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 Doreen Wells | |||||||
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For ten years or so, in the 60s and early 70s, Doreen Wells was, after Fonteyn, the best known and best loved ballerina in Britain. Although she danced quite often at Covent Garden, she was primarily the leading dancer of the Royal Ballet's touring company, where her friendly, open character and strong technique made her a favourite across the country, both on her own and in two celebrated partnerships, with Christopher Gable and David Wall. The publicity about her in local papers often made much of her upbringing: born in Walthamstow, she had four much older brothers and a father who was a keen tap-dancer, all of whom supported her strongly as she moved from local dancing lessons to the Bush Davis School, and then to the Royal Ballet School. She was originally attracted to a career in musical comedy, but when she won the Adeline Genée Gold Medal when she was only 14, it was clear her future was in ballet; and in fact she was only at the RBS for six weeks before being called in to the touring company. In less than two months she was promoted from her first role as a Tree in Blood Weddding to be one of Swanilda's friends; and at that stage she was whisked off to join the corps de ballet at Covent Garden. In her four years in London she danced the usual selection of solos in the classics (the White Cat in Sleeping Beauty, the peasant girl in Swan Lake); her biggest role was the lead in MacMillan's Danses Concertantes, and she was made a soloist - but she was one of a number of very talented dancers of around the same age, and in 1961 she asked to return to the touring company, which she joined as a principal dancer. Her first big role was Aurora, which she eventually danced far more often than anyone else in those years, making it into one of her signature pieces: her blond prettiness, her clear line and the way she could create happiness on stage made her one of the most charming princesses either Royal Ballet company had. Odette/Odile, Swanilda and Giselle all followed within the next few years, and in 1962 she was the first of the smaller company's dancers to appear as Lise in La Fille mal Gardée - another role she made particularly her own. She was a memorable Pineapple Poll and had several roles created for her; and she was the first to dance the lead in Nureyev's production of the full-length Raymonda (never seen in this country), when Fonteyn had to pull out to be with her sick husband. Throughout all this, Wells appeared with all the company's leading men, and also, very successfully, with John Gilpin when he guested with the company. Most remembered though, are the early years when she danced with Christopher Gable, and most of all her long partnership with David Wall. They complemented each other perfectly, both physically and temperamentally, and 'the two DWs' were extraordinarily popular both on the company's home tours and abroad. Wells officially retired in 1974, but she made several guest appearances later, including some with London City Ballet; and she also danced on the West End stage at last when she alternated with Makarova for a time in On Your Toes!. She was never one for deep, dramatic roles, but within her range she was immensely likeable: the sort of dancer that people can't remember without a smile of pleasure.
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