Carlos Acosta named as new Artistic Director of Birmingham Royal Ballet

[Bruce Wall]

I would like to think that an institution that has 'Birmingham' in the title is something that our nation might be proud of and celebrate both at home and abroad.  Historically this has been true I believe for the 'Birmingham Rep'.  

Edited September 22, 2018 by Bruce Wall

[bridiem]

2 minutes ago, Jan McNulty said:

 

When the company was called Sadler's Wells Royal Ballet, most people had either not heard of Sadler's Wells or did not realise it was in London.

 

Most people know of Birmingham and where it is.

 

Surely companies can have a national importance AND an indication of where they are based without the one affecting the other?

 

Yes, I agree re SWRB (and I think that was probably helpful). I hope your last sentence is right (e.g. CBSO, of course), but I think it's more challenging to achieve.

[Jan McNulty]

3 minutes ago, bridiem said:

 

Yes, I agree re SWRB (and I think that was probably helpful). I hope your last sentence is right (e.g. CBSO, of course), but I think it's more challenging to achieve.

 

How is it more challenging to achieve than calling a company after a theatre that many people will not have heard of?

 

As you mentioned ENB, I remember the shock and horror that was caused when the company changed its name from London Festival Ballet - given that so many of the dancers do not originate from the UK.

[DD Driver]

6 minutes ago, Jan McNulty said:

 

When the company was called Sadler's Wells Royal Ballet, most people had either not heard of Sadler's Wells or did not realise it was in London.

 

Most people know of Birmingham and where it is.

 

Surely companies can have a national importance AND an indication of where they are based without the one affecting the other?

 

Is this a similar to the USA where there are regional names but they are top national companies: San Francisco, Houston, NYCB.... 

[bridiem]

22 minutes ago, Jan McNulty said:

 

How is it more challenging to achieve than calling a company after a theatre that many people will not have heard of?

 

As you mentioned ENB, I remember the shock and horror that was caused when the company changed its name from London Festival Ballet - given that so many of the dancers do not originate from the UK.

 

Simply because it meant that the 'Royal Ballet' bit was the focus.

 

I know the change to ENB was very controversial; but I suspect it has been helpful in marketing terms.

[FLOSS]

theI am far from convinced that the name "Sadler's Wells Royal Ballet" was any sort of problem in marketing terms. After all for many people it is the words " Royal Ballet" in the name which provided the name recognition for the company not the part of the name which stated where the company was based. If Sadler's Wells Royal Ballet had problems getting audiences to attend its performances in its initial seasons then I suspect that it was the legacy of the New Choreographic Group which was the cause of the problem. It had a repertory which MacMillan would not have dared to stage at Covent Garden because people would have stayed away in their droves and yet it was permissible to impose a repertory which included such choreographic gems as "From Waking Sleep" and "Lazarus" on innocent, unsuspecting audiences who could not easily get to London. I recall sitting in an audience which was gradually losing the will to live as those pieces were performed. Neither work went down that well with an audience which had grown to love ballet through watching works like Fille, Les Patineurs and Swan Lake and I suspect that far from encouraging a "new dance audience" it just put a large number of people off ballet for life. The company which replaced the New Group was called Sadler's Wells Royal Ballet. in part because it was based at Sadler's Wells but I think that there was more to the name than that. I seems to me that it represented a deliberate decision to draw a line under the "legacy" of the New Group and to associate the newly formed ballet company with the two companies founded by de Valois which had been based at the theatre. The fact that it programmed the sort of mixed repertory which had helped build the original Vic Wells Company from a handful of dancers who appeared in operas into the company which became resident at Covent Garden helped to associate it with the old Touring Company while simultaneously erasing memories of the New Group and developing a new generation of talented dancers. It had a loyal following in London and certainly had had no problems selling tickets in London when it was based at Sadler's Wells as Wright had talented dancers whose development audiences were happy to follow and his repertory choices gave audiences access to a far wider range of historical repertory than the resident company was prepared or able  to offer the paying public. In fact as far as I recollect the company, which had been renamed BRB when it moved Birmingham, only began to run into trouble with ticket sales in London when it shifted from staging  the wide ranging repertory which Peter Wright programmed which had included some really significant revivals and became increasingly the company which staged David Bintley's ballets. Ballets like Edward II played to acres of empty seats in London.

