Voices of British Ballet · Voices of British Ballet

The Braunsweg Years

·58 min·5 clips

Deborah Weiss reveals how Beryl Gray gave her first job at the ballet company founded by impresario Julian Brownsweg.

This episode examines the founding and early decades of English National Ballet, originally called London's Festival Ballet. Host Deborah Weiss, a former company dancer, is joined by several dancers who performed in the company's formative years. They focus specifically on the period from 1949 to 1965, known as the Braunsweg years after founder Julian Braunsweg. The company was established by impresario Julian Braunsweg, who recruited stars Alicia Markova and Anton Dolin to lead it. It began with a concert tour in 1949, adopting the name London's Festival Ballet in anticipation of the Festival of Britain. The panel discusses Braunsweg's managerial style and the company's early touring schedule across Britain and Europe. They reference Braunsweg's own memoir, titled "The Braunsweg Saga," as a key source for this era. Specific productions mentioned include the company's inaugural "Coppélia" and its pioneering full-length "The Sleeping Beauty." The financial struggles of launching a ballet company in post-war Britain are a central topic. Anecdotes cover the practical challenges of touring, including transportation and stage conditions. One insight reveals that Braunsweg initially had no dedicated theatre, building productions for touring from the start. The dancers describe a familial, if sometimes chaotic, atmosphere under his entrepreneurial leadership. Braunsweg is portrayed as a flamboyant character who used his showmanship to attract audiences and sponsors. The discussion notes his successful effort to bring the company to perform at the Royal Opera House. There is an exploration of how the company's identity was shaped by its popular, accessible programming. The relationship between the artistic leadership of Markova and Dolin and Braunsweg's business acumen is analyzed. The tone is conversational, nostalgic, and deeply informed by personal experience. The style is historical documentary, weaving together oral history from direct participants. This episode would delight ballet historians, fans of English National Ballet, and anyone interested in British post-war cultural history. Listeners seeking a critical, analytical biography of Braunsweg or a focus on later company eras might find it less comprehensive.

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