Larger than Life | Ballerina Primrose Kern on Dance & Starring on the Big Screen
Primrose wears the Energetiks Grace Lace Camisole and Darcey Half Tutu in White
If you’re one of the many dancers in Australia to head to the theatres these past few weeks and catch Australian film The Red Shoes: Next Step on the big screen, you might have found yourself admiring the main character’s sometimes-nemesis, Gracie, and her scene stealing dancing. A steely ice queen who keeps her emotions buried beneath the surface, Gracie is a stark contrast to the professional dancer who plays her. Unlike fellow leads Juliet Doherty and Joel Burke who share many similarities with their on-screen characters, Primrose Kern is the polar opposite of the cool and reserved Gracie. With a larger than life, bubbly personality and disarming smile, Primrose (or Prim to her friends) is the anti-stereotype of the ballet ‘mean girl’ in every way, except for the age-old trope that the mean girl is always an exceptionally talented dancer, that part rings true. Whilst briefly back in Australia doing press for the film, we caught up with Primrose to learn more about her dance journey and this exciting transition from stage to screen.
Primrose wears the Energetiks Lexi Mesh Leotard and Darcey Half Tutu in Red
Born in tropical Cairns, in Queensland, and growing up as a self-described “small town Australian girl”, Primrose is already an established talent on the worldwide stage, joining the renowned Paris Opera Ballet in 2019, and more recently dancing for the Boston Ballet. But despite Prim’s mother also being a ballet dancer, her first foray into the ballet world wasn’t motivated by a desire to follow in those footsteps, “I was actually born a little pigeon toed.” Prim recalls with a laugh, “So my mum, having a dance background, knew that would correct my alignment because ballet is all turned out. So I just started baby ballet for fun, hoping that would fix it, and it did.” And as it happened, Primrose had an awful lot of range of motion in her turnout, “What started off as a negative in my mind turned out to be a positive”. After that Prim was hooked. A social butterfly who blossomed in class, she fell in love with not just ballet, but all the glitter, the tiaras, and “all that amazing stuff!”. Her training began under Julie McAlpine and Sarah Thorn at the Julie McAlpine Dance Studio, where she studied the RAD syllabus all the way from pre-primary to advanced 2. By 2018 she was competing in the prestigious Prix De Lausanne (notably the same year that her future co-star, Joel Burke would compete), and then the following year, the Genée International Ballet Competition, where she distinguished herself as a finalist and promptly landed a place at the Paris Opera Ballet at just seventeen years old. For someone drawn to the glitter and beauty of the ballet world this must have been a real-life Cinderella moment, as surely no other company in the world better embodies the opulence and glamour of ballet like the Paris Opera. So when in 2021, Directors Jesse Ahern and Joanne Samuel were on the hunt for a striking and talented dancer who could pull off the nuances of an ambitious, strong-willed yet loveable ‘villain’ for their Australian dance film, Primrose ticked all the boxes. It was the film’s choreographer, former Australian Ballet principal, Daniel Gaudiello that set up the match. “[Daniel] is one of my old teachers. And he came to me and said, ‘Hey Prim, there's this movie role that I think you would be really good for’. And I said to Daniel, ‘oh, okay!’. I didn't really think anything of it,”. In fact Prim was such a perfect fit for the part that she ended up being offered the role without so much as an audition, which is a huge leap of faith for casting a lead role, let alone someone who has never acted on screen before. Looking back Prim recalls how it all played out: “I think they may have auditioned some other people and they didn't work out. And then I kind of just had a Zoom meeting with the director, Jesse, and he was like, ‘Yeah, she's definitely Gracie’. I think Daniel was right in saying I was the right person for this role. Because I have such a strong personality, and Gracie needs that. And then it just went from there. They were like, ‘Here's your lines’. Here we go!”
