Barry Kay, internationally acclaimed stage and costume designer, photographer, born 1932 Melbourne Australia, died 1985 London England
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Ballet – design index





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Lynn Seymour Anastasia Rudolf Holz Stage Setting Barry Kay Ballet Deutsche Oper Berlin 1967 Choreography Kenneth MacMillan

Anastasia

One-act version [1]

Assignment: Scenery / Costumes / Properties / Projections

Ballet of the Deutsche Oper
Deutsche Oper Berlin, Charlottenburg
World Première 25 June 1967

The Stuttgart Ballet
Württembergische Staatstheater, Staatstheater, Stuttgart
Première 14 April 1976

American Ballet Theater
Shrine Auditorium, Los Angeles;
Première 12 March 1985
Metropolitan Opera House, Lincoln Center, New York
First Night 30 April 1985 (posth.)

The Royal Ballet
Royal Opera House, Covent Garden, London
Première 12 May 1986 (posth.)

Kenneth MacMillan, choreography




Anastasia - Berlin
Lynn Seymour as Anna Anderson, the woman who believes she is Anastasia; Rudolf Holz as her husband
photo Ilse Buhs

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Model Maquette Front Cloth, Design Barry Kay, Anastasia 3-Act Version, The Royal Ballet, 1971, Royal Opera House, Covent Garden, Choreography Kenneth MacMillan


Anastasia

Three-act version

Assignment: Scenery / Costumes / Properties / Projections

The Royal Ballet
Royal Opera House, Covent Garden, London
World Première 22 July 1971

The Royal Ballet on tour
Metropolitan Opera House, Lincoln Center, New York
Première 5 May 1972

American Ballet Theater
Metropolitan Opera House, Lincoln Center, New York
Première 5 May 1972

The Royal Ballet
Royal Opera House, Covent Garden, London
Revival 19 July 1978

Kenneth MacMillan, choreography






Anastasia - London
front cloth maquette



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Barry Kay Set Scenery Design for Anastasia, three-act version, Act I, picnic scene in a Russian birch tree forest; drawing, gouache, watercolour wash & hand-painted appliqué on drawing paper; choreography Kenneth MacMillan; The Royal Ballet, The Royal Opera House, Covent Garden, London, World Première July 1971




Anastasia - London
Act I, set design   XL

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Badinage, theatrical set design by Barry Kay, created 1956; gouache, gold and silver leaf on black paper; held by the National Gallery of Victoria, Melbourne; presented through The Art Foundation of Victoria from the Bequest of Violet Dulieu, Founder Benefactor, 1997; © Michael Werner, Barry Kay Archive


Badinage

Assignment: Scenery / Costumes [?] [2]

Company [?]
Venue [?], Melbourne [?]
Première 1956 [day, month ?]

Choreography [?]





Set design, section

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Scenery design by Barry Kay for BAL DE LA VICTOIRE; Western Theatre Ballet & Béjart Ballet Théâtre de la Monnaie, Brussels; Première 18 November 1959


Bal de la Victoire

Assignment: Scenery / Costumes

Western Theatre Ballet & Béjart Ballet
Théâtre de la Monnaie, Brussels
Première 18 November 1959

Peter Darrel, choreography





Set design, centre section

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KAIN UND ABEL - CAIN AND ABEL, Ballet, Stage Set Scenery Design by Barry Kay; Choreography Kenneth MacMillan, Ballet of the Deutsche Oper Berlin, World Première 1 November 1969


Cain and Abel – Kain und Abel

Assignment: Scenery / Costumes

Ballet of the Deutsche Oper
Deutsche Oper Berlin, Charlottenburg
World Première 1 Novemebr 1968

The Stuttgart Ballet
New production
Staatstheater, Opera House Stuttgart
Première 1978 [?/ day, month ?]

Kenneth MacMillan, choreography





Set design   XXL

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Chiaroscuro

Assignment: Scenery
(costumes Peter Cazalet)

Western Theatre Ballet
Théâtre de la Monnaie, Brussels
Première 18 November 1959

Peter Darrell, choreography




Set design, section

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Divertimento Margot Fonteyn Costume Design Barry Kay Western Theatre Ballet 1964 Bath Festival of the Arts Choreography Kenneth MacMillan Yehudi Menuhin


Divertimento

Pas de deux for Margot Fonteyn and Rudolf Nureyev

Assignment: Costumes

Solo violin: Yehudi Menuhin / music: Bála Bartók
Theatre Royal, Bath Festival of the Arts
Gala Première 9 June 1964

Teatro Caio Melisso, Festival dei Due Mondi, Spoleto
Première 10 July 1964 [?]

