< Previous10 Riku Ito and Saeka Shirai in The Great Gatsby. Photo Emily Nuttall.11 Minju Kang in The Great Gatsby. Photo Emma Kauldhar.12 Costumes for The Great Gatsby are made in-house by Northern Ballet’s wardrobe team, what does the process of making the costumes look like? Most of the costumes for The Great Gatsby were made in-house, except things like the men’s tailoring which is a specialist job in itself. The process of making the costumes starts at the same place no matter the show – the designs. Once we have seen the designs, fabrics have to be chosen and in the case of The Great Gatsby it meant lots of lovely fine chiffons and beautiful wool for the men. Patterns are made and fabric cut and put together ready for fittings. Within those fittings some designs may change to accommodate choreography. How do the costumes in The Great Gatsby differ to costumes in other Northern Ballet productions? The Great Gatsby differs from other ballets simply because of the period it is set in. The roaring 20s was a freer time and the classic 1920s dress is less fitted. Our dancers are more used to fitted bodices and the boys had to get used to wider trousers. The ballet first premiered in 2013, has there been any changes to the costumes over the last ten years? Because of the nature of The Great Gatsby it has remained very true to the original production. We have however remade and created new costumes to accommodate new dancers and costumes that have been worn out. What does a typical day look like in the Wardrobe Department? A typical day out on tour tends to follow the same pattern which looks like this: On a one show day we will begin – one person will put the washing into the tumble dryers and check the hand washing in the hot box is dry. Then make a start on the ironing. In the meantime, it’s a question of sorting through the costumes and checking through the casting for that show to see which costumes are required and which can be put away. We then sort all costumes and accessories into each individual dancer’s space on the rack. The amount of costumes and accessories vary for each show – for instance The Great Gatsby has over 100 items of costume per show including accessories like hats, gloves and ties. Once everything has been ‘pulled out’ and we have checked the casting hasn’t changed, we then iron or steam everything to have it looking its best for the show. We also repair any holes or tears that have occurred. Finally when all the costumes are prepared and looking good, we double check we have everything before then delivering them to the dancer’s dressing rooms ready for the performance. We caught up with Julie Anderson, Costume Design Assistant on The Great Gatsby, and Ellie Kemp, Wardrobe Manager, to find out more about the costumes for The Great Gatsby and what a typical day in the Wardrobe Department looks like. 13 Northern Ballet dancers in The Great Gatsby. Photos Emily Nuttall and Emma Kauldhar.14 Sir Richard Rodney Bennett CBE MUSIC Richard Rodney Bennett enrolled in the Royal Academy of Music in 1953 and then went on to study in Paris with the French Composer Pierre Boulez. Bennett wrote his first musical score for ballet in 1980 with the ballet Isadora and later became well known for his film score which includes credits such as Murder on the Orient Express and Four Weddings and a Funeral. He was knighted in 1998 for his services to music. Richard Rodney Bennett passed away in New York Christmas Eve 2012 after a short illness. Patricia Doyle CO-DIRECTION & SCENARIO Patricia has a long association with Northern Ballet having worked on some 16 productions including: Dracula; Giselle; Romeo & Juliet and Swan Lake. After training at RADA, Patricia worked as an actress with the National Theatre, the Royal Court Theatre and the Royal Shakespeare Company as well as in repertory, radio and television in Britain and America. Her