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Twenty Years of Birmingham Royal Ballet
Published April 2010 When Sadler’s Wells Royal Ballet packed its bags twenty years ago and headed for the English Midlands there were more than a few people who though it was headed for oblivion. The then Artistic Director told me that one un-named individual said, “Why on earth would you want to go to Birmingham?” and proceeded to outline everything that was negative about the city. And as for the thought of living there… But it has turned out to be the pretty much the best thing that has happened to the company since it was formed. By 1990, there had undoubtedly long been a need to escape the cramped, outdated Sadler’s Wells Theatre. The escape route came courtesy of then Birmingham Hippodrome director Richard Johnson and some far sighted Birmingham city councillors. The city and the Arts Council funded the move, which included constructing a brand new, purpose-built extension to the theatre. At the time, the new facilities were unlike anything any British company enjoyed, and most foreign companies too. There were two huge studios, each the size of the theatre’s massive stage, plus two smaller rehearsal rooms, and administration offices, wardrobe and technical staff all under the same roof. As things turned out, the move and the later complete split from The Royal Opera House, came at the right time for other reasons too, in particular it avoided the subsequent funding issues that dogged The Royal Ballet and The Royal Opera. Given later events, it is highly questionable whether the company would have survived as a separate entity had it stayed in London. It certainly would have looked very different than it does today. And things haven’t stopped there. Since then a further studio has been added and The Jerwood Centre for the Prevention and Treatment of Dance Injuries opened. Run by the company’s medical team, the Centre contains state-of-the-art diagnostic and fitness equipment, including a hydrotherapy pool where dancers can work safely on their injuries while being supported by the water. Present Artistic Director David Bintley took over in 1995, and has choreographed the bulk of the company’s new repertory since. There have been an enormous number of new whole evening and shorter works. The former in particular highlight his sense of humour and liking for choreography for the men, such as the wooden-legged pirate in “Sylvia” and the three-legged man in “Far From the Madding Crowd.” Two works really stand out: “Hobson’s Choice,” his most English of ballet’s featuring Will Mossop as the working class nobody made good; and “Carmina Burana,” once described to me by former principal Catherine Batcheller as the best of all Bintley’s ballets. Alongside his own works Bintley, has been keen to extend his dancers by bringing in outside choreographers and new styles. Twyla Tharp’s “In the Upper Room” is an audience and dancer favourite, as is her “Nine Sinatra Songs.” More contemporary is the recent and athletic “The Centre and It’s Opposite” by Australian choreographer Garry Stewart. And let’s not forget the company’s acknowledgement of its Frederick Ashton heritage and its preservation of some of his less well-known repertory. Many will never forget the special season at the Birmingham Repertory Theatre, used because of the Hippodrome’s 2000-1 refurbishment, that featured works such as “A Walk to the Paradise Garden” and “Dante Sonata”. And of course, there is the perennial audience favourite “The Two Pigeons” with its pair of real birds. The company continues to move on, develop and progress. Founder Ninette de Valois would have liked that. As does Wright, because as he says correctly, “ballet must never become a museum --even the classics must change, because audiences do.” Here’s to the next twenty years!
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by David Mead