Why Jill Ogai is thrilled to be on Sydney Opera House stage with Australian Ballet
For the Australian Ballet’s principal ballerina Jill Ogai, playing the seductive lead of Carmen in the new Opera House production is a full circle moment.
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For the Australian Ballet’s principal ballerina Jill Ogai, playing the seductive lead of Carmen in the new Opera House production is a full circle moment.
The 31-year-old has been dancing since the age of four – with her twin brother at the start – as they grew up on Bondi Beach and she dreamt of being on stage. In fact, she remembers the first time she saw the steps of iconic Opera House – they seemed gigantic to the little girl who dreamt of the very life she has now.
Despite setback and injury, Ogai is at the peak of her career having recently been promoted to principal artist – The Australian Ballet’s highest rank – marking a significant milestone in her already illustrious career.
Now she is home in Sydney to play Carmen, which opened on Wednesday, up the same steps she remembers so vividly.
“I thought I’d reached a pinnacle when I danced Swan Lake last year,” she tells Insider.
“But Carmen is one of the ballets that I’ve grown up listening to the music especially. I don’t know if I ever fully aspired to do it, because some of those things – they’re not in our repertoire – so when it popped up, I thought ‘oh my gosh, this is something I can really see myself doing’.
“And you sort of cross your fingers and hope that the casting works out – so it’s a bit of a thrill to see my name on the casting, especially this version. I think it’s a really wonderful retelling of the story.”
Ogai graduated from The Australian Ballet School in 2011 and joined The Australian Ballet in 2012 as a member of the corps de ballet.
After recovering from a knee injury early in her career, she went on scholarship for a month in 2017 and travelled around Europe to take classes and watch other companies perform.
enlightening time gave her new inspiration when she came back to Australia, and she became a senior artist in 2022.
Last year, she was promoted to principal artist during the Swan Lake season where she played the dual role of Odette/Odile.
It’s been a long road, but it’s been a journey she’s grateful for – despite the lows.
“When you’re four years old, you have no doubt – you’re like ‘this is gonna happen, and I see no other path, nothing’s gonna go wrong’. It’s actually those later years, your late teens, and then even early years in the company, when you’re still trying to work so much of yourself out,” she admits.
“And you’re in this amazing industry and you’re like, ‘all my dreams are coming true’ – but it’s also really tough.
“Looking back now, I’m just actually really grateful that I went through a lot of ups and downs.
“I’m so grateful that I went through injury, and I learned really early on the value of my body and the health of my body.
“I had to work out very early on that I could push myself, but I also had to really listen to my body – and that’s been a real asset to me, throughout my whole career.
“I also had a lot of self doubt in my early years in the company – and because I was so in my head, I couldn’t always just relax and listen to what was happening to my body.
“The self doubt was good because it kept me curious and always wanting to change.
“But when I let go of that a little bit, I became so much more in tune with my body.
“And I think that’s a big reason why I’ve really enjoyed my dancing so much recently.”
Ogai says many dancers hit their prime in their late 20s to mid 30s, or beyond, and she considers herself in the middle of her career.
“I think the thing about ballet is that it’s art, so as you mature, you just gain more knowledge,” she says.
“And even though physically things might not be the same, there’s a different gravitas and charisma that comes with more mature dancers.
“(The injury) was so hard because I just joined the company and I was already a bit injured, and all I wanted to do was prove myself to everyone at that point, and I just couldn’t.
“And other dancers I joined the company with were going from strength to strength immediately – but then, the last couple of years, I wouldn’t give that up for the world.
“So all those things that I wanted to happen in my first few years are happening now and I think I’m enjoying it more because I feel more comfortable in myself.”
That’s what she wishes for future ballerinas – and says patience is key.
“I would definitely encourage young dancers to be patient if they can – and be really interested in learning the process,” she says.
“It sounds so boring, doesn’t it? But I remember the hardest times were when I couldn’t be patient with myself, and so I’d be fighting against something that wasn’t quite ready for you.
“Good things come to those who wait – not in a static way, but you just have to keep working away and the good things will come.
Choreographed by the internationally acclaimed choreographer Johan Inger, the award-winning production of Carmen is based on the original story from Prosper Mérimée’s 1845 novella, which was later immortalised in Georges Bizet’s famous 1875 opera.
This modern adaptation will showcase a unique and powerful blend of classic and contemporary storytelling during its run, when the Opera Australia Orchestra will perform elements of Bizet’s iconic score, bringing Carmen’s passion and drama to life through music.
“I see Carmen as such an assured, strong woman – she’s got weight to her – and I really relate to that side of her,” Ogai says.
“And she’s got such integrity for herself. (But) she breaks hearts and doesn’t mind. She plays with people, and that’s certainly not who I am.”
After Sydney, Ogai went to Adelaide and she is now based in Melbourne, so coming home to Sydney is always a highlight.
“I love Sydney. I mean, I feel it’s such a strange thing to say, but when I smell Sydney, I’m like, ‘I’m home’,” she says. “It has such a distinct smell.
“I was born in Sydney and lived there for 10 years, so it has such a pull over me.
“I grew up on Bondi Beach. I was a little Nipper … and I remember one of my first memories of going to the ballet was walking up the Opera House steps.
“I must have been really little because I can remember just looking down and seeing those quite particular steps – so I love coming back and performing in Sydney and just enjoying the atmosphere.
“I certainly miss my husband a lot in my job – but then I get to live out the other love of my life, I guess.
“So while that balances out, it’s the right place for me to be.
“It’s the thing that I’m meant to be doing.”
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