OLGA MARCHENKOVA
LEADING SOLOIST OF THE BOLSHOI THEATRE OF RUSSIA
Olga Marchenkova - Biography
Interview Q&A - By Simon O'Brien & Elizabeth O'Brien
As Odette in Swan Lake - Artemy Belyakov as Prince Siegfried Photo:Damir Yuspov
Editor's note: PKO
We have managed to interview Olga Marchenkova, Leading Soloist of The Bolshoi Theatre. It was quite difficult to do as she spoke very little English. Then it was agreed that she would answer them via email with us sending (the same questions, as with Melissa Hamilton) This she answered through interpretation arranged by the Bolshoi Press Department. Arranged by Mr. Makhar Vaziev, Artistic Director of Ballet. Interpreter: Hello! I would be delighted to answer your questions on behalf of the Bolshoi Ballet dancer. Let's dive into the world of ballet... 1). From the very beginning: what inspired you to study ballet? Oh, those are magical memories! When I was six, my mother took me to see the Nutcracker ballet at the Bolshoi. I remember how I froze when I saw Masha (the Sugar Plum Fairy)! She seemed like a creature from another world, incredibly light and shining. I was amazed that you could tell a story without words, only with movement and music. I walked out of the theater and said: "I want to fly like her!" 2). How did you find learning the art of ballet? Was it difficult or did it come naturally? I had been doing rhythmic gymnastics since I was five. Of course, it was good preparation and that's why it was quite easy to master the technique at the beginning of my training! But ballet is not only about technique! The best roles are danced with the soul! During the classes, I had to repeat the same movements day after day to achieve perfection, flexibility, and musicality! Every day is an overcoming, muscle pain, calluses from pointe shoes, but also the joy of doing what you love and going towards your dream! Naturally, only a huge desire and love for dance were driving me. The technique itself is years and years of titanic work, self-discipline, and the ability to endure. It's like a diamond - it needs to be polished for years to make it shine. 3). Tell us about your feelings and emotions before, during, and after the performance. Before the performance: It's a cocktail of adrenaline, excitement, and utmost concentration. Behind the scenes - an almost meditative state. You check your pointe shoes, costume, makeup, and mentally go through complex combinations. A little nervousness is normal; it keeps you in good shape. But the main thing is to pull yourself together, get into character. During: It's like flying! Fear evaporates with the first bars of music. You completely dissolve in the role, in your partner, in the orchestra. The stage lives its own life, you feel the energy of the audience, but at the same time you are absolutely focused on every movement, breathing. This is both a huge physical load and an incredible emotional release. There are moments of complete happiness when everything turns out exactly as you dreamed. After: At first - huge physical fatigue and emptiness, as if squeezed out. But very quickly comes an incomparable feeling of euphoria and gratitude to the audience, partners, orchestra, and yourself for overcoming. Applause is the air breath. Then comes the analysis: what was successful, and what still needs to be worked on. And the next day again to the bars. 4). Which production brought you the most pleasure, and which was the most difficult technically? The greatest pleasure: This is the role of Mekhmene Banu from the ballet "The Legend of Love" by Yury Grigorovich. It is technically and emotionally difficult! What attracts me to it is the heroine's inner life, the painful trials of the spirit, the drama of the ballet, the characteristic poses of the hands, the bizarre interweaving of movements! The crowd scenes of processions and dances sound as a defiant contrast to the heroine's sorrowful and frantic monologue! šššš ššš£šššššš š§š as Makhmene Banu in āLegend of loveā - Video The most technically difficult: "The Pharaohās Daughter" It's a whirlwind! The speed, the fine technique of the Parisian school, endless pirouettes, jumps that require filigree precision and endurance. One slightest mistake - and the entire fragile pattern of the dance falls apart. It's a constant challenge to yourself. 