Kenneth MacMillan, choreography

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Costume design for
Margot Fonteyn

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Don Quixote Ballet Barry Kay Costume Design for Rudolf Nureyev Basilio Act III Vienna State Opera 1966


Don Quixote

Stage productions

Assignment: Scenery / Costumes / Properties

Ballett der Wiener Staatsoper
State Opera House, Vienna
Première 1 December 1966

The Australian Ballet
Her Majesty's Theatre, Adelaide Festival
Première 23 March 1970

The Australian Ballet
The Palais Theatre, St Kilda, Melbourne
First Night 7 April 1970

Subsequently: The Australian Ballet on tour worldwide

Ballet National de Marseille
l'Opéra Municipal de Marseille
Gala Première 4 November 1971

Ballett der Wiener Staatsoper
Revival of 1966 production, extensively revised designs
State Opera House, Vienna
First Night 19 November 1977

Rudolf Nureyev, choreography (after Marius Petipa)

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Costume for Rudolf Nureyev
Basilio, Act III, Vienna 1966


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DDon Quixote Ballet Barry Kay Set Designs projected for The Australian Ballet, 1984, State Theatre, the Arts Centre, Melbourne


Assignment: New Scenery, 1984

The Australian Ballet
State Theatre, the Arts Centre, Melbourne
Revival of 1970 production
First night projected for early 1986

Owing to budget cuts, Kay's new scenery was never realized [3]






Set design - Act III, scene 1
tavern interior   XL


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Don Quixote Movie Version Set Design Act 2 Scene 1 Windmill Scene Barry Kay Australian Ballet Sydney Opera House 1973 Rudolf Nureyev


Don Quixote

Movie production

Assignment: Scenery / Costumes / Properties / Special Effects

The Australian Ballet
Sydney Opera House
Gala World Première 19 July 1973

London presentation
Royal Gala Première 28 January 1974

Rudolf Nureyev, choreography (after Marius Petipa)





Set design - Act II, scene 1   XL
movie production


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The Fours Seasons Les Quatre Seasons Set Design Barry Kay Ballet de l'Opera Paris 1978 Theatre National Opera de Paris Inflatables Choreography Kenneth MacMillan


The Four Seasons – Les Quatre Saisons

Assignment: Scenery / Costumes

Ballet de l'Opéra
Théâtre National Opéra de Paris
Gala Première 23 November 1978

Kenneth MacMillan, choreography

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Set model   XXL


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Frankie and Johnnie, Act I; set design by Barry Kay; proposed ballet by Walter Gore, Australian Theatre Ballet, 1955


Frankie and Johnnie

Assignment: Scenery / Costumes [?]

Australian Theatre Ballet [?]
Studio Theatre, Adelaide, South Australia [?]
Presentation 1955 [day, month ?, scheduled for July-August]

Walter Gore, choreography





Set design Act I, detail


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Images of Love, stage setting and costumes by Barry Kay, choreography by Kenneth MacMillan, The Royal Ballet, Royal Opera House, Covent Garden, 1964


Images of Love

Assignment: Scenery / Costumes

The Royal Ballet
Royal Opera House, Covent Garden, London
World première 2 April 1964

Kenneth MacMillan, choreography

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Stage setting   XL
photo Donald Southern


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Isadora Costume Design Barry Kay Merle Park The Royal Ballet Royal Opera House London 1981 Choreography Kenneth MacMillan


Isadora

Assignment: Scenery / Costumes / Properties / Projections

The Royal Ballet
Royal Opera House, Covent Graden, London
World Première 30 April 1981

The Royal Ballet on tour
Metropolitan Opera House, Lincoln Center, New York;
Première 28 June 1981

Kennedy Center, Washington, DC
First night [date?]

Kenneth MacMillan, choreography






Isadora, costume design   XXL


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Set design for 'Jacaranda Town' by Barry Kay; choreography Walter Gore, Australia, 1953-1954


Jacaranda Town

Assignment: Scenery

Australian Theatre Ballet [?], touring
Opening venue / theatre [?], Melbourne [?]
Première 1953-1955

Walter Gore, choreography

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Set design, Act I


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Costume design drawing by Barry Kay, believed to have been created for the Sorceress featuring in the ballet Maldición, Ballet Guild, Melbourne, 1954


Maldición or The Spell

Assignment: Scenery / Costumes

Ballet Guild
Ballet Guild Studio Theatre, Melbourne
Première 3 July 1954

Alison Lee, choreography






Costume for the Sorceress [4]


