Eve Yu, Artistic Director

One day, I happened to overhear my ballet friends in Taiwan discussing, “Adult ballet in Hong Kong has developed quite maturely, starting earlier than in Taiwan.” I couldn’t help but smile quietly—was it a misunderstanding?

Sixteen years ago, I was in Hong Kong for my studies. I looked for adult ballet open classes during my free time, only to find that none were available. By another stroke of serendipity, I began my classes, welcoming my first group of students, and founded Gravity Ballet Hong Kong Adult Ballet School.

Now, 16 years later, Gravity Ballet has grown to include two locations in Tsim Sha Tsui and Central, where thousands of dance enthusiasts pour their passion into pursuing their ballet dreams. Today, as a mother of two, I focus on teaching and choreography in Hong Kong, subtly passing on my love for dance to all who cherish this art.

Starting from scratch was no easy feat; however, the dedication of adult ballet learners has been my driving force. I admire those who, amidst their busy work schedules or temporarily setting aside family responsibilities, choose to come to the studio and investin in lessons. Their commitment is not driven by obligation or self-interest, but by genuine and pure love for dance.

Many students have told me the studio is their sanctuary, where only dance can bring them peace. Some have said that nothing can keep them from attending class after work; ballet always comes first. Central is a unique hub of driven individuals; during lunch breaks, they rush to class, and by the time we reach Grand Allegro (usually at the end of class), they start putting on their business shirts, ready to rush back to work. Lunch? (Laughs) The office workers in Central rarely have time to eat!

Over the years, I’ve met many ballet enthusiasts, including a young man from Malaysia who plans day trips to Hong Kong every time he has a holiday. He spends the day taking classes from morning until night, then flies back to work late at night or early the next morning. I once asked him if this was cost-effective. He shyly smiled and replied, “I used miles for the ticket!” Well, still admirable.

I’ve received postcards from students around the world, fondly declaring Gravity Studio as their favorite place. Living in this ever-changing city, there have been many heart-wrenching moments when students prepared to emigrate and left the studio in tears.

Can I Dance?

I often receive messages like, “I’m overweight – can I join?” “I’m over 50 – can I sign up?” “I’m a man and I know many studios in Hong Kong don’t accept male students; do you accept men?”

Carmen, my oldest student, is now 76. She got her first pair of ballet shoes at 62 and still maintains a routine of two group classes and two private lessons each week, along with regular strength training. Her remarkable discipline has kept her physical condition comparable to that of a 40-year-old. She often tells me, “I always treat this as my last year of dancing; I have to give it my all because I can’t live without dance!”

Once, someone dressed in women’s clothing showed up and appeared in class. Due to her height and broad shoulders, I immediately recognized she was biologically male. She shyly asked, “As a transgender person, can I take a class here? … um… I don’t want to cause any trouble… if not, it’s okay…” Her long false eyelashes blinked nervously as she avoided eye contact. I smiled and replied, “You’re welcome! I may not represent the entire studio, but I welcome you! In my class, there are no distinctions of gender or age; everyone is welcome.” My tone was firm yet gentle. She began her ballet journey with us and, after some time, she sent me a message thanking me and asking to be called Jenny (a pseudonym). She decided to embrace her identity as a woman in the studio.

To Jenny, and anyone who has ever doubted their ability to dance or chase their dreams, I want you to know that there are no limitations in the world of dance; no one can stop you from doing what you love!

The Pandemic

I cannot forget the challenging two years during the pandemic. The Hong Kong government literally shut us down for two years, while landlords demanded rent diligently! The rental prices in Central Hong Kong are no joke (sigh). With no other choice, we moved classes online, training our teachers to become live-stream hosts. They had to speak to the camera and interpret the silent laughter of the students—quite a skill to unlock!

Dance teachers are like singers: as long as there is one audience member, I will perform with the same passion.

The Performing Arts Stage

I truly believe being a dancer, having a stage, and dancing freely is one of the happiest jobs in the world. If not a dancer, being a grateful supporter of the performing arts is also fulfilling, allowing us to cherish and sustain the beauty of dance.

I love the performing arts stage. Creating compelling works alongside numerous artists is not an easy task, and the stage remains a sacred space for me. Over the years, we have held five large inter-school performances. This year, for the first time, we brought an entire symphony orchestra to the theater. I view my adult ballet students as professional dancers, and they continue to push further the heights that adult ballet can reach through their attitude and achievements.

