WAAPA

At Western Australian Academy of Performing Arts, part of Edith Cowan University, a new era of training has arrived, and with it, a quiet but powerful shift in how Australian dancers can think about their future. With the opening of its extraordinary new building in 2026, WAAPA is no longer simply part of the conversation, it is leading it. For students preparing to audition for the 2027 intake, this is a moment worth paying attention to.

There is something undeniably striking about entering the building for the first time. It is not just the scale, or the technology, or the sheer number of purpose-built spaces, it is the feeling that everything has been designed with intention. Studios for classical ballet, contemporary, and musical theatre, with Harlequin playing an integral role in the dance studio fit-outs, sit alongside performance venues, recording suites, costume and production workshops, and integrated media hubs capable of capturing work across disciplines in real time. The building does not separate artists; it brings them together. Dance students move alongside actors, musicians, designers and technicians, creating an environment that mirrors the professional world they are preparing to enter.

That sense of community is something students immediately recognise. First year Diploma of Classical Ballet student Giselle Mammone describes it simply, “it’s like so many different art forms together, it’s very welcoming, as an artistic person that’s creative, like being with like-minded people.” It is a sentiment echoed across cohorts, a shared understanding that this is not just a place to train, it is a place to belong.

For classical ballet students, the Diploma program offers a structured and highly considered pathway. The training is rigorous, grounded in technique, and supported by a faculty deeply connected to the industry. What sets it apart is the clarity of progression. Students are not left wondering what comes next, the pathway into a bachelor’s degree is embedded within the course, offering both stability and long-term direction. Giselle Mammone, who moved from Melbourne after completing Year 12, was drawn to exactly this, explaining that “the quality of the teaching staff and the progression to getting a bachelor degree at the end was enticing, and the alumni that’s come out of the school and the connection to WA Ballet” reinforced her decision.

That connection to industry is not theoretical, it is tangible. The reputation of WAAPA graduates continues to grow, and students are acutely aware of the lineage they are stepping into. Second year Bachelor of Contemporary Dance student Edie Corbett reflects on this influence, noting that “it was exciting to be in the place where all my role models went and came through,” a feeling that transforms pressure into motivation.

For many years, the assumption has been that serious classical training requires leaving Australia. That narrative is being challenged from within WAAPA itself. First year Diploma of Classical Ballet student Natasha Jacob, who spent time auditioning in Europe, speaks candidly about her decision to stay, “I thought I would go overseas, but I knew the new building was coming and the course was being upgraded, and it just seemed like a better fit. The training is just as good as what I saw in Europe, if not better, the course is structured so well, and the facilities are beautiful.” It is a powerful statement, and one that reflects a broader shift in perception.

The classical course does not exist in isolation. Contemporary training is woven throughout, ensuring dancers develop the versatility required in today’s industry. For students coming from a strictly classical background, this can initially feel unexpected, but it quickly becomes a strength. Monica Bini, also in her first year of the Diploma, explains, “I expected less contemporary work than there is, but I am enjoying it, and it’s probably really good for me, I did need to improve my contemporary work.” That integration is intentional, preparing dancers not just for one pathway, but for a career that demands adaptability.

The audition process itself reflects this philosophy. Rather than a high-pressure elimination environment, it is structured as a day of classes across ballet, pointe and contemporary. Monica Bini recalls, “it was actually really fun, it was just classes, the teachers were really nice, even just doing that would have been worth it,” a reminder that WAAPA is assessing potential as much as it is current ability.

For contemporary dancers, the Bachelor program offers depth, intensity and a clear sense of progression. Students often arrive from strong secondary programs and find the transition both familiar and challenging. Issy McKenna reflects on this shift, “especially in first year it felt quite similar to what I was doing in Year 12, with technique in the morning and academic work in the afternoon, but then the technique classes have definitely stepped up and become harder, especially with repertoire and the increase in ballet classes.” That escalation is deliberate, ensuring that by second year, students are working at a level that reflects professional expectations.

Jess Bolden reinforces this experience, noting that “it’s really stepped up in the technique and dancing aspect, it feels like we’re dancing a lot more and there’s more expected, and we’ve added repertoire which pushes us further.” The introduction of repertoire is significant, bridging the gap between training and performance, and giving students practical experience with professional material.

The physical demands of the course are matched by a growing awareness of the body. Edie Corbett describes this evolution with refreshing honesty, “I’m feeling muscles I didn’t know I had before, which is a good sign,” highlighting the way WAAPA builds not just dancers, but resilient, informed artists.

What is particularly reassuring for students coming directly from Year 12 is the balance between studio work and academic study. There is often concern that university will mean a return to heavy academic pressure, but WAAPA approaches this differently. Academic subjects are integrated and purposeful, designed to support the practical training rather than compete with it. Edie Corbett explains, “the academic load is quite tame compared to ATAR, but they do a good job of integrating it into what we are learning in the studio,” creating a structure that feels manageable and relevant.

The subjects themselves are carefully curated. Anatomy and kinesiology give students a deeper understanding of how their bodies function, supporting injury prevention and longevity. Dance history and the politics of dance place their work within a broader cultural and historical context. Edie Corbett describes the impact of this learning, saying “we learn about different time periods and how political events impacted artistic movements, and it helps us understand the world better, and the legacy of dance.” It is this combination of physical and intellectual development that sets WAAPA apart, producing artists who are not only skilled, but informed.

Issy McKenna highlights the integration of theory and practice within these subjects, noting that “in kinesiology we also have movement elements, so it’s not just written, it’s learning and movement at the same time,” reinforcing the idea that nothing exists in isolation.

For musical theatre students, the benefits of this integrated environment are equally significant. Training alongside dancers, actors, musicians and production students creates a level of collaboration that reflects the realities of the industry. Performances are supported by student technicians, designers and engineers, creating a fully realised production environment within the training itself. It is rare to find this level of cross disciplinary interaction embedded so naturally within a course.

Beyond the studio, the experience of living away from home is another key component. For interstate students like Giselle Mammone, the transition is part of the journey, “the transition was quite easy, everyone is very welcoming,” she explains, describing an environment where independence is supported by a strong sense of community. For others, like Monica Bini, remaining close to home provides stability while still offering a significant step forward in training. “Everyone’s really friendly, we’ve all made good friends, nobody excludes each other,” she shares, highlighting the inclusive culture that underpins the experience.

What becomes clear across all conversations is a shared sense of satisfaction, and in many cases, surprise. Natasha Jacob reflects on this most directly, admitting that she “lowered expectations a little because of what people used to say, but it’s much better than I expected, the teachers are amazing,” a candid acknowledgement of how far the institution has evolved.

In a world where the arts can sometimes feel undervalued, the investment represented by this new building is significant. It speaks to a belief in the importance of creative industries, and in the role, they play in shaping culture and community. Walking through the space, there is a sense of optimism, a feeling that the next generation of artists is being given not just the tools, but the environment to succeed.

For students considering their next step after Year 12, WAAPA offers something increasingly rare, a complete package. High level technical training, industry connected faculty, state of the art facilities, a recognised qualification, and the opportunity to develop independence, all within Australia. The idea that success requires leaving is being quietly dismantled.

For those preparing to audition for 2027, the message is simple. Take a closer look. This is a place where you can train at the highest level, build a career ready skill set, and experience life away from home, all while gaining a qualification that supports your future.

You will not regret it.