His Majesty’s Theatre, London
September 8, 2024
Originally named after Adeline Genée (and popularly known simply as ‘the Genée’), the Royal Academy of Dance’s annual international competition has been running since 1931, initially for females only, with male dancers first appearing in 1938. The gold medal retains the Genée title, however.
For most of its 93 years, the competition has been held in London, but following a first overseas date at the Sydney Opera House in 2002, it now travels the world.
Back in London this year, the event proved an emotionally charged evening at His Majesty’s Theatre, with the packed house clapping and cheering for their preferred competitors.
Photo Martin Bell
From 66 semi-finalists from 14 countries, 12 made it through to the finals. The standard of dancing was superb, and although nerves did get the upper-hand now and again, all showcased themselves well. Each performed three short pieces: Holberg Variation or Granados Variation, new choreography by Andrew McNicol, a ‘Dancer’s Own’ piece created by themself, their teacher or a friend; and a variation from the ballet repertoire.
Both male and female dances created by McNicol were challenging but everyone tackled the complex choreography with bravado. Remarkable to think they only had five days to rehearse. Inevitably, the choreography less suited some dancers, including it seemed the gold medallist, Antonia Maria Cramb, currently training at Royal Conservatoire of Scotland in Glasgow. She was stunning in the other two pieces, however, and a deserved winner.
Judges Darcy Bussell, Alessandra Ferri and Kevin O’Hare also awarded the silver medal to Lydia Hough, currently training at English National Ballet School. Hough also took home the Margot Fonteyn Audience Choice Award.
who also won the Margot Fonteyn Audience Choice Award
Photo Martin Bell
Two bronze medals were awarded: to Alfie-Lee Hall, training at Birmingham’s Elmhurst Ballet School; and Ernesto Young from Australia, training at Alegria Dance Studios in Sydney.
The dancers were accompanied on the piano by Rebecca Leshures and Richard Norriss, whose deft skills undoubtedly supported the dancers’ performances.
It was a most enjoyable evening, and I am looking forward to watching the winners’ dance careers, and those of the other eight finalists, unfold.
The 2025 Margot Fonteyn International Ballet Competition will be at the Auditorio Ibirapuera, São Paulo, Brazil.