The Tait Memorial Trust (TMT) is a charitable foundation first established in the United Kingdom . The TMT was founded by Isla Baring OAM in memory of her father, Sir Frank Tait and his brothers, who played an important part in the establishment of theatre and the performing arts in Australia. Sir Frank, the youngest of the Tait brothers, carried the firm J. C. Williamson's into its most successful years dominated by the Sutherland-Williamson opera company in 1965 which brought Joan Sutherland back to her homeland.
35-600: In 2011, an Australian Trust to support the work of the TMT was created under the name of "The Tait Performing Arts Association". In May 2017, the Trust formally announced funding of young artists from New Zealand. The Tait Memorial Trust in collaboration with Leanne Benjamin AM OBE launched new ballet awards for young Australian dancers studying in the UK. The proceeds from the first event at
70-447: A managing director , and creative decisions fall to the artistic director . In theatres with no managing director , artistic directors often use the title producing artistic director or managing artistic director, to indicate a higher level of responsibility. In the commercial world of Broadway , New York City and West End , London and touring, both nationally and internationally, producers are expected to be active members of
105-446: A ballerina. Exclusively trained at The Royal Ballet School and dancing her entire professional career with The Royal Ballet, Margot Fonteyn was appointed prima ballerina assoluta of the company by Queen Elizabeth II in 1979. Having trained at The Royal Ballet School from 1959 to 1966, Eva Evdokimova would go on to become an international guest ballerina, being recognised as a prima ballerina assoluta following her performances with
140-618: A gym and fitness room, a pilates studio, physiotherapy suite and students common room. Facilities for academic education include four classrooms, a library with computer equipment, an art studio and audiovisual suite. All the dance studios are linked to the audiovisual suite so that classes and rehearsals can be filmed as a training tool, enabling the dancers to analyse themselves. Alongside a timetable of intensive ballet training, students also study pas de deux, solos, repertoire, character, contemporary dance, stagecraft, make-up, and body conditioning. 3rd year students get many opportunities throughout
175-1220: A new Musical Theatre award for young artists from Australia or New Zealand who wish to study Musical Theatre. The award is funded by Australian Musical Threatre Impressario, and Tait Patron, John Frost AM. The inaugural recipient in 2023 was NSW singer/dancer Cathlyn Rose-McKellar. The 2024 winner is Rebecca Rolle from Queensland. The TMT has helped many young singers and instrumentalists who have subsequently performed with British orchestras, leading opera companies and major international ballet companies, including Thomas Rann , Daniel de Borah, Mary-Jean O'Doherty , Li-Wei, Amy Dickson , Elena Xanthoudakis , Valda Wilson, Yelian He , Lauren Fagan , Alexandra Hutton, Phoebe Humphreys, Siobhan Stagg , Kelly Lovelady, Simon Lobelson, Helena Dix , Miranda Keys, Liane Keegan, Benjamin Bayl , William Chen, Natalie Christie, James Hancock, Grant Doyle, Kelly Lovelady, Melbourne Chamber Strings, Melbourne Piano Trio, Derek Welton, Leslie John Flanagan, Jayson Gillham , Morgan Pearse, Julian Gavin , Joanna Cole and Kevin Penkin . Royal Ballet School The Royal Ballet School
210-843: Is a British school of classical ballet training founded in 1926 by the Anglo-Irish ballerina and choreographer Ninette de Valois . The school's aim is to train and educate outstanding classical ballet dancers, especially for the Royal Ballet (based at the Royal Opera House in London ) and the Birmingham Royal Ballet . Admission to the school is based purely on dancing talent and potential, regardless of academic ability or personal circumstances, and 90% of current students rely on financial support to attend
245-496: Is a former royal residence and hunting lodge built during the reign of King George II . It is the school's permanent premises and there has been extensive redevelopment of the site to provide dance and academic facilities and accommodation for students. Children attend the school between the ages of 11-16 and entry to the school is by audition only. The school receives over twenty thousand applications every year and holds auditions in major UK cities. Having an international reputation,
280-405: Is a person who oversees all aspects of mounting a theatre production . The producer is responsible for the overall financial and managerial functions of a production or venue, raises or provides financial backing, and hires personnel for creative positions (writer, director, designers, composer, choreographer—and in some cases, performers). The term "producer" is American in origin, referring to
315-420: Is important, because of the liability issues mentioned above. All bills, including payroll, must be paid on time, and taxes must be paid. The producer oversees the budget. The theatre owner provides box office services and turns over net ticket sales revenue. If sales fall under a set minimum level, the unprofitable show may close. If ticket sales are good and the show makes a profit, the producer may get 50% of
