365:
suggested the rejuvenating effect he might have on
British ballet, describing him as "a balletic missile, a wild animal loose in the drawing room." They offered him free run of their Kensington home and helped him to adjust to life in a new country. In time, the friendship deepened, as there was genuine respect and liking on both sides. After the Goslings' son Nicholas married and moved away, Nureyev became the son of their late middle age. They became, in effect, his surrogate parents, offering him guidance, affection, and hospitality until the end of his and their lives.
97:, became one of his muses, inspiring him to create numerous works with roles focusing on her special qualities. "Not only was she very pretty, with beautifully curved feet, but she also danced with a rich, natural expressiveness that fed the psychological realism with which Tudor was experimenting." Of the numerous Tudor works in which she danced leading roles, none has been more enduring than
54:, an old friend of Webb's and a well-known teacher of ballet at her school in Notting Hill. Lloyd arrived in England sometime in 1924 or 1925, when she was 16 or 17, and promptly enrolled in Rambert's school. After a period of concentrated study there, she returned to South Africa in 1927 and taught at Webb's school for three years before returning to England.
369:
others. From her salad days into old age, she was much loved and admired by all who knew her. Elegant and agile, even at 95, she lived out her days in simplicity and with a remarkable mental generosity, despite the failure of both sight and hearing. She died peacefully at her home in
Kensington in the presence of family and friends.
353:, a weekly newspaper published on Sunday, the Goslings took over, staying on until Nigel's death in 1982. During almost two decades of working together, they not only regularly wrote reviews for the newspaper, but they wrote, edited, or contributed to ten books on ballet and dance, four of which dealt with the life and career of
82:, each of whom would respond to Lloyd's technical ability, as well as her intelligence, elegance, and sensitivity, by creating roles for her in their works. With occasional brief absences—to dance with other British companies and to visit South Africa once more, in 1932—Lloyd remained with Ballet Rambert until 1940. She followed
368:
Maude Lloyd had enjoyed an ideal marriage with Nigel
Gosling, so his death was a devastating loss to her, as it was to Nureyev, who had admired Gosling's intelligence, culture, and quiet dignity. Lloyd survived her husband for another twenty years, sustained by the care and attention of Nureyev and
107:), premiered in 1936. Lloyd's portrayal of Caroline, who gives up Her Lover (Laing) for The Man She Must Marry (Tudor), was "a beautifully modulated exposition of the simmering passions and dutiful restraint characteristic of Edwardian life." This was followed in 1937 by another Tudor masterpiece,
364:
persuaded the young
Russian virtuoso to come to London to appear in a gala for the Royal Academy of Dance, she asked the Goslings to befriend him. Taking to this with a will, they came to regard him with particular admiration. In their glowing review of his first Covent Garden performance, they
150:
In 1938, Tudor had a spat with
Rambert and left her company to form his own troupe, which he dubbed the London Ballet. Lloyd was one of the Rambert dancers who became founding members of this newly formed company. For it, she created two more memorable roles. As the Italian ballerina in Tudor's
40:
Maude Lloyd was born in Cape Town where she studied ballet with Helen Webb. Webb, who had arrived from
England in 1912, opened her own school of "fancy dancing" (i.e., classical ballet), and then introduced dance into the curriculum of the South African College of Music. Having been a pupil of
49:
of instructing her students in Cape Town. After some years of training with Webb and performing in recitals staged at the town hall, Lloyd went to London on a scholarship from Webb, armed with an introduction to
167:
directed and danced in the company until the blitz caused nearly all the London theaters to close. When the London Ballet folded and was absorbed back into Ballet
Rambert in 1940, Lloyd retired from the stage.
70:. From 1930 onward, she was a leading dancer in the regular Sunday performances of Rambert's Ballet Club at the Mercury Theatre in Notting Hill Gate. Other members of the club included emerging choreographers
163:, a fellow South African and former student of Lloyd's in Cape Town.) After the outbreak of war with Germany in September 1939, and Tudor's departure for greener, and safer, pastures in America, Lloyd and
66:, the performing group from which Ballet Rambert was to evolve. She danced with this group at several West End theaters and on tours outside London, as well as appearing in repertory works with the
24:(16 August 1908 – 26 November 2004) was a South African ballet dancer and teacher who immigrated to England and became an important figure in early British ballet as a founding member of
345:, working in tandem with her husband. Finding the arrangement congenial, they called themselves Alexander Bland, a pseudonym derived from the names of two characters in the tales of
147:
by
Ninette de Valois. One reviewer of the roles in Lloyd's repertory described her as having "a noble serenity and a deep expressiveness allied to sparkling gifts of comedy."
