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Issues relating to White Lodge

• White Lodge
• Royal Ballet School

By LukeJennings October 4, 2021 in Doing Dance

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Lukejennings.

Dear Friends,

Some months ago I was approached by the London Review of Books to write an essay about the Royal Ballet and its schools in the wake of the tragic death of Liam Scarlett. That piece came out last month, and can be found here .

In the course of researching the piece I spoke to a number of Royal Ballet dancers and present and former RBS pupils and parents. Many of them had strong feelings about the culture of the institution, and in particular about the negative and lasting effects of certain aspects of the White Lodge experience. After the piece came out I was contacted by Mandy Burrows, who is the LADO (Local Authority Designated Officer) for the Kingston and Richmond Safeguarding Children Partnership.

Ms Burrows would like to hear from past and present parents and pupils of White Lodge who have experienced, witnessed, or been affected by the issues described in the LRB piece. These issues include bullying, belittling, body-shaming, undue pressurising, and other forms of behaviour (ie sexually inappropriate or abusive) damaging to children. She and her team, who liaise with the police, intend to make an assessment of current and historic issues at the school. Ms Burrows stressed that those speaking to her or her team will be doing so in complete confidence.

To contact Mandy Burrows and her team call the LADO line: 0777 4332 675    

email: [email protected]

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Welcome to the forum, Luke.

Thank you Anna.

atacrossroads

We applaud those parents and students from all schools who are brave enough to speak up in order to support and protect those who come after them, so ballet students in the future can train without fear…

Lifeafterballet

@Luke Jennings you need to cast your net wider. 

Farawaydancer

9 hours ago, cotes du rhone ! said: @Luke Jennings you need to cast your net wider. 

Anyone can report safeguarding concerns to the relevant LADO for their school’s area, you don’t need to wait. 

3 minutes ago, Farawaydancer said: Anyone can report safeguarding concerns to the relevant LADO for their school’s area, you don’t need to wait. 

Thank you 😊  

In our line of work my husband and I are trained in safeguarding. But when your child enters a vocational school everything gets blurred. Those previously very clear decisions and actions become difficult as they come with consequences that may hurt your child further. So you become part of the problem. Our first experience was in the first 6 weeks. Now my brain fog has cleared I really can’t understand why we didn’t deal with it more firmly and not let it slide. Until you are faced with a situation in that environment you don’t know how you will act and if reported you trust that those caring for your child with do the right thing. Feelings of guilt and a child pleading with you not to call the school stop you reporting. If you break that trust you fear they will never be open and honest with you again causing further isolation and unhappiness. My heart goes out to all those that have been in this situation. 

Thanks for your comment, cotes du rhone, but with respect, it is not 'my' net to cast. I take it that you mean that I should look at the conditions at other ballet schools, but in truth it's precisely this assumption that someone else should take charge that allows problems to become embedded. Parents should understand that if their children are in trouble,   they are the ones who need to act . They need to communicate problems to each other and to the schools, and to insist that they are heard.

This doesn't happen for various reasons. Parents can be intimidated by the major ballet establishments. They are persuaded that the schools 'know best'. They don't want to seem 'difficult'. They worry that complaining or intervening will count against their child. All of this is understandable, but it leads to issues not being addressed.

A significant factor is that that the children (and by extension the parents), are perceived as being in competition with each other. My child's doing fine, so I'm not going to stick my neck out for yours. Or my child is having a hard enough time as it is, so I''m not going to endanger him/her by taking a stand for yours. And so on.

This Darwinian atmosphere, exacerbated by 'assessing out' systems, has no place in contemporary schooling. My personal opinion is that having selected a child at age eleven, a ballet school should commit to that decision and that child until he/she is sixteen, at least. They should provide ballet classes but also a broad-spectrum artistic education, so that those who do not go on to be professional dancers can receive a grounding that will inspire and enable them to go on to other paths in dance, as choreographers, directors, designers, teachers etcetera. The current system makes pupils fearful and compliant, and creative artists are neither of these things.

To return to my point: it is not for me to cast any net. It is for parents to inform themselves, to get together, to support each other, and to insist together on the changes they want to see. If one child is having a bad time, that should be the concern of all the parents in the cohort. Backstairs whispering and online hand-wringing accomplish nothing.

@Luke Jennings

You are so so right in everything you say. It was our responsibility as patents to speak up, but sadly you feel so isolated and afraid that you might be the only ones that you don’t. And then that time had past and you are left like me sharing experiences anonymously on a forum and accomplishing nothing 🙁  

It's wholly appalling that, as a parent, a school should make you feel isolated and afraid. All of this   must   change.  

I talked to one ex-WL student, an animal lover, who remembers lying in her dormitory bed listening to the rifle shots as the deer were culled outside in Richmond Park. This cull (which happens at night, to spare the sensibilities of the public), occurs at much the same time as the school's assessments, and as she lay there she couldn't help being aware of the parallels.

Dancers Dad

1 hour ago, cotes du rhone ! said: @Luke Jennings You are so so right in everything you say. It was our responsibility as patents to speak up, but sadly you feel so isolated and afraid that you might be the only ones that you don’t. And then that time had past and you are left like me sharing experiences anonymously on a forum and accomplishing nothing 🙁    

This is very sad. You've been very honest about your experiences - and you certainly won't have been the only person caught in this impossible bind. I have every sympathy.

2 hours ago, cotes du rhone ! said: @Luke Jennings You are so so right in everything you say. It was our responsibility as patents to speak up, but sadly you feel so isolated and afraid that you might be the only ones that you don’t. And then that time had past and you are left like me sharing experiences anonymously on a forum and accomplishing nothing 🙁    

I think that often, we cannot see how bad/toxic a situation has become until afterwards.  When I look back on my daughter’s (mercifully short) time at a full time 16+ “school”, I wonder how I could have been so easily taken in by the people in charge.  When your child is in the ballet system, there is always that unsettling knowledge that if you as a parent dare complain or go “public” with your experiences, it can and often will be your child that is punished somehow.

The attitude of “you’re lucky to be here; there are hundreds of dancers just waiting to take your place” has never gone away, but while we are isolated by fear, we simply accept that as part of the ballet world.  Combine that with a child so desperate to follow his or her dream, who’s begging you not to “make trouble”, AND threats - either covert or overt, - to keep you silent, it’s not surprising at all that individual parents feel powerless until after their child has voluntarily or involuntarily stepped off the ballet treadmill.  We accept SO much from the ballet world that would not be even remotely acceptable in an academic state school, college or university, because of the constant competition.  

