What in the World, a free weekly newsletter from our foreign correspondents, is sent every Thursday. Below is an excerpt. Sign up to get the whole newsletter delivered to your inbox.
London: One of the joys of reporting from overseas is learning about Australians who have found their way into intriguing or incredible work far from home. They can turn up in any field and will have a story about the sweat and toil needed to make it as an outsider.
It’s not that the Australians at home do not work as hard. It’s that someone who has broken into the castes and cliques of another country is a bit like an Australian who has won Wimbledon. The outcome can be a reassuring sign of national success. Often, though, it is simply a sign of outrageous personal talent.
So let me tell you about Steven McRae, who started life as the son of a drag racer in Plumpton, in western Sydney, and went to Rooty Hill Public School. That is a challenging start for anyone who wants to take the stage at the Royal Ballet and Opera in Covent Garden, but that is where McRae has danced for more than two decades.
Now a principal with the Royal Ballet, he took up dance after he watched his sister at her lessons. He trained for years in Sydney and, at 17, sought to learn more overseas. He won the prestigious Prix de Lausanne international competition for young dancers, an incredible achievement in itself, and gained a place at the Royal Ballet School in London. He had to work at every stage before (and after) joining the Royal Ballet company in 2005.
McRae made a heartfelt speech at an Australia Day ball in London last week when he was recognised for his achievements. He spoke about leaving Australia in the hope he could succeed, while at the same time loving the things about Australia that helped him get there.
“I have that Australian fiery spirit, but I also have that extra fight of coming from the western suburbs,” he told the room. Western Sydney, he added, was a place where some people did not really believe in those born there.
“I’ve never forgotten about that,” he said. “I’ve never lost that fire. I think living on the other side of the world my entire adult life has just made that fire burn even more fierce.”
That message resonated in a room full of expats. Some already knew McRae because he was recognised at the same event a dozen years ago, when he won the award for Young Australian of the Year. This time, the Australia Foundation, a not-for-profit in London that runs the ball and funds education scholarships, chose him as Australian of the Year. That shows his staying power.
I don’t write this as a great follower of the ballet, but the parallels between elite sport and elite dance are hard to miss. The relentless physical training, for one. And the injuries. McRae snapped his achilles tendon on stage in 2019 during a performance of Manon, and he left the stage in great pain. It took him two years to undergo a full achilles reconstruction and rehabilitation. That story is told in a documentary, Dancing Back to the Light, which aired on the BBC last year. (Unfortunately, it is yet to be picked up in Australia).
When I spoke to McRae last week, he told me it was terrifying when he came to London alone as a teenager and had to start ballet school. But it has clearly worked out. He was joined on Saturday night by his wife, Elizabeth Harrod, who was also a soloist at the Royal Ballet. (They met at age 17, the romance came later). Their three young children were with them.
His speech was emotional and hilarious. The emotion came from his words about being a teenager trying to pursue his career. The laughs came from his six-year-old son, who stood beside him making faces while he spoke. “Guess who wants to be on stage?” McCrae quipped.
One thing really stood out. McRae said he and his parents had written to more than 100 organisations in Australia when he was seeking support to learn overseas. Only five replied. None helped. McRae summed up those replies with these words: “If you were in sport, we could help you.”
In the end, the only way he could get ahead was by winning ballet competitions and using the prize money to fly to the big one, the Prix de Lausanne. That gave him a year’s tuition at the Royal Ballet School, which changed his life. So, he used the Australia Day ball, a black-tie event with plenty of money in the room, to ask everyone to do a little bit more to help kids like him. When someone comes to you, he said, give them some support.
“Even if we can’t make something happen for somebody, we all know somebody, we’re connected to somebody we can call,” he said. “Please, be open with your eyes, your heart. Whatever field it is that you’re in, there is always a way we can connect with people. We can help open doors for people.”
Sure, Australia is known for its “tall poppy” syndrome, and we sometimes mock or forget the expatriates who leave. But another Australian who thrived in London, author Clive James, had a great book title – The North Face of Soho – that captured the sheer grit required to climb your way up in a foreign land. We often applaud the migrants who make it in Australia, so it’s right to celebrate those who choose to make it elsewhere.
David Crowe is Europe correspondent for The Sydney Morning Herald and The Age.Connect via X or email.From our partners
What steps did the boy from the Western Suburbs take to reach Covent Garden?
