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And We Danced Episode 1 Credits

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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 - 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  • Publications

    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.
  • Remembering Edouard Borovansky and His Company 1939–1959

    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.