CityLife

Ballet takes a bold leap

WHEN the English National Ballet arrive at the Opera House next week (w/c Nov 18), they'll be showing themselves at a crucial stage in their development.

The company - founded 50 years ago on the aspiration ''to take popular ballet to the widest geographical audience at a price everyone can afford'' - has a new Artistic Director Matz Skoog at the helm, as well as a new Managing Director, Christopher Nourse, and 11 new dancers including Principal Dancer Jan Eric-Wilkstrom, Senior Soloist Jesus Pastor, and Junior Soloist Cameron McMillan.

When you take into account the additional fact that they will also be performing the World Premiere of a new ballet, called Double Concerto, from Middleton-born choreographer Christopher Hampson on Tuesday (Nov 20) and Wednesday (Nov 21), then it becomes clear just how much is at stake.

Luckily, Matz is a man who gives every impression of positively relishing a challenge.

''Art is where society experiments with new ideas and we have to be a part of that,'' he said. ''There is room for taking a few more risks within the company. Subject to good financial management it can be done, and I want to push the boundaries a bit where there is scope.''

Although he is quite open about wishing to work with the likes of Mark Morris or John Neumeier, he's by no means somebody who simply wants to shake things up.

Born in Stockholm, he joined English National Ballet as a dancer in 1979 and danced with the Company until 1989. Principal Dancer from 1981, he danced every major role in the Company's classical repertoire as well as creating many modern and contemporary roles, including Glen Tetley's Sphinx, Christopher Bruce's Swansong and Maurice Bejart's Song Of A Wayfarer.

When his predecessor, Derek Deane, who had done a great deal to turn the Company's financial fortunes around by stagings of the classics, latterly in an arena style, announced he was retiring after eight years, Matz was working as Artistic Director of The Royal New Zealand Ballet.

By chance, Christopher Hampson, who had also been involved with the Company between 1992 and 1999, was also working there, so virtually as soon as Matz was confirmed as Deane's successor, work began on Double Concerto.

''I don't see myself as a producer or a choreographer,'' said Matz. ''That's not necessary as there are people of talent out there who are dying for a chance to stage the classics. I feel my function is more one of selecting people and repertoire, of putting teams together.

''I would like the ENB to be the classical ballet company of choice for creative artists, or choreographers and composers, a place where mature artists are part of a creative process.''