Tag: RAD Q&A

You moved from ballet into musical theatre. Was that an easy transition? 

I went to English National Ballet School at 16 and then worked as a ballet dancer. I did the first Swan Lake in-the-round for English National Ballet. I was on the beach in Australia with that production, and thought: I love dance, but I need variety. I’ve learned that I need a portfolio of work. So I applied to Laine Theatre Arts, where I’m now Head of Jazz, and made that transition. 

I hadn’t realised how well the two worlds fit and complement each other. Classical training put me in good stead for dance-based musical theatre roles. I assisted Carlos Acosta on Guys and Dolls, I did Twyla Tharp’s Movin’ Out, and in Saturday Night Fever by Arlene Phillips I had a pas de deux in the disco scene that required a classical technique. 

If you look at American choreography by Jerome Robbins or Bob Fosse, that technique comes through. My jazz classes always have a classical base. Musical theatre dancers in America dance for a lot longer than they do in the UK, and one reason is their grounding in classical technique. Before a show, they will do a ballet barre. I’m 47, but did my last performance not long ago. I think classical training gives you longevity. 

What makes the new RAD syllabus distinctive?

Consulting on the syllabus has been a joy. I haven’t experienced anything like this before. There’s a progression through the grades and exams, the idea that teachers can have ownership and create material. Students learn about the industry as they move through: it’s carefully thought out and super creative. It’s also inclusive: people can excel regardless of whether they’re stronger in their singing, acting or dance. It will enable them to build confidence, because it’s equally weighted, and is a good match to the industry.

Many students won’t pursue a professional career. What does the syllabus offer them?

It’s very educational, in the knowledge that these young people learn, and the work they produce. You can see their excitement and joy in the creative projects. That might open up other areas: set design, costume design, lighting, direction, music, choreography. Or they may become a journalist and write about the arts!

How will you introduce the syllabus at the RAD Members’ Conference?

I’m doing two workshops. The first one is a repertoire-based session exploring musical theatre dance technique, style, musicality and narrative intention. I’ll look at that natural progression from classical ballet.

The other session is about dancing in heels. In musical theatre, everyone dances in heels – even men in shows like Kinky Boots. Whenever I teach ballet in a musical theatre context, I put them in their heels at the barre or in the centre. Training in heels is a specific craft that I’m excited to share. It changes the weight placement and where you can place certain positions, because you have this extra extension on your heel. Jumps in heels need training, because obviously they must be safe. I’m really passionate about it. 

What adjustment might RAD ballet teachers need to make for this new body of work?

There can be a little fear around a new style – but musical theatre isn’t a world away from ballet. Storytelling within musical theatre is brilliant – the way a ballet dancer acts is very different, but both can learn a lot from each other. It’s about looking at similarities between the worlds rather than the differences.

What makes a good musical theatre teacher?

This isn’t specifically about musical theatre – but making the space inclusive. Helping people understand that making mistakes is the best thing they can do, because that’s how we learn. Getting people into their creative juices – working out how different individuals are inspired in different ways. I do enjoy that part of teaching.

What did you learn from the theatre legends you have worked with?

Each person has their own creative process, and they’re all so different. Some people come into the space with everything mapped out. For others, it’s a far more organic process. The best spaces – like Susan Stroman’s – have been creative and kind. Often, especially if you’re in the original West End cast of a show, that’s quite high pressure. But you learn that working together as a team is everything. 

What’s your favourite musical dance number?

Surprise, Surprise from the film of A Chorus Line. I wrote to Gregg Burge, who sang the number, and said, you inspired me as a child. I watched it over and over. 

What do you hope teachers and students will take from the new syllabus? 

I hope it opens up a new world of musical theatre. I also hope it helps build confidence, and helps people feel brave to go towards the areas that they don’t feel as secure in, so that they will feel comfortable in acting, in dance and also in singing. I believe this syllabus could help change the journey for young people, because it’s creative, fun, educational – it’s excellent.

Congratulations on the award! How was the ceremony?

Attending the One Dance Awards in 2022 was nerve-wracking – I felt like an imposter among all these big wigs. This time I was much more relaxed, but also assumed I hadn’t won. I couldn’t see the projector screen from my seat, so it was mum who went, ‘Sonia, it’s you!’ It was very dramatic.

And your mother plays a big part in your career?

My mum was my very first Silver Swan, and is also my administrator. We call her the barre babe – she helps set up my portable barres that that get shipped around Berkshire. Once a dance mum, always a dance mum!

How did your dance teaching journey begin?

I started tap and ballet when I was two, did the RAD grades and then trained in musical theatre. I pursued that, and then went into dance teaching. When I launched my first Silver Swans class, the first term was very hard. I thought I might knock it on the head. But the class grew to 30 members very quickly, so I had to launch a second and third class – and then, three months later, the pandemic hit. We went online, and every time we came back out of lockdown restrictions, I added more classes. I forged such a bond with my dancers.

Why is your work with older dancers important to you?

It’s the inclusive nature. The dancers appreciate the classes. They’re not just coming to learn technique. They’re coming to play and to be a ballerina for an hour. It’s also the community – for each other, and for me too. My social life is with people who are twice my age! I got married in 2023 and they held a surprise hen party for me. I was dropped off at a venue, opened the door, and there were about 50 of my dancers. They’re all like my surrogate mums. 

