A ballerina says farewell – English National Ballet Lead Principal Erina Takahashi gives her final performance

Giselle, 18 January 2025
”After the show, English National Ballet’s artistic director Aaron Watkin gave a wonderful speech about Erina, the dancer and the person – and the love, respect and admiration in the space was verging on overwhelming. The same could also be felt in the applause, with flowers thrown from the gods, and Erina being joined on stage by former colleagues and partners as the audience were on their feet.”

Any dancer’s final performance is a big deal, but when said dancer is a Lead Principal and has been a member of the company for 29 years, there’s something even more poignant to acknowledge.

Ballet is a tough biz, and Erina Takahashi of English National Ballet has been around for nearly 30 years for all the right reasons.

The art form requires uncompromising discipline, and Erina is the archetypal example of what this can look like if maintained and developed. Always one of the first to arrive in the studio pre-class, she’d nod or say hello quietly… and then off she’d go.

Where? Into her own, focused, determined world… and she never faltered. I was only in the company full-time for four years, but you’ll see below that many other people agree with my take on her tenacity and constant determination.

If honest, I’ve also seen Erina in difficult moments, say the final stage call of a new production. The run hasn’t gone well, tempers are frayed, yet regardless of what the situation throws at her Erina maintains her calm, disciplined approach. Sometimes I wanted her to scream, or tell her peers to check themselves – but she never did.

Her tenacity and patience in these moments were never regarded as weak. In fact, they proved her to be the exact opposite, verging on superhuman. When normal folk couldn’t cope… Erina seemed to become an uber-powered version of herself. We always joked she was ‘made by Sony’ as she seemingly never succumbed.

Erina Takahashi was born in Kushiro (Hokkaidō, Japan), and trained at the Kushiro Ballet Academy under the direction of Kou Yano. She attended English National Ballet School for two years before joining the company in 1996 and flying through the ranks. It only took her four years to reach the rank of Principal (2000) and then Lead Principal in 2007. Her career has been a diverse one, highlighting cross capabilities from classical to modern work and back again. She has also been the recipient of numerous awards, and the associated recognition they tend to come with.

Outside of dance Erina is a mother. She had her son, Archie, with fellow company member and husband James Streeter, in 2017 and continued to dance whilst juggling all that being a parent entails.

I don’t want this homage to be one opinion of all that Erina is, and what she means to the dance world, but permit me a few further thoughts before I hand over to some esteemed colleagues:

Erina is the epitome of a dancer’s dancer.

What this means in real terms is that she’s present, disciplined, and has humour, but is also as serious about her work as one can get.

Her ambition never spoiled her attitude or professional relationships, and this is rare. I think her winning combination was that she respected people, regardless of the situation, so they had to respect her back!

Elsewhere there was the undeniable attention to detail. Every show. Whether a Thursday matinee in Liverpool or opening night at the Opéra Garnier, she always delivered the same, impeccable standard of work. And this kind of behaviour garners legions of industry fans. Put bluntly: Erina is adored by her peers, for the combination of her humanity and exacting approach to everything.

Knowing I wanted to write something for Erina I got to thinking I’m surely not the only one. Subsequently, I reached out to a number of her colleagues and include a selection below of what they have to say about her and her work in relation to this important milestone.

Chiara Ferri
Coryphèe
1996-2004

I still remember the day Erina and I joined English National Ballet in 1996! I have so many fond memories of our years dancing together. An amazing dancer, and an even more amazing person and a dear friend! Toi, Toi, Toi Erina for the new chapter in your life.

Derek Deane
Artistic Director
1993-2001

From the outset I saw great intelligence in the way she worked as a student and as she progressed through the ranks of the company she used that, along with her physical ability, to become the company’s leading ballerina! The most dedicated of dancers, always pushing herself to her limit, and going beyond. She also set a wonderful example to others around her. Being extremely musical was another huge plus! I adored working with her, she was like a sponge, and so deserves all of the praise that has been lauded on her over her marvellous career.

