Approaching the end of his first Royal Ballet season, William Bracewell helps Ballet Position write his First Year Report Card
Modesty is a profoundly endearing quality, and Royal Ballet soloist William Bracewell possesses it in spades.
A beautiful dancer, technically assured, supremely elegant with a fine classical line, he is widely predicted ‘to go far’; but as he approaches the end of his first year at Covent Garden, he still has the slightly dazed look of someone who can’t quite believe his luck.
Like a kid in a toy shop.
“On a professional level, the level of commitment that goes on every single day just blows me away, and it’s massively inspiring.”
William spoke to Ballet Position in a small meeting room somewhere in the vast warren that is the Royal Opera House, where he admits to still losing his way sometimes.
“I had a general expectation of what I might find in the building, but in all honesty what goes on has totally surpassed what I’d hoped for (…) I have felt so welcome! The other day I had somebody say, ‘I can’t believe you’ve been here for just a season; it feels like you’ve been here for so long!'”
Looking much younger than his 27-years, William smiles easily, his clear brown eyes widening as he describes his enjoyment of his new life, his speech punctuated by pauses where he takes a deep breath and searches for the precise words to convey his meaning.
William Bracewell: The Road to London
William Bracewell joined the Royal Ballet as a soloist at the beginning of the 2017/18 season, after seven years with Birmingham Royal Ballet. His work at BRB had attracted critical attention, with one dance writer describing his portrayal of the young Louis XIV in David Bintley’s Sun King as,
‘…stepping high on his arched feet like Rudolf Nureyev, and turning slowly in classical arabesque as if to summon up that paragon of British classicism Anthony Dowell.’
Praise doesn’t come much fuller than that; and is backed up by distinctions such as Young British Dancer of the Year in 2007, Youth America Grand Prix in 2010, and Outstanding Male Performer (Classical) in the 2015 Critics Circle National Dance Awards.
He found a huge difference in the demands posed by the Royal Ballet when compared with what he was used to at BRB, particularly in the scheduling of the repertoire.
“In Birmingham you’d have a rehearsal period and then tour a production of a full-length [ballet] and a triple bill for maybe six weeks, or four weeks. So, you had the low times where you could rehearse and really push your body, and then you’d have the more stamina [demanding periods] when you’d be on tour performing.
“Here you’ll do an opening night for a triple bill, the next day you might be rehearsing a full- length ballet, the coming triple bill and creating a new work at the same time. There’s a lot of overlap, so I think mentally that was kind of different to get my head around.”
He’s had to get his head around a lot of work, as he has been in almost every production in the Royal Ballet’s current season ranging from that staple of the Christmas repertoire, The Nutcracker, to Christopher Wheeldon’s The Winter’s Tale, where he took on one of the principal roles, that of Polixenes, King of Bohemia.
William relishes the variety. He loves acting roles – “it’s when I felt most free on stage, when I’ve been able to completely live someone else’s life” – but loves, too, the specific technical demands of different choreographers.
“It was amazing to do Hofesh [Shechter]’s Untouchables – that was incredible! And then working with Wayne [McGregor] for the first time was amazing! I absolutely loved it and Chris [Wheeldon] as well, at the same time, that was fantastic!”
He created roles in McGregor’s and Wheeldon’s new works this season, respectively Yugen and Corybantic Games.
When we spoke, William was preparing to dance in another Wayne McGregor work: his 2016 Obsidian Tear, part of the current season’s final Triple Bill. But whereas Christopher Wheeldon’s choreographic language is firmly rooted in the classical ballet vocabulary, McGregor’s is quite something else, with its hyper-extensions and jerky, contemporary inflections.
Did he find it easy to adapt to the specific demands of Wayne McGregor’s works?
“What I loved about working with Wayne was the amount of freedom he gave you. You train all the time to get things really perfect in a very classical sense and then for someone to just give you a phrase and say, ‘make of that what you will’ … it’s really liberating, to just completely launch yourself in something.”
Another reason for William Bracewell’s pleasure in his current job is that he gets to share the stage with people whom he’s idolised ever since he entered the Royal Ballet School as a shy 10-year-old from Swansea.
Dancers like Laura Morera and Federico Bonelli in The Nutcracker, “who I’ve looked up to since I was tiny.”
“I think Federico is one of the most stunning dancers I’ve ever ever seen! and Laura, who I’ve known since I was at school is just such a beautiful dancer, and such a wonderful woman…. being on stage with people that you’ve looked up to has brought a new life to productions that I’ve worked on before.”
William Bracewell: Beyond the Stage
Another reason why William Bracewell loves his London life is being able to explore all that the capital has to offer, even if he’s had to forego some of perks of smaller Birmingham.
“I had a house in Birmingham with a garden, which I suppose is possible here, but it’s difficult… but there’s just so much going on, so many more pieces of live theatre, and art. You know, you finish work at 6.30 and it’s not too late to go to the theatre or go to a gallery before it shuts.
“I love art, I love music and all different types of theatre!”
William Bracewell is a long way from his Swansea home, where we suspect he may be a bit of a local celebrity but is too modest to admit it, saying only he “supposes” his Mum’s friends know about his success…
And so we come to the point where we fill in the First Year Report Card. On a range of 1 – 5, he hits a 5* on Attendance, Proficiency, Work-Rate, Artistry and sheer Likability.
As for future prospects, why, Glowing, of course!
by Teresa Guerreiro
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William Bracewell is dancing in the Royal Ballet’s Obsidian Tear Triple Bill in rep until 11th May 2018.
He’ll dance the Principal Role of Prince Siegfried in Swan Lake on 19th, 31st May and 15th, 21st June. Swan Lake is in rep 17th May – 21st June 2018