Change text size : a a a



News and features index



News items
What's happening at BRB

Features

 David Bintley on 2008's Claras
November 14, 2008
 Welcome to the jungle
October 22, 2008
 David Bintley on the story of Sylvia
October 22, 2009
 David Bintley on his Sylvia reworking
October 22, 2008
 Robert Parker on Enigma Variations
October 22, 2008
 Wolfgang Stollwitzer interview
October 5, 2008
 The Beasts within
October 4, 2008
 Lei Zhao
September 6, 2008
 Kristen McGarrity
September 6, 2008
 Behind the scenes: Department for Learning
August 18, 2008
 New faces look back
July 14, 2008
 Birmingham Royal Ballet on Classic FM
July 8, 2008
 Notes on Petrushka (full version)
July 4, 2008
 The history of Le Baiser de la fée
July 4, 2008
 Notes on Card Game
July 4, 2008
 Jonathan Payn on BBC Radio York, Spring 2008
June 18, 2008
 Ambra Vallo on Giselle
June 13, 2008
 Desmond Kelly
June 6, 2008
 The Fairy's Kiss
May 13, 2008
 The history of Card Game
May 10, 2008
 Petrushka
May 9, 2008
 Stravinsky: the real deal
May 3, 2008
 Your personal profile
April 22, 2008
 Behind-the-scenes: wardrobe
April 2, 2008
 South-West tour notes
March 20, 2008
 2008-09 season
March 20, 2008
 North-East tour notes
March 19, 2008
 Anniek Soobroy
March 10, 2008
 Céline Gittens
March 7, 2008
 The light fantastic
February 12, 2008
 Dominic Antonucci
February 11, 2008
 Japan 2008 desktop wallpaper
January 11, 2008
 Behind the scenes: Diana Childs
December 7, 2007
 Fantasy and Reality
December 1, 2007
 An Entertainment of Genius
December 1, 2007
 Beauty and the Beast
November 19, 2007
 Stravinsky autumn 2008
September 19, 2007
 Angela Paul
October 9, 2007
 All that jazz
October 8, 2007
 Cardiff2008
October 5, 2007
 Enjoy Strictly dancing?
October 3, 2007
 New arrivals 2007
September 24, 2007
 Tyrone Singleton
September 21, 2007
 Edward II
August 10, 2007
 Strictly dancing
August 10, 2007
 Take Five costume rehearsals
June 22, 2007
 Mary Goodhew: the making of a dancer
June 12, 2007
 Michael O'Hare
June 1, 2007
 200708 Season
March 28, 2007
 Carl Davis interview
February 7, 2007
 Pas de deux - Stravinsky and Balanchine
January 29, 2007
 Ballet Hoo! aftershow interviews
October 7, 2006
 The Acrobat and the Ringmaster
April 20, 2006
 Transaction Charges
July 14, 2006

 
Press releases
Read BRB's current press releases

Reviews
Look up external reviews and articles on the Company.

Discussion forum
Join in the discussions on BRB and its performances, hosted by ballet.co.uk

Reaching new heights



Principal Robert Parker will be leaving the Company at the end of the 2006/07 season

Why have you decided to hang up your ballet shoes?

I have always had the notion that I would retire from dance while I am feeling at the top of my game. Now at the age of 30, the years of physical punishment along with a couple of knee operations are starting to take their toll. Also, I believe that if my chosen second career has any decent chance of materialising, it has to be now.

What does the future hold for you?

I have held my pilot's licence for a couple of years now and after my retirement from dance, I plan to move to the USA with my wife Rachel, who has dual citizenship, and train for my commercial certificate. Upon completion, I would like to work for either the regional or corporate airlines.

Is there a role you've always wanted to dance but not had the opportunity to?

I don't think so, I have danced infinitely more roles than I ever expected to and with such a varied repertory. I am completely fulfilled. With the classical, modern and visiting choreographers, not to mention David's works, there is always something to get your teeth into.

Do you have any favourite roles you¹ve either danced or created?

It's hard to pin-point a particular role as my favourite, more like elements of several. I particularly enjoyed doing narrative works with solid characters and real emotions. Obviously ballets like Romeo and Juliet or Edward II, which deliver the whole package, are extremely fulfilling and also the sympathetic characters like Will Mossop in Hobson's Choice, Prodigal Son and The Two Pigeons are among my favourites. Playing the complex tortured character of Mordred in Arthur part 2 was a refreshing break from the norm and the aggressive, physically demanding aspects of Hamlet in The Shakespeare Suite and the 2nd Seminarian in Carmina burana were guaranteed to get the adrenalin pumping. I could tell even from the rehearsal period that the role of Cyrano would certainly be ranked among the top ten and I really enjoyed exploring his character's depth.

What are the reasons for dancing exclusively with BRB since you left ballet school 13 years ago?

