Robert de Warren’s My Life in Dance: a ballet director’s memoir, from a scooter in Montevideo to Fonteyn, Nureyev and La Scala

Robert de Warren, whose career in ballet spans over sixty years, offers a detailed account of his life in dance through his memoir, My Life in Dance, set to be published in 2025. The narrative traces his beginnings in South America, his formative years with the Royal Ballet in London, leadership roles in Europe and Iran, and his final tenure in the United States.

Born in 1933 to an Anglo-Irish family with a rich artistic heritage, de Warren’s early life unfolded in Uruguay and Argentina. His familial connections included a great-grandfather who served as Master of Music to Emperor Peter II of Brazil and a cousin, actress Martita Hunt, whose advice influenced his stagecraft. His formative encounter with ballet began in Montevideo, where a chance interaction with fellow student Jacqueline sparked a lifelong partnership, both personally and professionally.

De Warren’s pursuit of ballet took him to London, where he trained under the exiled Russian instructor George Goncharov. Joining the Royal Ballet during its golden era, he found himself amidst luminaries like Margot Fonteyn and Frederick Ashton. A notable episode involved Fonteyn inviting him to correct her technique, underscoring his early recognition within the company. His experiences also include working under the legendary Dame Ninette de Valois, who was both critical and supportive, shaping his understanding of the demands of the ballet world.

His time at the Royal Ballet was marked by both artistic growth and challenges. De Warren’s choreographic debut received mixed critical responses but hinted at his creative potential. The memoir recounts incidents illustrating the unpredictable nature of live performance and company dynamics, including a colleague’s accident during a tour. His eventual departure from the Royal Ballet came amid frustrations over principal role opportunities, a common plight for many dancers of the period.

Following his departure, de Warren’s career took him to Germany, where he worked in Stuttgart and Frankfurt. His recollections from this period reveal a blend of humor and tension, such as rehearsing with unconventional partners and narrowly avoiding injury due to stage mishaps, reflecting the precarious realities behind ballet’s polished facade.

A pivotal chapter in his career was his appointment as director of the Iranian National Ballet at the invitation of the Shah and Empress Farah. De Warren highlights the royal couple’s efforts to modernize Iran’s cultural scene before the 1979 revolution led to the closure of many artistic institutions. During his tenure, he staged innovative works that integrated traditional Persian elements and hosted international guest artists, navigating cultural and political complexities with tact and creativity.

Upon returning to Britain, de Warren assumed leadership of Northern Ballet Theatre, transforming the ensemble into a robust touring company with nearly 200 performances annually. His initiatives included reimagining classics with regional influences, securing royal patronage from Princess Margaret, and fostering collaborations with renowned figures such as Alicia Markova and Rudolf Nureyev. His growth as a conductor arose unexpectedly during a performance when he took over for an absent conductor, showcasing his multifaceted talents.

De Warren’s later years were marked by his directorship at La Scala’s ballet company in Milan, a period characterized by intense institutional politics and artistic challenges. Recommended by Nureyev himself, de Warren navigated a complex environment of union disputes and internal conflicts, all while maintaining artistic integrity. His relationship with Nureyev was multifaceted, encompassing friendship, professional collaboration, and moments of tension.

Throughout the memoir, de Warren interweaves personal anecdotes, including humorous and poignant moments involving family, colleagues, and the quirks of ballet life. His reflections offer insight into the evolving landscape of ballet from mid-20th century to contemporary times across diverse cultural settings.

My Life in Dance stands as an important document chronicling the life of a dancer and director who witnessed and influenced significant developments in the ballet world. Gramilano.com’s coverage highlights the memoir’s value not only as a personal story but as a lens on the broader historical and artistic shifts in ballet across continents.