 

As to identity the company now known as BRB has its own unique identity, but then so did the companies which preceded it. I am not old enough to remember the Sadler's Wells Theatre Ballet which de Valois founded after the Sadler's -Wells Ballet became resident at the Opera House. De Valois foresaw the difficulties which a company resident at an opera house would run as far as the development of dancers and repertory were concerned. She knew that the Opera House audience would be more conservative as far as repertory was concerned  and suspected that it would be more interested in full length works than in mixed bills; far less inclined to try new works and less inclined to be gentle with inexperienced dancers or young choreographers in the way that the Vic-Well's audience had been. She was certainly right as far as repertory was concerned. I recall a couple of years ago  reading through diary notes made by someone who had attended performances at Covent Garden during the 1950's lamenting the number of empty seats there were whenever a mixed bill was performed. Please remember that the one act works which the audience was adverse to watching were not the creations of unknown untried choreographers. From the time it was established de Valois' second company was different because it had the freedom to be the testing ground for raw young talent.

 

Sadler's Wells Theatre Ballet was led by dancers like Beriosova. It danced the classics and works by Ashton and de Valois but it also danced new repertory. It was a training ground for many talented young dancers some of whom transferred to the Opera House some of whom did not. Anyone who saw the MacMillan documentary about his early years last October would have noticed how often the former dancers who had worked with the company during the 1950's commented on MacMillan's extraordinary creativity at that time and how frequently they danced new works created by him and the other young choreographers working there. Remember Cranko cut his choreographic teeth there as did a number of others. After a few years it became the Royal Ballet Touring Company and still performed the mixed function of touring the country and developing young raw talent. When you saw either the resident company or the touring company there was no way in which you would have mistaken one for the other. Ashton was once asked which company he preferred and he answered that each  company had its own distinct personality. The Covent Garden Company was a classical company while the Touring Company emphasised ballet's theatricality. I don't think that I can improve on that assessment of them except to say that the Covent Garden Company was not blandly classical. There was always character and individuality to that company's dancing. while both the Touring Company and its successor Sadler's Wells Royal Ballet emphasised ballet as a theatrical art form, an advantage in a work like Giselle which as originally created was closer in genre to a demi-caractere ballet because acting and the expressiveness of both its choreography and mime were more important than its choreographical purity. But the non resident company whatever its current name was also able to perform more purely classical works to a very high standard

 

As to what the future holds for the BRB the fact that the post of Artistic Director has been advertised internationally does not necessarily mean a great deal as far as the choice of appointee is concerned, it is not unknown for an organisation to encourage outsiders to apply for a post in order to make the appointment of an insider look good.Only time will tell whether a candidate who has little or no connection with the Royal Ballet companies is appointed. The main company's experience with the appointment of Ross Stretton may well steer the decision away from the appointment of a complete outsider. As to possible changes in repertory at the moment it would seem quite innovative if the company were to reduce the number of Bintley ballets it stages and began reviving works which it restored to the stage such as Choreatium; The Prospect Before Us; Capriol Suite and Valses Nobles et Sentimentales perhaps it should also ask Ian Webb to stage Sinfionetta, Apparitions for it as well as Foyer de Danse for it, if he ever manages to stage it for his own company.MacMillan's Baiser de la Fee would be another work to consider carefully. It has an extensive back catalogue of major works which it should exploit fully and systematically by reviving works like La Fete Etrange; The Green Table; Pillar of Fire; Fall River Legend ; La Boutique Fantasque  and Le Tricorne. Then there are major works created by Antony Tudor which no one seems interested in staging. Why is it always The Leaves are Fading or excerpts from it that we are permitted to see? The neglect and indifference to his major works such as Lilac Garden; Dark Elegies;Gala Performance; The Judgement of Paris and Echo of Trumpets is inexplicable. It has nothing to do with their quality. There are so many works which dancers and audiences have the right to experience in performance. Any candidate who suggested  that they understood the need to preserve the best of the major works created in the twentieth century by a  systematic programme of revivals while encouraging new creations would have my vote.

Edited September 22, 2018 by FLOSS

[Jan McNulty]

My late friend told me that there was a lot of resentment towards Tudor in the UK because he moved to America in 1940 at the height of the war.

[FLOSS]

That does not justify the neglect of one of the truly great choreographers of the twentieth century and it could easily have been Ashton who spent the war in the US as well. I seem to recall a story about a letter sent to Ashton in 1939 inviting him to work in the US which got lost in the post. Whatever ill feeling there was towards Tudor it had clearly dissipated by the time he was invited to Covent Garden to make "Shadowplay" for the Royal Ballet. Personally I have always thought that Tudor's neglect by the Royal Ballet had far too more to do with MacMillan's claims to be an innovative realistic choreographer interested in character's psychological states. After all Tudor can tell you in twenty or twenty five minutes without whores what it takes MacMillan three hours to convey with two intervals, whores and a whole lot of padding. It's either that or its a one act work like Judas Tree which is totally unconvincing and a manifestation of his obsessions and the choreographic equivalent of Mr Dick's King Charles' Head.

Edited September 22, 2018 by FLOSS

[Jan McNulty]

I didn't say it justified his neglect but perhaps explained some of it.

