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”→
My summer holiday is never complete without some dancing, and over the past two days, I have had the pleasure of spreading and sharing the dancing joy with the students of Moorland Ballet Academy Summer School.
Moorland is a privet school in Lancashire with an Elite Football Program and a Classical Ballet Academy. The ballet academy was founded by two wonderful past teachers of mine Lynsey and Simon Kidd, who both taught and guided me during my student years. Knowing personally what good teachers they are, I was honored to hear from them and be invited to join them during the summer course.
Even though I only spent two days at the school, I truly enjoyed teaching the summer students – a mixture of full-time students at the school and young dancers from outside, some coming from as far as Japan, and already saw improvement in that short space of time. I had the pleasure of teaching a great bunch of 11-13 year olds and an older group of 14-18 year olds. Both classes worked so hard for me so thank you for that girls and boys.
I am sure all of the above come to mind, and it is true, we ballerinas can be all those things, (I try to convince myself I am a princess every day) but in this post, I want to focus on the ballerina and her flexibility.
Flexibility is a very useful and often needed attribute of a dancer but I would not say it is always the most important. Yes, some days, if not all, I would give my right arm to be more flexible but as I have gotten older and (hopefully) wiser, not only have I decided my right arm is a part of me I would not want to lose, I have also come to realise I can be ok the way I am.
Over the last few weeks my days have been filled with preparations for something I am very honoured to be working towards and can’t believe it has arrived so quickly.
It was back in February when I got an email from an unforgettable teacher I had while training at The Hammond School, the wonderful Mrs Elliott. This delight of a women being someone who took me through my final years at the school,before transferring to the Royal Ballet School, and gave me so much joy in the studio as a student asked if I would return to the school for their 100 Year Anniversary performances to dance the lead role in Peter Wright’s ‘Giselle’.
Being a role I have not yet had the opportunity to dance I was very excited to confirm with my directer, Birgit Keil that it would be possible for me to travel to England in May and take part in the production. It was a little concerning that I would have to learn the whole ballet on top of the usual work schedule, as it would be something I would do in my free time, but seeing as I was informed early enough I was sure I would manage the work load.