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Audience at "Kenneth MacMillan's Choreographic Imagination and Psychological Insight" Symposium. Photo: Charlotte MacMillan ©

Earlier this month we attended the Kenneth MacMillan Choreographic Imagination and Psychological Insight Symposium at Imperial College London. Celebrating the choreographer who would have been 80 this year, this full day event was held in association with The Royal Academy of Dance (RAD) and the Institute of Psychoanalysis and drew on psychoanalysts, scholars and dancers sharing insights into MacMillan’s ballets, along with rare archival footage and live masterclasses. A full register will soon be available through the new Kenneth MacMillan official website (which goes live December 11) but here are some of our own notes and thoughts.

To backtrack a little, my first exposure to MacMillan was a televised performance of his Romeo and Juliet Balcony Pas de Deux with Natalia Makarova and Kevin McKenzie. I remember being quite taken with the lifts where Juliet expresses her delight as Romeo tries to take her to the stars. So much could be said about young love and the feeling of one’s heart brimming with happiness with such economy of movement and no mime. I didn’t know much about MacMillan then but his work struck a chord with me. Later I had the opportunity to move to London and discover, via The Royal Ballet, the extent of his choreographic vocabulary, from full-length to short works, realising that MacMillan’s ballets were all about human emotions conveyed via eloquent steps.

At the time when MacMillan quit dancing and ventured into choreography, ballet was a decorative art form which provided an escape from reality. He set out to do exactly the opposite, turning reality and human suffering into compelling dance works. Putting this into context MacMillan’s biographer Jann Parry introduced the session speaking of how he eventually became the “outsider”,  the most common leitmotif found in his works, first seen in female characters (Laiderette, Anastasia) but later appearing as males (Mayerling, Different Drummer). Kenneth had not been bullied or lonely as a child, but the death of his mother when he was 12 and the difficult relationship with his father and brother set him on a constant search for a surrogate family and for his own identity. Parry also remarked that these events led MacMillan to search for psychoanalysts to help him understand his fears and anxieties and to deal with depression. Whilst he was fascinated with Freud, MacMillan also worried about what would happen to his creative spirit if he dug too deep into his sources.

Edward Watson as Crown Prince Rudolf and Iohna Loots as Princess Stephanie in a Masterclass of Kenneth MacMillan's Mayerling. Photo: Charlotte MacMillan ©

We saw the practical extent to which MacMillan’s work and his creative sources provide rich psychoanalytical material. A panel headed by Dr. Luis Rodriguez de la Sierra (known to us from the “Connecting Conversations” series) offered links between MacMillan’s life experiences and his creative output. This panel juxtaposed the troubled relationship between brothers with the sibling relationship in Manon, where the older brother Lescaut “corrupts” and breaks her innocence by throwing her in Monsieur G.M.’s way; the fact that MacMillan’s father had been gassed in WWI (during the Battle of Somme) with the war aftermath from Gloria and his mother’s recurrent debilitating fits with Mayerling and Empress Elizabeth’s rejection of her attention-seeking son Crown Prince Rudolf. Another interesting discussion centered around  the fantasy of “dying together as an act of love”, an allegory present in Romeo and Juliet and in Mayerling and which the panel connected to Ernest Jones’s theory of a subconscious wish to return to the mother’s womb.

National Theatre’s Artistic Director Nicholas Hytner, the last person to work with MacMillan (in Carousel), demonstrated via video that MacMillan could convey in 5 minutes of dance “what would take a playwright 3 hours with words”. In a short pas de deux from Carousel we saw  how movement marks the evolution of the main female character, from tomboy to woman in love. Actress Nichola McAuliffe also talked about her experience with MacMillan as a stage director. She explained that British Theatre traditionally had actors “dead” from the neck below and that working with MacMillan made her think about the physicality of her characters.

Former Stuttgart Ballet dancers Vladimir Klos and Birgit Keil at the Kenneth MacMillan Symposium. Photo: Charlotte MacMillan ©

To illustrate MacMillan’s creative methods Birgit Keil and Vladimir Klos, former Stuttgart Ballet dancers who created roles in MacMillan ballets, described how he nurtured his dancers and sought a collaborative process. A fragment of the documentary A Lot of Happiness showed the choreographer rehearsing both dancers for a Pas de Deux based on Orpheus and Eurydice, giving them pointers of the type of movement he wanted and encouraging them to try different things. Royal Ballet Artistic Director, Dame Monica Mason also spoke of her experience. Tracing a parallel between Ashton and MacMillan, she said that the first one always expressed a preference for beauty and the second for reality, no matter how ugly that could be.

Speaking about “MacMillan’s subject matter” the eminent Financial Times critic Clement Crisp recalled audience reactions to the choreographer’s work, their discomfort with seeing “appaling grief represented by agonizing, ugly shapes”. A keen supporter who has seen every single MacMillan work (but for two short pieces made for ABT), Mr. Crisp eloquently spoke of the choreographer as a man of the theatre who knew about human suffering and found a way to show those terrible moments of life via fascinating and true choreography “which is ultimately what ballet is all about”, as well as in characters which “kept living after the curtain fell”.

Begoña Cao as Manon, Fabian Reimair as Lescaut and Antony Dowson as Monsieur G.M. in a Masterclass of Kenneth MacMillan's Manon. Photo: Charlotte MacMillan ©

The final section focused on MacMillan’s “Creativity In Spite of Adversity”, his courage to stand firm and travel to where he could realise his vision. Mr. Crisp recalled masterpieces Song of the Earth and Requiem which were created for Stuttgart Ballet after Covent Garden’s administration worried about the use of Gustav Mahler’s music for choreography and, in Requiem’s case, that sacred music could offend religious sensibilities. These points were illustrated with excerpts from the documentary “Out of Line” where Sir Peter Wright, Clement Crisp and Deborah MacMillan shared their personal views on the challenges faced by MacMillan at home and abroad and his special link with Stuttgart Ballet.

Edward Watson as Crown Prince Rudolf and Iohna Loots as Princess Stephanie in a Masterclass of Kenneth MacMillan's Mayerling. Photo: Charlotte MacMillan ©

In addition to the masterclasses featuring two Mayerling pas de deux (Rudolf/Empress Elisabeth and Rudolf/Princess Stephanie) with Edward Watson, Cindy Jourdain and Iohna Loots from The Royal Ballet, and the Manon pas de trois (Manon/Lescaut/Monsieur GM) with Begoña Cao, Fabian Reimair and Antony Dowson from English National Ballet, the audience also had the opportunity to watch a full screening of MacMillan’s last work for The Royal Ballet, The Judas Tree*, with Irek Mukhamedov, Michael Nunn and Leanne Benjamin. This gruesome ballet (featuring a gang rape) touches upon the theme of betrayal in various ways. Original cast members Michael Nunn and Viviana Durante emphasised to the audience how MacMillan would let dancers discover the character during the creative process which, as Nunn said, “kept you on your toes”.

