Robert Helpmann (1909-1986)

Total Page:16

File Type:pdf, Size:1020Kb

Robert Helpmann (1909-1986) AUSTRALIAN EPHEMERA COLLECTION FINDING AID SIR ROBERT HELPMANN (1909-1986) PERFORMING ARTS PROGRAMS AND EPHEMERA (PROMPT) PRINTED AUSTRALIANA NOVEMBER 2016 This finding aid lists programs and ephemera which document all aspects of Sir Robert Helpmann’s extensive career as dancer, choreographer, director, and actor in Australia and overseas. Robert Helpmann’s extensive career started with ballet, started doing acting in 1930, emerged as a company choreographer in 1942. He also directed and produced productions as well. Helpmann’s career in Australia with the Australian Ballet and other Australian companies, and in the Old Vic Co. tour of Australia in 1955 are not, however, included. Material relating to these aspects of his career may be found under the respective names of the companies. Helpmann’s Australian and New Zealand tours of Nude with violin is such an example where related material is held in the J.C. Williamson General files of the PROMPT Collection. The Australian Ballet performances that are mentioned here are all duplicates of the same programs found in the Australian Ballet PROMPT collection, which features more of his work with them. Printed materials in the PROMPT collection include programs, and printed ephemera such as brochures, leaflets, tickets, etc. Theatre programs are taken as the prime documentary evidence of a performance by Helpmann. In a few cases however, the only evidence for a Helpmann performance is a piece of printed ephemera other than a full program. In these cases the details are in italics. Examples of this occur during part of the Sadler’s Wells Ballet seasons at Covent Garden in 1948 and 1949 in which fold-out brochures give basic daily listings for several weeks of the repertoire to be performed and some of the artists appearing. Details of Helpmann’s scheduled appearances have been extracted from these lists, but there is no guarantee that he actually appeared in the performance. In the case of triple bills there is no indication of the role/s he was to have danced. If, at a later stage, a program is acquired for any of those performances it is then taken as the prime document and supersedes the brochure listing as evidence of Helpmann’s actual appearance. The Helpmann files in the PROMPT collection also include miscellaneous ephemera items. The list is based on imperfect holdings, and is updated as gaps in the Library’s holdings are filled. Unless otherwise stated, all entries are based on published programs in the PROMPT collection. The Robert Helpmann PROMPT files may be accessed through the Library’s Special Collections Reading Room by eCallslip request: http://nla.gov.au/nla.cat-vn2640459. The list is in four sequences which reflect the arrangement of the Library’s Robert Helpmann PROMPT collection: Theatre [i.e.: Helpmann as actor and director working in drama, comedy, opera, revue] Overseas Ballet Australian Ballet Then individually listed, chronologically by performance as follows: Date (day and month); City Name of production or performer Headline performers etc. This document is keyword searchable. The arrangement within each sequence is chronological by year and then by month, week or day with all dates based on evidence in the programs or ephemera. The listing also notes the number of copies held, autographs, photos, biographies given in the program and significant partners in dance such as Dame Margot Fonteyn. A collection of personal scrapbooks belonging to Sir Robert Helpmann are held in the Library’s Manuscript Section (MS 7161). The finding aid to the manuscript collection is available from www.nla.gov.au/ms/findaids/7161.html. The Library also holds a number of pictures and photographs of Helpmann which may be accessed through the Pictorial Reading Room. Books about Helpmann, the ballet companies he performed with, the films