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Home , Anthony Dowell, Australian Ballet School, David Hallberg, Giselle, Graeme Murphy, Greg Horsman

THE AUSTRALIAN 1 Lifting them higher

Telstra is supporting the next generation of rising stars through the Award.

Telstra and , partners since 1984.

2018 Telstra Ballet Dancer Award Winner, Jade Wood | Photographer: Lester Jones

2 THE AUSTRALIAN BALLET 2019 SEASON Lifting them higher

Telstra is supporting the next generation of rising stars through the Telstra Ballet Dancer Award.

Telstra and The Australian Ballet, partners since 1984.

1 – 18 MAY 2019 | OPERA HOUSE

Government Lead Principal 2018 Telstra Ballet Dancer Award Winner, Jade Wood | Photographer: Lester Jones Partners Partners Partner

Cover: Dimity Azoury. Photography Justin Ridler Above: Ako Kondo. Photography Lynette Wills Richard House, Valerie Tereshchenko and Amber Scott. Photography Lynette Wills

4 THE AUSTRALIAN BALLET 2019 SEASON NOTE FROM THE ARTISTIC DIRECTOR

Giselle has a special place in The Australian Ballet’s history, and has been a constant in our repertoire since the company’s earliest years. The superstars and danced it with us in 1964, in a production based on the Borovansky Ballet’s. Our founding artistic director, , created her production in 1965; it premiered in Birmingham on the company’s first international tour, and won a Grand Prix for the best production staged in that year. It went on to become one of the most frequently performed in our repertoire. Peggy’s production came to a tragic end when the scenery was consumed by fire on our 1985 regional tour. The artistic director at the time, , created her own production a year later.

Maina's Giselle premiered in Adelaide. With its hauntingly beautiful designs by Peter Farmer and magical lighting by William Akers, it quickly became just as popular as Peggy's production. We have danced it across the globe, delighting audiences in New York and , Japan and China. With its meticulous detail and stylistic authenticity, it is one of the jewels of our repertoire, and has been staged by top ballet companies around the world. Giselle is a lasting, tangible reminder of Maina's 14 extraordinary years as the artistic director of our company and the living legacy of her tenure.

We loved having Maina with us to restage her production last year. For this season, we had the pleasure of welcoming back to , where she grew up. An international star and one of the great Giselles of her generation, Leanne first danced the role in her graduating performance with School and returned to it throughout her career. In 2006, she guested with The Australian Ballet in Maina’s production, dancing with . It has been such a privilege to have the benefit of her experience and artistry.

Our 2019 season celebrates ballet's power to enchant us, and Maina Gielgud’s Giselle does just that. I hope you love it as much as I do, and that this Sydney- exclusive season allows you either to revisit the joys of the ultimate , or to fall in love with Giselle for the very first time.

David McAllister AM

THE AUSTRALIAN BALLET GISELLE 5 NOTE FROM THE EXECUTIVE DIRECTOR

We are so delighted to bring our Sydney audiences this season of Giselle, a very significant production for The Australian Ballet. Maina Gielgud's celebrated staging, with Peter Farmer’s atmospheric designs, is a true classic, much admired by audiences around the world, and a benchmark for our company. In 2018, we had the pleasure of bringing Maina’s Giselle to Western Sydney for our free Ballet Under the Stars event, followed shortly after by performances in Nanjing as part of our China tour. It is fitting that we bring the production back home to the in 2019.

We would like to take this opportunity to thank all those who extend essential support, loyalty and friendship to The Australian Ballet. The company is supported by the Australian Government through the Australia Council for the Arts, the Victorian Government through Creative and the NSW Government through Create NSW, as well as by our generous corporate partners. This assistance makes it possible for us to develop new talent, showcase our artists and creative collaborators, and perform around Australia and internationally. Our Principal Partner Telstra has supported the company for almost 35 years and is a part of our family in every sense. Our Lead Partner Qantas carries this busy company safely and efficiently wherever we travel. Lead Partner Aqualand, the Australian luxury property company, supports our artistic ambitions. Thank you all for your support of this beautiful ballet.

Libby Christie

6 THE AUSTRALIAN BALLET 2019 SEASON Valerie Tereshchenko and artists of The Australian Ballet. Photography Lynette Wills

THE AUSTRALIAN BALLET GISELLE 7 GISELLE

Choreography SYNOPSIS , , Act 1 Production The story of Giselle is a romantic tale of innocent Maina Gielgud love and betrayal; of philandering Count Albrecht and a trusting peasant maid, Giselle. Although she Music has a weak heart, Giselle loves to . Her beauty has enchanted Albrecht. On the day of Costume and set design the village wine festival, Albrecht, in order to court Peter Farmer Giselle, disguises himself as a peasant. Giselle, Original lighting design in her innocence and unaware of his noble birth, William Akers resists Albrecht’s advances – only to succumb to his ardour and persistence. He gently induces her reproduced by Graham Silver to trust his pledge of eternal love. His plans are thwarted by the arrival in the village of a hunting party which includes the Duke of Courland and his CAST OF CHARACTERS beautiful daughter Bathilde, to whom Albrecht is already engaged. Giselle Bathilde is enchanted with Giselle and her youthful Count Albrecht innocence. When Giselle tells the princess that she Berthe, Giselle’s mother is engaged, Bathilde gives her a necklace, unaware that they are betrothed to the same man. Hilarion, a forester (gamekeeper) Hilarion, a gamekeeper in love with Giselle, The Duke of Courland discovers Albrecht’s disguise. Consumed with The Princess Bathilde jealousy, he reveals his rival’s true identity. Giselle loses her reason, and the first act ends with the Wilfred, attendant on Albrecht famous , and her death.

Peasant couple Act 2 Myrtha, Queen of the Wilis Giselle has been buried deep in the forest and has now become a wili. The wilis are ghostly Lead Wilis apparitions of folklore, girls who have died Giselle’s Friends betrayed by their faithless lovers on the eve of their weddings. Peasants Hilarion is discovered mourning at Giselle’s grave. Huntsmen Myrtha, Queen of the Wilis, summons her maidens, Court Ladies who haunt the forest, luring wayfarers to dance with them until they die from exhaustion before Wilis the dawn. Hilarion is forced to dance until he dies.

Albrecht, full of remorse, comes to mourn at Giselle’s grave. The Queen commands Giselle to come from her grave and entice Albrecht to join her in dance. Giselle continues dancing with Albrecht through the night. Although she has been betrayed by Albrecht, Giselle still loves him, and helps him to stay alive until the dawn, when the wilis lose their power and will not be able to destroy him.

With the arrival of the dawn, Giselle vanishes back into her grave, and Albrecht is left alone with his sorrow. But his life is saved.

8 THE AUSTRALIAN BALLET 2019 SEASON Ako Kondo and Ty King-Wall. Photography Jeff Busby

THE AUSTRALIAN BALLET GISELLE 9 Dimity Azoury. Photography Justin Ridler

10 THE AUSTRALIAN BALLET 2019 SEASON THE SPELL OF GISELLE

EACH TIME MAINA GIELGUD STAGES HER GISELLE, SHE MUST CREATE THE CONDITIONS FOR MAGIC. SHE TALKS TO DEBORAH JONES ABOUT THE HARD SLOG BEHIND THE ETHEREAL BEAUTY ON STAGE.

In 1985 The Australian Ballet was in Whyalla, South Australia, on a regional tour when a blaze at the Robyn Hendricks and Maina Gielgud in Middleback Theatre engulfed the sets for Peggy rehearsals for Giselle. van Praagh’s production of Giselle. Eerily, the only Photography Lynette Wills thing left standing was the large cross from the heroine’s grave. Maina Gielgud, artistic director at the time, was reminded that in Giselle is known as ‘the holy ballet’. It was pleasing to think that was why the cross survived.

The loss was a blow to the company, but an opportunity too. Three years into her long tenure at The Australian Ballet, Gielgud could create her own production of a ballet she has loved passionately all her life. Her Giselle premiered the following year, replacing van Praagh’s decade-old version. For a time it was staged almost annually, and is still programmed regularly.

You could say Gielgud’s Giselle is embedded in The Australian Ballet’s DNA; that it’s as familiar to the company as morning class. Yes: and no. For every person who is an old Giselle hand there are junior members of the corps for whom it’s uncharted territory. Among those who know the ballet, someone who was part of the crowd as a peasant in 2015 – or even back as far as 2008 or the Wilis, a role people thought I was suited to and no doubt we’ll go from the beginning. As soon as 2006, when Giselle was also staged – may now which I loved doing. But I desperately wanted to Giselle meets Albrecht I’ll have an idea of where have a featured or leading role. Yet others will do Giselle. I think I was in my late 20s when Rosella they’re at and if I think they’re working along the be revisiting the central roles, reawakening the Hightower gave me the chance.” right lines for them.” choreography in their bodies, rethinking and refining. Thanks to all those experiences, Gielgud knew As well as working with Gielgud, the leads precisely what she wanted from Giselle. The have meticulous coaching sessions with Artistic No matter where the dancers are on their journey, first half should feel as naturalistic as possible, Associate and Principal Coach Fiona Tonkin there’s one shared imperative. Everything must in strong contrast to the ethereal, supernatural (an acclaimed Giselle in her day). The roles may mesh seamlessly on stage – and on time. “I always quality that follows. If the audience is inspired to have been danced before but must never be have to think that the curtain goes up at 7.30pm really care about the characters it will be deeply repeated mechanically. The exploration never stops. on a certain day,” Gielgud says. moved by the transcendent second act and Gielgud trusts her sharply honed instincts about And when that curtain goes up, audiences want its portrayal of eternal, unconditional love and what suits an artist, but equally the dancers have to see Giselles and Albrechts whose story is forgiveness. to feel it’s possible to find their own path. It’s a believable and affecting. They want to see wilis It’s here that style is inextricable from meaning. tricky balancing act. Dancers need to feel that who move as weightlessly as feathers on a breeze. The Romantic quality of movement isn’t easy what they have to offer is valid, and confidence They crave rich drama and soul-stirring poetry. for all dancers to achieve, but achieve it they can be inadvertently shattered. “It’s so different They need to understand why still has Giselle must. “There is a look of lightness, of floating, with each one, and it’s not even to do with youth such power more than 170 years after its creation. of not touching the ground. I want the feeling or experience.” Whatever has happened in the Each time the ballet is revived the work has to for the wilis as if they are moved by the wind studio, “I tell dancers, especially getting near a begin anew. Choreography rehearsed in discrete in the forest,” Gielgud says. She found that performance, please don’t think I want you to do sections over many months is put in place; corps contemporary technique could give dancers a everything exactly as I’ve suggested. You have to de ballet and soloists are integrated with principal way in. “The way of moving is the same. Often do what is right for you at the moment, and that’s artists; the set, costumes, props, lighting and dancers think they create an illusion of lightness what I’m looking for. Then it becomes your own. come into play. It’s a hard, painstaking by trying to feel light. In fact it’s by using their That might mean doing something very different. process, yet represents just the nuts and bolts weight in the right way.” And I don’t mind.” of the ballet: the basic material. only truly Giselle Along with the appearance of moving off Former principal artist Lisa Bolte was just one emerges when its less tangible elements are balance, there is more use of the head in Romantic to benefit from Gielgud’s quest for individuality. in place. Style, character, musicality, dramatic ballet and the arms almost always stay below “She never settled for the ideas already formed coherence and emotional impact: they are the shoulders. There’s guidance to be found in but worked tirelessly, stretching us and herself where the essence of resides. They give Giselle lithographs of the great Romantic dancers, who to discover new truths, taking the best of ballet the ballet its divine spark. display a soft, relaxed, forward-leaning posture heritage and striving to find even more truth Gielgud’s association with Giselle goes back more that couldn’t be more different from the upright and beauty.” The process was both confronting than 60 years. As a young audience member classical technique. and fulfilling. she saw some of the greatest exponents of the The choreography itself is traditional – “I would In 1989 Lisa Pavane, now director of The Australian title role; she would later perform the ballet never think to depart from it” – but there are as Ballet School, was coached by one of the greatest herself. “In the early days I watched many, many many acting choices to be made as there are of the ballet greats, . There were performances and would go home and practise aspirants to the roles of Giselle and Albrecht. intricate demonstrations of body language in in the bathroom mirror what I would do with the “I’m open. For me it depends on whom I’ve cast mad scene if I ever got the chance of performing and what suits them best. I’m not going in with it. I danced in countless productions as Queen of any pre-conceived ideas. In the first rehearsal,

