Q & A with Sir Anthony Dowell

(CNN) -- Sir Anthony Dowell joined the Royal Ballet in 1961. He was promoted to principal dancer in 1966 and became one of the best classical dancers of his era. Amongst his most notable roles were as Oberon in The Dream (1964) and Troyte in Enigma Variations (1968). As artistic director of the Royal Ballet when Tetsuya Kumakawa arrived at the company Dowell is uniquely positioned to give a professional and personal insight in to the Japanese dancer. Here he explains to CNN what made "Teddy" stand out from the crowd.

CNN: When did you first see Tetsuya Kumakawa dance?

Sir Anthony Dowell: I first saw him dance when he was a student at the Royal Ballet School. I suppose he was 17-18 when he joined there and he was known as the whiz-kid; Technically incredible, super proficient and an amazing talent.

CNN: What characterizes his dance and style, what makes him a whiz-kid?

Sir Anthony Dowell: Virtuoso technique, a wonderful jump, confident enough that when that he set off to do pirouettes he knew he would never flounder. So you knew you were safe for four or five turns. Absolutely secure in his technique. Of course, in the early days one did not know how one was going to channel that because you know there is more to the art of ballet than the technique.

CNN: Do you remember the day when you picked him for the company?

Sir Anthony Dowell: When star pupils emerge in the school you know you are going to try and secure them for the Royal Ballet. Sometimes with young Japanese students they find it also hard to adapt to such an extraordinary culture change and shock. And I think in the early years, although Teddy did join the company, there was some ups and downs for him getting settled and happy. But he was an obvious talent and I was then director and I certainly wanted him for the Royal Ballet.

CNN: You said that with the Japanese coming over, it is a bit of a culture shock. What was Teddy's personality like and how quickly did he adapt?

Sir Anthony Dowell: In the early days I think, you know, when they come in very young, they are a bit scared of the director figure. So I think maybe other people on my staff might of had trouble with him, because sometimes when you are very talented and you are having to do your ground call in the ballet it can get tiresome and boring for certain talented students. But we expect that from any dancer and also when they are a star pupil of the school having done school performances and caused a stir, they go down into the ranks when they join the company. So that's quite a tricky adjustment for anyone.

CNN: Was it for Kumakawa?

Sir Anthony Dowell: I think he was itching to get in the spotlight more. But sometimes you have to wait because there are many other principals out there. You try to give opportunities to young talents so they don't get bored and leave you, but it's about balance. It is a nightmare role for a director. But he was used by Kenneth Macmillan in quite a featured role early on in 'The Prince of the Pagodas', so he new he was getting there. But I think he was really wanting to get his teeth into the classic roles -- Swan Lake and Giselle and all that. I didn't see it happening as fast as he would of liked but we got there in the end.

CNN: Was there a turning point when he was elevated to star status or got his first principal break? What would you say was his first pivotal moment?

Sir Anthony Dowell: Well I think La Bayadère was one. And the one that he was in his natural element was the role of Bazil in Don Quixote, because as a student his party piece was one of the variations from that ballet. I remember his first performance was an absolutely electric and I think it was on that performance that I promoted him to Principal.

CNN: Could you describe to us what his style is? What would you say characterizes his performances?

Sir Anthony Dowell: I think it is a virtuoso technique that looks absolutely natural to him. There is no effort or strain. Suddenly these extraordinary leaps and jumps come from nowhere. You are not conscious of the preparatory movements to get there. It is a god given talent.

CNN: Can you describe what happened when he left the RBC?

Sir Anthony Dowell: Well it was a hell of a shock to me, because he left in the middle of the season and he took some dancers with him. So the wounds are still healing. Of course, all is forgiven between myself and Tetsuya. I understood why it was a huge package to feature him in Japan in his own company and it was a huge step up. But to me it was not the way to do it when you are under contract to a major company and you have performances scheduled.

CNN: So it wasn't so much the decision it was the way he executed it?

Sir Anthony Dowell: Yes. I understand any dancer -- it is a young person's profession -- if they feel tetchy and they are not getting on quickly. It is my eye and my tastes that condition their lives. That is why it is such a responsible position. But if they feel that they are not getting what they want and they want to go, of course I understand, but there are ways of doing it.

CNN: And did his exit have a big impact on The Royal Ballet would you say?