Afterwards, we wake from the poisonous spell, take our broken children to therapy, try our best to mend them physically and emotionally and wonder what on earth has possessed us.  Like emotional abuse or coercion and control, it’s insidious and often subtle, making it difficult to spot while it’s happening.  Therefore it’s extremely difficult as a parent to identify what’s happening, step forward, start up a group/ask for DMs from other parents, formulate a plan and challenge the system - especially for 16+ training/standalone upper “schools” for which there are no routine or mandatory inspections.   How do you challenge what is basically a private company with one person or one family running it, if it’s your word against theirs, you know your child will pay for you “making trouble”, and they aren’t inspected by a regulatory body?  

Things need to change.  Perhaps there are too many full-time schools in the UK, especially given the shortage of jobs as performers and the scarcity of Choreographer jobs (particularly for women).  I think Luke’s idea of a much more rounded artistic education is so important, especially in the case of injury-prone students, because even the strongest dancer cannot perform forever.  

Above all, as parents we need to find safety in numbers, remember all the time that if we wouldn’t accept it in academic school or in the workplace, we should not accept it from a ballet school.  Form groups, follow the proper complaints procedures, go to outside authorities if possible (more difficult in the case of standalone upper schools) and swallow the bitter pill that as the parent, we may have to be the bad guy and remove our child before they become irreparably broken. 

I agree. It’s time to find safety in numbers and speak up.

in the meantime I’m going to contact the local LADO for the school that my DC attended…

Sympathy to everyone who has had terrible experiences with these schools and thanks to Luke for his important article.  I have no direct experience of ballet schools, but my family has been very closely involved in the investigations into specialist music schools, culminating in the IICSA enquiry.  The final report on the specialist music schools hearings has not yet been published but, given the evidence heard by the inquiry, it is likely to be extremely critical, including of very recent, rather than simply historic, management in multiple schools. 

All I wanted to add here is that our experience shows that it is well-nigh impossible for parents, individually or collectively, to exercise any influence with these insitutions.  During the years that it took to force an inquiry into music schools, even after shocking and well-publicised cases of abuse, multiple schools played off parents and existing student bodies against survivors and complainants.  These are boarding schools so parents are geographically isolated, and also often divided by experience, language and (especially) wealth and cultural status.  Parents who are donors or "in the industry" themselves, have a tendency to rule the roost in PTAs or other 'official' networks and to side with the school.  Governing bodies are the "great and the good" with little to no hands on experience of dealing with safeguarding issues.  In addition, there were instances of heads and senior staff at schools instructing current pupils to tell their parents to ignore "hostile trouble-makers" trying to "harm" their school, even instructing sixth formers to post defences on social media.  Alumni (with a few notable exceptions) rallied around on social media to defend the institutions - and in music (as with ballet) the UK industry is dominated by alumni of these institutions so their views count for students wishing to have a career.    It is easy, at a time when classical arts can feel increasingly under attack from many directions, to convince those who love them that they should defend the institutions at any cost and many well-meaning but naive people will do so.   So any 'complaining' parent faces a wall of at best apathy, more commonly hostility, and is often expressly told that their child just can't cut it in this special world.  Other parents believe this until something happens to their child and then the same pattern unfolds for them.

I would hope that the LADO in this instance has had an opportunity to study from and learn what has happened in the case of music schools.  The extensive evidence on music schools given to the inquiry can be found  Here .  So whilst no one will disagree that parents should of course speak up for their children, I did not want anybody to feel that they had in any way 'failed' as a parent by not remedying a problem.. This problem is much bigger than any one individual or family.

I've spoken to two LADOs now (Westminster and Richmond) and both emphasise that they are keen to know of historic as well as current cases at schools. The child does not have to be at the school any longer, or even to have been there recently. So you don't miss your chance, so to speak, when your child leaves. It's never too late. Every letter, email and phone call helps the LADOs build up a picture of an institution. The more they know, the more effectively they can act.

That’s useful, thanks Luke.  It strikes me as a big problem that standalone “schools” offering 16+ arts education are not covered by something like a Safeguarding LADO, but that’s probably a topic for a different thread.

My dd is very keen to write to Mandy Burrows she’s finding it very difficult to think and write about the trauma she’s faced as it brings up so many memories she simply has spent so long trying to recover from. I’m thinking of writing it on her behalf because it’s so important that the LADO receive as many accounts as possible so that this investigation can take place. Thank you to all the other brave dc and parents who are speaking up about other vocational schools what we accept as normal in a ballet school would be classed as forbidden in an ordinary secondary school.

I just want to send love to all of you dealing with these difficult issues.  Nothing else to say.  Just love.

1 hour ago, glowlight said: I just want to send love to all of you dealing with these difficult issues.  Nothing else to say.  Just love.

How kind, glowlight. ♥️

Thank you Luke for producing such a well written article.

For me the key point was the learned behaviour issue. Even for those children who have sailed through vocational school seemingly unharmed they will not come through unscathed. They see the toxic environment as normal and even necessary if they are to go on to a successful dance career. To complain is a sign of weakness and will result in failure. To listen to my dc talk and hear them expect to be bullied and ridiculed it’s almost a right of passage. Very sad that such a beautiful art form is sullied in such a way.

22 minutes ago, Frankie said: Thank you Luke for producing such a well written article. For me the key point was the learned behaviour issue. Even for those children who have sailed through vocational school seemingly unharmed they will not come through unscathed. They see the toxic environment as normal and even necessary if they are to go on to a successful dance career. To complain is a sign of weakness and will result in failure. To listen to my dc talk and hear them expect to be bullied and ridiculed it’s almost a right of passage. Very sad that such a beautiful art form is sullied in such a way.  

I think this is a  really  important point.

Those who appear unscathed are, in a way, perhaps the most damaged, as they have accepted toxic behaviour as normal, and may well go on to perpetuate it.

I've no dance experience, but I can see parallels with my experiences as a medical student in the 80s - obviously not as bad as we were at least adults and could escape as not boarders, but there were definite similarities. Ritual humiliation was a recognised teaching method, sexism and racism commonplace and nobody dared speak up because the potential damage to career progression was significant. And you could see young doctors behaving just like their seniors. Of course they did - they knew no different and as far as they were concerned such methods were "necessary" to prepare us for the profession. Plus in any hierarchy it's unfortunately human nature that people who are being treated badly from above will vent their frustration on those below them once they get the chance.

The good news is that it has changed. I'm sure there's still room for improvement but generally speaking students dont get treated in the way that we did. Fear and humiliation aren't widely seen as effective teaching techniques any more. I'm not sure exactly how it happened but I guess people started to stand up and say "this isn't ok", and tutors actually started to be taught to teach. "Because it's always been like this" ceased to be acceptable and the assumption that because someone has a skill themselves they can automatically teach it is dying. To be honest, some of the best doctors I have ever met were truly terrible teachers - I don't doubt that applies to dancers too.

There is hope. Professions with long held traditions are slow to change but will do eventually. Hopefully at least some of today's dance students are going to be tomorrow's dance teachers who will go on to say "I'm not going to do it that way" instead of "We've always done it that way" and eventually the toxic cycle wil break.

