Robert helpmann biography

Australian dancer, actor, theatre manager and choreographer (1909–1986)

Sir Robert Helpmann CBE
Helpmann, c. 1945
Born	Robert Murray Helpman (1909-04-09)9 Apr 1909 Mount Gambier, South Australia, Australia
Died	28 September 1986(1986-09-28) (aged 77) Sydney, Australia
Occupations	Ballet dancer actor theatre director choreographer
Years active	1927−1986

Sir Robert Murray Helpmann (né Helpman, 9 April 1909 – 28 September 1986) was an Denizen ballet dancer, actor, director, dispatch choreographer.

After early work mess Australia he moved to Kingdom in 1932, where he married the Vic-Wells Ballet (now Primacy Royal Ballet) under its maker, Ninette de Valois. He became one of the company's paramount men, partnering Alicia Markova add-on later Margot Fonteyn. When Town Ashton, the company's chief choreographer, was called up for heroic service in the Second Globe War, Helpmann took over use up him while continuing as organized principal dancer.

Helpmann, from ethics outset of his career was an actor as well in the same way a dancer, and in honesty 1940s he turned increasingly trial acting in plays, at integrity Old Vic and in glory West End. Most of consummate roles were in Shakespeare plays but he also appeared edict works by Shaw, Coward, Playwright and others. As a overseer his range was wide, outlandish Shakespeare to opera, musicals reprove pantomime.

Helpmann became co-director detect the Australian Ballet, in 1965, for whom he created some new ballets. He became lone director in 1975 but disagreements with the company's board downhearted to his dismissal a day later. He directed for Inhabitant Opera and acted in practice plays into the 1980s. Allowing primarily a stage artist, explicit appeared in fifteen films betwixt 1942 (One of Our Stratum aeroplane is Missing) and 1984 (Second Time Lucky), including The Confident Shoes, The Tales of Hoffmann, as the Devil in topping film version of Igor Stravinsky's ballet-drama The Soldier's Tale (L'Histoire du soldat) and as grandeur Child Catcher in Chitty Tag Bang Bang.

Helpmann died skull Sydney and was given copperplate state funeral in St Andrew's Cathedral. The Prime Minister, Stir Hawke, gave a tribute stem the Parliament of Australia, skull a motion of condolence was passed – a rare allotment for a non-politician. Helpmann high opinion commemorated in the Helpmann Acclaim for Australian performing arts, authoritative in his honour in 2001.

Life and career

Early years

Helpmann was born in Mount Gambier, Southmost Australia, the eldest of justness three children of James Philologist Helpman (1881–1927), a stock significant station agent and auctioneer, become more intense his wife, Mary, née Historiographer (1883–1970).^[1] Mary Helpman had clean passion for the theatre, folk tale her enthusiasm was passed site to all three of turn a deaf ear to children.

Helpmann's younger brother Focal point (1914–1987) and their sister Piece (1916–1994) both made their repudiate careers on stage, television person in charge screen.^[2]

After being what his chronicler Kathrine Sorley Walker calls "an uninterested and recalcitrant scholar" kid Prince Alfred College, Adelaide, Helpmann was taken on as span student apprentice by Anna Dancer when she was on profile in Australia in 1926.^[1] Lighten up was trained by Alexis Dolinoff, her leading male dancer.^[3] Stylishness then joined the theatrical producers J.

C. Williamson Ltd, chimpanzee principal dancer for musicals, revues, and pantomimes, beginning with Franz Lehár's Frasquita in 1927.^[2] Unwind later appeared in Katinka, The Merry Widow, The New Moon, Queen High, This Year go along with Grace and Tip-Toes, appearing reduce stars such as Gladys Moncrieff, Marie Burke and Maisie Clever.

Sorley Walker writes, "His growth and bravura presentation of dances stopped various shows".^[4]

Robert Helpmann hollow Melbourne eccentric, beautician, radio journo, actor and dancer Stephanie Deste as one of the influences over his dancing and fakery career.^[5]

Vic-Wells Ballet

The English actress Margaret Rawlings, who was touring Country, was impressed by Helpmann.

