Interview with Gareth Haw

Photo credit: Andrew Seidel

Welsh born, Gareth Haw, trained in Chepstow before joining the Royal Ballet Lower and Upper School. Upon graduation, Gareth joined the Semperoper Ballett Dresden in 2015, where he grew through the ranks, before joining the English National Ballet as a First Soloist in 2023. He was promoted to Principal in 2024.

Gareth has danced Principal roles in Watkin and Smith’s Nutcracker; Watkin’s Swan Lake, La Bayadere and Sleeping Beauty; Watkin and Beechey’s The Nutcracker; Dawson’s Giselle. Soloist roles in Balanchine’s Theme and Variations, Symphony in C, and Four Temperaments; Forsythe’s The Second Detail, Artifact, and New Suite; Graham’s Errand into the Maze; Inger’s Walking Mad, and Carmen; Bausch’s Iphigenia auf Tauris; Ashton’s The Dream; Peck’s Heatscape; Ekman’s COW. His created roles include Paris, in Dawson’s Romeo and Juliet; Winter Principal Couple in Dawson’s The Four Seasons.

Gareth, can you tell us what you are currently rehearsing and performing?

I have been pretty busy of late performing as the Prince in Sleeping Beauty and I have just returned from Romania where I performed Giselle Act II and Metamorphosis by David Dawson. I also had the honour of performing the UK première of Slingerland Duet by William Forsythe.

Photo credit: Yoonsik Kim

What made you decide to join the Covent Garden Dance Company and perform at Hatch House this July?

I have been following CGDC for the past two years and really love the ethos. In February I was unable to join the Bahamas cast, but there was no way I could turn down the opportunity to dance with Lauren Cuthbertson. There is only one answer to that question! I have idolised her since I was in school and it was a dream opportunity.

What will you and Lauren be dancing?

We will be performing a double debut! We are both very keen to dance Le Parc as we saw the Paris Opera Ballet performing it a long time ago. We also will be performing Florent Malec’s beautiful piece Moonlight. There is such meaning behind both works that we both wanted to perform them for the first time.

What do you hope people feel when watching you?

If we manage to captivate an audience for a brief moment in time, enable them to forget the day to day, we will have done our job.

Photo credit: Yoonsik Kim

What excites you most about performing at Hatch House?

I love that it is not a conventional setting. Being outdoors rather than in a standard theatre in a big city, brings a different energy to the performance, it changes the atmosphere of the piece and it brings a different style of performance. I can’t wait.

You’ll be performing alongside some incredible artists, who are you most excited to watch?

William Bracewell. He is an extremely unique artist and what he represents as a male dancer is unique; he makes every role his own. It helps that he is also from Wales! I think we are the only two Welsh Principal dancers and that is something lovely. I am a massive fan and have been since I first saw him dance when I was 9 years old. It will be a full circle moment to dance alongside William.

Many children will be coming to watch the rehearsal on the 24th July - how important are these opportunities for future generations of dancers?

I experienced that thrill of watching professional dancers on stage when I was little. I grew up in rural Wales and I remember when I first watched the Royal Ballet perform. It is so important that we branch out of cities to expose a younger generation, include and inspire them. It is our responsibility to ensure ballet is not an elitist form but an accessible art.

What is your favourite role to dance?

I have performed as Albrecht in Giselle recently and it is a key pillar in classical ballet but it also explored the human emotional journey. Male dancers are often in white tights, but Albrecht’s emotional journey allows us to dance with freedom. Albrecht is my favourite role.

Can you share something people don’t know about you?

Before ballet, I was a slalom ski racer and I speak fluent German!

Interview with William Bracewell

After an unforgettable run of dancing Romeo to Marianela Nunez’s Juliet, we had the great privilege of interviewing Royal Ballet Principal Dancer, William Bracewell, before he dives down the rabbit hole into Christopher Wheeldon’s Alice’s Adventures in Wonderland.

Photo credit: Unknown

Welsh dancer William Bracewell joined The Royal Ballet as a Soloist in 2017 and was promoted to First Soloist in 2018, Principal in 2022. Born in Swansea. William trained at the Pamela Miller Ballet School and, from the age of 11, at The Royal Ballet School. Whilst a student, he won the 2007 Young British Dancer of the Year Award and the grand prix at the 2010 Youth America Grand Prix. He joined Birmingham Royal Ballet in 2010, promoted to first artist in 2012 and to soloist in 2014.

His repertory with The Royal Ballet and BRB includes Des Grieux, Oberon, Polixenes and Florizel (The Winter's Tale) Lead roles in Requiem, The Dante Project, Hamlet and Ophelia, Romeo, Prince Siegfried (Swan Lake), Prince (The Nutcracker), Franz (Coppélia), Oberon (The Dream), The Prince (Cinderella), Ferdinand (The Tempest), Salamander Prince (David Bintley’s The Prince of the Pagodas), First Seminarian (Carmina Burana), Prince Florimund (The Sleeping Beauty) pas de six (Giselle), Rajah/Caterpillar (Alice’s Adventures in Wonderland), Ted Feltham (The Unknown Soldier), Kulygin (Winter Dreams), Beliaev (A Month in the Country), Dr John Brown (Like Water for Chocolate) and roles in Woolf Works, Dances at a Gathering, Symphonic Variations, Tombeaux, Obsidian Tear, Les Rendezvous, Elite Syncopations, ‘Still Life’ at the Penguin Café, Theme and Variations, Untouchable, Sylvia, Asphodel Meadows, Corybantic Games and DGV: Danse à grande vitesse.

William Bracewell as Prince Siegfried & Akane Takada as Odile in Swan Lake at the Royal Ballet & Opera House
Photo credit: unknown

His role creations for BRB included Le roi soleil (Bintley’s The King Dances), Alexander Whitley’s Kin and Jessica Lang’s Lyric Pieces. He has created roles for The Royal Ballet in Jessica Lang's Twinkle, Untitled 2023, Yugen, Corybantic Games, Dispatch Duet and The Weathering.

Bracewell's other awards include Best Male Dancer 2023 and Outstanding Male Performance (Classical) 2015 from Critics' Circle National Dance Awards.

---

William, can you tell us what you are currently rehearsing and performing? 

It’s nearing the end of our season here at the Royal Ballet & Opera House and the final thing I’m performing here is Alice’s Adventures in Wonderland. I’m also creating a new ballet with Cathy Marsden that will premiere in November 2025.

Photo credit: William Muir.

Can you please tell us what motivated you to join the Covent Garden Dance Company to perform at Hatch House this July?

It’s rare that I get to perform in such a beautiful part of the world so I was thrilled to be asked. Having danced with Sarah Lamb last summer, I was also incredibly keen to continue forming our relatively new dancing relationship.

What are you looking forward to most about performing at Hatch House?

I can’t wait to see the house and gardens and of course share the stage with Sarah both in repertoire we know well and something totally new to myself. I also cannot wait to see the gardens for the first time. After dancing, my second love is horticulture and gardening. I find it such a therapy and escape, if there is any help needed in the garden I’ll be there!

Photo credit: Alice Pennefather

What will you be performing and why did you choose these pieces?

Myself and Sarah Lamb will be dancing an excerpt from La Bayadère and Frederick Ashton’s Cinderella pas de deux. Cinderella is a firm favourite of mine; the precision and detail all Ashton works combined with his musicality is such a joy to perform. I feel Sarah is an absolute master of this way of moving. La Bayadère is new to me, so I’m looking forward to the challenge of tackling something quite different.

When you’re dancing these works, what do you hope the audience feels?

These pieces are quite different from one another so hopefully the audience will be able to take away the contrast and versatility of our dancing. 

You will be performing alongside some wonderful artists from all around the world, who are you most looking forward to watching perform?

I always love seeing people dance that I haven’t before.

Many children will be coming to watch the rehearsal on the 24th July - how important are these opportunities for future generations of dancers?

Seeing dancers of the Royal Ballet perform was what made me want to start dancing more seriously, so I know how important these experiences are.

Photo credit: Alice Pennefather

What is your favourite role to dance?

It’s a tough question but probably of the classical ballets it would have to be Romeo and Juliet or Manon but there are too many to chose from…

Can you tell me three things people don’t know about you – fun facts perhaps?

• I am an excellent whistler (to some people’s annoyance).

• I built all the door frames and doors in my current flat (yes they are a little wonky)

• And my YouTube rabbit hole is electric car videos.

If you are yet to book your seats to watch William Bracewell and Sarah Lamb dance at Hatch House 2025, don’t delay, tickets are selling fast.

