Life at Ballet School

As a young dancer, I found that the dream to which we aspired was shrouded in mystery- yes, we all want a vocational school place, yet it is often unclear as to what life at ballet school actually involves. So, I thought I would share my daily schedule, and what I get up to during my time at Ballet West. Unlike most schools, our timetable changes on a weekly basis, so it can be quite varied- last half term, we had about 24 hours of classes a week, whereas this week we've had 35. We have an hour and a half ballet class every morning, starting at 9, so we are expected to be in the studio for 8.30 to warm up. Then after ballet, we have another class, lasting an hour, such as contemporary or choreography. We have conditioning 2 or 3 times a week- a general conditioning class, then a ballet related one. Also, there is a written anatomy exam which we are required to pass, so once a week there is an academic lesson to focus on that. We don't have a set lunch break, we simply have breaks throughout the day so can decide for ourselves when to have lunch. In the afternoon we have a few more classes- so usually 5 or 6 hours a day- such as pointe or pas de deux. Once a month is "Jazz Week" when a guest teacher comes in to teach jazz- his name is Jordi, and he is incredibly enthusiastic!!! 

In the evenings, we often have rehearsals for choreography assessments, we have also recently started rehearsals for our tour of The Nutcracker. On Saturdays, we usually have an RAD class, followed by rehearsals. There are no classes on Sunday's, so we get the day off, to relax and prepare for the next week! 

Audition Advice

As the summer draws to a close and the autumn leaves begin to turn golden, many young dancers frantically consider the next step in their careers; auditions for vocational ballet school. A year ago, I too was stepping into that wonderful whirlwind of applications, auditions- and finally, a coveted ballet school place. Having frequently endured auditions and rejection letters, I thought I could share some advice regarding the audition adventure.

1. Do your research. Know what schools you want to apply to, what their requirements are, and what application photographs you will need. A spreadsheet can be handy for keeping track of things!!

2. Be realistic. Unless you're an Associate or already in vocational training, the chances of getting a place at the Royal are quite slim. But also, be realistic about finances. Consider limiting how many auditions you attend, but also, make sure you can afford your vocational school place! Some ballet schools, such as Northern and Tring, have Dance and Drama awards (DADA's) which can cover your tuition fees and maintainance costs- Lower Schools such as White Lodge and Tring have MDS (Music And Dance Scheme) funding. Other courses, such as Ballet West, and the Royal Conservatoire of Scotland, are degree accredited, so are eligible for student loans. Some schools, such as London Russian Ballet School, or Ballet Theatre UK, offer scholarships and bursaries. So consider what is affordable for you!

3. Added Extras

Most schools offer RAD exams; Northern Ballet School offer DDI teacher training, Ballet West offer a BA Honours degree. Consider what you want from your training- it's always good to have a backup plan, know what you want to do just in case you can't get a company contract at the end of your training!

4. Sort your forms and photos.

This is where organisation is key!! Make sure you know exactly what poses are required for your photos- different schools require different poses- and ask your teacher to help you to get them exactly right! Also, be aware that some schools require references from your academic and/or dance teachers- which is why it isn't a good idea to leave it until 2 days before the deadline (which I have done several times previously- whoops!!!) 

5. On Audition Day;

Try not to be nervous! Yes, I know that's easier said than done, but remember that you are well prepared, you have done as much as you can, and now it's your time to shine. Going to as many auditions as you can will help you learn to relax so that you can dance as well as possible. It helps to have a "practice run" audition, for something such as an associate scheme or youth ballet, where there is less pressure so you won't be quite so stressed! As funny as it may seem, my "practice run" audition was for Royal- I knew I wasn't going to get in, so simply viewed it as an amazing experience- which it was! 

It is natural to feel nervous before any audition, especially for the schools that you particularly want a place at. Some auditions I was quite calm about, but with others, I couldn't sleep for weeks beforehand as my mind became consumed with thoughts of the audition!!! Try not to over think it or put too much pressure on yourself! 

On audition day, make sure you leave yourself plenty of time to get to the venue. Have spare tights, hairpins, hairnets, ballet shoes, pointe shoes, plenty of water & a snack with you.

For most auditions, you have about half an hour to warm up beforehand- I found it helped to be ritualistic; have a set, familiar warmup, and listen to a calming yet motivating playlist. Think positively; you are going to succeed! Breathe deeply, and smile!!

6. In the Audition;

Listen carefully to what is being asked of you, and do your best to do it precisely, even if it is a new step, or a different way of doing something. It is normal to feel apprehensive about certain parts of the audition- I was always terrified about the adagio and pirouettes, I felt certain that I was going to fall flat on my face!!! This is where positive imagery is useful; visualise yourself doing the steps well, remember a time in class when you felt on balance and in control. You can do it!!! But at the same time, no audition will ever be 'perfect' so don't expect it to be! You will have a far heightened awareness of your mistakes than you usually would have- don't be discouraged if you make a mistake, the panel might not have noticed! Move on, focus on the next step, you can't change what has happened! 

7. The Wait for Results

If you thought the week before the audition was stressful, the few weeks after will be doubly so! (I'm joking.... I think....) instinctively you will want to analyse every tiny mistake that you made- don't! What's done is done, you can't go back and change it! And if it is a 'no' this time, don't give up! If you really want to succeed, you will stay determined, stay focussed, and try again next time! Good luck!!!

The Snow Queen

To conclude a delightful half term of private lessons, learning the advanced 1 syllabus under the meticulous tutelage of my amazing teacher Miss Kaye, I was eager to see the opening night of Ballet Theatre UK's "The Snow Queen".

