DOCSLIB.ORG

And We Danced Episode 1 Credits

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
And We Danced Episode 1 Credits AND WE DANCED WildBear Entertainment, ABC TV and The Australian Ballet acknowledge the Traditional Owners of country throughout Australia and recognise their continuing connection to land, waters and culture. We pay our respects to their Elders past and present. EPISODE ONE INTERVIEWEES Margot Anderson Dimity Azoury Peter F Bahen Adam Bull Ita Buttrose AC OBE Marilyn Jones OBE David McAllister AC Musette Molyneaux Graeme Murphy AO Lisa Pavane Colin Peasley OAM Marilyn Rowe AM OBE Hugh Sheridan Fiona Tonkin OAM Elizabeth Toohey Emma Watkins SPECIAL THANKS TO David McAllister AC David Hallberg Nicolette Fraillon AM Artists of The Australian Ballet past and present Artists of Bangarra Dance Theatre past and present Orchestra Victoria Opera Australia Orchestra Tony Iffland Janine Burdeu The Langham Hotel Melbourne Brett Ludeman, David Ward ARCHIVE SOURCES The Australian Ballet ABC Archives National Film and Sound Archive Getty International Arts Cinesound Movietone 1 National Library of Australia Australian Council for the Arts National Archives of Australia Australian Information Service Australian News and Information Bureau Nine Entertainment News Corp Australia Tourism Victoria Associated Press The Apiary The Australian Labour Party Four Corners FOOTAGE The Australian Ballet Year of Limitless Possibilities, 2020 Brand Film Artists of The Australian Ballet Valerie Tereshchenko, Robyn Hendricks, Dimity Azoury, Callum Linnane, Jake Mangakahia Choreography David McAllister AM Cinematography Brett Ludeman and Ryan Alexander Lloyd Produced by Robyn Fincham and Brett Ludeman Filmed on location at Mundi Mundi Station, via Silverton NSW The Living Desert Sculpture Park, Junction Mine, The Imperial Fine Accommodation, Broken Hill NSW. With thanks to 2019 Under 15s West Broken Hill Football Club Broken Hill Council, NSW Department of Industry - Lands and Water Aurora’s Wedding (1964) Choreography Marius Petipa Additional Choreography Dame Peggy van Praagh Music Pyotr Ilyich Tchaikovsky Scenery Design Warwick Armstrong Costume Design Kristian Fredrikson Lighting Design William Akers Featured Artists Kathleen Gorham and Garth Welch Cinderella (1972) Choreography Sir Frederick Ashton Music Sergei Prokofiev Costume and Scenery Design Kristian Fredrikson Lighting Design William Akers Featured Artists Lucette Aldous, Ray Powell and Sir Robert Helpmann Coppélia (1969) Book by Charles Nuitter and Arthur Saint-Léon Choreography Lev Ivanov and Enrico Cecchetti Reproduced by Dame Peggy van Praagh Music Léo Delibes 2 Set and Costume Design Kenneth Rowell Lighting Design William Akers Featured Artists Barbara Chamber and Sir Robert Helpmann Coppélia (1979), (2000), (2010) Production devised and directed by George Ogilvie Original Choreography by Arthur Saint-Leon Revised by Marius Petipa and Enrico Cecchetti Reproduced and with original choreography by Dame Peggy van Praagh Music Léo Delibes Set and Costume Designs Kristian Fredrikson Lighting Designs Francis Croese *2000 With The State Orchestra of Victoria Conducted by Mark Summerbell Concertmaster Jo Beaumont Featured Artists Anne Jenner and Kelvin Coe (1979) David McAllister (2000) Miwako Kubota and Luke Ingham (2010) Divergence (1994) Choreography Stanton Welch Music Georges Bizet Costume Design Vanessa Leyonhjelm Lighting Design Francis Croese 1994 performance footage shows sets designed by Ben Anderson Don Quixote film (1973) Directed by Rudolf Nureyev and Sir Robert Helpmann Produced by John Hargreaves Choreography Rudolf Nureyev Based on the ballet Don Quixote by Marius Petipa Music Ludwig Minkus With State Orchestra of Victoria Conductor John Lanchbery Cinematography Geoffrey Unsworth Edited by Anthony Buckley Presented by International