Valentine’s Interview with Michela and John

February 12, 2010 at 12:52 pm (Artist's News, Interviews) (, , , , , )

Northern Ballet Theatre dancers Michela Paolacci & John Hull have been going out together for over eight years. Here they reveal their Valentine’s secrets…

Where did you meet your Valentine?

Michela: I met John at English National Ballet School where I joined in the graduate year. I was only there for a year and he had already been there for two and we were lucky enough to get the NBT job together.

What is your Valentine’s finest quality?

John: Just everything about her is perfect. There’s nothing in particular, just everything.

What is your Valentine’s worst habit?

Michela: I would have to say probably keeping things inside until the last minute and then having them blow up into a massive volcano! Because I’m quite an open person and so the two of us are quite opposite and that’s probably a trait that is his worst quality for me because I like to get things out in the open right away, discuss them and sort them out.

What would be your Valentine’s dream holiday?

John: To go to Venice for a long weekend. Ride around in the gondolas looking at all the museums and the churches and all the art. Have a nice relaxing weekend.

What do you wish you knew about your Valentine?

Michela: I think I know everything about John. I’d like to maybe know a little bit more about his childhood or his past because he is Australian and he has lots of friends there. I have never really had the chance to go there and spend some time with them and realise what it’s like to live there. I think I pretty much know every single thing, good and bad!

Which ballet couple best describes your relationship and why?

Michela: Mr and Mrs Fezziwig (Laughs)

John: That’s probably pretty correct actually!

Michela: Apart from I don’t drink so I would be Mrs Fezziwig minus the drink and John would be Mr Fezziwig perfectly.
Other than that, probably also Cathy and Healthcliff because there is also a lot of outwards passion…

What would your Valentine eat if it were their last meal on earth?

Michela: That’s easy! John would probably choose an Aussie Burger with the full work. But anything basically with cheese and bacon on it and VB Beer.

Who is more romantic?

John: I don’t know who do you think?

Michela: I think it’s probably about the same. John’s really romantic much more romantic than he seems in the sense that he is a real flowers and chocolates type of guy so I think probably you, in that sense.

Who has the better sense of humour?

John: We both do, it just different! I recon yours is probably a better sense of humour.

Michela: I’m not sure, we both make each other laugh a lot, which is good. We laugh tons!

John: You laugh by yourself sometimes…

Michela: Yea I do, I make myself chuckle. I’m not sure; I’d say probably me! (Laughs).

Who is more likely to deal with a spider?

Michela: Definitely John, I have a phobia of spiders!

John: Definitely me!

Who is more of a gambler?

John: That’s me.

Michela: You?

John: You don’t even know how to gamble!

Michela: Definitely, John! I have never gambled in my life.

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An Interview With Three Vampires

September 10, 2009 at 1:21 pm (Events, General Information, Interviews, Tour News) (, , , , , , )

(Left to right) Tobias Batley, Kenneth Tindall and Christopher Hinton-Lewis discuss their approach to playing the title role in Northern Ballet Theatre’s production of Dracula.

Dracula is on at the West Yorkshire Playhouse 10-19 September, for details about events at the theatre, audio description, touch tours and more read the Dracula information page.

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Interview with David Maric

August 11, 2008 at 3:05 pm (Artist's News) (, , , , , , , , )

Photography - Clare Park, HANSON. Design - Mick Schofield

Composer and pianist David Maric has created a full evening orchestral score for Northern Ballet Theatre’s (NBT) forthcoming production of A Tale of Two Cities. Here he talks to us about composing for ballet.


You were keen for some time to compose for dance. Why?


From about the age of 22 I became rather obsessed with the works of Igor Stravinsky. Through picking up various books about his life and work, I began to encounter images taken from various staged works of his that were created within the first seven decades of the 20th century and included set designs, dancers, costume designs etc. This excited me and I longed to see these productions live.


Finally in 1999 I watched my first ballet which was The Rite of Spring; ENO’s production of the Kenneth MacMillan version. Naturally it blew my head off. I loved the choreography, costume and lighting. Adored the orchestra’s ridiculously intense enthusiasm for the score. A year later I saw a triple bill of Firebird, Agon, and Les Noces all in their original forms and all with brilliantly performed live music. This left me utterly astonished and inspired; particularly the work of Nijinska and Balanchine. In between I witnessed Michael Clark’s company performing to loud distorted rock musicians, which turned me on so much I had to go again the following night.


All this took place before Cathy Marston had by chance found a piece of music of mine which inspired her to choreograph a duet to, and since then we’ve collaborated on a number of far more ambitious projects. Also since then I’ve spent far too much money on tickets for various dance events and have found myself in recent years much more deeply acquainted with this intriguing art form that inspires me and fills me with a desire to contribute something towards a resurrection of original music with dance that attempts to somehow aspire to the monumentally high standards that were set almost a century ago now.


What are the main challenges working on a ballet such as A Tale of Two Cities?


Apart from the usual challenge of coming up with interesting material when writing any music, an additional challenge when writing a 90 minute orchestral narrative ballet score is to ensure that a sense of flow and the impression of a coherent whole is maintained through such a fragmented and episodic structure (a structure which A Tale of Two Cities certainly has).


Whilst it may help maintain the audience’s attention by having shorter “movements” I felt that the weight of Dickens’ epic novel should also be captured  – especially its deeply moving sacrificial ending, but without ever over-doing the potentially heavy and portentous mood that long winded and lugubrious approaches would evoke.


The rich tapestry of the novel has been concisely captured within the scenario, and the structure of the music is essentially dictated by it. The novel also has a number of features that help to inspire musical ideas. One is the persistent theme of duality, which often manifests itself in the novel as contrasting imagery (and in the score is symbolized in a number of different ways). Another feature is the late 18th century period itself, which is referred to stylistically within the classical and folk idioms. The famous “Carmagnole” revolution song mentioned in the novel appears in the score on many occasions in various forms and its slightly unorthodox structure helps to underpin and inform many scenes. So the real challenge is to contend with all this information whilst simultaneously creating evocative and “danceable” music, and it is one that I immensely enjoyed tackling.

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