I remembered seeing the company dance Snow Queen back in 2011- as a young dancer just starting out on my journey of learning ballet, I was delighted to be allowed backstage after the show, where I met Natalie Cawte and Kazuka Oike; I still have the programme that they signed for me. I knew that the company had changed somewhat since I saw them dance Swan Lake last year- Natalie, Jessica and Julia had moved on to other work- so I was eager to see how the new dancers had helped the company to evolve. Nonetheless, it was also pleasing to see familiar faces again- Clair Corrubble made an imposing Snow Queen, her effortless command of the stage and stunning facial expressions reminded me of how she dazzled as Odile in Swan Lake. 

Gerda was danced in a captivatingly playful manner by Sarah Mortimer, whose clean technique and excellent artistry made her a joy to watch.

In Act 1, the Peasant Pas de Trois was danced by Grace Carr, Emma Miller and Robert Noble- seeing it brought back fond memories of learning the solos at BTUK's summer school in 2014! Grace, a Central graduate making her debut with the company, demonstrated neat footwork and pleasant artistry, although seemed a little nervous at times. 

In Act 2, Charlotte Eades shone as a Flower Soloist, her elegant upper body and ports de bras complimenting her excellent artistry and innate musicality. She later showed a more comedic style as the mischievous Princess, working well alongside David Brewer, who likewise demonstrated stellar technical ability but also fabulous characterisation and personality. 

The costumes sparkled glamorously, ranging from Sleeping Beauty fairy-esque tutus for the Flowers, to ragged Gypsy dresses; the relatively simple yet effective set design and staging gave the ballet a definite sense of professionalism. 

There were many young children in the audience, all of whom seemed captivated by the delightful choreography and easy to understand storyline- Ballet Theatre UK are definitely succeeding in inspiring the next generation of young dancers, and I am looking forward to seeing their premiere of "Pinocchio" early next year!

Half Term!!!!

I am currently waiting in Glasgow airport, to fly home for half term! Overall, I think my first half term at Ballet West has gone well, although I have missed home a lot! The highlights for me have been repertoire classes- a guest teacher, Kate Hazelby, came to teach us corps de ballet work from La Sylphide. Also, I was chosen to participate in a photoshoot to promote Nutcracker tour- I was dressed as one of the mice, which was fun!! 

Our first choreographic assessment was yesterday; I choreographed a modern contemporary piece called "Fragments" based upon the image of a shattered chandelier- I really enjoyed being able to create work on my peers, I worked with Jordan and Joey who are both incredibly talented! 

Settling in

I have just finished the first two weeks of classes at Ballet West, and am glad to say it is going well so far! We have only had 4 or 5 hours of classes per day, so a nice gentle start. Although every day included a 90-minute ballet class, we have only done barre work, in fact the first week's ballet consisted only of plies and tendus- it's fascinating to go right back to the basics and really refine the fundamental aspects of our technique. Our ballet teacher Daniel Job is excellent at explaining exactly how to do each movement, focussing upon the physical sensation of the movement. He puts a lot of emphasis on posture and flat turnout, which has already helped me to see a change in my physique, as we develop a 'ballet body'. In addition, we have studied pointe, jazz, contemporary, pilates, choreography, conditioning, RAD and pas de deux. I particularly enjoyed the pas de deux class, as it's something I hadn't studied previously- I partnered a 3rd-year boy named Owen, who was excellent at instinctively knowing exactly how to get me on balance and to relax so that the movements looked effortless! I thought that promenades in arabesque en pointe would be quite difficult, but Owen helped me to feel secure in the movement and strongly hold the arabesque.
I also enjoyed the choreography classes; our first assessment is in October, we have to choreograph a duet for 2 dancers, but it has to be modern contemporary, rather than ballet, which will be quite a challenge! We are learning a variety of choreographic techniques though which will definitely be useful.
I think the best part about being here is feeling that I belong- being in the studio by 7.30 each morning, to warm up for 8am class doesn't feel like a chore, but rather a privilege; we are so lucky to be taught by amazing teachers, and to be dancing practically all day every day! Being in the highlands of Scotland does feel a million miles away from the big cities, but at the same time its as if i've stepped through a portal into a parallel universe where the world revolves around ballet! Perfect!!!

Intermediate Ballet

At the start of the school summer holidays, five weeks ago, my ballet teacher asked me "So what are we going to do over the summer?!" I had an idea, but didn't want to sound ridiculous by suggesting it. Luckily, she knew exactly what I was thinking, and grinned determinedly as she said "How about we get your Intermediate exam done?" When I started ballet, five years ago now, the teacher id had put me in an Intermediate Foundation RAD class, then quickly moved me up to Intermediate when the rest of the class moved up. Unfortunately, I wasn't really given corrections, so when I started at Rochelle ten months ago, I had been studying RAD intermediate for 4 years but still wasn't particularly at Intermediate standard. Miss Kaye was horrified by how my previous teacher had never really 'taught' me anything, but was incredibly determined to help me to improve my technique. We did a lot of non syllabus work, refining the basics; I did grade classes en pointe- I found that I could learn a lot just by watching how the grade 2 and 3 students danced, even though they were several years younger than myself.

In June I did my Classical Award 2- I passed with Distinction (88%), which gave me a lovely, much needed confidence boost. 

Learning the Intermediate work so quickly was a challenge, but Miss Kaye kindly allowed me to use the studio to practice whenever I wanted- often, I would have 3 hours of private coaching in the morning, then practice by myself, working on my corrections for a further three or four hours. It definitely made the summer holidays this year very special- there is just something so magical about having private lessons, and finally seeing a bit of progress!!! 

I did my exam on August 24th- the week prior to which, I had been on a family holiday to Menorca, so I was a bit stressed that I'd only really had a month to learn and practice all the syllabus!!! I don't usually get nervous about exams, but knowing that I was the only candidate in the exam (therefore if i forgot the enchainement I wouldn't have anyone to copy!) made it seem incredibly daunting. The night before the exam, at midnight I was still going over my syllabus notes.... I wasn't the only one having trouble getting to sleep though- Miss Kaye told me that she had had a nightmare, and dreamt that I turned up to the exam with my hair in a stiffly curled blonde perm!!!!