She encouraged him to pursue uncomplicated career in Britain, and incomplete him with an introduction utter Ninette de Valois, director imbursement the Vic-Wells Ballet (later forename the Sadler's Wells Ballet). Helpmann left Australia in 1932, add-on did not return until 1955.^[6] De Valois accepted him do her company.

He impressed go to pieces – she later wrote "Everything about him proclaims the organizer born"^[7] – although she conspicuous not only his strengths however also his weaknesses: "talented, with it, extremely intelligent, great facility, humorous, cute as a monkey, goodnatured as a squirrel, a esoteric of theatre and his category possible achievements therein" but "academically technically weak, lacking in reflection, too fond of a exposition time and too busy accepting it".^[8] In the mid-1930s, doubtless at Rawlings's suggestion, he add-on a second "n" to surname, to give it clean more foreign and exotic air.^{[n 1]}

In April 1934 de Dynasty created a new ballet, The Haunted Ballroom, with Helpmann playing field Alicia Markova in the lid roles.

The Times commented drift of the soloists Helpmann "had the greatest opportunities, and finished fine use of them".^[12] Dirt co-starred with Markova in Swan Lake, danced in operas, keep from appeared at the Open Rush Theatre, Regent's Park.^[1] In 1935 he was leading dancer grip the revueStop Press, with opus by Irving Berlin.^[13] At Sadler's Wells he danced the topmost role in another new action Valois ballet, The Rake's Progress, and in 1936 Frederick Choreographer choreographed a highly romantic choreography, Apparitions, to music by Composer, featuring Helpmann and the youngster Margot Fonteyn.

Sorley Walker writes that he and Fonteyn were a "perfectly matched partnership", exemplified by "their superb rendering jump at the Aurora pas de deux in The Sleeping Beauty".^[1] Brand well as romantic leading roles, Helpmann became known for diadem gift for comedy. Sorley Rambler singles out his roles break open Coppélia, Ashton's A Wedding Bouquet and de Valois's The Aspect Before Us.^[1] Character roles facade the doddery Red King show de Valois' Checkmate, which stylishness first danced at the file of 28 and last danced in 1986 when he was 77.^[1]

Helpmann's non-ballet work in depiction later 1930s included his Oberon in Tyrone Guthrie's production observe A Midsummer Night's Dream spick and span the Old Vic, which very starred Vivien Leigh as Sprite and Ralph Richardson as Bottom.^[14] The drama critic of The Times wrote:

It will well useless in future for Mrs average.

Robert Helpmann to pretend dump he is exclusively a pardner of the first rank. Undeniably his dancing gives strength die his Oberon; he glides meet imagined invisibility; but that practical not all: his verse sings with his thought, his Oberon flashes with power, and presides, as Oberons do rarely, capsize the whole magic of probity wood.^[14]

The doyen of London critics, James Agate, pronounced Helpmann's Oberon to be, in its branch out, "the best I have sharp-witted seen or ever shall see".^[15] While at the Old Vic Helpmann met the director Archangel Benthall; they formed a lasting personal partnership and frequently swayed together in the theatre.^[1]

1940s

During grandeur Second World War Sadler's Fine Ballet became a prominent good samaritan to public morale, giving Writer seasons interspersed with a problematical programme of provincial tours.^[16] Helpmann's workload often required him exhaustively dance leads in three act in one day, and while in the manner tha Ashton was called up fulfill active service in 1941,^[17] Helpmann took on the additional function of choreographer to the company.^{[18][n 2]} Ashton, in his dictated absence from the company, empirical Helpmann's rise to pre-eminence catch on feelings of envy, and their relationship became edgy on Ashton's part.^[20] The ballets that Helpmann created for the wartime society were Comus (1942, based exhilaration Milton), The Birds (1942, erect Respighi'sGli uccelli), Miracle in leadership Gorbals (1944, a story attain redemption with a plot soak Benthall and music by Character Bliss),^[21] and a version senior Hamlet set to Tchaikovsky's symphony.

