From Student to Star is an exclusive Ballet News interview series featuring graduates from vocational ballet schools – such as The Royal Ballet School – as they begin their professional careers.
Rebecca Myles Stewart has graduated from The Royal Ballet School and joins The Royal Ballet Company.
You’ve been studying at The Royal Ballet School (RBS). When did you join the School and what made you decide to train there?
I joined RBS in 2021 as a first year student of the Upper School, and first made it a goal to train there after my discovery of The Royal Ballet. This itself occurred through their annual World Ballet Day streams, which one day I found online and from then, I began to watch the Company more and more. I was so inspired by their dancers, as well as the repertoire they performed and the way in which they did so. It impacted me in a way that no other company had before, and it became my dream to dance with them, or at least see them in person one day. Around this time, I also discovered the School and aspired to one day audition there, as I knew that it provided a clear path to join The Royal Ballet.
However, the way that I came to audition for RBS was quite unconventional. During the COVID lockdown of 2020, the School released their first ever online summer intensive, which was open to all international students. I felt that it was a great opportunity to see what the School was like, and I registered for three weeks of classes. Due to the time difference between the U.K. and the U.S., I would have to start classes before sunrise! The class sizes were large: sometimes close to 200 students and all being monitored by the School staff. At the time, I didn’t even think this had a possibility of happening, but a few weeks later I received an email that the artistic team had noticed me on Zoom, and that I was invited to the White Lodge summer intensive. Later, I would also receive an email asking if I was interested in auditioning for the full-time training programme.
Since it was my goal to train at the School, I decided to begin the audition process later that year and into 2021. This was all held virtually due to lingering COVID circumstances. I had to take pictures and make an audition video, and later, I would have a private Zoom audition, which represented the in-person Final audition round that would have been conducted under normal conditions.
I ultimately received news that I had been accepted into first year, and I recall being both shocked and elated. In hindsight, I am so thankful that RBS created that intensive and that I had signed up, as it gave me my opportunity to audition.
Prior to joining RBS, where did you train, and how early did you start ballet?
Just prior to joining the School in 2021, I trained at CityDance School and Conservatory in my home state of Maryland, primarily under Stanislav Issaev. I first started dancing when I was 4, but developed a passion specifically for ballet at around 11, and that’s when I began to train exclusively in this style.
What do you think are the important things to focus on during training if you want to become a professional dancer?
The road to becoming a professional dancer is quite long, so I think being consistent is one of the key factors to success. In my experience, continually working and striving for my personal best has been one of the biggest components that has helped me to improve. It’s not so much about peaking early on in your training than it is about continuing to work, day in and day out. Progress may be slow, but as long as you’re consistent, you will reach the goals that you set.
Another thing I believe that is very important is embracing your individuality. When you reach a certain level as a student, everyone is a good technical dancer. What will make someone stand out in an audition environment is their individual persona, which informs their performance quality. I think it’s the way that someone executes a step that is important, because at a certain point, everyone can do it.
Have you entered any competitions during your training and if so, which ones, and what would you say about your experiences?
In my early years of training I participated in several dance competitions and conventions, many of which offered classes and workshops in all different genres of dance. One skill that I feel I really honed during this time was versatility, as you were expected to perform many different styles (jazz, tap, hip-hop, etc.) with ease and confidence. I am grateful to have knowledge in other ways of moving, and I feel that it has helped my dancing and flow of movement overall. I also participated in several Youth America Grand Prix (YAGP) competitions and had the opportunity to experience the feeling of performing principal and soloist variations at a very young age.
I personally believe that competitions are very beneficial. They offer you valuable exposure to industry professionals, as well as several chances to perform under pressure. Competitions also require a rehearsal process not unlike those in the professional world, and I feel that this was very useful to go through as a young student. I became accustomed to how it felt to prepare repertoire for months and then finally get to perform after so much hard work. I feel that it really ingrained a sense of self-discipline in me, in knowing how much consistent work is needed to dance my best and having that drive to do so on my own.
