Director Carlos Acosta
Autumn 2021
Romeo and Juliet
brb.org.uk
BIRMINGHAM ROYAL BALLET ROYAL BALLET SINFONIA Patron Her Majesty the Queen President HRH The Prince of Wales Vice-President The Lady Sarah Chatto
Director Carlos Acosta cbe Chief Executive Officer Caroline Miller obe
Founded by Dame Ninette de Valois om, ch
Prima Ballerina Assoluta Dame Margot Fonteyn
Founder Choreographer Sir Frederick Ashton om, ch, cbe
Director Laureate Sir Peter Wright cbe
Founder Music Director Constant Lambert
Music Director Laureate Barry Wordsworth
Music Director Koen Kessels
WELCOME Carlos Acosta. © Johan Persson
We’re very pleased to be back at Theatre Royal Plymouth with a favourite ballet of mine – Sir Kenneth MacMillan’s powerfully dramatic Romeo and Juliet. It has been great to see so many of the Company taking on these iconic roles and we have a number of dancers making their debuts this week, accompanied as ever by our magnificent Royal Ballet Sinfonia.
We return to Plymouth in the spring with my new production of Don Quixote, created especially for Birmingham Royal Ballet. This lively comedy, set in sunny Spain, follows Don Quixote and Sancho Panza as they head off on their adventures, alongside a host of colourful characters. I hope you, your family and friends will be able to join us for these performances. As ever, a heartfelt thanks to each and
Looking ahead, we have a packed schedule of live performances to
every one of our supporters. A special
look forward to. We return to Sadler’s
Weston Foundation, Aud Jebsen, the
Wells in early November with Curated by Carlos, a sublime triple bill of contemporary ballet. The star Italian ballerina, Alessandra Ferri, makes her debut with Birmingham Royal Ballet in a new pas de deux created especially for Alessandra and me by Goyo Montero for his ballet Chacona - I cannot wait! We end the year with performances, in both Birmingham and London,
thank you must go to the Garfield Michael Bishop Foundation and Oak Foundation for their extraordinary support in 2021. We are also delighted to welcome HSBC UK as Principal Sponsor of Birmingham Royal Ballet across 2021/22. We are extremely grateful for this support. I hope you enjoy the performance
of the Christmas essential, The Nutcracker! Director
Cover image: Céline Gittens and Brandon Lawrence. © Richard Battye
Momoko Hirata as Juliet and César Morales as Romeo. © Bill Cooper.
Romeo and Juliet Music Sergei Prokofiev (by kind permission of Boosey & Hawkes Music Publishers Ltd) Choreography Kenneth MacMillan Designs Paul Andrews
World premiere of MacMillan’s first production: 9 February 1965, The Royal Ballet, Covent Garden. First performance of this production: 1 June 1992, Birmingham Royal Ballet, Birmingham Hippodrome, conducted by Barry Wordsworth
Lighting John B. Read Accompanied by the Royal Ballet Sinfonia
For biographies of the creative team visit brb.org.uk/romeo
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THE STORY The ballet is set in Verona Act I Scene 1: The market place Romeo, son of Montague, tries unsuccessfully to declare his love for Rosaline and is consoled by his friends Mercutio and Benvolio. As day breaks and the townspeople meet in the market place, a quarrel develops between Tybalt, a nephew of Capulet, and Romeo and his friends. The Capulets and Montagues are sworn enemies and a fight soon begins. The Lords Montague and Capulet join in the fray, which is stopped by the appearance of the Prince of Verona, who commands the families to end their feud. Scene 2: Juliet’s ante-room in the Capulets’ house Juliet, playing with her nurse, is interrupted by her parents, Lord and Lady Capulet. They present her to Paris, a wealthy young nobleman who has asked for her hand in marriage. Scene 3: Outside the Capulets’ house Guests arrive for a ball at the Capulets’ house. Romeo, Mercutio and Benvolio, disguised in masks, decide to go in pursuit of Rosaline. Scene 4: The ballroom Romeo and his friends arrive at the height of the festivities. The guests watch Juliet dance. Mercutio, seeing that Romeo is entranced by her, dances to distract attention from him. Tybalt recognises Romeo and orders him to leave, but Capulet intervenes and welcomes him as a guest in his house. Scene 5: Outside the Capulets’ house As the guests leave the ball Capulet restrains Tybalt from pursuing Romeo. Scene 6: Juliet’s balcony Unable to sleep, Juliet comes out on to her balcony and is thinking of Romeo, when suddenly he appears in the garden. They confess their love for each other.
Nao Sakuma as Juliet. © Bill Cooper.
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Act II
Act III
Scene 1: The market place
Scene 1: The bedroom
Romeo can think only of Juliet, and, as a wedding procession
At dawn next morning the household is stirring and Romeo
passes, he dreams of the day when he will marry her. In the
must go. He embraces Juliet and leaves as her parents enter
meantime Juliet’s nurse pushes her way through the crowds
with Paris. Juliet refuses to marry Paris and, hurt by her
in search of Romeo to give him a letter from Juliet. He reads
rebuff, he leaves. Juliet’s parents are angry and threaten to
that Juliet has consented to be his wife.
disown her. Juliet rushes to see Friar Laurence.