Alice Crawford
Senior Soloist
1990-2006

Erina! What to say… I have a very vivid memory of when Erina first joined the company. We were at the barre doing plies, I looked across the studio and there was this tiny, delicate dancer and I remember being so struck by her exquisite port de bras and the way her head followed her arms. And that was just plies!!! I knew in that moment she was special.

Gavin Sutherland
Guest Conductor from 1999
Music Director 2008-2022
Current Principal Guest Conductor

I’ve worked with Erina for so many years, and it’s always been a joy to collaborate with one so dramatically attuned to every element of her craft – every step, every gesture, always highly considered and, most importantly for me, always so aware of the music and how it marries with the stage to engage the audience. Erina’s presence on stage always grabs and holds the attention, and to be conducting for these important performances is a great thrill. She’ll be missed as a dancer so much onstage by audiences (and her colleagues, both above and below the footlights), but that she continues as a Ballet Rehearsal Director and will continue to impart her considerable experience to future generations of dancers means so much to the profession and the arts in the UK.

Kerry Lewis
Deputy Stage Manager/Stage Manager 2005-2016

Erina is one of the loveliest people I’ve ever worked with, respecting everyone’s role in creating and presenting a production and always showing her appreciation for those around her. She was a dream to cue for due to her incredible musicality and awareness of the timing and positioning needed for all of the technical elements to match perfectly with her movement. It was one of the highlights of my time at ENB getting to watch her perform and work with her. In fact, the only time Erina was ever slightly tricky was when you’d have to occasionally chase her off the stage at the end of warmup!

Maina Gielgud
Principal Coach
2007-2012

It is hard to believe that Erina Takahashi has just done her last performance! She is the kind of dancer who seems everlasting – and throughout her career has honed her craft in every way, be it technique, musicality, acting, stagecraft – never satisfied with what she has achieved, she has always continued upwards.

During my years with ENB as principal coach, it was always a joy to work with her, and watch her take in every suggestion, and to find that at the very next rehearsal, all had been sifted, digested, thought through and then made her own – in a way which was so very satisfying, since this capacity in a dancer encourages both coach and dancer to continually find and explore new ideas.

I know that Erina will be a fabulous coach and wish her as much joy and fulfilment in nurturing the talent in other dancers as she has had during her dance career. This passing on of the knowledge acquired is vital so as to give to audiences the kind of quality that keeps classical ballet alive.

Yosvani Ramos
Principal
1999-2008

Erina is the epitome of what a Principal Ballerina should be. A consummate professional with a love and passion for the art form that has inspired us all. I was very lucky to share the stage with Erina many times and do lots of my debuts with her: Nutcracker, Giselle, Cinderella and La Sylphíde. She was also a muse of sorts to me as I created many of my choreographies on her, dancing together. Thank you, my dearest friend Erina, for inspiring me and all of us for many decades. Thank you for your professionalism, love and respect for dance and above all, your friendship. You will be missed from the stage, but the dancers are so lucky to get to learn from you now. Much love and respect.

Amelia Carrington
Wigs, Hair & Makeup Supervisor
2001 to date

Sharing a person’s journey alongside the footsteps of your own is indeed heightened within our industry, I am truly blessed having had this experience with Erina, a person who treated me with equality, humanity, respect, friendship and love. I see her bestow these qualities upon all her colleagues, a genuine giver! I will miss our ‘hair do’ chats very much but delight in the knowledge she is still at the core of our ENB family.

Christopher Hampson
Soloist
1992-1999

I remember Erina joining ENB in 1996, just as I was beginning to create work for the Company and because of that I’ve had the privilege of her performing in all the works I created during my time with ENB. Thinking about Erina brings to mind how she remains curious to learn in the process of a creation, yet when performing she delivers assuredness and clarity in her movement. It is rare to find an artist who has gone from student to the highest pinnacle of their career within the same company with such consistency and respect from all who work with her. Erina really is one of a kind.

