Dancing & Show News

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All the latest dance, theatre, and stage news from Dincwear Dancewear.

Sam Ryder “couldn’t be happier” following record-breaking Eurovision success with SPACE MAN.

Sam Ryder has said he “couldn’t be happier” to return home after his record-breaking success at Eurovision over the weekend.

The TikTok star came in second place in Eurovision with the song SPACE MAN – not only the UK’s best-performing entry since Imaani in 1998, but with a total of 466 points, also became the highest-scoring UK Eurovision entry of all time.

Now, Sam has made the journey from Space (well, Turin) back down to Earth, as he returns home having re-invigored the country’s belief in Eurovision and that when we try our best, we might actually be…whisper it…good at it. “It’s just lovely to come home and feel that joy and love we’ve felt the whole time,” Sam told press at Heathrow Airport. “Though I am tired now – just want to focus on having a nice sleep tonight.”

SPACE MAN became the highest-scoring UK entry in the history of the competition.


Alfie Boe and Sarah Brightman to release God Save The Queen duet.

The regal record will be a double-A-side, with the new duet sung by Alfie Boe and Sarah Brightman along with the NHS Care Choir on the A-side and the original recording of God Save The Queen from the Queen’s coronation on the B-side. The song was first released on LP in 1953 and was then later reissued on CD in 1997.

SarahBrightman also revealed that the single’s proceeds will be donated to the British Red Cross, of which the Queen is a patron. The classical singer said: “It’s for, what I’m told is, one of the Queen’s favourite charities, which is the British Red Cross, which helps people in crisis all over the world. They’re an amazing charity.” She added: “It’s been such a pleasure to do and we’ve had fun putting it all together with wonderful producers and everybody on the record.”

Speaking on live television, Brightman praised the Queen ahead of the Jubilee celebrations, saying: “What’s so lovely is it’s for an amazing woman who has reigned for so long and done such an amazing job and worked so hard. “She’s there for us when things are not good and we feel secure with her. In a way, she’s the backbone of this country. “And I feel very, very proud, and I know Alfie does, to be British because of her.”

The NHS Voices of Care Choir features the voices of health service employees and was originally put together by music producer James Hawkins.


Former Emmerdale star Adam Thomas ‘signing up for Strictly Come Dancing’.

Former Emmerdale actor Adam Thomas is rumoured to be the first celebrity to ‘sign up’ for this year’s Strictly Come Dancing.

Adam, 33, is said to be in talks with BBC bosses to star in series 20 of the dance competition show, which will air in autumn this year. He played Adam Barton in the ITV soap until his departure in 2018, and his brother Ryan, 37, stars in Coronation Street.

The star came third in the 2016 run of I’m A Celebrity… Get Me Out of Here! And In 2019, Adam was announced as the host of the I’m A Celeb spin-off, Extra Show.

A source told the press: “Adam has got what it takes to win and is already practising his moves. And he’s got a big female fanbase. “This has been a little while in the making but it’s happening this year.”

It is also reported that Strictly bosses were also looking to sign Adam’s older brother Ryan, who played Jason Grimshaw on the cobbles of Coronation Street for 16 years.


Cast for Bugsy Malone tour announced.

Presented by Theatre Royal Bath Productions, Birmingham Rep and Kenny Wax, Alan Parker’s stage show features a score by Paul Williams and is based on the 1976 movie of the same name. Songs include the likes of “You Give A Little Love”, “My Name is Tallulah”, and “Fat Sam’s Grand Slam”.

Sean Holmes directs the show, which has choreography by Drew McOnie and design by John Bausor. Also in the creative team are Franny-Anne Rafferty (associate director), Phil Bateman (musical supervisor, arranger and orchestrator), Phil Gladwell (lighting designer), Ben Harrison (sound designer), Connagh Tonkinson (musical director), Leanne Pinder (associate choreographer), Richard Weedon (orchestral manager), Verity Noughton (casting director for the unders), Will Burton (casting director for the overs) and Susannah Peretz (wig designer).

