The Far End of the Garden. A profile of choreographer Jonathan Burrows - ACE229.4

The Reverend & Mrs Burrows. Reverend Burrows VO on the long conversations he has with his son. Dancers in dressing room. Jonathan Burrows’s VO giving some biographical details. His father talking about his going to The Royal Ballet School at White Lodge. Burrows inside White Lodge, talks about the School’s aim to turn out people with "the right temperament and attitude". Flatt on Burrows’s interests outside dancing itself. Burrows talking about the "composition" course on choreography, and that Flatt and her co-tutor would urge their pupils to question what they did. Flatt on Burrows’s development. David Gothard, Riverside Studios 1978-1986, on how Burrows and others would work through the night at the Studios and would be influenced by each other. Burrows talking about becoming involved with Rosemary Butcher. Rosemary Butcher, Choreographer, says she was impressed by Burrows’s understanding of the modern dance movement. Burrows on working with Butcher. Photographs from Touch the Earth (1987) Butcher VO. Judith Mackrell, Dance Critic "The Independent", on the intelligence of Burrows’s characterisations. MacMillan on Burrows’s humour and acting ability. Dowell and VO (Burrows "Rehearsing the Kangaroo Rat solo from David Bintley’s Penguin Café") on how often Burrows is cast in small but important roles. Burrows and others performing a rapper sword dance in the piazza at Covent Garden. Burrows VO on learning Morris dancing at White Lodge, and how the very specific technique of Morris dancing has crept into his work. Flatt says that the inclusion of Morris technique in Burrows’s work has been organic rather than deliberate. Reverend Burrows agrees that Morris has influenced his son’s work, but adds that there has also been a rebellion against the traditional classical form.