5). What ballet companies, besides yours, do you value and why? I endlessly admire the Mariinsky Theatre. Their school is the standard of purity of style, depth, and musicality. They are our kindred spirits, the keepers of the great Russian tradition. Also, great respect for the Paris Opera. Their elegance, style, impeccable lines, and incredible school of male dance. And of course, the Royal Ballet of Great Britain in Covent Garden. Their repertory diversity, depth of dramatic works and preservation of the Ashton and MacMillan traditions are impressive. Each of these companies is a unique world with its own unique history and energy. 6). What is your opinion about contemporary, modern ballet and the companies and choreographers who create it? Contemporary ballet is an important and living part of art! It expands boundaries, searches for a new language, speaks on current topics. Companies like the Nederlands Dans Theater or the Ailey American Dance Theater amaze with their physicality and boldness of ideas. I like choreographers like Forsythe (I would like to dance the famous duet performed by Sylvie Guillem) āIn the Middle,ā KyliĆ”n, McGregor, Christian Pita , Neumeier. They are all innovators. I think the artists who can perform the works of these choreographers are unreal! They are amazing. Contemporary companies, in my opinion, are a breath of fresh air, without it there is no movement. The main thing for me is that the experiment is meaningful, and not for the sake of shocking, that dance remains an art that requires skill and depth, and not just movement. Classics are our foundation, and modern dance is an opportunity to grow in breadth, to explore. They can and should coexist and enrich each other. 7). Which ballerinas, choreographers, teachers of the past and present do you admire? From the past: Galina Ulanova is the standard of spirituality and tragic gift. Maya Plisetskaya - her incredible power, charisma, and unique style. Marina Semyonova - legendary technique and pedagogical genius. From choreographers: Of course, Marius Petipa - the creator of our classical universe and George Balanchine - the genius of musicality and form. From the present: I admire Svetlana Zakharova. Her lines are mesmerizing! Her incredible capacity for work, perfection of lines and acting depth are constantly inspiring. Diana Vishneva ā her intellectual depth and versatility. Of the teachers: I am grateful to each of my teachers at the Bolshoi Theater and the Academy of Choreography. They are the keepers of traditions and our strict guardian angels. At the Bolshoi Theater, I rehearsed for a long time with Svetlana Dzantemirovna Adyrkhaeva. Unfortunately, she died in 2023. Currently, I rehearse with Nina Lvovna Semizorova. Thank her for working together. Of the choreographers: this is, of course, the legendary Yuri Nikolaevich Grigorovich, who recently passed away. This choreographer is the foundation of all Russian ballet. His ballets are our foundation. There will be no more brilliant one. Of the foreign ones: I like the works of Patrick de Bana! I was happy to be involved in his masterpieces. Yuri Possokhov. Ballets that were performed on the stage of the Bolshoi Theater and those that are still in our repertoire. I admire Tamara Rojo, her career, and the management of English National Ballet. 8). Is there a person or a ballet company that you have not worked with yet, but would really like to? I dream of dancing with the wonderful artist of the Bolshoi Theater Artemy Belyakov in the ballet "Carmen" (Carmen and Jose) and "La Bayadere" (Nikuyu and Solor). I danced with him in the ballet "Swan Lake", "A Hero of Our Time", "La Bayadere" ("Gamzatti"). With Artemy you feel like you are in good hands-on stage. Incredible care, attention to the partner. This is worth a lot. Kimin Kim. Fascinates with his skill, musicality, acting. I would like to dance "Don Quixote" (Kitri and Basilio) with him. And, of course, it would be an honor to dance with such dancers as Roberto Bolle (La Scala) and Ethan Stiefel (American Ballet Theatre). Their artistry and partnership skills are truly admirable. 