Paul Wu's documentary charts a defining moment in British ballet history, when the Sadler's Wells Ballet Company (as it was known then) was forced to leave its London home - due to the exigencies of the Blitz - and tour the country with its repertoire. The experiment proved highly successful in attracting new audiences of civilians and soldiers and thereby democratizing the ballet: it was no longer perceived as highbrow entertainment, but something that anyone could enjoy. Bolstered by subsidies from the Council for the Encouragement of Music and Arts (CEMA) - later renamed the Arts Council - the Sadler's Wells Company visited venues that they never would have touched during peacetime, and (at least according to those who were involved) attracted huge audiences and standing ovations.
DANCING IN THE BLITZ was a timely documentary, with reminiscences from some of those involved, including 94-year-old Henry Danton as well as choreographer Gillian Lynne, then a callow seventeen-year- old new to the company. Presented by David Bintley, now Artistic Director of the Birmingham Royal Ballet, the narrative included some fascinating archive film - in color, no less - of the company performing in 1946; the war had ended by then, but they still had to endure the privations of rationing and shabby digs on tour (the Sadler's Wells Theatre having been destroyed during the Blitz).
Paul Wu's film told a tale of courage and stoicism, as well as autocracy - apparently Dame Ninette de Valois, the Artistic Director of the Company, was a particularly hard taskmaster. Nonetheless they managed to produce some outstanding work, aided by the contributions of resident orchestrator (and composer) Constant Lambert.
Whether the Company was as successful as the documentary claimed might be disputed (there are accounts of them having been booed off the stage in certain garrison theaters by audiences of soldiers expecting more raucous entertainment), but there is no doubt that they performed a valuable service - not only as a way of bringing together people during stressful times (a night at the theater created a temporary sense of community), but also offering visions of a future free of conflict, when the fine arts could be allowed to flourish.
DANCING IN THE BLITZ was a timely documentary, with reminiscences from some of those involved, including 94-year-old Henry Danton as well as choreographer Gillian Lynne, then a callow seventeen-year- old new to the company. Presented by David Bintley, now Artistic Director of the Birmingham Royal Ballet, the narrative included some fascinating archive film - in color, no less - of the company performing in 1946; the war had ended by then, but they still had to endure the privations of rationing and shabby digs on tour (the Sadler's Wells Theatre having been destroyed during the Blitz).
Paul Wu's film told a tale of courage and stoicism, as well as autocracy - apparently Dame Ninette de Valois, the Artistic Director of the Company, was a particularly hard taskmaster. Nonetheless they managed to produce some outstanding work, aided by the contributions of resident orchestrator (and composer) Constant Lambert.
Whether the Company was as successful as the documentary claimed might be disputed (there are accounts of them having been booed off the stage in certain garrison theaters by audiences of soldiers expecting more raucous entertainment), but there is no doubt that they performed a valuable service - not only as a way of bringing together people during stressful times (a night at the theater created a temporary sense of community), but also offering visions of a future free of conflict, when the fine arts could be allowed to flourish.