The lead roles will be performed by three young casts of seven in rotation. Bugsy Malone will be played by Shaun Sharma, Gabriel Payne and Amar Blackman, Blousey Brown by Mia Lakha, Delilah Bennett-Cardy and Avive Williams, Fat Sam by Albie Snelson, Isham Sankoh and Charlie Burns, Tallulah by Taziva-Faye Katsande, Jasmine Sakyiama and Fayth Ifil, Fizzy by Aidan Oti, Jamie Northey-Dennis and one other performer (yet to be announced), Lena/Babyface by Cherry Mitra, Kayla-Mai Alvares and Ava Hope Smith and Dandy Dan by Rayhaan Kufuor-Gray, Kit Cranston and Desmond Cole.

They are joined by adult ensemble members: Georgia Pemberton, Alisha Capon, Lucy Young, D’Mia Lindsay Walker, Jessica Daugrida, Alicia Ally, Alicia Belgarde, Esme Bacalla-Hayes, Luchia Moss, Kalifa Burton, Rory Fraser, Andile Mabhena, Thomas Walton, Ru Fisher, Mohamed Bangura, Marcus Billany, Luke Mills and Will Lucas.

Based on Lyric Hammersmith’s five-star revival of Parker’s seminal musical, the show will open at Theatre Royal Bath with performances from 2 July 2022, followed by Birmingham Rep from 27 July 2022. After that it will visit Newcastle Theatre Royal, Mayflower Theatre, Southampton, Leeds Grand Theatre, Glasgow Theatre Royal, Belgrade Theatre, Coventry, Oxford Playhouse, Sheffield Lyceum Theatre, Leicester Curve, Milton Keynes Theatre, Theatre Royal Plymouth, Hull New Theatre, Nottingham Theatre Royal, Manchester Opera House, Edinburgh Playhouse, Southend Cliffs Pavilion, Cardiff’s Wales Millennium Centre and Marlowe Theatre, Canterbury with more venues to be announced.

Famous for casting children in adult roles, the musical is set in prohibition-era New York and features a gang of mobsters, showgirls, a penniless boxer, a seductive songstress and a plethora of flying custard pies.

The touring production will comprise of a young company of 39 actors, including three teams of seven kids.


Footloose performance at Malvern Theatres cancelled amid safety concerns.

An opening night performance of Footloose at Malvern Theatres on Monday, May 16 was cancelled after the audience was already seated.  A spokesperson from Malvern Theatres said: “Regrettably, last night’s performance of Footloose the Musical was cancelled due to the touring production team facing technical obstacles which resulted in the performance being unable to go ahead.

“All customers who attended are being offered a full refund, as well as complimentary tickets for another performance of Footloose, or any other show of their choice this year.

“We empathise with all of our customers who visited us last night and experienced the disruption and inconvenience, for which we apologise. “The touring company did not have enough time to fully install all the set, and it was a decision made on behalf of the cast and crew’s concern for health and safety. “Those who attended have been offered a free refund for last night, plus tickets to another show at Malvern Theatres, either to another performance of Footloose (it runs until Saturday, May 21) or any other show we’re hosting this year.”

The show is based on the 1980s film and is currently starring Jake Quickenden best known for the X-Factor, I’m a Celebrity Get Me Out of Here and Dancing on Ice.

A spokesperson from the show said: “Based on the 1980s screen sensation which took the world by storm, Footloose sizzles with spirit, fun and the best in UK musical talent. “With cutting edge modern choreography, you’ll enjoy classic 80s hits including Holding Out for a Hero, Almost Paradise, Let’s Hear It For The Boy and of course the unforgettable title track Footloose.

“City boy Ren thinks life is bad enough when he’s forced to move to a rural backwater in America. “But his world comes to a standstill when he arrives at Bomont to find dancing and rock music are banned. “Taking matters into his own hands, soon Ren has all hell breaking loose and the whole town on its feet.”

 Dincwear Dancewear will keep watching the news and bring you further updates in the next edition.

