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Crawley News
April 8, 2014


Tristan Hayden, 11, will attend the RBS in September (Crawley News) 2014[Crawley, England] – An 11-year-old Crawley boy will be one of only 12 male pupils on an exclusive roll call this September as he prepares to join the Royal Ballet School. The world famous White Lodge, in Richmond, accepts only a handful of male students each year as “junior associates”, and Roshe School of Dance pupil Tristan Hayden is among this year’s crop.

But, despite his success, Tristan, from Lincoln Close, Tilgate, said he would count getting into White Lodge as only the second greatest highlight of his life so far. Even the prestige of making it into such a renowned school does not quite compare with his joy at realising another dream, when he attended comic book convention Comic Con in London this year.

Tristan, whose favourite character is Wolverine from the X-Men, said: “I think I like dancing and comics about an equal amount.

“I’ve got mixed emotions about going to White Lodge. I’ll miss all my family and friends but I know I’ll enjoy it once I get there. It’s like being on stage at the Royal Opera House – in the wings I get nervous but I enjoy it when I’m on stage.”

When he isn’t attending fan conventions and daydreaming about Marvel characters, Tristan studies ballet, modern, tap, jazz, musical theatre, and classical Greek and Irish dancing at Roshe, which is based at Felbridge Village Hall. He also attends Saturday morning classes at the Royal Ballet School in Richmond Park.

Tristan’s mother, Michele Jarrett, says her talented son is driven to succeed. She said: “He gets tired like any child gets tired, but I can count on one hand the times he’s said he didn’t want to dance. I don’t know where he gets it from. We’re not a dancey family. It’s what he loves to do.”

Rosemary Woodd, principal at Roshe, said that discipline is the key to Tristan’s success. “For any child to attain such a high standard they need to be taking a variety of classes and exams so that we can instil a sense of drive and determination and a goal to aim for,” she added.

“Whilst everyone at Roshe will be sad to see him go, we have done our job in preparing Tristan to be the best that he can be and we will see him regularly. He most certainly is a future ballet star and East Grinstead and Crawley should be very proud of this young man.”

© Copyright 2014 Local World

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By Samantha Madison
The Sentinel
April 2, 2014


[Carlisle, Pennsylvania, USA] — When Alan Hineline decided to create his own ballet in 2002, he decided to do something that had a simple storyline but would also offer boy dancers larger roles. He said he chose “The Legend of Sleepy Hollow” for those reasons and because he wanted to develop the audience Central Pennsylvania Youth Ballet attracts.

“With this ballet, its inception was here, its conception was here,” he said. “We wanted a ballet that was sort of male-centric because most ballets are about the heroine, and we wanted to do something that was more about a boy because we had a level of boys at the time that we wanted to encourage. We wanted to continue to develop audiences, so we looked for a story that was concise. ‘Legend of Sleepy Hollow’ isn’t ‘War and Peace’ so there aren’t a ton of tangents that you have to cover to understand the story.”

Hineline spent about nine months to a year putting together the ballet’s libretto. The composer, the set designer and the costume designer took about another six months on the production. Then, when it came to the choreography, Hineline said he had about eight weeks to pull that together. That was followed by casting with students from the ballet school.

“It’s huge,” Hineline said. “I told someone immediately after I’d done it that I felt like I could probably direct a movie now because that’s what it is — it’s pulling all of those separate pieces together and sewing them together so it makes sense.”

Since then, the piece has toured widely, being performed by other schools and even professional companies. Companies or schools license the intellectual property rights to do the choreographyand then enter into a production agreement to get the sets, costumes and music. “It has gone on to have a life outside of here,” Hineline said. “That is something we’re sort of institutionally proud of. It’s not just recouping costs, it’s actually been a money maker for us.”

The school is preparing to perform the piece again. Hineline said the piece just finished in Oklahoma City, so the students are rehearsing and getting ready to perform it at the Whitaker Center next weekend.

