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Digital audiences survey

Like many arts organisations, we are carrying out this survey with the Audience Agency to better understand our digital audiences. The survey should take no longer than five minutes to complete and your help will enable us to evaluate the impact of our digital work and help us understand how people’s consumption of online arts and culture have been changed by COVID-19.

Anything you tell us will be kept confidential, is anonymous and will only be used for research purposes. The information you provide will be held by New English Ballet Theatre and The Audience Agency, who are running the survey on our behalf. In compliance with GDPR, your data will be stored securely and will only be used for the purposes it was given.

Thank you so much for your help,

the NEBT team

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Choreographers Patrons

A day with Dame Darcey Bussell

“It’s not everyday that a National treasure like Dame Darcey Bussell coaches your ballet!”
Jenna Lee, choreographer The Four Seasons
 
Jenna Lee
Jenna Lee
As 2020 is the year of NEBT’s 10th Anniversary, we are taking the opportunity to spotlight our Associate Choreographers, who have contributed to the Company’s reputation over the years. We begin with Jenna Lee, who has created two ballets for NEBT, Classical Symphony in 2012, and The Four Seasons in 2017.
 
Jenna trained classically and danced professionally as a soloist with English National Ballet before transitioning to a successful career as freelance choreographer and founder of event company JLee Productions.
 
Here, she talks to us about one of her career highlights with NEBT:
 
June 2017. “Darcey Bussell is coming in next week to coach your ballet”…
 
Nerves, excitement, wow, what an honour! Growing up at The Royal Ballet School, every young ballerina aspired to be like Darcey Bussell, and I was no exception. Long limbed, beautiful and strong, she was a great role model and during her career was the muse for many great choreographers, not to mention the most famous ballerina of her generation.
 
I had already had the pleasure of meeting Darcey in 2017 at the premiere of Little Lord Fauntleroy, a full-length narrative ballet, which I created for London Children’s Ballet. Meeting her and having her watch the production was a huge privilege and to have her coach my ballet was mind-blowing!
 
Lanterns Studio Theatre in London’s East End.
 
Darcey Bussell arrived to coach The Four Seasons and excitement filled the room.
 
I chose two contrasting movements for our coaching session, Spring movement 1 (a large ensemble piece for the full cast) and Summer movement 3 (a dynamic pas de deux).
 
 
Dame Darcey Bussell demonstrating port de bras. Photo Alexander Yip
Dame Darcey Bussell demonstrating port de bras. Photo Alexander Yip

In Spring the dancers move very independently from one another, with their movements reflecting the staccato, bird-like chirps in the music. Darcey focused on the dancers’ ports de bras, noting how essential the co-ordination of the arms is to help accomplish the more technical moves – dancers must use the arms to propel into the jump. She spoke about the details of the hands and wrists and how expressive they could be, showing the qualities of each of the seasons.

As she rehearsed my ballet, there was a real buzz in the air, everyone absorbing every word that she was saying, desperate to soak up every little detail she was offering. It was very inspiring to watch Darcey demonstrating steps and engaging with the dancers.
 

We had been working on the Summer pas de deux for a couple of weeks prior to Darcey coming in, building stamina and working on the dynamics of the piece. Even though this duet contains lots of tension between the dancers as they compete in this passionate duel, it still requires the effortless illusion that all pas de deux demands. Whilst dissecting some of the athletic lifts in this fiery duet, Darcey spoke about the trust you need in one another that gives you the freedom to dance together without fear, whilst being responsible for your own technique and strength.

 
Dame Darcey Bussell coaching the cast of The Four Seasons. Photo Alexander Yip.
Dame Darcey Bussell coaching the cast of The Four Seasons. Photo Alexander Yip

Darcey honed in on the strength and muscular connection needed in the female dancers’ arms and back as they are manipulated, dragged and sometimes even swung in this duet! The contact work starts with both dancers gripping one another’s forearms, as the male dancer manipulates and controls the direction that the female dancer goes in. She discussed keeping the sternum (breast bone) going forward whilst closing the ribs and pulling the scapulae (shoulder blades) down, to create that lovely wide ballerina back, something that Darcey demonstrates so well!

 
Darcey is an incredibly generous coach, happily sharing her vast array of knowledge with the dancers and myself. I noted the friendly atmosphere she created in the studio, making the dancers feel relaxed and getting the most out of them for those couple of hours we had working together.
 
Dame Darcey Bussell and Jenna Lee. Photo Alexander Yip
Dame Darcey Bussell and Jenna Lee. Photo Alexander Yip
NEBT has given jobs to hundreds of freelance dancers over the years, most of whom are on the cusp of their professional careers and welcome the guidance and support that the company gives them. Having their patron Darcey Bussell in to coach the company was an incredible opportunity and one that most ballet dancers dream of.
 