I totally agree with everything Pups_mum has said. When all the emotions ( from the pain, humiliation etc) have been shut down and suppressed, then everything has been swept under the carpet and appears to be going smoothly. By the 3rd term the pupil hardly acknowledges the fact that the teacher refuses to look at them in class,after class after class, despite trying desperately hard to up their game, hoping that just this one time the teacher may offer a glance or even more fortunately, a correction. The fact that the teacher only looks at one or two favourite pupils is now accepted as ‘they’re the favourites’ and I may as well not be in this class.

Or a pupil who has terribly sore and bleeding toes in pointe work being humiliated for showing pain and weakness, will very quickly suppress the pain believing it to be part of the course.

As Pups _mum rightly points out, it might be transferred to subsequent generations but it also leads to mental illness later in life.

Only when emotions are fully expressed ( as being real because you feel them!) heard and validated, can things move forward in a more healthy manner.  

Sorry, my post above did not relate to any school in particular but rather to Ballet training in general. 

Jan McNulty

2 hours ago, Frankie said: Thank you Luke for producing such a well written article.  

Hello Frankie and welcome to the Forum!

Thecatsmother

This makes very sad but important reading. There does seem to be a trans generational transmission of some of these practices which it is important to bring into consciousness within certain dance environments. 

One thing that strikes me (a general comment not referring to any school or company) is if a school or company is not acting on information concerning abusive teaching practices it should be possible to raise this with the individual teacher’s registering body eg RAD, BBO, ISTD etc. The problem here is there are a large number of teachers in vocational schools and companies who are not registered teachers. This in effect makes them almost ‘untouchable’.

Similar issues also occur in top private schools.  Even paying top dollar does not significantly remove the 'you're lucky to be here' mindset.  To protect my DD, I tell her that my $$ and I are prepared to walk away if necessary.  I also have relationships with (or contact details of) successful teachers/coaches that do not work at my DD's school.  They are people I can call on if things go pear-shaped.  There is more than 1 pathway available to get the training you need. 

On 07/10/2021 at 01:40, Luke Jennings said: I've spoken to two LADOs now (Westminster and Richmond) and both emphasise that they are keen to know of historic as well as current cases at schools. The child does not have to be at the school any longer, or even to have been there recently. So you don't miss your chance, so to speak, when your child leaves. It's never too late. Every letter, email and phone call helps the LADOs build up a picture of an institution. The more they know, the more effectively they can act.

Totally agree.  My daughter - and we as parents spoke out about all this sort of stuff and the impact on our child. No other parents backed us up. We took it to the governors and board. No teachers backed our daughter up. They all stayed silent and stuck together. Even the house parents who are supposed to act as a safety net for the kids stuck to the staff. Everyone pretended they didn’t see her suffer. They didn’t see the other kids suffer too. Despite the fact that the counselling service was booked out all the time!!! What does that tell you!!! Those teachers all are aware and pretend it’s all fine. The kids in the company say how fabulous school is - but the real truth is told by the kids thrown out or have quit. The kids are hand picked to give feedback when the inspectors come to visit. And the sponsors etc see a facade.  It’s all a facade that needs the light. The board is trying to change things but it’s the staff that need looking into and re-educated or replaced. The Scarlett investigation was just the edge of it all. 

This can unfortunately also be a problem at some non vocational schools. Of course it is easier than facing it day and night and away from home and you can more easily move schools but it can still be very damaging to a child as can bullying anywhere and in any form.   This can mean a pupil leaving a much loved teacher which understandable they do not want to do. 

A   pos t on this thread is hidden while it is under review for being thought to contravene the Acceptable Use Policy and/or forum moderation   policy.

In the meantime, please be reminded of our rules around discussing schools:  

Many thanks,

Anna C on behalf of Balletcoforum Moderators

8 hours ago, Thecatsmother said: This makes very sad but important reading. There does seem to be a trans generational transmission of some of these practices which it is important to bring into consciousness within certain dance environments.  One thing that strikes me (a general comment not referring to any school or company) is if a school or company is not acting on information concerning abusive teaching practices it should be possible to raise this with the individual teacher’s registering body eg RAD, BBO, ISTD etc. The problem here is there are a large number of teachers in vocational schools and companies who are not registered teachers. This in effect makes them almost ‘untouchable’.

exactly this - not even sure if CDMT has any  hold over some of the schools - i know they do over some of the 'lesser name'  vocational providers

Pas de Quatre

RAD, BBO, ISTD etc are exam boards which do promote teacher training, but they only regulate their member teachers who wish to enter exam candidates.  As far as I know the only official Government recognition body is Ofqual.  Organisations such as CDMT, and others are merely private organisations which are pretty much equivalent to Good Housekeeping Seal of Approval or Which Magazine recommendations.

Private schools can employ who they wish to teach in whatever subject, dance or academic.  Anyone can set up a dance school anywhere without qualifications or any sort.  So you may have a school where the teachers are brilliant and have extensive experience as professionals, or you can get someone who just fancies teaching dance 'cos they did a bit when they were younger!  It is all a mess and does need proper oversight!

17 hours ago, Frankie said: Thank you Luke for producing such a well written article. For me the key point was the learned behaviour issue. Even for those children who have sailed through vocational school seemingly unharmed they will not come through unscathed. They see the toxic environment as normal and even necessary if they are to go on to a successful dance career. To complain is a sign of weakness and will result in failure. To listen to my dc talk and hear them expect to be bullied and ridiculed it’s almost a right of passage. Very sad that such a beautiful art form is sullied in such a way.  

Thank you, Frankie.

I've just had a conversation with Mandy Burrows (Richmond LADO). She told me that while she will always be contactable about child safeguarding issues, she's going to have to decide on a cut-off point for issues relating to WL, in order to process information received and decide on a course of action.

I will post the date when I have it, but it's likely to be in a couple of weeks. So it's vital that anyone with anything to contribute, whether current or historical, gets in touch with Mandy as soon as possible. The more information she has, the more effectively she can act. I'm told that some parents and pupils are still worried that it will "get out" that they've spoken up. It won't, the process is 100% confidential.

Mandy's contact details are on my original post.

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T here has been ​ more than one revival of interest in the mayfly career of Pauline Boty since her death in 1966 at the age of 28. In accordance with Cecil Beaton’s dictum that it takes slightly longer than 25 years for a cycle of taste to complete and for the merely dated to become historic, it was in 1993 that the Barbican put on The Sixties Art Scene in London , which featured several...

There has been an element of ‘infatuation-driven hyperbole’ in almost everything that has been said and written about Pauline Boty. In her lifetime her physical presence was always part of her reputation. It wasn’t just that she was beautiful, but that she was beautiful in a particularly timely way. Blonde, long-limbed, slightly lush, she was the Sixties ideal.

Story of Eau

Steven shapin.