he acted in, etc., as well as serials and newspapers containing reviews and articles are accessible through the Library’s catalogue. Biographical cuttings on Robert Helpmann are available through the Newspapers and Microforms Reading Room. Robert Helpmann (1909-1968) 2 These and other resources are included in the Library’s publication A full house : the ESSO guide to the Performing Arts Collections of the National Library of Australia / by Michelle Potter. The Australian Dance Collection Directory of Resources also provides a descriptive list of Helpmann material in a variety of formats especially film and video. The National Library’s collection also includes: Oral History recordings and interviews, Pictures of Robert Helpmann 1930 14 June; Her Majesty’s Theatre, Sydney (Aus) The Merry Widow – Opening dance and chorus, with Frances Ogilvy 1 photocopied program 1930 28 June; Her Majesty’s Theatre, Sydney (Aus) Katinka – Russian dancers, caberet dancers, with Frances Ogilvy 1 photocopied program 1933 28 February; Gate Theatre Studio London (UK) I Hate Men (Godfrey) – Young man 1 program 1934 9 March; Savoy Theatre, London (UK) Precipice (Gregory) — Duval 1 program 1934 19 March; Old Vic Theatre, London (UK) Les Sylphides (Chopin) – Mazurka Douanes (Geoffrey Toye) – one of The Three Gendarmes Les Rendezvous (Auber) – various 1 program 1934 5 June; Savoy Theatre, London (UK) Precipice (Gregory) — Duval 1 program 1934 2 October; Old Vic Theatre, London (UK) Fete Polonaise (Glinka) The Haunted Ballroom (Geoffrey Toye) – Master of Treginnis Robert Helpmann (1909-1968) 3 Les Rendezvous (Auber) – various 1 program 1934 9 October; Old Vic Theatre, London (UK) Les Rendezvous (Auber) – various The Jar (Alfred Casello) – Don Lollo Zirafa (a rich farmer) Carnaval (Schuman) – Harlequin Vic-Wells Ballet 1 program 1935 18 March; Adelphi Theatre, London (UK) Clifford Whitely's Revue and Stop Press Stop Press (Whitely) – with others Lovely Heart Column – with Margaret Sande and others Book of the Month “The Beggar’s Dream” — Beggar Revolt in Cuba – with Margaret Sande Echo of Former Romance – with Florence Chumbecos 1 program 1935 8 July; Golders Green Hippodrome (UK) Clifford Whitley’s Revue. Stop Press Stop Press – with others Lonely Heart Column – with Margaret Sande Book of the Month “The Beggar’s Dream” — Beggar Revolt in Cuba – with Margaret Sande Echo of Former Romance – with Florence Chumbecos 1 program 1935 15 July; Streatham Hill Theatre, London (UK) Clifford Whitely’s [Revue]. Stop Press Stop Press – with others Lonely Heart Column – with Margaret Sande Book of the Month “The Beggar’s Dream” – Beggar; Revolt In Cuba – with Margaret Sande Echo of Former Romance – with Florence Chumbecos 1 program 1936 9-16 June; Arts Theatre, Cambridge (UK) Turn Over A New Leaf; Choreographed by RH 1 program 1936 13 October; Sadler’s Wells, London (UK) Carnaval (Schuman) – Florestan Prometheus (Beethoven) – Prometheus Pas de Deux (from Sleeping Princess, Tchaikovsky) – with Fonteyn Robert Helpmann (1909-1968) 4 Vic-Wells Ballet 1 program 1937 5 January; Sadler’s Wells, London (UK) Apparitions (Constant Lambert) – The Poet 1 program 1937 16 January; Sadler’s Wells, London (UK) Casse Noisette (Tschaikowsky) – various The Aurora Pas de Deux (from Sleeping Princess, Tchaikovsky) – with Fonteyn 1 program 1937 8-15 June; Arts Theatre, Cambridge (UK) The Footlights Dramatic Club. Includes portrait Full Swing; Choreographed by RH. 1 program 1937 27 December; The Old Vic. Sadler’s Wells, London (UK) A Midsummer Night’s Dream (Shakespeare) – Oberon, King of the Fairies 1 program 1938 6 – 15 January; The Old Vic Sadler’s Wells, London (UK) A Midsummer Night’s Dream (Shakespeare) – Oberon, King of the Fairies 1 program 1938 18 – 29 January; The Old Vic Sadler’s Wells, London (UK) A Midsummer Night's Dream (Shakespeare) — Oberon, King of the Fairies The Old Vic Company 1 program 1938 27 January – 5 February; The Old