Born in St. Tropez, Lucy Elliott grew up in the south of France where she started dance classes at four years of age. By age 7, she knew wanted to dance professionally. She trained in Cannes, Paris Opera Ballet School, and Canada’s National Ballet School. Last September she went the European Ballet School in Amsterdam, before joining the Paris Opera Ballet in January of this year, and before the lockdown, she was preparing to dance in George Balanchine’s iconic ballet, “Serenade.”
Link copied to clipboard
subscribe to the latest in dance
“Uncommonly intelligent, substantial coverage.”
Weekly articles from the world of dance
Wide diversity of reviews, interviews, articles & more
I normally do my warmup routine play some music that I love. My pre-show playlist includes Anderson Paak, Kanye West, Beyonce, Daniel Caesar … Once I’ve warmed up I go on stage, I go through the choreography, remembering the last changes and notes …
Describe your preparation for “Serenade”
When I discovered I was going to be part of “Serenade” I felt extremely lucky. Balanchine’s choreography is so beautiful and touching. My favourite part is the opening scene, it has such a strong female energy. I’m an understudy so I have to learn every spot of the corps ballet, so it’s pretty challenging but I feel so privileged to be part of this ballet and to [eventually] be performing it on stage of the Opera Bastille with Paris Opera Ballet!
What’s the greatest challenge of being a dancer?
To always improve and grow, you can always be a better version of yourself.
If you weren’t a dancer, you’d be …
I’ve never really thought about it but I would love to pursue a career around the ballet world or the fashion world.
Words of advice to your teenage self:
To not overthink, and be confident.
How do you recharge?
For me recharge is all about self care, from the littlest things such as taking a warm bath to fuelling my body with healthy goods.
Stage or rehearsal?
Both! I love working in the studio, learning new pieces and being inspired by other dancers around me, however nothing feels better than performing on stage.
Which choreographer would you most like to work with?
Definitely William Forsythe, Crystal Pite, Davis Dawson and and more . . .
Favourite place you’ve danced/performed?
Dancing at the Palais Garnier has always felt like magic since I joined Paris Opera Ballet school.
Dream role!!!
There are so many! But I would love to work on the role of Giselle as it's my favourite ballet.
Penelope Ford
Penelope is the founding editor of Fjord Review, international magazine of dance and ballet. Penelope graduated from Law and Arts with majors in philosophy and languages from the University of Melbourne, Australia, before turning to the world of dance. She lives in Italy.
The Dance Theater of Harlem returned to City Center this week for the first time under the leadership of Robert Garland, a former company dancer, school director, and resident choreographer. This was the launch of an exciting new beginning, though the troupe was simultaneously celebrating its past.
Despite the fact that dance and music are often regarded as inextricably linked, it remains astonishing to experience the work of a choreographer who channels the score particularly well—or a group of dancers who embody it especially organically. Repertory Dance Theatre’s 58th season closer, “Gamut,” happened to have both.
One might easily mistake the prevailing mood as light-hearted, heading into intermission after two premieres by Brenda Way and Kimi Okada for ODC/Dance’s annual Dance Downtown season. Maybe this is just what we need to counter world events, you may think. But there is much more to consider beneath the high production values of this beautifully wrought program. Okada, for instance, folds a dark message into her cartoon inspired “Inkwell.” And KT Nelson’s “Dead Reckoning” from 2015 reminds us the outlook for climate change looms ever large.
comments