A mong ​ all the things that people take into their bodies, water is special, its necessity matched by its neutrality. There’s no doubt about the necessity. Human bodies are mostly water: about 60 per cent in adult men; a little less in adult women. Without water, death comes within days. A sedentary man of roughly normal weight, living in a temperate climate, requires about three litres...

How has the widespread assumption of water’s neutrality come about? Who gets to say what water does taste like, how it ought to taste, whether its sensory aspects do or do not testify to its quality? How do you know if the water is  good ?

Käthe Kollwitz’s Figures

B orn ​ into a progressive family in Königsberg in 1867, Käthe Kollwitz was encouraged by her father, a stonemason and an early member of the Social Democratic Party (SPD), to study art – a rare path for a young woman from a working family and a difficult one given that most academies were restricted to men. Kollwitz, no modernist, gravitated to printmaking as the best vehicle...

Käthe Kollwitz aimed to bend the bourgeois tradition of printmaking to her proletarian content, not to break with it. ‘Genius can probably run on ahead and seek out new ways,’ she once remarked. ‘But the good artists who follow after genius – and I count myself among these – have to restore the lost connection once more.’ 

Lauren Groff’s ‘The Vaster Wilds’

Jordan kisner.

A s in a fairy tale ​, a girl is running through a dark wood. She owns nothing in her own right: her boots were stolen off the corpse of a smallpox victim; her leather gloves were taken from her mistress. She doesn’t even have a proper name. In the poorhouse where she once lived, she was called Lamentations. The aristocratic mistress to whom she was later sent as a pet called her Zed,...

Groff is not telling a new story – in fact, it’s a very old one – but it’s inflected by the anxieties and politics of the present moment. Would it have been better if humans just … vanished? At what point was it too late to stop the machinery of the Anthropocene that now seems certain to destroy the world?

From the blog

Les jeux sont faits, james butler.

The gambling scandal seems likely to poison the last days of the election campaign and the end of Rishi Sunak’s tenure. It is an appropriate  . . .

Spear Phishing

Paul taylor.

Qilin and Synnovis, the two entities involved in the recent ransomware attack that has disabled laboratory services at London hospitals, are  . . .

On 9 June, doctors across Israel received an email from Zion Hagay, the president of the Israeli Medical Association (IMA), saying that a red  . . .

Bristol’s Green Wave

Under the UK’s grotesque electoral system, a national breakthrough by a small party is more or less impossible. But in the new constituency  . . .

The intractable sense of exhaustion which attends British politics – not only in this election – is a signal of crisis in its institutions  . . .

John Burnside 1955-2024

‘The trick is to create a world,’ John Burnside’s poem ‘Koi’ begins, ‘from nothing.’ Published in the LRB in 2001, it was one of  . . .

Small Change

Labour’s manifesto at least looks like a real programme, though it is in places evasive, unclear or underpowered. Starmer promised ‘no surprises’  . . .

War Chariots

The number of Trump administration officials who could be called ‘very competent’ is small, but the former deputy national security adviser  . . .

Faked Editions

Gill partington and thomas jones.

For forty years, Thomas James Wise made a fortune forging copies of books that had never existed, sometimes even convincing their authors they were the real deal. Despite a damning exposé by amateur detectives in the 1930s, Wise never confessed or faced legal repercussions, and his fakes have become collectors’ pieces in their own right. Gill Partington joins Tom to explain...

For forty years, Thomas James Wise made a fortune forging copies of books that had never existed, sometimes even convincing their authors they were the real deal. Despite a damning exposé by...

UK Election Special: The Broken State

For the second episode of our series on the UK election, James Butler is joined by Sam Freedman to talk about the enormous challenges facing the next government. From hospital waiting lists to criminal court backlogs and even potholes, the fabric of the British state seems to be beyond repair. It’s not simply a problem of funding: poor management, a lack of scrutiny and extreme...

For the second episode of our series on the UK election, James Butler is joined by Sam Freedman to talk about the enormous challenges facing the next government. From hospital waiting lists to...

Among the Ancients II: Lucian

Emily wilson and thomas jones.

The broad theme of this series, truth and lies, was a favourite subject of Lucian of Samosata, the last of our Greek-language authors. A cosmopolitan and highly cultured Syrian subject of the Roman Empire in the second century CE, Lucian wrote in the classical Greek of fifth-century Athens. His razor-sharp satire was a model for Erasmus, Voltaire and Swift. Emily and Tom share some of...

The broad theme of this series, truth and lies, was a favourite subject of Lucian of Samosata, the last of our Greek-language authors. A cosmopolitan and highly cultured Syrian subject of the...

UK Election Special: Climate

In the first in a series of episodes on the UK general election, James Butler is joined by Ann Pettifor and Adrienne Buller to discuss climate policy and its apparent absence from the campaign so far. Several years ago the Labour Party was committed to a Green New Deal but has since backed away from that promise, while the Conservatives have decided that abandoning their own climate...

In the first in a series of episodes on the UK general election, James Butler is joined by Ann Pettifor and Adrienne Buller to discuss climate policy and its apparent absence from the campaign so...

Medieval LOLs: The Second Shepherds' Pageant

Irina dumitrescu and mary wellesley.

In their quest for the medieval sense of humour Mary and Irina come to The Second Shepherds’ Pageant , a 15th-century reimagining of the nativity as domestic comedy that’s less about the birth of Jesus and more about sheep rustling, taxes, the weather and the frustrations of daily life. The pageant was part of a mystery cycle, a collection of plays that revealed religious mysteries...

In their quest for the medieval sense of humour Mary and Irina come to The Second Shepherds’ Pageant , a 15th-century reimagining of the nativity as domestic comedy that’s less about...

Women in Philosophy

Sophie smith and thomas jones.

The recovery of history’s ‘lost’ women is often associated with the advent of feminism, but, Sophie Smith writes, women’s contributions to Western philosophy have been regularly rediscovered since at least the 14th century. She joins Tom to discuss what we can learn from the women who held their own alongside Plato, Descartes and Hume.Sponsored links:Find out more about...

The recovery of history’s ‘lost’ women is often associated with the advent of feminism, but, Sophie Smith writes, women’s contributions to Western philosophy have been...

Human Conditions: ‘A House for Mr Biswas’ by V.S. Naipaul

Pankaj mishra and adam shatz.

In  A House for Mr Biswas , his 1961 comic masterpiece, V.S. Naipaul pays tribute to his father and the vanishing world of his Trinidadian youth. Pankaj Mishra joins Adam Shatz in their first of four episodes to discuss the novel, a pathbreaking work of postcolonial literature and a particularly powerful influence on Pankaj himself. They explore...

In  A House for Mr Biswas , his 1961 comic masterpiece, V.S. Naipaul pays tribute to his father and the vanishing world of his Trinidadian youth. Pankaj Mishra joins Adam Shatz in their first...

