Interview with Joseph Sissens

Currently performing on tour with the Royal Ballet in Japan, Principal dancer, Joseph shares his excitement about joining the Covent Garden Dance Company for our Hatch House swan song.

Discover what he thinks of the ethos of our 20 year anniversary gala and why he decided to join us for a sumptuous night of Ballet Under the Stars.

Photo credit: Louis DeFelice

English dancer Joseph Sissens is a Principal of The Royal Ballet. He trained at The Royal Ballet School and graduated into the Company in 2016. He was promoted to First Artist in 2018, to Soloist in 2021, to First Soloist in 2022 and Principal in 2024.  In the 2024/25 Season, he curated Legacy as part of The Royal Ballet's Black History Month celebrations. His choreography while with The Royal Ballet includes a piece for Draft Works 2017. 

Sissens’s role creations with the Company include in Robert Binet's Dark with Excessive Bright, Crystal Pite’s Flight Pattern and Light of Passage, Robert Binet’s Void and Fire, Wayne McGregor's The Dante Project and Untitled, 2023, Kyle Abraham's The Weathering, Joseph Toonga's See Us!! and Christopher Wheeldon's Like Water for Chocolate. His repertory includes Romeo, The Prince (Cinderella), Espada (Don Quixote), Siegfried (Swan Lake), Florizel (The Winter's Tale), Lescaut (Manon), The Prince and Hans-Peter (The Nutcracker), Florestan and Bluebird (The Sleeping Beauty), Dance of the Blessed Spirits, Lensky (Onegin), The White Rabbit (Alice's Adventures in Wonderland), Jimmy (MADDADDAM).

What have you been working on recently and what have been your highlights of this season?

So, I actually had a quieter end to the season than I’m used to, but still filled with beautiful moments on stage in works like So Are We: Leon and Lightfoot. I would say that my highlight of the season would be making my debut in Sir Peter Wright’s Giselle. It was such a dream of mine, as well as an enormous challenge coming back from an injury. Truly fulfilling. 

What made you want to join Covent Garden Dance Company for this gala production? 

A few of my colleagues have danced at Hatch House and each time they’ve said how brilliant it was. It is always nice to dance outside of your home theatre, experiencing different audiences and teams. Also, I love its surrounding nature and I very much enjoy having the time to get outside after working in such a busy city. 

Photo credit: Andrej Uspenski

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

Viola and I are super close as people, we have a bond that can only be described as siblings, and I cherish any time I get to share the stage with her. We will be dancing Wayne McGregor’s final Infra pas de deux, originally created on Edward Watson and Marianela Nunez, and Petipa’s Sleeping Beauty. 

What do you hope the audience feels when watching you dance these pieces?

Within our chosen repertoire, I hope the audience enjoys getting to watch us more closely and intimately. Especially with Infra, I interpret the piece to imbue a sort of universal love, that I hope can touch people in a way that they can relate it to their own experiences.

“After all, love is all we’ve got.” 

Photo credit: Andrej Uspenski

Since its first production, our company has sought to nurture new works and artists alongside bringing world class dancers together to delight audiences around the world, how important are companies and galas such as ours?

I believe that galas like this are really important, not only because they allow audiences to see us outside our usual environments, but also because they give dancers the chance to experience other artists’ work and be inspired by different forms of expression. I think that’s what makes an artist so special, the variety of influences they absorb throughout their career.

“Opportunities like this allow us to learn from one another, grow creatively, and continue evolving as artists.”

Photo credit: Andrej Uspenski

The Dorothy Coleborn School of Dance in Bath will be performing a new work inspired by nature and the grounds, how important is it to provide performance opportunities such as these, to the next generation of young dancers?

I think performance opportunities like this aren’t just important for the younger generation, they’re absolutely essential. They not only gain invaluable experience performing on stage in a variety of works, but they also have the chance to share the space with more experienced artists and be inspired not just by our dancing, but by the knowledge, perspective, and experience we’ve built throughout our careers.

“I think those exchanges are incredibly valuable and play an important role in shaping the next generation of artists.”

Photo credit: Andrej Uspenski

Your career has been meteoric, with new debuts this year. With all the experience you have garnered over the years, what do you hope to bring to this year's performance?

What I hope to bring to this year’s Hatch House gala is the same thing I hope to bring to every performance: honesty and authenticity.

“For me, dance is about genuine connection—telling a story and communicating something truthful through movement. If I can leave the audience feeling something real, then I’ve done my job.”

What would be your dream role to dance next? Or have you danced them all?

One of the next roles I’m hoping to take on is Des Grieux in Manon. It’s one of my favourite ballets, and it’s a role I’ve dreamed of dancing for a long time. Beyond that, I’d also love the opportunity to create new works and originate roles. There’s something incredibly exciting about being part of the creative process from the very beginning and helping to bring a new character or story to life.

Can you tell us three things people may not know about you?

Three things people might not know about me are that I absolutely love trains, I’m currently studying for a university degree alongside dancing with The Royal Ballet, and my favourite colour is green… anything inspired by nature, really.

Photo credit: Andrej Uspenski

Witchmark x Maxfield Dyer

For our 20th Anniversary, we are delighted to bring you the most delicious pairing - our incredible cocktail team, Maxfield & Dyer and our Official Distillery Partner, Witchmark.

Theo and James will be mixing bespoke Witchmark cocktails in our Café Folle every night of Ballet Under the Stars at Hatch House between 25 -27 July, 2026.

If you cannot wait till then, then we have two cocktails to whet your appetite and a little bit of history to draw out the flavour!

Photo credit: Theo Maxfield

The Witchmark Negroni

Looking to elevate your next evening with friends? Start with one of the world's most iconic cocktails.