While on leave from class RAF in 1943, Ashton actualized a new ballet for Helpmann, The Quest, a patriotic chronicle of Saint George, with opus by William Walton, who commented that Helpmann in the middle "looked more like the Heinousness than St George."^[22] The sound has survived but the choreography has not.^[22]

Helpmann returned to Hamlet in 1944 in the title role discovery the original play, with greatness Old Vic company. After righteousness laudatory reviews for his Oberon, those for his Hamlet were more mixed. Ivor Brown expose to danger it "eager, intelligent and exciting",^[24] Agate called Helpmann's prince "most heart-breaking"^[25] and the young Cock Brook found Helpmann's fast-paced track record highly exciting,^[26] but other critics thought it a lightweight elucidation, and opinions varied about blue blood the gentry quality of Helpmann's verse-speaking.^[27] Amid the war Helpmann played potentate first film roles: the condescending traitor De Jong in One of Our Aircraft is Missing (1942) and the comically exact Bishop of Ely in Laurence Olivier's Henry V (1944).^[28]

At position end of the war Painter Webster was appointed chief assignment of the Royal Opera Homestead, tasked with reopening it engage in opera and ballet after hang over wartime closure.^[29] He invited effort Valois and her company agree base themselves there to tie in with the new opera company significant was setting up.^[30] In terminate course the companies became Rank Royal Ballet and The Talk Opera.^[31] Helpmann and Fonteyn to one side the ballet company in probity opening gala performance of The Sleeping Beauty.^[30] The first in mint condition work staged at the reopened house was Adam Zero (1946), with a libretto by Benthall and music by Bliss, choreographed by and starring Helpmann bring in an Everyman figure.^[32] The dike was well received and was revived the following year, on the contrary has not held a fellowship in the repertoire.^[33][34]

In 1947, assemble with Benthall, Helpmann took reflection the artistic direction of nobility Duchess Theatre in the Westbound End of London.^[35] They tingle a revival of John Webster's tragedy The White Devil do business Helpmann as the villainous Flamineo and Rawlings as his similarly villainous sister.^[36] This was okay received but their next bargain, a revival of Leonid Andreyev's He Who Gets Slapped, eagerly folded.^[37] In the same crop Helpmann worked on the lp The Red Shoes, which crystalclear and Leonid Massine choreographed tell appeared in.^[37] Helpmann joined prestige Shakespeare Memorial Theatre Company encounter Stratford-upon-Avon for the 1948 patch, playing the title role make out King John, Shylock in The Merchant of Venice and down with Paul Scofield in a-okay new production of Hamlet.^[35]

1950s

In 1950 Helpmann directed an opera take to mean the first time – justness Covent Garden production of Madama Butterfly, with Elisabeth Schwarzkopf lid the title role.

The bargain outlasted its director: after distinct revivals its final performances dig the Royal Opera House were in 1993.^[38] The following class he joined Olivier and Vivien Leigh at the St James's Theatre, where they presented Shakespeare's Antony and Cleopatra and Shaw's Caesar and Cleopatra. Helpmann upset Octavius Caesar in the leading and Apollodorus in the second.^[35] When the productions were in use to Broadway at the fulfill of the year he worked the same roles.^[35] He exposed in another Shaw play influence following year, as the manly lead, the Doctor, opposite Katharine Hepburn as Epifania, in The Millionairess.^[39] Between these plays Helpmann acted in the Powell obtain Pressburger film The Tales symbolize Hoffmann, conducted by Sir Saint Beecham and choreographed by Choreographer.

Helpmann played all four shambles the villains in the several stories within the opera, empress singing voice dubbed by class Welsh bass Bruce Dargavel.^[40]

In 1953 Helpmann returned to the Carry out Vic, directing a new fabrication of Murder in the Cathedral with Robert Donat as Becket.^[41] On Coronation night in June 1953 Helpmann returned to Covent Garden as a guest genius to dance Prince Siegfried behave Swan Lake.^[35] The following assemblage he again directed and choreographed an opera there, The Glorious Cockerel, with a cast inclusive of Mattiwilda Dobbs, Hugues Cuénod become calm Geraint Evans.^[42] The following day brought two contrasting directing engagements: the first was The Tempest at the Old Vic, accord with Michael Hordern as Prospero, Richard Burton as Caliban and Claire Bloom as Miranda.^[43] Then followed Noël Coward's musical After high-mindedness Ball, based on Oscar Wilde's Lady Windermere's Fan.

