The Australian Ballet

Ballet Royalty

493795 TAB The Sleeping Beauty Mc Allister Kevin Jackson Matthew Donnelly Lana Jones Artists of TAB Credit Kate Longley 1

Kevin Jackson, Matthew Donnelly and Lana Jones with Artists of The Australian Ballet, The Sleeping Beauty (McAllister) 2015
Photo Kate Longley

As we celebrate the King’s Birthday long weekend in (most) of Australia—sorry, Queensland and Western Australia! We take a look at some of ballet's most fabulous royals. 

It’s safe to say that ballet loves a procession, a coronation and a fairytale ending. Ballet has always had a strong royal connection, from Queen Catherine de Medici, who introduced the French court to ‘ballet de cour,’ to King Louis XIV, who popularised the art form at his lavish Versailles palace.

The Sun King Louis XIV

We have to start with real-life-royal and original balletomane, King Louis XIV. A  fierce supporter of ballet he would dance in 40 major ballets during his lifetime and established the Academie d’Opera (now Paris Opéra Ballet) and is believed to have had a genuine understanding of the art form.

King Louis XIV also wielded ballet as a powerful political tool, introducing specific etiquettes in ballet that imitated court protocols to remind his subjects of his ‘absolute power’. Most famously, he earned his nickname ‘The Sun King’ after his debut performance in  Le Ballet de la Nuit (The Royal Ballet of the Night) in 1653 at 15 years old. The performance lasted 13 hours from sunset to sunrise. Additionally King Louis XIV’s ballet master, Pierre Beauchamp created a ballet notation system and the codification of the five positions of the feet. 

Queen of Hearts

The best at being bad, The Queen of Hearts from Chistopher Wheeldon’s Alice’s Adventures in Wonderland© is an outrageously over-the-top dictator. From demanding the roses be painted red to her hilarious attempt at the rose adage from The Sleeping Beauty, The Queen of Hearts just can’t help but get it wrong. 

Honourable mention: The long-suffering King of Hearts

French School King Louis XIV of France in the costume of the Sun King in the ballet La Nuit 1653 later colouration Meister Drucke 98328

King Louis XIV of France in the costume of the Sun King in the ballet La Nuit, 1653

3068094 TAB Alices Adventures in Wonderland Wheeldon Jill Ogai Andrew Wright Credit Christopher Rodgers Wilson 2

Principal Artist Jill Ogai and Andrew Wright, Alice's Adventures in Wonderland (Wheeldon) 2024
Photo Christopher Rodgers-Wilson

Cinderella

She might not start out as a royal, but this rags-to-riches fairytale continues to delight ballet-lovers of all ages. Whether it’s Sir Frederick Ashton’s dreamlike version or Alexei Ratmansky's 2013 commission for The Australian Ballet, Cinderella is a timeless ballet that proves you don’t always need a crown to be a true queen at heart.

Prince Siegfried

Swan Lake’s wayward Prince Siegfried finds his life’s purpose when he discovers Odette, a young woman trapped under a spell that makes her take the form of a swan during the day. The tale takes a further tragic turn when Siegfried is tricked into declaring his love for Odille, who has disguised herself as Odette. 

Sidebarre: Graeme Murphy’s controversial 2002 premiere of Swan Lake alludes to the relationship of British royals, the then Prince Charles, Princess Diana and Camilla Parker-Bowles.

TAB Cinderella Ratmansky Melbourne Photo Jeff Busby 2019 eve A34 1

Principal Artist Robyn Hendricks and Ty King-Wall, Cinderella (Ratmansky) 2019
Photo Jeff Busby

TAB Swan Lake Murphy Melbourne Photo Jeff Busby 1103 1

Adam Bull and Amber Scott, Swan Lake (Murphy) 2013
Photo Jeff Busby

Sarah Lamband Vadim Muntagirovin The Winters Tale 2018 ROH Tristram Kenton 2

Sarah Lamb and Vadim Muntagirov, The Winter's Tale (Wheeldon) 2018 
Photo Tristram Kenton

King Leontes and Queen Hermione

William Shakespeare’s play, The Winter’s Tale was adapted for ballet by Christopher Wheeldon in 2014. Like so many of Shakespeare’s works, mistaken identity and characters that miraculously return from the dead feature heavily. When Leontes, the King of Sicilia goes mad with jealousy, he orders his wife, Queen Hermione, to abandon their daughter. Distraught, Hermione and their son both die from grief and the young abandoned princess is found and raised by a shepherd who names her Perdita. After 16 years Perdita meets Prince Florizel and the two fall in love. It is soon discovered that Perdita is the missing Princess and, in joy, Hermionie and their son are brought back from the dead, in one of Shakespeare’s more ‘suspended disbelief’ endings.