The Negroni was born in Florence, Italy, in 1919, when Count Camillo Negroni asked his bartender to give his favourite Americano a little more bite by swapping the soda water for gin. Over a century later, it's still a timeless favourite—bold, beautifully balanced, and effortlessly sophisticated.

Ingredients:

• 25ml Witchmark Gin

• 25ml Campari

• 25ml Sweet Vermouth

Whether you're discovering the Negroni for the first time or revisiting an old favourite, Witchmark Gin brings a beautifully smooth, botanical character that makes this classic cocktail shine.

Photo credit: Theo Maxfield

Witchmark Gin's carefully selected botanical profile brings bright citrus notes, balanced juniper and subtle spice that stand up beautifully to Campari's bittersweet character, while complementing the rich herbal sweetness of the vermouth. Its smooth, rounded finish ties the three ingredients together, creating a Negroni that is balanced and exceptionally easy to enjoy.

Method:

Add all three ingredients to a mixing glass filled with ice. Stir gently for around 30–60 seconds until perfectly chilled and slightly diluted. Strain over fresh ice in a rocks glass and garnish with a fresh slice or twist of grapefruit.

Bartender’s Tip

Hosting friends? Batch your Negronis ahead of time by combining the ingredients in a bottle or decanter. The mix will keep beautifully, allowing you to simply pour over ice, give it a quick stir, garnish with grapefruit, and serve.

The Witchmark Espresso Martini:

Few cocktails have achieved modern classic status quite like the Espresso Martini. Created in London during the 1980s when a renowned bartender was asked for a drink that would "wake me up, and then..." the rest is history. Rich, smooth, and full of character, it's the perfect cocktail for entertaining or as an indulgent after-dinner treat.

The foundation of any great Espresso Martini is the vodka, and Witchmark Vodka brings something truly distinctive to the glass. Its creamy barley texture gives the cocktail a rich, velvety mouthfeel, adding body without overpowering the coffee. The clean finish allows the bold espresso and coffee liqueur to shine, while the subtle cereal sweetness from the barley rounds out the bitterness of the coffee for a beautifully balanced cocktail.

Ingredients:

• 50ml Witchmark Vodka

The backbone of the cocktail. Witchmark Vodka delivers a smooth, clean finish that allows the bold coffee flavours to shine while adding body and balance to every sip.

• 15ml Coffee Liqueur (We recommend Borghetti)

Borghetti is a classic Italian coffee liqueur made with real espresso, bringing rich roasted coffee notes and subtle sweetness. If unavailable, Kahlúa makes an excellent alternative.

• 45ml Fresh Espresso

Freshly brewed espresso provides the intense coffee flavour and signature crema that creates the cocktail's luxurious foamy top. If fresh espresso isn't available, a quality cold brew concentrate is a great substitute.

Photo credit: Theo Maxfield

• 10ml Panela Syrup

Made by mixing raw, unrefined cane sugar with water (1:1 by weight), panela syrup adds a gentle caramel sweetness and depth that complements the coffee beautifully. A simple sugar syrup or golden caster sugar syrup also works well.

• 2 drops Saline Solution & 1 drop Chocolate Bitters (Optional)

A couple of drops of saline help lift and enhance the coffee and chocolate notes without making the drink taste salty, while chocolate bitters add another layer of richness and complexity.

Method:

Add all the ingredients to a cocktail shaker filled generously with ice. Shake vigorously for 10–15 seconds until beautifully chilled and a rich, velvety foam has formed. Fine strain into a chilled coupe or martini glass and garnish with three coffee beans, traditionally symbolising Health, Wealth & Happiness.

Bartender’s Tip

Entertaining guests? Batch all the ingredients together ahead of time and keep the mixture chilled in a bottle or decanter. When you're ready to serve, simply measure 110ml into a shaker with fresh ice, shake well, and strain into a chilled glass. You'll enjoy the same perfectly balanced Espresso Martini every time with minimal effort.

Interview with Ksenia Ovsyanick

It is with abject delight that we welcome Ksenia Ovsyanick and her husband Zdenek Konvalina to our 2026 Ballet Under the Stars stage. The first time that they have performed together at Hatch House since 2019 - an unforgettable night.

Taking time out from rehearsing Romeo & Juliet for an open air gala in the Czech Republic, Ksenia shares her thoughts on the 20 year legacy of Covent Garden Dance.

Ksenia is a Belarusian–born British ballet dancer and international performing artist. An award winning Principal Dancer with Staatsballett Berlin from 2016 to 2024, she now performs internationally across classical and contemporary repertoire, collaborating with choreographers and artists across disciplines.

Ksenia began her career with the English National Ballet, where she performed her first Giselle at the age of 20. She is currently Associate Guest Artist with English National Ballet and Resident Principal Dancer with National Theatre Brno.  ​Ksenia trained at the Belarusian State Ballet College and later continued her studies at the English National Ballet School, following a scholarship awarded by the Prix de Lausanne.

Photo credit: Vivian Young

Your career has been meteoric, and you have also become a mother. With all the experience you have garnered over the years, what do you hope to bring to this year's performance and how has being a mother shaped you as a dancer?

Becoming a mother has definitely made me appreciate more than ever how important it is to value every moment. In a way, that's something I hope to bring to this year's performances as well.

As a performer, it is important to me that every moment and every movement tells its story, and I hope through that through the audience will get drawn into the journey of the pieces from beginning to end.

What made you want to return to the Covent Garden Dance Company for another production?

I always enjoy coming back to perform with the Covent Garden Dance Company. It’s an unique event that brings together high-quality art and a very special setting, nature and atmosphere.

I was actually involved in some of the company’s very early productions and have returned many times since. Every experience has been memorable, and it’s always a pleasure to be part of it again.

