A Q&A with Precious Adams
Our Social Media Editor spoke to Precious Adams, an English National Ballet Soloist from roles; in Derek Deane's Swan Lake, in Christopher Wheeldon's Cinderella and Ice Queen in Aaron S. Watkin and Arielle Smith's Nutcracker
Q: How did you start training in ballet?
Precious Adams: I started taking ballet classes close to home after school. Then I attended a summer program where a teacher suggested I go to a pre-professional ballet school. My mom wasn’t keen on sending me abroad at such a young age, so I ended up training at Canada’s National Ballet School in Toronto, which was about a six-hour drive from my home in Michigan. Eventually, I trained at Princess Grace Academy in Monaco and later joined a cultural exchange program that led me to train at the Bolshoi Ballet Academy in Moscow for three years.
Q: What led you to join the English National Ballet?
Precious Adams: When I was 18, I competed in the Prix de Lausanne. As a prize winner, I could choose where I wanted to work, and English National Ballet (ENB) was one of my choices. My mom had researched the company and pointed out that they had just hired a female director, which she thought would be a positive environment. I’ve been with ENB for 10 years now.
Q: What were the biggest differences between the Bolshoi Ballet Academy and other schools you attended?
Precious Adams: Russian training is very different from other ballet styles. The English style is more restrained, with strict alignment, whereas Russian technique is expansive—everything is pushed to the absolute maximum. They train for high extensions, long lines, and dramatic movements, even if that means tilting the pelvis for higher leg lifts, something English technique avoids. Each ballet style reflects its culture; Russian ballet is bold, while English ballet is more reserved and contained.
Q: How did training in different countries shape your approach to ballet?
Precious Adams: It made me more versatile. Since I trained in multiple styles, I can adapt to different choreographers’ expectations more easily. Some dancers struggle when they’re asked to perform outside their training, but I’ve learned to switch between styles quickly.
Q: What does a typical day as a professional ballerina look like?
Precious Adams: It depends on whether we have performances. On a structured day, I wake up early, study for a couple of hours, sometimes go to the gym, and start work at 10 AM. We have ballet class for about an hour and 15 minutes, followed by rehearsals or shows. There might be costume fittings or physio appointments throughout the day.
Q: How do you balance ballet and studying computer science at City, University of London?
Precious Adams: It’s definitely challenging! It requires time management and discipline. I’ve had to cut out distractions like Netflix, and I use my free time for studying or socialising.
Q: How do you prepare for performances, emotionally and physically?
Precious Adams: I don’t get nervous anymore, probably because my body has adapted to the adrenaline rush. Depending on the performance, I either chat with colleagues in the dressing room to stay relaxed or take time alone to focus. If it’s a demanding role, I’ll do extra warm-ups and Pilates before getting into the zone.
Q: What was it like performing in The Rite of Spring?
Precious Adams: It was a powerful experience. The choreography by Pina Bausch is raw and primal, completely opposite to the refined elegance of classical ballet. There’s something almost spiritual about the piece—it’s emotionally intense and physically exhausting, but it creates a deep bond among the dancers. ENB was one of the first companies outside the Pina Bausch ensemble allowed to perform it, which was a huge honour.
Q: What progress have you seen in diversity and inclusion in ballet?
Precious Adams: There’s been a lot of progress, but ballet was incredibly insular for a long time. When I joined ENB in 2014, one of my colleagues told me they had never met a Black person before—that was shocking. For a decade, I was the only Black woman in the company, and only recently did they hire another Black female dancer. There’s still a long way to go, but there’s more awareness now.
Q: How did it feel being one of the few Black ballerinas in your company?
Precious Adams: It was strange. On one hand, I felt unique, but on the other, I was always aware that I was the only one. Growing up, I was used to being the only Black girl in summer intensives, competitions, and training programs. It wasn’t until later that I realized how deeply ingrained that exclusivity was in the ballet world.
Q: Why do you think ballet has lacked diversity for so long?
Precious Adams: It’s a mix of cultural, socio-economic, and systemic barriers. Ballet has historically been reserved for the elite. If young Black girls don’t see themselves represented on stage, they may not even consider it as an option. Plus, the level of dedication required means many people opt for careers with clearer paths and more accessibility.
Q: How do you personally advocate for more representation?
Precious Adams: Just by being visible. When I wore brown tights at the Prix de Lausanne, it was a huge moment because it wasn’t common in major ballet companies. That small act showed that representation matters. Beyond that, I use my platform to push for more inclusivity in ballet.
Q: What was your most memorable performance?
Precious Adams: Playing Cinderella in Christopher Wheeldon’s ballet at the Royal Albert Hall was a career highlight. It was a principal role in a massive venue, and because it was a modern ballet, there was no outdated expectation about who should play Cinderella. It felt right.
Q: Do you think ballet is still exclusive, or is it becoming more accessible?
Precious Adams: It’s much better now. Companies have realized that if ballet doesn’t evolve, it will fade into obscurity. They’ve made an effort to make tickets more affordable. The Royal Opera House offers £8 standing tickets, and in Russia, ballet was always accessible—you could see a Bolshoi show for just $1. Making ballet more affordable and relatable keeps it alive.
Q: Does ballet still need to improve in terms of diversity?
Precious Adams: Absolutely. Progress is ongoing, and if it’s not intentional, things can easily slide back. I’ve heard of directors who only cast dancers who fit a particular aesthetic—like blonde hair and blue eyes. They can get around anti-typecasting laws by using height as an excuse, which is frustrating. Companies need to actively work toward inclusion.
Q: What do you hope to see in ballet over the next ten years?
Precious Adams: I hope ballet continues to evolve and stays relevant. More people are looking for artistic and physical outlets, so I think we’ll see more accessible dance programs, like ballet-inspired fitness classes. I just hope ballet continues to thrive and doesn’t become a lost art form.
Q: What advice would you give young dancers aspiring to go pro?
Precious Adams: Have balance in your life. Ballet is incredibly demanding, and if you make it your entire identity, it can be unhealthy. Have hobbies, interests, and other sources of fulfillment. That perspective makes you a stronger artist and a healthier person.
Q: What role do you hope to perform in the future?
Precious Adams: I honestly don’t know what the future holds, but I’m excited to see where my career takes me!