theatre credits as director include No Fond Return of Love (London première); Puss in Boots, Little Red Riding Hood (The Theatre, Chipping Norton) and adaptations of Wuthering Heights, Barnaby Rudge and Great Expectations. Tim Mitchell LIGHTING DESIGN Tim Mitchell is an Associate Lighting Designer for the Royal Shakespeare Company and has worked across theatre, ballet and opera. His Northern Ballet credits include Beauty & the Beast; Cinderella; Cleopatra; Hamlet; Dracula; The Great Gatsby and The Little Mermaid. He was worked with other leading ballet and opera companies such as West Australian Ballet, English National Opera, Scottish Ballet and the Royal Opera House. Jérôme Kaplan SET DESIGN Born in Paris, Jérôme Kaplan studied Scenography at the Ecole de la Rue Blanche (ENSATT) and began his career working with Ballets de Monte- Carlo and Jean-Christophe Maillot. In 2001, Kaplan became the first French scenographer to collaborate with the National Ballet of China. Jérôme has showcased his talents with many ballet companies including Dutch National Ballet, Australian Ballet and Ballet Zürich. He worked with David Nixon CBE on Northern Ballet’s Ondine, A Sleeping Beauty Tale and The Great Gatsby. John Longstaff ORCHESTRATIONS John has worked with numerous companies including English National Ballet, Northern Ballet, Sheffield Symphony Orchestra and Kiel Opera House, Germany. For Northern Ballet he has worked on some 20 full-length productions and was the musical director for Northern Ballet’s children’s ballets Ugly Duckling, Three Little Pigs and Elves & the Shoemaker. David Nixon CBE DIRECTOR, CHOREOGRAPHER, COSTUME DESIGNER AND SCENARIO David Nixon was Artistic Director of Northern Ballet from 2001 to 2022. He stepped down from the role in spring 2022 after more than 20 transformative years at the helm. As Artistic Director of Northern Ballet, David added an impressive array of new works to the repertoire including: Madame Butterfly, Dracula, Wuthering Heights, The Great Gatsby, Cinderella and The Little Mermaid. Last year he was awarded a CBE for services to dance in the Queen’s Birthday Honours list 2022. Creative teamHoward Bullock BALLROOM INSTRUCTOR Howard began his ballroom training aged four and theatre training aged seven in his home town of Stockport. Howard has danced across the world and experienced many dance genres working in the roles of Dance Captain, Production Manager and as a choreographer. His ballroom career has seen him dance competitively winning nationwide titles. He was also awarded the prestigious John Dilworth Award from the IDTA. Julie Anderson COSTUME DESIGN ASSISTANT Julie trained at Loughborough College of Art and Design and Wimbledon College of Art and Design. For 25 years Julie ran a successful bridal shop whilst also working freelance on ballet, film, theatre and opera. She has been involved in all of Northern Ballet’s new productions for more than 10 years, including: The Great Gatsby; Beauty & the Beast; Cinderella; and The Little Mermaid as Costume Design Assistant. Previous film work includes Spielberg’s Back to the Future and Disney’s The Jungle Book. Gavin Sutherland ORCHESTRATIONS Gavin Sutherland is Music Director of English National Ballet. He began his career as staff conductor and pianist at Northern Ballet, and over the last 30 years he has collaborated with many nationally and internationally acclaimed dance companies and orchestras. He has recorded over 100 CDs, mainly of British music and including many world premiere performances. This strand of his career has led to a fruitful collaboration with the BBC, most notably with the BBC Concert Orchestra. Technical Production Managers Andy Waddington & Steve Wilkins CAD Draughtsman Steve Wilkins Set Construction John Mills, Ian Robinson & Tony Brookes Revival Set Construction Griz Pedley and Pradeep Dash Scenic Artists Ali Allen, Stephanie