Dancer - principal

Originating from United Kingdom

© Filip Van Roe

Nancy Osbaldeston was born in the United Kingdom in 1989. She studied at the Cardwell Theatre School and at the English National Ballet School. She joined the English National Ballet Company in 2008. She danced roles such as Lead Bandit Girl in Roland Petit’s Carmen, Pas de Cinq, Serenade solo in Suite en Blanc (Serge Lifar), Stepsister in Cinderella (Michael Corder), Neopolitan, Cygnets in Swan Lake in the Round (Derek Deane) and Ballerina in Petrushka by Michel Fokine, for which she was nominated for a National Dance Award for Outstanding Female Classical Performance. In 2013 she won the ENB Emerging Dancer Award. Before she came to Antwerp, she was promoted to First Artist at the English National Ballet. She has been with the Royal Ballet of Flanders since 2014 as a demi soloist. In 2016 she was promoted to soloist and in 2017 to principal.

Repertoire

  • Café Müller (Pina Bausch)
  • Requiem (Sidi Larbi Cherkaoui)*
  • Secus (Ohad Naharin)
  • Kaash (Akram Khan)
  • Spartacus (Joeri Grigorovitsj): Aegina
  • The Nutcracker (Demis Volpi): Clara*
  • Approximate Sonata 2016 (William Forsythe)
  • The Sleeping Beauty (Marcia Haydée naar Marius Petipa): Blue Bird
  • Exhibition (Sidi Larbi Cherkaoui): The Girl in the Frame*
  • Ma Mère l’Oye (Jeroen Verbruggen): Queen*
  • Four Schumann Pieces (Hans van Manen)
  • Fall (Sidi Larbi Cherkaoui)*
  • Forgotten Land (Jiří Kylián): Red
  • In Flanders Fields (Ricardo Amarante)*
  • The Green Table (Kurt Jooss): Young Girl, partisan
  • Romeo & Julia (Slava Samodurov)
  • Onegin (John Cranko): Olga

Press

“L’ensemble est très esthétique, tant grâce à la danse qu’au décor et costumes et l’on remarque les solistes, en particulier Nancy Osbaldeston, Philipe Lens ainsi que l’imposante Drew Jacoby.” (Blandine Pellistrandi over Exhibition)

“The gorgeous opening pas de deux between Alexander Burton and Nancy Osbaldeston set the tone; tender, passionate, even sexual at times, Burton and Osbaldeston expressed the love between the royal couple with intelligence, subtlety and total conviction.” (Gerard Davis over Ma Mère l’Oye)

“[...] the two Aeginas were quite outstanding. Both Osbaldeston and Seletskaja clearly had the time of their lives and cut their characters with irresistible gusto, as well as brilliant dance. Osbaldeston, with her sweet, girlish face, wasn’t an obvious Aegina, but she appeared completely transformed as the evil schemer.” (www.dancing-times.co.uk, Marc Haegeman over Spartacus, 03/2017)

“Les Britanniques Johan Cook (Crassus) et Nancy Osbaldeston (Aegina), ont aussi brillé tous les deux: le quatuor de solistes était parfait, tout comme l’ensemble du corps de ballet, constamment sollicité.” (Bruno Peeters over Spartacus)