It was wonderful to see Darcey coaching The Four Seasons and an experience that I’ll never forget.
 
It’s not everyday that a National treasure like Dame Darcey Bussell coaches your ballet!
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NEBT Programming Update

In light of the disruption caused by the COVID-19 outbreak and the necessary precautions we are all taking as a result, NEBT are saddened to announce the postponement of our Love Games performances and tour to 2021.

While this is disappointing for us – and we are sure for you, too – the safety and security of our dancers, artistic collaborators, staff and of course our audiences are of utmost importance to us.

As we are hosted by venues, you will be receiving communications from them directly regarding any bookings you have made. 

We are hoping to tour Love Games in 2021 to the same festivals and with a similar programme, and we are looking forward to welcoming you to those performances. We will keep you updated on our future plans as they develop. 

We would like to thank you for supporting NEBT. As you know, we are a charity and we rely on membership subscriptions and philanthropic donations to produce and present our work. Your membership, and support in other ways, is absolutely vital, especially in these uncertain times, and we are hugely grateful for any support you do and can give. All donations make a difference to our work and we ask that, if you are in a position to support us, you do so at this crucial time.

This is a really difficult time for all of us and we wish you all the best for the next few months.

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About Film News

10 Years NEBT

Since its inception in 2010 New English Ballet Theatre has established itself as an important hub on the UK dance scene for the  development and exposure of talented dancers and emerging choreographers. 2020 marked a significant milestone in NEBT’s life as the company celebrated its 10th anniversary. #NEBTTurnsTen

Choreographer Spotlights

As part of our 10th anniversary celebrations we are also shining a light on some of the wonderful choreographers we have worked with over the years.

Spotlight: Jenna Lee

Jenna trained classically and danced professionally as a soloist with English National Ballet before transitioning to a successful career as freelance choreographer and founder of event company JLee Productions.

NEBT has followed her career, commissioning Jenna to produce two complete ballets, Classical Symphony in 2012, and the bold, stylish, contemporary The Four Seasons in 2017, danced to Max Richter’s dynamic recomposition of Vivaldi’s classic.

In this blog, Jenna writes about a career highlight during rehearsals.

Spotlight: Valentino Zucchetti

Royal Ballet First Soloist Valentio has developed into a regular collaborator with NEBT. His piece Orbital Motion was part of our 2013, 2014 and 2015 seasons, and in 2016 he created Enticement’s Lure for Quint-essential 2016 and The Four Seasons and other works in 2017. Last year, he took part in our summer choreographic project in collaboration with the ROH and we recently commissioned Valentino to create a short dance film, which continues his creative partnership with filmmaker Alice Pennefather.

Spotlight: Daniela Cardim

Daniela Cardim worked with New English Ballet Theatre from 2013 to 2019, initially in the administration and subsequently as a choreographer for the company.

During this period, she choreographed four pieces for NEBT: Tangents, which was part of our 2014 and 2015 seasons, Wundarra (for Ignition Dance Festival and Latitude Festival 2015), Vertex in 2016-17, and Two Husbands, a work in progress that was first shared in 2019.

In this short video, Daniela guides us on a journey trough her career, from Rio de Janeiro to Amsterdam to the UK, from age 10 to the present day.

Spotlight: Ruth Brill

Ruth Brill danced with English National Ballet and Birmingham Royal Ballet and is now a fulltime freelance choreographer.

Ruth began working with NEBT in 2019, when she created her choreography, Domino.

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Choreographers Designer News Production

Bringing an idea to life

Conversations about Daniela Cardim’s new ballet, Two Husbands

I like that Dani has a collaborative approach to the aesthetic for her pieces, so I always enjoy creating the designs to fit her choreography. Her music choices are always fun, too.

Andrew Ellis, Lighting Designer

Two Husbands_Fleur. Photo DeborahJaffe.co.uk
Fleur. Photo: DeborahJaffe.co.uk

Two Husbands, Daniela Cardim’s (DC) new work, tells the story of a young woman, Fleur, torn between two men – with a slight twist. It is also a joyous celebration of Brazilian life and culture. We spoke to the choreographer, dramaturg Garth Bardsley (GB), costume designer April Dalton (AD) and lighting designer Andrew Ellis (AE) about bringing Fleur’s story to life:


Daniela, what inspired you to create Two Husbands?

Daniela Cardim. Photo: DeborahJaffe.co.uk
Daniela Cardim. Photo: DeborahJaffe.co.uk

DC: When I was in Brazil in December I was researching music for a new ballet for NEBT. I happened to listen to Heitor Villa-Lobos’ string quartets and thought as he is a Brazilian composer, maybe I should use something with a Brazilian theme… And then I remembered the story of Dona Flor and her two husbands! I’s a very famous story in Brazil but somehow it had never occurred to me to base a ballet on it.