Collections

52 ways of thinking about kafka.

Links to the original pieces for the chorus of voices that inspired our Kafka-themed Diary for 2024, which in turn inspired a special one-off event at the 2024 Hay Festival.

Marvel Years

Childhood memoirs in the LRB archive by Hilary Mantel, Richard Wollheim, Lorna Sage, Edward Said, Mary-Kay Wilmers, Rosemary Dinnage, David Sylvester, Jenny Diski, Sean Wilsey, Lorna Finlayson, Yun Sheng...

Living by the Clock

Writing about time by David Cannadine, Perry Anderson, Angela Carter, Stanley Cavell, Barbara Everett, Edward Said, John Banville, Rebecca Solnit, David Wootton, Jenny Diski, Malcolm Bull, Andrew O’Hagan...

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LRB Winter Lectures 2010-2023

Judith Butler on who owns Kafka; Hilary Mantel on royal bodies; Andrew O’Hagan on Julian Assange; Mary Beard on women in power; Patricia Lockwood on the communal mind of the internet; Meehan Crist...

Missing Pieces I: The je ne sais quoi

Writing about mystery, the unintelligible and that for which no words can be found by Jenny Diski, Jacqueline Rose, Adam Phillips, John Lanchester, Alice Spawls and Hal Foster.

Missing Pieces II: What was left out

Writing about obsolete objects, missing words and anonymous writers by Andrew O’Hagan, Amia Srinivasan, Irina Dumitrescu, Lucia Berlin, Lawrence Rainey and Sheila Fitzpatrick.

Missing Pieces III: Alchemical Pursuits

Writing about cognitive gaps, stolen artworks and missing the things you never had by Hilary Mantel, Michael Neve, Rosa Lyster, Clancy Martin, James Davidson and Malcolm Gaskill.

Analysis Gone Wrong

Unorthodox psychoanalytic encounters in the LRB archive by Wynne Godley, Sherry Turkle, Mary-Kay Wilmers, Nicholas Spice, Mikkel Borch-Jacobsen, Jenny Diski, Brigid Brophy, Adam Phillips, D.J. Enright...

Gossip and Notes on Work and Reading

For the first time since 1982, there is no annual Diary by Alan Bennett. He says his life is so dull he won’t inflict it on LRB readers. If it suddenly gets more interesting he promises he’ll let us...

Writing about drinking by Victor Mallet, Anne Carson, John Lanchester, Wendy Cope, Christopher Hitchens, Tom Jaine, Jenny Diski, Marina Warner, Clancy Martin and John Lloyd. 

War on God! That is Progress!

Writing about anarchism in the LRB archive by Steve Fraser, Susan Watkins, T.J. Clark, Zoë Heller, Hal Foster, Wes Enzinna and Jessica Olin.

Suffering Souls

Writing for Halloween by Leslie Wilson, John Sturrock, Thomas Jones, Michael Newton, Marina Warner and Gavin Francis.

Ministry of Apparitions

Writing about superstition by Matthew Sweeney, Hilary Mantel, Malcolm Gaskill, Patricia Lockwood, Theodore Zeldin, Katherine Rundell, Peter Campbell, Barbara Herrnstein Smith, Angela Carter, Ian Penman...

The day starts now

Summer morning reading from the LRB archive by Angela Carter, Eleanor Birne, Steven Shapin, Tom Crewe, Patrick McGuinness and Jenny Diski. 

Summer lunchtime reading from the LRB archive by James Meek, Penelope Fitzgerald, Bee Wilson, Colm Tóibín and Rosa Lyster. 

Oh What A Night

Summer evening reading from the LRB archive by Anne Carson, Rosemary Hill, John Gallagher, Zoë Heller, Anne Diebel and Patricia Lockwood.

World Weather

From June 2022 to June 2023, the LRB has been collaborating with the World Weather Network, a constellation of weather stations set up by 28 arts organisations in oceans, deserts, mountains, farmland,...

Writing about thinking up other worlds by Glen Newey, Terry Eagleton, Sheila Fitzpatrick, Susan Pedersen, David Trotter and Anthony Pagden. 

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Close Readings 2024

In our pioneering podcast subscription, contributors explore different areas of literature through a selection of key works. This year it’s revolutionary thought of the 20th century, truth and lies in the ancient world, and satire.

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A Day in the Life at London’s Royal Ballet School

While most ballet schools in the U.S. experience a lull between Nutcracker and preparation for spring showcases, students at London’s Royal Ballet School have been busy. That’s because assessments—mid-semester evaluations for every student at the school—have just taken place. These exams are just one adjustment that U.S. teenagers Corbin Holloway , 14, and Rebecca Stewart , 16, have had to make since starting training programs at the prestigious academy last fall.

Both students previously trained at CityDance Conservatory in Washington, D.C. For Corbin , in Year 10 of the Development Programme at the White Lodge in suburban Richmond, and Rebecca, in Year 1 of the Vocational Programme at the Upper School in London’s Covent Garden, everything in the U.K. feels new. Whether navigating life in a different country, learning the details of British ballet technique, or adjusting to their rigorous schedules and to occasional homesickness, studying abroad has been quite a learning process. Pointe recently followed them through their typical day.

Rebecca’s day starts at 6 am at the Upper School’s boarding house. Breakfast times are staggered due to COVID regulations, so she’s usually in the cafeteria by 7 or 7:25. “I go for a balanced breakfast that’ll give me lots of energy,” she says, “which usually includes eggs or avocado toast.”

Meanwhile, Corbin wakes up at White Lodge about 7, brushes his teeth, retrieves his phone from the overnight cupboard, and heads to breakfast. His favorite is a full English breakfast with sausage and beans, plus a bowl of cereal. “Sometimes the line is pretty long,” he says, “but the wait is worth it!”

Both students begin with academics at 8:30. Since everything at White Lodge takes place under one roof, Corbin doesn’t have far to go to get to the classroom. Rebecca makes the trip to Covent Garden from Pimlico Station, usually by bus—but if she has extra time, she’ll walk the 40-minute trip. “I pass Buckingham Palace and Big Ben on the way to the studios. It’s nice to take all of that in!”

Both students’ academic curriculums complement their ballet training. Besides the usual subjects (math, English, science), Corbin is studying drama and dance studies. Rebecca’s first academic hour is spent on her “degree lesson” (part of the school’s foundation degree in classical ballet and dance performance), which includes courses like “classical context,” a nutrition course and anatomy. “I love that I can apply what I’m learning to my work in the studio,” says Rebecca. She then spends the next hour on coursework for her English A-level (the American counterpart would be an Advanced Placement course) in psychology.

