Grace and Grit:

By Helena Gjone

Published in Print Nov 2024 order now!

When Jessica Fyfe was a young child, she struggled to walk, let alone dance. ‘My parents were concerned as I was struggling to keep up with my friends due to my hypermobile joints and I used to get really upset in kindergarten because of this.’

Concerned, her parents took her to see the family GP, who diagnosed hip dysplasia; a rare developmental condition affecting about 1 in 600 girls and 1 in 3000 boys, causing increased risk of dislocation and reduced mobility. To help Jess develop strength and coordination, the doctor prescribed ballet classes.

At first, Jess hated ballet; the exercises hurt, she couldn’t hold her legs properly and the teachers were harsh. She begged her Mum to let her quit.

No-one could have foreseen this ugly duckling would one day transform into a professional ballerina, performing lead roles with top companies across Australia, Asia, Europe and the United Kingdom.

Now a principal artist with the Scottish Ballet, Jess was recently invited to return to Australia, sharing her knowledge through masterclasses, as well as guest performing at the Sydney Eisteddfod Ballet Gala.

In August 2024, I had the privilege of interviewing Jess for Dancetrain magazine. We discussed the highs and lows of her career, from overcoming injuries and adapting to life overseas, to being chosen to star in Chistopher Hampson’s innovative retelling of Cinderella.

Overcoming Injuries

Shortly after joining The Australian Ballet on a corps de ballet contract, Jess was diagnosed with an osteochondroma —a free floating bony growth—in her left ankle. The condition was so severe it required multiple cortisone injections then surgery, taking almost a year of rehabilitation before she could return to the stage.

Nearly a decade later, an accident in the studio led to a torn meniscus in her knee, necessitating keyhole surgery to remove the damaged tissue.

Both injuries were incredibly challenging. ‘My first injury happened during my first year in a company, I’d just graduated school and BAM! I didn’t know if I’d be able to dance again. And then the knee injury. I’d just moved to a new country, was trying to learn a new language, a lot of other things were going on in my personal life and I thought: I really can’t deal with this right now.’

Although the setbacks were very overwhelming at the time, Jess now believes they helped her become physically stronger and more mentally resilient. ‘My pointe work would not be what it is today without the rehab I did with The Australian Ballet and my jump is higher and more powerful now than it was before I had part of my meniscus removed, thanks to the strength and conditioning I do at Scottish Ballet.’

During her recovery periods, Jess also took the opportunity to explore new interests and creative outlets. ‘When I did my ankle, I was really into music, so I picked up singing and guitar lessons. For my knee surgery, the recovery was very quick. I was back onstage within five weeks of surgery. But I was in a different point of my career, I realised how quickly it happened, and how easily it could have been much worse than it was. This made me think: what if I couldn’t come back, what if it really was career-ending? What would I have to fall back on, if I can’t use my body?’

The second injury inspired Jessica to enrol in a Diploma of Paralegal studies online through Australian Careers Business College, which she hopes to complete by end of 2024. ‘I find it super interesting to put on different hats. During the day I’m in the studio working on make-believe stories or acting out love duets or death duets and when I come home, I’m researching Australian law, figuring out to help people who find they are in trouble or have a conflict.’

Dancing Overseas

After five years with The Australian Ballet in Melbourne, Jess found herself craving new challenges. With financial support from the Maria Bourke Travelling Scholarship she spent three months working with the English National Ballet, then two months with Stuttgart Ballet in Germany, where she accepted a permanent soloist contract.

The decision to move abroad was risky. Leaving behind friends and family, adjusting to a new language, and adapting to a different way of life were daunting, but Jess has no regrets. ‘In Germany there’s more appreciation for ballet because it’s been immersed in the culture for hundreds and hundreds of years.’ She explains. ‘Once I was in the supermarket in Germany, and someone saw me and said, ‘Oh Jessica, it’s you! I saw you as Bianca last night. Oh, I loved the performance last night. I see you again on Saturday, right?’ … meanwhile in Australia I was called in late as an emergency to the Sydney Opera House and I’m in the taxi, doing my hair in the back for the performance, and the taxi driver asked me what I do for my real job?’

Cultural appreciation isn’t the only difference; financial support for the arts is also more robust in Europe. ‘In Germany the companies have more ability to take risks because they can do an evening of works with different choreographers and if it doesn’t sell so well, it doesn’t really matter because they are funded by the state.’

