Interview with Lauren Cuthbertson
Covent Garden Dance Company was delighted to sit down with Lauren Cuthbertson, Principal of The Royal Ballet, ahead of her debut of Christopher Wheeldon’s Mercurial Manoeuvres at Iconique, Bahamas.
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
Fresh from rehearsals for the stage adaptation of the Oscar winning, The Artist, we spoke to Robbie Fairchild about his upcoming performances with the Royal Ballet’s Lauren Cuthbertson at Iconique, Bahamas 2025.
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.
Hatch House 2024 Programme
From three world premieres, George Balanchine, Sir Frederick Ashton and world class artists, our 15th anniversary gala does not disappoint, discover our full 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
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Interview with Calvin Richardson
Between performances as Oberon in the Royal Ballet’s Midsomer Night’s Dream, we caught up with First Soloist, Calvin Richardson to find out how his new choreographic work, soon to premiere at Hatch House 2024, is progressing.
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.