Back to Seychelles: Dance Workshop in Mahé with performance at the National Theatre

After a successful first trip to Seychelles, working primarily with boys I was invited back the following year. This time the project would take place on the main island of Mahé, culminating in a performance at the National Theatre and opening the opportunity to work with both boys and girls.

For this return, I wanted to create something bold, imaginative, and playful. Alice in Wonderland felt like the perfect choice: a story bursting with character, curiosity, and fun. I was told there would be over 30 children involved, more than double the number from the previous year which admittedly made me slightly nervous. Even more daunting was the fact that I had the same timeline: five days to create the entire piece, with the performance on day six.

Back home in London, I prepared obsessively. My notebook became my constant companion, filled with casting ideas, timestamps, and endless doodles, all hinging on the hope that the dancers I had envisioned would match the reality. I chose music by Philip Glass Aguas da Amazônia. If you’ve never heard it, I highly recommend it.

The cast slowly took shape in my mind: four White Rabbits, the Mad Hatter, Alice, her older sister and friends, the Caterpillar, myself as the Cat (at their request), the Queen of Hearts renamed the Queen of Moutya painting cards, and the Queen’s subjects. By the time I boarded the plane, the work had already begun in earnest.

The journey to Seychelles was smooth this time: London to Doha, a short layover, then four hours to paradise. I was met by the High Commissioner’s driver and taken to the Commissioner’s residence on Eden Island. I didn’t know what to expect.

Wow.

The accommodation was breathtaking. Each apartment had its own golf buggy, barbecue, and a porch overlooking the sea. It was self-catered too, which suited me perfectly I love cooking. I had one day to recover from the flight, so I invited friends from my previous visit over. It was wonderful to reconnect and also the perfect moment to start sharing roles and ideas.

Younger dancers rehearsing Alice in Wonderland

Day One: Creation Begins

Rehearsals were held at the National Theatre, a small but character-filled space. I met all 38 participants, some returning faces and many new ones. It was overwhelming in the best possible way.

As with my previous trip, we began with a ballet class: pliés, tendus, port de bras, allegro, and corner work. Then it was straight into creating. The energy in the room was electric, but managing so many eager young dancers in a limited space was a true test. Still, we made it work.

The challenge was to adapt Alice in Wonderland into a 16-minute piece. We mapped out the story carefully: Alice with her sister and friends, her fall down the rabbit hole, encounters with five erratic White Rabbits (played sweetly by the youngest dancers), the two Jacks, the Caterpillar, the Queen of Moutya and her court, the Cat, and finally the Mad Hatter who cruelly hands out invitations to the Queen’s party to everyone except Alice.

The second half allowed each group their moment to shine, culminating in the Queen’s party. Alice infiltrates the celebration, and the Queen declares that everyone must learn the sacred Moutya dance of her kingdom or face the consequences. Somehow, within the story and the time constraints, they all learned it.

All of this had to be created in four days, with one additional day for rehearsals and lighting before the show.

Each evening I returned to the apartment, replaying the day in my head, scribbling notes for the next, then finally allowing myself a moment of rest. Time management was crucial. I was choreographing, dancing, setting lighting, and keeping morale high, all at once. It was one of the hardest yet most fulfilling experiences I’ve had to date.

In my downtime, I cooked, enjoyed a Takamaka ginger mix, and relaxed with friends. I hosted a barbecue for staff from the School of Dance, helped by some of the older dancers. It was a beautiful evening, a small way to say thank you for the warmth and generosity I was shown.

The younger group students

Show Day

Show day arrived quickly. The children were buzzing with excitement. I was too but beneath it all, I was incredibly nervous. The performance was at the National Theatre, and this year the British High Commissioner and his family were attending.

I had a brief meeting with the lighting and sound technicians. Their wonderfully relaxed island energy slightly terrified me, especially knowing I’d be on stage and not able to oversee everything. I was also handed 38 certificates to sign for every participant.

The show opened with a demonstration of class work, giving the audience insight into what the students had learned. Then Alice’s adventure began.

It was a success. The audience loved it some saying they hadn’t seen the story since they were children themselves. I presented the certificates alongside Jimmy Savvy, gave interviews with local media, and listened in disbelief as the High Commissioner spoke at the end of the performance, inviting me back the following year.

I was overjoyed.

That evening, friends gathered at my place local models, dancers, creatives. We shared food, laughter, and celebration late into the night.

As I sat in the airport the next day, tears welled up, just as they had the year before. This trip had pushed me further than ever, creatively and personally. Seychelles was no longer just a destination.

It was starting to feel like a second home.

The older group students