Home   |  About Us  |  Publications  |  Members Login  |  Events  |  Admin Login  |  Contact Us

Multi-talented Men, Part I
by Kathrine Sorley Walker

There has never been a time when the British performing arts have more closely networked than in the 1920s and 1930s. It was a period when creative artists in drama, music, dance and design moved freely and frequently between their various disciplines, setting up fruitful personal relationships and constantly nourished by new ideas and developments. Whatever their individual differences of background and education, they eventually became part of the social and professional circles that mainly existed in or near London. Their careers depended on shared patrons or managements, and work was often obtained by word of mouth recommendations and contacts.

Both in Britain and abroad it was a much smaller and more manageable art world than that of today. Far fewer people were involved and in fact almost everyone knew everyone, even internationally. Young aspirants in the theatre worked in a variety of ways, according to what opportunities arose – dancing, acting, singing, arranging dances and group movements, designing sets, costumes and masks. They became completely versatile in their ability to cope with anything connected with the theatre, understanding and cooperating with drama directors, musicians and conductors, scene painters, stage staff and wardrobe artists; soon, too, they were eagerly embracing the possibilities of cinema and television, learning to deal with film directors and camera men. All this applied – and is well documented – to Frederick Ashton and Antony Tudor; but it is interestingly reflected in other, less well-remembered, artists. Two of these can serve as examples: Hedley Briggs and William Chappell, both of importance during their lives. Both men were dancers, designers and later directors. Briggs, additionally, was a character actor of repute.

Click here to Download the PDF