The Chris Moyles Show on Radio One was broadcast last Friday from Chris’s hometown of Leeds so all of us nice people at Northern Ballet delivered them a hearty welcome with freshly made goodies from our Northern Ballet Café Bar.
Chris and the team breakfasted on freshly made scones, Victoria sponge cake, bacon and sausage butties, poached egg and ham sandwiches. It was a veritable crate of goodies!
On the last occasion that I was writing on this page, I was hard at work preparing for the previous concert at Quarry Hill along with my colleagues Sue Hall and Sasha Volpov. That was in June, and it seems quite a long time ago now. The Northern Ballet season had just finished, and here we are only a couple of weeks away from our first rehearsals for Hamlet. Now I am focussing on preparing for the next event in the series, my violin and piano recital with Benjamin Frith on 1 September.
Northern Ballet generates over £500,000 in financial support
In the past month Northern Ballet has generated over £500,000 of financial support from private donors, companies, trusts and foundations: an encouraging and impressive start to a campaign that sees the Company fundraising to fill a substantial gap in its government funding.
Our new Academy Pastoral Assistant, Emma Rodriguez-Saona, has her first experience of Academy end of year performances:
What a way to start my time at Northern Ballet. With the Academy’s calendar full to the brim, I was instantly immersed.
I’ve found my first few weeks to be a hubbub of activity, hard work and enjoyment (my first challenge was learning lots of names!). Highlights that just cannot go unmentioned include the fantastic end of year Academy shows.
If you weren’t there, you should have been. The Choreographic Showcase was a mesmeric delight. Dancers from Northern Ballet and Phoenix Dance Theatre came together to choreograph eleven pieces of brand spanking new dance. The fledgling choreographers were each given the same mission statement – simply, create a piece of dance. Dance. No sets, no costumes and precious few props. The focus was pulled firmly on movement and each piece having a discrete kinetic language of its own.