Bringing Ballet to Paradise

In 2020, just before the world was turned upside down by the global pandemic, I received a message on Facebook from an old friend, Patrick Muirhead. Patrick, a former UK journalist who now lives in the stunning Seychelles, had interviewed me years ago when I was accepted into the Royal Ballet School. This time, though, he wasn’t after a story. He had an idea.

On the island of La Digue, he told me, there was a group of boys who had never danced before, and he wondered if I might consider coming out to run a workshop with them. At that point, I had just left the English National Ballet. I wasn’t entirely sure what I wanted to do next, acting was on my mind (and still is), as well as finding ways to give something back to the next generation. Patrick’s suggestion planted a seed.

Of course, 2021 came and the world was still in lockdown. The idea had to wait, but Patrick continued working tirelessly with local organisations to keep the dream alive. Finally, in January 2022, everything fell into place. The Seychelles Tourism Department, Seychelles School of Dance, the British High Commission, and members of the government all came together to make it happen. Suddenly, I found myself drawing up timetables and writing contracts, things I’d never done before. Patrick, ever the journalist, decided the journey had to be documented.

On January 8th 2022, I set off for Seychelles. The trip didn’t begin smoothly. I missed my connection in Doha and ended up with a seven-hour delay, but eventually, I landed in paradise. Because of the delay, I missed my scheduled boat to La Digue, but thanks to Patrick’s connections, I ended up taking a helicopter instead. It was my very first time in one, and what a setting to experience it!

When we landed, I was welcomed by students and staff from the School of Dance, all waiting for me at the helipad. The warmth of their welcome matched the tropical heat I was still in my polo neck and tracksuit bottoms. The Tourism Department had arranged for me to stay at L’orangeraie La Digue, where I quickly freshened up before heading to my first session. The hotel had provided me with a bicycle to get around, cars are rare on La Digue, which I loved and I pedalled to the workshop venue, nerves, adrenaline, and excitement all buzzing inside me.

I was introduced by Mr. Savy, the National Arts Council’s chief executive, to sixteen boys and one girl. My plan was to adapt the battle scene from The Nutcracker. With Wayne Ealing’s permission to use his choreography, I cast the older boys as soldiers, the younger ones as mice, and our lone female student as Clara. We had just five days. Six hours a day. Two groups. The pressure was real.

But I wanted this to be their experience, not just me teaching ballet in a vacuum. Many of the boys loved B-boying, so I decided to fuse it into the piece. With the help of one of Seychelles’ top B-boy dancers, the second half of the battle turned into a high-energy B-boy showdown. It was important to me that the students did something they loved, as well as something new.

By the end of the week, we had a performance. Parents and delegates came to watch, and their response was overwhelming. Some admitted they never thought their child would stick with it for all five days, but every single one did. That meant more to me than anything.

Outside the studio, I soaked up life on La Digue, cycling around the island, bonding with some of the older students, laughing with staff, tasting the local Takamaka rum, and falling in love with the beauty of the place.

The end of the trip came with a whirlwind: a live TV interview with the Mayor of Seychelles, a meeting with the newly appointed Minister of Education, and a visit to the national museum. For my final night, I stayed at Eden Bleu on Mahé, thanks to the British High Commission, and had just enough time to explore the island a little. Once again, I was enchanted.

Leaving Seychelles brought tears to my eyes (literally). What began as a simple Facebook conversation had become a life-changing journey. It gave me new ambition: to bring similar workshops to other parts of Africa and the Caribbean. This project wasn’t just about dance it was about connection, courage, and planting seeds for the next generation.

Patrick captured it all in a documentary, which I’m sharing below. If you have a moment, please give it a watch, and if it moves you in anyway, I’d love to hear your thoughts in the comments.