On the morning of the exam, I felt sick with nervousness, but Miss Kaye was wonderfully calm as usual, reminding me that I'd be fine as long as I danced as well as I'd done in my private lessons. "Don't go whacking your legs up too high, placement and control is more important!!"

Another young Rochelle student was going to the exam too, to do her Grade 3- she was incredibly hyper and giggly, which was a cute distraction from how apprehensive I was feeling! I felt as if I was going to forget the entire syllabus!! But once I was in the exam it was fine- although I did make quite a few silly mistakes, which I was annoyed about! Nonetheless, Miss Kaye and I were both incredibly relieved after the exam- even though when she asked me how I thought it went, I promptly reeled off everything that id messed up on, until she playfully said "okay shut up now, I don't think I want to know any more!" I wasn't overly pleased with how I'd done, and thought that I'd be lucky to scrape a low Merit, although it was nice to have finally just done the exam!

I got a text this morning from Miss Kaye, to say that.... I passed the exam with 86%, Distinction!!!!! I am so incredibly happy, and grateful to Miss Kaye for all that she has taught me ❤️

The Adventure Begins!

At last, the adventure begins!' Today, I moved into my new home; Ichrachan House, Taynuilt, and on Wednesday I start classes at Ballet West.

Of course, I was sad to leave home- especially leaving Rochelle was hard, although I'll be back at half term!!- but I know that I belong here, I know that at last I shall be happy, because I'll be dancing all day every day, finally having the opportunity to pursue my dream!

Miss Kaye

Once or twice in a lifetime, we might be lucky enough to meet someone who will change our world forever. A year ago, I was beginning to accept the fact that I was never going to succeed as a dancer, and was wondering how much longer I would last before accepting that some dreams simply are not destined to come true. Then, I met Miss Kaye. As I have mentioned in previous posts, I haven't always had a positive experience with certain ballet teachers, but Miss Kaye was different. She was mortified that my previous teachers had barely corrected me, leaving obvious flaws in my technique- but, unlike them, she was determined to help me. Over the past year, she has given me a lot of private coaching- the only thing getting me through dreary days of A-level studies was the knowledge that in the evenings when I was in the studio, I would at last be able to learn, from a teacher who genuinely cared about me.

It's hard to pinpoint exactly how Miss Kaye changed my life so much.... Perhaps simply knowing that she believed in me, and wanted me to succeed, was what gave me the confidence to keep going. 

She helped me to see my flaws in a positive way- yes, I lacked turnout, (or, as we later discovered, I have almost flat turnout but had never been taught to use it!!) yes, I held a lot of tension in my shoulders at times, and had neglected purity of line in favour of what I had naively assumed was artistry.... But these problems could, with a lot of work, be rectified, and Miss Kaye, unlike other teachers, was determined to help me to achieve my potential. 

One of the most important things that she taught me was to relax, and to appreciate the joy of dance. I have learnt to not fixate upon loathing the figure in the mirror, instead focusing my energy on expressing my passion for dance, with the ability to logically reflect upon my progress, and set realistic goals to achieve. At last, I am able to watch video footage of my ballet, without cringing and losing my confidence! Miss Kaye helped me to realise, that at times, yes some steps I dance, some enchainements, some entire pieces of choreography look crap- but the whole point of being a student is to learn, and to improve! Occasionally, I would dance an enchainement, knowing that my turnout was awful or my musicality had vanished, and admit as soon as I had finished "That was bloody awful wasn't it?" To which Miss Kaye would laugh, agree, then say "So what are we going to do about that then?!" She somehow instinctively knew when to challenge me- she wouldn't hesitate in having me dance the same enchainement ten times over until it was perfect, pushing me just far enough- but if I was emotionally exhausted, she always knew exactly what to say to help me rediscover my own inner strength and determination.
Whilst most teachers would discourage makeup, Miss Kaye helped me to discover a sense of glamour- she encouraged me to wear pretty nail polish- in particular, we like burgundy- as having long, neat fingernails finished off my arabesque lines nicely! And she especially liked my vivid red lipstick; as ludicrous as it sounds, I think I definitely dance better when I'm wearing makeup, as I feel more glamorous!!!

At the beginning of the summer, for whatever reason she was delayed in getting to class; a group of hyper 8 year olds were beginning to wreak havoc in the studio. Instinctively, I clapped my hands to get their attention, and said "Okay, warm up. In a circle, 8 skips, 8 gallops on the right....." Ten minutes later, Miss Kaye apologetically arrived, looking flustered- but grinned when she saw her Grade 2 class sitting neatly in the splits. I expected her to take over at that point, but she  invited me to continue teaching- having had no preparation time whatsoever, the class that I improvised for them wasn't exactly ideal- but they seemed to enjoy it nonetheless. By the end of the lesson, all of the children were smiling- and I had discovered a definite passion for teaching. For the next five weeks, I taught the Grade 2 classes; the children's slow but determined progress gave me the greatest joy imaginable, and has inspired me to pursue a teaching career after my vocational training. 

I am so, so incredibly grateful to Miss Kaye for all that she has taught me, and I look forward to returning to Rochelle some day!! <3

Billy Elliot!

On Tuesday, I celebrated my 18th birthday. It feels strange to be an "adult"- I'm still as childish as always, but then again pretending to be sensible is boring!!! 

To my joy, Mum revealed that in the afternoon we were heading to London, to see Billy Elliot! (But first, in the morning I of course had my private ballet lesson; we worked on a couple of lovely grand allegro enchainements!)

Also, I had time to visit dad and his family, which was lovely because I got to see my elderly great grandma, who I'd not seen in quite a while!

Upon arriving in London, we travelled to our hotel on the underground- poor mum hasn't been to London as frequently as I have, so was somewhat baffled- after we'd brought her an Oyster card, she peered around like a curious child; luckily I knew exactly where to go!!!