I often wish to share some of my experiences as a former dancer with everyone in adult ballet. Just for a moment, if you feel like a professional dancer during those few days in the theater, that would mean everything to me.

Perhaps it’s in the moment of warming up on stage, the rush of quick costume changes, the sprint from stage left to stage right, or the thrill of playing another version of yourself under the spotlight. Maybe it’s the Sunday morning you drag your tired body to the theater or the surge of emotions after finishing two performances when the curtain falls. If, just for a moment, you feel like a professional dancer, that’s the experience I want to share with you.

Please hold on to the beauty of that moment. The stage is sacred and its magic is truly captivating.

Producing performances has never been about myself; my mission has always been about providing a platform for audiences and dance lovers – a space where the love for dance can truly shine.

Looking Ahead for Adult Ballet

While adult ballet learners may not have the flexibility or learning ability of children, they possess a passionate heart. I often remind my students that sincerity is what touches and moves people, both on stage and in the dance studio.

This unique and priceless beauty reflects a sense of responsibility to oneself, the courage to overcome difficulties, and the beauty of your dance journey!

(This article is published in the Family Supplement of United Daily News, Taiwan, January 2025 issue.)

To be able to see two versions of Giselle — Akram Khan’s reimagining and the classical one — in such a short period of time feels like a rare kind of happiness.

This season, Hong Kong Ballet presented Giselle. Their productions never disappoint, but what truly set the city on fire was their special guest: the ballet icon, the goddess ballerina in everyone’s heart, Marianela Núñez.

When the early-bird tickets opened at noon in late February, I leisurely turned on my computer at 12:05…only to find the site jammed and 265 people ahead of me in the queue. I got in after 30 minutes and could only secure mid-priced seats. That’s when I realized — this wasn’t just ticketing, it was full-on concert war mode. Fine, I’ll fight!

Then came the official ticket launch in early April. I clicked in at 10:00:00 sharp — still, all the mid-to-high tier seats were gone in seconds. I barely grabbed a seat on the side of the stalls. Xiaohongshu was flooded with talk of ticket buying, selling, and reselling — it felt like ballet lovers from all over China, Singapore, Korea were making their way to Hong Kong for this. That’s the Nela effect!

And yes — our Gravity Ballet classes on May 31 and June 1 were overflowing with dancers. Let’s just call it the side effect of idol worship?

The long-awaited day finally arrived. Nela’s beauty — as always — left us breathless. I didn’t dare clap, blink, or even breathe. I simply watched, fully immersed in her unique artistry. Her movement flowed with emotion — tender, heart-wrenching, fierce in love and pain. Every motion was a release of 100% control and strength, yet impossibly effortless. The grief when she died of heartbreak was so powerful, I believe the whole audience felt it.

I wanted to shake her by the shoulders and yell, “Come on! You’re this gorgeous, this perfect — you deserve better! That man is a liar! He broke your heart and now begs for forgiveness? He doesn’t deserve you!!” (Yes, I was very emotionally invested)

Back to Akram’s Giselle and the classical version — for me, the Akram version delivered a deeper emotional punch. Whether it was Giselle’s dramatic death at the end of Act I, or the male lead’s haunting regret at the end… it stayed with me. And today, I even picked up on more of Akram’s musical adaptations from the original Giselle. It made me smile. To witness two classic interpretations of this masterpiece in such close succession — that’s true joy.

As the curtain fell, all I felt was a deep reluctance to let go. Marianela Núñez smiled quietly, just as she once said: when she plays a role, she falls in love all over again. Tonight, she was Giselle — the girl who died for love. Sweet, with a touch of sorrow. And we in the audience? Even more heartbroken. Months of anticipation…and it was over in a flash. So fast. So hard to say goodbye.

Already looking forward to Hong Kong Ballet’s next masterpiece. Thank you HKB, thank you to all the incredible dancers. To experience an art performance up close like this — my heart is truly full of gratitude.

#MarianelaNúñez

In 2018, English National Ballet brought Akram Khan’s Giselle to the Hong Kong Cultural Centre stage for the first time.

I was absolutely astonished — the music, stage design, choreography, and dancers completely overturned everything I thought I knew about performing arts. Right after the performance, I messaged my friend who played in the live orchestra that night:

“Oh my god — what even was that music?!”