Enrico Hipolito, right, as Ichabod Crane, and Sarah Lewis as Guardian, rehearse a scene from  CPYB's Sleepy Hollow (Jason Malmont, The Sentinel) 2014


Auditions and rehearsals

Rico Hipolito moved to the area because his ballet school in Washington was connected to a professional company, which meant he wasn’t getting the chance to play any larger roles. Now the 19-year-old is set to play Ichabod Crane, a role that he said has taken a lot of preparation — both physical and mental.

Hipolito said there weren’t standard auditions. Instead the instructors watched the students in class, and Hineline cast the roles from what the students were able to do. After they were cast in the ballet, the students started rehearsals.

Now, Hipolito and the other principal roles — Caroline Dougherty, who plays the female lead Katrina — spend time from 2:30 p.m. to 9 p.m. at CPYB working on the ballet. Outside of the rehearsals, Dougherty said she and Hipolito go to the gym most days at 6 a.m. to get their bodies more in shape for the demanding roles.

They both also have copies of a previous performance of “Sleepy Hollow” that they watch on a regular basis to help commit the moves to memory. Hipolito said he will put it on while he is doing the dishes, and even though he can’t necessarily see what’s going on, he knows what he is supposed to be doing during certain parts of the music. He said since they started rehearsing, he has probably watched previous performances of the show around 50 times.

“I look for the counts, because I really struggle with musicality,” he said. “Then also, the decisions they make when being their character. Once I get the counts down, I can put my own flavor into the dance. And I just remember everything because it’s better for me to see the dance than to just learn it and put it aside and come back to it..”

Dougherty said she likes being able to see how other people performed her role, but she doesn’t want to completely mimic the other Katrina. “I didn’t want to copy exactly what they did, I wanted to make it my own,” the 17-year-old said. “I think … what’s exciting about being an artist is that you have that opportunity to make a role your own and to become that role. This one, I definitely have studied, but there’s other ballets. Like right now we’re working on a ballet with Alan and it’s brand new, so I have no one else to watch.”

A demanding performance

Dougherty, who is starting a contract with the Houston Ballet in July, said Hineline warned them that the principal roles in the piece were going to be challenging, but she didn’t believe him after watching the ballet for the first time.

Then they started rehearsals.

“I started learning it, and I was like, ‘OK, I was wrong,’” Dougherty said. “I think what’s challenging is this female role carries the ballet. Ichabod and Katrina kind of carry the story, so I have to be on all the time. I have to be, not only technically strong, but I have to portray this character of this girl that experiences a broad spectrum of emotions.”

Hipolito said his role is difficult just on the physical demand alone. But then, on top of making every step of the choreography absolutely perfect, he has to think about developing his character as well. Even though a position is difficult, it can’t show on his face because he is supposed to look like he is in love. He said right now, he has to work on his emotions.

“We’re basically done with learning the whole ballet — now it’s just like showing the audience it’s real because the audience can sense if it’s fake really easily,” Hipolito said. “So when we’re fighting, (we are trying to) really act like we’re about punch each other or dance like I’m about to kiss her — I mean I actually do get to kiss her. But right now, I have to work on facial expressions and being in love for the whole dance instead of like three-quarters of it, and then the other quarter of it, I’m like tired and catching my breath. So I have to work on that.”

Dougherty agreed, saying that as a 17-year-old girl, there are feelings she is expected to portray that she has never experienced in real life. She said people don’t realize that ballet requires so much thought and acting skills.

“She goes from being this happy, innocent girl to being so angry and throwing Brom Bones on the floor,” Dougherty said. “There’s just so much that goes into it. So it’s not just physically tiring, it’s mentally draining too because I’m having to experience all of these emotions and portray them clearly to the audience so that it carries the story throughout the ballet.”

Hipolito said “The Legend of Sleepy Hollow” is a different kind of ballet that allows the students to be funny and goofy on stage while still learning a lot about the dance form. He said this is his first lead role and that being the center of attention for most of the performance is something he is enjoying, and he hopes the experience will help him land a job with the Pacific Northwest Ballet Company.

