Fumi Kaneko – A Deeply Affecting Juliet

Fumi Kaneko as Juliet in MacMillan's Romeo and Juliet © ROH 2021. Photo: Bill Cooper

Newly-minted Royal Ballet principal dancer Fumi Kaneko talks to Ballet Position in the aftermath of her stunning debut as Juliet

Kenneth MacMillan’s Romeo and Juliet is a narrative masterpiece, distilling in its structure and choreography all the passion and ultimate tragedy of Shakespeare’s doomed young lovers.

Add to that Prokofiev’s magnificent, eloquent score, and it’s easy to see why Romeo and Juliet is one of the best loved works in The Royal Ballet’s repertoire. Having seen it countless times, I didn’t expect to be surprised, much less blown away, when I took my seat at the Royal Opera House for a matinée towards the end of October.

The lovers were to be danced by William Bracewell, a stylish and very affecting Romeo, and in only her second performance as Juliet the Japanese dancer Fumi Kaneko, with whose work as a technically accomplished dancer in both classical and contemporary repertoire I was familiar.

Fumi Kaneko as Juliet, William Bracewell as Romeo © ROH 2021 Photo: Bill Cooper

Yet, by the end of the performance I was an emotional wreck, such was the intensity Kaneko brought to the role. Hers was an interpretation that blended careful characterisation with an instinctive freshness and small telling gestures that were hers alone. In the final scene, where Juliet is faced with Romeo’s dead body, Kaneko was the epitome of utter, profound desolation, a Juliet overwhelmed by the magnitude of a loss she couldn’t quite comprehend.

It reduced me to tears.

So, when I met Fumi Kaneko at the Royal Ballet’s Covent Garden home, I naturally wanted to hear more about her Juliet.

“When I was cast I was surprised, because I’ve turned 30 now and I didn’t think Kevin [O’Hare, the company’s director] would cast me.”

At this point it’s only fair to note that with her delicate features and inspired acting, she looked very much the 14-year-old Juliet.

“Then I saw my name on casting and I was like, wow, this is my dream role and it’s going to be a dream come true.”

FUMI KANEKO – CREATING JULIET

Fumi Kaneko’s preparation for the role was intensive.

“I think watching so many amazing ballerinas before helped me a lot to create my own Juliet. I started to read Shakespeare’s Romeo and Juliet, which [repetiteur] Lesley Collier gave me in rehearsal, but it’s quite difficult to read… I also had an audiobook, so you can hear what they’re saying, as well.

“I also watched the original [Zeffirelli] movie from 1968; it’s not ballet, but I loved watching it.”

And then she was paired with William Bracewell, an experienced Romeo and an attentive and inspirational partner.

“The thing is, he IS Romeo!” She laughs, and goes on, “he IS Romeo, and that helped me act naturally.”

Fumi Kaneko as Juliet, William Bracewell as Romeo © ROH 2021 Photo: Bill Cooper

So, who was Fumi Kaneko’s Juliet?

“I think because she’s really young she always follows what her parents say; and suddenly she fell in love with this person and she couldn’t see anything else and that gave her all the strength to do what she wanted to do.

“I think she didn’t know what she had in herself – she grew so much in this ballet and I wanted to show that. I want to think that’s her life, but also my life, I’m not just doing this ballet, but I wanted to live that life, to live that moment on stage.”

Perhaps what made Fumi Kaneko’s Juliet so unique, so affecting, was the fact that in the same way as her character discovered in herself things she hadn’t known before falling in love with Romeo, so Fumi Kaneko discovered in herself things she didn’t know were there before she danced Juliet.

“After Romeo and Juliet I felt I didn’t know this side of ballet. I had a more technical side of ballet, but I lived Juliet’s life and had this feeling I never had before, so I want to experience something like that again.”

FUMI KANEKO – A LONG WAY FROM HOME

Born in Osaka, Japan, Fumi Kaneko started ballet class at the age of three.