9). How do you see the future of ballet in terms of its appeal and participation in the modern world? Ballet is eternal because it speaks the universal language of beauty, emotion, and human overcoming. Yes, today there is a lot of competition for the viewer's attention. These include modern productions on current topics, the use of new technologies in scenography, and active work in social networks to be closer to the public, especially young people. Accessibility is very important. These include broadcasts in cinemas and educational programs. Participation is also growing: More and more children are coming to the sections, adults are discovering ballet as fitness and art. The future is in balance. This is the careful preservation of a great heritage and bold, talented experiments that will find a response in the hearts of the new generation. Ballet should remain high art but not be divorced from life. 10). What moment in your career was the most memorable and dear to your heart? This is a difficult question. Many bright moments! But, perhaps, the most intimate is my debut as Odette-Odile in Swan Lake on the Historical Stage of the Bolshoi theatre. This performance is the holy grail for any ballerina. I remember this incredible burden of responsibility, almost panic fear. And the moment when after Odette's monologue in the second act there was silence, and then the audience applauded. I felt an incredible connection with the audience, with Tchaikovsky's music, with the very soul of this ballet. It was the recognition of my Odette. That evening, I truly felt like the Swan Princess and part of the great history of the Bolshoi Theater. The emotions are still with me. There was also a moment when I first came to the Bolshoi Theater in 2007. In the fall, at the beginning of the season, there was a joint project "Kings of Dance" with the participation of Nikolay Tsiskaridze, American dancers Ethan Stiefel, Angel Corella, and Johan Kobborg. I met Ethan Stiefel in person after their performance. Of course, I was impressed! Especially since I had previously watched the cult film "Center Stage". This was, of course, a bright moment in my life! The invaluable experience with my teacher Svetlana Dzantemirovna Adyrkhaeva is very dear to my heart. She passed on to me the legacy of the great master Yuri Grigorovich. These are works under the strict guidance on the ballets "Swan Lake", "Spartacus", "Giselle" (Myrtha). I am also grateful to my teacher at the present time. With her, I continued to work on the roles in the ballets "The Legend of Love", "The Pharaoh's Daughter". Thank you for such deep and interesting questions! Being a ballerina of the Bolshoi is a great honor, incredible work, and endless love. I wish your magazine success in covering this beautiful art!
La Bayadere - Denis Rodkin, Yulia Stepanova, Olga Marchenkova - Video
On the Other Side of the Curtain
By James Weis
I first met Naomi Tanioka after her performance in Val Caniparoliās much-anticipated Jekyll & Hyde. Even from my seat, I knew weād be friendsāIāve always admired diligence, hard work, and unwavering dedication. Since that time, I have witnessed her artistry pouring fiery life into leading roles, including the Sugar Plum Fairy and Snow Queen in Devin Carneyās The Nutcracker, George Balanchineās Rubies, Cinderella in Devon Carneyās Cinderella, Wendy in Carneyās Peter Pan, Nellie in Val Caniparoliās Jekyll & Hyde, Lucy in Michael Pinkās Dracula and Alex Ekmannās Cacti. Naomi began a prolific career in dance as a young child at the Chida Toshiko Ballet Studio, where she developed dedication, adventure, and artistry that would decide her future. She left her home in Sapporo, Japan, very young after being invited to train at the Royal Winnipeg Ballet School in Canada. Naomi dedicated herself entirely to the intense demands of professional training, pushing the limits of her technique while deepening her artistic expression. Through countless hours in the studio, she refined the precision of her movements and the emotional depth and presence I have seen her bring to the stage.
