Report of an
interview of Robert Parker by David Bain
Swedenborg Hall, London
5 June 2007
Robert Parker started his training aged
seven. He went along to the local dance
school with his older sister, as his mother
‘couldn’t find a babysitter.’
He would sit at the front pulling faces.
After this went on for a couple of weeks,
the teacher insisted he joined in, which
he did, wearing grey shorts and ballet
shoes. Robert was the only boy there and
got all the attention from the girls and
the teacher, ‘so that was nice.’
Robert’s teacher made him face the
barre, turn his feet out and bend his
knees. His teacher then turned to his
mother and said ‘You’ve got
a dancer there.’
Robert had one sister who went to White
Lodge for a year. She left, as she was
described as having ‘short legs,
stiff feet and tight hamstrings.’
White Lodge seemed like the next logical
step for Robert, although there had been
‘no history’ of ballet in
his family. His mother felt it would be
good for his fitness, and broaden his
horizons. Robert made it through White
Lodge, even though he was also described
as having ‘short legs, stiff feet
and tight hamstrings on almost every report,’
and that he was ‘maybe suited to
other forms of dance.’ Robert worked
hard from the start, as he ‘wanted
to prove them wrong.’ Even though
Robert rebelled at times, he loved White
Lodge, and is also still in contact with
his friends from that time. He liked the
discipline, having been raised by his
grandmother, (known as ‘The Dragon.’)
a lot of the time.
Arriving at the Royal Ballet Upper School
in Barons Court was a shock, having been
‘cooped up at White Lodge for five
years.’ It could be potentially
easy to loose focus, being in ‘big,
bad London,’ but again, Robert was
disciplined and knew how to work hard,
play hard. Robert sustained his first
knee injury at the end of his 2nd year,
but had already been offered a contract
by Sir Peter Wright, which was ‘very
fortunate.’ In the end of year shows,
Robert performed in Solitaire and Concerto,
which was ‘very hard, especially
for a 16 year old boy.’ Other students
in Robert’s year included David
Makhateli, Asier Uriagereka, Hedda Cooke
and Nicole Tongue. Robert chose to go
to Birmingham Royal Ballet, as it was
the contract he was offered. If the Royal
Ballet had offered him a contract, he
would have considered it but Birmingham
ended up being the best place for him
given the opportunities that had come
his way. Robert has been at BRB for 13
years, which have ‘gone really quick.’
Although Robert is retiring at 31, ‘you
have to look at the mileage.’ Even
though he could potentially have another
5 years dancing, in order to ‘have
a decent shot at a second career,’
now was the best time to retire.
Robert is now a veteran of the Company,
but ‘there are a great bunch of
young people there now.’ At BRB,
you can get thrown on in a lot of roles
at a very young age. This can knock your
confidence, or it can be your making ‘when
your inner strength comes into play.’
When Robert was about 19 years old, he
performed the Messenger of Death in Song
of the Earth, a role he wasn’t even
learning. He was originally doing the
4th Song with Monica Zamora ‘very
flattering,’ but had to switch roles,
as several principal men were injured.
He was told ‘Robert, you’ve
got a week!’ His other big chance
came covering Michael O’Hare in
James Kudelka’s Baiser de la Fée.
Robert’s first role for David Bintley
was the 2nd Seminarian in Carmina Burana,
again through casts ahead of him being
injured. Robert learned the steps with
a choreologist in a small studio one day
then showed it to David Bintley the next.
When the ballet was revived, Robert performed
the role in the first cast. Robert particularly
remembered a performance he gave as the
2nd Seminarian at the Royal Opera House
when his family were there, with a very
appreciative audience. He could barely
walk afterwards, and Wayne Sleep came
up to him afterwards and said ‘Marvellous
dear, you were marvellous! The response
of the audience – almost reminded
me of when I used to dance.’
Robert didn’t get much to perform
in his first year with the Company, but
it was in his second year that he began
to get more to do. He worked with a variety
of choreographers, including David Bintley,
Lila York and Stanton Welch. It was nice
working with visiting choreographers because
of the contrast in styles. It had been
‘phenomenal’ working with
David Bintley over the years. ‘We
fit together so well.’ During recent
rehearsals for Take Five, Robert would
make suggestions based on what would feel
comfortable, but was also able to give
Bintley what he was after. The first roles
that Bintley created for Robert were the
sailor in The Nutcracker Sweeties, and
Hamlet in The Shakespeare Suite.