350-580: The Royal Ballet School on 12 June 2014 were added to this scholarship fund. Australian students at the school including Sophie Moffatt, Josephine Frick, Kiely Groenewegen, Grace Robinson, Harry Churches, Connor Barlow ( English National Ballet School ) and Kenji Wilkie performed for an audience which included Lady Sainsbury CBE and Sir Peter Wright. The evening ended with a masterclass given by Leanne Benjamin AM OBE. The Tait Memorial Trust in collaboration with Associated Studios , London launched
385-601: The Kirov Ballet in the late 1970s. The title was later recognised officially by the German Senate. Phyllis Spira began training at the Royal Ballet School in 1959, joining the Royal Ballet touring company in 1960. Choosing to shun an international ballet career, she returned to her native South Africa, where she danced the majority of her career with CAPAB ballet, today's Cape Town City Ballet . She
SECTION 10
#1732794125273420-616: The Old Vic theatre and acquired Sadler's Wells theatre in 1925. In 1928, she engaged de Valois to stage dance performances at both theatres and she re-opened Sadler's Wells theatre in 1931, with de Valois' school moving into studios on the site as the Sadler's Wells Ballet School, teaching both boys and girls. At the same time, the Vic-Wells Ballet Company was formed using students of the school and other notable dancers of
455-406: The ages of 16–19. In October 1956, a Royal Charter was granted officially linking the ballet company and school and they became The Royal Ballet School and Royal Ballet Company. A second smaller company still performed at Sadler's Wells and toured around the UK and this became the Sadler's Wells Royal Ballet. de Valois retired as Director in 1970. In 1990, the Sadler's Wells company moved to become
490-404: The business and legal end of employing staff, as in any business entity. Hiring creative staff and teams generally involves the director and playwright's approval. The producer hires the production team, including the general manager, production manager , house manager, stage manager , etc., at their discretion. In many cases, contracts require that the producer use front of house staff (such as
525-640: The current director of The Royal Ballet , Kevin O'Hare . Graduates of the school have also achieved employment in musical theatre , contemporary and jazz dance , television and film. In 1926, the Irish -born dancer Ninette de Valois founded the Academy of Choreographic Art , a dance school for girls and the predecessor of today's Royal Ballet School. Her intention was to form a repertory ballet company and school, leading her to collaborate with theatrical producer and theatre owner Lilian Baylis . Baylis owned
560-619: The era. Both the school and the ballet company developed quickly and after ballet performances ceased at the Old Vic, the ballet company was renamed the Sadler's Wells Ballet. In 1946, the company moved to become the resident ballet company at the newly re-opened Royal Opera House in Covent Garden and as a result, in 1947 the school moved from Sadler's Wells to premises in Barons Court, with academic education being introduced for younger students. Following rapid expansion, in 1955
595-407: The first Prima Ballerina of The Royal Ballet , a founder ballerina with American Ballet Theatre , and co-founder of English National Ballet who now recognise her as the company's prima ballerina assoluta . Although not trained at The Royal Ballet School, this direct connection with school founder Ninette de Valois brings the total up to five. Theatrical producer A theatrical producer
630-522: The former Barons Court site now houses the London Academy of Music and Dramatic Art . The school relocated to new, purpose-built premises in Covent Garden in January 2003. The complex is a four-storey building with six dance studios, including a studio theatre with retractable raked seating for an audience of 200. The building also houses changing rooms and showers for male and female students,
665-414: The house manager, box office , ushers, etc.) and backstage personnel ( stage hands , electrician, carpenter, etc.) supplied by the theatre. The producer creates, builds on and oversees the budget, sets ticket prices, chooses performance dates and times, and develops a marketing and advertising strategy for the production. Hiring a publicist and marketing team is one of the most important responsibilities of
700-424: The level of a typical secondary school, both at Key Stage 3 and Key Stage 4, with all students sitting GCSE examinations. The Royal Ballet School's Covent Garden base was established in 1955, when the younger students were moved to White Lodge. The school remained at existing studios in Barons Court, London, with academic studies introduced for the first time. Later in 2003, the school relocated to new premises, and
735-411: The net profit, the other 50% going to the investors. Statistically, highly successful shows with big profits are the exception. Independent commercial production is a high risk business. Another kind of producer is the non-independent, or line producer , who facilitates other people's projects. A repertory or repertoire or festival or non-profit or amateur organization, in most cases, uses
SECTION 20
#1732794125273770-399: The original theatrical production enhances the value of an artistic property. This right to further options may be included in the royalty agreement. In other duties, the producer may work with theatrical agents, negotiate with unions, find other staff, secure the theatre and rehearsal hall, obtain liability and workers' compensation insurance, and post bonds with unions. The producer handles