Photo credit: Jakub Jira

It is our 20th anniversary and our final year at Hatch House, how would you describe the ethos of the company and the atmosphere of performing at the venue?

Performing outdoors and in unconventional settings always comes with a lot of challenges.

Bringing a production like this together requires adaptability, patience, courage, and a simply strong desire to deliver a beautiful evening.

And I think everybody involved in this production has always delivered that. I think that spirit has always been at the heart of Covent Garden Dance, and I think Matt always chooses to work with extraordinary people. There’s a wonderful atmosphere both on and off stage. 

Photo credit: Andrea Mascolo - Ksenia & Zdenek dancing in Dubai in 2019

How long have you and Zdenek been married and what will you be performing in July?

We are going to celebrate our 12th wedding anniversary soon, and we are excited to bring back to Hatch House a wonderful piece “Cello” by Nacho Duato and a piece “Lightness of Being” that I choreographed for the two of us. 

How important are companies and galas such as these? 

They help broaden the audience for ballet and dance, allow people to experience a diverse range of repertoire in a single evening and perhaps discover work they might not otherwise encounter. They also bring ballet a little out of the box. Seeing dance in such close proximity and in a more intimate setting allows audiences to experience different sides of ballet and dance, and to connect with the artform in a different way.

Photo credit: Serghei Gerchiu

This year, we have Viola Pantuso & Joseph Sissens, Xander Parish & Joy Womack, Myriam Ould Braham and Mickaël Lafon and Zai Calliste and Taela Graff performing alongside you and Zdenek, who are you most looking to watching? 

It is going to be a beautiful programme, as each of these artists brings something interesting and unique. I hope I will get a chance to sneak out to watch each of the pieces in the evening! 

A local dance school of young dancers will also be performing a new work. They have watched three years of Hatch House rehearsals including several pieces you performed, how important is it to provide performance opportunities such as these to the next generation?

It's such a beautiful initiative, and I believe it will prove to be an invaluable experience for young dancers. I’m sure performing in itself is a wonderful opportunity to learn and grow, but also sharing the stage with professional dancers and seeing the process up close I hope will be encouraging and inspiring for them.

What would be your dream role to dance next? Or have you danced them all?

There are still so many!  It is always the next one!

Photo credit: SigneRoderik - Hatch House 2016

Can you tell us something people may not know about you?

I have business and economics degree. I cannot ride a bike!

What are your hopes for the future of Covent Garden Dance’s at our new venue of Charlotte’s Lake?

I hope it continues to inspire both the audience and the dancers who come to perform.

Photo credit: Andrea Mascolo - Ballet Under the Stars, Dubai 2019

From tiny acorns, mighty forests grow

For 20 years, the Covent Garden Dance Company has sought to offer its audiences abroad and in the UK, unique access to watch world class artists and world premières, alongside inspiring new generations of dancers to create and showcase their passion for dance.

In this, our 20th year, and our final performance at Hatch House, we are bringing Étoiles and young dancers together on the same Harlequin stage, in a celebration of the uniquely emotional connections, only dance can encapsulate

Photo credit: Marina Feldman Photography & Amber Dower Hunt

We are therefore delighted to announce the commission of a new piece entitled The statue of affinity created by the celebrated Dorothy Coleborn School of Dance, Bath. We interviewed Annette Hind, third generation Principal of the 100+year old dance school about the piece, its inspiration and the role Covent Garden Dance has played in the school’s annual training programme.

First, about the school…

Born out of an indignance at Mr Whittle’s refusal to let his daughter join the stage with Gracie Fields, Dorothy aged just 14, founded ‘The Dainty Dots’ dance school in a church hall in Portsmouth. A born performer, and a bright and determined young woman, Dorothy married naval man Alan Coleborn in 1934 and after setting up dance schools as far afield as London and Scotland, the family settled in Bath in 1941.  

During the war, Dorothy didn’t let rationing dampen spirits. Home dyed tracing cloth was transformed into eclectic costumes for morale boosting performances, with Dorothy playing the piano whilst instructing her students over the top of her music.

By the time Dorothy reached retirement, both her daughter Annabel and her granddaughter Annette had taken up the running of the school. Ready to take the next grand jeté into expansion, in 1993, Dorothy's daughter, Annabel and Granddaughter, Annette moved the dance school from the family home to the purpose-built, spacious studios at Englishcombe Court. Today, over 100 years after its founding and with her own daughter a member of the Royal Swedish Ballet Company - Annette, continues the family legacy, proudly leading a fantastic team to teach the next generation of students ballet, pointe, jazz, contemporary, tap, hip hop and modern.

I

n September, the school will have 23 students training as Associates with the Royal Ballet School and is also an affiliate school of English National Ballet’s Ballet Futures programme.

How long have you been coming to Hatch House as audience members and what impact has watching the rehearsals of this local production had upon the children?

As a dance school we have been bringing students to watch the Ballet Under the Stars rehearsals for the past four years. It has been wonderful to watch the children be inspired by some of their dancing idols. Being able to watch the artists warm up, run technical and dress rehearsals on such a personal level is magical. It has become a favourite day in the Dorothy Coleborn calendar.

Dorothy Coleborn dance students watching the rehearsal at Hatch House in 2023

What do you like about the ethos of the Covent Garden Dance Company?

Many ballet galas have traditionally been very exclusive; the high prices mean many families simply cannot afford to take their children to watch artists such as those making up the Covent Garden Dance Company. I think the ethos of CGDC is different; by offering a matinee or rehearsal in exchange for a donation to a sister charity that supports new artists and new works, you are opening up the doors not only to people who already love dance, but to those who may not have accessed that world before.

Children have long memories and being bewitched by the beauty and artistry of a world class performance lasts a lifetime.

