Damian Smith

Published in Print July 2025 order now!

By Danielle Brown

The National Ballet School stands as one of Australia’s most influential dance training institutions. As the birthplace of formal dance education in this country, its legacy is carried through the artistry and leadership of its alumni and faculty—including names such as Marilyn Jones, Amber Scott, and Jarryd Madden. These individuals have gone on to shape dance communities nationally and internationally, creating new families of dance organisations and extending the School’s influence far beyond its Melbourne home.

Founded in 1939 by visionary arts pioneer Gertrude Johnson, The National Ballet School continues to thrive in its St Kilda location—beneath the stage of the historic National Theatre. More than 16,000 young artists have passed through these studios, developing their technique, artistry, and love for dance within this unique and inspiring space.

On the 1st of May, I had the opportunity to visit The National Ballet School and observe rehearsals for their upcoming production of Sleeping Beauty. I was warmly welcomed by Ezlimar Dortolina, the School’s Classical Ballet and Pathways Coordinator, who led the session with precision and clarity. Sitting in on the rehearsal was a privilege. The students were focused and energised—glistening with sweat as they worked through the choreography. Ezlimar’s sharp eye and attention to detail were evident in the beautiful cohesion of the corps de ballet. It was truly impressive to witness the level of discipline and artistry in the room.

The National Ballet School is housed in a magnificent heritage-listed building in St Kilda that serves as both a training space and a performance venue. Beneath The National Theatre lies a maze-like series of studios—a setting that offers students a rare opportunity to train and rehearse in close proximity to a working stage.

This model closely mirrors the structure of many pre-professional schools in Europe, where dance academies are often attached to or integrated with professional companies and theatres. The benefit of this approach is clear: students become accustomed to the rhythm and discipline of company life, spending time on stage and gaining the practical experience that many schools strive to replicate but often cannot, due to the cost and logistics of regular theatre access.

In conversation with Artistic Director Damian Smith, it became clear that the School’s values are deeply aligned with both tradition and forward-thinking practice. Damian spoke passionately about the importance of academic education alongside dance training. He is a firm believer that students do not need to leave school prematurely in order to pursue a professional dance career. In fact, he sees academic development as essential—not only for building well-rounded artists, but for equipping students with the emotional maturity and life skills they’ll need, whether they remain in the industry or not.

With more than 25 years of international experience, including 18 years as a Principal Dancer with the San Francisco Ballet and appearances with companies such as Boston Ballet, Dutch National Ballet, and New York City Ballet, Damian Smith has lived the breadth of a professional dancer’s life. Now, as Artistic Director of The National Ballet School in Melbourne, he’s channelling those experiences into the next generation of Australian dancers.

“I’ve been incredibly lucky to learn from people in the industry who achieved so much and were so generous in sharing their knowledge—from tiny details to the larger life lessons: self-discipline, honesty, and the realities of a dancer’s life. They didn’t sugarcoat things.”

“It’s a huge responsibility—and an enormous privilege,” he says of his role. “That honesty helped me prepare, gave me the tools to protect myself and to navigate challenges. One of the most valuable things I learned was to sustain the passion—to remember why you do this, especially when it becomes gruelling.”

Damian’s training began in Newcastle at the Robyn Hick School of Dance and the Marie Walton Dance Academy (National College of Dance). He later attended The McDonald College in Sydney before being accepted into the School of American Ballet in New York at just 16. His return to Australia marked not just a professional appointment but a personal homecoming.

“Now, I’m trying to do the same for my students. I’m constantly questioning how I communicate with them—because it’s not just about what I say, it’s how they receive it. Each student is different. Timing, tone, delivery—it all matters.”

At The National Ballet School, his approach is not just about steps and shapes. He speaks often about self-awareness, artistry, and the importance of individual exploration.

“I want them to learn how to direct themselves. I encourage curiosity, self-awareness, and exploration. Don’t just follow instruction—investigate. Discover your physical potential, your limitations, your strengths. We all have weaknesses, and that’s okay. Part of the journey is acknowledging them and working through them.”

Damian understands the deeply personal nature of learning and development in the arts.

“They’re all at different stages of development, maturing at their own pace. It’s about recognising when they’re ready to hear something. But when you see that light bulb moment—when something clicks and becomes part of their body—it’s magic. Watching them graduate, get contracts… I’m a complete mess. I get so proud, they honestly feel like my own kids.”

Stepping into a leadership role wasn’t an afterthought. It was something Damian considered thoughtfully and gradually throughout his career.

“I remember warming up backstage once, watching the ushers lay out programs. It struck me how many people are involved in making a performance happen—not just dancers, but wardrobe, tech, marketing, cleaners, admin. It made me curious about how it all works.”

That curiosity led him to the DeVos Institute program in the United States—an arts management initiative working with the Kennedy Center and Brooklyn Academy of Music.

“They chose a handful of performing artists across disciplines. I was mentored by a company director and had to plan and deliver an actual program using their resources. It was intense but transformative. I discovered I had more skills than I realised—I just needed the opportunity to channel them. That’s when I started to think seriously about contributing to the arts in a broader way. And here I am.”

Within the studio, he runs rehearsals with the structure and intensity of a professional company.

“I try to run rehearsals like a professional company would. If you’re not rehearsing, you stay warm, observe, be ready. Learn each other’s roles. Adapt quickly. I want to give them a well-rounded experience—full-length classical ballets and triple-bill-style works with contemporary or neoclassical elements.”

He places emphasis on choosing repertoire that challenges and inspires.

“I select works that challenge them, with room for multiple castings. I also look for ballets they may have seen or can watch online—so they can visualise and understand the style and storytelling. Ultimately, I want the audience to see well-prepared, thoughtful dancers who reflect the discipline and training they’ve received. The costumes and sets may be minimal—we don’t have the budgets that professional companies do—but our dancers should shine through their commitment and skill.”

He encourages his students to embrace storytelling with sincerity.

“Believe in the moment, the story, the space you’re in. If you’re in a forest, see the trees, feel the ground beneath your feet, know what time of day it is. Bring that imagination and sincerity to the performance. I keep reminding my students: feel something, don’t just make shapes. Ask yourself what you’re feeling, why you’re feeling it. Don’t pretend—believe.”

When it comes to age and readiness, Damian is a firm advocate for allowing students time to grow emotionally, intellectually, and physically.

“Young dancers can be embarrassed or hesitant—they just don’t have the life experience yet to draw on. It’s unfair to expect deep emotional expression from someone who hasn’t lived much of life. Of course, you get the occasional old soul—some young dancers can emote beautifully—but it’s rare.”

He is a strong proponent of completing education alongside training.

“I always encourage students to finish school. Ballet can be a short career, even for the most successful. You need education and life skills for after ballet. And you need them during your dance career too—to navigate the pressures, the mental load, and to be smart about your choices.”

The School’s ability to accommodate this reflects its progressive, student-centred values.

“If they finish school, they still have the years to reach the physical level required. Here at the school, we work with full-time and part-time students—some still completing VCE. We adjust schedules when needed to prevent burnout. Education is important, and we make space for both training and schooling. It’s about balance—and giving them the time they need.”

From company life to mentorship, artistry to administration, Damian Smith embodies what it means to evolve with purpose. His career may have begun with centre-stage brilliance, but the quiet power he now holds—guiding others to their moment in the spotlight—is perhaps his most meaningful role yet.

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