Mark Alexander Wraith

Thank you so much for your reply. My email is xxx Very grateful for your help. regards, Mark.

Dear Jan, I am wondering whether I would be able to receive the pdf copy of the book through Pas de Quatre as was being discussed. I am hoping there might be some way. Please let me know how it might be possible.

How wonderful that must have been. I never saw Gable at all, though I played piano for Carol Gable a number of times. I remember other teachers at Central School telling me that Christopher was devoted to the Vaganova school. Strangely the new Gable Studio Theatre is at the end of my street in London. So many strange links, but I never had the experience of his presence that you describe. Thank you.

The first time you see a beautiful dance, a dancing body, the desire may emerge — you may never be free from this desire. I used to take a book from the library with poetic photographs of the dancer Christopher Gable. Then I saw the beauty of Netherlands Dans Theater dance, in Melbourne. An image of Euro high-art dance, sleek, elite, spare theatre, the beauty of body — this has never left me. Pierrot has always been present, a fragile guide. The choreographer Glen Tetley said to me once Christopher Gable was his ideal Pierrot. However, he gave the role first to Jaap Flier. I did not know how many links there were between these things. I only knew that somehow I should gravitate towards Jaap and see what might happen. He was the first Pierrot. Would it be possible to enter his orbit? And to be under the wing of Willy de la Bye. To be nurtured as in no other family?

Thank you Jan — your warn welcome. Yes D & C! 😄 My first acquaintance with it was Keith's photo of Gable with Daphnis' crook; then the exquisite Ravel score which has remained my favourite since I was 18 years old — the ravishing voiceless choral part!; then, I read the Longus. Many years later I saw a revival at ROH. Chris was long gone and the Ashton somehow did not have the magic for me that Keith Money captured. I do find ballet photography a wonderful and important part of the art.

Dear Pas de Quatre, and Jan, I was so thrilled to hear about this, as Keith Money's poetic photos of Christopher Gable are what made me want to dance from my childhood days in an Australian country town. I got "The Art of the Royal Ballet' out of the library repeatedly. I would dearly love a copy of 'Dancer from The Dance' if it is still possible. Coincidentally, the school which Is part of Christopher's heritage has just moved to the end of my street, though I have not yet visited it.