An extraordinarily conscientious worker, he is equally self-deprecating. Some of this self-deprecation can be found in his work, for there is almost always a high degree of subtlety about all of it. Among all the choreographers I know, there is none his superior or his equal in designing sheer poetry of movement. Ashton is able, in my opinion, to bring to ballet some of that quality of enchantment that, in the old days, we found only with the Russians.
This self-deprecating quality of “Freddy’s” is at its strongest on opening nights of his works. It is very real and sincere.
“Everything I do is always a flop here in England, you know,” he will say. “They don’t like me.... I’ve done the best I can.... There you are.”
Despite this self-deprecation, Ashton, once his imagination is stirred, his inspiration stimulated, throws off a certain indolence that is one of his characteristics, knows exactly what he wants, how to get it, and goes about it. Like all creative artists, during the actual period of creation, he can be alternately confident and despairing, determined and resigned. Despite the reluctance to exercise his authority, he can, if occasion demands, put his foot down firmly, and does.
Yet, in doing so, I am certain that never in his life has he hurt any one, for “Freddy” Ashton is essentially a kind person.
Three British ballerinas owe Ashton an immense debt: Margot Fonteyn, Moira Shearer, and Alicia Markova. It is due in large measure to Ashton’s tuition, his help, his sound advice, and his plastic sense that these fine artists have matured.
Every choreographer worthy of the name stamps his works with his own personality. Ashton’s signature is always apparent in his work. No matter how characteristic of him his works may be choreographically, they are equally dissimilar and varied in mood.
One of my great pleasures is to watch him at rehearsal, giving, giving, giving of himself to dancers. Before the curtain rises, that final expectant moment before the screen between dancer and audience is withdrawn, Ashton is always on the stage, moving from dancer to dancer: “Cheer up”.... “Back straight, duckie”.... “Present yourself”.... “Chin up, always chin up, darling.” ...
Personally, “Freddy” is an unending delight. Shy, shy, always shy, shy like the shy sister he plays in Cinderella, he is always the good colleague, evincing the same painstaking interest in the ballets of others as he does in his own, something which I assure the reader is rare. I have yet to see “Freddy” ruffled, yet to see him outwardly upset. In his personal appearance he is always neat, carefully dressed. Even in the midst of hectic dress-rehearsals and their attendant excitements and alarums, I have never seen him anything but cool, neat, and well-groomed. There is never a fantastic “rehearsal costume” with “Freddy.”
The picture of “Freddy” that is uppermost in my mind is of him standing in the “Crush Bar” at Covent Garden, relaxed, at ease, listening more than talking, laughing in his self-deprecatory way, always alert, always amusing.