How does this collaboration between you and Jon work, in practice? Are you in the studio together some of the time, as opposed to just in technical rehearsals at the end?

Yes. We often work closely together from the beginning. We come up with a concept, we ruminate on it and distill it, find quotes, articles and supporting material. It all takes a while and is a process! We look at music that reflects that concept and he works through movement of the set, then she can start to place the bodies. That way, we already know the overarching structure before I step into the studio with the dancers, and trajectory for the piece and how to land on the purpose, intention and meaning. Going into the studio equipped with this knowledge, we’re able to bring new worlds alive. Along the way, Jon comes into rehearsal to watch the dancers’ movement, look at the floor plan and talk through colour plans for the costumes- we are very enmeshed in our creative process. 

This sounds like a fascinating process. I know you often design the costumes yourself too Alice, is this the case for the upcoming work? 

Yes, definitely. I know from working with the dancers how they will move and so I like to design the costumes to feel comfortable and have flattering lines. I love having the opportunity to discuss these ideas with the dancers, using both their aesthetic as well as somatic vocabulary. Having been a dancer myself for a number of years, I know how costuming influences your movement. For example, many of the classical ballets have tutus that have boning in the corset and the bodice, which puts you in a certain posture and forces you to breathe in a certain way. My ballets are about being human.  

The dancers are truly not acting as other people but being themselves—I need the costuming to be able to tease that out too. I like the idea of the audience being able to connect with the dancers—as if it were them on stage- breaking down the fourth wall. So what we wear as dancers is important, and I aim for them to express the dancers’ personalities. I’m thinking about so many things—is the fabric slippery, does it fall over their face when they are upside down, can it be durable, and so on. I really do enjoy working on that journey with the dancers.

You’ve had an incredibly productive last year Alice, choreographing widely internationally, for Singapore Ballet, West Australian Ballet, Royal New Zealand Ballet and Germany’s Oldenberg Ballet. 2025 is set to be just as illustrious for you. How are you feeling about the year ahead? 

I’m so excited about the year unfolding, and the opportunities I have to work with these extraordinary people. Every dancer brings a new palette of colours—working with each cast even on the same work, allows a completely different story and ballet to unfold. It will be wonderful to revisit Houston Ballet, as I last worked with their academy in 2018. Some of those dancers who were students then are now in the company, so it will be a joy to meet them at this incredible stage of their careers.

I’m having such a ‘pinch me’ moment, and just overjoyed to be working with these incredible dancers, and people like Stanton Welch, who is an old friend from my days at the Australian Ballet. To use Aussie terminology, I’m really so stoked.