With so much background and valuable insights into Kenneth MacMillan’s universe, this was an event that will certainly enrich our experience and understanding of his compelling works. We now look forward to what the new official website may bring.


*The Judas Tree will be revived by The Royal Ballet in a Triple bill dedicated to MacMillan’s 80th birthday, together with Concerto and Elite Syncopations. These three pieces represent milestones in the choreographer’s career and different sides to his work. Concerto was the first piece he created for the Deutsche Oper Ballet as Artistic Director. Elite Syncopations, his ragtime jazz ballet, was made during his tenure as The Royal Ballet’s Director while The Judas Tree, his last work for the Royal Ballet, remains one of his most challenging pieces.

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The Royal Ballet's Resident Choreographer Wayne McGregor. Photo: Nick Mead / ROH ©

The Royal Ballet's Resident Choreographer Wayne McGregor. Photo: Nick Mead / ROH ©

Concepts such as coding, decoding, generative systems, algorithms, computer programming, neuroscience and cognitive mapping seem more akin to geek lingo than ballet choreography and yet all these notions inform Wayne McGregor’s dance making.

Having trained in modern dance, McGregor is the first resident choreographer at the Royal Ballet to come from outside the company. Literally and figuratively breaking the line of succession, he said at the time of his appointment that he would not try to be like Ashton or MacMillan. Indeed, while his predecessor MacMillan  looked for inspiration in the human soul, McGregor seems intent on examining the human body and the sensorial experiences and responses derived from it.

Wayne McGregor in a Nutshell

Born in Stockport in 1970, McGregor studied dance at University College, Bretton Hall (Leeds University) and at the José Limon School in New York. In 1992 he started his own company Wayne McGregor | Random Dance and in the same year was appointed choreographer-in-residence at The Place, London.

He was appointed the Resident Choreographer of The Royal Ballet in 2006 following successful productions such as Qualia, Engram and the much lauded Chroma. In addition to regularly creating works for Random Dance, he has also choreographed for several ballet and opera companies around the world, including San Francisco Ballet, The Australian Ballet, Paris Opera Ballet, English National Opera and La Scala.

His interests outside dance have resulted in several other associations which include curating a festival for the Royal Opera House (Deloitte Ignite, 2008) and choreographing movement for movies, plays (“Fram” at The National Theatre and the recent “Breakfast at Tiffany’s”), musicals and art galleries (the Hayward Gallery, Canary Wharf and the Pompidou Centre).

McGregor was involved earlier this year in a collaboration between the Royal Ballet and Royal Opera companies – directing and choreographing the Baroque double bill of Acis and Galatea and Dido and Aeneas, which have been recorded for DVD release. His new production for The Royal Ballet, Limen, premieres this week.

McGregor’s dance vocabulary is full of contrasts. It combines speed with clarity of movement, fluidity with angular moves and sharp edges. Sometimes his choreography may also incorporate elements of classical ballet and the majority of his pieces for the Royal Ballet have featured female dancers en pointe. Although he says he has not completely discarded the possibility of narrative works, this vocabulary is generally used to create and structure abstract pieces with a contemporary relevance inspired mainly by visual arts, architecture and, last but not least, by science.

Using science to understand art and creative processes is a topic that fascinates McGregor. Since 2002 he has been involved in a research project with a group of neuroscientists (from the Department of Cognitive Science, University of California, San Diego) and psychologists to explore questions around how choreographic ideas are transmitted to dancers. Via this project he also hopes to learn more about how he and his colleagues actually do what they do. His appointment as the Royal Ballet’s resident choreographer extends beyond creating ballets for the company and  involves nurturing, inspiring and transmitting all this creativity and knowledge to future generations of choreographers.

Often in my own choreographies I have actively conspired to disrupt the spaces in which the body performs. Each intervention, usually some kind of addition, is an attempt to see the context of the body in a new or alien way. Wayne McGregor

The Royal Ballet 2006, Chroma

Sarah Lamb and Federico Bonelli in McGregor's Chroma. Photo: Johan Persson / ROH ©

Works for the Royal Ballet

Symbiont(s) – The Clore Studio (2000)

Definition: An organism in a symbiotic relationship

Conceived for the intimate space of the Clore Studio (ROH) in close collaboration with the dancers, Symbiont(s) was McGregor’s first piece for The Royal Ballet at a time when Anthony Dowell was still the company’s Artistic Director. It also marked the first time McGregor choreographed a role for dancer Edward Watson, now a leading presence in most of McGregor’s works. It featured seven dancers in a series of duets, solos or trios en pointe and off pointe. Its central duet danced by Watson and Deborah Bull was later used on tour. Symbiont(s) won a Time Out award for Outstanding Achievement in dance.

Brainstate – Linbury Studio (2001)

Brainstate was a collaboration between dancers from The Royal Ballet and from Wayne Mcgregor’s own company Random Dance (18 male and female dancers in total). It was done as a closing piece for an “all McGregor” evening alongside other work by Random Dance and a re-staging of Symbiont(s).

Qualia – The Royal Opera House main stage (2004)

Definition: A raw & sensory experience

Qualia marked Wayne McGregor’s debut on the big ROH stage, following an invitation from Monica Mason, who had just been appointed as the Royal Ballet’s Artistic Director. It featured four lead dancers (Edward Watson, Ivan Putrov, Jaimie Tapper and Leanne Benjamin). Its highlight was a “sensorial” pas de deux for Watson and Benjamin which would later be used in various galas.

Engram – Linbury Studio (June 2005)

Definition: Patterns of neuro-physiological change thought to relate to storage of memories in the brain.

Part of the “Inspired by Ashton” programme, Wayne McGregor cast two of the Royal Ballet’s most classical dancers, Alina Cojocaru and Federico Bonelli, for a pas de deux set to art rock music (By Canadian group “Godspeed You Black Emperor” or GSBE). Engram showed these dancers under a different light, combining McGregor’s notions of angularity and rhythm with classical steps. 

Chroma –  The Royal Opera House main stage (Nov 2006)

Definition: The purity of a color or its absence from white or grey

For Chroma, McGregor worked with a small group of ten dancers. Some were already familiar with his work, others less so. It was the first time McGregor’s male muses Steven McRae, Eric Underwood and Edward Watson appeared together in one of his works (this trio re-appeared in Acis & Galatea and will be seen again in Limen) alongside ballerinas Alina Cojocaru, Tamara Rojo and Sarah Lamb. Chroma is McGregor’s only piece for the Royal Ballet which is performed completely off pointe.

Featuring a minimalist set designed by architect John Pawson to make the audience focus on the dancers’ very detailed articulations and in the “colour” provided by their own movements, Chroma was made in three weeks. The work is set to music by modern composer Joby Talbot, including several orchestrated tracks from The White Stripes (Aluminun, Blue Orchid and The Hardest Button to Button).  A hit with audiences and critics alike, Chroma won a number of prestigious dance awards, including the 2007 Laurence Olivier Award (Best Dance Production).