Do you have a favourite memory of bringing the students to the rehearsals?

It has to be when the dancers are in their warm up clothes and then they reappear in their beautiful costumes. The children feel they are part of a process that no one else sees.

Dorothy Coleborn dance students watching the rehearsal at Hatch House in 2024

It is the 20th anniversary of the Company and across the years multiple new works and new artists have been given a spotlight alongside international stars, what does this opportunity to present a new work mean for the students and the school?

This is the second time that we have been commissioned to perform for the Company. Previously our dancers performed an existing piece of our own repertoire for the Dicky Buckle fundraiser. This time, the invitation to create a new piece and share the stage with such world-renowned artists over four days is an incredible honour.

Commissioning new works is vital to the sustainability and longevity of the art. In an era that is witnessing an unprecedented surge of AI, never has there been a bigger reason to innovate, celebrate and nurture new artists and talent.

Ballet Under the Stars is offering our dance school the opportunity to share our creativity and teaching with others, we pride ourselves on the success of our students; not just by the number of successful auditions but on the life skills that performance and craft encourage.

What is the piece about?

To complement the beauty of the location, the ballet is set in a walled garden in the early 1900’s. At its centre stands a mysterious statue while children play happily around it. One curious little girl becomes fascinated by the statue and studies it with wonder and kindness. Gradually through their quiet connection, the statue begins to trust the little girl, and an enchanting friendship starts to blossom.

What inspired the piece?

Over the past four years of watching the Ballet Under the Stars rehearsals in the stunning gardens of Hatch House - both rain and shine (!) we have been inspired by the surroundings, by the wonder of children and by the unique connections that people make when watching a dance performance. My vision was to bring all these aspects together in this piece.  

How excited are the children?

Oh my goodness, can you even imagine how excited they already are? This is an incredible opportunity for them - not just performing at a venue this stunning, and in terms of working really hard together to try and emulate excellence, but also the behind-the-scenes friendships they are forming and will go on to cherish. To dance in front of a garden full of people who love dance will be so exciting for them. They are a passionate and expressive group eager to share the narrative with the audience and each other through the choreography.

What do you hope the audience take away from the piece or feel as it is performed?

I hope that the audience will feel inspired by the children's performances. To witness a future generation of dancers on the same stage as some of the greatest dancers in the world is an emotional concept. Everybody starts somewhere and I hope the audience feels their excitement and love for self expression through dance.

Who knows, this opportunity could lead to a wonderful career in any walk of life; it takes pride, confidence and enthusiasm to put yourself on a stage of this kind, so whether they grow into CEOs, good parents or Prima Ballerinas, it is preparation, hard work and performances like this that plant the seed.

Who are you most looking forward to watching this year?

Zai Calliste - We watched him on the Hatch House stage last year at a time when he had just reached the end of his training at the English National Ballet, and now he is in the ENB Company and has just won an Emerging Dancer Award for technical excellence!

“He is proof of the 20th Anniversary legacy of the Covent Garden Dance Company - it is all about giving a platform to new talent and offering audiences a broad and varied programme of repertoire and new works. That is what keeps ballet and dance alive.”

Interview with Viola Pantuso

We are delighted to welcome back Viola Pantuso, Soloist of the Royal Ballet, to our 20th Anniversary, Ballet Under the Stars stage.

Since performing the world premiere of Calvin Richardson’s The Lighthouse at Hatch House in 2024, Viola’s rise through the Royal Ballet Company has been nothing short of meteoric.

Photo credit: Eva Nys

Chicago born dancer, Viola Pantuso, joined The Royal Ballet as an Aud Jebsen Young Dancer from the Royal Ballet School at the start of the 2021/2022 season and entered the Company as an Artist in the 2022/23 season, Viola was promoted to First Artist in 2024 and Soloist in 2025.

Pantuso's repertory with The Royal Ballet includes Alice (Alice's Adventures in Wonderland), Olga (Onegin), Perdita (The Winters Tale), Clara, Vivandière, Mirliton (The Nutcracker), Ren (MADDADDAM) and roles in Mayerling, Manon, Les Rendezvous, The Dream, Everyone Keeps Me and The Dante Project. She created roles in McGregor's Untitled, 2023 and Figures in a Landscape, Jessica Lang's Twinkle and Pam Tanowitz’s Secret Things and Or Forevermore. We have been delighted to support her career and to welcome Viola back to dance at Hatch House in July 2026.

What have you been working on recently?

The highlight of my season was performing the role of Princess Stephanie in Mayerling last month, which was a very special experience for me. At the moment, we are performing So Are We: León & Lightfoot at The Royal Ballet, featuring Shoot the Moon and Salle de danse. It’s been exciting to work on this piece and share the stage with a large amount of the company dancers for our final production of the season. 

Photo credit: Magda Hoffman

What made you want to return to join the Covent Garden Dance Company, for a second time?

I have such special memories from dancing with CGDC a few summers ago alongside Marco Masciari. It was nice to make friends with dancers from different companies and I still look back on that experience very fondly. The reception from audiences was incredible, the atmosphere was so warm and welcoming, and there is something very special about performing in the beautiful countryside surroundings of Hatch House. The dancers are always looked after so well and returning felt like an easy decision.

Viola dancing Calvin Richardson’s The Lighthouse, with Marco Masciari at Hatch House in 2024
Photo credit: Alice Pennefather

It is our 20th anniversary and our final year at Hatch House. How would you describe the ethos of the company and the atmosphere of performing there? 

CGDC has always felt like a celebration of both artistry and community. There is a genuine sense of support and camaraderie that makes it a very memorable performance experience.
The setting at Hatch House creates an intimate connection between the dancers, the audience and nature itself. It encourages artists to share their work in a very honest and personal way. As this is the final year at Hatch House, I think audiences and dancers alike will treasure those memories even more.

