Maria Engel receives award in her native Germany

Last year I interviewed Maria Engel, a graduate of Elmhurst School of Dance, a vocational school which is associated with the Birmingham Royal Ballet Company.  At the time, Maria was performing with Ballet Theatre UK, touring around the UK with a new production of The Nutcracker. I reviewed the show last year and you can read it here.  Maria danced the Principal role of the Sugar Plum Fairy, a role most dancers fear because in a traditional production you are suddenly on stage and exposed, with virtuoso steps and no time for the audience to get used to you, to great acclaim.

Raymonda

Maria has a luminous stage presence, which I think you can see from these photographs, and her dancing is technically very strong with great acting ability, drama and passion.  When she dances you are compelled to watch.  She didn't have an easy time on tour - a different theatre every night with possibly a raked stage or a very hard one, long hours travelling, very short classes which didn't allow her the full range of a normal class and then possibly two shows per day.  The company director told me that Maria was a pleasure to have on tour because throughout all of their difficulties - some unforseen (they were kept up all night by a rowdy gang outside their hotel) - Maria's sunny disposition beamed through.  This touring experience is invaluable.

Sugar Plum Fairy in a very on-trend flesh toned/nude tutu

Maria's latest achievement is to be awarded an honour from the county of Landsberg am Lech in Germany, which was in recognition of her success in graduating. The price money was €1250 and Maria danced at a gala evening where she performed Raymonda Act III, Sugar Plum Fairy and the Tango (choreographed for this gala by one of the teachers from Elmhurst).

The Tango

Maria's old ballet teacher, Beatrix Klein, gave a speech which made Maria very emotional.

Maria is one of a large number of professional dancers who find themselves auditioning for work all over the world.  Often this means a long journey to the audition, only to be cut from class, with a tap on the shoulder - nothing more - at the very beginning (barre) section, perhaps only ten minutes into the audition. 

You can imagine how taxing this can be - and Maria is very young.  Often they will receive little or no feedback from the company and are left to work out for themselves what went wrong or why they didn't fit with the company.  It's a hard life; difficult to stay positive in the face of rejection, and Maria has shown resillience and determination which is not uncommon in professional dancers.  Regular readers might recall Maria telling me in her interview that she studies the dancers in every company to see where her face might fit.

As I type this Maria is still auditioning, having missed the English National Ballet auditions for their Swan Lake in-the-round due to a knee injury which is now healed.  Maria wanted to do the audition anyway and not miss the chance, but as the accident happened in school, her teachers understandably vetoed it.  One of her teachers enabled her to take Company class at English National Ballet recently, and Maria loved "every split second." Perhaps the Company will like her enough to ask her be part of it at some stage.

Maria collecting her award

I'm sure you will all agree with me that Maria is due some luck, some reward for her hard work and resourcefulness, supporting herself away from home, and I hope that this feature will help to secure her a coveted Company contract. One of the things Maria likes so much at Elmhurst is the friendly atmosphere, and I have experienced the same openness and friendly, welcoming atmosphere at English National Ballet, so there does seem to be a correlation there and it's not surprising that Maria enjoyed the experience so much.  Maria is lucky in that she was invited to take classes at Elmhurst beyond graduation; many graduates from other schools are not so fortunate and have to find suitable teachers/classes and take extra work to pay for them.

Of course, the competition is very tough and there is no shortage of dancers looking for contracts. It's a pyramid really, with a very, very wide base, and to reach the pinnacle and their goal - a company contract - a certain degree of luck is also needed.  Where you train also helps; for example if you train at the Royal Ballet Upper School, going on current records, you are guaranteed a contract with a Company somewhere around the world.  Although, even then, only a tiny percentage of the graduate year will make it into the Royal Ballet Company itself - the logical conclusion.

Dancing is wonderful training for girls, it's the first way you learn to guess what a man is going to do before he does it. ~Christopher Morley, Kitty Foyle

Royal Opera House premieres new work in Ipswich

Royal Opera House premieres new work in Ipswich
Pleasure’s Progress, created by Will Tuckett
A tale of sex! wigs! wags! ‘n’ bawds!