THE AUSTRALIAN BALLET GISELLE 11 Style, character, musicality, dramatic coherence and emotional impact: they are where the essence of Giselle resides. They give the ballet its divine spark.

Galina Ulanova coaching Lisa Pavane and , 1989. Photography The Australian Ballet Archives

which “every moment was a real conversation” and cast, with the corps being encouraged to create a lengthy concentration on the brief but critical histories for themselves that make them part of moment in Act I when Bathilde gives Giselle a gift a community in Act I. “How friendly are they with of jewellery. Touchingly, after a gruelling session, Giselle’s mother, with Giselle and with Hilarion? Ulanova, then nearly 80, would take a towel and Are they sympathetic to him, for instance?” With wipe the sweat from Pavane and her partner, dancers who aren’t instinctively musical, and there Greg Horsman, who were both exhausted. are some, Gielgud may speak about not dancing to the music, but with music, around music, over Bolte didn’t make her debut as Giselle until 1992, the top of the music. “Sometimes I say, here you but she observed Ulanova coaching, and has her need to make the music happen. It’s as if you’re own precious memories. Gielgud smoothed the the conductor. Other times, it’s a matter of way for her to have “an incredibly inspiring hour” waiting for the music to tell you what to do.” on the phone with , a former prima ballerina of The Royal Ballet, when she And on it goes, the big picture of the whole was having difficulty with the mad scene, and to production built from the smallest details and get insights from on dynamics, suggestions. All performances will look familiar phrasing, the lift of an elbow, and the articulation in broad outline, but each moment should be a of lower legs and feet in the Romantic style. revelation. Ultimately, how that comes to be is The adjustments may seem minute, but they a mystery, and it’s why we go to Giselle again can make or break an interpretation. and again. The hard slog of preparation is transformed into art, made new every time. On occasion Gielgud has changed a partnership because she felt the chemistry between the Giselle Deborah Jones is a Sydney-based arts writer and Albrecht wasn’t right. If she didn’t believe in who specialises in dance the couple’s connection, why would an audience? This kind of thinking extends right through the

12 THE AUSTRALIAN BALLET 2019 SEASON Benedicte Bemet with artists of The Australian Ballet. Photography Kate Longley

THE AUSTRALIAN BALLET GISELLE 13 as Giselle. Photography DEA/ A. DAGLI ORTI/De Agostini/Getty Images

14 THE AUSTRALIAN BALLET 2019 SEASON TRUE ROMANCE

KATE SCOTT CHARTS THE ROMANTIC THROUGH THE AGES, FROM THE BALLET STAGE TO THE RUNWAY AND THE SILVER SCREEN.

The classical ‘pancake’ tutu, in all its leg-baring, gravity-defying glory, might be the star of ballet costuming, but the Romantic tutu is the stuff dreams are made of. Its layers of gossamer tulle have been used to conjure spirits, sprites and sylphs since 1832, when the Romantic tutu made its debut in . Softer, more ethereal and more, well, romantic than the pancake, this bell- shaped diaphanous skirt has endured for almost two centuries, recurring in endless iterations across ballet, fashion, and popular culture.

From ballet’s earliest days in the Italian Renaissance courts of the 15th century to well into the , ballet costumes reflected the opulence of court fashion. Men’s costumes evolved in this time to allow greater freedom of movement, but women’s became ever more elaborate. Heavily embroidered tunics and high-heeled boots dominated the 1500s, lavish embellishments like precious jewels and gold thread the 1600s, and towering wigs and headdresses the 1700s. None of this was particularly conducive to jetés or pirouettes. But by 1720 there were hints of things to come with the first appearance on Parisian stages of a pannier (a hooped petticoat), which lifted hems a critical few inches off the ground. In the same period, the dancer and choreographer Marie Sallé abandoned corsets and performed in loose muslin dresses. Her rival, Marie , a ballerina of the Ballet, pushed both technique and costuming even further. She shortened her ballet skirts to the calf, removed the heels from her ballet slippers and wore close-fitting drawers, a precursor of ballet tights. Once the ballerina’s legs were liberated, there was no going back.

The premiere of La Sylphide at the Paris Opera in 1832 was a watershed moment on many fronts. Its popularity established the Romantic ballet as a cultural phenomenon, and it introduced dancing en pointe as genuine technique rather than a party trick. It was also the dawn of the Romantic tutu’s long reign.

La Sylphide was created by the Italian choreographer Filippo Taglioni to showcase the prodigious talents of his daughter, Marie Taglioni. The story was not revolutionary – a young man is beguiled by a supernatural enchantress, and sacrifices everything in his pursuit of her – but the costuming was. Taglioni's skirt fell halfway Artists of The Australian Ballet. Photography Lynette Wills between knee and ankle, a scandalously short length engineered to show off her pointe work. Layers of ethereal white tulle over stiffened, sheer is deployed to signal youth and innocence. It The Romantic tutu, shot through with soft gas muslin conjured the Sylph’s otherworldly aura. floats behind Giselle, light as her heart in all the light, was clearly a potent combination – but also Newly invented ‘flying machines’ suspended the exultation of first love. It amplifies her tremulous dangerous one. Several ballerinas perished when dancers with wires, giving them (at least fleetingly) throes as that heart gives way after her betrayal. their tutus brushed against open flames and the appearance of floating sprites, but Taglioni caught fire, a phenomenon romanticised by the was able to conjure this illusion of weightlessness In the second act, the earthly gives way to the press. “Lovely butterfly of the passing hour, she through less hazardous means: a shiver of tulle supernatural, and the village to the ether. The tutu attracted the gaze of the gay votaries of fashion and the vertiginous elevation of pointe shoes. is pivotal in this transition. The ghostly apparitions and pleasure, and like the doomed moth, fluttering Tutus and pointes would become ballet’s most of the wilis, seemingly hovering in mid-air, are in the flame, consumed her ephemeral existence!” summoned not with wires or trickery but by the powerful talismans, haunting the dreams of would- mused The Public Ledger after the death of be dancers to this day. quiver of massed tutus, shadowy under a spectral ballerina Clara Webster. Tutus could be fireproofed moon. As the wilis dance, their tutus seem to leave by being soaked in a chemical solution, but this If La Sylphide was the tutu’s debut, Giselle was a vapour trail. Human rules don’t apply here, the rendered them dingy and stiff. Dancers often its full flowering. The Italian ballerina Carlotta costumes proclaim: this is no longer the domain of refused the fireproofing, including Emma Livry, who Grisi was the original Giselle, dancing the man. Illustrations of Grisi in the role clearly show at 21 died from her burns. Countless more ballerinas ballet’s premiere in June 1841. In the first act, the the Romantic tutu’s ethereal translucency – and would die, either by fire, smoke inhalation or toxic Romantic tutu (a vision of pale, buttery yellow in the alluring outline of her legs. gases. And yet, even as the era of the Romantic Peter Farmer’s design for The Australian Ballet)

THE AUSTRALIAN BALLET GISELLE 15 Sarah Jessica Parker on the set of Sex and the City, Paris. Photography James Devaney/Wirelmage/Getty Images