The Cavendish hotel was beautifully luxurious; after an amazing dinner in a restaurant overlooking Fortnum & Mason, we headed to the Victoria Palace theatre. It was smaller than I had expected, but completely packed nonetheless! The opening song, "The Stars Look Down", was charged with energy and emotion, powerfully expressing the plight of the 1984 miners' struggle against Thatcherism. It had a similar effect on me to the Swan Lake overture; already I felt emotional, anticipating what I could sense was going to be an utterly incredible performance.

I thought the staging was incredibly clever, for example in Mrs Wilkinson's ballet class scenes, the miners often stood at the sides of the stage, singing "Solidarity", to portray how their struggle never ceased. The young girl playing Susan Parks had excellent charisma, stage presence, and a natural ballet physique. Unfortunately, photographs of the ballet girls were not given in the programme- which, nonetheless, was a luscious 48 page souvenir, filled with interviews and dazzling images, all for just £6 (take note, Queensland Ballet!!!).

Expressing Yourself became a truly vivacious showbiz number, complete with excellent tap dancing from Nat Sweeney, and ????? As Michael. The musical flitted rapidly between moments of brilliant comedy and touching sensitivity, as in the next scene, Ruthie Henshall displayed a heart-rending motherly affection for Billy as they read his mam's letter.

The second half opened with "Merry Christmas Maggie Thatcher"; a strong sense of irony and loathing clearly resonated through the lyrics! When Dad went to visit Mrs Wilkinson, the Christmas feel was emphasised by a beautiful snowfall, which reminded me somewhat of the Nutcracker snow!

As far as staging is concerned, it excelled beyond any other production I have ever seen. From neatly crafted backdrops that covered the entire upstage prosce 

The highlight of the second act, for me was the iconic "chair twirling" scene in which Billy dances with his older self- whose autograph I managed to get after the show! At one point, Billy flew magnificently across the stage in a harness, spinning so fast at such a height that I felt sorry for the poor young actor, as he must have felt awfully dizzy! 

I thought Billy's Audition scene was delightfully accurate; I empathised very much with Billy's last minute trepidation, "Dad! Dad I've changed me mind!" and his Dad's working class sense of unease, stood next to a snooty stereotypical ballet parent (luckily I've only encountered a few of those, most ballet parents are lovely but there are the occasional few who appear eager to intimidate!!) Also, when Billy pulled his solo music out of his pocket, to see the tape had unravelled itself, he swore, then swore again as though he was annoyed at himself for swearing, which gave a lovely lighthearted feel to the scene. I had wondered how the staging would portray White Lodge, however instead it was cleverly transformed to show the stage of the Royal Opera House...... As wonderful as it was to visit the Covent Garden studios for my Royal audition, it made me wish that I too could've danced on the Opera House stage! In the audition scene, one of the judges even resembled Mark Annear, who of course was on the panel for the real auditions! Also, when Billy and his dad were interview, they sat directly facing the audience, and the interviewers' questions were a recording, firstly implying that they were sat up in the gods, but secondly giving the vital sense of omnipresence and emotionally detached judgement that auditioners sometimes show. 

When Billy received his letter, he didn't tear it open immediately as I would've done (although his somewhat explicit reaction to seeing it, was exactly what I would've said too!!!), he instead took it to his room- which was incredibly cleverly staged; the staircase leading to his room rose up from beneath the stage, which allowed for effortless scene changes.

The musical ended with Billy leaving for White Lodge, as Michael waved him off and his dad headed back down the coal mine, which gave an uplifting sense of love; Jackie Elliot sacrificed his beliefs about the strike, and returned to mining, to earn the money for Billy to have his chance at life.

The entire theatre's standing ovation which remained throughout the curtain calls was deserved by every single cast member, who truly have their all, to inspire- and in the way that my first Swan Lake inspired me to pursue ballet, Billy Elliot made me glad that our curriculum at Ballet West also covers jazz, acting and singing- perhaps being in the ensemble of a west end production would be just as good for me to aspire to as being in the corps de ballet of a classical company!

The Car Man

The first Matthew Bourne show I saw was Sleeping Beauty. I had expected it to be classical ballet. Needless to say, the quirky neoclassical style took me so much by surprise that I was unable to appreciate the choreographic genius behind it.

Therefore, when a friend asked if I wanted to see "The Car Man" at Sadlers Wells, I was eager to give Bourne's creation a more open-minded viewing. 

Even from the back rows of the second balcony, the stage looked fabulous; the set portrayed a dingy 1960's America town, ironically named 'Harmony'. Interestingly, as the audience entered the theatre, the cast already meandered around the stage in character, which helped us to feel part of the action before the show began.

The piece was set to Bizet's "Carmen", upon which it was based. Unfamiliar with the storyline of Carmen, I found it difficult to follow the action, centred around love, lust and revenge. Nonetheless, Chris Trenfield really stood out as Luca, with excellent musicality and stage presence. Although I haven't done much contemporary work, I found the style very impressive; the dancers' energy and passion radiated right through the huge theatre. 

The scenery in Act 2 initially depicted a club, then switched impressively rapidly to the prison, where Angelo was wrongly imprisoned for killing Dino- when in reality, Luca was Dino's killer, as the latter slept with both Lana (Luca's wife) and Angelo.

The piece culminated in Angelo being shot dead by Lana, expressing the theme of lust and revenge. Although the piece was hard to follow, Bourne's choreographic gift clearly shone. 

La Sylphide

Flicking through my copy of Dancing Times magazine a few weeks ago, I noticed a competition to win a pair of tickets to see Queensland Ballet's La Sylphide. I entered, not expecting to hear anything back- alas, I arrived home from class one afternoon, to a letter informing me that I had won the tickets! 

Delighted, I arranged to go to the ballet, with my friend Lauren. To my dismay though, arriving at the station to get to London, I realised that my train had been cancelled due to industrial action! Luckily, there was another train, just over an hour later- which still managed to get me to London in time for afternoon class at Pineapple!