What will you be performing with Joseph Sissens?

Joe and I will be performing excerpts from Infra and Rhapsody.

Since performing at Hatch House in 2024, your career has been meteoric. What do you hope to bring to this year’s performance with Joe?

Joe and I first danced together in The Winter’s Tale by Christopher Wheeldon, which was also the production where I made my first major debut with The Royal Ballet. Since then we’ve become very close friends, and although we’ve shared the stage in various productions, we haven’t had many opportunities to dance together in this way since.

To come together for an evening like this feels very special. I hope we can bring our friendship, trust and shared enjoyment of dancing to the audience. It’s one we’re really looking forward to.

What do you hope the audience feels when watching you dance these two pieces?

I hope the audience feels a sense of freshness, excitement and genuine connection. Joe is one of my closest friends, and I think that friendship naturally comes through when we dance together. We want people to enjoy the energy between us and feel drawn into the joy of sharing these works on stage.

Photo credit: Isabella Turolla

Since its first production Covent Garden Dance has sought to foster new works and artists alongside bringing some of the most celebrated artists together to delight audiences around the world. How important are companies and galas such as these?

I think they are incredibly important. Dance is such a universal art form, and dancers from all backgrounds, styles and cultures deserve to be celebrated. Events like Ballet Under the Stars give audiences the chance to experience a wide range of artists in one place, while also creating opportunities for dancers to learn from one another.

It is an honour to perform alongside both established and young emerging artists in the ballet world. Every dancer brings something unique and deeply personal to their work, and bringing them together creates an experience that is inspiring for both audiences and performers.

Who are you most looking forward to sharing the stage with?

Honestly everyone! I’ve had the pleasure of meeting and sharing the stage with some of them before, so it will be wonderful to reunite. Equally I’m excited to meet new artists and experience their work. One of the best parts of galas like this is discovering and appreciating each other’s artistry.

The local Dorothy Coleborn School of Dance will also be performing a new work inspired by nature just as you did in 2024. The same children watched that world première of Calvin’s work. How important is it to provide performance opportunities such as these for the next generation?

Photo credit: Alice Pennefather

It’s incredibly important. A dancer’s development is shaped in many different ways, and performing on stage is one of the most valuable experiences they can have. It builds confidence, teaches resilience and allows young dancers to discover who they are as performers.

What makes this project even more special is that it is inspired by the natural surroundings of Hatch House. Performing in such a beautiful environment will give the students endless inspiration and create memories they will carry with them throughout their training and careers. I hope they leave with a genuine love for creativity and performing. 

What would your dream role to dance be?

Two of my ultimate dream roles are Mary Vetsera in Mayerling and Juliet in Romeo and Juliet.

However, one of my dreams is actually coming true next season, as I’ll have the enormous honour of dancing the Sugar Plum Fairy in The Nutcracker alongside Marcelino Sambé. It’s a role I’ve admired for as long as I can remember, so I feel incredibly grateful and excited for the opportunity.

Photo credit: Carol Lancelloti

Tell us three things people don’t know about you.

Interestingly before ballet became my full-time focus, I was actually a World Champion Irish dancer, which always seems to surprise people!

I also moved to New York City at the age of 12 to pursue my ballet training. It was a huge step at such a young age, but it taught me independence, resilience and gave me experiences that have shaped both my career and who I am today.

Photo credit: Christopher Duggan.

And finally while ballet can be incredibly demanding and intense, I’ve always made it a priority to find joy and fun in what I do. No matter how hard I work or how much I push myself, I never want to lose sight of why I fell in love with dancing in the first place. Finding meaning, gratitude and enjoyment in every moment is something that’s very important to me.

Interview with Zai Calliste

We were delighted to be the first to interview Zai Calliste after receiving his Emerging Artist award on Thursday 28 May. We discussed his meteoric year and discovered how joining our stage alongside English National Ballet Principal Dancers Gareth Haw and Emma Hawes for Ballet Under the Stars 2025, made his transition from vocational to professional dancer feel seamless.

Photo credit: Isabella Turolla

Zai Calliste is an Artist with the English National Ballet. Originally from Australia, Zai trained at Annette Roselli's Dance Academy in Brisbane before crossing the pond to join the prestigious English National Ballet School. He joined the Covent Garden Dance Company for Ballet Under the Stars at Hatch House in July 2026 - his first professional performance after being accepted into the English National Ballet company. We have been delighted to support his career and to welcome him back to dance at Hatch House in July 2026.

Huge congratulations on your Emerging Artist award! How are you feeling.

Honestly, I am still in shock! I am ecstatic, shocked and happy. Tonight, I really felt in the moment, without stressing too much, and that’s something I’ve really tried to work on. I am very grateful for everyone who helped me.”

Photo credit: Isabella Turolla

Since performing at Hatch House in July last year, tell us what you have been doing and what are you currently working on.

Three things all at once! Romeo & Juliet, Sleeping Beauty and I have also been preparing for the ENB’s Emerging Dancer Award. It has always been a dream of mine and I am so honoured to have done it. As a result, I have been rehearsing Marius Petipa’s Le Talisman every day, working hard on building up the stamina as it is a full on pas de deux. It has been a massive learning curve, being coached by Carmen Picares and ENB principal, Gareth Haw who has also been coaching me.

Getting to know Gareth at Hatch House last year was amazing. We built a connection before company classes had even started, and it felt like I had a friend in the company as a new graduate, just at the right time, before I started the season.

I have also loved touring this year. At school you wait anxiously for that one performance, but since joining the company you get the change to dive deep into roles and bring something new to different audiences. That is important to me and why I chose ENB.

