Ballet Blanc’s Coppélia

Published in Print September 2025 order now!

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By Danielle Brown

On 27 April 2025, Ballet Blanc brought the magic of Coppélia to life at The Pavilion Performing Arts Centre in Sutherland, with a beautiful, family-friendly, 60-minute performance that wove music, mischief, and masterful dancing into a dazzling tapestry.

For those unfamiliar, Ballet Blanc is a youth ballet company based in Sydney’s Sutherland Shire. Offering classical training and professional performance opportunities, the company nurtures young dancers aged eight and above through its BB Youth Company and Elevated Training Intensives. The dancers train in a true company environment, culminating in full-length productions staged at a professional level — an opportunity that is remarkably rare for young Australian dancers.

Following the success of their 2024 production of Cinderella, Ballet Blanc’s Coppélia once again showcased their commitment to excellence, artistry, and opportunity.

Speaking with Artistic Director Demi Martin, it was clear that Ballet Blanc is far more than just a studio project — it’s a passion project rooted in giving dancers a genuine taste of company life.

“‘Blanc’ represents a blank canvas,” Demi explained. “It’s an opportunity for dancers to experience what it’s like to be part of a ballet company — to rehearse, create, and perform a full-length ballet, not just snippets or variations.”

Demi’s own path to this point is a testament to hard work and dedication. Beginning ballet at age five, Demi went on to full-time training at Tanya Pearson Academy, earning distinction and high distinction in her RAD Advanced II and Cecchetti Advanced I exams. Her career journey has included performing with Austinmer Dance Theatre, international contemporary residencies with Metamorphosis Dance Collective in Mexico, Spain and Portugal, and teaching across a range of Sydney studios.

Calm, poised, and articulate, Demi is exactly the kind of leadership you hope to find in a youth ballet environment. As she spoke about the journey of Ballet Blanc, her passion for providing authentic professional experiences — and modelling grace and maturity — was palpable.

Joining Demi was Jeremy Gates, whose career spans from street dance beginnings to soloist roles in Germany’s Thuringian State Ballet. Jeremy’s insight into why Ballet Blanc matters is compelling.

“The inspiration really began with Demi,” Jeremy shared. “It was her vision and idea, and she brought me on board to help bring it to life. The concept centres around giving young dancers the experience of performing a full-length ballet — something that competitions and eisteddfods can’t fully replicate.”

Jeremy elaborated on the critical difference: “At a competition, you’re a number. You do your solo, you’re on and off. Here, you’re embodying a character through a full story. You have to maintain stagecraft — where you stand in the wings, how you exit, how you handle props — all of that matters. It’s a real company experience.”

Principal artist Janaé Kerr, who played Swanilda, brought exceptional artistry to the stage. A Leading Soloist with Victorian State Ballet, Janaé’s technique and presence are nothing short of inspiring.

Reflecting on her involvement, Janaé said, “It’s so wonderful to work with students because it reminds me of when I was their age, looking up to professional ballerinas. I just hope I can be a role model — not just showing them technique, but the joy, passion, and artistry that dance brings.”

On the experience of Ballet Blanc, she added, “The fact that we put together a full-length ballet in just ten days is incredible. These students didn’t know each other before, but they came together, worked so hard, and created something beautiful. It’s a testament to the incredible atmosphere Demi and Jeremy created.”

Watching Janaé and her pas de deux partner Jacob Barrow was a true highlight. Jacob, an emerging Australian talent already turning heads in national competitions, played Franz with charm and technical precision.

“Working with Janaé was incredible,” Jacob said. “She’s a true professional, and it was an amazing learning experience. Rehearsing the lifts and building trust between us made everything on stage feel natural.”

For Jacob, portraying Franz was deeply rewarding: “He’s cheeky but loyal — and getting to bring that character to life in front of an audience was just the best feeling.”

Lucy Miller, a student from L’Académie, shared her own reflections after dancing in her first full-length ballet.

“I’d seen Ballet Blanc’s Cinderella last year on Instagram and really wanted to be part of something like that,” Lucy said. “Before this, I’d only done competitions — so learning how to do quick changes backstage, working as a full cast, and telling a whole story from start to finish was completely new.”

Asked if she’d do it again, her answer was immediate: “Definitely!”

Productions like Ballet Blanc’s Coppélia don’t happen without immense sacrifice. As Jeremy pointed out, staging a full-length ballet is an enormous financial undertaking, often run at a loss. Yet the rewards — the growth, artistry, and inspiration ignited in every dancer involved — are beyond price.

Set in the beautiful Sutherland Performing Arts Centre, with warm hospitality, professional staging, and an atmosphere of genuine celebration, Ballet Blanc’s Coppélia stood out as a beacon of what’s possible when love for the art form leads the way.

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