‘A festivity of knowledge:’ Centenary Insight Days
Over three Sundays in March, we invited the public to dive into The Royal Ballet School’s past, present and future at our Centenary Insight Day series. Conceived and curated by Manager of Special Collections Dr Anna Meadmore, each day focused on one period in the School’s history, with special guest speakers, unique performances and fascinating panel discussions with scholars, staff members and leading artists.
Each insight day was also livestreamed, with a recording available for attendees to access for 30 days following the event. Guests attended both in-person and online from across the world, notably Australia, Canada and the United States.
Daniella, a livestream attendee, called the events a ‘festivity of knowledge.’ Dougie, an in-person attendee, said, ‘I didn’t know what to expect but was so glad I took the plunge, booked and attended. It was excellent.’
Day one: our past
Revisiting the founding ethos and creative ambition of de Valois’ Academy of Choreographic Art
Sunday, 8 March was not only the inaugural insight day but also International Women’s Day, the second annual Let’s Dance day hosted at Upper School and the 25th anniversary of founder Dame Ninette de Valois’ death. Anna specifically chose this day to honour de Valois, known as ‘Madam’ to her students, and her female contemporaries, notably Ursula Moreton, who helped build the strong foundation for the School in 1926.
Keynote speaker Dr Susan Jones, Emeritus Professor of Modern Literature at St. Hilda’s, Oxford and a former member of Scottish Ballet, opened the programme by setting the historical and cultural context of de Valois’ original School, founded during the inter-war modernist period. Her presentation included archival photos of the School performing de Valois’ Checkmate (1937), which will be revived in an abbreviated format for our 2026 Summer Performances. She also played a video of Nicola Katrak, School alum, ballet teacher and former Principal of the Sadler’s Wells Royal Ballet, performing The Betrayed Young Girl in de Valois’ The Rake’s Progress (1935). Nicola, who was in the audience, watched as Susan broke down the highly stylised movement, referencing de Valois’ 18th century influences.
Anna presented her 2021 reconstruction of de Valois’s The Arts of the Theatre (1925), performed by Pre-professional Year students. Anna’s presentation featured archival photos of Ninette, Mikhail Fokine, Leonide Massine, Bronislava Nijinska and Anna Pavlova as references for the movement influences and styles at the time. The highlight of the research was Anna’s rediscovery of Ursula Moreton’s detailed notation of The Arts of the Theatre in 1926. The students embodied each of the theatrical elements with fervor and dedication: Music, Painting, Dancing, Comedy and Tragedy. The rousing score was expertly performed by pianist Domenica Cardullo.
Attendee Victoria said, ‘The reimagining of de Valois’s The Arts of the Theatre was the highlight. The opportunity to see the work ‘alive’ again, performed a century after its creation by students at the very school that she founded 100 years ago, was a complete treat.’
‘The process by which Anna interpreted, and skilfully extrapolated Ursula’s original choreographic notation was incredible,’ added attendee Sean. ‘With finesse and mesmerising attention to detail, right down to the colours used in the costumes, she has recreated a short masterpiece which was so delightfully and skilfully danced by Pre-professional Year students. Watching Royal Ballet School students perform always reassures me that the future of ballet is in very safe hands.’
Andy Granville, Senior Teacher Upper School, Head of Degree Programme and Deputy DSL, then presented on the ballet student as a critical enquirer, explaining how the School encourages students to consider all aspects of their profession, including dance history, analysis and healthy practice. Sean said, ‘Andy’s Degree Programme discussion clearly demonstrated how the School has evolved over the past 100 years, staying both relevant and in tune with the expectations of the modern world.’
Actors Heloise Spring, Barbara Mariposa and Eliza Williams then gave an evocative performance of Dear Miss Harman, a script written by Heloise based on letters written by Beatrice Appleyard, Molly Brown, Sheila McCarthy, Elizabeth Miller, Nadina Newhouse and Joy Newton. The actors embodied the identities of past students reminiscing on fond memories and mischievous anecdotes, from classroom discipline to dressing room laughter. As one viewer said, this performance encompassed ‘100 years of happy memories,’ with the actors making historical letter reading feel like a podcast between old friends.