Primrose wears the Energetiks Grace Lace Camisole and Alice Skirt in White
That kind of trust from the producers and directors must have felt exhilarating, but there’s also something of the surreal about landing a movie role after a casual zoom chat. Prim remembers with amusement what that moment was like, “Yeah, I remember turning to my mom and being like, ‘Hey, I'm going to be in a movie.’ And she was like, ‘what??’.”, Prim explains with a laugh. And whilst she hadn’t been taking acting classes or brushing up on her Stanislavski before the role came knocking, dancers often take to acting with relative ease thanks to the character driven narratives of classical ballets, “I don't have any acting training. Obviously my training is in ballet. And the movie is a ballet movie, so that is a bonus,” She says with a laugh, “But I did grow up at school doing speech and drama and things like that, and in ballet we act a lot too. Full length ballets, like Sleeping Beauty, Giselle, they’re stories. So I feel that it actually came more naturally than I thought it would.” The Red Shoes: Next Step also managed to get an ideal ratio of well-seasoned actors like Carolyn Bock and Lauren Esposito, alongside real-life professional dancers (like Primrose and Joel), and a few dancers who had their feet already firmly in both worlds (Juliet Doherty and Ashleigh Ross) making for a tightknit cast and crew who could guide each other –“I did have a lot of help. A lot of people helped me with you know, how you angle yourself on camera, how you say something. […] I think on screen you have to really project, you have to project through to people, because there’s a barrier.”
Primrose wears the Energetiks Lexi Mesh Leotard and Darcey Half Tutu in Red
After having a few months to prepare and develop the character of Gracie, Prim found that Gracie’s role in the film also evolved, “I think my character started off having not quite as big of a moment. But then by the time they did all the edits of the script and they got to the final script, my character ended up with a bigger role than anticipated.” Prim explains. “Like more lines than I thought I was going to get. Which is amazing.” Amazing yes, but surely daunting too? “I did spend a couple of weeks freaking out!” Prim admits with a laugh, “Like, ‘Oh my God, how am I going do this? I've got to pull this off’, you know? It's different to pulling out thirty two fouettés, you can train for that. But I feel like with acting you can say the same line in so many different ways, and that was just very new to me.” Time to prepare was something that eased the nerves, and Primrose credits the directors and producers for making sure she was ready and helping her nail Gracie’s accent (Prim’s own accent is a distinctive blend of Aussie ex-pat: something faintly European mixed in with a hint of the American twang – not the easiest to disguise). Physical acting might be a familiar aspect of life as a professional ballerina, but acting dialogue is not. And there are many other differences between performing on stage and for the screen that Prim quickly had to adjust to, both the advantageous and the challenging parts. “One thing I learnt really quickly on a movie is how much you can retake something. We would retake something and then watch it back and I'd be like, ‘Oh no, I need to fix this, this, and this’. And then you can retake it and you just keep going. Sometimes it's vicious cycle because you end up just bouncing back and forth the whole time. So I think there's pros and cons to both [stage and screen]. It's nice that you can retake something and make it as perfect as you can, but then I think there's nothing like performing with people sitting right in front of you, who are going to witness that performance right there as it happens. I mean, you can buy recordings and stuff, but you can't really capture that exact moment, or that feeling those people have. There’s definitely different types of magic involved with touching people in an emotional way. And I think movies do that too. Like how many movies have we all cried to? It’s just a different kind of magic. It's a delayed effect.”
Primrose wears the Natalie Leotard and Natalia Skirt in Mint
The Red Shoes: Next Step is already remarkable for being Australian made, produced, directed and filmed, with an exciting cast of local talent (even lead Juliet Doherty, though born and currently living in the USA is half-Australian herself), but the film also had the unique challenge of being shot entirely during the pandemic and some of Australia’s toughest lockdowns, and whilst the production was granted exemptions to continue filming, this would have made life on set a pretty all-encompassing experience. Nevertheless, that energy ending up translating into something positive and tangible in the finished product; a sense of closeness and authenticity within the group of talented dancers the film follows at the Harlow Academy. Prim recalls some memorable moments on set, including her nineteenth birthday. “On that day they wrote in the corner of the clapper ‘Happy 19th Birthday Prim’. So all of those scenes from that day have that. And I have a clip of me doing the clapper on my last scene on that day, it was such fun. And they had a cake! And I was such a big personality, I remember to annoy everyone on set that day, every time I saw someone I'd be like, ‘It's my birthday! It's my birthday today!’, to the point where they were like, we get it!” Prim laughs, “I think as well as working alongside a great cast and crew, we all had so much fun, and it was amazing that we got on so well and just had a great time. I think when the vibe is really good amongst everyone, the work and the end result is great too.”