Jerwood DanceHouse, Ipswich: 18 - 19 June
Covent Garden Piazza, London: 9 - 10 July (abridged version)
Latitude Festival, Southwold, Suffolk: 16 - 18 July
Linbury Studio Theatre, Royal Opera House: 23 - 25 September
The Studio, The Lowry, Salford Quays: 22 - 23 October

Generously supported by the Paul Hamlyn Education Fund

For the first time ever, the Royal Opera House is premiering a new ROH2 commission outside of its London theatre. Pleasure’s Progress will open at the Jerwood DanceHouse in Ipswich before moving to Covent Garden and then going to the Latitude Festival in Southwold and The Lowry in Salford as part of the Royal Opera House’s - On the Road regional programme.

Assis Carreiro, Artistic Director & Chief Executive, DanceEast, said ‘Over the past few years, DanceEast’s partnership with the Royal Opera House has developed from strength to strength and we are delighted to now be hosting the world premiere of ROH2's Pleasure’s Progress, created by Will Tuckett in our new Jerwood DanceHouse. It is a brilliant opportunity for audiences outside of London to see world class dance on their doorstep and to establish the DanceHouse as a key national venue.’

The Royal Opera House seeks to make its work as widely available as possible both on the Covent Garden stages and elsewhere across the UK and beyond through its On the Road programme, BP Summer Big Screens, cinema screenings, live broadcasts, CDs and DVDs and digital activity. The On the Road programme is focused primarily in the North West and the East regions and includes touring productions, education projects and exhibitions.



Pleasure's Progress: A tale of Sex! Wigs! Wags! 'n' Bawds is the latest ROH2 work by director and choreographer Will Tuckett. A fusion of opera, dance and music, it explores the vistas and vision of the English painter, printmaker and satirist William Hogarth (1696 - 1764). Tuckett draws on material from some of Hogarth’s most celebrated work including - A Rake’s Progress, Marriage à la mode, A Harlot’s Progress and Beer Street and Gin Lane, combining Hogarth’s dark pictorial narratives with a vivid slice of historical Covent Garden. The result is a riot of stories and characters with plenty of ribald fun, bawdy language, and even some pointed observations on the human tragedies that lie beneath.

The talented cast of dancers, singers and musicians includes Laura Caldow, Anna Dennis, Matthew Hart, Matthew Sharp, Nuno Silva, Tom Solomon and Clemmie Sveaas,

With a witty and naughty libretto by Alasdair Middleton, original music by composer Paul Englishby (composer of the award-winning film An Education) and contemporary designs by Jon Bausor this new production has all of Tuckett’s characteristic flair for the unusual and inventive with a collision of styles and influences from classical singing to not-so-classical dance. Expect wit and wonder, fun and frolics and an irreverent take on the darker side of society.

Suitable for ages 15+. Contains adult themes.

Listings information:

Jerwood DanceHouse, Ipswich: 18 June at 7.30pm, 19 June at 2pm and 7.30pm. Tickets: £14, £6 concessions. Box office: 01473 295230 

Covent Garden Piazza, London: 9, 10 July at 7pm and 9pm (abridged version) Free

Latitude Festival, Southwold, Suffolk: 16, 17, 18 July.

Linbury Studio Theatre, Royal Opera House: 23, 24, September at 7.30pm, 25 September at 2pm and 7.30pm. Tickets: £19.50, £16, £13.50, £8 standing (£11 students). Box office: 020 7304 4000

The Studio, The Lowry, Salford Quays: 22, 23 October at 2pm and 7.45pm
Tickets: £14, £8. Box Office: 0843 208 6000

Free iPhone Ballet Index app

Ballet Index for the iPhone free offer

This weekend I want to offer you another chance to snap up a free ballet iPhone app. Ballet Index is a fast, cross referenced glossary of ballet terms. Version 1.9 has improved the cross referencing and has even more ballet terms.

This time, the developer has very generously offered the app to anyone, wherever you live, and there is no limit on the number of downloads available. So, if you live in the US you will get a free code, and if you live anywhere else the developer will buy the app from Apple and ‘gift’ it to you.

You may have seen Ballet Lite in iTunes - but please note that Ballet Lite for the iPhone is essentially the same application (exactly the same dictionary of ballet terms) with a loading delay for each term.

This offer is for the paid-for app, Ballet Index, with no delays.

Ballet Index has another advantage – the data is stored on your iPhone so there is no need for network connectivity, which is very handy if you are in a rehearsal studio with no signal.

