ToThePointe Meets Hayley Maloney (Forskitt)

It’s clear on social media that Hayley Maloney is loving her maternity leave. Tall, blonde, beautiful; she is a woman who wistfully walks through countryside greenery with her child and bakes yummy treats in her down time. But as I scroll through Hayley’s Instagram feed and look at her bucolic family life, I find it fascinating that what lies behind it are years of dedication, hard work, injury and discipline. This is where Hayley breaks the mould of motherhood. She was a ballet dancer with the Royal Ballet, a career that not many other mothers can talk about at the nursery school gates. She’s said goodbye to years of feet squashed into pointe shoes to focus on being a mum, a job that she says is the greatest of them all. The decision to leave work to raise your child is difficult for any woman, but for a ballerina, whose career is actually more of a lifestyle, I wonder just how hard that can be. I spoke with Hayley about this, her career with the Royal Ballet and gushed over the cuteness of her son.

As with many ballet tales, Hayley’s story starts when she was four years old and took up ballet class. Unlike other tales, however, she didn’t actually like ballet that much. “I took lots of classes. I did ballet, tap, modern, Greek, national. I did it all and loved it all but ballet was my least favourite. I actually found it boring. I thought that tap and modern were more fun!” Hayley began dancing in local festivals and competitions alongside her sister who also took an interest in dance. She became keener on ballet as time went on and says that she “loved the feeling of the stage.” She later auditioned for White Lodge and at just 11 years old, packed the ballet shoes and leotards up and off she went to begin her career. “My mum was very good at hiding her emotions but she cried a lot. All of my phone calls home were really positive though so that helped and I went home at weekends.” I ask Hayley where it changed for her. Where did it shift from a little girl doing ballet to a determined girl turning it into a career? “I loved being at White Lodge because we were dancing every day and surrounded by other dancers. There was no question I didn’t want to go and when you’re 11 it's more that you’re going to a special school where you get to dance every day. As you get older though, it becomes apparent that it’s what you want to do professionally and that’s where the hard work really sets in.” When Hayley was offered a place in the Royal Ballet’s Upper School she says “it was the biggest dream” and I think it’s clear that this is where the real change in most young dancers happens. The step into the Upper School is a big deal and it marks a teenager choosing a life of full time ballet. “The Upper School feels very different and there is a lot more pressure. The days are long and hard and it’s clear there is one set path which is to be a professional dancer.” Whilst at the Upper School, Hayley took part in classic Royal Ballet productions such as The Nutcracker and Swan Lake which she says “was an honour to be a part of.” Although she had the stage experience from the Royal Opera House under her belt, a move into the Royal Ballet Company wasn’t part of the immediate plan. Auditions started and Hayley was offered a place with Norwegian Ballet, an opportunity that she grabbed and didn’t let go of for six years. “I left when I was 19 and I was there for six years. I loved it there and it became my home. I think I really grew as a woman and artist while I was with them.” Hayley looks back on her time with Norwegian Ballet fondly and gushes in particular over their repertoire. “They had the best rep in Europe. They would put on all of the classics but also lots of Balanchine and neo-classical and contemporary works. It was the perfect mix.” When Hayley was with the company, Espen Giljane, who had previously danced in New York, was their Director, hence the fondness for Balanchine. “I was able to dance in Apollo, Symphony in C, Serenade. Eventually I got to do it all, everything in the rep but that was hard on the body. Going from something classical to something very contemporary was a challenge but it was an amazing time for me and I learnt so much.” Although Hayley commends the rep at Norwegian Ballet, there was one choreographer who clearly stood out for her. “My favourite was William Forsythe and to date his works are my favourite that I’ve danced! Choreographers like Balanchine really push you but mentally it’s very difficult so you can’t really dance your heart out. With Forsythe it’s different. From the first rehearsal to the show it’s just an incredible experience. I’ve never felt that free on stage and I look back so fondly on it.” Forsythe’s work has clearly had an effect on Hayley and still has a powerful hold over her. “I think he’s a genius. I got to work with him and you would start with workshops to understand his style so by the time you learn the steps you already know his style of dance. He pushes the body in such a cool way and before a show they would play hip hop on stage for us to warm up to which would really get us revved up. Ballet is much more placed and pure but with Forsythe it’s all about letting yourself go and feeling the bass and rhythm of the music.” I think it’s really interesting that some of Hayley’s fondest memories on stage are from when she was dancing contemporary choreography. It’s not the usual response from a ballerina and I’m reminded of her beginnings when she spoke about liking all types of dance when she was a child. It’s clear her experience of dance is as a whole, and not just focused on classical ballet; something which I think sets her apart from some other ballerinas of her generation.

