Rambert Dance Company

Rambert Dance Company, now generally branded simply as Rambert, is a British dance company with roots in classical ballet and a long-standing reputation for developing adventurous contemporary work. It was founded by Marie Rambert, a Polish-born dancer, teacher and choreographic mentor whose career connected the company to several foundational movements in twentieth-century dance. Rambert first encountered modern dance through Isadora Duncan, later worked with Serge Diaghilev’s Ballets Russes and assisted Vaslav Nijinsky during the creation of The Rite of Spring. Her studies with Enrico Cecchetti and her experience of both modern and classical practice shaped the eclectic artistic identity that would define the organisation. Rambert established a dance school in London in 1919 and began teaching ballet professionally the following year. In 1926 she formed a performing troupe from pupils at the school. Initially known as the Rambert Dancers, it appeared in theatrical revues before being reorganised in 1930 as the Ballet Club at London’s Mercury Theatre, which was associated with Rambert’s husband, the playwright Ashley Dukes. The company became widely known as Ballet Rambert and built a touring profile across Britain. It is generally regarded as the United Kingdom’s oldest established dance company and the first British classical ballet company. The organisation’s early years were connected to major figures from the Ballets Russes and the emerging British ballet movement. Alicia Markova and Anton Dolin were among the dancers associated with its formative period, while artists such as Frederick Ashton, Antony Tudor, Agnes de Mille, Andrée Howard, Walter Gore and Peggy van Praagh made important early appearances or developed work within its orbit. Rambert’s significance was not limited to presenting performances: it helped create the professional environment in which British choreographers, dancers and artistic administrators could experiment. By the middle of the twentieth century, the Royal Ballet had become Britain’s dominant classical institution. Rambert responded by broadening its artistic direction rather than competing solely within the classical repertory. During the 1960s it moved decisively toward modern and neoclassical dance and ultimately became a contemporary company. This transition allowed it to commission and present work by successive generations of choreographers, while retaining the discipline and technical training associated with its ballet origins. The company adopted the name Rambert Dance Company in 1987 and dropped “Dance Company” from its public title in 2013, becoming Rambert. Its later history has been shaped by artistic directors including Marie Rambert, John Chesworth, Norman Morrice, Robert North, Richard Alston, Christopher Bruce and Mark Baldwin. Their periods of leadership supported different balances between repertory, experimentation, touring and audience development. Rambert has also used education and participation to extend its role beyond the theatre, offering dance and wellbeing activities for people of different ages and abilities. In the 1970s, its youth-oriented work included the stage and television series Bertram Batell’s Side Show, an anagrammatic title designed to introduce younger audiences to dance. Today Rambert operates as a professional contemporary-dance company presenting performances, touring productions, commissions and educational activity in Britain and abroad. Its stated artistic outlook emphasises risk-taking, accessibility, diversity and collaboration with choreographers and artists from varied backgrounds. The company is a National Portfolio Organisation supported by Arts Council England. The reference material identifies Helen Shute as Chief Executive and Benoit Swan Pouffer as Artistic Director. The separate Rambert School of Ballet and Contemporary Dance is historically linked to Marie Rambert’s school but is an independent educational institution rather th…

Marie Rambert’s professional formation brought together modern dance, Dalcroze Eurhythmics and Italian ballet technique. After encountering Isadora Duncan’s work, she travelled to Paris, worked with Serge Diaghilev’s Ballets Russes and assisted Vaslav Nijinsky on The Rite of Spring. Her subsequent study with Enrico Cecchetti strengthened her classical knowledge. During the First World War she settled in England, where she later married playwright Ashley Dukes. In 1919 Rambert opened a school at Notting Hill Gate in London. The school taught Cecchetti-based ballet and became the institutional seed of the performing company. A troupe made up of students began appearing in 1926 as the Rambert Dancers, particularly in revues. In 1930 it was reorganised as the Ballet Club at the Mercury Theatre. Although connected to that venue, the troupe developed a national touring identity and became known popularly as Ballet Rambert. The company helped establish a British ecosystem for ballet and choreography. Former Ballets Russes artists, including Alicia Markova and Anton Dolin, were associated with its early development. A wider group of dancers and choreographers received significant early opportunities through Rambert, including Frederick Ashton, Antony Tudor, Agnes de Mille, Andrée Howard, Walter Gore and Peggy van Praagh. This combination of training, performance and commissioning made the company an important incubator for British dance. As the Royal Ballet became the country’s leading classical ballet organisation, Rambert chose a different trajectory. It increasingly introduced modern and neoclassical work and, during the 1960s, completed its transition away from classical ballet as its central artistic focus. The company continued to preserve a strong technical base while pursuing new choreographic languages. It was formally known as Rambert Dance Company from 1987 and became simply Rambert in 2013. Leadership changed repeatedly as the company developed. Marie Rambert remained closely involved until the mid-1960s and was listed as Founder Director later in life. John Chesworth, Norman Morrice, Robert North, Richard Alston, Christopher Bruce and Mark Baldwin each contributed to later phases of artistic development. Adrian Ward-Jackson served as director from 1985 until his death in 1991. In the 1970s the company also created youth-facing stage and television presentations under the name Bertram Batell’s Side Show. The present organisation combines performances and touring with education, participation and dance-wellness activity. It seeks to commission daring ideas, work with artists from diverse backgrounds and make dance relevant to broad audiences. Rambert remains a National Portfolio Organisation of Arts Council England and is described in the reference material as continuing to operate in the United Kingdom and internationally.