Interview with Sarah Lamb

Having just completed a run of sublime performances at the Royal Ballet & Opera House as Juliet in Kenneth Macmillan’s Romeo & Juliet, and ahead of her debut appearance at Hatch House 25-27 July, 2025, we were delighted to interview Principal dancer of the Royal Ballet, Sarah Lamb.

Sarah is an internationally acclaimed Principal Dancer with the Royal Ballet. She joined the company in 2004 as a first soloist and was promoted to principal after eighteen months.

Photo credit - Andrei Uspenski

Sarah’s roots lead back to Massachusetts. She was born in Boston and trained with Madame Tatiana Nicolaevna Legat at the Boston Ballet School. In 1998 she was named a Presidential Scholar in the Arts and awarded a gold medal by President Clinton and performed Sleeping Beauty Act III at the Kennedy Center in 1998. Her many awards include three silver medals at the Third Japan International Ballet Competition in Nagoya (1999), the USA International Ballet Competition (2002). She was awarded the highest medal at the New York International Ballet Competition (2000).

Lamb’s repertory with the Company includes all the leading roles in the classical, dramatic and contemporary repertories as well as the masterpieces of Sir Frederick Ashton and Sir Kenneth McMillan. She created the title role in Wayne McGregor’s Raven Girl and roles in his ballets Carbon Life, Live Fire Exercise, Limen, Chroma, Tetractys, Woolf Works, Multiverse, Yugen and The Dante Project. She also has created roles for the Company in Christopher Wheeldon’s The Winter’s Tale and Electric Counterpoint, Ratmansky’s 24 Preludes, David Dawson’s The Human Seasons and Twyla Tharp’s Illustrated ‘Farewell’.

Sarah has performed at the World Ballet Festival in Tokyo in 2015, 2018 and 2024 and is known by audiences across the globe. In 2023 Sarah received the Positano award for Best Female Dancer.

We cannot wait to watch Sarah grace the Hatch House stage on 25, 26 & 27 July 2025.

Photo credit - Andrei Uspenski

What you are currently rehearsing or performing?

I just finished Romeo and Juliet and am preparing for some performances in Mexico in a couple of weeks. I'm really looking forward to performing in Mexico again; it has been several years since I was there.

What motivated you to join the Covent Garden Dance Company to perform at Hatch House this July?

William Bracewell invited me, and I will always jump at an opportunity to dance with William! We performed for the first time together last summer at the World Ballet Festival, and we had a wonderful partnership, I'm looking forward to dancing together again this summer.

What will you be performing?

William and I are performing Ashton's Cinderella pas de deux, which we performed last summer in Tokyo, and an excerpt from Marius Petipa’s Shades Pas de Deux, from La Bayadère, which is a ballet William hasn't previously performed. 

Photo credit - Andrei Uspenski

What are you looking forward to most about performing at Hatch House?

It's always interesting to perform somewhere new, we are always in London so there are many parts of the UK that I have never seen! 

When you’re dancing these works how does it make you feel, what do you hope the audience feels?

Prokofiev's music for the Cinderella pas de deux in Act 2 is sublime and I hope the audience feels the same as I do when I perform. It is glorious. The pas de deux from La Bayadère is one of longing. Nikiya is a vision to Solor, and he is reunited with her in this otherworldly realm. She needs to exude these qualities of intangible beauty.

You will be performing alongside some wonderful artists from all around the world, who are you most looking forward to watching perform?

I don't know the final cast list but it will be exciting to see some familiar faces or meet new artists!

Photo credit - Andrei Uspenski

Many children will be coming to watch the rehearsal on the 24th July - how important are these opportunities for future generations of dancers?

I think rehearsals are a wonderful way to introduce new audiences. I think rehearsals can be more interesting to watch than performances! Young dancers especially feel closer to the work and the art, and it is so unique to be able to do what you love - for a young dancer to realise his/her dream is edifying. 

What is your favourite role to dance?

That's not a fair question there are too many!

Can you tell us three things people don’t know about you?

I love to read, and I take time every day to read the New Yorker Magazine. 

I used to love drawing, and I still do from time to time though I am not good at finding time for it.

I still don't have a driver's license which is rather remarkable as I lived in America until I was in my early 20s! 

Photo credit - Andrei Uspenski.

Children’s Matinée at Hatch House

We are delighted to introduce a brand-new addition to our weekend of world-class ballet and dance at the beautiful Hatch House near Tisbury: the Children’s Matinée Performance.

In previous years, we’ve welcomed families to attend our open dress rehearsals—a wonderful opportunity for young audiences to experience the magic of ballet in an informal and inspiring setting. However, due to unforeseen delays and the overwhelming popularity of last year’s rehearsal, we felt it was time to reimagine the experience for our younger guests.

This year, we were honoured to collaborate with the extraordinarily talented Courtney Celeste Fox, a celebrated Bahamian ballerina. Not only did Courtney create an exciting new piece for our programme, but she also curated and hosted a fun, interactive matinée performance designed especially for children.

BOOK YOUR SEATS

The 90-minute matinée, taking place between 2.45pm and 4:00pm on Thursday 24th July, includes engaging audience interaction, an introduction to the behind-the-scenes world of theatre (including lighting, music cues, and stagecraft), and two performances from our main programme. Children are then invited to join Courtney on stage to learn and perform a joyful, high-energy choreography—an experience that is as entertaining as it is educational.

Courtney, known for both her artistic excellence and her warm, approachable presence, brings a wealth of experience working with children in performance and education. With technical support from our brilliant chief technician, Ella, the matinée promises to be a magical and memorable event for the whole family.

We are excited to launch what we hope will become a beloved tradition at Hatch House: a children’s performance that inspires, delights, and invites the next generation into the world of dance.

We hope to see you there!

To book, click the button below

Iconique 2025 - Director’s Note

It was a distinct honour to present the second season of Iconique this past March at the renowned Old Fort Bay Club on New Providence Island, in the Bahamas. Across the weekend of March 7th and 8th, our company had the privilege of performing a rich and diverse programme in an open-air setting that remains one of the most exquisite in the world.

Photo credit - Eddy Raphael.

For the first time, we also offered a children’s matinee on Sunday morning—an energetic and joy-filled performance led by the luminous Courtney Celeste Spears, which was met with enthusiasm and delight by the next generation of Bahamian dance lovers.

Lauren Cuthbertson & Robbie Fairchild performing Christopher Wheeldon’s Mercurial Manoeuvres. Photo credit - Eddy Raphael.

The natural elements, once again, proved gracious. As the final notes of our dress rehearsal faded into the evening, the coastal winds calmed, blessing our opening night with near-perfect conditions and an atmosphere befitting the beauty of ballet beneath the stars.

We were delighted to read Mark Monahan’s report on Iconique and our upcoming Hatch House events. You can read the The Telegraph’s esteemed Chief Dance Critic and Arts Editor’s report by clicking the button below.

Among the many artistic highlights of this year’s edition was the creation and world premiere of an original work conceived and brought to life by Bahamian talent. Collaborating with the extraordinary Courtney Celeste Spears and her partner Vernal Adley, alongside acclaimed Bahamian composer Giveton Gelin, we sought to honor the cultural vibrancy of the island itself.

Photo credit: Robyn Damianos.

With the generous support of six local patrons and the creative vision of fashion designer Phylicia Ellis, this new piece emerged as a heartfelt celebration of Bahamian artistry. It is a rare and meaningful occasion when a work speaks so directly to the place in which it is born—this was one such moment.

To welcome choreographic works by some of the most significant figures in the canon of 20th and 21st-century ballet was both a privilege and a profound responsibility. The inclusion of George Balanchine, whose neoclassical innovations redefined the vocabulary of ballet; Maurice Béjart, whose theatrical vision electrified audiences and embraced the existential edge of dance; Benjamin Millepied, whose kinetic modernism continues to resonate with new audiences; and Christopher Wheeldon, whose seamless blend of classical structure and contemporary lyricism positions him as one of the leading choreographers of our time—each contributed to a program that celebrated the ever-evolving art of ballet.

Kateryna Chebykina & Alejandro Virelles performing George Balanchine’s Diamonds’ pas de deux.
Photo credit: Eddy Raphael

In particular, to present two works by Christopher Wheeldon—performed impeccably by Royal Ballet principal Lauren Cuthbertson and Broadway and New York City Ballet star Robbie Fairchild—was a personal milestone. That they accomplished such breath-taking performances with only five days of rehearsal, each learning a new piece in that time, speaks not only to their prodigious talent but to the passion and urgency that defines truly great artistry.