Angela Nakaaki Wood
Soloist
2010 – to date

Erina… the first time I saw her from the audience was in Roland Petit’s L’Arlésienne when I first joined the company – she absolutely took my breath away!! And throughout the years, no matter if it was a good day or bad day, she kept her composure and professionalism like no other. She’s been a rock and an inspiration with the most incredible work ethic, constant gentleness and intuition, and years of artistic insight and experience. How lucky we are to be keeping her!!

Yuri Uchiumi
Freelance Stager/Choreologist
Repetiteur 1998-2010

Erina and I first met when she was three and I was five, in a tiny little ballet studio in Hokkaido, Japan. We shared our first ever performance on stage, and many many more since as we grew up together. It was an incredible fate that we also ended up working together at English National Ballet, and I had the privilege of witnessing her grow, from being the most reliable, hardworking member of the Corps de ballet, all the way to being a truly beautiful, mature artist, radiating with quiet confidence. Erina has always been a joy to work with: kind, supportive, and generous to all her colleagues, and a wonderful friend to so many of us.  Darling Erina, your grace, power and dedication to ballet have captivated audiences for so many years.  As you gracefully step away from the spotlight, we celebrate your remarkable career, filled with breathtaking moments that will forever be etched in our memories. Thank you for sharing your passion with the world and I wish you all the very best as you continue to share your knowledge and experience to the next generation of rising stars at English National Ballet.

Of course, Erina didn’t dance exclusively for her peers, so below I share a few quotes from esteemed critics who were privy to her work over the years:

Judith Mackrell (The Guardian)
“tremendous power”

Luke Jennings (The Observer)
“technically assured, with cool balances and assured turns”

Lyndsey Winship (The Guardian)
“technically accomplished and subtly soulful” – “finely tuned grace”

Graham Watts (Bachtrack)
“scintillating, powerful, beautifully expressive”

Jann Parry (The Observer)
“shining confidence”

Erina’s final (UK) performance was as Giselle in Mary Skeaping’s production at the London Coliseum on 18 January. Jon Gray’s opening night (15 January) review can be read here.

Her Act 1 was the epitome of heartfelt, joy of dance, and Act 2 reminded me of everything I love about her dancing. Erina moves with boundless projection, infuses all her work with quality, and finds emotion from within the choreography. Her dancing felt bigger than ever before, and it seems very sad that we won’t get to experience it again at ENB performances.

After the show, ENB’s artistic director Aaron Watkin gave a wonderful speech about Erina, the dancer and the person – and the love, respect and admiration in the space was verging on overwhelming. The same could also be felt in the applause, with flowers thrown from the gods, and Erina being joined on stage by former colleagues and partners as the audience were on their feet.

Considering all of the above, I’d like to bring it back to the artist themselves, so I close with Erina’s own words:

It’s never-ending and I want to improve all the time.

And that’s it in a nutshell folks. Erina never stopped, and now never will. Only moving forwards she’ll (officially) express her profound knowledge and infectious desire for self-improvement for the benefit of others as a Repetiteur at ENB. Lucky dancers I say.

All hail Erina Takahashi – a bona fide ballerina of the 21st century. A huge thank you for 29 years of impeccable work in all ways. And here’s to the next period of your important, ongoing career in dance.

Matthew Paluch Guest Author

Matthew Paluch was awarded a place at The Royal Ballet School in 1990 where he graduated in 1997. His first four years as a professional dancer were spent working with London City Ballet, Scottish Ballet, K-Ballet and English National Ballet, becoming a full-time member of ENB until leaving in 2006.

Matthew graduated from the Royal Academy of Dance, Professional Dancers’ Teaching Diploma in 2007, and was formerly on faculty at The Royal Ballet School. He completed his Masters in Ballet Studies at Roehampton University in 2011, has been a freelance writer since 2010 and currently works in the Law Sector.

He is a member of the Dance Section of The Critics’ Circle.