Please provide a short introduction about yourself and your journey with dance.
I started ballet at seven years old at my local school. We are from a northern, working class background so could not afford a babysitter; I have two older sisters who danced for fun and fitness so I went along to sit and watch. I was not the most well-behaved so distracted my sisters – the teacher punished me by making me join in, and so my dance training began. I took it very seriously from the beginning because I respected my sisters so much and they loved the classes. I began developing cognitive and artistic skills that come from dance; mastering a polka step was a light bulb moment, there was just so much to learn! I was always inspired by the other male dancers in the class; their athleticism, charisma and stage presence were amazing.
I soon auditioned for White Lodge, graduated into the Upper School, and at the end of my second year Sir Peter Wright watched our assessment class and offered me a place in the company. Unfortunately, I developed an injury so was worried about losing my contract but the company were amazing and held my contract for when I was ready. I began under the direction of Peter Wright for one year which was a fabulous experience. I was spending everyday learning my craft and being inspired by a company with such a rich history. It was like watching a Hollywood movie play out on stage. Michael O’Hare was my idol, I had no idea dancers could be such incredible actors and storytellers.
In my second year of the company Sir David Bintley took over as Director and that was the beginning of my career development speeding up. I owe everything to David for the dancer I became.
Please tell us about the highlights of your dance journey.
As a dancer there are a few moments I look back on as pivotal. One has to be performing Sir David Bintley’s Carmina Burana as 2nd Seminarian. I liked to get my hands dirty when learning choreography and creating; Bintley’s work required so much physicality and emotion. It was the second time this had come about in the repertoire and David asked me to perform at opening night at the Royal Opera House. I knew in that moment that this was what I wanted to do for the rest of my life.
Another highlight is performing Two Pigeons Ballet in New York City. We were not sure what to expect from an American audience. In a small theatre you can gauge a reaction but this place was so big we did not know how the audience would respond. However, when the performance finished the audience erupted. It was a fantastic response; looking around at the company everyone was in tears, we were united in this magical moment.
One of my favourite ballets to perform was Romeo and Juliet, I was fortunate enough to dance this with my wife. However, my favourite of all time has to be Sir David Bintley’s reworking of Cyrano. It is the most challenging and rewarding role I have ever performed, it was physically demanding and emotionally draining. The piece started with swordplay; we had the Royal Shakespeare Company visit to help teach us this unique skillset. Paired with the catalogue of emotions, this piece was so rich – self-reflection, bitterness, jealousy, sadness, humour, comical timing, anger, joy and love. You get to grow old and die on stage which really tests an actor. On my walks home after the show I was exhausted but elated at the same time.
Some further highlights are being on stage with the likes of Marianela Núñez and Carlos Acosta; I was fortunate to perform with some wonderful people at various galas and shows during my performance career.
As the current Director of Elmhurst Ballet School, I really enjoyed working with the students in preparation for their performance at the Commonwealth Games Opening Ceremony; we had a fantastic, shared excitement. There were around 30,000 people in the stadium but millions more watching from home. Being able to work alongside Birmingham Royal Ballet at this event was also very special and it further cemented the association and relationship we have with the company.
What has been the most memorable moment of your journey with dance?
I always say that my claim to fame is massaging Sylvie Guillem’s leg at the side of the stage at the Royal Opera House, in between scenes of Romeo and Juliet. At the time I was a student working with the company; inside the proscenium arch there is a triangular brace holding the structure up, sitting here means you are basically on stage but masked by the set. People would happily sit here to watch the performance, including me. After one scene when Sylvie was performing, she came off stage and sat down next to me in this spot, I rushed to get up and out of her way but was told to sit back down next to her and massage her legs ready to head back on stage. Being a student massaging a Guest Principal is what makes this especially memorable for me and one which made me the envy of my fellow students!
Why is dance important to you?
The narratives of ballet create an expressive outlet, it is a powerful means of self-expression and provides instant gratification. You perform to the best of your ability and are instantly rewarded with the audience reaction and feeling of elation that comes with dancing. In what other job can you feel the same level of instant reward?
Dancing is also an emotional release and triggers endorphins; whether you are a professional or not these benefits are the same. If you are having any personal problems, you can take them out through dance. Use the movement to overcome and express. When I was under the direction of Sir David Bintley, I was lucky to perform some very emotional pieces which acted as a cathartic medium for me as a dancer.
Dance is also important for physical fitness and overall health; it improves coordination, cardiovascular health, strength and mobility. Similarly to the emotional release, these benefits remain whether you are a professional or not.
The social interactions within dance were so important during my career. You develop teamwork, professionalism and a family dynamic all within the same group of people. I spent more time with the company than I did with my biological family, for lifelong relationships and undivided trust is created.
It is a shame dance is not more embedded within schools, children would gain so much from the cultural expression, body awareness and health benefits. Dance can be used as a means to combat mental and physical health issues amongst young people.
Where do you find inspiration, both in dance and in life?
It is hard to get away from inspiration, it is all around us. As a dancer, I was inspired everywhere, seeing performances and watching how the narrative was displayed. I am all about storytelling and how to draw on personal experience to relate to the story you are trying to convey.
