In the beginning

The Royal Ballet owes its existence to the Irish-born dancer, choreographer and entrepreneur, Dame Ninette de Valois. After realising the importance of creating a company of dancers who were all trained in the same style, in 1926 she formed a small company and dance school called the Vic-Wells Ballet. To give her pupils stage experience they danced in operas at the Old Vic Theatre (hence the Company's original name). In 1931 its home became the Sadler's Wells Theatre in North London and the Company was renamed the Sadler's Wells Ballet.

The Company stayed at Sadler's Wells until 1939 and the outbreak of World War II. Spending the war years touring in Great Britain and to some extent in Europe, performing for troops and civilians alike, the Company helped bring ballet to a wider audience. Immediately after the war in February 1946, the Company moved to their permanent home at the Royal Opera House, Covent Garden, premiering with a new, full-length production of The Sleeping Beauty.

Creating worldwide success

Over the next ten years, the Sadler's Wells Ballet achieved international fame, first in Europe and then in America. The Company's first performance in New York in 1949, with Margot Fonteyn and Robert Helpmann dancing the leading roles in The Sleeping Beauty, created a sensation, which was to seal the future Royal Ballet's international reputation.

The Royal Ballet continued its tradition of overseas touring. Under Anthony Dowell's directorship, the Company visited Australia, the Far East, Russia, Europe and the USA. A triumphant return to New York in 1991, after an eight-year absence, set an American seal of approval just as, in 1949, the first tour had so significantly put the Sadler's Wells Ballet on the path to acclaim.

The Royal Ballet has had a major influence on world ballet - both the ballets it has created and the dancers it has produced have performed all over the world.

Royal recognition

In 1956, to mark its 25th anniversary, the name 'The Royal Ballet' was granted by Royal Charter, and in the following year Her Royal Highness, The Princess Margaret became President of the Company.

Dame Ninette de Valois maintained close links with The Royal Ballet and in particular the Royal Ballet School until her death in 2001, at the age of 102. From her original six dancers, The Royal Ballet organisation now comprises the Covent Garden Company and training school and The Sadler's Wells Theatre Ballet, which became the touring section of The Royal Ballet and moved to Birmingham in 1990, becoming The Birmingham Royal Ballet.

Stars of the stage

Working alongside De Valois in the early days, as one of the Company's principal choreographers, was Frederick Ashton. Credited with creating a recognisable 'English style of ballet', his work was also partly inspired by a young dancer called Peggy Hookham who later changed her name to Margot Fonteyn and went on to become one of ballet's most famous dancers.

By 1960 there was talk of Fonteyn's retirement from performing. However, the arrival of the Russian dancer Rudolf Nureyev changed this and, despite a 20-year age difference, an inspirational partnership was created. Another celebrated partnership formed in 1964, after Frederick Ashton became Director, as Anthony Dowell and Antoinette Sibley wowed audiences in the Ballet's production of The Dream.

In 1970 Kenneth MacMillan, who had started his choreographic career with The Sadler's Wells Theatre Ballet, took over as Director. In 1989 he choreographed The Prince of the Pagodas to showcase the talents of the then 19-year-old Darcey Bussell. By the age of 20 she became the Company's principal ballerina and another star of The Royal Ballet.

Investing in the future

Today, access is still a key issue for the Company, via televised performances, national and international touring and through the work of the Company's education department. This runs a wide range of projects, from single preparatory workshops for school children attending special low-priced schools' performances, to six-month projects involving professional dancers and children culminating in performances at local theatres.

There are also longer-scale projects including the Chance to Dance scheme. Initiated in 1991, the scheme offers early ballet training to talented children from different backgrounds to assist the long-term development in England of a pool of professional-level dancers reflecting the ethnic mix of the country. The first young graduate of this scheme has now entered full-time employment with English National Ballet.

For more information about The Royal Ballet visit:

http://info.royaloperahouse.org/ballet