Nimbus – The Royal Opera House main stage, as part of “The World Stage Gala” (Nov 2007)

Definition 1: a cloud or atmosphere about a person or thing; 
2: an indication (as a circle) of radiant light or glory about the head of a drawn or sculptured divinity, saint, or sovereign; 
3: a rain cloud

Nimbus was created one year after Chroma, specifically for the “World Stage Gala”. It was McGregor’s first official piece as the Royal Ballet’s resident choreographer. Set to Schubert’s Impromptu in G flat A, it is a 10-minute short work performed by Marianela Nuñez, Zenaida Yanowsky, Eric Underwood and Edward Watson.

Infra – The Royal Opera House main stage (Nov 2008)

Definition: Below

Alongside his productions for operas Dido & Aeneas/Acis & Galatea, Infra is perhaps the closest Wayne McGregor has come to narrative work.  Juxtaposing his choreography with Julian Opie‘s LED backdrop of pedestrians, a haunting score by Max Richter and lighting by his longtime collaborator Lucy Carter, it infers relationships, ruptures, actions and reactions against the backdrop of our chaotic modern lives.

Dido & Aeneas – Acis & Galatea – The Royal Opera House main stage (March 2009)

McGregor directed and choreographed the Baroque operas Dido and Aeneas (a production he had originally done for La Scala) and Acis and Galatea bringing a rare collaboration between The Royal Opera and dancers from The Royal Ballet. Both productions have been recorded for DVD release.

Limen – The Royal Opera House main stage (Nov 2009)

Definition: 3. Psychology, Physiology. The threshold of consciousness.

Limen, McGregor’s new 26-minute piece for 15 dancers (eight men and seven women) premieres this Wednesday. According to the choreographer it will be a meditation on ‘thresholds of life and death, darkness and light, reality and fantasy’. As he has done before with Chroma (John Pawson) and Infra (Julian Opie), Limen will feature an artistic collaboration with Japanese contemporary conceptual artist Tatsuo Miyajima.

Miyajima has designed a giant wall of blue LED lights flashing on and off which will reflect the individuality of each dancer and their unique personal movements. Limen will be set to a cello concerto by Finnish composer Kaija Saariaho whose distinct sounds combine orchestral music and electronics.

A list of McGregor’s choreographies for Random Dance, including current piece Entity as well as past productions Erazor, Amu and AtaXia can be found here

Videos

  • A short feature on Chroma [link]
  • A short feature on Infra [link]
  • Trailer for Infra [link]
  • A short feature on Limen [link]

The Royal Ballet 2006, Chroma

Eric Underwood in McGregor's Chroma. Photo: Dee Conway / ROH ©

Extracts of Reviews and Selected Praise

Of Qualia

At moments the choreography is in danger of seeming like a box of McGregor’s cleverest tricks – shapeshifting moves that flash through the dancers’ bodies, kaleidoscopic patterns of shape and line. But there is a genuine seam of strangeness in the work and, with the help of an eerily atmospheric score by Scanner, McGregor seems to put his dancers in touch with a future the rest of us haven’t really glimpsed. Judith Mackrell at The Guardian [link]

Of Engram

Cojocaru can make almost anything look good, but both McGregor and Brandstrup clearly understand how Ashton’s ballerina-worship can serve a dancer of today. McGregor turned her into a vision of fluidity in Engram, morphing between classical purity and eerie abandon. Dancer Federico Bonelli was her shape-maker, manipulating her to pulsating music by Montreal art-rockers Godspeed You! Black Emperor. A video montage of Ashton and his muses was a reminder of how he delighted in showing off a dancer’s virtuosity. Jann Parry at The Guardian [link]

Of Chroma

Chroma is exceptionally well judged. The 30-minute piece for 10 dancers is sombre and playful in turn, with the flesh-coloured costumes evoking an intense humanity, and the stunning “infinity” set by architect John Pawson both revealing the dancers and immersing the audience. Lucy Carter’s votive candle-like lighting intensifies the effect. Sarah Frater at The Evening Standard [link]

It is osteopathy as choreography, bones and musculature pulled and twisted, the dance fighting to escape from the sinuosities, the flexings and contractions of the body. It is movement introverted, self-obsessed, self-regarding, brilliantly done by its cast (who were deservedly cheered to the echo) and unable to escape from its formulaic, almost dogmatic manner. Clement Crisp at The Financial Times [link]

Of Infra

Beneath the ordered surface of our daily routine, McGregor tells us, complicated forces are at work. We must connect, because all else is terror and the void. Edward Watson, clearly McGregor’s male muse, seems to pulse with angst – all torque, sinew and pale intensity. Eric Underwood burns with almost as cool a flame, and 20-year-old Melissa Hamilton, plucked from the corps de ballet, slashes the choreography to the bone with glittering, scalpel precision. Luke Jennings at The Guardian [link]

It’s a perfect abstract representation of the lines, quoted in the program, from T. S. Eliot’s “Wasteland”: “Under the brown fog of a winter dawn./A crowd flowed over London Bridge, so many.” The dancers, who slowly accrue onstage as Max Richter’s haunting melodies for strings begin over random noises (machines, voices), are the flesh-and-blood incarnation of the digital crowd above, and Mr. McGregor imbues them with a touching humanity, even as they move in unimaginable ways. Roslyn Sulcas at The New York Times [link]

Upcoming Performances at the ROH

Agon/Sphinx/Limen – 4-18 Nov 2009, as part of The Royal Ballet’s Autumn Triple Bill.

New Watkins/Rushes – Fragments of a Lost Story/Infra – 19 Feb – 4 March 2010, as part of The Royal Ballet’s Winter Triple Bill.

Chroma/Tryst/Symphony in C – 22 May – 11 June 2010, as part of The Royal Ballet’s Summer Triple Bill.

Sources and Further Information

  1. Wayne McGregor’s Complete List of Works from Random Dance’s website. [link]
  2. Wayne McGregor Official Website [link]
  3. Wayne McGregor, a biography by Judith Mackrell. From the Chroma programme
  4. Wayne McGregor interviewed by David Bain. Ballet Association Report, June 2007. [link]
  5. Discover Limen on the ROH Website [link]
  6. Wayne’s World: When Ballet met Science. Euan Ferguson, The Observer, October 2009. [link]
  7. Wayne McGregor: Zen and the Art of Dance. Interview with Wayne McGregor by Judith Mackrell, The Guardian, October 2009. [link]
  8. Step by Step guide to dance: Wayne McGregor. By Sanjoy Roy, The Guardian [link]
  9. Dido & Aeneas DVD [link]

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Kenneth MacMillan, one of the leading choreographers of the twentieth century, is credited with pushing the boundaries of classical ballet and challenging audiences to look beyond the idealised world of fairy tales into the reality and discomfort of their own mortal existence.

