Frank Staff (15 June 1918 – 10 May 1971) was a South African ballet dancer, choreographer, producer, and company director. He was a major figure in the history of European theatrical dance in South Africa. Early life Frank Cedric Staff was born to an Irish mother and an English father in the diamond mining town of Kimberley, in what is now the Northern Cape Province of South Africa. As a teenager, he moved to Cape Town, where he attended Diocesan College and received his early dance training from Helen Webb and Maude Lloyd, who had studied with Marie Rambert in London. After Lloyd returned to England in 1933, she encouraged her young pupil to join her. At age fifteen, Staff moved to London to continue his training at Rambert's school in Bedford Gardens. Career Staff was soon invited to join Rambert's Ballet Club, as her performing group was then called. For the next twelve years, from 1933 to 1945, he worked with the Rambert company as both a dancer and choreographer. Except for two seasons with the Vic-Wells Ballet, 1934/35 and 1938/39, and a brief stint with Walter Gore's London Ballet in 1940, he was a featured performer and choreographer with Ballet Rambert. Dancer Staff inherited many of Hugh Laing's roles in the Rambert repertory, including The Lover in Jardin aux Lilas and Mercury in The Planets, both works by Antony Tudor. He also danced in several ballets by Frederick Ashton, among them Recamier, Façade, and Mephisto Valse. For the Vic-Wells company, he appeared as Horn Blower in The Rake's Progress by Ninette de Valois and created the role of Cupid in Ashton's Cupid and Psyche (1939). For the London Ballet, he created the role of The Boy, Julien, in La Fête Ėtrange (1940), set to music of Gabriel Fauré by Andrée Howard. Other roles in his varied repertory included The Poet in Les Sylphides, the Spectre in Le Spectre de la Rose, and Harlequin in Le Carnaval, all choreographed by Michel Fokine. He also danced such different roles as Bluebird in The Sleeping Beauty, by Petipa; the Faun in Afternoon of a Faun, by Nijinsky; and Death in Death and the Maiden, by Howard. Choreographer Staff's first choreographic work, The Tartans, was a new version of Ashton's ballet of the same name. A pas de trois for himself, his wife Elisabeth Schooling, and Walter Gore, set to music by