Madge Atkinson

Mollie Webb uncovers some interesting details to add to the picture of one of the great dance innovators of the last century

In the early years of the twentieth century, four ladies were busy creating their own dance forms using the natural impulse and movements of the body, in contrast to the ‘turnout’ and strict technique of the ballet at that period.

Isadore Duncan, Ruby Ginner, Margaret Morris and Madge Atkinson had to overcome a great deal of ignorance and prejudice at the time, but all four have left legacies that are fascinating and rewarding to explore and research. Duncan, Ginner and Morris are well documented in published works, but a book on Atkinson has yet to be written.

Born in Manchester, her father was a well known Shakespearean actor and from her earliest years she was brought up in the atmosphere of the theatre, sharing a similar beginning in drama with Ginner and Morris. While still at school she joined the Amateur Dramatic Society and played leading roles in ‘Trelawney of the Wells’, ‘Trilby’ and the ‘School for Scandal’. Miss Horniman, owner of the Gaiety Theatre Manchester, invited her to join the professional repertory company, but ill health from age 18 to 22 and then her father’s illness prevented her from accepting this first professional engagement and she abandoned all thought of a career as an actress, although her theatrical background was ever present during the whole of her dancing career. In 1910 she became interested in the work of Isadora Duncan and started taking lessons with one of her pupils, Anna Spong. She also became interested in Dalcroze Eurythmics. Realising the Duncan School lacked a fundamental technique; she began to develop her own method of teaching.

Her school opened in Deansgate, Manchester in 1918, and by the early 20s progress can be followed in the comprehensive coverage given by the Dancing Times in ‘Provincial Notes’. Her speech, made at the Dancers’ Circle Dinner in March 1924 explains some of her views on the art of dancing and the reasons for developing her form of training.

A report by P. J. S. Richardson is surprising, he writes: ‘It meant nine weary hours in a train, but I have not regretted one moment of it, because I saw what wonders a great artist, possessing a warm, loveable heart, can work with small children – it was a remarkable evening, and places Miss Atkinson in the very front rank of children’s teachers’. Also writing on an ISTD display at the Scala Theatre, London – ‘Madge Atkinson who, at her best, is a choreographer worthy to rank with the greatest of this generation’. Praise indeed, when you see other dances on the same bill arranged by Frederick Ashton and Ninette de Valois!

At the Manchester Arts Club’s 40th annual celebration of Shakespeare’s birthday in June 1926, she gave an address and demonstration of her other great interest, historical dance, with her theme ‘Dance During the Time of William Shakespeare’. The report states ‘there was a special interest for dance lovers and the evening offered great pleasure to the audience’.

Later, her students went on to teach Natural Movement in Hamburg, Malta, Madrid, Bulawayo and the USA, and she herself sailed to South Africa in 1938 to conduct examinations in Cape Town, Pretoria, Johannesburg and Bloemfontein.

Remedial work, a link shared with Morris, was of great interest and there was an exchange of students with Ancoats School of Massage and a request from Leeds to start remedial classes there, as well as curative work for the BMA.

She became Chairman of the Manchester Dancers’ Circle; was visited at her studio by Marie Rambert and Mme. Karsavina (who gave a long lesson to the students, which was much appreciated), also by Mr Umemoto, a well known Japanese dancer, who was intensely interested in Natural Movement.

Other activities included Summer Schools with her partner Mollie Suffield, held for many years at Arley Castle, Worcestershire; broadcasts from the Manchester station, and arranging a new ballet to be performed at the Scala, Berlin.

In August 1936, together with Anita Heyworth, she moved her studio to Kensington. At the outbreak of war in 1939 a link was made with the Bergman Osterberg Physical Training College at Dartford and in 1941 the studio moved to the Brambles, Pentire, Newquay.

Teachers’ Courses were held at Stratford Place, London by courtesy of Miss Grace Cone, then, because of ‘prevailing conditions’, at Southport, Lancashire and finally at Rawdon Hall, Holyport, Berkshire, which was the start of a long association with Grace Cone, Olive Ripman and the London College of Educational Dance.

An information folder covering the years between 1920 and 1944 is available for reference in the Library.

Mollie Webb FISTD ARAD is the Librarian at ISTD HQ