Living the Role – Jurgita Dronina

Interview by Alessandro BIZZOTTO

For some years, you were a principal dancer with both the National Ballet of Canada and the English National Ballet, while also being a mother. How did you manage that across continents?

The two companies had very different structures, which actually made it possible. In Toronto, we had long rehearsal blocks followed by seasonal performances, while ENB had a more continuous performance calendar. Because I already knew much of the Canadian repertoire, I could coordinate schedules – rehearsing in London over summer, dancing Toronto’s Autumn season in October, returning to London for productions in November and December, then flying back after the holidays. The timing worked: Canada’s season wrapped in early January, just as ENB’s at the Coliseum began. I’d finish The Nutcracker in Toronto, land in London, and step into La Sylphide within days. It was intense but manageable, especially with the trust of both Karen Kain and Tamara Rojo, who supported this unusual arrangement. My son adapted with me, attending school in whichever city we were in. That trust and flexibility were crucial, and it’s exactly the kind of supportive culture I aim to build now in my role as artistic director in Lithuania.

© Martynas Aleksa, courtesy Lithuanian National Ballet

Were you ever tired?

Not really. When you’re in top form, everything flows and you don’t waste energy getting back into shape, so there’s less stress, less fatigue.