Podcasts about Wells Theatre

Jeannie Weber, United Way of Greater Warren County Executive Director, and Vanessa Campagna, Monmouth College Associate Professor and Theatre Chair/Associate Dean of Academic Affairs, highlight the upcoming audition dates, February 5th and 6th, inside Wells Theatre for the production of Cinderella.

The Prime Minister and Leader of the Opposition seized their final opportunity to define themselves and their policies ahead of next Thursday's election. With a week to go before polling day, Rishi Sunak and Sir Keir Starmer engaged in their most fiery debate yet, clashing repeatedly on issues like welfare reform, tax rises, immigration both legal and illegal, and trans rights.As we went on air, reports emerged from Bolivia that soldiers and military vehicles were surrounding government buildings in the capital La Paz. The BBC's Will Grant provided updates.And legendary rocker Pete Townshend talks about his half-century old album, Quadrophenia, enjoying a new lease of life as it's adapted into a ballet by Sadler's Wells Theatre.

In this episode of Languaging in Hampton Roads, co-hosts Jill Winkowski and Prue Salasky look into communication in the deaf community. They explore sign language, its history and variations. In particular they focus on the development of BASL, Black American Sign Language and American Sign Language in the southern U.S.  Through an interview with a nationally certified interpreter for the deaf, his interview of a deaf woman in Virginia Beach, and conversations with local and national experts, including NC State Prof. Walt Wolfram, on signing, they reveal the complexities of the language and pressures within the deaf community.  --Jubal Metzger-Smith's full interview,  its audio recording and transcript is available at  https://digitalcommons.odu.edu/tidewatervoices/  or find it by searching Tidewater Voices in your browser --The Chesapeake campus of Tidewater Community College offers a 2-year associate's degree in ASL and interpretation for the deaf. 757-822-1111 --The Hearing Loss Association of America, Virginia Beach chapter, includes all the cities in Hampton Roads. It conducts monthly hybrid meetings on the second Saturday of the month at Fortis College, 6300 Center Drive, Norfolk, Va. Find it at www.hearingloss.org --The Virginia Hearing Loss Support Network meets in Virginia Beach on the fourth Saturday of each month. On Facebook or vahlsn.info@gmail.com. --The Wells Theatre, 108 E. Tazewell St, Norfolk, Va. 23510 includes a signing interpreter for at least one show per production. (757) 627-1234. --Find the videos and vignettes for the Language and Life Project at North Carolina State University on YouTube.  Send feedback, questions, topic suggestions, etc. to languaginghr@gmail.com CREDITS: Original music by Skye Zentz; Languaging logo by Patty McDonald; technical help by Michael Lusby at the Sound Studio at Slover Library in Norfolk, Va. Languaging Hampton Roads is written and produced by Jill Winkowski and Prue Salasky

Almost half of women in England and Wales don't trust the police enough to report a crime. That's according to a recent report from the Tony Blair Institute. How can the police regain women's trust? What needs to be done to fix the issue of public trust in the police overall? Anita speaks to the author of the report, Harvey Redgrave and the Conservative Police and Crime Commissioner for Sussex, Katy Bourne. As part of the Woman's Hour series about narcissistic mothers, we hear from a mother who is determined to change the patterns set up in her childhood; she wants to parent differently to her own mum, who she considers to be a narcissist. Reporter Ena Miller goes to meet Louise and Ed (their names have been changed), who are trying 'gentle parenting,' an approach that focuses on empathy, respect and boundaries, all of which were lacking in Louise's childhood.  Marita Cheng is a roboticist from Australia, who advocates to get more girls into technology. She has written a children's book memoir, where all the images were created using generative artificial intelligence. Marita joins Anita to explain why and how she did it. As the annual Flamenco Festival at Sadler's Wells Theatre in London draws to a close, we look at the enduring popularity of the dance and the wider growth in popularity of Latin music across the globe. Anita Rani talks to Belén Castres White, the technical director of the Flamenco Festival and also to Amaranta Wright who runs the Latino Life in the Park Festival, the largest of its kind in the UK. Presenter: Anita Rani Producer: Rebecca Myatt Studio manager: Giles Aspen

Cameroon-born, London-raised choreographer and composer Dickson Mbi is our guest on this week's Composing Myself, beaming in from Glasgow for a riveting chat with Wise Music CEO Dave Holley and Creative Director Gill Graham. Hot topics discussed with this engaging and charismatic creative polymath include:- how Youssou N'Dour and Neneh Cherry's ‘7 seconds' “was the song that smashed it for me” and pulled a young Dickson away from football- getting into dance “because of girls”- a chance discovery of his first popping crew after escaping a dance class in Covent Garden- being clandestinely enrolled in dance school by a friend's dance tutor who saw limitless untapped potential - the importance of late-70s and early-80s funk - Earth, Wind & Fire, Cameo etc - on Dickson's palette of influences and how he was given his first job in dance by Shalamar's Jeffrey Daniel- why an “epic snare” is absolutely crucial- a life-changing return to Cameroon and the village where his parents grew up… “I really understood who I am as a person just from that experience”- how the sound of a tiger's roar affects the human stomach!- why “when a matriarch falls, everything falls apart”https://www.dicksonmbi.com/Dickson Mbi was born in Cameroon and grew up in London where he studied at Lewisham College and London Contemporary Dance School. He is a world-renowned dancer in the Hip Hop dance community and best known for his popping skills which is integral to the work that he creates today. Dickson has featured in multiple TV campaigns including BALMAIN X H&M (2016), AUDI E TRON (2014), and was the face for LUCOZADE REVIVE (2012). Over the course of his career, he has worked with award-winning artists such as Russell Maliphant, Boy Blue Entertainment, Robbie Williams, Corrine Bailey-Rae, Black Eyed Peas and choreographed the 'Leave A Trace' music video for CHVRCHES. ​He is an award-winning choreographer and has been commissioned by several theatres, festivals and arts organisation. In 2018, Sadler's Wells Theatre commissioned a documentary ‘Street to Stage' about Dickson's artistic journey for BBC4's Danceworks series. Later that year, Sadler's Wells commissioned him to create work for their elderly company - The Company of Elders. In the following year, Dickson was commissioned by BBC Young Dancer to create the winning choreography UNSTRUNG performed by Max Revell. ​As a leader in his community, Dickson focuses on fostering the future generations of dancers with his partner Brooke Milliner in their battle crews Prototype and FIYA HOUSE. As a choreographer, Dickson enjoys making works for other companies as well as presenting his own works under Dickson Mbi Company. Well worth a listen. Hosted on Acast. See acast.com/privacy for more information.