Lauren Cuthbertson & Robbie Fairchild performing Christopher Wheeldon’s Within the Golden Hour.
Photo credit - Eddy Raphael

Set to music by the likes of Georges Bizet, Sergei Prokofiev, and contemporary composer Ezio Bosso, our programme paid homage to the powerful union of choreography and musical composition—a cornerstone of ballet’s history from Petipa and Tchaikovsky to the present day.

Seojun Joon & Mikael Lafon performing Benjamin Millepied’s Nuits s'achève.

To work with a cast of this calibre, in a country of such beauty and warmth, and to contribute—however modestly—to the cultural dialogue of the Bahamas has been one of the great joys of my professional life. Ballet Iconique exists not only as a celebration of movement but as a living testament to ballet’s ability to evolve, to connect, and to inspire.

Matt Brady
Director

Curtain call
Photo credit - Eddy Raphael

Iconique - Bahamas 2025 Programme

After 12 months of planning, we are so delighted to share our full Iconique, 2025 programme with you.

From classical to contemporary, there is something to delight every dance novice and dance connoisseur alike.

Read on and book your seats before it is too late.

Book now

Children’s Matinee

Taking place on 9 March at 11.30am, the Children’s Matinee performance at Old Fort Bay is an exciting event for children, offering a magical and captivating introduction to the world of ballet and dance.

The matinee will feature exquisite ballet excerpts, and fun performances performed by some of the world’s most incredible dancers; showcasing the range as well as the elegance of this art form.

Hosted by the Bahamas’ very own super star ballerina, Courtney Celeste Spears, this show is perfect for all ages! After the performance, children will have the opportunity to ask questions, interact with the dancers and even have the chance to get the photo taken with them!

Interview with Lauren Cuthbertson

Photo credit: Andrej Uspenski

English dancer, Lauren Cuthbertson is a Principal of The Royal Ballet. She studied at The Royal Ballet School, before graduating into the Company in 2002. She became a Principal in 2008.  

Lauren was recipient of the Critics’ Circle National Dance Award for Outstanding Female Performance (Classical) in 2004 and 2021. She has performed as a guest artist with Teatro Colón, Teatro di San Carlo, Teatro dell’Opera di Roma and The Australian Ballet. She was invited by the Mariinsky Ballet to perform Sylvia (2018), Marguerite and Armand (2019) and The Sleeping Beauty (2020). She is Vice President of the British Ballet Organisation and Patron of London Children’s Ballet and the National Youth Ballet. 

Cuthbertson’s repertory with the Company includes Aurora, Odette/Odile and the Sugar Plum Fairy. Works by Frederick Ashton include the Young Girl in The Two Pigeons, Titania in The Dream, Natalia in A Month in the Country and Marguerite in Marguerite and Armand. She also featured in principal roles in many of Kenneth MacMillan’s ballets including Anastasia, Romeo and Juliet, Manon, Mayerling, Song of the Earth and The Judas Tree. She has also performed leading roles in works by other choreographers including George Balanchine, Jerome Robbins, Glen Tetley, David Bintley, Liam Scarlett and Alastair Marriott. Created roles for Wayne McGregor include Qualia,  Chroma,  Infra, Acis and Galatea, Live Fire Exercise, Tetractys and Multiverse. Cuthbertson performed Christopher Wheeldon’s Souvenirs while at The Royal Ballet School and went on to work with him closely, creating the role of Alice in Alice’s Adventures in Wonderland and Hermione in The Winter’s Tale. She also worked with Cathy Marston on first joining the Company and went on to create the leading role inspired by Jacqueline du Pré in The Cellist for which she won her 2021 Critics’ Circle National Dance Award. 

How long have you known Matt and been working with the Covent Garden Dance Company?

I have known Matt for over ten years and have worked consistently for the Covent Garden Dance Company over that period. Since having my two small children, I haven’t taken on any extra performances within my schedule, but now feels like the right time. I have an appetite to perform selected works and that is why I really enjoy working with Matt because he is so open to you suggesting works that you are inspired by, and think audiences would love to see you dance. That is why I am coming to the Bahamas this March.

Lauren Cuthbertson & Matthew Golding - Hatch House
Photo credit - Alice Pennefather

What will you be performing and with whom?

I’ll be performing two works by Christopher Wheeldon with Robbie Fairchild. It is our first time dancing together, and I am beyond excited to be performing with him. We’ve both worked separately with Chris, so to come together within his work feels quite special. I’ve danced Golden Hour before, which is one of our pas de deuxs, and the other one - which will be a debut for me - is called Mercurial Manoeuvres. Robbie has danced that work before so between us we have a history with one and are supporting the other one to debut. That feels really beautiful.

What are you looking forward to most about performing at Iconique?

I’m most looking forward to that feeling you get when the music starts and hopefully the audience is captivated and we are also captivated within the work and and we share that moment in time. Performing always feels completely special and unique and this time feels really special; dancing with Robbie for the first time with new repertoire. This is also my first time performing in the Bahamas.

Have you ever performed in the Bahamas before, can you tell us about the last experience? And if not, what are you most looking forward to?

After I had a foot operation a long time ago, I went with a dear friend to the Bahamas to recuperate. It is amazing to come back and think how worried I was to be able to get back to dancing after that foot surgery and questioning if I would every make it back to full fitness. Yet here I am, returning after many years, after sustaining a career and having children. So performing on the island for the first time with that in mind, will feel on a personal level, quite special.

When you’re dancing these works how does it make you feel, what do you hope the audience feels?

When I am performing Golden Hour. I feel really serene and peaceful. Every movement that you take within the Golden Hour, feels meaningful because it is quite a sparse work in terms of steps. So you really have to engage your physicality with every single move and make it as smooth as possible.

Many children will be coming to watch the rehearsal on the 6 March - how important are these opportunities for future generations of dancers?

It’s critical that children have access to the arts and I am so happy that we are going to bring some of what we do to the Bahamas. I certainly haven’t performed here before, but you never know, there may be someone in the audience who is so captivated by the music or the dance or the physicality, or it might make them feel wonderful to watch it. In this day and age with so much screen time, I feel like any art form is ever more important and engaging with each other and sharing in the moment is necessary, so I am really excited about that.

I hope we get to meet the children and talk to them. I always love to speak to children after a performance they’ve seen because they seem to be so receptive. They come out with some really insightful reactions because they are often seeing things for the first time and they have such a refreshing perspective.

What will you be working on after Iconique?

After Iconique, I will be heading back to London and performing in Serenade at the Royal Opera House and then debuting in another beautiful work by Christopher Wheeldon called The Two Of Us, so those are my next two engagements at the Royal Opera House.

Can you tell us something people don’t know about you – a fun fact perhaps?

I work with a perfumer, so for every big ballet that we perform, we work on making a scent for that ballet, so that each character has at least one scent. I have done this for my whole career, so now we have a whole library of scents which is quite unique.

Watch Lauren dancing as the original Alice in Christopher Wheeldon’s Alice in Wonderland.

Interview with Robbie Fairchild

Just a few weeks before Iconique 2025, we caught up with the incredible international artist, Robbie Fairchild, who is soon to partner Royal Ballet Principal Dancer, Lauren Cuthbertson in a stunning Christopher Wheeldon double bill.

ROBBIE FAIRCHILD made his Tony nominated Broadway debut in 2015 as Jerry Mulligan in the Tony Award-winning musical An American in Paris, which he reprised in London’s West End in 2017. He was awarded the Drama Desk, Outer Critics Circle, Theater World, National Dance and Astaire Award for this performance and was nominated for the Evening Standard and Drama League Awards.

From 2009 to 2017, Fairchild performed as a Principal Dancer with the New York City Ballet. His other theatre credits include Monster in Mary Shelly’s Frankenstein (Signature Theater, Chita Rivera Award), Harry Beaton in Brigadoon (New York City Center), Will Parker in Oklahoma! (Royal Albert Hall, London), Mike Costa in A Chorus Line (Hollywood Bowl), and Bill Calhoun in Kiss Me Kate (Roundabout Theater Company’s 2017 Gala).

Photo credit - Ryan Slack

His television credits include: Soundtrack (Netflix), Mixtape (FOX Pilot), Julie’s Greenroom (Netflix), Oklahoma! (BBC Proms), Romeo in Romeo and Juliet and Carousel Boy in NY Philharmonic’s Carousel (PBS’s Live from Lincoln Center), Dancing With The Stars, The Late Show With Stephen Colbert, Live with Kelly and Michael, CBS Sunday Morning, and 60 Minutes. Film: Tom Hooper's Cats, An American in Paris Live (West End Production), The Chaperone and NY Export: Opus Jazz.