All you need to do is leave a comment with your email address, so that I can either send you a code or so that the developer can ‘gift’ the app to you. This is essential – the process doesn’t work without a valid email address.  Please say whether it's the code or the gift that is appropriate for you.

Once you’ve received the code or the ‘gift’ and downloaded the app, please leave a comment here for the developer so that they can see how you used it and whether you have any suggestions/comments.

Enjoy !

The Royal Opera House Student Standby Scheme

Do you love the work of the Royal Opera House but struggle with the ticket prices ?

If you are a student, the Royal Opera House Student Standby scheme exists for you.  The scheme offers unsold tickets for The Royal Ballet and The Royal Opera to students for just £10.

The scheme itself is not new, but what is new is a Facebook page to let you know about any news or exclusive offers. Ticket availability varies according to how many tickets are sold per performance.

I’d be interested to hear your experiences if you register and have a valid Student Identification Card or, to use facebook parlance, ‘like’ the new page. Do please get in touch if you have any thoughts or feedback on the scheme.

Saute On - The Ballet

Saute On - the ballet

Saute-On - the ballet is an iPhone app which is usually chargeable to download.  Courtesy of the developers, I have 10 codes to give away to US readers. 

Please note - the code only works in the US, so if you are based anywhere else it just won't work. That's the way it has been set up by Apple. I have not reviewed the app and so I am not endorsing it. 

Please leave a comment with your location and contact details in the form below, and the first 10 readers who do so will receive the free code. 

Good Luck !

Lia Cirio, Soloist with Boston Ballet, interviewed for Cupcakes & Conversation

Cupcakes & Conversation with Lia Cirio, Soloist, Boston Ballet

Lia Cirio in Jorma Elo's Carmen

Photograph :  Rosalie O'Connor

What motivates you at 8am on a Monday morning ?
Coffee and my kitty, Lady:)

What are you looking forward to dancing this year ?
Right now I am looking forward to dancing Terpsichore in Apollo, the principal role in Theme & Variations, and Kylian's Black and White. That’s what we are rehearsing right now. I’m busy, but happy. I am also really looking forward to next season, as we are opening with La Bayadere. It’s a really beautiful ballet with some acting opportunities, so that makes me happy.

Lia Cirio and Jeffrey Cirio at Boston Ballet Ball

Photograph :  Eric Antoniou

Who would you most like to dance with & what would you dance ?
Juliet in Romeo & Juliet. I think that I would want to dance it with my best friend, Principal with Boston Ballet, James Whiteside. We know each other so well, we've practically grown up together. It would feel most comfortable which is extremely important in a role as intense as Juliet.

If you could dance anywhere in the world (not only in a theatre), where would you dance ?
Somewhere I could dance freely without feeling the pressure of stupid dance critics, hehe!

How do you prepare your pointe shoes ?
I start out by darning just the bottom of the tip of the shoe. I've been doing this for a few years now to make them quieter. I then sew my elastics and ribbons. I wear Freed specials, they are half-shanked with elastic drawstrings. I take the two nails out of the shanks and put hot pink duct tape (a gift from my boyfriend) on them to prevent blisters.

Lia Cirio and Sabi Varga in Helen Pickett's Tsukiyo

Photograh :  Rosalie O'Connor

What is your daily routine at the moment ?
If we are not in the theatre – breakfast, shower, class at 9:45, rehearsals till 6:30, dinner with friends or with brother at home (he’s my roomie), Skype with my boyfriend, bed. If we are in the theatre – breakfast, shower, class at 11:45, rehearsals until 4:00, light snack/dinner, warm-up for performance, performance, home to bed.

You can ask six famous people to dinner - who would you invite ?
Jesus (that would be just amazing), Audrey Hepburn (of course because she was so beautiful and iconic), Queen Elizabeth (I love British history and have always been a little obsessed with her), Marc Jacobs (he better bring me something to wear), Sandra Bullock (she would bring some life to the party), and Walt Disney (an incredibly creative mind).

Lia Cirio and Yury Yanowsky in Jorma Elo's Carmen

Photograph :  Rosaline O'Connor

What would surprise people about you ?
Nothing, what you see is what you get. I think that when people first meet me they think that I'm a snob, but really I'm very shy and quiet until you get to know me:)

Who inspired you to dance ?
There was no one person who inspired me to dance. My parents say that as soon as I could speak, I wanted to dance. During my school years, the inspiration came from my own drive and desire to “make it.” Now, I find inspiration from many things and many people. Mostly, dance itself is my inspiration.

