Somewhere between gratitude and sacrifice, the Royal Ballet Principal unpacks coming of age, confidence and the ‘unwavering power of dance as a beacon of light in times of unrest.’
CLASSICAL soundscapes steeped in popular culture references make for compelling experiences as hidden meanings and wider citations add depth to lyrics and draw admirers in. This is why, in a world where society’s troubling downturns are increasingly commonplace, it’s fair to say that nothing soothes you more than the power of music – allowing its potent resonance to flow into an irresistibly magnetic stream of emotion.
In a bid to adhere to a near-obsession with the endeavours of art, Scottish-born sensation Reece Clarke enjoyed indulging in the warmth of music ensembles while growing up. “Back in the day, the power of orchestras made my spine tingle,” Clarke reminisces, expanding on how those moments sparked something special inside him.
Photograph: Tom J. Johnson
From his early path as a dancer that helped to nourish his soulful lyricism, to important ballet roles at London’s Royal Ballet, his tenacity led to his appointment as Principal dancer in 2022. Throughout our interview, he humbly name-checks almost everyone who has helped him get to where he is today – especially family members – and now, Clarke’s efforts are undoubtedly paying off.
“Watching my older brothers perform as professional dancers gave me inspiration, and I have many happy memories leaving the theatre after watching them, trying to do the big jumps I had seen on stage,” he shares, with no signs of peacocking braggadocio on display.
Hailing from Airdrie – North Lanarkshire – Clarke used to travel on an overnight sleeper train to take professional ballet classes in London on a fortnightly basis. “Even though I was stepping into the unknown in many ways, I was very happy when I was accepted to train at The Royal Ballet School in London,” he nods. “Before graduating, I received the award of the Young British Dancer of the Year and the Lynn Seymour Award for expressive artistry, and was offered a contract with the Royal Ballet”.
As a man of great poise, staunchly driven and unapologetically focused, he managed to secure a great year under his belt. “It was everything I hoped for!” he exclaims, as we begin to settle into our conversation. “I had a chance to perform interesting roles, travelled the world and work with people I admire; in short, I feel educated as an artist and a human.”
Photograph: Tom J. Johnson
Photograph: Tom J. Johnson
Beyond ballet, Clarke was also drawn to other activities while growing up. “I think, if not a dancer, I would have become a football player or a tennis champion,” he recalls. “In my childhood, dance was just another after-school activity in a household of four boys, and I would play a 90-minute football match then go to a ballet class. This was the norm for me.” When he became a professional ballet dancer, the challenge of creating a role, expressing himself artistically through the body and unravelling new layers of this art form drew Clarke further into the craft.
With a portfolio that showcases his artistry in a myriad of iconic productions, portraying roles like Romeo in Romeo and Juliet, Prince Florimund and Florestan in The Sleeping Beauty, Prince in The Nutcracker, Count Albrecht in Giselle, Prince Siegfried in Swan Lake, it seems apt to ask what roles have resonated the most throughout his career.
Photograph: Tom J. Johnson
“I do have to mention Des Grieux in Kenneth MacMillan‘s Manon,” he opines. “The journey of this character has a very special place in my heart, and I was fortunate to perform it early on in my career; each time I have revisited the role I also got (a little) older, and I could bring real life experiences to it each time, adding layers to the drama and emotion.”
Clarke also credits the role of Onegin, which he will be revisiting in January in London with the Royal Ballet. “This role is also very special to me, as I discovered different qualities in my own artistic abilities since it happened to be one of the last performances I had before the pandemic hit,” he says, explaining how “I would constantly think back and feel those powerful emotions from those performances to keep that fire burning during difficult times”.
On the wealth of hardships encountered within his performances, he speaks candidly about the role that challenged him recently – that of Woyzceck on Kenneth MacMillan’s A Different Drummer. “The role was unlike any other I’ve performed, as dealing with themes of torture, violence, rage, jealousy at the same time as expressing vulnerability and sensitivity was such an emotional rollercoaster,” he says.
“My director Kevin approached me about the role and told me it would take me out of my comfort zone and be a challenge for me, to begin with, I questioned if I could take the role to the deserved level of performance, but I found my way in it. I’m so grateful to Kevin for guiding me to push myself when things don’t seem possible.”
Photograph: Tom J. Johnson
As one watches fully-fledged dancers negotiate their identities as lovers, friends, dwellers and enemies on the dance floor, they’re never asked how they feel. “The feelings I have when I’m on stage are hard to describe sometimes, but it can feel like complete euphoria,” Clarke asserts, his voice full of joy.