For the best part of three decades, Joanna Ampil has been recognised as one of the most prolific musical theatre acts to arrive onto the scene, taking on roles like Mary Magdalene in Jesus Christ Superstar, Grizabella in Cats and Kim in Miss Saigon. After receiving a huge reception as Bloody Mary in South Pacific last year at Chichester Festival Theatre, she is reprising the role in the classic Rodgers & Hammerstein musical at Sadlers Wells Theatre, before heading on tour with the show. Although traditionally seen as a caricature, in Daniel Evans' new production, Joanna is given the opportunity to humanise this character and make her someone audiences are able to empathise with. It's an opportunity that she's fully taken advantage of as we are invited to see Bloody Mary through a new lens. Of course, Joanna's portrayal has also meant we are treated to a terrific performance as well as luscious vocals.In this new interview, Joanna Ampil sat down to talk about how she felt it was really important to return to the show to tell Bloody Mary's story. After performing in a concert production of South Pacific in Manilla a few years prior to the Chichester run, she tells us about how surprised she was by how richly deep and antiracist the show really is. We also hear Joanna share her hopes for the musical theatre industry as in many ways, the industry is still continuing to recover from the effects of the COVID-19 pandemic. She hopes audiences will return on larger scales to support the industry and that shows like South Pacific will continue that drive. As she prepares to go on tour, we hear her also talk about her experience working on productions all around the world from her home in the Philippines to the rest of Asia and of course here in the UK. It's a fascinating listen and we look forward seeing Joanna continue her role on tour in the coming weeks.South Pacific plays at Sadler's Wells Theatre until 28 August and a list of tour dates can be found on southpacificshow.com

In this episode, Shabnam Sahi brings you the latest from Bollywood and Anushka Arora catches up with Salim Merchant as he talks about Beyond Bollywood Musical at the Sadler's Wells Theatre in Holborn, UK, his musical journey, and upcoming projects. The UK's number one commercial Asian station brings you a medley of stories, interviews, opinions and chat on matters we are passionate about - Bollywood, music, politics, books and more. Many of your favourite presenters from the radio, here to entertain you in a podcast.

Paco Peña, regarded as one of the world's foremost traditional flamenco players, is coming back to Sadler's Wells Theatre in London with Solera, his new flamenco show, devised in collaboration with long-time friend and theatre director Jude Kelly. Their work aims to showcase the raw talent of young artists, tempered by the understated authority of an older, wiser generation. Solera, the title of this production, refers to the solera process of ageing liquids such as wine. Andalucía, in Southern Spain, where Paco was born, has for generations produced fine wines using a method that stacks oak barrels in several layers. Young wine enters the highest barrel and given time flows down, nurturing its best qualities, until what remains is a delicious wine that can only be achieved with age. The mature solera of the older generations enriches and refines the best qualities handed down to the young. Flamenco is not a written tradition, but one handed down from one generation to the next, constantly striving to find different ways to express; the best of performances will incorporate part of what has been created before by the great practitioners of the past.