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Mètaboles Set Design Barry Kay Mezzotint cum Lithograph Edition of 50 Ballet de l'Opera Paris 1978 Theatre National Opera de Paris Choreography Kenneth MacMillan


Métaboles

Assignment: Scenery / Costumes / Properties

Ballet de l'Opéra
Théâtre National Opéra de Paris
Gala Première 23 November 1978

Kenneth MacMillan, choreography

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Set design   XL
mezzotint cum lithograph
limited edition of 50


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Miss Julie, Fräulein Julie, Set Design, Scene 1, by Barry Kay, Gouache and Watercolour, Stuttgart Ballet, Wuerttembergische Staatstheater 1970, Choreography Kenneth MacMillan


Miss Julie – Fräulein Julie

Assignment: Scenery / Costumes / Properties

The Stuttgart Ballet
Württembergische Staatstheater, Staatstheater, Stuttgart
World Première 8 March 1970

Kenneth MacMillan, choreography






Set design   XXL


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Costume design by Barry Kay for Hazel Merry in NON STOP; Western Theatre Ballet; Arts Theatre Club, London; Première 25 July 1957


Non Stop

Assignment: Scenery / Costumes

Western Theatre Ballet
Arts Theatre Club, London
Première 25 July 1957

Peter Darrel, choreography

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Costume for Hazel Merry



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Observations

Assignment: Costumes

Western Theatre Ballet
Theatre Royal, Bristol
World Première 24 June 1963

Western Theatre Ballet on tour
Jacob's Pillow Dance Festival
Becket, Massachusetts, USA
Première 23 July 1963

Peter Darrel, choreography



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The Prisoners Set Design Model Maquette Barry Kay Western Theatre Ballet Dartington Festival 1957 Choreography Peter Darrell


The Prisoners

Assignment: Scenery / Costumes

Western Theatre Ballet
Dartington Festival, Dartington Hall, Devon
Première 24 June 1957

Peter Darrel, choreography






Set model   XL


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Pulcinella

Assignment: Scenery

Western Theatre Ballet
Theatre Royal, Bristol
Première 18 June 1956

Dartington Festival [?], Dartington Hall [?], Devon
First Night summer 1957; revival

Elizabeth West, choreography (after Leonid Myasin / Léonide Massine)

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Set design


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Raymonda Act III Set Design Barry Kay The Royal Ballet Royal Opera House London 1966 Rudolf Nureyev


Raymonda, Act III

Assignment: Scenery / Costumes

The Royal Ballet, Touring Company
Finnish National Opera, Helsinki
World Première 7 May 1966

Royal Opera House, Covent Garden, London
First Night 16 July 1966

The Royal Ballet, Principle Company
Royal Opera House, Covent Garden, London
Première 27 March 1969

San Francisco Ballet
War Memorial Opera House, San Francisco
Première 23 March 2012 (posth.)

English National Ballet
Coliseum Theatre, London
Première 25 July 2013 (posth.)

Sarasota Ballet
Van Wezel Performing Arts Hall, Sarasota, Florida
Première 27 February 2015 (posth.)

Rudolf Nureyev, choreography (after Marius Petipa)





Set design   XL


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Barry Kay set design drawing for the ballet SALADE, choreography Peter Darrell, Western Theatre Ballet, Empire Theatre, Edinburgh International Festival, Première 1961/SEP/04; Barry Kay Archive, London


Salade

Assignment: Scenery / Costumes

Western Theatre Ballet
Empire Theatre, Edinburgh International Festival
Première 4 September 1961

Peter Darrel, choreography

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Set design   XL


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The Sleeping Beauty Dornröschen Ballet Set Model Prologue Design Barry Kay Ballet Deutsche Oper Berlin 1967 Choreography Kenneth MacMillan


The Sleeping Beauty – Dornröschen

Assignment: Scenery / Costumes / Properties / Special Effects

Ballet of the Deutsche Oper, Berliner Festwochen
Deutsche Oper Berlin, Charlottenburg
Première 8 October 1967

Kenneth MacMillan, choreography (after Marius Petipa)





Set model, Prologue   XL


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Costume design by Barry Kay for Sally Adams in the ballet Soft Sorrow; choreography Walter Gore; Australian Theatre Ballet; Studio Theatre, Adelaide, South Australia; World Première 4 July 1955


Soft Sorrow

Assignment: Scenery / Costumes

Australian Theatre Ballet
Studio Theatre, Adelaide, South Australia
World Première 4 July 1955

Union Theatre, Melbourne University
First Night 18 July 1955

Wlater Gore, choreography

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Costume for Sally Adams


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Solitaire

Pas de deux for Joan Lindsay and Simon Mottram

Assignment: Costumes

Western Theatre Ballet
Theatre Royal, Bristol
World Première 24 June 1963

Western Theatre Ballet on tour
Jacob's Pillow Dance Festival
Becket, Massachusetts, USA
Première 23 July 1963