Dougherty said the hardest part of being in the ballet is her schedule — waking up early to go the gym, attending school for most of the day, rehearsing at CPYB and then doing her homework after she returns late in the evening.

“I’m up until like 1 , and then I have to get up at 6 and do it all over again,” Dougherty said. “I have those moments where I just crash, but they’ve put up with me and they really have taken so many opportunities on me. I feel like I’ve grown so much from when I came here as a sophomore until now, not just physically, but also mentally, I think I’ve really evolved.”


When: 1 p.m. and 7 p.m. on April 12 and 2 p.m. on April 13

Where: The Whitaker Center for Science and the Arts, Harrisburg

More information: For tickets call 214-2782 or go online to

© Copyright 2014, The Sentinel

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CPYB Students bring dance from idea to stage

Long time [Columbus Dance Theatre] student Spencer Stevenson offers these thoughts on boys dancing from a very personal perspective. Spencer wrote this essay for school, and his Mother shared it with me. With permission of Spencer and his family I share this essay with you today as an affirmation of the deep power of the arts to shape the lives of young people for the better. Spencer has been my student for some six years. It is a privilege to work with him and all of the amazing young people in the CDT School each and every day.

Best Wishes,
Tim Veach
Artistic Director
Columbus Dance Theatre

Spencer Stevenson at age 11 (Wes Kroninger) 2014

An essay by Spencer Stevenson
5th Grade
Reblogged from Columbus Dance Theatre

I was always jumping off the walls, running around. My mom was constantly trying new ways to deal with my ADHD self. She tried to find ways to calm me down, for me to use up my energy. One day she enrolled me in a ballet class because it was free. I didn’t know it then, but my life would change forever.

Most boys my age play soccer, football, basketball. Me? I dance ballet. I know ballet is considered feminine, but let me ask you this. Who lifts the girls? Yes, us guys. We call partnering “pas de deux” (pa-dah-du). It takes years to learn how to do it. We do lots and lots of pushups to strengthen our arms for the lifts. Ballet is not always about “pas de deux”; it`s also about bar and center and tours and pirouettes and leaps and so much more. It’s about commitment. Just the feeling of achievement, of reaching my goals and setting new ones thrills me.

I feel comfortable on the stage as if I belong somewhere just like Jackie Robinson must have felt on the baseball field. But ballet isn’t just about dancing on the stage. I feel good in the moment, but when I step off stage, I get broken down for being different, just like Jackie Robinson when he stepped off the baseball field.

The first time I told someone about being in ballet, they laughed at me and said, “What are you, a girl?” I was stunned because my friend had just called me a girl. I tried to say words, but words couldn’t explain what I felt. I ran fast, I tried to hide my tears. My throat felt like it was swelling around my Adam’s apple. What could I do? That was the moment when I realized maybe the world wasn’t ready to accept me as a ballet dancer just like Jackie Robinson must have felt the first time he stepped foot on the field surrounded by jeering voices.

It mocks me to be teased for something I enjoy, something I couldn’t live without. Jackie Robinson dealt with hatred because he was different. People treated him like he would never belong in the world of baseball because of his color. I am treated like I don’t belong in the world of ballet because of my gender. Jackie Robinson was determined to be seen as a major league baseball player not as a skin color. I am determined to be on the stage without people thinking I don’t belong there. I want them to see the dance not the boy.

I cry, but still I dance. All I do is hope I will make it out there. Make it in the dance world. When people at school do tease me, I just want to dance more so one day I can prove myself worthy of existence.

Jackie Robinson proved himself in baseball and I am going to prove myself in ballet. Jackie Robinson courageously broke the color barrier in baseball. I want to break the gender barrier in ballet. When Jackie Robinson played baseball alongside white people, he not only changed a sport, but also changed America’s ideas about race. I want to change people’s perspectives about boys dancing ballet.

