take a few people of colour just to be politically correct.” However, she was heartened by the appointment of the Cuban-British dancer Carlos Acosta as director of Birmingham Royal Ballet in 2020, although the pandemic has so far curtailed its activities. While all British arts are vulnerable at the moment, ballet – with its high demands for time, labour, space and personnel – is especially so. Now based in Cornwall, Felix has made do teaching over Zoom for the past year. She is not complaining: “It really is a lovely place to be locked down.”

Felix’s skin colour began as a factor that counted against her, but it became an animating force in her career and led to a wealth of experiences and successes she might otherwise not have had. With that satisfaction, the anger she feels for her 17-year-old self being told her brownness would “mess up the line” has mellowed a little. “Their choice of not accepting me enabled me to find something within myself that I probably would never have known was there,” she says. “And then to open up this whole world for me. So I can say that hatred was turned to gratitude.”