What have you just been working on?

I have just been in London working on another workshop of The Artist - a stage adaptation of the Oscar-winning movie of 2011, it’s picking up steam and it’s really fun; a dance musical hybrid - like An American in Paris.

Can you please tell us what you are currently rehearsing / performing / working on aside from preparing for Iconique?

I’ve got a lot of Spring and Summer gigs lined up which I am really excited about. There is a lot of prep’ work for me to do; whether it’s choreographing or flying to different cities to meet with different choreographers to make new stuff, so I am really excited.

Photo credit - Erin Baiano

What will you be performing and with whom?

I am so excited to be doing Golden Hour and Mercurial Manoeuvres with Lauren Cuthbertson. We have known each other for so long and because we know each other through Christopher Wheeldon, it will be fun to get to connect on stage via his moves. I am really excited.

What are you looking forward to most about performing at Iconique?

I think I am looking forward to exploring our friendship on stage. I have admired her for years as an audience member and a friend, so to get to dance with her is a huge honour and a treat.

When you’re dancing these works how does it make you feel, what do you hope the audience feels?

When I dance Christopher Wheeldon pas de deuxs, they feel so human; they transcend the classical form they are in, into something that feels so wonderfully personal. And I love that aspect of ballet, that it is something so classical and it can feel so far away, but then moments make it feel really human; Thank you Wheeldon!

Photo credit - Erin Baiano

Have you ever performed in the Bahamas before, can you tell us about the last experience? And if not, what are you most looking forward to?

I have never performed before in the Bahamas, but I have gone scuba-diving there which was heaven. I am very much looking forward to it. I love the people there, I love the culture and it will be fun to get to perform, not just go as a tourist.

You will be performing alongside some wonderful artists from all around the world, who are you most looking forward to working alongside?

I cannot wait to dance with Lauren, but also alongside all of my fellow dancers who I have only been able to see dance online up until now. How exciting!

Photo credit - Paul Kolnik

Many children will be coming to watch the rehearsal on the 6 March - how important are these opportunities for future generations of dancers?

Young audience members are so key. Dance is very unique and very special, but it’s very universal and in a very Tik Tok, Instagram reel world, there is something to be said about sitting down and spectating something that lasts longer than 30 seconds. So it is important to have those moments.

Can you tell me three things people don’t know about you – fun facts perhaps?

I don’t know if people will have gathered this, but I am an adventurer, I am very spontaneous and although I am very outgoing and extroverted, I really love my quiet time too.

Interview with Fernanda Oliveira

With Iconique, Bahamas, 2025 selling fast, we caught up with Lead Principal dancer of the English National Ballet, Fernanda Oliveira.

Read on to discover what Fernanda and her partner, Alejandro Virelles will be dancing at the Old Fort Bay Club, Nassau on 7 & 8 March, 2025.

What are you currently rehearsing / performing?

I’m currently rehearsing for Giselle in preparation for the English National Ballet’s final show of the winter season.

How long you have been working with Matt and the Covent Garden Dance Company?

I’ve known Matt for around 12 years. We’ve worked together on a few projects, but our first performance at Hatch House, was in 2022 when I danced with Fabian Reimair.

What are you looking forward to most about performing at Iconique?

I’m excited to perform for a new audience and share these beautiful pieces. I’ll be performing 3 Prelude by Ben Stevenson and  “Loss” by Ricardo Amarante alongside Alejandro Virelles.

When you’re dancing these works how does it make you feel and what do you hope the audience feels?

I love performing these ballets because opportunities like this don’t come around often; I really hope the audience can feel the joy and emotion they bring.

What are you looking forward to most about performing at Iconique?

It’ll be wonderful to meet new dancers and see the unique energy they bring to the stage.

Many children will be coming to watch the rehearsal on the 6th March - how important are these opportunities for future generations of dancers?

I hope the kids in the audience feel inspired by what we do—I feel incredibly fortunate to be able to share ballet with them.

Can you share something that people don’t know about you?

 I have two kids and I’ve never performed in the Caribbean before.

A video message from Mickaël Lafon

We cannot wait to welcome back the incredible on-stage and in life partnership of Étoile, Myriam Ould-Braham and Coryphée, Mickaël (Paris Opéra Ballet) to the Covent Garden Dance Company stage.

With only two months to go till Iconique, Bahamas and tickets selling fast, watch their video to discover what this world class couple will be dancing on the 7 & 8 March, 2025 at the Old Fort Bay Club, Nassau.

Interview with Courtney Celeste Fox

Courtney Celeste Fox, of Bahamian descent, is a professional dancer and dance educator with the world renowned Alvin Ailey American Dance Theatre and has performed in over 15 countries including France, Germany, Spain, Italy, Greece, Switzerland, and The Netherlands.

Courtney has performed for two sitting US presidents, for President Barack Obama at the G7 summit in Germany in 2015 and for President Joe Biden & First Lady Dr. Jill Biden at the 2023 Governors Association at The White House.

Her work has been featured in publications such as Vogue, Harper’s BAZAAR, The New York Times, Shondaland, and Vanity Fair and she was a leading figure in The Black Iris Project's "A Mother's Rite" choreographed by artistic director Jeremy McQueen, which was nominated for a New York Emmy.

Ahead of our second Iconique Gala taking place in Nassau, Bahamas, we caught up with award winning, Courtney to discover more about the new and exciting piece she is creating to première on 7 & 8 March 2025.

She shares what impact working with Jazz composer Giveton Gelin has had upon her choreography, to what inspires her most about returning to the stage to dance. We cannot wait to watch Courtney’s Dicky Buckle funded creation in March.

Photo credit: NYC Dance Project

Please tell us what new work you have been creating for Covent Garden Dance Company.

This new work highlights my love of modern dance with jazz music. The full story line is being developed now, but its a solo followed by a duet. It’s set to an original score by Giveton Gelin, Bahamian jazz artist and composer. With costumes designed by Bahamian designer Phylicia Ellis and danced with Bahamian dancer Vernal Adderley.

How did the piece came about?

I was first introduced to Covent Garden Dance, Director, Matt Brady, via word of mouth on the island. In his incredible work with dance, people suggested he connect with me! What’s funny is that Matt thought that when he was coming to meet a “ballet teacher, who’s retired from Alvin Ailey, and lived in New York City for over a decade,” and he was coming to meet an older lady whose dance career was way behind them. As he described it, “in walks, this young beautiful lady,” who he immediately asks “why aren’t you performing?!” I laughed and told him I’d left the stage and was absolutely content in my role as an educator. Well, if you know Matt, you know that his kind spirit and bubbly personality is persuasive and by the end, I was convinced.

What inspired you to create this piece?

I wanted to highlight Bahamian creatives in a way that allows us to show our connection to spirit and soul. This piece was heavily inspired by the music created by Giveton Gelin and I wanted to allow myself the freedom to be inspired by the art around me and go from there.

What has been your favourite moment whilst preparing this piece?

Honestly, rehearsing with Vernal has been such a treat. It’s been so priceless to be in the studio again getting to work. Vernal is an exceptional dancer and an even more exceptional partner! He’s so strong, so caring, and so attentive. Moving like this again has been a gift.

What are you looking forward to most about performing this piece in March 2025?

I’m excited to dance with all that I’ve gained over the last year. I left Alvin Ailey about a year and a half ago and have evolved so much since then. I feel like a different person, having gained so much in my time as a full-time educator. I always believed that who you are as a person and your life experiences directly impact the artist you are on stage. I’m excited to return as who I am now at this season of life.

When you’re dancing this piece how does it make you feel?

Full. Empowered. blessed.

Please tell us about the piece of music you are using.

Giveton Gelin and I came together and I described some imagery to get him started. This piece of music is a beautiful blend of his love of jazz with my understanding of modern dance. It’s absolutely sensational!

How important are charities like the Dicky Buckle Fund for the future of dance?

Funds like these support artists and allow us to do what we love… Create. It’s imperative to the forward momentum of our industry. Their importance of the Dicky Buckle Fund can’t be put into words!

Where will you be taking this piece next?

Hopefully around the world!

You will be performing alongside some wonderful artists from all around the world this year, who are you most looking forward to watching perform?

All of them! Live art is truly life changing and especially to have that here in the Bahamas. It’s so inspiring to watch.

What do you like most about performing in ballet galas such as Iconique?

It allows for so much diversity in what you’re seeing! Going to the theatre to see one ballet company is truly spectacular, but when you get to see multiple dancers from different backgrounds in one setting, it’s a different experience. And it has the ability to bring dance to places that may not always have access!

