Alumni spotlight: Thomas Forster
Thomas Forster joined Upper School in 2002 and graduated into American Ballet Theatre Studio Company. We spoke with Thomas online about his time at the School, the experiences he’s had in the company and his career highlights.
When did you begin dancing and what was your route to train at the School?
I grew up in Southeast London and I loved football. My mum made me do ballet as well. The ballet teacher said I had a good facility for ballet, and she recommended The Royal Ballet School’s Junior Associates. I started when I was eight and I had Ms Hubbard as a teacher, she was incredible. That’s when I started to love ballet because I was finally amongst boys my age doing ballet together. Those classes were more tailored towards young boys; there was camaraderie and competition, and ballet became fun. Some of the boys I met in that class are still my mates; we speak every day.
I went to the Summer Intensive which was fun, so I auditioned for White Lodge. They didn’t accept me and that was tough. Ms Hubbard advised me to audition for Elmhurst because it was more of a performing arts school back then. I was there for five years, and they thought I was more suited to ballet rather than jazz and modern. After that, I joined The Royal Ballet School’s Upper School. At the beginning, going to these schools was a way of getting a better education. I received funding to attend both schools. As I moved through my education, I fell in love with ballet.
What are some of your favourite memories from your time at the School?
Honestly, I just loved it. It was the best three years. The training was incredible. Each year, the School progressed me. I came in getting commended during the assessments and I left getting honours. The training I received got me to where I am today. Then there are the lifelong bonds I made and the fun we had outside the studio at that age. I had Liam Scarlett in my year too, I constantly watched him choreograph at a young age and was blown away even then. I couldn’t even make my own dinner and he was choreographing full-length ballets!
What memories do you have of the performances?
I was always an anxious performer. I remember performing at the Royal Opera House and in the Linden Studio as a student at the School, I was highly nervous and probably a hot mess. It was always rewarding though, and I felt nurtured by the teachers.
How did you get over those nerves?
I grew up and I realised that no one cares. When other people mess up, I don’t care. When I mess up, it feels different, but I realised it’s not. All that stress and anxiety is a waste of energy. I was lucky enough to become a father and that put life into perspective. I want to do well in my career because I’m providing for him but at the same time, as soon as I’m with him, I forget about all those things.
What did you learn at the School that you use in your professional life?
Hard work and consistency. The teachers were incredible. I had David Peden, Christopher Powney and Gary Norman. All of them brought out something different in me. Mr Peden was focused on structure and technique. Mr Powney focused on building confidence and taught me to go for it. Mr Norman’s style was a bit freer; his classes prepared us for company life because the steps were difficult to execute. I was constantly trained to be respectful, tidy, and on time. I see it with other students who graduate from the School; they have a work ethic and understanding.
Do you feel a connection with those other graduates?
There’s a connection with anyone who’s experienced training at the School. It sounds weird to say out loud but it’s a badge of honour, I’m proud to be a Royal Ballet School alum. I look out for Royal Ballet School graduates coming through. The standard of the young dancers coming up keeps getting higher and higher. They need no mentoring from me; they’re amazing and teach me what to do.
Who did you look up to when you were at the School?
I was never a ballet bunhead so when I got to the School and saw Carlos Acosta for the first time, I was blown away. My year was also incredibly talented. Along with Liam Scarlett, I was dancing with Xander Parish, Joseph Caley, Shevelle Dynott, James Forbat, Alexander Jones, William Moore and Aaron Robison. I’m forgetting names, but the list of principal dancers from that year was insane. I admired my classmates more than anyone.
What have been some of your highlights in the Company?
I’ve had such a crazy career really. I was in the corps for a very long time and then became Soloist. Leading up to the pandemic, I started to get huge opportunities, but I was getting older. The company gave me a promotion, which I was shocked by but so grateful for. It’s nice to experience the major ballets at the tail-end of my career as a Principal. When I leave, I’ll have a good understanding of what each level requires and the highs and lows of being at each level. Recently I got to play Eugene Onegin, a lifelong dream role and it went really well. I was so happy. I can’t believe this is my job sometimes.
What changes would you like to see in dance training and companies?
I think in ballet training, there’s already been a move to a scientific approach to building strength which would be great to continue. I think there could be more support for our mental health because whether you’re young or old and have performance anxiety or other stresses that come with this career, it can only be helpful to have support there. It’s important to have someone to talk to.