ballet waned, the Romantic tutu persisted. Edgar the corps of his , as did this combination when it premiered in 1998. Carrie Degas’ The Dancing Class, dated 1870, is believed in his 1987 Swan Lake for The Royal Ballet. And Bradshaw wears an abbreviated Romantic tutu in to be the first of his ballet pictures; it immortalised the regal green tutus that Balanchine created with the credits, paired with a semi-transparent tank the frothy swish of the tutu. He would paint his long-time designer for the top. She wore a tutu again for the final episode in ballerinas for the rest of the life. ‘Emeralds’ section of his 1967 ballet Jewels remain 2014 – this time a fuller vintage version in antique standouts in the genre, so much so that they green. Veteran costume designer Patricia Field The Australian Ballet’s Head of Costume were reimagined by the French designer Christian had a clear message here: this was an older Carrie, Workshop, Musette Molyneaux, has overseen the Lacroix for in 2005. a wiser Carrie, but forever romantic at heart. creation of countless Romantic tutus. Construction, she says, hasn’t changed much throughout the Lacroix’s iconic ‘puffball’ skirt, a favourite of 80s In 2011, the Romantic tutu bloomed again as company’s history. Giselle’s tutus are typical in that pop stars, owed no small debt to the Romantic the star of the French fashion house Chloé’s three layers of soft net are stitched to a basque, tutu. But then, so do many fashion moments. Spring collection, which boiled the skirt down overlaying a stiffer net base. The layers of tulle are Christian Dior’s New Look, which debuted in 1947, to its fundamentals: the heavenly rustle of tulle stitched at intervals, so there’s no extra bulk at was a radical rejection of the utilitarian women’s in a monochromatic palette. Closer to home, the hips. “Because the tutus are made from very fashion that had dominated the lean years of the the Sydney fashion label Lover premiered their fine net, you can see all the different layers when Depression and wartime rationing. This return A Dance for One collection with a film starring they’re lit, which creates this very romantic, wistful, to hyper-femininity shared many characteristics The Australian Ballet’s Amber Scott. Romantic not-quite-present feeling,” she says. Peter Farmer’s with the Romantic silhouette: a strong emphasis lines abounded, paired with slouchy, 80s- white tutus for Giselle are actually hand-painted on shoulders, an implausibly small waist, and a inspired rehearsal wear. with grey. “It creates a watercolour look,” says luxuriously full skirt, falling to mid-calf. In the 1954 Senior Artist Valerie Tereshchenko describes Musette. “It’s very shadowy and otherworldly.” filmSabrina , Audrey Hepburn’s dresses recall the costumes of Marie Taglioni: fabric enticingly scarce the Romantic tutu in rapturous terms. “They’re Once ballerinas’ legs were freed by the pancake at the shoulder, and extravagant at the skirt. really quite light: you have to be very delicate tutu, ballet technique evolved apace, and the and smooth because they move so much. If you pancake came to dominate the public imagination. The Romantic tutu has always straddled the line move quickly across the stage, part of your dress Still, the Romantic tutu would recur in classical between supernatural and sexy, as evidenced is left behind, which gives the illusion that you’re repertoire throughout the 20th and 21st centuries. by the revealing lithographs of Carlotta Grisi. floating or flying.” If so much movement, so much Although the is remembered for Marilyn Monroe would move it squarely into the meaning, and so much feeling can be summoned its revolutionary approach to costuming, it paid latter category in a series of photographs taken with just 20 metres of net, the reign of the breathtaking homage to the Romantic tutu in 1909 by Milton H. Greene in 1954. The white Romantic Romantic tutu will not soon subside. with ’s . Described as tutu ordered from fashion designer Anne Klein Luminous: celebrating a “Romantic reverie”, it presented rows of sylphs didn’t fit, so Monroe held it to her chest instead, Kate Scott is the editor of 50 years of The Australian Ballet in floaty tulle, dreamy in the imagined moonlight. alluringly blending innocence and provocation. returned to this look in 1951 for The television show Sex and the City would conjure

16 THE AUSTRALIAN BALLET 2019 SEASON Marie Camargo. Image courtesy of the Design by Edith Head for Audrey New York Public Library. Photography Hepburn in Sabrina. Photography Smith Collection/Gado/Getty Images Movie Poster Image Art/Getty Images

Artists of The Australian Ballet. Photography Lynette Wills

THE AUSTRALIAN BALLET GISELLE 17 CREATIVES

MAINA GIELGUD AO PETER FARMER WILLIAM AKERS LEANNE BENJAMIN OBE AM

Choreographer Costume and set design Original lighting design Guest Coach

Trained by the great , including After completing a theatrical design course Sydney-born William Akers began his career in Leanne Benjamin was born in Rockhampton, and Lubov Egorova, and with honours, British-born Peter Farmer radio, films and the theatre before becoming Australia. At 16 she joined The Royal Ballet later by , Maina Gielgud became ’s assistant, which stage director for the Borovansky Ballet, School; while at the School she won the has had an incredibly diverse career, creating subsequently led to his first commission: touring with it throughout Australia and Adeline Genée gold medal and the Prix works with Maurice Bejart’s XXth Century Jack Carter’s Agrionia for the London Dance New Zealand. In intervening periods he de Lausanne, as well as dancing the role of Ballet, performing all the great classical ballets Theatre in 1964. That production featured stage-directed many plays, revues and Giselle at in The Royal Ballet as a principal with London Festival Ballet Joyce Graeme, who in 1965 asked him to musicals for J.C. Williamson Theatres Ltd. School’s annual performance. and Sadler’s Wells Royal Ballet, and being design his first production ofGiselle for Ballet partnered by Rudolf Nureyev in The Sleeping Rambert, and it is this particular ballet which He joined The Australian Ballet for its Leanne joined Sadler’s Wells Royal Ballet in Beauty and with the Ballet de has been associated with Peter Farmer since; inaugural season in 1962 as production 1983, in 1988 and the Marseille. She then pursued a career as an he has designed 14 productions for leading director and lighting designer. He left in 1975 Deutsche Oper Ballet Berlin in 1990 before international guest artist. companies around the world. to become theatre planning co-ordinator for joining The Royal Ballet in 1992, at Kenneth the Victorian Arts Centre Building Committee MacMillan’s invitation; she was a principal She was artistic director of The Australian Other ballet work includes Swan Lake and was later appointed production director dancer there for 21 years. Ballet (1983 to 1997) and the Royal Danish (), The Sleeping Beauty for the Victorian Arts Centre Trust. He resigned Ballet (1997 to 1999). (Munich Opera House and The Royal Ballet), from this position in 1983 to take up his Her wide repertory included most of The (Rome Opera House), Tales appointment as director of productions the classical and neo-classical repertoire. Freelancing since 1999, she stages works of Hoffmann (The Ballet), Winter for The Australian Ballet. She created new roles for choreographers (her own highly acclaimed The Sleeping Beauty Dreams (The Royal Ballet), Manon ( including Wayne McGregor, , and Giselle) for several companies, including State Opera), Coppélia (Birmingham Royal Other assignments have included lighting and Twyla Tharp, The Australian Ballet, , Ballet) and many modern pieces for London and staging for every major and was one of the last dancers to work and Ballet du Rhin. She made Contemporary Dance Theatre. in Australia and for productions by Sir Robert with , a comeback as a dancer and actress in Helpmann for The Australian Opera. His work and Kenneth MacMillan. Béjart’s L’Heure Exquise, and guest teaches His designs for drama include Night of the was acclaimed in ballet houses throughout and coaches around the world. Iguana, A Woman of No Importance and What the world, including the Leningrad Kirov; In 2004 and 2009, Leanne was recognised Every Woman Knows. His first work for The the , Covent Garden; and as Best Female Dancer in the Critic’s Circle From 2007 to 20012 her principal affiliation Australian Ballet was in 1969. He the House, New York. In Dance Awards and in 2013 she was given was with English National Ballet, where she has since completed the following works for 1987 William Akers received the Green Room the De Valois Award for Outstanding was a regular guest teacher, principal coach the company: Anna Karenina (1979), The Three Award for Outstanding Achievement and in his Achievement in Dance. and artistic advisor. Since 2013, she has been Musketeers (1980), Giselle (1986), Manon (1994) 40th year in the theatre was honoured for his In 2005 Leanne received an OBE in recognition artistic advisor to the Hungarian National and Madame Butterfly (1995), which he worked services to Lighting, Ballet and the Theatre. of her services to dance, and in 2014 received Ballet. on again with The National Ballet of Canada In 1992 he became the first recipient of the an Honorary Doctorate of Performing Arts from in 2000. Green Room’s highest award for lighting in In 2018 she restaged her for Central University. In 2015 she was Giselle Australian Theatre. The Australian Ballet’s season, In 2002 Peter presented a scope of his work appointed a Member of the Order of Australia. coached Lifar’s Suite en blanc for the at the USA Competition After an illustrious 25-year career with The In 2016 Leanne was appointed a governor of graduation performance of the Vaganova Exhibit. The exhibit included costumes from Australian Ballet, William Akers retired from The Royal Ballet Companies. Academy in St Petersburg, staged Anton Swan Lake, The Great Gatsby, The Sleeping his position at the end of 1994. He died in 2011. Dolin’s Pas de Quatre for the New National Beauty, Anna Karenina, The Three Musketeers Leanne is the patron of the Tait Memorial Trust, Theatre Ballet Tokyo and choreographed and Manon. In December 2010, he designed a where an annual award is given in her name a full-length for Goh Ballet with new production of for English to allow young Australian dancers to train in guest artists Venus Villa and Rolando Sarabia. National Ballet. He has also designed Swan the UK. She is now coaching pre-professional Lake for English National Ballet and Peer Gynt In 2019, her schedule includes staging a new students and works with a number of interna- for Ballet. production of The Sleeping Beauty for Joburg tional ballet companies as a principal coach. Ballet, Aurora’s Wedding for Ballet Academy East and Act II of La Sylphide for Ellison Ballet in New York. She will also be judging on the YAGP panel in New York, and guest teaching and coaching in Canada and Australia.

18 THE AUSTRALIAN BALLET 2019 SEASON PLAYBILL ADS 19

THE AUSTRALIAN BALLET GISELLE 19 PLAYBILL ADS 20

20 THE AUSTRALIAN BALLET 2019 SEASON Jasmin Durham. Photography Lynette Wills

THE AUSTRALIAN BALLET GISELLE 21 GISELLE: A DANCER’S PERSPECTIVE

PRINCIPAL ARTISTS TY KING-WALL AND AKO KONDO, WHO WILL DANCE ALBRECHT AND GISELLE IN THIS SEASON, TALK ABOUT INTERPRETATIONS, THE ROMANTIC STYLE AND THE PERILS OF JUGGLING DOGS.

TY KING-WALL of the character in Act II even stronger, as it’s a flown out from Japan and was in the audience. greater contrast. So I may look at giving him a Then at the end of the show, David [McAllister, the

