A global tragedy is unfolding as a world-renowned institution faces accusations of systemic abuse, highlighting the darker side of elite ballet training. The Royal Ballet School in London, a beacon of excellence in the dance world, has been at the center of a harrowing case involving a former student who claimed she developed a severe eating disorder due to body-shaming. Ellen Elphick, who attended the school from 2009 to 2012, alleged that the toxic environment and constant criticism about her body led her to anorexia, derailing her promising career and leaving her with lasting emotional and physical scars. Now, after years of legal battles, the school has agreed to a settlement, marking a pivotal moment in the ongoing struggle to address the mental and physical toll of elite dance training.
Ellen’s story is both deeply personal and alarmingly common, shining a light on the pressures that young dancers often face in pursuit of perfection. At just 16, Ellen began her studies at the Royal Ballet School, joining a program that selects the most talented young dancers to train for careers with the prestigious Royal Ballet company. But her excitement and ambition quickly turned to despair as she faced what she described as relentless body-shaming from teachers. In her first year, Ellen recalled a disturbing incident where a teacher humiliated her in front of her peers, pointing to areas of her body and making cruel remarks about her size. The teacher even suggested she would “cut off” parts of her body if she had a knife, leaving Ellen feeling ashamed and worthless. This was just the beginning of a pattern of behavior that Ellen said pushed her toward disordered eating and self-destructive habits.
As the years went on, Ellen’s struggles intensified. She alleged that during her second year, a teacher praised her for losing weight, even encouraging her classmates to applaud her weight loss. This validation of her shrinking frame only exacerbated her dangerous behaviors, as she turned to coffee, smoking, and purging to control her appetite. By her third year, Ellen said she was at her lowest point, with a teacher circling her buttocks in a photo she intended to send to potential employers and labeling it her “issue.” These experiences, Ellen’s lawyers argued, had a devastating impact on her mental health. A consultant psychiatrist confirmed that Ellen suffered from atypical anorexia during her time at the school and continues to struggle with body dysmorphia to this day.
The settlement reached between Ellen and the Royal Ballet School represents a significant, though incomplete, step toward accountability. While the school has not admitted liability or issued an apology, the agreement acknowledges the harm Ellen endured and provides some measure of closure for her and her family. In a statement, a spokesperson for the school emphasized their commitment to the well-being of their students, saying, “We are pleased that both parties were able to reach a mutually acceptable agreement, and we wish Ellen and her family well for the future.” However, Ellen made it clear that her decision to go public with her story was not just about resolving her own case but about sparking change within the ballet community. “I want to bring awareness,” she said, “so that children can go into dance and not leave it damaged as I am.”
Ellen’s courage in speaking out has resonated far beyond her own experience, highlighting systemic issues within the ballet world that have long been overlooked. Her lawyer, Dino Nocivelli of Leigh Day, called the settlement an “important step” in addressing the widespread abuse and body-shaming that many dancers endure. “It is time that the ballet community now finally accepts the duty of care it owes to its dancers,” Nocivelli said, urging the industry to acknowledge past failings and work toward meaningful change. Ellen’s case has also raised questions about the broader cultural pressures faced by young dancers, who are often pushed to extremes in pursuit of an unattainable ideal of perfection.
As the ballet world grapples with the fallout from Ellen’s case, there is a growing recognition that the pursuit of artistic excellence must never come at the expense of a dancer’s well-being. Ellen’s story is a heartbreaking reminder of the sacrifices young dancers are often asked to make and the lasting consequences of those sacrifices. While the Royal Ballet School has emphasized its commitment to student welfare, the broader ballet community must engage in a difficult but necessary conversation about how to protect its most vulnerable members. Ellen’s bravery in sharing her story offers a chance for the industry to learn from its mistakes and create a more compassionate, supportive environment for future generations of dancers.