My first class was Advanced ballet; I enjoyed the challenge of the complex combinations, which were explained quickly. Doing the barre work on pointe was a lovely way to notice how my strength is hradually improving- I worked on demi pointe for the centre work though, as I wanted to focus on my pirouettes.

Next, I did an intermediate level class, for which I worked on pointe throughout. It was lovely to recognise a few professional dancers in the class; Julia Davies, who used to work for Ballet Theatre UK and taught at last year's summer school; and Corey Annand, an Elmhurst graduate who danced the role of Aurora in Midland Theatre Ballet's 2012 production of Sleeping Beauty, the first full length ballet I performed in. It was lovely to chat to Corey and Julia!

After class, I met Lauren at Zizzi to have dinner, before visiting the Royal Opera House shop (where I spent slightly more than I should've, on two beautiful books!)

Then, we headed to the Coliseum. We were both delighted that the seats allocated to us, courtesy of Dancing Times magazine, were row C of the stalls!! A very knowedgable gentleman sitting behind us- Mr S Tyler, of the Ballet Association- chatted to us before the show, educating us on the Bournonville style, and the life of Li Cunxin, the Queensland Ballet's Artistic Director.

It was particularly special for Lauren and I to be at the Coliseum; the last time we were there, we danced onstage together in an English National Ballet workshop.

The ballet began with Sarah Thompson's solo as the Sylph; she used her epaulement well in her neat courus, however it was interesting to note that her grands jetes lacked elevation, and her double pirouette in attitude was en demi pointe; I couldn't help but wonder if it should've been en pointe! Nonetheless, her beautiful feet and high demi pointe were used well throughout.

The fact that the Sylph was the only dancer to work en pointe in act 1 added to her ethereal quality; meanwhile, the other dancers, portraying James, Effie and friends, excellently handled the Scottish national dances, encorporating a lot of ballonnés and brisés to give a sense of lightness and elevation. The stage, adorned eloquently with grey furnishings and a red armchair, clearly set the scene of a Glasweigian Manor House.

I must give a special mention to the children; there was one tiny girl, probably no older than eleven or twelve, who danced the Scottish national dances with as much delightful ease as if she were a member of the corps de ballet herself!

The second act took place in a beautiful forest glade; for me the highlight was the Sylphs corps de ballet's beautiful work in a circle formation, and an adagio sequence, in which pairs of Sylphs faced each other, holding hands, to developpé; an effective use of an otherwise simple step. 

In James' solo, Luke Schaufuss demonstrated excellent use of the Demi plié, which aided his elevation in his neat batterie, however he appeared slightly off-balance in his double tours en l'air.

Nonetheless, all of the dancers gave an enthusiastic performance, accompanied spectacularly by the Royal Ballet Sinfonia orchestra.

Joffrey week 2

Why must time pass so quickly?! My second week at the Joffrey was incredible- it's such an honour to be taught by ex Bolshoi dancers, and teachers who have graduated from the Vaganova! I love the Russian style, it's so elegant (okay, I'll admit, I did spend most of the classes with the Russian teachers contentedly imagining I was a student at the Vaganova Academy!!!!) I also particularly enjoyed the dance history classes, it is fascinating to consider the evolution of dance. I made so many wonderful friends, it is lovely to be able to talk and never run out of things to say, because our worlds both revolve around dance! On my last weekend in New York, I went shopping on Broadway and visited Times Square, with my lovely roommate Alessandra, who was from Mexico.
I was very sad to leave New York, and hope to be able to go back at some point in the future! <3

ABT Cinderella

When I found out that Marianela Nuñez was performing in American Ballet Theater's Cinderella, I couldn't help but buy a ticket to see her perform!

Her artistry and sense of emotion in Cinderella's first solo seemed to make time stand still, as the entire theatre became absorbed in her beauty.

Isabella Boylston danced gracefully as the fairy godmother, with light, swift bourrees and delicate epaulement.

Despite cleverly crafted scenery, involving a flickering fire in the hearth, the technical aspects of the production were somewhat underwhelming. When the time came for her to transform Cinderella's pumpkin into a carriage for the ball, the Fairy Godmother playfully lobbed the pumpkin offstage; it was replaced from the wings by a silver carriage. Perhaps an onstage transformation would've been more exciting- something akin to Birmingham Royal Ballet's gargantuan growing tree in the Nutcracker would've given the ballet that elusive "wow factor".

The highlight for me, in the ball scene, was Gabe Stone-Shayer's spectacularly springy Jester; he displayed fabulous charisma and stage presence, as well as excellent elevation, with particularly impressive straddle jumps. 

At the ball, the corps de ballet danced in white tutus; my instinctive thought was of the snow in Nutcracker; I couldn't quite fathom the relevance of snow in a ballroom, until I looked at my programme, to see that they were not snow, but stars. Nonetheless, I didn't really see why stars would be in a ballroom either! 

A highlight of the final act was Nunez' double ménage of pique turns in her solo; she demonstrated incredibly impressive speed and control.

In the curtain calls, the entire theatre seemed to give a standing ovation- which beautiful Marianela certainly deserved. 

Swan Lake

On Saturday, I was incredibly lucky to see American Ballet Theatre's Swan Lake, with Isabella Boylston as Odette/Odile, and Danil Simkin as Prince Seigfried. 

It was so inspiring, knowing that the last time I saw Swan Lake, it was the middle of audition season, and I was desperately vying for a ballet school place. This time, I was in New York City, a summer intensive student of the Joffrey Ballet School- with a Ballet West place for September. I am so grateful to have such supportive friends and family- and the most amazing ballet teacher I could ever wish for- who help me to achieve my dreams.