Joseph Grimaldi, the most famous clown in Britain, made his final appearance at Sadler's Wells Theatre on 17th March, 1829 - the very venue where he'd made his stage debut as a toddler in his father's variety act. He was 48. Crippled with rheumatism, he told his adoring audience: “It is four years since I jumped my last jump, filched my last oyster, boiled my last sausage and set in for retirement.” In this episode, Arion, Rebecca and Olly perform a thigh-slapping round of his hit drinking song ‘Hot Codlins'; explore why Grimaldi's innovations were so influential for all ‘clownkind'; and recall how tragedy was a constant companion for this theatrical legend… Further Reading: • ‘Books: The Pantomime Life of Joseph Grimaldi: Laughter, Madness and the Story of Britain's Greatest Comedian by Andrew McConnell Stott (The Guardian, 2009): https://www.theguardian.com/books/2009/dec/19/simon-callow-biography-grimaldi-review • ‘Joseph Grimaldi Factsheet' (It's Behind You!, The Magic of Pantomime): http://www.its-behind-you.com/Factsheets/Joseph%20Grimaldi%20Factsheet.pdf • ‘Grimaldi: 150 Years On' (Thames News, 1987): https://www.youtube.com/watch?v=EuqlG-_RRSE Content warning: child abuse, staged suicide. #Victorian #Theatre #Sad #UK #London For bonus material and to support the show, visit Patreon.com/Retrospectors We'll be back tomorrow! Follow us wherever you get your podcasts: podfollow.com/Retrospectors The Retrospectors are Olly Mann, Rebecca Messina & Arion McNicoll, with Matt Hill. Theme Music: Pass The Peas. Announcer: Bob Ravelli. Graphic Design: Terry Saunders. Edit Producer: Emma Corsham. Copyright: Rethink Audio / Olly Mann 2022. Hosted on Acast. See acast.com/privacy for more information. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Curious what's coming up with audio description from Sadler's Wells? This week, Tim Calvert checks out accessibility of Sadler's Wells Theatre, Peacock Theatre and Lilian Baylis Studio and learns more about the process of audio describing dance from Caroline Burn. And finally Tim highlights some upcoming audio described performances like Acosta Danza 100% Cuban, Saturday Night Fever, BalletBoyz and more!   Find out more here: Welcome to Sadler's Wells - Sadler's Wells (sadlerswells.com) Images shows view onto the empty audience stands from the stage at Sadler's Wells Theatre.

WRAM "Morning Show" interview with Doug Rankin and John Henderson, as they discuss the community theater production of "A Christmas Carol," which is being renewed this weekend at Monmouth College's Wells Theatre. (11/19/21)

Noelani Pantastico is from Oahu, Hawaii. She trained at Central Pennsylvania Youth Ballet and attended summer courses at Pacific Northwest Ballet School from 1994 to 1996. She joined Pacific Northwest Ballet as an apprentice in 1997. She was promoted to corps de ballet in 1998, soloist in 2001, and principal in 2004. In 2008, she left PNB to join Les Ballets de Monte-Carlo as a soloist and was promoted to first soloist in 2009. In 2015, Ms. Pantastico returned to PNB as a principal dancer. In addition to her PNB repertory, Ms. Pantastico danced leading roles at Les Ballets de Monte-Carlo in Jean-Christophe Maillot's Altro Canto, La Belle, Cendrillon, Choré, Faust, Men's Dance for Women, Opus 40, Roméo et Juliette, Scheherazade, Le Songe, and Vers un Pays Sage; Marie Chouinard's Body Remix; Alexander Eckman's Rondo; Nicolo Fonte's Quiet Bang; William Forsythe's New Sleep; Emio Greco and Peter Scholten's Le Corps du Ballet; Natalia Horeçna's Tales Absurd, Fatalistic Visions Predominate; Johan Inger's In Exact; Jiří Kylián's Petite Mort; Pontus Lidberg's Summer's Winter Shadow; Matjash Mrozewski's Pavillon d'Armide; and Jeroen Verbruggen's Kill Bambi. She originated roles in Maillot's Casse-Noisette Compagnie and Lac. Ms. Pantastico was featured in the BBC's 1999 film version of PNB's production of Balanchine's A Midsummer Night's Dream, filmed at Sadler's Wells Theatre, London. In 2004, she performed the second movement of Balanchine's Brahms-Schoenberg Quartet as a guest artist for New York City Ballet's Balanchine Centennial. In 2017, Ms. Pantastico choreographed Picnic for Sculptured Dance, a collaboration between Pacific Northwest Ballet and Seattle Art Museum presented at Seattle's Olympic Sculpture Park. www.png.org · www.creativeprocess.info