After training in Winnipeg, Naomi joined Ballet Arizona, where she refined her artistry in classical repertoire before moving to Cincinnati Ballet. With a distinctive style and unwavering dedication, she has earned numerous leading roles, bringing depth and elegance to productions such as The Sleeping Beauty, Rite of Spring, CoppĆ©lia, Peter Pan, and Romeo and Juliet. Her resilience and passion serve as an inspiration to dancers, proving that perseverance leads to brilliance. In one of those special, fortuitous moments, Naomi collided with one of the kindest artistic directors in America, Devon Carney, when he was creating a work for Cincinnati Ballet. A turn here and a jump there, and the rest, as the clichĆ© goes, is history. Devon invited the petite powerhouse to join Kansas City Ballet, where she continues to bring precision and heartfelt expression to every performance, carrying the discipline and passion that have defined her path. Some of the worldās top choreographersāAlexander Ekman, Helen Pickett, Annabelle Lopez Ochoa, Edwaard Liang, JiÅĆ KyliĆ”n, Lila York, Adam Hougland, Mark Morris, and Septime Webreāhave entrusted her with roles that captivated audiences and brought them to their feet. Naomi brings joy to everyone around her, creating a backstage camaraderie that feels like family during the holidays. Her versatile talent and drive have made her a beloved artist at the Kansas City Ballet. In March 2025, Naomi reached another milestone, earning the coveted role of Kitri in Don Quixoteāa dream come true and another well-earned mark on her pointe shoes. I caught up with the ever-humble star by phone to learn more a few weeks ago, and what follows is our delightful interaction. JW: Have you always wanted to dance? NT: No, I was very shy. My mother took me to a small school, and I was too shy to try. But I made friends who danced and tried it out, and I immediately fell in love with it. It was a very small studio, and for a long time, I didnāt even participate in performances. I was like a shy kid, so I didnāt think I would like being on stage, I just wanted to have some time with my friends, mostly. But then my teacher insisted, because everyone else was performing and entering competitions. So, I did my first competition. I donāt remember how old I was, but that really changed it all for me. JW: Did you feel less shy once you did that? NT: (Laughs) I was so nervous before going on stage, and I felt sick, you know, feeling the pressure. And then as soon as I stepped on stage, everything went away, and I was just in the happiest place. And I really felt then that this is what I want to do. And you know, it was the best feeling. So, from then on, it was like a switch turned on. I was so into ballet and performing, and I was working hard every day to give a good performance. JW: So, when you found yourself on stage, not being shy, when you were not on stage, were you still shy in other situations of other people? NT: Yes, yes, for sure. I would not be shy with friends I knew, but Iāve always been very shy in new situations and when meeting new people. Iām always very quiet, but performing on stage is the most freeing experience. JW: You had me when I saw you first step on the stage. I knew I was seeing something very special. Was there ever a time when you thought you would like to do something other than dancing? NT: Yes. I went to my very first professional ballet school in Canada, and it was very strict. I got to dance a lot. And it was great for sure, a great training for me, but it was super tough as well, especially being away from home, spending 24 hours every day with my classmates. Each year after exams, the number of classes got smaller, and it was a very competitive environment, and at that point, it started to feel like I wasnāt enjoying dance anymore. It was more like competing with each other, just so focused on the numbers from our evaluation that really didnāt matter. Itās not the schoolās fault either, because they did try to tell us that. You know, itās not about the numbers. There are comments, too. I remember not focusing on the comments but focused on the numbers and comparing my numbers to my classmates, and that was very hard for me, and I felt I couldnāt achieve in this profession. JW: How old were you when you went away to school? NT: Thirteen until nineteenāsix years. JW: What made you reconsider and commit to a ballet career after having doubts? NT: So, I decided that I wasnāt going back after my fifth year, I told myself that Iām going back home to Japan to university and focus on academic studies. But then somehow, this ballet teacher, not my primary ballet teacher, would sometimes come to our studio and teach and make choreography for us to perform, maybe once in two years or something. He heard about my stopping dance and reached out to me. And he basically convinced me that, you know, itās too early for me to decide that, and I should maybe try a little longer, because he thought I really loved this profession. NT: Yeah, I spoke no English when I first went to Canada by myself, and I had no classmates who spoke Japanese. So, it was hard. But also, because I was so young, and, you know, ballet language is mostly French, which is very much used in Japan as well. So, I could completely understand the terminology from the ballet class. And so that wasnāt really too hard, taking ballet class, and the teachers were very understanding. I could somehow understand their corrections. I felt like all the friends around me didnāt care that I didnāt speak perfect English, and I made friends just fine. The language wasnāt really that much of a problem for me. Everyone was very nice to me all the time. JW: What was your first professional role, and what do you remember feeling as you stepped on stage for that debut? NT: My very first job was with Ballet Arizona. It was an outside performance, like a free performance, to bring new people to watch ballet. So, itās a more casual performance. We danced a classic Balanchine choreography with an all-woman core that was so powerful, and every dancer got to dance a lot, and I loved that ballet. But thereās the first entrance with a group of women on stage that immediately starts with a big jump. And because Iām short, I always tend to be at the very front on the stage. When I took my first step onto stage, I completely wiped out. Iām on the floor, and I have to just keep going. And I was just so embarrassed, and it felt like, I just, you know, everything ended at that point. My very first performance, and I knew my career was over. But after the performance, a principal dancer in the company came up to me, and she was so kind to me. She told me how that happened so often in a professional career. And itās nothing that I should worry about. And you know, itās nothing to be embarrassed about. It just happens that thereās this live art. That really made me feel better. JW: Is there a role especially meaningful to you so far in your careerāand why? NT: My favorite role? This key role of Kitri that I just did for Don Q. It has definitely become my favorite role so far. It was such a big moment for me, and I love the style of dance. Kitri felt so natural, and I could relate to her, and just dance from my heart. But I also love Balanchineās Rubies, and I got to dance with Gavin. That was a very fun role that I love dancing as well.
