Marcelino Sambe "in conversation" with Sarah Crompton
12th December 2022
The Chair of the London Ballet Circle, Susan Dalgetty Ezra, welcomed Royal Ballet Principal Marcelino Sambé and dance writer Sarah Crompton, and thanked them both for agreeing to take part in this conversation. This was an ‘in person’ event – although somewhat hampered by the weather – and she also thanked the Royal Ballet School for hosting it and providing the Zoom facilities.
Susan noted with great sadness the death of Dame Beryl Grey. A legend throughout the ballet world, she had been a tremendously supportive vice-president of the London Ballet Circle.
Portugese dancer Marcelino Sambé was born in Lisbon in 1994. He initially attended African dance classes at a local community centre. At the age of eight he was encouraged to audition, and was accepted, for the National Conservatory of Lisbon to learn ballet. After winning a scholarship at the Prix de Lausanne he moved to the Royal Ballet School in London at sixteen and joined the company in 2012. He was promoted to Principal in 2019.
Sarah said that it was good to be here with Marcelino, who had arrived back in the country just the previous evening. He told us that it been special to be performing back home in Lisbon. He and Anna Rose O’Sullivan had danced three performances of Giselle in the National Ballet of Cuba’s version of the ballet, quite different from the Peter Wright version. With only a couple of days to rehearse, they inevitably brought elements of Wright’s choreography into the production, providing an interesting mixture between two different ballet worlds. Later in the conversation Marcelino was asked about ‘guesting’, as he had been in Lisbon. He described it as enriching but sometimes challenging. He loved exploring the way in which different companies work but prior expectations of both the company and the guest could occasionally prove difficult.
The conversation commenced with Mayerling, in which Marcelino danced the role of Crown Prince Rudolf. Sarah suggested this was a rather different part for him in that playing the unstable, melancholic Prince required him to shed the somewhat ‘cheeky chappie’ image which he might previously have had. He responded that Rudolf was a very special role. He loved history and the character of the Prince greatly intrigued him. He had personally found so much to relate to in the role and working with coach Ed Watson had really taught him to trust the choreography to tell the story.
Marcelino believed that Rudolf had been of great benefit to him personally in the way it had enabled him to grow as a performer. For example, discovering that ‘less is more’ and the importance of nuance; this was perhaps the first step on a long ladder. There was a great deal of partnering and he paid tribute to Francesca Hayward and the other ballerinas with whom he danced. He loved the partnering styles in MacMillan ballets and believed the Royal Ballet delivered them so well. The talent in the Opera House was amazing!
Like Water for Chocolate was Christopher Wheeldon’s latest full-length ballet, based on Laura Esquivel’s complex story of Mexican family life. Marcelino said that initially he did not see how such a tale could be expressed in dance, but he had complete trust in Wheeldon’s choreography. He played Pedro, a fragile character and a demanding role. However, Marcelino knew he was in safe hands – and here he once again referred to Francesca Hayward’s qualities as an artist. Marcelino had just danced in Cathy Marston’s The Cellist, in which he had been very involved in developing his role as the instrument. Although a very different choreographer, Wheeldon also challenges and welcomes input from his dancers.
Sarah asked Marcelino about background research for his roles. He replied that he had read extensively on the history of Crown Prince Rudolf for Mayerling. Rudolf’s childhood had been very difficult, which may have contributed to the wild outbursts which characterised his adult life. Marcelino had also found out all he could about Jacqueline du Pré for his role in The Cellist; for instance, watching recordings of her in concert. He wanted to reflect her passion for music in the way in which the cello moved. And as for Like Water for Chocolate – he had read the book and considered it very strange. Starting to dance it, however, led to a better understanding of the story.
The discussion then turned to Crystal Pite’s Flight Pattern, a one-act ballet reflecting the European migrant crisis, a piece full of difficult moves. There are no truly principal roles, although Marcelino and Kristen McNally were the leading couple. Before this he had mainly danced somewhat lighter roles, for example Colas in La Fille Mal Gardée, and Pite’s work marked a change in his trajectory. He felt a need to captivate the audience; to say ‘This Is Me’. He took another look at himself and believed that there was so much more he could do. This, he said, is what a full career in ballet can give you – a chance to develop all aspects of your personality. The difficult moves had also enabled him to mature physically. Pite was indeed a remarkable choreographer.
Marcelino was asked why he so loves dance. He referred to the range of activities which can constitute dance. Classical ballets in which technique and style were all important had been performed so well over the years and must continue to be so. More recently, choreographers such as Wayne McGregor had created whole new ways of moving and offered a completely new vision of what ballet can become. Collaboration with such individuals who can introduce something new and different was essential for the continuing health of the profession.
Marcelino was now working towards Woolf Works, created by McGregor and based on the works of Virginia Woolf. He had been completely new to the company when the ballet was first produced. For this production, however, he would be playing the part originated by Ed Watson, which he found a mind-blowing experience. As usual, he was preparing by reading extensively about Virginia Woolf.
