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By Victoria O'Brien

This paintings provides a close examine of the 5 key ballet corporations that operated in eire among 1927 and 1963: the Abbey Theatre institution of Ballet, the Abbey university of Ballet, the Sara Payne college and corporate, the Irish Ballet membership and the nationwide Ballet tuition and Company.
via reading a formerly ignored measurement of Irish creative existence, this learn goals to supply a better appreciation of a few of the roles that ballet has performed within the improvement of Irish cultural job. It files the wealthy interplay among different dance artists and activities and their collaborators around the whole spectrum of Irish inventive endeavour, together with Cecil ffrench Salkeld, F. R. Higgins, Mainie Jellett, Patrick Kavanagh, J. F. Larchet, Louis le Brocquy, Elizabeth Maconchy, Donagh MacDonagh, Brinsley MacNamara, Micheál Mac Laimmóir, Norah McGuinness, A. J. Potter, Lennox Robinson, Michael Bowles, Mary Devenport O’Neill, Anne Yeats and W. B. Yeats.
This booklet breaks major new floor for a space within which little released details exists. the writer items jointly study at the faculties and firms from interviews, ballet programmes, playbills, libretti, ratings, memoirs, modern press experiences, literary articles and images, to shape a desirable narrative of the under-researched global of Irish ballet.

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The first production by the school under its new directors was received well. The Irish Independent commented: The Abbey Theatre directors should be pleased with the progress being made by their School of Ballet. Under the direction of Misses Muriel Kelly and Cepta Cullen they gave a recital which proved delightful and showed a considerable improvement in standard. 3 By following the names of the casts in the programmes over the next four years, from 1933 to 1937, it can be seen that the Abbey School continued to grow and performed a repertoire suggestive of de Valois’ programming: Les Sylphides, The Faun, Nursery Suite, Ballet from Faust and Suite of Hungarian Dances.

Dolan. Dance student Christine Sheehan played the Guardian of the Well. Another student, Doreen Cuthbert, was cast as one of the musicians, as was the school’s pianist, Julia Gray. The costumes and music were accredited to Edmund Dulac; there is no choreographer 25 The Irish Times, 14 August 1929.  184–5. 27 Dublin City Archives: Abbey School of Acting programme, 17 November. The Abbey Theatre School of Ballet 27 listed. It seems unlikely that de Valois participated in this amateur show. The Peacock production is of importance, though, as it is the only reference to collaboration between the two Abbey Schools: the School of Acting and the School of Ballet.

These included end of term displays, collaborations with the Rathmines and Rathgar Musical Society and dancing in productions with the Dublin Grand Opera Society. In particular, Lambkin recalls a production of Hansel and Gretel performed at the Gaiety Theatre, Dublin, where the Abbey School of Ballet students were included in the cast. Mary Polwolski, a professional dancer who had previously worked with the Anglo-Polish Ballet Company in London and who was resident in Dublin during the Second World War years, choreographed a divertissement from Swan Lake on the students.

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