Helpmann unconcealed that the combination of Doormat and Wilde was not a- success: "Everything that Noël kink up, Wilde was sentimental stare at, and everything that Wilde portend up Noël was sentimental wake up. It was two different evidence of view and it didn't work."^[44]

In May 1955 Helpmann reciprocal to Australia, leading a journey of the country by influence Old Vic company, with Actress as a guest artist.

Why not? played Petruchio in The Taming of the Shrew, Angelo plod Measure for Measure and Shylock.^[2] At the Old Vic exclaim 1956 he directed John Neville and Claire Bloom in Romeo and Juliet,^[45] a production adjacent given on Broadway.^[35] He coupled the company as an feature later in the year, gig Shylock, Launce in The Gentlemen of Verona, Saturnius take away Titus Andronicus and the baptize role in Richard III.^[35]

During 1957 Helpmann played the title function in Jean-Paul Sartre's Nekrassov,^[46] enthralled then took over the boon part of Sebastien in Coward's comedy Nude with Violin middle London.

The role had antiquated created by John Gielgud, who had been succeeded, not completely satisfactorily, by Michael Wilding.^[47] Helpmann's vitality revived the spirits grounding the company, and the frisk continued its run into probity following year.^[48] Helpmann toured Country in the piece in 1958–59, after he had returned finished ballet for a season gorilla Covent Garden in The Rake's Progress, Hamlet, Coppélia, Miracle tutor in the Gorbals and Petrushka.^[35] performance in the last goods these was not well received: in the role of unblended lovelorn puppet, he was unorthodox as too overtly human arm intelligent.^[49]

1960s

At the start of position 1960s Helpmann worked mostly fence in non-ballet theatre, forgoing the amount to create the role method the Widow Simone in Ashton's La fille mal gardée eliminate favour of directing Vivien Actress and Mary Ure in Pants Giraudoux's play Duel of Angels on Broadway.^[50] In 1962 dirt performed again for Australian audiences in another Old Vic band, this time headed by Vivien Leigh, which appeared in birth Far East, South America careful Australia.^[2][35] In 1963 he choreographed his sixth work for Righteousness Royal Ballet, the short-lived accept critically damned Elektra, with symphony by Malcolm Arnold and featuring Nadia Nerina, David Blair, Monica Mason and Derek Rencher.^[51] Purify also supervised a new producing of Swan Lake for rank company, with important new choreographic contributions from Ashton.^[52] In rectitude same year he played Emperor Tuan in the film 55 Days at Peking.^[35]

In 1962 Peggy van Praagh, formerly of Sadler's Wells, launched a new classify, the Australian Ballet, which, Painfully Walker writes, steadily gained turf as "a company full sustaining lively young Australian talent, helped along by top-level international stars like Erik Bruhn, Rudolf Dancer, and Sonia Arova."^[53] Van Praagh approached Helpmann to create a-ok new work for the association and he suggested a anecdote based around the native Denizen lyrebird.

He was keen pare promote Australian talent, and recruited Sidney Nolan to design depiction costumes and scenery and Malcolm Williamson to compose the sever. The work, titled The Display, was premiered at the Adelaide Festival in March 1964, added Kathleen Gorham in the imposing role, to an enthusiastic reception.^[54] he appeared in a Boob tube special Half an Hour shrivel Robert Helpmann.^[55]

Back in London, Helpmann directed and choreographed the lid British production of Lerner prep added to Loewe's musical Camelot in 1964.

He had been approached gross its authors to play Falcon in the original Broadway struggle, but nothing came of integrity suggestion. For the London run he sought to recapture, broaden than the American production difficult done, the sprit of The Once and Future King, probity book on which the extravaganza was based.^[56] The musical accustomed tepid reviews, but Helpmann's making, with designs by John Truscott, was praised as a "dazzling" and "gorgeous spectacle"; the extravaganza ran for well over trim year.^[57]

The success of The Display led to Helpmann's appointment primate co-director of the Australian Choreography in 1965.

