Steven McRae

Monday, 12th February 2007

Crown Court Church of Scotland Hall, London W.C.2

We were delighted to welcome Steven McRae, Soloist with the Royal Ballet, as our guest tonight. He was introduced to the London Ballet Circleand interviewed by Robin Key.

Since he joined the Royal Ballet in 2004, Steven has danced a wide variety of roles and Robin began by asking him about "Symphonic Variations", which he danced at very short notice in his first year with the company. He found Ashton's choreography to be pure classical technique which must be danced as well as possible, without flashiness. Since then, he has under-studied "Rhapsody" and hopes to have a chance to dance this ballet in the future. Bournonville was the next choreographer mentioned, who has a distinct style of his own. Again this is pure classical ballet, and his style feels natural for Steven. Although there are no high legs and multiple turns, it is possible to update the steps in subtle ways, such as raising the working leg to a higher angle in some jumps. Although Steven had seen Bournonville videos, he found coaching by Johan Kobborg to be an incredible experience and has great admiration for him. Musicality was then discussed and Steven said that his tap work has developed his musicality, which is so important to him that he cannot bear to watch dancers who are unmusical. Working with orchestras is a challenge for the dancers as conductors are not all the same and have different views on speeds.

Regarding MacMillan's ballets, Steven has danced the Beggar Chief in "Manon" which is a character role and unlike any of the classical roles he had danced. He felt he had to find out more about the character and develop it in relation to the other people in the plot, and what he was trying to achieve was recognised by some critics. "Manon" is one of MacMillan's greatest ballets and Steven looks forward to dancing the role of Des Grieux in the future.

Steven has also danced Balanchine and commented on how Balanchine technique has changed over the years, which can be seen from old videos. This is also pure classical ballet, but has an extra kind of modem flashiness. He has danced "Tchaikovsky pas de deux" and "Stars and Stripes" pas de deux and enjoyed them very much. The Royal Ballet is at present working on "Theme and Variations" which is difficult, especially for the girls.

Coming on to modem choreographers, Steven told us about his work with Christopher Wheeldon in "Homage to the Queen". He had to miss rehearsals, due to attending his sister's wedding in Australia , and described how Christopher Wheeldon worked with him for the whole day on his return to London . He found Christopher to be a very classical choreographer, who uses academic steps in new ways by trying unusual adjustments and unexpected angles, but always on a classical base. Wayne McGregor has also created work for Steven, and he is a very different type of choreographer. Wayne demonstrates his extreme movements himself and Steven respects him because he had studied the dancers he wanted to use, and knew all their individual strengths and weaknesses, which impressed the company (as well as the critics). Steven and the other dancers look forward to more work with Wayne McGregor when he returns to the company. Another choreographer Steven has worked with is Christopher Bruce. This was soon after Steven's arrival in the company and it was a great honour for him to be chosen and to have the opportunity to watch Christopher Bruce and learn from him. Steven has now danced a wide range of roles in different styles, and is pleased that he has not been type-cast.

Steven then told us about his childhood in Australia and how he began dancing in Sydney . His parents knew nothing about ballet but loved music. His sister was a gymnast and his mother was athletic and he thinks his drive and competitiveness is part of the Australian mentality. He competed in inter-school music and dance festivals, which are very popular in Australia , from the age of 8. He enjoyed competitions and entered for many sections, and was delighted to go home every weekend with more trophies to add to his collection. His parents sent him to a normal academic school, as dancing was second in importance to education. Steven agrees with his parents' views, and does not think it right for a child of 10 to go to a full time vocational school and concentrate only on dance at such a young age. Steven went to academic school until the age of 16 and then did full time ballet training for about 8 months with Hilary Kaplan, who prepared him for the Adeline Genee and Prix de Lausanne competitions. His first teacher was Naticha Celio, who taught him jazz and other types of dance. Her training was strict but she encouraged her pupils to excel, and then sent him on to Hilary Kaplan to concentrate on ballet. Hilary Kaplan is South African and her method was described by Steven as "Royal Ballet but with a kick"! The girls had to do the steps the boys do, and vice versa, so that the girls could do double tours and the boys fouettes.

He enjoyed the Adeline Genee, which is a week of workshops with a competition at the end. He did not did not expect to win but during the week he was noticed, and he loved the experience of dancing and winning the Gold Medal in front of an Australian audience. He learned the required solos in two days and thinks this is better for the dancers than studying a solo for about a year in advance. He danced the "Le Corsair" solo as well as the required contemporary piece.

The Prix de Lausanne is a completely different competition. He explained that the Genee can help open doors but the Prix de Lausanne will really open doors, as the prizes are scholarships to schools and apprenticeships to companies, which start a dancer's career. He had already secured a place at the Royal Ballet School , but needed to win this competition because he could then afford to take up the place. The competition did not begin well for Steven, whose teacher could not travel due to family commitments, the airline lost his luggage, his mother (who accompanied him) was taken ill, and it was 45 degrees in Australia but minus10 in Lausanne ! In spite of all these setbacks, Steven set out to win and felt relaxed about his tap solo as his free choice dance. The competition was fierce with coaches everywhere screaming at their students and much tension. Steven reached the final and found he had won by a process of elimination, as dancers were called on to the stage one by one until he was the last one left waiting in the wings. All announcements were in French and he had no idea what was happening until officials told him he had won! He suffered some reaction after this hectic week though his mother had recovered and was with him for the final. Steven went back to Lausanne this year for a special gala, but on arrival at the theatre his memories were so bad that he did not want to go inside. However, he conquered his feelings and was glad, because of the wonderful opportunities the competition gives to young dancers. He thinks that the Prix de Lausanne should not be open to dancers from vocational schools, but for private school pupils only, who should not have to compete against students who are already at famous schools.

Steven set off for London the following weekend and started class at the Royal Ballet School . This was another shock when he was sent on stage immediately as a walk-on in "Sleeping Beauty". He was surprised by the negative attitude of the students who seemed to him to be complacent and without the competitive spirit of Australian dancers. He was homesick but decided to stick to it and achieve what he set out to do. He went on a tour to Germany with his year and gradually the dancers developed as individuals and earned respect, and most of them are now in companies all around the world and, as we know, Steven was offered a contract with the Royal Ballet.

He then gave us his impressions of life with the company, especially in relation to young students. He always talks to the White Lodgers and it is important to remember that they are the next generation. He appreciates the work ethic of the company, especially the speed in putting on productions. Steven answered questions from the audience and told us about his recent short tour organised by Alina Cojocaru to Romania to raise funds for students there, followed by Denmark and a gala in Zurich - all in one week. Steven talked about his tap dancing, and is determined to tap on the Opera House stage, and has been in touch with Wayne Sleep. He is happy now in London and enjoys the travel advantages, but still misses the more relaxed lifestyle of Sydney .

Robin thanked Steven for being so frank and interesting and we all hope he will stay with us in London for a very long time. After the presentation of champagne, Steven posed for photos and chatted to his many admirers present.