Scene 2: The chapel
Scene 2: The chapel
The lovers are secretly married by Friar Laurence, who hopes
Juliet falls at the Friar’s feet and begs for his help. He gives
that their union will end the strife between the Montagues
her a phial of sleeping potion which will make her fall into
and Capulets.
a deathlike sleep. Her parents, believing her to be dead, will bury her in the family tomb. Meanwhile Romeo, warned by
Scene 3: The market place
Friar Laurence, will return under cover of darkness and take
Interrupting the revelry, Tybalt fights with Mercutio and kills
her away from Verona.
him. Romeo avenges the death of his friend and is exiled. Scene 3: The bedroom That evening Juliet agrees to marry Paris; but next morning when her parents arrive with him they find her apparently lifeless on the bed. Scene 4: The Capulet family crypt Romeo, who has not received the Friar’s message, returns to Verona stunned by grief at the news of Juliet’s death. Disguised as a monk he enters the crypt, and finding Paris by Juliet’s body, kills him. Believing Juliet to be dead, Romeo drinks a phial of poison. Juliet awakes and, finding Romeo dead, stabs herself. Kenneth MacMillan
Gus Payne as Mercutio and Valentin Olovyannikov as Tybalt. © Bill Cooper
For a castsheet visit brb.org.uk/romeo
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Beatrice Parma rehearsing the role of Juliet with Mathias Dingman as Romeo. © Lachlan Monaghan.
INSIGHT: BEATRICE PARMA Soloist Beatrice Parma talks about dancing the role of Juliet for the first time
I’m so excited about my debut as Juliet
Emotionally, she has such a complex
I’ve tried to approach every rehearsal
and very grateful to have been given
journey that develops through the
with one thought: ‘how would I truly
the opportunity to dance such an iconic
ballet.
react and feel if that happened in
ballet.
my life?’ Although most things are In the space of three acts she goes from
obviously choreographed I felt it was
It has been my dream role since I was
being a young innocent girl to falling
extremely important in a ballet like
11 years old, after watching Alessandra
in love for the first time, being forced
Romeo and Juliet to be as natural and
Ferri perform the role at Teatro alla
by her family in accepting to marry
credible as possible; the moment a
Scala in Milan. As a young aspiring
someone she doesn’t love, the agony of
reaction, an expression or a gesture
professional ballet dancer I remember
feeling trapped to the point of faking
is too ‘theatrical’ it becomes not
it being a very special and touching
her own death to be with Romeo only to
believable. I love watching different
performance for me. Aside from
then seeing her plan fall apart resulting
casts and seeing each person bring
the importance of having a strong
into the death of the man she loves and
something different to the role with
technical foundation, from that show I
the total desperation that brings her to
their own interpretation.
understood how incredibly important it
take her own life.
was to be an artist, expressing yourself
And what better score to perform
on stage and giving full meaning to
That’s why I’ve always loved this ballet
alongside! The music is just incredible,
each movement. I felt like it really
so much. Not only are there some
it tells the story all the way through. I
changed the way I approached my
technically challenging and incredibly
absolutely love the death scene at the
everyday training and what I was
beautiful pas de deux, but it’s the
very end of the ballet, just the music
striving for.
process of moulding into the story
alone can bring you to tears.
to truly become Juliet and the arc of Artistically, Juliet, it’s an extremely
emotions this ballet brings not only to
exposing ballet and I’ve always wanted
whoever is dancing it but the audience
to challenge myself in a dramatic role.
watching it too.
“I’ve tried to approach every rehearsal with one thought: ‘how would I truly react and feel if that happened in my life?’” Beatrice Parma as Juliet and Mathias Dingman as Romeo. © Bill Cooper.
For a biography of Beatrice visit brb.org.uk/dancers
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THE PRODUCTION Jann Parry looks back to the creation of Kenneth MacMillan’s ballet.
