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Speaker 1: This episode is brought to you by Cash Rewards.

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Speaker 2: I didn't have a plan b I was like, this

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Speaker 2: is what I'm want to be. I'm going to be

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Speaker 2: a ballerina. There was nothing else that ever came in.

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Speaker 2: You know where. We about two hundred and eighty plus

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Speaker 2: shows a year now with the stream Yeah Madness Sydney,

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Speaker 2: It's not unusual for us to do twenty three shows

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Speaker 2: in a row. I think my brain was more made

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Speaker 2: for ballet and remembering steps rather than like English and algebra.

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Speaker 1: Friends like that, Welcome to the Sees the Yay Podcast.

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Speaker 1: Busy and happy are not the same thing. We too

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Speaker 1: rarely question what makes the heart seeing. We work, then

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Speaker 1: we rest, but rarely we play and often don't realize

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Speaker 1: there's more than one way. So this is a platform

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Speaker 1: to hear and explore the stories of those who found lives.

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Speaker 3: They adore the good, bad and ugly.

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Speaker 1: The best and worst days will bear all the facets

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Speaker 1: of seizing your yay. I'm Sarah Davidson or a spoonful

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Speaker 1: of Sarah, a lawyer turned unentrepreneurs waft the suits and

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Speaker 1: heels to co found matcha Maiden and matcha Milk Bar.

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Speaker 3: CZA is a series.

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Speaker 1: Of conversations on finding a life you love and exploring

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Speaker 1: the self doubt, challenge, joy.

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Speaker 3: And fulfillment along the way.

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Speaker 1: Hallo, lovely neighborhood, coming to you from back in Lockdown.

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Speaker 1: But the yay lives on in your ears, so glad

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Speaker 1: you're enjoying the first few versions of Yeas of our Lives.

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Speaker 1: I can't wait to see this segment blossom as a

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Speaker 1: product of our beautiful community over the coming months. Our

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Speaker 1: plans have been a little delayed again now that I

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Speaker 1: can't be on the road to go and meet these

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Speaker 1: yighborhood heroes and record their stories. But if these crazy

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Speaker 1: times are teaching us anything, it's to be flexible and

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Speaker 1: open minded. So we are working around it and we'll

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Speaker 1: get there in the end. Meanwhile, back with another guest

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Speaker 1: and this one was requested by several different people in

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Speaker 1: the serve Yea from last year, and it was super

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Speaker 1: convenient for me that you all wanted to hear from

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Speaker 1: a ballerina because, as many of you know, I was

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Speaker 1: a ballerina in my first life and have actually followed

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Speaker 1: this particular dancer all through her career because we started

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Speaker 1: at the Australian Ballet school at very similar times, so

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Speaker 1: it was pure joy to pick her brains about going

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Speaker 1: pro and also to reveal the blood, sweat, tears, broken

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Speaker 1: toes and all the fun things that most people don't

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Speaker 1: actually know about the ballet world. Yep, we are lucky

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Speaker 1: enough to have principal artist Amy Harris joining us on

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Speaker 1: the show today. That's the highest rank you can make

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Speaker 1: at the Australian Ballet, of which there are only currently

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Speaker 1: twelve in total.

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Speaker 3: You will probably be able to hear.

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Speaker 1: In my voice how magical it was for me to

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Speaker 1: be transported back into the wonderful world of ballet, and

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Speaker 1: I hope you share some of the magic learning about

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Speaker 1: its inner workings too. As always, I love to dive

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Speaker 1: into new worlds that might be new to some of

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Speaker 1: you or all of you, and leave you with a

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Speaker 1: bit of new knowledge on how it works and its terminology.

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Speaker 1: But I fear this time I may have slipped too

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Speaker 1: easily back into something, forgetting that a lot of the

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Speaker 1: world of ballet is not common knowledge, particularly the language

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Speaker 1: and the French terminology. So if I did leave anything out,

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Speaker 1: please excuse me and shoot Amy or any DMS to clarify.

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Speaker 1: I'll share some footage on socials too, so you can

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Speaker 1: truly appreciate the absolute athleticism, grace and beauty of Amy

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Speaker 1: dancing and really appreciate the art form that I can't

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Speaker 1: wait to see return to the stage This February. Assuming

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Speaker 1: all things go to plan, the Australian Ballet will be

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Speaker 1: back for its first show in a year with Summertime

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Speaker 1: at the Ballet that combines pieces from quite a few

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Speaker 1: different ballets on the twenty fifth of feb and I'll

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Speaker 1: also include links to that in the show notes. I

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Speaker 1: hope you enjoy this one as much as I did.

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Speaker 1: Amy Harris, Welcome to the show.

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Speaker 2: Thank you for having me.

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Speaker 1: I am so so excited to have you on the show.

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Speaker 1: I think you might know I also went through the

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Speaker 1: Australian Ballet School back in the day around the Lee

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Speaker 1: Rolls era I had mister Zulomski.

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Speaker 3: I feel like you probably know a lot of the

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Speaker 3: teachers that I had back in the day, back in

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Speaker 3: the day.

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Speaker 1: And it is just wonderful to have a principal artist

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Speaker 1: on the show. I feel like childhood me is just

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Speaker 1: dancing around and doing pirouets with excitement.

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Speaker 2: So welcome, thank you.

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Speaker 3: So before we kick off.

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Speaker 1: I start every episode by asking everyone what the most

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Speaker 1: downtour thing is about them, And I think ballet is

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Speaker 1: one of those areas that what you see on the

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Speaker 1: outside is always so polished. It's the performances, it's the

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Speaker 1: extravagant costumes and the perfect footwork, and we don't get

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Speaker 1: to see a lot of what's on the other side.

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Speaker 1: And you also have two children, so motherhood adds a

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Speaker 1: whole other layer to that. So dish up.

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Speaker 2: Oh my god, there is so much I think, yeah,

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Speaker 2: exactly what you said. It's so glamorous, but underneath it's

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Speaker 2: certainly chaos and madness. For me. There's washing in a

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Speaker 2: pile on my bed right now, which I'm not going

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Speaker 2: to show you. You know, there's toys around the toy room,

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Speaker 2: there's beds in it, unmade like. I'm just the regular

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Speaker 2: kind of goal with, you know, two kids and a

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Speaker 2: husband that is also in the ballet world, so it's

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Speaker 2: absolute madness. I'm pretty good at having a good old laugh.

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Speaker 2: I love a laugh. Everyone's like, my cackle is kind

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Speaker 2: of you know, they know it's me. You can hear

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Speaker 2: it from a mile away. So I'm pretty good at

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Speaker 2: having a laugh. And you know, being down to earth,

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Speaker 2: but I'm keeping it real by everything not always being

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Speaker 2: as it seems. It's my madness that I love and

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Speaker 2: keeps me, you know, keeps me grounded.

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Speaker 1: I love that, and that's why I always start with

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Speaker 1: that question because it's so easy to forget that everyone

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Speaker 1: has that madness behind the scenes.

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Speaker 2: And I'm sure.

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Speaker 1: By starting with that, I feel like people just get

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Speaker 1: They get so excited that, oh, she's a human, Like

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Speaker 1: when we see you on stage, you are superhuman, Like

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Speaker 1: you don't think of you as a normal person who

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Speaker 1: has washing to do, like what you do washing?

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Speaker 3: What do you mean?

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Speaker 2: I mean? I wish I didn't have, you know, all

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Speaker 2: the washing, and I had something to do that for me,

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Speaker 2: but actually I did last week my mum was doing

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Speaker 2: it bless. But no, we're just like like everybody else

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Speaker 2: and we have all those tools and everything to do

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Speaker 2: and we jam pack them into a Sunday And you know,

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Speaker 2: it's that thing. I always laugh. People are like you

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Speaker 2: are so not what you're like on stage. A bit

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Speaker 2: I'm a bit mad, I'm a bit crazy. I'm very relaxed,

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Speaker 2: T shirt jeans, kind of girl. I hate don't comb

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Speaker 2: my hair so it's a very different kind of me

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Speaker 2: that you'll see on stage hopefully very soon.

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Speaker 1: How exciting that you're getting back on stage. But I

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Speaker 1: also think this is so wonderful because artists in particular

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Speaker 1: do have such a different persona in what they do

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Speaker 1: in their work to your life every other minute, even though,

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Speaker 1: of course lots of your minutes are consumed by the

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Speaker 1: rigorous training and rehearsing. But yeah, I love this show

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Speaker 1: for the pure reason that it allows me to sort

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Speaker 1: of pray a little bit below the surf, expose the

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Speaker 1: day to day of people's joy and people's lives that

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Speaker 1: anyone who's never done ballet would have absolutely no idea

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Speaker 1: what it takes you to do your hair, like even

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Speaker 1: the fact that you have to learn how to do

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Speaker 1: your hair for all the different roles that you play

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Speaker 1: and the different headpieces you wear, Like that nitty gritty

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Speaker 1: is the stuff that I.

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Speaker 3: Get so excited to reveal to the world.

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Speaker 2: Absolutely, and I think it's becoming more one of those

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Speaker 2: things that we're focusing on, you know, the behind the scenes,

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Speaker 2: and I do think it's important. I mean, this is

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Speaker 2: my twentieth year in the company, and my mom has

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Speaker 2: always come to dress rehearsals, and you know, it's the

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Speaker 2: night before you're about to open and have that big

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Speaker 2: opening night and then a really big season, and so

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Speaker 2: things may not be right, and we go back and

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Speaker 2: we do things again, and it shows that rawness and

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Speaker 2: she's always loved that. Of course, she loves a beautiful show,

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Speaker 2: and everyone loves a show that just runs smoothly. But

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Speaker 2: it's nice to see those elements, you know, And because

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Speaker 2: we're just getting on stage, and so we're adding layer

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Speaker 2: by layer of a costume, more to to or you know,

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Speaker 2: whatever it be, and live music, so it's not always

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Speaker 2: smooth as much as you want it to be, but

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Speaker 2: it's also a one chance on stage before you know,

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Speaker 2: we let the public in and have our big opening

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Speaker 2: night as a premiere. So I think we're getting we're getting,

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Speaker 2: you know, kind of more into the behind the scenes,

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Speaker 2: and I think that's a great thing, and we're really

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Speaker 2: willing to share that. It's not just you know, you

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Speaker 2: plock us on stage and ulla here we are. There's

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Speaker 2: a lot of blood, sweat and tears behind the scene.

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Speaker 1: Well, we will absolutely get to my major question that

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Speaker 1: I think people will want to know, which is the

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Speaker 1: perception that they have of the ballet world from Center

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Speaker 1: Stage and black Swan, like, how different actually.

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Speaker 3: Is it in real life?

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Speaker 1: But before we get there, the first section is your

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Speaker 1: way to where we trace back all of the decisions

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Speaker 1: and chapters and versions of Amy before the one that

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Speaker 1: is now into Bilatist and sort of seems to have

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Speaker 1: it made and gets up every morning and has purpose.

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Speaker 3: You know, although most young.

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Speaker 1: Girls do have a deep love for ballet in their

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Speaker 1: early years, it's not very many that actually decide to

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Speaker 1: take it on as a career and get to live

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Speaker 1: that life.

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Speaker 3: So I'd love to go back to.

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Speaker 1: Very young Amy in Ararat. How you got into ballet,

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Speaker 1: you know, at the age of three. I started at

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Speaker 1: three as well. Did you have career aspirations from very early?

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Speaker 1: Did you consider any other pathways? Did you enjoy school?

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Speaker 1: Like tell us about young you?

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Speaker 2: Oh wow, So yeah. I grew up in Arat and

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Speaker 2: it's a small country town and I think for a

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Speaker 2: lot of us, ballet or dance was a hobby. I

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Speaker 2: had many friends that I went to primary school with

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Speaker 2: and they also did the same. And it started out

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Speaker 2: just you know, the fairy dance classes and bang tatues

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Speaker 2: and there was no technique to anything that I was doing. Yeah,

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Speaker 2: has ballet. I did it all and oddly, if you

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Speaker 2: ask my mom, she was like, I was least interested

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Speaker 2: in ballet. And I think, you know, as a young

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Speaker 2: girl or a young male, and it's so wonderful to

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Speaker 2: see so many more boys, and then you know it's hard.

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Speaker 2: There's a real discipline and a concentration and you know

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Speaker 2: you're holding onto the bar. It's not all about the

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Speaker 2: leaps and the turns and that fun stuff that we

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Speaker 2: want to get to. There's a real technique and art

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Speaker 2: form really does have this progression to it. You start

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Speaker 2: out slow and there's a tondu which is on the

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Speaker 2: ground and a jetta which is off, and then we

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Speaker 2: do you know, devlopay and grown batman them off the bar.

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Speaker 2: So there's this slow progression and I don't always think

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Speaker 2: it's something that grabs you as a young child. So

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Speaker 2: it was there and I still did it every day,

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Speaker 2: but it wasn't something that I was like, I've got

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Speaker 2: to be a dancer or a ballerina when I grow up.

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Speaker 2: But something switched when I was about ten and I

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Speaker 2: did a lot of competitions which I loved. You know

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Speaker 2: because it gave me that opportunity to put on my

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Speaker 2: two two and a tiara and my purple eye shadow

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Speaker 2: back in the day, and I met so many people,

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Speaker 2: and we traveled and we got to go on stage

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Speaker 2: so frequently. I mean I didn't initially. I remember my

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Speaker 2: mum driving me. Then I had it all the gew

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Speaker 2: in my hair and I had the purple shadows in

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Speaker 2: costume standing side stage, and she could not get me

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Speaker 2: on stage. There was no way I was getting out there.

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Speaker 2: And I don't know what it was. And now you

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Speaker 2: can't get me off, or now it's kind of doing

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Speaker 2: the full circle where I'm like, oh my god, Devil

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Speaker 2: and Angel are talking to me to get on stage.

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Speaker 2: But I don't know what that was. And then all

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Speaker 2: of a sudden it turned around and I just loved it.

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Speaker 2: And about ten I was at a competition and my

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Speaker 2: mom struck up a conversation with my beautiful ballet teacher

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Speaker 2: in Ballarat, Ms. Carrol Oliver, who's very well known in

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Speaker 2: the Shaquetti world. She struck up a conversation. I was like,

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Speaker 2: my mom was like, I got this little girl and

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Speaker 2: she just wants to be a ballerina. I do you know,

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Speaker 2: like she wants more and I don't know what I'm

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Speaker 2: supposed to do, so she said, well, she's more than

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Speaker 2: welcome to come down and take some classes, and I did,

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Speaker 2: and from there I went once a week to four

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Speaker 2: times a week to I think nearly every day back

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Speaker 2: and forward on the highway that our trip, and then

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Speaker 2: blessed she just nurtured and introduced me to the world

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Speaker 2: of ballet, which is Melbourne and the Australian Ballet School

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Speaker 2: where we started associates and we're in our little white leotards,

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Speaker 2: the white ones, yeah, the white ones and yeah. And

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Speaker 2: from there I did some associates, which was at that

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Speaker 2: point just a Saturday morning, and then I think it

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Speaker 2: was in Level five, which we called it back then

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Speaker 2: it became a Wednesday night and a Saturday morning, and

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Speaker 2: I successfully auditioned for the Australian Ballet School. I was

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Speaker 2: a little younger than they had taken previously, but my

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Speaker 2: dance teacher was just like, I really want you to

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Speaker 2: do this for experience. I think it would be great

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Speaker 2: for you. You know, it's where you want to go

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Speaker 2: and it's always good to kind of put yourself into

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Speaker 2: that position. So I not really thinking anything of it,

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Speaker 2: because you know you're that year younger and that's not

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Speaker 2: what they'd done in the past. So I was at

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Speaker 2: a girlfriend's place high school, had to sleepover, very normal,

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Speaker 2: and my mum come up with this big envelope Am

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Speaker 2: I in? Or am I not? Kind of thing? And

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Speaker 2: I opened it up to his joy, you know, jumping

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Speaker 2: for joy. And I had gained a place with the

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Speaker 2: Australian Ballet School as a first year and back then

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Speaker 2: it was only three years. So I did my three

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Speaker 2: years there and then successfully graduated into the Australian Ballet Company.

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Speaker 2: And here I am twenty years later. So, oh my,

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Speaker 2: I have a little journey to where I to where

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Speaker 2: I am now from a little country kid.

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Speaker 1: Oh my gosh, it's so this brings me back so

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Speaker 1: much and just speaks to a side of me that

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Speaker 1: once was my entire identity, and just it's such a

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Speaker 1: magical world if you've ever been part of it, and

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Speaker 1: I love sort of enlivening it for other people to

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Speaker 1: experience without them ever having to do it. You take

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Speaker 1: for granted, Like it's so funny that the first question

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Speaker 1: I asked you was you started when you were three?

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Speaker 1: Did you have career aspirations, which outside of ballet is

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Speaker 1: a weird thing to ask, but within it, your big

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Speaker 1: career revelation was at ten and I think one of

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Speaker 1: the wonderful things about it is that it teaches you

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Speaker 1: so much discipline and self management and goal setting. And

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Speaker 1: like I remember doing those Stedford's as well. Did you

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Speaker 1: do South Street in Balorai?

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Speaker 2: Yes, it was such a good competition. I loved it.

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Speaker 1: But we're like choosing our own eyeshadow and costumes and

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Speaker 1: music and choreography, and you get such ownership over your

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Speaker 1: direction and your It's almost like you have to find

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Speaker 1: a teacher who will be strict enough on you because

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Speaker 1: you want to have the strictest, bestest teacher. And I've

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Speaker 1: never even after I left ballet, I've never lost those

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Speaker 1: things that it taught me.

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Speaker 2: So I think you ever will. Will you then come

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Speaker 2: into life in some other way? And yeah, I really

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Speaker 2: think it's just in your blood almost totally.

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Speaker 1: So talk us through just before we get into the

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Speaker 1: professional era with the Australian Ballet. You know, before that

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Speaker 1: you mentioned shaketi, which outside of ballet is a bit

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Speaker 1: of a weird term. So to give you guys some background.

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Speaker 1: There are a few different syllabuses or methods of ballet

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Speaker 1: around the world that you train in, Shaketi and rad

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Speaker 1: probably being the main two. It's kind of like VCE

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Speaker 1: versus International Baccalaureate. For year twelve, you get to choose.

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Speaker 1: There are different levels within each they have different set

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Speaker 1: exercises in each. You have different colors of leotades, color

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Speaker 1: coded for which level you're in, and then you set

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Speaker 1: you know, you sit exams for each level as you progress,

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Speaker 1: and both of them have ballet at the bar, then

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Speaker 1: you move away from the bar into the center. Then

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Speaker 1: you progress to jumps, and this is all kind of

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Speaker 1: the structure of the ballet world before you then go professional.

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Speaker 1: So tell us about the structure of the ballet world

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Speaker 1: so that we all can kind of understand what we're

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Speaker 1: talking about.

