Voices of British Ballet

There is so much in this short interview to love and revere. Roger Tully was a legendary teacher, who was an inspiration to many dancers over many years. He had strong and very definite ideas about dancing and technique, but he was always looking beyond – to maybe something spiritual. He was a teacher who in the great early Twentieth-Century tradition of teachers, taught outside institutions. For the art of dance to live on, long may this independent spirit last and flourish. In this interview, which was recorded in 2020, Roger Tully talks to the dancer, choreographer and writer Jennifer Jackson, who was also one of his pupils.Roger Tully was born in London in 1928. After National Service and training as an optician, his love of dance led him to study with Marie Rambert at her school. He went on to study with Cleo Nordi, Lydia Kyasht, Stanislas Idzikowski and, above all, with Kathleen Crofton, who had herself studied under the former Imperial Russian ballerina Olga Preobrajenska and danced with the Anna Pavlova company. His association with Crofton, which lasted for many years until she herself departed to the USA in 1966, asking him to take over her classes, was perhaps the central influence on his own approach to dance and to teaching.From 1949 until 1951 Tully danced with Ballet Rambert, and then with International Ballet until it’s closure in 1953. He also worked on the musical stage and with Walter Gore’s London Ballet, where he partnered Paula Hinton. In the 1960s he danced in the USA and in Canada with Les Grands Ballets Canadiens.In 1977, Tully bought a house in Bedford Gardens in Kensington and established a studio there, where he taught until he moved away from London in 2015. He remained independent of established schools and teaching systems and his classes, in which he taught all levels, from beginners to established professionals including principal dancers from major companies, gained an enviable reputation for their grounding in the classical tradition. His teaching was much valued by those looking for something different from the norm. He addressed the person who dances and stressed artistry rather than gymnastic virtuosity. His approach, however, was systematically thought out, looking to move with the body’s natural weight, rather than fighting against it, so as to achieve a true sense of vertical balance and stability. In this quest he was also influenced by his study of classical sculpture. In 2011 he published The Song Sings the Bird: A Manual on the Teaching of Classical Dance, in which he sums up his decades of experience in the teaching of ballet.As well as working in Bedford Gardens, he also taught ballet at Pineapple Studio and Dance Works in London and to ballroom dancers in Helsinki, as well as master classes in Paris, Rome, and Tokyo. Even after he had moved away from London to Haywards Heath in Sussex, he continued to teach right up to his death in 2020, at the age of 91.

This interview is a reminder of how lucky we in Britain have been with our great choreographers – in this case Christopher Bruce. Talking to Deborah Weiss, dance writer, editor and former first soloist with London Festival Ballet, Kevin Richmond also reminds us about taking chances, fun and friendship. The interview was recorded in 2018 and is introduced by Deborah Weiss.Born in Nottingham in 1958, Kevin Richmond was the eldest of three boys. His interest in theatre began at primary school where he was encouraged to participate in drama classes. At the age of ten he was recruited as a child actor to appear in a number of productions, including Waiting for Godot with Peter O’Toole and in the 1972 Harold Becker film The Ragman’s Daughter. Initially, Richmond wasn’t keen to learn to dance but was convinced by his teachers that it may help his acting career.Richmond’s first professional dance job was with an education project called Dance for Everyone when Richmond was just 17. He joined London Festival Ballet in 1977 under the directorship of Beryl Grey and remained with the company, now English National Ballet, for 22 years. He worked with five directors during this time and among his most memorable experiences was working with the choreographer Christopher Bruce on Swansong. Bruce created the ballet on Richmond, Matz Skoog and Koen Onzia in 1987 and this work and its cast were celebrated worldwide. Other important roles included the title role in Christopher Hampson’s Scrooge, Tybalt in Romeo and Juliet and Dr Coppélius in Coppélia.After retiring from the stage, Richmond completed the Professional Dancer’s Teaching Diploma at the Royal Academy of Dance and taught at London Studio Centre, Basler Ballett, Cathy Sharp Dance Ensemble and latterly, at the Zürcher Hochschule der Künst in Zürich where he taught the BA in Contemporary Dance course. He also taught as a guest teacher with many companies including Rambert. He became ill with cancer in 2018 and died the following year.The photograph shows Kevin Richmond in The Nutcracker; Kevin Richmond; Peter Schaufuss production; Designs by David Walker; English National Ballet; 1986; at the London Coliseum; London, UK; Photo by Bill Cooper licensed by Areanpal