I think it was Villa-Lobos’ music that inspired me to create Two Husbands.  Not only does it contain humour and drama; I also find his music very narrative. When you listen to it, you can imagine a story happening – he just has that flavour, that style that suits this ballet really well.

When I came back from Brazil I started to create a plot and organising the scenes by drafting a storyboard. Then I brought Garth on board.

Garth, this is probably a good moment to bring you into the conversation: you are the dramaturg for Two Husbands. What exactly does a dramaturg do?

GB: Dramaturgy in the UK is still relatively new, whereas in other areas of Europe and indeed in the USA dramaturgs are a regular feature in many theatres and production companies. A dramaturg’s job is, in essence, to work with the director/choreographer and actors/dancers to help focus the production on what it wants to say and how best to say it.

Dani and I met on several occasions to discuss the storyboard and the proposed narrative – how to tell the story if you like. We analysed the characters and their intentions so that we could create discrete individuals for the dancers to realise, and discussed and explored how the story could be translated into dance.

In ballet we strip away and try to find the simplest way of telling the story in the shortest amount of time without losing the complex nature of the material and richness of the characters – there is movement and music, costumes and the set design and that is about it. Without words one has to focus on specific scenes and comprehensible ‘conversations’ involving  the characters. Inevitably the audience have to do some of the work – filling in the gaps – but that, I believe, makes ballet that much more exciting and nuanced.

The dancers have to know exactly who they are and what they are trying to portray and in a chamber ballet such as Two Husbands, that specificity is all-important.

How did you work with the dancers?

Fleur and Vincent. Photo: DeborahJaffe.co.uk
Fleur and Vincent. Photo: DeborahJaffe.co.uk

DC: Our first rehearsal was an acting session, which really helped me see whom I should cast for each role.

GB: I led an acting workshop to explore various themes and events within the story and to see how the dancers responded to a variety of situations. We played some games and did some exercises that helped investigate the individual roles and the interaction between them – we also had some fun exploring the physicality of certain character types.


I think some of the dancers found the session quite challenging because it was most definitely about acting and not dancing. Without physical/ballet gesture the dancers had to think real thoughts in real time and act them out – not easy! We also discussed the idea that the dance comes from real action, real emotion and is not simply representational. The gesture has to have meaning in a truly dramatic way.

Beyond music, storyline and characters a ballet needs costumes, props and lighting …

Two Husbands. Design: April Dalton
Two Husbands. Design: April Dalton

DC: I brought in April once I had finalised the first draft for the storyboard. We met a few times and talked about the story and tried to find a ‘look’ that really portrayed this story.

AD: I began the design process by looking at lots of images of Brazil from around 1950s/1960s. I found lots of lovely images of household interiors that had quite patterned and textured walls, or were busy with photoframes and ornaments. The colours also tended to be quite saturated and interesting mixes of tones. When looking through the references, we all noted that they reminded us of Matisse paintings, and we liked the fact that the heightened patterns, colours and distinctive painterly quality, as well as the slightly skewed, wonky perspectives, could keep us within more of a playful aesthetic rather than a completely naturalistic world.

Two Husbands. Design: April Dalton
Two Husbands. Design: April Dalton

My main inspiration came from looking at photos of Brazil streets from the time. There are some gorgeous images of the carnival from 1950s/60s and I hope we give a taste of the colours and the sense of fun, particularly through the costumes in that scene. We found some lovely references of simple summer dresses being worn, and copied these shapes in the designs, though heightening colour and pattern. Of course, ideas also come out of seeing things in the studio and tweaks are then made to the props being used etc. or placement of set elements.

There are practical requirements of props and scene changes as you would usually have in a play, though I had to make sure the design was elemental and easy to manoeuvre/ light to position so that scene changes could be worked into choreography as much as possible. We want to be able to tell the story with simple props and small set elements (stools, a table), so objects can appear from nowhere and also vanish quickly to create a style of playful storytelling.

… and obviously the lighting design also contributes to this element of storytelling! Andrew, how would you characterise creating lighting for dance/ballet (as opposed to drama or opera)?

AE: In dance one can be freer to explore revelation of form, even at the expense of continual clear illumination of faces, which is something that is given top priority in lighting for drama. If it’s a narrative work like Two Husbands I am guided by the story and do my best to help guide an audience along; in abstract and contemporary works it’s fun to give in to the music and the movement and go places that other forms of theatre just don’t let you go.

What do you particularly like about Two Husbands?

AE: There’s a fantastic cheeky energy to the choreography in this piece. The story is very clearly told through the movement and the characters, while larger than life, are all very relatable. There are some excellent group sections and also opportunities for soloists to shine, and the music is great fun. I’ve only just started to come up with ideas for what we are going to do with the lighting, but I’m already excited to get into the theatre and see what we make!

Photos: Deborah Jaffe deborahjaffe.co.uk / @deb.jaffe; Designs by April Dalton