Sir Anthony Dowell: No absolutely not. It is a big company with a huge talent base. I was just very sad because he was, I felt, very settled. But I think I always felt that one day he would fly the nest.

CNN: What was attractive about Japan for him, was it the fact that it was his home country or was it the fact that he had the opportunity to start his own company?

Sir Anthony Dowell: I think it was a wonderful contract to be honest.

CNN: There weren't any particular ideals?

Sir Anthony Dowell: No, I don't think so. It was a big company promoting him. In fact it started off very different to how the K-Ballet is now, and I have to say that I am full of admiration and quite proud of what he has achieved. Because he is now seeing it from the other side, he now realizes the problems I had as a director and he is, I know, experiencing that. But he has also started a school and he wants to promote his own artists and the problem for Teddy at the moment is that being a big star they want him on all the time. I think it is admirable what he is doing now.

CNN: How were you involved in the K-Ballet?

Sir Anthony Dowell: I am involved in that he asked me to be President. I am rather the Princess Margaret figure of K-Ballet because The Royal Ballet has always had a President and I think Teddy wanted a figurehead and I'm very flattered to do that after the upsets of the departure. He wanted of me involved as an advisor and I have now also performed with the company which has been great fun.

CNN: So how is ballet received in Japan?

Sir Anthony Dowell: It's been growing. There was a boom in west America and England but I really feel it is very much in Japan now for some reason and I don't know why. I think the fan base is huge for Tetsuya. It is largely made up of women at the moment. When you see them take the curtain call and the lights go up it's amazing, it's very women based and incredibly popular. They have tremendous interest in you as a performer. It's wonderful actually, quite a tonic to go there.

CNN: Is there a link between Kumakawa going back to Japan and there being a boom in ballet appreciation?

Sir Anthony Dowell: He is a sort of pop star there. He has reached that status in the media and fans and he is a huge celebrity. So yes, it gives a prominence to the art form.

CNN: You have maintained a personal relationship with him and you are still friends. Would you say that the elevation to pop star status has changed him?

Sir Anthony Dowell: No, I would say not. Just as I said earlier -- how he applies himself to his work and responsibilities as director to the company and the school. The trappings have changed. The cars -- he has passions for the automobiles and watches. He's not someone who I suddenly see a huge ego change in. Not at all.

CNN: He has recently been injured and that has been quite a concern for him. How does that effect somebody's performance when they return?

Sir Anthony Dowell: This really is Teddy's first major injury. He might have had a few aches or pains that kept him from the stage while he was here, but this is major and has come quite late in his career. It takes a lot of adjustment because with a serious injury there is always a chance can you come back somehow different. What will you feel when you do come back? There are so many things that go on in your mind. You just have to stay incredibly focused and have a very good team around you to get yourself back. So I think he is handling it very well. He was certainly walking when I last saw him. It is quite something to come to terms with, especially when you have been the calling card of your company -- you are the main performer and what brings the audiences in. In a strange way I think always good comes out of bad. It is an amazing chance for the company who promotes him to see how the company stands with its audience. I think that is incredibly important because one day he won't be able to go on performing the bigger roles. He is doing very good productions. I hope that the company and the quality of their productions will stand them in good stead without him during this period.

CNN: It is also a chance for him to develop his skills as director, choreographer and move his career forward.

Sir Anthony Dowell: I think it's a time that gives him a little release from the pressure of having to carry the show. Yes, there are productions in the pipeline and yes we will give him perhaps a little more time to do that. Although he has been putting on productions he has been appearing in them, which to me, I cannot relate to, because I think the strain of that must have been incredibly hard. Not only in some cases design your production, rehearse and appear in it as well. So it adds a little respite for him that the energies are maybe channeled into other things for the company.

CNN: We are following him as he rehearses and prepares for a production of Swan Lake that is going to premier in November. What do you think of that production?

Sir Anthony Dowell: Yes, I saw it. He does some very interesting things I was a little alarmed about, because he had picked a designer that I had chosen for my production of Swan Lake. But in a way it was quite flattering, but I insisted it shouldn't look similar to what the designer had done here at the Royal Ballet for him. And she did a very good job. It is well crafted and well structured. When I go there and see his productions of Sleeping Beauty and things I advise him that perhaps I don't like some of the musical cuts. But it is a very amicable relationship and I am incredibly impressed by what he has done because he has done most of the major classic productions. They are very good quality, set against other productions over there from other companies. He is way up there now. E-mail to a friend