 

                                              

[Two Pigeons]

I am sure that story is well founded Janet,  I read somewhere that when Tudor and Hugh Laing first attended the reopened Covent Garden and entered the Crush Bar everyone turned their backs on them in protest.  The story went on to say that it was believed Ashton himself had encouraged the snub.

 

FLOSS does have a very valid point that Tudor as a choreographer is far too important and ground breaking for his legacy not to be respected and performed.  Great men can have great flaws and make misjudgements but their work should still live on.  After all, with all the problems at NYCB, past and present, no one is suggesting in this 'me too' age that we no longer have the works of George Balanchine.  He is a man who took his level of control over his dancers to a new level but I still want to see Serenade, Symphony in 3 Movements, Theme and Variations etc.

[trog]

I think (and hope) the BRB has long future at the Hippodrome. The building works mentioned in the two links below is going at a pace.  I don't think the building would be going ahead if the BRB weren't staying. Also, don't forget Elmhurst moved to Birmingham to be near the BRB.

• https://www.insidermedia.com/insider/midlands/new-york-style-extension-planned-for-birmingham-hippodrome
• https://www.birminghammail.co.uk/news/midlands-news/45m-new-funding-birmingham-royal-14390655

Actually, pretty much all of Birmingham is a building site at the moment. It's a complete pain. I fully agree with this article

• https://www.expressandstar.com/news/voices/opinions/nigel-hastilow/2018/09/22/nigel-hastilow-birmingham-the-building-site-is-nothing-to-be-proud-of/

[alison]

Well, at least New Street Station is finished.  Otherwise, the place has been a building site for years.  I got really annoyed by all the diversions in the Symphony Hall area last time I was up there - which was a couple of years ago now.

[Marg S]

1 hour ago, alison said:

Well, at least New Street Station is finished.  Otherwise, the place has been a building site for years.  I got really annoyed by all the diversions in the Symphony Hall area last time I was up there - which was a couple of years ago now.

Be grateful you do not live here !!!!

[Odyssey]

And the Art Gallery and Museum is about to be closed for major renovations. The area around Symphony Hall still seems a long way off completion. To top it all the Conservative Party conference is next week at the Convention centre, so bound to be more disruption. Hope any potential director isn't put off !

[Tony Newcombe]

The important thing of course is that you leave New Street Station by the south entrance

and it is just a two minute walk to the Hippodrome. What’s going on in the rest of Birmingham

hardly matters.

t

 

 

 

[alison]

Not if you do 't live there ....

[Tony Newcombe]

So it is considered to be easier to watch BRB if you don’t live in Birmingham ?

[Jan McNulty]

BRB has now announced the search for a permanent CEO.

 

Caroline Miller was only appointed as interim.

 

I, for one, hope that she applies and is made permanent.  She is steeped in dance and is a very impressive lady indeed.

 

https://www.brb.org.uk/post/ceorecruitment

[SheilaC]

I totally agree with Janet. Caroline Miller has extensive and varied experience across the dance industry, which benefits BRB which is a bit insular, the drawback of its very positive sense of family-like community.

She is outgoing and interacts enthusiastically with BRB Friends and audience members. A breath of fresh air.

[Jan McNulty]

Fantastic news from BRB today that Caroline Miller has been appointed as Chief Executive with immediate effect:

 

https://www.brb.org.uk/post/caroline-miller-obe-appointed-as-permanent-chief-executive

[Lizbie1]

Any idea when we’re likely to hear about David Bintley’s successor?

[Douglas Allen]

On 20/07/2018 at 18:46, Jan McNulty said:

From the BRB website:

 

The BRB board will be advised at each stage by the expert panel, who will also conduct the interviews of the shortlisted candidates and recommend a candidate or candidates for final interview by the board. The aim is to announce the new appointment by the end of the year.

 

https://www.brb.org.uk/post/birmingham-royal-ballet-launches-international-search-for-new-director

 

 Has anyone heard anything about this appointment?

Five months have gone by since the search was announced. In the same time frame Wupperthal have filled both their leading posts (announced in November).

I'm more than a bit concerned by the apparent delay and I'm already beginning to assume that next season will partly, or largely, be the product of whoever is remaining in Birmingham alongside Caroline Miller.

If anyone has any news (even if it is only the sighting of a ballet person at New Street) it would be appreciated!

[Jan McNulty]

I've been checking the website every day and nothing has been announced yet...

[jack.b]

Should not be long Janet as someone has been open about getting the job . 

