Article in the Guardian which gives a very balanced view of Streeton's time at RB.
Ross Stretton's exit from the Royal Ballet last week, less than a month before the start of its new season, could not have been more embarrassingly timed. Stretton was only one year into his three-year contract as artistic director, and couldn't claim to have a better job to go to. It was clearly a forced resignation. MORE
Why was he compelled to leave? There has been talk of arrogance, capricious casting and inappropriate relationships with younger dancers. There had been similar gossip while Stretton was at Australian Ballet, which the Opera House board might have investigated. After an Equity meeting in August, the mutinous artists apparently put so much pressure on the board that he was obliged to go.
RThe Sunday Times put Deborah Bull forward for the job.
THE former principal dancer at the Royal Ballet, Deborah Bull, is frontrunner to become its new artistic director, writes Richard Brooks. MORE
Bull, 39, who retired last year citing “nerves” as one reason for stopping her main stage performances, is highly regarded by both the senior management and the board of Covent Garden. Since the start of this year she has been artistic director of the Royal Opera House’s two new studio theatres, the Clore and the Linbury.
Ballet companies are hothouses at the best of times. Just imagine: you have reached the top of a ferociously competitive profession, and then you have to compete some more. Your fellow-dancers may be your friends but they are also your rivals. Career spans are short, and liable to end at a moment's notice – by injury, disfavour, or some crisis within the institution beyond your control. The world you inhabit is small, enclosed and highly charged. The strain on the nervous system is hard to imagine for those of us whose livelihoods don't depend on putting in a top-notch performance night after night. The pressure is on even at rehearsals. Bodies – literally stretched to the limit – break down. Exhaustion is common. MORE
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