805-413: The person responsible for the financial aspects of producing a play, including acquiring the rights to produce it; renting a theatre; hiring actors and staff; and selling tickets. In Britain, these functions were carried out by the manager, while the person responsible for staging the play (now called the "director") was traditionally referred to as the producer. The independent producer usually initiates
840-451: The producer. These teams are generally in place before the show is cast. The producer collaborates with the director and all staff to plan a production timeline and deadlines for various aspects of the production to ensure a successful show opening and run. The producer and director oversee this timeline, with periodic re-assessment and modifications as needed. The producer hires accountants, and perhaps already has legal representation. This
875-401: The production in a limited partnership agreement. In this business structure, the producer becomes the general partner with unlimited liability, and because of this, often brings in other general partners. The producer probably has optioned the play from the playwright , which includes rights to future production for film and television. The producer earns the right to future ventures because
910-433: The production—finding the script and starting the process. The producer finds the director and pursues the primary goals, to balance and coordinate business and financial aspects in the service of the creative realization of the playwright's vision. This may include casting, but often only includes casting approval. The producer may secure funds for the production, either through their own company or by bringing investors into
945-728: The resident ballet company at the Birmingham Hippodrome , in Birmingham , where it was renamed Birmingham Royal Ballet . In January 2003, The Royal Ballet School's older students (aged 16–19) moved to a newly constructed studio complex in Floral Street, adjacent to the Royal Opera House in Covent Garden, where The Royal Ballet remains the resident ballet company. A bridge was constructed between
980-459: The school also receives applications from other countries. As a boarding school , the majority of students live on site, although there are a small number of day-students. In dance, students study classical ballet, character dance, contemporary, gymnastics, Irish, Morris and Scottish dancing. Later in their training, students study ballet repertoire, solos and pas de deux and boys undertake upper body conditioning. The school offers academic study at
1015-568: The school and the Opera House, linking the school with the theatre and The Royal Ballet Company's own studios. The designer of the bridge received an architectural award and it is known as the Bridge of Aspiration . The Royal Ballet School's younger students moved to White Lodge, Richmond Park in Richmond, London in 1955 when the school was split for the first time. The Georgian building
1050-485: The school secured the premises at White Lodge in Richmond Park, London. This was established at the time as the Royal Ballet 'Lower School', a residential boarding school for children aged 11–16, combining general education and vocational ballet training. The Royal Ballet School 'Upper School' was established at the school's existing premises in Barons Court with students studying ballet on a full-time basis between
1085-511: The school. The school is based at two sites, White Lodge, Richmond Park (for students aged 11–16) and Covent Garden (for students from 16 to 19 years old) based in purpose-built studios on Floral Street , adjacent to the Royal Opera House . The Royal Ballet School has produced dancers and choreographers of international renown, including Dame Margot Fonteyn , Dame Beryl Grey , Sir Kenneth MacMillan , Dame Darcey Bussell , Alessandra Ferri , Viviana Durante , and Sergei Polunin , as well as
Tait Memorial Trust - Misplaced Pages Continue
1120-410: The school. The programme includes new works and heritage pieces from the Royal Ballet repertory and culminates in a grand défilé, in which every student of the school appears on stage in a choreographed curtain call. The Royal Ballet School is unique in having trained four of only a small number of dancers in history to have been recognised as prima ballerina assoluta , the ultimate honorary title for
1155-475: The team, and their names appear above the show title. However, many "producers" are really investors or the theatre owner, and claim no say in running the production. A producer credit occasionally applies to people who perform special important services, such as finding a theatre or a star—but normally, the credit for such roles is associate producer . The producer works closely with the production team and cast to make all final decisions. The producer, ultimately,
1190-452: The year to train with The Royal Ballet and Birmingham Royal Ballet. Each year The Royal Ballet School presents its Summer Performances, featuring students from all age groups in a wide variety of classical and contemporary works. The highlight of the school's dance year is the annual matinée at the Royal Opera House, which showcases graduate students before they embark on their professional careers as well as featuring students from all years of
1225-541: Was appointed prima ballerina assoluta by the State President of South Africa in 1984. Most recently, Royal Ballet School graduate Alessandra Ferri was appointed prima ballerina assoluta of La Scala Theatre Ballet in 1992. Another British ballerina, Alicia Markova , was also tutored by Royal Ballet School founder Ninette de Valois, and would go on to be a leading ballerina with the Ballets Russes ,
#272727