Finally, I feel that my performance quality was definitely cultivated during my competitive years. The way that I use my face and dynamics whilst performing have come from having to use them in a competitive environment, and from doing such a variety of routines and solos. I don’t think I would dance the same if I had not been a competitive dancer, and so I am grateful that I was exposed to that environment early in my training.
You’ve accepted a contract with The Royal Ballet, under the Aud Jebsen Young Dancers Programme. Congratulations! Take us through the process of getting the contract and when do you start work?
As part of our graduate year, my class was given the opportunity to audition for both The Royal Ballet and Birmingham Royal Ballet in November and early December. Around this time period, we were all also working with the companies as part of their productions. For example, I was involved in both Don Quixote early in the season with The Royal Ballet as well as their Nutcracker production.
About a week after our last audition in early December, school had finished for the Christmas holidays, and myself and a few others in my class were still in London performing in The Nutcracker. I was taking company class one morning in preparation for the cinema relay that evening, in which I was performing. I remember being pulled out of class and walked to the Company office, where Mr. O’Hare [Ed note : Kevin O’Hare is Artistic Director of The Royal Ballet) offered me a contract, something that I had dreamed of for years.
I remember that moment feeling distinctly surreal, and I called my parents as soon as I could, even though it was still quite early in the States. They are my biggest supporters and have been at my side throughout my entire dance journey, so my first instinct after receiving my offer was to tell them my news.
Later on, I performed in the show and felt so grateful, knowing that I would actually be dancing with the Company as a professional. It was one of the happiest days of my life!
We start work in early August, and I am very excited to begin this new chapter.
What do you know about the Company & have you spent much time with them during school?
From spending time with the Company as well as in the School, I know that they have a rich repertoire, with a range of works that I hope to one day be a part of. In my first and second years at RBS, I was able to watch the Company many times, and I remember feeling in complete awe every time I was in the audience. As a graduate student, being able to actually be a part of these productions was so inspiring. Not only was I now able to watch my dream company, I was able to perform with them.
This past year, I was involved in Don Quixote and The Nutcracker, which I mentioned previously, as well as Manon and Swan Lake. These all were amazing experiences and each provided different roles and challenges. I learned so much from being a part of the rehearsal process and the eventual performance run.
What are you looking forward to about joining the Company?
I am really looking forward to learning from all of the incredible artists, whom I have looked up to for years as role models and inspiration. I am still very young and only just starting my career, and my biggest hope is to soak up as much as I can about what it means to be a full-time performer. I have been a student all my life, so learning more about the art form as my actual profession is going to be very insightful. Everyone is uniquely talented, and I am positive that I will be inspired every single day.
How do you think Company life will differ from your student days & what do you hope to bring to the Company?
One of the biggest changes from the School to the Company will be the focus of our days, which instead of revolving around class, will be centered around rehearsals and performances. It will be up to us as individuals to make sure that we are personally maintaining our technique, as class will serve as a warm up for the day and will not nearly be as detailed or meticulous as it is in school.
The Royal Ballet and its legacy is incredible. When I first discovered the Company, I was so moved by the sheer presence and artistry of everyone on stage. Someday I hope someone else will be moved by my presence, in the same way that I was inspired by those who came before me.
How are you preparing yourself for your first professional contract?
As we have been on summer break, I have mostly allowed myself to rest, and it has been great to spend time with my family in the States. I have also been doing physical therapy sessions for active recovery, injury prevention, and overall strengthening. Getting back into ballet class has also been essential in ensuring my body will be ready for a full-time rehearsal and performance schedule.
What are your best achievements as a student?
Earlier this year, myself and two other graduates had the opportunity to represent RBS at the Paris Opera School’s Gala des Écoles de danse. It was an evening of dance featuring international ballet schools, and was held at the Palais Garnier. I really enjoyed performing excerpts from Frederick Ashton’s Rhapsody, and to dance on such a historic stage was an incredible privilege.
