Remembering Andria Hall

Born in Grimsby, Hall began her dance training locally with Phyllis and Hilda Skinns before continuing her studies with Louise Browne. In 1974, she joined London Festival Ballet, as English National Ballet was then known, and quickly rose through the ranks, becoming a Principal Dancer in 1978.

A versatile and expressive performer, she danced many of the most celebrated roles in classical ballet. Throughout her time with the Company, Hall performed as Princess Aurora in Rudolf Nureyev’s The Sleeping Beauty, Juliet in his Romeo and Juliet, and leading roles in La Bayadère, Coppélia, Giselle, and Etudes. She also portrayed Odette/Odile in Natalia Makarova’s production of Swan Lake and danced the lead roles in several versions of Nutcracker and Cinderella.

Here is a clip of Hall in the ballet Graduation Ball, choreographed by David Lichine, and filmed in 1981 for the BBC.

 

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Jane Haworth was a member of the Company at the same time as Andria. She remembers: “When I first joined London Festival Ballet in 1983,  Andria was already an established Principal. She was so approachable with a great sense of humour, and when we chatted, she would let her Grimsby accent flow out, which suddenly made me feel relaxed in her company – I myself had a broad Lancashire accent.”

“The first couple of roles I did were Andria’s Double in Ben Stevenson’s Cinderella, and her Odette vision in John Field’s production of Swan Lake. At the end of the second act of Cinderella, the main protagonist leaves her shoe on the staircase. Cinderella (Andria), still in tutu, runs off stage, then Cinderella in rags (me) runs across the front of the stage.  Before the show started, Andria said, laughing ‘Don’t point your feet too much, or they’ll know it’s not me!’ I couldn’t help but feel how lucky I was to be on the same stage as her.”

Ashley Wheater danced with Hall during their time with London Festival Ballet. “Of course, I have enormous respect and gratitude for Andria Hall, I remember my very first performance of Nureyev’s The Sleeping Beauty as the Prince, Andria was my Aurora, she gave me so much confidence and guidance through out the performance.” The Artistic Director of Joffrey Ballet added: “I also had many fond memories of dancing a huge repertoire with her as well, She certainly left an indelible mark on London Festival Ballet/ENB.”

In 1991, Hall left London for the post of Ballet Mistress with the Ballet of the Deutsche Oper Berlin, later serving as Deputy to the Ballet Director. From 1997, as a freelance coach and teacher, she worked with a number of globally renowned institutions, including La Scala Milan, Staatsoper Berlin, Semperoper Dresden and Northern Ballet.

She returned to English National Ballet as Ballet Mistress, and then Assistant Artistic Director until 2007. With ENB, Hall assisted Michael Corder in the preparation of his production of The Snow Queen, and facilitated the revivals of Ronald Hynd’s Coppélia and Mary Skeaping’s Giselle, performed by the Company to this day.

Irmgard Berry, Adviser to the Mary Skeaping Estate, remembers how “Andria Hall was part of the team, along with Dame Beryl Grey, Matz Skoog and Lyn Vella-Gatt, responsible for restoring Mary Skeaping’s Giselle to ENB’s repertoire in 2005 after an absence of around 15 years. Mary had coached Andria in various roles, including Giselle, when she was a dancer in the company, and I well remember watching Mary coach her in a masterclass in the early 1980s.”

“I remember having many discussions with Andria from 2005 to 2007 about production details and I was always impressed by her dedication in ensuring that the ballet was performed as she had learned it from Mary. This continued after she left ENB when she coached Stuttgart ballerina Elisa Badenes for her guest performances as Giselle with ENB in 2017. Andria was a person of great integrity, and I will be forever grateful to her that Giselle benefitted from her very special qualities.”

Fabian Reimair, now First Soloist with English National Ballet, recalls working with Andria as he prepared for his debut as Albrecht in Giselle: “For Andria, it wasn’t just about executing the steps, it was about telling the story. She had an incredible eye for detail, guiding me to express emotion and character through movement. Every rehearsal with her was an opportunity to refine not just technique, but artistry.”

“Andria was truly one of a kind, and she left an unforgettable mark on me. A gentle soul, yet unwavering in her strength — she never let anyone walk over her. Her depth of knowledge was immense, and she shared it so generously with the world.  Beyond her expertise, Andria was always kind, always gracious, and she fostered a studio environment that felt both inspiring and supportive. It was a privilege to learn from her, and I will carry those memories with me always.”

Andria Hall’s artistry, dedication to excellence, and above all, passion for her craft, enriched the ballet world, and her influence will continue to be felt through those she taught and inspired. Our deepest condolences go to her family, friends, colleagues, and all who were touched by her talent and generosity.