• 2024
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• 2021
• 2020-2011
• 2010-2001

• Alejandro Muñoz
• Francisco Serrano
• Gemma Bond
• Harris Bell
• Joshua Junker
• Julia Roscoe
• Kevin O'Hare
• Layla Hotham
• Luca Acri
• Petal Ashmole
• Pietro Zironi
• Sae Maeda
• Stuart Cassidy

Luca Acri & Julia Roscoe

First Soloist & First Artist, The Royal Ballet

Interviewed by David Bain
American International Church, Tue 20th August, 2024

 

Luca and Julia began by telling us about their summer activities. They didn’t go on tour but went to Brazil with Isabella Gasparini. Her mum's ballet school in Sao Paolo was celebrating its 45th anniversary with a performance of Coppelia. Luca danced Franz with Isabella as Swanilda and Julia danced the Dawn solo, and Kevin Emerton was Dr Coppelius. It was a fun way to start the summer and Luca felt it was a different and enjoyable experience to perform outside the Opera House - more relaxed and you don’t feel pressure. The school is amazing, and the kids were so passionate that Luca got a lot of inspiration and energy from them. They did a show in Sao Paolo with Matt Ball and Mayara Magri and then all went to Rio where they met Mayara’s family, and stayed in an Airbnb for a week. It was a really nice break, his only week off, and it was nice to spend quality time with friends after the performances. 

David congratulated them on their engagement which happened a couple of weeks before the end of the season. At the beginning of the year Luca had begun to think about proposing, had spoken to their parents and looked for a ring – he found a nice one! The last Rhapsody show was on a Saturday, so on the Sunday he thought they’d go to Hampstead Heath near where they live where it would be good to propose on a bench somewhere quiet and not on stage. (Although they'd not talked about it, Julia had already mentioned she wouldn’t want anything in front of people as it was a very private thing.) Luca tried to find a bench, but it was a disaster. It was a hot, busy day and he was not himself, suffering from hay fever and was very twitchy. Julia wondered why a bench as they never sit down when out for a walk so, they went home! Luca changed his plan, had a rest and as they were cooking dinner in the kitchen that's where he finally proposed. It was a nice feeling – it was private, in their home, somewhere they loved, and there was no need to worry about people and he could be as emotional as he wanted, admitting he was the more emotional of the two! 

Julia then spoke about meeting Johan Kobborg. It happened in 2004 when she was eight, before she joined Junior Associates (JAs) or the Royal Ballet School (RBS). She was in The Canterville Ghost with the London Children’s Ballet (LCB) when Johan spotted her as he was looking for a little girl for his La Sylphide. He contacted the RBS and saw she was joining the JAs in September, so asked if she could be in his ballet.  LCB involved about 45 children rehearsing every Sunday from January to May for a ballet production, usually new choreography or sometimes a revival and this was her first year with them. She loved it so much and carried on for three years. The audition process took place in the autumn, with rounds of auditions, one after another and then you’re recalled for the final.  At that age she wasn’t aware of male dancers although Alina Cojacaru came backstage after the performance. She had a pointe shoe which Alina signed, a man said ‘are you Julia?’, she said ‘yes’, then asked for Alina’s autograph, not Johan’s! She joined JAs three weeks before they began rehearsing La Sylphide. There was a private rehearsal for her to learn all the steps with Johan and Ursula, the Ballet Mistress at the time.  There were then full company rehearsals, and some company members still recall her coming in as an eight-year-old. Yuhui Choe who was in her first season and Olivia Cowley, both remember her joining. She doesn’t remember much of the detail. At the performances there was a curtain call, red runner, and flowers on stage. At that age you don’t realise how wonderful that is - it can take years to get you first red runner. It was super special for her, and she featured in the ROH magazine. She’s never had the opportunity to work with Johan again and they don’t move in the same ballet circles. David said he had asked about her recently and Julia wasn’t sure he’d have remembered her.