Giselle is one of my all-time favourite ballets. harder edge. company’s artistic director] pulled a huge surprise I would take any chance I get to dance it – and promoted me to principal artist on stage! I would dance Giselle in a broom cupboard. The 32 entrechat six that Albrecht does in It’s a real privilege to get to do it again. To me Act II – they’re fun! It’s a good challenge. The When you’re dancing Giselle, there’s a real it’s the perfect ballet. It’s not a particularly long audience plays a part in this one. They often start transformation between Act I and Act II. ballet, but so much happens, and everything applauding half-way through, and that really does In Act I you’re human, full of life and joy, a pure, that happens is so important to the story. It still give you a lift. So please, everyone, start clapping innocent girl. In Act II, you are a ghost – white, resonates strongly because its themes are still as soon as you want! At that point in time, you’ve weightless; you barely land on the floor. I love relevant today. It’s a timeless story. done the pas de deux, you’ve done the solo – watching famous ballerinas dance Giselle because you’ve done a lot of dancing, and then you have they look like a completely different person in This will be my fourth season of Giselle, and each to do those 32 entrechat six [jumps in which the Act II. That’s what attracted me to the role. The first time I try to bring a fresh outlook to it. dancer crosses his legs six times before landing]. time I did it was in my first year with the company. And you do feel like you’re about to expire, just Last year I got to do Giselle with [Principal I was standing up the back, in the hunting party, as Albrecht is in the story. When the audience Artist] Ty King-Wall. To dance it with a different holding the two dogs. It’s actually one of my most cheers you on, it gets you through, it really helps. partner changes your interpretation. Ty really memorable moments on stage. I was holding the loves this ballet and has a lot of ideas about it, and borzois’ lead in one hand, and supporting a bunch The Romantic style for the male dancer … we had a great conversation about how we’d play of pheasants on a rack with the other. Borzois have There’s a softness to the port de bras, there’s it. He’s a gentle Albrecht, he’s not domineering or these long, slippery necks, and one of them got a way of holding your head, there’s a gentle princely – he’s pretending to be the pure innocent a bit antsy and slipped his collar. I had both my undulation to the arms. When you’re partnering, guy who just met the pure innocent girl. We talked hands full so I couldn’t grab him, and I had visions you have to be aware that the girl’s weight is about the musicality, the accents, where we’d of him running around the stage during this really not going to be in the usual place, because the breathe together. It really helped us to get in sync. powerful moment in the ballet. Luckily my fellow Romantic technique requires her to lean forward. dancer Ben Davis saw the whole thing, and he There’s actually a lot of counter-balancing – you The mad scene is so special for ballerinas. I love grabbed the dog and quietly ushered him off push her forward over an arabesque rather than acting, and that’s why I adore this ballet. The first into the wings. having her on her leg: it’s an elongated, almost time I did Giselle, I was a bit ‘in my shell’ with the horizontal line. There’s a lot of flow, and there’s mad scene. I struggled with it. [Principal Coach] So that was my first experience of the ballet, some beautiful moments when you create that Fiona Tonkin, who was a great Giselle, spent a lot and it was great to get a taste of it from the best ethereal quality by the way you partner, especially of time with me, doing the mad scene in front of seat in the house, so to speak. I danced the Act II the way you lift the girl. You can let the dress the mirror. One time she did it just for me in the pas de deux a couple of times, and then in 2015 move, you can let her legs drift. It’s easier said studio, and it was amazing – I felt it in my heart, I danced Albrecht for the first time, with Amber than done – it takes a while to get the hang of it, I was in tears. Even when you’re on stage, you [Scott, now Ty’s wife] as my Giselle. Then I got the but it’s beautiful when you get it. don’t see the ballerina that close from the front, chance to do it again on our regional tour, with you don’t see the details. That opened up a lot Dana Stephensen. That was really nice, because of ideas for me. you’re performing in smaller theatres, closer to the audience, and the acting felt very natural, AKO KONDO Maina has Giselle in her heart. She’s really you didn’t have to project so far; it felt like you particular about the Romantic style, the angle Giselle was a role that I always wanted to do. of your arms and body, leaning the way you want could just be yourself. In Japan, my ballet teacher always said, “It’s not to go. I learnt a lot about how to use my eyes. really for you, you’re too hyperactive.” I was always In 2018 I was fortunate enough to perform the role Sometimes as a dancer you try to act with your steered towards Kitri or Gamzatti – jumping, again, this time with Ako Kondo, with whom I’ve face, but she’d say, “Eyes can tell the audience turning roles, strong women; the Queen of the always enjoyed dancing. Whenever you perform a the story.” In Act II, she coached me particularly Wilis rather than Giselle. But when Maina [Gielgud] ballet like Giselle with a new partner, you respond on the moment when the bell chimes at dawn, came out to cast the ballet, she could see me to the individuality they bring to the role. In this and Giselle realises that she’s done it, she’s doing the role. way, the story you're telling subtly changes, and saved Albrecht. I was trying to hold a nice ballet it feels completely new once more. I did my first seasons of Giselle with Chen placement in that moment, but she told me, “Let [Principal Artist Chengwu Guo, Ako’s husband], everything go. The man you loved was going to Each time, I take a different tack with the die, but now he’s going to live. How do you feel?” In the past I’ve tried to make Albrecht and that was so special, because of our connection. character. One night she came back to my dressing room quite sympathetic, to look for his redeeming The first time Maina saw us rehearse together, after the performance; she had tears in her eyes, qualities. But I think this time around, I like the she said, “Oh, the love is really believable!” We and she said, “You really understood what I said. idea of him being more thoughtless, a bit more laughed and said, “Yes – because it’s real love!” I felt it.” selfish. He’s quite dismissive of the peasants’ At the end of my last show in the Sydney season, beliefs, he has a sense of superiority. It feels like I was very happy – I had enjoyed my performance, that will make the transformation and catharsis really cherished the moment, and my mum had

22 THE AUSTRALIAN BALLET 2019 SEASON Ako Kondo and Ty King-Wall. Photography Lynette Wills

THE AUSTRALIAN BALLET GISELLE 23 LAYERS OF GISELLE

EVERY MODERN PRODUCTION OF GISELLE CONTAINS TRACES OF THE BALLET’S FORMER VERSIONS. CAITLYN LEHMANN EXCAVATES ITS DEEPER MEANINGS.

The extraordinary journey of Giselle began in Paris, Many a bemused spectator has wondered why Giselle’s Rhineland during the summer of 1841. Choreographed jointly by Jules Perrot and his older colleague Jean Coralli, village produced such a surfeit of comely maidens jilted before their the ballet was a “transcendent success” from the wedding day. But, in fact, in the ballet’s early scenarios, the Queen outset – “all Paris is resounding with it,” raved the French correspondent for London’s Morning Post. of the Wilis originally summoned “her subjects from all quarters The production quickly transferred to London of the globe”. itself, where Perrot and the Deshayes supervised a somewhat pared down version for in Romantic ballets of Giselle’s era, and reflected circle drawn by the Queen of the Wilis and Giselle’s the smaller stage of Her Majesty’s Theatre. One the period’s fascination with folk culture. Indeed, transformation into a spirit. In a coaching session, French visitor, having seen Giselle in Paris, predicted from its inception Giselle was a perfect distillation the Lithuanian-born British ballerina Svetlana a “fiasco” on account of cuts and changes. But of Romantic ideals and artistic conventions, which Berisova told a former principal artist of The the local audience loved it, and Giselle has been had been refined for more than half a century Australian Ballet, Lisa Bolte, that Giselle should accumulating revisions through countless revivals before the ballet’s premiere. The wilis were part trace a wavy line with the sword, evoking a snake, ever since. of a long line of supernatural characters that which symbolises Giselle’s temptation by the Maina Gielgud’s production, like most modern appeared on the stage of the Paris Opera, including devil to commit the mortal sin of suicide. Other stagings, derives from Russian notations of diaphanous sylphs, ondines and the diabolical conventions are still more subtle, to the point Perrot’s ballet, which made its way to St ghosts of nuns. Theophile Gautier, the French where they become obscure in certain stagings. Petersburg in 1850. The notations, created decades author and critic who worked on Giselle’s libretto, In the ballet’s second act, for example, Giselle’s later, reflected the influence of subsequent had initially encountered the wilis in the literary tale cross is the only point where Christ’s power affords performances, including stagings overseen by the De l’Allemagne (1835), by the German poet Heinrich Albrecht protection from the wilis. Unable to move French choreographer Marius Petipa, who worked Heine. Gautier immediately perceived the potential Albrecht from the haven of the cross, where Giselle in St Petersburg’s Imperial Theatres. Some aspects of Heine’s nocturnal spectres, “white as snow” and has urged him to remain, the conniving Myrtha plays of the choreographic script are of even more full of bloodlust. Indeed, he had quite a penchant a trump card: she compels Giselle to dance, luring recent vintage. Gielgud’s production pays tribute for gothic seductresses. In 1836 he had penned his Albrecht with her beauty away from safety and to a great 20th-century interpreter of the role, the own ghoulish short story, La Morte Amoureuse, back into the magic circle where the wilis hold sway. about a beautiful vampire courtesan, Clarimonde, Russian ballerina , whose willowy Further symbolic richness is found in the use of figure, fragility and huge kohl-darkened eyes lent a who rose nightly from her tomb to destroy her lovers. flowers to intensify the story’s emotional nuances. peculiarly spectral aspect to her performance. The Giselle’s premiere coincided with a vogue for ballerina’s brilliant technique is immortalised in the Thanks to Gautier, who openly acknowledged sentimental flower books (mostly written for young ‘Spessivtseva ’ of Act I, in which Giselle Heine’s tale as the ballet’s inspiration, the women), which attempted to distil the Christian executes a series of coy, dainty hops en pointe of wilis has always been passed down intact. But and mythological associations of flowers into a across the stage. another element of the Giselle story is surrounded ‘language’ for everyday use in posies and bouquets. Traces of the 1841 production also survive in by great confusion: the matter of how Giselle dies. The appeal of this floral symbolism has endured. Gielgud’s version. Peter Farmer’s costume design Gautier actually wrote two versions of the Giselle Although the blooms featured in the ballet vary for Giselle in Act I – a daffodil-yellow dress worn story, the libretto (prepared in collaboration with between productions, they typically evoke some with a brown bodice and white blouse – directly Henri Vernoy de Saint-Georges) and a literary widely-shared associations. The daisy, used in references the original, worn by the Italian telling, published in Les Beautés de l’Opéra (1844). Giselle’s fortune-telling game of ‘he loves me, he ballerina Carlotta Grisi. Other elements hint at While the libretto described Giselle’s death from loves me not’, is traditionally ascribed ‘innocence’; surprising features of the original version, now heartbreak, the latter detailed Giselle’s death in Act II, Albrecht’s sheath of lilies denotes purity, lost. Strange but true is the history behind the as a suicide, the result of the distraught maid overlaid by more contemporary associations of of Myrtha’s two lead wilis. Many a bemused seizing Albrecht’s sword and inflicting “a deep mourning. The white myrtle, wielded sceptre-like spectator has wondered why Giselle’s Rhineland and fatal wound” upon herself. There has been by the Queen of the Wilis, often replaces the sprig village produced such a surfeit of comely maidens much debate about which version was used at the of rosemary described in the original libretto. The jilted before their wedding day. But, in fact, in the ballet’s premiere, with many dancers and scholars myrtle is a symbol of love and fidelity, often used ballet’s early scenarios, the Queen of the Wilis accepting the readily available 1844 account as in wedding bouquets, and the wilis are dressed originally summoned “her subjects from all quarters the original. American musicologist Marian Smith as the brides they were never able to be. of the globe”. Her Germanic minions waltzed sought to resolve the matter in 1990 when she noted that “if Giselle had been intended … to stab Strands of tradition, flecked with innovation, alongside Moyna the Oriental Odalisque, Zulme individual parts forming a logical whole: it’s the Indian Bayadére, and two French women, who herself with a sword, [the librettists] would never have given her a heart condition.” what distinguishes the best productions of performed a “bizarre minuet”. The two lead wilis, Giselle. And as Gielgud’s production is revived, still sometimes designated Zulma and Moyna, are The mad scene’s subtleties underscore the richness the task of unearthing the nuances buried in all that remain of this exotic past – listen carefully of the Giselle text, and its myriad possibilities, even the ballet’s text continues. to the wilis' melodies, and you might hear snatches in the brief moment when Giselle spies Albrecht’s of their musical ethnicities. sword on the ground. Some dancers grasp the Dr Caitlyn Lehmann is a cultural historian sword’s tip and draw the hilt in a loose arc. Others specialising in dance history and 18th-century Foreign wilis would not have surprised the 19th- studies century spectator. National dances were ubiquitous make a defined circle, foreshadowing the magic

