I have often been proved wrong when thinking I was dancing something for the last time. Just when you think the curtain has gone down on a particular role or piece it ends up finding its way back to you. And more often than not, it’s the ones you were glad to say goodbye to.
❝It seemed like an impossible thing for me to ever dance & I never imagined I would have the opportunity to give it a go❞
Recently this seems to be happening a lot to me and it is proving to not be such a bad thing after all. For this post, I want to share two particular pieces that have found their way back to me and dedicate another to the recent return of our Swanlake and my upcoming shows of Odette/Odile, which I think definitely needs its own mention.
So for now, I take you back to the end of last season when we performed Kenneth McMillan’s ‘Concerto’ in our yearly gala here in Karlsruhe. ‘Concerto’ is a one-act ballet in three movements choreographed in 1966 for the Berliner Ballett and was staged for the Royal Ballet Touring Company in 1967. Our company had to learn it in just two weeks with Julie Lincolnteaching and staging the piece. This ballet was not completely new to me as I performed ‘Concerto’ while at The Royal Ballet School for my graduating performance in 2010. I was part of the third movement assemble, and now, 8 years later, I was cast for the third movement Solo Girl.
I was delighted, albeit a little nervous to be chosen to dance this role as I remember admiring the girl who performed it at school. At that time it seemed like an impossible thing for me to ever dance and I never imagined I would have the opportunity to give it a go. At that age and time in my life, dancing such a solo was the scariest thing I could imagine.Continue reading “Never Say Never”→
The theatre becomes a dancer’s second home, a place where we spend at least 50% or more of our daily waking hours. We work there, we eat there, we shower, dress and sleep there. Our friends are usually with us and its the place we do what we love most, dance.
It’s because of all these reasons that it becomes a very important building for us, and one of the most important rooms in this building is our dressing rooms.
❝This is where the beauty of ballet meets the ugly on a daily bases❞
When I was younger and performed once or twice a year in a theatre the dressing rooms were already one of the best parts and when I was part of a dance school, I remember it being so exciting to get our dressing rooms, all the girls together just like the professionals – we were just so grown up. And I was probably deep down even more excited when I first joined a professional company and found my own permanent spot in the dressing room. I had made it. Continue reading “The Dressing Room of a Ballerina”→
Each season ballet companies have the exciting chance to work towards and bring to life premieres. Whether that’s a world premiere of a new creation or the first time that particular company performs a ballet, they are always a huge highlight of the year.
❝The goal that has been the main focus within the whole ballet company is reached❞
The process involves resident or guest choreographers/teachers coming to the theatre and working with the dancers – creating or teaching the steps and staging the whole production. Weeks if not months are spent putting the piece together and it will be the main focus of the company the majority of that time. Other performances are often performed during the preparation time but there will be much happening behind the scenes for the premiere. Continue reading “Goals of the Dancer”→
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.Continue reading “A Week 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. When that curtain goes up the stage is filled with the productions highs or lows 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”→
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”→