THE AUSTRALIAN BALLET THE MERRY WIDOW 1 2 SWAN LAKE 2 THE AUSTRALIAN BALLET 2018 SEASON 28 APRIL – 19 MAY | SYDNEY OPERA HOUSE 25 – 30 MAY | CANBERRA THEATRE CENTRE 7 – 16 JUNE | ARTS CENTRE MELBOURNE Cover: Adam Bull and Amy Harris. Above: Amy Harris. Photography Justin Ridler Government Production Lead Principal Partners Partner Partners Partner Kirsty Martin with artists of The Australian Ballet. Photography Jeff Busby 4 THE AUSTRALIAN BALLET 2018 SEASON NOTE FROM THE ARTISTIC DIRECTOR On behalf of all of us at The Australian Ballet, I would like to acknowledge the traditional custodians of the land on which we dance; to recognise their living connection with this place; and to pay our respects to their Elders past and present. In each decade of The Australian Ballet’s 56-year history, there have been productions that have defined our company. In the 1970s, that work was the extravagantly romantic spectacle that is The Merry Widow. It was the first original full-length ballet created for The Australian Ballet, and it was a triumphant success from its very first performance in 1975. Conceived by Sir Robert Helpmann during his tenure as artistic director and choreographed by the esteemed Englishman Ronald Hynd, this work was to become the company’s calling card on tours around the globe. John Lanchbery’s adaptation of the Franz Lehár score made the movements sing, and Desmond Heeley’s design was an alluring Art Nouveau fantasy. It was a ballet that truly glowed, thanks to the combined genius of its creative collaborators, and one that continues to sparkle today. This season we especially acknowledge designer Desmond Heeley, whose journey came to an end in 2016 after a lifetime of creativity on the world stage. It is a delight to welcome back Colin Peasley, who is in his 43rd year as Baron Zeta, and is our link to the ballet’s premiere. He continues to light up the stage with his unique talent. Alongside Colin will be Franco Leo as his trusty secretary Njegus. We also welcome former Principal Artist Kirsty Martin, returning to stages in Sydney and Melbourne as Hanna Glawari, the role she danced in her farewell performance. It has been wonderful to have the original Hanna, Marilyn Rowe, sharing her knowledge of this important work as we bring this ballet back for our all-‘Australian Made’ season. Mark Kay, choreologist and repetiteur, has taught the ballet from the Benesh notation score, ensuring it remains true to the original production. We also are looking forward to having Maestro Paul Murphy from Birmingham Royal Ballet joining Nicolette Fraillon and Simon Thew in Sydney to conduct his first ‘all-dancing’Widow . I hope that all of you who, like me, have grown up with this ballet, rediscover special memories of seeing The Merry Widow. For those of you who are falling under her spell for the first time, may it be a night to remember and inspire you to waltz back to the ballet many times in the future. David McAllister AM THE AUSTRALIAN BALLET THE MERRY WIDOW 5 NOTE FROM THE EXECUTIVE DIRECTOR The Australian Ballet is delighted to bring you our glamorous, romantic ballet The Merry Widow. While we know that our audiences enjoy our new productions each year, we are also committed to celebrating our historically significant works. In 2018, a season in which we present ballets created especially for our company, The Merry Widow takes pride of place. It is a tribute to all who played such an important part in establishing The Australian Ballet as a world-class company. The story of The Merry Widow is a real trip back into history and a Who’s Who of The Australian Ballet. It premiered on 13 November 1975 at the Palais Theatre in Melbourne, with Marilyn Rowe as Hanna, John Meehan as Danilo, Lucette Aldous as Valencienne, Kelvin Coe as Camille, Colin Peasley as Baron Zeta and Ray Powell as Njegus. In 1976, Dame Margot Fonteyn performed the role of Hanna as a guest artist with The Australian Ballet and continued performing it, alternating with Marilyn Rowe, when the company toured the production to England and the United States. Our Widow has also become very popular with international companies and has been performed by the National Ballet of Canada, the Royal Danish Ballet, American Ballet Theatre, Houston Ballet, the Vienna State Ballet and Pacific Northwest Ballet. It is a privilege for the dancers of The Australian Ballet to perform this great favourite for you. As always, we are extremely grateful to our partners, whose support makes it possible for us to develop new talent, showcase our artists and creative collaborators, and perform around Australia and internationally. Our wonderful Principal Partner Telstra has supported the company for more than 30 years and is a part of our family in every sense. We