What It's Like Learning to Dance in Pointe Shoes in 12 Weeks

If Black Swan didn't make the ballet world look tough enough, the boys from The Dream are sure to fix that. The Australian Ballet has been putting its dancers through their paces ahead of the company's launch of the production early next month. A fascinating rendition of Shakespeare's iconic A Midsummer Night's Dream, The Dream is part of a triple bill of works by leading 20th-century choreographer Frederick Ashton at his spectacular best. Expect magic and musicality, and did we mention men en pointe?

Forget boys in tutus, these guys are throwing everything you think you know about this elegant art form out the window. Hopping and bounding across the stage for the role of Bottom, coryphée Christopher Rodgers-Wilson gives the warts-and-all goss on what it takes to transform into this loveable, eccentric donkey.

TURNING THE TABLES

A hulking pair of hairy legs en pointe is a rarity in ballet, where the technique is usually reserved for female dancers. There is a bit of history of men taking part in the practice — specialised companies, such as the American all-male drag parody group Les Ballets Trockadero de Monte Carlo, do it regularly, while unorthodox roles have seen guys slip into these satin numbers on a variety of occasions.

"There has been a previous production of Cinderella with the Australian Ballet with Stanton Welch which had the stepsisters played by males en pointe," tells Rodgers-Wilson. So The Dream is not the first to ask this of its males, but for audiences, the sight is still a novelty. A wonderful, muscly-calved novelty.

THE BALLET MISTRESS, PILATES AND GETTING STARTED EN POINTE

Professional ballerinas make tiptoe twirling look like a walk in the park, but years of gruelling training goes into perfecting the positions of their satin-wrapped trotters. Despite a lifetime of stage experience, Rodgers-Wilson had to go back to the barre to tackle the fundamentals with the help of conditioning coaches and London's Royal Ballet heavyweight Christopher Carr to pull this off.

"We actually learnt a lot of the ballet, the steps, late last year in December ... just in our normal, flat shoes to get a feel for what we actually needed to do," says Rodgers-Wilson. With two decades of pointe expertise from the company's (amazingly titled) ballet mistress and rehabilitation specialist Megan Connelly at the ready, the guys were then taken through their paces lying down on a humble Pilates reformer to learn "how to manipulate the shoes without your full body weight".

MAKING THE SLIPPER FIT

The next step towards the stage saw these boys head off for a spot of shopping (of the less conventional variety). Acquiring the all-important shoes proved to be no mean feat. "[There] can be slight little discrepancies in the shape," says Rodgers-Wilson. "You do find some pairs that you pop on and you find that they’re really great straight away and there are other pairs that are just not going to work".

Then it's time to really strap in. Many hours of sewing, scraping and softening later, and each dancer's perfect pair was born. These adjustments can have more of an impact than you'd think. "That’s been one of the biggest challenges for me," says Rodgers-Wilson, "working out how best to prepare the shoes before you actually get en pointe, because being comfortable and feeling like you can work your feet and manipulate the shoe is really important. Sometimes the way the shoe breaks down, it can end up pulling you off pointe ... like you’re working extra hard just to stay up."

And the bloody battle scars? A veteran in the way of bumps and blisters, Rodgers-Wilson says "I think we’ve all found that our feet are stronger for [dancing en pointe], aside from the odd sore toenail or odd bruise here and there."

AND JUST WHEN YOU THOUGHT YOU'D SEEN IT ALL: A GIANT HEAD

The Australian Ballet doesn't do things by halves. Those learning the role of Bottom have been dealt the short straw in terms of challenging costuming. Not only will they be dancing en pointe, they'll be doing it from inside a life-size donkey mask.

"The first time," Rodgers-Wilson says, "it’s like shutting your eyes and standing on one leg a little bit." With vision blocked to the point of obscurity, dancers can "sort of see out the donkey’s nostrils", making mastering this new skill about as challenging as it gets.

But for these guys, obstacles like this are de rigueur. "Gradually it feels more and more normal ... and obviously, practice makes perfect".

BALLET FOR THE NON-BELIEVER

Aside from the novelty of boys en pointe, The Dream packs a serious punch in the way of performances. Bringing Shakespeare's most magical work to contemporary audiences, think of this as the perfect first-taste of ballet for anyone who's never dared step foot inside the Opera Theatre.

"It’s got a beautiful variety," says Rodgers-Wilson. "It’s dramatic and funny and there’s magic and it's got all these beautiful elements." Throw in compositions by Felix Mendelssohn, plus a choir of singers tucked away beneath the stage, and this show guarantees a seriously surreal theatre experience that will say with you long after you've left your seat.

The Dream opens on Wednesday, April 29, at the Sydney Opera House. Tickets range from $19 to $189 + bf and can be purchased online from the Opera House website.