|
The World of Arts:
Driving force behind Royal Ballet
Gwen Herat
How is the Royal Ballet run with its glorious certainties, supreme
accuracy, perfect systems, this legendary citadel of classical ballet
with nothing left undone for its cause as envisaged by none other than
its former icon administrator, Ninette de Valoise who as its Director
for decades whose unmatchable qualities made the Royal Ballet what it is
today.
Running a ballet company is like a performance of Swan Lake.
Naturally you look at the Prince and Odette/Odile, But you cannot make a
ballet with just two characters. You have to depend on the whole backup.
What you need most are:
Artistic Staff
Administration
|
Monica Mason, Director The Royal Ballet |
Music Staff
Physiotherapy and Pilates
Stage Management
and dancers
Monica's arrival
Came Monica Mason, the new Director of the Royal Ballet with the
royal scarlet mantle draped around her shoulders after the exit of
Ninette de Valoise and with her came the fiery, passionate spirit, the
present driving force behind the Royal Ballet. Mason is supported by the
Administrative Director, Anthony Russel-Roberts, Assistant Director,
Jeanetter Lawrence and Company Manager, Kevin O'Hare. They call
themselves the 'Gang of Four', a very strong and professional team the
Royal Ballet thrives on.
Monica Mason who was born in South Africa, came over to England when
she was fourteen for training at the Nesta Brooking School of Ballet and
the Royal Ballet School.
At sixteen Mason joined the Royal Ballet in 1958 being its youngest
member at that time. Oozing with talent Mason had a brief period with
the 'corps de ballet' after which Kenneth MacMillan selected and created
the demanding role of the Chosen Maiden in The Rite of Spring, for her
especially.
This was first performed in 1962. An year later in 1963, she was
appointed Soloist and as Principal dancer in 1968.
Warmth and personality
Endowed with charm, she was noted for the warmth of her personality
and dramatic sense. essentially and technically a strong dancer. Mason
embraced purely classical roles such as Odette' Odile in SWAN LAKE,
Princess Aurora in the Sleeping Beauty, the title role and Myrthe in
Giselie, the Prelude and Mazurka in Les Sylphides and the leading role
in Raymonda Act III. She also performed dramatic parts such as Hostess
in Les Biches and the Black Queen in Checkmate. MacMillan was so
impressed with her that he created four roles for her from 1974-75.
Among them Mason came out brilliantly as Summer in The Four Seasons
to Vivaldi's memorable scores.
There was no looking back for Mason and just like her predecessor, de
Valios, the Royal Ballet remains as spectacular as ever.
High praises
Monica Mason was a highly praised interpreter of the leading roles in
MacMillan's Song of The Earth and Nureyev's Kingdom of The Shades and a
scene from Les Bayadere. She also appeared in the first performance of
the Royal Ballet's Adagio Hammerklavier choreographed by Hans van Manen.
Her other important roles were from Jerome Robin's Dances at a Gathering
and In the Night followed by Balanchine's Liebeslieder and Antony
Tudor's Dark Elegies. She ere followed by Birthday Offering in Variation
I as the Fairy Godmother.
Cinderella as the Winter Fairy
Enigma Variations as Lady Elgar
Hamlet as the Queen of Denmark
Adieu by David Bintley
Isadora as Nursey
Turn of the Screw as Mrs Grose.
Royal Ballet
Monica Mason' administrative rise at the Royal Ballet was as
spectacular as her specialised dancing. In 1980, Mason was appointed as
'Repetiteur' to Kenneth MacMillan which was followed by as the Principal
'Repetiteur' to the Royal Ballet. With this promotion came a workload
that only a mega administrator like Mason could handle. Of course, she
is blessed with a great back-up staff. To Mason who after four years of
assisting Anthony Dowell and later as assistant director, was appointed
as acting Director in September 2002. In less than a few weeks Mason was
appointed as Director following the resignation of Ross Stretton.
With Mason's entry as the head of the Royal Ballet, she created a
family atmosphere. After the years of turbulence of the Redevelopment,
the then Chief Executive, Tony Hall who guided the Royal Opera House
with political and financial acumen was the guiding star to Mason. To
her Hall was incredible. He was someone she called any time of the day,
be it night or day. He was serious and was there to help. He never
interfered but hugely encouraged her with a sense of honesty and above
all he was a good listener. Mason was blessed to have had such a
'godfather' who helped her and provided space to let Mason take ballet
out of the country.
And Monica Mason, the Director of the Royal Ballet deserved every bit
of it. |