Can you share three things people don’t know about you?

• I love school and academics. I went to Harvard Business School’s “Crossover Into Business” Programme for professional athletes and graduated Summa Cum Laude from Fordham University with a degree in Dance & Communications.

• I’ve performed for two sitting US presidents, President Barack Obama & President Joe Biden, and had the pleasure of meeting President Joe Biden in the Oval Office after performing at The White House.

• I recently got engaged! My fiancé is incredible and he is the most supportive of my dreams. We’re getting married in 2025.

A video message from Paris…

Photo credit: Little Shao

Fresh from rehearsals, we are delighted to welcome Soloists, Nine Seropian and Andrea Sarri from the Paris Opera Ballet to join the Covent Garden Dance Company.

To discover what they will be dancing at Hatch House 2024, watch their video.

Nine Seropian

Nine entered the Paris Opéra Ballet School at the age of nine where she studied till graduation. She then worked at the Paris Opéra Ballet company as an apprentice, becoming an official member of the company after three years, in 2019.

After her success at the 2021 Paris Opéra Ballet's ‘concours de promotion,’ Nine was promoted to Coryphée (Artist), and in 2024 to the position of Sujét (Soloist).

She most recently danced the Peasant Pas de Deux and the two Willis in the ballet Giselle. Alongside classical ballets, she has worked with many famous contemporary choreographers over the years. These include: Mats Ek, Sharon Eyal, Wayne McGregor, Crystal Pite and Angelin Preljocaj.

Andrea Sarri

Andrea Sarri trained at the Paris Opéra Ballet school from 2008 to 2016, the year in which he won the ‘concours de promotion’ and joined the Company. In 2021 he attained the position of Sujét.

Andrea has played many iconic lead roles such as Puck in Balanchine’s Midsomer Night’s Dream, Bratfisch in Mayerling and Léscaut in Kenneth MacMillan’s Manon.

Photo credit: Julien Benhamou

He has also appeared in Les Indomptés by Claude Brumachon, danced the Pas de Trois in Rudolf Nureyev’s Swan Lake, and recently danced as Prince Albrecht in Giselle by Coralli and Perrot.

Throughout his career he has relished working with some of the world’s most acclaimed choreographers; William Forsythe, Jiri Kilyan and Crystal Pite.

Andrea received the coveted Prix de l'Arop in 2022, which celebrated his artistic growth and secured him as a dancer to watch.

---

To enquire about offers, tables, menu and the programme, get in touch via email events@coventgardendance.com or phone: 01749 81 3313

For latest news, competitions and events, subscribe to our mailing list and follow us on Instagram.

---

Hatch House 2024 Programme

Our 15th anniversary performance needed to be extra special and this summer’s programme does not disappoint.

We are delighted to bring you three world premieres of stunning works, especially created for our Hatch House 2024 audiences. We also boast a double bill of exquisite works from the quintessential towering figure of classical ballet, Sir Frederick Ashton alongside Diamonds, created by America’s greatest, most exciting choreographers, George Balanchine.

These works will be performed for our audiences’ delectation, as always by some of the world’s greatest dancers, from the greatest ballet companies in the world. This year art, music and artistry combine with live music from Arne-Christian Pelz, Principal Cellist of Deustche Oper’ and stunning hand drawn projections by contemporary artist Hannah Fowler.

If you haven’t booked your seats for 2025 yet, don’t delay, tickets are selling fast.

---

To enquire about offers, tables, menu and the programme, get in touch via email events@coventgardendance.com or phone: 01749 81 3313

For latest news, competitions and events, subscribe to our mailing list and follow us on Instagram.

---

Interview with Ksenia Ovsyanick

Between the end of the stunning Staatsballett Berlin season and her busy life as a mum, we were delighted to catch up with Principal dancer, Ksenia Ovsyanick.

A hugely important member of the Covent Garden Dance Company, Ksenia is returning to Hatch House for her tenth year and bringing with her an exciting and unique improvised performance that promises to delight this year’s audience.

British-Belorussian ballet dancer, Ksenia became known for her collaborations beyond the stage with art galleries, artists, fashion designers, musicians and filmmakers. She started her career at English National ballet, joining Staatsballett Berlin in 2016 and over the years performed on stages around the world and winning numerous prestigious dance awards.

Discover more about this year’s performances at Hatch House and how becoming a mother has shaped her dancing in our interview below.

How long you have been working with Covent Garden Dance Company?

I was part of the early performance by CGDC back in 2009/10. And I have been here on numerous occasions since. In fact, I believe I have performed almost at every show in the last 10 years!

Ksenia performing with Dinu Tamazlacaru at Hatch House 2023
Photo credit: Alice Pennefather

What has been your favourite moment whilst performing for CGDC?

I think the locations and performing in the open air are always a very special experience. And the meticulous conditions that Matt creates that enable us to deal with any weather allow to truly enioy performing in such unique settings. 

What are you looking forward to most this year?

This year I’m bringing as a partner, Principal Cellist of Deustche Oper, Arne-Christian Pelz. I think having live music for this evening will be a very special addition and I very much looking forward to bringing to Hatch audience our collaboration with AC.

What inspired you to create the new piece with Arne-Christian?

We have had chances to work with AC before and it inspired me to look for more opportunities for collaboration. Rather than just dancing to the music, communicating with the musician as a partner during the performance creates a very different experience. Instead of telling two parallel stories we create one together in the moment, and while we “speak” in different languages you have to breathe and feel together, and I believe it is palpable for the audience to feel and experience too.

Tell us about the piece of music you are using.

It is classically based but rearranged/recomposed by AC. You will be in for a treat!

What role would you most like to play that you are yet to debut?

Its a long list! There is a lot I still want to do and create.

How important are charities like the Dicky Buckle Fund and Covent Garden Dance Company for the future of dance? 

Dance is one of the least supported art forms, yet it so expressive and relatable. It transcends language bariers, it can portray things you cannot describe in words. It is wonderful to have funds such as Dicky Buckle supporting developments in dance. Sometimes the smallest crops can grow into the biggest harvest. 

Photo credit: Patricio Melo

You will be performing alongside some wonderful artists from all around the world this year, who are you most looking forward to watching perform?

It is always nice to meet new dancers as well as reconnect with those you know. Coming from different places, there is always something you can learn and get inspired from. This year there are quite a few new dancers I haven’t met before and I very much look forward to discovering their art.

How do you juggle your busy life as a ballerina and a mother? 

Its busy… Because I don’t want to sacrifice either time with my son nor the quality of my ballet performances. I guess what gets sacrificed is sleep…

How has being a mother changed you as a dancer? 

The work became very precise and focused, as you can’t afford to waste time. It is very enriching emotionally, giving me more emotions and feelings I can tap into as an actor. Also I had to completely relearn my body and how to use it in dance. As the result of such a process and all the additional training I did, I believe it made me a stronger dancer. 

Can you tell us something people don’t know about you?

I cannot ride a bike. But I can ride a horse. 

Don’t miss Hatch House 2025.

---

To enquire about offers, tables, menu and the programme, get in touch via email events@coventgardendance.com or phone: 01749 81 3313

For latest news, competitions and events, subscribe to our mailing list and follow us on Instagram.

Interview with Calvin Richardson

Between performances as Oberon in the Royal Ballet’s Midsomer Night’s Dream, we caught up with newly promoted Principal, Calvin Richardson to find out how his new choreographic work, soon to premiere at Hatch House 2024, is progressing.

Photo credit: Andrej Uspenski.

From what inspires him, to how he balances choreography alongside his performances at the Royal Opera House, Calvin explains why he’s so excited to be choreographing on The Royal Ballet’s First Artists and Hatch House performers, Marco Masciari and Viola Pantuso.

Talk us through your journey with choreography

I’ve always choreographed from when I was at school in Melbourne, right through to Upper School at the Royal Ballet, when I became known for my Dying Swan choreography, which I made in my graduate year.

That took me around the world and from there, I have created solos and duets for galas and a piece here at the Royal Opera House’s Linbury Theatre. Then when the pandemic hit, lots of jobs fell through so it was a strange process. Once I came out of the pandemic, my dance career kicked off and I’m a Principal in the company now so the balance has really shifted.

Since my promotion, the focus has been on my dancing, so it’s really nice to have the opportunity to continue nurturing that side of my work as well.

Obviously Marco and Viola are emerging talent within the company. They are amazing artists and so to work with them has been a joyful experience; to be amazed by what they do.

What has been your favourite role since becoming Principal with the Royal Ballet?

