Claire Calvert

By Danielle Brown

Published in Print Jan 2025 order now!

Claire Calvert, First Soloist with The Royal Ballet, will be heading to Australia this January to share her expertise and passion for dance through masterclasses at the International Summer School at The McDonald College in Sydney. A celebrated figure in the ballet world, Claire is not only a prominent dancer with The Royal Ballet but also a Bloch Influencer (@bloch_eu) and Co-Owner of Prima Dance (@prima.dance & @prima.dance.tooting).

Born in Bath, England, Claire’s journey in dance began at the age of three. After joining The Royal Ballet Lower School at 11, she quickly rose through the ranks, graduating into the company in 2007. Her career with The Royal Ballet has been marked by numerous celebrated performances, with Claire being promoted from First Artist to Soloist in 2012, and ultimately to First Soloist in 2016. Her roles span a wide range of iconic characters, including Odette/Odile in Swan Lake, the Lilac Fairy in The Sleeping Beauty, and Hermione in The Winter’s Tale. Claire has also made her mark in modern works, such as Aeternum and The Indifferent Beak.

With a reputation for both her technical mastery and emotional depth, Claire’s teaching at the International Summer School offers students a unique opportunity to learn from one of the finest dancers in the world, gaining insight into the artistry and dedication that have defined her illustrious career.

Have you had a chance to stop and reflect on your incredible body of work and all you’ve achieved?

Claire: “In a way, yes, but to be honest, starting back at work after the birth of my child has reminded me even more how little time we actually have to reflect on what we’ve done. The nature of this job is so fast-paced and demanding. We’re constantly working through an incredible repertoire, and it’s relentless. There’s not much opportunity to pause and truly acknowledge our accomplishments, even after a particular performance, let alone look back on 18 years with The Royal Ballet. It’s just the way the job is—always moving forward, with no real chance to stop and appreciate what we’ve achieved.”

Reflecting on 18 years of dancing with The Royal Ballet, how do you feel about your journey so far?

Claire: “There are moments when I feel like I’ve only just started. It’s almost like time doesn’t quite add up. On one hand, it feels as though I’ve only been here for five minutes, and yet, on the other hand, it also feels like I’ve been in the company for much longer. That’s because, in the ballet world, we don’t always have the same autonomy as individuals. We’re still subject to decisions that are made about our careers, like casting, schedules, and choreography, which can sometimes make us feel like we have little control over our own path. Despite having been in the company for so long, I still find myself in the same position as when I first joined, with others making key decisions about my career. It’s a strange feeling because even though I’ve achieved a lot and established myself here, there’s always this sense of not being in full control, and that can make time feel both fleeting and incredibly long at the same time.”

How has the support and mentorship for newcomers to the company evolved over the years?

Claire: “I think there’s definitely more support in place now compared to when I first joined. Today, dancers come in as apprentices, not full-time company members, and they have access to extra classes and coaching, which wasn’t the case when I joined. Back then, we literally just joined and were thrown into the back of the studio, picking up whatever we could. I definitely see that as an improvement. When you’re 18, it’s not old to enter a professional environment, especially one like this. In other fields, like law, it’s unheard of for someone that young to start working in such a high-level position. But in ballet, it’s expected, and that can be quite a challenge.”

How do you approach performing the same roles after so many years with the company?

Claire: “I always try to bring something new to each performance. Even though I’ve been doing some of these roles for a very long time, I get to work with different people each time, which can bring a fresh perspective. Before each performance, I think about what I want to achieve. Maybe it’s discovering something new in the character or focusing on a technical aspect I want to perfect. It’s important to me that I continue to challenge myself. I’ve been fortunate to take on big roles early in my career, and even though I’ve done them countless times, I still feel responsible for delivering the best performance I can. No matter your rank in the company, whether you’re a principal or not, you have to continually push yourself to find new ways of doing things. It’s an ongoing process, one that never really ends.”

What are some of the key differences between being a full-time student and becoming a company dancer, particularly in today’s environment?

Claire: “In a company, there’s much less one-on-one care compared to being a student. When you’re in full-time training, even if there are 20 people in the class, you have the same teacher throughout the year, and you get more individual feedback. You’re constantly learning and improving with their guidance. In contrast, once you’re in a company, you may only have one meeting a year to discuss your progress, and it’s up to you to stay motivated. You’re responsible for showing up to class on your own time, and class itself isn’t part of the paid contract—it’s an extra commitment. You have to push yourself to stay fit, healthy, and improve your skills. In a school environment, everything is structured for you, and it’s part of your education. Another big difference is the performing lifestyle. As a company dancer, you don’t have regular evenings off, weekends, or holidays like Christmas. It’s a job, but also a lifestyle. For me, it’s all about balancing my work schedule with my personal life. For example, even before I had my daughter, I’d avoid going out with friends the night before a show because I needed to be prepared. Being a professional dancer becomes a lifestyle choice—you shape your life around your work schedule. It’s a full commitment, and that doesn’t change until you decide to step away from it.”

How has your journey with teaching evolved, and what impact do you hope to have on future dancers?

