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Stage set for Las Hermanas' Covent Garden debut Stage set for Las Hermanas' Covent Garden debut
(35 minutes later)
Nearly 50 years after originating the role of the sensual-but-sleazy Pepe in Kenneth MacMillan's ballet Las Hermanas, a still-sprightly Ray Barra has this week been coaching a new generation of dancers.Nearly 50 years after originating the role of the sensual-but-sleazy Pepe in Kenneth MacMillan's ballet Las Hermanas, a still-sprightly Ray Barra has this week been coaching a new generation of dancers.
The work gets its Covent Garden debut on Saturday and will form part of a season at the Royal Opera House marking the 20th anniversary of the choreographer's death.The work gets its Covent Garden debut on Saturday and will form part of a season at the Royal Opera House marking the 20th anniversary of the choreographer's death.
Barra, now 82, still vividly remembers the moves. "I'm having a wonderful time," he says, continuing a tradition of dancers passing on their experience in key roles. Normally that might be from five or maybe 10 years ago, but in this case it is 49 years since Barra took the role in a ballet MacMillan created for the Stuttgart Ballet.Barra, now 82, still vividly remembers the moves. "I'm having a wonderful time," he says, continuing a tradition of dancers passing on their experience in key roles. Normally that might be from five or maybe 10 years ago, but in this case it is 49 years since Barra took the role in a ballet MacMillan created for the Stuttgart Ballet.
MacMillan, one of the most celebrated choreographers of the 20th-century, spotted Barra when he was at the American Ballet Theatre (ABT) in the 1950s, and helped promote him to soloist.MacMillan, one of the most celebrated choreographers of the 20th-century, spotted Barra when he was at the American Ballet Theatre (ABT) in the 1950s, and helped promote him to soloist.
They lost touch when MacMillan returned to London, but were reunited in the early 1960s, when the choreographer travelled to Stuttgart and noticed Barra in the canteen. "He couldn't believe it! He said, 'What the hell are you doing here?' I said, 'I'm dancing.'"They lost touch when MacMillan returned to London, but were reunited in the early 1960s, when the choreographer travelled to Stuttgart and noticed Barra in the canteen. "He couldn't believe it! He said, 'What the hell are you doing here?' I said, 'I'm dancing.'"
The San Francisco-born dancer was in Stuttgart by chance – a fire during the ABT's tour of France led to the production closing for a year.The San Francisco-born dancer was in Stuttgart by chance – a fire during the ABT's tour of France led to the production closing for a year.
"I wanted to stay in Europe," Barra says about his reasons for joining a company where he was entitled to six weeks' paid holiday, unlike in New York, where dancers were paid only when they performed. "In America, I was dancing in can-can and on Broadway just to make some money.""I wanted to stay in Europe," Barra says about his reasons for joining a company where he was entitled to six weeks' paid holiday, unlike in New York, where dancers were paid only when they performed. "In America, I was dancing in can-can and on Broadway just to make some money."
When MacMillan created Las Hermanas (The Sisters), based on Federico García Lorca's play The House of Bernarda Alba, he gave Barra and Marcia Haydée the lead roles.When MacMillan created Las Hermanas (The Sisters), based on Federico García Lorca's play The House of Bernarda Alba, he gave Barra and Marcia Haydée the lead roles.
Barra was used to working with the choreographer and the Stuttgart company founder, John Cranko. "MacMillan knew exactly what he wanted and we would try and try [to please him]," says Barra, recalling one pas de deux where he was supposed to position Haydée on his waist and turn her around without moving. "It was impossible. We worked on it for days and then [MacMillan] said, 'We'll cut that.'"Barra was used to working with the choreographer and the Stuttgart company founder, John Cranko. "MacMillan knew exactly what he wanted and we would try and try [to please him]," says Barra, recalling one pas de deux where he was supposed to position Haydée on his waist and turn her around without moving. "It was impossible. We worked on it for days and then [MacMillan] said, 'We'll cut that.'"
But he says he has nothing but fond memories of the production. "Kenneth had a tremendous sense of humour; he was very quiet but loads of fun. He was very shy. He had to know you to relax."But he says he has nothing but fond memories of the production. "Kenneth had a tremendous sense of humour; he was very quiet but loads of fun. He was very shy. He had to know you to relax."
Barra, who lives in Spain, has been in London for nearly a month and is relishing the opportunity to work at Covent Garden, a stage he has not danced on.Barra, who lives in Spain, has been in London for nearly a month and is relishing the opportunity to work at Covent Garden, a stage he has not danced on.
He says the biggest difference between dancers then and now is the development of technique. "Technique back in my day was not so spectacular as it is today," he says. "The dancers now can do the most incredible things, like Olympic athletes."He says the biggest difference between dancers then and now is the development of technique. "Technique back in my day was not so spectacular as it is today," he says. "The dancers now can do the most incredible things, like Olympic athletes."
Las Hermanas, which opens on Saturday, is an intense and violent work. It tells the story of a tyrannical mother, five cowed daughters and an insolent leading man who is a "sleazebag", according to the former head of the Royal Ballet, Monica Mason, who danced in a 1966 BBC2 version with Barra and has witnessed the London rehearsals. Las Hermanas, which opens on Saturday, is an intense and violent work. It tells the story of a tyrannical mother, five cowed daughters and an insolent leading man who is a "sleazebag", according to the former head of the Royal Ballet, Monica Mason, who danced in a 1965 BBC2 version with Barra and has witnessed the London rehearsals.