Robert saw a technical rehearsal of Cyrano
when he was a student, but hadn’t
seen the whole thing, as the rehearsal
got very complicated, and they’d
had to leave. This had helped recently,
as it meant Bintley was able to use Robert
as ‘a fresh canvas.’ The rehearsal
period had been ‘great’ as
Bintley was ‘a great character artist,’
so Robert could see clearly what he wanted
when he was demonstrating. Robert had
not originally been down to do the role,
but he’d had to stay with the Company
longer than planned. Robert was glad he
stayed to work on the role, as it had
been ‘an amazing process’
working with Bintley and Elisha Willis.
‘Everything’s in there,’
with the sword fighting, jealousy, sadness,
happiness, comedy, getting old at the
end. Robert would have tears streaming
down his face at the end, partly because
of the music. The music was different
this time; Carl Davis had done ‘a
phenomenal job.’ He was there for
the entire process, and was very hands
on.
Arthur parts 1 and 2 were ‘hard
work, just exhausting’ especially
when performing both Arthur and Mordred
back to back on a Saturday, owing to the
contrast in the roles, working with the
swords and walking round in leather. David
Bintley had tried to pack in every aspect
of the Arthurian legend, but it didn’t
really convey a story, though it ‘had
its moments.’ Mordred had been great
fun to get his teeth into, and Robert
had enjoyed playing a baddy. Robert also
enjoyed working alongside Joseph Cipolla,
and took inspiration from the film Gladiator.
With Edward II, Robert initially performed
as a Baron and the Grim Reaper, and got
‘carried away’ with the make
up, and would ‘just slap it on.’
Getting the role of Gaveston was a lucky
break, as it was a step out of his normal
roles. Gaveston was a catalyst for everything
in the ballet, angering the Barons, as
he was a dominant figure and such a strong
character. Robert worked alongside Wolfgang
Stollwitzer ‘an idol, almost a mentor
for me’ and Michael O’Hare
‘Oh wow.’ When Robert came
to play Edward, it was ‘Phenomenal,’
and he could ‘let all that emotion
come out.’ Robert has also performed
the classics, the bread and butter, which
you have to go through, but the characterisations
are ‘slightly 2-D.’ ‘It
can be difficult to put your stamp on
them, as they’ve been done so many
times before.’ With Arthur, David
Bintley tried to replicate the success
of Edward II by using the same team, ‘but
it didn’t have the same effect.’
Robert’s idols within the Company
include Michael O’Hare and Wolfgang
Stollwitzer. Robert remembered seeing
a performance of Hobson’s Choice
when he was about 9 or 10 years old, and
it ‘knocked my socks off, and didn’t
know ballet could be like this.’
It also cemented Robert’s decision
to become a dancer. Robert’s reaction
to being cast alongside Michael in Hobson’s
Choice years later was ‘I’ve
arrived.’ When Wolfgang saw Robert
as the 2nd Seminarian in Carmina Burana,
he said ‘You’re my kind of
dancer.’ When he was cast as Gaveston,
Robert asked Wolfgang for some tips, as
he had created the role of Edward in Stuttgart.
Wolfgang told Robert ‘show me what
you’ve got,’ and made him
walk across the studio in a dominant way,
and command the stage. Robert learnt his
stagecraft, by watching performers such
as Wolfgang Stollwitzer, Michael O’Hare
and Joseph Cipolla, seeing what they were
doing. Irek Mukhamedov had been another
inspiration.
David Bintley had brought in a lot of
experienced dancers when he became director.
It had ‘just a fantastic effect’
on Robert. Patricia Linton had come to
interview Robert, where he commented that
he felt some of that artistry was now
lost. Robert had seen a video with Marion
Tait and Desmond Kelly, and was aware
of them actually acting. Up and coming
dancers, Robert felt, had that potential
artistry included Alexander Campbell.
When dancing roles such as Will Mossop,
which was ‘a great role to play,’
Robert didn’t set out to be ‘funny,’
so would be surprised when he got a laugh,
and found it ‘warming.’ Half
the battle would be won because of the
music and the choreography.
Rehearsing Hans Van Manen’s Grosse
Fuge had been a memorable time. The woman
who came to set it projected an image
of Van Manen as a tyrant, and that everything
had to be exactly right. After he arrived
and the dancers had nervously performed
the opening section, Hans Van Manen’s
reaction was ‘Good, very good –
now – let’s have more!’
and he had the dancers running round the
studio. Patricia Neary ‘can be severe
when she wants to be,’ but was ‘great
to work with, and if you work hard, she
is great.’