Arts Featured Artists Rudolf Nureyev, Sir Robert Helpmann, Lucette Aldous, Marilyn Rowe A Little Bit of Don Quixote documentary (1973) Produced and Directed by Kay Roberts Edited by John Hutchards Produced by Artransa Park Studios Restoration and Remastering (1999) For The Australian Broadcast Corporation Head ABC Video Janine Burdeu, ABC Enterprises Producer Cheryl Forrest-Smith, Forrest-Smith Productions 3 Gemini (1973), (2002) Choreography Glen Tetley Music Hans Werner Henze Costume and Scenery Design Nadine Baylis *2002 With Orchestra Victoria Conducted by Mark Summerbell Concertmaster Marcell Marlette Featured Artists Marilyn Rowe and John Meehan (1973) Nicole Rhodes and Matthew Trent (2002) Giselle (1965) Choreography Marius Petipa after Jean Coralli and Jules Perrot Scenario Theophile Gautier and Jules-Henri Vernoy de St Georges Production Dame Peggy van Praagh Music Adolphe Adam Set and Costume Design Kenneth Rowell Lighting Design William Akers Featured Artists Kathleen Geldard and Kelvin Coe Giselle (1986) Choreography Marius Petipa after Jean Coralli Production Maina Gielgud Music Adolphe Adam Set and Costume Design Peter Farmer Lighting Design William Akers Reproduced by Francis Croese Le Corsaire - pas de deux (1966) Choreography Marius Petipa Music Riccardo Drigo Featured Artists Patricia Cox and Karl Welander Onegin (1989), (2012) Choreography John Cranko Reproduced by Anne Woolliams Music Pyotr Ilyich Tchaikovsky Arranged and Orchestrated by Kurt-Heinz Stolze Costume and Scenery Design Jürgen Rose Original Lighting Design William Akers Reproduced by Francis Croese *1989 With The Adelaide Symphony Orchestra Conducted by Peter Brandy Concertmaster Ladislav Jasek Musical Arranger Kurt-Heinz Stolze *2012 With Orchestra Victoria Conducted by Nicolette Fraillon Concertmaster Adam Chalabi 4 Featured Artists Fiona Tonkin and Steven Heathcote (1989) Madeleine Eastoe and Andrew Killian (2012) Raymonda (1965), (1968) Choreography Marius Petipa Revised Choreography Rudolf Nureyev Music Alexander Glazunov Costume Design Nadine Baylis Scenery Design Ralph Koltai Lighting Design William Akers Featured Artists Marilyn Rowe and Kelvin Coe (1965) Marilyn Jones and Garth Welch (1968) Swan Lake (1962) Choreography Marius Petipa and Lev Ivanov Revised by Dame Peggy van Praagh and Ray Powell Music Pyotr Ilyich Tchaikovsky Costume and Scenery Design Anne Fraser Featured Artists Sonia Arova and Eric Bruhn Swan Lake (1977) Devised and Directed by Anne Woolliams Choreography Act II after Lev Ivanov Additional Choreography Anne Woolliams and Ray Powell Music Pyotr IlyichTchaikovsky, arranged by John Lanchbery Costume and Scenery Design Tom Lingwood Lighting Design William Akers Swan Lake (2002), (2006), (2008) Choreography Graeme Murphy Creative Associate Janet Vernon Music Pyotr Ilyich Tchaikovsky Set and Costume Design Kristian Fredrikson Lighting Design Damien Cooper Featured Artists Simone Goldsmith (2002) Madeleine Eastoe (2006) Amber Scott and Adam Bull (2008) Swan Lake (2012) Choreography Stephen Baynes Music Pyotr Ilyich Tchaikovsky Costume and Scenery Design Hugh Colman Assisted by Lexi George Lighting Design Rachel Burke Projection Design and Director Domenico Bartolo Featured Artist Adam Bull 5 The Display (1966) Choreography Sir Robert Helpmann Music Malcolm Williamson Scenery Design Sidney Nolan Costume Design Adele Weiss Lighting Design William Akers With Melbourne Symphony Orchestra Conducted by Robert Rosen Featured Artists Kathleen Gorham, Gath Welch and Bryan Lawrence The Fool On The Hill (1976) Australian Broadcasting Commission in collaboration with The Australian Ballet Choreography Gillian Lynne Costume and Scenery Design Tim Goodchild Music based on themes by The Beatles Orchestral score John Lanchbery, Eric Cook, Neil Thurgate, Peter Davies Played by the Sydney Symphony Orchestra led