Pasiewicz, Brendon Croker & Ian Taylor Revival Scenic Artists Ali Allen, Lucy Campbell-Skelling Scenic Fabrics Whaleys of Bradford Rigging Equipment Rope and Rigging Aluminium Fabrication Leeds Welding Company Wardrobe Wardrobe Supervisors Kim Brassley, Julie Anderson, Mikhaila Pye & Carley Marsh Assistant Designer/Costumes & Millinery made by Julie Anderson Assisted by Carley Marsh In-house making Sarah Hartley, Becky Smith, Donna Hardcastle, Jessica Hinchliffe, Paula Grosvenor, Jasmine Adams, Megan Bishop, Beth Pirie, Lucy Howson, Ellie Kemp, Holly Prescott & Laura Leathley Men’s tailoring Les Woolford (Les the Tailor) Young Gatsby uniforms made by The History Bunker Hair and Makeup Supervisor Harriet Rogers Pointe Shoes by Freed of London Suffolk Pointe Shoe Company Stage Management Company Manager Emily Deller Production Stage Manager Lyndsey Holmes Production Deputy Stage Manager Chun-Yen Chia Production Assistant Stage Manager Sandrine Enryd Carlsson For full biographies visit northernballet.com/gatsby 1516 Ballet Staff For full biographies visit northernballet.com/our-people Ashley Dixon ASSISTANT REHEARSAL DIRECTOR Ashley was born in Hull and trained at Central School of Ballet. Upon graduating he joined Northern Ballet in 2004, where he has danced most of the Company's repertoire from Corps de Ballet to leading roles. Ashley retired as a full time dancer with the Company in 2022 to take on the joint roles of Assistant Rehearsal Director and Principal Character Artist, to pass on his knowledge of the Company's repertoire. He has worked as a guest repetiteur with companies across the world and is regularly invited to teach classes and deliver workshops. Daniel is Brazilian and danced with National Ballet of Portugal, London City Ballet, Zürich Ballet and Scottish Ballet before joining Northern Ballet as Principal Artist in 1995 where he performed until joining the artistic team in 2003. As choreographer he created various works for Northern Ballet including The Boy in the Striped Pyjamas and created two full-length productions, Nijinsky – God of the Dance and Chaplin, The Tramp for the Slovak National Ballet. He has worked as guest repetiteur with companies across the world and was Awarded the 2011/12 Dance Fellowship on the Clore Leadership Programme, mentored by Wayne McGregor and seconded to Sadler’s Wells Theatre. Daniel de Andrade ARTISTIC ASSOCIATE Christelle Horna REHEARSAL DIRECTOR Born in France, Christelle trained at the Paris Opera School and with Marika Besobrasova in Monaco. She was a Principal Dancer at the Ballet de l’Opera de Nice, France until joining the Compañía Nacional de Danza, Spain as a Principal Dancer under the direction of Nacho Duato. She has worked with numerous world-renowned choreographers and is a graduate of the State Teaching Diploma of Dance in France. She has worked widely as an Associate Director, Teacher and Rehearsal Director and is regularly invited to teach masterclasses and give repertory workshops. Yoko Ichino REHEARSAL DIRECTOR & ASSOCIATE DIRECTOR OF ACADEMY Yoko was born in Los Angeles where she trained with Mia Slavenska. Her previous companies include The National Ballet of Canada, Stuttgart Ballet, Joffrey Ballet, and American Ballet Theatre where she danced as Principal Artist. She was an invited guest artist for numerous companies around the globe, dancing opposite such artists as Rudolf Nureyev, Helgi Tómasson, Anthony Dowell and Fernando Bujones. Yoko was the Director of the Professional Training Programme at BalletMet (1996 – 2001) and has been invited to be a guest teacher with schools and companies around the world. 