The day ended with a panel discussion with Anna, Susan, Andy, Curator of Dance at the Victoria and Albert Museum Jane Pritchard and alum and choreographer Andrew McNicol. In the final question and answer period, one alum named Richard said that his time at the School was life changing: ‘A boy from suburban London suddenly had the world available to him.’ Attendee Carolyn also shared that the day was ‘exquisite’ and ‘so thrilling to witness academic rigour translated back into practice and performance.’
Day two: our present
Shaping change: innovation and evolution in ballet training
Sunday 15 March shone the spotlight on the teacher training and healthcare practices that make the School a world-leader in the ballet education sector. Hosted on Mother’s Day, the audience was full of families. ‘One of my daughters bought a ticket for me and my other daughter for Mothering Sunday. It was a lovely cultural day out, and we’ve learned so much. We had no idea about all the healthcare support and how it’s moving forward. It was absolutely fascinating.’
Keynote speaker Dr Susie Crow reflected on the ballet class and wider education practices of creative dance artists, considering how cultural contexts have shaped ballet training in the past, and introduces relevant current debates. One attendee shared that they were returning to their ballet roots and were fascinated to see the changes in ballet training. ‘I wanted to come today to really understand the changes in teaching that have happened since I experienced it in the 1960s. I did lots of ballet when I was growing up, although I ended up going into physics teaching and spent my career in physics. Coming back to ballet in retirement and watching ballet has renewed my love and interest. It was fantastically interesting and so lovely to feel that students are really being supported and valued in all aspects of themselves.’
Head of Teacher Training Karen Berry presented on all of the School’s teacher training programmes, designed to support teachers in all stages of their careers. Affiliate Programme Artistic Manager Vanessa Donkin and Upper School Ballet Teacher Ricardo Cervera then demonstrated a typical Affiliate and Upper School class, putting the School’s philosophy into action. The young Affiliate students from The Ballet School Notting Hill were eager, raising their hands enthusiastically to answer questions from Vanessa and performing excerpts from Swan Lake with as much acting and expression as if they were on the Royal Opera House stage. Four Pre-professional Year students showed the progression in training from the earliest years to the final training years, and the comparison showed how the enthusiasm and artistry from the younger years doesn’t leave but becomes more refined as they grow.
Attendee Harriet shared, ‘Without exception everyone’s passion for their work and desire for the students to achieve their goals is very evident, together with the warm interaction between the departments and individuals. It was an absolute joy and privilege to be with you all, including the talented and delightful young students of the Affiliate Programme and Upper School.’
Alum, former Principal with The Royal Ballet, Associates and Primary Steps Legacy Artistic Manager and Diploma of Dance Teaching graduate Sarah Wildor then spoke about the impact the School and its teacher training has had on her teaching philosophy and career pathway, emphasising the holistic ecosystem that the School provides for all stages of life.
The second half of the day featured presentations from Head of Healthcare Nick Cleverton, Data Analyst Gregory MacMillan, Upper School Physical Development Coach Jamie Harding and Training and Access Healthcare Lead Emma Porter, who provided insight into how the healthcare programme has evolved with more research and funding. They also shared how healthcare works together with dance teacher and student training to make strength and conditioning suit the students’ training schedules. One attendee was even given a tour of the gym and healthcare facilities and said they were very impressed.
Day three: our future
Foundational and future aspirations: considering the ongoing impact of the regenerative creative ethos embedded in The Royal Ballet School
The final insight day on 22 March encompassed one of the School’s values: our heritage nourishes our future. Formerly named The Academy of Choreographic Art, the School continues to nurture this core tenet of creativity and innovation through the Ninette de Valois Choreographic Programme.
Anna took the helm as the keynote speaker, exploring enduring strengths and possible fault lines in Ninette de Valois’ founding vision for her School – in relation to the teaching of choreography as a composite theatrical form, fostering versatility and creating a modern ballet repertoire. She shone the spotlight on early female choreographers and choreographers of colour who made their voices heard in a white, male-dominated space.