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Speaker 2: Yeah, yeah, from three to now thirty seven, the structure

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Speaker 2: of ballet doesn't change. The challenges are very different and

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Speaker 2: it gets harder, of course, but the structure itself is

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Speaker 2: you know Plai's Tondu's and that you know, progressional bar

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Speaker 2: to then into the center. I think for me, going

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Speaker 2: back to how you were saying about the grading, the

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Speaker 2: white leotard to the pink to the dust and then

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Speaker 2: to the navy and now free for all whatever you

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Speaker 2: want to wear. You know, you're you're in a class

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Speaker 2: with everyone in those white reutards, and there's everyone in

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Speaker 2: there that has the same kind of goals or you know,

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Speaker 2: I want to be a ballerine or a ballet dancer,

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Speaker 2: and I'd never been amongst that so much like everybody

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Speaker 2: was there for that reason and wanted to do more

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Speaker 2: and wanted to get accepted into the next year level

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Speaker 2: to then I want a successfully audition for the austral

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Speaker 2: And Ballet School. So there was a real kind of

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Speaker 2: bars and energy and I think that's so important and

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Speaker 2: what we kind of lost last year doing it through

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Speaker 2: a screen. And it's always been something that's given me

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Speaker 2: that drive. Without it, I find it really hard and

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Speaker 2: kind of unmotivating. So I mean even now today with

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Speaker 2: my colleagues, it's like we bounce off each other and

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Speaker 2: I think it's that real deep understanding of what we

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Speaker 2: do day in and day out, and not many other

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Speaker 2: people probably really, which is going back to our first

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Speaker 2: question about bringing people in to understand the behind the scenes,

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Speaker 2: and maybe that's something we need to do more, and

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Speaker 2: we have started with World Ballet Day and stuff like that,

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Speaker 2: and you can see the ins and the outs of

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Speaker 2: what we do in our daily routine and kind of

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Speaker 2: really following someone, you know, through just even one day,

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Speaker 2: it gives you a slight into you know, the madness

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Speaker 2: that we are. I think that for me was, I

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Speaker 2: don't know, just really set a fire inside my ballet,

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Speaker 2: starting in the white and then progressing and just being

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Speaker 2: amongst you know, probably at that point twenty maybe twenty

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Speaker 2: one other dancers that we're all just kind of set

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Speaker 2: in their sights and something with a lot of hard

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Speaker 2: work and determination, and it just kind of builds you.

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Speaker 3: If that makes sense, Yeah, totally.

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Speaker 1: And I think one of the coolest things about that

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Speaker 1: is just there's such a global understanding in the ballet community.

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Speaker 1: Like in SHAKEETI and rad like we talked about before,

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Speaker 1: the set levels with the set exercises even has set

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Speaker 1: music that's consistent all over the world in ballet schools

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Speaker 1: that teach those levels.

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Speaker 3: So you could walk into.

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Speaker 1: A class in Paris or Tokyo not understand anything, but

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Speaker 1: you'd hear the music and you'd know what the exercise

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Speaker 1: is and it starts from like three or four. When

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Speaker 1: we started a three years old, you start doing those

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Speaker 1: first levels and then you work your way up those

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Speaker 1: levels until the idea is, you know, this is in

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Speaker 1: your home ballet school, so any ballet school you kind

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Speaker 1: of can enroll in, the idea is to go full

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Speaker 1: time after that, and then the aim from that is

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Speaker 1: to audition to get into the Australian Ballet and become

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Speaker 1: a professional. So when did you go full time? When

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Speaker 1: did you leave your home ballet school and get into

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Speaker 1: the Australian Ballet And then how did you juggle finishing school?

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Speaker 1: And that's one of the biggest parts of a ballerina

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Speaker 1: is deciding how to juggle all that.

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Speaker 2: Yeah, so I finished my school in life in secondary

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Speaker 2: college in year nine and so went straight into the

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Speaker 2: ballet school and what was my first year and we

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Speaker 2: continued year eleven in my first year and second year

389
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Speaker 2: did your equivalent to year twelve and then the third

390
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Speaker 2: year was just predominantly dancing and you went on what

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Speaker 2: they called back then the dancers Tour, it's now the

392
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Speaker 2: Regional tour. So you did follow on with your schooling

393
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Speaker 2: alongside the dancing, and they just kind of mixed it

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Speaker 2: and they still do that. Now it's important. You know,

395
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Speaker 2: you don't know each way it's kind of going to

396
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Speaker 2: go for you, so it's still important to have that

397
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Speaker 2: schooling and you know it's a juggle, but you don't

398
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Speaker 2: know any different, I don't think, because you know, I

399
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Speaker 2: was at school and we're traveling down the highway every

400
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Speaker 2: day and it's what you've always known. But yeah, it

401
00:19:46,400 --> 00:19:48,760
Speaker 2: kind of it continued for me in the ballet school

402
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Speaker 2: and you just did it alongside you're dancing, so you're

403
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Speaker 2: in the classroom for ballet and then you're in the

404
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Speaker 2: classroom for your English lessons. And that's basically just how

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Speaker 2: we did it and how we knew it. And that

406
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Speaker 2: was the three years done. And there were some of

407
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Speaker 2: my friends that then went into university, so it can

408
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Speaker 2: happen and there's ways around it. So the qualification was

409
00:20:07,960 --> 00:20:11,119
Speaker 2: still there and someone went to ballet path and some

410
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Speaker 2: went into university into the world that way.

411
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Speaker 1: Did you ever ever entertain another pathway at all in

412
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Speaker 1: those kind of formative years where you still have a

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Speaker 1: foot in both doors and there's still a chance that

414
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Speaker 1: you could do something else, Like, did you ever think

415
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Speaker 1: if I was in a ballerina I would do or

416
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Speaker 1: was it just sort of like this is only a backup.

417
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Speaker 1: I'm just finishing because I have to and I want

418
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Speaker 1: to get on stage.

419
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Speaker 2: I think if you asked my mum, I would have

420
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Speaker 2: been like, I don't want to do any more school,

421
00:20:39,840 --> 00:20:43,399
Speaker 2: but no for me. Once I kind of made the

422
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Speaker 2: decision to make ballet a more kind of I suppose

423
00:20:49,400 --> 00:20:51,399
Speaker 2: it started to take over a little bit more. It

424
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Speaker 2: was more about ballet than what it was schooling for me.

425
00:20:54,280 --> 00:20:57,320
Speaker 2: And once that's kind of started to take over, I

426
00:20:57,359 --> 00:20:59,720
Speaker 2: didn't have a plan. B I was like, this is

427
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Speaker 2: what I'm going to be. I'm going to be a ballerina,

428
00:21:02,200 --> 00:21:04,240
Speaker 2: and you know, I think it's such a funny thing.

429
00:21:04,359 --> 00:21:06,679
Speaker 2: Like as a country kid, I'd say that, you know,

430
00:21:06,840 --> 00:21:09,119
Speaker 2: to some of my teachers and they'd be like, sure,

431
00:21:09,320 --> 00:21:11,760
Speaker 2: but you still need to do schooling and textiles and

432
00:21:11,840 --> 00:21:15,600
Speaker 2: home economics, and I'm like, I don't care for it,

433
00:21:15,680 --> 00:21:19,080
Speaker 2: you know. And I even stupidly was like in French

434
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Speaker 2: class and I was like, I'm never going to need

435
00:21:21,119 --> 00:21:24,480
Speaker 2: this though, you know, And I'm like not like not

436
00:21:24,680 --> 00:21:28,280
Speaker 2: thinking about the actual relevance of the French terminology and

437
00:21:28,320 --> 00:21:31,359
Speaker 2: what we use every single day and will forever in

438
00:21:31,359 --> 00:21:34,080
Speaker 2: the ballet world. And then my first overseas trip was

439
00:21:34,119 --> 00:21:36,320
Speaker 2: to Paris, So there we go. I should have listened

440
00:21:36,359 --> 00:21:38,760
Speaker 2: to my French teacher and my mum. But yeah, for me,

441
00:21:38,960 --> 00:21:42,479
Speaker 2: once I'd made the decision to become a ballerina or

442
00:21:42,520 --> 00:21:45,480
Speaker 2: for my dreams to be a ballerina, there was nothing

443
00:21:45,480 --> 00:21:48,679
Speaker 2: else that ever came in. There was nothing I was

444
00:21:48,720 --> 00:21:51,680
Speaker 2: that passionate about. And you know, the hard thing is

445
00:21:51,760 --> 00:21:56,000
Speaker 2: that in a work sense, there is still nothing that

446
00:21:56,080 --> 00:21:59,719
Speaker 2: I can think of that I am that passionate about.

447
00:22:00,080 --> 00:22:03,200
Speaker 2: You know, it's a crazy thought, and it doesn't last forever.

448
00:22:03,760 --> 00:22:05,919
Speaker 2: And I don't think there will be a time in

449
00:22:05,920 --> 00:22:08,199
Speaker 2: my life where ballet or dance isn't a part of

450
00:22:08,200 --> 00:22:10,920
Speaker 2: what I do, whether it be watching and supporting, whether

451
00:22:10,960 --> 00:22:13,400
Speaker 2: it be going back to my dance school and teaching.

452
00:22:13,760 --> 00:22:19,000
Speaker 2: Willow does not want to do ballet. No, everyone's like gas.

453
00:22:19,359 --> 00:22:24,040
Speaker 2: She's wong and lean and like gorgeous. You know, No,

454
00:22:24,240 --> 00:22:26,600
Speaker 2: not interested at all. So there you go. I don't know,

455
00:22:26,720 --> 00:22:28,639
Speaker 2: maybe it'll be Phoenix that does it. Who knows, or

456
00:22:28,640 --> 00:22:31,800
Speaker 2: maybe neither. So crazy, Yeah.

457
00:22:31,760 --> 00:22:34,480
Speaker 1: But that's so fascinating. I mean, the whole premise of

458
00:22:34,520 --> 00:22:37,000
Speaker 1: this show is finding what makes you yay and then

459
00:22:37,080 --> 00:22:39,480
Speaker 1: learning to actually listen to that and not be swayed

460
00:22:39,920 --> 00:22:42,239
Speaker 1: too far in the direction of the should or of

461
00:22:42,240 --> 00:22:45,640
Speaker 1: what seems sensible to everyone else. And you know, as

462
00:22:45,640 --> 00:22:48,119
Speaker 1: limited as the places in the ballet world are, and

463
00:22:48,160 --> 00:22:51,400
Speaker 1: they really are at the top, you know, principal artist level,

464
00:22:51,520 --> 00:22:55,000
Speaker 1: or even even just at the very beginning levels of

465
00:22:55,040 --> 00:22:57,560
Speaker 1: being a professional, we call it the quarter ballet, which

466
00:22:57,600 --> 00:22:59,560
Speaker 1: is the body of the ballet. So that's where you

467
00:22:59,600 --> 00:23:03,600
Speaker 1: start when you first go professional. You know, as limitage

468
00:23:03,640 --> 00:23:05,840
Speaker 1: as those places are, someone has to get there. So

469
00:23:06,200 --> 00:23:08,440
Speaker 1: why shouldn't it be you? Why shouldn't you have a go?

470
00:23:09,119 --> 00:23:12,159
Speaker 1: And I love that for so many creatives and artists,

471
00:23:12,200 --> 00:23:15,520
Speaker 1: like in ballet and other professions, that passion does hit

472
00:23:15,600 --> 00:23:17,960
Speaker 1: you from a much younger age than it might for others,

473
00:23:18,359 --> 00:23:20,800
Speaker 1: which then, of course becomes very overwhelming when you do

474
00:23:20,880 --> 00:23:23,480
Speaker 1: get to the point where retirement also often happens a

475
00:23:23,480 --> 00:23:26,080
Speaker 1: lot earlier than it does in other professions.

476
00:23:26,080 --> 00:23:27,480
Speaker 3: And I mean, you're now.

477
00:23:27,720 --> 00:23:30,280
Speaker 1: Also the perfect guest to have on to talk about

478
00:23:30,280 --> 00:23:33,679
Speaker 1: how you will find another yay or you know, I

479
00:23:33,680 --> 00:23:36,520
Speaker 1: always say the why stays the same, but the how

480
00:23:36,680 --> 00:23:39,640
Speaker 1: might have to change. So it's interesting that you brought

481
00:23:39,640 --> 00:23:40,680
Speaker 1: that up early too.

482
00:23:41,480 --> 00:23:43,919
Speaker 2: Yeah, I mean, and that's the thing I think, like

483
00:23:43,960 --> 00:23:47,280
Speaker 2: you said, it does happen really early on, and I

484
00:23:47,320 --> 00:23:50,640
Speaker 2: do believe that it's gotten even earlier. There are you know,

485
00:23:51,359 --> 00:23:54,359
Speaker 2: young kids out there that have decided from such a

486
00:23:54,400 --> 00:23:57,199
Speaker 2: young age this is what they're going to do, and

487
00:23:57,240 --> 00:23:58,800
Speaker 2: you know, some of them make it, and I just

488
00:23:58,840 --> 00:24:01,960
Speaker 2: think it's incredible, and going full time a lot earlier

489
00:24:02,280 --> 00:24:06,880
Speaker 2: than what I did. So, yeah, everyone's path is very,

490
00:24:07,000 --> 00:24:10,119
Speaker 2: very different, but there's something about it that kind of

491
00:24:10,200 --> 00:24:14,200
Speaker 2: hits you, and that drive and that passion grows really

492
00:24:14,240 --> 00:24:14,800
Speaker 2: early on.

493
00:24:15,160 --> 00:24:18,960
Speaker 1: Oh I get goosebumps talking about it. So for a

494
00:24:18,960 --> 00:24:20,959
Speaker 1: lot of us who didn't end up going full time,

495
00:24:21,080 --> 00:24:22,520
Speaker 1: you know, we might have stopped when we were at

496
00:24:22,720 --> 00:24:26,720
Speaker 1: a certain level where we'd go to classes after school

497
00:24:26,960 --> 00:24:29,040
Speaker 1: then on you know, go to classes on the weekend,

498
00:24:29,280 --> 00:24:30,800
Speaker 1: your exams will be at the end of the year,

499
00:24:30,840 --> 00:24:33,320
Speaker 1: you'd have a big end of year concert, so it

500
00:24:33,359 --> 00:24:37,640
Speaker 1: worked around your kind of regular school life, and we'd

501
00:24:37,640 --> 00:24:40,480
Speaker 1: have those structured classes we talked about. Then you'd also

502
00:24:40,560 --> 00:24:43,919
Speaker 1: have open classes where the teacher or director would just

503
00:24:43,920 --> 00:24:47,240
Speaker 1: make up the exercise, and it wasn't the same structured syllabus.

504
00:24:47,520 --> 00:24:49,800
Speaker 1: You could wear whatever you want, whatever color, leota do

505
00:24:49,800 --> 00:24:52,240
Speaker 1: you wanted to those classes. Then there was also another

506
00:24:52,320 --> 00:24:54,960
Speaker 1: kind of class called repertoire, and that's when you start

507
00:24:55,040 --> 00:24:58,280
Speaker 1: learning the choreography for the roles that everyone knows of,

508
00:24:58,359 --> 00:25:01,560
Speaker 1: like the Nutcracker or Cinderella or Sleeping Beauty. You know,

509
00:25:01,600 --> 00:25:03,919
Speaker 1: that's not what you start doing when you're younger. You

510
00:25:03,960 --> 00:25:05,560
Speaker 1: do the normal classes and then you get to do

511
00:25:05,600 --> 00:25:08,320
Speaker 1: those as you get older. So when you went professional,

512
00:25:08,840 --> 00:25:12,040
Speaker 1: how did that structure change? Because obviously you usually had

513
00:25:12,040 --> 00:25:15,480
Speaker 1: finished your Shaheti or rod syllabus. Most of your classes,

514
00:25:15,520 --> 00:25:18,600
Speaker 1: I imagine, are just opened. The director teaches you whatever

515
00:25:18,600 --> 00:25:21,080
Speaker 1: they want to teach you, and you're training to do

516
00:25:21,160 --> 00:25:24,520
Speaker 1: particular ballets all the time as you're performing. So how

517
00:25:24,560 --> 00:25:26,840
Speaker 1: does your day start? You know, people don't even know

518
00:25:26,880 --> 00:25:29,399
Speaker 1: that everything is in ballet is French. Every exercise has

519
00:25:29,440 --> 00:25:32,760
Speaker 1: a French name. Every level of the ballet starts from

520
00:25:32,880 --> 00:25:35,040
Speaker 1: the quarter ballet, as we mentioned, which is the body

521
00:25:35,680 --> 00:25:37,480
Speaker 1: you know, then all the way up there's lots of

522
00:25:37,480 --> 00:25:38,520
Speaker 1: French names for the levels.

523
00:25:38,520 --> 00:25:38,800
Speaker 3: To get to.

524
00:25:38,880 --> 00:25:42,240
Speaker 1: Principal artists, yes, talk us through all of that kind

525
00:25:42,240 --> 00:25:42,960
Speaker 1: of landscape.

526
00:25:43,160 --> 00:25:46,159
Speaker 2: Yeah, so the different levels. Obviously, the quarter ballet is

527
00:25:46,200 --> 00:25:49,280
Speaker 2: the body of the company, and then you progress up

528
00:25:49,280 --> 00:25:52,159
Speaker 2: to what is called a corrife, and then we have

529
00:25:52,320 --> 00:25:55,520
Speaker 2: the soloists, senior artists, and the principal artists at the top.

530
00:25:55,920 --> 00:25:59,639
Speaker 2: And that's kind of roughly a structure that happens throughout

531
00:25:59,680 --> 00:26:02,959
Speaker 2: the world in ballet. They might have a little like

532
00:26:03,000 --> 00:26:06,520
Speaker 2: a slight difference in they might say a first souls

533
00:26:06,640 --> 00:26:09,439
Speaker 2: instead of a senior artist, but roughly that's kind of

534
00:26:09,440 --> 00:26:13,240
Speaker 2: the ranking. In Paris they call them via twal as

535
00:26:13,240 --> 00:26:15,280
Speaker 2: the principal artist, so that's kind.

536
00:26:15,119 --> 00:26:22,160
Speaker 1: Of mean stars everyone, Yeah, stars, So.

537
00:26:22,119 --> 00:26:25,880
Speaker 2: That's but basically, yeah, everywhere around the ballet world, you'll

538
00:26:25,880 --> 00:26:28,159
Speaker 2: see that kind of same structure in terms of ranking

539
00:26:28,200 --> 00:26:31,240
Speaker 2: throughout the company, but on a day to day in

540
00:26:31,320 --> 00:26:34,400
Speaker 2: terms of routine. From when we went from a student,

541
00:26:34,840 --> 00:26:37,359
Speaker 2: which was all about your class work, as you said,

542
00:26:37,400 --> 00:26:39,840
Speaker 2: you know, you'd start your ballet class, you'd have repertoire

543
00:26:39,880 --> 00:26:42,520
Speaker 2: and we'd have partador where it was when you you know,

544
00:26:42,680 --> 00:26:45,119
Speaker 2: finally got to meet with your man and he did

545
00:26:45,160 --> 00:26:47,280
Speaker 2: all the hard work and the lifting and the turning

546
00:26:47,359 --> 00:26:49,640
Speaker 2: and you know, and then you'd have the performance element,

547
00:26:49,720 --> 00:26:53,119
Speaker 2: which wasn't for me until probably we got into our

548
00:26:53,200 --> 00:26:55,119
Speaker 2: third year at the Ballet School where we got to

549
00:26:55,160 --> 00:26:57,320
Speaker 2: do a lot more of that performance element. And like

550
00:26:57,359 --> 00:26:59,760
Speaker 2: I said earlier, we went to Paris. We got invited

551
00:26:59,800 --> 00:27:03,280
Speaker 2: to the Conservatoire de Paris there and we did a

552
00:27:03,480 --> 00:27:06,320
Speaker 2: couple of shows, which is exciting. Then were my Dancers Tour.