"So here we are again", "talkin' in tongues" and proving "one man is not enough" as hosts Bobby and Kristina discuss ALL THREE musicals based on the literary work of Truman Capote on episode fifteen of My Favorite Flop: 1954's House of Flowers, 1966's Breakfast at Tiffany's, AND 1971's The Grass Harp.   ABOUT HOUSE OF FLOWERS Based on the original short story by Truman Capote, House of Flowers tells the story of two neighboring bordellos that battle for business in an idealized Haitian setting. The musical features music by Harold Arlen, lyrics by Arlen and Truman Capote, and a book by Capote. In the early 1950s, Truman Capote became involved in the performing arts. He was approached by producer Saint Subber to adapt his recent story, "House of Flowers", as a musical play for Broadway. Much of the writing was done in the Italian fishing village of Portofino; but Capote and Jack Dunphy found time to travel to Switzerland and Paris before turning to America, where Capote met again with producer Saint Subber and continued his work in the musical. After a Philadelphia try-out, the show opened on Broadway on December 30, 1954 at the Alvin Theatre and played for 165 performances. The director was Peter Brook. The cast included Pearl Bailey, Diahann Carroll, Juanita Hall, Ray Walston, Carmen de Lavallade, Alvin Ailey and Geoffrey Holder (who also provided a section of choreography). Although the show received generally poor reviews, the dance-rhythm infused score has been praised for its mix of blues and calypso. There was an unsuccessful Off-Broadway revival in 1968 at Theater de Lys. In 2003, there was an Encores! production, starring Tonya Pinkins and Armelia McQueen as the battling bordello madams and Maurice Hines as Captain Jonas, the smuggler. The virginal Ottilie was played by Nikki M. James, and the mountain boy, Royal, was played by Brandon Victor Dixon. Roscoe Lee Browne played the voodoo priest, Houngan.   ABOUT BREAKFAST AT TIFFANY'S Based both on the 1958 Truman Capote novella and 1961 film of the same name, Breakfast at Tiffany's tells the story of a free spirit named Holly Golightly. The musical features music and lyrics by Bob Merrill and a book by Abe Burrows, which was rewritten in previews by legendary playwright Edward Albee. The original cast included Mary Tyler Moore, Richard Chamberlain, Sally Kellerman, Larry Kert and Priscilla Lopez. The production was designed by Oliver Smith, directed by Joseph Anthony and choreographed by Michael Kidd with assistance from Tony Mordente, and produced by David Merrick. Despite the impressive list of collaborators, the project never gelled. The show underwent constant and massive changes in its script and score during out-of-town tryouts. The original book by Abe Burrows was seen in Philadelphia, then scrapped completely, and Edward Albee, an unlikely choice, was hired to re-write before a Boston tryout. Burrows was the original director but left when Albee was brought in. He was replaced by Joseph Anthony. On a daily basis, the cast was given new material hours before curtain time, and the piece was overly long, running nearly four hours. Burrows's departure resulted in low morale among cast members, and Moore was convinced that Merrick planned to fire her soon after opening night. Its original title, Holly Golightly, was changed when it started previews on December 12, 1966, on Broadway at the Majestic Theatre. Despite a healthy advance sale and much audience anticipation, it closed four nights later without having officially opened. Merrick placed an infamous ad in The New York Times, announcing that he shut down the production "rather than subject the drama critics and the public to an excruciatingly boring evening." In 2013, the musical was revived for the first time, using Burrows's book, under the title Holly Golightly, at the 200-seat Lilian Baylis Studio at Sadler's Wells Theatre in London, as part of Ian Marshall Fisher's "Lost Musicals" staged concert series. One reviewer wrote: "the show never seems to come alive [and though] worth excavating out of interest in the form, it is not clear whether it is stageworthy."   ABOUT THE GRASS HARP Based on the 1951 novella by Truman Capote, The Grass Harp tells the story of an orphaned boy and two elderly ladies who observe life from a tree. They eventually leave their temporary retreat to make amends with each other and other members of society. The musical features music by Claibe Richardson and book and lyrics by Kenward Elmslie. The initial 1967 tryout of the musical was performed by Trinity Square Repertory Company at the Rhode Island School of Design auditorium, in Providence, Rhode Island. Directed and staged by Adrian Hall, the cast included Barbara Baxley as Dolly Heart Talbo, Carol Brice as the black maid Catherine Creek, Carol Bruce as Verena Talbo, Elaine Stritch as the evangelist Baby Love. After the Providence tryout, Larry Fineberg optioned the property for Broadway, casting Mama Cass as the evangelist Miss Baby Love. However, Fineberg was unable to raise capital funds, and the producing rights were optioned by Richard Barr. In October 1971, the Michigan University Professional Theatre Program presented The Grass Harp with the university's music and drama departments supplying musicians and performers. Initially as an evaluation by the Broadway producers Richard Barr, Charles Woodward, Michael Harvey, and Associate Producer Michael Kasden. Celeste Holm, a close friend of Claibe Richardson, appeared in the Michigan University Professional Program's production as "Miss Baby Love". She was replaced with Karen Morrow for the Broadway production. The musical adaptation opened on Broadway at the Martin Beck Theatre on November 2, 1971 and closed on November 6, 1971. The cast featured Barbara Cook as Dolly Talbo, Carol Brice as Catherine Creek, Karen Morrow as evangelist Miss Baby Love, Ruth Ford as Verena Talbo, Russ Thacker as Colin Talbo, Max Showalter as Dr. Morris Ritz, John Baragrey as Judge Cool, Kelley Boa, Trudy Bordoff, Colin Duffy, Eva Grant, and David Craig Moskin as Miss Baby Love's orphans, known as the "Heavenly Pride and Joy", Christine Stabile as Maude Riordan, and Harvey Vernon as Sheriff Amos Legrand. The musical previewed and opened during a major New York City newspaper strike preventing advertising and reviews, with no advance theater party ticket sales guarantee. Richard Barr, Charles Woodward, Michael Harvey, and Michael Kasden gave the company the option of maintaining three more weeks for the productions' performance schedule, or closing after only seven performances, using the show's banked funds to produce a Broadway cast album. The musical orchestration was recorded in Cologne, Germany, with the Cologne Symphonic Orchestra ensemble. Returning to the States, the original cast was recorded in New York City, with the album released a year after the musical's closing date.

For this episode I went to Sadler's Wells Theatre to speak with the face of Breakin' Convention, Jonzi D. We discuss the term 'Hip Hop Theatre' and it's boundaries, the pressures of becoming a gatekeeper, making enemies through programming, and of course - we discuss this year's festival. https://www.sadlerswells.com/whats-on/2021/breakin-convention-breakout-convention/