Birmingham Royal Ballet first mounted its own production of Kenneth MacMillan’s Romeo and Juliet in 1992, overseen by the choreographer six months before he died. He made adaptations to accommodate new designs, ensuring a fresh approach to his 20thcentury classic. He had created Romeo and Juliet, his first three-act ballet, for The Royal Ballet early in 1965, soon after Shakespeare’s 400th anniversary. Ninette de Valois, The Royal Ballet’s founder director, had long wanted a big Shakespeare ballet for her company. So far, there had been one-act encapsulations of Shakespeare plays – Frederick Ashton’s The Dream and Robert Helpmann’s Hamlet. She hoped that Leonid Lavrovsky, who had choreographed the Bolshoi’s epic Romeo and Juliet in 1940 and brought it on early Bolshoi tours to London in the 1950s and 60s, would mount it for The Royal Ballet. Her hopes were in vain. Cold War cultural politics meant that the Soviet authorities were not going to let a Western company duplicate one of Russian ballet’s treasures. When tentative negotiations fell through, de Valois agreed with Ashton, her successor as director of The Royal Ballet, that Kenneth MacMillan should be given the chance to prove himself a major choreographer. He had seen Lavrovsky’s Romeo and Juliet performed by the Bolshoi, as well as John Cranko’s version for the Stuttgart Ballet, and was ambitious to do even better. He had already created a ‘balcony’ pas de deux for two young friends, Lynn Seymour and Christopher Gable, to perform on Canadian television during their summer break in 1964. When he was given the goahead for a full-length ballet, he and they feverishly discussed ideas of how to portray Shakespeare’s starcrossed lovers. MacMillan had been inspired by Franco Zeffirelli’s mould-breaking production of the play for the Old Vic in 1960. His hot-blooded youngsters (Judi Dench and John Stride) were impatient to consummate their passion as soon as possible, defying their elders. The play became a clash between generations as well as 6
Lachlan Monaghan as Mercutio, Yasuo Atsuji as Romeo, Edivaldo Souza da Silva as Benvolio and Marion Tait as the Nurse. © Caroline Holden.
a feud between two powerful clans.
the potion Friar Laurence gives her.
production, he wanted MacMillan’s
MacMillan’s ballet would establish the
Her coma and death are distressingly
version rather than any other
violent, patriarchal society in which
painful rather than pathetic.
choreographer’s. They agreed that
the lovers grew up, before narrowing
it should look distinctively different
the focus on their plight. There would
Although MacMillan devised these
from The Royal Ballet one designed by
be no reconciliation between the
effects with Seymour and Gable as his
Nicholas Georgiadis.
warring families at the end.
Juliet and Romeo, the roles were danced at the premiere on 9 February 1965 by
In 1965, Georgiadis’s brief had been to
Prokofiev’s score dictates to a large
Margot Fonteyn and Rudolf Nureyev.
devise a setting to rival the Bolshoi’s
extent how the drama evolves.
They were the famous pair everyone
monumental decor. He provided a solid
MacMillan’s challenge was to find his
wanted to see and MacMillan was told
construction on two levels, linked by
own ways of developing each scene,
he had no choice over the casting. His
an impressive flight of stairs. Such an
avoiding, if he could, the effects that
new ballet was to tour to the USA and the
architectural structure was unusual
Lavrovsky and Cranko had achieved.
impresario Sol Hurok insisted that the
for ballet at the time, in place of
His lasting triumph has been the pas
opening night cast in London, as in New
painted canvas scenery. Georgiadis’s
de deux for the lovers: the ballroom
York, had to be Fonteyn and Nureyev.
sumptuous costumes were based on
encounter, the blissful balcony scene,
They guaranteed that the production
late-Renaissance paintings. His sets
Romeo’s reluctant departure after
was an immediate success in both
and costumes have altered several
their wedding night together, and
countries, though Seymour and Gable
times, but the general impression of
their final agonies.
were regarded by ballet lovers as the true
16th-century Verona remains the same.
interpreters of MacMillan’s intentions. He chose classical ballet steps and
MacMillan chose a young designer,
naturalistic gestures instead of
Over the 50-plus years since the
Paul Andrews, whose graduation work
mime to express the meaning behind
premiere, his Romeo and Juliet has
he had seen at Wimbledon School of
Shakespeare’s words, combined with
become the best known of many
Art’s exhibition. MacMillan regularly
a potent use of stillness. The lovers
versions of the ballet, performed by
visited London art schools’ end-
simply look at each other when they
companies around the world. When
of-year shows: it was how he found
first meet; Juliet sits on her bed to
Sir Peter Wright, then artistic director
Georgiadis, Yolande Sonnabend and
make her decision what to do next;
of Birmingham Royal Ballet, decided
Andy Klunder (who designed his
she can hardly bring herself to take
that the Company should have its own
Gloria).
Brandon Lawrence as Romeo and Yaoqian Shang as Juliet. © Lachlan Monaghan.
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Momoko Hirata as Juliet and César Morales as Romeo; right: Mathias Dingman as Romeo and Cooper.
Mathias Dingman as Romeo and and Lucy Waine as Rosaline. © Cooper.
Technical credits
Andrews’s brief was to set the ballet
Birmingham Royal Ballet’s dancers
earlier in the Italian Renaissance,
inhabit their own account of
when the paintings were simple in
Shakespeare’s imaginary Verona,
outline, the colours clear and the
giving their interpretations of
architecture in the classical style. It
MacMillan’s Capulets and Montagues.