The second in our series of special episodes to celebrate the 100th anniversary of the founding of Ninette de Valois’ Academy for Choregraphic Art in March 1926, and to mark 25 years since de Valois' death. Patricia Linton talks to Dr Anna Meadmore, archivist at The Royal Ballet School about de Valois ballet, Checkmate.Checkmate is one of the only two ballets by Ninette de Valois to survive in the repertoire. It makes allegorical use of a chess game to represent a battle between love and death. Arthur Bliss, the composer, and Edward McKnight Kauffer, the designer, worked with de Valois’ ideas in a way that made perfect sense of the ensuing battle, and testified to her commitment to Serge Diaghilev’s ideas on the importance of music and design in ballet. The action of the chess pieces is foreshadowed in a prologue in which the skeletal hand of death plays chess with the figure of love and suggests that what we are about to see is in some way pre-determined. The chess pieces from pawn and knight to King and Queen make their moves as if guided by the hand of fate. The Black Queen powers her way across the board, dominating all around her. After the thunderous chaos and brutal murder of her would-be lover the Red Knight, the climatic finale sees the Red King goaded out of his inertia. His feeble resistance prompts the Queen to administer the coup de grace: ‘checkmate indeed’. The ballet was first performed at the Théâtre des Champs Élysées, Paris in 1937, with June Brae as the Black Queen, Harold Turner as the Red Knight, and Robert Helpmann and Pamela May as the Red King and Queen.The photograph shows Sadler’s Wells Ballet in Checkmate at the Royal Opera House, 1947. Love (Jean Bedells) and Death (Franklin White) deliberate over a game of chess in the Prologue to Ninette de Valois’ ballet Credit: Frank Sharman/Royal Opera House/ArenaPAL

Here, Patricia Thorburn throws a little light on finding jobs with Patricia Linton, founder and director of Voices of British Ballet. The interview, which was recorded in 2003, is introduced by dance historian Jane Pritchard.Patricia Thorburn was born in Peebles, Scotland, and was a student of Mrs Bell Hardy in Edinburgh. In 1937, she auditioned and then studied at the Sadler’s Wells Ballet School and made her debut with the Carl Rosa Opera in 1938. In 1939 and 1940 she served with the Auxiliary Territorial Service (ATS) but joined the Anglo Polish Ballet in 1940 and remained with the company until 1942. Following this, she appeared in a number of London shows, and married John Arnold in 1945 before joining the Sadler’s Wells Ballet at the Royal Opera House, Covent Garden, in 1946 to boost the numbers in their extraordinary production of The Sleeping Beauty.Thorburn then danced as a member of the Agnes de Mille Ballet in the stage musical London Town. She retired from the company in 1947. Using her ballet training as a basis, she went to study with Sigurd Leeder at his School of Dance at Dartington Hall, Devon, to expand her horizons. She pioneered a Pure Movement course to help actors move more naturally on stage and screen and, working under her married name of Patricia Arnold, started to teach movement and historical dance at the London Academy of Music and Dramatic Art (LAMDA) in 1955, where she became head of Movement from 1963 until 1972. She also taught at the Guildhall School of Music and Drama. Thorburn taught well beyond the age of 75, and even after retirement was often asked back to teach masterclasses.The photograph shows Patricia Thorburn with fellow classmates from Sadler's Wells Ballet School with Nicholas Segeyev in the centre in 1937 / 1938. Photo courtesy of Patricia Thorburn.