553
00:27:06,800 --> 00:27:09,160
Speaker 2: But then there's this big switch when you get into

554
00:27:09,200 --> 00:27:12,200
Speaker 2: the company because it's all about performance, you know where

555
00:27:12,200 --> 00:27:14,640
Speaker 2: We about two hundred and eighty plus shows a year

556
00:27:14,680 --> 00:27:18,960
Speaker 2: now with the Astram Yeah, Madness and of course Sydney

557
00:27:19,040 --> 00:27:21,879
Speaker 2: almost been our second home. We do about a six

558
00:27:22,000 --> 00:27:25,400
Speaker 2: seven week stint in the April May to the November December,

559
00:27:25,920 --> 00:27:29,200
Speaker 2: and then we get to travel around Adelaide, Brisbane, We've

560
00:27:29,240 --> 00:27:32,200
Speaker 2: been to wa a few times and then of course

561
00:27:32,200 --> 00:27:36,680
Speaker 2: home in Melbourne and overseas trips. But the switch is

562
00:27:36,720 --> 00:27:39,520
Speaker 2: that you have your morning class and everyone starts at

563
00:27:39,520 --> 00:27:41,879
Speaker 2: the morning class. It's like starting the day with a coffee,

564
00:27:41,920 --> 00:27:45,120
Speaker 2: like you have to have your morning class and then

565
00:27:45,119 --> 00:27:48,200
Speaker 2: we have a fifteen minute break and then it goes

566
00:27:48,240 --> 00:27:51,400
Speaker 2: into a full day of rehearsals. So we rehearse from

567
00:27:51,440 --> 00:27:54,080
Speaker 2: twelve to two thirty. Then we have a lunch break

568
00:27:54,160 --> 00:27:56,919
Speaker 2: from two thirty to three forty five, and then the

569
00:27:57,000 --> 00:27:59,000
Speaker 2: second half of the days three forty five to six

570
00:27:58,960 --> 00:28:02,879
Speaker 2: point thirty, and that's when we're in our I guess

571
00:28:02,880 --> 00:28:05,440
Speaker 2: we can call our off season, so we're not performing,

572
00:28:05,800 --> 00:28:08,600
Speaker 2: but when we are performing, more finished at three o'clock.

573
00:28:09,080 --> 00:28:13,119
Speaker 2: And generally you're rehearsing a ballet from twelve to three,

574
00:28:13,480 --> 00:28:15,720
Speaker 2: but then doing a complete different one at night from

575
00:28:15,760 --> 00:28:18,720
Speaker 2: seven thirty to say ten o'clock at night, and people

576
00:28:18,720 --> 00:28:21,439
Speaker 2: are like, how do you remember everything? And I'm like,

577
00:28:21,640 --> 00:28:24,160
Speaker 2: I think my brain was more made for ballet and

578
00:28:24,440 --> 00:28:28,040
Speaker 2: remembering steps rather than like English and our differ friends

579
00:28:28,440 --> 00:28:30,920
Speaker 2: like that, and you just get used to it. It's

580
00:28:31,040 --> 00:28:33,359
Speaker 2: you know, it's just it's like our language, you know

581
00:28:33,359 --> 00:28:35,840
Speaker 2: what I mean. It's like I say, ton New Dairy,

582
00:28:35,880 --> 00:28:37,639
Speaker 2: aera and some other or what or what you know,

583
00:28:37,720 --> 00:28:39,760
Speaker 2: And I'm like, I know exactly what that is. So

584
00:28:40,280 --> 00:28:42,520
Speaker 2: it's just that language that you get so used to

585
00:28:42,600 --> 00:28:45,600
Speaker 2: from an early age. So yeah, the switch though, is

586
00:28:45,640 --> 00:28:49,320
Speaker 2: like it's crazy to kind of do it from student

587
00:28:49,520 --> 00:28:53,080
Speaker 2: to then working those long hours, you know, even I

588
00:28:53,120 --> 00:28:57,240
Speaker 2: mean completely talking about food, it was like lunchtime at

589
00:28:57,240 --> 00:29:00,959
Speaker 2: two thirty, like twelve o'clock is lunch. That was an

590
00:29:01,000 --> 00:29:03,040
Speaker 2: extra you know, two and a half hours. So the

591
00:29:03,200 --> 00:29:05,640
Speaker 2: juggle between kind of knowing what your body needed to

592
00:29:05,880 --> 00:29:08,840
Speaker 2: fuel your brain and to fuel your body, that was

593
00:29:08,880 --> 00:29:12,360
Speaker 2: a real switch. And like then I've not worked till

594
00:29:12,360 --> 00:29:15,520
Speaker 2: six thirty at night, so I got to do that,

595
00:29:15,640 --> 00:29:18,040
Speaker 2: you know, like I'm clocking off at five and that

596
00:29:18,160 --> 00:29:20,600
Speaker 2: might be when my call is, you know, full call

597
00:29:20,680 --> 00:29:23,840
Speaker 2: of Swan Lake. So that took a lot, and I

598
00:29:23,880 --> 00:29:25,920
Speaker 2: think too it took a lot for the body to

599
00:29:25,920 --> 00:29:28,280
Speaker 2: get used to as well. And I mean touch wood.

600
00:29:28,280 --> 00:29:32,160
Speaker 2: I've been really lucky with injuries and haven't had many

601
00:29:32,200 --> 00:29:35,680
Speaker 2: in my career, but I definitely in my earlier days

602
00:29:35,920 --> 00:29:39,240
Speaker 2: had a few nickels, and so I think that was

603
00:29:39,280 --> 00:29:42,800
Speaker 2: just the demands of performing every night, you know, and

604
00:29:43,080 --> 00:29:45,320
Speaker 2: in Sydney it's not unusual for us to do twenty

605
00:29:45,360 --> 00:29:49,000
Speaker 2: three shows in a row. So Sundays are our day

606
00:29:49,040 --> 00:29:52,680
Speaker 2: off and they're extremely precious. And that's where the glamour

607
00:29:52,720 --> 00:29:54,240
Speaker 2: comes in, where I don't really want to get out

608
00:29:54,240 --> 00:29:57,960
Speaker 2: of my jama sometimes of course, you know, I don't

609
00:29:58,000 --> 00:29:59,560
Speaker 2: want to be made up. I want to be like

610
00:30:00,400 --> 00:30:02,400
Speaker 2: very free, you know, and I want the eyelash go

611
00:30:02,520 --> 00:30:04,400
Speaker 2: off my eyes, and I just I just want to

612
00:30:04,440 --> 00:30:07,600
Speaker 2: be me and just kind of relaxed in my you know,

613
00:30:07,720 --> 00:30:11,320
Speaker 2: my trackie decks. So yeah, that switch for me, I

614
00:30:11,360 --> 00:30:14,360
Speaker 2: would say, was quite quite an adjustment.

615
00:30:14,760 --> 00:30:18,640
Speaker 1: It's so cool because I think people don't realize that you're,

616
00:30:19,120 --> 00:30:20,760
Speaker 1: well a lot of people from nine to five are

617
00:30:20,800 --> 00:30:24,920
Speaker 1: sitting down that whole time you're moving your body like

618
00:30:25,480 --> 00:30:28,720
Speaker 1: literally in the most physically grueling way. I don't think

619
00:30:28,760 --> 00:30:32,239
Speaker 1: people understand the fitness that's required for you're jumping all

620
00:30:32,280 --> 00:30:34,960
Speaker 1: the time, you're on your toes, You're every part of

621
00:30:35,000 --> 00:30:38,240
Speaker 1: your body is flexed and positioned in a particular way,

622
00:30:38,320 --> 00:30:42,160
Speaker 1: and that's so so demanding. But I also remember, at

623
00:30:42,240 --> 00:30:44,160
Speaker 1: least when I was there, there was a lot of

624
00:30:44,560 --> 00:30:47,640
Speaker 1: support starting in. We were given nutritionists even at the

625
00:30:47,680 --> 00:30:48,400
Speaker 1: ballet school.

626
00:30:48,880 --> 00:30:50,480
Speaker 2: Yeah, absolutely, and had.

627
00:30:50,320 --> 00:30:53,040
Speaker 1: A physios and pilates. I had like a bunk ankle

628
00:30:53,080 --> 00:30:54,880
Speaker 1: for a while. I went on point way too early.

629
00:30:55,040 --> 00:30:57,240
Speaker 1: I think it was like by level two and my

630
00:30:57,360 --> 00:31:01,240
Speaker 1: feet hadn't stopped growing. So sorry, that's my golden retriever.

631
00:31:02,680 --> 00:31:04,560
Speaker 1: We've got a lot of home sounds going on today.

632
00:31:05,000 --> 00:31:07,000
Speaker 2: I was like, oh my god, there's tears.

633
00:31:07,320 --> 00:31:09,400
Speaker 1: It's the best, or the tears aren't the best, but

634
00:31:09,440 --> 00:31:10,560
Speaker 1: the home noises are lovely.

635
00:31:11,480 --> 00:31:12,160
Speaker 2: This is real.

636
00:31:13,840 --> 00:31:17,560
Speaker 1: So tell us how you you know even just how

637
00:31:17,560 --> 00:31:20,200
Speaker 1: many point shoes you would go through in a day.

638
00:31:20,360 --> 00:31:22,600
Speaker 1: Like I used to have one pair and I would

639
00:31:22,640 --> 00:31:25,160
Speaker 1: sort of wear that pair until they were battered. But

640
00:31:25,360 --> 00:31:27,240
Speaker 1: you know, I got into the school and we would

641
00:31:27,600 --> 00:31:29,920
Speaker 1: we would fan girl the principal artists and follow them around.

642
00:31:29,960 --> 00:31:32,720
Speaker 1: And I've got all these shoes signed by Justin Summers

643
00:31:32,760 --> 00:31:35,600
Speaker 1: and like, how are you giving me those shoes? And

644
00:31:35,640 --> 00:31:37,640
Speaker 1: she'd be like, I've got five hundred, Like it's.

645
00:31:37,520 --> 00:31:41,480
Speaker 2: Fine, these stinky shoes in them. Well, I used to

646
00:31:41,480 --> 00:31:42,920
Speaker 2: look in the bins. That's so bad.

647
00:31:43,040 --> 00:31:46,760
Speaker 1: So did I in those chain rooms. Like you know

648
00:31:46,760 --> 00:31:49,240
Speaker 1: how there's that long corridor. Is there still that long corridor?

649
00:31:49,400 --> 00:31:51,760
Speaker 2: It's still the long corridor. It's changed a little bit,

650
00:31:51,880 --> 00:31:53,680
Speaker 2: but you know, you kind of always knew that the

651
00:31:53,760 --> 00:31:56,960
Speaker 2: company dancers were at the other end of that corridor,

652
00:31:57,080 --> 00:31:58,400
Speaker 2: and you were kind of like, I'm just going to

653
00:31:58,440 --> 00:32:01,200
Speaker 2: go to the dancers dowly and sneak around and see

654
00:32:02,960 --> 00:32:04,360
Speaker 2: how funny is that.

655
00:32:05,960 --> 00:32:08,280
Speaker 1: Is there still a point shoe room where you get fitted.

656
00:32:08,880 --> 00:32:12,200
Speaker 2: It's actually all glass. Now the Ballet Center has had

657
00:32:12,240 --> 00:32:14,600
Speaker 2: You'll have to come and visit us, you know, when

658
00:32:14,640 --> 00:32:18,080
Speaker 2: this COVID business is over. But we have this glass

659
00:32:18,120 --> 00:32:20,360
Speaker 2: point shoe room and it's amazing. They're just all out

660
00:32:20,400 --> 00:32:24,040
Speaker 2: on display and so very lucky the Strayan Vallet to

661
00:32:24,080 --> 00:32:28,360
Speaker 2: have block As, which is the dance store if people

662
00:32:28,400 --> 00:32:32,280
Speaker 2: don't know, and they are, you know, literally keeping us

663
00:32:32,320 --> 00:32:35,240
Speaker 2: on our toes. But again it comes down to kind

664
00:32:35,240 --> 00:32:37,440
Speaker 2: of your ranking as to how many pairs of pointses

665
00:32:37,480 --> 00:32:40,400
Speaker 2: you're allocated a week. But a lot of the time

666
00:32:40,520 --> 00:32:42,840
Speaker 2: you will find, like you just said, you know, you

667
00:32:42,920 --> 00:32:45,200
Speaker 2: kind of have five hundred on the go, and it's

668
00:32:45,240 --> 00:32:48,720
Speaker 2: not always. You know, you have a satin pair, which

669
00:32:48,760 --> 00:32:51,360
Speaker 2: is just your normal pair that you'll buy from a store.

670
00:32:51,920 --> 00:32:54,160
Speaker 2: You'll have a colored pair that have to be for

671
00:32:54,200 --> 00:32:57,480
Speaker 2: a contemporary season. Or we did a production called Alice's

672
00:32:57,480 --> 00:33:01,960
Speaker 2: Adventures in Wonderland and it was like Tartan pairs a

673
00:33:02,760 --> 00:33:04,880
Speaker 2: red pair of shoes because I was the Red Queen,

674
00:33:04,920 --> 00:33:08,520
Speaker 2: you know, So you have variety throughout the day. You

675
00:33:08,600 --> 00:33:10,640
Speaker 2: also have a harder pair to a softer pair, to

676
00:33:10,680 --> 00:33:13,760
Speaker 2: a this pair to that pair, so it's kind of yeah,

677
00:33:13,880 --> 00:33:16,680
Speaker 2: it's it's like a mixed bag, and it's sometimes you

678
00:33:16,760 --> 00:33:18,720
Speaker 2: just kind of, you know, dig deep and just grab

679
00:33:18,800 --> 00:33:20,440
Speaker 2: a pair and hope for the best, Like they'll be

680
00:33:20,480 --> 00:33:22,920
Speaker 2: okay for this rehearsal, but I like to have a

681
00:33:22,920 --> 00:33:26,480
Speaker 2: few on the go. Sometimes you know, you're like, oh,

682
00:33:26,600 --> 00:33:28,400
Speaker 2: they didn't feel great. I don't want to wear them.

683
00:33:28,440 --> 00:33:30,840
Speaker 2: They're a class pair, and you kind of start allocating

684
00:33:30,920 --> 00:33:34,080
Speaker 2: and you write little numbers or i don't know, messages

685
00:33:34,120 --> 00:33:38,000
Speaker 2: to yourself breathe deep for this, you know. But yeah,

686
00:33:38,040 --> 00:33:41,200
Speaker 2: so it's really dependent on you know, what rank you're in,

687
00:33:41,280 --> 00:33:44,480
Speaker 2: but also what your feet are. Like, I mean, i

688
00:33:44,560 --> 00:33:48,120
Speaker 2: kind of have quite bendy feet and so I'm pretty

689
00:33:48,360 --> 00:33:51,520
Speaker 2: kind of pretty cruisy with my shoes. But then I

690
00:33:51,560 --> 00:33:53,440
Speaker 2: can get some that I'm like, oh, they are a

691
00:33:53,440 --> 00:33:55,240
Speaker 2: bit soft for what I'm about to do. If it's

692
00:33:55,840 --> 00:33:58,800
Speaker 2: you know, wherein Bayo dare at the moment, and also

693
00:33:59,400 --> 00:34:02,440
Speaker 2: doing theme and variations, which is full classical ballet, so

694
00:34:02,920 --> 00:34:04,960
Speaker 2: I feel like I need like the perfect pair of

695
00:34:05,000 --> 00:34:07,680
Speaker 2: points used to finish off that line, not just kind

696
00:34:07,680 --> 00:34:12,360
Speaker 2: of a you know, an average shoe.

697
00:34:13,160 --> 00:34:16,120
Speaker 1: And it also for people listening ballerinas aren't always in

698
00:34:16,160 --> 00:34:18,160
Speaker 1: their point shoes, Like would you do your morning class

699
00:34:18,239 --> 00:34:18,960
Speaker 1: just in flat shoes?

700
00:34:19,120 --> 00:34:22,759
Speaker 2: We we do our bar. Actually I always have from

701
00:34:22,800 --> 00:34:26,680
Speaker 2: the very beginning warm socks. I love feeling the ground

702
00:34:26,760 --> 00:34:30,000
Speaker 2: and like really kind of warming up. But then actually

703
00:34:30,000 --> 00:34:32,359
Speaker 2: I could say, every woman in this strain ballet then

704
00:34:32,400 --> 00:34:36,920
Speaker 2: put pointses on for all of center even jumps. Really yeah, yeah,

705
00:34:37,120 --> 00:34:39,880
Speaker 2: I didn't initially, but I have grown to love it

706
00:34:39,920 --> 00:34:42,759
Speaker 2: and do it, and it's kind of become our norm.

707
00:34:42,880 --> 00:34:45,960
Speaker 2: So I suppose majority of the day now we are

708
00:34:46,360 --> 00:34:48,320
Speaker 2: you know, and I mean, no one really wants to

709
00:34:48,360 --> 00:34:50,839
Speaker 2: see your feet, so you don't really want to your

710
00:34:50,920 --> 00:34:54,960
Speaker 2: shoes because they're not pretty well, they're bruised and they're blistered,

711
00:34:55,040 --> 00:34:57,400
Speaker 2: and they're this and there that you know, how anyone

712
00:34:57,480 --> 00:34:59,000
Speaker 2: could have a foot fet is just beyond me.

713
00:34:59,160 --> 00:35:02,120
Speaker 1: But well they wouldn't go to ballerinas, that's for sure.

714
00:35:05,440 --> 00:35:06,920
Speaker 1: What do you do to your shoes? So a lot

715
00:35:07,000 --> 00:35:08,920
Speaker 1: of the time you might have seen guys in a

716
00:35:08,920 --> 00:35:11,279
Speaker 1: couple of the movies. Some things that are accurate is

717
00:35:11,320 --> 00:35:13,480
Speaker 1: that when you get a brand new point show, you

718
00:35:13,480 --> 00:35:16,080
Speaker 1: have to break it into your foot, so you'd like

719
00:35:16,160 --> 00:35:18,719
Speaker 1: bash it on the ground a little bit or to

720
00:35:18,880 --> 00:35:20,759
Speaker 1: protect the satin at the top. You might get like

721
00:35:20,800 --> 00:35:23,640
Speaker 1: a rubber tip. Some of them only have elastic, some

722
00:35:23,680 --> 00:35:26,800
Speaker 1: of them have ribbons. Like what's your preference and ritual.