Noelani Pantastico is from Oahu, Hawaii. She trained at Central Pennsylvania Youth Ballet and attended summer courses at Pacific Northwest Ballet School from 1994 to 1996. She joined Pacific Northwest Ballet as an apprentice in 1997. She was promoted to corps de ballet in 1998, soloist in 2001, and principal in 2004. In 2008, she left PNB to join Les Ballets de Monte-Carlo as a soloist and was promoted to first soloist in 2009. In 2015, Ms. Pantastico returned to PNB as a principal dancer. In addition to her PNB repertory, Ms. Pantastico danced leading roles at Les Ballets de Monte-Carlo in Jean-Christophe Maillot's Altro Canto, La Belle, Cendrillon, Choré, Faust, Men's Dance for Women, Opus 40, Roméo et Juliette, Scheherazade, Le Songe, and Vers un Pays Sage; Marie Chouinard's Body Remix; Alexander Eckman's Rondo; Nicolo Fonte's Quiet Bang; William Forsythe's New Sleep; Emio Greco and Peter Scholten's Le Corps du Ballet; Natalia Horeçna's Tales Absurd, Fatalistic Visions Predominate; Johan Inger's In Exact; Jiří Kylián's Petite Mort; Pontus Lidberg's Summer's Winter Shadow; Matjash Mrozewski's Pavillon d'Armide; and Jeroen Verbruggen's Kill Bambi. She originated roles in Maillot's Casse-Noisette Compagnie and Lac. Ms. Pantastico was featured in the BBC's 1999 film version of PNB's production of Balanchine's A Midsummer Night's Dream, filmed at Sadler's Wells Theatre, London. In 2004, she performed the second movement of Balanchine's Brahms-Schoenberg Quartet as a guest artist for New York City Ballet's Balanchine Centennial. In 2017, Ms. Pantastico choreographed Picnic for Sculptured Dance, a collaboration between Pacific Northwest Ballet and Seattle Art Museum presented at Seattle's Olympic Sculpture Park. www.png.org · www.creativeprocess.info

Noelani Pantastico is from Oahu, Hawaii. She trained at Central Pennsylvania Youth Ballet and attended summer courses at Pacific Northwest Ballet School from 1994 to 1996. She joined Pacific Northwest Ballet as an apprentice in 1997. She was promoted to corps de ballet in 1998, soloist in 2001, and principal in 2004. In 2008, she left PNB to join Les Ballets de Monte-Carlo as a soloist and was promoted to first soloist in 2009. In 2015, Ms. Pantastico returned to PNB as a principal dancer. In addition to her PNB repertory, Ms. Pantastico danced leading roles at Les Ballets de Monte-Carlo in Jean-Christophe Maillot's Altro Canto, La Belle, Cendrillon, Choré, Faust, Men's Dance for Women, Opus 40, Roméo et Juliette, Scheherazade, Le Songe, and Vers un Pays Sage; Marie Chouinard's Body Remix; Alexander Eckman's Rondo; Nicolo Fonte's Quiet Bang; William Forsythe's New Sleep; Emio Greco and Peter Scholten's Le Corps du Ballet; Natalia Horeçna's Tales Absurd, Fatalistic Visions Predominate; Johan Inger's In Exact; Jiří Kylián's Petite Mort; Pontus Lidberg's Summer's Winter Shadow; Matjash Mrozewski's Pavillon d'Armide; and Jeroen Verbruggen's Kill Bambi. She originated roles in Maillot's Casse-Noisette Compagnie and Lac. Ms. Pantastico was featured in the BBC's 1999 film version of PNB's production of Balanchine's A Midsummer Night's Dream, filmed at Sadler's Wells Theatre, London. In 2004, she performed the second movement of Balanchine's Brahms-Schoenberg Quartet as a guest artist for New York City Ballet's Balanchine Centennial. In 2017, Ms. Pantastico choreographed Picnic for Sculptured Dance, a collaboration between Pacific Northwest Ballet and Seattle Art Museum presented at Seattle's Olympic Sculpture Park. www.png.org · www.creativeprocess.info

Noelani Pantastico is from Oahu, Hawaii. She trained at Central Pennsylvania Youth Ballet and attended summer courses at Pacific Northwest Ballet School from 1994 to 1996. She joined Pacific Northwest Ballet as an apprentice in 1997. She was promoted to corps de ballet in 1998, soloist in 2001, and principal in 2004. In 2008, she left PNB to join Les Ballets de Monte-Carlo as a soloist and was promoted to first soloist in 2009. In 2015, Ms. Pantastico returned to PNB as a principal dancer. In addition to her PNB repertory, Ms. Pantastico danced leading roles at Les Ballets de Monte-Carlo in Jean-Christophe Maillot's Altro Canto, La Belle, Cendrillon, Choré, Faust, Men's Dance for Women, Opus 40, Roméo et Juliette, Scheherazade, Le Songe, and Vers un Pays Sage; Marie Chouinard's Body Remix; Alexander Eckman's Rondo; Nicolo Fonte's Quiet Bang; William Forsythe's New Sleep; Emio Greco and Peter Scholten's Le Corps du Ballet; Natalia Horeçna's Tales Absurd, Fatalistic Visions Predominate; Johan Inger's In Exact; Jiří Kylián's Petite Mort; Pontus Lidberg's Summer's Winter Shadow; Matjash Mrozewski's Pavillon d'Armide; and Jeroen Verbruggen's Kill Bambi. She originated roles in Maillot's Casse-Noisette Compagnie and Lac. Ms. Pantastico was featured in the BBC's 1999 film version of PNB's production of Balanchine's A Midsummer Night's Dream, filmed at Sadler's Wells Theatre, London. In 2004, she performed the second movement of Balanchine's Brahms-Schoenberg Quartet as a guest artist for New York City Ballet's Balanchine Centennial. In 2017, Ms. Pantastico choreographed Picnic for Sculptured Dance, a collaboration between Pacific Northwest Ballet and Seattle Art Museum presented at Seattle's Olympic Sculpture Park. www.png.org · www.creativeprocess.info

