What a success! We had regular friends, old friends, new friends, weekend friends and week-long friends; all had a ball and those who stayed for the week had a real one too. Not only were we full for the weekend, but we had to turn people away. For the first time, DHDS moved into the 19th century, and it can be predicted that we will visit this period again. We had quadrilles, cotillions, schottisches, country dances, couple dances, reels, a play, a garland dance, a battle dance, and much more, including superb musicians who could dance as well as play!
Those who made it work so well were our three (really four) teachers who offered three differing emphases to the dances of Jane Austen's period
Jorgen Schou-Pedersen gave us the Danish Connection and the theme for the final evening's Ball which was based upon the Danish Royal Ball of 1803.
Ellis Rogers and his assistant/boss, Christine, concentrated upon the French sources and taught the dances as they would have been seen in England.
Anne Daye chose the Scottish flavour and not only took her class through a full quadrille but made them reel AND perform a solo which they designed in class.
Mention must be made of the booklet produced by the teachers. It was really three booklets in one (bound on the first Friday by some very hard working "volunteers" - many thanks to them.) The booklet contains the results of a great deal of research, and the Early Dance fraternity can be extremely grateful for the amount of work that has gone into this production. In addition, three tapes were produced by the teachers, one for each "connection'. The standard of each is high and well worth getting just for the music.
We were extremely well supported by the musicians. Philip Bass was our pianist (and part-time violinist), who went from class to class providing live music, and he certainly lifted the dancing when he arrived. The Scottish class enticed Philip onto the floor, and in no time he was prancing around with the rest although, luckily, we were able to keep him on the piano stool during most of the Ball. Ian Cutts not only played violin at the Ball, but organised, at short notice, a memorable 19th century church choir which performed in the Ball interval. He was accompanied by his colleague on the cello. Ian was also a member of the Scottish class where his neat steps were envied by at least one other member. Mention must also be made of Doreen Concanen, who played for classes, and Jim Cartmell who stepped in on several occasions, including the "original" Monymusk!
I have mentioned the Ball several times, and it really was an occasion. Superbly compered by Ellis Rogers, we had a thoroughly enjoyable evening. The class dances were shown off - didn't we achieve a lot in the week? We also joined in many country dances of the period, led by our teachers. A lot of people were able to dress up for the event - I thought that the ladies all looked superb - one was spoiled for choice!
The do-it-yourself concert was a classic and many items will live in the memory for years. It would probably be unfair to single out any one act without mentioning the rest, but I will. David Parsons' explanations of what the teachers really mean by their various expressions will live, and be embellished upon for years. Classes were a riot the next day, at least ours was. Somehow I do not think that we have heard the last of David's little list.
We even had a melodrama, produced by Diana Cruickshank, describing the awful murders that occurred in the locality in the last century. Needless to say, the villain was booed but the fated heroine was done to death in a dastardly manner. Justice was done in the end, to rounds of applause. . The heroine, fortunately, disinterred herself and returned to the USA, maybe with a slight Suffolk accent.
Hazel produced a pantomime of the period, at least part of one that she had only just discovered in the Museum of the Theatre in an original manuscript. The dancing was inimitable, and it was amazing how much was achieved by so few and so talented! It is captured on video, together with some of the other events including the complete Ball (so we can see who really went wrong!). Editing will start shortly - promise.
This was the first time that the Summer School had made specific provision for weekend participants and, despite some misgivings, it was an outstanding success. Not only did the weekenders wish this to be repeated, but so did those who attended for the whole week. We appear to have found a further group of people who would like to join the Summer School but who, for one reason or another, cannot make a whole week. The chosen period may have been one reason for the popularity, as the dances had been seen in recent television historical dramas. We also received publicity in The Times which brought in several participants and gave us contact with others.
A questionnaire was circulated and replies covering 33 attendees were returned, all being positive about the Summer School. Compliments abounded: "formula is close to perfect this side of heaven" being one. The high quality of the tuition was frequently mentioned as was that of the musicians. People valued the friendliness, the atmosphere, the laughs, the informal organisation, the sense of achievement and much, much more - everything in fact which makes Hengrave what it is. Some improvements were suggested which will be considered for next year.
If you want to recall the week or, if you were not there, want to experience the fun of the 19th century dances, put Saturday 16th May 1998 in your diary as Bedford Early Music and Dance are running a Regency workshop and Ball.
Once again, Liz Wright provided splendid delicacies for the banquet after the Ball.
Many thanks to friends old and new who made the week so enjoyable. Our thanks also to members of the Community who dealt ably with the new problems of the weekend group and made us so welcome again.
Chris Saunders
Album of photographs from the Summer School contributed by Jim Cartmell.