Peggy van Praagh left the Sadler’s Wells Theatre Ballet in the summer of 1955. With this development and the understanding that it was increasingly difficult for the Covent Garden troupe…
Edouard Espinosa left the Association of Operatic Dancing in Great Britain (later the Royal Academy of Dancing) and formed the British Ballet Organization (BBO) in 1930 alongside his wife Louise…
The dance writer, and former dancer, Deborah Weiss is joined in the studio for a special Voices of British Ballet round table discussion. Anita Landa, Pamela Hart, Joyce Lyndon and…
David Wall was one of the greatest male dancers of his era, with an extraordinary stage charisma, range, theatricality and honesty. In this interview he talks to Frank Freeman, a…
Critic and writer Clement Crisp gives a succinct and vivid summing up of the debt British ballet owes to Constant Lambert, not just as the conductor for the Vic-Wells and…
You can hear in her voice how much Lucette Aldous appreciated and revelled in every step of her way from Ballet Rambert to Festival Ballet and The Royal Ballet. With…
Anne Heaton’s career coincided with an upsurge in creative talent at the Sadler’s Wells Ballet. Observant and wide ranging she reflects on many things, not least the enigmatic choreographer, Andrée…
Taking Maurice Ravel’s sumptuous score for Mikhail Fokine’s 1912 ballet (since lost), Frederick Ashton created Daphnis and Chloë for Sadler’s Wells Ballet in 1951 as a vehicle for Margot Fonteyn…
Frederick Ashton ceased being director of The Royal Ballet in 1970 under controversial circumstances. The new director, Kenneth MacMillan, was to have shared the job with John Field, but when…
Following the departure of Beryl Grey, John Field was appointed the new artistic director of London Festival Ballet….