by Alwyn Elliott Melbourne Symphony Orchestra led by Reginal Larner with the Don Burrows Quintet, Isador Goodman And The Claire Poole Singers Conducted by John Lanchbery Featured Artists Marilyn Jones, Lucette Aldous, Kelvin Coe, Ross Stretton The Lady and the Fool (1962) Choreography John Cranko, reproduced by Ray Powell Music Giuseppe Verdi, arranged by Charles Mackerras Costume Design Richard Beer Lighting Design William Akers Featured Artist Marilyn Jones The Melbourne Cup (1962) Choreography Rex Reid Music arranged by Harold Badger Set and Costume Design Anne Church Lighting Design William Akers Featured Artists Robyn Croft and Karl Welander The Merry Widow (2000) Choreography Ronald Hynd Scenario Sir Robert Helpmann and Ronald Hynd Music Franz Lehár Based on the operetta by Victor Léon and Leo Stein Arranged and Orchestrated by John Lanchbery Set and Costume Design Desmond Heeley Lighting Design Francis Croese Presented by arrangement with Glocken Verlag Ltd Featured Artists Nicole Rhodes and David McAllister 6 The Sleeping Beauty (1973) Devised and Directed by Sir Robert Helpmann Choreography Marius Petipa Reproduced by Dame Peggy van Praagh Music Pyotr Ilyich Tchaikovsky Arranged by John Lanchbery Costume and Scenery Design Kenneth Rowell Lighting Design William Akers The Sleeping Beauty (1984) Choreography Marius Petipa Additional Choreography Maina Gielgud Music Pyotr Ilyich Tchaikovsky Costume and Scenery Design Hugh Colman Lighting Design William Akers Warumuk - in the dark night (2012) The Australian Ballet with Bangarra Dance Theatre Choreography Stephen Page Music David Page* Orchestration Jessica Wells Costume Design Jennifer Irwin Set Design Jacob Nash Lighting Design Padraig O'suilleabhain *Featuring Dhuwa and Yirritja songs and stories from North East Arnhem Land Vocals by Jamie Wanambi, Banula Marika and Janet Guypunguna Munyarryun Featured Artists Ella Havelka and Jake Mangakahia BALLET RUSSES IN AUSTRALIA Choreartium (1939) Choreography
Load more

Recommended publications
  • Study Guide for Teachers and Students
    Melody Mennite in Cinderella. Photo by Amitava Sarkar STUDY GUIDE FOR TEACHERS AND STUDENTS 1 TABLE OF CONTENTS PRE AND POST-PERFORMANCE ACTIVITIES AND INFORMATION Learning Outcomes & TEKS 3 Attending a ballet performance 5 The story of Cinderella 7 The Artists who Created Cinderella: Choreographer 11 The Artists who Created Cinderella: Composer 12 The Artists who Created Cinderella Designer 13 Behind the Scenes: “The Step Family” 14 TEKS ADDRESSED Cinderella: Around the World 15 Compare & Contrast 18 Houston Ballet: Where in the World? 19 Look Ma, No Words! Storytelling in Dance 20 Storytelling Without Words Activity 21 Why Do They Wear That?: Dancers’ Clothing 22 Ballet Basics: Positions of the Feet 23 Ballet Basics: Arm Positions 24 Houston Ballet: 1955 to Today 25 Appendix A: Mood Cards 26 Appendix B: Create Your Own Story 27 Appendix C: Set Design 29 Appendix D: Costume Design 30 Appendix E: Glossary 31 2 LEARNING OUTCOMES Students who attend the performance and utilize the study guide will be able to: • Students can describe how ballets tell stories without words; • Compare & contrast the differences between various Cinderella stories; • Describe at least one dance from Cinderella in words or pictures; • Demonstrate appropriate audience behavior. TEKS ADDRESSED §117.106. MUSIC, ELEMENTARY (5) Historical and cultural relevance. The student examines music in relation to history and cultures. §114.22. LANGUAGES OTHER THAN ENGLISH LEVELS I AND II (4) Comparisons. The student develops insight into the nature of language and culture by comparing the student’s own language §110.25. ENGLISH LANGUAGE ARTS AND READING, READING (9) The student reads to increase knowledge of own culture, the culture of others, and the common elements of cultures and culture to another.
