Mutiny at the Ballet: Dancers ready to stage a revolt over director's casting decisions

The artistic director of the Royal Ballet is facing a mutiny from his dancers after a number of casting decisions that sources say have left members of the company in the dark over the roles they will play and the productions they will appear in.

Ross Stretton was appointed from the prestigious Australian Ballet with a mandate to excite and innovate the company almost exactly a year ago, but critics have been disappointed with his repertoire and his dancers are close to revolt.

Members of the Royal Ballet in the performers' union Equity have held meetings at which they came close to passing a vote of no-confidence in Mr Stretton. Instead, they have asked union executives to raise "a number of serious concerns" over his management style with Tony Hall, executive director of the Royal Ballet's home, the Royal Opera House.

A meeting is understood to have been set for Tuesday. Neither the union nor Mr Hall would discuss in advance the matters to be raised, but sources close to the company said the dancers' main concern was over casting decisions. "There are a number of serious matters, but we want the union to tackle the way productions are cast," a source said. "There is a complete lack of information. We never know whether we will be involved in a production or when that will be.

"This isn't just a matter for us. It should matter to the public too because they are buying tickets to see certain dancers but then the cast is changed. And when a production has been marketed using a person's name, that isn't fair on theatre-goers."

An analysis by The Independent of the Royal Ballet's summer season shows that, out of 22 shows, only two appeared with the cast originally announced. Among the disappointments for people who bought tickets – some of them costing as much as £65 – was the absence of Darcey Bussell from Don Quixote and Tamara Rojo from Onegin.

Martin Brown, a spokesman for Equity, said: "There have been several meetings at which our members have expressed disquiet over a number of management matters. I cannot discuss them in advance of our meeting with Mr Hall, but I can say they do not involve artistic direction. Equity would not get involved if they did. We hope that we can resolve the concerns of our members through discussion."

Mr Brown said there were more than 80 Equity members in the company and that meetings to discuss the problems had been "well attended".

Mr Stretton, 50, was for much of the 1980s and 1990s with the American Ballet Theatre. There he became assistant director before returning as director of the Australian Ballet where, years earlier, he had been a principal dancer.

The artistic director describes himself as an innovator but he has attracted criticism for promising to present new productions that have not materialised. When he was appointed to the position, he said that "new choreography is the lifeblood of any company", but last year he brought in only one new work, by Christopher Wheeldon, and he has announced only one for next year, by David Bintley.

A spokesman for the Royal Ballet said Mr Stretton and the rest of the company's senior management were away for their annual summer break and could not be contacted. "There will be a meeting shortly to discuss the various concerns that Equity will bring to the executive director, and they will be dealt with accordingly," the spokesman said.