CGDC is turning 20 this year at Hatch House. How would you summarise the ethos of the company? 

The ethos is exciting, fresh and supportive. Matt and the company really foster the art form and carry it forward whilst also maintaining the traditions of the art. Creating galas in new venues and bringing it to new audiences is so important.

Zai dancing at Hatch House in 2025 - photo credit: Alice Pennefather

What was it like performing at Hatch House last year?

It came as such a welcome surprise after graduating from the English National Ballet School. When Lynne Charles, told me about the invitation, I was so excited to do it. Ballet Under the Stars was my first professional gig out of ballet school.

The garden scenery is such an interesting place to dance and share the art form with new audiences outside of a theatre. It is not every day you get to dance in such a beautiful outdoor setting. It was so lovely to bring our art to an open space.

For me performing at Hatch House bridged the gap between professional and student and that opportunity was so important. I was able to see how the professionals prepare, get advice and watch their craft, that all helped me to start my journey.

How are you feeling about dancing at Ballet Under the Stars in its 20th anniversary year?

I am so excited to be asked to be back again. Hatch House 2025 was the highlight of my year last year. So this year, I am excited to show something different and new and hopefully bring a more mature performance.

Photo credit: Isabella Turolla

You will be performing alongside some world-renowned artists, what are you most looking forward to?

Connections honestly; just the fact that we all the share the same industry, you never know when it may be useful or valuable. Plus you get the chance to build lifelong partnerships and friendships. You also get to see how artists prepare and how they manage stress and anxiety, this is not something you are prepared for at school, to just step out in front of hundreds of thousands of people to do a solo or lead role.

Who are you most looking forward to sharing the stage with?

Hard question. I would say Viola Pantuso. We have met a lot through coincidences, through friends and she is so up and coming and so close in age to me, doing amazing things. Getting to share the stage with her will be incredible.

What will you be dancing?

As part of the ENB’s Emerging Artist Award, I have been preparing and rehearsing and will therefore be performing Marius Petipa’s Le Talisman, so Taela and I will dance this. We are also hoping to perform a new neo classical piece, that Taela and I would like to put to Matt. Finally, I will be dancing a solo piece called Nature boy by company member, Rentaro Nakaakai, which he has choreographed on me for Emerging Dancer.

As soon as the performances at Hatch are over, I start my second season at ENB, so I will going straight to bed and heading into rehearsals the next morning!

Photo credit - Isabella Turolla

What do you hope the audience at Ballet Under the Stars will feel when they watch you dance?

Moved and inspired. Ballet can be seen as out of people’s grasp, but in reality, we all feel emotions, and through ballet, we are all able to connect through the emotions portrayed through the body.

I hope to bring connection to the art on a deeper level and not allow it to be about how many good pirouettes we do.

Is ballet a dying art?

The impact of Timothée Chalamet’s statement can be interpreted in a few different ways – Firstly, it was a very shallow comment, especially given he was raised in a family in the industry, and he should reflect on that. It is easy to immediately go to the negative of everything, but what he did unknowingly was that he brought people back to the theatre and to watch ballet. I try and look at things positively.

Obviously my first reaction was we put our heart and soul into this art form and spend years tying to perfect it, but also thank you! For putting us back in the spotlight and reinvigorating the art with younger and diverse audiences!

Ballet is a tradition, it gets passed down and perhaps his comment being heard by younger generations will actually bring it to a wider and younger range of demographics; each with their own approach and each different age group bringing their own influence.

What would your favourite role to dance be?

Hmm, it’s really hard as I am still so new to all of them. I think, Carmen is the one I am most looking forward to performing in. I saw it when I was at the English National Ballet school and it was amazing.

Photo credit: Isabella Turolla

Tell us three things people don’t know about you.

A) I used to play rugby league when I went to ballet school in Australia.

B) I like fashion. For me it is another form of creativity and self-expression.

C) I love horror films – Conjuring 2 is my favourite!

ekleido performances at Iconique

We are delighted to reveal that ekleido are returning to join the Covent Garden Dance Company and will be premièring two signature pieces ‘SPLICE’ and ‘CLINQUANT’ at Iconique on Friday 6th & Saturday 7th March 2026 at The Island House, The Bahamas.

Watch Hannah & Faye’s video to discover more

Choreographed and Performed by: Hannah Ekholm & Faye Stoeser
Music composed by: Floating Points
Lighting Design: Joshie Harriette
Costume Design: George H Wale
Costume made by: George H Wale & Octavia Austin
Rehearsal Director: Oliver Chapman
Photography: Jack Thomson
Trailer Creation: Genevieve Reeves

A Bahamian Première

ekleido is a choreographic duo made up of Hannah Ekholm and Faye Stoeser who choreograph for live performance and film. They have both individually had extensive dance careers within the contemporary dance world, commercial industry and underground club/street dance scenes.

Their work has been performed at venues and festivals including Glastonbury Festival, Breakin’ Convention at Sadler’s Wells, Latitude Festival, Ballet Nights at Ministry of Sound, Secret Garden Party, The Place, Lilian Baylis, Dance Festival Croydon, Fairfield Halls, Stanley Arts, Dance.Film.Performance.

We interviewed Hannah and Faye ahead of their appearances at Hatch House 2025 - you can read their interview by clicking the button below.

Read our interview with ekleido

Ekleido's critically acclaimed SPLICE explores the connection and architecture between two dancers, finding the balance between limitation and possibility, featuring an original score by world-renowned electronic musician Floating Points.

Interview with Florent Melac

In the middle of his performances at the Nervi International Ballet Festival, Italy, we caught up with Principal Dancer of the Paris Opéra Ballet, Florent Melac, to discover what inspired his creation of Moonlight; soon to be performed by Lauren Cuthbertson and Gareth Haw at Ballet Under The Stars 2025.