    [Show full text]
  • HIS MAJESTY's THEATRE Ephemera PR14837
    HIS MAJESTY’S THEATRE Ephemera PR14837 To view items in the Ephemera collection, contact the State Library of Western Australia CALL NO. DESCRIPTION PR14837/1 His Majesty’s Theatre 2004 : centenary events. Booklet. 2004 PR14837/2 “The Gondoliers”: Gilbert and Sullivan season. Booklet. 1966 PR14837/3 Espana Viva! A celebration of the year of Spain. 1p. 1992 PR14837/4 West Australian Opera: Carmen. Card. 1992 PR14837/5 West Australian Opera: Mozart the marriage of Figaro. Flyer. July 30, Aug. 1, 3, 6, 8, 10 PR14837/6 West Australian Opera: Don Pasquale. Flyer. 1992 PR14837/7 Bright futures: State Arts Sponsorship Scheme Awards. Fold-out card. 2004 PR14837/8 His Majesty’s Theatre. 4p. Undated PR14837/9 His Majesty’s Theatre Honours… Booklet. 2004 PR14837/10 Citations for recipients of the award Charles Court, His Majesty’s Theatre honours Rolf Harris, His Majesty’s Theatre honours Jill Perryman, His Majesty’s Theatre honours Edgar Metcalfe, His Majesty’s Theatre honours Lucette Aldous, His Majesty’s Theatre honours Gregory Yurisich, His Majesty’s Theatre honours Sir Charles Court. 8p. 2004 PR14837/11 Centenary 2004 His Majesty’s Theatre. 100th birthday ceremony. 4p. 2004 PR14837/12 His Majesty’s Theatre. Community Programmes. 1p. Undated PR14837/13 Lunchtime concerts at the Maj. Fold-out leaflet. Apr-July 2004 PR14837/14 Morning melodies. Fold-out leaflet. Season 1 2004 PR14837/15 Morning melodies. Fold-out leaflet. Season 2 2004 PR14837/16 His Majesty’s Theatre Cavalcade. Flyer. 2004 PR14837/17 Cabaret soiree. Fold-out leaflet. Season 2 2004 PR14837/18 West Australian Opera presents Vincenzo Bellini’s Norma.
    [Show full text]
  • A.I.C.D. Borovansky Syllabus
    A.I.C.D. Borovansky Syllabus The Australian Institute of Classical Dance Inc. ACN: 056 462 036 (NSW) Address: PO Box 193, WINSTON HILLS, NSW. 2153 Email: [email protected] Guidelines for Website: www.ballet.org.au Associate Diploma Applicants Table of Contents Suggested Reading BALLET HISTORY History of the A.I.C.D. 3 Andrews, Shirley, Take Your Partners - Traditional Dancing in Australia. Griffin Press Ltd, Netley, South Australia 1979. The Borovansky Syllabus 4 Bellew, Peter, Pioneering Ballet in Australia. Rationale of the Syllabus 5 Craftsman Bookshop, Sydney, 1945 ed. Brown, Ian F. The Australian Ballet. Aims of the Syllabus 6 Longmans of Australia Pty Ltd 1967. Teaching the Syllabus 7 Challingsworth, Nell, Australia's Dancing Heritage - Stories of the19th Century. Go Dancing Publications, Ringwood, Victoria, 1994. Requirements for Associate Diploma 8 Challingsworth, Nell, Dancing down the Years. The Romantic Century in Australia. Privileges of Associate Diploma 9 The Craftsman Press, Melbourne 1978. Attaining the Associate Diploma Pask, Edward H., Enter the Colonies Dancing. A History of Dance in Australia 1835-1940. Oxford University Press, Melbourne 1979. Through Assessment 10 Pask, Edward H., Ballet in Australia. The Second Act 1940-1980. Through Recognition of Prior Learning (RPL) 16 Oxford University Press, Melbourne 1982. Salter, Frank. Borovansky The Man Who Made Australian Ballet. Wildcat Press, Sydney1980. Suggested Reading 18 SAFE DANCE PRACTICE Arnheim, Daniel D. Dance Injuries, Their Prevention and Care. Third edition, Princeton Book Company, Princeton New Jersey 1991. Brinson, Peter, and Dick, Fiona, Fit to Dance? “The mediocre teacher tells. The good The Report of the National Inquiry into Dancers' Health and Injury.