17 Music Index 01 Introduction (from Murder on the Orient Express. By arrangement with Novello & Company Limited on behalf of EMI Film & Theatre Music) 02 Nick’s Cottage 1 (Little Suite: The Bird’s Lament. By arrangement with Universal Edition (London) Ltd) 03 Tom and Daisy’s Home (Party Piece. By arrangement with Universal Edition (London) Ltd) 04 Wilson’s Garage (Jazz Calendar 5: Friday’s Child. By arrangement with Universal Edition (London) Ltd)* 05 The Streets of New York (from Billion Dollar Brain. By arrangement with Novello & Company Limited on behalf of EMI United Partnership Limited) 06 Myrtle’s Apartment 1 (When the Midnight Choo Choo - Irving Berlin arr. RRB performed by Mary Cleere Haran and RRB. By arrangement with Novello & Company Limited on behalf of B. Feldman & Co Limited) 07 Myrtle’s Apartment 2 (Love - Hugh Martin, arr. RRB. By arrangement with Novello & Company Limited on behalf of EMI United Partnership Limited)* 08 Tom and Myrtle’s Duet (You must believe in Spring – Michel Legrand, arr. RRB. By arrangement with Novello & Company Limited on behalf of EMI United Partnership Limited) 09 Entrance of Guests (from Murder on the Orient Express. By arrangement with Novello & Company Limited on behalf of EMI Film & Theatre Music) 10 Gatsby Party 1 (Charleston - James P Johnson and Cecil Mack © 1923 (Renewed) WB Music Corp. (ASCAP) and Redwood Music Ltd (PRS). All rights reserved)* 11 The First Story (from Lady Caroline Lamb. By arrangement with Novello & Company Limited on behalf of EMI Film & Theatre Music Limited) 12 Nick’s Cottage (from Nicholas and Alexandra. By arrangement with Novello & Company Limited on behalf of Screen Gems – EMI Music Limited) 13 Journey to the Mansion (Partita: 1: Intrada. By arrangement with Novello & Company Limited) 14 Heavenly Space Pas de Deux (Partita: 2: Lullaby. By arrangement with Novello & Company Limited) 15 Waiting for Daisy (from Nicholas and Alexandra. By arrangement with Novello & Company Limited on behalf of Screen Gems – EMI Music Limited) 16 Gatsby Party 2.1 (Eccentricity – James P Johnson. By arrangement with Novello & Company Limited on behalf of B. Feldman & Co Limited) 17 Gatsby Party 2.2 (from Lady Caroline Lamb. By arrangement with Novello & Company Limited on behalf of EMI Film & Theatre Music Limited) 18 Gatsby Party 2.3 (Tango – Madre Santa. Composer unknown)* 19 The Garage Bedroom (Jazz Calendar 3: Wednesday’s Child. By arrangement with Universal Edition (London) Ltd)* 20 Tom and Daisy’s Home (Partita 3: Finale. By arrangement with Novello & Company Limited) 21 The Garage and Park Plaza (Concerto for Percussion: 4th Movement. By arrangement with Novello & Company Limited) 22 The Accident (from Nicholas and Alexandra. By arrangement with Novello & Company Limited on behalf of Screen Gems – EMI Music Limited) 23 Myrtle’s Death (Reflections on a Sixteenth Century Tune: Prelude. By arrangement with Novello & Company Limited) 24 Outside Daisy’s (from Lady Caroline Lamb. By arrangement with Novello & Company Limited on behalf of EMI Film & Theatre Music Limited) 25 Vignette of Significance (Memento: Intermezzo. By arrangement with Novello & Company Limited) 26 Nick and Gatsby – The Last Story (3rd Symphony: 1st Movement. By arrangement with Novello & Company Limited) 27 Epilogue (I Never Went Away. Published by Newquay Music Limited.) Edited and orchestrated by John Longstaff *Orchestrated by Gavin Sutherland Act IAct II18 The Dancers – Our Collaborative Artists Sean Bates FIRST SOLOIST Harris Beattie DANCER Helen Bogatch CORYPHÉE Sean is from Milton Keynes. He trained at The Royal Ballet School and joined Northern Ballet in 2012. Sponsor Clive & Virginia Lloyd Harris trained at Danscentre in Aberdeen and Central School of Ballet. In 2017 he won the Gold Medal at the Genée International Ballet Competition. He previously performed with Ballet Central and joined Northern Ballet in 2018. Sponsor Christine & Peter Farmer Helen is from Tallinn. She trained at Tallinn Ballet School and later danced with Estonian National Ballet. She joined Northern Ballet in 2018. Sponsor Kate & Andrew Fisher Alessandra Bramante DANCER Wesley