Department, Harris Brothers, Cardiff Theatrical
was a big undertaking for a novice
Every Juliet has to make her own
Services, Mike Becket and Hazel Gash, Liz Reed
theatre designer. Andrews went on to
decisions; every Romeo falls in love
Assistance with original set design and model
have a substantial career, designing
differently. The pleasure for audiences
for operas, ballets, musicals and plays
is to understand the lovers’ emotions
before his premature death in 1997.
and dilemmas through movement and
head-dresses, jewellery, wigs: Royal Opera House
Some of his initial set designs proved
music without words, experiencing
and Birmingham Royal Ballet Production
impractical for a touring company. He
the essence of Shakespeare’s romantic
had retained the two-tier colonnade
tragedy in our own times.
that MacMillan’s choreography
Set construction: Royal Opera House Production Department, Harris Brothers Set painting: Royal Opera House Production
making: Alison Nalder Props: Royal Opera House Production Department Costumes, fabric-dyeing and printing, millinery,
departments Revival scene painting: Jon Goodwin Additional costumes: Birmingham Repertory Theatre, Debbie Boyd, Classic Cuts, June Callear,
required, but a frieze of statues
Jann Parry is the author of Different
decorating the top had to go: they
Drummer: the life of Kenneth
couldn’t be seen in full from the upper
MacMillan. She is a dance writer for
levels of theatres. The staircase in the
many publications and for the website
middle proved too steep, so a landing
dancetabs.com
was inserted; downstage columns
Tracy Caulfield, Globe Costumes, Jane Gill, Robert Gordon, Sarah Handley and Sue Long, Ba Higgins, Tricia Hopkins, Sasha Keir, Paul and Christine Manning, Debbie Marchant, Leslie McConkey and Susanne Parkinson, Claire Porter, Phil Reynolds, Sue Pearl and Pauline Lucas, Sue Smith, Caroline Thorpe, Beverley Vas, Wallace and MacMurray, Wear Moi, Nigel West, Charles White, Sharon
needed adjusting, as did some of the
Williams, Susanna Wilson, Ruth Woods
cast’s entrances and exits. The end
Additional dyeing and printing: Jamison Print,
result, however, is ravishing, much lighter than Georgiadis’s imposing
Parker Street, Sarah Andrews, Jane Clive, Mathilde Sandberg, Sheila White Additional millinery: Jenny Adey
vision of Verona. Andrews’s set has
Armour: Robert Allsopp
the advantage of a proper balcony for
Costume research: Joanna Freedman
Juliet’s love-struck musings, and a
Production Manager: Susan Usher
bedroom appropriate for a young girl.
For a biographies of the creative team visit brb.org.uk/romeo
Revival Costume Supervision: Birmingham Royal Ballet Costume Department
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INSIGHT: LACHLAN MONAGHAN Soloist Lachlan Monaghan talks about dancing the role of Romeo for the first time
It is a dangerous cliché to say that Romeo became my dream role very early on in my career, but it’s true. Dancers mostly all have roles we aspire to do, and so, by its very nature as ‘the dream role’, Romeo comes with it many personal challenges. As emotional a journey as the story is, so too is the process of preparation for such a role – and how scary to take on surely one of the most romantic and famous stories to exist. Aside from the obvious elation of my surname appearing on the cast sheet and then the Cheshire Cat grin I wore as I clumsily attempted the Balcony pas de deux for that unforgettable first time, there comes with it myriad thoughts, not least, that wanting to perform your dream role to a high personal standard means lots of internal pressure. I discovered very quickly that every step is much more difficult than I thought. Although having watched the ballet many times, I had never tried any of Romeo’s steps or partnering and they prove quite the physical challenge. The difficult thing is that it just doesn’t read to make it look like hard work. While fiendishly difficult, the choreography must appear to have impulsively poured out of your soul with pure emotion guiding every step or gesture. The beautiful thing though, and that which I think makes it unique, is that beyond the steps, a true, honest, authenticity is required or there would be no point performing the steps at all. If I achieved every step to technical perfection (what even is that!?), the performance would be lacking
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Lachan Monaghan in rehearsal with Yu Kurihara. © Ty Singleton.
something and equally, if I sobbed
can have this effect too. Opening
the entire way through, never taking
my heart and allowing the audience
my eyes off Juliet but fell out of every
space to see the real me, the Romeo
dance step, I might lose my job – or at
I’ve chosen to be, is surely the most
the least, my pride. It is this balancing
powerful thing I can hope to achieve in
act that makes this ballet so difficult.
this role.
Being coached on this ballet has raised
As human beings, we are always
such interesting ideas for me, such as,
performing, putting ourselves on
that the strength in these characters is
display and showing the world the parts
in their subtle interactions - the tiny
of us we want them to see. There is
moments that the audience barely
power and connection in dropping that
sees unless looking for them. Yes, the
performance veil and letting people see
dancing is gorgeous, but it means
us for who we are.
nothing if not built upon a foundation of thoughts and emotions.
I am a ballet dancer, but I am first and foremost, a human being who has
My personal approach is that I am an
feelings, who has found love, lost it,
actor who is dancing rather than a
hurt, knowingly or unknowingly, and
dancer, acting. It can completely flip
been hurt, and I can only hope that
the way in which certain scenes read if I
when I step on stage to play Romeo,
consider, first and foremost, that
I can draw on these experiences;
I am supposed to be making Juliet,
ironically, strip away the performance
the audience, whoever it may be, feel
veil, and be real, honest and true.
