Since our last newsletter we have had three excellent, but very different, meetings. At our first meeting in September, it was a great pleasure to welcomethe Royal Ballet’s First ArtistsCaspar LenchandDenilson Almeidaas our guests. They started by talking about the mini tour to Nervi where they had performed works by Frederick Ashton includingRhapsody.There followed a gala in Rocchetta in Italy where Denilson performed theCorsairepas de deux with Meaghan Grace Hinkis. Both took some weeks off, though Denilson taught some masterclasses in Prague with Daria Klimentova. They then spoke of preparations for this season withLike Water for Chocolateand working with Cathy Marston for her new work in thePerspectivesprogramme. They then talked about some of their highlights from last season. For Denilson these included the freedom of dancing inProdigal Sonand choreographing on Caspar. For Caspar it had been a wonderful season, including working with Joseph Sissens in theLegacy Project,McGregor’sMaddAddam,the Jester inCinderellaand Lead Mandolin inRomeo and Juliet.They then spoke about their training in the UK and Brazil and at the Royal Ballet School, before talking about other highlights since joining the Company. They then advertised an upcomingBallet Nightswhere Denilson danced CalvinRichardson’s version ofDying Swanand Caspar a new solo. It was a very entertaining evening.
At our next meeting, we were privileged to welcome the Royal Ballet’s Artistic Associate, choreographerChristopher Wheeldonat a very busy time for him working with both the Royal and Paris Opera Ballet. Chris started by talking aboutLike Water for Chocolate.He had seen the film many years ago when it first came out. He was inspired by it and had it at the back of his mind for a long time as he regularly visited Mexico, a country he loves. He then spoke about the creation of the work and meeting writer Laura Esquivel. Many choreographers feel that to create a narrative ballet they need to simplify the story. Chrisdoesn’t agree.Like Water for Chocolateis a complex story, but every element is important. He worked on the scenario closely with composer Joby Talbot, who has composed the scores for many of his ballets, and the designs with Bob Crowley. Chris explained in some detail how the ballet was created, before moving on to talk aboutThe Winter’s TaleandAlice.It was possibly former National Theatre Director Nick Hytner, who suggested turning the comic character Autolycus inWinter’s Taleinto a tree, but Chris had added the role of Brother Clown to add some humour. He discussed the development of roles, touching on points raised in previous interviews by Zenaida Yanowsky and Lauren Cuthbertson. He briefly mentioned the plans for a new full-length work for 2027, but details are currently not public. Chris then spoke about the mixed programme at the end of last season, before speaking about his work on musicals includingAmerican in Paris.Speaking aboutThe Two of Us,in retrospect it was probably an error not to use the original Joni Mitchell recordings as getting the balance between singer and orchestra proved difficult. We are very grateful to Chris for spending the time with us and sharing insights into his creative process.
At our October meeting it was a delight to welcome Principal Character ArtistsChristina ArestisandKristen McNallyas our guests. They started by talking aboutLike Water for Chocolate,in which both had originally been cast as Nacha, a character who as cook looks after Tita. Though she dies in the first act, her ghost continues as a presence throughout the ballet. However, they felt the change of wig meant that notall the audience realised this. During the ballet’s creation, Kristen was experiencing some breathing problems. Initially diagnosed with pneumonia, they later discovered she had a cancerous tumour. It was successfully removed but meant she only made her debut this run, whereas Christina performed it initiallybut because of minor injuries was not doing so this season. They spoke about their role as character artists. Both are teaching stage craft at the School, but whereas Christina received coaching from the likes of Genesia Rosato when at the School, Kristen received none at the Upper School and was grateful to her teacher at her ballet school in Manchester. Both spoke of the importance of young dancers developing their acting skills, not least as a way of being noticed on stage. Asked about dancing highlights in their careers, Christina mentioned Paulina inThe Winter’s TaleandMonotones II.She had performed the latter in a School performance and then again, some twenty years later in the Company. For Kristen a highlight hadbeen M in Mats Ek’s production ofCarmen.They spoke about many of the roles they had performed in Wheeldon, MacMillan and Ashton ballets. Character roles tend to be handed down from one generation tothe next as there isn’t the same notation as for other roles. They then spoke about playing the Stepsistersin the latest revival of Ashton’sCinderellaand the challenges as the first females to perform the roles for generations. Concluding the meeting, Kristen spoke briefly about some of her recent choreography includingThe Limit.It was a fascinating evening, though we were only able to touch on a few of themultitude of roles that they’ve performed.
Annual Visit to Elmhurst Ballet School and Birmingham Royal Ballet – 17-19 June 2026
There are still a few places for this visit which was announced in the June newsletter. Our annual visit to Elmhurst Ballet School and Birmingham Royal Ballet this season will include the opening night performance of the20thCentury Masterpieceson the 18thJune 2026. The programme includes George Balanchine’sTheme and Variations,Kurt Jooss’sThe Green Tableand Frederick Ashton’sBirthday Offering,which waschoreographed in 1956 to celebrate the 25th anniversary of Sadler’s Wells Royal Ballet, the year theybecame The Royal Ballet. If you are interested in attending, please contact Events Secretary Ann Maclennan onannmaclennan@btopenworld.comto obtain an application form, which should be returned to her along with a cheque (or electronic transfer) for a minimum of £68 per person (£53 for performance ticket and a minimum of £15 towards our donation to Birmingham Royal Ballet). Please enclose a stamped addressed envelope for the return of tickets or give to Ann when you next see her if paying electronically.
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Our PresidentCarlos Acostahas won the outstanding Contribution to British Theatre Award at the UK Theatre Awards 2025 in recognition of his extraordinary impact as dancer, choreographer and visionary leader.
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