In the end, Jackie Robinson taught me that it isn’t what others say about you or how they see you; it’s about how you see yourself. How you see yourself determines who you are and what you become. I am determined to finish what I started all those years ago. I look back at Jackie Robinson and he still has a place in my heart. The place where courage comes from.

Lewis Bartholomew, 10, has been accepted for a place at the Elmhurst School of Dance (The Shropshire Star) 2014-03

The Shropshire Star
March 27, 2014

Lewis Bartholomew, 10, has been accepted for a place at the Elmhurst School of Dance (The Shropshire Star) 2014-01[Shropshire, England] – Lewis Bartholomew has been accepted for a place at the Elmhurst School of Dance in Birmingham. The nimble-footed 10-year-old was one of ten youngsters from around the world to win a spot at the school.

The Welshampton Primary School pupil, who goes to the Market Drayton School of Dance, will start his scholarship in September.

His mum, Rhiannon Bartholomew, said: “When he opened the letter he was so happy. He has worked hard and he deserves it. His dream is to travel the world as a principal ballet dancer. He was one of just ten chosen from around the world, including Hong Kong and Australia. It is a very prestigious school in terms of ballet.”

Mrs Bartholomew said her son had been dancing at the Market Drayton School of Dance from the age of two-and-a-half.

His mum said dancing runs in the family, including her two other sons, eight-year-old Oliver and six-year-old Isaac, as well as her daughter, Lowri, who is 12. “It’s been a family thing. I am an ex-dancer.”

Lewis’s other hobbies and interests include skateboarding and watching Star Wars.

 Lewis Bartholomew, 10,  has been accepted for a place at the Elmhurst School of Dance (The Shropshire Star) 2014-02


Winners Joseph Sissens,16, Erik Woolhouse, 17, and Nicholas Landon, 15  (Johan Persson) 2014

By Lise Smith
March 10, 2014

The Young British Dancer of the Year finals took place at the Royal Opera House in Covent Garden on Saturday – and the top three awards all went to male dancers. Royal Ballet School student Erik Woolhouse, 17, took the top prize. Second and third prizes went to fellow RBS students Joseph Sissens, 16, and Nicholas Landon, 15.

Royal Ballet School student Erik Woolhouse, 17, was named Young British Dancer of the Year 2014 (Royal Ballet School)Erik performed Albrecht’s variation from Act 2 of Giselle, followed by the male Pas de Deux variation from Le Corsaire to win the first prize of £3,000. Completing an all-male sweep of the awards, the Sibley Dowell award for a promising student with potential went to Ricardo Castellanos, 16, and commendations went to Jerome Barnes, 16, and Scott McKenzie, 16. Five Summer School scholarships were also awarded to finalists Olivia Caughey, Genevieve Eveleigh, Sophie Morris, Rowan Parker and Lesya Tyminska.

The competition is open to ballet students aged 15-17 who have been training in UK for at least 3 years. The finalists this year were selected from 83 applicants; 32 progressed into the semi-finals and sixteen were selected for Saturday’s finals. The finalists received coaching in their chosen solo variations from Royal Ballet Principals Marianela Nuñez and Thiago Soares. The star-studded jury for the finals included former Royal Ballet Principal Deanne Bergsma; Christopher Hampson, Artistic Director of Scottish Ballet; Stephen Jefferies, Artistic Director of Hong Kong Ballet; David Nixon, Artistic Director of Northern Ballet; Kevin O’Hare, Director of The Royal Ballet; Tamara Rojo, Artistic Director of English National Ballet; former Royal Ballet Principal Sarah Wildor; and Mavis Staines, Director and CEO of Canada’s National Ballet School.

The Young British Dancer of the Year awards were first held in 2000 to encourage and celebrate outstanding young British talent. The awards, held annually at the Royal Ballet School and the Royal Opera House Linbury Studio, attract dancers from across the country. Past contestants have gone on to performing careers with The Royal Ballet, Birmingham Royal Ballet, English National Ballet, Scottish Ballet and Northern Ballet as well as other international ballet companies. A young Sergei Polunin won first prize in 2007, and Royal Ballet principal Lauren Cuthbertson came second in the competition’s inaugural year.


