Ruth Brill - A Visionary Choreographer

Interview by Jacqueline Lewis FISTD

This interview was first published in ISTD Dance Magazine, Issue 504 May-Aug 2025 and is reproduced by kind permssion of the ISTD and the author, Jacqueline Lewis. A copy of this issue and all other editions of ISTD Dance magazine may be purchased from the ISTD as printed or digital copies. Further information can be found at: https://www.istd.org/discover/dance-magazine/

What initially drew you to ballet?
What really drew me to dance and theatre was growing up watching musicals like Seven Brides for Seven Brothers, The Sound of Music, and West Side Story. I am from a creative household; my dad had a diverse music collection because he is involved in radio and we had a big dressing up box! We spent a lot of time listening to a wide range of music styles at home. I was always dancing and making up shows with my siblings with sheets hanging over the washing line as stage curtains. Age 3, I went along to a ballet class in the local village hall with my friends to burn some excess energy, and it all grew from there. My teacher was Judith Wilson and I was taught in the Cecchetti method. I also did modern, jazz, tap and drama. Over the years, I started to travel up to London for ballet classes and competitions, and fell in love with the idea of becoming a dancer.

Do you feel that training in the Cecchetti Method has given you a deeper understanding of the classical repertoire, and if so, how?
First and foremost, the Cecchetti Method educates you to move your body in different ways. In particular, using the upper body, expressive Port de Bras and fast footwork. These elements are suited to much of the Ashton repertoire, which I was fortunate to perform. I've always felt at home in Sir Fred’s ballets like The Dream, Les Rendezvous, Dante Sonata and La Fille mal Gardee. Working with choreographers on new neo-classical work requires you to embrace unique movement styles, experiment, push the boundaries, go off balance, and just allow your body to move in a different way. The Cecchetti method trains you to be a coordinated and courageous dancer, which enables you to tackle any repertoire.

When you are choreographing new pieces, how do you find inspiration, and how does your Cecchetti training help you?
Every new work I create is different and I respond to the given brief accordingly, but I do always end up coming back to music. From the music, I get the structure, dynamics, nuance and the personality of the piece. As a dancer, I think my strengths were my musicality and dynamism, which in turn has shaped my choreographic voice. I’m also deeply inspired by the dancers I work with and want them to feel that it has been made for them. I love working with other collaborators – designers, composers, creatives – People who take your ideas further and beyond what you initially imagined. That’s really exciting for me as an artist.

You were coached by Diane Van Schoor for the Cecchetti Diploma DVD. What did you take away from this experience and how has it helped you today?
Revisiting rigorous training while in a professional company was incredibly beneficial. I think it’s no coincidence that I was promoted at Birmingham Royal Ballet during this period; the additional strength and confidence I gained were pivotal. Working with Diane, who is an exceptional mentor, alongside dedicated dancers from the Royal Ballet and Birmingham Royal Ballet made it not only an inspiring venture but also a truly joyful one. Our classes were just so rich in knowledge and dedication. Although we were giving up our precious days off and arriving to the Royal Opera House feeling tired because we might have done 8 Swan Lakes that week, coming together to keep building and learning on those Sundays was special. We worked with Diane for three years, so we all learned and studied everything in great depth, and we all grew hugely as artists as a result. I’m so grateful and feel honoured to have been part of it.

Who are some of the people in the ballet world, past or present, who have inspired or influenced you?
I think being a good teacher is a huge gift and I feel that there are many teachers that I have to thank because they inspired and encouraged me so much in my journey. Judith Wilson, right at the very beginning, helped to grow that spark of fire within me. Anita Young at the Royal Ballet Associates, Eve Pettinger at Tring Park, Anthony Dowson at English National Ballet School and then through ENB Company, Marion Tait and David Bintley and have all contributed to my development and encouraged me. Diane Van Schoor remains a key inspiration for her passion and dedication to the Cecchetti Method, as was Richard Glasstone - I travelled to Paris with him to demonstrate the Cecchetti work. Additionally, I was so fortunate to work with Cathy Marston at a young age as she choreographed on 11-year-old me at London Children’s Ballet. It was transformative. Her leadership, intelligence, kindness and creativity continue to inspire me, and I also admire how she balances her professional life with having a family.

Ballet is constantly evolving. How do you think the art form is changing, and what excites you about its future?
I think ballet is evolving because the world is evolving, and I think that it's only right that new work responds to the world that we live in. There are waves of what is fashionable, and I feel like the dance world went through a phase where it was more about pushing the physical boundaries of the art form. I feel as though it's all swinging back now to connecting with the audience, emotion and telling stories. That is where my passion lies. I think the heritage of the ballet world is important too. Companies have a responsibility to retain and respect the heritage works and keep their integrity. What is a successful work? There is no right or wrong in dance. It's an art form. New work needs to be made to challenge audiences. New collaborations, new creative voices and a sprinkle of bravery will mean that it continues to evolve.

What advice would you give to young dancers who are considering the Cecchetti Method as part of their ballet training?
I’m grateful that my dance school offered the Cecchetti Method. It’s a beautiful way to train, helping dancers develop not just technique but also artistry, musicality and therefore the ability to express yourself. I’d encourage everyone to try ballet, or any kind of dance. I truly believe that dance is beneficial at any age—it is good for your physical and mental health. It enhances social skills, it instils discipline and focus, and boosts confidence.

How would you like to see the Cecchetti Method evolve in the future?
I’d love to see the Cecchetti Method become more accessible to a wider audience. Raising its profile will encourage more people to explore and appreciate its depth. It’s crucial to think about the next generation—passing down knowledge to ensure the method continues to thrive. While retaining its essence is vital, it should also evolve to stay relevant. I believe the Cecchetti Method has much to offer, and I want as many people as possible to experience its beauty.