The Royal Ballet’s Amelia Townsend Taps Into Madness

Royal Ballet first artist Amelia Townsend steps into some percussive new shoes this month as the tap-dancing Mad Hatter in Christopher Wheeldon’s fantastical Alice’s Adventures in Wonderland, performed by The Royal Ballet from June 13–28.

While Townsend isn’t the first woman to dance the role of the Mad Hatter—that distinction goes to the National Ballet of Canada’s Chelsy Meiss—it is still typically considered a man’s role.

“I think this is a prime example of a role that can be done by both sexes,” Townsend says. “It’s a nice moment for people to realize that roles don’t necessarily have to be gender-specific. It’s about your interpretation. I hope there is more of this in the future.”

Pointe spoke with Townsend about transforming into Alice’s Adventures in Wonderland’s most unusual tea-party host.

How did this casting come about?

I performed walk-on roles in Alice’s Adventures in Wonderland when I was in my third year at the Royal Ballet School, and even then, I was so mesmerized watching the Mad Hatter. There was part of me that knew I loved tapping and looked at that role like, “Wouldn’t that be so fun to do? But obviously I’ll never be able to do it, because it’s a man’s role.”

I was struggling a bit with an injury and dancing on pointe at the start of this season, and I was having a conversation with [artistic director Kevin O’Hare] about Alice. I made a pass-by comment that I can tap, and it snowballed into what it’s become now. He was really on board with making this happen, and I’m really grateful that he gave me this opportunity.

Did you ever imagine yourself tap dancing with The Royal Ballet?

If you had told me I’d be doing this years ago, I never would have believed you, ever. I still can’t quite believe I’ve been tapping onstage with The Royal Ballet. It feels like a dream, to be honest.

I haven’t tapped for, I think, over 13 years. There’s some very scary footage of me doing a tap solo at a few competitions. So I had to scrub up on my technique a bit. I took a few classes at Pineapple Dance Studios and did a lot of self-practice to prepare for this role. I think it’s one of those things like riding a bicycle, where once you learn you always know how to do it.

How did learning the Mad Hatter differ from learning ballet repertory?

When I was walking to work, I would listen to the video of the choreography again and again to learn the rhythm. It’s not like when you’re trying to learn ballet rep and you’re analyzing the video thinking “Okay, it’s a chassé into a piqué arabesque.” Tapping is so much more about the rhythm and how it fits with the music.

What is the transformation in terms of hair, costume, and makeup like?

It’s a lengthy process. My first appearance is in Act I, and that hair and makeup is not too crazy. But from the moment I get offstage, I go straight to the makeup room and sit in the chair for about 45 minutes.

Then I get changed, which takes a while because I have a microphone pack around my waist and have to thread two wires down my pant legs. Then we have to do a sound check where I do a couple tap steps and then it’s literally time for the tea party, so there’s really not much breathing room.

In the company here, if you’re not doing a principal role, we all do our own makeup and hair. If you’re doing a principal role, you get it done for you. So it’s been a lot of fun to get that treatment.

How did you approach the acting side of the Mad Hatter?

That was probably one of the biggest challenges about doing this role. I was watching a lot of videos of the different casts, but it wouldn’t have felt genuine if I was just trying to copy what they were doing. I knew I had to make this my own role.

At the first rehearsals, I was so hyper-focused on the tapping that adding the character on top was the last thing I was thinking about. But at a certain point, I had to trust myself that I knew the steps and really just focus on bringing that character to life. Once I got onstage, with the whole wig, hair, and makeup done, it was so easy to find the role. I’ve enjoyed developing it each show.

If you could perform any other role, which would you choose?

Definitely the Red Queen. I’ve watched this ballet so many times and every time I watch the Red Queen do the Tart Adage, I’m still laughing somehow.

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