159:, a haunting, dreamlike tale, she was mysteriously beautiful as the bride-to-be who captures the fancy of an adolescent boy. (The Boy was played by the young
392:. By Rudolf Nureyev, edited by Alexander Bland (i.e., ghostwritten by Nigel Gosling). With photographs by Richard Avedon. London: Dutton. Reissued as
337:, an art and dance critic, and settled into retirement to wait out the war years, concentrating on doing welfare work. She began a second career when
176:
Lloyd created important roles in the ballets of Antony Tudor and other choreographers working in London in the 1930s. Among them are the following.
282:, opera by Henry Purcell, choreography by Frederick Ashton and Marie Rambert. Roles: Echo Dance, Three Swans, Dance of the Haymakers, and Chaconne.
699:
360:
The
Goslings had first seen Nureyev dance with the Kirov Ballet in Paris, just before he defected to the West in June 1961. Soon after, when
349:: Pigling Bland, who is described as "hopelessly volatile" and his brother Alexander. In 1955, when Buckle left his post as dance critic for
93:
When Lloyd met Antony Tudor in one of
Rambert's classes in 1930, she was immediately drawn to him, and he to her. She, along with
765:
755:
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to the second song. She also made successful appearances in the classical repertory, dancing Aurora in Rambert's version of
155:, she displayed both elegance and wit in competing for the limelight with her French and Russian rivals, and in Howard's
750:
509:
663:
609:
62:
On returning to England in 1930, Lloyd was among Rambert's students who became founding members of her
560:, edited by Selma Jeanne Cohen and others (New York: Oxford University Press, 1998), vol. 4, p. 215.
90:, the company's first ballerinas, in many of their created roles but soon had new roles of her own.
760:
296:, choreography by Frederick Ashton, music by William Walton. Roles: Scotch Rhapsody and Valse.
28:. She had a significant second career as a dance critic, writing with her husband under the
745:
740:
442:. With a foreword by Dame Ninette de Valois. London: Threshold Books. New York: Doubleday.
8:
250:, an experimental work for television, music by Johan Sebastian Bach. Role: solo dancer.
385:. By Michael Peto and Alexander Bland. With drawings by Josef Herman. New York: Reynal.
324:, choreography by Andrée Howard, music by Gabriel Fauré. Role: The Young Chatelaine.
164:
99:
71:
46:
42:
79:
303:, choreography by Frederick Ashton, music by Jean Sibelius. Role: The Reflection.
67:
361:
354:
346:
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257:, music by Gioacchino Rossini, arranged by Benjamin Britten. Role: Tirolese, a
87:
25:
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persuaded her to start writing reviews of dance performances for his magazine
734:
473:
404:
334:
51:
143:, she appeared in a more boisterous role as the can-can dancer La Goulue in
83:
75:
317:, choreography by Frederick Ashton, music by Maurice Ravel. Role: Solange.
664:"Maude Lloyd, Ballerina turned ballet critic who was Antony Tudor's muse"
310:, choreography by Susan Salaman, music by Lord Berners. Role: Sport Girl.
289:, choreography by Frederick Ashton, music by Paul Dukas. Role: Companion.
160:
63:
94:
268:, music by Sergei Prokofiev. Role: La DĂ©esse de la Danse (from Milan).
243:, the first television revue broadcast on the BBC. Role: solo dancer.
377:
Among the published works of Alexander Bland are the following:
189:, music by Girolamo Frescoobaldi. Role: Olivia, dancing a comic
700:"Maude Lloyd, Ballerina Who Became a Dance Critic, Dies at 96"
595:
Katherine Sorley Walker, "The Choreography of Andrée Howard,"
407:, text by Alexander Bland and others. Munich: Prestel-Verlag.
449:. By Alexander Bland and John Percival. New York: Macmillan.
645:
The Ballets of Antony Tudor: Studies in Psyche and Satire
394:
Nureyev: His Spectacular Early Years: An Autobiography
232:, music by Gustav Mahler. Role: bereaved mother, in a
119:), in which she and Tudor danced a tender, sorrowful
599:(New York), 13.3 (Winter 1980-81), pp. 265 et seq.
421:. London: Barrie & Jenkins. New York: Praeger.
419:A History of Ballet and Dance in the Western World
732:
534:(Cape Town: Human & Rousseau, 1981), p. 390.
493:(Cape Town: Human & Rousseau, 1981), p. 421.
433:Fonteyn and Nureyev: The Story of a Partnership
657:
655:
653:
414:. London: Studio Vista. New York: Quadrangle.
401:Internationales Ballett auf Deutschen BĂĽhnen
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225:, music by Ernest Chausson. Role: Caroline.
135:. Having danced decorous roles in Ashton's
647:(New York: Oxford University Press, 1994).
503:
501:
499:
480:, 2nd ed. (Oxford University Press, 1982).