Definitely Romeo, The Statement by Crystal Pite and then this year, I performed in Manon with Melissa Hamilton - that was amazing as well. You always have those dreams of like, these are the roles that I want to do. To actually start being able to tick those things off, I have to pinch myself a little bit at times, but it's been a great time.

Photo credit: Andrej Uspenski.

How do you balance your choreography with your dancing?

It’s a balance like everything. When you first start out you’re on stage a lot more, but maybe it’s not the same level of pressure, and then as you work your way up, you’re on stage less, but when you’re on, there’s a bit more pressure to deliver your performance and maintain a certain reputation. So it’s nice to find other things that aren’t always about you, about achieving and about success.

Tell us more about the piece you are choreographing for Hatch House 2024.

I’ve always wanted to create a piece to music by Colin Stetson; I’ve always been a fan. I was listening to his recent album, When We Were That What Wept For The Sea, and I found track The Lighthouse V, which is just beautiful, and I thought it would fit with a lot of images of the natural world. It’s composed by Colin, but it’s featuring Iarla Ó Lionáird who recites poetry throughout.

It’s just a beautiful piece and it’s got a lot of images of the natural world. The Lighthouse evokes images of a journey and when I was doing research on the album that he composed, I discovered that Colin’s father had passed away quite suddenly, so the album was created in a very short space of time and in light of that event.

It’s a bit more of a sombre subject matter, which I didn’t intentionally choose for Hatch, but I just knew that the music spoke to me in a way that would suit the location of the event.

Even just to watch the performance as a whole, in that location is going to be quite the spectacle, and I just thought that it would pair really well with the music’s images of the natural world really nicely.

How does your new piece evoke the natural world?

I want to evoke abstractions of nature in all of its different colours and textures. It highlights the beauty and brutality of our environment, which reflects our own human experiences on this voyage here together.

The dancers in some moments depict waves pushing and pulling and at other times evoke a human, emotional landscape between them. I thought it would be interesting to blur these lines that we enforce in our collective consciousness. The piece seeks to represent this sensed awareness of reality. One where things are not separate but unified by relationship.

What inspired you to create this piece?

Nature has been my inspiration for the movement. The images I’ve been working with are water, life and death journeys and light.

Photo credit: Andrej Uspenski.

My Grandma passed away recently and at the time when I found the music, I was going through that and I think it just spoke to me. It’s not that I am presenting that subject matter as the piece, but I think when I am creating there are always little signs to me and I just follow that even if it’s not directly a presentation of my thoughts or what I am experiencing. But it has been really nice to create movement from a genuine place; I try to maintain authenticity in what I am doing, even if it is not universally the most beautiful.

How much have Viola and Marco influenced the piece?

Marco and Viola are very natural artists and naturally emotive performers in how they use their bodies, so that’s already inherent in what we’re creating, just by being in the studio together. That has been a huge help.

Photo credit: @dancersdiary

Choreography for me has always been a bit of a spontaneous connection that you have with the people in the room. It’s inherent in the work. I always want it to be genuine and authentic in the studio when we’re creating, so I am always working against the idea that I am the choreographer and it’s me trying to tell the dancers what to do and making nice shapes. Obviously sometimes you shift in different roles, but I try to create a space where people can bring their own creativity and have fun with it.

Given the nature of what we do every day, there is always repetition and you are always under the public eye and you’re used to fixing everything to the last detail, so I try to move away from those temptations and sort of move in a felt experience.

Calvin, Viola and Marco in rehearsal at the Royal Opera House.

Why did you want to work with the Covent Garden Company?

I’m really supportive of Matt’s ambition to create a venue to give these sorts of opportunities to people to create new work, especially after the pandemic. I’m really grateful.

To enquire about offers, tables, menu and the programme, get in touch via email events@coventgardendance.com or phone: 01749 81 3313

For latest news, competitions and events, subscribe to our mailing list and follow us on Instagram.

It’s our 15th anniversary at Hatch House…

Mara Galeazzi & Gabriele Corrado - Macmillan’s Balcony pas de deux, Romeo & Juliet at Hatch House in 2019.

15 years ago, a quick conversation took place in the 17th Century walled Dutch garden at Hatch House. It was between The Covent Garden Dance Company director Matt Brady and the owner of the gardens, Lady Holly Rumbold.  The latter was being asked if she would mind if the former put a ballet on in her garden.   The response was an emphatic:

‘Oh my gawd yes!’.  

Three months later, the first show was presented to a bijou audience of 120 guests who had been rapidly contacted to try to ensure that the eccentric idea of presenting a ballet in a garden could be realised before the summer passed.

15 years on, Ballet Under The Stars has gone from strength to strength. The walled garden Harlequin Stage has played host to the biggest names in ballet and dance such as Carlos Acosta, Lauren Cuthbertson, Vadim Muntagirov, Valentine Colasante, Myriam Oud Brahm, Mara Galeazzi and too many more to mention in this single blog.

Lauren Cuthbertson & Matthew Golding - Christopher Wheeldon’s, After the Rain:
Hatch House 2018.
Photo credit - Alice Pennefather

For those of you who have not been, the 430 seat dinner theatre is created within the two tiered walled garden to form the dinner theatre. The walled garden is completely covered with a giant bespoke roof for the run of the 4 shows.  Guests arrive generally around 5:30pm to enjoy a drink from the newly created Café Folle Speak Easy cocktail bar and a walk in the sunshine around the gardens.  At 7pm everyone is seated at tables with their party to enjoy their first course of gourmet dining ahead of the first half hour section of performance.  Each half hour of performance takes place after each course of dining.  Each performance section has four short works within it with each work lasting around 5-8 mins.

This year, to celebrate the 15-year milestone, the company has in a way in part returned to their beginnings by inviting the stars of the future to perform alongside some of the more established names.  This year we will be treated to performances by Royal Ballet rising super stars Viola Pantuso and Marco Masciari and they will be joined by newly appointed Birmingham Royal Ballet Principal Beatrice Palma and Max Maslan. 

Viola Pantuso & Marco Masciari
Photo credit: @dancersdiary

The cast list does not end there; with performances by internationally renowned names such as Xander Parish and Ksenia Ovsyanick - who will be accompanied by Virtuoso Cellist Arne Christian Pelz - Hatch House 2024 makes this 15 year celebration a must see. The programme includes works from the greatest choreographers from around the world: Balanchine, Ashton, Petipa and many more.

Ksenia Ovsyanick & Timothy Dutson, Hatch House, 2022. Photo credit: Alice Pennefather

Hatch House 2024 is a feast for the senses for anyone and everyone, especially if you have never been to see ballet or dance.  The combination of the performance and three course dining, in the deeply romantic walled garden is truly something unique and brilliant.  If you can get a ticket….GET A TICKET!

Performance dates are: 25th/26th/27th July 2025

To enquire about offers, tables, menu and the programme, get in touch via email events@coventgardendance.com or phone: 01749 81 3313

For latest news, competitions and events, subscribe to our mailing list and follow us on Instagram.

 

Interview with James Bamford

Thanks to the Dicky Buckle Fund, James is currently creating a new work for Hatch House 2024. A truly collaborative and transdisciplinary piece, combining music, dance, art and projection, we are incredibly excited to premiere this unique work.

James is a producer, creative, teacher and performer with a passion for freedom of expression and storytelling through dance. In 2018, at the age of 14, James founded arts organisation Project Dance, a vessel he would use to facilitate opportunities for anyone to be able to engage with dance. Six years on, the company now produces original, full length narrative works which tour nationally, alongside the provision of an array of social engagement activities, reflecting the organisation’s commitment to its founding values.

Photo credit: Grace Noelle.

Can you tell me three things people don’t know about you.

I was a footballer for a very long time before I went into ballet. I like Krispy Kremes and I have hayfever!

Can you please tell me how long you have been working with Covent Garden Dance Company?

I first worked with the Covent Garden Dance Company just over a year ago when there was a Dicky Buckle (DBHF) fundraising performance and I presented a new piece especially for that. It was at that point that I found out that fundraising had been secured for me to create a new work for their main event in the summer this year.

Photo credit: Studio H Photography

What has the DBHF grant meant to you?

The Dicky Buckle Fund is really exciting. It’s really empowering and it’s really inspiring. I’ve been able to meet the trustees behind the charity and witness their passion for the arts, for continuing Dicky Buckle’s legacy and supporting the creation of new works. I think in the current climate, where the arts’ sector currently stands, that cannot be underestimated. Its value is incomparable and that is something that I am really excited to foster and champion through this new work.