Vic Sadler’s Wells, London (UK) A Midsummer Night’s Dream (Shakespeare) – Oberon, King of the Fairies The Old Vic Company 1 program 1938 2 – 5 February; The Old Vic Sadler’s Wells, London (UK) A Midsummer Night’s Dream (Shakespeare) – Oberon, King of the Fairies The Old Vic Company 1 program 1938 April; The People’s National Theatre. The Playhouse Theatre, London (UK) The Insect play (brothers Capek) – Felix in Act I ; Mr Cricket in Act II ; Chief of the Yellow Ants in Act III 3 programs, one with cover ill. by Mervyn Peake. One program dated 27 April, 1938. Robert Helpmann (1909-1968) 5 1938 26 April; Sadler’s Wells, London (UK) Rake’s Progress (Gordon) – The Rake 1 program 1938 Season commencing 29 August; Princes Theatre, Manchester (UK) Le Lac des Cygnes (Tchaikovsky) – Prince Siegfried Checkmate (Arthur Bliss) – The Red King Apparitions (Liszt) – The Poet The Vic- Wells Ballet 1 program 1939 6 – 21 January; The Old Vic Sadler’s Wells, London (UK) Season 1938-39 A Midsummer Night’s Dream (Shakespeare) – Oberon, King of the Fairies The Old Vic Company 1 program 1939 20 – 28 January; The Old Vic Sadler’s Wells, London (UK) Season 1938-39 A Midsummer Night’s Dream (Shakespeare) – Oberon, King of the Fairies The Old Vic Company 1 program 1939 16 February; Sadler’s Wells , London, UK) The Sleeping Princess (Tchaikovsky) – The Prince Charming 1 program 1939 28 March – 29 April The Old Vic, London (UK) The Taming Of The Shrew (Shakespeare) — Gremio, an old gentleman ; Nicholas, a servant ; a tailor The Old Vic. Company 5 programs 1939 24 April; The Old Vic. London, (UK) Shakespeare Birthday Festival Tailor in Taming of the Shrew 1 program 1939 16 October; Birmingham Theatre Royal, Birmingham (UK) Checkmate (Arthur Bliss) – The Red King Façade (William Walton) – The
Recommended publications
  • Michael Powell and Emeric Pressburger, a MATTER of LIFE and DEATH/ STAIRWAY to HEAVEN (1946, 104 Min)
    December 8 (XXXI:15) Michael Powell and Emeric Pressburger, A MATTER OF LIFE AND DEATH/ STAIRWAY TO HEAVEN (1946, 104 min) (The version of this handout on the website has color images and hot urls.) Written, Produced and Directed by Michael Powell & Emeric Pressburger Music by Allan Gray Cinematography by Jack Cardiff Film Edited by Reginald Mills Camera Operator...Geoffrey Unsworth David Niven…Peter Carter Kim Hunter…June Robert Coote…Bob Kathleen Byron…An Angel Richard Attenborough…An English Pilot Bonar Colleano…An American Pilot Joan Maude…Chief Recorder Marius Goring…Conductor 71 Roger Livesey…Doctor Reeves Robert Atkins…The Vicar Bob Roberts…Dr. Gaertler Hour of Glory (1949), The Red Shoes (1948), Black Narcissus Edwin Max…Dr. Mc.Ewen (1947), A Matter of Life and Death (1946), 'I Know Where I'm Betty Potter…Mrs. Tucker Going!' (1945), A Canterbury Tale (1944), The Life and Death of Abraham Sofaer…The Judge Colonel Blimp (1943), One of Our Aircraft Is Missing (1942), 49th Raymond Massey…Abraham Farlan Parallel (1941), The Thief of Bagdad (1940), Blackout (1940), The Robert Arden…GI Playing Bottom Lion Has Wings (1939), The Edge of the World (1937), Someday Robert Beatty…US Crewman (1935), Something Always Happens (1934), C.O.D. (1932), Hotel Tommy Duggan…Patrick Aloyusius Mahoney Splendide (1932) and My Friend the King (1932). Erik…Spaniel John Longden…Narrator of introduction Emeric Pressburger (b. December 5, 1902 in Miskolc, Austria- Hungary [now Hungary] —d. February 5, 1988, age 85, in Michael Powell (b. September 30, 1905 in Kent, England—d. Saxstead, Suffolk, England) won the 1943 Oscar for Best Writing, February 19, 1990, age 84, in Gloucestershire, England) was Original Story for 49th Parallel (1941) and was nominated the nominated with Emeric Pressburger for an Oscar in 1943 for Best same year for the Best Screenplay for One of Our Aircraft Is Writing, Original Screenplay for One of Our Aircraft Is Missing Missing (1942) which he shared with Michael Powell and 49th (1942).
