David Bintley on the programming process

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	Robert Heindel print up for auction September 26, 2008
	Beauty and the Beast clip now on-line September 7, 2008
	On-line auction 2008 September 4, 2008
	Robert Parker to rejoin the Company August 20, 2008
	David Bintley on choreographic development July 28, 2008
	David Bintley on the programming process July 23, 2008
	Dancer galleries updated July 23, 2008
	Barry Wordsworth leaves Birmingham Royal Ballet July 18, 2008
	Company announcements July 15, 2008
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	David Bintley takes on role with New National Theatre, Tokyo June 26, 2008
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	David Bintley on Desmond Kelly June 14, 2008
	On sale date for autumn performances in London June 13, 2008
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	David Bintley to speak at Ikon Gallery, Wednesday 4 June 2008 May 30, 2008
	London autumn dates confirmed May 29, 2008
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	2008 split tour comes to a close May 8, 2008
	Desmond Kelly OBE Appointed as Artistic Director of Elmhurst May 7, 2008
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	New Bintley ballet to premiere in Japan February 11, 2008
	Desmond Kelly and Marion Tait judge Young Dancer Awards regional heat February 5, 2008
	Swan Lake debuts confirmed February 4, 2008
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	Lady MacMillan's Ballet Hoo! speech September 30, 2006
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David Bintley on the programming process

July 23, 2008

David Bintley spoke earlier this year about programming the 2008-09 season.

'The first thing that I think of is which full-length ballets we want to present during the year', he said when interviewed in the spring. 'And then I try and balance the mixed programmes against those.

'I always concentrate on variety for the dancers, because I know that that will mean there is variety for the audience. For example if you think of a piece from the 2007-08 season which features the women a great deal, like Swan Lake, then finding a contrast physically will probably also give a contrast artistically. So something like the Jazz triple bill went very well with that because there were so many strong roles for the men.

'We have such a richness of rep that we can have a great deal of variety in one season, and we don't absolutely depend on the big classical pieces in the same way that some companies do.

'Of course, they're an important part of what we do - Opera singers want to sing the landmark pieces, the Mozarts and the Wagners, and our dancers want to do these big roles in the famous classical works - but they’re just one part of what we do.

'The richness of rep also means that we can't actually get round all the pieces we do outside of a ten year span, so there's a number of pieces here that a lot of people won't have seen before, and those that have won't have seen them for years. Sylvia, for example: there's only one dancer – Andrea Tredennick – who was here last time we did it, and I'm glad to see it and all these other pieces back after all this time.'

ENDS

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