Japan. Luca had three galas this summer, one in Osaka when he did Asphodel Meadows with Sae Maeda. It was amazing to dance this piece again as he’d not had many opportunities and working with Laura Morera was great. The second time in Osaka he danced with Haruhi Otani from English National Ballet in a new creation by a Japanese choreographer of Beauty and the Beastwhich was very interesting. They spent lots of time in the studio which is different from normal galas so it was enjoyable. He also did the Bayadere wedding scene with Miki Mizutani from BRB as Gamzatti. Another cool experience. He loves this ballet with its beautiful music, it’s a dream role for the man and it’s also beautiful for the ladies in the Shades scene but he’s unsure if it will come back. He did quite a lot of work in Japan but enjoyed it though took some breaks at weekends, including going fishing with Ryoichi Hirano - he didn’t catch anything!

Julia was in JA's for two years at the Covent Garden school, going every weekend. It was very much back to basics including body conditioning. She auditioned for White Lodge, got in and spent five years there. That was very intense but a good basic training and she’s still in contact with some of the amazing friends she made there. She comes from NW London but boarded at White Lodge as it wasn’t practical to travel every day to Richmond where the gates shut at 4pm while sometimes they didn’t finish till 6.30pm. It was quite exciting after reading ballet school books as a youngster. She would have gone to Hogwarts if she’d been invited (Luca commented she’d swapped magic for ballet!) She enjoyed her time there though it was a long day and very intense. There was an assessment early in spring term, and they were given a mark which they compared with others, so it was a stressful moment, worrying that if you don’t get through, you’d have to leave and find another school. It is the best place in England to learn to become a professional dancer, nowhere else gives you such total training. White Lodge performances. In years 7 to 9 the company did Nutcracker, and she was a mouse, party child, gingerbread. Julia was the smallest mouse in year 7 and for the first three years until a growth spurt in year 10 when they did Peter and the Wolf at the Opera House. In Year 11 you focussed more on academics. When Julia joined the Upper School, she worked a lot with the company. In her second year she was involved in the creation of The Winter’s Tale and students were needed there even if they didn’t get on. In Sleeping Beauty,she was one of the extras. In the third year she did a lot of the rep – in Don Q as a dryad, in Alice caterpillar’s legs, auditorium flowers, court couple in Act III, and in Swan Lake corps swans.

For Luca last season was probably the best in his career. Don Q has a dream role in Basilio. It was such an amazing experience, leading the whole ballet and that preparation for the show is different. You really dive into the role and rehearse every day. It must be so nice to be a principal and can put so much work into the preparation. As well as Blue Bird he did Benno in Swan Lake, and you choose which part to work on which could be acting when you’re physically exhausted as you manage so much more as a principal. He could really focus on Basilio, which was coached by Chris Saunders and Leanne Benjamin. It was so nice to spend time in the studio as he enjoys the process more than the actual show which is the cherry on the top. Luca enjoys each moment, feeling you’re improving each day and each week. It was a good start to the season. There was also Dante, and Nutcracker prince which was a surprise. He replaced Valentino Zucchetti as he’d danced before with Meaghan Grace Hingis in Don Q.In Nutcracker he has done most of the roles except Drosselmeyer and Arabian though Kevin had mentioned that one!  After 10 years involvement in the company, he loved doing the main role. He loves the music and the pas de deux is a highlight. Another prize experience.

Julia at Upper School. She did Young British Dancer of the Year lots of times, first in year 10. It goes on age and as she was one of the older ones, entering in years 10 and 11 and first-year Upper School, and reached the finals three times, performing Lilac Fairy every time for the first solo. You have to do two solos in the final. She found it very stressful. Some people came through the Prix de Lausanne, or Youth America Grand Prix (YAGP) and were very grown up as competition dancers, just going on stage and feeling totally comfortable doing a full solo. At White Lodge you didn’t get much solo experience and against second year Upper School students it was a very daunting experience, but it makes you stronger and learn how to be by yourself on stage which is a good thing skill to have. Anne Rose O’Sullivan won the first time, Reece Clark the second, and Chisato Katsura the third, and they are now all in the company. Julia went on holiday to Greece with Chi, so no hard feelings! She found she was going into the company around Christmas time in the third year after a stressful experience auditioning for companies, not just with class mates, but when so many dancers from all over are trying for three places. The apprenticeship scheme was in its second year which allows for more students to become company members. The day before she found out she had a contract, lots of directors came to watch one class where you have to be your best and they decide who to take. Kevin wasn’t there but Tamara Rojo and David Bintley along with other European directors were. Then people found if they’d got into ENB or BRB. She was very upset as she had no job and she didn’t get in but the next day in Pilates class she was asked to go the office where Kevin offered her an apprenticeship. She’d done one audition in Copenhagen and had a few others lined up but cancelled once she was offered a contract with the Royal.