Rebecca’s first ballet class begins at 10:30 am. The 14 girls in Year 1 work with their main teacher, Nicola Tranah , for up to two hours. Since they are currently working towards taking the full class on pointe, they wear “demi-pointes,” or soft blocks (pointe shoes with the hard shanks removed), on Mondays. Lately, the class has been practicing their entire assessment class, all of which is set in advance. “Compared to what I’m used to, some of the heads and arms seem so minimal,” Rebecca says. “I have to remind myself to turn my head just an eighth of the way to the side in a tendu front. It feels so different.” 

Upper School students meet in the student common room for lunch at 1 or 1:30 pm, where they heat their packed lunches and wash their dishes afterward. Students can also schedule semi-private Pilates sessions, which sometimes take place during lunchtime.

At White Lodge, Corbin’s first ballet class begins after lunch, at 2 pm. His main teacher is Valeri Hristov , who is working with the 13 boys in Year 10 on honing technique and artistry. “The whole approach to class is different here,” says Corbin. “It’s not about preparing for a show. I’m working to make everything in class as clean as possible, and to do every step to the best of my ability, the right way.” After class, students move on to repertoire. Right now, Corbin is working on variations from Harlequinade and Giselle . 

Late Afternoon

For Rebecca, the latter half of the dance day is spent in variations, character or contemporary classes. She is currently working on the first pas de trois variation and a group section from Frederick Ashton’s Swan Lake, as well as a character dance from Raymonda. “This repertoire really lets me focus on the details of British style,” Rebecca says.

Keeping in touch with their parents is a major part of each student’s week; because of the five-hour time difference, afternoons are an ideal time to catch up. For Corbin, staying connected was a key requirement in being allowed to study in the U.K. “When I was invited during Youth America Grand Prix, my family and I were really on the fence about it. But it was such an amazing opportunity! My whole family joins a chat once a week where we can talk about everything. It really makes being so far away easier.” 

Rebecca uses recorded voice memos to stay in contact with her mom when she’s on the go. “That lets us stay in touch, even if there’s no time for a long chat.”

By the time late afternoon arrives, both students are ready for dinner. Corbin ends his dancing day with either fitness or weight-training classes before heading for the cafeteria.

After dinner, both students attend house meetings in their respective common rooms. Rebecca then is then free to shower and relax before “prep time” from 8 to 9 pm, reserved for doing homework and observing quiet time. On weekends, when students have lighter schedules, they can take part in organized activities, such as karaoke night at White Lodge. Corbin doesn’t usually sing any solos. “But I’ll join a group song once in a while,” he says.

While both students have explored the city during weekends with their guardians (caretakers who vouch for students outside of school hours), their favorite pastime has been seeing the Royal Ballet perform. “I don’t think it’s a coincidence that the passageway from the school building to the Royal Opera House is called the ‘Bridge of Aspiration , ’” Rebecca says. “Seeing the company perform reminds me of my dream to be a professional one day. The dancers are constant source of inspiration.”

The last hour before bed is spent with dorm mates, having a snack and winding down before lights-out. For Rebecca, it’s also a time to reflect. She was invited to audition for the school after participating in open online classes during lockdown—which she’d wake up for at 5 am! “It was always a dream of mine to study at this school” she says. “Now that I’m here, I just want to take it all in and make the most of every moment.” By 10:30, she’s ready to continue that dream with her eyes closed.

Considering a Gap Year After High School? Here’s What You Need to Know.

3 Dancers Share What They Learned From Training Abroad

Where Are the Boys in Ballet?

Breaking Down Penché With Alicia Graf Mack

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A leading classical ballet school, this London-based school offers intensive dance training alongside an academic programme that prepares well-rounded artists for entering a competitive industry.

The Royal Ballet School offers talented young dancers aged 11-19 years the opportunity to train full-time in classical ballet alongside their regular academic studies. One of the world's leading centres of classical ballet training, the school is divided between two sites in central London. The school has close links with The Royal Ballet and Birmingham Royal Ballet, offering students many opportunities to perform with both companies throughout the year.

Students aged 11-16 attend the Lower School at White Lodge, where they complete full-time classical ballet training while taking academic classes, which later include GCSE/IGCSEs. Entry to the Upper School is by audition and entry is fiercely competitive for the 100 places available.  

Upper School students study for a BA in Classical Ballet and Dance Performance, a three-year degree programme, accredited by the University of Roehampton. They can also study A Levels in art, English literature, French or mathematics alongside their BA , as well as an Extended Project Qualification (EPQ). International students can choose to take exams in their home country’s academic syllabus alongside their dance training.

Classical ballet is central to life at the Royal Ballet School, and students need to be committed, passionate and dedicated to dance. There's a six-day timetable here which includes dance classes and rehearsals on Saturday mornings.

In March 2022, the school launched a new programme for primary school-aged children, Primary Steps on Demand. Designed to widen access to ballet tuition for all students aged seven to 11, this online programme is offered to all primary schools, both in the UK and worldwide. It builds on the success of the school’s in-person Primary Steps programme, which was launched in England in 2005. 

It's a full boarding school with an international community of students; girls and boys comes from across the UK and more than 15 countries worldwide. Younger students live within the grounds of the White Lodge campus in Richmond Park and Upper School students live either in Covent Garden or at a new boarding house in Pimlico.

Admission and fees

Admission to the school is non-selective academically, and based solely on dance talent and potential. Students can apply for bursaries through the government's Music and Dance Scheme, and 84% of current students receive financial support.

If you are the owner or the principal of the school and note any inaccuracies, or would like to update data, you can now open an account with us . You will also be able to add admissions availability per year group, and advertise current job vacancies. This is a free service. Please help us keep prospective parents up to date with your latest information.

Are you looking for a place for your child, and want help from our school consultants? If so, click on the link below, and we will forward your request for information to the school or schools of the same type that we are confident have availability. This is a free service for our readers. Request Information

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Back at the Barre, Lessons Learned

Students at the Royal Ballet School, having fled to homes around the world for months of virtual training, are reuniting for their annual showcase.

By Ginanne Brownell

LONDON — When students at the Royal Ballet School scattered to their homes around the globe during the first British lockdown last spring, classes went virtual and, at first, proved quite tricky.

It was not just about time differences, with Chinese, Australian and Japanese students, among others, not keen to get up in the middle of the night to meet classmates on the virtual barre during the day in Europe.

Technical issues also arose as the recorded music that teachers played was out of sync. “When I would look at my screen, we’d be doing grand battement and our legs would be in different positions, and everyone was on totally different timings,” recalled Ava May Llewellyn , a 19-year-old British ballerina who has been at the school since she was 11. “And the teachers would always say: ‘Yeah, really good work. However, musicality wise, I don’t really know who is right.’”

But things improved.

By England’s second (October) and third (December to March 2021) lockdowns, teachers and students had reconfigured their digital settings, allowing them to work with a live accompanist, and living rooms, bedrooms, kitchens and back porches around the world had become makeshift dance studios.