With ballets that probed into all extremes of the human condition MacMillan found a deeper way to engage the viewer, to make us empathise with the emotions flowing from his expressive choreography. As part of his 80th anniversary celebrations The Institute of Psychoanalysis and the Royal Academy of Dance are sponsoring a full day symposium which will explore the relationships between physical expression and emotional impact in the choreographer’s work.

Leading MacMillan interpreter Edward Watson, one of the symposium’s participants, has just finished a critically acclaimed run of Mayerling at Covent Garden, dancing the challenging role of Crown Prince Rudolf. We were delighted that Watson agreed to talk to us about the choreographer’s legacy and the way into MacMillan’s complex, yet so very human, characters:

Edward Watson. ROH Photo: Charlotte MacMillan ©

Edward Watson. Photo: ROH/ Charlotte MacMillan ©

Let’s start with your recent performances as Crown Prince Rudolf in Mayerling. How much physical and emotional commitment does the “toughest of male roles” require and how do you resurface from each performance?

EW: There is no other way to go about it without being totally physically and emotionally committed to it. I don’t you think you can separate them, it’s all one thing. You just get yourself ready to commit musically, emotionally and physically, all of those things, to enter on it, to be believable and credible. In terms of how you feel afterwards…

Because it is such an intense role…

EW: It’s really intense and every show is different, but I never sleep after Mayerling, I am still awake at four in the morning. It’s completely draining, you feel drained after Act II. Actually after Act I you feel like you’ve done three acts already so… it is funny to get yourself ready for it. You don’t want to give yourself out too much at the beginning, otherwise you are not going to have enough energy to the end. In the first act I am always trying to pace myself and, knowing how you are going to feel at the end, you think: why would I do this to myself? But it is an amazing thing to do. I’ve never had any kind of experience like that where you feel you almost lived as someone else for a couple of hours. It’s incredible, a great ballet, it is just amazing.

In addition to Crown Prince Rudolf, Des Grieux and Romeo are all MacMillan classics you have danced a number of times in different places. How have your interpretations of these roles evolved over time?

EW: The biggest change has been with Romeo, because I’ve done it a lot now. Not that I think I wasn’t ready when I first danced it, but Lauren [Cuthbertson] and I weren’t ideally matched and we both knew that, so we relied on our youth to tell the story that way. This is something I have tried to keep. Romeo is a boy and Juliet a girl, they are kids, they are not a prince and a princess. Some people play it like a 20th century classic rather than being clumsy kids which is what they are in a way. The choreography for Romeo is particularly demanding. That I feel I am still trying to get right, to show the youth and abandonment while technically being tight and secure. I’ve now danced Romeo with Lauren, with Mara [Galeazzi] and with Leanne [Benjamin] so you find so many different things with whomever you are responding to or whoever is in front of you.

MacMillan’s characters are typically complex and they demand strong dramatic skills. How important is it to have a like-minded partner? Do you discuss a mutual approach beforehand or is it mainly an act and react dynamic?

EW: Both of those things. Some moments you find something has developed without talking. You are playing something in a certain way, your partner too and it works. When it doesn’t work we tend to discuss. You say, I don’t know what you are doing, what you are thinking or what are you trying to say through the way that you do that step, or is there anything I can help you with, for instance, in the way I lift you. The way into MacMillan is definitely through the steps. It’s not through putting on a face and acting. All is there to be discovered in the choreography. There is so much to be brought out that I don’t think you’ll ever stop finding things in movement. The amazing thing about being a dancer in those ballets is that you will always find something that you haven’t found before. You can connect those steps somehow to your character, to your situation with another character, tiny things like the way you phrase, the way you might stretch something, a look. It is all very physical and thought makes the physical thing happen or sometimes the other way around. It’s a total symbiosis. That was the genius of MacMillan and of the people he worked with when he made these ballets into huge successes: all those elements were exactly right.

So every time one approaches the choreography, there must be new things to be discovered?

EW: Physically everybody is different. I look very different to, say, David Wall [who created the role of Crown Prince Rudolf] or Irek Mukhamedov. So just as they approach steps musically different or physically different, so will I. In classical ballets like Swan Lake or Sleeping Beauty, there are set rules, very obvious rules of what looks right and what doesn’t, but when the choreography really describes character and character situation, there is so much an individual can find to say with a character. It is a dancer’s dream. Of course there are rules, there is set choreography to set music but you can find your way of saying certain things within those rules.

Are there any experiences or specific preparations that have enriched your interpretation of a particular role?

EW: I do a lot of reading. With Romeo I went straight back to the play. Kenneth worked really close to Shakespeare’s play and I know Lynn Seymour [who created the role of Juliet] did. There were a few masterclasses that Tamara [Rojo] and I did with Lynn where she read the text to us and described what he was trying to say at that point. I also read Manon, but it was a ballet I grew up with, watching it as a kid and dancing various parts always.

The most research I did was with Mayerling because Crown Prince Rudolf was a real person and so you have a responsibility to be very honest. I read a lot of books on the subject. Deborah [MacMillan] lent me a book which Kenneth gave her for her birthday which he based the ballet on. She lent me her copy so I could find things that he had underlined in there, things that were really important to him. I also had a weekend in Vienna, I went to visit Mayerling and saw the grave. It fascinated me, this ballet has always fascinated me since I was a kid, from having seen the South Bank documentary originally with Lynn Seymour and David Wall. It is one of those ballets that grow on you. The more you see it, the more you want to see it again. Being in Mayerling had an impact on me because it doesn’t come around that often. It wasn’t in the company for about 8 years while I was here.

Edward Watson as Crown Prince Rudolf in MacMillan's Mayerling. Photo: Johan Persson / ROH ©

Edward Watson as Crown Prince Rudolf in MacMillan's Mayerling. ROH/ Photo: Johan Persson ©

Did you do any new readings or research this time?

EW: I re-read The Road to Mayerling and when I visited the Mayerling lodge, which is now a convent, I found these weird photocopies outlining the events with dates and times, so I read through that, but I had already done so much before that I knew what I wanted to do, what I wanted to change. I wanted the character to build up more this time.

MacMillan revolutionised storytelling in classical ballet, taking it out of its comfort zone, digging deep into human psyche. How relevant are narrative ballets nowadays?

EW: I think people want story-based ballets. It is easier for an audience to want to come to a ballet with a story. Triple bills are harder because of the lack of a linear narrative for a whole evening. Alice in Wonderland is going to be Chris Wheeldon’s next thing [for the Royal Ballet] and I think it is the right time and I hope it is a success.

Having said that, MacMillan’s one-act ballets are what made me, what I grew up in. My first principal role was in My Brother, My Sisters. Those ballets say much about people, feelings and situations, and even Gloria, and Triad, ballets I did when I was younger, there’s so much in them that is not about set characters like Des Grieux, Rudolf and Romeo, but they are still such an amazing experience.

In the past you mentioned that your role in Gloria – one of MacMillan’s most personal ballets – was your favourite…

EW: Did I? I love that ballet, I really love it.

Which is your favorite one-act MacMillan now?

