The Singapore Dance Theatre presents Swan Lake: Meet Elaine Heng, Shaw Coleman and Robin Kent
JASSMIN PETER sits down with young talents from the Singapore Dance Theatre and chats about life as a professional ballet dancer, their opinion on the Singapore arts scene and what to expect from their take on the legendary Swan Lake.
Nationality: Singaporean
Role: Big swan
TF: Any early influences?
EH: I started training with the Singapore Ballet Academy at age six and was taught by many teachers who were all supportive of my dancing so it's hard to name just one person. But if I had to pick one, it would be my former dance colleague Xia Haiying. Watching her rehearse the sugarplum fairy in the Nutcracker cemented my decision to be a professional ballet dancer. Perhaps, that was my turning point.
TF: What challenges did you face as a young professional ballet dancer?
EH: Dealing with the changes in my body during puberty. I wasn't as slim as before and couldn't afford to eat anything my heart desired. I also had foot injuries as my strength was not catching up with the speed at which I was growing. It was also tough juggling school and dance. But I learned discipline and good time management.
TF: Tell us about your time at the Central School of Ballet in London.
EH: I met some very inspiring and knowledgeable teachers. It was a blessing being in their class, training with them and gaining first-hand knowledge on how to succeed as a dancer. There were also many arts and cultural events happening all the time in London. I watched performances frequently and they were very inspiring.
Nationality: Australian
Role: Hunter and Czardas men
TF: Any early influences?
SC: I started ballet at the age of seven and was also involved in amateur plays and musicals. Because I carried over the importance of stagecraft into my dance career, I was heavily influenced by dancers such as Margot Fonteyn and Rudolf Nureyev.
TF: Any memorable moments?
SC: When I was dancing with Ballet Ireland in 2007, one of the shows fell on my 21st birthday. I was looking forward to spending a free day before the evening performance but was informed according to company policy, if someone jumps in as understudy - which I did the previous evening - you must do at least two performances consecutively so as to get a proper shot at dancing the role well.
So while everyone else had the day off, I rehearsed all day long. Imagine how exhausted I was after the show that night. I was the last to leave the theatre and walked to the hotel with my ballet mistress. I was ready to fall into bed when she invited me for a celebratory drink. I protested, but she dragged me into the bar, where to my surprise the whole company had gathered with champagne, a birthday cake and presents for my birthday! It was such a beautiful moment which I'll remember forever.
TF: You've danced in Australia, Germany, Ireland and the UK. Where did you have your best experience?
SC: Germany because of the broad range of experiences I had there. Most dancers in Germany get to do everything - ballet and contemporary dance, musicals, opera and operetta. We even taught Salsa to high school kids and did a dance project with a school for the disabled. In Hagen while performing West Side Story, I was cast with a small speaking role. At that time, my German wasn't fluent so I said things without understanding what they meant, but still had the time of my life.
Nationality: English
Role: Czardas men
TF: Any early influences?
RK: Michael Flatley because he could be the only person on a huge stage and still captivate a full arena. He really knew how to put on a show and own the stage. Other influences include Gene Kelly and Jonathan Cope.
TF: Tell us about your experience at The Royal Ballet School.
RK: It was a bit of a roller coaster. Because the training was full on, my body couldn't take it in the beginning. I underwent knee and ankle surgery within two years. My only regret was not having the faith to realise my true potential. I was in a class with some of the best talents in the world and sometimes I felt I wasn't good enough. However, amidst all that I still had the time of my life! I went on tour in New York and performed at the Royal Opera House.
TF: You've performed Swan Lake at The Royal Ballet. How different is it to the Singapore Dance Theatre's (SDT)?
RK: The Royal Ballet has performed Swan Lake for decades. It is a ballet generations
of dancers have grown up watching. I was in it at age 10 and again at age 18. In comparison the SDT's version is relatively new and a first time performance for many of the dancers, so it will look fresh yet still keeping with tradition.
Dream dance role?
EH: Queen of the Willis from Giselle. It's got big jumps and travelling and I enjoy dancing these styles.
SC: James in La Sylphide. It involves the steps I love, and the story holds metaphorical truth about love. Also because it's set in Scotland and performed in kilts - something different to the usual tights!
RK: The Bronze Idol from La Bayadere. It's meant to replicate the Hindu god Shiva so you're painted head to toe in gold body paint. The variation opens the last act and is full of turns
Favourite scene in Swan Lake?
EH: Act 1 as the music is very uplifting and there's lots of dancing.
SC: Where the lead changes from playing the innocent and vulnerable White Swan in Act II to the scandalously seductive Black Swan in Act III. To play such contrasting characters in one show is a feat of artistic achievement.
RK: Act II Pas de deux. Every time it's performed by Senior Artists, everybody stops and watches it. The dancing is so beautiful.
Outlook on the Singapore arts scene?
EH:There are a lot of foreign companies performing here and more exhibitions and projects taking place. Artists also have more access to bursaries and scholarships to further their studies locally or abroad.
SC: Many agree with the arts in theory, but rarely attend performances. This might be due to Singaporeans prioritising work over appreciating the arts and also inaccessibility. In Germany, access to culture is considered an essential Government service similar to public schooling. Ticket prices are heavily subsidised by the Government so even low income earners can afford to go to the theatre. However in Singapore it seems more an expensive luxury for the elite.
RK: I think people are becoming more aware and the arts scene is getting very busy. All organisations welcome new fans and I hope people are interested in seeing what the Singapore Dance Theatre is all about!
Hot ticket!
Swan Lake by Singapore Dance Theatre Mar 15-18, 2012 Thurs & Fri 8pm, Sat & Sun 1pm & 8pm This stunning masterpiece promises spectacular staging, resplendent raiment and breathtaking ballet movements. Esplanade Theatre. Tickets: $30-$90. www.sistic.com.sg
Posted Mar 2012