also thank our Lead Partners Aqualand and Qantas for their support of and passion for the company. Our Production Partner for The Merry Widow is Bloch, with whom we have enjoyed a wonderful long-term partnership. Thanks also to our Media Partners Vogue Australia and News Corp Australia for their invaluable support. Special thanks to The Margaret Ellen Pidgeon Fund, whose generosity allowed us to restore this beloved production to the splendour you see on stage. The Australian Ballet is most fortunate to have a very large family of generous patrons and donors. To each and every one of you, thank you for your incredible passion for your national ballet company and our talented dancers. You inspire us all. We hope that you enjoy tonight’s beautiful production of The Merry Widow. Libby Christie 6 THE AUSTRALIAN BALLET 2018 SEASON Lana Jones with artists of The Australian Ballet. Photography Jeff Busby THE AUSTRALIAN BALLET THE MERRY WIDOW 7 These seasons of The Merry Widow are dedicated to the memory of Desmond Heeley (1931 – 2016). He was a world-renowned theatre designer, and his ebullient, elegant sets and costumes for The Merry Widow are an integral part of the ballet's magic. Design for Hanna Glawari's Act III costume by Desmond Heeley 8 THE AUSTRALIAN BALLET 2018 SEASON THE MERRY WIDOW THE MERRY WIDOW Synopsis ACT II Scenario The action takes place in Paris in the year 1905. Scene: The garden of Hanna’s villa Robert Helpmann Hanna is holding a Pontevedrian soiree at her Choreography villa and the guests celebrate with their national Ronald Hynd ACT I dances. As they all go into supper, Zeta, Danilo, Scene 1: An ante-room in the Pontevedrian and Njegus agree to meet at eight o’clock in Guest repetiteurs the pavilion for a small diplomatic discussion on Mark Kay Embassy Danilo’s progress with Hanna. All is going well and Marilyn Rowe Minor officials and the French Attaché (Camille they are growing closer to each other, despite a de Rosillon) are finishing work prior to the ball Music slight mutual distrust. Franz Lehár to be given in the Embassy that evening. The Ambassador’s secretary (Njegus) enters with a Valencienne and Camille sneak into the Based on the operetta by fresh heap of bills and all lament their country’s deserted garden and as she finally succumbs to Victor Léon and Leo Stein bankruptcy. his persuasive passion, they withdraw into the darkness of the pavilion – observed, however, Arranged and orchestrated by The Ambassador (Baron Zeta) and his young by Njegus. As the Baron and Danilo approach, John Lanchbery French wife (Valencienne) enter with a telegram Njegus panics and locks the pavilion door. Looking announcing that a recently widowed Pontevedrian through the keyhole, the Baron sees all. In the Costume and set design (Hanna Glawari) is to attend the ball. She is worth Desmond Heeley ensuing scuffle to wrest the key from Njegus, 20 million francs and seeks a new husband. Hanna appears and realises the situation. She Lighting design However, should she marry a foreigner, Pontevedro releases Valencienne through a side door and Francis Croese will lose the benefit of her wealth and the country takes her place inside. will be left penniless. The First Secretary (Count Presented by arrangement with Glocken Verlag Ltd Danilo) is considered a prospective suitor. The Baron unlocks the door and orders the guilty These seasons of The Merry Widow are generously couple to emerge. To his amazement, Camille supported by The Margaret Ellen Pidgeon Fund Camille and Valencienne are left alone. He is comes out with Hanna, who dumbfounds everyone passionately in love with her, and she with him, but by announcing their engagement. The astounded she clings to her marriage vows. Njegus interrupts guests offer frigid congratulations and depart. the lovers and they leave as Danilo enters – more Danilo is the last to leave and, in a frenzy, throws than a little intoxicated. Njegus informs him of the at her feet the handkerchief with which she had, marriage plan. He is amused at the suggestion and a moment ago, retied their union. She picks it up lapses into an alcoholic slumber. The Baron returns knowing that he truly loves her. and orders Njegus to ensure that Danilo is sober before the ball begins. ACT III Scene 2: The ballroom in the Pontevedrian Scene: Chez Maxime Embassy The Pontevedrians have come to drown their Hanna Glawari arrives and Danilo is presented to sorrows and spend their last francs at Chez her. They are dumbfounded, having met when she Maxime. Gaiety prevails until Camille unwisely was a peasant girl in Pontevedro ten years ago. appears – hoping, of course, to meet Valencienne. Danilo had put an end to the affair at the insistence The Pontevedrians, led by Valencienne, jeer at him.