I am also proud of my choreography, How It Ends, which I created in my second year for the Ursula Moreton Emerging Choreographer performances, (now known as the Frederick Ashton Emerging Choreographer programme). It was showcased at the School’s 2023 summer performances, as well as The Royal Ballet’s Autumn Draftworks, as part of the Rhythm in Resilience Festival. This festival was curated by Joseph Toonga, and celebrated Black History Month with a series of events held at the Royal Opera House.
Soon after Draftworks, I also performed and participated in the panel discussion of Insights: Ballet and the Black Experience, which was also part of Rhythm in Resilience. During COVID in 2020, I actually watched a similar Insight online, and was particularly inspired by the panelists at that time. Three years later, it was an awesome and full-circle experience to have the opportunity to speak among them.
Finally, in our graduation performance, I performed as a soloist in Paquita, and was also very grateful to have received two awards at our graduation: The Captain and Mrs John Moore Award for my academic dissertation, as well as The London Ballet Circle Dame Ninette Award for the most outstanding female graduate of 2024.
Why ballet?
I think I am drawn to ballet because of its demands: you are constantly striving to improve, and there is never a point where you feel you have done enough. This can sometimes be physically and mentally taxing, but at the same time, it is so rewarding when you see yourself progress and grow.
Also, although it is very challenging, it is a truly beautiful art form. The costumes, the scores that accompany each ballet, and the way in which each narrative, told through movement, is often so simple yet so transcendent to daily life, really resonates with me. That contrast of hard work and being able to bring the audience so much joy, as well as an escape from their daily lives, is such a unique gift. This in turn makes me happy, and makes all of the practice and rehearsal time worth it.
How do you pick yourself up on the days when things are not going so well?
Ballet is as mental as it is physical, so it has been really important for me to recognize why things may not be going so well, and often this is due to my own self-doubt. It is really easy for me to sometimes get in my head and overthink, and a lot of times the way to get out of these ruts is through communication. My family is my true support system, and they know me best. On these harder days, talking to them never fails to make me feel better. They have really helped to encourage me and keep me positive, even when things have felt tough.
Another vital aspect of getting back on track during these times is journaling. I have found that writing your thoughts and feelings down is a great way to get rid of any negative emotions. I also like that I can look back at previous entries and journals and see how far I have come, across months and sometimes years of training. This can be really helpful to restore my self-confidence and belief, prepared to face the next day.
Do you have a dream role and/or dance partner and if so what/who are they?
I have many dream roles, but in particular, I would love to have the opportunity to perform Juliet and Odette/Odile one day. The music of both these productions, Romeo & Juliet and Swan Lake, are some of my favorites even just to listen to, and I would love to one day immerse myself in the emotional journeys and technical challenges of both roles. As for a dream dance partner, all of the male artists of the Company are extremely talented, and it would be a privilege to work with any of them.
What would you say to students entering their graduate year?
For me, graduate year flew by. I would say one of the biggest things is to remain in the present moment. It’s really easy to think weeks and months down the line with so many things approaching, like audition season, events at school, and assessments, but it’s also very important to savour the time you have in class and with your year group, as you won’t get it back.
One of the biggest objectives of graduate year is to secure a job, and I think one of the most crucial ways to do that is to not only focus on your technique, but make sure that you are honing in on your performance quality. This is what will give you a unique and different appeal from others, and will allow you to stand out in audition settings.
Lastly, it’s really important to try your best to stay positive and to remember that the only thing you can control is your dancing. There are a lot of unknowns in the year at first, which can be scary, but remaining optimistic is essential both mentally and physically.
Where would you like to be this time next year and how will you measure your progress over the year?
This time next year, I hope to have completed a successful and fulfilling season with the Company. I am looking forward to all I will get to experience and learn, and I hope to improve myself not just as a dancer, but as a professional. I aim to keep track of my progress through keeping up with my journaling, which I have found as a great way to document my dance journey.