© 2014


A 12-year-old Minnesota boy lands a ballet scholarship, while his twin is happier hunting


Twins Ty and Kade Feldewerd persue different dreams (KARE)

By Boyd Huppart
KARE Channel 11
March 23, 2014

[Freeport, Minnesota, USA] – They arrived at the dance together, Karrie Feldewerd’s baby boys. “They told me I was having twins at my five-month ultrasound,” says the mother of 12-year-olds Ty and Kade. “They were the same size. They looked the same.”

It was the last time in the conversation Feldewerd would use the word “same” to describe her boys.

First, there’s Kade. Armed with a 12-gauge shotgun, he never tires of scouring the family dairy farm for birds. He doesn’t find as many as he used to. “There’s not many around here,” Kade says. “I shot ‘em all.”

Twin brother Ty has his sights aimed in a different direction. This summer Ty will study dance in New York and Los Angeles, after being awarded a scholarship to the Joffrey Ballet School.

Watch the Video

“It’s complicated,” laughs Karrie, when asked about the differences between her sons.

While Ty focuses on a dance career, Kade dreams of becoming a Green Beret or a Navy Seal. If that doesn’t work out, bull riding is also high on his list.

“I have no idea how to explain that one, none whatsoever,” adds the boys’ father, Dennis Feldewerd, shaking his head over the divergent paths his twins have chosen.

Kade offers some insight. “He’s like the day and I’m like the night, total opposites,” he said as he swings an ax and splits a log in two. Next to hunting and tractor driving, chopping wood is one of his favorite things to do.

Family photos tell the rest of the story. Ty’s development as a dancer started several years ago when his older sister needed a partner for a dance class she was talking. “This helped him find himself,” says Karrie. “This is who he is.”

Kade’s photos show a boy who could survive by himself in the wild, something his mother believes to be true. Spread out on the kitchen table are pictures of Kade with his kills — fish, rabbits and a deer — most of which he cleaned, cooked and ate himself.

Ask the boys their favorite color. Without hesitation they’ll answer.

Ty: “Blue.”

Kade: “Camouflage.”

Their favorite food?

Ty: “Chocolate.”

Kade: “Squirrel and rabbit.”

Do they hang out together? This time they answer in unison: “No”

Play games together? Same answer, and a look of dismay that anyone would even ask such a question.

“I really can’t think of one thing that they agree on,” says Karrie.

Their parents agree on something. Each twin must follow his own path.

So three times a week Ty travels three hours, round-trip, with his mom, from the farm in Freeport to Plymouth, where Ty takes dance lessons at Summit Dance Shoppe.

Kade finds his happiness about 100 feet from the house when he walks to the dairy barn to scrape manure away from the cows, while his father milks.

“People ask, ‘What’s that smell?’” Kade says, before asking a question of his own. “What smell?”

Kade is chatty and outgoing to Ty’s quiet and shy.

Karrie wouldn’t have it any other way.

“It would be boring if they were both the same; this keeps things interesting.”

Today the boys who shared a womb, are rarely found in the same room. But get them alone and true feelings creep out.

“I’ll be there if he needs me,” says Kade.

For once, Ty doesn’t disagree. “Even though we’re so different, we’re still brothers,” he says.

They may not have much in common, but the Feldewerd twins both departed the gene buffet with double helpings of passion.

Note: Ty Feldewerd’s Joffrey Ballet School scholarship will pay for tuition, but not travel or other living expenses. A fundraiser has been started to help his family cover expenses. You’ll find more information by clicking here.


Related Article:Young dancer offered scholarship to Joffrey




By David Berry
National Post
March 19, 2014


Aleksander Antonijevic (Peter J Thompson, National Post) 2014Aleksandar Antonijevic bends over, hands on knees, heaving in breaths. He’s just finished dragging his partner, Sonia Rodriguez, around most of the rehearsal-room floor, sweeping around with a look of plastered elegance on his face.