723
00:35:27,120 --> 00:35:29,759
Speaker 2: I'm pretty basic. I have to say a lot of

724
00:35:29,800 --> 00:35:32,440
Speaker 2: the women down their shoes, so give the kind of

725
00:35:32,520 --> 00:35:35,880
Speaker 2: the tip of the shoe a bit more support. It

726
00:35:36,000 --> 00:35:38,759
Speaker 2: also makes them last a little bit longer. It's a

727
00:35:38,760 --> 00:35:42,279
Speaker 2: lot of effort, though. I'm kind of just I'm a

728
00:35:42,320 --> 00:35:45,319
Speaker 2: classic kind of ribbon and elastic on my heel, so

729
00:35:45,400 --> 00:35:48,000
Speaker 2: I don't have that fear of, you know, my heel

730
00:35:48,080 --> 00:35:51,480
Speaker 2: slipping off on stage. But I do kind of get

731
00:35:51,520 --> 00:35:53,239
Speaker 2: them and give them a bit of a bend and

732
00:35:53,280 --> 00:35:55,560
Speaker 2: a bit of a smush with my heel and stamp.

733
00:35:56,360 --> 00:35:58,200
Speaker 2: Some people shove them in the door and give them

734
00:35:58,200 --> 00:36:02,400
Speaker 2: a good squash. Yeah, you know, it's so individual, and

735
00:36:03,120 --> 00:36:05,360
Speaker 2: you know, everyone's like, oh, they're so beautiful, and we

736
00:36:05,360 --> 00:36:08,560
Speaker 2: get them out and we're like crack bang, cut, slice dice,

737
00:36:08,640 --> 00:36:12,279
Speaker 2: you know. So yeah, do you slice the soal sometimes

738
00:36:12,320 --> 00:36:14,160
Speaker 2: and then shave the bottom of them if you want

739
00:36:14,160 --> 00:36:19,160
Speaker 2: that little less kind of wobbliness. But yeah, I'm pretty

740
00:36:19,640 --> 00:36:22,080
Speaker 2: cruisy with my shoe. I don't get too. It's probably

741
00:36:22,160 --> 00:36:25,320
Speaker 2: one of the things I don't get a bit crazy over. Yeah,

742
00:36:26,160 --> 00:36:29,040
Speaker 2: there's many other things I do, but I do I'm

743
00:36:29,120 --> 00:36:31,480
Speaker 2: kind of like, no, it'll be good, it'll be great.

744
00:36:31,600 --> 00:36:33,120
Speaker 2: Give it a bit of a bend and a twist

745
00:36:33,160 --> 00:36:35,719
Speaker 2: and a stump, and so my ribbons and elastics and

746
00:36:35,760 --> 00:36:36,600
Speaker 2: that's about all I do.

747
00:36:36,800 --> 00:36:39,080
Speaker 1: So, and how do you protect your toes? So this

748
00:36:39,160 --> 00:36:41,200
Speaker 1: is the other thing. People I think assume that you

749
00:36:41,239 --> 00:36:42,719
Speaker 1: just put your foot straight in and then you're on

750
00:36:43,120 --> 00:36:45,120
Speaker 1: your toes for the whole of some one like for example.

751
00:36:45,160 --> 00:36:46,880
Speaker 3: But usually the toes.

752
00:36:46,640 --> 00:36:49,600
Speaker 1: Are wrapped like they're what are those slip things that.

753
00:36:49,760 --> 00:36:51,759
Speaker 2: We used to call them toe condoms?

754
00:36:54,080 --> 00:36:56,640
Speaker 3: Okay, because I'm much.

755
00:36:56,560 --> 00:37:00,400
Speaker 2: Better term now for those maybe toe jellies or something

756
00:37:00,400 --> 00:37:04,920
Speaker 2: like that. The names we come up with. I actually

757
00:37:04,960 --> 00:37:07,960
Speaker 2: this might surprise you, but I wear nothing, absolutely nothing.

758
00:37:08,239 --> 00:37:09,880
Speaker 2: I'm hardcore to the bone.

759
00:37:10,000 --> 00:37:14,480
Speaker 1: You a, oh my gosh, your feet must be the strongest.

760
00:37:13,880 --> 00:37:20,040
Speaker 2: And the ugliest. Yeah, it's a lose lose situation. I think. No,

761
00:37:20,160 --> 00:37:23,080
Speaker 2: I don't wear anything, but I did initially. You know,

762
00:37:23,080 --> 00:37:25,880
Speaker 2: when you start, it's like your feet have no idea

763
00:37:26,440 --> 00:37:28,680
Speaker 2: the road they're about to go down. You know, you

764
00:37:29,200 --> 00:37:31,839
Speaker 2: just kind of fantasize about being on your toes all

765
00:37:31,920 --> 00:37:35,719
Speaker 2: day long, little do you know. It's hardcore and it's

766
00:37:35,760 --> 00:37:38,239
Speaker 2: painful at times. And like you just said, Swan Lake,

767
00:37:38,280 --> 00:37:41,279
Speaker 2: it's like Bouret's, which is literally on your toes. You

768
00:37:41,320 --> 00:37:45,000
Speaker 2: don't come down for the whole ballet. But yeah, I

769
00:37:45,080 --> 00:37:48,040
Speaker 2: used to wear cotton wool, and then I kind of

770
00:37:48,080 --> 00:37:50,640
Speaker 2: got over the cotton wall and I'd band aid every

771
00:37:50,680 --> 00:37:53,920
Speaker 2: single toe and then I would only band aid when

772
00:37:53,920 --> 00:37:56,120
Speaker 2: I got a blister. And then it became I'm not

773
00:37:56,160 --> 00:37:58,799
Speaker 2: wearing anything, and it was so much less hassle. Taking

774
00:37:58,840 --> 00:38:02,800
Speaker 2: every band aid off every night was just those little

775
00:38:02,840 --> 00:38:07,080
Speaker 2: toe hairs and like haha. So yeah, then I just

776
00:38:07,640 --> 00:38:09,520
Speaker 2: I became like, oh, I'm not going to wear anything,

777
00:38:09,560 --> 00:38:11,600
Speaker 2: and it's kind of been that way ever since. And

778
00:38:11,640 --> 00:38:14,880
Speaker 2: it's again, it's so individual. Some people wear chucks, you know,

779
00:38:14,920 --> 00:38:16,000
Speaker 2: what you clean your dishes with.

780
00:38:16,320 --> 00:38:18,920
Speaker 3: I remember people do see.

781
00:38:18,800 --> 00:38:21,200
Speaker 2: Kind of blue or green or whatever kind of hanging

782
00:38:21,200 --> 00:38:24,080
Speaker 2: out at the top of them point you we do

783
00:38:24,200 --> 00:38:26,840
Speaker 2: some really random things and this is it, right, This

784
00:38:26,960 --> 00:38:29,120
Speaker 2: is like the stuff that people want to see and

785
00:38:29,160 --> 00:38:31,000
Speaker 2: want to know and kind of maybe a little bit

786
00:38:31,040 --> 00:38:35,360
Speaker 2: gobsnacked by yeah, I mean the beauty of ballet certainly

787
00:38:35,360 --> 00:38:37,399
Speaker 2: not at our feet, that's for sure. But what we

788
00:38:37,560 --> 00:38:40,120
Speaker 2: do and then and then can do and show you

789
00:38:40,200 --> 00:38:43,359
Speaker 2: on stage is the beauty of it. But oh, that's

790
00:38:43,360 --> 00:38:44,160
Speaker 2: a little gross.

791
00:38:44,760 --> 00:38:47,600
Speaker 1: Well that was my next question, back to the misconceptions

792
00:38:47,600 --> 00:38:50,080
Speaker 1: from Black Swan and Center Stage. So before we get

793
00:38:50,080 --> 00:38:52,240
Speaker 1: to the glam where we talk about your favorite roles

794
00:38:52,239 --> 00:38:55,440
Speaker 1: and your favorite costumes and your favorite headdresses, what are

795
00:38:55,480 --> 00:38:58,680
Speaker 1: some other weird things like the Chucks wipes that people

796
00:38:59,200 --> 00:39:02,560
Speaker 1: wouldn't know, all things that people assume that aren't actually

797
00:39:02,960 --> 00:39:04,000
Speaker 1: true in real life.

798
00:39:04,080 --> 00:39:05,880
Speaker 2: Well, I mean, I don't know whether you agree, but

799
00:39:06,120 --> 00:39:09,760
Speaker 2: like black Swan and he's known for you know, quite

800
00:39:09,840 --> 00:39:14,800
Speaker 2: extreme out their movies, Like there was some things in there,

801
00:39:14,840 --> 00:39:17,239
Speaker 2: like the picking of your fingernails, but I mean I

802
00:39:17,280 --> 00:39:20,880
Speaker 2: don't peel it down so much that my f and bleeding.

803
00:39:21,000 --> 00:39:26,799
Speaker 2: But there are I suppose nervous like nervous energy, you know,

804
00:39:26,840 --> 00:39:29,279
Speaker 2: and it might be a picking of a fingernail. Or

805
00:39:30,200 --> 00:39:33,800
Speaker 2: people have stands, you know, like how they stand, you know, waiting,

806
00:39:33,880 --> 00:39:36,080
Speaker 2: it's like hands on hips is a real one to

807
00:39:36,800 --> 00:39:39,839
Speaker 2: or there's a you know, like tennis players. We watched

808
00:39:39,840 --> 00:39:43,239
Speaker 2: tennis players about how they do something. And I have

809
00:39:43,320 --> 00:39:46,640
Speaker 2: a real structured routine before I go on stage because

810
00:39:46,719 --> 00:39:50,520
Speaker 2: for me, that keeps my nervous energy. I suppose at

811
00:39:50,560 --> 00:39:53,680
Speaker 2: bay and my head really calm, because for me, it's

812
00:39:53,760 --> 00:39:57,400
Speaker 2: really been it's been a mental struggle for me in

813
00:39:57,440 --> 00:40:00,880
Speaker 2: the ballet world. It's always been more my my mental

814
00:40:00,960 --> 00:40:05,360
Speaker 2: strength and power to my physical that being my real challenge.

815
00:40:05,440 --> 00:40:08,440
Speaker 2: So if I do these kind of things, like I

816
00:40:08,480 --> 00:40:11,160
Speaker 2: always have the same routine what I do on dress rehearsal,

817
00:40:11,160 --> 00:40:13,920
Speaker 2: which is the night before opening sticks for the whole show.

818
00:40:14,440 --> 00:40:17,040
Speaker 2: So if I practice that in that spot, I'm giving

819
00:40:17,080 --> 00:40:18,560
Speaker 2: away all my crazinesspects.

820
00:40:18,640 --> 00:40:20,680
Speaker 3: No, this is amazing, This is the best bit.

821
00:40:21,960 --> 00:40:23,759
Speaker 2: If I did that in that spot and I did

822
00:40:23,800 --> 00:40:26,440
Speaker 2: it that many times, or you know, like just simple

823
00:40:26,480 --> 00:40:29,040
Speaker 2: things like we have a ballet bar to warm up

824
00:40:29,080 --> 00:40:31,719
Speaker 2: at night, and so that goes from generally it goes

825
00:40:31,719 --> 00:40:33,960
Speaker 2: from six point thirty to seven o'clock and then we

826
00:40:34,000 --> 00:40:37,120
Speaker 2: have half an hour before curtain up, which then means

827
00:40:37,239 --> 00:40:39,880
Speaker 2: you have that time to do you nervous we and

828
00:40:40,080 --> 00:40:42,200
Speaker 2: put your head piece on, and put your lipstick on,

829
00:40:42,320 --> 00:40:45,520
Speaker 2: put your perfume, put my shoes on to to that

830
00:40:45,560 --> 00:40:48,200
Speaker 2: gets done up, I walk to the stage rosin box,

831
00:40:48,280 --> 00:40:52,560
Speaker 2: which is it's like a grip for your heels, I suppose,

832
00:40:52,640 --> 00:40:55,160
Speaker 2: So that's that extra security as well as wearing the

833
00:40:55,160 --> 00:40:58,560
Speaker 2: elastics on my point shoes. And then I always have

834
00:40:58,640 --> 00:41:01,440
Speaker 2: to stand in a fifth position on my toes and

835
00:41:01,560 --> 00:41:05,160
Speaker 2: just kind of center myself and just be calm, you know,

836
00:41:05,239 --> 00:41:10,080
Speaker 2: so that devil doesn't keep talking, and then I feel

837
00:41:10,160 --> 00:41:13,520
Speaker 2: kind of ready to go on. So I and everybody

838
00:41:13,600 --> 00:41:17,279
Speaker 2: has their little their little things that they do, and

839
00:41:17,760 --> 00:41:19,760
Speaker 2: I suppose you don't really pick up on them until

840
00:41:19,800 --> 00:41:22,319
Speaker 2: it becomes you know, day in and day out, and

841
00:41:22,320 --> 00:41:24,839
Speaker 2: you're like, oh, okay, so I've got some things I do, right,

842
00:41:27,960 --> 00:41:30,320
Speaker 2: lax one. I think it had some that were I

843
00:41:30,360 --> 00:41:34,719
Speaker 2: would say absolutely like there is you know, that kind

844
00:41:34,760 --> 00:41:37,480
Speaker 2: of thing, and there's the injury. It was just so heightened,

845
00:41:37,600 --> 00:41:40,040
Speaker 2: like it's never that again. But there's blood and there's

846
00:41:40,080 --> 00:41:44,640
Speaker 2: sweat and tears and all of that. Send usage the same,

847
00:41:44,840 --> 00:41:46,480
Speaker 2: you know, just I don't.

848
00:41:46,320 --> 00:41:47,719
Speaker 3: Know less Hollywood.

849
00:41:48,160 --> 00:41:49,920
Speaker 2: Yeah, totally.

850
00:41:52,800 --> 00:41:56,200
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851
00:41:56,320 --> 00:41:59,160
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852
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866
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Speaker 1: other ossies who are already getting cash rewards, and exclusively

867
00:42:49,920 --> 00:42:53,000
Speaker 1: for the Neighborhood, you can get a twenty dollars cash

868
00:42:53,040 --> 00:42:56,800
Speaker 1: bonus simply for signing up and shopping within thirty days

869
00:42:57,120 --> 00:43:02,839
Speaker 1: when you use the code yay link in show notes. Now,

870
00:43:05,239 --> 00:43:09,600
Speaker 1: what has been your favorite role ever to dance? M

871
00:43:10,280 --> 00:43:15,960
Speaker 1: favorite costume, hardest role, favorite. I'll say these again, but

872
00:43:16,040 --> 00:43:18,319
Speaker 1: I just want to say them are now favorite part

873
00:43:18,360 --> 00:43:21,080
Speaker 1: of dr and have you done any with Jared and

874
00:43:21,200 --> 00:43:23,719
Speaker 1: any falls or wardrobe mishaps?

875
00:43:24,880 --> 00:43:28,920
Speaker 2: So many? You know what, it's really hard when someone

876
00:43:29,040 --> 00:43:34,319
Speaker 2: asked what your favorite role was or like why it was.

877
00:43:34,400 --> 00:43:37,840
Speaker 2: And it's so different depending on where you are in life,

878
00:43:37,880 --> 00:43:41,400
Speaker 2: in your career the time that that opportunity is given

879
00:43:41,400 --> 00:43:44,000
Speaker 2: to you. And one off the top of my head

880
00:43:44,080 --> 00:43:46,400
Speaker 2: is Harnah in The Merry Widow and I was given

881
00:43:46,480 --> 00:43:48,799
Speaker 2: that opportunity kind of early on. I believe I was

882
00:43:48,840 --> 00:43:52,280
Speaker 2: a soloist still, but then I was given it again

883
00:43:52,480 --> 00:43:56,440
Speaker 2: in twenty eighteen, so very different points in my career

884
00:43:56,520 --> 00:44:00,520
Speaker 2: in life, and so I think that's that one is

885
00:44:00,560 --> 00:44:03,600
Speaker 2: special for so many different reasons and it's a beautiful

886
00:44:03,640 --> 00:44:07,359
Speaker 2: ballet and I had amazing partners, very special times, so

887
00:44:07,560 --> 00:44:10,719
Speaker 2: that one whenever someone says to me, what is it,

888
00:44:10,880 --> 00:44:14,160
Speaker 2: that one comes to mind. But then I had two

889
00:44:14,200 --> 00:44:18,880
Speaker 2: incredible shows of my I debuted as Aurora, which is

890
00:44:18,920 --> 00:44:25,600
Speaker 2: in Sleeping Beauty and you know, as you know, that's

891
00:44:25,719 --> 00:44:28,680
Speaker 2: like bucket list kind of ballerina role, you know, it's

892
00:44:28,719 --> 00:44:31,640
Speaker 2: that one that I think everyone dreams of doing. And

893
00:44:31,920 --> 00:44:35,640
Speaker 2: I was fortunate enough to graduate on that part of

894
00:44:35,640 --> 00:44:38,000
Speaker 2: a dr and so we were on the State bit

895
00:44:38,080 --> 00:44:42,080
Speaker 2: A stage in Melbourne, seriously, like I think, the best

896
00:44:42,120 --> 00:44:46,040
Speaker 2: theater in the world, and I performed only the grand

897
00:44:46,080 --> 00:44:49,600
Speaker 2: part A Dur And then sixteen years later I got

898
00:44:49,600 --> 00:44:51,759
Speaker 2: to perform the three act Ballet and it was my

899
00:44:51,880 --> 00:44:56,160
Speaker 2: debut again at the State Theater. So again, for different reasons,

900
00:44:56,280 --> 00:44:58,920
Speaker 2: it was like it had come a full circle and

901
00:44:59,000 --> 00:45:01,160
Speaker 2: I was a very different as a senior artist, and

902
00:45:01,960 --> 00:45:04,480
Speaker 2: you know, I was doing it amongst my colleagues, who

903
00:45:04,920 --> 00:45:09,840
Speaker 2: you know, are incredibly supportive, and so that was a

904
00:45:09,840 --> 00:45:13,880
Speaker 2: pretty magical time. And also two shows that oddly I

905
00:45:14,080 --> 00:45:17,479
Speaker 2: was not nervous for, which never happens. And I don't

906
00:45:17,480 --> 00:45:19,160
Speaker 2: know what it was about that. I don't know whether

907
00:45:19,160 --> 00:45:21,200
Speaker 2: it was like I'd waited so long to do this

908
00:45:21,800 --> 00:45:23,799
Speaker 2: and finally my moment had come and I was like,

909
00:45:23,880 --> 00:45:29,120
Speaker 2: you've got nothing to lose, only to gain, So costume wise,

910
00:45:29,640 --> 00:45:31,359
Speaker 2: I don't know what you would You would have seen

911
00:45:31,400 --> 00:45:34,280
Speaker 2: it in Supia, writes Nutcracker, the mother and the beautiful

912
00:45:34,360 --> 00:45:37,120
Speaker 2: red gown and she has this wig on and these

913
00:45:37,200 --> 00:45:40,600
Speaker 2: jewels and it's like, oh my god, that is my

914
00:45:40,600 --> 00:45:43,279
Speaker 2: favorite role and just a walk on role. But it's

915
00:45:43,320 --> 00:45:44,839
Speaker 2: a mom, and of course I've done it at different

916
00:45:44,880 --> 00:45:47,960
Speaker 2: points in my career, but everyone fights over everyone's kind

917
00:45:47,960 --> 00:45:50,319
Speaker 2: of like for Mom, like I want to be put

918
00:45:50,360 --> 00:45:53,759
Speaker 2: down for Mom. This role is amazing, and I think

919
00:45:53,760 --> 00:45:56,960
Speaker 2: it's because of the costume. It's absolutely divine and I

920
00:45:57,000 --> 00:46:00,880
Speaker 2: think very very expensive, so and you feel fansip wearing it.

