Passion and Purpose

By Helena Gjone

Published in print: November 2024 order now!

I first heard about Isabella McGuire Mayes back in 2008, when she made headlines as the youngest British dancer to secure a place at St. Petersburg’s Vaganova Ballet Academy, one of the oldest and most prestigious schools in the world.

I remember seeing photos of Isabella in the Guardian and Telegraph—taking in her long Bambi limbs and graceful lines—and thinking to myself, “I bet she’ll go far.” Turns out I was right.

After four years of gruelling training in Russia, Isabella graduated at the top of her class, going on to perform soloist roles with the Mikhailovsky and Eifman Ballet. Upon returning to London, she launched her own business, “Ballet with Isabella,” which includes a popular website, offering pre-recorded and live classes, bespoke plans, and in depth courses, alongside her Instagram account @balletwithisabella. Isabella also created a Podcast and YouTube series featuring in-depth conversations and interviews with ballet stars like Tiler Peck and Skylar Brandt, covering topics ranging from eating disorders to periods, turnout tips, and stretching techniques.

In January 2025, Isabella will be traveling to Australia to teach masterclasses in Melbourne and Perth, offering pre-professional students and adult dancers the unmissable opportunity to learn from her vast experience. I had the pleasure of interviewing Isabella via Zoom and was captivated by her openness and sincerity as she shared her journey—from adapting to the cultural barriers in Russia, to overcoming a severe back injury, and discovering her true passion and purpose in teaching.

Discovering the Vaganova Style

Isabella’s first brush with the Vaganova style happened when was training at Tring Park School of the Performing Arts in England, and her mother arranged a private lesson with the formidable coach Zina Mamedova. “Zina attended the Vaganova Academy herself at the age of nine, traveling alone from Tashkent, (Uzbekistan) so she’s made of hard stuff.” The lesson was a shock for Isabella, who’d never experienced such intensity before. She recalls Zina slapping her feet and shaping her body as though it were a piece of clay. After emerging from the studio, red-faced and drenched in sweat, Isabella told her Mum she never wanted to see Zina again. “But a few weeks later, I found myself thinking, maybe I should give it another try. And the rest is history.” During subsequent private lessons, Zina introduced Isabella to videos of the Vaganova Ballet Academy on YouTube, and she was instantly captivated by the dancer’s grace and finesse, particularly the expressivity of their port-de-bras. “I just became really obsessed with the perfection of their movements, the beauty of it. I’d never seen anything like it.”

At thirteen, Isabella scored a coveted position at the Royal Ballet School. However, despite the prestige of training at White Lodge, she continued to fantasise about furthering her studies in St. Petersburg. After traveling to Russia several times; participating in an exchange between the Royal Ballet School and Vaganova Academy, and arranging a private audition, Isabella finally got her foot in the door. “I had to slightly beg to be accepted, because I was just turning 16, and they usually admitted foreigners around 17 or 18.”

Cultural Barriers

Despite arriving in St Petersburg bursting with determination and a strong work ethic, Isabella found her time at the Vaganova Ballet Academy tougher than expected. The most significant hurdle was the language barrier. Isabella did not speak any Russian, so she struggled to follow class instructions and comprehend corrections. “The words I understood first were the ones that were happening within the studio. Like golova (head), because my teacher kept telling me to use my head.”

Isabella also disliked the canteen food, which included a lot of buckwheat, cabbage, potato and hearty soups. “I quickly noticed that there were no other foreigners in the canteen,” Isabella recalls. “A lot of them were going to the supermarket instead.” Fortunately, the Vaganova Academy provided a kitchen in the dormitory, so Isabella could prepare her own meals; opting for salmon or chicken with vegetables.
Still, despite the challenges, Isabella was grateful for the opportunity to work with some incredible teachers, including Gennady Seliutsky and Irina Sitnikova. “They were both very blunt and direct. They would say things that seemed designed to test me, to push my strength a little. But they were never cruel or nasty—just straightforward. What really stood out, though, was their sense of humour. They didn’t mind poking fun at their dancers from time to time, but it was always light-hearted, never mean. That wacky Russian sense of humour. I’ve really carried that with me—the honesty and the humour.”