View The Strictly Stars Wearing Dincwear Dancewear

From all the news team at Dincwear Dancewear, See you all next week!

This post has been created by the Dincwear Dancewear Team.

History of Workout and Dancewear

Dancewear, Activewear and Wolrkout Wear Trends

How the Leotard Dress Code of the ’80s Set the Stage for Your Yoga Pants.

What we wear to work out (and hang out) has a surprisingly feminist backstory. History of Workout wear and Dancewear.

Over the past decade, women have gradually embraced living their lives sheathed in spandex. The shift from so-called “real clothes” to athleisure has long been a polarizing one, with critics lamenting both our collective dressing down and the fact that wardrobe staples like workout leggings hug the body so tightly we might as well be walking around naked. “We may be able to conquer the world wearing spandex,” an opinion editor wrote in The New York Times in 2018, “But wouldn’t it be easier to do so in pants that don’t threaten to show every dimple and roll in every woman over 30?” Ouch.

Given the tenor of that criticism, the story of how workout wear became street fashion is a surprisingly feminist one. It’s a story of women ditching their girdles and so-called “ladylike” attire in favor of comfort and freedom of movement, and it reveals a profound evolution not only in the way women move through their lives, but also in how we think about our own bodies. And it traces back to Gilda Marx, an ambitious aerobics instructor to the stars, who almost single-handedly launched the leotard dress code of the 1980s.

In the mid-1970s, while Jazzercise and small studios across America were bringing aerobic dancing to the masses, Gilda was teaching her own version of dance fitness to Hollywood’s elite at Body Design by Gilda, a penthouse studio in Los Angeles painted shades of peach and blue. (Think Body by Bunny from Apple TV’s Physical, but much more LA.)

Credit: Shutterstock

Gilda attracted A-listers from Bette Midler to Barbra Streisand, who paid homage to Gilda in the 1979 romantic comedy The Main Event with a campy workout scene shot at the studio. “There were some classes where it was almost like a meeting of the gods,” studio manager and instructor Ken Alan told me. “You know, the two biggest names in movies would be three feet from each other.” Gilda’s studio even launched the queen of fitness herself: Jane Fonda became hooked on its group classes in the late ’70s; by ’82 she had opened her own workout studio and released a mega-bestselling fitness book and home video.

But Gilda’s influence would extend far beyond the rich and famous when she embarked on a quest to transform the era’s universal exercise uniform. She wanted to build a better leotard.

As someone who spent most of her time in leotards (she was a professional dancer before taking up aerobics), Gilda appreciated how they moved. But it bugged her that, for anyone who wasn’t built like a prepubescent ballerina, leotards weren’t always flattering — or comfortable. The garment hadn’t changed all that much since its introduction by French acrobat Jules Léotard in the 19th century. By the 1930s, leotards dyed pink or black were dancers’ rehearsal outfit of choice. But the leotards of mid-century America were still made of natural fiber blends, which meant they rode up in places they should stay down and sagged in places they should stay up.

Gilda knew there had to be a better design, one that supported, flattered, and fit properly. “I wanted to create a beautiful garment that would inspire my students to want to exercise,” she wrote in her 1984 exercise book, Body by Gilda. One that was “flexible, functional and fantastically glamorous.” She would soon discover that the key lay in one of the DuPont chemical company’s newest synthetic fibers: Lycra. The company had spent decades developing Lycra in a quest to design a better girdle, but thanks to Gilda, its triumph would come not from restricting women’s bodies but setting them free.

Credit: Courtesy

In the 1940s, when DuPont launched its multimillion dollar effort to invent the perfect sturdy-but-stretchy fiber — or spandex, as engineers began to call it, which was an anagram of expands — it had one objective: to revolutionize and then dominate the girdle industry. That’s because, at the time, pretty much every woman over the age of 12 was wearing one.

