Louis Fontaine

Published in Print May 2025 order now!

words Danielle Brown

Louis Fontaine’s journey from dedicated dance student to thriving professional performer is a shining example of the transformative power of a strong dance education. With a solid foundation in both technique and artistry, Louis has successfully carved a path into the world of musical theatre and is currently performing in the Australian production of Beetlejuice The Musical at Melbourne’s Regent Theatre.

A proud graduate of Brent Street Studios, where he completed a Diploma of Musical Theatre, Louis has built a reputation as a dynamic and versatile talent—a true triple threat. His classical training, combined with his distinctive stage presence, has allowed him to move effortlessly between styles and genres, captivating audiences and casting directors alike.

Audiences may remember Louis from his work in Chicago, where he performed as a swing during the 2023–2024 Australian tour, covering multiple ensemble roles with skill and flair. His earlier credits include roles in Opera Australia’s Carmen, The Australian Ballet’s The Nutcracker, and appearances on popular television programs The Voice and Dancing With The Stars.

We caught up with Louis whilst he was in rehearsals for Beetlejuice to explore the role Louis’s early training played in shaping his career, and how his story can inspire the next generation of performers striving to follow in his footsteps.

From the outside, his success may appear meteoric, but Louis’s transition from dance student to professional performer was forged through thoughtful training and deliberate choices. Reflecting on his education at Reddam House, he speaks candidly about the impact of the school’s unique dance curriculum:

“For me, the most important thing I learnt was how to apply safe dance practice into actual performance,” he shares. “With every piece of choreography, we would look at how we could perform it in a way that prevented potential injuries, something very applicable to a professional dance career.”

This practical and holistic approach to training was further supported by the school’s emphasis on anatomy and injury prevention—lessons that have become essential in the physically demanding world of live performance.

“Learning anatomy and body maintenance gave me a realistic understanding of what my body could and couldn’t do,” Louis explains. “When I tackle a very demanding role, knowing the limits of my anatomy and fitness lets me create a specific plan of attack to keep my body healthy.”

Liz Walsh, Head of Dance – Secondary at Reddam House Sydney and North Shore, shared her insights on the qualities that contributed to Louis’s successful transition into a professional performing arts career:

“Louis is not only an outstanding talent but has always exhibited an exceptional work ethic. While studying Dance as an HSC subject at Reddam, he approached every lesson and task with remarkable focus and thoughtfulness.

“He absorbed content like a sponge, consistently eager to explore new ideas and push his skills further. Louis regularly sought feedback and wasn’t afraid to critically assess his own work, always striving to produce compositions and performances of the highest standard.

“I believe this dedication to embracing every challenge stems from his genuine commitment to self-expression and deep respect for the art of dance. Coupled with his authentic humility, Louis was an absolute pleasure to work with. I have no doubt he brings the same qualities to his professional endeavours.”

Studying the work of professional choreographers was an eye-opening experience for Louis, especially when it came to shifting his perception of what dance could be.

“Studying different choreographers really opened my eyes to being more flexible with what dance could be,” he says. “I remember studying a work from Jiří Kylián called Sarabande in my HSC year, which at the time I struggled to analyse because it was so different from what I had trained. However, once I let go of what I thought it was, it became a lot clearer to dissect. Whenever I’m left confused with something I’m working on, it helps me now to drop my assumptions and try to start from a totally new angle.”

That openness to the unknown has served him well, particularly during the audition process for Beetlejuice. Louis approached the opportunity with a sense of preparedness and adaptability.


“For Beetlejuice, I started by watching the 1988 movie, then found clips of both the Broadway/Tour versions on YouTube and social media. I also saw my vocal teacher to prepare a song in the style of the show,” he says. “In saying that, I wanted to be flexible enough to adapt to how the creative panel taught the show. If the actual show was different to what I thought and I had over-prepared, I’d spend too much time undoing my preconceptions and end up missing crucial details from the panel.”

His audition process was no walk in the park—spanning four separate rounds. But it was in this high-stakes environment that Louis truly understood what it meant to be seen.


“With the Beetlejuice auditions, I ended up attending four separate rounds. I learnt sections of choreography for two numbers in the show, and prepared my own song to bring in,” he recalls. “The goal of the auditions was not primarily to see who could learn the choreography the fastest, but instead to see who could apply direction quickly. The biggest note we received was to make a bold offer. It’s easier to redirect a confident wrong choice than it is to pull more energy out of a performer.”

Now deep into his performance schedule, Louis is committed to maintaining both his physical and mental health—a necessity when performing eight shows a week.

“Physically, I use many tools needed for a demanding eight show week. I’ll start with cardio, dynamic stretches and therabands/resistance bands to warm up, then some quick static stretches to cool down following the show,” he explains. “If my muscles are tight, I’ll use release balls/foam rollers, and if the show is especially demanding I’ll do a cold plunge and compression boots in the morning before the show. Nutrition and hydration is also very important—I mainly focus on my protein, calorie, and water intake. Magnesium before bed and a proper night’s sleep are crucial, because both your body and brain mostly repair themselves during rest.”

He also pays careful attention to his mental wellbeing, especially when the emotional demands of a character linger after curtain call.

“Mentally, it can really depend on the show. If the material is emotionally heavy or taxing, being able to de-role is very useful to leave your character at the door of the theatre. De-roling involves stepping away from the character to separate the work from the actor. This can involve consistent ritual or action after each show, which can protect and preserve your mental health in the long run.”

Despite the intensity of rehearsals and performances, Louis finds joy and inspiration in the people he works with and the creative process itself.

“The most rewarding aspect of rehearsals has been meeting and working with such a fantastic cast and company. Everyone is so passionate about the work and world of Beetlejuice—it has made piecing together such a complex show feel so seamless.”

Even in the rhythm of a long-running show, Louis looks for ways to keep evolving.
“Once the show is running steadily, I try to stay inspired by searching for things to keep my mind busy,” he says. “I like to find passionate projects, whether that be creating dance, finding/writing new music, or even just compiling clips of various performances that give me new motivations and goals to strive for.”

As for what’s next, Louis has his sights set on some musical theatre classics.
“I would love to do West Side Story or A Chorus Line,” he shares with a smile.