For generations, the ballet stage has presented a vision of seamless grace, a world of ethereal beauty crafted through rigorous discipline. Yet, the backstage realm, hidden from the audience’s gaze, has always held a compelling allure. Whispers and rumours have circulated about the intense dedication, the quiet anxieties, and the fleeting moments of camaraderie that define a dancer’s life offstage. From Degas’s intimate sketches of ballerinas in their dressing rooms to the dramatic portrayals in cinema, the desire to glimpse behind the curtain has remained a constant. This world, where the art is forged, has historically been a space of private ritual and unspoken stories. Now, Drew Hedditch, a soloist with The Australian Ballet, offers a unique perspective through the lens of his 35mm film, capturing the unguarded moments that reveal the authentic human experience behind the ballet’s polished facade.
Dukes Café on Flinders Lane in Melbourne buzzed with Saturday morning energy. This lively atmosphere contrasted sharply with the focused calm one might expect from a dancer preparing for an opening night. Yet, Drew Hedditch, readying himself to take the stage in the Australian Ballet’s "Nijinsky,” navigated the chaos with an easygoing charm, finding us a table amidst the bustle. It’s this blend of groundedness and passion that defines Hedditch.
“It all started with Bene,” Hedditch recalls, referring to Principal Artist Benedicte Bemet. “It was her final ‘Swan Lake,’ and she asked me to take some photos of her during the interval, the transition from Odile to Odette.” The resulting images, captured on black and white film, resonated deeply, revealing the raw beauty of a fleeting moment. “We were both thrilled,” he says, “and I realised how beautiful these memories and moments are.”
This spark ignited a personal project, a desire to document the life of The Australian Ballet behind the scenes, offering “the access you get without buying a ticket.” Hedditch’s photography provides a rare glimpse into an historically veiled aspect of ballet, one that remains unseen from the auditorium. His approach is one of quiet observation, capturing the candid moments that reveal the essence of a dancer’s experience. “No two performances are ever the same,” he explains, “and the dancers and their personal routines vary immensely. I never really know what I’m going to capture and often my photos are the result of just being there at the right moment.”
His photographs are not about capturing the perfect ballet pose, but rather the human element. “I’m drawn to the humanity of it all and want to capture and share the more raw aspects of what we do through my photos,” he says. “More often than not we are seen on stage playing a character and performing, but in the dressing room, in the wings, we become ourselves.”
Hedditch’s work offers a unique glimpse into the backstage world, a world easily described as chaotic yet intimate. He prefers to let his images speak for themselves, inviting viewers to interpret the stories they tell. “I don’t want to spoon feed (the viewer) with detailed descriptions of my photos, and not dissimilar to a performance, I want the audience to make their own interpretation of the story,” he states. “In saying that though, I want my photographs to be sharing who we are as people and the commitment to the art form that we make as artists.” He is providing a deeper understanding, a look into the dedication, and humanity, that a purchased ticket cannot provide.
Photography, like ballet, relies heavily on timing, rhythm, and emotion. I ask Drew if he sees similarities between preparing for a performance and preparing to photograph, “A little bit, but a lot of the time I’m doing both!” he laughs. “If I’m planning on capturing someone in preparation for their show, I often have to make sure that my own preparation for the performance is done well in advance so that I can capture them and not disrupt their routine.”
His understanding of the dancer’s experience shapes his photographic style. “Capturing photos in such private spaces, which are sacred and full of pre and post performance rituals, demands a deep level of respect,” he explains. “I would hate to disrupt their preparation for their performance or get in the way of their process. It comes down to treating people how you want to be treated, and this understanding informs my approach.”
The response from his colleagues has been overwhelmingly positive. “A lot of my colleagues are incredibly thankful for the memories captured and they’ll often say to me that they didn’t even know I took certain photos, it is such a gift to be able to share this with them,” he says. One particular moment stands out: “I was in a dressing room taking photos when a dresser entered, once they left my colleague said to me ‘it’s funny, I’m more comfortable with you in here taking photos than I am with someone who dresses me everyday’ to this I replied ‘That’s exactly why I’m doing this’.”
Hedditch’s choice of black and white film is deliberate, adding a timeless quality to his images. “Black and White film has long been my favourite too as I think it allows people to use their imagination to colour the image with their thoughts,” he explains. His camera, a Minolta X-700, has become a trusted companion, surviving a few near-misses during his travels, being left on the back of a chair in Rome, for example. It seems that this camera is destined to be with Drew.
Looking ahead, Hedditch envisions expanding his photographic work. “For now the focus is on sharing who we are and our lives as dancers of The Australian Ballet, and I’m hoping to be able to publish a collection of these photographs in a book.” He also expresses interest in documenting the broader arts community, capturing the stories of those who work behind the scenes. “It takes a small army of people to get a production on stage!” he notes. In a world where dancers have a limited number of years on the stage, though it seems evident that Drew has much ahead of him as a dancer, it is inspiring to see a complementary career developing simultaneously, especially with the support of The Australian Ballet. Reviews have made mention of Hedditch’s exuberant stage presence, a quality that translates to his photography.
As The Australian Ballet’s Philanthropy Ambassador for 2024-2025 and an ambassador for Ballet Without Borders, Hedditch will undoubtedly bring his unique perspective to his role, bridging the gap between the stage and the audience. His photography, like his dancing, is a testament to his passion, a desire to capture and share the beauty and humanity of ballet—to give us that deeper understanding, beyond where the ticket can take us.
Olivia Weeks
You can follow Drew on Instagram, and purchase his prints here.