Lia Cirio and Jeffrey Cirio in Jeffrey Cirio's As One

Photograph :  Sabi Varga

What is your best piece of advice ?
Be kind, give it your all at all times, and above all, be yourself.

How do you prepare in the hours before a show ?
I like to have a light meal before a show. Usually by half hour my hair and makeup is done and I am stretching. I give myself a barre that I have been doing since my first year in the corps. Before I put my costume on I spray my perfume (Chanel Chance) 3 times and then right before I go onstage I say a prayer and check my ribbons. Routine before a show is really important.

Which role has tested you the most & how ?
I think that doing the principal role in Theme & Variations has been challenging just because there has been so much pressure to be perfect. Also, last fall, we performed Giselle. I had a lot on my plate at the time, so I was only cast to do the peasant pas. At the last minute, there were some injuries, and I had to learn the role of Myrtha - in less than three days – and then perform three performances of it. I wished I had had more time to study her as a character.

TMP Air

Photograph :  Jonas Lundquist

If you were asked to design your own ballet costume, what would you create ?
Something made just for me, with both beauty and comfort.

What do you look for in a dance partner ?
It’s really nice to have a partner that I can connect with on a personal level, first of all. Then, I like partners who communicate with me directly, work things out, and are willing to practice more if needed.

What is your favourite quote ?
If I speak in the tongues of men and of angels, but have not love, I am only a resounding gong or a clanging cymbal. If I have the gift of prophecy and can fathom all mysteries and all knowledge, and if I have a faith that can move mountains, but have not love, I am nothing. If I give all I possess to the poor and surrender my body to the flames, but have not love, I gain nothing.

Love is patient, love is kind. It does not envy, it does not boast, it is not proud. It is not rude, it is not self-seeking, it is not easily angered, it keeps no record of wrongs. Love does not delight in evil but rejoices with the truth. It always protects, always trusts, always hopes, always perseveres.

Lia Cirio and Pavel Gurevich in The Nutcracker

Photograph :  Gene Schiavone

Do you have a ‘signature step’ – one that comes naturally to you ?
Hmmm, arabesque or développé second? I really like jumping though:)

A phrase I use far too often is ... ?
"Really...?"

What’s been your best on-stage moment so far ?
I would have to say there were two. Dancing the role of Micaela in Jorma Elo’s Carmen. She begins and ends the ballet – it’s very empowering. The other was dancing Helen Pickett’s Tsukiyo which is a pas de deux. I danced this piece with Sabi Varga (who is not only one of my good friends, but a big brother to me). It’s set to a beautiful piece of music by Arvo Part and it’s extremely intimate. The connection that Sabi and I had during this piece was amazing. It’s hard to find that kind of connection with a partner. The audience was so silent as we danced – I don’t think I’ve ever felt such a captivated audience.

Lia Cirio and John Michael Schort in Trey McIntyre's Reassuring Effects of Form and Poetry

Photograph :  Trey Rudick

Do you have a secret skill which no-one knows about ?
I like to make headbands in my free time, but I don't think that's a secret skill. haha.

In terms of your ballet career, where would you like to be in a year from now ?
Right here. I have been promoted to principal for next year, so I am hoping I will have the opportunity to dance a principal role in a full-length ballet. I haven’t had much of an opportunity for in-depth acting, so that’s what I‘d like to be doing next year.

George Balanchine's Coppelia, copyright The George BalanchineTrust

Photograph :  Gene Schiavone

Corella Ballet tour to New York update with Tracy Jones

Not long ago I interviewed Tracy Jones, who is a dancer with Corella Ballet in Spain. The Company were about to tour to the US for a week, performing at the New York City Centre. Their Artistic Director, Ángel Corella, was a Principal with American Ballet Theatre, and so very well-known to US audiences. In 2001, Spanish born Corella formed a Foundation to promote classical dance in Spain and to offer the opportunity for the finest professional training to all dancers, irrespective of background. After six years, the Corella Ballet was formed at the Royal Place of La Granja in Segovia, Spain.

Tracy Jones and Ivan Sanchez in DGV -Danse à grande vitesse

Photograph :  Rosalie O'Connor courtesy of Corella Ballet

One of the ballets which the Company were due to perform was Christopher Wheeldon’s DGV -Danse à grande vitesse, which premiered in 2006 at the Royal Opera House, London, with Darcey Bussell famously in the principal role and partnered by Gary Avis.  This was to be their New York premiere.