24 THE AUSTRALIAN BALLET 2019 SEASON Dimity Azoury. Photography Lynette Wills Adam Bull. Photography Lynette Wills

Amber Scott. Photography Lynette Wills

THE AUSTRALIAN BALLET GISELLE 25 CONDUCTORS

NICOLETTE FRAILLON AM SIMON THEW

Music Director & Chief Conductor Conductor

Nicolette Fraillon began her music studies on and piano Simon Thew has undertaken conducting studies in Sydney, at an early age. At 16 she conducted her first concert with the Vienna, Berlin, and Barcelona with mentors including Sebastian Victorian Junior Symphony Orchestra. She graduated on Weigle, Nicolette Fraillon, Harry Spence Lyth, , from Melbourne University in 1982, gaining an equal first place and John Hopkins. in her year in Performance. From 1984–87 she furthered her instrumental studies at the Hochschule für Musik in Vienna and In 2007 Simon was awarded the Dame /Richard from 1987–88 in Hannover. During her time in and Bonynge Travel Scholarship, which enabled further study in Nicolette toured with many , including the Europe, culminating in his position as musical intern at the Salzburger Chamber Ensemble and the Chamber Orchestra of Bayreuth Festival in 2008. Bassano, and was a member of the Haydn Quartet, based at the In 2010 he was awarded the Hephzibah Tintner Fellowship, which Esterhazy Palace in Eisenstadt. gave him performance and mentoring opportunities with The In 1990 Nicolette moved to the Netherlands, where she became Australian Ballet, , and the Sydney Symphony. assistant musical director for the 1991–92 season of Les Misérables Simon was The Australian Ballet’s Conducting Fellow in 2011, in and The Hague. In 1992 she was admitted to the and in the same year was awarded a Churchill Fellowship. This Netherlands Broadcasting Association’s International Conductors’ enabled him to undertake professional development opportu- Masterclass, resulting in a performance with the Dutch Radio nities with ballet companies, opera houses and orchestras in Symphony Orchestra in the Concertgebouw in Amsterdam. London, Birmingham, Vienna, Berlin, and New York across 2012. This led to an invitation to conduct for the Nederlands Dans Simon was an assistant conductor with Opera Australia from Theater. She was then invited to become music director and chief 2007 – 2010. In 2010 he conducted Opera Australia’s Oz Opera conductor of the National Ballet of the Netherlands, working with regional tour, and in the same year made his conducting such renowned choreographers as , Toer van debut with The Australian Ballet. In 2012 he acted as assistant Schayk, Rudi van Dantzig and , and conducting conductor on the company’s New York tour. numerous world premieres. During the following five years she worked with the North Holland Philharmonic Orchestra, the Simon was a regular guest conductor with The Australian Ballet New Sinfonietta Amsterdam, Noord Nederlands Orchestra, the between 2013 and 2016. He conducted performances in most of Gelders Orchestra in Arnhem, the Limburg Symphony Orchestra, the company's seasons during that time. In 2017 he accepted an the Residentie Orchestra in The Hague, the Kanazawa Chamber invitation to become The Australian Ballet’s assistant conductor. Orchestra in Japan, and the Finnish Ballet. He has also worked as a guest conductor for English National Ballet, and . In 1998 she took up the position of Director at the School of Music, Australian National University, and continued her He has an active concert-conducting career and is committed to conducting work with the , the West the education of young conductors and instrumentalists. Australian Symphony Orchestra, the Australian Youth Orchestra and the Canberra Symphony Orchestra.

She debuted with The Australian Ballet in 2002, conducting Spartacus, and was then invited by David McAllister to become music director and chief conductor, beginning in January 2003. Since joining the company, Nicolette has conducted all programs for The Australian Ballet, including all of its overseas tours, and has been a guest conductor for . Following The Australian Ballet’s 2005 tour to the UK, Nicolette was, in 2006, invited back to conduct The Sleeping Beauty with Birmingham Royal Ballet. She conducted the ballet again on Birmingham Royal Ballet’s 2018 tour of Japan. In 2007 she guested with Ballet. In 2008 she returned to the Birmingham Royal Ballet for a season of The Nutcracker, then finished the year with a New Year’s Gala in Skopje with the Macedonian Philharmonic Orchestra. In early 2011 Nicolette guested with San Francisco Ballet, conducting their production of Giselle; in 2014 she guested with . In 2016 she conducted the opening night of Birmingham Royal Ballet’s production of ’s The Nutcracker, which was also the choreographer’s 90th birthday.

Since 2014, Nicolette has also been artistic director of , establishing new concert series, education programs and two regional music festivals.

26 THE AUSTRALIAN BALLET 2019 SEASON MUSIC NOTE

ALTHOUGH WRITTEN IN JUST THREE WEEKS, THE SCORE FOR GISELLE IS A TESTAMENT TO THE CRAFTSMANSHIP OF ITS COMPOSER, ADOLPHE ADAM. BY MARK CARROLL

Brett Chynoweth and Jade Wood. Photography Lynette Wills

Adolphe Adam (1803 – 1856) was a prolific Adam once boasted that he found composing part of Act I reappears later in the mad scene, it composer and a very enterprising man. Not ballet scores easier than writing operas and, adds a further dimension to the plot. The overall only was he responsible for a huge catalogue moreover, that he composed them for his own effect of Adam’s score is that of a collection of of music, ranging from piano amusement. If that’s the case he must have musical episodes that is greater than the sum of popular songs through to sacred music, enjoyed composing Giselle, which he completed of its parts. operas and ballets, he was also a chorus master in just three weeks, working at night, as was his and a theatre owner. When the latter enterprise usual practice. The score marked a quantum Adam’s original score was published initially as a failed due to circumstances beyond his control leap in the way music for ballet was regarded by piano version in 1841, and it was not until 1924 that – the 1848 Paris revolution – Adam became a composers, choreographers and audiences. Up to an orchestral score was published. By this stage a number of additions and alterations had been journalist and Professor of Composition at the this point, as those who recall the score of La Fille made. The first of these appeared at the premiere Paris Conservatoire. mal gardée would agree, music for ballet tended to be little more than a potpourri of well-known performance, when Frederic Burgmüller prudently Adam’s father was himself a professor of music at popular tunes and classical favourites. Not only added the Peasant Pas de deux to the first act in the Conservatoire, although it seems he did little order to placate a wealthy patron, whose mistress was the score for Giselle composed specifically to encourage Adolphe to pursue a career in music. for the ballet, but the music succeeds in marrying was dancing the part of the peasant girl. Ludwig Adam was inspired instead by Ferdinand Hérold, movement with the dramatic narrative – in what Minkus took it upon himself to add a variation for who is known to balletomanes as the composer/ was then an innovative, if rudimentary, kind of way. Giselle to the 1864 St Petersburg season. arranger of the score for La Fille mal gardée. A career in music theatre beckoned, and by 1830 While Adam’s melodic inventiveness is Adam’s music was savaged in the first edition of Adam’s portfolio boasted a clutch of popular occasionally a little pedestrian, there can be The New Grove Dictionary of Music and Musicians, songs, an operetta and a three–act opera. The no denying his craftsmanship. As Tchaikovsky published in 1890; the writer sniffed that “his 1830 Paris revolution (yes, they were turbulent was to do later (albeit with a far greater degree melodies are frequently trivial to the point of times) made life difficult in the theatres of the of sophistication), Adam employs leitmotifs, or absolute vulgarity.” Trivial they may seem in capital, and it was in London that Adam presented recurring musical themes. These are linked to comparison to Tchaikovsky, whose star was well and truly in the ascendant in 1890. But Adam’s his first ballet, (1833). Adam’s first work for specific characters and emotions: Giselle’s theme melodies are never vulgar. These days we would the Paris Opera was the score for the ballet La fille is in G major; Count Albrecht’s in C major; the call it ‘elegant simplicity’, and is the richer du Danube (1836). The composer’s international principal love scene in A major. Giselle reputation was secured with performances of for a score that has continued to delight audiences Adam’s approach is not so much to develop or for over 150 years. La fille and other works in a season given at St elaborate on his themes, but rather to change the Petersburg in 1840. Giselle received its premiere in which they are heard. So, for example, Dr Mark Carroll is a Professor at The Elder at the Paris Opéra in June 1841. when the pastorale theme first heard in the first Conservatorium, University of Adelaide

THE AUSTRALIAN BALLET GISELLE 27 Feel at home all the way there Hatice Kaynak, Qantas Cabin Crew qantas.com

28 THE AUSTRALIAN BALLET 2019 SEASON CLOSE UP: DIMITY AZOURY

SENIOR ARTIST DIMITY AZOURY MADE HER DEBUT AS GISELLE IN 2018. SHE TALKS TO CHLOE GORDON ABOUT HER INSPIRATIONS, GOING MAD ON STAGE AND GETTING OUT OF TOWN.

What was your first experience of ballet? I was three or four years old when I saw my first ballet. I was so young, I can’t remember if the ballet was Giselle, but I have these images in my mind of girls in long white dresses, floating across the stage. It was that Romantic era of ballet that was the reason I started dancing.

Is there a ballerina whose performance of Giselle has really inspired you? Madeline Eastoe danced her last show ever as Giselle, which was a very special performance. Also Amber Scott, Kirsty Martin and Rachel Rawlins … I could keep going! But those three in particular are beautiful, and they captured different parts of Giselle, which I really admire.

In a previous season of Giselle you danced the role of Myrtha, Queen of the Wilis. What was it like to work with Maina Gielgud during rehearsals for that season? It was fantastic for me. She was really encouraging. Also, she's so interested in the characterisation, which is a really lovely way to work: the movement is character-driven rather than purely about the steps.

I was also lucky enough to understudy Giselle, and just being at the back of the studio for those rehearsals gave me a little taste of the role.