Claire: “I really enjoy teaching, and it’s been a rewarding experience, especially in different settings. It really started during COVID and the lockdowns when everything slowed down. People began reaching out, asking if we could teach online classes or do other virtual events. I had the chance to teach live sessions through platforms like Bloch, and it was a nice way to connect with others during that time. Teaching has also made me reflect on the role we play in the ballet world. Being part of The Royal Ballet, I realise the influence we have—how we can shape and inspire the next generation of dancers. It’s not just about passing on the technical skills I’ve learned; it’s about being someone that others look up to, someone they aspire to be like. I take that responsibility seriously. It’s important for me to not only teach but to inspire, to be a positive role model, and to impact others in a meaningful way.”

What are your thoughts on young students making the decision to pursue ballet full-time, and the importance of balance in their lives?

Claire: “It’s such a young age to be making decisions like this. I certainly didn’t decide to go to The Royal Ballet School at 11. It was more of a suggestion from someone along the way that I should audition for White Lodge, and I only went because my parents supported it. For a child to leave home at that age is a huge commitment, and even then, I could’ve changed my mind the next week and wanted to become a doctor or something else entirely. You’re just so young at that age. Although I wasn’t always very academic, I think it’s crucial to remember that both aspects of life—your career and your education—are important. You never know what might happen or what changes may come in your life. Ballet teaches you a lot about discipline and work ethic, and those are incredibly valuable skills to develop. But it’s also important to remember that there’s life after ballet. You want to feel like you can navigate life beyond dance and have the tools to handle whatever comes your way.”

How are you navigating life after ballet and balancing your career with motherhood?

Claire: “We’re very fortunate in The Royal Ballet, as they offer a lot of support for life after ballet. The Dancers Development Fund, for example, provides resources for us to explore future career options, such as grants for retraining. I’ve even taken a personal trainer course to dip my toes into something different. It’s been good to explore, but right now, I’m not sure exactly what my next step will be. I don’t want to stop working, but whether that’s starting a business or doing something else, I’m still figuring it out. The more daunting part of this transition for me isn’t the fear of not dancing anymore; it’s the mental shift. Ballet has been such a big part of my identity for so long. I think the hardest part will be letting go of being known as a ballet dancer. The idea of never putting on pointe shoes again, or being defined by what I do, feels difficult. I’m also in the early stages of balancing my career with being a mum. I’m back on stage now after having my daughter, and it’s been physically and mentally challenging. Some days, I only get to see my daughter for a few hours, which is tough. But for me, I need to live through these experiences to make a decision about how I feel. I do love being on stage, but I also miss being with my daughter. I’m not entirely convinced yet that it’s possible to do it all, but I knew going back to work was an important step for me as a mother. I just need to figure out what feels right in the long term.”

What was your experience returning to work after your first pregnancy, and how did you navigate the physical challenges of recovery?

Claire: “I definitely had moments when I thought, ‘This isn’t going to be as easy physically as I thought.’ Looking back, I realised I was probably pushing myself a bit too soon. The reason I was eager to get back to work was because there was a ballet performance I really wanted to do—Swan Lake, as Odette/Odile. I’m the kind of person who won’t shy away from a challenge, and honestly, to leave my six-month-old daughter at home, it had to be something I was really passionate about. I was even talking to a colleague the other day about how people often look for solutions after childbirth—like using oils to avoid stretch marks or avoiding abs for 12 weeks. But the truth is, some of it is simply genetics or just the luck of the draw. So many factors come into play, like the type of birth you have, the size of your baby, and a lot of other things. In my case, I feel very fortunate that things went back to normal relatively quickly after my first pregnancy. But I know that’s not always the case, and I understand that each pregnancy can be different. I’ve definitely been lucky.”

How do you maintain perspective and balance in your career, especially when faced with challenges or setbacks, and what do you hope your students take away from their training?

“I like to remind myself that, in the grand scheme of things, we’re not saving lives or curing cancer. We’re doing this because we love it and because it brings joy to us and our audiences. It’s about connecting with people in meaningful ways. Sometimes, it’s hard to keep that perspective, especially when it feels like the world is crashing down because you’re not getting exactly what you want from your career. But it’s helpful to have a sense of humour in those moments. Ideally, when students leave my class, I want them to have learned something new about themselves or discovered a new way of approaching something. It’s not always about finding the ‘best’ way but finding a way that feels right, that builds their confidence or gives them a sense of fulfilment. I want them to leave with something they can carry forward in their training and in life. Of course, I’ve had moments where I wish things could have gone better in my own training or career—things I could have approached differently, or times I could have taken a step back to reflect. It’s easy to get caught up in the rush of it all, like being on a hamster wheel. But teaching has given me the opportunity to pause, reflect, and really think about where I am, instead of just going in circles. It’s an ongoing process, one that keeps me grounded.”

With her unwavering passion for the art form, her commitment to teaching, and her candid reflections on the balance between career and motherhood, Claire reminds us all that success in ballet, like life itself, is not just about the accolades, but about finding fulfilment, growth, and resilience along the way. Her story is one of dedication, perseverance, and the constant pursuit of balance—a journey that continues to evolve, both on stage and in life.

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