Sarah commented that dance could form an entry point into many different aspects of the arts, with which Marcelino agreed. He loves watching great actors and the way in which their work can transcend the ordinary. He is interested in design and colour, and enjoys musicals. He likes the small, intimate shows that often take place on the top floor of a pub. The benefit of being in London, he said, is that it’s the hub of culture.
He was then asked about his introduction to the world of ballet; it seemed to be a most unusual career for him to have pursued. He had been the only boy in his African dance group and had gone to the National Conservatory audition knowing nothing about ballet. However, having joined the school he instantly knew that this was the world in which he belonged. His enjoyment came from performing, from communicating with audiences, as much as from the physical satisfaction of the actual dancing.
He left Portugal at sixteen in great excitement and with enormous expectations on him because his position was at the time most unusual for a Portuguese boy. In a subsequent question he was asked whether boys’ negativity to ballet still persists. Marcelino responded that he had been surprised on his recent trip to Lisbon by the number of boys in the school. He believed it was good that parents now celebrated the fact that their male children wanted to dance.
He knew he had to be a good student, and to learn the British way of ballet. At the School he learned that he was not unique and that there were many with rich gifts and talents. It was important to get technique as perfect as you could make it, and you didn’t have to concern yourself with smiling all the time for the audience. He had to come to terms with his own physique. But he also realised that not every student was alike, and that mavericks (as he referred to them) could progress well in the British system. For instance, he cited Dame Beryl Grey, who in her day was considered very tall, and Wayne Sleep, who was the exact opposite. Both had become great stars.
Marcelino loved Ashton and would like to perform more of his works. He cited La fille mal gardée as a perfect ballet which had it all. Story, settings, costumes, and of course the classical choreography. In order to do a ballet like this the justice it deserved dancers must be on their ‘A’ game all the time, which was a challenge.
He had three classical ‘prince’ roles coming up (in Nutcracker, Cinderella, and Sleeping Beauty) and considered these to be wonderful, but very hard roles. He must try to find the necessary qualities within himself to dance them adequately. These roles were not modern, they were pure fantasy and difficult to achieve – to make it seem that it was all effortless. Again he referred to the importance of his female partners, hoping that their brilliance would rub off on him.
He was then asked about possible new ballets and expressed a desire to see works which reflected life as it is lived today. For instance, classical stories almost always depicted romantic relationships between a man and a woman – although he did agree that Matthew Bourne had already tackled some issues of diversity. Marcelino agreed that he was here, he was black, he was gay and, while he can do articles and interviews, what really mattered was to see appropriate performances on stage.
He admitted to being influenced most dramatically by Carlos Acosta. As a new recruit to the Royal Ballet, Marcelino saw him almost as a god-like figure. A man apparently not too dissimilar to himself was being looked up to as a great and inspiring artist. He was asked how the Royal Ballet had changed over the years and, while agreeing there had been many changes, he said that company minds had always been open to change. Newer company members were not afraid to challenge established views.
What about male and female choreographers? Were there differences? Marcelino told us that there were differences, for example, he saw Crystal Pite essentially as a nurturing mother figure and Chris Wheeldon as a strong character. However, he did not believe the differences lay in gender but in individual personalities.
He stressed again the importance of membership of a company such as the Royal Ballet. He was part of a very strong group in which you didn’t need to fight to be at the front all the time. He considered Kevin (Kevin O’Hare – Artistic Director) to be extremely good at allowing dancers to progress at their own pace. As a group he believed them to be well fed with opportunities; it was good for them all that they should be able to expand their horizons and find new emotions through their dancing.
Marcelino particularly likes narrative ballets, feeling that emotionally they connect well with an audience. Great choreography can enable you to vividly demonstrate emotion, to respond inside yourself to the situation. He considered that an incredibly dramatic ballet such as Mayerling encompasses this so well, and he thought that Rudolf must be his favourite part. While after most shows he might want to unwind by socialising with a drink, after performing in Mayerling he just wanted to go home quietly. He felt the part did something good for him.
As for something new, Marcelino suggested one ballet he would like to take part in again was Kenneth MacMillan’s Requiem, choreographed as a tribute to his late friend John Cranko. He would also like to choreograph more pieces himself, although he would want to think it through to ensure his work had meaning. There was little point in inventing steps just for the sake of moving.
Marcelino was then asked if he would dance Symphonic Variations? With a rather sharp intake of breath, he said that actually he didn’t think so. In explanation he said he regarded the ballet as the ultimate challenge of purity and stillness. He would like to think that he could do it. In truth, however, he believed it was best performed by dancers who naturally have those innate qualities. He loved the ballet, but accepted that it would be as an observer rather than a participant.
Finally, what about American choreographers? Marcelino expressed his love for the work of Jerome Robbins, for example, Dances at a Gathering; works with a real freshness. And Balanchine; there was a terrific repertoire of American ballets.
Both Marcelino and Sarah were thanked most warmly by London Ballet Circle chair, Susan Dalgetty-Ezra, for such a fascinating conversation and for giving up their evening. In conclusion she wished Seasons Greetings to all those present, whether in person or through Zoom, together with all the very best for the New Year.
Written by Trevor Rothwell
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