“Opening my heart and allowing the audience space to see the real me, the Romeo I’ve chosen to be, is surely the most powerful thing I can hope to achieve in this role.”
something. My thoughts have suddenly gone to when a performer falls over and can ironically have the entire audience in the palm of their hand because of this. I believe that vulnerable emotion
For biography of Lachlan visit brb.org.uk/dancers
11
INSIGHT: LLINOS OWEN The Royal Ballet Sinfonia’s Bassoonist tells us why Romeo and Juliet is her favourite
Prokofiev’s Romeo and Juliet is my
I tend to well up in Act I when the
absolute favourite ballet to play –
flutes quietly play one of Juliet’s
it’s an absolute joy to come to work
themes as she innocently dances in
and play this wonderful music. The
her bedroom. As an audience, we know
first time I got to play some of it was
the tragedy that will be unfolding
performing the Balcony Scene at one
when we hear this theme again in
of our Music and Dance concerts at
Act III, reorchestrated and painfully
Birmingham’s Symphony Hall. I always
reharmonised to reflect the pathos.
enjoy the Music and Dance concerts,
In fact, there’s often a box of tissues
since the orchestra perform on stage
making its way around the orchestra
so we actually get to see the dancing
during this ballet, not least at the
for a change (only in our bars’ rest
ending. As Amos Miller our Principal
obviously)! Watching the breathtaking
Trombone so rightly described the
dancing, the beautiful acting combined
final notes – this ballet ends with ‘the
with the exquisite music, immediately
saddest C major chord in history’.
transported me back to being a teenager falling in love for the first time, and having that wonderful feeling of ‘it’s possible that no one has ever been this in love before!’ There’s not a note wasted in this work of genius by Prokofiev, and it’s great to be back to a full-strength orchestra in the pit; I’ve missed the joy and richness of two bassoons and a contrabassoon! As well as being my favourite ballet score, this is also the first ballet that I got a ‘full house’ for, having played the contra part, as well as 1st and 2nd bassoon parts. The contrabassoon part is one of the best in the repertoire – providing depth and colour as well as solos with the tuba and bass clarinet, such as the ‘Poison Theme’. It’s such an emotionally charged score, and so well balanced with moments of lightness and humour.
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“There’s not a note wasted in this work of genius by Prokofiev”
When we see beyond borders we see opportunity everywhere. Visit hsbc.co.uk/opportunity
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GET CLOSER: BECOME A SUPPORTER Becoming part of our Dancers’ Circle or BRB Friends is a hugely rewarding and engaging way to support the work of Birmingham Royal Ballet. Your support will help us deliver our extraordinary work, on stage and in communities, and will help ensure the future success of the Company.
As a thank you we offer our supporters a programme of benefits that include:
• Priority booking or a concierge-style ticket booking service* • Exclusive online events • Invitations to rehearsals, insight events and pre-show receptions* • Our annual supporters’ magazine • Regular e-newsletters * Dependent on level of support
SUPPORTERS’ EVENTS CALENDAR
Taking every chance to dance Welcome to your Events Calendar
Sarah Crompton catches up with Carlos Acosta and Caroline Miller
You never know what’s around the corner
We have curated a range of free events which you can enjoy from the comfort of your house via Zoom. Events include:
Tea with…
Back to the future
An opportunity to socialise with our fantastic dancers, musicians and production team, and to ask any questions you might have about their careers.
To Book Events To book any of the events, simply visit Birmingham Royal Ballet website brb.org.uk/supporters-events All online events are free, but please book your space and details of how to join the event will be emailed to you.
Dancers’ Circle roundtable Guests from across Birmingham Royal Ballet will give an insight into their careers and experiences within the arts.
Jenny Gilbert talks to Alessandra Ferri
Exclusive Supporters’ talks First Soloist, Jonathan Payn, in conversation with guests.
and more... December 2020 – April 2021
Autumn 2021
Beatrice Parma and Brandon Lawrence © Sam Robinson
Autumn 2020
For more information and to become a Supporter visit brb.org.uk/support-us
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WELCOME: CHARLOTTE POLITI The Royal Ballet Sinfonia’s new Constant Lambert Fellowship Conductor tells us about her passion for music.
Named after the Founding Music Director of the Royal Ballet companies, the Constant Lambert Fellowship is a joint initiative with The Royal Ballet designed for conductors aspiring to gain the particular skills required to conduct for ballet. The mentoring is led by Koen Kessels, Music Director of both companies, and Paul Murphy, our Principal Conductor. This autumn we are delighted to welcome Charlotte Politi.
How did you discover your passion
What are your memories of your first
for conducting?
professional engagement?
As a child I loved playing in orchestras.