Hayley dancing in William Forsythe's 'The Second Detail'

Hayley dancing in Balanchine's 'Apollo'

Although Hayley was content and at home in Norway, she yearned to be back with the company that raised her. “I wanted to make a new start. When you’ve been through White Lodge and the Upper School, you always feel like it’s your home so even though I was happy and fulfilled in Norway, it was my dream to be in the Royal Ballet.” Hayley says that it felt as though she was returning home after she auditioned and got her place in the company, but the move back wasn’t easy. “I joined the company as a mature dancer with a lot of experience and that was a positive but when it came to casting for basic work there was a queue. Because I was new I was at the back of the queue, something which wouldn’t be the case if I had joined straight from school.” Getting cast in meatier roles unfortunately halted even further when Hayley suffered a brutal injury at the end of her first season in the company. “I hurt my knee and I was off for a whole season. I was so gutted. I was fairly new and just making my mark, covering good roles like the Lilac Fairy and things were looking really good but then I was off for a whole year.” I ask Hayley about the mental and physical strain such an injury takes on a dancer. “I was devastated. It was serious and I was told by two surgeons that I would never dance again. Mentally you have to stay positive and I made the best out of a bad situation. It took about two years to really get back to dancing pain free so I missed a lot of parts. I came back stronger and with better technique but it definitely halted my progression. I was surrounded by really good friends and family though and getting stronger really motivated me. I’m really proud of myself for overcoming that injury.” Hayley was a fighter, and as she said, came back to dancing stronger and with greater technique, something which many don’t find after suffering a bad injury. As her strength grew, she began to dance with the corps de ballet in all of the Royal Ballet’s major productions. “It’s a lot of work being in the corps. You’re rehearsing all day and it’s the hardest rank to be in because you’re dancing all the time. It felt like such an honour though to be a part of one of the best corps de ballets in the world. It takes a lot of work to feel like you’re one person and it’s so rewarding when you get it right.” I ask Hayley about some of the more special moments she shared on stage with the rest of the corps. “I loved dancing in La Bayadere so much. It feels amazing because it’s so silent when you’re doing the Shades and it’s so nerve-wracking but you’re all nervous together and you take each other through it. I also loved The Nutcracker which is my favourite ballet. I think the Royal Ballet’s version is the best production out there and I loved being a flower or a snowflake!” Hayley comments that she also danced in the Arabian dance and was also one of the lead flowers – parts, she says, she dreamt of dancing. “You then have ballets like Romeo and Juliet where you are a townsperson which is exhausting because you become so involved with the story.” I start to think a lot more about how special the corps are as I chat with Hayley and begin to name some of my favourite ballets that feature them, Act Two of Giselle probably tops it for me. “Swan Lake too of course”, Hayley reminds me, “that was the last ballet I performed before I stopped with my pregnancy.”

Hayley with other members of the corps de ballet after dancing the Shades in 'La Bayadere'

Hayley tells me “I was here to be a mother” and so her decision to give up dancing is not surprising. “I gradually came back to dancing after six months but I loved my maternity leave and I had been so happy and relaxed. I want to be the best mum that I can be and I was aware that the early years are so special. Ballet isn’t a job, it’s a lifestyle and it would have meant a lot of time away from my son which I wasn’t prepared to do. I want to raise him myself.” Hayley’s tone of voice is so strong and determined when she talks about her son and her intentions on raising him, that I have no doubt at all how importantly she views her role as a mother. "I have complete respect for all working parents, especially the parents working in the Royal Ballet, but I knew the family life that I wanted and I was fortunate enough that (after readjusting aspects of our life) I had the choice not to work."

What comes across when she talks about this new stage in her life is how happy and bright she is. “We live such a nice life and I’ve never felt happier to be honest. I miss ballet but I truly love being a mother. I just feel so happy being with my son.” Although Hayley is clearly thrilled to be taking on her new role as mum, I wonder how difficult the decision was to give up ballet for good. “A dancer’s career is short and going to come to an end anyway. To raise my son was the most positive reason for me to stop and the decision just felt right. I was dancing a lot and my body was strong so I left on a high which was great. I don’t have any regrets.” The decision may have been right, but that doesn’t mean it’s not a great loss. Saying goodbye to such an all-consuming lifestyle must be very difficult. “I miss it in a nostalgic way, not in a sad way. I love looking back, it makes me laugh and cry and I just feel so lucky and very proud of what I’ve achieved. Brian is still involved with the company so I still feel like part of the family.” Brian is, of course, Brian Maloney, the dancer-turned-fitness coach who stole Hayley’s heart. They both have that boy/girl next door charm and if the ballet world was anything like the gossip pages, they would be Justin and Britney in the blissful cute days, before Justin’s solo career and Britney’s shaven head meltdown. With two such active parents who come from a ballet background, will their son follow their lead? “He has amazing feet!” Hayley laughs, “but whatever he wants to do we will support him. I think he should try lots of different things to see what he likes. Brian is a very good pianist, so maybe he could play piano too.”