“I have really enjoyed being able to speak on behalf of this charity and to fly the flag and beat the drum for what they are trying to do. I think it is really exciting.”

What are you looking forward to most about your piece premiering at Hatch House?

I am really excited to premiere something different at Hatch House; a work that I think will stand out for its uniqueness amongst such an exciting bill of works.

I am really excited to present two dancers who are right at the beginning of their professional journey, but are so exquisite at what they do and I feel very, very fortunate to be able to work with them.

“Any opportunity that I have to work with brilliant dancers, I take as an absolute privilege.”

Photo credit: Len Copeland

What inspired you to create this piece?

As the Director of an arts organisation called Project Dance and with the company, I have taken works across England. My favourite thing is narrative dance theatre and we toured with Growing Pains last year and this year we are making a new show called All That Matters.

“This is what makes me most passionate, it’s telling stories which people can connect to.”

How did this new piece come to life?

I first met Matt Brady (Director of Covent Garden Dance Company) when he came to watch my production of Growing Pains where there was an element of transdisciplinary arts engagement between the dancers and projection and art; the three unique disciplines working together to create a spectacle and that was when this concept was first conceived. We’ve taken inspiration from that and expanded it in a really holistic and thorough way, and that was how this new piece came to life.

The possibility of various creative mediums: dance, music, animation, costume, art, uniting together to enrich a single creative output entrances me, and the work presented today is a manifestation of such. Exploring this multitude of outlets has catalysed new opportunities for collaboration, for which have all been joyous and I am immensely grateful for.

“The dancers; young, ambitious, kind, have been magnificent to work with - that’s all I can ever ask for.”

Andrew Parfitt, James Bamford & Grace Noelle in rehearsal.

When you’re watching this piece, how does it make you feel, and what do you hope the audience feels?

I feel very inspired by the work of the dancers and how they are connecting with one another and the intimacy that they are portraying. I am also inspired by the true charisma that they share for one another, the space that they are working in, and the art that they are making.

It is truly exciting to be able to work with the dancers, because there is something very real and very honest and very authentic about them both. It is coming from a very true and organic place and I think that it is very fulfilling to work with as a choreographer, but you can also feel it permeate as an audience member.

Tell us about who will be dancing your new work and why you chose them.

Grace Noelle is a classically trained ballet dancer, originally from California. She trained with Bolshoi Prima Ballerina Alla Khanashvilli and Vera Ninkovic. She has danced principal roles such as Sugarplum Fairy (The Nutcracker), Aurora (Sleeping Beauty), and Mercedes (Don Quixote) with Palos Verdes Performing Arts. She has been a company dancer with Project Dance for over a year and will be the associate producer and rehearsal director in the company’s upcoming show, All That Matters.

Andrew Parfitt is an 18 year old dancer from Hertfordshire and is currently training at London Studio Centre. He previously trained at Italia Conti Junior School, Kreative Dance Academy and MEPA Academy and was an associate at The Royal Ballet School. Andrew is currently a member of 2 companies: Project Dance and the Dane Bates Collective and previously, Sol Dans Youth.

Andrew’s professional credits include the Wicked movie, London Fashion Week, Britain’s Got Talent, ‘Kam’ in Project Dance’s‘ Growing Pains and other corporate jobs.

Watch Andrew dance

Tell us about the piece of music you are using

We are using a brand new piece of music that I have been able to commission thanks to the Dicky Buckle Fund. It is by a fantastic composer called Benjamin Kahn and he has created a really sensitive, thoughtful piece using piano and cello; it will compliment the dancing in a really sensitive way.

I’ve known Ben for a really long time and I’m really excited that finally, I am able to work with him in this way.

How important are charities like the Dicky Buckle Fund for the future of dance?

The future of dance is dependant on charities like the Dicky Buckle Fund. The amount of surplus money that exists currently solely for the creation of art is so minimal. Public funding is in a precarious position at the moment, so having funds like the Dicky Buckle Fund which are able to create and be the catalyst for new work without the process of going through public funding routes, not only does it preserve the creation of new work, but it also makes artists feel like their work is valued and that it is wanted, necessary and valued.

Many children will be coming to watch the premiere of your piece at the rehearsal on the 24th July - you do so much to support the future generations of dance already, what will it mean to you to watch them watching your new work?

One of the massive things that I enjoy working with Project Dance is how we are able to engage with the communities that we work in, so I am really excited that the dress rehearsal is opened up to so many children in the local area so that they can get their first taste of what ballet actually looks and feels like.

Photo credit: Meg Sayer

“It is such a special thing. I feel very proud that I can contribute a work that will be part of that and it resonates really deeply with the values of Project Dance.”

Want to stay up to date with our events, artists and news?

Interview with Beatrice & Max

Ahead of an exciting international tour and fresh from her promotion to Principal in March, we caught up with Birmingham Royal Ballet partners, Beatrice Parma and Principal, Max Maslen.

Beatrice & Max dancing Hobson’s Choice by David Bintley.
Photo credit: Bill Cooper.

Italian born, Beatrice Parma is a Principal dancer with Birmingham Royal Ballet (BRB). Originally from Livorno, Italy, she trained at Accadamia Teatro alla Scala and English National Ballet School. Upon graduating, Beatrice worked for three years in Turkey in a company in Mersin, before joining the Birmingham Royal Ballet.

Her partner in life and on the stage, Max Maslen, Principal of BRB, was born in Bradford where he trained locally until the age of 16, before moving to London to train full time at Central School of Ballet.

Can you tell us three things people don’t know about you?

“I am a hobbyist DJ, I play guitar in a band and I can’t sing!”
Max

“I’m the happiest by the sea, I love watching Formula 1, I can’t go to bed without fluffing the sofa’s cushions.”
Beatrice

What has been your favourite role that you have danced? 

“Juliet is without a doubt my favourite role that I’ve performed so far. I love how in MacMillan’s Romeo and Juliet the choreography meets the music perfectly. Performing this role is always so special as you can bring so much individuality to it.”

Beatrice

“My favourite role I have performed would have to be Mercutio in Romeo and Juliet. The sword fighting, the drama and fun make each show unique!”

Max

What role would you most like to dance that you are yet to debut?

“A dream role of mine has always been Marguerite in the Lady of the Camellias by John Neumeier. I remember watching it at the Teatro alla Scala when I was younger and completely falling in love with the role. The choreography is absolutely stunning and I would love the challenge of performing such a complex and dramatic role.”
Beatrice

“The role I would love to perform is Sergeant Francis Troy in David Bintley’s Far from the Madding Crowd. Some of the pas de deux are extremely challenging and I’d love to have a chance to dig deep into the character.”
Max

What has been the highlight of your year with BRB?

Carlos Acosta promoting Beatrice to Principal
Photo credit: Birmingham Royal Ballet

“My highlight of the season has to be watching my girlfriend get promoted to Principal dancer on stage after her performance of Aurora in Sleeping Beauty. It’s a special moment for anyone and even more so knowing all the hard work and dedication that she put in.”
Max

“Getting promoted to principal was not only the most special moment of this season with BRB, but of my career. Carlos walking on stage and announcing the promotion after my Aurora show is a moment I will forever cherish. I never expected to get to the top so I’m so grateful and honoured to start next season as a Principal dancer of the company.”
Beatrice

What are you looking forward to most about dancing at Hatch House with the Covent Garden Dance Company this year?

“Galas are always a great opportunity to meet new people and dancers. I’m looking forward to dancing in such a beautiful location and get inspired by all the other dancers performing there.”
Beatrice

“I’m looking forward to being able to meet other artists from around the world and to try and learn and take inspiration from them.”
Max

Beatrice Parma - Nutcracker
Photo credit: Bill Cooper

What will you be dancing?

“We will be performing Sir Frederick Ashton’s wedding pas de deux from La Fille Mal Gardée and another Ashton iconic pas de deux - Rhapsody.”
Beatrice

What inspired you to dance these pieces?

“We chose these pieces as we’ve performed them before, got to grips with the way they move and flow, and now can push them to go further.”
Max

“We are about to perform La Fille Mal Gardée with BRB next season so we thought it would also be a nice addition to the evening as it’s just a beautiful pas de deux.”
Beatrice

When you’re dancing these pieces together how does it make you feel?

“Being together in life, it’s always nice to share moments not only off stages, but on as well. It adds onto memories we’ve built together.”
Beatrice

“We’ve always enjoyed performing together! it’s usually only outside of the company that we get to choose what repertoire we dance together as well!”
Max

Beatrice in Juliano Nunes’ Interlinked
Photo credit: Tristan Kenton

You will be performing alongside some wonderful artists from all around the world this year, who are you most looking forward to watching perform?