Overcoming Injury

Isabella believes one of the hardest parts of her journey was dealing with injuries. “I had a very bad injury during my graduation year at the Vaganova that sidelined me for about six months … It happened on the second day back from summer break and the pain was just like a knife in my back. It was the most excruciating thing I’ve ever experienced.” The injury, a stress fracture in her lower spine, stemmed from low bone density and hormone function. A condition that can be exacerbated by the intense physical demands of ballet, particularly in those with low body weight or who experience delayed or absent periods.

The timing of her spinal fracture couldn’t have been worse. Isabella had been chosen to perform as Masha (The Russian version of Clara) at the Marinsky Theatre—a role that could have been a major turning point in her early career. However, the injury was so severe she had no option but to withdraw. “Mentally, it was the most difficult time,” she recalls. “In order to graduate I had to recover quickly, get back into shape, and return to the same standard as before—if not better. The pressure was immense, but I knew I had to push through.”

Realising that staying in St. Petersburg, and watching classes from the sidelines, would only lead to further deterioration—both physically and emotionally—Isabella decided to return to London. “I wasn’t going to rehab there. I knew that if I stayed, I would just get depressed, out of shape, and further away from recovery.”

Back at home, Isabella created her own rehabilitation program; connecting with a team of specialists, including a Pilates clinic who were experienced in treating dancers as well as gyrotonics practitioners to help her understand how to support her back and work on her turnout. “I was swimming a lot as well,” she adds, noting how the low-impact exercise was kind to her injured body. “I was probably working harder than I would have at school,” she admits. “I just didn’t want to feel like I was lounging around.”

When Isabella finally returned to the Vaganova, she was in excellent shape physically, but her recovery was not complete. “It was too soon,” she reflects. Although the fracture had healed, the muscles surrounding it were still spasming due to a neurological pattern of protection. Even simple movements, like an arabesque, felt uncomfortable. Despite feeling frustrated, Isabella pushed through, slowly but surely regaining her strength and confidence. Her perseverance paid off—after graduating with top marks, she accepted a contract with the Mikhailovsky Ballet, where she danced for several years.

The Turning Point

Isabella’s journey took a turn when she left the Mikhailovsky Ballet in search of change and joined Eifman Ballet as a soloist. “I was seduced by the soloist contract,” Isabella admits. However, Isabella quickly realised the atmosphere within the company was not what she had hoped for, and for the first time, she found herself feeling deeply unhappy and unmotivated. “I got quite depressed, and I hadn’t actually experienced that before.” The experience forced her to question her purpose and what she truly wanted from her career.
Moving back home with her parents, Isabella faced a period of uncertainty and introspection, struggling to explain her feelings, even to herself. “My Mum in particular, who’s also a very ambitious woman, she didn’t get it at all.” It was a challenging time, but ultimately led her to a pivotal realisation. “I didn’t want to go back to an institution anymore.” During this period of self-discovery, Isabella took on freelance work, performing as an independent artist and coaching other dancers. “For my own mental health, I found I enjoyed doing something for someone else.”
In particular, Isabella found a lot of inspiration in working with adult students, admiring their dedication to learning and improving for the sake of personal growth and enjoyment. “I’m amazed by them, really. I’ve got adults students coming from all over the world to spend a week with me, and it’s just for themselves … It’s something we can all learn from—holding on to your self-motivation and remembering why you started in the first place.”

Isabella’s Teaching Philosophy Isabella’s teaching approach is rooted in her own experiences and frustrations as a dancer. Reflecting on her early training, Isabella recalls many times when she was simply told how movements should look, but rarely shown or taught how to achieve them. This lack of detailed guidance forced her to spend countless hours alone in the studio, meticulously analysing the mechanics of each movement. “I was honing my skill of self-correction, learning to understand how the body works to execute these movements.” Now, when she corrects her students, she doesn’t just tell them what to do—she walks them through her own thought process, helping them understand the science behind each step. Isabella also strives to strike a balance between discipline and enjoyment. “In ballet, there’s often this belief that if you’re not struggling, you’re not improving,” she acknowledges. “But I believe we can have a lot of fun and actually enjoy this process, while also working really hard and improving each day.” When asked what she is most looking forward to about teaching in Australia, Isabella’s enthusiasm is palpable. “I’m just really looking forward to visiting new places, meeting new people, and helping them,” she smiles.

To sign up for Isabella’s classes or learn more, visit her website: https://balletwithisabella.com or follow her on Instagram and YouTube @balletwithisabella

You can also send her an email: hello@balletwithisabella.com