35:
602:
426:The Nureyev Valentino: Portrait of a Film
697:
447:Men Dancing: Performers and Performances
204:with Elizabeth Schooling and Betty Cuff.
691:
661:
496:
478:The Concise Oxford Dictionary of Ballet
440:The Royal Ballet: The First Fifty Years
435:. London: Orbis. New York: Times Books.
428:. London: Studio Vista. New York: Dell.
396:(London: Hodder & Stoughton, 1993).
390:Nureyev: An Autobiography with Pictures
733:
507:
532:The History of Ballet in South Africa
491:The History of Ballet in South Africa
333:In the summer of 1939, Lloyd married
218:, music by Ernest Bloch. Role: Night.
211:, music by Gustav Holst. Role: Venus.
131:, and Odette in a one-act version of
662:Meisner, Nadine (30 November 2004).
630:Anonymous, "Maude Lloyd," obituary,
584:Shadowplay: The Life of Antony Tudor
200:, set to old English music. Role: a
720:Quoted in "Maude Lloyd," obituary,
558:International Encyclopedia of Dance
556:Peter Williams, "Lloyd, Maude," in
179:
13:
698:Anderson, Jack (4 December 2004).
14:
777:
508:Clarke, Mary (29 November 2004).
272:
57:
612:. The Telegraph. 1 December 2004
571:Frederick Ashton and His Ballets
530:Marina Grut, "Lloyd, Maude," in
454:Observer of the Dance, 1955-1982
171:
714:
686:Sixteen Years of Ballet Rambert
678:
637:
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489:Marina Grut, "Webb, Helen," in
372:
589:
576:
563:
550:
537:
524:
483:
467:
117:Songs on the Death of Children
1:
766:Rambert Dance Company dancers
545:Quicksilver: An Autobiography
460:
328:
111:, set to Mahler's song cycle
45:in London, Webb employed the
756:South African ballet dancers
7:
688:(London: Hinrichsen, 1948).
16:South African ballet dancer
10:
782:
724:(London), 1 December 2004.
634:(London), 1 December 2004.
547:(London: Macmillan, 1972).
586:(New York: Viking, 1991).
751:South African ballerinas
643:Judith Chazin-Bennahum,
573:(New York: Knopf, 1977).
610:"Maude Lloyd, Obituary"
510:"Maude Lloyd, obituary"
193:with Tudor as Malvolio.
145:Bar aux Folies-Bergères
36:Early life and training
456:. London: Dance Books.
248:Fugue for Four Cameras
476:, "Lloyd, Maude," in
198:Mr. Roll's Quadrilles
702:. The New York Times
301:The Lady of Shallot
216:The Descent of Hebe
137:The Lady of Shallot
582:Donna Perlmutter,
383:The Dancer's World
666:. The Independent
412:The Nureyev Image
403:. Photographs by
127:, the Prelude in
113:Kindertotenlieder
32:Alexander Bland.
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266:Gala Performance
223:Jardin aux Lilas
180:In Tudor ballets
165:Peggy van Praagh
153:Gala Performance
125:Aurora's Wedding
100:Jardin aux Lilas
72:Frederick Ashton
47:Cecchetti method
43:Enrico Cecchetti
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322:La Fête Étrange
315:Valentine's Eve
280:The Fairy Queen
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157:La Fête Étrange
68:Camargo Society
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339:Richard Buckle
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187:Cross-Garter'd
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26:Ballet Rambert
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139:and Howard's
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129:Les Sylphides
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202:pas de trois
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84:Pearl Argyle
76:Antony Tudor
61:
39:
30:nom de plume
29:
21:
20:
18:
746:2004 deaths
741:1908 births
261:with Tudor.
259:pas de deux
236:with Tudor.
234:pas de deux
209:The Planets
191:pas de deux
161:Frank Staff
121:pas de deux
64:Ballet Club
22:Maude Lloyd
735:Categories
461:References
329:Later life
241:Pasquinade
141:Cinderella
95:Hugh Laing
308:Le Boxing
133:Swan Lake
706:25 April
670:25 April
616:25 April
516:25 April
287:La PĂ©ri
452:1985.
445:1984.
438:1981.
431:1979.
424:1977.
417:1976.
410:1976.
399:1968.
388:1963.
381:1963.
343:Ballet
320:1940.
313:1935.
306:1931.
299:1931.
294:Façade
292:1931.
285:1931,
278:1927.
264:1938.
253:1938.
246:1937.
239:1937.
228:1937.
221:1936.
214:1935.
207:1934.
196:1932.
185:1931.
78:, and
708:2024
672:2024
618:2024
518:2024
86:and
737::
652:^
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357:.
74:,
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115:(
103:(
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