Henry dressed in a red long sleeve unitard with shorts partners another male dancer. Henry, right, leans back with his legs bent while holding his partner's hand. His partner is in an arabesque facing henry, left leg extended and right leg bent. His left arm reaches back in line with his leg.
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Pre-professional Year student Henry performs in the 2026 Prix de Lausanne Partner School Choreographic Project 

The 54th annual Prix de Lausanne was held in Switzerland from 1-8 February featuring a week of classes, rehearsals and performances designed to discover, promote and support exceptional young dancers from around the world to pursue a career in dance.  

Continuing the School’s relationship with the esteemed competition since its conception, Pre-professional Year student Henry represented The Royal Ballet School in the eighth year of the Partner School Choreographic Project alongside fellow students from the world’s leading ballet schools. This year’s project was choreographed by The Washington Ballet Artistic Director Edwaard Liang in just a few days. 

Henry returns to the Prix after having been a candidate himself in 2023. He reflected on his experience in Lausanne and what it means to represent the School three years later. 

Students dressed in black tights and black t-shirts pose on stage in rehearsal. They bend their right legs with their left legs tendu front croise. Henry is front and centre of the group.
The group of dancers are dressed in black tights and black prix de lausanne t-shirts. Edwaard faces the group up stage, his back to the camera, and squats to mimic the group pose, with all the dancers huddled in a pile.

What did a typical day at the Prix look like for you? 

The daily schedule at the Prix de Lausanne consisted of numerous hours of hard work, focus and determination. We would regularly begin with a morning ballet class where each day we would have a different teacher, including Director of Paris Opera Ballet School  

Élisabeth Platel, which was very exciting. It was exciting to learn from each teacher, as they all had a different method of teaching the classes and exercises. I came out of every class with feedback, which I will apply to my training at the School and into the future.  

After the class, we would have hour-long rehearsals with Edwaard Liang. In total, we would dance for around 6-8 hours. Throughout those hours, there would be lunch and short breaks. Since we were learning so much choreography, everyone needed breaks, including Edwaard. After the rehearsals, we would have dinner all together at the theatre provided by the Prix. Towards the end of the week, the days would finish very late, including a lighting session that was scheduled to finish at 11pm at night! 

What was your experience working with Edwaard Liang, and what did you learn from him? 

My experience working with Edwaard Liang was very inspiring and educational. His innovative style of choreography was a heavy mix of classical ballet and contemporary, which was exciting and diverse. His enthusiasm for helping us be showcased in the best way possible using his choreography was truly special. Edwaard didn’t want to have set choreography coming to Lausanne as he has never worked with us, and he wanted to find movement that would work well for all of us. His sense of humour and determination were unforgettable, and all of us participants were mesmerised at how quickly his choreography came together.  

Edwaard’s piece was called The Gathering. His piece was about us all being brought together, gathering, bonding and becoming one. In this scenario, we were all brought together to dance, and we became synchronised with each other and with the music. The music was composed by Oliver Davis, who was with us in Lausanne, which we were all excited about. 

The piece was ten minutes long and balanced with fast and slow sections. It was challenging, yet very special, dancing in synchronisation with dancers who I have never danced with before. By the time we performed the piece, we all became one and felt in tune with each other’s movements, which was Edwaard’s goal when working with us. 

The group of dancers pose in tendu back with their left legs extended and right legs bent. Their arms are outstretched, right arm up and left arm side. They are dressed in red long-sleeve unitards against a light orange background.
Henry and a male dancer dance in edwaard's 'the gathering. ' henry, left, jumps with his left leg in attitude side with his ride leg extended to the floor. His arms are extended, right arm up and left arm in line with his left leg. The partner is to his right, with his left leg in a matching attitude side and right leg on releve. His arms are bent upwards to the side, mirroring his leg, and he looks upstage away from henry.

How was your experience working with other dancers you had never met before? 

It was an inspiring experience meeting so many dancers from different countries and prestigious schools. We were all mesmerised by each other’s technical abilities, and we all became close friends. Each and every one of us brought something unique to the group, and I am positive that our paths will all cross again. It was lovely seeing other Australian dancers that I knew before coming here, too, which made this experience easier having familiar faces. But after an hour, we all bonded easily, which made the experience even more unforgettable than it already was.  

What were the highlights of your trip to the Prix? 

It was very nostalgic being back at the Prix this year. In 2023, I competed in Lausanne as one of the youngest candidates. I had a goal and dream to receive an offer from The Royal Ballet School, so to be representing the School at the place where my dream came true was a full circle moment for me. I felt honoured and grateful to have been trusted by the School to represent them, and I am immensely grateful for this once in a lifetime opportunity. 

Photos courtesy of Prix de Lausanne, photography by Gregory Batardon. 

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