Melissa Hamilton in Conversation

Melissa Hamilton ‘In Conversation’ with Graham Watts

September 8th, 2025

Susan Dalgetty-Ezra, chair of the London Ballet Circle, welcomed Melissa Hamilton to the evening’s conversation. Born in Belfast, Melissa’s initial training was in Northern Ireland. At 16 she enrolled in Elmhurst Ballet School for two years, following this with private training in Athens. In 2007 she joined the Royal Ballet as an Artist, rising to the rank of Principal in 2024. Over the years, said Susan, Melissa has impressed us in both classical and contemporary roles; in other words, she can do it all. Susan also welcomed back writer and critic Graham Watts who would lead the evening’s conversation.

Graham commenced the conversation by offering some insights into Melissa’s illustrious career, saying anyone who has seen Melissa dance will be only too aware of what a truly wonderful dancer she is - whether in a classical role or a modern ballet such as the works of Wayne McGregor. He quoted Luke Jennings in The Observer who had written (about Juliet) that what marked Hamilton out was the articulacy of her line, expansive curves and acting never less than natural. Graham also quoted a Belfast magazine which had reported that her Gala had brought the beauty and power of ballet to Belfast in an unforgettable fusion of classical and contemporary artistry.

‘You were born in Belfast, to a family with no connections to ballet or the theatre’ said Graham. Melissa agreed, her father was a builders’ merchant, and her mother had put both Melissa and her sister into dance classes purely as an after-school activity. Ballet, gymnastics, music – I played the violin terribly for some years, she said – but it was ballet to which she really became attached. Her peers at the dance classes did ballet as a hobby, stopping when they reached a certain age, and thus she was completely unaware that dance could actually form the basis of a career.

At 13 she took part in a ballet summer school in Aberdeen; a week of intensive training with students from all over the UK. This was her introduction to vocational training, the first time she realised that ballet was something you could do every day. Melissa knew then that she wanted to become a dancer. So although she was still having just one lesson a week, she pushed her teachers to fit in some extra training.

While supporting her aim, her parents were anxious that she should remain in mainstream schooling and complete her GCSE examinations. And thus it was that while revising for these exams Melissa was also auditioning for ballet training at the Royal, English National, and Elmhurst ballet schools. It was exciting! English National Ballet School offered her a place, but only Elmhurst offered a scholarship accompanied by the funding which would allow her to accept the place. The Royal Ballet School did not offer anything; ‘just goes to show they don’t get it right every time’ interjected Graham.

At 16 she entered Elmhurst, joining class with girls who had already been in full time training since the age of 11. From the start it was made clear to her that it was too late to contemplate a serious career in ballet, because competition is so intense. Nevertheless, Melissa persevered and her tenacity won through. And then in her second year she came under the influence of a new teacher, Masha Mukhamedov, who recognised Melissa’s potential. Simply taking class with her every morning led to amazing progress with her dancing.

Towards the end of her second year, however, Irek Mukhamedov (Masha’s husband) was appointed to the post of Artistic Director of the Greek Opera National Ballet and the couple arranged to move to Athens. Melissa recognised that to maintain her progress she needed to stay under Masha’s tutelage and asked whether she might also move to Athens and take private lessons with her. Masha told her that she was crazy – but Melissa knew that it was either go to Athens or give up any idea of a career in ballet.

‘And so at 18 you move to a city you’ve never been to, knowing nothing of its language or culture, just to follow your teacher, said Graham. ‘It didn’t seem a big deal at the time, responded Melissa, ‘I went with the pure and simple goal of a career’. Her parents had supported her financially, knowing that she was determined and would not be stopped. Was it a risky decision? ‘Yes, but if you don’t take a risk, you won’t drink champagne……’

Melissa was asked, with hindsight, how starting intensive training much later than the norm may have affected her; indeed whether it may have helped protect her against injury during her career. In replying she said that in fact she considered it probably had no effect on her physical strength; it may well, however, have been advantageous for her mental health and wellbeing. Interestingly, the Royal Ballet School is now moving to a later start for intensive vocational training.

Graham then moved on to the Youth America Grand Prix, which Melissa had entered just to judge her standard in comparison with other 18-year-old dancers. Masha thought the competition would also be useful in providing some stage experience which Melissa lacked. She performed two solos, one contemporary and the other classical, the Queen of the Dryads. And Melissa described the experience as horrendous – completely messing it up – falling during the final of the Queen of the Dryads variation.

They needed to get back to Athens, back into the studio, fix the problems….and then the following day it was announced Melissa had won the Grand Prix…. She was so amazed that she tried to give back the prize because she did not feel worthy of it. The judges explained, however, that in all the various rounds of the competition they had seen in Melissa the potential to become a great dancer and that was what they had been seeking.

With the prize came the offer of a contract with American Ballet Theatre II. That, of course, would necessitate a move to New York. She had to respond to the offer and would need to make up her mind quickly; however, she was British and had always dreamed of the Royal Ballet. Accordingly, and while still jet-lagged, Masha contacted Dame Monica Mason (then Artistic Director of the Royal Ballet), and they quickly prepared an audition DVD. Monica then invited Melissa to take company class, after which she offered her a contract as a member of the corps de ballet, which she joined in 2007.

Graham asked what it had been like joining the Royal Ballet as someone new and unknown, and Melissa responded that the company was used to new dancers joining from all over the world, and everyone had been most supportive. Her first role had been in the Shades, in La Bayadere. Somewhere in the middle. It was terrifying, she was used to one-on-one training, and had no experience of being part of a corps. However, she believed that Monica had been clever and introduced her to new situations in a careful, measured manner.