“In the period when Dupont was casting around for new synthetic fiber opportunities, it was taken for granted that a woman should not appear in public, and hardly in private, unless she was wearing a girdle,” writes the anthropologist Kaori O’Connor, who in the early 21st century gained rare access to the company’s archives and in 2011 published Lycra, an investigation into the birth of the fiber. Girdles were a “hallmark of respectability” and a prerequisite for looking good in clothes.

But the experience of wearing a girdle was hellish. This was partly due to the fabric, which was made from a stiff rubber-covered thread that makes today’s Spanx — even more extreme waist trainers — seem forgiving by comparison.

When DuPont surveyed American women about their dream innovations, they consistently asked for more comfortable girdles, and the company saw the potential for massive earnings. Eventually, in the early 1960s, a DuPont chemist named Joe Shivers revealed a fiber that was lighter than rubberized thread but had much more restraining power. The company named it Lycra. Cut to: stretchy girdles aplenty.

At first Lycra girdles were a hit, and demand outran supply. Then, a curious thing happened. Despite the fact that the first massive wave of baby boomers were becoming teenagers — the age when most women began to purchase figure shapers — girdle sales started to fall. DuPont and the rest of corporate America had assumed that the young baby boomer women would shop and dress like their mothers. Instead, as the 1960s unfurled, they were faced with what legendary Vogue editor Diana Vreeland dubbed the “youthquake” — with miniskirts and Mary Quant and a full-on fashion rebellion.

Throughout the decade, DuPont poured resources into trying to keep women in girdles. They even launched an item called a “form-persuasive garment” aimed specifically at the teen market, in case it was the word girdle to which teens were averse. (It wasn’t. And adults felt the same.) Despite popular legend, few women in the late ’60s and early ’70s burned their bras, but most actually trashed their girdles. When the president of the undergarment giant Playtex called up his marketing firm in a panic to report that his own wife had thrown away her girdles, according to the 1997 book Rocking the Ages, the end seemed nigh.

“‘Getting rid of the girdle’ emerged as a significant cultural moment, in every sense a defining act of ’emancipation,'” writes O’Connor. “Its abandonment was political action on the personal level, an act of liberation through stuff.”

By 1975, girdle sales were half of what they had been a decade earlier. With American women now moving about happily unbound, warehouses filled with unwanted girdle fabric, rolls upon rolls dyed a rainbow of vibrant colors. Gradually, small professional dancewear manufacturers and seamstresses began to snatch it up to make garments that, they discovered, “hugged the body and moved with it in a way that had never been possible before.”

But it was Gilda Marx who would bring these new leotards to the masses.

Credit: Courtesy of Gilda Marx

Gilda teamed up with a manufacturer who until then had specialized in car seat upholstery; her home was converted into a leotard laboratory where she experimented with different Lycra blends until she landed on her holy grail.

In 1975, she introduced the Flexatard, a nylon-Lycra blend leotard with all the support of a girdle and none of the cultural baggage. Flexatards came in long-sleeved, cap-sleeve, and spaghetti strap versions. And they came in dark, chic colors (red and burgundy and navy) and later, yellow and peach and green and raspberry.

She opened a small boutique in her penthouse exercise studio and began selling Flexatards to students who served as a kind of instant focus group for her products. “One day I looked at the back of my class and saw Bette Midler with arms, legs, and everything flying,” she wrote in Body by Gilda. “She was having a wonderful time” — and wearing a Flexatard. “After the class a panting Divine Miss M bounced up to me and said, ‘I absolutely adored this workout and this leotard is great. It is the first leotard that was ever able to support my chest.’ To a leotard designer, that was the ultimate challenge and the ultimate compliment.”

Gilda incorporated as Flexatard, Inc., and before long, women in aerobics classes across the country would be wearing her garments. Dancewear giants Capezio and Danskin got in on the game, too, and began making their own colorful Lycra-blend attire for aerobic dancers. In Britain, a former model named Debbie Moore was building her own dance empire at the Pineapple Dance studio. She built on Gilda’s designs, working with DuPont to blend cotton with Lycra and release an even more comfortable line of leotards and dancewear. Her footless tights became predecessors to today’s leggings.

