The Fonteyn 2024: Celebrating Australian Talent on the Global Stage
The Royal Academy of Dance’s Margot Fonteyn International Ballet Competition, known simply as The Fonteyn, represents the pinnacle of achievement for young dancers trained in the RAD syllabus. It’s a stage that has launched the careers of some of the world’s finest ballet stars, including Australia’s very own Steven McRae and Olivia Bell. This year’s competition, held at His Majesty’s Theatre in London, once again underscored the global nature of ballet, with 65 candidates from 14 countries competing for the Adeline Genée Gold Medal. Yet, amid the international mix of young talents, the Australian contingent shone brightly.
Among the finalists were four standout dancers from Australia: Chelsea Potter (NSW), Tahlia Szumowski (Qld), Sophia Hudson (NSW), and Ernesto Young (NSW). Each of these exceptional young artists has trained with dedicated mentors and teachers at Australian dance schools, and their performances throughout the competition showcased not only their technical skill but also their artistic maturity.
Sophia Hudson, trained at Tanya Pearson Academy, spoke with excitement about her experience: “I have been thrilled to be able to perform on such a grand stage, expressing my love for dancing in the finals.” Hudson’s poise and precision in her Classical Variation left a lasting impression on the audience, and her passion for ballet was evident in every movement. For this 17-year-old, the opportunity to compete on the world stage was a dream come true, but it was also a reflection of years of dedication and support from her teachers, Gilli O’Connell, Emma Jane Morton, and Lisa-Maree Cullum.
Ernesto Young, trained at Alegria Dance Studios under Hilary Kaplan and Archibald McKenzie, stood out not only for his stunning technique but also for his creativity. Young earned the prestigious Dancers' Own Choreographic Prize for his original solo. Reflecting on the process, he shared, “It was such a wild process, with so many creative stumps, and I’m just so excited and glad it all paid off.” His journey in creating his Dancers' Own, marked by moments of both creative frustration and inspiration during the choreographic process, culminated in a performance that captivated both the judges and the audience, offering just a glimpse of his promising future.
The Australian finalists, each with their unique strengths, showcased a remarkable range of abilities. Chelsea Potter, now training at Elmhurst Ballet School, displayed exquisite musicality and precision, qualities nurtured under the guidance of Tracy Caldwell at Newcastle Dance Academy. Offering advice to dancers who are considering entering The Fonteyn in the future, she says: “Make the most of it! .. be prepared to push yourself through it and get a taste of the professional world”
Tahlia Szumowski, from Queensland College of Dance, demonstrated grace and strength, qualities that have been honed by her teachers Daniella Crismani, Daniel Gaudiello and Karen Donovan. Tahlia’s incredible Dancer’s Own piece, choreographed by Daniel Gaudiello, left the audience in stunned silence before thunderous applause. Together, these four dancers proved to be excellent ambassadors for Australian ballet, bringing pride not only to their schools and teachers but to the broader dance community in Australia.
The atmosphere in the theatre was electric, with audience members- families, friends, RAD examiners - traveling from across the globe to witness the event. It was heartwarming to see former Australian competitors, including 2023 Silver Medallist Lucia Moore and former Australian Ballet dancer Camilla Vergotis, attending the finals to cheer on the new generation of talent. Vergotis, herself a Fonteyn (then Geneé) competitor in 1995, remarked on the exceptional performance of Ernesto Young, praising his strength and artistry. The support from the Australian community was palpable, both in the theatre and back home, where the finals were live-streamed for friends, family, and fans across the country.
The week leading up to the finals was a whirlwind of coaching, rehearsals, and camaraderie. RAD Artistic Director Alexander Campbell, himself a former Principal Artist with the Royal Ballet and an Australian, took time to speak with the candidates and their families. His words of encouragement were a testament to the supportive environment fostered by The Fonteyn, where young dancers not only compete but also form lasting bonds with their peers from around the world.
The presentation ceremony at the Finals on Sunday evening brought all semi-finalists onto the stage, acknowledging the incredible journey they have all undertaken. It was a touching moment, to see so many young Australians stand alongside dancers from all corners of the globe, united in their love for ballet.
At the conclusion of the Finals drew to a close, it was announced that the 2025 Margot Fonteyn International Ballet Competition will be held in Sao Paulo, Brazil. At the post-event reception, the Australian finalists were sought out by members of the adjudicating faculty and sponsors, all keen to offer their congratulations and best wishes for the future.
For the Australian dancers, their journey may have ended in London this year, but their future in ballet is just beginning. Stay tuned for a follow-up article, where we’ll share more insights and stories from the Australian candidates as they continue their exciting careers in the world of dance.
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.
Go here for the winners.