921
00:46:01,920 --> 00:46:04,640
Speaker 1: I think there's actually a doco about the costume department. Yes,

922
00:46:04,719 --> 00:46:06,640
Speaker 1: it is extraordinary.

923
00:46:06,760 --> 00:46:11,719
Speaker 2: Absolutely, we are so lucky, like each single costume is

924
00:46:11,960 --> 00:46:16,360
Speaker 2: made and fitted to you and the detail. And I

925
00:46:16,400 --> 00:46:19,479
Speaker 2: think if anyone out there, ever, you know, goes onto

926
00:46:19,520 --> 00:46:22,040
Speaker 2: the website and sees is that there is a tour

927
00:46:22,600 --> 00:46:25,640
Speaker 2: eva at the Ballet Center or at Atona where all

928
00:46:25,680 --> 00:46:28,120
Speaker 2: of our sets are stored, go and do it. It's

929
00:46:28,239 --> 00:46:32,080
Speaker 2: absolute logic. It's really even for us. We see them

930
00:46:32,080 --> 00:46:33,920
Speaker 2: on the stage. But we went out to Altona and

931
00:46:33,920 --> 00:46:36,560
Speaker 2: we're like, oh my god, everything just there in this

932
00:46:36,600 --> 00:46:41,480
Speaker 2: big warehouse and lines of costumes incredible. So we're very

933
00:46:41,680 --> 00:46:47,240
Speaker 2: we're very spoiled actually, and oh my goodness, stack Wise,

934
00:46:47,280 --> 00:46:49,480
Speaker 2: I was actually just talking to a dear friend about

935
00:46:49,520 --> 00:46:52,040
Speaker 2: this one yesterday at work and we were doing don

936
00:46:52,160 --> 00:46:56,800
Speaker 2: Quot and we have Gypsy dresses that are floor length

937
00:46:56,880 --> 00:47:00,239
Speaker 2: and in character shoes, and we're doing a shimmy and

938
00:47:00,440 --> 00:47:03,640
Speaker 2: I shimmied back, but as I shimmied back, I stood

939
00:47:03,640 --> 00:47:07,200
Speaker 2: on my skirt, so I got lower and lower to

940
00:47:07,239 --> 00:47:11,000
Speaker 2: the ground and just felll to the ground and I

941
00:47:11,040 --> 00:47:14,200
Speaker 2: could not hold it in. It was so bad. That

942
00:47:14,280 --> 00:47:16,239
Speaker 2: was the end of the dance. We ran off and

943
00:47:16,320 --> 00:47:19,120
Speaker 2: I was in the change room crying with laughter. It

944
00:47:19,160 --> 00:47:21,239
Speaker 2: wasn't one that I was upset about. I was just

945
00:47:21,400 --> 00:47:24,000
Speaker 2: crying with laughter. It was so funny. And I was

946
00:47:24,000 --> 00:47:26,360
Speaker 2: at the front, so all the girls saw me behind.

947
00:47:26,560 --> 00:47:29,040
Speaker 2: So that was one that was a funny one. But

948
00:47:29,080 --> 00:47:31,520
Speaker 2: I've had many that have not been so funny, where

949
00:47:31,520 --> 00:47:36,000
Speaker 2: I've kind of ugly cried in the shower and I

950
00:47:36,040 --> 00:47:38,759
Speaker 2: had to kind of pull myself together. And you know,

951
00:47:39,400 --> 00:47:42,520
Speaker 2: but I think as bad as it is, or maybe

952
00:47:42,560 --> 00:47:45,120
Speaker 2: as hard as it is for you as an artist

953
00:47:45,200 --> 00:47:48,960
Speaker 2: to kind of have those moments, it really makes it

954
00:47:48,960 --> 00:47:51,400
Speaker 2: seem so real for the audience. You know, it's like

955
00:47:51,560 --> 00:47:55,160
Speaker 2: we're just human beings and we have our nights where

956
00:47:55,160 --> 00:47:57,719
Speaker 2: some things just go wrong and it's out of our control,

957
00:47:57,800 --> 00:48:01,319
Speaker 2: and you know, your ribbon hopefully not but your river

958
00:48:01,440 --> 00:48:04,960
Speaker 2: might come off, or you might slip on stage, and

959
00:48:05,280 --> 00:48:08,239
Speaker 2: you know, we rehearse and rehearse and rehearse, but there's

960
00:48:08,280 --> 00:48:12,200
Speaker 2: always a nervous energy or just that little extra that

961
00:48:12,280 --> 00:48:15,120
Speaker 2: comes into a performance. And you know, you know that

962
00:48:15,400 --> 00:48:19,160
Speaker 2: you're perform into a theater of a thousand or six

963
00:48:19,239 --> 00:48:21,480
Speaker 2: hundred or two. It doesn't matter whether it's a Saturday

964
00:48:21,480 --> 00:48:24,480
Speaker 2: matinee or it's a Saturday night. You're giving it. You're

965
00:48:24,560 --> 00:48:27,160
Speaker 2: all And so I think you put yourself naturally in

966
00:48:27,200 --> 00:48:30,120
Speaker 2: a bit of a vulnerable kind of state anyway, and

967
00:48:30,160 --> 00:48:32,600
Speaker 2: so when those things happen, it is disappointing for you

968
00:48:32,680 --> 00:48:36,319
Speaker 2: and it's kind of it's hard to swallow, but it

969
00:48:36,400 --> 00:48:39,200
Speaker 2: really I think just you know, makes everyone realize just

970
00:48:39,320 --> 00:48:42,280
Speaker 2: that we are humans and things happen and it's a okay.

971
00:48:42,320 --> 00:48:44,200
Speaker 2: And you can be at your top of your game

972
00:48:44,239 --> 00:48:46,360
Speaker 2: and still have those moments. They're not going to go

973
00:48:46,400 --> 00:48:49,120
Speaker 2: away just because you're at the top. But yeah, you

974
00:48:49,200 --> 00:48:53,120
Speaker 2: laugh about them in years to come, but not not

975
00:48:53,239 --> 00:48:55,000
Speaker 2: at the time, not so much at the time when

976
00:48:55,000 --> 00:48:56,640
Speaker 2: you just want to ugly cry in the floor to

977
00:48:56,680 --> 00:48:59,960
Speaker 2: just swallow you up and exit the star.

978
00:49:00,440 --> 00:49:04,239
Speaker 1: So, oh my gosh, I could keep thinking your brain

979
00:49:04,239 --> 00:49:05,160
Speaker 1: about this for so long.

980
00:49:05,200 --> 00:49:06,880
Speaker 3: I'm just so interested.

981
00:49:07,440 --> 00:49:10,640
Speaker 1: But moving to the next section, which obviously I've already

982
00:49:10,800 --> 00:49:13,120
Speaker 1: run the first one way over time. The next one

983
00:49:13,160 --> 00:49:15,680
Speaker 1: is Nata, which is some of the challenges and more

984
00:49:15,680 --> 00:49:18,000
Speaker 1: of the human side that again often doesn't I mean,

985
00:49:18,040 --> 00:49:19,560
Speaker 1: when we see the performance, you don't see all the

986
00:49:19,600 --> 00:49:24,200
Speaker 1: rehearsals and the hours of grueling training and injury and

987
00:49:24,400 --> 00:49:27,080
Speaker 1: managing your energy levels and nutrition, and you're on the

988
00:49:27,120 --> 00:49:29,600
Speaker 1: road all the time you're traveling, and then of course

989
00:49:29,719 --> 00:49:32,000
Speaker 1: adding motherhood to the mix, and then coming back to

990
00:49:32,040 --> 00:49:34,960
Speaker 1: ballet when your body has literally pushed out to humans.

991
00:49:35,400 --> 00:49:38,160
Speaker 1: I can imagine that was like, how does my body

992
00:49:38,200 --> 00:49:41,120
Speaker 1: work now? And you mentioned the devil in your mind

993
00:49:41,160 --> 00:49:43,680
Speaker 1: a couple of times before you go on stage. What

994
00:49:43,840 --> 00:49:45,960
Speaker 1: have been some of the biggest challenges for you and

995
00:49:46,040 --> 00:49:47,640
Speaker 1: how have you managed them?

996
00:49:47,960 --> 00:49:51,880
Speaker 2: Yeah? So, I mean I think only naturally, your ride

997
00:49:51,960 --> 00:49:54,600
Speaker 2: is going to be a bit bumpy, and some people

998
00:49:54,719 --> 00:49:58,279
Speaker 2: have that longer than others. And I feel for me,

999
00:49:58,480 --> 00:50:01,720
Speaker 2: probably in my first probably seven years in the company,

1000
00:50:02,000 --> 00:50:04,920
Speaker 2: I was throwing a lot of challenges. I had a

1001
00:50:04,960 --> 00:50:09,080
Speaker 2: few little niggles which set me back, but then casting

1002
00:50:09,160 --> 00:50:11,239
Speaker 2: becomes a really big thing. As well, and when you're

1003
00:50:11,239 --> 00:50:13,799
Speaker 2: not cast, the mind starts to, you know, kind of

1004
00:50:13,840 --> 00:50:18,680
Speaker 2: wonder why. And I found it really challenging those kind

1005
00:50:18,680 --> 00:50:21,959
Speaker 2: of first seven years in the company, and I put

1006
00:50:21,960 --> 00:50:25,759
Speaker 2: on weight as well. I was just so unhappy. You know,

1007
00:50:25,960 --> 00:50:29,040
Speaker 2: ballet art is just it's visual. I don't want to

1008
00:50:29,040 --> 00:50:30,879
Speaker 2: say it's all about what you look like, but there's

1009
00:50:30,920 --> 00:50:34,319
Speaker 2: a certain element to what you look like and how

1010
00:50:34,400 --> 00:50:37,839
Speaker 2: you perform and how you perfect your technique and how

1011
00:50:37,880 --> 00:50:41,560
Speaker 2: you execute things. And it's a lot on the individual.

1012
00:50:41,719 --> 00:50:46,120
Speaker 2: You know, you do your nitpick actually yourself and everything

1013
00:50:46,160 --> 00:50:48,680
Speaker 2: about yourself, and you're in front of a mirror every day.

1014
00:50:48,840 --> 00:50:51,839
Speaker 2: So I went through, yeah, a bit of a rough

1015
00:50:51,880 --> 00:50:55,040
Speaker 2: period there. If you had asked me, I think I

1016
00:50:55,040 --> 00:50:56,600
Speaker 2: was talking to my mum about this. If you had

1017
00:50:56,640 --> 00:50:59,279
Speaker 2: to asked me, probably two years in whether I would

1018
00:50:59,280 --> 00:51:01,920
Speaker 2: make it to twenty, I would have said, hell no,

1019
00:51:02,840 --> 00:51:06,759
Speaker 2: like absolutely not, because I think there were times there

1020
00:51:06,800 --> 00:51:08,960
Speaker 2: where even my mum, you know, I should get that

1021
00:51:09,120 --> 00:51:14,000
Speaker 2: phone call in Sydney onto a howling, you know, and

1022
00:51:14,040 --> 00:51:16,319
Speaker 2: that's tough for her to kind of hear that and

1023
00:51:16,480 --> 00:51:21,720
Speaker 2: know that that was my dream to go down this path.

1024
00:51:21,840 --> 00:51:25,520
Speaker 2: But it just the path had gotten a little bit rocky,

1025
00:51:26,160 --> 00:51:29,080
Speaker 2: or you know, hurdles were put in place. But the

1026
00:51:29,200 --> 00:51:32,239
Speaker 2: crazy thing is, as much as my mind plays on

1027
00:51:32,320 --> 00:51:34,719
Speaker 2: me a lot, I think I'm quite strong and determined

1028
00:51:34,760 --> 00:51:38,240
Speaker 2: in that respect. And I was talking to a teacher

1029
00:51:38,360 --> 00:51:42,200
Speaker 2: or a coach very early on about there's the fir

1030
00:51:42,360 --> 00:51:45,560
Speaker 2: inside you, and I think you'll know when it goes out,

1031
00:51:45,640 --> 00:51:47,960
Speaker 2: but when it doesn't go out, there's still a fight.

1032
00:51:48,880 --> 00:51:52,800
Speaker 2: And I've always, i think, remained kind of that fire

1033
00:51:52,840 --> 00:51:57,440
Speaker 2: in my belly and I now known like now that

1034
00:51:57,480 --> 00:52:00,360
Speaker 2: if I had probably finished after two years, I wouldn't

1035
00:52:00,360 --> 00:52:03,080
Speaker 2: still be dancing. There was just no way that I

1036
00:52:03,160 --> 00:52:07,600
Speaker 2: had that confidence to potentially go somewhere else within Australia

1037
00:52:07,960 --> 00:52:11,759
Speaker 2: audition overseas. So it was really worth it. It was

1038
00:52:11,800 --> 00:52:14,839
Speaker 2: worth the fight. And then, you know, kind of strangely,

1039
00:52:14,920 --> 00:52:18,200
Speaker 2: I had a lot of repetitors or choreographers come from

1040
00:52:18,239 --> 00:52:20,799
Speaker 2: the outside inn and they were the ones that gave

1041
00:52:20,880 --> 00:52:24,560
Speaker 2: me the opportunities, which is amazing. And I fell in

1042
00:52:24,600 --> 00:52:29,520
Speaker 2: love too, but that changed everything as well, and I

1043
00:52:29,600 --> 00:52:32,840
Speaker 2: was just a lot happier and I was doing work

1044
00:52:32,880 --> 00:52:35,440
Speaker 2: that I wanted to do. You know, when you're not

1045
00:52:35,480 --> 00:52:38,120
Speaker 2: in a season, you have to fill your days in

1046
00:52:38,480 --> 00:52:40,600
Speaker 2: and it's hard because all you want to do is

1047
00:52:40,680 --> 00:52:42,799
Speaker 2: just be dancing and you know, kind of doing what

1048
00:52:42,840 --> 00:52:45,560
Speaker 2: you're paid for and entertaining. And when that doesn't happen,

1049
00:52:45,560 --> 00:52:47,120
Speaker 2: you're kind of like, well, what do I do? Like

1050
00:52:47,239 --> 00:52:49,680
Speaker 2: I had an answer, but I've got to find something

1051
00:52:49,680 --> 00:52:50,880
Speaker 2: else to do, and it's like you can go and

1052
00:52:50,920 --> 00:52:53,240
Speaker 2: get another job. You just have to fill your days

1053
00:52:53,280 --> 00:52:56,360
Speaker 2: with pilates and gym and that didn't fulfill me. So

1054
00:52:56,400 --> 00:52:58,720
Speaker 2: that's why that period was hard. But yeah, and then

1055
00:52:58,960 --> 00:53:02,400
Speaker 2: I think just kind of everything kind of came together

1056
00:53:02,560 --> 00:53:05,160
Speaker 2: around that kind of nine year mark and I got

1057
00:53:05,160 --> 00:53:08,520
Speaker 2: promoted to corrofae. So I think that was that little

1058
00:53:08,600 --> 00:53:11,879
Speaker 2: kind of moment of reassurance of like, you know, you're

1059
00:53:11,960 --> 00:53:16,359
Speaker 2: being seen and you know support, and so that kind

1060
00:53:16,400 --> 00:53:19,799
Speaker 2: of got me going again. And then the second half

1061
00:53:19,840 --> 00:53:21,960
Speaker 2: of my career is being very different. But then I

1062
00:53:22,000 --> 00:53:24,239
Speaker 2: also felt like it was starting to platter a little

1063
00:53:24,280 --> 00:53:27,520
Speaker 2: bit just before I got promoted to principal. Actually, so

1064
00:53:28,360 --> 00:53:30,759
Speaker 2: and you do have some really tough conversations and you

1065
00:53:30,800 --> 00:53:34,799
Speaker 2: have some tough times with you know, with teachers and

1066
00:53:34,840 --> 00:53:38,399
Speaker 2: with your boss, and everyone's in there because they want

1067
00:53:38,440 --> 00:53:40,160
Speaker 2: to be and they want to be the best and

1068
00:53:40,200 --> 00:53:43,440
Speaker 2: they want to take those bucket list ballets off, and

1069
00:53:44,080 --> 00:53:47,920
Speaker 2: we're all striving for that, and I was kind of

1070
00:53:47,920 --> 00:53:50,600
Speaker 2: at a frustrated point where I was like, well, I'm

1071
00:53:50,600 --> 00:53:52,319
Speaker 2: doing all the roles and that's great and I never

1072
00:53:52,360 --> 00:53:54,840
Speaker 2: imagine that, but now I want more. And I think

1073
00:53:55,400 --> 00:53:57,839
Speaker 2: that's when I started to become a little bit frustrated

1074
00:53:58,000 --> 00:54:00,840
Speaker 2: with so why not being promoted, to be perfectly honest,

1075
00:54:01,840 --> 00:54:04,680
Speaker 2: and then, yeah, it was kind of a crazy time.

1076
00:54:04,920 --> 00:54:08,319
Speaker 2: I let that kind of dream I suppose go like

1077
00:54:08,400 --> 00:54:11,799
Speaker 2: it wasn't going to happen, It's not for you. And

1078
00:54:12,520 --> 00:54:15,240
Speaker 2: I had to be okay with that with that, I suppose,

1079
00:54:15,320 --> 00:54:17,440
Speaker 2: and I did, and I became okay with that and

1080
00:54:17,680 --> 00:54:21,960
Speaker 2: got on with it and was still given incredible opportunities,

1081
00:54:22,440 --> 00:54:26,080
Speaker 2: which then fed me. So I felt really satisfied. But

1082
00:54:26,120 --> 00:54:30,480
Speaker 2: then I got promoted. But I was also pregnant, and

1083
00:54:30,600 --> 00:54:33,360
Speaker 2: so it's so weird even now to say I'm a

1084
00:54:33,360 --> 00:54:36,919
Speaker 2: principal artist of the Australian Ballet, Like it's I don't

1085
00:54:36,920 --> 00:54:41,000
Speaker 2: know whether it's really sunk in, to be honest, so

1086
00:54:41,080 --> 00:54:43,880
Speaker 2: I think, yeah, that's that's kind of been for me,

1087
00:54:44,200 --> 00:54:48,680
Speaker 2: that kind of crazy start to dealing with just I

1088
00:54:48,680 --> 00:54:51,200
Speaker 2: guess a lot of self doubt and I'm not a

1089
00:54:51,239 --> 00:54:54,560
Speaker 2: confident person, and I think from the outside in you

1090
00:54:54,640 --> 00:54:56,760
Speaker 2: might kind of look and be like, she just seems

1091
00:54:56,800 --> 00:54:59,920
Speaker 2: so confident with it, and I'm like, no, out sh

1092
00:55:00,080 --> 00:55:02,200
Speaker 2: Elle certainly tells that, but I think that's because my

1093
00:55:02,280 --> 00:55:05,000
Speaker 2: mind's really strong and I can kind of get on

1094
00:55:05,080 --> 00:55:08,799
Speaker 2: with things, but inside it's kind of self doubt and

1095
00:55:08,840 --> 00:55:12,400
Speaker 2: there's anxiety there, and even after all these years.

