Reviews

Like Macmillan, Ms Simmons used 2 very different pas de deux as significant features. She was blessed with having 2 excellent instruments (Royce Neagle - Ex NBT and 16 year old student Daniella Ferreira) to sculpt into the most exquisite shapes and seamless movement. What a difference a year has made to Daniella? "Can't take your eyes of her when she is on stage" quality has been added to the solid technique. While her Belle was bookish and innocent, Royce Neagle's Prince was tall, dark handsome and initially horrible. Luckily he was not only the partner from heaven but was aspirational to the boys- showing them exactly how it should be done on stage. The whole production worked well, it is unusual to notice the costumes as something other than part of the background but on this occasion they caught the eye. The beauty was in the detail, Coppelia Act 1 type dresses where the skirts were white and bodices dark were particularly good.

Class Variations

Ballet.co Performance

The "Class Variations" was stunning. "Etudes with attitude" meets "Who Cares". The curtain opens and there is the immediate "Wow" of seeing the rainbow of costumes- and then it gets better- they start dancing. And not just a parade of precisely presented syllabus work- but a melange of exquisitely danced steps shown with panache to Gershwin. Colour coding the kids worked well,youngsters in white to seniors in burgundy gave the group changes a kaleidescope quality. It was a joy to see ten year olds with persistently pointed feet and boys who jumped into second only after showing soubresaut and impressive fouettes on pointe from girls as young as 15. Good use of boys too - they had nicely crafted work (flashy batterie and huge jumps) that emphasised their difference to the girls. Ms Simmons had got it right again-spot on casting, choreography that fitted each group like a glove and slick presentation. It ended and you wanted it back again.

Hoffman

Ballet.co Performance

The adapted Hoffman tales were put to Offenbach's music.The cast was a mixture of vocational students and invited professionals. Juan Sanchez (ex-London festival ballet) was a wonderful example to the students,he brought the Coppelius character to life and just entertained for every moment he was on stage. The tall dark and handsome Hoffman role was an elegant showcase for Stephen Windsor who jumped like a panther and partnered well. Quite demanding patterns for the fluttering and jumping butterfly corps. Finally special mentions must go to Yukie Fujino who impressed with her strong dancing and extension and to Daniela Ferreira for her acting,lyrical movement and line.A very enjoyable piece, sumptious scenery,costumes and excellent dancing.

There was nothing amateur about this.

Everything was just so professional that it jarred your focus. What we all tend to forget when we see lots of large ballet companies is that we are seeing mostly ideal physiques doing the steps.Dance teachers outside the main vocational schools do not have this luxury and great credit must go to Ms Simmons for making every child whatever shape and size they were look good on stage.

The show was made possible by a sponsor, David Lloyd, who had chosen to invest in the future of these young dancers. As he says "I have only ever danced in my dreams" but what he probably doesn't realise is that he has given every child who took part a treasured memory of what it was like to dance on stage for real.

The Dancing Times June 2001

The libretto by David Lloyd was adapted from Offenbach's Tales of Hoffmann, and also introduced the role of the butterfly from the composer's ballet Papilion. This two act work for the Senior School had varied and affective choreography by Kate Simmons, with some additionsal choreography by Gillian Hurst, attractive costumes designed by Caroline Ferreira, sets and props by David Loftus, and atmospheric lighting by Clare Williamson.

The work calls for a large cast, which was augmented by guest artists Juan Sanchez, as Dr Coppelius, and Royce Neagle, as Count Lindorf giving maturity in the title role. Steven Windsor, always and interesting performer, is now maturing into a fine artist and a consderate partner. I was also impressed by Ellen Dybvik as Fallonia, a butterfly, and Yukie Fujino, as Olympia, but all the performers deserve praise.

The Matchgirl

Ballet.co Performance

This opens with a painted curtain and you think this is the only backdrop until it opens to reveal a Nutcracker dinner party scene with dancing toys and decorations that come to life. Casting was spot on,costumes were stunning and the choreography was tasteful and fitted each child like a glove. The highlight was the 5 fairies in the most exquisite flowing Juliet dresses, delightful patterns and impressive pointe work (pose turns) from girls who were no more than 14. The group dances were strong but I must say that the Armani clad urchins were just too clean.- there was not a dirty rag in sight.The kids were well trained, nice little pointed feet all the time (not just some of the time) and it was obvious that they gave 100%. Expectations for the next 2 act piece were high- and were fulfilled.

Brief Encounter

The Dancing Times June 2000

Kate Simmons School, Warrington, presented a triple bill on April 7 and 8 in the Brown Shipley Theatre at the Royal Northern College of Music, Manchester. The programme opened with Brief Encounter, inspired by the 1945 film, with choreography by Kate Simmons to Rachmaninov music. The work followed the essence of the film storyline about two people who meet, by chance, at a railway station, fall in love, and then are forced to choose between love or loyalty, as both are married. The ballet did not attempt to parrot the film action, instead using the episodes that could translate easily into dance. Sheereen Saumtally was touching as Laura, putting loyalty before love, and Steven Windsor was splendid as the stiff-upper lipped Alan, their growing affection being clearly delineated in the pas de deux. The set and costumes gave a good period feel to this pleasing work.

Stuff and Nonsense

The Dancing Times June 2000

Choreographed on pupils of the junior school to music by William Walton. The "Comic Scenes from the beginning of the last century" gave plenty of dance opportunities for the youngsters, who performed with obvious pleasure as will as great assurance.

Swan Lake Act III

The Dancing Times June 2000

The final work was the third act of "Swan Lake", adapted by Kate Simmons, which was supervly dressed. Odile was danced with confidence by Melanie Bull who is joining English National Ballet for their "Sleeping Beauty" season at the Royal Albert Hall. Hownice, and how rare now, to see a dancer performing each of her fouettes with a clearly defined ronde de jambe! She was strongly supported by guest artists Royce Neagle, as Siegfried, and Juan Sanchez as Rothbart, and the character dances were given with great style. This made a well balanced and enjoyable triple bill danced with the professionalism which, ungratefully, now take for granted from this school.

La Sylphide

The Dancing Times August 1999

The Warrington based Kate Simmons School presented Bournonville's La Sylphide in the Siemens Opera Theatre at the Royal Northern College of Music, Manchester on May 14 and 15. Restaged by Kate Simmons to suit available resources, the production kept clase enough to avoid offending purists. Sensibly, she used professional for the two principal male characters rather than overstretch students. Peter Parker (formerly of Northern Balle Theatre and Ballet du Rhin) as a neatly danced James and Juan Sanchez, making a welcome return as a vindictive Madge. The Sylph was danced by a student, Melanie Bull, who showed a good understanding of the Bournonville style and danced with an appropriate lightness; with more experience in the role she will no doubt also be able to bring out the Sylph's playful nature. Gurn was given a committed performance by Steven Windsor who made a valiant attempt at Gurn's solo.

The most impressive thing about this performance, however, was not the principals - good as they were - but the overall sense of style Kate Simmons had achieved from the corps of sylphids in Act II and the professionalism apparent throughout. The accurace and brio of the first act Reel was outstanding. This was a truely enjoyable performance of work too rarely seen here and an achievement of which the school should be proud.