 |
   |
Christopher Hampson,
Back on the boards... | |||||||
|
Christopher Hampson, formerly a dancer and choreographer with ENB, has been keeping a diary for us since November 97. Initially he covered the creation of his new ballet ‘Country Garden’ but since then there have been lots of other ballets, and he is now a freelance choreographer and ballet master for City Ballet of London...
Here is a link to the previous column in the series.
Happy Easter! Speaking of rising from the dead, I was brought out of retirement last month to perform with ENB. They were at the Liverpool Empire doing Derek's Alice in Wonderland, and I was in Camberley choreographing a new work for Elmhurst Ballet School. It was explained to me that due to so many injuries within the company there was nobody left to perform the role of the Caterpillar for the rest of the run, and could I possibly put on some tights and do the solo. Not such a hassle, I thought: might be good fun. It wasn't until I was at the theatre and was being fitted into my old costume that I remembered the wig, the green make-up that stays in the skin for days, having to wait from the solo in Act One until the end of the ballet before taking it all off, the bruises on the knees from rolling on the floor and contorting my body into semi-yoga positions... and look!!.. before I knew it I was moaning just like a professional dancer. I did in fact enjoy performing on stage again, but it really brought home just how much my working life has changed in these few months since hanging up the jockstrap. Before I went on stage in Liverpool I was sat in the wings contemplating how I might feel after not performing after eight months. Would I want to go back to dancing full-time? Not a chance. My days are still as long as when I was a dancer, even harder in some respects. Lunch-breaks aren't for lunch, they're for meetings about other projects or for travelling to the next job. When the rehearsal day is over in the studio it normally carries on for another few hours catching up on phone calls or going to meet people that wish to discuss ideas. The biggest difference of all is that, to a certain extent, I'm in control of where I go, who I talk to and when I do it. Performing is a great feeling, all the same.
The Hampson approach to creating a new piece of ballet... photo Blandine
A week later City Ballet were doing my ballet, Dinaresade, as part of their VIVA! tour. I was there in two capacities - Choreographer and Ballet Master. It was predictably frantic: no dress rehearsal - no time, people getting injured, and a new stage manager calling the show. The company did some good shows and pulled through the rollercoaster that was opening night. I managed to fit in a birthday and hangover for the last day. City Ballet left for Dubai yesterday, without me (£££). My ballet has gone with them. I rehearsed them before they left. When they get back, I'm also not going to Miami with them, where Oksana Panchenko will perform my TBA 1. Harold King (director) called me a couple of days ago to inform that unless I gave permission to change the mens' costumes they wouldn't be able to perform my piece. The men wear very little in Dinaresade, and he was told that Dubai wouldn't take to their bare-chests. So I gave my permission, and then tried to work out a way of breaking the news to my friend Alex Foley who has recently moved out there. I'd promised to send her some lovely men... See how stressful this choreographing thing can get? I keep getting free tickets to go and see things, and I keep bumping into a webmaster called Bruce. One of these occasions was the Adeline Genée Awards held at Her Majesty's Theatre. While polishing off a bottle of wine in the first interval we did the usual thing of picking the winners before they've even had chance to put on their pointe-shoes. Strange thing is, I've found that even at that early stage it's a pretty safe bet that that is EXACTLY who will win. I must remember for next time: the things I could have done in the remaining three hours are too numerous to mention. Luke Rittner (Chief Executive of the RAD) gave a very positive speech at the beginning of the evening explaining that this would be the last time the Geneé Awards would be presented in this format... Thank God! Bless you all and once again... Happy Easter!
| ||||||||
|
 | ||||||||
|
| ||||||||
|
| ||||||||
|
| ||||||||
|
| ||||||||