Hayley with husband Brian Maloney in 'The Nutcracker'

Although Hayley can now live peacefully in the English countryside to raise her son, her departure from the Royal Ballet was nothing short of exhilarating. The Royal Ballet’s run of ‘The Sleeping Beauty’ earlier this year was long, which gave dancers from all ranks the opportunity to dance more leading roles. This was exciting, but none more exciting than Hayley’s turn as Carabosse, the wicked fairy who casts the spell on Aurora. Hayley had already danced the role, but decided it was the perfect way for her to depart from the company. I was astounded at her performance. It was epic, thrilling, camp – what a ride she took us on! I loved her snarly and sarcastic expressions, the energy in her body and the sheer evil pouring out of her. This was very different from the beautiful blonde I would catch here and there in the corps. It also made me desperately sad that on seeing such talent for performance and acting, she was hanging up the tutu. “I had actually already left the company but Kevin told me that the company needed me and it could be my official farewell. Carabosse was my favourite role and I felt like I could have fun with her and take it really far. The ballet is so serene and I felt like she was the meat of the ballet so I wanted to give her some oomph.” Oomph she certainly gave – she had me gripping my seat with excitement and terror! “It’s so much fun to be evil! The hair and makeup takes about an hour and a half and in that time you can feel her evil growing inside of you.” It’s so difficult to imagine Hayley having any sort of evil growing inside of her and it’s no surprise she had a little help to get herself into character. “Monica Mason coached me. It was such an honour to work with her, she’s a fabulous coach. What’s great about her is she understands that each dancer will portray her differently and she is great at bringing out your version of the character. It’s so difficult to do mime well and to clearly tell the story. It’s actually harder than dancing and it takes a lot of time to feel comfortable with it. Monica’s corrections and tips were amazing and it was great to watch her work.” I think Carabosse was probably Hayley’s greatest role, it made her shine and she stole the show, but what other parts did she enjoy dancing? “MacMillan’s short ballets were very special and it was a dream to perform in them. Gloria, Requiem, Concerto – I loved them. I also loved doing the clog dance in Fille – you’re so restricted for time when you put those clogs on and off it’s really nerve-wracking! Some of my best moments though were taking part in Draftworks. I used to dance a lot in Kristen McNally’s pieces and it was really fun to work with her. She knows how to entertain an audience and her work is really refreshing. It reminded me of the contemporary stuff I did in Norway. I think though that people could see I could hold an audience and entertain.” It’s interesting how Hayley always comes back to the performance side of her career. Her turn as Carabosse proved her excellence in character and acting roles. “I’ve always loved acting and I felt that’s where my strength was more so than dancing.” Does this mean that there could be opportunities for Hayley to come back as a character artist? “If they would have me then I would love to go back and guest in roles. Lady Capulet is a role I have always wanted to do. Monica and Kevin both said they must have me back for Carabosse in the future so the door is open to possibilities which is exciting.”

Hayley as Carabosse in 'The Sleeping Beauty'

So although there could be a possibility to return to the stage in the future, for now Hayley is happy raising her son and she’s beginning to dabble in teaching. “I teach in my village which has a lovely community and the response has been amazing. I teach 50 students and there is a waiting list so there’s obviously a need for ballet there. I teach 2-3 and 4-6 year olds, and mums and dads can participate too and get into it. It’s all very cute.” It sounds like the quintessential English countryside weekend, with locals taking their children to ballet classes with a former Royal Ballet dancer. Pretty special if you ask me. “I can work the teaching around my life and when my son is at school maybe that’s when I can think to expand. I’m also open to choreography but that would be in the distant future.” For now it seems Hayley is happy in her biggest job which is raising her son. Before we end our conversation, I ask her to look back again on it all and tell me what she is most proud of. “I’m proud of it all. I’ve had such a wonderful life and I’ve been part of two major classical ballet companies. I’m just proud I did it and that I worked so hard to do what I loved. It’s made me the person I am.” Well that person is pretty great and is sure to put the same amount of hard work into her new role. When I think about Hayley as I write this, I imagine she is probably with her son or teaching the children in the village. I wonder though if she ever has private moments in front of the mirror and lets her inner performer come out. If so, I hope we get to see a glimpse of this side of her again. In years to come, I’m sure there will be a lovely Aurora dancing around on stage who will need to be shaken up a bit, and who better to do that than Hayley Maloney?