“My mother took me, because when she was young she wanted to do ballet, but her mother only allowed her to do Japanese dance. So, when she was young she wanted to become a mother and she wanted to take her kids to ballet.”

Young Fumi soon fell in love with ballet, so much so that she was prepared to attend ballet class from 5 to 11 every evening at the end of her long school day, year after year.  After graduation,

‘I just wanted to dance all day. My teacher had a small company [Jinushi Kaoro] and I joined and I was able to dance from morning to night and that was my dream come true.’

When she joined the Royal Ballet in 2011 her CV already included gold at the Varna International Competition and silver at its Moscow and USA equivalents. The transition was not easy, though.

“It was hard to adjust to a new life without speaking English. In the beginning my Mum came with me and she helped me find a new home… go to supermarket to find something to eat…” She laughs. However,

“I loved this company straight away. Everyone was so helpful, and getting to know each other’s cultures as well, that’s how I learned English slowly.”

Her English is totally fluent now, if charmingly accented.  Her manner is gentle and unfailingly polite, and hides what you suspect is the iron will that saw her through those young years of hard, relentless training.

It also helped her through two devastating bouts of injury, that kept her off stage for the best part of one year each time.  Despite that, her career progression in The Royal Ballet has been steady, and she reached the highest rank of principal this season.

Fumi Kaneko’s has brought her strong technique and attractive stage presence to many of The Royal Ballet’s best loved roles, including Princess Aurora in the company’s signature ballet, The Sleeping Beauty.

FUMI KANEKO – THE FUTURE

Early next year Fumi Kaneko will debut as Odette/Odile in Swan Lake; and as a principal she’ll have access to some of the plum roles on which she’s longing to make her own mark: Giselle, Tatiana in Onegin and, above all, Manon.

“Manon is my dream role, maybe because it was the first ballet I was involved with after joining the company, and I was watching particularly the final pas de deux between Manon and Des Grieux, and I was crying, and I loved it, and I want to experience that.”

As one of a large number of Japanese dancers plying their trade abroad, she is well known and admired in her own country, where she tries to perform every summer.

She laughs modestly when I ask whether she’s a star in Japan, but says:

“When I became a principal I had so many messages from Japanese fans, and that was incredible, because I didn’t know I had so much support there.”

We’re only just beginning to discover the hidden depths of this wonderful dancer. I for one, can’t wait to see a lot more of Fumi Kaneko!

by Teresa Guerreiro

Fumi Kaneko dances the Sugar Plum Fairy with Nicol Edmonds as her Prince in The Nutcracker at the Royal Opera House

on Wednesday 22 December, matinee at 12:30pm,
and Wednesday 29 December at 7:30pm

 

Matilde Rodrigues – On The Threshold of Her Dream

Matilde Rodrigues as Myrtha, Giselle Act II, Conservatório Internacional de Ballet e Dança Annarella Roura Sanchez Summer Gala, Leiria. Photo Tomé Gonçalves

Just a few days before starting her first engagement as a professional dancer, 18-year-old Matilde Rodrigues speaks to Ballet Position 

Portugal hasn’t much of a tradition in classical ballet.  It’s true that more and more Portuguese dancers are are good enough to join important foreign companies; but, like Royal Ballet Principal Marcelino Sambé and former Wayne McGregor company dancer Catarina Carvalho, to mention but two, all finished their training in prestigious foreign schools.

So, when you hear that a young Portuguese dancer has graduated straight from a Portuguese ballet school into a major company, such as Birmingham Royal Ballet (BRB), you sit up and take notice.

Matilde Rodrigues. Photo Nikki Roberts

Matilde Rodrigues was invited to join BRB as an Artist even before her 18th birthday in the Spring.  She told Ballet Position how the job offer had come about:

“After the Youth America Grand Prix Finals in Barcelona in December [2019], the BRB representative there invited me to come to Birmingham for an audition.  But then there was a problem and I couldn’t audition in person, so my director assembled a demonstration video, and a couple of months later BRB formally invited me to join.”