1096
00:55:12,520 --> 00:55:18,399
Speaker 1: But yeah, it's interesting. I think people mistake performers who

1097
00:55:18,440 --> 00:55:21,839
Speaker 1: are natural performers as confident, and I don't know that

1098
00:55:21,840 --> 00:55:24,000
Speaker 1: that skill is the same thing at all. I actually

1099
00:55:24,080 --> 00:55:29,120
Speaker 1: think your ability to perform is you're so passionate for

1100
00:55:29,160 --> 00:55:32,239
Speaker 1: the art of performance that that doesn't actually require confidence

1101
00:55:32,280 --> 00:55:34,279
Speaker 1: from you, even though other people think, well, she must

1102
00:55:34,320 --> 00:55:36,319
Speaker 1: be so confident if she can be on stage you

1103
00:55:36,360 --> 00:55:38,200
Speaker 1: can't see the audience at the State Theater.

1104
00:55:40,239 --> 00:55:42,440
Speaker 2: No offense to anyone, but that's a wonderful thing. I mean,

1105
00:55:42,600 --> 00:55:44,960
Speaker 2: don't I didn't even like my mum telling me what

1106
00:55:45,080 --> 00:55:47,920
Speaker 2: show she's going to still like, I'm still like my

1107
00:55:47,960 --> 00:55:50,440
Speaker 2: show's of Aurora. I just was like, she knew not

1108
00:55:50,560 --> 00:55:53,280
Speaker 2: to ask me, so she went through Jared, my husband,

1109
00:55:53,280 --> 00:55:55,279
Speaker 2: and was like, okay, organized tickets for this night and

1110
00:55:55,280 --> 00:55:57,960
Speaker 2: that night. I still just don't like to know and

1111
00:55:58,680 --> 00:56:00,960
Speaker 2: that they're the things you know that pop up, like

1112
00:56:01,000 --> 00:56:04,440
Speaker 2: they're tapping the wood three times before you go one stage,

1113
00:56:04,560 --> 00:56:07,120
Speaker 2: or doing this or doing that. They're the little things

1114
00:56:07,160 --> 00:56:10,600
Speaker 2: that everyone has and or signing a program or a

1115
00:56:10,600 --> 00:56:13,040
Speaker 2: pair of shoes. Not doing that before you go on stage,

1116
00:56:13,080 --> 00:56:14,520
Speaker 2: doing that after because you don't want to do it

1117
00:56:14,520 --> 00:56:16,640
Speaker 2: before because then they see you performance and you're like,

1118
00:56:16,640 --> 00:56:19,839
Speaker 2: oh my god, I have little things like that. But yeah,

1119
00:56:19,960 --> 00:56:22,480
Speaker 2: I agree that. I think, you know, it's been my

1120
00:56:22,600 --> 00:56:26,839
Speaker 2: natural kind of my natural home, and there's a sense

1121
00:56:26,880 --> 00:56:29,800
Speaker 2: of security around what I do day in and day out.

1122
00:56:29,880 --> 00:56:32,600
Speaker 2: But it certainly doesn't mean that, Yeah, what you see

1123
00:56:32,600 --> 00:56:36,960
Speaker 2: on stage this kind of smiley happy doing what I

1124
00:56:37,040 --> 00:56:40,319
Speaker 2: do and you know, doing it well like I do.

1125
00:56:40,440 --> 00:56:43,200
Speaker 2: I do feel satisfied when I do it because I

1126
00:56:43,239 --> 00:56:45,680
Speaker 2: pride myself on doing it well and being better than

1127
00:56:45,719 --> 00:56:48,720
Speaker 2: I was the day before, et cetera. But it's certainly

1128
00:56:48,760 --> 00:56:53,200
Speaker 2: not because I'm confident and very self assured.

1129
00:56:55,520 --> 00:56:57,799
Speaker 1: Another thing that you mentioned that I think is really

1130
00:56:57,800 --> 00:56:59,480
Speaker 1: interesting is the period where you did put on a

1131
00:56:59,520 --> 00:57:02,839
Speaker 1: little bit of weight during your career, which it is

1132
00:57:03,600 --> 00:57:08,640
Speaker 1: not unlike a lot of entertainment industries like modeling, for example.

1133
00:57:08,680 --> 00:57:11,959
Speaker 1: Where As much as generally the world's approach to body

1134
00:57:12,120 --> 00:57:16,400
Speaker 1: positivity and inclusivity has come so far, there are industries

1135
00:57:16,440 --> 00:57:19,400
Speaker 1: that of course have to depend on your physical ability

1136
00:57:19,440 --> 00:57:23,080
Speaker 1: to do the job that is physically based, and I

1137
00:57:23,120 --> 00:57:26,440
Speaker 1: think something that ballet gets a bad wrap for because

1138
00:57:26,560 --> 00:57:29,360
Speaker 1: doing twelve fifteen hours a day of physical activity, most

1139
00:57:29,400 --> 00:57:33,600
Speaker 1: ballerinas are like have nobody fat, are so incredibly fit.

1140
00:57:34,560 --> 00:57:38,040
Speaker 1: There are a lot of assumptions about eating disorders or

1141
00:57:38,040 --> 00:57:41,000
Speaker 1: the pressure to be stick thin, and I mean i'd

1142
00:57:41,160 --> 00:57:44,840
Speaker 1: quit very very early on. But in my experience, what

1143
00:57:44,960 --> 00:57:47,400
Speaker 1: I found ballerina struggled more with than that was the

1144
00:57:47,440 --> 00:57:49,840
Speaker 1: perfectionism that you've just been talking about. It's not so

1145
00:57:49,960 --> 00:57:53,200
Speaker 1: much controlling their eating. I mean, you could eat anything

1146
00:57:53,480 --> 00:57:56,680
Speaker 1: and still be tiny because you're exercising so much, and

1147
00:57:56,720 --> 00:57:58,880
Speaker 1: if you didn't eat, I would feel like you couldn't

1148
00:57:58,920 --> 00:57:59,960
Speaker 1: maintain that many hours.

1149
00:58:00,040 --> 00:58:02,200
Speaker 3: It's a physical exercise, but.

1150
00:58:02,160 --> 00:58:05,080
Speaker 1: It's more the pressure on themselves to be perfect all

1151
00:58:05,120 --> 00:58:08,640
Speaker 1: the time that consumes bellerine is more than anything. So

1152
00:58:08,760 --> 00:58:12,840
Speaker 1: what at a professional level has been your experience of

1153
00:58:13,320 --> 00:58:16,360
Speaker 1: those dynamics has it. Is there a lot of pressure

1154
00:58:16,400 --> 00:58:19,200
Speaker 1: to be a certain weight and eat a certain way

1155
00:58:19,280 --> 00:58:21,640
Speaker 1: or is it more just to do the role well

1156
00:58:21,880 --> 00:58:24,040
Speaker 1: and to have perfect feet and you know technique, like

1157
00:58:24,080 --> 00:58:25,880
Speaker 1: what where does the pressure points come from?

1158
00:58:25,960 --> 00:58:28,520
Speaker 2: Look, I think it's definitely changed in terms of what

1159
00:58:28,560 --> 00:58:31,000
Speaker 2: you were saying about. You know, once upon a time

1160
00:58:31,040 --> 00:58:34,720
Speaker 2: it was I suppose like a certain look, but now

1161
00:58:35,520 --> 00:58:38,720
Speaker 2: we really go down that path of fit. We look fit,

1162
00:58:39,000 --> 00:58:42,520
Speaker 2: and everyone is so different, you know, like some have

1163
00:58:42,880 --> 00:58:44,720
Speaker 2: I have more muscle on my legs and what I

1164
00:58:44,720 --> 00:58:46,720
Speaker 2: do on my upper body, you know, and that's just

1165
00:58:46,760 --> 00:58:48,640
Speaker 2: the way it is. But that's where my strength is.

1166
00:58:48,680 --> 00:58:50,320
Speaker 2: So that's like a plus, you know what I mean.

1167
00:58:50,440 --> 00:58:52,560
Speaker 2: It's like I have a button, I have thighs and

1168
00:58:52,560 --> 00:58:55,640
Speaker 2: I can jump, you know. It's and as you go on,

1169
00:58:55,920 --> 00:58:59,040
Speaker 2: you really you find that there is no way that

1170
00:58:59,080 --> 00:59:02,080
Speaker 2: you can restrict what you eat because, like you said,

1171
00:59:02,280 --> 00:59:04,360
Speaker 2: dancing the way we do in eight shows a week

1172
00:59:04,440 --> 00:59:07,080
Speaker 2: and you're doing back to back. Wednesday's double show and

1173
00:59:07,080 --> 00:59:10,160
Speaker 2: Saturday is a double show day, and it's very dead thing,

1174
00:59:10,360 --> 00:59:14,040
Speaker 2: you know, like there's about an hour changeover sometimes, so

1175
00:59:14,160 --> 00:59:16,200
Speaker 2: you work out what you need to kind of fuel

1176
00:59:16,200 --> 00:59:19,200
Speaker 2: your body to be able to perform at it's you know,

1177
00:59:19,360 --> 00:59:22,240
Speaker 2: the physical kind of peak that it can. And I

1178
00:59:22,240 --> 00:59:24,480
Speaker 2: mean it's not even in that period of time where

1179
00:59:24,720 --> 00:59:27,320
Speaker 2: I had put on weight, I put on like ten

1180
00:59:27,400 --> 00:59:31,200
Speaker 2: kilos actually wow. Yeah, And it wasn't even And you

1181
00:59:31,240 --> 00:59:33,680
Speaker 2: know it's that thing too of like I hit puberty

1182
00:59:33,840 --> 00:59:36,640
Speaker 2: so late, but I hit it in acraleot out in

1183
00:59:36,640 --> 00:59:41,160
Speaker 2: front of a mirror. But it wasn't It wasn't about

1184
00:59:41,200 --> 00:59:43,560
Speaker 2: food or anything like that. I still was like basically

1185
00:59:43,600 --> 00:59:46,360
Speaker 2: eating what I was kind of you know, like have

1186
00:59:46,840 --> 00:59:49,960
Speaker 2: always ate, but I was just unhappy and just not

1187
00:59:50,080 --> 00:59:52,520
Speaker 2: doing the work that I wanted to do. So from

1188
00:59:52,600 --> 00:59:55,320
Speaker 2: coming from a student where you were working really hard

1189
00:59:55,360 --> 00:59:57,480
Speaker 2: and it was in class day in and day out,

1190
00:59:57,840 --> 00:59:59,720
Speaker 2: to then coming into the company, I kind of had

1191
00:59:59,720 --> 01:00:02,600
Speaker 2: two years and then you know, for whatever reason, it

1192
01:00:02,640 --> 01:00:05,040
Speaker 2: was like I wasn't put down in that season, and

1193
01:00:05,080 --> 01:00:06,960
Speaker 2: so I'd have a season that was like off and

1194
01:00:07,000 --> 01:00:10,240
Speaker 2: it was just kind of class. So trying to balance that.

1195
01:00:10,360 --> 01:00:13,240
Speaker 2: So it was like the whole time balancing when you

1196
01:00:13,280 --> 01:00:15,760
Speaker 2: were working so full on to then when you were

1197
01:00:15,760 --> 01:00:18,040
Speaker 2: working just a little bit and you think oh, I've

1198
01:00:18,080 --> 01:00:20,200
Speaker 2: got my food intake right, and I've got this right,

1199
01:00:20,200 --> 01:00:21,600
Speaker 2: and I need this to be able to do that.

1200
01:00:21,760 --> 01:00:25,920
Speaker 2: And so it was a constant, constant juggle and battle

1201
01:00:25,960 --> 01:00:30,120
Speaker 2: as to how much food you needed to how much exercise,

1202
01:00:30,160 --> 01:00:32,440
Speaker 2: and trying to work it all out, and it slowly

1203
01:00:32,520 --> 01:00:34,840
Speaker 2: starts to work itself out. I think as you go on,

1204
01:00:34,920 --> 01:00:37,560
Speaker 2: I've gotten better at just knowing what my body needs

1205
01:00:37,600 --> 01:00:40,680
Speaker 2: and how. And like I said earlier on about having

1206
01:00:40,680 --> 01:00:42,439
Speaker 2: a lunch break at twelve, and then you turn around,

1207
01:00:42,480 --> 01:00:45,000
Speaker 2: you're having lunch breaks at two thirty. So do I

1208
01:00:45,080 --> 01:00:47,400
Speaker 2: just not eat that whole time? I've only got fifteen minutes? Like,

1209
01:00:47,440 --> 01:00:49,560
Speaker 2: how am I going to do this? So it was

1210
01:00:49,600 --> 01:00:52,080
Speaker 2: working all of that out, which took a lot of time.

1211
01:00:52,160 --> 01:00:56,400
Speaker 2: And then for my personal journey, it was I just

1212
01:00:56,440 --> 01:00:59,520
Speaker 2: became really unhappy because I wasn't doing what I wanted

1213
01:00:59,560 --> 01:01:02,320
Speaker 2: to be doing, So that came into it as well.

1214
01:01:02,360 --> 01:01:05,760
Speaker 2: But I have chocolate every night. I love it. It's

1215
01:01:05,840 --> 01:01:09,600
Speaker 2: like my indulgence, you know, Like it's like people think, oh,

1216
01:01:09,640 --> 01:01:13,240
Speaker 2: they mustn't eat that, but I think that's longer on now,

1217
01:01:13,440 --> 01:01:16,720
Speaker 2: Like we you know, we indulge. We love coffee. It

1218
01:01:16,800 --> 01:01:19,560
Speaker 2: keeps us going we're just right now. So we walk

1219
01:01:19,600 --> 01:01:22,560
Speaker 2: around with that coffee cup sometimes during bar I'm still

1220
01:01:22,600 --> 01:01:27,000
Speaker 2: sipping mine, and we indulge and we like to go

1221
01:01:27,080 --> 01:01:29,040
Speaker 2: out when we can. You know, we don't often get

1222
01:01:29,080 --> 01:01:30,840
Speaker 2: to go out for a dinner because we're performing. So

1223
01:01:30,840 --> 01:01:33,000
Speaker 2: when we get that time too, it's like, yes, I

1224
01:01:33,040 --> 01:01:38,080
Speaker 2: will have that all I can eat. Thank you often

1225
01:01:38,640 --> 01:01:41,880
Speaker 2: to have that feed me menus so, and it's so

1226
01:01:42,000 --> 01:01:45,720
Speaker 2: different for everybody. The demands of maybe someone that is

1227
01:01:45,760 --> 01:01:49,240
Speaker 2: at the top end of the company to the bottom

1228
01:01:49,280 --> 01:01:51,240
Speaker 2: for a season, not the bottom I actould take the

1229
01:01:51,280 --> 01:01:54,120
Speaker 2: quarter ballet. It's just different, and you just have to

1230
01:01:54,160 --> 01:01:56,160
Speaker 2: work it out as you go. And I think that's

1231
01:01:56,200 --> 01:01:59,760
Speaker 2: one of the hardest things about becoming student professional is

1232
01:02:00,120 --> 01:02:03,400
Speaker 2: in all of that out mentally, physically. It's a lot

1233
01:02:03,400 --> 01:02:05,600
Speaker 2: in the first couple of years of becoming a professional.

1234
01:02:05,880 --> 01:02:07,840
Speaker 1: And I think it's really interesting that you've mentioned a

1235
01:02:07,880 --> 01:02:10,280
Speaker 1: couple of times about how hard it is on an

1236
01:02:10,280 --> 01:02:14,560
Speaker 1: off season where your whole passion and joy and identity

1237
01:02:14,640 --> 01:02:18,160
Speaker 1: is wrapped up in being productive. In the way that

1238
01:02:18,160 --> 01:02:21,000
Speaker 1: that's interpreted in ballet is having a role to play,

1239
01:02:21,680 --> 01:02:24,480
Speaker 1: and of course in COVID that was stripped from not

1240
01:02:24,520 --> 01:02:26,680
Speaker 1: just people who were on an off season, but everyone

1241
01:02:26,720 --> 01:02:28,760
Speaker 1: in the company. And your last performance, I think you said,

1242
01:02:28,840 --> 01:02:30,760
Speaker 1: was March last year and you still haven't been back

1243
01:02:30,760 --> 01:02:34,880
Speaker 1: on stage. How was that for everyone? And particularly yourself

1244
01:02:34,920 --> 01:02:39,720
Speaker 1: and Jared finding a new identity in that time and

1245
01:02:40,480 --> 01:02:42,760
Speaker 1: also keeping your bodies conditioned for the time when you

1246
01:02:42,800 --> 01:02:45,720
Speaker 1: would as now you are about to go back on stage.

1247
01:02:45,760 --> 01:02:48,360
Speaker 1: You know, how did you, guys cope? Did you do

1248
01:02:48,440 --> 01:02:51,680
Speaker 1: online classes? Did you find a side of yourself that

1249
01:02:51,720 --> 01:02:54,680
Speaker 1: maybe you hadn't had a chance to nurture for many

1250
01:02:54,760 --> 01:02:56,680
Speaker 1: years while you were both full time?

1251
01:02:57,080 --> 01:03:00,440
Speaker 2: I mean at the Australian Ballet we had so much support.

1252
01:03:00,640 --> 01:03:02,960
Speaker 2: We were three shows in, like I said, and it

1253
01:03:03,000 --> 01:03:07,200
Speaker 2: was my three shows back from my second pregnancy with Phoenix.

1254
01:03:07,280 --> 01:03:09,800
Speaker 2: So I literally got on stage for three shows and

1255
01:03:09,880 --> 01:03:14,600
Speaker 2: that was it. Yeah. So it feels like I haven't

1256
01:03:14,640 --> 01:03:18,080
Speaker 2: been in the ballet world or perform for nearly two years.

1257
01:03:18,160 --> 01:03:21,000
Speaker 2: So I am going to be a sweaty, hot mess

1258
01:03:21,000 --> 01:03:25,680
Speaker 2: come the end of figurenger.

1259
01:03:24,680 --> 01:03:25,160
Speaker 3: Me a video?

1260
01:03:25,320 --> 01:03:28,800
Speaker 2: Oh my goodness, it would be like are we rare? Anyway?