    [Show full text]
  • The Representation of Reality and Fantasy in the Films of Powell and Pressburger: 1939-1946
    The Representation of Reality and Fantasy In the Films of Powell and Pressburger 1939-1946 Valerie Wilson University College London PhD May 2001 ProQuest Number: U642581 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest. ProQuest U642581 Published by ProQuest LLC(2015). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. Microform Edition © ProQuest LLC. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 The Representation of Reality and Fantasy In the Films of Powell and Pressburger: 1939-1946 This thesis will examine the films planned or made by Powell and Pressburger in this period, with these aims: to demonstrate the way the contemporary realities of wartime Britain (political, social, cultural, economic) are represented in these films, and how the realities of British history (together with information supplied by the Ministry of Information and other government ministries) form the basis of much of their propaganda. to chart the changes in the stylistic combination of realism, naturalism, expressionism and surrealism, to show that all of these films are neither purely realist nor seamless products of artifice but carefully constructed narratives which use fantasy genres (spy stories, rural myths, futuristic utopias, dreams and hallucinations) to convey their message.
    [Show full text]
  • Issue 17 Ausact: the Australian Actor Training Conference 2019
    www.fusion-journal.com Fusion Journal is an international, online scholarly journal for the communication, creative industries and media arts disciplines. Co-founded by the Faculty of Arts and Education, Charles Sturt University (Australia) and the College of Arts, University of Lincoln (United Kingdom), Fusion Journal publishes refereed articles, creative works and other practice-led forms of output. Issue 17 AusAct: The Australian Actor Training Conference 2019 Editors Robert Lewis (Charles Sturt University) Dominique Sweeney (Charles Sturt University) Soseh Yekanians (Charles Sturt University) Contents Editorial: AusAct 2019 – Being Relevant .......................................................................... 1 Robert Lewis, Dominique Sweeney and Soseh Yekanians Vulnerability in a crisis: Pedagogy, critical reflection and positionality in actor training ................................................................................................................ 6 Jessica Hartley Brisbane Junior Theatre’s Abridged Method Acting System ......................................... 20 Jack Bradford Haunted by irrelevance? ................................................................................................. 39 Kim Durban Encouraging actors to see themselves as agents of change: The role of dramaturgs, critics, commentators, academics and activists in actor training in Australia .............. 49 Bree Hadley and Kathryn Kelly ISSN 2201-7208 | Published under Creative Commons License (CC BY-NC-ND 3.0) From ‘methods’ to ‘approaches’:
    [Show full text]
  • The Australian Theatre Family
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Sydney eScholarship A Chance Gathering of Strays: the Australian theatre family C. Sobb Ah Kin MA (Research) University of Sydney 2010 Contents: Epigraph: 3 Prologue: 4 Introduction: 7 Revealing Family 7 Finding Ease 10 Being an Actor 10 Tribe 15 Defining Family 17 Accidental Culture 20 Chapter One: What makes Theatre Family? 22 Story One: Uncle Nick’s Vanya 24 Interview with actor Glenn Hazeldine 29 Interview with actor Vanessa Downing 31 Interview with actor Robert Alexander 33 Chapter Two: It’s Personal - Functioning Dysfunction 39 Story Two: “Happiness is having a large close-knit family. In another city!” 39 Interview with actor Kerry Walker 46 Interview with actor Christopher Stollery 49 Interview with actor Marco Chiappi 55 Chapter Three: Community −The Indigenous Family 61 Story Three: Who’s Your Auntie? 61 Interview with actor Noel Tovey 66 Interview with actor Kyas Sheriff 70 Interview with actor Ursula Yovich 73 Chapter Four: Director’s Perspectives 82 Interview with director Marion Potts 84 Interview with director Neil Armfield 86 Conclusion: A Temporary Unity 97 What Remains 97 Coming and Going 98 The Family Inheritance 100 Bibliography: 103 Special Thanks: 107 Appendix 1: Interview Information and Ethics Protocols: 108 Interview subjects and dates: 108 • Sample Participant Information Statement: 109 • Sample Participant Consent From: 111 • Sample Interview Questions 112 2 Epigraph: “Happy families are all alike; every unhappy family is unhappy in its own way. Everything was in confusion in the Oblonsky’s house. The wife had discovered that the husband was carrying on an intrigue with a French girl, who had been a governess in their family, and she had announced to her husband that she could not go on living in the same house with him.
