Sir Frederick William Mallandaine Ashton (17 September 190418 August 1988) was a British ballet dancer and choreographer. He also worked as a director and choreographer in opera, film and revue.
Determined to be a dancer despite the opposition of his conventional middle-class family, Ashton was accepted as a pupil by Léonide Massine and then by Marie Rambert. In 1926 Rambert encouraged him to try his hand at choreography, and though he continued to dance professionally, with success, it was as a choreographer that he became famous.
Ashton was chief choreographer to Ninette de Valois, from 1935 until his retirement in 1963, in the company known successively as the Vic-Wells Ballet, the Sadler's Wells Ballet and the Royal Ballet. He succeeded de Valois as director of the company, serving until his own retirement in 1970.
Ashton is widely credited with the creation of a specifically English genre of ballet. Among his best-known works are Façade (1931), Symphonic Variations (1946), Cinderella (1948), La fille mal gardée (1960), Monotones I and II (1965), Enigma Variations (1968) and the ballet film The Tales of Beatrix Potter (1971).
Life and career
Early years
Ashton was born in Guayaquil, Ecuador, the fourth of the five children of George Ashton (1864–1924) and his second wife, Georgiana (1869–1939), née Fulcher. George Ashton was manager of the Central and South American Cable Company and vice-consul at the British consulate in Guayaquil.
In 1907, the family moved to Lima, Peru, where Ashton attended a Dominican school. When they returned to Guayaquil in 1914, he attended a school for children of the English colony. One of his formative influences was serving as an altar boy, which inspired in him a love of ritual, as demonstrated in The Wise Virgins. Ashton's father sent him to England in 1919 to Dover College, where he was miserable. Homosexual, and with an accent that his classmates laughed at, he did not fit in at a minor public school of the early 1920s. The costumes and scenery were by Sophie Fedorovitch, who continued to work with Ashton for more than twenty years, and became, in his words, "not only my dearest friend but my greatest artistic collaborator and adviser".
Rambert sought to widen her students' horizons, taking them to see London performances by the Diaghilev Ballet. They had a great influence on Ashton—most particularly Bronislava Nijinska's ballet Les biches. In 1930 Ashton created an innovative ballet, Capriol Suite, using Peter Warlock's 1926 suite of the same name. The music was based on 16th-century French music, and Ashton researched the dances of the earlier era, and created a period piece with "basse danse, pavane, tordion, and bransle—smoothly mixing robust masculine leaps with courtly duets."
Vic-Wells
Ashton's association with Ninette de Valois, founder of the Vic-Wells Ballet, began in 1931, when he created a comic ballet, Regatta for her. but The Manchester Guardian considered that "it completely fails ... definitely a poor show". Nevertheless, Ashton was by now recognised as a choreographer of considerable talent and had gained a national, though not yet international, reputation.
thumb|upright|left|[[Ninette de Valois with whom Ashton was associated from 1931]]
In 1933 Ashton devised another work for de Valois and her company, the ballet-divertissement Les Rendezvous. Robert Greskovic describes the work as a "classically precise yet frothy excursion showcas[ing] big skirted 'ballet girls' and dashing swain partners". The piece was an immediate success, has been revived many times, and at 2013 remains in the Royal Ballet's repertoire eighty years after its creation.
Sadler's Wells and Covent Garden
Shortly before the outbreak of the Second World War Ashton was offered a position in New York with what was to become the American Ballet Theatre. He declined, and returned to de Valois' company, soon renamed "Sadler's Wells Ballet". In Ballet magazine, Lynette Halewood commented in 2000, "No other work by Ashton is so disturbing and so bleak".