Australian dancer Greg Horsman has been ballet master for the Royal New Zealand Ballet since 2007. In October the company will perform his staging of the ‘Sleeping Beauty’.
What does a ballet master do?
As ballet master I have to work with the dancers every day on bringing the most out of them. I guess I’m like the coach and mentor. I teach the company and rehearse the ballets that have to be performed.
What is the hardest part of your work?
Convincing dancers that they can always be better.
What is the most rewarding?
When the dancers get it. Also sitting in the theatre and watching all the elements come together.
Is there a difference between doing class as a student and doing class as a professional in a company?
As a student you have a lot of help from the teachers around you. As a professional you have to do a lot of it yourself.
How hard do you work the dancers in class?
I work the dancers quite hard. There are always some dancers for whom class will be the only time they get to dance that day, so class has to be satisfying.
How much individual correction do you give the leading dancers in class?
I give a lot of individual corrections and a lot of general (to the whole class) correction. Leading dancers need corrections too so when something needs to be said, it is.
Is there a section of class you enjoy teaching most?
I love allegro.
How important is music in a class?
Very. Without it what do we dance to?
What do you think makes a good class?
A good barre that makes you feel like you can do anything in the centre.
Do you still do class yourself?
I do but not as often as I should.
Do you still perform?
Yes sometimes but not princes any more.
You have lately moved into choreography. Is The Sleeping Beauty your first major work?
The Sleeping Beauty is my first full length ballet. I have choreographed several one-act ballets.
Please describe your concept for this ballet?
To tell the story of the Sleeping Beauty in two acts and to maintain the great traditions of the ballet without weighing it down with antique trappings that would seem irrelevant to today’s audiences. My goals have been to make as rich a production as possible, to keep what is essential, and to choreographically blend new elements with the traditional ones.
Is choreography an avenue you would like to pursue?
I do very much enjoy the creative process and it is very rewarding. If people want to see what you have created, even better. I am pursuing it.
