Ballet Confidential
David McAllister
Ballet Confidential
David McAllister
Beyond the formidable combination of tulle and lycra, how much can an audience ever truly understand about the demands of being a ballet dancer? What really is the pain and pleasure of pointe shoes and jockstraps? Can a wardrobe malfunction derail a scene? What happens when injury sidelines a principal dancer mid-show?
Here is your tell-all guide, an all-access pass for ballet lovers and the ballet-curious by internationally acclaimed dancer and former artistic director of The Australian Ballet, David McAllister.
From toe acting, to the perils of partnering and onstage/offstage romances, David answers in intimate detail everything you have ever wanted to know about ballet but were too afraid to ask.
Review
Amanda Rayner
Ballet and I had a rocky start. After just one lesson at five years old, I apparently informed my mother that I was quitting due to the playing of ‘too much leapfrog’. I then remember a grandparent-initiated excursion to see Swan Lake, and reading Noel Streatfeild’s Ballet Shoes, but that is the total of my childhood ballet-related memories. It has been a pleasant surprise therefore, as an adult, to have found a recent appreciation of the dance genre, especially after seeing several performances in the past year on both the stage and screen. The release this month of Ballet Confidential by former principal dancer and artistic director of the Australian Ballet David McAllister is consequently perfectly timed.
Described as such in the subtitle, Ballet Confidential is a ‘personal’ guide, using McAllister’s own experiences to direct the content. The result is a book broken down into digestible chapters on a range of (often unexpected) topics; suitable to read cover to cover or pick up and randomly dive into. This includes sections on partner work, pointe shoes, non-verbal communication, and famous ballets. There are also answers to awkward questions on hygiene, onstage intimacy, and undergarments (three pages on jockstraps!) handled with humour and honesty. Some of my favourite sections include addressing common ballet ‘myths’, as well as a comprehensive overview of all the production roles involved in taking a performance from rehearsal to the stage.
Alongside the insider knowledge and experience of McAllister, the strength of the book comes from the author’s welcoming and approachable tone. The book’s focus is not how to become a ballet dancer, but rather to appreciate and de-mystify the art form. Ballet enthusiasts (balletomanes) will still find plenty to enjoy here, but I’d also highly recommend Ballet Confidential for newcomers, older teenagers and anyone who loves the performing arts.
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