Luca and Marcelino Sambe went to the Prix de Lausanne and for a while thought they had won! After the final everyone was on stage and the winners were called from 7th to 1^st place going from bottom to the top. They were 15 years old, just young and energetic kids, and hungry to be the best. The announcements were going down until finally they got to 1^st place and thought one of them must be the winner, but the prize went to someone else. It was one of the saddest moments of his ballet life and it would have been a dream to win. He loved Teddy Kumakawa who had won it so it was his goal as a child. He was upset and the competition is so stressful. In Japan it is very competitive and competition is the main focus as a student - it’s all about winning.  He did so many as a little one and was quite successful, but it’s very hard with lots of pressure. He started winning as a little boy and in this felt he had to win but it makes you strong to go out by yourself and dance a whole solo, which is a very important thing to do as a young person rather than wait till you are older when you’re more conscious of the stress. Prix was his saddest moment but both he and Marci got scholarships for the RBS, so it worked for them.

Julia’s first few months in the company. She started with Romeo and Juliet as one of the townspeople which requires a lot of acting. You don’t get taught but learn by watching others and the Royal Ballet is known for real acting, not gestures, especially in the MacMillan works, when you need to be as realistic as possible on stage. It takes a while to learn what does and doesn’t work. They had quite a long run followed by Carlos Acosta’s Carmen when she had a small part, and Wayne MacGregor’s Raven Girl which were two very different pieces. She was cover so wasn’t in Raven Girl. It was her first time working with Wayne who was revising, not creating the work. Her next big thing was Nutcracker. She was in the corps of snowflakes, flower waltz and party scene. Asked if they were given any special treatment as an apprentice, Julia said she was only four months as an apprentice before she and Isabella Gasparini were offered first year contracts. There was a lot of change in the company and several women were pregnant and so they were lucky. In those four months, the company tried to provide special experiences and coaching. Darcey Bussell worked with them on solos, which was very relaxed, having a go with no one watching, so it is for yourself to work on. All apprentices got contracts at the end of that year -  Harry Churches, Leo Dixon and Lukas B Brændsrød. They are always needed especially for new ballets but sometimes it just depends on how many contracts there are for that year.

Luca spoke about Ashton’s Rhapsody, which he described as one of the most iconic roles for a male dancer, created on Mikhael Baryshnikov. Kevin asked him if he would be happy to do it – he was very happy but also scared. It is very tough technically with turns, jumps, and pas de deux, and you don’t go off stage so are leading everyone for a half hour, pushing yourself. Of course, he said yes and would be dancing with Mayara Magri who he’s close to so he was very excited to work on the role. He was scared but in the end it was great working in the studio with Lesley Collier who came back for the ballet. Sasha Agadzhanov, the main coach of his idol, Teddy, was there so it was special and such a cool experience. The boys were all new so it was fun to be in the studio where there was healthy competition trying to show off, and he really enjoyed the performances too. It’s a nerve-racking experience, and the hardest part is when the curtain goes up and you have to look chilled, standing in the spotlight. It’s technically difficult and has to look effortless. You’re looking for the girl, feeling the attention on you from the audience and your colleagues. It is an amazing company piece to perform, and he loves Rachmaninov. They also did Swan Lake but Rhapsodywas a wonderful way to end the season.

Julia was also in Rhapsody when she was one of the six girls. It’s so beautiful with lovely music. The first time going into the studio for a full call was a great moment, working with Christopher Carr who is amazing. It was set by Grant Coyle and rehearsed by Christopher who’s been doing it for years and knows it inside out. He creates an atmosphere which makes you want to do your best. It was very special with Luca doing the main role. She was trying to watch him out of the corner of her eye while he’s looking for the Woman, then walking away from her, Julia, and this was just before he was going to propose! They have a nice picture of that moment. She also did The Dream when she was a fairy for the first time.

