One of the hardest weeks of the season is upon us – Ballet Week, and there is no turning back now so we might as well go for it full force. During this time the company will perform every evening of the week a different ballet from this seasons repertoire, finishing with a ballet gala on the final night.
It is always a tough week for the dancers but often a very rewarding one, especially once we have survived it. We have rehearsals in the mornings preparing for the next show or Gala pieces followed by a break in the afternoon to rest before that evenings show. It is a time we are pushed to our limits both physically and mentally. Throughout the week, we must judge when to push our bodies and when to hold back, in order to be fit enough to last another show. The change of styles and choreographies each day can be difficult, and to set the mind up for a new atmosphere and emotions every morning is challenging, not to mention finding the will to get out of bed after another late, energy filled night.
It may not sound so difficult – we are performers, it’s what we do, but in my company, it is a big change of pace for us. During a normal week, we may only perform once or twice, having rehearsal days in between. Yes, it is often a different show each time we are on stage, with some weeks having three different productions in it, but to have a new show every night within quite a small dance company is asking a lot.
This season seems to be a particularly hard one. We have been so busy beforehand, preparing new creations for the gala and having had two premieres last month, we have worked a lot of overtime just to fit everything in. We are so focused on the new pieces – two new creations from Thiago Bordin and Jonathan Dos Santos and a premiere of McMillan’s Concerto, that we haven’t really had the time to think about the productions we are doing the rest of the week – it may be a case of the dancers reminding each other what they are about to dance just before the curtain goes up.
Having said that we have had quite a few weeks this season that have felt like ‘practice’ ballet weeks, with many shows and hard situations, so I think we are well prepared for the stress ahead. This season we have an array of shows to perform:
So as hard as it will be we are doing what we love and will enjoy every moment I am sure. Let’s hope for not too many surprises along the way and a smooth journey till the end – when we can enjoy our four days off as a reward. Toi Toi Toi, chuckers and break a leg to everyone involved and I wish the public a week of enjoyment at the ballet.
Opening nights are always full of excitement for both the performers and audience, with a mixture of emotions flying through the theatre. Depending on the production, the stage can be filled with highs or lows while the curtain is up but today I wanted to share with you the emotions we dancers feel once the curtain comes down. The ones the audience never see.
A few weeks ago Staatsballett Karlsruhe had our third premiere of the season performing the colourful creation from Youri Vámos, ‘A Midsummer Night’s Dream’. With this piece being pure entertainment (not only for the public) it was another premiere I will remember always. Continue reading “That Premiere Feeling”→
Terry Hyde first contacted me after noticing my Twitter page and all my posts on dance and being a professional ballerina. He then told me about his past career in dance and what he does now to support dancers and their mental health.
He asked if I would like to be a part of his blog and write a guest article sharing some of my experiences in the dance world up until now and particularly a difficult time I went through when it was hard to keep going.
It didn’t take me long to decide which issue I would write about, especially as Terry mentioned aiming the thoughts to dance students, and now we have finally got the article up and running. I talk about losing all my confidence at school and finding happiness in other places outside of dance. Here is a link to the article.
”My weight was a problem for the ballet school but not for me”
Harriet Mills, Principal with Staatdballet Karlsruhe, talks about how she survived the toxic regime and weight issues during her ballet training
Whilst you’re there have a read and look around on Terry’s website. The issues he is confronting are very difficult and dancers, like everyone, need as much support throughout their schooling, careers and post-careers and I thank Terry for letting me be a part of it.
After last night I just had to share with you all the wonderful experience I had during my premiere of ‘Romeo & Juliet’. I don’t know if I will be able to put it into words how much the evening meant to me or how many emotions I was feeling but I am for sure going to try.
There were moments when Juliano Toscano and I thought our chance to perform as Romeo and Juliet wouldn’t come – our fate was for some reason not written in the stars and as more and more performances were crossed off and our names still not appearing to dance the next one, we felt the opportunity slipping away from us. Then suddenly with just two weeks notice (an insanely short amount of time to prepare for such a big ballet), our director gave us the date and we were moving, full steam ahead.
We worked so hard in the studio, with the guiding hands and eyes of our ballet mistress, often having eleven hour days in the theatre, not only preparing for this but learning another new ballet alongside it. However, despite the long hours and other responsibilities, it never really felt like work. We were both so eager to do it, pushing any doubt out of our minds that we couldn’t. We found ourselves supporting each other endlessly, which was a welcomed surprise as we hadn’t danced so much together previously. The chemistry found between us when learning the choreography at the beginning of the season with all the other casts was still there. Along with that, each day the technical aspects improved as well as us both slowly finding ways of developing the characters.