Anyway! I particularly enjoyed the act 1 pas de trois in Swan Lake, and the entrance of the corps de ballet swans, as I knew the choreography for both scenes. The dancer who performed the first solo in the pas de trois had an interesting sense of musicality; she seemed to dance through the music on the opening section- echappe releve, attitude devant, derrière, entrechat six-  as opposed to using the counts and holding each releve.

I was delighted to see Misty Copeland- who yesterday became the first woman of African-American descent to ever become Principal of American Ballet Theater- dance in the Cygnets pas de quatre. Her stage presence was phenomenal; she danced with effortless strength and grace. It is so inspirational to know how Misty defied the odds; she doesn't fit the "ideal ballerina" stereotype, but she was determined to succeed- so she did.

Isabella Boylston's Odette had a beautiful sense of sensitivity and vulnerability, her first pas de deux with Seigfried was enchantingly delicate and emotive. Personally, I preferred her as Odette rather than Odile; in the act 3 pas de deux, her turns lacked the vitriolic dynamic of the black swan, and although she neatly executed the iconic fouetté turns in the coda, she travelled significantly, lacking the spectacular virtuosity of dancers such as Tamara Rojo or Miko Fogarty. 

In contrast, Danil Simkin dazzled in Seigfried's act 3 solo: his leaps had spectacular ballon, and he attacked the pirouettes with a vivacious sense of determination.

The ballet's ending was considerably more tragic than that of the Russian version; both Seigfried and Odette died in the lake, followed by Von Rothbart's demise, as unconditional love vanquished his evil powers. 

As the spine-tingling chords of the final theme played, an image of a slowly rising sun illuminated the backdrop, as the corps de ballet swans grieved for Odette and Seigfried, immaculately precise in their positioning. With no image of Seigfried and Odette reunited in heaven, the sunrise seemed despondent, bearing the truth that even love cannot overpower deceit and evil; life goes on, bearing no regard to human sorrow.

Nonetheless, although the ballet was deeply emotional rather than uplifting, it was phenomenally inspiring, to see one of the best companies in the world perform in such an incredibly beautiful theatre. 

Joffrey; Week 1

I have just finished my first week of classes at the Joffrey Ballet School in New York City. I feel so lucky to have such an amazing opportunity, the teachers are incredible and I feel like I'm improving already! Yesterday's teacher was an ex-Bolshoi dancer :D

It's been awesome to see New York too, (although I have to say, the Subway is a lot more confusing than the London Underground!!) so far we've visited Central Park and the Brooklyn Bridge, which was phenomenal! (I'll upload photos when I work out how to!) This afternoon, I'm going to see American Ballet Theatre's Swan Lake, which I'm super excited about! 

Ballet West

A few months ago, I auditioned via video, for a place at Ballet West, in Scotland. I really wasn't expecting a place at all- in fact I just wanted the rejection email to come quickly, so I could get over my inevitable failure and move on. 

Last week, I glanced at my phone, whilst modelling for a group of artists who were drawing portraits. I had a voicemail message from an unfamiliar number, so clicked on it to listen, out of curiousity. "Hello Sophie, this is Jean from Ballet West," oh please no, I'm surrounded by people, this is not a good time for a rejection, I thought desperately- yet couldn't quite bring myself to cut off the message. The voice continued "We are sorry to have kept you waiting, but I am calling you with the good news that we would like to offer you a place at Ballet West, for this September". The world seemed to stand still for a second, I barely dared to believe what I was hearing. To the shock and bemusement of the poor artists who were drawing me, I screamed with delight, feeling as if, at last, the entire universe was perfect. It felt entirely surreal- in fact it still does- to think that just as I had lost hope, my ballet school dream finally came true. When I received my official letter confirming my place at the school, it felt just like the scene in Billy Elliot, when Billy got his letter from the Royal!!

This week, mum and I went to Scotland to visit Ballet West. It  is in a tiny, sleepy village on the north west coast of the Scottish Highlands, called Taynuilt. The scenery is breathtaking, although we did get very lost attempting to walk from the station to the school, after nine hours on a train!! Luckily, a lovely lady pulled over in her car and offered us a lift to Ballet West. At the school, we watched a pas de deux class- the dancers were all very gifted, and it was lovely to see the trust between the students. Then, we met Gillian, who is the owner of the school. She is incredibly kind, and reassured mum that she takes very good care of all of her students!! Mum and I stayed the night in Oban, before travelling home- having made a definite decision that I belong at Ballet West!! Although moving away from home is a daunting prospect, I am already counting down the days until I start at Ballet West, it's all so exciting!

Meanwhile, I'm busy preparing for a trip to New York; I'm off to the Joffrey Ballet School summer intensive next week!!!!! :D

Exciting news!!!

I GOT A PLACE AT THE JOFFREY BALLET SUMMER SCHOOL IN NEW YORK !!!! :-D :-D

Just One More!!!!

Just as I thought auditions were over, my friend text me last week; "Joffrey Ballet are holding summer intensive auditions in London!!" Of course, the allure of a trip to my favourite place was irresistible (although tinged with the tiniest bit of sadness knowing that my last trip to Covent Garden, for my Royal audition, was filled with hope of a ballet school place, a hope that is now extinguished for at least another year).

I arrived in London (having successfully navigated the Underground!) and did a Russian ballet class at DanceWorks. I have always admired the Russian dancers, and adore the Russian style, however a negative audition experience involving a rude principal and a very strict teacher who spoke- or rather, yelled- in Russian throughout the class, had somewhat diminished my desire to learn the Vaganova style. I didn't really know what to expect in the class, but was pleasantly surprised by how lovely our teacher, Zina Mamedova, was. Zina trained at the Vaganova, danced with the Kirov, then became Principal of the National Ballet Theatre of Prague! 

We did a lot of barrework, focussing on building strength through slow, repetitive movements. The centre work was faster paced, with four lovely grand allegro enchainements!