Next week, the students’ hard work during hybrid training — they returned to in-person teaching in early March — will be on display at their annual summer performance on the main stage at the Royal Opera House. On Saturday, for the first time in two years, 88 of the 210 the dancers will be able to perform before a sold-out, socially distanced audience.

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The Royal Ballet School

Founded in 1926 by Ninette de Valois, The Royal Ballet School is the official school of The Royal Ballet and Birmingham Royal Ballet.

It is one of the world’s most celebrated centres for classical ballet training, as both the leading classical ballet school in the UK and one of the world’s most celebrated centres for dance, attracting dancers with exceptional potential from across the globe.

The School has produced outstanding dancers and choreographers of international renown for generations, from Margot Fonteyn, Kenneth MacMillan, Darcey Bussell and Jonathan Cope, to a new generation currently making its mark on the world stage: Matthew Ball, William Bracewell, Lauren Cuthbertson, Francesca Hayward, Yasmine Naghdi, Marcelino Sambé and Christopher Wheeldon, to name a few.

Full time training

Full-time students are based in two locations, with 11–16-year-olds at White Lodge in Richmond Park, and 16–19-year-olds in Covent Garden, adjacent to the Royal Opera House. The two buildings are linked by the iconic Bridge of Aspiration.

The School fosters academic and artistic excellence, nurturing its students holistically as they progress through a carefully structured dance programme alongside an extensive academic programme. Graduating students secure contracts with leading ballet companies worldwide. More than 70% of members of The Royal Ballet and Birmingham Royal Ballet are alumni of The Royal Ballet School.

Students have regular opportunities to work with The Royal Ballet, performing in productions and benefiting from coaching by Company dancers.

The Application Process

Admission to the School is based purely on talent and potential, regardless of academic ability or personal circumstances. 90% of current students rely on financial support to attend the School.

Audition applications for full-time training open in September for entry the following year, with auditions held from January to March each year. All auditions are for courses which start the following September.

Professional development and Outreach

As well as its full-time training programme, the School has a thriving outreach programme, engaging with thousands of aspiring young dancers in the UK and overseas each year.

The Associate Programme, established by Dame Ninette de Valois in 1948, offers pre-vocational training to gifted young dancers in UK-wide centres. The School runs programmes for primary school children both in-person and digitally. It also offers a calendar of intensive courses and masterclasses in the UK and internationally, and a range of online classes that dance students can enjoy wherever they are, whenever they choose.

The Royal Ballet School sets the standard for the future of classical ballet training with its extensive teacher training programmes for dance professionals from all backgrounds and levels of experience. These include a world-class two-year Diploma of Dance Teaching, the Inspire series of CPD seminars, one-hour webinars, and the ground-breaking Affiliate Training & Assessment Programme.

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Romeo and Juliet, Royal Opera House, London — review

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The Royal Ballet School at Holland Park

Opera Holland Park, London July 8, 2023

In the delightful setting of Opera Holland Park, this largely Upper School, Royal Ballet School summer show kicked off with the vision scene from Carlos Acosta’s Don Quixote . While it certainly serves the purpose of presenting a large cast, it is a little lacklustre and lukewarm.

George Edwards as the eponymous anti-hero partnered nicely, although it is an incidental role at best. Sasha Manuel was a fey Kitri but rather danced with all the stops in. Milda Luckute as Queen of the Dryads had most life, showing a very nice line. She did however appear to struggle a little with the tempo, often a hazard of recorded music.

Fast Blue would have been a much better opening, not last because the pre-professional men all looked far more confident. Precision and placing were consistently good, everyone having sufficient presence to show off the wit and nuance in this super work by Mikaela Polley and, even in an ensemble piece, make it individually their own. Indeed, the young men looked far more impressive than the women throughout the show. Fast Blue would not have looked amiss on the professional stage.

Tom Cape danced in his own pas de deux, Forgetting , with Francesca Lloyd which came with a good sense of structure. It is good to see that choreography is being encouraged at the beginning of dancers’ careers, although it could perhaps have showcased technique more.

Hora La Aninoasa, Sucitoarele showed the senior years of the Lower School in a folk dance that, if nothing else, will prepare the students for character dances in the major ballet works. It is a sort of Romanian Morris dance with the students brandishing clave-like sticks and demonstrating some neat work as they clashed with each other and the floor. There was plenty of room for error (it might have been fun to watch the early rehearsals) but no one put a foot, or rather a stick, wrong.

Bold by Goyo Montero is an ensemble work that demonstrates the flexibility of technique required of classical dancers as ballet effectively engulfs contemporary dance. There was much rushing on and off as black costumed bodies undulated in the semi-darkness. While competently performed, it failed to excite, however.

The second half opened with a rare viewing of Kenneth MacMillan’s The Four Seasons , a work nearly half-a-century old. The women seemed better suited to this than the purely classical Don Quixote and they seemed to enjoy it more too. They certainly demonstrated that they could bourrée endlessly.

The undoubted highlight of the performance was Robert Battle’s terrific solo, Takademe . Caspar Lench owned the stage, with by far the biggest presence of the evening. Technically tricky and demanding a fair bit of discipline and stamina, Lench ate it. He embodied every ounce of the rapid mood changes and one just wanted to rewind and see it again.

Paradoja presented ten students from the upper year of White Lodge in choreography by Year 10 student Cesar Ortego Garçia, another work that concentrated on the modern rather than classical. The still-learning young choreographer certainly showed he already knows how to manage a group.

There was more student choreography in How It Ends , an ensemble piece created to pop music by Rebecca Stewart.

A welcome return to classicism came with the pas de deux from The Two Pigeons . Edwards got a chance to shine after his cameo appearance at the opening, dancing this sentimental Frederick Ashton classic with Bethany Bartlett. They pulled it off with a maturity of understanding, although sans pigeons, the chair empty upstage. Well, almost. There was one pigeon which, presumably objecting to the sudden summer downpour (it is Wimbledon fortnight after all), flew in and settled on the lighting rig. Unfortunately it had departed by the time it could have nabbed a solo.

Finally, excerpts from Christopher Wheeldon’s Within The Golden Hour was well done and got the pre-professional year onstage together. Like the evening as a whole, it was lacking the excitement and the pizzazz that perhaps one of the classic pas de deux staples might have provided.

It was a pleasant evening, but one that, with the exception of Takademe , never really excited. While the boundaries between classical and contemporary are getting ever more blurred, there was far too little of the former. It would have been good to see the dancers given the opportunity to demonstrate their technique and understanding of the 19th-century canon, which is still important. Or, for that matter, any Romantic work. More that demonstrated ability to create character would have been nice too, although I suppose you can’t have everything.

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A symphony of dance: Badisches Staatsballett in Per aspera ad astra

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REVIEW: Peter and the Wolf, Royal Ballet School, Royal Opera House

This thirty minute ballet presented by the Royal Ballet and the Royal Ballet school has a wonderfully creative way of storytelling that doesn’t fail to charm.

