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.

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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 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.

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.

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.”

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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?

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A message from Myriam & Mickaël

With one month to go until Hatch House 2023, we are delighted to share a video message from Étoile, Myriam Ould-Braham and Coryphée, Mickaël Lafon - our artists from the Paris Opéra Ballet.

“Hello, I am Myriam, Étoile of the Paris Opera Ballet.” “I am Mickaël Lafon, also from the Paris Opera Ballet. We are delighted to come and see you this Summer. We have the pleasure of performing two pieces for you. We will begin with Swan Lake pas de deux from Act II.” “Followed by Le Parc, another pas de deux, which I am excited to dance.” “We are so excited to see you very soon.” “Goodbye.”

“Hello, I am Myriam, Étoile of the Paris Opera Ballet.” “I am Mickaël Lafon, also from the Paris Opera Ballet. We are delighted to come and see you this Summer. We have the pleasure of performing two pieces for you. We will begin with Swan Lake pas de deux from Act II.” “Followed by Le Parc, another pas de deux, which I am excited to dance.” “We are so excited to see you very soon.” “Goodbye.”

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