Christopher Hampson has been writing for Ballet.co since November 1997 when he was a dancer and choreographer with English National Ballet.
Tens of works down the line and Christopher is now an internationally known and respected choreographer. So which far flung place is he in this time...
Here is a link to the previous column in the series.
Link to later column.
Hampson diary index
New York
I spent most of February and all of March in the U.S.A I was guest teaching with the Atlanta Ballet and re-staging Sinfonietta Giocosa for it’s New York debut at the Brooklyn Center of Performing Arts.
The Atlanta Ballet hadn’t been to New York for over twenty years and this tour was to last less than twenty four hours. A gruelling schedule for all involved.
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“Taken alone, 'Sinfonietta Giocosa' was a pleasure, but it ushered in something more important: a masterly new choreographic voice”
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The company arrived on Saturday night, was doing class by 7:30am on Sunday, performed at 2pm and was back in Atlanta for Sunday evening. That’s unions and cash strapped arts institutions for you. A huge effort from dancers and staff and one worth making, as the rewarding review from the New York Times stated.
Eric Taub's Ballet.co review of Sinfonietta Giocosa and the Atlanta Ballet programme in New York.
Some New York pictures...
Me and Claire Livingstone - we were in the same year at the Royal Ballet School and Claire now works in New York.
© Christopher Hampson
Out and about - John Clark (Atlanta Ballet), Caroline Palmer (my assistant and choreologist) and Mr Cool.
© Christopher Hampson
London
I was back in London by April and, therefore, back in time to see ENB performing Perpetuum Mobile at Richmond Theatre. I had cast a lot of new dancers this time and it really breathed new life into it. I don’t often want to change casts as I grow fond of the original artists’ performances, but just as a spring clean can do wonders for your wardrobe, it works just as well on a ballet. Because of the new cast I found I was much more open to making changes to parts of the ballet that I wouldn’t have wanted to before. Refreshed and re-staged I enjoyed watching Perpetuum Mobile ten years on, and on my 33rd Birthday.
Royal Tunbrigde Wells
A girl that I was at the Royal Ballet School with contacted me recently. She had made her career with Hamburg Ballet and, like most of us 33 year olds, has decided to retire from the stage and do grown up things. She’s now the Events Coordinator of the Spafest in Royal Tunbridge Wells. She is organising a dance gala that will happen on August 5th (Gala details) and was contacting me to find out “How to put on a gala”. Well it’s easy, phone all your friends (that includes the ones you haven’t spoken to for a while) and persuade them to come and dance their favourite party pieces for a can of Stella and a Creme Egg. I’m glad to say, it seems to be working (most dancers don’t want the egg, so all the more for me) and I urge you all to go and by tickets.
New Zealand
Going there in June. I’ll be there for six weeks preparing for the company’s tour to Australia with Esquisses. I’ll also be starting production meetings for my new Cinderella which will premiere at the end of August 2008. This ballet has been a long time in the making, but I’m pleased it’s all going ahead now. I’ve spent the last six months writing the storyline and working through the Prokofiev score. Everyday I seem to have a different take on the story, but over time it will settle.
Miscellaneous
This photograph was taken while I was in Atlanta...
© Christopher Hampson
For those of you that don’t know what “Hooters” restaurant is (and I use the “r – word” with reluctance) perhaps their motto will help.
“Delightfully tacky, yet unrefined”
I loved it so much I bought the t-shirt.
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