As one of the hardest hit sectors of all, this week we're looking at how museums and theatres are re-imagining the arts. Hear from this week's guests from UCL Arts and Humanities, UCL Culture, as well as a director of programmes at Sadler's Wells Theatre - our new neighbour in UCL East.Prof Stella Bruzzi (Dean, UCL Arts & Humanities)Catriona Wilson (Head, UCL Petrie Museum)Anneliese Graham (Programming Director, Sadler's Wells Theatre)Access the transcript and more info on www.ucl.ac.uk/ucl-minds/podcasts…avirus-whole-storyLeave your feedback here: bit.ly/uclcthsrvey See acast.com/privacy for privacy and opt-out information.

As one of the hardest hit sectors of all, this week we're looking at how museums and theatres are re-imagining the arts. Hear from this week's guests from UCL Arts and Humanities, UCL Culture, as well as a director of programmes at Sadler's Wells Theatre - our new neighbour in UCL East. - Prof Stella Bruzzi (Dean, UCL Arts & Humanities) - Catriona Wilson (Head, UCL Petrie Museum) - Anneliese Graham (Programming Director, Sadler's Wells Theatre) Access the transcript and more info on https://www.ucl.ac.uk/ucl-minds/podcasts/coronavirus-whole-story

Good news feels a little hard to come by these days. So it's exciting to see the critically acclaimed, award winning BalletBoyz 20th anniversary celebrations continuing with an online presentation of Deluxe by Sadler's Wells Theatre in London. Sadler's Wells will showcase Deluxe as part of new Digital Stage - a free online performance platform, created in response to the cancellation of shows across its theatres as part of efforts to curb the spread of Covid-19. Deluxe will form part of the launch on Friday 27 March 2020, World Theatre Day, which can be accessed via Sadler's Wells Facebook page at 7.30 pm and will be available for seven days - so mark this in your diaries! Just as Covid-19 was starting to hit London, we interviewed BalletBoyz Artistic Directors, former Royal Ballet Dancers Michael Nunn and William Trevitt. Michael and William talk in this podcast about leaving The Royal Ballet after 12 years to create their own company and moving from classical to modern dance. They also look back at the pieces that are special to the company, talk about their studio process and share what makes a BalletBoyz dancer. With a long history of dance filmmaking, Michael and William talk about making the stunning Romeo and Juliet, winning the Palm d'Or, and their next dance film project (you'll have to listen to find out which classical ballet they're taking to the screen next!). Listen to the Artistic Directors talk about the choreographers of the two pieces in Deluxe - Shanghai-based dancer and choreographer Xie Xin and Punchdrunk choreographer Maxine Doyle. We're so excited that Deluxe is coming to Sadler's Wells Digital Stage on 27 March 2020 at 7.30pm. PRESS PLAY! https://djwpodcasts.s3-eu-west-1.amazonaws.com/1wwwod/BalletBoyz2.mp3 Also available on Apple Podcasts, Spotify, Google Podcasts and with other podcast providers! BalletBoyz presents Deluxe. Photo by George Piper   Michael Nunn and William Trevitt. Photo by Rick Guest.

CORE Theatre Ensemble is an independent theatre company based out of Hampton Roads. They’re hosting an Edgar Allan Poe Masquerade on Monday, January 27 at the Wells Theatre in Norfolk. Rebecca Evans interviews CORE about their event, which includes an abridged performance of their piece, “The Poe Project.”

CORE Theatre Ensemble is an independent theatre company based out of Hampton Roads. They’re hosting an Edgar Allan Poe Masquerade on Monday, January 27 at the Wells Theatre in Norfolk. Rebecca Evans interviews CORE about their event, which includes an abridged performance of their piece, “The Poe Project.”

Alina Cojocaru is the much loved principal with the English National Ballet and guest artist with the Hamburg Ballet who has garnered adoring fans and numerous accolades throughout her illustrious career. We're in for a real treat as Alina is presenting her own curated programme of classical and contemporary pieces at Sadler's Wells Theatre, simply called: 'Alina at Sadler's Wells'. In this podcast, Alina talks about how she selected each piece for her programme that includes Sir Frederick Ashton's divine Marguerite and Armand. She also gives a heartfelt introduction to the special guests who'll be joining her on stage, including her partner the Danish ballet star Johan Kobborg. The softly spoken ballerina shares her experience gained from dancing with The Royal Ballet, Kiev National Ballet, Hamburg Ballet and ENB. She takes us behind the scenes of her dance life and gives an insight into curating her own show. And lastly, Alina gives some pearls of wisdom for the next generation of dancers, some of which may be surprising. A wonderful conversation with an incredible dancer, a deeply considered artist and an inspiring woman. Alina at Sadler's Wells runs from 20 to 23 February. PRESS PLAY or LISTEN ON ITUNES (or any of your favourite apps) https://djwpodcasts.s3-eu-west-1.amazonaws.com/1wwwod/alina+final.mp3   Alina Cojocaru. Photo by Morgan Norman Alina Cojocaru and Johan Kobborg. Photo by Morgan Norman