Kenneth MacMillan, choreography



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Solitaire Set Design Model Maquette Barry Kay Sadler's Wells Royal Ballet Sadler's Wells Theatre London 1978 Choreography Kenneth MacMillan Inflatable Tree


Solitaire

Entire production

Assignment: Scenery / Costumes

Sadler's Wells Royal Ballet
Sadler's Wells Theatre, London
First Night 28 April 1978

Kenneth MacMillan, choreography

Reviews





Set model   XXL


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Sound Barrier

Assignment: Scenery / Costumes

Sunday Ballet Club
Lyric Theatre, Shaftesbury Avenue, London
Première 13 November 1960

Peter Darrel, choreography



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Set design by Barry Kay for SWAN LAKE, Act II; Laurel Martyn's Ballet Guild, Melbourne; Première 1954


Swan Lake, Act II

Assignment: Scenery / Costumes

Ballet Guild
Ballet Guild Studio Theatre [?], Melbourne
Première 1954 [day, month ?]

Laurel Martyn, choreography

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Set design, backdrop


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Barry Kay set design drawing and collage for the ballet TANCREDI, choreography Rudolf Nureyev, Ballet of the Vienna State Opera, World Première 1961/SEP/04 at the Wiener Staatsoper; Collection Barry Kay Archive, London


Tancredi

Assignment: Scenery / Costumes

Ballett der Wiener Staatsoper
State Opera House, Vienna
World Première 18 May 1966

Rudolf Nureyev, choreography





Set design   XL


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Set design by Barry Kay for 'The Unicorn, the Gorgon and the Manticore'; New Opera Company & Western Theatre Ballet; Sadler's Wells Theatre, London; Première 22 July 1958


The Unicorn, the Gorgon and the Manticore

Assignment: Scenery / Costumes

New Opera Company and Western Theatre Ballet [5]
Sadler's Wells Theatre, London
Première 22 July 1958

New Opera Company & Western Theatre Ballet
Theatre Royal, Bristol
First Night 28 June 1962; revised version

Peter Darrel, production and choreography

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Set design, centre section


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[1]

To counteract existing widespread confusion, it should be noted that referring to the original one-act Anastasia as "Act III" is incorrect. The facts are: Kenneth MacMillan originally choreographed the one-act version in 1967. Four years later, in 1971, he expanded it into a three-act ballet, thereby incorporating the one-act version as Act III. Whenever the one-act version is performed independently on its own as a self-contained ballet, describing it as "Act III" implies it to be an excerpt of the three-act version. This is not the case, especially not since MacMillan never relinquished the one-act version. Only in the context of the three-act version can the original one-act Anastasia be referred to as Act III. >> back to Anastasia





[2]

The National Gallery of Victoria holds a theatrical set design for Badinage, signed by Barry Kay and dated 1956. Unrelated to this, the Australian Art Sales Digest records the sale (no date given) of two drawings by Kay of same title; their small dimensions suggest that they concern costume designs. There are as yet no production data available. >> back to Badinage





[3]

Following Barry Kay's death in 1985, The Australian Ballet approached Michael Werner, Kay's assistant, assigning him to build the maquettes based on Kay's drawings so as to realize the new scenery. While contractual negotiations to this end were in progress, unforeseen budget cuts prevented the Company from pursuing its intentions. It consequently decided to continue mounting the already heavily battered and repaired scenery of the 1970 stage production for as long as possible. >> back to Don Quixote new scenery





[3]

Following Barry Kay's death in 1985, The Australian Ballet approached Michael Werner, Kay's assistant, assigning him to build the maquettes based on Kay's drawings so as to realize the new scenery. While contractual negotiations to this end were in progress, unforeseen budget cuts prevented the Company from pursuing its intentions. It consequently decided to continue mounting the already heavily battered and repaired scenery of the 1970 stage production for as long as possible. >> back to Don Quixote new scenery





[4]

Although the costume drawing – inscribed: Barry J. Kay '54 – has no title, it is believed to have been created for the Sorceress, a character in Maldición. As Kay only designed two productions in 1954, namely this one and the other being Swan Lake, Act II, both for the Ballet Guild, it would be reasonable to assume that the costume design was intended for the said Sorceress. >> back to Maldición





[5]

The Unicorn, the Gorgon and the Manticore is also listed in the Opera Index, as it covers both ballet and opera. >> back to The Unicorn, the Gorgon and the Manticore



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