In Conversation with Joshua Ostermann

Foundation Relations Coordinator, Sophie Kerr had the absolute delight of interviewing one of our incredibly talented Company Artists, Joshua Ostermann, to gain some insight into our thrilling Triple Bill. An Academy and Jette Parker Alumni, Joshua shared everything from behind-the-scenes stories to on-stage magic, offering a unique glimpse into the artistry and energy that bring these works to life!

Jack Lister was in the Netherlands for the premier of Gemini. What was it like bringing the work to the stage of QPAC without his presence in-person?

From a dancer’s perspective, Jack always has a clear vision, so he’d put all the pieces together for us to smoothly transition to the theatre. This is also thanks to the lighting designer Alex Berlage, costume designer Zoe Griffiths, and Music designer Louis Fere-Harvey, who all deeply understood Jacks vision. They knew exactly what Jack was aiming for and together we were able to bring the elements and work to life.

What was the rehearsal process like for Natalie Wiers 4Seasons?

Working with Natalie Weir on 4Seasons, as well as many other of her works, has always been a pleasure. In this piece, I’ve had the privilege of performing across two of the four seasons, Spring and Winter. This experience has been incredibly insightful with Natalie expertly highlighting the contrast in emotions and movement between the two.

What do you enjoy most about dancing a Triple Bill?

Many elements contribute to the enjoyment of performing the Triple Bill, but the music for this season is a huge highlight for me. From Louis’ reimagined score of Dvořák’s 9th Symphony to the powerful scores by Vivaldi and Rachmaninov, it doesn’t get much more magnificent and inspiring than that!

Can you describe a moment during rehearsals that was particularly challenging or rewarding?

Working through each of the three pieces has been a rewarding challenge-especially on days when we rehearse all of them, going from bare feet, moving in and out of the floor, into intense ballet technique. The true reward, however, is the continuous aim to be versatile, well-rounded artists which has been a deeply fulfilling part of this process, and one I’m incredibly grateful for.