We spoke in the provisional Birmingham flat, where, in the company of her mother and aunt, she was fulfilling the UK’s requisite Covid quarantine, before starting with BRB on 1st September.

A mere wisp of a girl, Matilde is tallish (1,68 m), lithe, with dark eyes and a gentle smile, which doesn’t quite hide an iron will and an unwavering determination to succeed.

Clearly a perfectionist in all she does, while in quarantine she’s been doing class by herself every morning.  A keen cook, she’s taught herself nutrition, and devised her own well balanced diet, which sounds perfect for the extreme physical demands of life as a professional ballet dancer.

Matilde Rodrigues – The Beginning

Matilde started dancing, or rather prancing around, in a children’s after-school activity club in her native Leiria, a small town just north of the Portuguese capital of Lisbon.  She was six-years-old.  Her fateful first contact with ballet, though, came a year or so later.

“I went to watch the ballet class of a friend and loved it, so I immediately asked my grandmother to sign me up.”

At this point it’s worth mentioning Matilde’s grandmother is the “arty” member of the family, the one who may have spotted Matilde’s talent before anybody else.  Matilde’s mother, a committed Scout leader of 20+ years’ standing, told me she thought her playful, vivacious child might perhaps follow in her footsteps.

Anyway, granny wasn’t the only person to spot Matilde’s talent:

“The school director liked me and felt I had the conditions to go far in ballet.”

The school director is Annarella Roura Sanchez, a Cuban former dancer and teacher, who just over 20 years ago set up an Academy and International Conservatoire in unlikely Leiria  (pop 127,000).  Since then, her Conservatório Internacional de Ballet e Dança has been attracting students from all over, and churning out cohorts of remarkably assured young dancers.

She teaches the Cuban technique, of which the current BRB Artistic Director, the superstar Cuban dancer Carlos Acosta, was a famous exponent.

“It’s a very strong virtuoso technique, relying very much on turning, jumps, strength; but there’s also a lightness to it,” Matilde explains.

“Some people think it’s a very masculine technique, but that’s not true. Last year a Cuban teacher guested at our summer course, and he kept reminding us that it was all about dancing.  Dancers have to express themselves, technique is not everything.”

Matilde herself is an expressive dancer, judging by her performance as Myrtha, Queen of the Wilis, in Act II of Giselle, staged by Maina Gielgud  for Conservatoire Annarella Roura Sanchez’s Summer Gala in Leiria.

Matilde Rodrigues Dances Myrtha

Myrtha is an implacable spirit, determined to punish with death any man who ventures into her forest realm during the night.  An arduous, demanding role, its parameters are clearly set; so, I wondered how much leeway Matilde had been given to put something of herself into her performance.

“Maina is an amazing coach; even as she’s coaching, simply marking, she seems to be living the action, and that helped me a lot to get into the character.  She gave me a lot of freedom of interpretation. 

Matilde Rodrigues as Myrtha in Giselle Act II, Conservatório International de Ballet e Dança Annarella Roura Sanchez Summer Gala. Photo: Tomé Gonçalves

“She’d say, for example, ‘at this point you could look that way,’  but always urging me to put something of myself into the character, because that’s what gives each dancer her individuality.  Each has to bring a little of her own heart into her performance.”

Sanchez accustoms her students to perform from a very early age, regularly taking them to national and international competitions; and this is where we find the second chapter of Matilde’s story – the time when her interest in dance grew to become a passion.

“I think it came about when I went to my first competition outside Leiria, when I was about 10-years-old.  It was a national event in the Algarve, but it all felt very different and I think that’s when I first felt really committed; and with each new competition I got to learn more about the world of ballet.”

Matilde Rodrigues is about to immerse herself in the world of professional ballet, as an Artist with BRB, something, which – of course! – produces mixed feelings.  I asked her to tell me about her fears and expectations.