Why do the dancers enjoy Silver Swans?

It’s a neglected market – of people who are able bodied, or perhaps with a minor issue they need to work around. They feel safe to join Silver Swans. I also have some younger students who need these more inclusive dance practices, because they have long term covid or another issue. In the room, there’s no talk of age. It’s a lovely community where age is forgotten.

Do you see their confidence evolve?

Absolutely. It has been lovely to see people who thought they would never step on stage but who are now shining. One dancer had come out of a tricky life situation – she was just a shell of a woman. A few months later, I noticed she had a glow about her – she’s someone who had never danced before, but it’s become her life. 

Has taking the RAD Masters changed your teaching?

It’s one of the most challenging things I’ve ever done, but really rewarding. I’ve changed dramatically as a teacher – it’s nice to be given tools to help people learn better. My master’s degree teaches me how to scaffold and evolve my lessons. I teach former professional ballerinas alongside people who have never danced in their lives. No one’s judging. They’re all there for themselves.

What has teaching given you?

It’s my own personal creative outlet. I love making videos with my dancers – I’ll get a wacky idea and choreograph something with them. I hate obvious choices of music. My dancers are youthful, energetic, vibrant, sassy, and they need numbers that portray that. 

One of my peers on the MA is in Athens, and my Silver Swans are looking forward to performing there in 2026. They’re buzzing about it, so I have to make it happen!

People often tell cancer patients to rest, but is that always the best advice?

There’s more and more evidence to prove that’s the complete opposite of what you should do. You should be as active as possible. Some in the medical world are not always on board with that. One lady I’ve been teaching was told to rest for seven months after very tricky surgery. She got diabetes and was quite poorly as a result. There’s still a lot of education to be done. 

When I got my diagnosis, I was reluctant to admit how active I was, because I didn’t want them to tell me to stop. I didn’t want to tell my surgeon that I was running a half marathon a few days before my surgery, but she said: that’s fantastic, well done! 

When did you start to connect your recovery with dance?

I carried on working throughout all my treatments. We had ballet exams at my school in London, so I did that all through chemotherapy. In front of the children, I would wear different coloured wigs, which they loved. I was very active – dancing, running. That joy of dance and moving my body helped me massively, and I realised that I was faring a lot better than friends I’d made in chemo. They were suffering and there’s me turning up with my running numbers still on from a race!

Afterwards, I thought I would like to do something to help other people dance safely. Dance is such a fun thing: you can just put some music on and have a boogie in your kitchen – the endorphins you feel are priceless. I approached a cancer training programme, and told them about my dream of getting everybody dancing. Training to be a Cancer Exercise Specialist was the best thing I could have done – I learned so much. 

What do you have to consider when teaching dance to cancer patients?

There’s lots to consider, but generally, cancer patients are only seen as a medium risk. There are some limitations, and a range of unique issues for every single person, because each cancer is quite different. In breast cancer, there’s often damage to the shoulder after surgery, so we do a big warm up for the shoulders. If people have had their lymph nodes removed, it can cause lack of mobility, so we do stretches in order to move more freely.

Is the effect on mental wellbeing as important as the physical benefits?

I think the wellbeing effect is actually the most beneficial. The overwhelming response I hear is that it’s brought people some joy in a dark part of their lives. Some have even said they always dreamt about dancing but never would have had the guts to go to a normal adult class. There’s a sense of unity – people don’t feel judged or intimidated, they feel empowered. We laugh a lot, especially when I get things wrong – like most people who go through cancer treatment, I suffer from cancer related cognitive impairment, also known as chemo brain. If I forget what I’m doing, the class corrects me – we giggle because we’re all going through it together. My assistant, Poppy Barnes, is also an RAD teacher. She’s incredible, and she gets every bit perfect.

Has working with the RAD been important?

To be at the Royal Academy of Dance is a real treat for everybody, because it’s not in a cancer setting. When the dancers come into the building they feel so special. It’s very inspiring. 

Where did the name Fireflies come from?

My dance school is called Fireflies. We promote better mental health through dance, so when it came to the adults, I thought: this is perfect, because you can find so much light, even in a dark situation. One of our ladies got a firefly tattoo on her ankle, and she’s trying to get us all to do it!

Was ballet always part of your life?

Yes. I was poor growing up, but my mum took me to dance three times a week, which was my light in the darkness. I was very shy, but I would go to dance and felt I could do anything. My teacher was strict but very kind to me, and I’ll never forget that.

Do you feel your life divides into before and after your diagnosis?

Very much. It feels like a new you is born the day that you get the diagnosis. Not necessarily a worse you, but a different you.

When I got cancer, I just thought it has to be for some good. I couldn’t just go back to my old life, I had to do something. Recently, I got a secondary cancer diagnosis but I’m still dancing. The hospital told me about a treatment trial called the FAIM trial. So, obviously, we were all dancing to the music from Fame in my class before I went into the hospital wearing my leg warmers! I’ll just keep going, keep dancing, keep smiling. It makes a massive difference.