"What would the Company do without Miss Farron?" - asked The Times one day after Julia Farron had danced very different roles in each ballet of a triple bill.* She had a wonderful career with the Sadler's Wells/Royal Ballet, creating key roles for the company's choreographers and putting her own stamp on many inherited works. In her later years she was most often seen in character roles - the Queen in Sleeping Beauty, Lady Capulet in Macmillan's Romeo and Juliet (which she created), Bathilde in Giselle (still my benchmark for the role) - but earlier she had danced in most of the company's repertory: Lykanion in Daphnis and Chloe, the Betrayed Girl in the Rake's Progress, the Waltz and the Prelude in Les Sylphides - almost everything except for the great leading roles in the classical repertory.
Some of her key roles were made for her by Ashton, from the little dog Pepe in A Wedding Bouquet (when she was only 14) through to Berta in Ondine, and - probably the one remembered with most affection - the Neapolitan Dance in Swan Lake.
She moved on to become a very widely respected and admired teacher, as I'm sure many of her former pupils will attest.
* quoted by Cyril Swinson in Six Dancers of Sadler's Wells