“It’s a great change in my life: coming to a different country, leaving behind all my colleagues, who have supported me so much, my parents… also training will be so different, I shall be going from a school to a company, doing company class for the first time (…) That will be a great challenge.

“At the same time, though, I am excited about those same things, about having a new life, new colleagues, sharing a stage with great dancers; and working under a Director who was a great star and is Cuban!”

Matilda Rodrigues – From Star Student To Corps de Ballet

At the Conservatoire Matilde was a star student, used to solo roles and adulation; now she enters a company at the lowest ranks of the corps de ballet. Will that be much of a shock?

“No! I’ve danced corps roles from the very beginning and I actually like them (…) I’m aware I have a lot to learn, and to be able to watch the company soloists is going to be great, because you learn a lot simply by watching.”

Matilde Rodrigues finds herself on the threshold of the career of her dreams, the result of talent, hard work and perseverance.  What advice would she give to aspiring young dancers?

“Never give up.  When you really, really want something, then the will to achieve that has to be stronger than the temptation to give up.

“You need to be able to overcome negative feedback, turn it into renewed strength and keep going.”

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by Teresa Guerreiro

The full performance of Giselle, Act II by students of Conservatório Internacional de Ballet e Dança Annarella Roura Sanchez can be seen on YouTube

 

Yasmine Naghdi – "Striving for Perfection"

Yasmine Naghdi, photo c/o The Royal Ballet

Ballerina Yasmine Naghdi talks to Ballet Position about her life as a blossoming Principal Dancer with Britain’s premier ballet company

Once upon a time there was a very busy little girl. So busy, in fact, they said she was hyperactive. She couldn’t sit still for a moment except… but let Yasmine Naghdi take up the story. It is, after all, her story.

“The one thing my parents saw that I could sit still for was when they put a ballet on TV, and then I was absolutely fixated on the screen. All these creatures that were doing these amazing things, like gravity defying jumps and these amazing turns… and I just thought, that’s really what I want to do.”

Spool forward a couple of decades and she is indeed doing it: Yasmine Naghdi is now a Principal Dancer with The Royal Ballet, attracting glowing reviews, as well as public adulation, for her dancing in most of the key repertoire roles. Her affecting Juliet opposite fellow Principal Matthew Ball’s Romeo was relayed live to cinemas the world over last summer.

Yasmine Naghdi is reaching the pinnacle of her career, and yet there were no airs and graces about her when we met in a small Royal Opera House office. She was gracious and smiley and ready tell the story of how she made it to the top along a road with its fair share of bumps.

“No-one had done ballet in my family before, and my father was saying, ‘no, absolutely not, you can’t have a good career in ballet, and she needs to go the university!’ and the mother figure then comes in and says, ‘but this is her dream, let her follow her dream and if it doesn’t work out, it doesn’t work out.’

“So I auditioned at the age of 10 for the Royal Ballet School, and I didn’t get in.”

YASMINE NAGHDI – SECOND CHANCES

However, she was in the Royal Ballet’s Junior Associates programme, and through that she was given a private audition with the then director of the Royal Ballet School, Gailene Stock, the following year. The offer of a place at White Lodge followed.

That offer gave her confidence, but then,

“as soon as I joined the Royal Ballet School in my head I thought, my gosh, I’m a year behind these girls, I need to work extra hard, and I think that drove me into pushing myself beyond my limits.”

Yasmine joined the Royal Ballet upon graduating in 2010 and progressed steadily up the ranks, becoming a Principal Dancer seven years later, at the age of 25.

Her range is wide. She was an ethereal Giselle…

Yasmine Naghdi as Giselle (c) ROH 2018 Helen Maybanks

… a fierce Gamzatti, the Sultan’s daughter promised to the warrior Solor in La Bayadère; and an impressively skittish and feral Firebird.