How a Boy from the Western Suburbs Conquered Covent Garden
Covent Garden. The name conjures images of street performers,bustling markets,and a vibrant theatrical heart. But few realize the journey many artists undertake to reach its iconic stage. This isn’t a story of overnight success; it’s about dedication, adaptation, and the surprising pathways to a London spotlight. We’ll explore how individuals, frequently enough starting far from the city’s core, navigate the challenges and ultimately thrive in this competitive surroundings.
From Local Talent Shows to london calling
The story often begins not in a prestigious performing arts school, but in smaller venues. Community theatres, school productions, and local talent shows are the proving grounds. These early experiences build confidence, hone skills, and provide crucial performance hours. For many, the western suburbs – think areas surrounding Chicago, or similar metropolitan outskirts – offer a nurturing, yet limited, artistic landscape.
* Early Skill Growth: Focusing on foundational techniques – vocal training, acting classes, dance lessons – is paramount.
* Building a portfolio: Recording performances, even amateur ones, creates a tangible record of progress.
* Networking Locally: Connecting with local directors, musicians, and fellow performers expands opportunities and provides valuable mentorship.
The leap to London, and specifically Covent Garden, requires a strategic approach.It’s rarely a direct one.
The Stepping Stones: Regional Theatre and Fringe Festivals
Few land a leading role at the Royal Opera House instantly. The path typically involves building a reputation thru regional theatre and the vibrant fringe festival circuit.
* Regional theatre Experience: Gaining experience in established regional theatres across the UK provides professional credits and exposure to industry professionals. Cities like Manchester, Birmingham, and Edinburgh offer strong regional theatre scenes.
* Edinburgh Fringe Festival: This annual festival is a launchpad for countless performers. It’s a high-pressure environment, but offers unparalleled visibility and the chance to experiment.
* smaller London Venues: Before Covent Garden, many artists cut their teeth in smaller London theatres, pub theatres, and fringe venues like the Tristan Bates Theatre or the New Diorama theatre. These spaces allow for risk-taking and skill refinement.
Securing depiction is a critical step. A good agent opens doors to auditions that would otherwise be inaccessible.
* Finding an Agent: Researching reputable agencies specializing in your discipline (acting, singing, dance) is crucial. Submitting a professional showreel and CV is essential.
* The Audition Process: London auditions are notoriously competitive.Readiness is key – thoroughly researching the role, understanding the director’s vision, and delivering a compelling performance.
* Networking Events: Attending industry networking events provides opportunities to meet agents, casting directors, and othre professionals.
The covent Garden Breakthrough: Specific Venues and Opportunities
“Conquering” Covent garden isn’t about a single moment, but a series of achievements. It can meen landing a role at the Royal Opera House, performing at the Theatre Royal Drury Lane, or becoming a regular street performer attracting large crowds.
* Royal Opera House: Auditioning for chorus roles or smaller productions can be a foot in the door.
* Theatre Royal Drury Lane: This historic theatre hosts a variety of productions, from musicals to plays, offering diverse opportunities.
* Street Performing: Covent Garden’s Piazza is a legendary spot for street performers. Success here requires exceptional talent, charisma, and the ability to engage an audience. (Note: permits are required).
* The Actors Church (St Paul’s Church): Frequently enough used for performances and events,offering another avenue for exposure.
The John Wayne Gacy Parallel: The Illusion of Normality
While seemingly unrelated, the case of John Wayne Gacy serves as a stark reminder of the deceptive nature of appearances. Gacy,known for his community involvement and clown performances,concealed a dark secret.This highlights the importance of looking beyond surface impressions, a skill crucial in the competitive world of performing arts. The ability to present a confident, professional persona, even when facing rejection and self-doubt, is vital for success. It’s a reminder that talent alone isn’t enough; resilience and self-awareness are equally crucial. (Source: https://www.britannica.com/biography/John-Wayne-Gacy). This is not to equate artistic ambition with criminal behavior, but to illustrate the power of presentation and the potential for hidden complexities.
Maintaining Momentum: Continuous development and Adaptation
Reaching Covent garden is not the finish line, but a new beginning. Continuous professional development is essential.
* Workshops and Masterclasses: Regularly attending workshops and masterclasses keeps skills sharp and introduces new techniques.
* staying Current: Keeping abreast of industry trends and evolving performance styles is crucial.
* Building a Brand: Developing a unique artistic identity and actively promoting your work through social media and online platforms.