RELATED: Colorful Leggings Are Back — See How Celebrities Are Wearing Them Right Now

When anthropologist Kaori O’Connor interviewed women about their memories of slipping into Lycra leotards and leggings for the first time, they told her it felt exhilarating. The fabric bonded women exercisers, they said, by serving as a kind of collective aerobics uniform that “seemed to free the body and hold it, cover it and yet expose it.”

By the early ’80s, Lycra leotards and leggings would burst out of the studio and onto the street, as Gilda and other designers introduced tops, skirts, and shorts that allowed women to come and go from aerobics class without having to change. Dancewear also became popular among women who liked their fresh, edgy “fashion look.” (Think: Jennifer Beals in Flashdance and early Madonna.) In 1984 alone, American women purchased 21 million leotards. An aesthetic that still feels like textbook ’80s was born.

This represented a paradigm shift in the way women viewed their physicality. “Lycra became the second skin for a new life in which self-confidence would be rooted in women and their bodies, not in rules, dress codes, wearing clothes that were ‘appropriate’ for age or social status, and especially not in wearing girdles,” writes O’Connor. “What had been the ultimate fiber of control now became the defining fiber of freedom.”

Credit: Getty Images

In the years that followed, middle-and upper-class Americans’ wardrobes became increasingly dominated by activewear, as signaling that one cared about working out was as important as actually working out (a trend that lives on, especially in fashion). “Now all the world was a gym and our closets were fast becoming lockers,” wrote the journalist Blair Sabol in her 1986 book The Body of America. “In fact, jock couture was probably the first time American designers became an honest fashion force. We had the handle on sweat and lifestyle, while Europe continued to runway sleek and fantasy.”

By the 1990s, workout leotards and tights were increasingly replaced by Lycra sports bra tops and bike shorts, as girls whose moms had worn Gilda Marx’s Flexatards came of age and put their own spin on sweat couture. Buns of Steel frontwoman Tamilee Webb appeared in the iconic early ’90s home workout video series in a sports bra and bikini bottoms, all the better to show off her aspirational hard body; in the 1995 movie Clueless, Cher (Alicia Silverstone) goads Tai (Brittany Murphy) to sculpt her own body in Tamilee’s image while both women don bike short silhouettes. Princess Diana helped to make the bike short fashionable as everyday wear, often pairing graphic tees and sweatshirts with colorful Lycra bottoms.

As yoga exploded across America in the second half of that decade, it birthed yet another booming Lycra apparel industry (much to the dismay of yogis who taught their disciples to seek spiritual rather than material wealth). The supermodel yogi Christy Turlington launched her own line of proto-athleisure in the mid-’90s, and Lululemon was founded in 1998; its iconic fabric, luon, is a blend of nylon and Lycra. Madonna, once again, helped to take gym fashion from the studio to the street when she became a poster woman for yoga with her 1998 album Ray of Light, an homage to her practice. Yoga pants were here to stay.

Most recently, the pandemic has ushered in an era of unprecedented sartorial comfort, as women, confined to their homes, now swaddle themselves in whatever stretchy, forgiving fabrics bring them pleasure. Contemporary athleisure — or “athlivesure”as InStyle recently dubbed it — is less its own distinct look than an amalgam of the past few decades’s styles; we’re wearing sports bras and bodysuits and bike shorts and yoga pants in whatever way feels good. In something of a full-circle moment, today’s trending workout wear is also hewing back toward the look of corsetry. It’s important to note, though, that this is a result of a new form of sexy dressing kicked off by Bridgerton more than a prescriptive requirement to be cinched. (Kardashian-beloved waist trainers are somewhere between the two; they promise shape-related “results,” but they don’t hold nearly the cultural grip on women’s bodies as their forerunners did.)