    [Show full text]
  • Remembering Edouard Borovansky and His Company 1939–1959
    REMEMBERING EDOUARD BOROVANSKY AND HIS COMPANY 1939–1959 Marie Ada Couper Submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy 2018 School of Culture and Communication The University of Melbourne 1 ABSTRACT This project sets out to establish that Edouard Borovansky, an ex-Ballets Russes danseur/ teacher/choreographer/producer, was ‘the father of Australian ballet’. With the backing of J. C. Williamson’s Theatres Limited, he created and maintained a professional ballet company which performed in commercial theatre for almost twenty years. This was a business arrangement, and he received no revenue from either government or private sources. The longevity of the Borovansky Australian Ballet company, under the direction of one person, was a remarkable achievement that has never been officially recognised. The principal intention of this undertaking is to define Borovansky’s proper place in the theatrical history of Australia. Although technically not the first Australian professional ballet company, the Borovansky Australian Ballet outlasted all its rivals until its transformation into the Australian Ballet in the early 1960s, with Borovansky remaining the sole person in charge until his death in 1959. In Australian theatre the 1930s was dominated by variety shows and musical comedies, which had replaced the pantomimes of the 19th century although the annual Christmas pantomime remained on the calendar for many years. Cinemas (referred to as ‘picture theatres’) had all but replaced live theatre as mass entertainment. The extremely rare event of a ballet performance was considered an exotic art reserved for the upper classes. ‘Culture’ was a word dismissed by many Australians as undefinable and generally unattainable because of our colonial heritage, which had long been the focus of English attitudes.
    [Show full text]
  • And We Danced Episode 3 Credits
    AND WE DANCED WildBear Entertainment, ABC TV and The Australian Ballet acknowledge the Traditional Owners of country throughout Australia and recognise their continuing connection to land, waters and culture. We pay our respects to their Elders past and present. EPISODE THREE Executive Producers Veronica Fury Alan Erson Michael Tear Development Producer Stephen Waller INTERVIEWEES Margot Anderson Dimity Azoury Peter F Bahen Lisa Bolte Adam Bull Ita Buttrose AC OBE Chengwu Guo David Hallberg Ella Havelka Steven Heathcote AM Marilyn Jones OBE Ako Kondoo David McAllister AC Graeme Murphy AO Stephen Page AO Lisa Pavane Colin Peasley OAM Marilyn Rowe AM OBE Amber Scott Hugh Sheridan Fiona Tonkin OAM Elizabeth Toohey Emma Watkins Michael Williams SPECIAL THANKS TO David McAllister AC David Hallberg Nicolette Fraillon AM 1 Artists of The Australian Ballet past and present Artists of Bangarra Dance Theatre past and present Orchestra Victoria Opera Australia Orchestra The Australian Ballet School Tony Iffland Janine Burdeu The Wiggles The Langham Hotel Melbourne Brett Ludeman, David Ward ARCHIVE SOURCES The Australian Ballet ABC Archives National Film and Sound Archive Associated Press Getty The Apiary The Wiggles International Arts Newspix Bolshoi Ballet American Ballet Theater FOOTAGE The Australian Ballet Year of Limitless Possibilities, 2020 Brand Film Artists of The Australian Ballet Valerie Tereshchenko, Robyn Hendricks, Dimity Azoury, Callum Linnane, Jake Mangakahia Choreography David McAllister AM Cinematography Brett Ludeman and Ryan Alexander Lloyd Produced by Robyn Fincham and Brett Ludeman Filmed on location at Mundi Mundi Station, via Silverton NSW The Living Desert Sculpture Park, Junction Mine, The Imperial Fine Accommodation, Broken Hill NSW.
    [Show full text]
  • A YEAR of TOURING H ARTUR RUBINSTEIN ANTWERP, BELGIUM BRUSSELS
    <; :■ ARTUR RUBINSTEIN Exclusive Management: HUROK ARTISTS, Inc. 711 Fifth Avenue, New York 22, N. Y. ARTUR RUBINSTEIN ‘THE MAN AND HIS MUSIC ENRICH THE LIVES OF PEOPLE EVERYWHERE' By HOWARD TAUBMAN Music Editor of the New York Times \ rtur Rubinstein is a complete artist because as an artist and admired as a man all over the Ahe is a whole man. It does not matter whether world. In his decades as a public performer he /—\ those who go to his concerts are ear-minded has appeared, it has been estimated, in every or eye-minded — or both. His performances are country except Tibet. He has not played in Ger­ a comfort to, and an enlargement of, all the many since the First World War, but that is faculties in the audience. And he has the choice because of his own choice. He felt then that the gift of being able to convey musical satisfaction Germans had forfeited a large measure of their —even exaltation—to all conditions of listeners right to be regarded as civilized, and he saw from the most highly trained experts to the most nothing in the agonized years of the Thirties and innocent of laymen. Forties which would cause him to change his mind about Germany. The reason for this is that you cannot separate Artur Rubinstein the man from Artur Rubinstein The breadth of Rubinstein's sympathies are in­ the musician. Man and musician are indivisible, escapable in the concert hall. He plays music of as they must be in all truly great and integrated all periods and lands, and to each he gives its due.
