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Baller Rambert: Kismet Review
Well, the last time I saw the Rambert’s was for what I thought was a hellish Peaky Blinders: The Ballet. This double bill, however, is a far superior offering. In fact it’s great. The first piece, set in an airport departure lounge is a superb, often hilarious, jerky take on life in a busy lounge as people come and go, ending with a mysterious snow storm falling on one man, centre stage to the…
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'Unearth Her' for Valentino L'École | cr. dir. FKA Twigs, art dir. Jordan Hemingway (2024)
Elizabeth Schooling in Ninette de Valois' ballet Bar aux Folies-Bergère, c. 1937
The ballet was created in 1934 after a suggestion by Marie Rambert's husband, Ashley Dukes, who had frequently remarked on the resemblance between Schooling and the barmaid depicted in Manet's famous painting. Despite serving as the inspiration for the ballet, Schooling was initially considered too inexperienced for the part, which was given instead to Pearl Argyle. When Argyle left the company, however, Schooling seized her moment and flawlessly embodied the role, being described in one review as 'an almost exact replica of the wistful blonde lady behind the bar'.
Peaky Blinders by Ballet Rambert: On Tour
I can walk purposefully. I’m noted for it. On this basis, my wife suggested I might have a future career in this excruciating touring show. I mean, I should have known. It’s not a ballet after all. It’s a piece of cod entertainment designed simply to cash in on the peak success of Steven Knight. It started so well. An interesting routine in the First World War trenches, with an actual trench…
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Scenes from a 1943 visit by the Ballet Rambert to an aircraft factory somewhere in Britain, under the auspices of the Council for the Encouragement of Music and the Arts.
Dancers visiting with factory personnel (© IWM (TR 970), left, and © IWM (TR 973)); rehearsing with Marie Rambert in the games room of the factory hostel (© IWM (D 14038)); the lunch-hour performance of Peter and the Wolf in progress (© IWM (D 14046), left, and © IWM (D 14054)); a view from back stage (© IWM (D 14048)); and the dancers returning to the hostel after the performance (© IWM (D 14055)). According to the IWM website, “They will soon make their way to the station and travel elsewhere: tomorrow will see another performance in another works canteen.“
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Sally Gilmour in Giselle, presented by the Ballet Rambert at the Sadler’s Wells Theatre, 1946. Photo by Roger Wood.
In 1946 the London ballet scene was seemingly haunted by an endless visitation of Wilis, with no less than five different productions of Giselle being staged, and what looked on paper like the least spectacular turned out in many ways to be the most interesting. Though lacking the resources of more prestigious companies, Marie Rambert’s production achieved a level of sincerity and simplicity that was deeply affecting, while Gilmour’s interpretation of the lead part was lit by a sense of spirituality that none of the four other Giselles (Fonteyn, Chauviré, Alonso, and Inglesby) were able to match. For that reason--in a year that saw the debut of Frederick Ashton’s Symphonic Variations, the re-opening of the Royal Opera House, and visits to London by multiple foreign stars--it was to this production that the founder of Ballet magazine awarded their bouquet for the most memorable moment of 1946:
“Why was this Giselle so successful? Hugh Stevenson’s designs were not outstanding. The small orchestra under Arthur Oldham did not play Adam’s tinkling music at all well. Neither Gilmour nor [Walter] Gore are pre-eminent as dancers. I think the secrets of Marie Rambert’s triumph are feeling, thought and care. Instead of ‘running up’ a revival of the old ballet from what she remembered of previous productions, she would seem to have cleared her mind of preconceptions and, attacking Giselle with a fresh point of view, to have realized the qualities which originally made it so moving a work. … Just as when Toscanini conducts some hackneyed piece–say 'The Ride of the Valkyries’–we seem to be hearing it for the first time, so, at this moment, do all previous productions of Giselle evaporate from our memory, and we become personally involved in the present tragedy of a betrayed girl. … One no longer analysed or compared or distinguished between the work of librettist, composer, producer or dancers, because one was living Giselle. Art had somehow triumphed.” - Richard Buckle
Cruel Garden – Ballet Rambert
One of my all-time favourite modern ballets, based on the life, work and murder of Federico García Lorca. I saw this when it was originally on TV in 1982. Stunning.
Alica Markova and Prudence Hyman in Foyer de Danse, 1932. Photo by Bertram Park.
