But, is it Art ?!
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If I had my time again Contemporary would suit me more. I love it as an art form. For me, it speaks a different language to other styles and one that appeals to me and that my body was most suited to.
Ballet has an incredible virtuosity to it and there's good reason to master the general classical technique. My body was more supple than many of the boys which made me better at adage ("slow movements performed with fluidity and grace") the more lyrical expression than, for example the tour en l'air, the big leaps. It was never an ambition to work in the West End, it was a 'needs must'. It was important at the time for the CV, to pay the bills, and then to have a regular gig where I could experiment with ideas and showcase them. Choreographing a routine each week was a means-to-an-end to get noticed thinking that later, once I'd become established, I would return to Contemporary. That didn't happen. At the time I could simply earn more from doing stuff for telly, so I did! But to this day, artistically, I prefer to work on projects more 'below the radar' so to speak, may be not as commercial, but more fulfilling in other ways. |
Three snippets
BEST FOOT FORWARD
Whilst training in Australia and to help make ends meet I did a fair amount of modelling. At that time, with a full head of hair was featured in Vogue Australia with new hair styles for a hair salon.
'Under the radar', unnoticed even in the UK, was that for a time I was a professional foot model for ads and commercials, for example Pirelli shoes and slippers, or whenever a mans foot was needed in close-ups.
'Under the radar', unnoticed even in the UK, was that for a time I was a professional foot model for ads and commercials, for example Pirelli shoes and slippers, or whenever a mans foot was needed in close-ups.
Stage Management
In the early days, keen to get a better understanding of how theatrical performance actually works, I was allowed to try my hand as a Stage Manager in ways that probably would not be allowed today for one reason or another. I am hugely grateful as the hands-on experience taught me a lot about stage craft and the technical aspects of design and production.
Two productions I particularly enjoyed, one being the SM for an Australian production of the Lion In Winter, the other being back in the UK, SM for a London fringe production of the opera by Kurt Weill and Bertolt Brecht, Rise and Fall of The City of Mahagonny.
Two productions I particularly enjoyed, one being the SM for an Australian production of the Lion In Winter, the other being back in the UK, SM for a London fringe production of the opera by Kurt Weill and Bertolt Brecht, Rise and Fall of The City of Mahagonny.
Exciting EXTRAs
In the performing years I would jump at doing 'Extra' work, ... that is, to work as an extra.
The reason for this is that in not having to concentrate on getting the steps right or being impeccably rehearsed, it would give me the opportunity to study and soak up what's happening all around, learn by observation as to what other people were doing both behind the scenes and in front.
I loved it if a call came in from my agent just for one days work to be part of 'rent-a-crowd' on a film set for example, one day being just enough to get the overall impression whilst not distracting me from my other commitments and projects elsewhere.
One of the most inspiring was when Béjart Ballet Lausanne came to the London Coliseum for a short season and I was one of 'the corps' in their legendary Bolero starring Jorge Donn. Performing in the actual piece was electrifying to say the least, but also being around the master himself, Maurice Béjart.
The reason for this is that in not having to concentrate on getting the steps right or being impeccably rehearsed, it would give me the opportunity to study and soak up what's happening all around, learn by observation as to what other people were doing both behind the scenes and in front.
I loved it if a call came in from my agent just for one days work to be part of 'rent-a-crowd' on a film set for example, one day being just enough to get the overall impression whilst not distracting me from my other commitments and projects elsewhere.
One of the most inspiring was when Béjart Ballet Lausanne came to the London Coliseum for a short season and I was one of 'the corps' in their legendary Bolero starring Jorge Donn. Performing in the actual piece was electrifying to say the least, but also being around the master himself, Maurice Béjart.
West End boys ...
Revisiting Soho for an article about the indie producers in the 80s, it's so heartening to still get a warm greeting from people within 'the village' after all this time, kindred spirit and all that.
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Vertical Divider
The Empire Ballroom Leicester Square could be regarded as where it all started. I had a regular gig at the Empire with my dance troupe and, among others I met Barrie Morrison there who introduced me to various record producers including the legendary Dave Dee. As well as choreographing and doing a weekly gig, also the occasional cabaret for example for a film premier party across the road at the Odeon.
Now, the doorman recollects the dancing era and including the World Disco-dancing Championships hosted at the Empire and offers to show me around again. Fond memories of regular meet-ups with so many close friends who influenced my early career including film director Derek Jarman who also at the time lived nearby; composer Stephen Oliver, photographer and artist Russell Young and many more. |
Around the corner back on Brewer Street outside what was once my front door, meeting and chatting with a neighbour who has also been living there for 25 years, recalling our other neighbours in the building including Mark Almond (Soft Cell). It was indeed a wildly exciting time to be living and working in the heart of Soho in the 80s.
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Neil Anthony, December 2023
Snapshot of the 80s
"Neil Anthony started in the business as a dancer. Writing and choreography were natural stepping stones to becoming a producer. Since forming The Bright Thoughts Company in 1981 they have produced many shows, mainly in the music and entertainment areas." - Goldcrest Films & Television
Personal highlight of the era
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LIVE AID - WEMBLEY
Being invited to Live Aid with tickets to spend the entire day in the artists enclosure. Brian Ferry, Quo, Phil Collins, George Michael, Elvis Costello, one after another after another; an event which for me defined the decade. The lineup of more than 75 artists, Freddie Mercury and Queen, also Elton, Mick Jagger, Bowie, Madonna, Santana, Sting, The Who, Tom Petty, Neil Young, Eric Clapton, Bryan Adams, The Beach Boys, U2, Duran Duran, and Sade. |