    [Show full text]
  • Nutcracker – the Story of Clara the AUSTRALIAN BALLET EDUCATION
    TEACHER’S RESOURCE KIT SECONDARY SCHOOLS Nutcracker – The Story of Clara THE AUSTRALIAN BALLET EDUCATION Contents 05/ Synopsis 08/ The Creatives 10/ Spotlight on Nutcracker – The Story of Clara with Artistic Director David McAllister 11/ The Music 12/ Invitation to the Dance: Graeme Murphy on the origins of his Nutcracker 15/ Curricular activities TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 2 THE AUSTRALIAN BALLET EDUCATION Leanne Stojmenov. Photography Justin Ridler. Nutcracker – The Story of Clara Choreography Graeme Murphy Creative associate Janet Vernon Concept Graeme Murphy and Kristian Fredrikson Music Piotr Ilyich Tchaikovsky Set and costume design Kristian Fredrikson Original lighting design John Drummond Montgomery recreated by Francis Croese Film collage Philippe Charluet TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 3 THE AUSTRALIAN BALLET EDUCATION Leanne Stojmenov and Kevin Jackson. Photography Justin Ridler TEACHER RESOURCE KIT | NUTCRACKER - STORY OF CLARA | 4 THE AUSTRALIAN BALLET EDUCATION Nutcracker – The Story of Clara Amelia Soh, Natasha Kusen and artists of the Australian Ballet. Photography Daniel Boud SYNOPSIS ACT I During a sweltering Christmas Eve in Melbourne in the late During a troubled sleep Clara descends into hallucination. 1950s, the ageing Clara, once a famous Russian ballerina, She dreams that she encounters herself as a child and once struggles home through the scorching heat with her meagre again is terrified by shadows in the night. Then, as the clock shopping. All she can afford is a few provisions and a tiny strikes midnight on this final Christmas, she witnesses the death Christmas tree, which she places on a table. The music of of the man she loved and is caught in the destructive chaos of Tchaikovsky’s The Nutcracker from her radio fills her with the Russian Revolution.
    [Show full text]
  • 1X 86Min Feature Documentary Press Kit
    ELLA 1x 86min Feature Documentary Press Kit INDEX ! CONTACT DETAILS AND TECHNICAL INFORMATION………………………… P3 ! PROGRAM DESCRIPTIONS.…………………………………..…………………… P4-6 ! KEY CAST BIOGRAPHIES………………………………………..………………… P7-9 ! DIRECTOR’S STATEMENT………………………………………..………………… P10 ! PRODUCER’S STATEMENT………………………………………..………………. P11 ! KEY CREATIVES CREDITS………………………………..………………………… P12 ! DIRECTOR AND PRODUCER BIOGRAPHIES……………………………………. P13 ! PRODUCTION CREDITS…………….……………………..……………………….. P14-22 2 CONTACT DETAILS AND TECHNICAL INFORMATION Production Company WildBear Entertainment Pty Ltd Address PO Box 6160, Woolloongabba, QLD 4102 AUSTRALIA Phone: +61 (0)7 3891 7779 Email [email protected] Distributors and Sales Agents Ronin Films Address: Unit 8/29 Buckland Street, Mitchell ACT 2911 AUSTRALIA Phone: + 61 (0)2 6248 0851 Web: http://www.roninfilms.com.au Technical Information Production Format: 2K DCI Scope Frame Rate: 24fps Release Format: DCP Sound Configuration: 5.1 Audio and Stereo Mix Duration: 86’ Production Format: 2K DCI Scope Frame Rate: 25fps Release Formats: ProResQT Sound Configuration: 5.1 Audio and Stereo Mix Duration: 83’ Date of Production: 2015 Release Date: 2016 ISAN: ISAN 0000-0004-34BF-0000-L-0000-0000-B 3 PROGRAM DESCRIPTIONS Logline: An intimate and inspirational journey of the first Indigenous dancer to be invited into The Australian Ballet in its 50 year history Short Synopsis: In October 2012, Ella Havelka became the first Indigenous dancer to be invited into The Australian Ballet in its 50 year history. It was an announcement that made news headlines nationwide. A descendant of the Wiradjuri people, we follow Ella’s inspirational journey from the regional town of Dubbo and onto the world stage of The Australian Ballet. Featuring intimate interviews, dynamic dance sequences, and a stunning array of archival material, this moving documentary follows Ella as she explores her cultural identity and gives us a rare glimpse into life as an elite ballet dancer within the largest company in the southern hemisphere.