For DGV, Tracy was 3rd cast and had been rehearsing it with Chris Wheeldon. Tracy hopes that once the Company begin performing performing DGV more frequently, she may have a chance to do it, but for now she feels that it’s a privilege just to even learn it.

The tour was a huge success, with great reviews.

Tracy in Times Square, New York

I caught up with Tracy once the tour was over, to find out more.

What was your preparation for the New York tour ?
The schedule at work was pretty busy in the last the few weeks before heading out to New York as we were rehearsing the rep that we were planning to do out there as well as premiering the company's Swan Lake for the first time. One of the ballets; Wheeldon's DGV was also a company premiere due to be performed in NY so it was tough trying to process all the information and get all the steps in to my head but we were lucky to have Jason Fowler and Chris himself working with us very closely throughout the process.

What was your first impression on landing in New York (if this was your first visit)?
I fell in love! It is such a wonderful city. We had been travelling all day and arrived in the evening, so we were pretty tried but I didn't want to waste any time out there. On the first evening, I already got to see some of the main sights I had planned on visiting. The jet lag didn't even get to me out there really as I was so full of adrenaline.

What was the Company due to perform ?
The company were due to perform String Sextet by Angel Corella, Solea by Maria Pages and DGV by Christopher Wheeldon at all the shows. In the evening shows, there were also two divertissements; Black Swan Pas de Deux and Walpurgisnach, and in the matinee, Epimitheus by company dancer Russell Ducker (Editors note : more from him later).

Tracy Jones rehearsing DGV

Photograph :  Fernando Bufala

What were you scheduled to dance and did everything work out as planned ?
I performed Angel's String Sextet and DGV in each show and also performed in Epimitheus in the matinee show. Luckily for once, there was no drama during the week of shows. Normally there is always a situation where someone goes off sick or injured and a lot of people have to move around to compromise but we seemed to be lucky that week. We had been performing in Barcelona a few weeks before and the company was struck down with a virus so we had a lot of drama involving people moving around and jumping in, so I think karma was on our side for New York.

Did you get to see the sights at all ?
We were very lucky to actually have 3 days off during our time out there so I managed to see everything I wanted to see.

It was Saint Patrick's day out there on the first day and being Irish, I really wanted to see the parade and join in on the festivities. I wasn't disappointed! Everything was green and the parade was great, in fact I think it might be even bigger there than in Ireland.

I also managed to take a few classes at Steps on Broadway which was a really great experience. There were many dancers from New York City Ballet there at the same time including Wendy Whelan, Ashley Bouder and Maria Kowroski. They are all dancers I have watched and admired on youtube and videos so to take class with them was really great. Its also really refreshing to see and try a different style of dancing other than what I am used to.

I did a lot of shopping too (maybe a little too much as I don't think my bank balance was very happy by the end of the week) and got to see some of the wonderful New York nightlife. I'm lucky to have a few friends living out there so it was great to see them, and to have good tour guides!

Tracy with Jason Fowler and Chris Wheeldon backstage at the City Centre theater

What was the high point of the tour ?
I think definitely the reception that we got from the audiences out there. On the first night, we finished the show to a standing ovation and there were so many people waiting outside to meet us afterwards. I think that as we are new company and it was our first International tour; a lot was expected but the audience seemed really enthusiastic and reviews were really positive which is always a good sign.

One particular moment I loved was taking our curtain calls after the matinee show of Russell Ducker's Epimitheus. It is his first work for a company so to have it premiering at New York City Centre is a huge deal for him. I was so happy and proud of Russell when he took his bow as the audience really did go crazy for him. Russell and I have been friends since we joined White Lodge so it was really great to see him do so well and hopefully this will give him even more great opportunities.

Now you are back in Spain, what’s next ?
We are currently in rehearsal period here and have quite a number of shows coming up around Spain which is always nice, especially in the summer. Swan Lake is coming back into the programme in June which will be nice. I had my premiere of Big Swans in the last run we did, which was a pretty nerving but good experience, but of course as a dancer we are never entirely happy with everything so I'm looking forward to hopefully dancing that again and improving it. We also have some tours coming up including Italy and Mexico and have started rehearsing Raymonda so it looks like the next few months are going to be busy, but I'm really looking forward to travelling and hopefully returning to New York with the company again at some point in the future!

