Sir Kenneth MacMillan (11 December 192929 October 1992) was a British ballet dancer and choreographer who was artistic director of the Royal Ballet in London between 1970 and 1977, and its principal choreographer from 1977 until his death. Earlier he had served as director of ballet for the Deutsche Oper in Berlin. He was also associate director of the American Ballet Theatre from 1984 to 1989, and artistic associate of the Houston Ballet from 1989 to 1992.
From a family with no background of dance or music, MacMillan was determined from an early age to become a dancer. The director of Sadler's Wells Ballet, Ninette de Valois, accepted him as a student and then a member of her company. In the late 1940s, MacMillan built a successful career as a dancer, but, plagued by stage fright, he abandoned it while still in his twenties. After this he worked entirely as a choreographer; he created ten full-length ballets and more than fifty one-act pieces. In addition to his work for ballet companies he was active in television, musicals, non-musical drama, and opera.
Although he is mainly associated with the Royal Ballet, MacMillan frequently considered himself an outsider there and felt driven to work with other companies throughout his career as choreographer. His creations for the Stuttgart Ballet and the Deutsche Opera ballet include some of his most frequently revived works.
Life and career Early years MacMillan was born in Dunfermline, Scotland, the youngest of four surviving children of William MacMillan (1891–1946), who was a labourer and, from time to time, cook, and his wife, Edith ( Shreeve; 1888–1942).Parry, Jann. "MacMillan, Sir Kenneth (1929–1992)", Oxford Dictionary of National Biography, Oxford University Press, January 2008, retrieved 22 November 2014.
His father had served in the army in the First World War, and suffered permanent physical and mental damage. In search of work he moved with his family to his wife's home town, Great Yarmouth in Norfolk. After attending a local primary school, Kenneth studied from 1940 at Great Yarmouth Grammar School, to which he won a scholarship. As Great Yarmouth was a target for German air raids in the Second World War, the school was evacuated to Retford in Nottinghamshire.
In Retford, MacMillan was introduced to ballet by a local dance teacher, Jean Thomas. He had already had lessons in Scottish dancing in Dunfermline and tap dancing in Great Yarmouth, and he took to ballet immediately.Parry, pp. 36–39 In 1942, his mother died, which caused him acute and lasting distress. His father was a distant figure, and the boy's only close family relationship was with an elder sister. His obituarist in The Times suggests that the feeling of being an outsider, displayed in many of MacMillan's ballets, had its roots in his childhood.
When the grammar school returned to Great Yarmouth in 1944, MacMillan found a new ballet teacher, Phyllis Adams. With her help, MacMillan, aged fifteen, secured admission to the Sadler's Wells Ballet School (later the Royal Ballet School). He saw his first performances of ballets, given by Ninette de Valois' Sadler's Wells company, at the New Theatre in London.
Dancer
When David Webster was appointed chief executive of the Royal Opera House, Covent Garden at the end of the war, his assignment was to establish permanent opera and ballet companies for the house. He set about building the opera company from scratch but persuaded de Valois to make Covent Garden the main base for her ballet company.Haltrecht, pp. 55 and 66–67 In 1946, while still a student, MacMillan appeared in the production of The Sleeping Beauty with which Webster and de Valois reopened the opera house. At first he was a non-dancing extra, and later he was promoted to a small dancing role.Parry, p. 61 With the main company now resident at Covent Garden, de Valois established a smaller ensemble to perform at Sadler's Wells and act as a training ground for young dancers and choreographers. In April 1946 MacMillan was a founder member, and quickly made progress. He was cast by Frederick Ashton, de Valois' principal choreographer, in a leading role in a new ballet, Valses nobles et sentimentales, in October 1946.Thorpe, p. 12 The success of the piece encouraged Ashton to revive his 1933 Les Rendezvous.
Although initially only in the corps de ballet for this work, MacMillan was unexpectedly promoted to the male lead because of injuries to all the eligible company principals. His biographer Jann Parry comments that he was able to take over without notice because he had a rare ability to remember and reproduce the steps of every dancer in any piece in which he appeared.Parry, pp. 77–78 He was promoted to the senior Covent Garden company at the start of the 1948–49 season,Parry, p. 81 touring in Europe and dancing Florestan in the third act pas de trois of The Sleeping Beauty in the company's opening gala in New York in October 1949. The first new role he created was The Great Admirer of Mademoiselle Piquant in John Cranko's ballet Children's Corner (1948). He appeared in the British film Tread Softly, in 1950. Then followed his Sherlock Holmes and Professor Moriarty in Margaret Dale's The Great Detective (1953); and Moondog, in Cranko's The Lady and the Fool, (1954)"A guide to Sir Kenneth MacMillan", at the Royal Opera House. Retrieved 28 November 2014.