1. 2013The public name becomes Rambert

   The words “Dance Company” are removed from the public title, leaving Rambert as the principal brand name.

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2. 1987The name Rambert Dance Company is adopted

   The organisation adopts the name by which it was known for much of its modern contemporary-dance era.

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3. 1970Bertram Batell’s Side Show

   The company presents youth-oriented work on stage and later on BBC television using the name Bertram Batell’s Side Show.

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4. 1960Transition toward contemporary dance

   During the 1960s the company moves away from classical ballet and concentrates increasingly on modern and contemporary work.

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5. 1930Reorganisation as the Ballet Club

   The troupe is re-established at the Mercury Theatre and begins the institutional phase associated with Ballet Rambert.

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6. 1926The Rambert Dancers are formed

   Marie Rambert creates a performing troupe from students at her school.

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7. 1919Marie Rambert establishes a London dance school

   Rambert opens a school at Notting Hill Gate, creating the educational foundation from which the later company develops.

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A high-profile contemporary-dance company combining rigorous ballet-derived training with experimental choreography, cross-disciplinary collaboration and broad public engagement.

• Contemporary dance performancesPerforming arts

  Rambert’s core offering is live contemporary dance presented in theatres and other performance settings. Its repertory reflects the company’s historic shift from classical ballet toward modern, neoclassical and contemporary forms, while retaining demanding technical training. Productions are developed with choreographers and may combine dance with music, design, theatre or other artistic disciplines.

• Touring productionsTouring arts programme

  Touring is central to Rambert’s operating model. The company presents work across the United Kingdom and internationally, extending access beyond its London base and supporting its reputation as a British ambassador for contemporary dance.

• Education and participationArts education

  Rambert provides classes, courses and participation activity for people of different ages and abilities. These programmes broaden the company’s public role by connecting professional performance practice with learning, community engagement and dance-wellness activity.

• Rambert repertory and commissionsChoreographic commissions

  The company’s repertory is built around commissioned and acquired works by choreographers. Historically, Rambert has been particularly important as a platform for emerging British choreographers and for artists developing new approaches to modern and contemporary dance.

• 2013Rebranding as RambertStrategy

  The company had operated for decades as a contemporary organisation, and its shorter name was already strongly associated with the institution.

  What changed. The words “Dance Company” were dropped from the public title, leaving Rambert as the brand name.

  Aftermath. The shorter identity is used by the active organisation while “Rambert Dance Company” remains an established historical name.

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• 1987Adoption of the Rambert Dance Company nameStrategy

  The organisation had long been popularly identified as Ballet Rambert despite its increasingly contemporary artistic identity.

  What changed. The company adopted the name Rambert Dance Company.

  Aftermath. The renamed organisation continued to develop its contemporary-dance profile while maintaining its historical association with Marie Rambert.

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• 1960Strategic transition from classical ballet to contemporary danceStrategy

  The Royal Ballet had become the leading classical ballet institution in Britain, while Rambert had a longstanding interest in new dance trends.

  What changed. Rambert progressively introduced modern and neoclassical work and during the 1960s moved completely away from classical ballet as its primary repertory.

  Aftermath. The decision established the artistic direction that enabled Rambert to become an internationally recognised contemporary-dance company.

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1. Rambert Dance Company
2. Rambert official website