JW. I have seen you and Gavin Abercrombie dance together quite a lot. I was surprised he was not your partner in Don Q. NT: I love dancing with Gavin. He is definitely my favorite person and partner. But Devon Carney, our artistic director, paired me with Josh Keisel. I have danced with him often in the past, in Nutcracker when I was Sugar Plum and he was the Cavalier, Giselle, and other pas, and I am familiar and comfortable partnering with him.
Joshua Kiesel performing Devon Carneyās Nutcracker with Naomi Tanioka Don Q is a full-length ballet. So, you know, definitely the biggest of the things weāve done, and I really enjoyed partnering with him. I trust him very much, and what I enjoyed the most, especially for Don Q, are the big partner sections. But compared to other classical full-length ballets, itās more of dancing side by side, more than turning me, lifting me in the air, or placing me. Half of it is dancing side by side and always having that connection. Itās more about taking each otherās energy and making it a cohesive relationship. So, I think what made this work, what made Don Q work so well with him, was that he just has this burst of energy. The role Basilio was made for him. Josh is so great at these explosive tricks and just giving, you know, owning it, and having that fiery Spanish playerāhaving his energy. It translated to me, and I think that was what worked particularly well in this ballet. JW: Are there any dream roles you still hope to dance one day? NT: To be completely honest, Iāve never, I shouldnāt say never, but through my career, at some point, Iāve kind of given up on wanting to do principal roles in a ballet. Iāve made peace with myself, dancing for the ballet for the rest of my career. I would still be happy being on stage and dancing. So, I kind of stopped expecting dream roles. It kind of helps me not to feel disappointed. I donāt really have anything I have to do before I end my career, just kind of, whatever comes to me, Iāll give my 100%, and hopefully I enjoy every single moment of it. And thatās what I do. I love all the classical ballets, and I honestly dream of doing anything, like Giselle, Romeo and Juliet, and Swan Lake. Itās been a dream since I was very little. I would be so honored to get to do any of those roles. JW: I know you, and I know your humility. I know your generosity, and you still get great roles anyway. Iāve seen you in so many beautiful roles. So, I think you know that being comfortable, being in the core, being happy dancing, just no matter whatās happening, has brought a lot. Is there a choreographer youāve especially connected withāsomeone whose process or vision resonated with you? NT: I love all the Balanchine ballets. I never got to do them until I came to the United States and Ballet Arizona. I felt so powerful dancing each of his pieces. But I donāt have one specific choreographer that strikes me as Iāve enjoyed all the choreographers Iāve worked with. JW: Whatās been the most challenging physical, emotional, or mental obstacle in your career? NT: Um, yeah, I think itās hard because, you know, in this art form, we have pretty short careers, and itās so subjective. Thereās nothing that determines if you can do this step, if you have this much cardio, this much stamina, to get a role you are hoping for. I feel, I really, truly believe that every single dancer is capable of doing a principal role. Thereās always someone who will love you as a dancer, and thereās always going to be someone who wonāt like your dancing. So, you need to just focus on yourself. And do it for yourself. Do it because you love the art form and you know itās so hard not to feel like youāre not enoughāthat youāre not cut out for this profession, because it is subjective and thereās no guarantee in your position, and so thatās very challenging mentally. And itās a process too, that even if you are doing the principal role and you know youāre valued, the process can still make you feel like youāre not enough. Itās hard to know that for yourself and always try your best in every situation. But at the end of the day, you just have to focus on that and do it for your love and the art form, not for every little thing you can focus on.
