From the world’s most prestigious stages to the lens of one of ballet’s most iconic photographers, Lania Atkins is emerging as one of the most compelling voices in contemporary ballet. Currently an artist with the Royal Danish Ballet, Atkins’ trajectory is anything but ordinary – rising through the ranks of Europe’s elite companies, including the Norwegian National Ballet and The Royal Ballet in London, all before the age of 25.
Her presence on stage is magnetic. Whether embodying the fiery power of Mercedes or the regal mystique of the Queen of the Dryads in Don Quixote, Atkins dances with a rare blend of technical brilliance and emotional intelligence. It’s a strength forged early – when she left her native Australia to compete at the Prix de Lausanne, ultimately earning her place at the Dutch National Ballet Academy and later, The European School of Ballet.
In this exclusive feature, Dance Informa pairs an intimate interview with Atkins alongside a powerful, never-before-seen portrait series by renowned photographic artist Rick Guest. Known for his collaborations with The Royal Ballet, Guest captures the tension, grace and grit that define Atkins’ artistry – a rising star whose light is only just beginning to reach its full intensity.
You were a standout athlete growing up, making state finals in swimming, cross-country and athletics – and yet ballet became your chosen path. What made dance win out in the end?
“Dance won in the end, as running against a stop watch and following a black line up and down the pool became tedious and was drawn to ballet as an art form. Now with an older head on my shoulders, I have definitely chosen the right career path. And it’s so special being able to have a profession you are in love with. There are so many aspects of the art form that allow you to grow as a person. It’s not like running or swimming in the same race. There is always something new and challenging, whether it’s music, portraying a character from different time periods. Evolving technically with different styles of dance and steps that link together. How those steps are telling the story. Different movement patterns to different time signatures. All of it creates alternative thought processes and I think this art form has so much depth and room for interpretation.”
You’ve said you disappointed your swim and running coaches when you chose ballet. Do you think that early athletic training gave you an edge physically or mentally in your ballet career?
“Athletic training did give me an edge, as it brought me resilience and determination. The ballet world is tough, and you need to be strong both physically and mentally in this profession. They say blood, sweat and tears. Athletic training made me love the fight and challenges, as it’s so rewarding when all the hard work pays off.”
You began full-time ballet training at just 15 and quickly gained recognition, winning the Sydney Eisteddfod Senior Ballet Scholarship in 2016. Was there a moment around that time when you thought, ‘This could really be my future’?
“The Sydney Eisteddfod was definitely the icing on the cake. Before then, I was fortunate enough to be able to travel to New York, Switzerland and London for competitions, and I realised then there was so much more out there and the world was my oyster. Being so young, I thought, ‘This is my dream; I want to be out there on the world stage.’”
At just 16, you moved overseas to join the European School of Ballet in Amsterdam. What was that first year like, living independently and dancing in a new country?
“It was so exciting and so tough. Having my family all the way in Australia and being in Europe. Learning to become independent. Trying to be an adult at 16, teaching myself to cook and deal with daily struggles without the arms of my family to comfort me. As a teenager, you still have so much development ahead of you. It was a fast track into being independent and confident in the real world.”
In the seven years since, you’ve danced with The Royal Ballet in London, the Norwegian National Ballet and now the Royal Danish Ballet. How have these diverse experiences across companies and cultures shaped you as an artist and a person?
“Each of these three companies have much to offer. It’s such a blessing to have had these experiences, to gain knowledge professionally from various repetiteurs and ballet masters. Learning about historic and more modern styles has shaped me to become a person of depth, and this also plays a huge role when portraying the different aspects of dance.”
You’re currently performing roles like Mercedes and Queen of the Dryads in Don Quixote, and Carabosse in The Sleeping Beauty. What do you enjoy most about performing strong, dramatic characters?
“I enjoy the theatre of playing dramatic roles. And I am quite a strong dramatic character myself (laughs). It’s always fun to play the villain. And/or have a dramatic or dreamy presence on stage.”
Outside of dance, you’ve developed a creative passion for fashion and visual artistry. What draws you to fashion, and how has living and working in Europe influenced your personal style and artistic expression?
“Living in cities like Amsterdam, London and Copenhagen has meant that I’ve been fortunate to be at the cutting edge of fashion.”
You’ve collaborated with amazing photographic artists like Rick Guest, Simon Upton and the Elbazin team. What do you enjoy about being in front of the camera, and how does it differ from telling stories on stage?
“I’ve been fortunate to work with genius photographic artists such as Rick Guest and Simon Upton. What I enjoy is being able to improvise for different looks rather than characters. Building a rapport and receiving direction from the photographers is an invaluable experience. It differs from telling a story behind the lens rather than on stage, as it’s a static form of expression.”
You’ve recently joined the Royal Danish Ballet. How has your experience been so far working with the company, and what has surprised or inspired you most since arriving in Copenhagen?
“Joining Royal Danish Ballet was like becoming part of a big family. It’s a very caring environment with lots of support and I’ve been given some incredible opportunities. I studied Bournonville in ballet school, so it’s nice now to be in a company where Bournonville is part of the fabric.
The people in Copenhagen are young and progressive with an exciting emphasis on the arts, culture, food and fashion. I love it.”
Now that you’re settling into this next chapter, how are you finding the artistic culture and creative environment within the Royal Danish Ballet? Are there particular works or choreographers you’re excited to explore with the company?
“We have a new Artistic Director, Amy Watson. Amy has already brought a vibrancy and passion into the company. Morale has never been better and it is exciting to be part of this team. Some of my dream roles would be Odette/Odile, Juliet, Kitri. I’m looking forward to Amy’s future artistic direction.”
Looking ahead, what are some of your creative aspirations – whether that’s dream roles, future collaborations, or ways you’d love to expand your artistic expression beyond the stage?
“I’m happy to be on this artistic journey with the company and relish the challenges that lay ahead.”
By Renata Ogayar of Dance Informa.
