From Shrewsbury to Stardom: John Weaver’s Dance Revolution

Discover how John Weaver, Shrewsbury’s own dancing master, revolutionised ballet and created pantomime, leaving an indelible mark on the world of dance that still resonates today.

In the heart of Shropshire, amidst the timber-framed buildings and cobbled streets of Shrewsbury, a remarkable talent was born. John Weaver, a name that would come to revolutionise the world of dance, emerged from this quaint market town to become the father of English ballet and the originator of pantomime. His journey from a local dancing master to a pioneering force in London’s theatrical scene is a tale of innovation, perseverance, and artistic brilliance that continues to inspire centuries later.

The Early Years: Shrewsbury’s Dancing Prodigy

John Weaver’s story begins in Shrewsbury, where he was baptised on 21 July 1673 at the parish church of Holy Cross, also known as Shrewsbury Abbey Church. Born into a family where dance was already a part of daily life, John’s father was a dance teacher who recognised his son’s potential early on. The young Weaver received his education at the local Free School, laying the foundation for his future as not just a dancer, but also a scholar and writer.

Shrewsbury, with its rich history and vibrant cultural scene, provided the perfect backdrop for Weaver’s formative years. The town’s medieval architecture and bustling markets would have been familiar sights to the young dancer as he honed his skills under his father’s tutelage. It was here, in the narrow streets and grand halls of Shrewsbury, that Weaver first dreamt of elevating dance to new heights.

London Calling: The Rise of a Dance Master

At his father’s suggestion, Weaver set off for London in the late 1690s, embarking on a journey that would change the course of dance history. The capital, with its thriving theatre scene and royal patronage of the arts, offered opportunities that Shrewsbury could not. Weaver’s first recorded performance in London came in the summer of 1700, marking the beginning of a career that would span over three decades.

In these early years, Weaver quickly established himself as a specialist in comic roles. His talent for humour and characterisation set him apart from the more formal dancers of the time. This unique approach culminated in the creation of the burlesque “Tavern Bilkers” in 1702, showcasing Weaver’s ability to blend comedy with dance.

The Innovator: Notating Dance and Pushing Boundaries

Weaver’s contributions to dance extended far beyond his performances. He became part of a circle of dancing masters who were passionate about promoting a new French system of dance notation. This system allowed for the preservation and dissemination of choreography, a revolutionary concept at the time.

In 1706, Weaver translated Feuillet’s “Choregraphie” into English, titling it “Orchesography”. This translation made the French notation system accessible to English dance masters, facilitating a cross-cultural exchange of ideas and techniques. Weaver’s dedication to this project demonstrated his commitment to advancing the art form through scholarship and international collaboration.

The Return to Shrewsbury: A Period of Reflection and Writing

After establishing himself in London, Weaver returned to his hometown of Shrewsbury in late 1707 or early 1708. This period marked a significant shift in his career, as he turned his attention to writing and theorising about dance. It was during this time that he embarked on his most ambitious literary project.

In 1712, Weaver published “An Essay towards an History of Dancing” in London. This seminal work showcased his deep knowledge of classical antiquity and his vision for the future of dance. Weaver admiringly recounted the achievements of ancient mimes and pantomimes while also appraising the stage dancing of his own time. More importantly, he set down his ideas for reforming dance, aspiring to elevate it to the status of a true art form, worthy of rivalling drama.

The Revolutionary: “The Loves of Mars and Venus”

Weaver’s return to London in 1717 marked the beginning of his most innovative period. On 2 March 1717, at the Drury Lane theatre, he premiered “The Loves of Mars and Venus”. This production was nothing short of revolutionary, representing the first modern ballet and establishing Weaver as a pioneer of the ballet d’action.

What made “The Loves of Mars and Venus” so groundbreaking was its approach to storytelling. Rather than relying on spoken words or elaborate technical displays, Weaver used dance and gesture to convey the narrative. The story, drawn from classical literature, required a significant number of gestures, as the plot was expressed entirely through movement.

Weaver himself took on the role of Vulcan, while the famous dancer Hester Santlow portrayed Venus, and Louis Dupré danced as Mars. This casting choice highlights Weaver’s continued involvement in performance, even as he pushed the boundaries of choreography.

The Legacy: Influencing Generations of Dancers

Weaver’s innovative approach to ballet had a profound and lasting impact on the world of dance. His use of plot and emotion in place of more sophisticated technical and speech methods influenced subsequent choreographers, including Jean-Georges Noverre and Gasparo Angiolini. These choreographers would go on to further develop the concept of ballet d’action, leading to the narrative ballets of the Romantic era and beyond.

The success of “The Loves of Mars and Venus” encouraged Weaver to continue his experiments with narrative dance. In 1718, he created “Orpheus and Eurydice,” a more serious ballet that further explored the potential of storytelling through movement.