The movie’s filming locations included the iconic NIDA Theatre in Sydney, a perfect setting for Gaudiello’s beautiful choreography, performed superbly by the three dance leads and an ensemble of local dancers. Prim has some fond memories of her time between takes at NIDA, “I remember the lighting guy giving me the iPad when we were moving sets and things, and me turning the lights in the NIDA theatre different colours,” She recalls with a peel of laughter, “I had, like, the rainbow circle, and I was just moving it all around. And it got to a point where the director, Jesse, just grabs the iPad and he's like, ‘You've had enough entertainment now. I think you've been entertained enough’.” She flashes a grin, adding: ”It was such a good time in my life and I'm so grateful for it.”
Having Daniel there on set was particularly special for Prim, having known him as a friend and coach for many years. “He was always there for the dancing aspects of the movie. […] And I'm so grateful for him, because he would coach me through it as well. Any of the dance scenes, Daniel definitely helped and guided me.” When asked about her character, it’s clear that there are no black and white stereotypes in this film, whilst Gracie might be the antagonist and somewhat of an ice queen from the outset, she goes through her own transformation too. “Gracie starts off being quite mean and cold towards Sam, who has come back to the ballet school, but she is like that because she feels threatened that Sam has come back - and she's going to take all of her roles and all of her opportunities. Gracie's actually insecure, about her spot and where she stands. Then as the film goes on and challenges come up and things don't go her way, she unfolds and opens up to Sam in a time where she needs Sam's help, and Gracie becomes softer because she appreciates that Sam is willing to help her.” This mean girl stigma that ballet seems to attract is something we see time and again in dance movies, not often with the redemptive character arc that Gracie gets. Yet if you ask most dancers if this is the reality, they’ll vehemently disagree. So where does it stem from then? “Very, very good question. You know, I've never come across anyone that stereotype applies to, until probably recently - in the last year - and I was like, wow, okay. That stereotype is real.” Prim says with a laugh, “I feel like growing up in Australia, and as part of the dance community in Australia, there's never been anyone like that, that I've come across personally. But then when I became a professional and worked in companies (and still do) I came across someone who kind of ticked all the boxes of Gracie.” She pauses, before adding with some amusement “It was funny because I look back and kind of wish I met the person a year before I did, because then I could’ve based Gracie off this person and it would have been perfect!” She laughs, “But there's no need for it, honestly. And the way that person treated me, it’s just so unnecessary. So I think I didn't want to believe that the stereotype was out there, but it is. And I think now as the world is more progressive, people are more in check of their actions and what they say. So I don’t think it is as bad anymore. I definitely think the world has become better regarding that kind of stereotype in the dance world. People are aware of it now because it's in so many movies, and there's so many stories like that, that it’s a lot harder to get away with that kind of behaviour.
Perhaps this elitism in ballet is an unsurprising hazard in an artform steeped in tradition and old-fashioned views and practices, but it’s also some of those enduring rituals of ballet that Prim and many others enjoy most of all, “I love the whole cliche of like going to class and wearing a leotard, and doing ballet class is my absolute favourite thing. If I could just do everyday class forever that wouldn’t be an issue for me! Even the performances, I love going out in a great costume and, you know, the sets are amazing, the music is great. But I think for me, I love the whole routine of going to work, getting to work with my friends and wearing beautiful leotards, and tiaras, and all of it. It's just the whole thing for me. I love that it's very feminine. It's very beautiful, the classical music and the stories - they are fairytale stories that we portray. And you get to go ‘Oh I'm going be a princess tonight,’ or ’I'm going be a fairy.’ You can't be that in real life.” She grins “Well I mean, some of us can if you marry a prince, sure! But generally, no. So for me, it's the whole atmosphere that I love about ballet. The ribbons on pointe shoes, the tutus, and the makeup, all that kind of stuff. And at the end of the day I love the backbone of it, which is the actual ballet; the pliés and tendus, and all of it.” That’s what makes films like The Red Shoes: Next Step so exciting for dancers to see and be involved in, ninety percent of the work and effort in dance goes on behind closed doors, away from the spotlight and the applause, but films let us celebrate the journey behind every opening night and the process it takes to make it in the dance industry. It also celebrates the moments that never make it on stage but can be some of the best parts of dance – the friendships, the challenges and the growth that all happen in the studio.
