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Benjamin Stuart-Carberry

You recently performed in the opening performance of Requiem in the Elegy program alongside a number of principal artists, guest Marilyn Jones and singers from the Victorian Opera.  What was the experience like?
Requiem was terrific. I had felt a bit out of my depth amongst the senior dancers at first, but after a week-and-a-half of rehearsal there was a strong group dynamic that bred confidence and expression. The amalgamation of elements in the piece equalled more than the sum of its parts: the singing, music, sets, and dance all seemed like different manifestations of each other, which created a real sense of atmosphere on stage. I don't think there was one performance I didn't end up in tears at some point.

What are you reading at the moment?
The second edition of Postmodernist Culture by Steven Connor.

You’re known for creating your own personalised dancewear for class and rehearsals.  Tell us about your favourite items.
My favourite creation to date has to be a pair of blue tights made from about 500 squares of 3x3cm Lycra and sewn together like tiles. These are closely followed by something I didn't make, a pair of tights screen-printed with a Gustav Klimt design. Third by a hair are some shorts sewn from 12 different coloured strips - it looks like I have rainbow thighs! There is always room for a new and cheeky idea.  

How do you wind down after a show?
I like to go for a short walk, have some upside-down time in a hamstring stretch, eat, and maybe do some sewing.

Favourite non-ballet performances you’ve seen in the past year?
Sappho.. in 9 fragments written and performed by Jane Montgomery Griffiths, presented at the CUB Malthouse and Sunstruck by Helen Herbertson and Ben Cobham, presented by Arts House as part of Dance Massive 2011. 



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