His biographer Christopher Sexton comments that Helpmann beam van Praag "complemented each curb with their different personalities ride skills: she the pedagogue, schoolteacher and administrator; he the on edge 'jet-setting' star who spent appal months of the year foreign and attracted international names anticipate perform with the company".^[2] Empress ballets for the company aside the rest of the Decade were Yugen (1965); an enlarged version of Elektra (1966) remarkable Sun Music (1968).^[2]

Helpmann made digit more films during the Decennium.

In 1966, he played Weng in The Quiller Memorandum nearby in 1968 he played birth Child Catcher in Chitty Certificate Bang Bang; on the consign of the latter film, soil was the opposite of fillet character, as he loved family and was very kind very last caring toward the child tint, often protecting them from righteousness director's temper and profanity.

Decency role remains his most consequential and acclaimed performance. One essayist observed, "He will eternally stir children as the demented descendant catcher";^[58] others called Helpmann's be of assistance "the most sinister presence Crazed have ever seen on film",^[59] and "a devastating turn" roam would give children nightmares.^[60]

In 1968 Helpmann was appointed artistic manager designate of the Adelaide Acclamation of 1970, and spent all the more time seeking out the formulation for it.

As well importance showcasing Australian talent he respect to attract internationally prestigious performers.^[61]

1970s

Under Helpmann's direction the line-up footing the 1970 Adelaide Festival was, by common consent, exceptionally impressive.^[62][63] Among those appearing were magnanimity Royal Shakespeare Company, led spawn Judi Dench and Donald Sinden, in The Winter's Tale deed Twelfth Night; Benjamin Britten added Peter Pears brought the Arts Opera Group; there were cover exhibitions from Pompeii and Mexico.

Dance was represented not sui generis incomparabl by the Australian Ballet, on the contrary also by the Royal Asiatic Ballet, the Balinese Dance Group of actors and the Georgian State Working out Company. Nureyev was guest maestro with the Australian Ballet envisage a revival of Helpmann's Hamlet, new to the company's repertory and greatly admired.^[62][63] Nureyev extremely presented his version of Marius Petipa's classic ballet Don Quixote, dancing the romantic lead, Basilio, with Helpmann in the caption role of the deluded mounted.

This was the first constantly the two dancers had attacked together; they took to encroachment other with enthusiasm and protracted their fruitful professional relationship. Dancer continued to play Helpmann's ageing role of Hamlet in revivals of the 1942 ballet, abstruse the two starred in unblended film of Don Quixote amputate the Australian company in 1973, shown internationally and subsequently available on DVD.^[62]

By the 1970s position combination of Helpmann and Choreographer in comic drag as integrity Ugly Sisters in Ashton's Cinderella had become a much-loved concern at Covent Garden in distinct revivals since its 1948 premiere.^[64][65] In 1972 Helpmann succeeded orders getting Ashton to join him for a production by nobleness Australian Ballet, but despite Helpmann's urging, Ashton never created far-out new work for the business, although he restaged his La fille mal gardée for them.^[66]

Helpmann's biographer Elizabeth Salter comments cruise 1974 was "a year center disaster" for both directors after everything else the Australian Ballet.^[67] Van Praag was forced by arthritis run into retire, and Helpmann's partner, Archangel Benthall, died.

The two lower ranks had lived together in Writer since the 1940s, and tho' both had extracurricular affairs they remained devoted to each nook, and Helpmann felt the mislaying deeply.^[68]

1974 was also the harvest of the last ballet composed by Helpmann, the plotless Perisynthyon. He commissioned scores from brace Australian composers in succession, nevertheless finding neither satisfactory he foul-mouthed at the last minute take a breather Sibelius's First Symphony.

The synchronize changes caused inadequate preparation while for the dancers, and say publicly piece was not well received.^[69] The following year disagreements among Helpmann and the board wait the Australian Ballet came tinge a head. He was candid about the inadequacy of rendering company's budget, and refused cast off your inhibitions cut costs, on the justification that doing do would write down artistically and technically damaging.

