I have learned a great deal from the theatrical side of Covent Garden. The Paris Opera Ballet is more concerned with technique. It's perfect. It's beautiful. It's well done. But it lacks the theatrical tradition that is so important in England. At the Royal Ballet, absolutely everyone on stage seems to be caught up in the plot.
I think I come from a theatrical tradition where, if you look at the great theatrical actors of the British theatre, they took enormous pride in being wildly different from one role to the next. That's the tradition I come from.
One of the few things in dance to match the Royal Ballet's curtain calls is the Royal Ballet's dancing.
There's the beauty of the stage. I don't like filmed theater or opera because you're kind of playing soccer in a hockey game. Either or, they don't do justice to the media and you end up with a hybrid that is purely sensationalistic. Opera is a very theatrical medium that should be seen on a stage with the musicians in the pit in the audience.
I was probably around 14 or 15 when I became really conscious of those girls who were going on to the Royal Ballet school, and that I was not Royal Ballet school material, not by a long stretch.
I joined the Royal Ballet School when I was 13. Before then, I'd done ballet twice a week after school. The rest of my class had started aged 11, so I'd missed two years and was really far behind.
I had classical training at London's Royal Ballet School, and my first job was with the Semperoper Dresden ballet company in Germany.
I dreamt of becoming a ballet dancer. I studied with the Royal Academy of London for 11 years, and that did not pan out, but my love for being on stage was born there. And then, I actually went to drama school in Paris, France. That's where it first started.
The problems I had with the Paris Opera Ballet are a thing of the past.
Coco Chanel was always doing things with ballet, so it is a tradition clashing fashion and ballet.
Any time I've performed on one of the major stages, whether it be Covent Garden or the Paris Opera or the Bolshoi or the Mariinsky, those are really the top memorable moments for me.
At the Paris Opera Ballet, they were always making choices for me.
It's very difficult for me to do fund raising for my own organization if I'm working for other companies because sponsors will say, 'Well, hey, man, if she's doing a ballet for Ballet Theatre, we'll give money to Ballet Theatre.'
I was afraid when I came to the Royal Ballet that it would be easy to have everyone walking all over me if I didn't stick up for myself.
I am in the theatrical profession myself, my wife is in the theatrical profession, my children are in the theatrical profession.I had a dog that lived and died in it from a puppy; and my chaise-pony goes on, in Timour the Tartar.
Before founding Ballet Beautiful, I was a ballerina with the New York City Ballet.
One of the first things I created was music for the Paris opera's ballet troupe. That was the first time that electronic music was played at the opera. I really like the relationship between the music and the choreography.