Collaboration is also a key way to be inspired. At Elmhurst we have a great association with Birmingham Royal Ballet and Studio Wayne McGregor. We recently held a residency programme with Studio Wayne McGregor where students could learn repertoire and develop their own choreography; it is beautiful to watch the students learn directly from such great artists and develop a whole other range of skills.
Collaborations that happen between different artforms are incredibly inspiring too. We collaborated with King Edwards Symphony Youth Orchestra and Birmingham Royal Ballet to put on a concert in the Elmhurst Studio Theatre, with the seats retracted. One side was Sir Peter Wright rehearsing the ballet students, on the other side Sir Peter Bridle, conducting the King Edwards Symphony Youth Orchestra. Each group was in awe of what the other group was doing, there were times they had to stop and restart because they were so amazed and lost their own way in the piece. To see young people collaborating is amazing.
Outside of the arts, I am inspired by nature. I love hiking and climbing, going up high and seeing the world from a new perspective; if you are having a challenging time, seeing the world from a new perspective is very valuable. I also have my pilot licence so often fly and return home seeing things in a new light.
I am fortunate to be able to travel with my career which brings me new experiences, new cultures and new opportunities. At Elmhurst, we have students from 18 different countries and each student has a passion for dance, it is lovely to see them all interacting and learning from each other. The world is small and it is important to remember our dreams are often the same.
If you could share some advice with young dancers, what would it be?
Dance is not just about perfecting steps, it is about conveying emotions, telling a story and connecting with audiences. You need to have a solid foundation of technique but build upon this with layers of storytelling and emotion.
Listen to your teachers, stay patient and persistent. Progress in dance takes time so do not be discouraged by temporary setbacks. Embrace failure and the feedback you are given; constructive criticism is such a valuable tool for your personal development. Use everything as a stepping stone for improvement.
It is also very important to take care of your physical body. Hydrate and nourish yourself properly, allow yourself time to rest and listen to what you need on different days. If you set goals for yourself, you will know how to care for your body and mind. Everyone has their own areas of development, both short term and long term, so run your own race and do not compare yourself to anyone else.
Stay humble. Confidence is important but humility is equally crucial; people want to work with nice, mature, dedicated and creative individuals. Do your best to maintain these qualities.
Please share your thoughts about being a Patron for bbodance.
My earliest encounters with bbodance were through Brenda Last; she invited me to present awards at an event and it was lovely to see the culmination of the students’ hard work.
When I became a Patron I was invited to see the new Headquarters. I witnessed the level of passion everyone has the for organisation. They have great professional standards, are very progressive and provide wonderful opportunities for young people.
Can you describe bbodance in 3 words?
Professional. Community. Opportunity.
What are your hopes for the future of dance?
There are many challenges within the dance industry, one being securing the next generation of audiences. However, the dance community are embracing the challenge and I know there is a bright future ahead for dance.
The classic works are imperative and must be retained, not only for cultural heritage but also to train dancers to hone their craft. They also inspire us to maintain the narrative nature of dance, I would like to see more of this being brought into new dance works. We can use current social themes in dance and reflect what is going on in the world. Especially when generating new audiences, people want to be able to relate to the performance.
Alongside this, we are entering an exciting time where we can explore new ways to connect with audiences other than stage performances. We can use inter-disciplinary collaborations to break down barriers. Music, technology and immersive experiences are some examples of how dance can be made relatable and approachable to non-dancers.
Finally, I hope for dance to become more prominent at grassroots level. If we can expose young generations to the artform, it will plant a seed in their minds and allow them to grow in a way in which they choose, whether dance becomes a hobby, a memory or even a career aspiration!
Do you have any advice for dance teachers?
The role of a dance teacher is not only about teaching dance but about shaping the lives of individuals, beyond the environment of a dance studio. Teachers must create a positive learning atmosphere and encourage communication between themselves and their students. Set clear expectations with behaviour and attitude to help students remain focused and take pride in what they are doing. Create a healthy balance between challenge, fun and achievable goals.
Teachers must also understand the individual needs of their students. Everyone has different learning styles and unique ways in which they need to develop. Take notice of how best your students learn, whether it be visual, auditory, kinaesthetic or more, everyone should be able to access dance tuition in an environment that nurtures them as a unique individual.
To aid this, provide constructive feedback and be encouraging. Provide specific notes and point out areas for improvement, whilst acknowledging where students have already improved and achieved goals, this will help with the motivation of your dancers. Challenge and inspire your students, push them gently out of their comfort zones and encourage artistic expression.
Teachers must also stay updated with their practice. Keep up with training methods and trends, attend CPD and extra classes, to help your students grow into the current industry.
Why is it important for dance teachers to train and gain a qualification in dance teaching?
Teaching qualifications give teachers credibility and professionalism. They demonstrate commitment to their work and reassures their customer. Regardless of your teaching context, a qualification equips you with proper teaching methods and, in turn, benefits your students. For example, delivering safe practice, being aware of injury prevention methods and creating an accessible dance space.
Teachers are building a reputation for themselves and their business; being up to date with the latest training validates your role.
I trust that the future of dance is in the right hands.