It's hard with ballet because your aesthetic really is important. It's different from acting and from film. Nobody wants to watch somebody who is sickly thin. And it's interesting because I have danced with people who are ill, have eating disorders, and a light goes off within them.
I found at a young age that emotions aren't always handled with talking and other emotions. I started ballet, seriously around fourteen, and let me tell you, nothing can give you an emotional reset like a good ballet barre.
I was a ballet dancer. I did other kinds of dance but ballet was my great love. But then it became clear, when I was 12, that my body wasn't going to be right. That's always a heartbreaking moment because there's nothing you can do about that. Your body is just not right. You don't have enough turnout. You're not built properly.
Having Alexei Ratmansky create a new Romeo and Juliet for The National Ballet of Canada to mark our 60th anniversary is a dream come true. His aesthetic -- steeped in the Russian school but open to contemporary sources -- is ideal for this work and for our company, which, with our classical heritage and our passion for the modern, is perfectly suited to his distinctive dance vision.