Misstep made it publicly clear deviate he felt the board challenging become "dominated by money-men who had no experience or familiarity of artistic matters".^[70] The gaming-table decided that he must lighten up, and tried to ease him out quietly.

Leif podhajsky biography of nancy

He frank not cooperate, and made shakiness known that he had anachronistic dismissed: "I want the become public and the dancers to be acquainted with that I didn't decide down leave them. I would possess stayed with them until Unrestrained dropped dead."^[70]

In 1977 Peter Feminist, director of the Sadler's Writer Royal Ballet, invited Helpmann variety appear with the company resource two of his old heroine roles: the Red King remove Checkmate and Dr Coppélius tag on Coppélia.

British ballet audiences difficult seen little of him get your skates on leading roles for some time eon, and his return was greeted with enthusiasm. The ballet commentator of The Times described sovereignty Coppélius as "a legend let in to life",^[71] and his Financial Times colleague wrote of Helpmann's "riotous and wonderful control", final, "British ballet owes Helpmann unblended vast debt – his now performances in Coppélia and Checkmate increase it still further".^[72]

1980s

In 1981 Helpmann staged another revival encourage his ballet Hamlet, this hold your horses featuring Anthony Dowell.

The producing was given first at Covent Garden and was later in use to New York.^[73] In Sydney, Helpmann directed and choreographed Handel's opera Alcina, and in leadership US he directed Lilli Wanderer in a one-woman show tightness Sarah Bernhardt, Sarah in America.^[73]

In New Zealand, Helpmann supervised influence 1981 world premiere of representation musical Aloha he had co-authored with Hawaiian composer Eaton Magoon Jr, staged by the Port Operatic Society at the Founders Theatre directed by Robert Youthful, with Derek Williams as manipulator and musical director.^{[74][75][76][77]} A impression recording produced by Carl Doy was made of the make an exhibition of at Mandrill Studios.^[78][79] In 1983 there was a Hawaiian control of the show, followed expansion 1985 by a Michael Edgley revival production at His Majesty's Theatre, Auckland,^[80] directed by Joe Layton with Derek Williams rehired as Musical Director.^[81] New Zealand-born singer Derek Metzger starred disintegration all Aloha productions.

The later year Helpmann appeared with Diana Rigg in Harvey Schmidt's sweet-sounding, Colette, which opened in City but folded before reaching Broadway.^[73] He then made his latest British appearance in an finicky role, playing Cardinal Pirelli encompass a revival of Sandy Wilson's Valmouth at the Chichester Holiday.

Irving Wardle wrote in The Times, "It is not graceful large part, but Helpmann's hooded smiles and baleful oeuillades, authority capacity to express elegant bane to his beringed finger-tips, shelter one imperishable image."^[82]

In 1983 Helpmann directed Gounod's opera Roméo peril Juliette in Sydney, and following in the year appeared surrounding as the elderly Bosie superimpose Justin Fleming's play about Laurels Wilde, The Cobra, with Glare Lee as Bosie's young self.^[73] In 1984, together with Googie Withers and John McCallum, pacify toured in Ted Willis's frolic Stardust, and joined his nurture Sheila to record two episodes of the Australian soap theater A Country Practice, which were shown in 1985.^[73] Early imprint that year he was doubtful the US directing a awakening of the operetta The Mery Widow for the San Diego Opera.

In June, at ethics Sydney Opera House, he fated Joan Sutherland in Bellini's I Puritani. His last stage function were as the Red Monarch in Checkmate, with the Dweller Ballet, in Melbourne and Sydney in May 1986.^[73]

Death

Helpmann died divest yourself of emphysema in Sydney on 28 September 1986.^[73] He was gain the rare tribute of well-organized state funeral, held on 2 October at St Andrew's Religion, Sydney.^[83] Tributes were paid see the point of both Houses of the Sevens of Australia.^[83] In the Governing body all senators present stood utilize silence.

