Giselle Mammone

At Victorian College of the Arts Secondary School and Western Australian Academy of Performing Arts, two distinct stages of elite training meet within one dancer’s journey, and in Giselle Mammone’s case, that connection feels not only seamless, but deeply instructive for students considering their own pathway forward.

Giselle Mammone is eighteen, fresh out of Year 12, and already navigating the transition into one of Australia’s leading tertiary institutions. Her training pathway reflects a blend of studio based and elite secondary training experiences, beginning in a more traditional academic setting while continuing her dance development externally before later spending time at Victorian College of the Arts Secondary School. That progression, from local studio training to specialised secondary programs and now into WAAPA, offers a relatable and flexible pathway for students navigating their own next steps.

“I was just at a normal school, no full-time or anything, and then I did my ATAR,” Giselle explains, grounding her journey in a reality that will resonate with many families balancing academics and dance training. Her development began at The May Downs Performing Arts before later training at VCASS, eventually returning to The May Downs Performing Arts under the direction of Mr Thomas and Georgia Lacey, alongside guidance from Head of Ballet Miss Angela Hill, to complete the final stage of her pre professional preparation. It is a trajectory that reflects both flexibility and commitment, demonstrating that entry into elite pathways is not limited to one model or institution.

The role of Victorian College of the Arts Secondary School in this journey is unmistakable. Known for its ability to integrate rigorous academic study with high level dance training, VCASS has long been a critical stepping stone for dancers seeking to transition into professional or tertiary environments. For Giselle, that preparation was not simply technical, it was cultural. The experience of training alongside like-minded artists, working within a structured timetable, and engaging with multiple art forms created a foundation that extended beyond the studio.

When asked about her move into Western Australian Academy of Performing Arts, Giselle’s response is immediate and telling, “it really just feels like a giant VCASS.” It is a comment that speaks volumes, not only about the continuity between the two institutions, but about the effectiveness of VCASS in preparing students for what comes next. Rather than experiencing WAAPA as a shock or a steep adjustment, Giselle describes a transition that felt natural, supported, and aligned with her existing training.

That sense of preparedness is echoed in her reflections on the first weeks of the course. “The transition was quite easy, everyone is very welcoming, and it’s like so many different art forms together,” she explains, highlighting both the familiarity of the environment and the expansion of opportunity that comes with it. The multidisciplinary nature of WAAPA, with dancers working alongside actors, musicians and production students, builds directly on the cross-art exposure fostered at VCASS.

What ultimately drew Giselle to WAAPA was not a single factor, but a combination of reputation, structure and opportunity. “The quality of the teaching staff and the progression to getting a bachelor’s degree at the end was enticing, and the alumni that’s come out of the school, the connection to WA Ballet, and the name WAAPA,” she says, outlining a decision-making process that is both practical and aspirational. For students and families considering their next step after Year 12, these are the exact markers of a program that offers both credibility and direction.

The idea of WAAPA as a “stepping stone into the professional world” was something Giselle had heard prior to auditioning, and it is a description she now confirms from within the experience. “So far, the quality of teaching and guidance has lived up to that, and I can see how continuing this course could lead to future employment,” she reflects. It is a measured but confident assessment, one that reinforces WAAPA’s role as a bridge between training and industry.

Equally important is the personal growth that accompanies this transition. Moving from Melbourne to Perth, Giselle is living away from home for the first time, navigating accommodation, independence and the realities of student life alongside the demands of full-time training. “They currently have student accommodation, so I’m doing that this year, and then next year we’ll look at finding something in the city or renting with friends,” she explains, describing a gradual progression into adulthood that mirrors the structure of the course itself.

This stage of development is often overlooked in discussions around training, yet it is critical. The ability to manage life outside the studio, to build support networks, and to develop independence is as important as technical progression. In this sense, WAAPA provides not only professional preparation, but life preparation, and for students coming through systems like VCASS, it feels like a natural continuation rather than a disruption.

What makes Giselle’s story particularly compelling is the clarity it offers to those currently standing at the same crossroads. For students approaching graduation from elite secondary and pre professional training programs, the question of what comes next is both exciting and daunting. The pathway from secondary training into a tertiary institution like WAAPA is often discussed, but in Giselle’s experience, it is not just possible, it is logical.

The environments speak to each other. The expectations align. The values around discipline, creativity and collaboration are shared. And most importantly, the student arrives not as someone trying to catch up, but as someone ready to engage.

For Victorian College of the Arts Secondary School, stories like Giselle’s are powerful reminders of the long-term impact of its training model. The ability to produce students who can step directly into institutions like WAAPA and feel both confident and prepared is no small achievement. It reinforces VCASS not only as a place of excellence, but as a critical link in the broader ecosystem of Australian dance training.

For Western Australian Academy of Performing Arts, Giselle represents the kind of student the program is designed to support, motivated, adaptable, and ready to take the next step. Her experience reflects a course that is delivering on its promise, offering high level training, clear progression, and a supportive community.

And for the next generation of dancers watching from the studio, or the classroom, or somewhere in between, her journey offers something invaluable, a sense of possibility. A reminder that there is more than one way forward, and that with the right training, at the right time, the transition into a professional pathway can feel not overwhelming, but entirely within reach.