In her second season her first significant role was in L’invitation au voyage, a work by Michael Corder, dancing a pas de deux with Ed Watson. He was due to perform with another dancer but, due to a cast change, Melissa became his partner. Graham commented that they were a well-suited partnership, both stylistically and physically, but that it must have been stressful because she was still only about 20. Melissa explained that she jumped at every chance she could, and studied hard to ensure that she didn’t let anyone down. Sometimes she had to pretend that she knew what she was doing to hide the fact that she had no idea…. ‘A dancer’s career is so short; you have to grasp every opportunity that comes your way.’

Her first encounter with newly resident Royal Ballet choreographer Wayne McGregor had been while resting between classes. Stephen McRae had been there when Wayne turned up, and he introduced Melissa to him –‘she’s just joined the company, have you seen her?’ Melissa immediately took the opportunity to throw herself in front of him, in the famous Chroma pose! Okay, responded Wayne, and then there was silence. However, a few weeks later when the casting came out for Infra, there she was on the principal cast list. During preparation for this show Wayne created a significant pas de deux on Melissa and Eric Underwood.

She said it was amazing working with Wayne; he was very demanding but you always felt safe with him, you know you are a part of something which has a clear direction. She believed that Wayne liked that she was gutsy, prepared to throw herself into a situation. ‘He likes to use strong dancers willing to push themselves.’ Melissa spoke of the post-apocalyptic visionary ballet which was Maddaddam. The company went into it with absolute faith in Wayne, but it had been off the wall, crazy – and one of those shows that, when the curtain came down, they did not want the performance to end.

Let’s move on, said Graham, and asked Melissa about dancing in Dresden with the Semperoper Ballett. This came about because Jiří Bubeníček, Principal in that company had asked Melissa to partner him in his farewell performance in Manon. She had first met Jiří in St Petersburg at a gala where she had been dancing Raven Girl with Eric Underwood. After the show Jiří had told her that he was coming up to his final performances, in Manon. This would be the first time Dresden had mounted a McMillan ballet; Melissa was currently involved in it with the Royal Ballet, and he said he would love her to be his Manon. Melissa accepted, a great opportunity.

In answer to a later question she said that she prepared for the role of Manon by listening to a playlist of French music (‘annoyingly for my husband’). She tries to find a word appropriate for every step she is dancing – trying to find the meaning behind the choreography – thinking ‘what am I saying with that step.’

She also spoke with Semperoper’s Artistic Director Aaron S Watkin, learning that the company had plans which appeared to offer more opportunities than she might currently expect in London. Accordingly the directors in London and Dresden negotiated and agreed that she could take leave of absence to dance as a Principal with Semperoper Ballett for the 2015/16 season, later extended to 2016/17. While there she made several Principal role debuts, including Nikiya in La Bayadere, Princess Aurora in The Sleeping Beauty and Odette/Odile in Swan Lake, returning to The Royal Ballet for the 2017/18 season.

The pace at Dresden was rather more relaxed than in London. Melissa found that she was able to focus on just one role at a time; the Royal Ballet would always have more than one ballet in rehearsal at any one time. And although she focussed on the major classical parts, under Aaron’s direction she also danced Ratmansky, Forsythe, Matz Ek and a wide-ranging repertoire of other classical and contemporary works. Aaron had done incredible things as director in Dresden; he has since been appointed Artistic Director at English National Ballet.

Coming back to London had not been entirely easy. The Royal Ballet itself had changed a lot in the two years she had been away, and she was coming back to a First Soloist role instead of the Principal rank she had enjoyed in Dresden. One of her first ballets was The Judas Tree, following that with Elite Syncopations…. Could there be two such different works to try to keep in your head at one time? And maintaining that diversity is a skill which the Royal Ballet has in abundance.

Eventually – and not before time, said Graham, you were promoted to Principal within the Royal Ballet. Melissa admitted that by then she had reached a point where she had expected to remain as First Soloist, and couldn’t really believe that she had made it to Principal. At the moment she was working on Mamá Elena in Like Water for Chocolate, and there was much more to come.

Another aspect of your life has been your association with Roberto Bolle, said Graham. Melissa said she remembered Bolle from the time he guested in La Bayadere – ‘ this rock star of the ballet world’. He was a friend of Eric Underwood, with whom Melissa had performed several times on the gala circuit. One day Eric had told her that Roberto had invited them both to join his summer tour. Together she and Eric danced McGregor and Wheeldon, and Melissa was asked to partner Roberto himself in the Balcony pas de deux from Romeo and Juliet. The first time she had actually danced with him! And since then she has danced with him several times.

Melissa has now launched a production company with her husband Michael as Hamilton-Christou Productions. Ballet is a scarce commodity in Northern Ireland and Michael had suggested that putting on galas there might be a good move. Audiences have the chance to see a ‘selection box’ of works – if they don’t like one piece, well then, the next piece may be much more to their taste. Different ballets, all on the one night. And she had friends all over the world who might bring their talents together in such a performance.

They staged three shows at the Grand Opera House in Belfast in October 2024. Tickets had sold extremely quickly and appreciation from the audience had been immense. There were collaborations with Ballet Ireland and a new creation for the Northern Ireland Opera Company. She had hosted on-stage ballet workshops for students. Melissa had fond childhood memories of pantomimes at the Grand Opera House and very much wanted to bring world class dancers and other good things to both Irish and Northern Irish audiences. Would she in time start her own ballet company? Who knows, she has so many ideas. Melissa says that she wants to use her position and platform to advocate for the arts, and dance particularly, in a community in which its development has so far been limited. Go for it, Melissa!

In concluding the evening, Susan, chair of the London Ballet Circle, responded enthusiastically that Melissa was an absolute dynamo and it had been another fascinating discussion – really insightful. She thanked both Melissa and Graham most sincerely for a wonderful evening’s conversation.

Trevor Rothwell 27-09-25