Laura Morera put on Danse Concertantes for the MacMillan programme which was her first timing staging the work. There’d been Swan Lake and two weeks later the MacMillan programme so rehearsal time was very limited. Luca wasn’t blaming anyone and Laura, Deirdre Chapman and Greg Maslin were fantastic but the scheduling was tricky and they were still learning the piece on stage during the stage call. Costumes were quirky, and although it’s an old piece it seems such a new idea. No-one would make anything like that now. It’s unique with Stravinsky music, an interesting and enjoyable experience. Johan Kobborg had done it but there was no footage so no idea how it looked. Their first image was of Johan at a costume fitting, which they thought was very yellow! It’s a fun piece, with small groups compared to Different Drummer and Requiem. It is a hard ballet, a very early work from the 50s, but it felt like Scene de Balletmeets Concerto. It was created after the war when people were celebrating, making happiness, and the concept was based on circus people giving a showy performance.

Julia’s first big role was Queen of the Wilis in 2021 after Covid. It’s her dream role in a ballet she loves, especially the second act. She’s such a strong character, there are lots of jumps which she loves. It was an amazing experience, most of the time spent rehearsing every move, three times a week. It’s treated as a principal role and you get a lot of time with Monica Mason in the studio. It was wonderful to have that chance to work on something like that and really focus on it. Working with Monica was amazing, she has so much knowledge, is really kind and respects you. There is a photo of her on YouTube doing the role. You take what she’s done and do your own way. There were three new girls who went on that journey – herself, Annette Buvoli, and Gina Storm Jensen. Her next role after Myrtha was big swans and it was nice to work with someone as a pair, a bit less stressful. Lilac Fairy came the following year and she tells the story. Again, she was working with Monica. It’s different in that you have all the hard stuff in the first act, then you’re more of a character. Last season she was Queen of the Dryads in Luca’s show. Kevin put them together which is nice for them but also for her parents who spend less on tickets! She worked with Zenaida Yanowsky who is a great coach, very gentle and nurturing. Another big role is the Rose Fairy in Nutcracker which is technically hard but enjoyable. Waltz of the Flowers is a great part. She also enjoys dancing mistress, a character role which is important, and another solo part.

Luca did Manon last season. Good to revisit Lescaut in Yasmine Naghdi and William Bracewell’s show, and also in Lauren Cuthbertson and Matt Ball’s show as Ryoichi was off. Luca had only done it once before and this time got to know the character, and spent time with Laura who is great and knows so much about the ballet.  Requiem was another role he wanted to do as a guy in the pyramid. Every rehearsal is building the atmosphere using the whole studio. It was amazing apart from Ryo who was injured on stage which was horrible. Everyone was there watching and they all felt for him. It is a part of what they do and these things happen but nonetheless terrible. Matt and Sarah Lamb improvised and carried on. Ryo came out to the stage door afterwards as if nothing had happened though his foot was in a boot. He’d had a niggling problem for a few years but finally it touched a nerve and he couldn’t put any weight on it so went limping off. A bad enough experience anywhere but on stage is the worst thing but he was in any case due to have an operation a couple of days later.

An audience member wondered if Bayadere would come back. Luca though culturally it’s a touchy issue, Indian tribes and fakirs and they don’t think it is right for this moment in time. Perhaps they could do one act, the Shades which was performed previously.

Fille. Luca did the pas de deux in the Diamond Celebration and hopes to perform the whole work. He thinks it will come back as it’s such fun.  In Romeo and Juliet Mercutio goes on and you expect the girl to be there for the kiss. The whole room yelled when he kissed Julia – it was at the start of their relationship!

David thanked them both, saying it was delightful to hear from them. His worry was that Myrtha is a man hater and Julia’s debut was Luca’s Hilarion! We look forward to many of their future performances which will include Luca as the White Rabbit in Alice.

Report written by Liz Bouttell and edited by Luca Acri, Julia Rosoe and David Bain.

© The Ballet Association 2024