Please provide a short introduction about yourself.
I am a dancer, choreographer and director. As a dancer I am most noted for my character work, particularly with Sir Frederick Ashton and Dame Ninette De Valois. I performed some notable English character repertoire, for example the Red King in Checkmate and the title role in Petrushka.
Please tell us about the highlights of your career.
I danced with Sadler’s Wells Royal Ballet, becoming Resident Choreographer in 1984. After 10 years I joined The Royal Ballet as Principal Dancer and Resident Choreographer. The ballet works I am best known for are ‘Still Life’ At The Penguin Café, Hobson’s Choice, Tombeaux, Far From The Madding Crowd and my production of Cinderella.
I later became Director for Birmingham Royal Ballet (BRB), remaining in this role for twenty-four years, concurrently directing the National Ballet of Japan for four years where I have maintained close contacts.
One highlight of my career must be my involvement with the Channel 4 project, How Ballet Changed my Life: Ballet Hoo! It was a programme focusing on the outreach work done by BRB and the connections made between ballet and disadvantaged young people. I enjoyed facilitating opportunities for great people in BRB to get stuck into; we have to let people run with their ideas to see the best positive impacts.
Another example of this wonderful outreach work is BRB’s Freefall Dance Company, a fantastic opportunity for members to express themselves and build their classical technique without the restraint of their learning disabilities.
What has been the most memorable moment of your career?
I was in Japan was the 2011 earthquake hit, so saw the devastation first hand. I was very proud to take BRB back there just a month later; every other company had pulled out of touring but we did not. There was an outpouring of gratitude which was quite remarkable. It bound us as a company and with the people of Japan.
Why do you believe dance and the arts are important?
When asked this question, I like to quote Einstein: “Imagination is more important than knowledge”. The arts are all about the freedom to imagine; this is especially important now as we are in a tragic time where humanities and the arts are being cast aside. Life is important but the quality of life is just as important, if we just look at surviving we are not living a full life. I believe the arts give us more to live for.
For example, our outreach work bringing dance to young people brought about extraordinary results. The confidence students get from connecting to themselves through their physicality is very different to other means of developing confidence. They are not directly competitive as they are in sports and they are not sitting still behind a desk, dance gives them a means of expression which is hard to find elsewhere.
Dance is physicality aligned with imagination, giving young people the confidence to say, “this is me”. We also know after many testaments that involvement with dance improves work across other subjects.
Where do you find inspiration?
Inspiration in life and dance become different at this stage in life.
Professionally, I had a broad interest in dance; narrative, abstract and thematic were my top interests when developing work and performing myself.
Now I am more interested in what something says, the content as opposed to the style. This falls into the narrative sense as I invest in a character and build them through movement. I enjoy taking a subject that would not usually yield movement on the face and try to create a well-developed character.
I am enjoying working with composers more and more, I am not looking for music to give me ideas, the music should be built around the idea. I am not hugely interested in music which already exists unless listening to it for leisure.
If you could share some advice with young dancers, what would it be?
In a practical sense, you must stay healthy and well. Be sensible about your training and keep perspective about what you want versus the reality of your chances – this will keep you on track. Have self-awareness. Realise who you are and that you have got a unique set of gifts; just because you are not a professional yet it does not mean you are worthless. Keep an open mind and keep your feet on the ground.
Some things are important but nothing is worth breaking yourself for. If you no longer enjoy it, it is not worth it. Time goes by very quickly so soak up all you can, but do so with hard work and enjoyment.
Take opportunities to work with different companies. The world is much more open and connected so these opportunities come about much more frequently.
Please share your thoughts about being a Vice President for bbodance.
When I was younger I took part in some festivals connected to bbodance but I was not a member of the organisation at the time of being asked to be Vice President. The reason I was attracted to being part of the organisation stemmed from my experience at The Royal Ballet School. For the first two years there I was unable to show the kind of dancer I was; I did not have the physique required at the time. I had been on stage since the age of six, so could act, sing and dance, but due to the nature of training I was unable to show these attributes. bbodance have a clear message of providing variety within dance and giving people the chance to shine in all sorts of ways, something I did not have growing up.
It was because of my previous, varied, experience that I was able to carve my career and bbodance represent the importance of this variety. You do not have to be a copy of someone else; why be a second rate someone else when you can be a first rate you.
Can you describe bbodance in a few words?
The things I value about bbodance are the range of work, the fun and enjoyment poured into events, and the opportunities provided for all. When I experience bbodance events I do not feel fear or nervous energy, all I see is fun amongst the students.
What are your hopes for the future of dance?
I am at a stage in my life where I look around at the dance industry and things look good; there is a richness to the disciplines and there are talented people working.
On a personal level, I would fear that ballet companies move in a direction which leaves classicism behind. I believe it is important to keep ballet at the forefront and that is does not get subsumed by the crossover of contemporary dance. This crossover uses a similar physicality but loses the language of classical ballet. However, we also must measure this against the rise in what is taking the public’s interest away from dance. It is important to “wow” the audience and maintain their engagement with the arts but do so using originality not novelty. Without an appreciation of the past, we can not judge the present.
Do you have any advice for dance teachers?
The advice I give to teachers would not be too different to the advice I give students. Teachers are in a unique position where they are there to inspire a range of children. Some young dancers are in class as a hobby and some are there to build a career, alongside this there are a range of personalities and abilities in a single class.
I have coached people through professional roles and been very proud; I have also seen the other side where they train in dance then leave to study something completely different. I have been equally proud in this instance, I enjoy seeing people do what they love and if this involves stepping away from dance that is fine too.
I always tried to instil in dancers the qualities I would want to see as an employer and director. Of course everyone wants great turnout, technique and musicality but we also want to produce dedicated, well-mannered students who have humility. When I was directing BRB, envy and jealousy did not rule the company; the dancers genuinely rooted for one another and were generous to their fellow company members.
The best people I have worked with are the ones who want it. The really good dancers did not feel it was there right to be there over anyone else, they just got on with their job and worked hard.
Why is it important for dance teachers to train and gain a qualification in dance teaching?
Being a teacher is different in the current industry. When I was training we had respect for our teachers because of their experience in professional roles. Now we know a lot more about the development of young people and the importance of understanding current, and ever-changing, practice.
Having a qualification means you meet an industry standard; it gives parents and guardians a steer as to who they are giving their children to. However, teachers must match their personal qualities to the qualification; ensure your communication, kindness and personal skills are of an equal quality.
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