    [Show full text]
  • The Sleeping Beauty Untouchable Swan Lake In
    THE ROYAL BALLET Director KEVIN O’HARE CBE Founder DAME NINETTE DE VALOIS OM CH DBE Founder Choreographer SIR FREDERICK ASHTON OM CH CBE Founder Music Director CONSTANT LAMBERT Prima Ballerina Assoluta DAME MARGOT FONTEYN DBE THE ROYAL BALLET: BACK ON STAGE Conductor JONATHAN LO ELITE SYNCOPATIONS Piano Conductor ROBERT CLARK ORCHESTRA OF THE ROYAL OPERA HOUSE Concert Master VASKO VASSILEV Introduced by ANITA RANI FRIDAY 9 OCTOBER 2020 This performance is dedicated to the late Ian Taylor, former Chair of the Board of Trustees, in grateful recognition of his exceptional service and philanthropy. Generous philanthropic support from AUD JEBSEN THE SLEEPING BEAUTY OVERTURE Music PYOTR IL’YICH TCHAIKOVSKY ORCHESTRA OF THE ROYAL OPERA HOUSE UNTOUCHABLE EXCERPT Choreography HOFESH SHECHTER Music HOFESH SHECHTER and NELL CATCHPOLE Dancers LUCA ACRI, MICA BRADBURY, ANNETTE BUVOLI, HARRY CHURCHES, ASHLEY DEAN, LEO DIXON, TÉO DUBREUIL, BENJAMIN ELLA, ISABELLA GASPARINI, HANNAH GRENNELL, JAMES HAY, JOSHUA JUNKER, PAUL KAY, ISABEL LUBACH, KRISTEN MCNALLY, AIDEN O’BRIEN, ROMANY PAJDAK, CALVIN RICHARDSON, FRANCISCO SERRANO and DAVID YUDES SWAN LAKE ACT II PAS DE DEUX Choreography LEV IVANOV Music PYOTR IL’YICH TCHAIKOVSKY Costume designer JOHN MACFARLANE ODETTE AKANE TAKADA PRINCE SIEGFRIED FEDERICO BONELLI IN OUR WISHES Choreography CATHY MARSTON Music SERGEY RACHMANINOFF Costume designer ROKSANDA Dancers FUMI KANEKO and REECE CLARKE Solo piano KATE SHIPWAY JEWELS ‘DIAMONDS’ PAS DE DEUX Choreography GEORGE BALANCHINE Music PYOTR IL’YICH TCHAIKOVSKY
    [Show full text]
  • Marie Collier: a Life
    Marie Collier: a life Kim Kemmis A thesis submitted in fulfilment of the requirements for the degree of Doctor of Philosophy Department of History The University of Sydney 2018 Figure 1. Publicity photo: the housewife diva, 3 July 1965 (Alamy) i Abstract The Australian soprano Marie Collier (1927-1971) is generally remembered for two things: for her performance of the title role in Puccini’s Tosca, especially when she replaced the controversial singer Maria Callas at late notice in 1965; and her tragic death in a fall from a window at the age of forty-four. The focus on Tosca, and the mythology that has grown around the manner of her death, have obscured Collier’s considerable achievements. She sang traditional repertoire with great success in the major opera houses of Europe, North and South America and Australia, and became celebrated for her pioneering performances of twentieth-century works now regularly performed alongside the traditional canon. Collier’s experiences reveal much about post-World War II Australian identity and cultural values, about the ways in which the making of opera changed throughout the world in the 1950s and 1960s, and how women negotiated their changing status and prospects through that period. She exercised her profession in an era when the opera industry became globalised, creating and controlling an image of herself as the ‘housewife-diva’, maintaining her identity as an Australian artist on the international scene, and developing a successful career at the highest level of her artform while creating a fulfilling home life. This study considers the circumstances and mythology of Marie Collier’s death, but more importantly shows her as a woman of the mid-twentieth century navigating the professional and personal spheres to achieve her vision of a life that included art, work and family.
    [Show full text]
  • Documenting Australian Dance Walter Stringer's Dance Photography
    Documenting Australian Dance Walter Stringer's Dance Photography In the second of a series of articles looking at recent additions to the National Library's dance holdings as part of the Keep Dancing! project, Michelle Potter delves into the W.E Stringer Collection and discovers a man with a passion for dance alter Stringer, pioneer Australian dance W photographer, still remembers the first professional dance performance he ever saw. It was a triple bill by Diaghilev's Ballets Russes company. He saw it in London at the Coliseum Theatre and on the program was Michel Fokine's exotic and glamorous Scheherazade. The year was about 1919 and he was just a young boy, but the memory of that performancehaunts him to this day. He still thinks of it as the most memorable production he has everseen. Stringer, born in 1907 in a suburb of Dublin, Ireland, did not take his first dance photographs until he migrated to Australia with his family when he was 16. His parents set up was allowed backstage during Walter Stringer (b. 1907) house in Melbourne and Stringer's performances and often also shot Graeme Murphy in Daphnis and Chloe first photographs were taken secretly from the auditorium during dress cibachrome photograph; 25.3 x 20.1 cm (P554/SD/22) from the stalls in a Melbourne theatre rehearsals. W.F. Stringer Collection in 1940 during performances Stringer's output as a photographer, From the Pictorial Collection by Colonel de Basil's Ballets now housed in the National Library Russes company. They marked the as the W.F.