The Scholar: Weaver’s Contributions to Dance Theory

Throughout his career, Weaver continued to write and publish works on dance. In addition to his translations and notations, he produced original treatises that explored various aspects of dance theory and practice. In 1721, he published “Anatomical and mechanical lectures upon dancing. Wherein rules and institutions for that art are laid down and demonstrated”. This work showcased Weaver’s scientific approach to dance, examining the physical mechanics behind movement.

In 1728, Weaver revisited his earlier “Essay towards an History of Dancing,” revising sections for a more popular audience. This demonstrates his ongoing commitment to making dance theory accessible to a wider readership, further cementing his role as both a practitioner and a scholar of dance.

The Return Home: Weaver’s Later Years in Shrewsbury

Following the collapse of the management at the Drury Lane theatre in the early 1730s, Weaver once again returned to his beloved Shrewsbury. While he continued to make occasional trips to London for performances and still wrote for the stage, he primarily focused on teaching dance in his hometown for the remainder of his life.

This period allowed Weaver to pass on his knowledge and innovative ideas to a new generation of dancers in Shropshire. His dance school in Shrewsbury became a centre for excellence, attracting students from across the region who were eager to learn from the master who had revolutionised English ballet.

The Man Behind the Dance: Weaver’s Personal Life

Despite his professional achievements, Weaver’s personal life was not without its complexities. He was married at least twice, possibly three times. His second marriage, to Catherine Clough in London in 1700, resulted in at least seven children before Catherine’s tragic death during childbirth in 1712.

Two years later, at the age of forty-one, Weaver married again. His third wife, Susanna, was only fifteen at the time of their marriage. This union produced at least five more children, bringing Weaver’s total number of offspring to at least twelve. Despite the significant age difference, records suggest that this was a happy marriage, with Susanna referred to as “the beautiful Mrs Weaver” by one of Weaver’s pupils in later life.

A Lasting Legacy: Weaver’s Impact on Shrewsbury and Beyond

John Weaver’s influence extended far beyond the world of dance. In Shrewsbury, he was a prominent figure, living in various locations across the town centre. The baptismal records of nine of his twelve children in the four Shrewsbury town centre parish churches attest to his deep connection to the local community.

When Weaver died in 1760 at the impressive age of 87, he was honoured with a burial space in the south aisle of Old St Chad’s Church. Although the church’s collapse in 1788 unfortunately destroyed his grave, Weaver’s legacy in Shrewsbury and the wider world of dance remains intact.

Celebrating Weaver: The John Weaver 350 Festival

In recognition of Weaver’s significant contributions to dance and his deep connections to Shrewsbury, the town organised the John Weaver 350 Festival. This celebration brought Weaver’s story to life for a new generation, showcasing his innovations in dance and his impact on the cultural landscape of both Shrewsbury and the nation.

The festival featured performances, lectures, and interactive events that allowed visitors to experience the world of 18th-century dance. From reconstructions of Weaver’s choreographies to exhibitions of his writings and the dance notation he championed, the festival offered a comprehensive look at the life and work of this remarkable Salopian.

Weaver’s Enduring Influence: Modern Interpretations

John Weaver’s innovative approach to dance continues to inspire artists and scholars today. The Weaver Ensemble, led by Evelyn Nallen, has undertaken the ambitious project of recreating Weaver’s lost ballets. While the original music and choreography for works like “The Loves of Mars and Venus” have been lost to time, the ensemble uses Weaver’s detailed descriptions and contemporary music to bring these pioneering works back to life.

These modern interpretations, while not exact reconstructions, offer audiences a glimpse into the revolutionary nature of Weaver’s work. They demonstrate how Weaver’s ideas about narrative dance and expressive movement continue to resonate with contemporary audiences, proving the timelessness of his artistic vision.

Conclusion: Shrewsbury’s Dancing Revolutionary

John Weaver’s journey from a young dancer in Shrewsbury to the father of English ballet and originator of pantomime demonstrates the power of innovation and perseverance. His willingness to challenge conventions and push the boundaries of his art form led to a revolution in dance that continues to influence performers and choreographers to this day.

For the people of Shrewsbury and Shropshire, Weaver represents a source of immense pride. He embodies the creative spirit and intellectual curiosity that has long been a hallmark of this historic region. As we continue to celebrate Weaver’s legacy, we are reminded of the profound impact that one individual can have on the world of art and culture.

John Weaver’s story is not just one of personal achievement, but a reminder of the rich cultural heritage that Shrewsbury and Shropshire have given to the world. From the cobbled streets of his hometown to the grand stages of London, Weaver’s journey continues to inspire and captivate, ensuring that the legacy of Shrewsbury’s dancing revolutionary will endure for generations to come.

Bob Lynn / 10-Sep-2024