Co Longford's Marguerite Donlon, dancer and choreographer, talks about her life

Marguerite Donlon is an internationally renowned choreographer, director, and leader in contemporary ballet and dance.
Originally from Longford town, she is celebrated for her innovative choreographic style, which blends classical and contemporary elements with humor, emotional depth, and theatricality. Her works, performed by world-class companies such as Stuttgart Ballet, Nederlands Dans Theater, Bolshoi Ballet, Rambert Dance London, and BalletX in the US, often incorporate multimedia and interdisciplinary collaboration.

In 2018, she received the Civic Reception from the Longford County Council. 

What area of Co. Longford are you from?

I grew up in Longford Town, Deanscurragh, and then we moved to Abbeycartron Lane. That’s just off the Battery Road.

You began doing Irish dancing; did you train in ballet in Longford/Ireland, before being part of the English National Ballet?

I began with Irish dancing quite young. That’s all there was. There was no other kind of dance, but I have to say, even as a child, I felt it was very restrictive and wondered why we couldn’t use our arms. I was quite “old” considering for ballet. I was very lucky that Anica Dawson (Louw) came and she started to teach ballet in Longford. I was already 14. When I first called her, she said I was too old. She did let me come, and we’ve been the best friends ever since. She’s been my teacher and encouraged me to open the doors for my career. I kind of learnt everything with her in 2 years. Then it was kind of decided between her and a teacher in England that it would be better to go to a full school. I went to England when I was 16.

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When was your big break?

I was allowed to do class with the English National Ballet who was on tour. My school was in Yorkshire. I was allowed to take classes with them. Their ballet master, Kevin Hagan, he basically saw me and saw the raw talent, probably. Long story short, the director invited me into the company as an apprentice. That was four weeks or something, and then I got into the company. That was a big break. All the other dancers would’ve trained at the Paris Opera School or Royal Ballet School in London. I came through the backdoor in a way.

Who was one of the best people you have ever worked with?

I would have to say Jiří Kylián. He was the director of the Nederlands Dans Theater. He was the founding director. He worked with different companies. When I first worked with him, I was already in the company in Berlin. I worked with him there and that was a privilege. He invited me to come to his company in Holland. I decided to stay in Berlin but I started to create myself. It was nice that someone I admired thought so much of me that he would’ve invited me to his company. That was lovely. As a choreographer, I’ve had the great fortune to have many highlights, and I guess one of them was working with Svetlana Zacharova and 10 principal dancers of the Bolshoi Ballet. They danced to one of my pieces which was performed on the main stage. Many of my friends and family came and that is what makes it very special for me, sharing these moments with my loved ones. I’m not sure we can mention Russia anymore but I think in the arts, we shouldn’t become too political.

What challenges did you face during your career?

I think the challenge is to be better. As an artist, it’s never good enough. You have to also learn to be happy with what you do even if you know it can be better. That’s always been a challenge, setting the bar very high. I was quite lucky not to have many injuries but this can be a big challenge for many dancers, like athletes. I only had one major injury, but you always have to take care of your body. The challenges of just keeping on top of your game, I guess, always being on top. And never allowing yourself to sit in your comfort zone. I think as long as the reward is more, then the challenges are okay.

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What performance is your best memory?

As a dancer, one of my favourite moments was when I was cast for the main role in “Undine”, from John Neumeier. John is a very famous choreographer, who has just retired from Hamburg. That was a role that I somehow identified with, which was beautiful. I danced that in Berlin. As a choreographer…wow…I guess it was the premiere of the piece in Moscow, because I might’ve been the first female choreographer that they had. I just realised that before the curtain went up. So, as you can imagine, I was very happy to be one of the first female choreographers. That was quite exciting. I’ve had many, many great memories, but they are two as a dancer and choreographer.

Was choreography a seamless transition from being a dancer?

From a small age, I was making dances, putting them to music and my family had to watch these performances.
When I actually became a dancer with the English National Ballet, the first rehearsal was with Rudolph Nureyev with his production of “Romeo and Juliet”. At the same time, we had another choreographer who was more contemporary, called Christopher Bruce. I realised then it was a career and job called a choreographer. I was excited about this. When I started dancing professionally, I made a promise to not dance past my peak, and in the last six or seven years as a dancer, I was starting to create and choreograph. I got more and more invitations and I had to make a choice since it’s difficult to do both. It was very easy then. I just decided that’s it, I’m going to be a choreographer, even though it was a scary move. It was the right thing to do, and it was.

Tell me about your time in Germany?

I’ve lived in Germany since 1990. I went from London to Berlin and I danced in Berlin for 12 years at the Deutsche Oper Berlin Ballet, and then I became a ballet director and choreographer at the Saarland State Ballet for another 12 years. Now, I’m freelancing. I live between Berlin and Osnabrück. Freelancing means I get to create for companies around the globe like BalletX in Philadelphia, Hubbard Dance Chicago, Munich Ballet, Berlin Ballet, Poznan State Ballet in Poland, or Ljubljana in Slovenia. I have a premiere in London. I’m very excited about it, because it’s in Linbury Theatre at the Royal Opera House in Covent Garden with the English National Ballet School. All the big schools around Europe are being showcased such as Paris Oper, and Rambert School. Freelancing gives me the wonderful opportunity to visit new cities and countries and learn new cultures. And it’s a great way to get my family and friends together.

Any advice you would like to give aspiring Longford dancers?

I would say to be curious, get out there, travel to see things, talk to people. If you really want to become a professional dancer, it’s not a question you ask yourself, there’s no other choice. Basically, you’ve got to work really hard and love it. As soon as you don’t love it anymore you stop.