She replied,

“You have to listen to it from the audience’s perspective for it to sound good (the coordination between choreography and music is just that perfect). From the orchestra pit alone… it’s terribly repetitive. We even had to shout and growl — ‘Sht!’ ‘Dmn!’ And the ‘Kalll’ part nearly gave us phlegm attacks”

I asked her for the score, replayed the YouTube video over and over, then bought the DVD. From that point on, Akram Khan’s Giselle became my favorite ballet production — bar none.

In 2019, Gravity Ballet performed Love of My Life, in which we adapted a portion of Giselle. I rewatched it countless times to capture the story of a girl’s deep love, her despair, her grief, and the lasting devotion that followed her into the afterlife.

When preparing for Silent Cycles, a piece within our 2025 production Ember, I returned again to Giselle, particularly for the factory scene. I wanted to recreate that visual sense of oppression and entrapment. That’s how much I love this work — I find myself constantly paying homage to it.

Last year, when I saw that Giselle would be touring in Taiwan, I immediately booked a ticket for the Kaohsiung performance — even though it later came to Taipei too! I figured, why not turn it into a day trip? After all, it would be my first time visiting the Weiwuying.

A few days before the performance, something unexpected happened — the ballet company’s rehearsal pianist fell ill, and through various connections, they reached out to me for help finding a replacement. I was more than happy to assist in any way I could — just being remotely connected to this company made me thrilled!

To be honest, I was a little nervous going in. Would I still be moved by a piece I know so well? Turns out, I had nothing to worry about.

From the moment the curtain lifted and that somber opening music played, I was overwhelmed with emotion. That Giselle, the one that rocked my world seven years ago, was once again right before my eyes. I practically knew every move and effect that was coming — but my emotional response was just as intense as ever.

This time, Giselle was danced by Principal Dancer Fernanda Oliveira. I have to admit, I was a bit less immersed than I was watching Tamara Rojo in the YouTube version. In my mind, Tamara simply is Giselle. Her gestures, her presence, her soul — she embodied the character so deeply, I can’t unsee it.

The dancer portraying Albrecht did a fine job capturing the role’s cowardly, deceptive nature. The real surprise came from Erik Woolhouse as Hilarion. His physicality was stunning, almost disturbingly expressive. I had originally been disappointed that I wouldn’t get to see Kenta Yamamoto (the YouTube version), but Erik’s performance blew me away — technically impeccable and dramatically unforgettable.

Though this performance didn’t have a live orchestra, the energy remained captivating throughout. When Giselle died, her heartbreak echoed against a rotating wall of concrete. I remembered being speechless at this moment seven years ago, and I still felt the same way.

I wasn’t as familiar with Act II, having mostly replayed the first act over the years. Watching it again felt almost like discovering something new. Maybe I’ve grown. Giselle’s final pas de deux with Albrecht, after becoming a ghost, made me cry from start to finish. The passion, sorrow, and intimacy were overwhelming. As the curtain closed, leaving Albrecht behind in regret, it was like a cinematic metaphor for all the things we lose and can never retrieve.

I cried hard, applauded harder. What a privilege it is to experience such a masterpiece — not once, but twice.

This time around, I also realized something: Akram Khan’s choreography isn’t technically complicated. In fact, it’s quite minimalist — yet deeply moving. Looking back at my own works, they suddenly felt like a joke. Once again, I reminded myself: simplicity touches hearts. Trust your instincts. Create from within. Artistic beauty was never about technical virtuosity or visual spectacle.

After the performance, I met with Carmen, a ballet instructor and repetiteur with the company (and the one who asked me to help find a pianist). Overflowing with emotion, I spilled all my thoughts, and she kindly invited me to watch their warm-up class — and even see the performance again the next day! If I weren’t heading back to Taipei in the morning, I absolutely would’ve gone again.

They’ll be performing next week at the National Taichung Theater, wrapping up a three-week Taiwan tour before heading back to London. Since its premiere in 2016, Giselle remains one of the company’s most iconic productions.

Whether you’re a dancer or not, if you ever get one chance in life to watch a single ballet — let it be Akram Khan’s Giselle. Don’t miss this. If you do, you’ll have to chase it all the way to Europe. Go get that ticket!