Hannah Martin on debuting as Kitri's Friend in Don Quixote

Being cast as a Kitri’s Friend felt incredibly special. In my first season with BRB, as the Apprentice, I watched my colleagues perform the role and was completely in awe of them. So finding out that I would have the opportunity to dance it myself felt like a real privilege, and a chance to push myself further, both technically and artistically. I was more than ready for the challenge. When I discovered I’d be dancing the Friend who wears the blue dress, I was even more excited. Blue happens to be my favourite colour, so that felt like a little bonus!

What’s so lovely about Kitri’s Friends is that you really get to bring your own personality to the stage. There’s space for individuality within the role, which I think makes it particularly special. One of my favourite things about ballet is being able to portray and embody a character, so this was something I was particularly looking forward to. I watched many of my colleagues perform the role, and definitely absorbed certain elements from them, while also adding my own flair. I like to think of Kitri’s Friends as sassy, a little cheeky, and full of joy and zest for life.

Technically, the choreography is fast and challenging, with lots of turns, jumps and sharp classical steps. It’s been such a joy to take those steps and really nurture them – to let them settle into my body and become part of my movement vocabulary. Once that happens, that’s when the real fun begins. You can start to play with dynamics, highlight certain moments and really shape how the steps are presented.

We mainly appear in Acts I and III, dancing in bursts between solos and larger corps de ballet sections. It feels a bit like a vibrant appetiser before the big crescendo of Kitri and Basilio that follows!

Rehearsing the role has been a combination of watching, observing and learning from colleagues, alongside spending time breaking everything down for myself and figuring out how I wanted to approach it. One of the biggest challenges was remembering the exact sequence of entrances and exits: we dance in short sections between several solos and codas, so being in the right place at the right time is crucial to keeping the story flowing seamlessly. Act I alone is nearly 55 minutes long, so there’s a lot to keep track of, especially while staying fully in character and responding to what’s happening around you on stage. Rehearsals have also been excellent preparation for building and maintaining the stamina and sharpness the role requires. The steps are quick and precise, so you need to feel both energised and in control.

Debut days are always special, but this one felt particularly meaningful. It’s one of the biggest classical roles I’ve danced since joining the company, so it marked an important moment for me.

I expected to feel more nervous, but honestly, the joy of performing the role completely took over. I had the best time debuting alongside my friend and colleague Frieda Kaden, which made it even more memorable. It reminded me why I put in the hours, why working back from injuries has been worth it, and ultimately how much I love this art form. Of course, there are tough days – and there will always be challenges ahead –  but moments like this reaffirm that this is what I’m meant to be doing. The passion I felt stepping on stage was just as strong as when I first put on a pair of ballet shoes, if not stronger.