The last few years have, after all, seen major workout wear brands, from Athleta to Lululemon, begin to feature models in a wider range of sizes, as our cultural understanding of what a “fit body” looks like is evolving and we are reconsidering our aversion to “dimples” and “rolls.” While truly size-inclusive workout wear is still limited — with a few shining exceptions — we appear to be inching closer to a place where all women can have access to the kind of physical liberation and pride that straight-sized women have been experiencing since Gilda led them away from girdles into leotards’ light in the 1970s. Now we just call yoga pants “flare leggings,” and we wear them wherever we want.

Some, still argue that Lycra clothing — especially of the compressing, control-top variety — is merely a girdle by a different name. But personally? I’d much rather slip into spandex designed to help me dance, run, sweat, and generally move with ease than a figure shaper meant to cinch my body into one socially acceptable form. Fashion that expands often allows women to do the same.

Danielle Friedman is the author of the new book Let’s Get Physical: How Women Discovered Exercise and Reshaped the World, a cultural history of women’s fitness.

Article By Danielle Friedman: Originally Published on instyle.com , Jan 13, 2022 @ 1:45 pm.

Danielle Friedman is the author of the new book Let’s Get Physical: How Women Discovered Exercise and Reshaped the World, a cultural history of women’s fitness.

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Morecambe Named Investment Hotspot

Lancashire is one of the top areas in England to invest in a holiday home for staycations, particularly Lytham, Morecambe and Clitheroe.

With house price growth currently at 7% year on year, and an average annual rental income of nearly £23,000, the county offers excellent long-term potential for anyone looking to invest – particularly in popular tourist spots such as Lytham, Morecambe and Clitheroe.

Lancashire ranks second on Sykes Holiday Cottages’ list of top investment hotspots in England, behind only Tyne & Wear, with Shropshire rounding out the top three.

Looking at the UK overall, Lancashire ranks in ninth behind destinations throughout North and South Wales. Blaenau Gwent in South East Wales topped the list, followed by Denbighshire and Rhondda Cynon Taf.

The Holiday Let Outlook Report 2022 analyses Sykes’ revenue data, alongside current house prices and house price growth, to drill into the long-term investment opportunities within holiday letting across the UK.

Location and amenities are two of the most important factors in a holiday home property investment success, so within the regions listed, any property must also be in a good location and offer desirable facilities to strengthen the investment potential.

The report also contains consumer research, Sykes’ booking figures and insights from rental data and analytics company AirDNA, to paint a clear picture of the UK’s holiday let market.

Property Investment Morcambe
Morecambe is one of the top areas in England to invest in properties for holiday homes staycations

According to the poll of UK holiday homeowners commissioned for the report, a quarter (25%) only started letting during the pandemic, with the staycation boom fuelling a rise in people entering the market – including investors, as well as those renting a second home already owned, setting-up glamping accommodation or transforming part of their home.

In fact, bookings for Sykes’ holiday lets in 2022 are up 35% compared to pre-pandemic levels – with bookings to Lancashire 76% higher this year than in 2019.

Graham Donoghue, CEO, Sykes Holiday Cottages, said, “The shift towards staycations had already begun pre-pandemic, Covid has just accelerated this trend. And although international travel is becoming easier, we now have new types of staycationers that are here to stay.

“Because of growing demand for breaks to Lancashire and Morecambe and rising house prices, there has perhaps never been a better time to invest. There are monetary benefits to entering the market, but by holiday letting you’re also helping others experience and enjoy your own part of the world while supporting the local tourism economy.”

For those looking to maximise the revenue potential of their holiday lets, Sykes’ analysis found that a hot tub is the leading money-boosting feature to install – adding an estimated 49% to annual revenue.

Income figures also suggest luxury amenities such as open fires could boost earnings by 19%, on average, while a rise in pet ownership fuelled by the pandemic has seen pet-friendly properties earn 9% more.

The average house price and house price growth for Lancashire is £198,824 (+7% YoY) The Sykes Holiday Cottages’ report is based on internal bookings, revenue, website and owner data from January 2019 to February 2022.

Post Produced by Nicola Adam for publication in the lep.