[Ellie]

Carlos Acosta !

http://www.balletnews.co.uk/carlos-acosta-cbe-appointed-as-the-new-director-of-birmingham-royal-ballet/?utm_campaign=shareaholic&utm_medium=facebook&utm_source=socialnetwork&fbclid=IwAR3HbLMrNIlgjNCKzHvtYYJ74GsyBdibh6z1fcE45zn1WVdWOoho4IswH9A

[zxDaveM]

CARLOS ACOSTA CBE APPOINTED AS NEW DIRECTOR OF BIRMINGHAM ROYAL BALLET

Birmingham Royal Ballet is delighted to announce that internationally renowned Carlos Acosta CBE has been appointed as its new Director. He will take up his appointment in January 2020.

The appointment follows an open competition and extensive international search by Birmingham Royal Ballet Board, supported by an expert panel of leading figures in the dance world. It follows the news that David Bintley CBE, the current Director, will be standing down as Director in July 2019 at the end of the current season. The new Director will work alongside the company’s Chief Executive, Caroline Miller OBE who was appointed on a permanent basis just before Christmas.

Carlos Acosta CBE, said: “It is a tremendous honour and privilege to have been appointed to lead Birmingham Royal Ballet. I am a great admirer of its heritage and of what David Bintley has done to establish it as one of the country’s leading classical ballet companies, following on from the wonderful foundations laid down by Sir Peter Wright. My ambition is to build on its classical traditions, to expand its repertoire and to reach out to new and more diverse audiences. I want to define what it is to be a world leading classical ballet company in the 21^stcentury.”   

Chair of Birmingham Royal Ballet Sir David Normington GCB, said: “This is a great moment for Birmingham Royal Ballet. We have secured the greatest male dancer of his generation to be our new Director. I know he will bring us his legendary artistry, energy and charisma, and enable us to connect with new audiences, particularly in Birmingham. It is a statement to the whole dance world that, building on David Bintley’s great legacy, Birmingham Royal Ballet intends to remain a major force for classical ballet in the UK and beyond.”  

 

Sir Nicholas Serota, Chair of Arts Council England, said: “We’re delighted to welcome Carlos Acosta CBE as the new Director of Birmingham Royal Ballet, with his wealth of experience and knowledge from the international world of dance.

Birmingham Royal Ballet is an exceptional company, with an international reputation for the artistic quality of its work, and as Carlos takes to the helm, we’d like to pay tribute to the commitment, contribution and charisma of David Bintley, who leaves behind him an extraordinary legacy. We look forward to seeing Carlos build on this legacy, and to the company continuing to delight audiences with their array of classical and ground-breaking ballets.”
 
Born in Havana, the youngest of 11 children in an impoverished family, Acosta went on to train at the National Ballet School of Cuba, winning the prestigious Prix de Lausanne at the age of 16, before enjoying a celebrated 30-year career in dance with many of the world’s leading ballet companies. He was a Principal with the Royal Ballet for 17 years and danced all the major classical, and many contemporary roles. He is the greatest male dancer of his generation and, in many people’s eyes, one of the greatest dancers of all time.

Since retiring from the Royal Ballet he has founded his Cuban dance company Acosta Danza and established his own dance academy in Havana which opened its doors to its first students in September 2017. His 2007 autobiography No Way Home told the extraordinary story of his progress from the poorest of beginnings in Cuba to world ballet star and became a UK bestseller. His many awards include an Olivier Award for Outstanding Achievement in Dance, a Prix Benois de la Danse, an Outstanding Achievement Award at the Critics’ Circle National Dance Awards and the Queen Elizabeth II Coronation Award from the Royal Academy of Dance in recognition of his standing as one of the most influential figures in dance today.

[Saodan]

Wow!

[Vanartus]

Wow!!!!!!

[BristolBillyBob]

Incredible news for BRB (for whom I have a definite soft spot). Can't wait to see what he does. With him at the helm of BRB, and Tamara Rojo's already fiercely ambitious ENB shaking things up a bit, we could be entering a very exciting era for ballet in the UK. Bring it on!

[alison]

So, the rumours were right, then!  Well, it will be interesting to see what happens.

[Mandy Kent]

Huge congratulations to Carlos Acosta !!!!

[Bruce Wall]

All best wishes to him .... just hope he lays off his own choreography as it really is - IMHO - not his strong suit.  Guess this will put some of his Cuban plans into the long(er) grass. 

 

 

Edited January 15, 2019 by Bruce Wall

[bridiem]

Wow from me too!!!

 

I did NOT see that coming.

 

And I do have conflicted feelings. It's a coup for BRB in various ways, and I have a huge amount of affection and respect for him, and it will obviously bring them (an even higher) profile and publicity etc (and I hope attract donors). But I also hope that he acts very much as director, not as choreographer, and I can't honestly say that I have always felt great confidence about his artistic judgement (as opposed to his dancing). And what about all his work in/for Cuba? I hope he will be able to continue some of that.

 

But I do hope it will work well for him and all at BRB!