Now, though, the pair’s coach for this session, Rex Harrington, has called time, and Antonijevic gets into his usual resting pose, his face inquisitive but exhausted. He straightens up when Harrington calls for a slightly longer break, moves over to his heap in the corner, takes some water. His breath slows down, but this time escapes in a huff.

Sonia Rodriguez and Aleksander Antonijevic in the rehearsal studio (Peter J“C’mon!” he exclaims, clapping his hands, looking at no one in particular, jumping slightly. “It’s like a funeral in here.”

“Well,” says Harrington, a smirk creeping up, “you are retiring.”

There is a brief pause, and Antonijevic turns to face his accuser. The stern face can barely hold on. He grins, and then he laughs, and then the people who have been running steps with the principal dancer for the last 23 years of his time at the National Ballet of Canada laugh at his impending end with him.

On the face of it, it is slightly absurd that anyone should be too grave about the end of anything for a 44-year-old. But as with most things in ballet, the face isn’t really what you’re concerned with.

Anatomy of a dancer (Illustration by Chloe Cushman,National Post, from self-portrait by Aleksandar Antonijevic)Aleks, as everyone calls him, enrolled in the ballet school at Novi Sad at the age of nine. He spent his youth, he says, “moving around to everything,” and his parents, college professors in the former Yugoslavia, figured it was the only place around where he could do that. It was not a strictly natural choice: he did not actually see his first ballet until two years later, and even dropped out of the school.

“It was awful,” he explains. “It was really stifling and boring and tedious. When you’re that young, you don’t really understand why you can’t just dance.”

Read the entire article and watch the video:


© 2014 National Post

Evan McKie on stage with the Stuttgart Ballet (Stuttgart Ballet)


By Deirdre Kelly
The Globe and Mail
March 18, 2014


As a boy growing up in Oakville, [Ontario, Canada] Evan McKie would do pirouettes on the baseball field. His musician father and makeup-artist mother enrolled him in competitive jazz after noticing their first-born son could not sit still whenever music was playing. He told them ballet was for girls.

That perception shifted when, at age 8, McKie saw a performance of Onegin performed by the National Ballet of Canada with then-principal dancer Rex Harrington in the eponymous lead role. It was, McKie recalls some 20 years later, a life-altering experience.

“I had always had this image of ballet as pink and pointe shoes, which is nice, but it wasn’t for me. Onegin was different,” he explains in an interview. “The central character was a guy, and he was dressed all in black, and there was this other kind of beauty, masculine and brooding. I decided then that this is what I would do.”

This month [March 19th –23rd ], McKie is performing with the National Ballet as a principal guest artist. One of the shows in which he’s appearing is Onegin. (The second was James Kudelka’s version of Swan Lake earlier this month.) It is a return engagement for McKie, following 2012’s critically acclaimed homecoming dancing The Sleeping Beauty and Giselle.

Trained at Canada’s National Ballet School, the American outpost of Russia’s Kirov Academy in Washington and the John Cranko Schule in Germany, from which he graduated in 2001, and then heading straight into the Stuttgart Ballet company as an 18-year-old apprentice, McKie is a versatile dancer, unfussy and powerfully expressive.

The now 30-year-old principal dancer has admirers around the world, among them the French actress Isabelle Huppert, the Austrian filmmaker Michael Haneke and the U.S. burlesque artist Dita Von Teese, plus a super-fan in Tokyo who flies to wherever he is performing to watch him soar.

A lyrical dancer, he is the first – and, to date, the only – Canadian ever to headline the Paris Opera Ballet, the world’s oldest surviving ballet company, and the only one after Karen Kain to perform with the Bolshoi in Russia.

“I laugh at those who want to compare ballet to an Olympic sport,” McKie says. “Ballet is more than turns and double cabrioles. It is telling stories with your body … communicating your passion.”


© Copyright 2014 The Globe and Mail Inc




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