Yasmine Naghdi and Edward Watson in The Firebird (c) ROH 2019 Tristram Kenton

YASMINE NAGHDI – STRIVING FOR PERFECTION

Being a Principal Dancer, however, doesn’t mean you’ve arrived. On the contrary: Yasmine Naghdi says she constantly works to develop her roles. Take Aurora in The Sleeping Beauty, a role she danced in current run’s opening night:

“Ballet is always striving for perfection. If anyone would say, I’ve reached the finished product, you’re not demanding the best of yourself. There’s always something you can do better, always something you can change.

“I never ever want to deliver the same performance twice.

“I recently stepped in for another dancer half-way through a performance [of The Sleeping Beauty]. I was called in and picked up in Act III (…) It was with Alexander Campbell, we haven’t danced together that much, so we just spoke in the wings about what we were going to do. Things like that add layers to your experience.

“My approach is, demand something different of yourself. Your Aurora, whether she’s just a little more timid when she comes on, or maybe she is very exuberant… I always want to find different ways of playing my characters and that keeps it interesting.”

Yasmine Naghdi as Aurora, Matthew Ball as Prince Florimund (c) ROH 2017 Bill Cooper

Once rehearsals are finished, Yasmine’s physical and mental preparation for a performance starts the night before.

“I prepare my body with as much fuel as possible. I always have a steak the night before because of the high iron content and load up with carbohydrates for energy. And then throughout the day of the performance as well, I have a lot of carbohydrates and electrolytes.

“In terms of getting into character that would start probably around midday, I plug in the music and I lie down and go over the ballet in my head (…) visualising the performance, going through the steps in my head. And then, of course, you get the hair and the make up and you do your warm up.

“I like to keep as calm as possible. As a young dancer, when you’re getting an opportunity, until the last minute it’s practise, practise, practise… but I’ve learnt that can tire you out for the performance and you want to be at your fittest.

“So, I’ve had to learn to hold back a little bit and trust myself, which is hard for dancers to do.”

In the first night of The Sleeping Beauty, enthusiastic applause started well before the end of the highly demanding Rose Adagio, with its slow turns and exacting balances. I wanted to know how aware she was of the audience throughout her performance.

“It’s hard to explain but I almost feel the energy of the audience. You feel whether the audience is with you, supporting you, or whether they’re a bit more judgemental and cold; and it gives you so much when you feel the audience is warm and supportive (…)

“You’re giving everyone a performance, you’re putting the energy out there, but you’re getting an energy back as well.”

YASMIN NAGHDI AND MATTHEW BALL PARTNERSHIP

At the moment Yasmine Nagdhi is rehearsing for her debut in the lead role of Swanilda in Coppélia, The Royal Ballet’s Christmas offering, a work she describes as “so fun.” Once again her partner will be Matthew Ball, in what appears to be developing as a dream partnership.

Yasmine Naghdi and Matthew Ball in rehearsal for Coppélia photo Gavin Stuart

For one thing, they are very beautiful together, her delicately exotic looks (she was born in Britain of an Iranian father and a Belgian mother) perfectly matched to his golden boy features. What makes the partnership work?

‘Matthew and I have had a lot of lovely opportunities. We first danced together in Onegin as Olga and Lensky, and Kevin [O’Hare], our director, said, ‘when I saw you as Olga and Lensky together, that’s what made me think of you as Romeo and Juliet together.’

“Matthew and I are very good friends outside of work, and very supportive of each other’s careers. I think it’s lovely to have that as a foundation (…)

“I think it’s very reassuring that we get to dance quite a lot together because you build that bond – I feel very safe in his arms.”

She does, however, welcome the opportunity of working with other partners: looking ahead to The Royal Ballet’s winter period, she is rehearsing for her debut in one of her dream roles, Tatiana in Onegin, where her partner will be the company stalwart Federico Bonelli.

Yasmine Naghdi is a good role-model for young girls dreaming the ballet dream; and this is her advice to them:

“Having a passion is one of the most important things in life, so to keep that passion alive is so important.  One has to remain kind to oneself: if you have a bad day, just let it go. 