Naomi Tanioka and Gavin Abercrombie JW: How do you stay physically and mentally ready for the demands of your roles? NT: Yeah, physically, especially in a company like ours, weāre not always doing a classical ballet. Weāre sometimes doing a contemporary rep and sometimes doing a rep without any pointework, and then go into something super classical. Itās important to always train your body, no matter what, even if weāre having an easier rep. If Iām doing more contemporary, less pointe shoe work, I need to make sure that Iām doing more pointe work in class and maybe even outside of class, so when your workload is more, your body can still take it and not be in shock. For me, mentally, itās taking care of myself. Outside of ballet, I think itās important to take time and not be consumed by ballet. Itās hard not to think about work all the time. Right now, Iām in the middle, somewhat elevated by foresight, to watch a million videos online. I can watch them foreverādifferent dancers doing the same ballet. I can do that all day long, but I need to have time away from that and just spend time with my dog and Gavin. We go on walks and shop. I like sewing. This has been a hobby of mine for 10 years, maybe more. It takes my mind away from everything elseālike a meditation. When my brain goes blank, I can just work and use my fingers rather than overthink everything, I guess. JW: How do you approach nutrition and wellness to support your dance? NT: Iāve gone on a roller coaster trip with this, and at one point in my career, I cut out gluten and restricted myself from processed foods, going as natural as possible. Or, you know, Iāve been on quite a few different diets. I find the best diets are for athletes. And after going through all that, Iāve realized, you know, I was adding so much stress to my everyday life. And stress is the worst thing for me. Eating out sometimes, or eating bad foodsāI try not to think about all that. And, of course, I like cooking. I cook my meals most of the time, honestly, mostly to save money more than a health reason, but I try not to overthink so much on, you know, perfect diet, and just listen to my body and my soul and what I need in those moments and just try to be as free as possible. JW: On another topic, have you and Gavin danced Romeo and Juliet together? NT: We have not, but I would definitely love to do that one day. That would be a dream, because this is a personal one.
JW: It seems like you have met your personal Romeo. Do you care to elaborate? Do I hear wedding bells in the not-too-distant future?
Gavin Abercrombie, principal dancer at Kansas City Ballet, with fiancĆ©, Naomi Tanioka. NT: Yes, May 31 is going to be our wedding day. And itāll be in his parentsā backyard in California. Itās just going to be his immediate family and my immediate family, and maybe like a couple of friends, but itāll be like a 15-person party, and very, very small. JW: When audiences reflect on your career, what do you hope theyāll remember about you as a dancer? NT: I think I just want to show my love and joy for dance, and thatās all I ever wantāfor the audience to feel my deep love and joy for dance. JW: Is there something about youāon or off stageāthat might surprise people? NT: I definitely try to keep my positive, happy face on during work, but I am a stress bomb. I worry about everything so much, and Iām always so anxious and Gavinās the only guy that has to do with that side of me, but itās Iām, yeah, I can have bad days, but I always try to remember that, you know, this is all worth it, and this is what I love to do. JW: What is your favorite trait in a person? NT: Compassion. Someone who can take whatever you have and just sit with you and feel with you. JW: What is your least favorite trait in a person? NT: Self-centered. Thank you, Naomi Tanioka, for sharing your thoughts and dreams with me. My column is devoted to all those folks on the Other Side of the Curtain who make it rise and thrill audiences. You certainly know how to thrill every time.