Robert feels a certain affinity with Ashton,
owing to the footwork, and the ‘very
nice’ way of moving, yet other dancers
coming in from outside might find the
style more difficult. British ballet could
be easy to spot because of the quick,
clean footwork. It felt natural to dance
Colas in La Fille Mal Gardee for this
reason, and because of the personality
involved in the role.
Memorable partners that Robert has danced
with include Monica Zamora, Letitia Muller,
Sabrina Lenzi, Nao Sakuma, Ambra Vallo
‘a natural mover’ and Elisha
Willis ‘Such a real character.’
Robert tended to perform with each partner
for a couple of years at a time, and there
would be something different to be found
dancing with each partner. Robert tried
to build a good rapport with his partners
‘the ballerina is always right!’
He also had ‘such a good time with
all of them.’ Robert would watch
Joseph Cipolla and Wolfgang Stollwitzer,
as they were ‘such amazing partners.’
Robert is aware he’ll miss that
working relationship with his partners,
along with the bonding the company tends
to when touring. Robert had also danced
with his wife Rachel Peppin in Romeo and
Juliet and The Nutcracker. It isn’t
always pro-active dancing with your real
life partner, as there was no holding
back off stage! Robert had seen some couples
have ‘some scorchers,’ with
one couple in particular being ‘at
each others throats like cat and dog.’
Robert’s decision to move to the
USA for work was partly made for him.
As there are more opportunities for work
there. Most pilots who have chosen it
as a second career are in the States.
Robert and Rachel would also have a house
seven times the size of their flat in
Birmingham. Looking back, Robert realised
how much he would miss, and how fortunate
he was to have found a second passion
he could pursue as a career. Robert remembers
being on a plane for the first time aged
8, sitting behind the wing, being fascinated
by the mechanics of it. He also remembers
flying to a gala, going into the cockpit,
looking at the pilot and thinking ‘you’ve
got the best job in the world.’
Robert did his training whilst still dancing.
For several months, he would get up at
about 6am, drive to the airfield, go flying,
race back for class or rehearsal, sometimes
perform, and then be up until 2am doing
his theory. He loved the whole process,
‘even with a twitchy eye.’
Robert can now dance for the pleasure
of it. ‘There’s no greater
feeling than taking a bow at the end of
a show.’ Regarding keeping fit in
the cockpit, you have to pass a fitness
test to be able to fly. Robert would probably
swim, plus his wife is a fitness instructor,
which would help.
Robert would love to have performed Mayerling.
‘Oh yes – very rich artistically,’
although he has no regrets, and has ‘been
very fulfilled.’ Regarding making
any kind of return to the stage, having
the opportunity to pursue a second career
was ‘very exciting and scary,’
but the ballet world would always be there,
so ‘I wouldn’t rule anything
out at this point.’ Both careers
are different, as one is more physical,
and the other is more mental, but both
careers require a lot of self-discipline,
spatial awareness and practice. ‘You’re
also striving for the perfect landing
in both careers.’
Robert gets very nervous as an audience
member, especially if he’s close
to the dancers, or knows the role. He’s
going through it with them. He loves watching
though, and feels you can always learn
something such as the size you need to
make your gestures, so he would always
try to watch performances.
Robert remembers his last performance
in Pulcinella. At the moment his character
gets angry when he thinks the other a
re mocking him, Robert looks at Chi Cao
with a stunned expression on his face,
looks down, and sees that Chi has left
his warm up boots on, with his nickname
Chico written on them. Chi removes the
shoes, and walks off, leaving them in
the middle of the stage. Thinking quickly,
Robert kicks them off the stage, and everyone
starts laughing. Another funny moment
came in Cyrano when Ian Mackay as Christian
is putting the glass on his nose, and
Cyrano is destroying the place. Ian trips
on a cup on the stage, and flies into
Robert’s arms. Robert had his back
to the audience trying not to laugh, with
this image of Ian stumbling towards him.
Robert also missed an entrance in The
Sleeping Beauty as a Rose Adagio Prince,
as he was so engrossed watching the Garland
Dance ‘Hmmm….. they’re
doing a good job.’
Before leaving completely, Robert would
still be performing in Sinatra Songs,
and Pineapple Poll on the mid scale tour.
On behalf of all in the Ballet Association,
David Bain wished Robert a great future
in his chosen new career and indicated
how much he will be missed by ballet fans.
© The Ballet Association 2007
Rachel Holland
Report checked and corrected by Robert
Parker and David Bain.
PRINT THIS REPORT with Acrobat
Reader (66k)
return
to top