Garden design Education of a gardener

Arts outdoors - five top summer events In Review’Asuccessful garden is one that has a sense of place,” begins Arne Maynard.

I believe him because, in garden design circles, he is God. So even if he scarcely utters a word today, some of the magic from his own creation at the end of a single-track lane near Usk is bound to rub off.

But Maynard, 43, a genial man with a ready smile, runs at full throttle, which surely comes as a relief to we dozen students of the soil paying ï¿¡180 each to learn about “The Main Plant Players - Designing Structure with Plants“.

Maynard’s one and two-day courses, running from March to November, are now in their second year and the venue is his own newly created garden at his 15th-century hall house in Monmouthshire.

Whether you want to design kitchen gardens, build earthworks, mazes and knots or learn how to make the most of topiary, summer perennials and winter woodlands, these educational days feature seasonal themes and well-made lunches.

The garden - a redundant farmyard of grassy banks and orchards with a stream and an ancient track running through it - is a beguiling open-air classroom.

As we stand in the approach to Maynard’s house, which is planted with an emerging tapestry of Angelica sylvestris ‘Vicar’s Mead’ and Geranium phaeum ‘Lily Lovell’, he explains his naturalistic approach to structure: “The garden melts into the landscape so that it roots into its setting.”

Maynard achieves a gentle transition from woods to garden with a 30-year-old topiary beech standing beside the track.

“It’s saying ‘This is the way’, it almost draws you in,” he says, as the track takes us across a bridge over the stream where thistles (Cirsium rivulare ‘Atropurpureum’) grow.

Beech, yew, box and Ilex crenata are among Maynard’s main players, and he clips them into free-flowing topiary. As he wanted his garden to look good quickly, his trees are mature and wildly expensive - the beech was a stupefying ï¿¡4,500 from a specialist nursery in Holland.

“The Dutch and the Belgians have always moved large trees - the secret is to keep moving them and cutting the roots to create a tight root ball. Our culture is different - we like growing from seed and taking cuttings,” he continues.

His planting is robust. “I don’t want a garden that’s too precious,” he says.

“It’s about connecting the landscape with the garden - it will appear completely seamless but will get very intense around the house with a mad jumble of topiary.”

Weaving between huge yews, a swirling contemporary earthwork is planted with a spiral of copper beech at different heights.

At the rear of his house, a boundary fence has blurred into the landscape; more earthworks planted with bush apple trees allow the garden to merge with the pastoral amphitheatre behind, where the line of an old drovers’ road cuts through the middle distance.

After lunch, in the loft of a barn, Maynard discusses design. There is no glass in the wooden mullions. “I so like the connection with outside,” he says, flinging back the shutters.

He explains how he trims, tames, pollards and pleaches, how he half-annihilates an ancient yew hedge to spectacular effect, how he sinks a drive to lose it in the landscape and how he despises parked cars.

We students scribble in notebooks. “Apart from a few trees, my garden is non-existent. I’ve never done anything like this before; I’ve come to listen to one of my gardening heroes,” whispers Louise Brook, who wants to transform her garden in Italy.

Emma Mills from West Sussex, also intends to try what she has picked up on the course.

“What attracted me to Arne is his idea that you bring the landscape into the garden and look to nature for inspiration. I like his holistic approach,” she says.

Archie Scott from Whitchurch concurs: “I’m a professional gardener specialising in hard landscaping but on a smaller scale - a day like this is where I get new ideas.”

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Saturday, May 31st, 2008

Stage Ailey troupe tries harder

Ailey II, the junior company of Alvin Ailey American Dance Theatre, began as a student workshop in 1974 and has evolved into a cutting- edge touring company.

The company is coming to Cal Polys Spanos Theatre for two shows on Sunday; a matinee performance of Ailey II was added after the evening performance sold out.

Sylvia Waters, who has been artistic director for Ailey II for three decades, talked about the troupe during an interview from her hotel room in Las Vegas, where the group was staying for a performance on its Western tour.

In the beginning, the workshop was set up for students from the Ailey school.

%26#8220;Ailey needed bodies to work out new choreography in preparation for the bicentennial of 1976.%26#8221; Waters explained. %26#8220;It was decided to take some of the most-gifted and talented and give them the opportunity to leap from the classroom to the stage.%26#8221;

The workshop soon became a strong, ever-changing company of a dozen students from the Ailey Bachelor of Fine Arts program. They range from age 17 to 22.

%26#8220;They dont audition, they are selected,%26#8221; Waters said. %26#8220;They learn the repertory and work with emerging choreographers. Each one is in Ailey II for one to two years. It hones their performance skills and helps them develop their own sense of artistry.%26#8221;

They continue to take classes, even on the road, as they learn to choreograph and teach as well as perform. The company changes as each individual completes his or her time in the group.

%26#8220;Then they can audition for Ailey and the rest of the world,%26#8221; Waters said. %26#8220;They do have an inside track, but theres no guarantee.%26#8221;

Ninety-five percent of Ailey II alumni continue as dance professionals, performing, choreographing or teaching, often working on Broadway or in academic settings.

The dancers learn to teach during outreach sessions while they are on tour. They form teams to give lecture demonstrations and short performances in schools where students from kindergarten through college have closer interaction with the performers and can ask questions and learn some steps.

%26#8220;The dancers do mini-performances with costumes and music, they are just shorter,%26#8221; Waters said.

%26#8220;They also take dance to people who cant come to dance, such as people in senior citizen homes and men who are incarcerated.%26#8221;

Although the Alvin Ailey American Dance Theatre at first focused on black dancers and themes, it is much more diverse now. There were not many black dancers in the mainstream entertainment when the company was started, Waters explained.

%26#8220;Alvin was interested in audiences knowing about the African- American heritage through thematic material, but early on it became an integrated company.%26#8221;

The current members of Ailey II are from around the world and around the country. One dancer is from French Guyana, another is a Cuban from Germany, and a South Korean apprentice is a %26#8220;skilled choreographer,%26#8221; Waters said.

She selects the programs on the 44-city tour, and the pieces range from vintage Ailey to new and innovative works by an array of choreographers.

%26#8220;I want to give several points of view and a cross-section of good choreography and dance.%26#8221;

Cal Poly professor Moon Ja Minn Suhr will give a preshow lecture before the evening performance. She will speak at 6 p.m. in the Phillips Recital Hall.

A reception for artist Melody Fisher will be held before the matinee performance beginning at 2 p.m. in the lobby of the Spanos Theatre. She will unveil her installation, %26#8220;Of, For, and Not About Theatre.%26#8221;

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Friday, February 8th, 2008