“I’m excited to watch everyone perform, there’s always things you can learn from different dancers and get inspired in a different ways”
Beatrice

“I wouldn’t want to say individually who I’m looking forward to see perform, but more the collective and how each artist will bring something completely different to the evenings.”
Max

What do you like most about performing for events such as this?

“I’d say the most special thing about Galas like this one, is how dancers from all over the world come together for a few days sharing what we love.”
Beatrice

Want to watch a world class line up of artists?

For the latest news, events and collaborations follow us on Instagram.

Ballet in the Bahamas

From the shores of the stunningly beautiful Nassau Bay, Bahamas, Director Matt Brady, shares his thoughts on the first Covent Garden Dance Company performances in the Bahamas.

Xander Parish and Mackenzie Brown perform at Iconique 2024

A Covent Garden Dance dream realised

“It would usually take a year (or more) to develop a new territory or venue as it is complex and often convoluted process. However, after getting so close to launching the production in the Bahamas in February 2019, only to be thwarted by Covid and the pandemic, when the opportunity presented itself again, in the shape of the amazing Anita Wheeler and The Old Fort Bay Club, we decided we the time was now.

In four months and with a huge team effort from both sides of the pond, we managed to launch the inaugural production of 'Iconique' in The Bahamas and what an Iconique cast we collated.”

IMG_5685.JPEG

tent.JPG

IMG_5411.JPEG

PGH58469EddyRaphael2024a.jpg

IMG_5586.JPEG

IMG_5575.JPEG

IMG_5445.JPEG

IMG_5447.JPEG

IMG_5459.JPEG

IMG_5605.JPEG

IMG_5460.JPEG

IMG_5669.JPEG

IMG_5621.JPEG

A034_A004_02164G_002-2.jpg

IMG_5629.JPEG

IMG_5630.JPEG

IMG_5638.JPEG

IMG_5788.JPEG

IMG_5783.JPEG

IMG_5796.JPEG

IMG_5829.JPEG

18347b39-f7d6-4247-9154-516e60be768b.jpg

A034_A002_0216E7_001-4.jpg

A034_A002_0216E7_001-5.jpg

A034_A002_0216E7_001-6.jpg

A034_A002_0216E7_002.jpg

A034_A004_02164G_001.jpg

A034_A004_02164G_002-3.jpg

A034_A004_02164G_002-4.jpg

A Bahamian welcome

“It sounds obvious but one of the key elements for any production is a publicity, as someone once said to me;

‘Doing a production without advertising is like winking at someone in the dark. You know what you are doing but nobody else does.’

We had the great fortune of being introduced to The Tribune Newspaper, the leading national newspaper in The Bahamas, who quickly became our Iconique Media Partner. Their support and advice were invaluable throughout the production and gave us a solid and highly respected channel to convey our message to the incredible nation of The Bahamas.

The show was presented over two performances with the first on Valentine’s eve (Wednesday the 14th of February) and finale on Friday the 17th of February. With the challenges of schools’ half term falling on the week of the production (when half the island leaves for Europe / the mountains), we needed to work twice as hard to ensure we got the message out far and wide. We were told on many occasions, usually over a drink and usually by people who were yet to book, that;

"Everyone books last minute on the island. Don't worry."

It was hard not to, but they were right. Ten days before the opening night…. the blue touch paper was lit!”

Covent Garden Dance Co. Partnerships

“With the official launch date set in mid-November, it was important to ensure we had the fundamentals and key elements in place (which changed; twice). We were extraordinarily lucky to have such an incredible venue partner in the Old Fort Bay Club, and without the relentless driving force and guidance of Anita, Jacob Le Blanc and team, there is no doubt in my mind we would not have succeeded in overcoming all the challenges that we faced in bringing the production to fruition.

There is a list as long as my arm of supporters who should be acknowledged for their role in making this production such a success. However, two I would like to highlight are firstly our ongoing partner, Harlequin Dance Floors, who have been incredible in getting a world class floor out to our stage once again. Without this key element and their unique expertise, we would simply not be able to present such a world class production with some of the greatest and most renowned dancers from the most revered companies.

The second, is our Event and Staging Partner, Wildflowers, who did not stop with their support and re-assurances. With every new territory comes unexpected challenges and without Wildflowers’ support, which started from the first minute we sat down and explained the dream, to the day of departure post show, we would not have had the success we had.

Avis and their MD, Cindy Newell, were also vital to the logistical success of our Bahamian adventure and we look forward to working with them in the future.”

Ballet on the shore

“When the stage was set and with the dancers warming up at sunset on the beach just before dress rehearsal, I looked up and saw the 'Cheshire Cat Smile' moon. Somehow I knew it was a sign we were going to be ok and that we maybe the angels were watching over us. I was not wrong.

We were just shy of being sold out on the opening night, and not far behind that on the Friday night which ensured that we had the all important atmosphere to make both nights, nights to remember.”

An ‘Iconique’ cast of ballet dancers

“The Iconique programme was created to ensure that the performances would not only surprise and engage the new audience (many of whom had never been to see any ballet or dance before), but also impress and entertain all those who had seen everything dance related. The standing ovation on both nights confirmed we had got it right.

The intimate evening of Classical, Neo-Classical and Contemporary performances featured ballet dancers from some of the world’s most revered ballet companies. Elegance, precision, and emotion crackled in the air as our two royal Danish principles, Holly Dorger and Jón Axel Fransson took to the stage for the opening piece."

World famous British dancer Xander Parish, Stutgartt Ballet’s, Mackenzie Brown (youngest dancer ever to be promoted to Principal), internationally acclaimed Lucia Lacarra and Prix de Lausanne winner Matthew Golding left no emotion untapped and the haunting choreography of Mara Galeazzi, partnered by Jason Kittleberger ensured that there was not a dry eye in the house.

The cast, all of whom are very much iconic in their own way to so many (myself included), will always have our undying gratitude for bringing everything to those two performances. I have rarely seen an audience so enraptured and entranced from the first moment to the final bow as we saw on those two nights.

When the stars align in this way, in that location, with that backdrop; it is nothing short of perfection. The Nassau community welcomed us with open arms; the warmth and generosity, their reaction to the production left the cast and myself feeling genuinely moved.”

A unique audience

“Being under the patronage of the First Lady of the Bahamas was a huge privilege and we hope this will continue. The First Lady attended for the closing night and had by, all accounts, a fabulous time. She kindly took time to come and meet the dancers post show back stage who were thrilled at how much she seemed to enjoy the show.

The First Lady of The Bahamas Mrs Anne Marie Davis posing with the technicians post show.

British High Commissioner, Tom Hartley was instrumental in the performance coming to The Bahamas and said he was left extremely proud.

“None of us could really believe this night would be as special as it was. It was beyond expectations, I think, for anyone. However much you love ballet, I think tonight was a special night. I’m so proud. The Bahamas is a very special place and you have to bring something special to really add value to The Bahamas. And I’m proud that Matt has already committed to doing it another year, next year, and I feel this really adds value to the rich culture already in The Bahamas. The British High Commission played a tiny part in that and I’m really proud to be a part of it.”

Wendy Mills, an ardent lover of ballet, spent her Valentine’s evening enjoying the performances:

“I am an avid ballet watcher. I’ve attended many ballet shows and performances all over the world. The performance was as exquisite as you can imagine. I love that it’s here at home in The Bahamas.”

From internationally renowned Golfer and Olympian Gold Medallist Justin Rose, to fans of Xander Parish, who travelled from Germany and Denmark, we were delighted by the international interest in our ‘Iconique’ performances.”

Inspiring a new generation of ballet dancers

“Covent Garden Dance Company has a ‘tradition’ of always opening up our dress rehearsals to children and students. We were not going to make an exception in The Bahamas. We were delighted to have 50 local young dancers and students from over 12 dance schools attend (a very windy) dress rehearsal. The cast were delighted to meet with the new generation of Bahamian ballet dancers and be featured on the local television news.” We can’t wait to invite more next year!

Xander Parish and Mackenzie Brown inspiring a new generation of dancers.

Back to the Bahamas in 2025

“We are delighted to say that Iconique 2025 Nassau has already had 55% of its tables rebooked for the 7th & 8th March. Not bad for an island who always books last minute. We are also hoping to work with a non-profit organisation to bring the show to Freeport too.

For now, it is time to turn our attention to Hatch House 2024, where we hope to enthral you all with yet another bewitching night of ballet.”

For the latest news, events and collaborations follow us on Instagram.