What agony to hear this gorgeous, beguiling woman lament the lack of interest she feels was shown to her generation in passing on their knowledge and experience to the next. Irina Baronova’s no nonsense approach is mysteriously interwoven with intuitive artistry – we could expect no less from one of the original “Baby Ballerinas” of the Ballet Russe de Monte Carlo. In this interview, recorded in 2006, Irina Baronova is interviewed by Patricia Linton, founder and director of Voices of British Ballet. The interview is introduced by Jane Pritchard of the V&A.Irina Baronova was a Russian-born ballerina and actress, known as one of the “Baby ballerinas” of the Ballet Russe de Monte Carlo. She was born in Petrograd in 1919. Her father, Mikhail Baronov, was a lieutenant in the Imperial Navy, and in 1920 he and his family had to flee the country following the Russian Revolution. They crossed the border into Romania disguised as peasants and eventually settled in Bucharest. They had no money in a foreign country where they did not know or speak the language. Baronov eventually found a job at a factory, and the family spent the following years living in the city slums.At the age of seven, Baronova began taking her first ballet classes when her mother (who was a ballet enthusiast) found her a teacher, Madame Majaiska, a former corps de ballet member of the Imperial Russian Ballet. She was also a refugee from Russia and so conducted Baronova’s classes in the kitchen of her one-bedroom house, using the kitchen table as a barre. To provide Irina with professional training, the family moved to Paris when she was ten years old, where she was taught by Olga Preobrajenska and Mathilde Kschessinska. In 1930, at the age of 11, Baronova made her debut at the Paris Opéra. The catalyst for her career came in 1932, just before her 13th birthday, when George Balanchine engaged her for the Ballet Russe de Monte Carlo, along with the equally youthful Tamara Toumanova and Tatiana Riabouchinska. The English critic Arnold Haskell dubbed this illustrious trio the “Baby Ballerinas”.Baronova was 14 when she was given her first principal role, as Odette in Act II of Swan Lake, in which she was partnered by Anton Dolin. At the age of 17, she eloped with an older Russian man, German (Jerry) Sevastianov, in order to get married. Their marriage came two years later, in 1938, with a ceremony in Sydney, Australia. Baronova then joined Ballet Theatre (now American Ballet Theatre) in the United States of America, subsequently divorcing Sevastianov. In 1946, in the United Kingdon, she met the theatrical agent Cecil Tennant who asked her to marry him, which she did, retiring from her career in ballet at the age of 27. Between 1940 and 1951, Baronova appeared in several films, including Ealing Studio’s Train of Events (1949). Much later she worked as ballet mistress on the 1980 Hollywood film Nijinsky. During her marriage to Tennant, she gave birth to three children: Victoria, Irina and Robert. In 1967, Tennant was killed in a car accident, and Baronova subsequently moved to Switzerland. She then resumed her marriage with her first husband, Sevastianov, who died in 1974. Baronova then began teaching master classes in the UK and the USA. In 1986 she staged Mikhail Fokine’s Les Sylphides for The Australian Ballet, and in 1992 returned to Russia to help the Maryinsky Theatre with an archival project. In 1996 she received a Vaslav Nijinsky Medal in Poland and an honorary doctorate from the North Carolina School of the Arts. In 2000, she went to live in Australia with her daughter, Irina. In 2005 she appeared in a documentary on the Ballet Russe, and published her autobiography Irina: Ballet, Life and Love. She died in her sleep in Byron Bay, Australia, on June 28, 2008, at the age of 89.

