80 YEARS YOUNG, THE KING SLOCOMBE SCHOOL AT THE CORN EXCHANGE

Lady Diana Beauclerk self portrati as the Muse Terpsichore

In the week the famous Richard Alston Dance Company makes its final visit to the Cambridge Arts Theatre before closure it is hard to be cheerful about the future of interpretive movement in the national scene. But keeping the flame alive for over 80 years in the city, the King Slocombe School of Dance has maintained the art of dance among young people to an astonishing level. Largely hidden from the public gaze, their performers apply their passion for dance across the year – here was a rare chance to see what they were capable of, how high the standard truly was.

Their anniversary performance at the Corn Exchange demanded a double full-length two-hour shows in a single day. Good job the students and their hardy teachers were up to the job.  The programme looked endless. Wth no fewer than 22 individual pieces to ply through, and a cast of 184 participants it presented a task of Herculean proportions -Terpsicore herself would have all on to keep going.

Yet the hours glided by like the sylphs in the classical pieces who crossed and re-crossed the stage in almost super-human grace. Accompanied by the New York dance veteran teacher of the school Sandra Smith, or should I say Miss Sandra Smith, as etiquette is as stringent in the world of ballet and tap as in any formal hall, I learned just how difficult some of the sustained movements are, and how much dedication required to achieve the levels of grace and effortless charm we were to watch.’

‘The steps are so tricky,’ I observed

Sandra was dismissive of this idea “ As the founder Miss King remarked’”she quipped ‘If they’re looking at your feet, you’re doing something wrong’’”

The art of dance is an entire way of being physically, connected to line, position, timing – the feet are apparently the least of it. These dancers in training were impressive – they measured up easily to professional on stage standards. Indeed the School with the tutelage of an astonishingly small team Julia Buckley, Emina Nicklin and Alice Porter headed up by the inspiration of Director Donna Buchanan has already dispatched young women to the Paris Marais Ballet School, The Royal Ballet, The Place and numerous others whilst graduates now choreograph at the highest levels all over Europe.

 The performance at the beautifully lit Corn Exchange was visually brilliant. Who knew its stage would give dancers so much more scope than orchestras? There suddenly seemed to be space for expression and movement. It opened with a mini version of Coppelia with its different international dance sequences folksy but charming, but excelled in the delightful classical sequences. A switch of mood brought on Puttin’ on the Ritz with a sparkling ensemble of long legged 1930s style Fred Astaire and Ginger Rogers pizzazz. Tap can be limiting but the precision and joie de vivre of these dancers trained by their own Director Donna Buchanan, was invigorating and faultless. An act to lift the spirits – but then there were so many of these. I liked the raunchy 80s brassiness of Hairspray but was utterly charmed by Miss Potter’s Mice, as they danced around their creator in her Lakeland garden.

The Ah Paris! sequenceWas divine, a series of seductive Parisian tunes with expressive dancing to snatch us off to the city of light and the capital of love. Beautiful orchestration (the sound throughout was superb) and quietly exuberant execution.

The second half brought a delightful Midsummer Night’s Dream followed by my favourites, 19th country ballet at its most escapist, heavenly figures to lift any romantic soul out of her seat.

Pie Jesu was unexpectedly a starring sequence, danced to a haunting Sanctus and the concert ended In the Jungle with some brilliant cats creeping across the floor. Sing Sing Sing set it all in context. The Benny Goodman number brought the entire cast, nearly two hundred of them, to a joyful finale.

Hidden talent indeed, but soon it will be out in the fresh air of professional dance, and for those who just do it for love, true amateurs, it must be the ultimate in body expression, musical immersion and artistry that any young person could hope for.