First performed in 2010, the Royal Ballet School’s production of Prokofiev’s fairytale is cheeky, charming and lively from start to finish, while offering a great showcase for the rising talent that can be found.

By combining the spoken word with Prokofiev’s distinctive and playful music, Peter and the Wolf is filled with plenty of opportunities for creativity that really is made the most of through Matthew Hart’s choreography.

What is lovely about this piece of ballet is the way in which it ensures that both the music and dancing are accessible for younger audience members. For example the way in which each character is assigned an instrument from the orchestra such as the bird is characterised by the flute or the cat by the clarinet, really grabs the attention. Meanwhile, the way in which elements like the forest or the pond are represented by the dancers is also wonderfully imaginative.

Matthew Hart’s choreography is wonderfully playful and joyous to watch, highlighting each element of the story perfectly. The younger members of the cast do well to put heaps of personality into their performances – in particular Charlotte Edmonds as the Duck and Laurine Muccioli as the bird were really delightful to watch. But there was also fun to found through Sergei Polunin’s sinister but exaggerated performance as the wolf that worked really well, performing his movements as cleanly as you would hope.

Visually, it is a colourful spectacle – with the costumes set really able to catch the eye and helps to set the scene perfectly with a contemporary flair that is immensely stylish. Everything about the production works in perfect harmony to make for a thoroughly enjoyable way to spend half an hour.

By Emma Clarendon

Peter and the Wolf is available to watch through the Royal Opera House’s Youtube channel .

Rating: ⭐⭐⭐⭐

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The Royal Ballet School, Royal Opera House, London

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The Royal Ballet School's annual matinée fills Covent Garden with proud parents, little sisters in party frocks, teachers and critics. The stage is full of eager students, the audience both adoring and beady-eyed.

The programme comprises established ballets and pieces made for these students. This year's set piece was Les Patineurs , Frederick Ashton's lovely skating ballet. It's a good test for the students, demanding clear performance and a sense of Royal Ballet style.

The dancers glide through the frosty setting in a slip-sliding chassé walk, with virtuoso steps for confident skaters and for sudden wobbles. When the two girls in blue (Kristen McGarrity and Pattra Sarikaputra) start to teeter, they do it with sparkling bourrées.

It's easy to look warmly on the youth and enthusiasm of these students. At the same time, the Royal Ballet School is the most prestigious dance school in Britain. It claims to set the standard for British dance training, and it should be sternly assessed. At this matinée, there were just too many floppy wrists and buttery feet.

The Royal Ballet School dancers have elements of virtuoso technique, fast turns or high extensions, but they don't pull them into focus. Then there's the repertoire. I can't think why Gailene Stock, the school's director, chose to import The Eyes that Gently Touch . Kirk Petersen's ballet is a series of dim and wispy duets, with girls draped over the boys. Even so, Nutnaree Pipithsuksunt showed a lovely sense of line and phrasing. She's been snapped up by San Francisco Ballet, joining the company not at corps level but as a soloist.

Elements , made for the young students of the Lower School, is more worrying. Ann Jenner's piece is a kind of Balanchine Lite. It's a terrible error of judgement. Jenner doesn't even challenge her students: she keeps leaving the youngest dancers to flap their hands. The older girls have more to do. Antoinette Brooks-Daw snaps brightly into attitudes as the first movement ballerina. In the slow movement, Jade Clayton shows a flowing line.

Robert Hill's piece which was devised for the graduate students earlier this year uses Lowell Lieberman's Second Piano Concerto as a score. Hill sets the dancers moving fast. Mark Biocca tears through his jumps, and Pipithsuksunt gives another elegant performance.

I was happiest with Monochromatic , by the Upper School student Liam Scarlett. It was a tutu ballet to Prokofiev, with an assured sense of the big Covent Garden stage. Scarlett moves his dancers well, cutting between corps and soloist work.

The final piece brings on all the students. Each year does a few steps before the whole school sweeps on to the stage. It ends the show energetically but it doesn't remove doubts.

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Review: The Royal Ballet School, Next Generation Festival ★★★★ ★

The royal ballet school students took their turn in the roh next generation festival at the linbury theatre with a varied programme that highlighted talent and commendable discipline.

By Teresa Guerreiro on 20/6/2024

In my book that counts for a lot and goes a long way towards making me forgive any mistakes or missteps.

Not that there were many of those. Throughout a bill of nine very diverse works that ranged from classical to cutting-edge contemporary, serious to whimsical, the dancers were well-drilled and proficient. Importantly, they appeared to be having fun. And if the show itself dragged a little at the beginning with lengthy pauses between the first few pieces, it quickly picked up pace.

The programme opened with excerpts from the 19th Russian ballet Paquita, choreographed by Marius Petipa to a jaunty score by Ludwig Minkus. It was danced by students from three Upper School years, led with assurance, aplomb and a lovely smile by Aurora Chinchilla, attentively partnered by Ravi Cannonier-Watson.

The dancers showed their versatility in a series of very different contemporary works, from Didy Veldeman’s Toot , a whimsical piece where the 15-year-olds of White Lodge kitted out and made up as hapless clowns shuffled on and moved on the orders of a leader armed with megaphone (an authoritative Adam Pearce) to Remembrance , an intricate contemporary piece choreographed by The Royal Ballet’s own Joshua Junker, an up-and-coming hugely talented dance maker, performed by Upper School students.

The talent for extracting the fun out of a choreography, which was evident in Toot , came to the fore again in a jokey extract from Jerome Robbins’s Concerto, Mistake Waltz & The Carriers, where the women were carried around like so many shopwindow dolls, before being allowed to dance, the light pratfalls beautifully executed.

That said, though, this was an enjoyable evening which showed great promise; and I look forward to seeing some of these dancers on the main stage before too long.

The Next Generation Festival

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Nina Sorokina (1942-2011)

IMDbPro Starmeter See rank

• Actress (as N. Sorokina)

• Kitti (as N. Sorokina)

• 1975 • 1 ep
• (as N. Sorokina)

Personal details

• N. Sorokina
• May 13 , 1942
• Elektrostal, Moscow Oblast, Russian SFSR, USSR [now Russia]
• October 8 , 2011
• Moscow, Russia
• Other works She performed in the ballet, "Lieutenant Kije," "Paganini," and "School of Ballet," in a Bolshoi Ballet production at the Royal Opera House in Covent Garden, London, England with Valery Antenov, Rimma Karelskaya, Yaroslav Sehk, Ekaterina Maximova, Erik Volodine, Nina Timofeyeva, Maya Samokhvalova, Maris Liepa, Vladimir Vasiliev, Mikhail Lavrovsky, and Vladimir Nikonov in the cast. Alexander Kopylov and Algis Zhuraytis conducted the Bournemouth Symphony Orchestra.

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