Check out Kansas City Ballet
Melissa Hamilton
Melissa Hamilton - Dante Project
1, From the beginning, what first inspired your interest into learning to be a Ballerina? I loved being able to apply myself so fully to something. A challenge for both mind and body. 2, How did you find learning the art of Ballet, was it quite challenging or did it come quite natural to you? I would say I am still learning the art of ballet and always will be. It is a beautifully consistent challenge that provides never ending growth and development if you pursue it. 3, Can you tell us your feelings and emotions before, during and after a performance? Each performance gives a completely unique experience. There is a sense of anticipation on a performance day and my energies are normally channeled with the show in mind. During a performance I aim to be focused and present - this is how I find I get most enjoyment and fulfilment out of what is happening on stage. After a performance, I am usually filled with adrenaline making my emotions heightened. It usually takes some time to get to sleep after a show. 4, In terms of performance what Ballet have you found the most pleasure in performing and also what one have you found the most technically challenging? Iāve had so many memorable experiences from performances but dancing the role of Manon never fails to give me an emotional rollercoaster and I look forward to revisiting this ballet in March 2024 at the Royal Opera House. The role of Odette / Odile is most definitely a technical mountain and also Nikiya from La Bayadere - the challenge of being the pliant and dramatic temple dancer in the first act to transform into the pure classicism of the Shades in Act 2 is a great challenge. 5, What are the Ballet Companyās other than, of course your own, do you admire and why? I think there is a wonderful sense of class, elegance and refinement in the Paris Opera Ballet, musicality and excitement in New York City Ballet and technical prowess in American Ballet Theatre. 6, What is your opinion of Modern / Contemporary Ballet and the Ballet Companies and Choreographers that produce such work? People who are seeking to explore new ideas and make new work, coming from a need to transmit their creativity can never be at fault in my eyes. New work always makes for compelling viewing because it is something fresh for the eye. 7, Who in the past and present do you admire in terms of Ballerinas, Choreographers, Teachers, etc.? In the Royal Ballet there is a real sense of heritage and knowledge has been passed down through generations. When we are staging productions there is always a lot of care to deliver the piece as authentically as possible - so we will usually have stagers from the different trusts come in who are wonderful to work with. i.e., Ashton, Macmillan, and Balanchine trust to set the ballets. We are also lucky to have Wayne McGregor and Christopher Wheeldon in house quite often for creation and re-staging of their pieces, both of whom I have worked extensively with throughout my career. I travel often and perform alongside international ballerinas in my career. Working closely with dancers from all over the world has kept my vision open and inspired to the varying styles alive within our art form. Each admirable in their own unique way. 8, Is there anybody or Ballet company, that you haven't worked or performed with, in which you would like to work with in the future? The ballet world is huge and there are too many people that I havenāt had the privilege of working with and I love new experiences. I really would love to do more of William Forsytheās work having only performed his Neue Suite, guesting with Semperoper Ballett. 9, How do you see the future of Ballet, in terms of its appeal and participation in the world today? I think, for our art form to survive and thrive, it needs to be able to adapt to the current expectations and taste of the audience. That said, we must not lose the fact that there is an irreplaceable special connection created between performer and audience during live performance that we must fight to uphold in an ever increasing āon-line world.ā Yes, we need to make what we do accessible to wider audiences, but also actively seek ways to encourage people to still come into the theatre to experience dance live. 10, What has been, in your career to date, a highlight that you most remember and are fond of? I have been very lucky to have had the opportunity to perform with Roberto Bolle around the world but in particular multiple times in the epic Arena di Verona. Two stand outs there for me would be a performance of Kenneth Macmillanās Romeo and Juliet Balcony pas de deux with him and this past summerās performance which was hit by a huge storm. We embraced the elements and continued performing Carmen pdd by Amedeo Amodio in torrential rain and thunder and lightning - an experience I shall never forget.
Dancer of the year!
STEVEN MCRAE
PRINCIPAL OF THE ROYAL BALLET