Interview with Katrin Schrader – Guest Principal Dancer in Cinderella

You have performed the role of the Fairy in Jean-Christophe Maillot’s Cinderella before. How has your interpretation of the character evolved with each performance, and do you approach it differently when dancing with a new company?

My interpretation has evolved a lot since I first danced the Fairy as a younger dancer. As I’ve grown as a person, my approach to the role has also changed. Even though the story and choreography remain the same, each time I return to the role, I bring a new perspective. The Fairy experiences a range of emotions—joy, strength, even a motherly presence in the beginning—and depending on how I feel at that moment, I might emphasize different aspects of her character.

With time, I’ve gained more confidence, which allows me to interpret the role with greater depth and presence. When working with a new company, the experience is always different because every dancer I interact with brings something unique. Here at the Czech National Ballet, I didn’t know the dancers beforehand, and we had limited rehearsals before the general run. This means I’m discovering my partners on stage, which adds freshness and spontaneity to my performance. Their reactions influence mine, making each show feel alive and new. I also trust my instincts, letting the role unfold naturally while always keeping the story in mind.

Your repertoire includes a wide range of works, from Maillot’s ballets to pieces by Balanchine, Inger, and Cherkaoui. How does performing in different choreographic styles influence your artistic expression?

It really depends on the type of ballet—whether it’s narrative or abstract. My priority is always to understand what the choreographer wants to express. Once I grasp that, I find ways to make the role my own while staying true to their vision.

Every choreographer has a different way of communicating their ideas. Some are very precise, while others give dancers more freedom. I enjoy this diversity because it challenges me to adapt and explore new dimensions of movement. No matter the style, my goal is to interpret the role in a way that feels authentic and meaningful.

Since your promotion to principal dancer in 2025, what has changed for you in terms of artistic expectations, challenges, or opportunities? How does this new status shape your approach to roles like the Fairy in Cinderella?

Becoming a principal dancer has been a dream since I was a child, so of course, it’s an incredible moment for me. It validates all the hard work I’ve put in, but at the same time, I see it as a new beginning rather than an endpoint.

The title comes with more responsibility—I want to live up to the expectations that come with being a principal. But for me, regardless of rank, every dancer should always strive to evolve and give their best, whether performing as part of the corps de ballet or in a leading role. I don’t see my approach to my work changing drastically; I’ll continue pushing myself to grow and improve. Ballet is an art form where there is always something new to learn.

The Czech National Ballet and Les Ballets de Monte-Carlo share a connection through their performances of Maillot’s ballets. What do you find unique about his storytelling and movement language, and how do you see it resonate with audiences worldwide?

What I love about Maillot’s work is the attention to shapes and movement—every step has meaning. When you work with him, everything is very clear. He knows exactly what he wants and ensures that every movement serves the story.

His ballets often have a wonderful balance of depth and humor. Cinderella, for example, has many playful and funny moments that audiences respond to really well. It’s rewarding to hear them laugh and engage with the characters. His storytelling is rich and multilayered—there are elements that feel lighthearted, but also moments of real emotional weight. That mix makes his works resonate with audiences everywhere.

Dancing as a guest artist often brings new insights and collaborations. What excites you most about performing with the Czech National Ballet, and what do you hope to take away from this experience?

When I received the invitation, I was so excited! It’s always wonderful to step outside your usual environment and experience how another company works. I’ve spent my career in Monte Carlo, so coming here is a great opportunity to see a different approach to ballet.

Beyond the artistic side, the human experience is also very special. Everyone here has been so kind, welcoming, and supportive. It’s fascinating to work with new dancers and see how they interpret the same roles differently. I’m also looking forward to watching the company perform—there’s so much talent here, and I love being able to observe and learn from others.

As a guest artist, I take inspiration from every new experience, whether it’s the way a colleague approaches a role or the atmosphere of a different company. It’s a beautiful exchange.

What would you like to say to the Czech audience?

I’m truly happy to be here! Prague is an amazing city, and I’ve heard so many wonderful things about the Czech audience. I just want to say thank you for this opportunity—I’m looking forward to sharing Cinderella with you!