Ross Stretton

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Ross Stretton (6 June 1952 - 16 June 2005) was an Australian ballet dancer and artistic director. As a dancer, he performed with the Australian Ballet, the Joffrey Ballet and the American Ballet Theatre. He was later Artistic Director at the Australian Ballet before working briefly as the Artistic Director of the Royal Ballet in 2001-2002.

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[edit] Early career

Stretton was born in Canberra in 1952. He started as a tap dancer winning the Australian national tap dancing championships twice and winning numerous other awards. At the age of 11, he won a Channel Seven Junior Talent Quest with a judge comparing him to Fred Astaire. Stretton did not start performing ballet until he was 17 when he started taking classes with Bryan Lawrence and Janet Karin, former principals of the Australian Ballet.

He successfully auditioned for a position at the Australian Ballet School in 1971. In his first year, he won the Nureyev bursary and received a Harold Holt Memorial Scholarship in his second year. He graduated from the Ballet School in 1972 with honours in all of his practical and danced the leading male role as the prince in the School's production of Cinderella.

[edit] Dancing Career 1973-1990

Stretton joined the Australian Ballet in 1973 and became a soloist the following year. After winning a Robert Helpmann Scholarship in 1975, he undertook a study trip to the US. During his time at the Australian Ballet, he danced all the classical roles in the company's schedule. In the 1977 production of Swan Lake, he developed a strong partnership with Michaela Kirkaldie although he had to be taken to hospital after miscalculating the spectacular leap into the lake in a performance at the Canberra Theatre and missing the mattress behind the scenes meant to break his fall. In 1978, he became a principal dancer with the Australian ballet.

In 1979, he decided to leave Australia for the US to establish an international reputation. Stretton initially joined the Joffrey Theatre before a brief stint at the Northern Ballet Theatre in Manchester. He debuted with the American Ballet Theatre (ABT) in 1980-81. In the following season, he became a soloist with the ABT and a principal the following season. He also worked with Mikhail Baryshnikov in Baryshikov and Co as part of a select group of ABT dancers.

During his dancing career, Stretton developed a reputation as a great classical dancer although the New York Times stated in a news report on his death that "acting was not his forte". He retired as a dancer in 1990.

[edit] Artistic Director 1997-2002

Stretton started his new career as a regisseur with the ABT combining administrative duties along with responsibilities for casting, teaching and coaching. In 1993, he was promoted to an assistant director position.

He returned to the Australian Ballet in 1997 replacing Maina Gielgud. Stretton modernised the company's repertoire bringing in works from a range of choreographers including Twyla Tharp. He also commissioned collaborations with the Australian Chamber Orchestra and the Bangarra Dance Theatre. Rites choreographed by Stephen Page in 1997, featured dancers from the indigenous Bangarra company along with dancers from the Australian ballet.

In 1999, Stretton took the Australian Ballet on a US tour featuring Australian dance works not previously seen in North America. The New York Times described it as a "company reborn" based on that tour. On Stretton's death, David McAllister, his successor as artistic director, stated Stretton "brought the company bounding into the 21st century."

During his tenure at the Australian Ballet, his catchphrase was "creativity, energy and passion". He had the reputation of being a demanding artistic director and was known for having a short temper which meant that he often did not have good relations with his dancers.

However, his success with the Australian Ballet led to an offer to take over as artistic director at the Royal Ballet with the intention of modernising that organisation. However, his first and only season at the Royal Ballet was widely perceived as a failure, with the Daily Telegraph's ballet critic describing it as feeble. In particular, the productions of Don Quixote and Sleeping Beauty were strongly criticised, as was his staging of a Gala for the Queen's Golden Jubilee. However, productions of Carmen, choreographed by Mats Ek, John Cranko's Onegin, and Tryst, a new work by Christopher Wheeldon, received more favourable reviews.

[edit] Resignation from the Royal Ballet

Stretton resigned from the Royal Ballet in September 2002, one year into his three-year contract with the company. In the weeks preceding his resignation dancers from the company had threatened to go on strike in protest at Stretton's management style, objecting to Stretton's casting decisions, and to the fact that Stretton frequently made changes to advertised casts. At the time of Stretton's resignation sources at the Royal Opera House, the parent company of the Royal Ballet, suggested that Stretton's failure to develop satisfactory working relations with senior management contributed to his departure. Stretton's own statement hinted at artistic differences: "Even though I have enormous respect for the great heritage of this company, my interest lies primarily in developing the future of ballet, and that is what I want to spend my time doing." Following Stretton's departure Monica Mason, assistant director and a former principal dancer with the company, took his position, at first on an interim basis; she was appointed Director of the Royal Ballet in December 2002.

[edit] Final Years 2002-2005

Stretton returned to Melbourne where he worked as a consultant. He was diagnosed with a melanoma and died of complications in June 2005, aged 53. He was survived by his wife Valmai Roberts and his three children.

[edit] References

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