As I mentioned earlier, the repertory in BRB has been almost tailor made to suit my own artistic needs, so I've never had the desire to look elsewhere. I grew up admiring dancers in Sadler's Wells and The Royal Ballet and when Sir Peter Wright offered me a contract in 1994 I felt I had truly 'arrived'. I've always believed that a job is as good as the people you work with and in BRB I've made unique friendships that will last a lifetime. The relaxed family atmosphere is what I will miss the most and of course the hilarious dressing room banter!

You have been described by some as David Bintley's muse - how has that working relationship evolved over the years?

I've always had an affinity with David's choreography. It feels very natural for my personal dance style and physicality. We have a clear understanding during rehearsals of where the piece is going and the musicality of the steps. Over the years the choreographic process has become so familiar that I can almost predict his next move. It makes the rehearsals extremely efficient and more time can be spent refining and working oncharacterisation (which is pretty straightforward as David is such a good actor you can simply mimic his facial expressions).

Has the dancing world prepared you in any way for the aviation world?

Not in an obvious way. I don't think a double tour and pirouette will impress many airline bosses! However there are a few skills common to both professions i.e. special awareness, coordination, visualising techniques and of course endless practice. The mental preparation and dedication needed to succeed are one in the same and of course the need to perform at the highest-level while often under extreme pressure. I'm often asked which is more satisfying executing a perfect landing or hitting a perfect pirouette? I simply shrug my shoulders; I'm yet to experience either!

ENDS

Robert is dancing with BRB until the end of the 2006/07 season in July.

PRINT THIS PAGE
  Contact Us | Legal Statements | Credits | Discussion Forum
® Birmingham Royal Ballet | Company registration no. 3320538 | Registered charity no. 1061012
Reaching new heights

Principal Robert Parker will be leaving the Company at the end of the 2006/07 season

Why have you decided to hang up your ballet shoes?

I have always had the notion that I would retire from dance while I am feeling at the top of my game. Now at the age of 30, the years of physical punishment along with a couple of knee operations are starting to take their toll. Also, I believe that if my chosen second career has any decent chance of materialising, it has to be now.

What does the future hold for you?

I have held my pilot's licence for a couple of years now and after my retirement from dance, I plan to move to the USA with my wife Rachel, who has dual citizenship, and train for my commercial certificate. Upon completion, I would like to work for either the regional or corporate airlines.

Is there a role you've always wanted to dance but not had the opportunity to?

I don't think so, I have danced infinitely more roles than I ever expected to and with such a varied repertory. I am completely fulfilled. With the classical, modern and visiting choreographers, not to mention David's works, there is always something to get your teeth into.

Do you have any favourite roles you¹ve either danced or created?

It's hard to pin-point a particular role as my favourite, more like elements of several. I particularly enjoyed doing narrative works with solid characters and real emotions. Obviously ballets like Romeo and Juliet or Edward II, which deliver the whole package, are extremely fulfilling and also the sympathetic characters like Will Mossop in Hobson's Choice, Prodigal Son and The Two Pigeons are among my favourites. Playing the complex tortured character of Mordred in Arthur part 2 was a refreshing break from the norm and the aggressive, physically demanding aspects of Hamlet in The Shakespeare Suite and the 2nd Seminarian in Carmina burana were guaranteed to get the adrenalin pumping. I could tell even from the rehearsal period that the role of Cyrano would certainly be ranked among the top ten and I really enjoyed exploring his character's depth.

What are the reasons for dancing exclusively with BRB since you left ballet school 13 years ago?

As I mentioned earlier, the repertory in BRB has been almost tailor made to suit my own artistic needs, so I've never had the desire to look elsewhere. I grew up admiring dancers in Sadler's Wells and The Royal Ballet and when Sir Peter Wright offered me a contract in 1994 I felt I had truly 'arrived'. I've always believed that a job is as good as the people you work with and in BRB I've made unique friendships that will last a lifetime. The relaxed family atmosphere is what I will miss the most and of course the hilarious dressing room banter!

You have been described by some as David Bintley's muse - how has that working relationship evolved over the years?

I've always had an affinity with David's choreography. It feels very natural for my personal dance style and physicality. We have a clear understanding during rehearsals of where the piece is going and the musicality of the steps. Over the years the choreographic process has become so familiar that I can almost predict his next move. It makes the rehearsals extremely efficient and more time can be spent refining and working oncharacterisation (which is pretty straightforward as David is such a good actor you can simply mimic his facial expressions).

Has the dancing world prepared you in any way for the aviation world?

Not in an obvious way. I don't think a double tour and pirouette will impress many airline bosses! However there are a few skills common to both professions i.e. special awareness, coordination, visualising techniques and of course endless practice. The mental preparation and dedication needed to succeed are one in the same and of course the need to perform at the highest-level while often under extreme pressure. I'm often asked which is more satisfying executing a perfect landing or hitting a perfect pirouette? I simply shrug my shoulders; I'm yet to experience either!

ENDS

Robert is dancing with BRB until the end of the 2006/07 season in July.