    [Show full text]
  • Royal Opera House Performance Review 2006/07
    royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 1 Royal Opera House Performance Review 2006/07 The Royal Ballet - The Royal Opera royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 2 Contents 01 TH E ROYA L BA L L E T PE R F O R M A N C E S 02 TH E ROYA L OP E R A PE R F O R M A N C E S royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 3 3 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 01 TH E ROYA L BA L L E T PE R F O R M A N C E S royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 4 4 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 GI S E L L E NU M B E R O F PE R F O R M A N C E S 6 (15 matinee and evening 19, 20, 28, 29 April) AV E R A G E AT T E N D A N C E 91% CO M P O S E R Adolphe Adam, revised by Joseph Horovitz CH O R E O G R A P H E R Marius Petipa after Jean Coralli and Jules Perrot SC E N A R I O Théophile Gautier after Heinrich Meine PRO D U C T I O N Peter Wright DE S I G N S John Macfarlane OR I G I N A L LI G H T I N G Jennifer Tipton, re-created by Clare O’Donoghue STAG I N G Christopher Carr CO N D U C T O R Boris Gruzin PR I N C I PA L C A S T I N G Giselle – Leanne Benjamin (2) / Darcey Bussell (2) / Jaimie Tapper (2) Count Albrecht – Edward Watson (2) / Roberto Bolle (2) / Federico Bonelli (2) Hilarion – Bennet Gartside (2) / Thiago Soares (2) / Gary Avis (2) / Myrtha – Marianela Nuñez (1) / Lauren Cuthbertson (3) (1- replacing Zenaida Yanowsky 15/04/06) / Zenaida Yanowsky (1) / Vanessa Palmer (1) royal_ballet_royal_opera.qxd 18/9/07 14:15 Page 5 5 TH E ROYA L BA L L E T PE R F O R M A N C E S 2 0 0 6 / 2 0 0 7 LA FI L L E MA L GA R D E E NU M B E R O F PE R F O R M A N C E S 10 (21, 25, 26 April, 1, 2, 4, 5, 12, 13, 20 May 2006) AV E R A G E AT T E N D A N C E 86% CH O R E O G R A P H Y Frederick Ashton MU S I C Ferdinand Hérold, freely adapted and arranged by John Lanchbery from the 1828 version SC E N A R I O Jean Dauberval DE S I G N S Osbert Lancaster LI G H T I N G John B.
    [Show full text]
  • Men's Glee Repertoire (2002-2021)
    MEN'S GLEE REPERTOIRE (2002-2021) Ain-a That Good News - William Dawson All Ye Saints Be Joyful - Katherine Davis Alleluia - Ralph Manuel Ave Maria - Franz Biebl Ave Maria - Jacob Arcadet Ave Maria - Joan Szymko Ave Maris Stella - arr. Dianne Loomer Beati Mortui - Fexlix Mendelssohn Behold the Lord High Executioner (from The Mikado )- Gilbert and Sullivan Blades of Grass and Pure White Stones -Orin Hatch, Lowell Alexander, Phil Nash/ arr. Keith Christopher Blagoslovi, dushé moyá Ghospoda - Mikhail Mikhailovich Ippolitov-Ivanov Blow Ye Trumpet - Kirke Mechem Bright Morning Stars - Shawn Kirchner Briviba – Ēriks Ešenvalds Brothers Sing On - arr. Howard McKinney Brothers Sing On - Edward Grieg Caledonian Air - arr. James Mullholland Come Sing to Me of Heaven - arr. Aaron McDermid Cornerstone – Shawn Kirchner Coronation Scene (from Boris Goudonov ) - Modest Petrovich Moussorgsky Creator Alme Siderum - Richard Burchard Daemon Irrepit Callidu- György Orbain Der Herr Segne Euch (from Wedding Cantata ) - J. S. Bach Dereva ni Mungu – Jake Runestad Dies Irae - Z. Randall Stroope Dies Irae - Ryan Main Do You Hear the Wind? - Leland B. Sateren Do You Hear What I Hear? - arr. Harry Simeone Down in the Valley - George Mead Duh Tvoy blagi - Pavel Chesnokov Entrance and March of the Peers (from Iolanthe)- Gilbert and Sullivan Five Hebrew Love Songs - Eric Whitacre For Unto Us a Child Is Born (from Messiah) - George Frideric Handel Gaudete - Michael Endlehart Git on Boa'd - arr. Damon H. Dandridge Glory Manger - arr. Jon Washburn Go Down Moses - arr. Moses Hogan God Who Gave Us Life (from Testament of Freedom) - Randall Thompson Hakuna Mungu - Kenyan Folk Song- arr. William McKee Hark! I Hear the Harp Eternal - Craig Carnahan He’s Got the Whole World in His Hands - arr.