EW: It changes all the time, I have nice memories of all sorts of things but Different Drummer really changed a lot for me. Physically, it really felt like it fitted. I had to work very hard but I understood its physicality, I understood where he was going with it, and in a funny way, it’s the same kind of intense experience as Mayerling, only shorter, but also totally exhausting. It was a wonderful working time for me, Leanne and I were working together a lot and she had worked with Kenneth on the ballet, so she could help me a lot. And Monica Parker who coached us was really enthusiastic as it hadn’t been done for a long time, for about 15 years. It was a ballet people hadn’t seen, that a whole company hadn’t been involved with, so it was really exciting to have the responsibility of bringing it back and making people want to see it. That whole experience probably makes it my favorite one-act.

And your favorite full-length?

EW: Manon and Mayerling are both wonderful. Manon is a ballet that I had always wanted to do since I was a kid, since I was at White Lodge and it ended up being the last big MacMillan role that I debuted in. I love it and Mara is fantastic and I wouldn’t be anything in that ballet without her, it’s really about what she gives me. But more recently, and for the same reasons as above, I should say Mayerling, it is still kind of…it is still lingering on my back!

About the upcoming MacMillan symposium this November, can you give us any insights into what participants may expect?

EW: There will be discussions from psychologists and also from dancers and collaborators who were involved with Kenneth on creating those ballets and, demonstrations from people like me, doing bits of Mayerling. There’s also going to be archive footage, so people can see and discuss the ballets. It will be very interactive, people will be able to ask questions rather than just being presented to. I have a feeling it’s going to be a very interesting day, a real eye opener into what MacMillan is all about.

In your opinion, what is MacMillan’s greatest legacy to ballet?

EW: In my opinion, all of that work. Even those works that are considered failures or that aren’t danced so much these days. It’s so important that someone was constantly pushing classical ballet. It’s classical ballet pushed beyond what you would expect it to, either to tell a story or, like Song of the Earth, telling you everything about life, death and everything in between. No costumes, amazing music, choreography that moves you and you understand somehow through those amazing poems and Mahler’s music that someone can express those feelings to an audience. And that the very same person can tell the most complicated story, like Mayerling, through dance. I find it total genius that someone can do that. No stop and mime, all of those feelings are expressed through choreography.

Song of the Earth is my favourite ballet of all time to watch and the last few times I did it, I loved it. It’s so strange because you are very removed from everyone else. There’s more impact to be made [as the Messenger of Death] by being subtle and just gently there. The poems that inspired Mahler’s songs say “death is like a whisper” and that changed the way I did the role, it’s like a little whisper that’s always there or a feeling, slightly dimmer and you wonder why. It’s little things like that, that you can read and find out. When he was making the ballets MacMillan didn’t always tell people exactly what he wanted them to feel, but it was obviously in his mind, his influences from what he read, from what he heard, all this concerned him.

How transparent then, that even when he did not say it, he could actually find a way to.

EW: Well, that’s the kind of genius he was.


Kenneth MacMillan’s Choreographic Imagination and Psychological Insight Symposium takes place on Sunday, November 8, 2009 from 10am to 8pm at Imperial College London.

This all day event will include a series of set pieces – videos, masterclasses, presentations – interspersed with opportunities for interactive discussion among the participants on stage and members of the audience.

The day will be divided into four separate sections:

MacMillan’s Language – Gesture & Emotion Observed and Expressed

  • Includes videos, presentation and discussion with National Theatre AD Nicholas Hytner and actress/writer Nichola McAuliffe

MacMillan’s Creative Methods – Working with Dancer’s Bodies

  • Includes videos and Mayerling masterclass (Monica Mason with Royal Ballet’s Edward Watson, Iohna Loots and Cindy Jourdain on Mayerling Act 1 Pas de Deux)

MacMillan’s Subject Matter – Breaking the Rules

  • Includes videos, presentations and discussion with FT dance critic Clement Crisp and Manon masterclass (Wayne Eagling with dancers from ENB on Manon Act 1 Pas de Trois)

MacMillan and the Institutions – Creativity in spite of Adversity

  • Film of MacMillan speaking, with comments from Peter Wright, Deborah MacMillan, Clement Crisp. Discussion on the creation of ‘The Judas Tree’ –  with dancers from its original production (Viviana Durante, Michael Nunn and Stephen Wicks)

The event will close with a screening of the complete ballet “The Judas Tree” followed by a social gathering where the audience will have the opportunity to meet and talk with the participants.

Full programme & booking details available from the official website: www.kennethmacmillan80thanniversary.com

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Morphoses dancers performing Commedia (via Sadler’s Wells YouTube channel)

Morphoses’ third London season has just come to a close. This year they came almost entirely depleted of their NYCB roster, something we lament since we cannot easily cross over the Atlantic to see that fabulous team at home. Nevertheless Morphoses remains a vibrant company providing the opportunity for an eclectic public to discover a mix of interesting dancers matched to new choreography.

The programme I saw, a tribute to the Ballets Russes and their collaborative spirit, opened and closed with captivating works. Wheeldon’s Commedia is a charming take on the carefree and playful world of the Commedia dell’arte to match Stravinsky’s Pulcinella suite, a spoof on early eighteenth-century music. The simplicity of the set and costumes, the absence of a corps de ballet reminds us that Morphoses works on a tight budget,  but Wheeldon compensates by displaying his gift for fluid choreography added to what is essentially classical dance vocabulary. Although one wishes certain sections of the ballet were expanded on, particularly the solo sections for razor sharp Rory Hohenstein and sparkly Leanne Benjamin, on the whole this is a piece that makes a long trip to Sadler’s Wells on a wintry evening well worth it.

So does Ratmansky’s Bolero, a fine translation into steps of Ravel’s music, also originally composed for The Ballets Russes. Three men (Juan Pablo Ledo, Edwaard Liang and Lucas Segovia) and three women (the always amazing Wendy Whelan, Melissa Barak and Danielle Rowe) dressed as athletes, gradually move from individuality to unison in response to the rising demands of the score. There are no set designs and, unlike the evening’s less strong middle section works, “Leaving Songs” and “Softly as I leave you”, no use of props to maximize dramatic impact. All the better to let the choreography speak.

Tim Harbour’s Leaving Songs was supposed to be about endings and beginnings but stayed in the middle, mixing classical phrases with usual modern moves. It did have one good thing going for it, in the shape and extensions of Rubinald Pronk. Pronk’s chemistry with his regular dance partner Drew Jacoby could also be seen in the next piece “Softly as I Leave You” (by husband and wife team Paul Lightfoot and Sol Leon). Despite the recorded music and the overreliance on a wooden box for drama, there were luscious extensions and lifts as well as a sense of true intimacy between these amazing dancers.