This gorgeous couple, infectiously happy and loving and warm, not surprisingly became special “voices” for British ballet. They were stars of The Royal Ballet at a remarkable point of that company’s history and contributed hugely to its success. This conversation between the couple and Patricia Linton, founder and director of Voices of British Ballet, was recorded in 2006. The episode is introduced by Dame Monica Mason.Rowena Jackson was born in Invercargill, New Zealand, in 1926. She originally studied ballet with Rosetta Powell and Stan Lawson and for her academic studies attended the Epsom Girls’ Grammar School in Auckland. In 1941, Rowena won the very first Royal Academy of Dancing Scholarship to be awarded in New Zealand. She travelled to London and joined the Sadler’s Wells Ballet School in 1946 and won the Adeline Genée Gold Medal in 1947, the same year she joined the Sadler’s Wells (later Royal) Ballet at Covent Garden.Rowena Jackson b. 1926 d. 2024; Dancer, teacher and directorBy 1954 Rowena had been promoted to the rank of principal dancer and performed most of the ballerina roles in the repertoire at that time. She was especially noted for her interpretation of Swanhilda in Coppélia and was also famous for her ability to pirouette, both alone and supported. There is proof in film of her ability to perform fast and brilliant turns with a repetition of single and double fouettés for the whole of Odile’s 32 fouettés in the third act of Swan Lake, something that was seldom attempted in those days. Before she left New Zealand for England, Rowena had set a World Record of 121 consecutive fouettés without a break.Early in 1958 Rowena married fellow Royal Ballet principal, Philip Chatfield. That same year they danced together in The Royal Ballet’s Giselle. They both retired in 1959 and moved to New Zealand. In 1961 Rowena was awarded an MBE. In 1972, she and Philip became directors of the National School of Ballet in Wellington. They eventually moved to Australia but continued to teach until well into their eighties. The couple had two children. Rowena died in 2024.Philip Chatfield b. 1927 d. 2021; Dancer, teacher and directorPhilip Chatfield was born in Eastleigh, Hampshire, in 1927. He first studied at the Elfin School of Dancing before getting a scholarship to the Sadler’s Wells Ballet School. He joined the Sadler’s Wells Ballet in 1943 and danced in a wide range of ballets. In 1944 he joined the Armed Forces and returned from service to re-join the Sadler’s Wells (now Royal) Ballet at Covent Garden in 1946. He travelled extensively with the company and was on the famous tour to the United States of America in 1949. He became a principal in 1953, married Rowena Jackson, a ballerina with the company in 1958, and retired in 1959 to New Zealand. In 1972 he and Rowena became joint directors of the National School of Ballet in Wellington, and they later went on to direct the Royal New Zealand Ballet. They retired again, this time to Australia where they made their home. Both Philip and Rowena continued to teach and coach for many years. Philip died in 2021

To celebrate the 100th anniversary of the founding of Ninette de Valois’ Academy for Choregraphic Art in March 1926, and to mark 25 years since her death, Patricia Linton talks to Dr Anna Meadmore, archivist at The Royal Ballet School. In the first of a series of special programmes across 2026, they discuss the early years of what would become the Vic-Wells, Sadler’s Wells Ballet School and then The Royal Ballet School.

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 Howard. In this interview, which was recorded in 2003, she is talking to Patricia Linton, founder and director of Voices of British Ballet. The interview is introduced by Monica Mason.Anne Heaton was born in Rawalpindi, India, in 1930. She studied with Janet Cranmore in Birmingham from 1937 until 1943, and then with the Sadler’s Wells Ballet School. Her debut was with the Sadler’s Wells Opera in 1945 in a production of The Bartered Bride, and she became a soloist with Sadler’s Wells Theatre Ballet (SWTB) in 1946. That year, Heaton created roles in two ballets by Andrée Howard, Assembly Ball and Mardi Gras, and also in Celia Franca’s Khadra. In 1947, she created a role in Frederick Ashton’s Valses Nobles et sentimentales. She transferred to Sadler’s Wells Ballet at Covent Garden in 1948, where she specialised in romantic roles, for example, in Les Sylphides and Giselle. She performed again with SWTB when it was renamed The Royal Ballet Touring Company, creating the roles of the Woman in Kenneth MacMillan’s The Burrow in 1958 and the Wife in The Invitation in 1960. A foot injury caused her to resign from The Royal Ballet in 1959, but she continued to dance intermittently until 1962. Following her retirement from the stage, Heaton taught at the Arts Educational School and, from time to time, she staged ballets, including Giselle in Tehran in 1971. Having married Royal Ballet principal dancer John Field, who later became director of The Royal Ballet Touring Company, she co-directed the British Ballet Organization with him from 1984 until 1991. Field died in 1991 and Heaton in 2020.