“They are so rising to it.” London Children’s Ballet’s Snow White comes to the stage

In a second feature looking ahead to London Children’s Ballet’s forthcoming production of Snow White, David Mead talks to choreographer Gavin McCaig and dancers Scarlett Monahan and John Holden.

Read also, ‘Something special: London Children’s Ballet’, a conversation with artistic director Ruth Brill.

School half term. For most youngsters, a chance to recharge batteries. But for those dancing in this year’s London Children’s Ballet (LCB) performances of Snow White at London’s Peacock Theatre, it’s an opportunity for intensive rehearsals and for choreographer and director Gavin McCaig to really push ahead with the production.

In some ways a revival, in that Richard Norris’ score and many costumes from the company’s 2015 production are being reused, the rewriting of the scenario here and there with some aspects of it and character reinterpreted, and McCaig’s new choreography, effectively make this Snow White a new ballet.

Taking time away from his regular position as junior soloist with Northern Ballet, McCaig is clearly enjoying the rehearsal process. He bubbles with enthusiasm and admits to himself and rehearsal assistant Matthew Topliss being thrilled by the progress the dancers have made in such a short space of time. You do have to be organised, have a clear idea of what you want and be clear with direction though, he tells me.

“It’s a huge logistical operation getting fifty kids on stage, working out how the roles look, how we can bring in everyone, give them as much chance to dance, as much chance to shine as possible. For the very large scenes such as ‘Snow,’ which opens the ballet – I’ve just loved getting loads of classical technique into that – and the two massive party scenes, I’ve had to come with pre-made phrases and concepts.”

But, he says, there is some space to play with ideas, some room for negotiation and dancer input, especially with the major characters. “Rehearsals can be very ‘on the hoof.’ I do try to allow space for them to respond to what we are saying and telling them. It’s good to build up those collaborative skills now, so that when they do approach it in their first few years of professional training, or with a company, it’s second nature to them.”

It is a very different environment for them, McCaig admits, “But it’s exciting. It really gives them an insight into how a professional company runs. We are not treating them like kids. We’re treating them like young dancers who have to put on a large-scale West End performance. We’re asking a lot of them, but they are so rising to it.”

He explains that the first act is very courtly, but Act II has a very different feel as the ballet shifts to the world of the huntspeople. “It’s a bit more brutal, a bit more raw. But the dancers are responding to it. The soloists have really started to build on their characterisation and bring it into the story. When I ask them about their characters and the scene, they give me the right answers back. That tells me we are going in the right direction.”

Dancing Snow White is 14-year old Scarlett Monahan, in her fourth year with LCB having previously toured The Canterville Ghost (2018), and been in the main productions of Ballet Shoes (2019) and Anne of Green Gables (2022), in the latter playing Ruby Gillis, who becomes one of Anne’s best friends. Being on a big stage was a bit nerve-wracking at first, she confesses, “But it’s really nice to have all the space because usually I’m just in a studio.”

She describes her Snow White as being very confident, not at all the quiet, sometimes shy princess of films. “She’s very independent, intelligent and self-reliant. She doesn’t always do what she’s told but she’s very loving and caring.” How much of that is her? “Some aspects,” she replies with a shy smile.

Dancing the Huntsman is John Holden, also 14, now in his second year with LCB. He tells me how much he enjoys acting as well as dancing, which probably explains the very characterful portrayal he gave of Mr Phillips, the schoolteacher, in Anne of Green Gables. “A lot of the facial expressions was me. It was really enjoyable to do.”

LCB naturally attracts those who are hungry, inspired by music and story and dance, and just want to be doing it all the time. Both Scarlett and John tell me that they are thinking of a ballet career, and that the opportunity to gain stage experience in a professional environment was a big factor in them applying initially to join LCB.

Looking ahead, Scarlett seems particularly certain where she would like things to lead. “Vocational school at 16, and then hopefully to a company. That’s where I want to go. To be on stage. Definitely.”

They agree that what keeps bringing them back is more than the chance to perform in a major production, however. It’s the whole package. Both talk about how many friends they have made. “The people. It’s such a lovely environment. It’s just like a big family,” says Scarlett.

Both also echo McCaig’s comments about the choreography being a two-way thing in a way that traditional studio syllabus work can never be. Scarlett says, “It’s always, ‘Is that OK for you,’ or Gav will ask what we would do in a situation.” She and John explain they also have improvisation sessions. John explains how he might go off with Topliss. “Matt will give me some words and I’ll make something up.” A lot of what comes out of them does get added in to the choreography, they tell me. “That’s really nice. It’s really important. It makes you comfortable with what you are doing,” says Scarlett.

The pair have a pas de deux at the end. “That’s new for me. It’s probably my favourite part. I really enjoy the partnering. When you see people on stage, you think, it would be great to do that, and now I am. The pas de deux is where friendship really does become important. There’s a lot of trust involved. We know each other from last season, so that helps,” says John.

While McCaig has done a lot of teaching and coaching, he says it’s quite different working with youngsters on a show, on a character, something he’s had a lot of experience of at Northern Ballet. “But I am absolutely loving it. And what I’m really loving is getting to know them. Getting to know their personalities and how to navigate them as individuals, and how to get the most out of them.”

While the dancers have come a long way already, he suspects a lot of them haven’t fully realised quite what of they are capable of yet. “A lot of them came in January with very little self-belief and quite a bit of apprehension. But to see that Act I run yesterday, to see where they have taken all their parts, their roles, their steps, in literally just a month and a half, it’s very rewarding. And it’s surprised me how much I’ve enjoyed it.”

Until asked to create this year’s production, McCaig admits to never having previously come across London Children’s Ballet. “That’s quite miraculous because the size of the operation. They have the performance company, plus four touring companies this year. They do all the outreach and other work. I just can’t believe I’d never heard of it or seen a show.”

When he went to see last year’s Anne of Green Gables, he confesses to being blown away. “I really could not believe the standard of the kids on stage. It was just so professional. Even the set, and there was a whole orchestra.”

Working on the production has meant taking time out from Northern Ballet but McCaig says artistic director Federico Bonelli has been hugely supportive. “He’s been incredible. He’s been great giving me this intensive week, and another in April before the show opens. The company has been very collaborative in terms of my development and me wanting to pursue this avenue.”

“I feel quite passionate about this interpretation and this story we want to tell. Watching people like David Nixon put on full-length narrative works that I’ve been a part of, I know how rewarding it can be to tell a story to the public, and to be onstage as someone else from 7.30 to 10.00 at night. I want the dancers here to experience that in the best possible way. I really want that to happen.”

Snow White is at the Peacock Theatre, London from Thursday 13 to Sunday 16 April, 2023. Visit www.sadlerswells.com for tickets and further details.

For more about London Children’s Ballet, visit www.londonchildrensballet.com.