1261
01:03:28,960 --> 01:03:31,400
Speaker 2: We had the opening night on the Friday and on

1262
01:03:31,440 --> 01:03:33,680
Speaker 2: the Saturday we went to go into a double show

1263
01:03:34,000 --> 01:03:38,200
Speaker 2: and we had to have no orchestra. I believe someone

1264
01:03:38,560 --> 01:03:41,120
Speaker 2: fell ill. So we took those precautions to just be

1265
01:03:41,240 --> 01:03:44,880
Speaker 2: like nope. So we danced to disc for the Saturday

1266
01:03:45,120 --> 01:03:48,320
Speaker 2: to performances. We had Sunday free, and obviously, you know,

1267
01:03:48,400 --> 01:03:51,240
Speaker 2: we kind of started to see things unfold. We got

1268
01:03:51,240 --> 01:03:53,240
Speaker 2: back into the studio and it was like, the shows

1269
01:03:53,240 --> 01:03:55,760
Speaker 2: are not happening. We're just going to play it by ear.

1270
01:03:55,920 --> 01:03:58,320
Speaker 2: We're just going to rehearse, and so there was a

1271
01:03:58,320 --> 01:04:01,880
Speaker 2: few rehearsals, and then it got to the following week

1272
01:04:02,000 --> 01:04:04,520
Speaker 2: and we were in there on Monday. There was a

1273
01:04:04,560 --> 01:04:07,959
Speaker 2: meeting and they said you're online. I don't know whether

1274
01:04:08,000 --> 01:04:11,480
Speaker 2: I was alone, like I was being maybe a little

1275
01:04:11,520 --> 01:04:14,400
Speaker 2: too optimistic with like that's okay, I can do this

1276
01:04:14,440 --> 01:04:15,320
Speaker 2: for like a month or two.

1277
01:04:15,440 --> 01:04:18,880
Speaker 3: We'll be right a few weeks, and.

1278
01:04:18,800 --> 01:04:21,560
Speaker 2: Then what were we eight months later? In lockdown? So

1279
01:04:22,560 --> 01:04:25,560
Speaker 2: I shared a lot of disappointment and kind of frustration

1280
01:04:25,800 --> 01:04:28,320
Speaker 2: of like are you kidding, Like I've just gotten back.

1281
01:04:28,360 --> 01:04:30,360
Speaker 2: It was so much hard work to get back, and

1282
01:04:30,720 --> 01:04:33,360
Speaker 2: my little family has just gotten back into this routine

1283
01:04:33,480 --> 01:04:35,760
Speaker 2: and we're just hit the stage again and like, oh

1284
01:04:35,800 --> 01:04:38,680
Speaker 2: my god, so we actually went home to the country

1285
01:04:38,720 --> 01:04:41,120
Speaker 2: to my mom and spent four weeks nearly at home,

1286
01:04:41,160 --> 01:04:43,160
Speaker 2: and my sister has a dance school there, and so

1287
01:04:43,200 --> 01:04:44,880
Speaker 2: we went down to the studio every day.

1288
01:04:45,080 --> 01:04:46,000
Speaker 3: Oh that's amazing.

1289
01:04:46,000 --> 01:04:48,360
Speaker 2: It was absolutely amazing to have a space like that,

1290
01:04:48,480 --> 01:04:51,200
Speaker 2: as you know, is so important for a dancer. And

1291
01:04:51,440 --> 01:04:53,680
Speaker 2: while we were doing that, my mom, being an ex

1292
01:04:53,760 --> 01:04:57,960
Speaker 2: primary teacher, was teaching Willow online and doing what she

1293
01:04:58,080 --> 01:05:01,120
Speaker 2: needed to do because mom and dad have no clue

1294
01:05:01,760 --> 01:05:04,440
Speaker 2: to how you were supposed to teach a child that's

1295
01:05:04,480 --> 01:05:07,360
Speaker 2: in foundation or prep, so she was doing that. Then

1296
01:05:07,360 --> 01:05:09,320
Speaker 2: we came back together and you know what, we just

1297
01:05:10,080 --> 01:05:13,200
Speaker 2: we had family time that we were not going to

1298
01:05:13,200 --> 01:05:16,600
Speaker 2: have in that year. We gained time back with our

1299
01:05:16,680 --> 01:05:19,080
Speaker 2: kids and as a family and with my mom. Like

1300
01:05:19,120 --> 01:05:21,920
Speaker 2: I've been out of home since I was fifteen. You know,

1301
01:05:22,080 --> 01:05:24,200
Speaker 2: we did what we could for I think about two

1302
01:05:24,200 --> 01:05:26,080
Speaker 2: and a half hours each morning. We kind of do

1303
01:05:26,160 --> 01:05:30,120
Speaker 2: what we needed to do, and then we just had

1304
01:05:30,120 --> 01:05:34,320
Speaker 2: a life and we did what we needed around the home,

1305
01:05:34,400 --> 01:05:36,800
Speaker 2: and Jared got in the garden, then helped my mom out,

1306
01:05:36,840 --> 01:05:39,680
Speaker 2: and we cooked meals and we sat down at dinner

1307
01:05:39,720 --> 01:05:41,840
Speaker 2: time at a normal hour and all those things that

1308
01:05:41,880 --> 01:05:44,680
Speaker 2: you kind of forget about, I suppose, because you know,

1309
01:05:45,480 --> 01:05:47,800
Speaker 2: I've been in this routine in the ballet world for

1310
01:05:47,840 --> 01:05:50,040
Speaker 2: so long now that that's my kind of my normal.

1311
01:05:50,240 --> 01:05:54,360
Speaker 2: So I gained a lot back and time back, which

1312
01:05:54,360 --> 01:05:58,800
Speaker 2: we loved, and we then headed back to Melbourne and

1313
01:05:59,440 --> 01:06:02,439
Speaker 2: we were still on line at that point. We all

1314
01:06:02,480 --> 01:06:05,640
Speaker 2: got delivered a piece of taquet, which is a special

1315
01:06:05,680 --> 01:06:08,840
Speaker 2: floor for us to work on, especially for the women

1316
01:06:08,840 --> 01:06:11,280
Speaker 2: in the point shoes. But we are so spoilt that

1317
01:06:11,320 --> 01:06:14,800
Speaker 2: we have like a sprung floor all through the Austraamala,

1318
01:06:16,400 --> 01:06:18,400
Speaker 2: which we didn't get delivered, of course, because that would

1319
01:06:18,440 --> 01:06:22,000
Speaker 2: be absolutely crazy. But we all dance on these you know,

1320
01:06:22,280 --> 01:06:25,760
Speaker 2: meta square taquettes in our laundry and our bedroom wherever

1321
01:06:25,800 --> 01:06:28,720
Speaker 2: you had the space. And you know, I really do

1322
01:06:28,800 --> 01:06:33,040
Speaker 2: believe that I was more fortunate and more lucky than others.

1323
01:06:33,080 --> 01:06:35,520
Speaker 2: I have a husband that's in the same industry, and yes,

1324
01:06:35,600 --> 01:06:38,440
Speaker 2: that brings its own challenges, and I have a little family,

1325
01:06:38,560 --> 01:06:40,880
Speaker 2: but there was a real understanding of what we're both

1326
01:06:40,920 --> 01:06:44,120
Speaker 2: going through and we had each other, Whereas for some

1327
01:06:44,200 --> 01:06:48,000
Speaker 2: of my colleagues, they were by themselves in an apartment

1328
01:06:48,520 --> 01:06:52,800
Speaker 2: so to find motivation and inspiration, and to be able

1329
01:06:52,840 --> 01:06:54,680
Speaker 2: to talk to people like we do day in and

1330
01:06:54,760 --> 01:06:57,240
Speaker 2: day out, because you know, you have your moments in

1331
01:06:57,280 --> 01:06:59,280
Speaker 2: the studio where you have tears and you have people

1332
01:06:59,320 --> 01:07:01,400
Speaker 2: come up to you share this, or you see someone

1333
01:07:01,400 --> 01:07:04,160
Speaker 2: and they just need a hug. None of that was

1334
01:07:04,200 --> 01:07:07,080
Speaker 2: all taken away from us. So I do feel like

1335
01:07:07,160 --> 01:07:10,520
Speaker 2: I was really fortunate in that respect. And then yeah,

1336
01:07:10,640 --> 01:07:12,440
Speaker 2: just the juggle. I mean, we didn't have to have

1337
01:07:12,480 --> 01:07:16,320
Speaker 2: our screens on, so we would all log in and

1338
01:07:16,360 --> 01:07:18,560
Speaker 2: there's seventy five of us, and we would all log

1339
01:07:18,600 --> 01:07:20,600
Speaker 2: in and you'd see everyone's names pop up, and like

1340
01:07:20,640 --> 01:07:25,200
Speaker 2: you're programmed photo. You didn't have to turn your video

1341
01:07:25,280 --> 01:07:27,720
Speaker 2: on because you know, it was like it would probably

1342
01:07:27,760 --> 01:07:30,920
Speaker 2: blow up. So they were very trusting, of course, of

1343
01:07:31,080 --> 01:07:34,320
Speaker 2: us being absolute professionals and just taking a ballet class

1344
01:07:34,400 --> 01:07:36,240
Speaker 2: day in and day out, which of course is so

1345
01:07:36,320 --> 01:07:40,400
Speaker 2: hard for them being by themselves projecting through a screen

1346
01:07:40,480 --> 01:07:43,960
Speaker 2: to seventy five that were spread over everywhere day in

1347
01:07:44,000 --> 01:07:46,880
Speaker 2: and day out, and you know, a very kind of

1348
01:07:47,000 --> 01:07:49,480
Speaker 2: few times you'd kind of press the button like, yeah,

1349
01:07:49,520 --> 01:07:53,320
Speaker 2: we heard you that, that sounds good, thanks, trying to

1350
01:07:53,400 --> 01:07:55,640
Speaker 2: like let them know that someone was there, and we

1351
01:07:55,640 --> 01:07:58,000
Speaker 2: weren't just having a cup of tea and taking a chill.

1352
01:07:58,160 --> 01:08:01,680
Speaker 2: So and we had many funny minds, but I'm sure

1353
01:08:01,680 --> 01:08:06,440
Speaker 2: we all shared a lot of down time and emotionally

1354
01:08:06,600 --> 01:08:09,880
Speaker 2: down time. My motivation went up and down and up

1355
01:08:09,920 --> 01:08:12,760
Speaker 2: and down. And yeah, then we got into the studio

1356
01:08:12,880 --> 01:08:15,080
Speaker 2: for the month of November, but of course not as

1357
01:08:15,080 --> 01:08:17,759
Speaker 2: we know it. We were in little pods, little groups.

1358
01:08:18,000 --> 01:08:20,559
Speaker 2: Wasn't the world that we kind of had known, you know,

1359
01:08:20,640 --> 01:08:24,040
Speaker 2: as you know, it's a very hands on kind of

1360
01:08:24,200 --> 01:08:27,280
Speaker 2: touch feel how to derve, you know, you do that

1361
01:08:27,320 --> 01:08:29,840
Speaker 2: with a male dance, And we couldn't do any of that.

1362
01:08:30,080 --> 01:08:33,120
Speaker 2: So and of course no performances all year, which is

1363
01:08:34,040 --> 01:08:38,240
Speaker 2: where I get my motivation to work in class on

1364
01:08:38,400 --> 01:08:40,960
Speaker 2: what we're doing, to then work in rehearsal to then

1365
01:08:41,080 --> 01:08:43,160
Speaker 2: build up to do a show. And there was none

1366
01:08:43,200 --> 01:08:45,479
Speaker 2: of that. So in my mind I was like, so

1367
01:08:45,560 --> 01:08:48,680
Speaker 2: what am I working for? What do I have to

1368
01:08:48,760 --> 01:08:51,000
Speaker 2: kind of keep me going? And yeah, you can always

1369
01:08:51,040 --> 01:08:54,120
Speaker 2: work on your technique and create. That's the crazy ballet world, right,

1370
01:08:54,160 --> 01:08:57,040
Speaker 2: You're always learning something new and something about yourself and

1371
01:08:57,439 --> 01:09:01,360
Speaker 2: how to execute a step better. But you were doing

1372
01:09:01,400 --> 01:09:04,640
Speaker 2: all of that and had nothing to then kind of

1373
01:09:04,760 --> 01:09:07,879
Speaker 2: show that you'd put that work in or to perform

1374
01:09:08,040 --> 01:09:11,000
Speaker 2: and just take someone else on a journey and everyone

1375
01:09:11,160 --> 01:09:14,640
Speaker 2: escape for two hours. So that was tough, and I

1376
01:09:14,640 --> 01:09:18,320
Speaker 2: think everywhere around the world, and you know, especially at

1377
01:09:18,360 --> 01:09:21,559
Speaker 2: the moment in the UK and America really struggling with that.

1378
01:09:22,560 --> 01:09:24,800
Speaker 2: It's just when you don't have that, you kind of like,

1379
01:09:24,960 --> 01:09:26,920
Speaker 2: what do we do it for? We do it because

1380
01:09:26,920 --> 01:09:29,719
Speaker 2: we want to, you know, be with people and project

1381
01:09:29,760 --> 01:09:33,840
Speaker 2: across that orchestra, phit and people, you know, on a

1382
01:09:33,840 --> 01:09:34,759
Speaker 2: beautiful journey.

1383
01:09:35,000 --> 01:09:36,520
Speaker 3: So would you do?

1384
01:09:36,560 --> 01:09:39,240
Speaker 1: You absolutely do. And I think your audience probably missed

1385
01:09:39,280 --> 01:09:40,639
Speaker 1: it just as much as you guys.

1386
01:09:40,720 --> 01:09:42,559
Speaker 2: I think so. Yeah, for so.

1387
01:09:42,560 --> 01:09:44,880
Speaker 1: Many people, that's their outlet who is coming to watch

1388
01:09:44,920 --> 01:09:49,360
Speaker 1: you and to let themselves be whisked away by the

1389
01:09:49,479 --> 01:09:55,080
Speaker 1: orchestra and by your performances, but without diminishing the incredible

1390
01:09:55,120 --> 01:09:57,920
Speaker 1: challenge it's been for everyone. I think one of the

1391
01:09:57,960 --> 01:10:01,320
Speaker 1: silver lightings that has started to emerge is particularly for

1392
01:10:01,360 --> 01:10:05,559
Speaker 1: people like yourselves, whose joy is your job and whose

1393
01:10:05,680 --> 01:10:10,280
Speaker 1: vocation is all consuming purpose. You don't actually have to

1394
01:10:11,120 --> 01:10:13,519
Speaker 1: really go and find joy in other places because you

1395
01:10:13,560 --> 01:10:15,599
Speaker 1: have it all day every day. But I think we're

1396
01:10:15,640 --> 01:10:18,280
Speaker 1: all better at what we do when we do get

1397
01:10:18,320 --> 01:10:21,320
Speaker 1: some distance from it and do cultivate an identity outside

1398
01:10:21,360 --> 01:10:24,280
Speaker 1: of it. And obviously having children means that's a bit

1399
01:10:24,360 --> 01:10:27,120
Speaker 1: forced on you. You have to kind of attend to

1400
01:10:27,160 --> 01:10:30,760
Speaker 1: their minute to minute needs. But even still, like, I

1401
01:10:30,760 --> 01:10:34,080
Speaker 1: don't think we have ever prioritized finding joy in smaller

1402
01:10:34,080 --> 01:10:37,080
Speaker 1: moments or smaller activities outside of being productive than we

1403
01:10:37,200 --> 01:10:40,360
Speaker 1: have in the last twelve months, which leads to the

1404
01:10:40,439 --> 01:10:43,200
Speaker 1: very last section, which is your playta And that's the

1405
01:10:43,720 --> 01:10:45,519
Speaker 1: things you do that make you forget what time it

1406
01:10:45,640 --> 01:10:49,640
Speaker 1: is and that aren't related to being better at what

1407
01:10:49,680 --> 01:10:53,519
Speaker 1: you do or improving or achieving or you know, that

1408
01:10:53,680 --> 01:10:56,200
Speaker 1: have to be separate to ballet and separate to the

1409
01:10:56,200 --> 01:11:02,240
Speaker 1: exercises that help you condition yourself for ballet.

1410
01:11:02,760 --> 01:11:04,680
Speaker 2: Well, I don't know whether people know, and I mean

1411
01:11:04,960 --> 01:11:07,439
Speaker 2: it's something that I kind of put on my socials

1412
01:11:07,479 --> 01:11:10,640
Speaker 2: a little bit, but I love baking, and when I

1413
01:11:10,680 --> 01:11:14,160
Speaker 2: was on maternity leave, I actually took a course which

1414
01:11:14,560 --> 01:11:18,640
Speaker 2: absolutely petrified me because, as people probably also don't know,

1415
01:11:18,840 --> 01:11:21,960
Speaker 2: I hate walking into a room where I don't know anyone,

1416
01:11:22,240 --> 01:11:24,800
Speaker 2: and I'm like, I think that's why I do a

1417
01:11:24,880 --> 01:11:27,920
Speaker 2: mute art, so I don't have to. It's not that

1418
01:11:28,040 --> 01:11:30,559
Speaker 2: I don't like meeting new people. I love that. And

1419
01:11:30,600 --> 01:11:33,200
Speaker 2: when I get into it, I'm like, ah, I breathe.

1420
01:11:33,240 --> 01:11:35,160
Speaker 2: But for me to walk in and mind you, it

1421
01:11:35,200 --> 01:11:37,280
Speaker 2: was eight people that I'm talking about. I walked into

1422
01:11:37,280 --> 01:11:41,280
Speaker 2: a room of eight people wedding. It was like people

1423
01:11:41,360 --> 01:11:44,000
Speaker 2: I didn't know when I was doing something completely out

1424
01:11:44,000 --> 01:11:46,320
Speaker 2: of my comfort zone, Like I youtubed how to do

1425
01:11:46,400 --> 01:11:48,599
Speaker 2: things and I slapped it on. I'm like it kind

1426
01:11:48,600 --> 01:11:50,639
Speaker 2: of looks all right, you know, But I was going

1427
01:11:50,680 --> 01:11:53,920
Speaker 2: into a class being taught by someone who's a professional,

1428
01:11:54,240 --> 01:11:57,200
Speaker 2: you know, completely different. And so I did the Don't

1429
01:11:57,240 --> 01:12:00,920
Speaker 2: Tell Charles's workshop and it was just for the day

1430
01:12:01,040 --> 01:12:04,160
Speaker 2: the Sunday, so I had Phoenix and I booked myself in.

1431
01:12:04,240 --> 01:12:06,439
Speaker 2: The day had come and so I went off and

1432
01:12:06,520 --> 01:12:09,320
Speaker 2: I did this cake course and it was amazing and

1433
01:12:09,360 --> 01:12:11,400
Speaker 2: I loved it and I learned so much. And so

1434
01:12:11,560 --> 01:12:13,479
Speaker 2: now I'm like the kind of the cake baker of

1435
01:12:13,520 --> 01:12:14,440
Speaker 2: the family.

1436
01:12:14,800 --> 01:12:16,280
Speaker 3: And the ballet and the company.

