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?
I’ve 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 Company’s 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 haven’t had the privilege of working with and I love new experiences.
I really would love to do more of William Forsythe’s 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 “on-line world.”
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 Macmillan’s Romeo and Juliet Balcony pas de deux with him and this past summer’s 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.