Alumni spotlight: Sophie Apollonia
Sophie Apollonia Larson joined The Royal Ballet School at age 11 and graduated from Upper School in 2008. Since then, she has built a multidimensional career as a dancer, movement director and founder of Studio Apollonia, drawing creative inspiration from her early ballet training.
She reflected on her journey with Digital Marketing Executive Amy Watts.
When did you discover ballet?
I grew up in London, and my mum put me in a £2.50 dance class once a week in Brixton. My teacher, Paula Jones, who I’m still in contact with, was fantastic. She was the one who was pushing for me to join a scheme called Chance to Dance, a brilliant programme that I’m so happy is still going today.
How did you come to audition for the School and what were your first impressions of it?
I was just doing ballet once a week as a fun activity after school. I wasn’t thinking of it as a career at that point. My teacher said that I should audition for The Royal Ballet School, but I didn’t know anything about it. When I went to White Lodge, I was blown away, and it started to feel like something special. From the moment of the audition, I knew I wanted it badly. I had fun at the audition because I wasn’t intimidated at that age and didn’t have any pressure on me. I think they offered me a place because of this kind of freeness when I danced. The School really shaped my technique.
I’ve heard about a very unique solo you did at the School, can you tell us about it?
Our music teacher, Mr Fortnum, suggested we fuse music for a performance. I was still rooted in South London and enjoyed listening to hip hop, so I thought, why not infuse ballet with Snoop Dog’s Drop It Like It’s Hot. I put it with a fairy variation and mixed it together with the teacher. I don’t know how appreciated it was, but I felt I was onto something. Ballet can be cool. It can be sexy and it can be sassy. It can be so many things and suits a whole range of music and rhythms. As a female, when you put on those pointe shoes, the line and the power is already so empowering and strong, and with the music, suddenly you’re a different character.
Were there any teachers that had a specific impact on you?
We had Mr Yao as a guest teacher, and he was really fun and encouraging of artistry. That was my strength rather than the technique. I flourished with him being a teacher. Petal Miller was fun too. Mary Goodhue, the Principal, was a great mentor to me.
What are some of your favourite memories from your time at the School?
We went on tour in Asia with the Company and performed The Rite of Spring, which is one of the hardest ballets in my eyes. Going to Japan and China was incredible, and it felt like such high praise to be chosen. I missed graduation, but it was worth it. The Summer Fair was always my favourite. I still remember the smell of White Lodge in summer, of fresh cut grass, just a magical, nostalgic feeling.
Who inspired you when you were younger?
As a young girl, my mum introduced me to lots of old movies, and I always loved Eartha Kitt. I resonated with her because I was in a performance world too, and her energy was like mine. Also, Kate Bush. I had her CD when I was in Year 7 and listened to her album every night until about Year 10. In the dance world, I wanted to be Marianela Núñez. She dances so beautifully.
After you graduated from Upper School, what were your next steps?
After graduating, I was a little lost. I was so curious about the outside world, and I was so fulfilled in what I had already achieved with ballet at that point. I started to freelance with a lot of smaller companies because I wanted to test out what I should do and discover who I was. At the time, it was seen as a shame that I wasn’t in a big company, but I was happy to take what I’d learnt and find another path to go down.
I joined a cabaret, danced with ballet companies and did theatre in the West End – many different jobs in the creative world. Each job gave me something new to add to my list of skills, and I took everything I learnt from those experiences and began choreographing and fusing different styles together.
When did you begin choreographing?
It all started from having an identity on social media. I would do short clips of random movement in a weird or cool outfit and post it. It meant nothing, but then I started having brands contact me, and they’d give me a brief and ask me to advertise something in my own way. I was getting paid for choreography this way, and then it slowly grew into movement direction for fashion with high-end editorials and working with models. I’ve worked with some incredible photographers and magazines. I then started choreographing for film and did the choreography for the Netflix series, Clark, working with the actor Bill Skarsgård. There’s a dance scene in every episode so that was a lot of fun. Most recently, I choreographed for Duran Duran’s latest music video. The joy of choreographing and directing movement is that it takes you down all kinds of avenues. I love my job.
What is your process on a photography or film shoot?
The first thing I do on a shoot is go up to the models or actors and make them feel really comfortable because they have to trust me. I’m their eyes. There’s no mirror like in a ballet class – they’re just looking to me for my instruction and feedback, so building rapport and making them feel good about themselves before we begin is really important.
What are some of your career highlights to date?
Definitely working on Clark but also being asked to do collaborations with brands with myself featured in the work. I think it’s really cool when they’re interested in me as a person. My collaboration with Sweaty Betty is an example of that.
Opening my own home studio, Studio Apollonia, has been a highlight too. I do one-to-one coaching and it’s been going really well. It’s a fusion between fitness, ballet and feminine movement. You get a great workout, but you’re also tapping into your feminine side. I’m really proud of what I’m building.
Your ability to work across different mediums and between different realms seems boundless. Is there anything you haven’t tried yet that you would like to?
I haven’t worked with ballet dancers yet. I would love that opportunity because what you can do with dancers is limitless. I’d like to see my style on them.
What’s something that you learnt at the School that you use in your career today?
Discipline, grace and determination. I learnt to work hard. I’m really grateful for the work ethic the School instilled in me. Also, it taught me the professionalism that I carry with me to this day on sets and on shoots.
How do you define success?
I think success is happiness and fulfilment. If you are happy as a person internally and you can be kind to others, that is success. Happiness might not always be on the path you originally thought you would go down. It’s okay to make mistakes and veer off that path because another door will open, and you’ll learn more about yourself.
Anything you have watched, read or listened to that you recommend?
The book Women Who Run with the Wolves about womanhood and the power of being a woman and not letting society try to water you down.
Do you have a message for your younger self?
Keeping being you, you’re enough and everything is going to be fantastic.
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.