After exploring beautiful Hyde Park, I travelled to Covent Garden. The spiral staircase to exit the station was a good warm-up; 193 steps! I visited all of the dance shops, before arriving at Pineapple Studios for the Joffrey audition. 

There were just seven of us in the audition (although as Joffrey tour worldwide for their auditions, I'm not expecting a place at all!); the man who taught the class was wonderfully enthusiastic, and gave some really useful corrections. He was particularly meticulous regarding alignment; for example in arabesque he didn't want us to pitch forwards at all (contrary to what I have been taught!); it was quite hard to adapt to the unique Joffrey style!

The pirouette enchainement was lovely; despite having not danced for 2 weeks over Easter, I managed a few triples, which I was very pleased about as I was expecting it to be a disaster!! 

During certain exercises I had to remind myself to smile, but in grand allegro I couldn't help but smile, as it felt as if all of my favourite steps had been put into one enchainement!

They said we'll hear the results of the audition within 3 weeks- although I'd absolutely love to go to New York, it isn't financially feasible, so I'm looking at summer schools in the UK instead :P

Audition Conclusion

I've completed all of my auditions (Royal, Northern, BTUK, London Russian & Hammond), and am very sad to say that unfortunately I wasn't offered a place this year. However, the past few months of auditions have taught me so much- independence, confidence, and most importantly, how to cope with rejection!! I have made the decision to study a BTEC Dance course at college, with the aim of auditioning for ballet and contemporary schools in early 2017. That seems like an eternity away!! But I suppose I knew all along that I wasn't ready for vocational school this year; within the next two years i hope to continue to improve my ballet, and increase my knowledge of contemporary. I also teach at my local dance school; there is nothing more wonderful than bringing joy to young children, giving them the gift of dance.

Ballet Theatre UK audition

On Sunday, I had my audition at the School of Ballet Theatre UK. I didn't feel as nervous as I thought I would- I knew that I had done as much as I possibly could over the past year in terms of improving my strength and stamina; it was my chance to show how much I've improved.

In the audition, I was asked to stand at the front of the barre, facing the panel- I was very pleased to be given such a good place! The class was taught by Elizabeth Haslam, the company ballet mistress. It went pleasingly well- my adagio and pirouettes were strong and controlled, a reassuring contrast to last year's disaster!!! In the pointework section, there was a simple couru en diagonale; having seen Swan Lake the day before, I felt like the queen of the swans! The only thing I was slightly disappointed with was a sequence of turns en pointe; three pique turns, one petit Soutenu, repeated three times through- the music was faster than I was used to, so I missed two of the piques on the left side... 

Next, we had a Contemporary class; the first part of the class consisted of beautiful leaps, turns and floorwork, expressing a beauty and freedom of movement that only a dancer could appreciate. Then, we learnt a piece of choreography; the choreographer, Emily Ayers, explained that the theme of the piece was "A demon representing all of the hatred in the world, trying to break free from the core of the Earth" so the piece was very dark and sinister, but I loved it!

After class, we had our interview and a physio assessment- I thought it went well, although it is hard to tell what the strange physical tests were looking for! 

They said the wait for results will be up to 2 weeks, which feels like an excruciatingly long wait....... In the meantime, I am busy preparing solos and monologues for my Hammond audition which is next week!!!

Swan Lake

Four years ago, I saw Swan Lake for the first time- it was that which inspired me to dance. The Russian State Ballet of Siberia this year toured the UK again, and I went to see Swan Lake, with my beloved grandad, who loves Tchaikovsky's music but had never seen a ballet.

Flicking through the programme, I was pleased to see that some of the Principals I had seen before, particularly Ekaterina Bulgatova and Margherita Noisik, were still with the company; Anna Aulle, however, is now a principal with the Stanislavsky Ballet.

Another thing that caught my eye was the photograph, of the company's headquarters in Siberia.

What is it, about that overture, that makes it so indescribably beautiful?! As it wanders and meanders its way through a million emotions- slowly building, like a volcano of passion, such that the air hovers still for a second, then, in a dynamic explosion that makes every atom of our being shiver with awe, it reaches its breathtaking crescendo.

And the curtain rises.

The lavish court scenes were danced with joy, the luxurious backdrop and costumes setting the scene perfectly. One thing I found interesting was how, in the male dancers' pirouettes, they articulated their feet slowly and deliberately through the tendu to 2nd, then *bam!* the foot hit a plie in 4th and the dancer effortlessly executed five or six flawless turns. However, their 4th in the demi plie was very, very open- it was as if he was in 2nd, but with one foot where it would be in 4th with the alignment of 2nd! Very flashy!

The Director of the Company, Sergei Bobrov, seemed to have edited the original choreography; after the Goblet Dance, the lights dimmed; Seigfried was poised in 2nd arabesque; was this the transition to the lake scene? Indeed, the spotlight that guided Seigfried through the opening steps of his solo seemed to shine like moonlight.... Von Rothbart, with the wings of a black raven in place of his usual sweeping cape, entered, to dance a duet with Seigfried- although neither character acknowledged or seemed to notice the other, and their movements were mostly contrasting, with some perfect moments of poised unison and grace. 

Then, Von Rothbart disappeared, and the court scene continued- although the villagers pas de trois was omitted. Interestingly, at the end of the court scene, the lights dimmed and Rothbart appeared again- as before, he did not interact with Seigfried as such, seeming to imply that, instead of going to the lake to hunt as in the traditional version, Seigfried was instead drawn to the lake by the black raven Rothbart.

I knew every step of the Swans entrance, having studied it in three masterclasses over the last few years!! Interestingly, in the temps leves in arabesque, the swans inclined their heads towards their arm, creating the shape of a swan nuzzling its wings, but sacrificing the purity of line that would usually be seen in arabesque- I couldn't quite work out whether I liked this new interpretation of the swans' mannerisms or not!

The Cygnets pas de quatre was sublime; they danced as if their minds and bodies worked as one, in immaculate synchrony, with precise entrechats and neatly articulated echappes.

