Charters Part One
1945-1969 Page 9
Joyce was eventually guided to Marjorie at The Studio; she later boarded at Felden during the war, a move which coincided with her illness. Nevertheless, inspired by the example of both Marjorie and Noreen, she found renewed determination and purpose to decide on a teaching career. This proved serendipitous and she was able to indulge her love of ballet uninterruptedly for the remainder of her life. She became one of the most respected and honoured teachers in the country; apart from receiving the Imperial Award of the ISTD she was also honoured with its Lifetime Achievement Award. Incidentally, Bush Davies has been well-represented with recipients of the Imperial Award over the years: these include Daphne Peterson, Doreen Bird, Jill Knight (née Hembry), Paddy Hurlings and Patricia Prime.
We read earlier of Paul alluding to 'Stanley', and in the previous chapter, of Mary Pike seeing Stanley Holden when she taught at Romford. The youngest of eight children, born in the East End of London, Stanley was, "Pushed into show business when my mother enrolled me at Bush Davies in Romford." This would have been in 1941, aged 13. A few years later he joined Sadler's Wells Ballet. He became one of the most gifted and best loved character dancers of the Royal Ballet which he rejoined after national service in 1948. He was already a hoofer when he began his training at The Studio. With Marjorie's tuition and Victor's guidance he soon proved himself a 'natural' as an entertainer and dancer. He became the studio 'clown' and everyone loved him for his generous and warm personality. Throughout his life, even when teaching in southern California, where he died in 2007, he always trumpeted Bush Davies and maintained a close friendship with Joyce and Daphne. He created many notable roles for Andrée Howard, John Cranko and Frederick Ashton including Stewart-Powell in the latter's Enigma Variations in 1968. But he will always be remembered for his character of Widow Simone in La Fille mal Gardée from 1960, a role he made his own thanks to Robert Helpmann who asked to be released after only a few rehearsals. Ashton was relieved as he was well aware of Stanley's hoofing talent; he had been inspired to create the character based on a Lancastrian clog dancer. Stanley demonstrated a break step that Ashton then used as a motif in the dance.
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