Janie Taylor, New York City Ballet Principal dancer, interviewed for 'Cupcakes & Conversation'

Cupcakes & Conversation with Janie Taylor, Principal, New York City Ballet

Photography throughout :  Paul Kolnik

What motivates you at 8am on a Monday morning ?
I am usually dead asleep at 8am on a Monday morning. It is our one day off each week.

What are you looking forward to dancing this year ?
Well we don't always know what we will be dancing very far ahead of time, so it's hard to say. But our Spring season has lots of good Balanchine and 6 new ballets, so I think it will be a good one!

Who would you most like to dance with & what would you dance ?
I only got the chance to dance a couple times with Nikolaj Hübbe. I would have loved to dance with him more while he was in the company.

If you could dance anywhere in the world (not only in a theatre), where would you dance ?
The Acropolis in Athens. I have been on tour there with the company but wasn't in the two performances (or programs) we had there. The stage was so incredible and I remember being really disappointed I didn't get to dance on it.

How do you prepare your pointe shoes ?
I bend my shoes where my 3/4 shank ends and close it in the hinge side of a door. I do the same with the tip of the shoe too, bending it while I smash it.

What is your daily routine at the moment ?
I wake up at 9am and slowly make my way to the shower. I have breakfast and get to the studio a half hour before class to do exercises and get my pointe shoes on. After class I have rehearsals anywhere between 12 and 7. This is our rehearsal period schedule. After that, I usually spend the rest of the day vegging out.

You can ask six famous people to dinner - who would you invite ?
Wes Anderson, Zoe Deschanel, Tim Burton and Jack Skellington, George Balanchine, Sophie Calle.
And Maybe Monique L'huilier could dress us.....

What would surprise people about you ?
I play poker?

Who inspired you to dance ?
I guess my mom was the first person to inspire me to dance. Allegra Kent and Suzanne Farrell were big inspirations for me when I was at SAB. I also watched the New York City Ballet perform Balanchine's choreography every night while I was a student at SAB and seeing his work made me want to dance even more. It still makes me feel excited about dancing today.

What is your best piece of advice ?
Be yourself and go with your gut.

How do you prepare in the hours before a show ?
I usually eat Macaroni and Cheese about 2 hours before a show. That probably sounds funny, but I can't dance when I feel hungry and the carbs give me a little extra energy! Afterwards I do my make-up and hair, and leave about a half hour to warm-up.

Which role has tested you the most & how ?
Probably Square Dance. At the time, I felt like it was a role I wouldn't have necessarily been chosen first for, so it felt like an opportunity to show that I could do something technically demanding.

If you were asked to design your own ballet costume, what would you create ?
Something involving puffy sleeves, mixed patterns, an extreme excess of tulle, and maybe some pockets...

What do you look for in a dance partner ?
It's always nice when your partner is as invested and passionate as you are in working together to make a piece really good. I like when my partner and I are on the same page about what we are trying to accomplish. Having the same understanding of a piece is key. If you have different ideas about what a piece is about or the feeling it has, it's not going to be good. I certainly don't mind dancing with a really good partner either. I like being able to trust my partner completely so I can lose myself on stage and take risks. It helps to be with someone you can laugh with too.

Do you have a ‘signature step’ – one that comes naturally to you ?
Arabesque?

A phrase I use far too often is ... ?
Did you eat all the cookies!?

In terms of your ballet career, where would you like to be in a year from now ?
On stage.

Ellie Swiatkiwsky interviewed for 'Cupcakes & Conversation'

Cupcakes & Conversation with Ellie Swiatkiwsky, Melbourne Ballet Company

What motivates you at 8am on a Monday morning ?
The thought of a wonderful week, doing exactly what I love to do... how fortunate!

What are you looking forward to dancing this year ?
This year I'm looking forward to dancing at The Juilliard School* in New York. I'm not sure what pieces in particular I will be working on... but whatever they are I'm looking forward to it!

Who would you most like to dance with & what would you dance ?
I want to dance with my Dad on my wedding day... in the future :)

If you could dance anywhere in the world (not only in a theatre), where would you dance ?
I would choose somewhere outside in an exotic country with a big, spacious view. And I would dance with a partner so I had someone to enjoy and remember it with.