At the start of the performance Wheeldon greeted us with his trademark introduction to the evening’s pieces. But before each section there were also short video extracts on the dancers and/or choreographers. Those videos are a great idea but would perhaps grab us more if screened at the start of the performance or as part of DVD extras. With their third season done and dusted, what is next for Wheeldon’s company? It seems that Wheeldon’s initial plans for a permanent company of 20 dancers are still faraway and the fact that the second circle had plenty of empty seats is worrisome. Is Morphoses going to continue focusing on abstract pieces à la Balanchine because of lack of funding? That would be a shame given Wheeldon’s strength in narrative pieces. I left the theatre thinking that Commedia would also have worked as a narrative one-act ballet and hoping that seasons to come will be able to deliver that sort of thing.

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The Morphoses London Season opens tonight at Sadler’s Wells with a programme dedicated to 100 years of Ballets Russes, an appropriate choice for a company structured in the same way and whose mission to “broaden the scope of classical ballet through the creation of innovative productions and collaboration with the seminal artists of its time” ties in with the feats of Diaghilev‘s own legendary troupe.

Three years and many accolades on, Christopher Wheeldon‘s company continues to match some of ballet’s brightest stars to new work by the best choreographers and designers around.  By nurturing these quasi pro bono collaborations, Morphoses projects the image of a fresh and accessible company whose main objectives are to target the 25-34  year old public not familiar with ballet and to challenge some of the preconceptions associated with the art form.

As part of Wheeldon’s target demographic, we think the existence of a company like Morphoses sends a very positive message, a promise for the future of ballet.  Its mission strongly resonates with us as we also believe ballet can and should be made accessible to younger generations while staying true to its traditions, with no dumbing down of the art form. We only wish their seasons were longer (only 4 days in London) and that we could see more of Wheeldon’s work this side of the Atlantic.

Wheeldon's Morphoses in Commedia. Photo: Erin Baiano © Source: Danceviewtimes

Wheeldon's Morphoses in Commedia. Photo: Erin Baiano © Source: Danceviewtimes

Morphoses in a Nutshell

Morphoses/The Wheeldon Company was founded in 2007 by Christopher Wheeldon, previously NYCB’s resident choreographer, together with Lourdes Lopez, ex-NYCB Principal and Former Executive Director of The George Balanchine Foundation. The troupe attracts dancers from major companies in the world who appear at reduced fees. The repertory is a mix of modern classics and new pieces created by Wheeldon or by guest choreographers, in collaboration with innovative designers and composers, very much in the spirit of Diaghilev’s Ballets Russes.

Originally Morphoses would function as a pickup company, hiring dancers on a season basis until Wheeldon had secured enough financial backup (around US$5 million) to have dancers on a fixed payroll, but the credit crunch  has forced the company to carry on with a small administrative staff of three and to remain at its donated Manhattan base for the present. Dancers continue to be recruited on a season-by-season basis while Wheeldon has kept working as a choreographer outside Morphoses, which allows him not only to continue staging big budget works for the major ballet companies, but also to bring in extra funds for his own Morphoses projects. His long term plan is to  be able to support a permanent troupe of 12 dancers alongside the regular guests.

Morphoses’s inaugural performance took place at the 2007 Vail International Dance Festival. After a heavy media build-up, this first appearance received mixed reviews from the American press. Some critics thought the ballets in the programmes looked too similar, with too many abstract ballets (including pieces by Forsythe and Edwaard Liang) and prominently featuring too many pas de deux, but they generally praised Wheeldon for elevating the artistry in his dancers (NYCB‘s Wendy Whelan, often regarded as Wheeldon’s muse, was nominated for an Olivier Award) and for creating a rapport with the audience by coming onstage to introduce each piece with insightful commentary.

That same year Morphoses became a Guest Resident Company at New York City Center and at London’s Sadler’s Wells. Wheeldon was appointed as Associated Artist for Sadler’s Wells and the London season won a South Bank Show Award. Since then, Morphoses has also appeared at the Sydney Festival.

The Many Faces of Morphoses

Guest Dancers

Tyler Angle, Alexandra Ansanelli, Leanne Benjamin, Hélène Bouchet, Ashley Bouder, Darcey Bussell, Batkhurel Bold, Thiago Bordin, Alina Cojocaru, Jonathan Cope, Ángel Corella, Adrian Danchig-Waring, Jason Fowler, Gonzalo García, Marcelo Gomes, Craig Hall, Drew Jacoby, Johan Kobborg, Nehemiah Kish, Carla Körbes, Maria Kowroski, Edwaard Liang, Tiler Peck, Rubinald Pronk, Teresa Reichlen, Danielle Rowe, Beatriz Stix-Brunell, Michael Nunn, William Trevitt, Edward Watson, Miranda Weese, Wendy Whelan

Collaborators

Composers James MacMillan, Michael Nyman, Steve Reich and Bright Sheng; Artists/Set Designers James Buckhouse and Jean-Marc Puissant, Adrianne Lobel; Designers Francisco Costa, Narciso RodriguezIsabel & Ruben Toledo; Director Nicholas Hytner

Repertory

The inaugural programme presented in 2007 featured two new Wheeldon pieces – “Fool’s Paradise” and “Prokofiev Pas de Deux” – alongside his exisiting works “Mesmerics”, “After the Rain” and “Morphoses”. It also included William Forsythe’s “Slingerland”, Michael Clark’s “Satie Stud”, Liv Lorent’s “Propeller”, and Edwaard Liang’s “Vicissitude”.

The following year brought a mix of premieres led by Wheeldon’s “Commedia” (to Stravinsky’s Pulcinella Suite), Lightfoot León’s “Shutters Shut” (at City Center) and Emily Molnar’s “Six Fold Illuminate” presented together with classic works by Sir Frederick Ashton – The Dream Pas de Deux (in Vail) and Monotones II – Robbins’s “Other Dances” and Wheeldon pieces “Polyphonia” and Fool’s Paradise”.

This year Morphoses brings a host of new works to both its transatlantic headquarters. It also continues to collaborate with influential fashion designers Francisco Costa (Creative Director of Calvin Klein), Isabel and Ruben Toledo. Commemorating the Ballets Russes’ centenary, the first programme will  include Wheeldon’s “Commedia”, Ratmansky’s “Boléro” (to the eponymous Ravel piece) and a new work by Tim Harbour.  Two days later, a second programme brings “Softly as I Leave You”, originally choreographed by Paul Lightfoot and Sol León (resident choreographers of Nederlands Dans Theatre) for dancers Drew Jacoby and Rubinald Pronk, in addition to old and new Wheeldon: “Continuum” and  “Rhapsody Fantaisie”  (a world premiere set to Rachmaninoff’s suites for two pianos).