One of my favourite aspects of dance has always been pas de deux. From a classical grand pas de deux to modern creations, I just so fond of sharing the work, technicality and especially the emotions of a dance partnership. I have been lucky enough to have had some fantastic partners over the years and I have loved working with these young men and performing together.
❝What does actually make a good partnership in dance? What can make it or break it?❞
As a student, during my time at The Hammond School, we studied simple pas de deux and I took a liking to it straight away, but it was not until I joined The Royal Ballet Upper School, where we had pas de deux class two-three times a week, that I really started to enjoy it. It began a little shakily but after a few weeks I was randomly partnered with a classmate called Ashley Whittle and not only did we immediately click and work well together, but we had so much fun. This must have come across to our teachers as for almost two and a half years we were always dancing together. Pas de deux became my favourite class of the week and it was the first time I felt 100% trust and confidence in my partner, and I think he felt the same.
First of all, a Happy New Year to everyone reading and I hope we are all off to a good start in 2018.
As it is a new year I am sure we have all welcomed in new experiences and challenges, as well as said goodbye to and learnt from old ones. This has actually become the topic of this blog post and although sounding like quite a sad one, you know I am forever finding the positive in all my endeavours.
❝Never have I been involved in such a ballet that carried so much meaning and responsibility due to the history and story it told❞
Last month Badisches Staatstheatre Karlsruhe sadly said goodbye to two of our ballets for the season 2017/2018. This commonly happens as companies need to make room for new productions each season and in our theatre ballets are often only with us for two-three seasons at a time. An out with the old in with the new kind of thing. Although I wouldn’t like to think of ballets as old, more renewed or revived in the next company who puts them on. Continue reading “Saying Goodbye to a Ballet”→
I often hear artists being portrayed as very emotional people but I ask myself if we are actually more exaggerated and eccentric when it comes to feelings than the average person? Yes, we care a lot about what we do for a living and we are asked daily to bring all sorts of emotions to the surface, but I wouldn’t say we are more sensitive than non-dancers, it just depends on the person and their own personality. I think we are all emotional when we want to be.
❝I can also bring my own feelings and experiences onto the stage with me to help develop a character❞
Dance is a way of expressing emotion so I think it’s quite normal if once in a while we subconsciously, or maybe even consciously, take those feelings out of the studio and into our daily lives, and vice versa. As for me, I love to get emotional and really into a role. The stage is a place where I am put into many different situations I wouldn’t encounter in my normal life and I can also bring my own experiences onto the stage with me to help develop a character.
As the applause subsides and silence falls throughout the auditorium, there’s chance for one last breath in the wings. Then the smile is adjusted and the walk to centre stage begins. The moments before performing a solo can be very nerve-wracking ones. Time is up. It is only you and the music, and all eyes are on you. You can’t practice that pirouette one last time, you can’t work on your stamina anymore. All that work is done. It’s go time.
❝With my confidence hitting rock bottom at times, even stepping on stage was terrifying❞
When I remember back to the very first solo I performed in my first year as a professional dancer all I recall are the nerves. I was part of the Pas de Trois in Christopher Wheeldon’s Swan Lake and my little solo was the biggest thing I had done so far in my career. It was my first chance to dance alone on stage, and it was scary.
During my younger education, I danced plenty of ballet, tap and jazz solos as a schoolgirl as part of our school productions, but back then it was no big deal. Being young and innocent made it all amazing good fun. ‘Bring it on’. But when I joined The Royal Ballet School things changed a lot and nerves grew inside me. There, I was never the ‘chosen one’ and with my confidence hitting rock bottom at times, even stepping on stage was terrifying. Being part of a group was just enough for me to handle. I had little stage experience and wanted to avoid any spotlight as much as I could. Continue reading “Everything is Possible if You’ve Got Enough Nerve”→
You may all know from my post ‘A Chance to Return to The Hammond School’, that during May I spent a week in England at my childhood dance school, The Hammond, as I had been invited to take part in the school’s 100-year anniversary production of Sir Peter Wright’s ‘Giselle’. My years as a student there were so wonderful I couldn’t wait to return to where it all began. And of course, it was even more memorable than I could have imagined.
Arriving at the school, I had butterflies in my stomach. It was so strange to be back. How the school has changed in ten years I have been away, with its own in-house theatre and brand new studios replacing the portacabins I danced in. However, once my dance colleague, Flavio Salamanka and I found our way into the theatre and spotted my old ballet teacher, Miss Jane Elliott, working with her pupils, the familiar, friendly atmosphere I remembered was still ‘in the air’. Being introduced to her pupils as ‘my Harriet’, Jane had me feeling like I never left. Continue reading “My Unforgettable Debut as Giselle”→