In the second half, the National dances seemed to take longer than in other productions; I couldn't quite identify which nationalities were presented, but I particularly enjoyed the mazurka, and the vivacious Spanish princess solo.

Then, Odile entered, to deliver a spectacular solo which rivalled that of Miko Fogarty- the coda had not thirty-two, but thirty six fouettes, with doubles and triples effortlessly thrown in. 

The Prince's coda had the same music as Odile's, but at half the speed, as his jetes en tournant and ménage seemed to hover, suspended in the air.

As the Prince swore his undying love mistakenly to Odile, the lights glowed red- he realised his awful mistake, and rushed to the lake, where Odette and her swans grieved his infidelity. 

Seigfried battled Von Rothbart into the lake, and both were engulfed by its icy waters- however, this cathartic scene was disappointingly staged- the billowing 'lake' seemed to be a single blue sheet, beneath which Seigfried and Rothbart both noticeably exited to the wings- perhaps more material would've concealed their exit.

The final scene was phenomenal though; the orchestra were incredible; their music seemed to show Odette's grief as much as the movement did; at the curtain calls, I did wonder if it was acceptable to cheer or give a standing ovation!!!!

Northern Ballet School audition

My third audition was last Monday, for Northern Ballet School. I decided to ask my mum not to accompany me to the audition, as I wanted to be more independent; although I'd travelled to London alone, I had never been to Manchester, which involved 2 changes of train! When I was booking the tickets, it all seemed like a great idea- but at 4am on the morning of the audition, I randomly woke up feeling very apprehensive! (Luckily, I managed to get back to sleep for a few more hours!) 

Having travelled for three hours, almost getting on the wrong train twice and, due to delays having a crazy 3 minute dash to get off one train and onto the next, I finally arrived at Northern Ballet School. 

The day began with a performance from the students at the school. The Jazz piece looked very exciting, dynamic and stylish- but when they started their ballet piece, that persuaded me; I want to study here for the next three years. Their technical skill was evident, they also had excellent artistry and musicality- most importantly, they all looked so happy!

Next, we had a very informative talk from the Principal, Patricia McDonald. Then, it was time for the ballet class- we went to a beautiful studio to warm up. 

I don't remember the name of the teacher who led the class, but he was really lovely, ensuring we all understood the enchainements, which definitely helped me to dance as well as I could! 

 The class was quite simple- I was very relieved that the pointework wasn't too complicated! I get the sense that the school were looking for certain qualities, as we were asked to individually demi plie in first and seconde, tendu each foot, then show first arabesque whilst the panel made notes. Also, there was a short jazz section, which thankfully wasn't too complicated! 

I really enjoyed the audition experience- regardless if I get a place, it has definitely helped me in preparation for the rest of my auditions! 

Hope everyone else's auditions are going well <3

Royal Ballet School audition

At last, audition season began! My first audition was for the Royal Ballet School. So, after a wonderful morning of exploring Covent Garden, I arrived in Floral Street. Next door, the Opera House was a hive of activity, as swarms of paparazzi prepared for the BAFTA's!

Stepping through those beautiful glass doors felt like stepping into another world- a land of Strength and Grace. There was a lovely De Valois quote on the wall display; "Respect the Past, Herald the Future, but Concentrate on the Present", which I think is very relevant, particularly during audition season!! 

Lining up to sign in, I chatted to a friend who had been in the previous audition. Suddenly, I gasped "OhMyGosh- is that... Daria Klimentova?" It was- and to my joy, she taught the audition class!!!! 

In the studio stretching before the audition felt completely surreal- to actually be at The Royal Ballet School. I reflected upon my previous Royal auditions; aged thirteen, having barely danced, I naively believed that getting a place at White Lodge would be the only way for me to succeed in ballet. Aged fourteen, I auditioned again- desperately emaciated, as anorexia tortured my mind and body. In auditioning this year, I proved to myself that I didn't need to be thin to be successful- and the definition of success was happiness, not a Royal place!!!! I knew before I even applied that I wasn't going to get a place, but just dancing at the Royal was a phenomenal experience.

In the audition, there was a panel of four judges, whose names I don't remember, except for Mark Annear, who seemed very kind and encouraging. I recognised another dancer who had attended the Focus on Creativity seminar that I went to in November- her name was Chiara, she was a beautiful Italian dancer.

The class was fairly easy in terms of technique; it has given me confidence for my other auditions, but has also helped me to identify which steps I need to refine and focus on (coupe brise en arierre and promenade in arabesque!). There was a lovely sissonne (or should that be sisonne? Sissone?!) enchainement, which felt as if I was flying! I think the grand allegro and adagio were my favourite parts of the class! 

After the audition, there was a stall selling RBS merchandise...... I spent more money than I intended to, on a lovely vivid pink t-shirt, and stationery set embossed with the Royal logo!

On the way home, I wrote some poems about the audition, although it's very hard to put so many emotions into words!!

The air hovered, still.

Her mind at peace.

Yet radiating joy.

For she was here

Where she belonged

Where she was in control

Of her destiny.

She had a dream to chase.

Her pursuit led her here

Everything came to this.

She knew she was not perfect

Her mission was not to get a place

But to make her teacher proud.

And there, she knew

She succeeded enough.

And her joy, her passion

The sparkle returned to her eyes

Lifted her wings,

Her perfectly imperfect flight

Gave her faith for the 

Next leap.

I am here today
Not desiring success
As you define success.
Even being here today
Is achievement enough for me.
You do not remember
Naive, passionate, young
Number Ninety-Two.
I remember her.
You shaped her future
You set alight a hope.
Her candle flickered
And now burns brighter
Than ever before.
See it in her eyes.
See it in every shape
Illuminated by Strength and Grace.
Tomorrow, you will not remember me.
Today, my sparkle shall
Caress your world
And shine light on mine forever.