Extracts of Reviews and Selected Praise:

One of the wonderful things about Mr. Wheeldon’s work is that there are new discoveries to be made each time you watch it. Roslyn Sulcas at the NYTimes [link]

Morphoses does have a provisional air. For the moment it remains an assembly of dancers, albeit extraordinary ones, from other troupes, and Mr. Wheeldon hasn’t yet had the opportunity to develop a group of performers to his own ends. But he is a choreographer with an instinctive grasp of dancers and their abilities…To see major ballerinas like Ms. Benjamin and Wendy Whelan on the same program is reason enough to watch Morphoses. Roslyn Sulcas at the NYTimes [link]

Trained on Balanchine, most New York ballet critics absorb meaning and sense syntactically, because with Balanchine it’s the action between the notes–the syncopated rhythms–that shape the steps and their portent. With Wheeldon, the ballet’s color and emotion may be rooted in the score, but the organizing principle is visual. Apollinaire Scherr at Foot in Mouth / ArtsJournal [link]

Wheeldon has set his standards about as high as a new company could aim for. We can really look forward to what follows. Judith Mackrell at The Guardian [link]

It is an absolute pleasure to watch this group of top-rate dancers running through their paces in this way. With ages from the teens to the over-forties, in all shapes and heights, they are so full of personality and presence that they make this a most uplifting evening. Sarah Crompton at The Telegraph [link]

Sources and Further Information

  1. Morphoses/The Wheeldon Company Website [link]
  2. The Newcomer by Joan Acocella. The New Yorker [link]
  3. Metamorphoses by Astrida Woods. Dance Magazine, October 2008.
  4. Ballet without Borders by Peter Aspden. Financial Times, September 2008. [link]
  5. The dancers are Young, Beautiful, Sexy and Smart by Valerie Lawson. The Sydney Morning Herald, November 2008. [link]
  6. How to watch a Wheeldon ballet by Apollinaire Scherr. Foot in Mouth at ArtsJournal, October 2008. [link]
  7. Risky Business by Gia Kourlas. Time Out New York, October 2007 [link]

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Mayerling may not  be for everyone, but it is an undeniable example of how ballet can go beyond technical prowess or fairy-tale narrative, geometrical patterns or musical convention. Kenneth MacMillan’s work reaches for the core of human emotions, both the good and the bad, digging deep into the grittiest, the most horrific and perverse of human psyche to turn it into ballet, an art form usually associated with qualities of beauty and harmony. Unsuspecting audiences may be distraught by his choreography, by such an explicit portrayal of the perverse and sinister within men against the various forms of love.

Beyond its lavish designs and opulent costumes which aid in framing a decadent society and its excesses, the ballet largely depends on a strong lead, as its focus is the character of Crown Prince Rudolf. The fact that no one knows what really happened in the event known as the Mayerling incident is not very important for the purpose of MacMillan’s ballet. I now see that the incident only served as a canvas on which he could draw his characters and frame their specific interrelations. Rudolf, a character so shrouded in mystery, presents to the  male dancer an opportunity to create a very individual reading. For this reason it demands mature dancers at the height of their dramatic and dancing powers, dancers who can generate a realistic impression, which is something Johan Kobborg excels at.

Mayerling Cast. From left clockwise. Leanne Benjamin as Mary Vetsera, Johan Kobborg as Crown Prince Rudolf, Laura Morera as Countess Larisch, Deirdre Chapman as Empress Elizabeth, Helen Crawford as Mitzi Caspar and José Martín as the lead Hungarian Officer. Source: ROH ©. Copyright belongs to its respective owners.

Mayerling Cast. From left clockwise. Leanne Benjamin as Mary Vetsera, Johan Kobborg as Crown Prince Rudolf, Laura Morera as Countess Larisch, Deirdre Chapman as Empress Elizabeth, Helen Crawford as Mitzi Caspar and José Martín as the lead Hungarian Officer. Source: ROH ©. Copyright belongs to its respective owners.

Presenting us with an innermost portrayal of Rudolf that heavily contrasted with all other readings of the character I’ve seen before, Kobborg emphasises the darkness his character carries inside, the willingness to carry through unimaginable deeds. Right from the start we see how he is afftected by the particular demands and pressures of his position as Crown Prince and by his incestuous relationship with a domineering mother. We also note Rudolf’s violent behaviour when in contact with Countess Larisch (a well cast Laura Morera) and his wife Princess Stephanie (Emma Maguire), but the way he quickly regains self-control hints at something inherent to Rudolf’s character which he tries to keep “in check”. The pas de deux with Empress Elizabeth (Deirdre Chapman) clearly establishes the twisted relationship between mother and son and shows how Rudolf could be both abusing and abused. The weight of this encounter still looms over the following pas de deux as a twisted and psychopathic Rudolf threatens his wife Princess Stephanie with a pistol on their Wedding night.

Johan Kobborg as Crown Prince Rudolf in Mayerling. Photo: Bill Cooper / ROH © Source: Voice of Dance

Johan Kobborg as Crown Prince Rudolf in Mayerling. Photo: Bill Cooper / ROH © Source: Voice of Dance

Rudolf  has given into a life of “alcohol and whores at the tavern” but when it comes to his mother’s own love affair, he takes issue and reacts as an offended lover. As he dances a solo which speaks of the guilt for those feelings towards his mother, he struggles to keep his inner demons at bay, his steps conveying despair and even horror at his own feelings as Countess Larisch tries to comfort him. It is at this point that Mary Vetsera enters the picture and raises the stakes.  Few can project all of Mary’s complexities like Leanne Benjamin. Her Vetsera is a joyous girl destroyed by the romantic obsession she builds once fuelled by Larisch’s stories about Rudolf. From their first meeting we see someone who is capable of loving him, albeit in a twisted, sick way. Kobborg’s Rudolf sees Mary as just another woman at first, but once she rushes for his gun and points it towards him, his dark side resurfaces  and obsessive feelings surge towards her. Needless to say, both Kobborg and Benjamin delivered a pas de deux full of passion playing with the concept of control and role reversal between these two twisted minds.

By the final act, following an accidental killing at his hunting lodge, Kobborg’s Rudolf is a shattered, broken man who is a shadow of himself and now allows the darkness inside to flow, his body ravaged by mental and physical disease. Since the script simply indicates that Mary and Rudolf made a pact to end their lives, what really happens between them greatly varies with each interpretation. In this reading it seemed to me that as Mary arrives at the hunting lodge she realises that the only way to heal Rudolf is to die with him, while for Rudolf killing her is both an act of selfishness and of salvation from his inner feelings towards her. As they dance a deeply upsetting final pas de deux our minds question whether this disturbed and horrible person could really have had any capacity to love.

With great performances, despite a few start of season glitches, from a  strong supporting cast including Laura Morera as Countess Larisch, Helen Crawford as Mitzi Caspar and José Martín as the lead Hungarian officer much added to the evening’s drama, but all in all, Mayerling will always be about the lead and here Kobborg more than delivered.

See also: our take on the Edward Watson/Mara Galeazzi cast

The Royal Ballet’s Mayerling is in repertoire until November 10. Book via the ROH website, by telephone or by visiting the Box Office.

