Re-incarnation of Rudolf Nureyev

He is just 28 and has danced in most of the classical ballets in which the repertoire includes Crown Prince Rudolf, Prince Siegfried, Espada, Romeo, Albrecht, Paris, Florimund, Aminta, James etc and many more. These are the leads that all male dancers aspire and very few accomplish.

Born in Maidenhead, United Kingdom, Rupert Pennyfather studied under Julie Ross and the Royal Ballet School. After dancing around from childhood, Pennefather joined the Royal Ballet in 1999. He debuted as the first soloist in 2006 and became its principal dancer from 2008. Like Nureyev, his rise was phenomenal but erring at times and not pleasing the critics all the time. He had a created role in Marriot’s Sensorium in 2009 that zoomed his career.

He is totally self-effacing as an artiste and devoid of personal ambition which makes him very popular with his partners who feel elated to dance with him. His talent had been smouldering for a while until it burst into gigantic flames. His stage personality is enigmatic, commanding and supreme.

When on stage dancing, he is transformed into an enigma from a very shy retiring person. This reserved dancer partners all the principal ballerinas at the Royal Ballet. Like Nureyev, he guards his privacy and has a dry sense of humour but is not arrogant like the former superstar. He is very Russian-like with the face of an aristocratic Tartar, very god cheekbones, deep set eyes and a wide sensual mouth that rarely seems to smile on stage. These were the trademarks of Rudolf Nureyev.

Pennefather made an important breakthrough dancing as Aminta in Ashton’s Sylvia, coached by Anthony Dowell. He resembles like a Soviet dancer in many ways with his clean line, athleticism and masculine presence. Pennefather’s calling card was Balanchine’s Diamonds. The Director of the Royal Ballet, Monica Mason selected Lrek Mukhamedov to coach him and Malissa Hamilton for Mayerling but he got some bad reviews. Pennefather danced in La Sylphide with Tamara Rajo but there was no real partnership in that ballet. He pays great tribute to choreographers, Jonathan Cope, Alexander Agadzhanov and Donald Macleary.

On many occasion he had been hard on himself when responding to critics and reviews. He admitted to have been stupid to have read the reviews of Romeo and Juliet in the version he danced. Few people are aware that he had only a few weeks to rehearse. He battles with confidence and being a shy person, he cannot open himself to critics even if they do him right because he is a continued dancer who just do not want to take the applause. For the moment he is happy dancing his heart out, looking towards greater heights for which he is in no hurry.

He danced Paris with Sylvia Guillem which shook up his confidence. Because of his height, he was always at the back at the back of the ‘corps’ or almost six years. He had the same problem when preparing for Espada.

Pennefather’s dream role is that of Armand in Ashton’s Marguite and Armand. He keeps hoping that he ultimately covets for a possible future revival. I cannot blame him after seeing Rudolf Nureyev and Margot Fonteyen in this classic, dancing as though they were in another world. It is such a beautiful tragic love story that all leading dancers aspire to dance in this ballet. Will Rupert Pennefather rise to this occasion. We shall have to wait and see.

He has many guest appearances for this summer such as the pas de deux with Alina in the Diamonds in Munich as well as the pas de deux in Romeo and Juliet in St, Petersburg with a beautiful Swedish dancer, Jurgita Dronina who is poised to join Dutch National Ballet after the summer season.

With his strong technique, a beautiful long line, Pennefather infuses each step with magnificent clarity. He appears unaware of his great talents, potential and above all, his electrifying personality.

For the moment, Rupert Pennefather is the principal dancer of the Royal Ballet and is poised to be a great star in the near future.

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