    [Show full text]
  • The Physician at the Movies Peter E
    The physician at the movies Peter E. Dans, MD Geoffrey Rush, Colin Firth (as Prince Albert/King George VI), and Helena Bonham Carter in The King’s Speech (2010). The Weinstein Company,/Photofest. The King’s Speech helphimrelaxhisvocalcordsandtogivehimconfidencein Starring Colin Firth, Geoffrey Rush, Helena Bonham Carter, anxiousmoments.Heisalsotoldtoputpebblesinhismouth Guy Pearce, and Derek Jacobi. like Demosthenes was said to have done to speak over the Directed by Tom Hooper. Rated R and PG. Running time 118 waves.Allthatdoesismakehimalmostchoketodeath. minutes. His concerned wife, Elizabeth (Helena Bonham Carter), poses as a Mrs. Johnson to enlist the aid of an unorthodox box-officefavoritewithanupliftingcoherentstorywins speechtherapist,LionelLogue,playedwithgustobyGeoffrey the Academy Award as Best Picture. Stop the presses! Rush. Firth deserved his Academy Award for his excellent AThefilm chronicles the transformation of the Duke of York job in reproducing the disability and capturing the Duke’s (ColinFirth),wholookslike“adeerintheheadlights”ashe diffidence while maintaining his awareness of being a royal. stammers and stutters before a large crowd at Wembley Still,itisRushwhomakesthemoviecomealiveandhasthe StadiumattheclosingoftheEmpireExhibitionin1925, best lines, some from Shakespeare—he apologizes to Mrs. J tohisdeliveryofaspeechthatralliesanationatwar fortheshabbinessofhisstudiowithalinefromOthellothat in1939.Thedoctorswhoattendtowhattheycall being“poorandcontentisrich,andrichenough.”Refusingto tongue-tiednessadvocatecigarettesmokingto
    [Show full text]
  • The Red Shoes Digital Programme 13.67 MB
    A NEW ADVENTURES AND ILLUMINATIONS PRODUCTION FOR BBC DIGITAL PROGRAMME WELCOME FROM NEW ADVENTURES Dear friends, Welcome to our spectacular production of The Red Shoes, filmed last year at Sadler’s Wells, London. This show is the culmination of a twenty-year ambition to bring Powell and Pressburger’s seminal 1948 film to the stage. It is also, in many ways, a personal love letter to a life in theatre and dance, made all the more poignant by this year’s unexpected events. When we created the show in 2016, we were delighted by the response from audiences everywhere we went, returning to some venues for a second run by popular demand! The production went on to win two Olivier Awards and was also honoured with by the LA Critics’ Awards for both choreography and set and costume design. This film version features a star-studded cast and many of the original cast in the roles they created, including Dominic North, Michela Meazza, Liam Mower, Glenn Graham and the wonderful Ashley Shaw who won a National Dance Award for her role as Victoria Page. We were also joined by an old friend of the company, the great Adam Cooper, who played the iconic role of The Swan in my original production of Swan Lake 25 years ago. We were so delighted that Adam returned to The Red Shoes company to take on the role of enigmatic impresario, Boris Lermontov. This last year has been so challenging for us all and I would like to take this opportunity to thank our supporters and loyal audiences who have sent messages of encouragement from around the globe.
    [Show full text]
  • Commence to Dancing by David Vaughan Introduced by Alastair Macaulay
    QUESTIONS OF PRACTICE Commence to Dancing By David Vaughan Introduced by Alastair Macaulay THE PEW CENTER FOR ARTS & HERITAGE / PCAH.US / @PEWCENTER_ARTS Commence to Dancing The Senior CriTics AwArd, delivered By David VaughAn at The DanCe CriTics AssoCiation at DanCe new AmsterdAm, new york CiTy, on 17 June 2007 Introduction by Alastair Macaulay This is the Dance Critics’ Association; and I hope that many of you here first got to know David the way I did—by reading him in print. In 1965, he was a founding figure at Ballet Review and, alone of that magazine’s founders, he still contributes regularly to it. In fact, its “Annals of The Sleeping Beauty” department would scarcely exist without him. For many years, he was the Financial Times’s distinguished New York dance correspondent. His book Merce Cunningham: Fifty Years (Aperture, 2005) is indispensable to anyone writing on the subject, and I say that as someone who has sometimes groaned at its sheer weight across my knees. I myself came to know him through his book Frederick Ashton and His Ballets (A & C Black, 1977)—“the Ashton book,” as it was known for many years. For me, this came at an opportune moment: I was twenty-two, and the two Royal Ballet companies staged an unusually large number of Ashton ballets in the year it was published. I had read the book from cover to cover the moment it came out; then I read it again from cover to cover; and then, every time I went to see any Ashton performance, I would read the relevant section both before setting out and then on returning home.