Under the direction of Tim Casson, Casson & Friends are a UK based Record Breaking Dance Theatre Company, creating unique performances that are accessible, interactive and joyful. The company works with a diverse range of collaborators, from filmmakers and musicians to computer programmers and psychologists, but most often collaborates with the public, inviting them to engage with dance in exciting and accessible ways.With a passion for bringing dance to people in new and unusual contexts, C&F’s work to date has been presented in a range of settings including Shopping Centres, Libraries, Hotels, Pubs, Offices and Football Stadiums. C&F also explore the potential of digital technology to create new ways of enhancing and engaging with dance performance.The company has presented work across the UK and Internationally including at Sadler’s Wells Theatre, Glastonbury Festival, Brighton Digital Festival, bOing International Family Festival, The Lyon Biennale, Downtown Dance Festival in New York, Festival Quartiers Danses in Montreal and Harare International Festival of Arts in Zimbabwe.Tim Casson is currently an Associate Artist (2018-2020) at DanceEast.Casson & Friends have previously been Associate Company at Pavilion Dance South West (2013-2015), Dance Digital (2014-15), and Tim was a Metal Change Maker Artist (2017-18). Casson & Friends were selected to curate their own ‘Wild Card’ evening at Sadler’s Wells in 2015.Rachel Elderkin is a freelance dancer and dance writer based in London. Her dance writing can be also be read in the Stage, londondance.com, Exeunt and British Theatre Guide. She is a member of the UK's Critics' Circle, and has previously written for publications including Fjord Review, the Skinny (Scotland) and LeftLion (Nottingham) where she was Art Editor.Credits:Host: Rachel ElderkinGuest: Tim CassonEditing and production: George BushawayProduced for Fjord Review 

The UN reports a widening digital gender gap The UN's International Telecommunications Unit has published a report showing that over 4 billion people are now online worldwide. Despite this, the proportion of women using the internet is still much lower than men, especially in the developing world. Susan Teltscher, Head of the Human Capacity Building Division, describes the significance of this growing divide. Mookh opens up e-commerce opportunities in Kenya Mookh is a Nairobi-based company that allows users to sell their products online. Founder Eric Thimba describes how the platform has allowed many Kenyan creatives to monetize their products and the boon of mobile money to the African economy. The platform has recently launched in Uganda and Rwanda. Curiosity photographs dunes on Mars The Curiosity rover has been exploring Mars since its landing in 2011. Professor Sanjeev Gupta of Imperial College London explains how planners and software engineers work together to conduct experiments remotely, and muses on the potential of sending a real human to the red planet. Reflecting on humanity and data through dance Hannah Fisher reports on Overflow at the Sadler’s Wells Theatre. Presented by the Alexander Whitley Dance Company, the piece merges movement and technology to contemplate the nature of being human in an era of big data. Producer: Ania Lichtarowicz Photo: Young Somali refugee women look at a smartphone Credit: YASUYOSHI CHIBA/AFP via Getty Images

This Week in Mal’s World, Mal Vincent previews Matilda, the musical adaptation of Roald Dahl’s classic book. It tells the story of Matilda Wormwood, a young girl with a sharp wit and love for books. With her special brand of ingenuity, she dares to stand against the tyranny of adults who seek to crush her imagination. This multi-Tony award-winning musical provides the perfect opportunity for collaboration between Virginia Stage Company and The Governor’s School for the Arts to highlight our local students alongside some of the top professional actors from around the country. Matilda is currently playing at the Wells Theatre in Norfolk until June 2. Visit http://www.vastage.org/matildathemusical for showtimes and tickets.

Last weekend, Virginia Stage Company opened their production of the musical Fun Home at the Wells Theatre in Downtown Norfolk. Fun Home is based on the best-selling graphic novel by Alison Bechdel, with music by Jeanine Tesori, and a book and lyrics by Lisa Kron. It’s the first Broadway musical with a lesbian protagonist, winning five Tony Awards when it opened on Broadway in 2015, including Best Musical.

Last weekend, Virginia Stage Company opened its new, immersive production of Thornton Wilder’s Our Town at the Wells Theatre.

This is the third of a three-part series covering the experiences of women, people of color, and LGBTQ+ in geek, gaming, and comics culture. It was recorded at the beautiful Wells Theatre in Downtown Norfolk during a WHRO Emerging Talks live storytelling event called “Origin Stories.” The night featured three young professionals, Dawn, Isaac, and Phil, sharing their stories in celebration of geekery and identity. In part three, we hear from Phil Odango, a professional cosplayer who tours the country competing at conventions like San Diego and New York ComicCon. He talks about his beginnings, the others he finds inspiring, and the difficult times he endured. Phil’s story has some content that may not be suitable for children, so keep that in mind if you have kids listening. Phil’s website: Canvas Cosplay Link to Phil’s “Life as a Pro Cosplayer” Interview: Coming soon! Link to Isaac Schneider’s story Link to Dawn Wilfong’s story Photos of our Origin Story speakers, Dawn, Isaac, and Phil: Coming soon! Emerging Talks Events and the Emerging Leaders Board

This is the second of a three-part series covering the experiences of women, people of color, and LGBTQ+ in geek, gaming, and comics culture. It was recorded at the beautiful Wells Theatre in Downtown Norfolk during a WHRO Emerging Talks live storytelling event called “Origin Stories.” The night featured three young professionals, Dawn, Isaac, and Phil, sharing their stories in celebration of geekery and identity. In part two, we hear from Isaac Schneider, a technical consultant, musician, artist, and gamer. Zack has a very open and frank discussion about why he hates labels, why he fought against being thought of as a geek, and why he has hope for the future of gamers in a post-gamergate culture. ***LISTENER DISCRETION IS ADVISED*** Link to Dawn Wilfong’s story Link to Phil Odango’s story Photos of our Origin Story speakers, Dawn, Isaac, and Phil: Coming soon! Emerging Talks Events and the Emerging Leaders Board

