Haythorne left Australia in 1949, bound for the United Kingdom. In London he took ballet classes with Anna Northcote and Stanislas Idzikowski before auditioning successfully for the Metropolitan Ballet and later joining
Mona Inglesby's International Ballet. But his career in England and continental Europe proved to be an eclectic one, not limited to the world of ballet. He worked on the
Max Bygraves Show, danced on early British television shows, performed in musicals, including
Cole Porter's
Can Can, and toured to South Africa with a production of
The Pajama Game. In an interview in 2000, Haythorne listed the three greatest influences on his career in England and Europe as
Léonide Massine, for whom he acted as personal assistant and ballet master for Massine's company, Les Ballets Européens;
Walter Gore, for whom he was ballet master of London Ballet; and
Peter Darrell, who hired him as manager of Western Theatre Ballet and then as assistant artistic director of the Scottish Ballet in Glasgow. Always an Australian at heart, Haythorne began to miss his homeland and made various moves to return. He eventually went back, and, in 1975, took up the position of artistic director of the Queensland Ballet. With that company, he mounted works by a number of Australian choreographers, including
Graeme Murphy,
Garth Welch, Don Asker, Rex Reid, Leslie White, and Ray Cook, and he introduced the ballets of choreographers he had worked with in the United Kingdom, including Walter Gore, Jack Carter, and Peter Darrell. He also engaged the Danish dancer and teacher
Hans Brenaa to stage
La Sylphide and other works of
August Bournonville. Despite these accomplishments in only three years on the job, Haythorne's directorship was a short one, as his contract was terminated in 1978. He was unhappy at the way this was done and thereafter always maintained that no rational explanation was ever given. After leaving the Queensland Ballet, Haythorne was founding coordinator of a tertiary dance course at Kelvin Grove College of Advanced Education (now
Queensland University of Technology). He remained in this role for another three years, but, after deciding that he wanted to direct a company rather than head a dance school, he accepted the position of artistic director of the Royal New Zealand Ballet in 1981. His directorship of this company was a fruitful one, lasting more than a decade, until 1992. He regarded it as the happiest time of his life. During his tenure, the company staged works by major international artists. Haythorne oversaw the company's thirtieth anniversary in 1983; staged his own full-length
Swan Lake; and toured the company in China, the United States, and Europe as well as in Australia. For the company's sixtieth anniversary in 2013, encapsulating his attitude to his appointment in 1981, and also his approach to directorship in general, he wrote: "I knew I had to learn much more about New Zealand and its history, familiarise myself not only with its dance world but also with its literature, music, and visual arts, while still keeping a finger on the international pulse." During his time in
New Zealand, Haythorne worked closely with the New Zealand School of Dance and its teachers. He attended school auditions and became a member of the board of directors. He believed that the strength of any company was a school that would train dancers who were familiar with company style and repertoire and who had gained experience by having small parts in its productions while still students. In the
1993 New Zealand New Year Honours, Haythorne was appointed a
Member of the Order of the British Empire, for services to ballet. ==Later years==