What is your own approach to the characterisation of Giselle? When I began rehearsing Giselle, I was actually recovering from an injury to my calf. So I really started the process from the ground up. Giselle just loves to dance, but she's got this weak heart, so she's not allowed to. I felt in a similar position! As I built up my dancing again, I was trying to do it with her in mind, and think of how she might feel, which was quite interesting.

In the second act, I love that she finds a strength and a resolve that she didn’t have in life. She has the strength to be able to forgive Albrecht. So I try to find the fragility of Act I, and then the strength of Act II.

How do you feel about performing the famous Dimity Azoury. Photography Daniel Boud mad scene? The mad scene is what appeals to me most about Feel at home all the way there the role. I love the drama. dance Hanna in , which was When things get a bit too intense, we pack up and on my bucket list. go camping. Even if it's just for 24 hours, or late at The stage is a funny sort of place. You can let go night, like after a show on a Saturday. We'll shove of who you are, and become someone else, and How do you keep a feeling of balance in your the camping stuff in the car, and drive down the experience something that you might not ever life during especially busy periods? highway somewhere. Waking up in the bush the experience otherwise (hopefully I don't ever go I do a lot of outdoors stuff like hiking, mountain next day really calms me down. Hatice Kaynak, Qantas Cabin Crew mad!) It's a really powerful place. biking, and walking the dog. We [Dimity is married Chloe Gordon is a freelance copywriter and to Rudy Hawkes, a former dancer of The Australian What are some of the roles you would really like communications specialist with a zest for the arts. Ballet] have a wolfhound cross. He's our first to dance? Her website is chloegordon.com.au qantas.com rescue dog, and he’s a challenge. He's a sweet Juliet, in Romeo and Juliet, and the most dramatic boy, but a bit psychotic, for a wolf hound; Photography Daniel Boud roles, like Manon. I was lucky enough last year to they are usually very calm.

THE AUSTRALIAN BALLET GISELLE 29 PRINCIPAL ARTISTS

ADAM BULL BRETT CHYNOWETH CHENGWU GUO

Philanthropy Ambassador “A very special artist” “explosive energy” “Tender and self-deprecating … a true Arts writer Deborah Jones The Age ” , UK

Adam Bull's principal artist position is generously Brett Chynoweth was born in Melbourne. At age five, he began Growing up in China, Chengwu Guo began dance classes at supported by Lachlan & Sarah Murdoch training at a local ballet school. He soon moved to The Australian the age of eleven. He was accepted into the Beijing Dance Ballet School, where he received, among other awards, the Dr Academy where he was able to combine his ballet training with Adam Bull was born in 1981 and began training at Dance World HC (Nuggett) Coombes Travelling Scholarship, which enabled academic studies. Chen’s talent for ballet was soon evident 301 with Brian Nolan before joining The . him to train in New York and Toronto. He graduated dux from when he received a gold medal at the Tao Li Bei of China In 2000, he represented Australia in the Paris International Ballet The Australian Ballet School with honours and joined The Competition, and also at the Beijing International Competition. Competition, before graduating from The Australian Ballet School Australian Ballet at the beginning of 2009; he was promoted In 2006 Chen became a prize winner at the prestigious Prix de with honours in 2001. Adam joined The Australian Ballet in 2002, to principal artist on stage at the end of the 2018 season in his Lausanne competition in Switzerland, receiving a full scholarship going on to dance in many leading roles. After just six months as a home town of Melbourne. Since joining The Australian Ballet, to complete his vocational ballet training. He chose to take up senior artist, Adam was promoted to principal artist in June 2008, Brett has performed a variety of classical and contemporary this scholarship at The Australian Ballet School. During his time capping off a string of critically acclaimed lead performances. works by choreographers such as , , at the School Chen toured regional Australia with The Dancers Adam has danced a vast range of the male classical repertoire; Tim Harbour, Jirˇí Kylián, Wayne McGregor, and Company, and received glowing reviews for his roles in The he has a fondness for works by George Balanchine, Sir Kenneth Alexei Ratmansky, and his principal roles include works by some Sleeping Beauty, Graduation Ball and Coppélia. Chen joined MacMillan, Graeme Murphy, Alexei Ratmansky, Christopher of the greats - Frederick Ashton, George Balanchine, , The Australian Ballet in 2008 and was promoted to principal Wheeldon and Wayne McGregor. Performing in principal lead Kenneth MacMillan, Christopher Wheeldon and Peter Wright. artist in 2013. roles on the company’s tours to Paris, London, New York, Los Angeles and Japan have been career highlights. Repertoire highlights Repertoire highlights — Prince Désiré in David McAllister's The Sleeping Beauty 2018, — Albrecht in Maina Gielgud’s Giselle 2015 Repertoire highlights 2017, 2015 — Puck in Frederick Ashton’s The Dream 2015 — Albrecht in Maina Gielgud's Giselle 2015, 2006 — Wayne McGregor’s Infra (2017), Chroma (2014) and Dyad 1929 — Solor in ’s La Bayadère 2014 — Prince Siegfried in Graeme Murphy’s Swan Lake 2008 – 2015 (2013) — The Prince in Peter Wright’s The Nutcracker 2014 — des Grieux in Sir Kenneth MacMillan’s Manon 2014, 2008 — Viktor Gvosky's Grand pas classique 2017, 2016 — Basilio in Rudolf Nureyev’s Don Quixote 2013 — The Prince in Peter Wright’s The Nutcracker 2014, 2010, 2007 — Franz in Peggy van Praagh's Coppélia 2016 — Principal Man, Mazurka, in Harald Lander's Études 2012 — James in La Sylphide 2013, 2005 — Puck in Frederick Ashton's The Dream 2015 — Mercutio and Tybalt in Graeme Murphy’s Romeo & Juliet 2011 — The Prince in Alexei Ratmansky’s Cinderella, 2013 — The Prince in Peter Wright's The Nutcracker 2014 — First Red Knight in Ninette de Valois’ 2011 — Prince Siegfried in ’ Swan Lake 2013, 2012 — Lescaut in Sir Kenneth MacMillan's Manon 2014 — Sir Kenneth MacMillan’s Concerto 2011 — in ’s Onegin 2012 — Mazurka in Serge Lifar's Suite en blanc 2014 — Graeme Murphy’s Firebird 2009 — Bedroom Pas de deux from Sir Kenneth MacMillan’s Manon with ’s , The Australian Guest appearances Guest appearances Ballet 50th Anniversary Gala, 2012 — The Prince in Peter Wright's The Nutcracker, Birmingham — The Dancers Company tour 2008 — Danilo in Ronald Hynd’s The Merry Widow 2011 Royal Ballet 2018 Awards Guest appearances Awards — Green Room Award nomination for Don Quixote — Cinderella Pas de deux, Sapphire Gala 2015 — Walter Bourke Scholarship 2013 and La Sylphide 2013 — Prince Siegfried in ’s Swan Lake, — Telstra Ballet Dancer Award Nominee 2011 — Maurice Sullivan Scholarship 2013 Ballet 2014 — Maurice Sullivan Memorial Scholarship 2011/12 — Telstra Ballet Dancer Award and Telstra People’s — 1st Chinese International Ballet Gala 2013 Choice Award 2011 — Fall for Dance Festival, New York 2011 You may not know ... — Ballet 50th Anniversary Gala 2011 Brett's favourite city is London: so much so, he once You may not know ... — The Dancers Company tour 2006 flew there for 24 hours just to see a show at the Royal Chengwu likes to watch Japanese anime in his spare time. Opera House. Awards — Green Room Award 'Year’s Work' nomination 2009 — Benois de la Danse Best Male Dancer nomination for Graeme Murphy’s Swan Lake 2009 — Khitercs Hirai Foundation Scholarship 2009 — Green Room Award nomination for Albrecht in Giselle 2006

You may not know ... “I have ticked off a lifelong dream of visiting the Antarctic continent, doing so in our summer break at the end of 2009. Landing at the same site as the famous Australian explorer Sir Douglas Mawson was an awe-inspiring and life-changing experience.”

30 THE AUSTRALIAN BALLET 2019 SEASON AMY HARRIS ROBYN HENDRICKS

“Flawless technique” “Serene beauty” “Jackson is a delightfully impulsive Romeo, Arts Writer Deborah Jones all boyish charm and passion” The West Australian

Amy Harris was born in Ararat, Victoria and began and tap South African-born Robyn Hendricks began ballet classes aged Kevin Jackson’s principal artist position is generously classes at her local ballet school at the age of three. From the eight after her grandfather observed her dancing on her toes supported by Lynnette Harvey age of ten, Amy trained in the with the Carole all the time. Growing up in an academic family, Robyn was the Oliver School of Ballet in Ballarat, and as a Cecchetti scholar she first family member to pursue a creative passion. Training in Born in , Kevin commenced his dance training at the age won bronze and silver medals. In 1999, aged 15, Amy successfully the Cecchetti Syllabus, Robyn travelled to Melbourne in 2001 of seven with the Shirley Farrell Academy of Dance. In 2002 auditioned for The Australian Ballet School. She joined The to participate in the annual Cecchetti International Competition. he graduated from The Australian Ballet School; he joined Australian Ballet in 2002 and was promoted to coryphée in During the competition, she was approached by The Australian The Australian Ballet in 2003 and was promoted to principal 2007, soloist in 2011 and senior artist in 2012. In 2018 she was Ballet School and was asked to audition formally for entrance artist in 2010. In his time with the company, he has performed promoted to principal artist on stage after her performance as into the prestigious national school. During her time at The many lead roles in both classical and contemporary works by Tertulla in the world premiere of Lucas Jervies' Spartacus. Australian Ballet School, Robyn was one of four students choreographers including , Alexei Ratmansky, selected to participate in a student exchange to Canada, where Wayne McGregor, Jirˇí Kylián and Graeme Murphy. Kevin enjoys Repertoire highlights she studied for four weeks with the National Ballet School in the technique and artistry demanded by many different works — The Queen of Hearts in Christopher Wheeldon's Alice's Toronto. She joined The Australian Ballet in 2005; she was but holds the story ballet closest to his heart. © Adventures in Wonderland 2017 promoted to soloist in 2011, to senior artist in 2016, and to Repertoire highlights — Wayne McGregor’s Infra 2017 principal artist the same year. — Aurora and the Lilac Fairy in David McAllister's The Sleeping — in John Neumeier's Nijinsky 2016 Beauty 2017 Repertoire highlights — Prince Désiré in David McAllister's The Sleeping Beauty 2015 — The Stepmother in Alexei Ratmansky's Cinderella 2016 — Gamzatti in Stanton Welch's La Bayadère 2014 — Albrecht in Maina Gielgud’s Giselle 2015 — Baroness von Rothbart in Graeme Murphy's Swan Lake 2016 — Wayne McGregor's Chroma 2014 — Oberon in Frederick Ashton’s The Dream 2015 — William Forsythe's In the Middle, Somewhat Elevated 2016 — Jirˇí Kylián’s Petite Mort 2014, 2005 — Onegin and Lenksy in John Cranko’s Onegin 2012 — Swanilda in Peggy van Praagh’s Coppélia 2016 — Cigarette solo in Serge Lifar’s Suite en blanc 2014 — des Grieux in Sir Kenneth MacMillan’s Manon 2014, 2008 — Romola in John Neumeier's Nijinsky 2016 — Second Ballerina in George Balanchine's Ballet Imperial 2014 — Prince Siegfried in Graeme Murphy’s Swan Lake 2014, 2013, — Twyla Tharp's In the Upper Room 2015 — Black Swan Pas de deux 2012 2009 — Hanna in The Merry Widow 2011 — Principal Lady in 2014 — Romeo in Graeme Murphy's Romeo & Juliet 2011 — Christopher Wheeldon's After the Rain© 2011 — ’ A Suite of Dances 2008 Guest appearances — Wayne McGregor's Dyad 1929 2009 — George Balanchine’s 2007 — Principal Lady in Paquita and Odile in Swan Lake, The Dancers — Nacho Duato's Por vos muero 2009 Company tour 2013 Guest appearances Guest appearances — The Prince in Stanton Welch's The Nutcracker, Houston Ballet Awards — Fall for Dance Festival 2014, 2012 2016 — Telstra Ballet Dancer Award 2012 — The Dancers Company tour 2014, 2008 — des Grieux in Kenneth MacMillan's Manon, American Ballet — Telstra People’s Choice Award 2008, 2010 Theatre (exchange artist) 2014 Awards — Lucas Jervies' Human/Abstract, JACK Productions, 2010 You may not know ... — Telstra Ballet Dancer Award nominee 2015, 2011, 2009, 2007 Amy is married to fellow dancer Jarryd Madden, and they Awards have a daughter, Willow Ava Madden. You may not know ... — Nomination for the Benois de la Danse award for Robyn is interested in the horse-breeding industry Jack/Knave in Christopher Wheeldon's Alice's Adventures and owns a horse with her husband Charles Thompson, in Wonderland©, 2017 a former member of The Australian Ballet. — Helpmann Award for Best Male Dancer, Nijinsky, 2017 — Telstra Ballet Dancer Award 2008 — Khitercs Hirai Foundation Scholarship 2007