Primrose wears the Energetiks Grace Lace Camisole and Alice Skirt in White
Energetiks were thrilled to come on board as a major sponsor of the film, providing all the dancewear and shoes needed to bring a dance movie to life, and having lived in her character Gracie’s wardrobe for the entire filming process we have to ask if there was a favourite look from on set for Prim – “Yeah. Actually I really loved the class outfit!” She exclaims with a laugh “That's so basic, but I loved the shrug from Energetiks, and I loved the classic Ophelia Camisole. And the Natalia skirt. Like it's a bit of a cliche but you know, I loved it. I lived for it!” Whilst Primrose might be the polar opposite of Gracie in every aspect of her personality, it’s easy to see why she makes a perfect casting for the film’s feisty ‘it’ girl of the ballet academy. With porcelain skin, pale blonde hair, and a tiny frame, Prim looks like your archetypal ballerina without even putting on the leotard or pointe shoes. But whilst she might appear to fit the mould perfectly, she’s only too happy to break that stereotype as well – “Growing up and doing competitions and stuff, I was actually really shy towards everyone. I was very like, oh, ‘Do I talk to you?’ So I think people don't realise how much of a big personality I have,” She laughs, “Like it's, it's huge. It's humongous! So now that I'm older, and I'm a professional and work in a company, you're allowed to come out of your shell. You're not competing anymore. So I think people are shocked at how laid back and open and loud (and maybe a little sarcastic) I am! Emphasis on the loud and Australian! I know I look like I'm your stereotypical jewellery box ballerina. And people might have that stereotype in their head, that I'm a bun head. But the thing is I'm not a bun head. like I am, but I'm not.” She says with another laugh. “Yes I'm very petite, I'm tiny, I might be five ft. three, but personality-wise, I'm like eight foot!”
Primrose wears the Natalie Leotard and Natalia Skirt in Mint
With a family friendly rating and so much incredible Australian dance talent on display, The Red Shoes: Next Step is a movie that every budding ballerina and ballet boy will surely enjoy, but Prim also thinks the film can offer something for every audience. “Anyone in the dance community, or just anyone who enjoys dance would want to see this. I feel like it's for everyone, from your little dancers, to your dance mums and even my age group. If you enjoy dance you are going to enjoy watching dance.” As we wrap up the conversation it’s time to ask Prim to share any final words of advice, maybe for dancers, or dancers hoping to one day make their film debut too. And Prim doesn’t hesitate before replying. “Something I have had to learn - and something I've actually done a lot, and people probably say a lot – but it’s to just go with the flow. And it sounds so basic, but it's true. Life will always have ups and downs, and that's not just in ballet but in everything. So you just have to ride the wave. And I think that's how my career has been. I never would've thought I would start my career at Paris Opera Ballet.” She admits, “It just happened like that. And that was never my dream, but I just went with it. I was like ‘okay, I'll ride this wave’. As for the big screen… if that's your passion and you see yourself being in Hollywood, or in a movie or whatever, just go for it. I think sometimes we hold back on our dreams because we think they're too big, or too unrealistic, or too far to grab. But it's those people who just go ‘You know what, I’m going to create an electric car’, they do. Maybe it sounds like it’s not true, but it is. You can do it. No dream is too big.”
Primrose Kern for Energetiks, photographed by Elly Ford
Follow Primrose’s dance journey here @primrose.kern
Find screening times and locations for The Red Shoes: Next Step: https://screeninc.com.au/red-shoes/
The Red Shoes: Next Step is proudly sponsored by Energetiks.
Article and photography by Elly Ford
Additional images courtesy of the Red Shoes: Next Step
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