Branch DANCER Antoni Cañellas Artigues DANCER Alessandra is from Siracusa, Italy. She trained with the ASDC Dietro le Quinte in Catania, Il Balletto di Castelfranco Veneto and the John Cranko School in Stuttgart. She joined Northern Ballet in 2019. Wesley was born and raised in East London. He trained at Tring Park School for the Performing Arts and English National Ballet School. Past performance experience includes works by Kenneth MacMillan, Didy Veldman and Wayne Eagling. He joined Northern Ballet in 2019. Antoni was born in Palma de Mallorca and began his training at the Professional Conservatory of Palma de Mallorca, continuing at the English National Ballet School. After graduating he danced for three seasons at the National Opera of Bucharest and joined Northern Ballet in 2021. Sarah Chun LEADING SOLOIST Gemma Coutts DANCER Filippo Di Vilio JUNIOR SOLOIST Sarah is from Chicago, Illinois and trained at the Faubourg School of Ballet and The Joffrey Ballet Academy of Chicago. She previously danced with Oklahoma City Ballet and Kansas City Ballet. She has won awards placing second and third at the Youth America Grand Prix in Chicago. She joined Northern Ballet in 2016. Sponsor Bernard Eke Gemma is from New Zealand and grew up in Thailand where she trained at the Aree School of Dance Arts in Bangkok. She continued her training in London and is a recent graduate of the English National Ballet School. Sponsor Kleinwort Hambros Filippo is from Vinci in Italy and joined Northern Ballet in 2014. He trained at Teatro alla Scala Ballet School in Milan, St. Carlo Ballet School in Naples, English National Ballet School and the Academy of Northern Ballet’s Professional Graduate Programme. Sponsor Jane & Alan Foale19 Ashley Dixon PRINCIPAL CHARACTER ARTIST Jackson Dwyer FIRST SOLOIST Rachael Gillespie FIRST SOLOIST Ashley is from Hull and trained at Central School of Ballet. He joined Northern Ballet in 2004. Born in Montreal, Canada, Jackson trained at Canada’s National Ballet School and The John Cranko School in Stuttgart. He danced with The National Ballet of Canada, Ballet Arizona, and Hong Kong Ballet before joining Northern Ballet in 2022. Sponsor Linda & John Topott Rachael is from Swindon and joined Northern Ballet in 2007. She trained with the Judith Hockaday School and Central School of Ballet. Her previous companies include Scottish Ballet and Ballet Central. Sponsor Louise & Philip Keller Albert González Orts DANCER Jonathan Hanks FIRST SOLOIST Ryoichi Hirano GUEST ARTIST Albert is from Valencia in Spain. He trained at Estudio de Danza María Carbonell in Valencia, the École Atelier Rudra Béjart in Lausanne and the Academy of Northern Ballet’s Professional Graduate Programme. He joined Northern Ballet in 2019. Sponsor Andy & Kath Barff Jonathan is from Gloucester and trained at Linda Virgoe’s Dance Studio and The Royal Ballet School (Lower and Upper Schools). He danced with the Estonian National Ballet before joining Northern Ballet in 2016. Sponsor Bernard Eke Jun Ishii DANCER Mackenzie Jacob APPRENTICE Sena Kitano DANCER Jun is from Tokyo. He trained at State Ballet School Berlin. He previously danced with Staatsballett Berlin. He joined Northern Ballet in 2022. Sponsor Neil Eckersley Mackenzie is from Somerset and trained at TLW Dance and Elmhurst Ballet. He Joined Northern Ballet in 2022. Sena is from Osaka in Japan and trained at Soda Ballet School in Japan and the Dutch National Ballet Academy in Amsterdam. She joined Northern Ballet in 2020. Sponsor Neil Eckersley Japanese dancer Ryoichi Hirano is a Principal of The Royal Ballet. He joined the Company as a Prix de Lausanne apprentice in 2001 and became an Artist in 2002, promoted to First Artist in 2007, Soloist in 2008, First Soloist in 2012 and Principal in 2016. He was Guest Principal of Norwegian National Ballet in 2016 and Guest Principal of Scottish Ballet in 2022. Next >