A childhood dream has transformed into a remarkable career for Australian ballet dancer Calvin Richardson, who has risen to the esteemed position of principal soloist at the Royal Ballet in London. His journey, marked by resilience and determination, began in Traralgon, a regional town in Victoria. During an audition for the musical “Billy Elliot,” he arrived without his tap shoes, a misstep that could have derailed his ambitions. Fortunately, the instructor lent him a pair, leading to a memorable audition that, despite initial rejection, set him on a path to success.
Reflecting on that pivotal moment, Richardson recalls, “I’d lost them, and I was totally panicked, but the person who was instructing us let me borrow his, and I actually fit into his tap shoes.” Although he did not secure his desired role, that experience proved to be a mere detour. Now at 31, he is an ambassador for the Royal Ballet, embodying the artistry and dedication that defines the institution.
In the depths of Covent Garden’s historic Royal Opera House, Richardson describes the shift in his responsibilities as a principal dancer. “It feels different,” he says. “There’s a new level of responsibility. You become an ambassador – not just for yourself, but for the company.” With fewer performances than in his earlier days, the pressure has increased. He explains, “The rehearsal is for you. What do you want to do with it?”
Richardson’s performances are a testament to his talent and charisma. As he takes on roles like Jack/The Knave of Hearts in “Alice’s Adventures in Wonderland,” he captivates audiences with his presence and grace. His recent work has included lead roles in iconic performances such as “Romeo and Juliet,” a classic originally choreographed by Kenneth MacMillan in 1965.
Raised in a coal-mining town, Richardson’s path to ballet began at local dance schools. Encouraged by his parents, Jan and John, he honed his skills at Vicky’s Dance Academy in Morwell. “Miss Vicky was a great tap teacher. It really spoke to me,” he reflects. His talent earned him a scholarship to the Victorian College of the Arts Secondary School at just 14 years old, where his focus shifted towards ballet. This opportunity required a rigorous commute, involving a pre-dawn train journey from Gippsland several times a week.
“I think I fell in love with it properly then,” he says, acknowledging the pivotal role that training played in shaping his career. Following his graduation from the prestigious Royal Ballet School, he joined the Royal Ballet at the age of 20, embarking on a remarkable journey that has seen him perform in major cities across the globe, including New York, Japan, and Madrid.
Richardson’s daily routine in London is intense, mirroring that of elite athletes. It typically begins with a class at 10:30 AM, followed by rehearsals that can extend late into the evening. Injury management, recovery, and mental health have become integral to his schedule. “I’ve had my fair share of injuries,” he admits, emphasizing the importance of listening to his body.
His artistic director, Kevin O’Hare, has closely observed Richardson’s ascent. “Calvin has that rare ability to move between classical and contemporary worlds with total commitment,” O’Hare notes. In a company renowned for its diverse repertoire, Richardson’s versatility is invaluable. O’Hare praises his work ethic, stating, “Calvin started from the corps, took every role seriously, and never lost that focus.”
The presence of Australian dancers at the Royal Ballet is significant, with O’Hare highlighting their dedication. “They’ve left home, left their families. They’re not going to waste the opportunity. Calvin’s one of those – you can see he’s here to make it count.” Leanne Benjamin, a former principal dancer at the Royal Ballet, adds that Richardson’s uniqueness shines through. “He is his own person, and you can see that on stage in everything he does.”
For Richardson, dancing transcends technical skills. He embraces the emotional depth required in roles, stating, “There’s this beautiful ambiguity – what are you saying with that look, that movement? You find a lot of meaning in those moments.” His connection to the classics is profound, yet he acknowledges his desire to learn more about ballet history.
As a teenage boy in regional Australia, Richardson faced challenges, particularly in grappling with his sexuality. He recalls nearly quitting dancing due to the fear of bullying and feelings of isolation. “I didn’t have the language to articulate that, but … I was sort of leading a double life,” he reflects. His experiences as a queer artist have significantly influenced his performances, providing him with a platform to express his authentic self.
Richardson’s journey of self-acceptance is evident in his recent collaboration with Attitude magazine, an LGBTQI publication. “Embracing my sexuality has played a significant role in my approach to contemporary works,” he explains. His ability to portray queer characters, such as those in Yugen and Woolf Works, allows him to connect deeply with audiences.
“Performing queer roles feels natural,” he states, as he draws on his life experiences to bring depth to his characters. This authenticity enhances his performances, enabling him to challenge traditional norms within classical dance. When reflecting on his younger self, he expresses a desire to reassure that boy, emphasizing the importance of love and support.
Richardson acknowledges the fleeting nature of a dancer’s career. “This is a short moment,” he shares, emphasizing his intention to create lasting memories for his family and loved ones. O’Hare recognizes the mounting pressures faced by dancers today, but he believes that individuals like Richardson are shaping the future of the art form. “Calvin’s a role model, not just for the company, but for dancers everywhere,” he concludes.
As Richardson continues to thrive in his artistic journey, he remains grounded, never forgetting the tap shoes that sparked his incredible adventure.
