How does a 100-year-old dance company face the 21st century? For Rambert’s Benoit Swan Pouffer the answer is combining innovation with popular adaptations such as the Brummie crime saga
On 15 June 1926, the Lyric theatre in Hammersmith played host to “an engaging little ballet” called A Tragedy of Fashion, a “chic trifle” according to the press, that had been first concocted round a west London dinner table. Yet it turned out to be a momentous moment in the course of British dance. The show was produced by Marie Rambert, a Polish émigré who had performed with Diaghilev’s Ballets Russes, and it was the beginnings of a dance company that’s still going strong 100 years later.
Marie Rambert was a force of nature. She has been called “an inspired talent spotter and legendary bully”, with “wit, taste and a sharp instinct for trends”, and with her nascent company (first known as the Marie Rambert Dancers, then Ballet Club, then Ballet Rambert), she kindled the talents of Britain’s most influential choreographers of the age, including Frederick Ashton and Antony Tudor. “This woman was a pioneer,” says the company’s current artistic director, Benoit Swan Pouffer. “She was really ahead of her time.” Nonetheless, fast-forward 100 years and Marie Rambert wouldn’t recognise the company that still bears her name, written in capitals down the side of a sleek building just behind the National Theatre, on London’s South Bank.