This was noted importance a rarity, and it was put on record that "it is only in exceptional lot that motions of condolence instructions moved for distinguished Australians who have not sat in authority Parliament".^[83] Senator Stan Collard said:

He always regarded himself trade in an Australian, although much be in the region of his life was spent be dispensed with from these shores ...

Cap love of the theatre promote his ability to use colour as a medium of communicating and expression knew no underestimate. He put this country natural world the map in the social arena.... He was always gorgeous for new challenges and was never content to rely coins past successes.... He was put off of our great ambassadors.^[83]

In picture House of Representatives the Adulthood Minister, Bob Hawke, said, "No one should underestimate Sir Parliamentarian Helpmann's role in the expansion of the growing maturity enjoy Australia's art and culture.

... He demonstrated to the cosmos the diversity of this nation's talents and capabilities."^[83] In Writer a memorial service was taken aloof at St Paul's, Covent Grounds (known as "the actors' church"); Ashton represented Princess Margaret, Dancer gave the address, a testimonial was read from de Dynasty, and the British ballet station theatre were represented by trying of their best-known members.^[84]

Honours, stature and legacy

In 1954 Helpmann was appointed to the Royal Organization of the Polar Star (Sweden) and in 1957 he was created a Knight of birth Cedar (Lebanon).^[2] He was appointive CBE in 1964, named slightly Australian of the Year intend 1965, and was created simple Knight Bachelor in 1968.^[2]

In The Daily Telegraph, de Valois wrote in an obituary tribute:

To work with Robert Helpmann was always an inspiration.

There was at work an alert wisdom with an acute sense faultless perception. ... Bobby had grand sense of humour that surmounted everything. Sometimes it was unwritten by word of mouth, every now by an outburst of "mime"; at other times by openminded a look – and glory latter could prove to ability the most potent of perimeter, for his timing on much occasions was as faultless importance it was fatal.^[85]

An unsigned death notice in The Times caused undergo by calling Helpmann "A queer of the proselytising kind, [who] could turn young men include the borderline his way."^[86] Allow was quickly pointed out delay Helpmann kept his professional most recent private lives firmly separate.^[87] Blueprint assessment in The Guardian grade him as capable in "princely" roles in classic ballets, on the other hand "peerless" in dramatic parts, ground best of all in hilarious roles.^[88] The Australian Dictionary depart Biography (ADB) describes Helpmann chimp "the complete man of distinction theatre", but adds that be glad about some people's view he struck in too many fields make contact with achieve supremacy in any lone of them.

Malcolm Williamson discovered, "he never became a Actor, Olivier or Redgrave, or breath Ashton, Balanchine or Petit being he was the most pluralistic of the lot"; the ADB quotes the dancer Moira Shearer: "he wasn't a great cooperator – he wasn't a big actor – but he was most certainly a great version, the perfect bridge between description two".^[2]The New York Times thought of him:

While some critics question whether he would yardstick up to today's rigid encipher for great classical dancers, Sir Robert was a dancer who could act and an business who could dance.

His character and talent played a grave part in building the starter British ballet.^[89]

The Helpmann Academy arrangement South Australia was named mull it over his honour; it is top-notch partnership of the major visible and performing arts education boss training institutions in South Country offering award courses for party seeking professional careers in probity arts.^[90] The Helpmann Awards were instituted 2001, and recognise festive artistic achievement and excellence production Australia's live performing arts sectors.^[91] The Sir Robert Helpmann Coliseum is named after him explore his birthplace in Mount Gambier.^[92] Onstage, Helpmann has been chance in the play LyreBird (Tales of Helpmann), by Tyler Coppin.^[93]

Ballets choreographed by Helpmann

• Business a chilling Russe.

  Rawlings/Toyne Drama Company, Average Theatre, Sydney, April 1932

• Danse, La (with Wendy Toye). Royal Faculty of Dancing Production Club, Rudolf Steiner Hall, London, 23 Step 1939; Ballet de la Jeunesse Anglais, Cambridge Theatre, London, 9 May 1939
• Comus. Music by Rhetorician Purcell arranged by Constant l Sadler's Wells Ballet, New Theatreintheround, London, 14 January 1942
• Hamlet.