1437
01:12:16,880 --> 01:12:19,000
Speaker 2: And there's quite a few people that love to bake,

1438
01:12:19,120 --> 01:12:21,080
Speaker 2: but you know, we don't often have that time, but

1439
01:12:21,439 --> 01:12:23,640
Speaker 2: we kind of go into the cake cakes and so

1440
01:12:23,640 --> 01:12:26,360
Speaker 2: we've learned layering and the butter cake and you know

1441
01:12:26,400 --> 01:12:28,320
Speaker 2: how to perfect it and get your scrape or and

1442
01:12:28,320 --> 01:12:30,400
Speaker 2: your turntable, and you know, I sound like I really

1443
01:12:30,400 --> 01:12:31,719
Speaker 2: know what I'm doing, but I'm still.

1444
01:12:31,560 --> 01:12:33,240
Speaker 3: You know, you do pro.

1445
01:12:34,640 --> 01:12:37,080
Speaker 2: But I love it. It's like, you know, I loved

1446
01:12:37,120 --> 01:12:39,840
Speaker 2: it beforehand. It was like my escape and like you said,

1447
01:12:39,840 --> 01:12:43,040
Speaker 2: something completely different to ballet, but it then stressed me

1448
01:12:43,080 --> 01:12:44,920
Speaker 2: out because I get a lump in the icing and

1449
01:12:45,040 --> 01:12:47,280
Speaker 2: my cake would like sink or something like that. So

1450
01:12:47,920 --> 01:12:51,439
Speaker 2: now it's like therapeutic. I love it. And Willow also

1451
01:12:51,560 --> 01:12:53,120
Speaker 2: likes to get in the kitchen with me, so it's

1452
01:12:53,160 --> 01:12:55,720
Speaker 2: something that we can do. Phoenix likes to eat it,

1453
01:12:55,720 --> 01:12:58,000
Speaker 2: Willow likes to make it. So it's kind of you know.

1454
01:12:58,040 --> 01:13:00,639
Speaker 3: Win perfect relation. That's what I call balance.

1455
01:13:00,800 --> 01:13:06,120
Speaker 2: Yeah, that's balance. Yeah, maybe that's that's the thing that

1456
01:13:06,160 --> 01:13:09,000
Speaker 2: people don't know about me and my my thing that

1457
01:13:09,040 --> 01:13:12,400
Speaker 2: I do that's completely separate. But I still feed the dancers,

1458
01:13:12,439 --> 01:13:14,639
Speaker 2: so you know, it's like still connect.

1459
01:13:18,840 --> 01:13:21,160
Speaker 1: Well, just to finish up, the second last question actually

1460
01:13:21,400 --> 01:13:23,439
Speaker 1: is three interesting things about you that don't normally come

1461
01:13:23,520 --> 01:13:27,400
Speaker 1: up in conversation, So that can be one you've got

1462
01:13:27,439 --> 01:13:31,240
Speaker 1: to throw us to others that are like weird, quirky,

1463
01:13:31,360 --> 01:13:35,480
Speaker 1: fun things that only Jared would know, only the ballerinas

1464
01:13:35,479 --> 01:13:37,200
Speaker 1: who are on tour with you would notice.

1465
01:13:37,320 --> 01:13:40,719
Speaker 2: Oh goodness. I mean I have many, many, many quirks,

1466
01:13:40,960 --> 01:13:43,320
Speaker 2: but oh god, I don't even know what one of

1467
01:13:43,360 --> 01:13:45,320
Speaker 2: them could be. Or maybe I shouldn't share too many

1468
01:13:45,360 --> 01:13:47,479
Speaker 2: because there are so many kind of crazy things that

1469
01:13:47,560 --> 01:13:51,240
Speaker 2: I did. I think Jared worked out very early on

1470
01:13:51,280 --> 01:13:53,160
Speaker 2: that I was a bit of a crazy cleaning kind

1471
01:13:53,160 --> 01:13:57,200
Speaker 2: of lady. Okay, so my pantry, I'm a label all

1472
01:13:57,280 --> 01:14:00,519
Speaker 2: the name label.

1473
01:14:00,560 --> 01:14:03,120
Speaker 1: I know, you're those people who have those like pinterest

1474
01:14:03,200 --> 01:14:04,680
Speaker 1: worthy cupboards.

1475
01:14:04,360 --> 01:14:06,760
Speaker 2: Trying to aim for that. I'm getting there. I love it,

1476
01:14:06,840 --> 01:14:09,040
Speaker 2: like I absolutely. I mean, you know, I went from

1477
01:14:09,120 --> 01:14:12,479
Speaker 2: like the you know, the little label machine thing to

1478
01:14:12,600 --> 01:14:15,800
Speaker 2: them actual company where I'm like, I got all the

1479
01:14:15,920 --> 01:14:18,800
Speaker 2: jars and I'm like labeling things and like and it's

1480
01:14:18,840 --> 01:14:21,479
Speaker 2: all lined up and I hate so like, for instance,

1481
01:14:21,520 --> 01:14:24,400
Speaker 2: you're tuna it like all I stack them up, but

1482
01:14:24,439 --> 01:14:27,320
Speaker 2: they all have to be facing the same way, Like

1483
01:14:28,080 --> 01:14:29,880
Speaker 2: I'm that nutjob. I'm that. No.

1484
01:14:30,040 --> 01:14:30,880
Speaker 3: I love it.

1485
01:14:31,040 --> 01:14:34,439
Speaker 1: I would if my whole household wasn't incompatible with that

1486
01:14:35,360 --> 01:14:38,760
Speaker 1: but in an ideal world, in my dream always is

1487
01:14:38,760 --> 01:14:41,719
Speaker 1: in my brain, is a pantry where all the tuna

1488
01:14:41,880 --> 01:14:42,680
Speaker 1: labels line up.

1489
01:14:42,720 --> 01:14:45,040
Speaker 2: I love it. I really get off on that. So

1490
01:14:46,800 --> 01:14:48,960
Speaker 2: and you know, it's like you unpack the grocers and

1491
01:14:49,080 --> 01:14:51,519
Speaker 2: I'm like, no, no, no, no, I've got this Jared

1492
01:14:51,600 --> 01:14:54,320
Speaker 2: like kid. But you know, he's also learned at kind

1493
01:14:54,360 --> 01:14:56,599
Speaker 2: of well being together for like eleven years now, so

1494
01:14:56,640 --> 01:14:59,880
Speaker 2: he's learned that crazy lady way and he actually kind

1495
01:14:59,880 --> 01:15:01,519
Speaker 2: of it's a bit off on it too. Now. Then

1496
01:15:02,960 --> 01:15:05,120
Speaker 2: it does look good now, doesn't it. You know, like

1497
01:15:05,280 --> 01:15:07,280
Speaker 2: you put that in there and didn't turn the label

1498
01:15:07,280 --> 01:15:07,960
Speaker 2: a right way.

1499
01:15:08,680 --> 01:15:10,840
Speaker 1: So date night for you guys is like a pantry

1500
01:15:10,880 --> 01:15:11,880
Speaker 1: situation together.

1501
01:15:12,840 --> 01:15:14,960
Speaker 2: That's exactly right. That's about all we've got time for.

1502
01:15:15,120 --> 01:15:17,240
Speaker 2: So maybe I should do that all night. You've give

1503
01:15:17,320 --> 01:15:19,800
Speaker 2: me an idea. I want to buy Jared and see

1504
01:15:19,800 --> 01:15:22,160
Speaker 2: what he thinks. I don't really. I mean, my other

1505
01:15:22,200 --> 01:15:25,240
Speaker 2: thing is I absolutely hate flying. I'm terrified of flying.

1506
01:15:25,560 --> 01:15:27,400
Speaker 2: What I do is a living. You know, we tour

1507
01:15:27,520 --> 01:15:30,760
Speaker 2: and I fly, and so since having Willow, she now

1508
01:15:30,840 --> 01:15:37,000
Speaker 2: holds my hands. Yeah, I don't know it just I'm

1509
01:15:37,000 --> 01:15:40,160
Speaker 2: a control freak. So I think you know, as we

1510
01:15:40,200 --> 01:15:42,160
Speaker 2: all know, you step on that plane and you are

1511
01:15:42,200 --> 01:15:44,960
Speaker 2: not in control of anything except for a screaming child

1512
01:15:45,080 --> 01:15:48,720
Speaker 2: or whatever. But there've been amazing travelers, my two and

1513
01:15:49,560 --> 01:15:51,880
Speaker 2: you know, we've taken Low here, there and ever around

1514
01:15:51,880 --> 01:15:55,840
Speaker 2: the world, and she's always been such a delight, you know,

1515
01:15:56,120 --> 01:15:58,320
Speaker 2: for us as well, because it's quite a stressy time.

1516
01:15:59,520 --> 01:16:02,800
Speaker 2: She's been amazing. She's so wonderful. Phoenix, on the other hands,

1517
01:16:02,800 --> 01:16:05,080
Speaker 2: are a little different. I think he'll be running the aisles,

1518
01:16:05,200 --> 01:16:07,799
Speaker 2: so yeah, that will be fun. But I'll have Willow

1519
01:16:07,800 --> 01:16:08,720
Speaker 2: there with me helping you.

1520
01:16:09,720 --> 01:16:11,320
Speaker 3: He'll be jettying the aisles.

1521
01:16:12,160 --> 01:16:17,600
Speaker 2: He might be twinkled toes. He's always yeah, so who knows.

1522
01:16:17,920 --> 01:16:19,800
Speaker 1: So my husband, I wish he was here right now

1523
01:16:19,840 --> 01:16:22,960
Speaker 1: because he could show you his arches insane are like

1524
01:16:23,720 --> 01:16:26,280
Speaker 1: you know, those people who never had an inclination towards

1525
01:16:26,320 --> 01:16:29,519
Speaker 1: ballet will never get to show just how like his

1526
01:16:29,680 --> 01:16:32,559
Speaker 1: torso is short, his legs are so long, he's got

1527
01:16:32,640 --> 01:16:35,200
Speaker 1: hyper extension. That art is just without even trying. And

1528
01:16:35,200 --> 01:16:38,040
Speaker 1: I'm like, oh, what, what what a waste?

1529
01:16:39,040 --> 01:16:41,880
Speaker 2: What a waste? Well, you know it's never too late.

1530
01:16:41,920 --> 01:16:44,439
Speaker 2: There's adult ballet classes, you know, there.

1531
01:16:44,320 --> 01:16:46,600
Speaker 1: Is too but I wouldn't do it because I'd be like,

1532
01:16:46,720 --> 01:16:49,320
Speaker 1: I have to like bend my feet in half in

1533
01:16:49,360 --> 01:16:51,840
Speaker 1: a doorway to make my archers do that.

1534
01:16:53,120 --> 01:16:56,120
Speaker 2: Oh my goodness, I love it. You know, isn't it

1535
01:16:56,200 --> 01:16:58,880
Speaker 2: like Willow's kind of got it all there and there

1536
01:16:58,960 --> 01:17:00,840
Speaker 2: is no way that we're going to put into something

1537
01:17:00,880 --> 01:17:04,400
Speaker 2: like that. She really like she started gymnastics and loved it,

1538
01:17:04,439 --> 01:17:06,920
Speaker 2: and you know, even there you could see like she

1539
01:17:07,000 --> 01:17:09,479
Speaker 2: was like pointing her feet and I'm like, whoa, but

1540
01:17:09,560 --> 01:17:11,599
Speaker 2: there's no interest. She's like, I want to do boxing

1541
01:17:11,680 --> 01:17:15,160
Speaker 2: or karate. So we're going with that. We're going with

1542
01:17:15,439 --> 01:17:19,439
Speaker 2: a baller and then yeah, who knows what Phoenix will do.

1543
01:17:19,479 --> 01:17:21,280
Speaker 2: He's only one and a half so it will be

1544
01:17:21,320 --> 01:17:23,080
Speaker 2: an interesting little journey with them.

1545
01:17:23,880 --> 01:17:25,880
Speaker 1: Oh well, in the ballet world, he's only one and

1546
01:17:25,920 --> 01:17:27,599
Speaker 1: a half years off like starting his career.

1547
01:17:27,680 --> 01:17:33,559
Speaker 2: Oh my god, that's insane. Into block and get him

1548
01:17:33,600 --> 01:17:34,160
Speaker 2: some tights.

1549
01:17:34,280 --> 01:17:39,719
Speaker 1: And the final question, since I love quotes so much,

1550
01:17:39,840 --> 01:17:41,320
Speaker 1: what's your favorite quote?

1551
01:17:42,160 --> 01:17:45,800
Speaker 2: It's a Sylvie gm quote. So with everyone in the

1552
01:17:45,840 --> 01:17:49,640
Speaker 2: ballet world probably just drawls over her. If you don't know,

1553
01:17:49,760 --> 01:17:52,120
Speaker 2: you could google her and it would just be flooded

1554
01:17:52,160 --> 01:17:56,120
Speaker 2: your screen, but she said that we don't reach limits

1555
01:17:56,280 --> 01:18:00,160
Speaker 2: with our It's like you don't reach limits with the

1556
01:18:00,160 --> 01:18:03,479
Speaker 2: the body, you reach them with the mind. So it's

1557
01:18:03,560 --> 01:18:06,920
Speaker 2: like it's all about power of the mind. And I'm

1558
01:18:07,000 --> 01:18:09,400
Speaker 2: kind of I'm big on that, you know, a big

1559
01:18:09,439 --> 01:18:11,920
Speaker 2: on that kind of mental power and strength and the

1560
01:18:12,000 --> 01:18:14,960
Speaker 2: health and yeah, so I always kind of try and

1561
01:18:15,000 --> 01:18:18,120
Speaker 2: remember that that it's not like, you know, you just

1562
01:18:18,120 --> 01:18:20,120
Speaker 2: got to the power of the mind is so strong

1563
01:18:20,479 --> 01:18:22,320
Speaker 2: and you can keep kind of pushing through. And I

1564
01:18:22,360 --> 01:18:24,200
Speaker 2: think that's why I just talk to myself a.

1565
01:18:24,120 --> 01:18:26,960
Speaker 3: Lot, great conversation.

1566
01:18:27,960 --> 01:18:31,440
Speaker 2: We have your best conversations with yourself, right, so absolutely,

1567
01:18:31,600 --> 01:18:33,800
Speaker 2: but yeah, you know, power of the mind, it's such

1568
01:18:33,800 --> 01:18:37,280
Speaker 2: a good thing, and I love kind of I guess

1569
01:18:37,360 --> 01:18:39,800
Speaker 2: now that it's you know, that stigma is kind of

1570
01:18:39,840 --> 01:18:43,160
Speaker 2: taken away of and slowly getting better. I suppose of

1571
01:18:43,320 --> 01:18:46,960
Speaker 2: just talking about how you move through through things and

1572
01:18:47,320 --> 01:18:50,639
Speaker 2: whether you did have you know, some some moments there

1573
01:18:50,640 --> 01:18:52,919
Speaker 2: where it was like a real mental kind of struggle

1574
01:18:53,000 --> 01:18:56,360
Speaker 2: and that's okay, and we all have periods of that

1575
01:18:56,560 --> 01:18:59,599
Speaker 2: and keep that communication and that conversation open and going.

1576
01:19:00,000 --> 01:19:03,800
Speaker 2: Think it's really important. Absolutely, Yeah, that's kind of my

1577
01:19:03,960 --> 01:19:06,360
Speaker 2: quote that I like to kind of remind myself off

1578
01:19:06,720 --> 01:19:07,920
Speaker 2: and power of the mind.

1579
01:19:08,560 --> 01:19:12,600
Speaker 1: I think that's so wonderful. Thank you so much for

1580
01:19:12,760 --> 01:19:14,639
Speaker 1: joining You are an absolute delight.

1581
01:19:14,880 --> 01:19:16,920
Speaker 2: Thank you so much for having me. It's been it's

1582
01:19:17,000 --> 01:19:17,519
Speaker 2: so fun.

1583
01:19:18,800 --> 01:19:19,000
Speaker 3: Well.

1584
01:19:19,040 --> 01:19:21,559
Speaker 1: I think I probably enjoyed this one the most out

1585
01:19:21,560 --> 01:19:24,360
Speaker 1: of everyone. It's another one of those selfish episodes where

1586
01:19:24,400 --> 01:19:26,720
Speaker 1: I just ask all the questions I've been dying to

1587
01:19:26,800 --> 01:19:28,720
Speaker 1: ask her since the last time I checked in with

1588
01:19:28,760 --> 01:19:31,920
Speaker 1: her fabulous career. I hope you guys learned a little

1589
01:19:31,960 --> 01:19:34,760
Speaker 1: bit about the ballet world, had a few of the

1590
01:19:34,800 --> 01:19:39,120
Speaker 1: misconceptions about ballerina life busted, and got a great insight

1591
01:19:39,200 --> 01:19:42,040
Speaker 1: into the inner workings of a principal artist at the

1592
01:19:42,080 --> 01:19:46,080
Speaker 1: Australian Ballet. As always, please do let Amy know what

1593
01:19:46,120 --> 01:19:49,040
Speaker 1: you took away and if you enjoyed listening, tagging at

1594
01:19:49,120 --> 01:19:52,400
Speaker 1: Amy Harris Underscore seven and myself so we can reshare

1595
01:19:52,920 --> 01:19:55,720
Speaker 1: and of course keep those submissions coming for the ais

1596
01:19:55,760 --> 01:19:58,400
Speaker 1: of our live segment as well. Guys want to shine

1597
01:19:58,520 --> 01:20:01,200
Speaker 1: so much light on all of our commit heroes and

1598
01:20:01,280 --> 01:20:03,920
Speaker 1: share so much good news it's actually alarming.

1599
01:20:03,960 --> 01:20:04,479
Speaker 3: And doing my.

1600
01:20:04,479 --> 01:20:06,720
Speaker 1: Research for the two episodes we've done already just to

1601
01:20:06,920 --> 01:20:09,639
Speaker 1: you know, create my own yighborhood watch section while we wait.

1602
01:20:09,520 --> 01:20:10,559
Speaker 3: To be able to record others.

1603
01:20:11,080 --> 01:20:14,439
Speaker 1: There's so little good news out there you can't even find.

1604
01:20:14,479 --> 01:20:17,520
Speaker 1: There are very few central hubs for news that's uplifting

1605
01:20:17,640 --> 01:20:20,920
Speaker 1: and happy and wonderful, and I want this yighborhood to

1606
01:20:21,000 --> 01:20:21,720
Speaker 1: do just that for us.

1607
01:20:21,720 --> 01:20:22,559
Speaker 3: Also, keep those.

1608
01:20:22,400 --> 01:20:26,280
Speaker 1: Submissions coming, keep your eyes peeled for wonderful yay uplifting

1609
01:20:26,320 --> 01:20:29,240
Speaker 1: stories and send them on through to smile at spoonful

1610
01:20:29,240 --> 01:20:31,840
Speaker 1: of Sarah dot com. Hope you guys are having a

1611
01:20:31,920 --> 01:20:35,440
Speaker 1: wonderful week and surviving this lockdown. To my fellow Melbournians,

1612
01:20:35,520 --> 01:20:38,040
Speaker 1: Lots of virtual love to you all, and we'll be

1613
01:20:38,080 --> 01:20:41,000
Speaker 1: back soon. Have a wonderful week. Hope you're seizing your

1614
01:20:41,080 --> 01:20:43,920
Speaker 1: yay