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Burne married Linda Smit, his colleague at CAPAB Ballet, in 1975. Their marriage was brief, however, as Burne died in
Salisbury the very next year. Having developed an unshakeable drug habit, he committed suicide in August 1976. A flamboyant character and a gifted dancer, he was only 42 years old
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saw him in class, aged fifteen, during a visit to
Southern Rhodesia, he suggested that Hayes-Hill would benefit from further training in London. Algernon's parents, Harry M Hayes-Hill and Una May (née Spurr) were of British and Canadian stock, supported him in his ambition to pursue a career as a
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Once in London, he enrolled in classes with Ruth French and, after three months' study with her, auditioned, successfully, for admission to the Sadler's Wells Ballet School. The faculty there were favorably impressed. His command of classical technique, his height, his good looks, and his
47:, an industrial center in Matabeleland, a district of the self-governing British Crown colony of Southern Rhodesia (now Zimbabwe). He began his dance training as a seven year old youth with Elaine Archibald, where his grandmother, tasked with his care during WWII, was the studio pianist.
32:(20 April 1934 – 26 August 1976) was a Rhodesian dancer, ballet master, and choreographer who spent ten years with the Royal Ballet in England before moving to South Africa to dance with ballet companies in Johannesburg and Cape Town. He also danced for a period in Toronto, Canada.
142:, based on the tragedy by Sophocles and set to music by Mikis Theodorakis. Having gone on tours of the United States and Russia with the company, Burne danced for the first time in South Africa in 1960. His partners during these years included
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In 1963, the South
African government had established four professional ballet companies, one in each of the four provinces. The two most vigorous were PACT Ballet, named for the Performing Arts Council of the Transvaal, in Johannesburg, and
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resigned as ballet master in March 1969, Burne was appointed in his stead, and when Poole returned and became artistic director in 1970, Burne was made resident choreographer, a post he held for two years. His most creative works were
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Hayes-Hill joined the Sadler's Wells company late in 1951, and later became known under the stage name of Gary Burne, as his birth name
Algernon de Blois Hayes-Hill, was deemed unsuitable for theatrical purposes.
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for PACT Ballet, casting emerging ballerina Dawn Weller in one of her first important roles. He later worked at the Space
Theatre in Cape Town, doing experimental choreography with Gisela Taeger-Berger.
258:(1971), made for Linda Smit and set to music by Bach played on a synthesizer. In other works in the repertory, Burne and Spira performed as a popular partnership until he left the company in 1971.
161:, then a relatively obscure provincial troupe. At his request, Burne left England and moved to Germany to join the company as a principal dancer. There, appearing alongside leading dancers
265:, the rock opera by Andrew Lloyd Webber and Tim Rice, he returned to Salisbury, Rhodesia, in late 1971. There he also mounted several works for the Rhodesian National Ballet, including
122:. "With choreography mainly consisting of high jumps with open lines and then extremely fast beats in the coda," it always elicited applause. In 1958, he danced in the ensemble of
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came to
Johannesburg as guest artist, Burne danced as Albrecht to her famous interpretation of Giselle in April 1963. He also formed a fortuitous partnership with ballerina
181:(both 1962), as well as in ballets in the existing repertory. Under Cranko's direction, the company became Germany's leading ballet company within a very few years.
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Burne then moved to Paris and established himself as a free-lance choreographer, setting works for local companies in France and
Germany. Engaged to produce
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of Sadler's Wells Ballet, Burne was promoted to soloist in 1956, the same year that the company received a royal charter and changed its name to the
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world champion, whom both were at the start of their careers; these
Southern African personalities were prominent in world print media of that time.
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Spira and Burne joined CAPAB Ballet as its principal dancers in 1965, leaving it temporarily in 1967-1968 and moving to
Toronto to dance with the
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273:, a ballet based on an African legend of the Xhosa people and set to music by Macbeth/Pickard. In 1973, he produced an enlarged version of
230:). Their stay in Johannesburg was brief, however, as an unfortunate salary dispute led to their defection to the company in Cape Town.
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173:, Burne enjoyed considerable success. For eighteen months, he danced in new productions created by Cranko for the company, including
241:. After touring North America with this company, they returned to South Africa at the end of 1968 and rejoined CAPAB Ballet. When
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He had one elder sibling, a brother, Terence Basil Hayes-Hill, whom became a prominent soldier in the unrecognised state of
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206:, in Cape Town. Burne was offered the post of ballet master and principal dancer for PACT Ballet, under the direction of
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70:. After only one month's study at the school, he was invited to join the Sadler's Wells Ballet at Covent Garden.
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David Poole, "The South
African Way: Four Professional Ballet Companies Subsidized by the Government,"
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He chose the surname Burne from his maternal Aunt's family, and the first name, Gary, was inspired by
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372:, edited by Selma Jeanne Cohen and others (New York: Oxford University Press, 1998), vol. 5, p. 652.
398:, edited by Selma Jeanne Cohen and others (New York: Oxford University Press, 1998), vol. 2, p. 57.
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June Schneider, "Johannesburg," review of PACT Ballet's production of Gary Burne's history,
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professional dancer, and made it possible for him to travel to London in 1951.
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Gary Burne,Xmas 1968, Bulawayo, personal family photograph by Neil Hayes-Hill
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Ross Dix-Peek, "Southern Africa History Musings," online website,
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254:(1971), made for Spira and set to the music of Harry Partch; and
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and appeared in other Ashton works in the repertory, including
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Marina Grut and Johnathan Hurwitz, "South Africa: Ballet." in
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aristocratic bearing made him an ideal candidate for a
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Debra Craine and Judith Mackrell, "Cranko, John," in
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He soon showed a facility for classical ballet. When
250:(1970), set to electronic music by Morton Subotnik;
394:Marina Grut and Claude Conyers, "CAPAB Ballet," in
307:(Cape Town: Human & Rousseau, 1981), p. 359.
320:(New York: Eloquent Books, 2009), chap. 6, n.p.
16:Rhodesian dancer and choreographer (1934–1976)
407:Julius Eichbaum, "The CAPAB Ballet Company,"
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435:http://peek-01.livejournal.com/37327.html
385:(Cape Town: Human & Rousseau, 1988).
331:The Royal Ballet: The First Fifty Years
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305:The History of Ballet in South Africa
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318:Destiny's Waltz: In Step with Giants
396:International Encyclopedia of Dance
370:International Encyclopedia of Dance
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411:(London), June 1994, pp. 879, 881.
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424:(New York), September 1973, p. 9.
346:(Oxford University Press, 2000).
333:(London: Threshold Books, 1981).
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359:(London), May 1969, pp. 18ff.
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120:pas de six
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