Despite his rise within the company, MacMillan became unhappy as a performer. He suffered from severe stage fright, and his leading roles became an ordeal for him. De Valois gave him three months' leave of absence, during which he spent some time dancing with his friend John Cranko's small group in the little Kenton Theatre, away from the spotlight, in Henley-on-Thames.Thorpe, pp. 17–18 Cranko, himself a former dancer who had moved to choreography, concluded that MacMillan might well follow the same course.Parry, p. 113 When MacMillan returned to work, his confidence as a dancer somewhat restored, he took part in de Valois' new Choreographers Group, set up in response to Marie Rambert's "Ballet Workshops". For this group, MacMillan choreographed his first ballet, Somnambulism, which was first given on 1 February 1953. It was well received, and the next year he followed with another small-scale work, Laiderette. This introduced the "outsider" character that became a hallmark of his ballets,Simpson, Jane. "Kenneth MacMillan: For Better or For Worse?", Dance View, 15.4, Summer 1998, pp. 3–5 in this case a female clown who attends a ball at which her host falls in love with her until she loses the mask that has made her attractive.Percival, John. "Different Drummer", Dance View, 27.1, Winter 2010, pp. 30–32 MacMillan's eclectic choice of music was evidenced in these two early works; the first was danced to jazz composed by Stan Kenton, and the second was to the harpsichord music of Frank Martin.Parry, p. 708
On the strength of the workshop successes, de Valois commissioned the 25-year-old MacMillan to create a ballet for performance at Sadler's Wells. Danses concertantes, to music by Stravinsky, was first produced in January 1955, with designs by Nicholas Georgiadis, with whom MacMillan collaborated extensively over the next years. Parry counts among MacMillan's early influences the modernism of choreographers such as Roland Petit, Jerome Robbins and Antony Tudor, and the craftsmanship of Ashton, from whom MacMillan said he learned how a ballet was made. The Times commented that with this piece it was clear that a powerful choreographic talent had arrived."Sir Kenneth MacMillan", The Times, 31 October 1992, p. 15 The critic Clement Crisp has described the piece as "a bravura display using a witty, allusive classical vocabulary, remade by a creator who knew the cinema and spoke the movement language of his generation".Crisp, Clement. "Maker of Dances" , Kenneth MacMillan, retrieved 30 November 2014 With the success of Danses concertantes MacMillan concluded that his future lay in choreography rather than dancing. After a fierce argument with de Valois, who wanted him to continue in both capacities, he got his way, and from 1955 his contract with the company (on a slightly reduced salary) was purely as a choreographer.Parry, p. 152 His only Covent Garden appearances as a dancer after that were two performances as an Ugly Step-sister in Cinderella alongside Ashton in 1956."Kenneth MacMillan" , Royal Opera House performance database. Retrieved 28 November 2014.
Choreographer MacMillan next produced a series of one-act ballets. For the junior company he choreographed House of Birds (1955), based on the Grimm brothers' Jorinde and Joringel,"House of Birds" Kenneth MacMillan, retrieved 30 November 2014 and for Covent Garden he created Noctambules (1956) about a Svengali-like hypnotist."Noctambules" Kenneth MacMillan, retrieved 30 November 2014 He also worked in television, with Punch and the Child (1954), The Dreamers, a television adaptation of Sonambulism, and Turned Out Proud (1955)."Turned Out Proud" , Kenneth MacMillan, retrieved 30 November 2014 In 1956 he took leave of absence to spend five months in New York, working with American Ballet Theatre, choreographing Winter's Eve and Journey for the dramatic ballerina Nora Kaye. For the Covent Garden opera company he staged the Venusberg ballet in Tannhäuser, regarded by some critics as the best part of a disappointing production.Heyworth, Peter. "'Tannhauser' Misproduced", The Observer, 27 November 1955, p. 9 ; and "Tannhäuser (Venusberg)" , Kenneth MacMillan, retrieved 30 November 2014
MacMillan was the first of his generation of choreographers to have an entire evening of his works presented by the Sadler's Wells Ballet."Solitaire" , Kenneth MacMillan, retrieved 30 November 2014 In June 1956 his new "divertissement ballet" Solitaire was given in a quadruple bill with Somnambulism, House of Birds and Danses concertantes."Sadler's Wells Theatre Ballet", The Times, 8 June 1956, p. 3 His 1958 work, The Burrow, with its menacing echoes of war, oppression and concealment, won praise for venturing into territory seldom explored in ballet. The critic in The Times admitted that its dramatic impact was strong enough "to make one glad when it ends"."The Royal Ballet", The Times, 3 January 1958, p. 3 The work marked the beginning of MacMillan's association with Lynn Seymour, who was his muse for many subsequent ballets. The company had by now been granted a royal charter and was known as the Royal Ballet, with the smaller company based at Sadler's Wells called the Royal Ballet Touring Company."Britain's 'Royal Ballet'", The Times, 17 January 1957, p. 3
In the late 1950s MacMillan choreographed two musicals: one for the stage (The World of Paul Slickey, 1958) and one for the cinema (Expresso Bongo, 1959).Parry, pp. 209 and 211 The Invitation, first shown at the Royal Opera House on 30 December 1960, is probably MacMillan's most controversial ballet. This one-act work about rape was interpreted by Lynn Seymour and Desmond Doyle and provoked, at the time, mixed reactions in the press and the audience.The Royal Opera House Magazine, January 2016, p. 66. Among MacMillan's works for the Royal Ballet in the early 1960s was The Rite of Spring (1962); he selected an unknown junior dancer, Monica Mason, to dance the lead role of the chosen maiden who dances herself to death in a primitive ritual. Dance and Dancers described it as "a singular and signal triumph"; Mason's performance was judged "brilliantly done ... one of British ballet's most memorable performances"."The Rite of Spring", Dance and Dancers, 25 October 1962, p. 16 In The Times John Percival commented that ever since Nijinsky's original attempt in 1913 The Rite had been waiting for a choreographer who could make it work on stage, and MacMillan's was the most successful version to date.Percival, John. "A Gala Worthy of the Name", The Times, 4 May 1962, p. 20