Photo credit: Julien Benhamou

Florent Melac entered the Paris Opéra Ballet school in 2005, and was admitted into the Paris Opéra Ballet company in 2010, he was promoted Coryphée in 2014, Sujet in 2019 and Premier Danseur in 2023. 

He regularly performs in a wide variety of repertoire from great classical pieces to contemporary creations:, Le Lac des Cygnes, Roméo et Juliette, Cinderella, la Bayadère, La Belle au Bois Dormant, Casse-noisette (R. Noureev), Caligula, (N. Leriche), Coppélia, Giselle (P. Bart), La Fille Mal Gardée (F. Ashton), Un Jour ou Deux. (M. Cunningham), Paquita, (P. Lacotte), L’Histoire de Manon, (K. MacMillan), Thèmes et Variations, (G. Balanchine), Prince Crown Rudolf in Mayerling (K.MacMillan), the role of Eugene Oneguine in Oneguine (J.Cranko), Rhapsody (F.Ashton), l’Oiseau de Feu (M.Béjart), le Chant du Compagnon Errant (M.Béjart), main part in Blake Works I (William Forsythe), Polyphonia and After The Rain, (C. Wheeldon), Alea Sands and L’Anatomie de la Sensation, (W. McGregor), the classical duet Play (A.Ekman), the creations of Daphnis et Chloé and La nuit s’achève (Benjamin Millepied)

Beside his work at Paris Opéra, Florent frequently performs in galas in France and around the world. Florent Melac is also known as a choreographer of pieces such as A Corps Essence (ballet for 15 dancers and two soloists created at Toronto National’s Ballet School, Paris Opéra Ballet and Stuttgart Staatstheater), Melancholia Splenica (ballet for two couples created at Paris Opéra),  Après un Rêve (Pas de Deux created for the Jean-Jacques Henner Museum in Paris) and the pas de deux Opus 27 that he performed with Agnès Letestu in Jean Vilar Theatre in Suresnes, and Theatre du Vesinet. In July 2020 the Modigliani Quartet ask him to choreograph for himself and with Agnes Letestu the Quatuor de Ravel to be performed all together in the Evian Music Festival. In March 2021 Anselm Kiefer asked him to choreograph a piece to illustrate his paintings. It was performed by Hugo Marchand and Hannah O’Neill in his exhibition at the Gagosian gallery. In March 2022 Jean-Marc Luisada (Famous French Pianist) asked him to choreograph Six Mazurkas of Chopin for him to perform at his concert at the Guimet Museum in Paris. In May 2023, he created for the Auditorium of Orsay Museum a new work for Hannah O’Neill and himself on the complete Piano adaptation of Daphnis et Chloé of Ravel.

Photo credit: Érik Sowaya

What have you been working on recently, Florent?

I recently worked on Sylvia by Manuel Legris! The first ballet performed for the opening of the Opéra Garnier in 1971 and recently revisited by Manuel Legris. I danced the role of Orion. A very interesting character because he is crucial for understanding the ballet's narrative, but also because he possesses a strong presence throughout the ballet. I enjoyed this role because Manuel Legris was able to add complexity to the character compared to the original version, and of course, it's always more enriching as an artist!

I also recently worked with the London City Ballet as choreographer for a new work where my duet "Moonlight" is also featured. Christopher Marney, the Artistic Director, wanted this duet to be part of his new season, but he wished to complement it with a second part in order to create a new piece in its own right. I really enjoyed working with his company and his dancers. It is a new company full of passion and talent that is likely to generate a lot of buzz!

Can you tell us what your favourite role is to dance?

The role I most love to interpret is undoubtedly Prince Rudolf in MacMillan's Mayerling. Once again, in my opinion, the complexity of the character makes it one of the most beautiful male roles in the ballet repertoire. The sequences of pas de deux with his five different partners, as well as the numerous variations of an uniquely styled dance each time, make it the most challenging role! Not to mention the music of Liszt; the most beautiful of composers and whose melodies pierce our hearts!

Photo credit: Maria Helena Buckley

When did you begin your journey into choreography?

I started choreography very early, at 15 years old. I began dancing with an incredible teacher who encouraged us to create through improvisation. And once I joined the Paris Opéra ballet school, the curriculum and the discipline of training left me no room for the imagination of movement. I then jumped at the first opportunities that came my way to regain that sense of creation that I had missed so much. I generally draw inspiration, like most choreographers I think, from music. It is my main driving force! But also, of course, from the dancers I have in front of me. Even though most of the time I choreograph and perform my pas de deux. I actually created Moonlight with Clémence Gross, who is Sujet (Soloist) of the Paris Opéra, while also creating the piece on myself.

Moonlight will be performed at Hatch House, July 2025 by Lauren Cuthbertson and Gareth Haw, what was your inspiration when creating the piece?

Moonlight was created very quickly for the event (Draft Works) organised by the Royal Ballet in London. As is often the case, I created my pas de deux by being inspired by the music. This is a reinterpretation of Beethoven's famous Moonlight Sonata. But this version is not for piano; it is performed by a string quartet. The sounds are much deeper and create an atmosphere that I find almost mysterious and, above all, much more enchanting.

What do you hope people feel, whilst watching Moonlight being performed?

I hope the audience will appreciate the fluidity of the movements and the musicality of the choreography. Through the sequences of circular and complex lifts, I like the idea that they represent the wave's movement on a slightly tumultuous sea. Obviously under the moonlight! It is no coincidence that a German poet, shortly after the composition of this piece, decided to give it this nickname, because he saw, in the first movement of this sonata, the evocation of a 'boat in the moonlight'.

