In conversation with Ashley Page and Gemma Bond: insights on their Summer Performance pieces
This year at our annual Summer Performances, we were delighted to welcome alumni and renowned choreographers Ashley Page and Gemma Bond to work with students on two new creations. We spoke to them about their work and the creation process.
Ashley Page on Fieldwork
Ashley Page trained at The Royal Ballet School and then joined The Royal Ballet, where he danced for 27 years. He was later the Artistic Director of Scottish Ballet for ten years, where he transformed the company into an internationally renowned modern ballet company.
After leaving Scottish Ballet, Page started freelancing as a choreographer and opera director, creating pieces for many ballet, contemporary dance, and opera companies in the UK and internationally.
Page spoke a bit about the background and inspiration for Fieldwork:
I was invited by Christopher Powney to create a piece for the Year 11 students. The brief was to get them all on stage, and I’ve done my best to achieve that. The piece’s inspiration comes from watching the students. I did some workshops with them before starting to create it. The journey really began on day one of making it, and it’s dedicated to them.
Reflecting on his journey into choreography, Page said:
Creating roles with choreographers like Kenneth MacMillan and Glen Tetley allowed me to contribute a lot of movement material. I started choreographing through the thriving Royal Ballet choreograph group. I quickly realized choreography was about much more than just making material—it involved form, structure, and concept.
Discovering contemporary dance during its golden period in London added a whole new dimension to my work. I stayed in the company but also created pieces for Dance Umbrella and worked with many contemporary dancers, enriching my training and performance as a dancer.
He reflected on the experience working with the students:
Seeing the choreographic work in December gave me more insight into the students as dancers. Class and solos reveal different aspects, but creating their own work shows much more.
When I was at school, it was different. We didn’t have choreographers creating for us. By graduation, we performed pieces like Two Pigeons and Danse Concertante. Choreographers like Kenneth MacMillan and Frederick Ashton would come in to cast and polish the performances.
Gemma Bond on ASSEMBLAGE
Gemma Bond got her first taste of choreography as a student at the School through the Kenneth MacMillan Emerging Choreographer competition. She subsequently joined The Royal Ballet, where she stayed for eight years before moving to American Ballet Theatre.
After being part of a company for some time, Gemma got back into choreography during her time in New York and continues to create new works for companies including The Royal Ballet, American Ballet Theatre and Ballet National de Cuba.
She explained the inspiration for her piece ASSEMBLAGE:
When I start a new piece, I start with the music. The music is always an inspiration for the movement, how many people there are going to be, the concept, and the general feel of the piece. So, for this piece, I wanted to make something that was light-hearted and a celebration of all I’ve learned.
It’s been a long time since I was in the School, but it feels like home to me. Many of the faces here now are coaching teachers and running the School, which makes it feel very welcoming and familiar.
Bond also spoke about her approach to creating the piece, especially since it was performed by all boys:
I have created a very short work for three men in the past. I don’t approach it differently because there’s no need to separate genders. This piece has tender moments and very athletic moments. I focus on the shapes their bodies make and how they represent what I see in the music and the message of the piece.
Honestly, this piece could be done by all women. You could trade it out very easily, with the only difference being there are no pointe shoes. Otherwise, I approach it in the same way as I would for any other group.
Bond also shared her experience working with the students:
The men have been wonderful to work with. I’m lucky to travel and create pieces worldwide, but when you’ve trained in the same technique, it’s very natural and easy to create a work. It’s a pleasure not to have to over-explain myself because there’s an understanding of exactly what I want from them.
We were delighted to bring Fieldwork by Ashley Page and ASSEMBLAGE by Gemma Bond to audiences at the Linbury Theatre, Opera Holland Park and the Royal Opera House Main Stage at this year’s Summer Performances.
