The Fonteyn Semi-Finals
The Margot Fonteyn International Ballet Award continues to nurture the aspirations of young dancers worldwide, and this year’s Semi-Finals, held at the Royal Academy of Dance’s global headquarters in Battersea, London, proved to be no exception. The 2024 competition, coincidentally marking 30 years since an Australian/New Zealand clean sweep in 1994, brought together emerging talent from around the globe.
The competition unfolded in the intimate setting of the Aud Jebsen Theatre within RAD Headquarters, beginning with rigorous days of coaching and classwork, culminating in three days of performances that highlighted the versatility and commitment of these young artists.
Day 1
The first day of the Semi-Finals opened with a classical ballet class, led by Samira Saidi, whose command over the classes was both encouraging and motivating. Having a large audience added an extra layer of pressure, but the candidates rose to the occasion, pushing through their initial nerves. Accompanied by Mark Brown, the well-paced and appropriately challenging class flowed beautifully, testing the stamina and precision of each dancer.
Most striking was the contrast in approach among the candidates. Some embraced the challenge with a daring sense of risk while others opted for clean, precise work. Both approaches revealed different aspects of the dancers' skill sets, with some favouring safety and others chasing that extra moment of brilliance - shown most prominently in pirouettes and tours. Despite the nerves, by the end of the classes, nearly all had found their footing, growing more confident with each exercise.
The return of several dancers from last year's competition, including Antonia Maria Lamb (Scotland), Alfie-Lee Hall (England), and Ella Brownlow-Ziirsen (Australia), added a fascinating dynamic. Their growth over the past 12 months was evident, with marked improvements in both technique and stage presence. It served as a reminder of the benefits of perseverance, with each of them showing new layers of artistry and confidence. Ella, trained at Alegria Dance Studios and now at Central School of Ballet said: “It was great to be back. “The Fonteyn week was incredible, from working with amazing coaches like Isabel McMeekan and Samira Saidi, taking classes with Lynn Wallis and Alexander Campbell, to performing on stage at the RAD. Another highlight was meeting and catching up with amazing dancers from around the world, it was an experience that I will never forget.”
Interestingly, the Australian candidates performed particularly well side by side - no matter where they had trained, showcasing a shared strength in technique and style, testament to the high standard of ballet education in Australia.
Day 2
After the austere classical class of day one, day two offered a breath of fresh air with the Dancers' Own Variations. This day allowed the young dancers to step away from the rigours of classwork and embrace their creativity, personality and individuality.
The Dancers' Own Variation component is always a highlight, and this year did not disappoint. Candidates 1 to 32 choreographed their own variations, while 33 to 65 performed pieces choreographed by a peer or teacher. The creativity on display was nothing short of extraordinary. The self-choreographed works demonstrated bravery and vulnerability, as these young dancers opened themselves to critique in a way that is far from easy. Their interpretations spanned lyrical, contemporary, and neo-classical styles, showcasing a wide range of technical abilities and artistic choices.
The variations choreographed by teachers and peers were equally engaging, often highlighting different facets of the dancers' abilities that were not seen on day one. There were some beautiful and sometimes confronting stories told throughout the day. There was a noticeable shift in the atmosphere for both dancers and audience.
Most enjoyable about this day was how the dancers' personalities shone through. The dances provided a window into their artistic worlds, offering moments of poignancy, joy and even humour. For many in the audience, it was a reminder that ballet is not just about technical skill but about storytelling, expression and connection.
Off stage, parents, teachers, and RAD examiners mingled with each other, sharing tales about costumes, travel and training. There was much talk about the growing independence of the teenaged dancers, each navigating this journey with poise and determination. It was a beautiful reminder that, despite geographical distances, the path of a young dancer is remarkably similar the world over.
Day 3
Day three brought with it the greatest sense of excitement for everyone in attendance. The nervous energy of the previous days had dissipated, replaced with an air of anticipation as the candidates prepared to perform their classical variations.
Each dancer approached their variation with a sense of ownership, it was clear that they relished the opportunity to display their technical prowess, though not without the occasional mishap one would expect of young dancers performing principal solos. The level of polish among the Australian dancers was particularly impressive, with many commenting on how well-prepared and refined their performances were. They were accompanied by pianist Richard Norris.
Australian Soraya Sullivan, trained at Kim Harvey School of Dance, charmed the audience with a blend of precision and artistry in her Paquita variation. When asked about her experience, she shared, “I left The Fonteyn 2024 with so much more than what I had anticipated. I created so many memories with new friends and teachers and learnt so much from the incredible coaches and faculty. I am so grateful I had the ability to compete for Australia, and will remember this as one of the best weeks of my dance career.”
The sense of camaraderie between the candidates was one of the most heartening aspects of the day. Despite the competitive environment, dancers could be seen supporting one another between performances, offering words of encouragement and congratulations. These moments of friendship spoke volumes about the emotional maturity of these young artists.
Before the finalists were announced, the audience was treated to a touching tribute to Margot Fonteyn, the competition’s namesake and the longest serving President of the RAD. The video, which featured memories and anecdotes from her peers, mentees,and collaborators, was a reminder of Fonteyn’s unparalleled legacy.
In a fitting conclusion to the day, the audience joined together to sing “Happy Birthday” to RAD Vice-President Dame Monica Mason DBE, who was responsible for awarding the Musicality Award, who accepted the tribute with dry wit and grace.
With only 12 dancers selected as finalists from the original 65, the competition was understandably intense; what stood out was the graciousness and resilience of those who were not selected. There was no bitterness or disappointment on display —only fellowship and mutual respect.
In her closing remarks to the dancers, Dame Darcey Bussell reminded them as they move onwards in their careers: “Bring performance value to all that you do. It’s nothing—nothing is alive unless you bring a story. And always remember that a story is told not just through your face—your body is your language.”
All of the candidates have proven themselves as remarkable artists and individuals. As they move forward, they carry with them not just the lessons and coaching but the enduring spirit of community and artistry that The Fonteyn fosters. Australian Finalist Tahlia Szumowkski, from Queensland College of Dance, had this advice for anyone considering entering in 2025: “My best advice is not to think of The Fonteyn as a ‘competition’ as such but as a valuable learning experience and opportunity to share your love of dance to a world wide audience!”.
Olivia Weeks has had a lifelong connection with the dance industry and the RAD. From 2018-2024 she worked for the Royal Academy of Dance Australia, first in the Examinations Department, and then as National Marketing Manager.