“Whether I’m able to tear up the stage and push my limbs to the maximum or take on a dramatic journey with other artists, it’s such a unique feeling and as many artists describe it, as an addictive experience. Months of work and preparation goes into a few hours on stage, and it’s such a rush to just let go and trust that the mind and body will unfold as they should. I feel so lucky and privileged to be able to do what I do and feel what I feel. I’d love to bottle the feelings I have on stage and revisit them when I’m old, sailing around on a boat somewhere.”
Clarke is keen to unpack his rise to Principal, detailing the setbacks which, no matter what, helped in shaping his tenacious spirit. “Like many other dancers, when I first became a professional, the goal was to become a principal dancer in the quickest possible time,” he opines, though he feels his journey to Principal was just as it should have been.
Photograph: Tom J. Johnson
“Of course, the pandemic was a huge setback, training at home and trying to keep the fitness levels high without performing took two years out of a dancer’s career. But what I have been so fortunate about is that I’ve been given principal roles throughout my journey and for that I’m incredibly grateful.”
But in an industry that has witnessed the meteoric rise of dancers such as Mikhail Barishnikov, Rudolf Nureyev, and Carlos Acosta – whose tenacity Clarke is profoundly inspired by – the world of ballet is no mean feat: saturation constantly soars and precariousness reigns aplenty, with little permanent positions for emerging dancers in recent years.
Thus, one might wonder, how has he managed to stay afloat in such a challenging time? “I think resilience is one of my strengths, and also stubbornness,” Clarke freely admits.
Photograph: Tom J. Johnson
There have been times when Clarke has questioned whether he could have kept performing at the level he expected from himself. But when these thoughts do happen, they stem from times of fatigue. “These moments may come when I’ve tried to stretch myself too much,” he says.
“There’s also been a huge element of sacrifice throughout my childhood and teenage years when I was training to hopefully one day become a professional dancer, which was also a mental challenge. But as I say, it’s built resilience, grit and stubborn determination which I think is vital in this career.”
Speaking of mental health, Clarke reflects on the fact that having interests outside of the ballet world avoids it becoming all-consuming. “I’m lucky to have the support of my family and have some of them near me in London. Sport gives me motivation and sparks that passion inside me.” But his real source of therapy comes from his dog. “Being with him in nature brings me peace and enables me to reconnect with myself and is a reminder that the simple things in life give me the biggest rewards.”
Photograph: Tom J. Johnson
It’s common knowledge that ballet holds the ability to be much more than a sequence. And even though Clarke has danced at coveted theatres and equally fascinating roles in his journey, the artist still had his sights fixated on L’Histoire de Manon’s glittering drama performed at La Scala alongside étoile Nicoletta Manni. The ballet can be attributed to its raw and impassioned portrayal of love.
“It really was one of the highlights of my career,” Clarke enthuses, explaining how great he felt performing at the iconic venue, with Nicoletta who he deems “a very inspiring dancer and an amazing human,” and being coached by Manuel Legris. “It was the most inspiring and heartwarming experience for me. We spent two weeks preparing for the performance, in both London and Milan and everything just clicked between Nicoletta and myself from the get-go.”
As we wrap up, Clarke is currently sitting on the Eurostar making his way back to London after spending three days in Paris, where he prepared for a few gala performances that’ll fly him to Tokyo. “I will be dancing alongside Dorothée Gilbert, an etoile with Paris Opera and it’s our first time working together,” he notes.
Photograph: Tom J. Johnson
“Then I will make my debut with ABT in New York at the end of October, in the Kingdom of the Shades, which I’m so excited about. It’s a dream to be asked to perform alongside this fantastic company and I’m sure it’s going to be a very rewarding experience. After this I have more gala performances in Zurich and then I will start my London season with Cinderella. But I think the highlight of my London season with the Royal Ballet will be Onegin, in which I will perform the opening night on January 22nd.”
We’re way over our allotted interview time but before Clarke leaves I’m dying to know if he has any exciting ventures ahead. “It was always my dream to become a Principal dancer and to also perform on stages around the world, and I’m currently living that dream,” he concludes. “Over the years I’ve become more and more intrigued with the acting elements of the roles I’ve performed, and this also has made me curious about the acting world!” Clarke grins, chuckling with a gleeful demeanour.
by Chidozie Obasi
Photographer: Tom J. Johnson (@tomjjohnsonphoto)
Stylist: Chidozie Obasi (@chido.obasi)
Grooming: Michael Gray (@michaelgraymakeup)
Styling assistant: India Terras (@indiaterrasx)
Clothing credits: Look 1: TOD’s | Look 2, 3: DIOR | Look 4, 5, 6: FENDI | Look 7: FENDI & BURBERRY | Look 8, 9: FENDI