‘It was a fascinating presentation by Dr Anna Meadmore reminding us all what a force of nature Dame Ninette de Valois was. It was great to see some of the current choreographic work and witness the students’ confidence,’ said attendee Kate.
Artistic Director Iain Mackay then gave an overview of the Choreographic Programme, explaining how the faculty supports the students in creating new works from Year 7. He also featured our current trailblazing alumni, including Christopher Wheeldon and Cathy Marston, who are presenting works at our 2026 Summer Performances. Students then presented their own choreography, and attendee Ann said that it was ‘a delight to see the young dancers demonstrating the ethos and philosophy outlined in the speeches.’
Year 11 students Alex and Eva performed a self-choreographed pas de deux titled Letter from Heaven, recently performed in the 2025 Kenneth MacMillan Emerging Choreographer show. Afterwards, Iain interviewed them about their creative process, from the initial inspiration through to the final details with support from Choreographic Tutor Rhian Robbins.
2nd Year students Harry and Clovis then performed classmate Soren’s Symbiosis, originally choreographed for the 2023 Kenneth MacMillan Emerging Choreographer and later performed at Opera Holland Park in 2024. Soren said that he was honoured to revisit his Year 11 choreography for the centenary and was excited to have it grow alongside them, but he acknowledges that his choreographic view now has evolved and that his approach would change if he were creating the piece now. Clovis said that the partnering was a fun challenge, as he typically partners the ladies, but he trusted Harry and felt like he was flying in the lifts. Harry said that his time in Upper School helped him focus more on his artistry, especially in the quieter moments of the piece.
Finally, Pre-professional Year student Layla ran an open rehearsal of her site-specific work for an upcoming performance at St Paul’s Cathedral for the Benefact Trust Charity. She has been choreographing since Year 7 at White Lodge and discovered a passion for creating new works with her peers. She commanded the room with confidence, clear instruction and wit, treating the audience to a rare look behind-the-scenes at the rehearsal process.
Viewers both in-person and online concurred that seeing the students perform was most special. ‘Whilst every session was thought provoking and uplifting, for me the highlight was seeing the students perform, a tangible manifestation of de Valois’ vision,’ said Sean. ‘The truly beautiful pas de deux created and performed by Eva and Alex was so moving, and the live demonstration of the creative choreographic process by Layla was remarkable. For Layla to undertake that session in front of an audience was simply amazing. All the students spoke so elegantly about their work – inspirational advocates for the future of ballet.’
Guest choreographer Dr Adesola Akinleye followed with a presentation and performance of her work Excerpts from Sycorax’s Tempest, a ballet inspired by William Shakespeare’s play The Tempest. 2nd Year dancers performed three excerpts inspired by different sections of the ballet, which has been in progress since 2024. Adesola choreographed act one with Texas Christian University in 2024 and act two with the University of Utah in 2025.
The day ended with a panel discussion led by journalist Sarah Crompton with Iain, Anna, Adesola and alumni and Royal Ballet dancers Lauren Cuthbertson and Rebecca Myles Stewart. Sarah led the panelists through a series of questions delving deeper into the day’s presentations and alumni experiences. She also referenced the new landmark coffee table book Strength and Grace: Portraits of The Royal Ballet School, which features exclusive interviews by herself and photography by Rick Guest and Olivia Pomp of more than 60 of the School’s influential alumni.
Will, a donor who attended all three insight days either in-person or online, remarked on the series: ‘That was a masterclass in how to do it: engagement, narrative, communication, public benefit, outreach, excellence and innovation. I got so much out of this and learned a huge amount, for which I am very grateful. It was very well organised by Dr Anna Meadmore and Iain Mackay, both of whom deserve huge thanks and credit for making it a success. The demonstrations by the students were wonderful, and life-enhancing to watch. Attending these centenary insight days was a great privilege.’
Catja Christensen is the Marketing and Communications Executive at The Royal Ballet School and joined the School in 2025. She enjoys interviewing students, staff and guest artists for news stories and crafting eye-catching newsletters.