    [Show full text]
  • Birtwistle to Boulanger
    . .agm.. -~ ... -.STU 71543 196/9 Anciphonies~ for piano and orchestra- - ._141 42 C .D .'982 Carmen.Arcadiae Mechanicae Perpetuum ~- ETC 1052 240/19 n Chronometer __ LXXX/8 I ZRG 790 - _--_\ Ea&h dclnces 2001 2 C .D. 679 11 452 I1 104-2 C.D. 1479 Five distances'for five instruments 439 910 C.D.1180 For O, for O, the hobby-horse is forgot (1976) EA 'ceremony for six percussionists] KTC 1130 C.D. 452 Gawain's journey 13872 C .D. 1060 -. An imaginary landscape 141 42 C .D.982 The mask of Orpheus NMC DO50 C .D. 1 680 Melancolia I - for clarinet, harp and 2 string orchestras DO09 C.D.620 Meridian - for mezzo-soprano, horn, cello, chorus of 6 sopranos, instrumental ensemble DO09 C .D.620 Movements for.~ string quartet (1991-96) WD 96 C.D. 1601 .. Nomos 141 42 C.D. 982 BIRTWISTLE, Harrison Panic 452 104-2 C.D.1479 Precis ALP 2098 XXXVILI /3 Pulse sampler - oboe and Dercussion NMC DO425 C .D. 1 681 Punch and Judy: oDera in one act HEAD 24/25 c1x/2 Refrains and choru: 11 1 Ritual fragment - for instrumental ensemble DO09 C .D. 620 11 II (excerpt) NMC m31 C.D. 1478 The triumph of time ZRG 790 LXXX/8 11 11 11 13872 C.D. 1060 percussionists KTC 1130 C .D.452 Glee;____ Foresters,_- ____ sound__ the _-- cheerful horn Church music The Old Hall Manuscript - Nesciens mater En Katerine solennia Vocal music CD A6 6783 C .D. 1 285 En Katerina solennia/Virginalis concio/ SPONSUS AMAT SPONSUM BIZET.
    [Show full text]
  • White Lodge Museum : Newsletter
    Newsletter | Autumn 2013 Issue 10 Dame Monica Mason with a painting of Leslie Hurry’s set design for Helpmann’s Hamlet, which she has kindly donated to White Lodge Museum Panel discussion L - R: Professor Richard Cave, choreographer Andrew McNicol and Dr Víctor Durà-Vilà On 27 October White Lodge Museum hosted a full day symposium The Many Faces of Robert Helpmann. Foundations of the event lay in a reconstruction of Helpmann’s 1944 ballet Miracle in the Gorbals. David Drew, former Principal with The Royal Ballet, began a project with White Lodge Museum in 2011 to reconstruct the ‘lost’ ballet. Several members of the original cast were involved including Gillian Lynne, Pauline Clayden, Julia Farron, Jean Bedells and Henry Danton. Following a very successful workshop at White Lodge with a cast of 40 dancers, the decision was taken to hold a symposium to explore the significance of Helpmann in British ballet, theatre and film. A Royal Ballet School student performs in Andrew Film footage of the Miracle in the Gorbals workshop McNicol’s new choreography based on Adam Zero. formed the basis of a paper by Michael Byrne as part of his PhD at the University of Cambridge. He is investigating the regenerative processes of reviving ballets with scores by the composer Arthur Bliss. In addition to Miracle in the Gorbals Bliss wrote the music for Helpmann’s ballet Adam Zero (1946). Dr Víctor Durà-Vilà, Visiting Research Fellow at King’s College London, considered why Helpmann and Bliss made such an effective creative partnership. Along with diverse papers, panels and film screenings there was performance by Royal Ballet School students in new choreography by Andrew McNicol based on Adam Zero.
    [Show full text]