Another significant advantage of dancing in Europe and the UK is the access to a diverse array of guest teachers and choreographers. ‘In Scottish Ballet we are so fortunate to have many guest teachers coming from all around Europe and the UK because it’s easy: they just get on a train from London or a two-hour flight from Frankfurt. A lot of Europeans refuse to go to Australia because it’s just too far and too difficult.’

For young dancers following in her footsteps, Jess advises them not to take short-cuts when navigating contracts in foreign languages. ‘It’s important to have someone fluent in the language review your contract with you to make sure you’re signing what you think you’re signing,’ she advises.

She also recommends dancers to consider joining a union when they secure a job abroad. ‘It’s the smartest thing you can do. You pay a small fee, maybe seven or ten euros a month. Best case scenario, you never need it. Worst case, you’re protected.’ For example, if you get injured and your company refuses to cover the costs, a union can step in to provide the support and advocacy you need.

Career Highlights

Jessica’s top career highlights including being thrown onstage with only one week’s notice to dance Lise in Ashton’s La fille mal Gardée, learning the role with a partner who could only speak Portuguese. ‘I am proud of how we both worked together and made a lovely partnership for our performances that also led to a great friendship.’

Another unforgettable experience was guesting as Étoile at Gran Teatre del Liceu, the oldest and most breath-taking theatre in Barcelona with hand-painted ceilings and four tiers of gilded balconies.

Most recently, Jessica was chosen to dance the lead female role in Cinders, Scottish Ballet’s playful new take on Cinderella, where each evening brought a casting surprise for the audience. Some nights, Cinders was a woman, swept off her feet by her Prince; on others, Cinders was a man, charmed by his Princess!

Jess worked closely with choreographer Christopher Hampson to create the dual role of Cinders and the Princess. ‘It’s always been a dream of mine to have a classical role choreographed on me.’

Jess was fascinated by the process of developing two distinct versions of choreography. ‘When we started we quickly realised it wouldn’t be as straightforward as we originally thought. There were so many things that would have to change between the different versions. For example, if I’m the Princess and my partner is playing Cinders, then who will I try the shoe on? I wouldn’t try a male shoe on two stepsisters, so Christopher introduced a new male character to be the stepbrother role along with the stepsisters … it basically became two ballets in one.’

While much of the solos and duets remained consistent between the two casts, Jess had to approach her performances differently depending on whether she was embodying Cinders or the Princess. ‘The intention changed from the questioning Cinders to: I am a Princess and I am in charge … my entrance as the Princess is to the music normally retained for the Prince a “grand allegro” entrance, very big and exciting, I had to be this, but also cold and powerful. It was only when I met my Cinders that I could become more human and let the commanding side melt away, succumbing to my emotions.’

Christopher Hampson’s Cinders challenged several ballet conventions, particularly in how it portrayed female characters. Traditionally, women in ballet often embody ethereal, vulnerable figures, so Jess found it both demanding and empowering to portray a commanding Princess.

Additionally, Cinders broke new ground by introducing a romantic subplot between the Duke and the stepbrother role, a rare representation of non-heteronormative relationships in classical ballet.

In future, Jess would love to be involved in more experimental works, exploring different gender roles and relationships. ‘At the end of the day ballet is art and art is for everyone, so we are working on it and I think more of these stories are coming.’

Currently, Jess is working with Christopher Hampson on a new version of the Nutcracker, which will premiere on December 6th 2024 at the Theatre Royal in Glascow. Though Jess has already performed four versions of the Nutcracker, this production is particularly special as she’s been commissioned to choreograph a divertissement. ‘Christopher commissioned me to choreograph the French divert as I am very interested in classical choreography. I was very excited and honoured when I was first asked, but I am aware of the responsibility to choreograph for what will be a longstanding work in our company repertoire. So far, it has been a wonderful challenge! Working with my colleagues as a choreographer has been a new feeling but one that has felt really supportive and supported.’ She eagerly anticipates seeing her divert on stage, integrated within the full ballet, where she will also be performing the role of the Sugar Plum Fairy.

To find out more about Jessica Fyfe and her upcoming performances, you can follow her on:
jessicafyfeofficial insta Jessica Fyfe Linkedin
scottishballet.co.uk