Photo credit: Julien Benhamou

How does it make you feel to receive requests to dance Moonlight from other iconic dancers from across the channel?

I am obviously very happy with the success that this duet has had. And extremely grateful to the people who were able to appreciate it. It is an honour for me that such a prestigious dancer as Lauren Cuthbertson will interpret this duet. I could not have dreamed of anything better.

Many children will be watching the rehearsal of Moonlight, what do you hope it makes them feel?

It is often very hard to maintain a child's concentration; they can easily be distracted by many things! Above all, I hope that this duet provides them with a moment of escape; that is the most important thing for me! And that they manage to appreciate its integrity, also why not create a new passion and give them the desire to dance!

Interview with Joy Womack

After the red carpet rounds of the Amazon Prime hit series, Étoile, and performing Firebird with Xander Parish in Italy, we had the delight of interviewing Joy Womack to discover more about her upcoming appearances with Covent Garden Dance Company.

Joy Womack is an internationally acclaimed American ballerina based in Paris. She made history as the first American woman to join the Bolshoi Ballet as a full company member after graduating from the Bolshoi Ballet Academy.

At age 19, she became a principal dancer with the Kremlin Ballet, launching an international career that has taken her to major stages across Europe, Asia, South America, and the United States.

A prizewinner at prestigious competitions including the Varna International Ballet Competition, the Moscow International Ballet Competition, and the Korea International Ballet Competition, Joy has performed leading roles in both classical and contemporary repertoire.

Photo credit: Jon Taylor

As well as appearing as a featured dancer on the Amazon Prime series Étoile, Joy’s life has been the subject of two films: Joy Womack: The White Swan (a documentary) and Joika (a Hollywood adaptation of her story). In 2025, Joy released her memoir Behind the Red Curtain, co-written with journalist Elizabeth Shockman, offering a rare and honest look inside the world of elite ballet.

Joy is the founder of the Joy Womack Ballet Foundation (JWBF), a non-profit organisation committed to supporting emerging dancers through scholarships, outreach, and cultural exchange. JWBF also produces The Joy of Dance, a gala concert series with live music that brings world-class ballet to new audiences while raising funds for artistic and humanitarian causes.

Can you please tell us what you have been rehearsing or performing?

I was thrilled to recently perform in Xander Parish’s Ballet Russes production in Florence as part of the New Generation Festival in 2025. It was a joy to dance works such as Chopiniana, Firebird, and the Tarantella from Raymonda. I also took part in an international festival in the Philippines, where I performed Roland Petit’s Carmen Pas de Deux and the second act of Swan Lake as the White Swan. I’m now eagerly preparing for Iconique at The Island House, Bahamas.

How was it stepping onto the Étoile stage? What was your favourite moment during filming?

Bringing ballet to the screen was both a wonderful challenge and a rewarding experience. One of my favourite moments was filming the gala scene at the Théâtre de la Chalet in Paris. I also loved working with Amy and Dan on a scene where I got to deliver a line in Russian. It was great fun to explore character work on camera.

Photo credit: Bjorn Bonig

What motivated you to join the Covent Garden Dance Company for Ballet Under The Stars at Hatch House 2025 and Iconique 2026?

I was incredibly touched by the invitation. I’ve long admired the dancers who have performed with the Covent Garden Dance Company in years past, and it feels like a dream come true to share the stage with Xander Parish for a third time. I have not had the privilege of performing in the UK often, and dancing for British and Bahamian audiences holds a special place in my heart.

What are you most looking forward to about performing at Hatch House and The Island House, The Bahamas?

I’m especially excited to perform for new audiences in such a unique setting. There’s something wonderful about dancing in a setting that feels rich in history. Being part of a performance series that is building a meaningful legacy is an honour. I look forward to meeting people who truly love and support ballet.

Photo credit: Masha Kulch

What will you be performing, and with whom?

I’ll be dancing Remember Me by Sofya Gaydukova and Firebird; both alongside Xander Parish.

Why did you choose these pieces?

Xander has a wonderful artistic eye, and I was excited to take on the repertoire he proposed. Firebird is rarely performed in the West, and I think it’s important to keep these historic works alive. Given that both Xander and I spent significant time performing in Russia, it feels especially meaningful to bring a piece like Firebird to new audiences.

When you’re dancing these works, how do they make you feel—and what do you hope the audience feels?

Firebird is a new role for me, so I’ve been immersed in the process of researching the character and shaping my own interpretation. I hope the audience feels the richness of these pieces; the tradition, the emotion, and the storytelling behind the steps.

At Hatch House, you’ll be performing alongside wonderful artists from all over the world—who are you most looking forward to watching?

It’s such a privilege to be surrounded by so many inspiring dancers. I remember seeing Sarah Lamb perform years ago at the Kremlin Ballet International Festival—her work ethic and artistry left a lasting impression, and I’m excited to see her again. I’ve also admired Lauren Cuthbertson for years, so to watch her live is a dream. I hear I’ll be dancing Rose Adagio with William Bracewell as one of my cavaliers, and I’m really looking forward to working together.

Many children will attend the rehearsal —how important are opportunities like this for the next generation of dancers?

Seeing live dance as a child is essential. It develops artistic sensitivity and shows young people what’s possible. Sadly, fewer children today have the chance to attend live performances, so initiatives like this are incredibly important. Giving children access to professional dance helps communicate the value of the arts and may even spark the dreams of the next generation of performers.

What is your favourite role to dance?

So far, I would say Romeo and Juliet and Giselle have been my favourites. A dream role for the future would be Raymonda or Manon.

Can you tell us three things people may not know about you?

I come from a family of nine children.

I have a toy poodle named Rachmaninov—named after my favourite composer.

And I absolutely love to host dinner parties and cook for friends and family.