Choreographic works — Encomium for Bodytorque.Muses 2011 — Enter Closer for Bodytorque.2.2 2009

You may not know ... Kevin holds a Vocational Graduate Diploma in Elite Dance Instruction from The Australian Ballet School, and has a keen interest in teaching the next generation of dancers.

THE AUSTRALIAN BALLET GISELLE 31 PRINCIPAL ARTISTS

ANDREW KILLIAN TY KING-WALL AKO KONDO

“Immaculate and debonair” “Attains impressive heights” “Poised and elegant” Dance Australia New Zealand Theatre Review The Age

Melbourne-born Andrew Killian, a student of The Australian Born in Waihi, New Zealand, Ty King-Wall started dancing at Ako was born in Nagoya, Japan in 1991. At three years old she Ballet School, joined The Australian Ballet in 2000 and was the age of seven. He received his early ballet training at the began her training at the Shiho Kanazawa Ballet Studio. In 2005 promoted to principal artist in 2011. During his time with The Dance Education Centre in Tauranga. A Junior Associate of Ako won second prize at the Japan Grand Prix, and in 2006 Australian Ballet Andrew has thoroughly enjoyed performing the New Zealand School of Dance, he left New Zealand at 16 to she studied at The ’s International Summer leading roles in the company’s extensive classical repertoire study full-time at The Australian Ballet School. Upon graduating School. In 2007 she was awarded The Australian Ballet School including Lescaut in Sir Kenneth MacMillan’s Manon, the Prince dux with honours, Ty was accepted into The Australian Ballet Tuition Scholarship, which was announced at the Youth America in Peter Wright’s The Nutcracker, Prince Siegfried in Stephen in 2006. Since joining the company, Ty has danced numerous Grand Prix. Ako toured with The Dancers Company in 2008 Baynes’ Swan Lake and the Cavalier in George Balanchine’s principal roles, and had the role of Ceyx created on him in Tim and in 2010 joined The Australian Ballet. She was promoted Ballet Imperial. Andrew has also been involved in the creation Harbour’s Halcyon. He was promoted to soloist in 2010, to to principal artist in April 2015 following her debut as Giselle, of many new works including Stephen Baynes’ Constant senior artist in 2011, and to principal artist in 2013. becoming The Australian Ballet's first Japanese principal artist. Variants and Tim Harbour’s Wa, and has performed in most of The Australian Ballet’s Bodytorque seasons. He enjoys working Repertoire highlights Since joining The Australian Ballet, Ako has performed a variety closely with choreographers and offers a unique versatility — Albrecht in Maina Gielgud’s Giselle 2015 of classical and contemporary works by choreographers such that places him in high demand. Andrew has toured with The — Solor in Stanton Welch’s La Bayadère 2014 as Forsythe, McGregor, Murphy, Ratmansky and Wheeldon, and Australian Ballet to Auckland, Tokyo, Shanghai, New York, — Basilio in Rudolf Nureyev’s Don Quixote 2013 danced principal roles in ballets by choreographers such as Los Angeles, London and Paris. — Principal Man in Harald Lander’s Études 2012 Ashton, Balanchine, Lifar, MacMillan and Wright. — Prince Siegfried in Stephen Baynes’ Swan Lake 2012 Repertoire highlights — Lensky in John Cranko’s Onegin 2012 Repertoire highlights — Prince Siegfried in Graeme Murphy’s Swan Lake 2015, 2014 — Pinkerton in Stanton Welch’s Madame Butterfly 2011 — Alice in Christopher Wheeldon's Alice's Adventures in © — Wayne McGregor’s Chroma and Dyad 1929 2014, 2013 — The Prince in Peter Wright’s The Nutcracker 2014, 2010 Wonderland 2017 — Lescaut in Sir Kenneth MacMillan’s Manon 2014, 2008 — Franz in Peggy van Praagh’s Coppélia 2010 — Wayne McGregor's Infra 2017 — Jirˇí Kylián’s Petite Mort and Bella Figura 2014, 2013 — Prince Florimund in Stanton Welch’s The Sleeping — Aurora in David McAllister's The Sleeping Beauty 2017, 2015 — Christopher Wheeldon’s After the Rain© 2011, 2007 Beauty 2015 — Swanilda in Peggy van Praagh's Coppélia 2016 — The Prince in Peter Wright’s The Nutcracker 2010 — Odette/Odile in Stephen Baynes' Swan Lake 2016 — Jerome Robbins’ A Suite of Dances and The Cage 2008 Awards — William Forsythe's In the Middle, Somewhat Elevated 2016 — ’s Rites 2008 — Telstra Ballet Dancer Award 2010 — Cinderella in Alexei Ratmansky's Cinderella 2015 — Jirˇí Kylián’s Stepping Stones 2005 and Forgotten Land — Khitercs Hirai Foundation Scholarship 2013 — Giselle in Maina Gielgud’s Giselle 2015 2016, 2005 — Lissa Black Scholarship 2011 — Lescaut’s Mistress in Kenneth MacMillan’s Manon 2014 — Silver Medal, Asia Pacific International Ballet — Kitri in Rudolf Nureyev's Don Quixote 2013 Awards Competition 2005 — Green Room Award ‘Year’s Work’ nomination 2012 — PACANZ Young Performer of the Year Award 2002 Guest appearances — Telstra Ballet Dancer Award nominee 2009, 2006 — Odette/Odile in Derek Deane's Swan Lake, Shanghai Ballet Guest appearances 2017 Guest appearances — Prince Siegfried in Russell Kerr’s Swan Lake with — Yokohama Ballet Festival 2017, 2016 — Fool’s Paradise with Morphoses 2009 2013 — The Dancers Company tour 2012, 2011 — The Nutcracker with Houston Ballet 2007 — Les Sylphides and Aurora’s Wedding, The Dancers Company tour 2008 Awards You may not know ... — Helpmann Award for Best Female Dancer for Christopher Andrew is still struggling to learn how to cook and You may not know ... Wheeldon's Alice's Adventures in Wonderland© 2018 cried like a baby at his best friend’s wedding. Ty is an avid follower of cricket, rugby union and AFL. — Nomination for Australian Dance Award for Outstanding He is also a long-time fan of Hergé’s The Adventures of Performance by a Female Dancer for Christopher Wheeldon's Tintin comics, and wants to start brewing his own beer. Alice's Adventures in Wonderland© 2018 — Nomination for the Benois de la Danse for Alice in Christopher Wheeldon's Alice's Adventures in Wonderland© 2017 — Australian Dance Award for Outstanding Performance by a Female Dancer in Peggy Peggy van Praagh's Coppélia 2016 — Telstra Ballet Dancer Award nominee 2015, 2012 — Susan Morgan Scholarship 2013

You may not know ... Ako is currently learning her third language, Chinese, and plans to learn more languages in the future.