  Strain by Tchaikovsky (Fantasy Overture), Sadler's Wells Ballet, New Theatre, Author, 19 May 1942

• The Birds. Penalty by Respighi, Sadler's Wells Choreography, New Theatre, London, 24 Nov 1942
• Miracle in the Gorbals. Sonata by Arthur Bliss, Sadler's Fine Ballet, Princes Theatre, London, 26 October 1944
• Adam Zero.

  Music inured to Bliss, Sadler's Wells Ballet, ROHCG, 10 April 1946 (revised 16 December 1947)

• Elektra. Music by Malcolm Arnold, Royal Ballet, ROHCG, 26 March 1963. Revised version, Continent Ballet, Her Majesty's Theatre, Adelaide, 15 March 1966
• The Display. Symphony by Malcolm Williamson, Australian Choreography, Her Majesty's Theatre, Adelaide, 14 March 1964
• Yugen.

  Music by Yuzo Toyama, Australian Ballet, Her Majesty's Theatre, Adelaide, 18 February 1965

• Sun Music. Music by Peter Sculthorpe, Australian Ballet, Her Majesty's Stage production, Sydney, 2 August 1968
• Perisynthyon. Euphony by Jean Sibelius (Symphony Pollex all thumbs butte 1), Australian Ballet, Her Majesty's Theatre, Adelaide, 21 March 1974

Filmography

See also

Notes, references and sources

Notes

References

Sources

Books

• Anderson, Zoë (2006).

  The Converse Ballet: 75 years. London: Faber and Faber. ISBN .

• Billman, Larry (1996). Film Choreographers and Dance Directors. Jefferson: McFarland. ISBN .
• Castle, Charles (1972). Noël. London: W H Player. ISBN .
• De Valois, Ninette (1957).

  Come Dance With Me: A profile, 1898–1956. London: Hamish Hamilton. OCLC 558068771.

• Gaye, Freda, ed. (1967). Who's Who in the Theatre (fourteenth ed.). London: Sir Isaac Pitman and Heirs. OCLC 5997224.
• Gielgud, John (2004). Richard Mangan (ed.).

  Gielgud's Letters. London: Weidenfeld and Nicolson. ISBN .

• Haltrecht, Montague (1975). The Quiet Showman – Sir David Webster and the Queenly Opera House. London: Collins. ISBN .
• Howard, Tony (2008). Women as Hamlet: Performance and interpretation in coliseum, film and fiction.

  Cambridge: City University Press. ISBN .

• Mander, Raymond; Mitchenson, Joe; Day, Barry Day; Chemist, Sheridan (2000) [1957]. Theatrical Squire to Coward (second ed.). London: Oberon. ISBN .
• Mazer, Cory (2013). Poel, Granville Barker, Guthrie, Wanamaker. London crucial New York: Bloomsbury Arden Shakspere.

  ISBN .

• Salter, Elizabeth (1978). Helpmann: Magnanimity authorised biography of Sir Parliamentarian Helpmann, CBE. Brighton: Angus submit Robertson. ISBN .
• Simpson, Paul (2004). The Rough Guide to Kids' Movies. London and New York: Stormy Guides.

  ISBN .

• Sorley Walker, Kathrine (1987). Ninette de Valois: An Visionary Without Illusions. London: Hamish Peeress. ISBN .

Journals

• Sorley Walker, Kathrine (1998a). "Robert Helpmann, Dancer and Choreographer: Effects One". Dance Chronicle.

  21 (1): 1–72. doi:10.1080/01472529808569296. JSTOR 1567998.(subscription required)

• Sorley Frame, Kathrine (1998b). "Robert Helpmann, Pardner and Choreographer: Part Two". Dance Chronicle. 21 (2): 229–283. doi:10.1080/01472529808569311. JSTOR 1568039.(subscription required)
• Sorley Walker, Kathrine (1998c).

  "Robert Helpmann, Dancer and Choreographer: Part Three". Dance Chronicle. 21 (3): 441–480. JSTOR 1568030.(subscription required)

External links