My first professional engagement was
Later I became passionate about
in opera. I loved the feeling of being
scores, recordings of orchestral music.
involved in a theatre production that
Conducting came slowly and naturally
includes not only music, but also stage
to me. I can’t think of a specific
direction, costume design, set design,
moment where I decided I wanted to
and so forth. Conducting a show of
become a conductor. Now when I think
over three hours flew by, because of
back, it seems it’s something I always
how everybody was so connected in the
wanted to do, even before I could put in
story telling.
words what it means to be a conductor. What do you hope to get out of the How did that lead to conducting for
scheme?
ballet?
I hope to learn from every musician, to
What attracted me to ballet is the
be inspired by every artist I will get to
wonderful repertoire. Furthermore,
work with. I hope I will be able to give a
I’ve always liked the idea of working in
positive constructive contribution and
collaboration with art forms, other than
at the same time to develop my skills
music. I love the theatre company life,
and grow in my profession.
and the spirit of collaborations between arts.
“Charlotte is a very talented young conductor I am looking forward to mentoring her throughout this unique process and observing her development in the speciality of conducting for dance.’’ Paul Murphy, Principal Conductor. 16
BIRMINGHAM ROYAL BALLET Director Carlos Acosta cbe Assistant Director Dominic Antonucci Chief Executive Officer Caroline Miller obe Acting Chief Executive Officer Anna Williams fca, dcha Music Director and Conductor Koen Kessels Birmingham Royal Ballet Board of Directors Sir David Normington gcb Chair Barry Allen Marverine Cole Anthony Coombs Sandra Crossley Michael Elliott Jane Hackett Shireenah Ingram Jeanetta Laurence obe Christine Ondimu Hemma Patel Councillor Carl Rice Deborah Spence
BALLET STAFF Senior Répétiteur Michael O’Hare Répétiteur Carmen Piqueras Rehearsal Director & Coach Marion Tait Benesh Choreologist / Video Archivist Patricia Tierney DANCERS Principals Yasuo Atsuji Tzu-Chao Chou Mathias Dingman Samara Downs Maternity leave Céline Gittens Momoko Hirata Brandon Lawrence César Morales
Alexandra Burman Enrique Bejarno Vidal Anna Ciriano Rosanna Ely Ryan Felix Callum Findlay-White Tori Forsyth-Hecken August Generalli Miles Gilliver Josue Gomez Sarria Tessa Hogge Isabella Howard Regan Hutsell Sofia Liñares Hannah Martin Apprentice Eric Pinto Cata Emma Price Matilde Rodrigues Javier Rojas Hamish Scott
First Soloists
Yuki Sugiura
Kit Holder
Anna Williams fca, dcha Company Secretary
Miki Mizutani
Honorary Secretary
Louis Andreasen
Eilis Small
Yvette Knight
Jacqueline Mistry
Gabriel Anderson
Tyrone Singleton
Ian Squires
Governors of the Royal Ballet Companies and School Dame Sue Owen Chair Leanne Benjamin am obe Vice-Chair Sir Matthew Bourne obe Anne Bulford obe Hilary S. Carty bma ccmi Lady Alison Deighton Stephen Jefferies Jeanetta Laurence obe Iain Mackay Sir David Normington gcb Derek Purnell Luke Ritter cbe Christopher Rodrigues cbe David Ross Lindsay Tomlinson obe
Artists
Rory Mackay Valentin Olovyannikov Jonathan Payn Artistic Enrichment Officer Yaoqian Shang Soloists Laura Day Karla Doorbar Yu Kurihara Max Maslen Lachlan Monaghan Beatrice Parma Yijing Zhang First Artists Reina Fuchigami Haoliang Feng Gus Payne Rachele Pizzillo Alys Shee Daria Stanciulescu
Lennert Steegen Lynsey Sutherland Amelia Thompson Lucy Waine Shuailun Wu Alexander Yap ROYAL BALLET SINFONIA Principal Conductor Paul Murphy Conductor Philip Ellis Guest Conductor Martin Georgiev Constant Lambert Conducting Fellowship Charlotte Politi First Violins Robert Gibbs Leader Vanessa David Amanda Brown Deborah Schlenther Philip Aird Caroline Ferriman
Second Violins Rebecca Jones Mary Martin Fiona Robertson Robert Simmons Violas Errika Horsley Chris Pitsillides Cellos Antonio Novais Jane Rainey Double Basses Vera Pereira Maternity leave
Alan Taylor Flute Sandra Skipper Piccolo Oboe Maxwell Spiers Cor anglais Clarinets Ian Scott Harry Penny Bassoon Llinos Owen Contra bassoon Horns Andrew Littlemore Neil Mitchell Chris Pointon Trumpets Michael Allen Christopher Deacon Trombone Amos Miller Tuba David Gordon Shute Timpani Grahame King Percussion Kevin Earley Paul Parker Company Pianists Matthew Drury Ross Williams Jeanette Wong
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Chief Commercial Officer Paul James
Trusts & Foundations Officer Rhianna Swancott
BRAND, MARKETING & COMMUNICATIONS
Individual Giving Manager Chris Smith