“Know that it’s not a complete upwards journey – you hit bumps along the way, but those bumps will make you stronger.”

And with that she picked up her rehearsal tutu and off she went to work on becoming Swanilda.

by Teresa Guerreiro

Coppélia is in repertoire at the ROH 28 Nov – 7 Jan.  Full details here

Laura Morera: Being "The Best Possible Version of Myself"

Frankenstein, Federico Bonelli as Victor, Laura Morera as Elizabeth (c) ROH 2016 Bill Cooper

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.

Mayerling, Laura Morera as Maria Vetsera (c) ROH 2017 Alice Pennefather

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.”

La Fille Mal Gardée, Laura Morera as Lise, Vadim Muntagirov as Colas (c) ROH 2015 Tristram Kenton

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.

The Age of Anxiety, Laura Morera and Steven McRae (c) ROH 2014 Bill Cooper

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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by Teresa Guerreiro

Laurretta Summerscales: becoming Juliet…

Laurretta Summerscales in English National Ballet's Romeo and Juliet, photo Laurent Liotardo

ENB Principal Laurretta Summerscales talks to Ballet Position about her favourite roles and the current  phase in the company’s history.

Juliet is one of Lauretta Summerscales’ favourite roles. Juliet, that is, in the Rudolf Nureyev production of the tragic love story of Romeo and Juliet. Nureyev’s 1977 ballet on Prokofiev’s complete score is the version danced by Laurretta’s home company, English National Ballet, for whose predecessor, London Festival Ballet, Nureyev created the work.

“Oh, I love Juliet!” she exclaims, and her face, already animated throughout our lengthy conversation, lights up further. “This is the only version of Romeo and Juliet I absolutely love.”

Nureyev himself described his Juliet as “passionate, willing and more mature than [Romeo] is.”

Lauretta: “You can see the transition as she turns into a woman – she realises what she wants and then she’s put into a situation where she has to choose between two sides, but she loves them both, doesn’t understand it. She’s, like, caught in a trap.

“I see her as a very strong character, so that’s why I can act her quite easily because she’s strong, even though she’s not toughened, harsh; but she knows what she wants and she’s very strong against everybody.”

Judged by many to be the balletic version of Romeo and Juliet closest to Shakespeare’s original, Nureyev’s ballet doesn’t stint on the bawdiness and violence that characterised Renaissance Verona. And he introduces some changes that intensify the dramatic effect.

“This is the only version (…) where she actually sees Tybalt dead. In all the other versions that I have seen you never have the chance to show the audience your emotions, what you go through!

“You have seen Tybalt dead and you have love for him and you have love for [Romeo] different types of love… this complete torture of two sides… and also you have a go at him saying, “how dare you do this?” and at the same time you love him.”

Throughout, though, and this seems to be the clincher for Lauretta Summerscales, “she’s quite calculating, thinking about things, thinking about “should I, shouldn’t I?” she’s scared, but you can see that she hasn’t lost control.”

Laurretta Summerscales
Laurretta Summerscales

As she gestures to signify her enthusiasm for this role, the tell-tale sparkle of diamonds flashes from the ring finger of her left hand. She is engaged to fellow Principal Yonah Acosta, with the wedding booked for the very first day of their summer holiday, post Romeo and Juliet.

The natural question, then, is, would she like to establish a regular stage partnership with her life partner?

“It would be great to do Swanilda and Franz [in Coppelia] because there’s a bit of feistiness, and we’re like that naturally, so I would love something like that because I would just have so much fun with him on stage.”

‘Feisty’ is definitely one word you would associate with Laurretta. It’s also a word that applies very much to ENB’s Director since 2012, Tamara Rojo. Does that create problems?

“I find we’re both quite feisty. I think it’s more because I’m pushy and I think I annoy her sometimes, which is understandable.