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As the season kicks off  Birmingham Royal Ballet (BRB), one of the UK’s top three ballet companies, celebrates its 20th anniversary as a Birmingham resident. Over the years it has evolved from being the Royal Ballet‘s “touring arm” into shaping its own style: a mix of core repertoire alongside new original full-length narrative ballets, showing a degree of experimentation and risk taking uncommon to big ballet companies. Here we look at the past and present of this unique company:

History

As the name indicates, the Birmingham Royal Ballet is historically linked to the Royal Ballet. They both originated in 1926 when Ninette de Valois founded the Academy of Choreographic Art, her first step towards creating a ballet company with a supporting school. Through Lilian Baylis and her theatres, The Sadler’s Wells and the Old Vic, de Valois found a way to give her company a base and by 1931 she had established the Vic-Wells Ballet and Vic-Wells Ballet School at the Sadler’s Wells Theatre.

Moira Shearer in Sadlers Wells production of Cinderella Photo: Gjon Mili © Source: LIFE

Moira Shearer in Sadler's Wells production of Cinderella Photo: Gjon Mili © Source: LIFE

In 1939 both company and school lost the “Vic” tags to better align with their base at Sadler’s Wells, but the subsequent destruction of Sadler’s Theatre during the war dislodged the company and forced it to become a touring troupe known as the Sadler’s Wells Ballet. The end of the war saw the company’s return to the refurbished theatre until its split into two in 1946: the main company and school moving to a new home at the Royal Opera House (eventually becoming the Royal Ballet) and a smaller sister company – the Sadler’s Wells Theatre Ballet –  created to handle touring performances under the supervision of artistic director John Field.

This sister company would later become the Birmingham Royal Ballet but at this point it continued to change and accrue different names. From 1955 to 1977, having left its base at the Sadler’s Wells Theatre to perform in theatres all around the country, it was known as the Royal Ballet Touring Company. A Royal Charter had been granted to recognize the company’s independence and status but it still functioned as a touring “branch” of the Royal Ballet. By 1970 the company had effectively regained its base at Sadler’s Wells so in 1977, with the arrival of Sir Peter Wright as artistic director, it was renamed Sadler’s Wells Royal Ballet.

The Sadler’s Wells Royal Ballet finally became the Birmingham Royal Ballet when it relocated to Birmingham in 1990, following an invitation by the Birmingham Hippodrome Theatre and the Birmingham City Council. Peter Wright continued as their Artistic Director until 1995. He was succeeded by choreographer David Bintley, who put his focus into creating an independent company which could be dissociated from the Royal Ballet and in 1997 the BRB finally became independent from the Royal Opera House and the Royal Ballet. Despite this separation, the company still shares a common repertoire with the latter and many of its dancers have emerged from the Royal Ballet School, although the BRB now has its own associated dance academy in the Elmhurst School of Dance.

In addition to performing at home, the BRB regularly visits some of the most important stages around the UK such as the London Coliseum, Sadler’s Wells Theatre, Symphony Hall, The Lowry, etc. It also continues to increase its international presence after successful tours around the US, Hong Kong and South Africa.

Nao Sakuma as Aurora and Chi Cao as Prince Florimund in BRBs The Sleeping Beauty Photo:Bill Cooper / BRB © Source: BRB Website

Nao Sakuma as Aurora and Chi Cao as Prince Florimund in BRB's The Sleeping Beauty Photo:Bill Cooper / BRB © Source: BRB Website

Style and Repertoire

Given their shared origins the BRB style has common elements with the Royal Ballet’s: in their repertoire, with plenty of narrative ballets, and in dancers who are able to emphasize drama and theatricality when performing those. AD David Bintley has furthered the company’s range by continuously creating or commissioning new pieces, with particular focus on the difficult genre of narrative ballet. He has created ten full-length story based ballets (with half of them having been created for BRB and most of them still in repertoire), of which the most successful have captivated audiences and continue to attract  new ones. In contrast, the Royal Ballet’s investment in full-length original commissions has been slimmer, the last one having been Twyla Tharp‘s 1995 A Worldly Wise and the next one, Christopher Wheeldon’s Alice in Wonderland, currently announced and planned for the 2011 season.

Ambra Vallo and Chi Cao in Bintleys Beauty and the Beast. Photo: Bill Cooper / BRB © Source: BRB Website

Ambra Vallo and Chi Cao in Bintley's Beauty and the Beast. Photo: Bill Cooper / BRB © Source: BRB Website

In an ever more globalized ballet world, BRB seems to be  creating its own history, developing its own character. It has shown to be a daring company which is capable of attracting regular audiences with original works. Instead of bringing predictable classics (e.g. Swan Lake, The Sleeping Beauty, etc.) on  tours around the country, they aim to keep a balance with many works by the great 20th century choreographers, such as Ashton, Balanchine, Cranko, de Valois, MacMillan, Robbins and Tudor. With such a pick’n’mix, it is no wonder  their fanbase keeps growing.

The Dancers

Many well known Royal Ballet names began their careers with the BRB: from Nadia Nerina and Lynn Seymour to Darcey Bussell, Miyako Yoshida and Leanne Benjamin.

Through its association with the Elmhulst School of Dance, BRB aims to develop its own talent to feed into the company’s ranks, but plenty of dancers come from other vocational schools such as the Royal Ballet School or internationally, as is the case with Principal dancers Nao Sakuma (Japan), Chi Cao (China), Elisha Willis (Australia), César Morales (Chile) and Ambra Vallo (Italy). Given its continuous flux of new ballets, the company attracts many dancers interested in having roles created on them.

Aaron Robison and Christopher Larsen as Winds and Artists as Snowflakes Photo: Roy Smiljanic / BRB © Source: BRB Webpage

Aaron Robison and Christopher Larsen as Winds and Artists as Snowflakes in The Nutcracker. Photo: Roy Smiljanic / BRB © Source: BRB Webpage

Videos

Birmingham Royal Ballet has a solid online presence, with plenty of feature and reheasal videos on their website. Here are links to some examples:

  • David Bintley’s Beauty and the Beast with Nao Sakuma as Belle [link]
  • Robert Parker and Elisha Willis in David Bintley’s Cyrano [link]
  • Ashton’s The Two Pigeons Rehearsal with Nao Sakuma and Robert Parker [link]
  • Nao Sakuma rehearses Bintley’s Sylvia [link]
  • Alexander Campbell and Natasha Oughtred rehearse the Nutcracker pas de deux [link]
  • Natasha Oughtred and Joseph Caley rehearse Ashton’s The Dream, under the careful eye of former Royal Ballet Stars,  Anthony Dowell and Antoinette Sibley [link]

Sources and Further Information

  1. Wikipedia Entry for Birmingham Royal Ballet [link]
  2. Step-by-step guide to dance: Birmingham Royal Ballet. By Sanjoy Roy, The Guardian, April 2009 [link]
  3. David Bintley and the BRB: A Tradition of Niceness by Patricia Boccadoro. Culturekiosque, April 2000 [link]
  4. Birmingham Royal Ballet’s Website [link]
  5. Elmhurst and Birmingham Royal Ballet [link]

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