Royal Ballet Principal Dancer Laura Morera talks to Ballet Position about the ups and downs of her life in ballet
You can tell when Laura Morera really cares about something (or someone) because her speech, normally soft and thoughtful, gains a certain urgency.
Her dancing. Even as a small child “every breath I took was ballet.”
Her late father: “My Dad loved me dancing so much (…) I think he gave me that pride in myself.”
Her husband, former Royal Ballet dancer Justin Meissner: “He’s the love of my life”
Her favourite choreographers: “Ashton, MacMillan, Scarlett.” No hesitation.
There is palpable passion in Laura Morera. Not a loud, histrionic, tempestuous sort of passion; rather an un-showy, slow-burning, internalised passion that brings an intense charge to all her dramatic roles.
LAURA MORERA: FROM MADRID TO LONDON
Laura Morera joined the Royal Ballet in 1995 straight out of the Royal Ballet School, and has been with the company ever since.
Born in Madrid, she fell in love with ballet very early on: “I remember I was really sick one week and wrote my Mum a little letter to say, I know I’m really sick and you’re not going to let me go to ballet, but please, please, if you just let me go to a class!”
Her parents’ support was important: “My Dad was super supportive and he would take me [to class] on his bike, and then my Mum and Dad would wait and we’d walk back.”
Her talent earned her an invitation to apply for the Royal Ballet School aged 11; and she has lived the best part of her life in the UK, as witnessed by her barely-accented spoken English.
In her first year at the RBS, while suffering from almost unbearable home sickness, she was picked by the then Royal Ballet Director Anthony Dowell for a small part in Swan Lake. That was an important moment in her development as a dancer:
‘I’d never seen the Royal Ballet (…) and I just remember arriving in this theatre, and the smell of the theatre, sometimes even now it takes me right back to that moment…
“And then in Act I just watching the dancing (…) and they were such amazing dancers at the time, and there were these beautiful costumes – I’d never seen anything like it! And watching their footwork, it was so beautiful (…) I was mesmerised, and I just remember thinking, ‘OK I want to be part of this!’”
And a part of it she became, her rare and exquisite musicality, intelligence, versatility and unstinting professionalism making her an asset for the company.
LAURA MORERA: LIFE IN THE ROYAL BALLET
For a while her progress was smooth: promoted to First Artist three years after joining the company, Soloist the year after, and First Soloist in 2002.
And then her career stalled.
The brief Ross Stretton directorship of the Royal Ballet (2001-2002) was traumatic for the company as a whole and for Laura, too, even though she felt he appreciated her talent. His successor, Monica Mason, did eventually promote her to Principal in 2007.
The seed of doubt, though, had been sown.
“I will always be grateful to Monica, she didn’t have to do it (…) but I felt like what sometimes was being said of the type of dancer that I was wasn’t quite reflected in the casting, and one thing I never wanted was to be a Principal that people don’t understand why they’re Principals because they’re not doing any roles.”
The frustration and uncertainly, the sense that the powers that be at the company felt the way she looked was a hindrance, led to a catastrophic loss of self-worth.
“I just felt inadequate and small, I felt like I didn’t belong in this ballet world, but I knew I had something in me that went beyond how you’re meant to look as a ballet dancer (…)
“I made myself quite ill from feeling so sad and frustrated and miserable, and I went to a healing retreat in Thailand. I went there for 10 days, then I came back, and then went there for 10 days again. They helped me give myself back [self] worth.
“One of the people there said, ‘when you first arrived, you looked dead in the eyes.’
“And then I came back and suddenly I didn’t hate myself, I didn’t feel inadequate, I knew my value, and all I could be was the best version of myself.”
That switch inside her head made a difference; as did the arrival of Kevin O’Hare as company director:
“He gave me Mayerling, and Giselle, [Midsummer Night’s] Dream, roles that I wanted to tackle but never had the chance. And he gave me a few first nights, I did Fille with Vadim [Muntagirov] in a first night.”
Her interpretation of the sassy Lise in Ashton’s La Fille Mal Gardée earned her Outstanding Female Performance (Classical) in the 2015 Critics’ Circle National Dance Awards.
Some roles never came her way, though: she regrets not having been given Juliet; and still hopes against all hope to be cast as Natalia Petrovna in Ashton’s A Month In The Country, a complex, passionate role in which I strongly feel she would excel.
On the plus side, Laura Morera became first choice interpreter for the choreographer Liam Scarlett, Royal Ballet Artist in Residence, creating roles for him in, for example, Sweet Violets, and Hansel and Gretel and the central female character in The Age of Anxiety.
She talks of Scarlett with fierce admiration.
“We [dancers] definitely have input [in his work] and I love that about Liam, his trust; and you just keep growing in those roles (…) Age of Anxiety was such a difficult piece for him because [WH Auden’s poem] is not a perfect piece of literature (…).
“I think he opens himself up sometimes to extreme criticism, but you’ve got to admire the fact that he doesn’t take the easy route. For me, I’ve never had an experience that I haven’t been proud to be part of with him.”
LAURA MORERA: BEYOND THE ROYAL BALLET
Laura Morera’s next project is a little left-field and she’s excited about it: she’ll be the dancing Anna, alongside the irrepressible cabaret artist Meow Meow as the singing Anna, in a revival of Kenneth MacMillan’s long forgotten Seven Deadly Sins, the choreographer’s take on the Brecht/Weill ballet chanté (ballet with songs).
It will be performed at Wilton’s Music Hall:
“I love the venue, it’s one of my favourite venues in London, I think it suits the piece really well. So, I’m excited about that; and then the content, the fact that it hasn’t been done much; and also working with Meow Meow.”
Away from The Royal Ballet, Laura Morera and her husband run Dance Tours, providing workshops and short training courses to aspiring dancers in Britain and abroad, ‘because I find as an art form ballet has so much that it can give you.”
I was curious to find out more about how Laura and Justin came together at The Royal Ballet – was it love as first sight? She laughs:
“Well, no, because I was in a squirrel outfit for Tales of Beatrix Potter and he was also a squirrel!”
The squirrels didn’t talk to each other, because she was new to the company, and he was a Soloist and at that time “it was very hierarchical”; but from unpromising beginnings love grew:
“He’s just amazing. We’ve been together for 23 years now and the love definitely grows each day… Justin is the love of my life.”
Laura Morera appears to inspire younger colleagues in the company: the young Principal Matthew Ball recently quoted her by name in an interview with The Times. Another young colleague, William Bracewell, told Ballet Position one of the attractions of joining the Royal Ballet was the opportunity to share the stage with dancers he deeply admired, like Laura Morera.
At 41-years-old she is enjoying her life and her dancing to the full. “I feel I’m having a second wind.”
Long may it last.
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