This is the first of a three-part series covering the experiences of women, people of color, and LGBTQ+ in geek, gaming, and comics culture. It was recorded at the beautiful Wells Theatre in Downtown Norfolk during a WHRO Emerging Talks live storytelling event called “Origin Stories.” The night featured three young professionals, Dawn, Isaac, and Phil, sharing their stories in celebration of geekery and identity. In part one, we hear from Dawn Wilfong, a television producer, blogger, and host of the Geek and Gaming web series Roll 4 Initiative. Dawn’s story has just a couple moments of strong language, so keep that in mind if you have kids listening. Link to Isaac Schneider story Link to Phil Odango’s story Photos of our Origin Story speakers, Dawn, Isaac, and Phil: Coming soon! Emerging Talks Events and the Emerging Leaders Board

This week in Mal’s World, Mal Vincent takes us out to the theater for the Virginia Stage Company’s latest, “The Wiz,” at the Wells Theatre in Norfolk. What did Mal think of this production of the Tony Award-winning musical, which not only features actors from New York, but also students from Norfolk State University? Mal also explains how both professional actors and students are able to share the stage when it comes to Actors' Equity. For more on “The Wiz” wrapping up at the Wells Theatre, visit www.vastage.org.

When you look at the statistics for crime, education, unemployment, family - the unfortunate truth is that African American males are usually at the top of negative numbers. It is a challenge raising and educating African American boys in today's society. As a parent, how do you ensure that your Black son is socially, emotionally and academically ready to compete? As part of our American Graduate: Let's Make It Happen initiative, we talk with parent educator and relationship expert Alvean Lyons about effective ways to parent and educate Black boys. She'll discuss the parenting continuum - supervisor-manager-consultant, and provide practical tips you'll need to help your son grow into a responsible, productive citizen. Plus, Lisa Godley sits down with members of the cast of "The Whipping Man", now playing at the Wells Theatre. It's all on Another View, Friday, March 8 at noon on 89.5 WHRV-FM, or stream us at whrv.org.

This season Sadler’s Wells Creative Learning department, Connect produces a new production for the main stage, inspired by London’s diversity in its Olympic year. A compelling new work premiering on Monday 23 April, Compass brings together a team of choreographers, a writer, a film maker, composers and musicians with a cast of over 100 dancers, encompassing all ages and levels of experience. An original score of live and recorded vocal and instrumental music, by composers Donna McKevitt and Hannah Peel, is accompanied by arresting visual imagery created by BAFTA winner Tal Rosner. The company combine their talents and draw on their rich cultural heritage to create a thought provoking performance, exploring themes that celebrate unity, diversity and the meaning of ‘home’ within the many worlds of our capital city. (Text courtesy of Sadler’s Wells Theatre) Reporter: Jayson Mansaray Sadlers' Wels Website :: For more information and upcoming shows Compass Blog :: To follow the blog on the creation of Compass Back to Camden Community Radio :: Follow us on twitter :: File Download (6:38 min / 5 MB)

Utah-based poet and singer, Lara Candland and composer-performer Christian Asplund have evolved a unique style of performance involving an ethereal and lush mix of speech, singing, live sampling, looping, layering, drones, and electronics. They will draw from poems in Candland's recently published Alburnum of the Green and Living Tree and her recently completed chapbook about surgery Physic at the Table.Lara Candland’s book Alburnum of the Green and Living Tree was just released from BlazeVox. Her work has appeared or is forthcoming in Fence, The Colorado Review, Barrow Street, Greatcoat, Fine Madness, The Quarterly and other journals. Her pamphlet, Tongue Child was published by the University of South Carolina’s Palanquin/TDM series. She has been a finalist in The Motherwell, Hudson, and St. Lawrence book awards. She has also been the recipient of an AWP Intro Award, She is a founder and the librettist for Seattle Experimental Opera, and a finalist in the Genesis Prizes. Her opera, Sunset with Pink Pastoral with husband and composer Christian Asplund, was performed by Almeida Opera in London’s Sadler’s Wells Theatre. Candland has taught poetry, college writing, food writing and fiction writing at various colleges and universities around the country as an itinerant grad student/follower of a grad student, and is currently exploring the intersection between written down works and live improv with electronic sampling. Christian Asplund is a Canadian-American composer-performer based in Utah where he is Composer-in-Residence at Brigham Young University. He has degrees from University of Washington, Mills College, and Brigham Young University where his teachers have included Stuart Dempster, John Rahn, Joel-Francois Durand, Alvin Curran, Chris Brown, Thea Musgrave, and Meyer Kupferman. He cofounded Seattle Experimental Opera which has produced seven of his operas. He has performed with such musicians as Christian Wolff, Eyvind Kang, Larry Polansky, Daniel Good, Francois Houle, Michael Bisio, Robert Reigle, Gino Robair, and Phil Gelb in a variety of venues and recordings in the U.S., Canada, and Europe. His scores are published by Frog Peak Music. Asplund is also an active scholar and has published articles and chapters on music theory and critical theory.