How do you prepare your pointe shoes ?
I wear Grishko pointe shoes. I sew the ribbons and elastics, glue a toe pad on the pointe (to prevent slipping) cut the upper arch and massage them.

What is your daily routine at the moment ?
I'm currently doing the full-time course at Brent Street Studios in Sydney, Australia. I'm really enjoying it because I get to do a range of styles including ballet, hip hop, jazz, contemporary, tap, acrobatics, acting and singing which is great because I love it all! I'm in the studio from at least 9-4 but I usually chose to do extra classes out of those hours.

You can ask six famous people to dinner - who would you invite ?
Michael Jackson, Barack Obama, Anna Pavlova, Johnny Depp, Cameron Diaz and Beyonce.

What would surprise people about you ?
I have a very large appetite :)

Who inspired you to dance ?
When I was little it was more something that I loved doing so I didn't need inspiration to go. Now that I'm older my love for it has only intensified, although now I draw inspiration from people directly around me; my teachers, family and friends.

What is your best piece of advice ?
To just go for it, go for everything! And see how it all unfolds.

How do you prepare in the hours before a show ?
Make-up, hair, warm-up and a short ballet barre.

Which role has tested you the most & how ?
My most challenging role was when I became the assistant of a choreographer. It wasn't the actual job that was the major challenge, it was trying to balance everything else out, such as completing my Higher School Certificate and full time training, so I could excel at what I was required to do as assistant and more.

If you were asked to design your own ballet costume, what would you create ?
My own ballet costume would be a soft 'Juliet' inspired dress. Something that made me feel gorgeous and beautiful while dancing!

What do you look for in a dance partner ?
In a dance partner I want someone who loves dancing with me too. Someone who is willing to spend the time perfecting any creases in the movement. Communication between the two is very important.

What is your favourite quote ?
"The harder you work the luckier you become".

Do you have a ‘signature step’ – one that comes naturally to you ?
Probably very physical contemporary work, jumping, rolling and flinging myself around the studio or stage!

A phrase I use far too often is ... ?
"Are you serious?!"

What’s been your best on-stage moment so far ?
Performing a duet in the Botanic Gardens in Coffs Harbour, Australia, during the Utopian Dream Dance Festival. The stage was in this beautiful wooden gazebo and the audience were sitting in front of us on picnic rugs. It was natural and not too staged. I remember feeling that it was the best I had ever danced and I was so elated afterwards!

Do you have a secret skill which no-one knows about ?
My special skill is that I have supreme memory :)

In terms of your ballet career, where would you like to be in a year from now ?
In a year from now I hope to be pursuing my training at The Juilliard School.

Editor's note :

* Located at Lincoln Center in New York City, The Juilliard School is one of the world's most prestigious performing arts conservatories. 
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Dylan Gutierrez interviewed for 'Cupcakes & Conversation'

Cupcakes & Conversation with Dylan Gutierrez, Joffrey Ballet

Photograph :  Maria Ponce (Joffrey Ballet)

What motivates you at 8am on a Monday morning ?
When I wake up in the morning I have got to have some coffee so that gets me awake, but I think what motivates me is the thought that no matter what ballet I'm doing -whether I like it or not – it can help me progress. There is something there to further my artistry, technique, stamina, or quality of movement; sometimes you just have to find it.

Who would you most like to dance with & what would you dance ?
I would love to dance the Black Swan Pas de Deux from Swan Lake, but one of my friends told me once that they think I would be a good as the "Lover" in Antony Tudor's Lilac Garden. It sounds like such a beautiful ballet and role to dance and I think I would love trying to develop me as the "Lover". There is no one in particular that I would like to dance with; of course you'd always like to have someone you have chemistry with but in the ballet world you don't get a choice sometimes so you have to make it work and I'm fine with that.

If you could dance anywhere in the world (not only in a theatre), where would you dance ?
I would love to go back to Covent Garden in London ! I trained at the Royal Ballet Upper School and our final performance in that Royal Opera House was one of my most memorable and favourite performances. I would love to go back in front of a crowd and on a beautiful stage like that again.