“It’s difficult, because as a dancer you don’t want to be seen that you’re laid back or that you’re super confident and you expect everything. I always want to show that I am always wanting more, I don’t want anybody to see me as big-headed (…)

“So, I never want her to think badly of me, so sometimes I’m like, ‘Im here, just to let you know.’  I’ll bet she’s gonna say, ‘go away, leave me alone.’  I don’t know that for sure, but that’s the impression.”

Big-headed is definitely not the impression Laurretta Summerscales gives. On the contrary, with her open smile and willingness to engage, she comes across as disarmingly unpretentious. Strong-willed, though; and intent on widening the range of her roles.

Brought into the company after only two years in the English National Ballet School, her progress up the ranks has been fairly swift, and promotion to Principal came, aged 25, in January 2016.

A strong dancer with a powerful jump, and appearing taller on stage than she is in real life (at 5ft 4 or 1.62 m she’s well within a female dancer’s average), she has tended to be typecast as, say, Medora in Le Corsaire, Odille rather than Odette, Myrtha rather than Giselle.

And yet, she gave a good account of Giselle in her debut in the role last Winter.

Laurretta Summerscales as Giselle, photo Laurent Liotardo
Laurretta Summerscales as Giselle, photo Laurent Liotardo

“I want to be able to be versatile and feel I can bring a bit of this, a bit of that, I’m not in a box. I don’t like to be in a box, I have this thing, ‘no! no box!’” (Laughs)

Versatility has to be the name of the game under Tamara Rojo’s ambitious plans for English National Ballet. The company’s repertoire now includes work by contemporary choreographers such as Akram Khan, Russel Maliphant, Annabelle Lopez Ochoa and China’s Yabin Wang, in whose complex reading of the Medea myth, M-Dao, Laurretta starred.

Laurretta Summerscales in M-Dao by Yabin Wang, photo Laurent Liotardo
Laurretta Summerscales in M-Dao by Yabin Wang, photo Laurent Liotardo

Another coup for Rojo was the acquisition of MacMillan’s seminal work, Song of the Earth, choreographed on Mahler’s haunting Das Lied von der Erde, where Laurretta would be eager to dance the central role of The Woman – though she has no idea yet whether that’ll come to pass.

There is actually a lot ENB dancers don’t know about Rojo’s overall plan for the company.

“I understand she wants to push the company up there, to be different, to grab people’s attention, but what her plans are for the future, like what ballets and stuff, no. We may have an idea, rumours, there’s always rumours, but you never know because things do change like this” – she clicks her fingers – “so until you see it in black and white… but that won’t be shown to you until literally a month before.”

Laurretta is understandably reluctant to be drawn on internal company politics; but pushed about the Director’s accessibility to ideas or even suggestion from below, she will say this:

“When she’s a dancer, in dancer mode, you can talk very freely, but when she’s a director it’s a very different dynamic.”

She is much happier talking about her ambitions for the future, the roles she’s got her eye on beside that of The Woman in Song of the Earth:

“Definitely La Bayadère, I’d love to do both Nikiya and Gamzatti, but I absolutely love Gamzatti, especially the last solo – it’s really difficult in the red dress, it’s beautiful!

Don Q, for sure – I feel like I can really just explode on stage. Elite Syncopations I’ve always liked because of Darcey Bussell.

“And the last one that I’d like to do is Sleeping Beauty. The Act II solo – I like the challenge, it’s such a long solo, it needs so much control…”

More immediately, Laurretta Summerscales is reprising the role of Juliet during ENB’s forthcoming stint at London’s Royal Festival Hall; and then, of course, there is the small matter of her own love story to attend to come the first day of the summer holiday and her wedding to Yonah Acosta.

by Teresa Guerreiro

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ENB dance Romeo and Juliet at the RFH, 1 – 5 August 2017. Laurretta Summerscales dances Juliet with Paris Opera’s Josua Hoffalt as Romeo on 4 August at 19:30