Director of Sales and Marketing Janina Mundy Head of Marketing Kate Howells Marketing Executive – Campaigns Kesha Beaupierre Marketing Executive – Audience Joe Palfrey PR & Media Executive Lauren Morton Creative Digital Producer Tom Rogers
Development Events Manager Hope McGoldrick Individual Giving & Events Officer Ella Cockerton Corporate Partnerships Officer Emma Thompson
Human Resources Director Claire Owen HUMAN RESOURCES
Lee Armstrong
Senior Human Resources Administrator Sam Howe
Design Executives Vicki Costin Matt Davis
Human Resources Administrator Tania Muthuparakunnel
Social Media Executive Tia Cham
Receptionist & Administrator Karen Fisher
LEARNING, ENGAGEMENT, ACCESS & PARTICIPATION
Business Administration Apprentice Lucy Tranter
Senior Design Executive
Director of Learning, Access Engagement & Participation Pearl Chesterman Head of Creative Learning Lee Fisher Participation Manager Rebecca Brookes Engagement Manager Kasia Kraus Participation Coordinator Katherine Field Engagement Coordinator Hannah MacGregor DEVELOPMENT Director of Development Matt Freeman Senior Manager – Trusts & Foundations Anna Hodgkinson 18
Health, Safety, Facilities & Risk Manager Oliver Drain Facilities Co-ordinator Glenn Rudge Caretaker Philip Pearsall COMPANY OFFICE Company Manager Will Mauchline Sabbatical Acting Company Manager Tristan Rusdale Acting Assistant Company Manager Leanne Ward EO / DIRECTOR PA to CEO & Director Jessica Rupert
JERWOOD CENTRE Clinical Director Nick Allen phd msc mcsp srp Company Physiotherapists Esther Collacott mcsp srp Khushnum Pastakia mcsp srp Masseur Jason Boyle Medical Advisors Bellevue Medical Centre
Senior Stage Technicians Paul Amoo Steve Hegan Stage Technicians Paul Fisher-Bazan Tom Reilly Alex Bacciochi Paton Lighting Design Consultant Peter Teigen Head of Lighting Johnny Westall-Eyre Deputy Head of Lighting Andy Wilson
FINANCE & PROJECTS
Senior Lighting Technicians Alastair Phillips Andy Rumble
Executive Producer Abigail Reeve
Lighting Technicians Scott Smith Marcus Trombley Apprentice
Chief Operating Officer Anna Williams fca, dcha
Finance Manager Kamla Korotane Systems & Management Accountant Finance Jocelyn Addlington Finance Officers Deseree GreenawayWilliams Ruth Whelan Finance Assistant Charlotte Rowley ORCHESTRA STAFF Orchestra Director John Beadle Orchestra Manager Andrew Bentley TECHNICAL
Head of Costume / Costume Supervisor Elaine Garlick Costume Production Coordinator Vanda Hewston Production Costume Cutter & Maker Anna Willetts Production Costume Technician Joanna Shilton Touring Costume Manager Shermaine Goucol Costume Technicians Lucy Cook Rebecca Jones Jennifer Priestly Gabrielle Raven
Technical Director Paul Grace
Shoe Supervisor Michael Clifford
Senior Stage Manager Diana Childs
Head of Wigs Lauren FitzGerald
Deputy Stage Manager Eliska Robenn
Deputy Head of Wigs
Assistant Stage Manager Gracie Adlington Head of Scenic Presentation Doug Nicholson Head of Stage Ben Leveson Deputy Head of Stage Paul Moore
Fay Johnson Wigs Assistant Lizzie Mcquire
Birmingham Royal Ballet’s repertory is recorded in Benesh Movement Notation by qualified choreologists trained at the Benesh International, 36 Battersea Square, London SW11 3RA
Director Carlos Acosta
Carlos Acosta's
Don Quixote 16 - 19 March 2022 theatreroyal.com
THANK YOU
© Ty Singleton.
Major Supporters
Aud Jebsen The Michael Bishop Foundation Oak Foundation
Principal Sponsor
Special Project Supporters Carol Barrie Jayne Cadbury and Nigel Goodman* Charles Glanville and James Hogan The Kirby Laing Foundation David and Mary Laing Sir Michael and Joan Perry *unrestricted
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Dancers’ Circle – Principal Julia and Anthony Glossop Tony Newcombe Dancers’ Circle – Soloist Jill and Andrew Chapman CMP Wealth Management Richard and Jennie Cunis Maureen Kirby Marian Mulady Sally Rowe Gillian Shaw John Weston Dancers’ Circle – Artist Philip Baldwin and Phillip Arnold Jenny Batelen and Rob Brett Roger and Felicity Burman Amanda Carter Dr Jim Clews Guy and Judy Crofts Irving and Olga David Sandra Davison Robyn Durie Susan and Frederick Furniss Tessa Gillespie Prof Caroline Gordon P.S. and C.A. Gravestock Wendy and Gordon Hardy Jill and Malcolm Harris Tom Hotchkiss Dr Sandra Kendall
Tessa and Charles King-Farlow Shirley Leaver Hilary Macaulay Chantelle Mackay Shaaron Morgan Robert and Eleanor Nagle Katie Newbon Linda Nicholls Sir David and Lady Win Normington Rosemary Perl Keith Perry Amanda & Emily Pillinger Chris Relph Ross Roberts Carole Sallnow Barbara Scott Miles Scott and Lucille Roughley Margaret Shand Su and Richard Simkin Carla and Dilys Skinner Nick Makin and Brenda Sumner Brian & Susannah Swindell Ron & Jackie Treverton-Jones and to our many individual supporters who prefer to remain anonymous.