Southland Festival Ballet's 25th Anniversary Gala

Photograph :  Dave Friedman

What is your daily routine at the moment ?
I wake up at around 8 : 30 and make coffee and usually turn on VH1 Jumpstart because they play more mellow music for the morning. I check my facebook, email, and the CNN website (a new addition), and then I head to work. At the moment I'm rehearsing the second pas de deux from Gerald Arpino's Reflections and that is a beautiful ballet, and then usually I'll have lunch and then two more rehearsals - usually James Kudelka's world premiere for an hour and then Jessica Lang's world premiere for two hours. Then usually I will go out for a drink or two with the "Gents" who are my friends and who work with me at the ballet company - we like to have fun and blow off steam.

How do you prepare in the hours before a show ?
I usually go and get something to eat so I have the energy, then I'll get some Physical Therapy done on my knee because I struggle with Patella Tendonitis. Then I will head to my dressing room and listen to some music or mess around with the guys to keep myself relaxed, then at the half hour call I will put my make up on, get dressed, and head to the stage!

What are you looking forward to dancing in 2010 ?
I am, believe it or not, pretty excited for The Nutcracker because I think this year I'm going to have more opportunities to dance bigger parts, which is really exciting. As far as the regular season I am really excited to dance (if I'm chosen for it) Yuri Possokhov's new ballet that he is coming to set. I'm interested in what he'll do for The Joffrey. Also I am very excited for Jerome Robbins The Concert and Balanchine's Stravinsky Violin Concerto.

Photograph :  Johan Persson

You can ask six famous people to dinner - who would you invite ?
I don't know really, I mean that's kind of an expansive question, because I'm not sure "famous people" would be the most interesting to have for dinner. I usually go for dinner with my friends and a dinner with them is always conversation about furthering the art form and different opinions on things going on in the world. I would rather have a stimulating conversation with them than have six famous people around.

What would surprise people about you ?
I am very much "what you see is what you get" but I think people would be surprised to know that I am of Mexican and New Zealand descent. My father is from Districto Federal in Mexico and my mother is from Auckland, New Zealand.

Who inspired you to dance ?
My Mother and Father inspired me to dance. My mom was a dancer and is my ballet teacher - she trained me since I was little. There is one dancer who inspired me to dance above all other dancers I admire, and she is Susan Jaffe. She gave a talk at the first summer program I ever went to and I was 10 years old and had a melt down because so many things she said were things that I felt about myself, and it was amazing. Now, every time I see her and when we talk she always brings up the time when I went up to her crying and told her she inspired me !

What is your best piece of advice ?
I think it would be to know your ability and know your worth and what you are capable of as a dancer, and to always try and bring integrity to the things you dance. Try to do them the way they were choreographed or in the style they were choreographed . If your peers or coaches are around saying "no that’s not how it was originally done and the choreographer would have wanted it this way," then you take that in, apply it, and then put your own personality and self into it without losing the style or steps.

Guest Performance at Los Angeles Ballet Acedemy

Photograph :  Iker Gutierrez

Which role has tested you the most & how ?
I think the pas de deux in Natalie Weir's Unwritten tested me the most because it was all about stamina. I danced the first four sections of that ballet and all of it was lifting - the first group section, a throw and lift with a boy, the pas de deux, and then the second group section. I was so tired but I made it through every time and my partner and I held it down.

A phrase I use far too often is ...
Dude what's up?

Who would play you in the film of your life ?
No-one, but I would play someone else in a film about them.

What is your favourite quote?
"When the violinist is done playing his violin, he puts it away".
It's fun to joke around with friends and do random funny dance steps outside of the workplace sometimes, but most of the time it’s good to not be trying make people see that you are a ballet dancer.

What’s on your iPod ?
A lot of Rap/Hip Hop, Electronic, and alternative rock. At the moment I am about to play Busy P.

What makes you a good dance partner ?
I think I’m a good partner because when I’m partnering a girl I’m not worrying about myself at all. If my foot points with hers fine, but I’m more worried about if she looks good, if she's on her leg, does SHE feel comfortable; I’m all about her. The best review I have ever gotten as a partner is when they didn't mention me. They said that my partner winded around Dylan Gutierrez like a length of silk but that was about it, pas de deux is a dance of two but she is the most important and should be the one that is noticed. Everything the man does should be seamless.

Do you have a secret skill which no one knows about ?
It's not really a secret but I have played drums since I was 10 and my teacher has told me several times that if dancing didn't work out I could have been a musician.

Describe yourself in just three words.
Fun, Happy, and Loving.

In terms of your ballet career, where would you like to be this time next year ?
I'd like to be doing everything I've been doing.... better than I usually do.