    [Show full text]
  • Publications
    Michelle Potter: Publications Michelle Potter: Publications Books and articles (peer reviewed works are marked with an asterisk *) ‘Robert Helpmann: Behind the scenes with the Australian Ballet, 1963–1965.’ Dance Research (Edinburgh), 34:1 (Summer 2016), forthcoming* ‘Elektra: Helpmann uninhibited.’ In Richard Cave and Anna Meadmore (eds),The many faces of Robert Helpmann (Alton: Dance Books, 2016), forthcoming Dame Maggie Scott: A Life in Dance (Melbourne: Text Publishing, 2014), 368 pp, colour and b & w illustrations, ISBN 9781922182388 (also published as a e-book ISBN 9781925095364) Meryl Tankard: an original voice (Canberra: Dance writing and research, 2012), 210 pp, unillustrated, ISBN 9780646591445 ‘Merce Cunningham’, ‘Rudolf Nureyev’. America’s Irreplaceable Dance Treasures (Washington, DC: Dance Heritage Coalition, 2012)* http://www.danceheritage.org/cunningham.html; http://www.danceheritage.org/nureyev.html ‘The Dandré-Levitoff Russian Ballet 1934–1935: Australia and beyond.’ Dance Research (Edinburgh), 29:1 (Summer 2011), pp. 61–96* ‘People, patronage and promotion: the Ballets Russes tours to Australia, 1936–1940.’ Ballets Russes: the art of costume (Canberra: National Gallery of Australia, 2010), pp. 182–193* ‘Tributes: Impressions—Irina Baronova; The fire and the rose—Valrene Tweedie.’ Brolga (Canberra), 29 (December 2008), pp. 6–16 ‘Archive bündeln: Das Beispiel Australien.’ trans. Franz Anton Cramer. Tanz und ArchivePerspectiven für ein kulturelles Erbe, ed. Madeline Ritter, series Jahresmitteilungen von Tanzplan Deutschland (Berlin: Tanzplan Deutschland, 2008), pp. 50–53* ‘Arnold Haskell in Australia: did connoisseurship or politics determine his role?’ Dance Research (Edinburgh), 24:1(Summer 2006), pp. 37–53* ‘Chapter 7: In the air: extracts from an interview with Chrissie Parrott.’ Thinking in Four Dimensions: Creativity and Cognition in Contemporary Dance, eds.
    [Show full text]
  • Remembering Edouard Borovansky and His Company 1939–1959
    REMEMBERING EDOUARD BOROVANSKY AND HIS COMPANY 1939–1959 Marie Ada Couper Submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy 2018 School of Culture and Communication The University of Melbourne 1 ABSTRACT This project sets out to establish that Edouard Borovansky, an ex-Ballets Russes danseur/ teacher/choreographer/producer, was ‘the father of Australian ballet’. With the backing of J. C. Williamson’s Theatres Limited, he created and maintained a professional ballet company which performed in commercial theatre for almost twenty years. This was a business arrangement, and he received no revenue from either government or private sources. The longevity of the Borovansky Australian Ballet company, under the direction of one person, was a remarkable achievement that has never been officially recognised. The principal intention of this undertaking is to define Borovansky’s proper place in the theatrical history of Australia. Although technically not the first Australian professional ballet company, the Borovansky Australian Ballet outlasted all its rivals until its transformation into the Australian Ballet in the early 1960s, with Borovansky remaining the sole person in charge until his death in 1959. In Australian theatre the 1930s was dominated by variety shows and musical comedies, which had replaced the pantomimes of the 19th century although the annual Christmas pantomime remained on the calendar for many years. Cinemas (referred to as ‘picture theatres’) had all but replaced live theatre as mass entertainment. The extremely rare event of a ballet performance was considered an exotic art reserved for the upper classes. ‘Culture’ was a word dismissed by many Australians as undefinable and generally unattainable because of our colonial heritage, which had long been the focus of English attitudes.
    [Show full text]