Genée semi-final, September 17, 2015, London.
It’s been a long day at the Genée semi-finals; all told the audience has watched 148 solos — 74 from the “Dancer’s Own” section and 74 classical variations. Each dancer gave his or her all, dedication and commitment shining forth from every young face. In the auditorium there has been an atmosphere of taut tension, each parent and teacher willing their child or pupil to succeed. The audience is probably almost as exhausted as the performers!
The day ran smoothly and professionally, timings adhered to, no hitches. The Choreographic Award for the Dancer’s Own section went to Jana Baldovino of New Zealand, who had created a charming classical piece for herself, in conjunction with her teacher Paula Hunt. There were several more adventurous pieces shown, but Dame Monica Mason, presenting the prize, took the opportunity to remark that there had been far too much floor work, too much gymnastics and acrobatics and too many split legs. She felt that all choreography in this competition must come from a classical base and be pure dance rather than gymnastics. A fair point of course, but these young dancers see so much modern choreography of the spread-eagled contortionist type that it is hardly surprising that they think this is what they must aim for.
I was delighted to see how much the dancers had raised their game since my visits to rehearsals earlier in the week. Clearly the hours of coaching and practising have paid off; they all looked professional and so much more confident today. Eventually the finalists were named: three each from Australia and South Africa, two from Japan and one each from the U.K., the U.S., Canada and New Zealand. An international competition indeed.
There were at least half a dozen others who might have made the cut had there been room, but the finalists deserve their places and we now look forward excitedly to the showdown ahead.
The three Australians are Lania Atkins (trained by Mark Reily, Peta Frith, Tamar Arzoumalian and Julie Wells) and Makensie Henson and Paige Rochester (both trained by Prudence Bowen and Heidi Landford.
Madison Cronin (from New Zealand, trained by Lucinda Dunn, Julie Wells & Katie Pianoff) also made the final cut.
– AMANDA JENNINGS
Geneé Awards Day 2, 12th September, RAD Headquarters, London
The Geneé Awards are home in London, for the first time since 2010, and RAD headquarters are buzzing with the determination, ambition, dedication and perspiration generated by the 76 candidates, the largest entry since Sydney 2002. They're from all over the world—and 21 of them are Australian! It’s all impressively well organised; the cohort is divided into groups of varying sizes for class and coaching and each young dancer seems to know exactly where they are supposed to be at any given time, complete with costumes and shoes.
I’m in a large upstairs studio watching Lynn Wallis, Artistic Director of the RAD and producer of the event, take 37 of them, boys and girls, through some of the enchaînements they will perform at the first semi-final on Wednesday. Lynn is formidable; her immense knowledge and commitment inspire them to do their utmost, and they hang on her every word. After a brief breather she’s back with a smaller group of girls, coaching them in their classical variation. She’s supportive, encouraging, generously offering suggestions on every aspect of performance, bringing out the best in each. Finally she takes each girl to the mirror (they’re in costume) and points out improvements to the placement of a tiara or the choice of hairstyle, and checks the fitting of each tutu. They’re absorbing it all hungrily.
Now I’m escorted to a second large studio where another group of girls is working on their “Dancer’s Own” variation; this is a piece self-choreographed or made for them by a teacher or peer. Their coach here is Hilary Clark, Assistant Director of the Rambert School. She’s lovely, warm and kind, coping imaginatively with the occasional language difficulty, but her eye is no less sharp than Lynn’s and she too brings out the absolute best from each dancer. Some of them aren’t aware that one’s exit from the stage must match one’s performance; Hilary shows them that you can’t bounce off stage after an elegiacally romantic dance, or stride grandly into the wings costumed as a child in a Wee Willie Winkie hat!
After four hours I’m exhausted, but they are all full of life, glad to have a lunch break but raring to start the afternoon session. I’m invited back on Monday to watch Charlotte Edmonds coaching them in her commissioned piece Into the Unknown. Can’t wait! - AMANDA JENNINGS
Watch contestants Lana Atkins and Madeline Skippen being interviewed: https://www.youtube.com/watch?v=2cKUOYbw2Zc
For more information, including the list of Australians, go to http://www.danceaustralia.com.au/news/genee-international-ballet-competition-to-be-live-streamed
Photos: (above) Lania Atkins, Georgia Bailey and Shannon Brookes, (below) Lee Zammit and Alyssa Kelty.
Photos: Elliott Franks/Royal Academy of Dance.
Photo with black background is of Lania Atkins.