Trusts and Foundations
The Alan Woodfield Charitable Trust The Alison Hillman Charitable Trust Amar-Franses and Foster-Jenkins Trust The Arts Society Birmingham The Aspinwall Educational Trust The Austin and Hope Pilkington Trust Baron Davenport’s Charity Bayfield Charitable Trust BHSF Medical Charity and Welfare Trust The Bernard Piggott Charitable Trust The Boshier-Hinton Foundation The Brian Shaw Memorial Trust The Britford Bridge Trust The Calleva Foundation The Cecil King Memorial Foundation The Charles Brotherton Trust The Chatwin Trust Clare King Charitable Trust The Clore Duffield Foundation The John S Cohen Foundation The D’Oyly Carte Charitable Trust Dumbreck Charity The Edgar E Lawley Foundation Ensix Charitable Trust Eric W Vincent Trust Fund Eveson Charitable Trust George Fentham Birmingham Charity The George Henry Collins Charity GJW Turner Trust The Goodenough Charitable Trust The Grantham Yorke Trust The Grey Court Trust The Grimmitt Trust The H Steven and P E Wood Charitable Trust The Hawthorne Charitable Trust The Helen Rachael Mackaness Charitable Trust Henry James Sayer Charity The Idlewild Trust IMI Critical Engineering Charitable Appeals Committee The James Frederick and Ethel Anne Measures Charity The John Avins Trust
The John Thaw Foundation Langdale Trust Limoges Charitable Trust London Ballet Circle The Loppylugs and Barbara Morrison Charitable Trust The Lord Austin Trust M K Rose Charitable Trust The Marchus Trust Marsh Charitable Trust The Michael Marsh Charitable Trust Michael Watson Charitable Trust The Oakley Charitable Trust Owen Family Trust The Patricia Routledge Charitable Trust The Peter and Teresa Harris Charitable Trust Provincial Grand Lodge of Warwickshire PRS Foundation Quayle Charitable Trust Richard Cadbury Charitable Trust The Roger and Douglas Turner Charitable Trust The Roughley Charitable Trust The Rowlands Trust RPS Drummond Fund The Rix-Thompson-Rothenberg Foundation/Baily Thomas Charitable Fund The RVW Trust The S and D Lloyd Charity Sabina Sutherland Charitable Trust The Saintbury Trust Scops Arts Trust Souter Charitable Trust St Jude’s Trust St Thomas’ Dole Charity Stanley Picker Trust The Sterry Family Foundation The Sylvia Adams Charitable Trust
Corporate Supporters Charles Stanley National Express Nicholls Brimble Bhol Price Pearson Taxwise Forresters
The Thistle Trust The Uncle Bill Trust The Vandervell Foundation W E D Charitable Trust The Wilmcote Charitrust and those trusts and foundations that prefer to remain anonymous.
The John Sumner Trust
For full lists of Birmingham Royal Ballet’s generous supporters visit brb.org.uk/join-and-support
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PERFORMANCE CALENDAR Curated by Carlos: Triple Bill City of a Thousand Trades | Imminent | Chacona
Carlos Acosta’s
Don Quixote
Thursday 4 – Saturday 6 November 2021 Sadler’s Wells, London
Thursday 10 – Saturday 12 February 2022
www. sadlerswell.com
Mayflower Theatre Southampton www.mayflower.org.uk
The Beauty of Ballet The Royal Philharmonic Orchestra is joined by dancers from
Friday 18 – Saturday 26 February 2022
Birmingham Royal Ballet.
Birmingham Hippodrome
Wednesday 10 November, 7.30pm 2021
www.birminghamhippodrome.com
Royal Albert Hall www.royalalberthall.com
Wednesday 2 – Saturday 5 March 2022 The Lowry, Salford
The Nutcracker
www.thelowry.com
20 November – 11 December 2021 Birmingham Hippodrome
Thursday 10 – Saturday 12 March 2022
www.birminghamhippodrome.com
Sunderland Empire www.atg.com
The Nutcracker 28– 31 December 2021
Wednesday 16 – Saturday 19 March 2022
Royal Albert Hall
Theatre Royal Plymouth
www.royalalberthall.com
www.theatreroyal.com
Our specialists listen to your requirements and always put your needs first. We leave the drama on the stage.
Proud supporter of Birmingham Royal Ballet
PRICE PEARSON C H A RT E R E D AC C O U N TA N T S
01384 456 780 www.pricepearson.com
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