Laurel Martyn looks back — and to the future

Press, 27 July 1976, Page 12

Laurel Martyn looks back — and to the future

By

TUI THOMAS

Nearly 32 years ago the late Edouard Borovansky brought to New Zealand a tiny goldeni haired dancer with a •very distinctive style. She had been a soloist with Sadler’s Wells Ballet in England and had also taken classes with some of the great Russion emigre teachers in Paris. Iler name was Laurel Martyn. The next time Borovansky came to Christchurch he was often asked: “Where is your ‘English' ballerina?” Audi nces remembered her •“Giselle” and her Odette in Act II of “Swan Lake.” They I wanted more of her. By that time Laurel Mari tyn, who is, in fact, an Australian, had married Mr : Lloyd Lawton and had started a small company which grew into Ballet Victoria. As its artistic director she is back in Christchurch with ' the company, which is now proudly presenting Valery and Galina Panov as its guest stars. Miss Martyn, who still moves with the grace of a dancer and speaks with a quiet- voice of authority, regards Borovansky as the “father of ballet” in Australia. FILLED GAP For many years he toured his company throughout Australia and New Zealand at a time when no overseas ballets were travelling in this region and there were no other fully established companies in either country. “Bo’-o” had been a dancer in Anna Pavlova’s company and in the Ballet Russes de Monte Carlo. Hence he had discerning taste and would accept nothing but the best from his dancers. He made regu'ar trips to Britain and Europe to engage principals, such a- Poul Gnatt of the; Royal Danish Ballet, who founded the New Zealand Ballet. i Until Borovansky settled; in Melbourne, Australian: (and New Zealand) dancers', had to go to England to get. into a company, as Laurel Martyn did. Few made the grade. “Borovansky is not given enough credit for what he did," Miss Martyn said | yesterday “Yet he has an outstanding place in the his- < tory of ballet in Australia. But for him our company .would not be here. I would I like to see the Australian Ballet, of which he is vir-, tuaily the founder, honour' him in some way.” Australia also owes much to Laurel Martyn as a [founder of the oldest State company in the country it will celebrate its thirtieth anniversary this year. Her

services to ballet in Austra-| lia were recognised in this! year’s Birthday Honours, when she was awarded an 0.8. E RECOGNITION Ballet Victoria, w’hich now has 20 dancers, has been through its lean times. But it is now enjoying recognition and success. “Now that we have subsidies from both the Federal I Government of Australia and’ the State Government of Victoria we can do the kiod: of productions we have always wanted to do and’ • more interesting work for: • the dancers,” Laurel Martyn 1

i said. “And the subsidies i have enabled me to get the help of Garth Welch (formerly premier dancer of the Australian Ballet and a principal in the Borovansky Ballet) as my associate artistic director.” Under Laurel Martyn’s guidance. Ballet Victoria now attracts top guest artists. Last year its stars were (Natalia Makarova and BarI yshnikov, former principals of the Kirov Ballet, as are I the Panovs. All four of these international dancers are in keen demand on the world market. “We were very fortunate

that they were available to dance with us,” she said. VARIETY Miss Martyn and her assistants are now planning next year’s repertoire. It will include some of the smaller classical works suitable for a company of 20, as well as contemporary and modern ballets. “We want to reproduce more classics of the twentieth century, such as 'Petrouchka',” she said. “We want to use the works of various choreographers from various countries. We would like to do Antony Tudor's 'Gala Performance', for instance.” The company already has two works in its repertoire by the English choreographer, Walter Gore, “Riptide” and “Simple Symphony." One gets the impression that Laurel Martyn’s head is brimming with ideas for the future of Ballet Victoria and the choice of guest stars. Ballet Victoria tours extensively in its own state and beyond. It may do another tour of New Zealand. “That depends on whether New Zealanders want us to come back — they seefn to like us.” Laurel Martyn does not believe that touring com-: panies from other countries pose a threat to indigenous ballet. “They are good' for it.” she said. “In Australia we welcome them because they stimulate dancers and audiences and keep interest alive.”