32 THE AUSTRALIAN BALLET 2019 SEASON PRINCIPAL ARTISTS GENEROUSLY SUPPORTED BY LES ÉTOILES

AMBER SCOTT

“Alluring calmness and superb artistry” NSW/QLD Fjord Review Hayley Baillie Mrs Barbara Bedwell Mrs Susan Chisholm Amber Scott’s principal artist position is generously Mrs Bar Cohen supported by Barbara Duhig Mrs Shanny Crouch Amber Scott joined The Australian Ballet School at age eleven. Mrs Gordon Douglass AM After graduating as dux, she joined The Australian Ballet in Mrs Jane Freudenstein 2001. In 2003 she spent four months on a dancer exchange at the , giving her the opportunity to learn Bozena Gawart the Bournonville technique firsthand. Amber was promoted to Mrs Lynnette Harvey principal artist in 2011 after performing the Second Movement from Sir Kenneth MacMillan’s Concerto. Career highlights include Roland Howlett working with Wayne McGregor on Dyad 1929 and Chroma; Mrs Frances Ingham dancing with Robert Tewsley during the 2008 Manon season, Sarah Ingham Damian Smith in Christopher Wheeldon’s After the Rain© Pas de deux in 2012 and in Alexei Ratmansky’s Mrs Loraine McLaren Cinderella in 2013. Mrs Helen O'Neil

Repertoire highlights Mrs Roslyn Packer AC — Swanilda in Peggy van Praagh’s Coppélia (with David Hallberg Dr Valmai Pidgeon AM of American Ballet Theatre) 2016 Mrs Nancy Reardon- — Aurora and the Lilac Fairy in David McAllister’s The Sleeping Beauty 2015 Fonseca — Giselle in Maina Gielgud’s Giselle 2015 Mrs Kelly Wyborn — Nikiya in Stanton Welch’s La Bayadère 2014 — The Sugar Plum Fairy in Peter Wright’s The Nutcracker 2014, 2010 VIC — Odette/Odile in Stephen Baynes’ Swan Lake 2013, 2012 Mrs Mary Barlow — Odette in Graeme Murphy’s Swan Lake 2004 – 2015 Mrs Di Bertalli — Manon in Sir Kenneth MacMillan’s Manon 2014, 2008 — Tatiana in John Cranko's Onegin 2012 Lisa Bolte — Hanna in Ronald Hynd's The Merry Widow 2011 Ms Natasha Bowness

Awards Ms Robin Campbell — Helpmann Award nomination for Stephen Baynes’ Angie Carter Swan Lake 2013 — Telstra Ballet Dancer Award and Telstra People's Choice Mrs Maureen Crawford Award 2004 Mrs Annette Davis — First Place Junior Asian Pacific Competition, Tokyo 1999 Alane Fineman — Adeline Genée Awards, bronze medal 1998 Prue Gillies AM Guest appearances Ms Val Harding — Odette/Odile in Derek Deane’s Swan Lake with the Shanghai Ballet 2014 Ms Linda Herd — International Gala 2013 Rosie Lew — Odette/Odile in Russell Kerr's Swan Lake with Royal New Ms Jodie Maunder Zealand Ballet 2013 — Fall for Dance Festival, New York City ('s Gemini) 2011 Lady Potter AC CMRI — The 's 50th Anniversary Gala (Molto Vivace Linton Soderholm Pas de deux) 2011

You may not know ... Amber first danced with David Hallberg, of American Ballet Theatre, in The Australian Ballet’s 2013 Sydney season of Alexei Ratmansky’s Cinderella. In 2016, she again partnered David in the company’s Sydney season of Coppélia, his first performances after a two-and-a-half-year break recovering from injury.

THE AUSTRALIAN BALLET GISELLE 33 SENIOR ARTISTS

DIMITY AZOURY BENEDICTE BEMET JARRYD MADDEN CRISTIANO MARCUS MORELLI DANA STEPHENSEN MARTINO

“deliciously precise” “sweetness, buoyancy and “Superb” “fresh and alluring” “fleet-footed precision” “a true delight”

Simon Parris: Man in Chair freedom” The Daily Telegraph Bachtrack Sydney Morning Herald Bachtrack Arts writer Deborah Jones Dimity Azoury began dancing Benedicte Bemet was born Encouraged by his dance Cristiano Martino began Marcus Morelli was born in At the age of three Dana at the age of four in her in Mackay in 1994, and teacher mother, Jarryd ballet in his hometown of Melbourne and started dance Stephensen began her training home town of Queanbeyan, started ballet at the age of Madden started dancing at Adelaide at The Barbara classes at the age of ten. He in ballet, jazz, tap and singing NSW. She studied for three. She grew up on the the age of three at his local Jayne Dance Centre. He studied at the Jane Moore with Davidia Lind in her eleven years at the Kim Gold Coast and began her dance school in Wauchope, moved to Melbourne in 2009 Academy of Ballet and The hometown of . She Harvey School of Dance in training at the Ransley's NSW. He remained there to join The Australian Ballet Australian Ballet School, and later trained with Mary Heath Canberra before moving to Ballet Centre. When she until 2005 when, age 16, he School, where he trained for toured with The Dancers and Sandra Ashley. In 2001 she The Australian Ballet School was ten her family relocated joined Melbourne’s National four years before graduating Company in 2013. He joined obtained her Royal Academy in 2005. She was accepted to Hong Kong, where she Theatre Ballet School. as dux. He joined The The Australian Ballet in 2014; of Dance Solo Seal from the into The Australian Ballet continued her ballet training After a guest stint with The Australian Ballet in 2013; he he was promoted to coryphée Queensland Dance School of in 2008, where she had the at the Jean M. Wong School Australian Ballet during was promoted to coryphée in 2015, and to soloist in 2017, Excellence. Dana joined The opportunity to travel to of Ballet. She was accepted the 2007 season of Peter in 2015, to soloist in 2017 after dancing the Bluebird Australian Ballet School in Paris, London, New York, into The Australian Ballet Wright’s The Nutcracker, and to senior artist in 2018. in The Sleeping Beauty. 2002. In her graduating year Japan, San Francisco and School at age 14. In her time Jarryd officially joined the He was promoted to senior she was seconded to The Los Angeles. She has loved at the school she received company at the beginning of Repertoire highlights artist after the 2018 season Australian Ballet to perform in — Spartacus in Lucas Jervies' working with many choreog- the Award for Excellence in 2008; he was promoted to of Spartacus. various seasons before joining Spartacus 2018 raphers including Nicolo Level 6; in 2009 she was sent coryphée in 2011, to soloist the company full-time in 2005. — The Prince in Alexei Fonte, Graeme Murphy, Tim to New York and Canada to in 2015 and to senior artist Repertoire highlights She has since enjoyed interna- Ratmansky's Cinderella Harbour, Stephen Page and represent the school in the in 2017. A versatile artist, — Stanislav Nijinsky in John tional tours to Los Angeles, 2018 Stephen Baynes. Dimity student exchange program. Jarryd has performed in every Neumeier's Nijinsky 2016 New York, UK, Auckland, — Prince Désiré and was promoted to soloist in Benedicte toured with The Bodytorque season since — Actéon in Diana and Shanghai, Tokyo, and Paris. the Bluebird in David 2015 following her debut as Dancers Company in 2010 joining the company. Actéon Pas de deux 2016 Her Khitercs Hirai Scholarship McAllister's The Sleeping Baroness von Rothbart in and 2011. She joined The — The Bluebird in David enabled her to gain invaluable Beauty 2017 Graeme Murphy’s Swan Lake, Australian Ballet in 2012; she Repertoire highlights McAllister's The Sleeping experience training with — Wayne McGregor's Infra and to senior artist in 2017. was promoted to coryphée in — Jack/Knave of Hearts, Mad Beauty 2015 numerous ballet companies in 2017 2013, to soloist in 2016 and to Hatter and Caterpillar in — Puck in Frederick Ashton’s Europe. Dana was promoted — The Golden Slave/Faun in Repertoire highlights senior artist in 2018. Christopher Wheeldon's The Dream 2015 to coryphée in 2010 and later John Neumeier's — Alice in Christopher Alice's Adventures in Nijinsky — Peasant Pas de deux in that year won the Telstra Ballet © 2016 Wheeldon's Alice's Repertoire highlights Wonderland 2017 Maina Gielgud’s Giselle Dancer Award. Dana was — Swanilda in Peggy van — Benno in Stephen Baynes' Adventures in — Doctor/Beloved Officer 2015 promoted to soloist in 2012 and © Praagh's 2016 2016 Wonderland 2017 Coppélia in Graeme Murphy's Swan Lake — Earl’s Equerry in Graeme to senior artist in 2018. — Aurora in David —  William Forsythe's In the Nutcracker – The Story of — Viktor Gvosky's Grand pas Murphy’s Swan Lake 2015 McAllister's The Sleeping Middle, Somewhat Elevated Clara 2017 classique 2016 — in Peter Wright’s Repertoire highlights Beauty 2017 2016 — Wayne McGregor's Infra — Oberon in Frederick The Nutcracker 2014 — Stepmother in Alexei — Clara in Graeme Murphy's — Viktor Gvosky's Grand pas 2017 Ashton’s The Dream 2015 — Agni the Fire God and Ratmansky’s Cinderella Nutcracker – The Story of classique 2016 — Franz in Peggy van — Frederick Ashton’s Fakir in Stanton Welch’s 2018, 2013 Clara 2017 — Second Region Pas de Praagh's Coppélia 2016 Symphonic Variations 2015 La Bayadère 2014 — Tertulla in Lucas Jervies' — Wayne McGregor's Infra deux in Christopher — William Forsythe's In — Jirˇí Kylián’s Petite Mort — Pas de cinq in Serge Lifar’s Spartacus 2018 2017 Wheeldon's DGV©: Danse the Middle, Somewhat 2014 Suite en blanc 2014 — Tim Harbour's Filigree and — Swanilda in Peggy van à grande vitesse 2016 Elevated 2016 Shadow 2018 Praagh's Coppélia 2016 — Third Movement Principal — Twyla Tharp's In the Upper Awards Awards — Valencienne in Ronald Hynd's — Telstra Ballet Dancer — Baroness von Rothbart in in George Balanchine's Room 2015 — Telstra People’s Choice The Merry Widow 2018 Award nominee 2014 Graeme Murphy's Swan 2016 — Jirˇí Kylián’s Bella Figura Award 2015 — Princess Florine and the Lake 2016, 2015 — Aurora and Princess 2013 Fairy of Temperament You may not know ... — Tim Harbour's Filigree and Florine in David — Wayne McGregor's Dyad Cristiano is still best friends You may not know ... in David McAllister's The Shadow 2015 McAllister's The Sleeping 1929 2013, 2009 with his first dancing Marcus enjoys playing Sleeping Beauty 2018, 2017 — Twyla Tharp's In the Upper Beauty 2015 — Nacho Duato's Por vos partner, whom he’s known video games, watching TV, — Dawn in Peggy van Room 2015 — Peasant Pas de deux in muero 2009 from the age of ten; she and skateboarding in his Praagh's Coppélia 2016 — Myrtha in Maina Gielgud's Maina Gielgud’s Giselle 2015 — Nicolo Fonte’s Possibility often comes to see him spare time. — Giselle in Giselle (The dance. Giselle 2015 — Clara in Peter Wright’s Space 2008 Australian Ballet's Regional — Jirˇí Kylián's Bella Figura The Nutcracker 2014 Tour 2016) 2013 — Sérénade Variation in Serge Awards — Lescaut's Mistress in Lifar’s Suite en blanc 2014 — Telstra People's Choice Sir Kenneth MacMillan’s Award 2016 Awards — Soloist in Paquita 2013 Manon 2014 — Telstra Ballet Dancer — Telstra Ballet Dancer — Rose Fairy in Peter Wright’s Award, 2014 Guest appearances Award nominee 2012 The Nutcracker 2014 — Paquita and Swan Lake Act — Telstra Ballet Dancer — Wayne McGregor’s Infra III, The Dancers Company You may not know ... Award nominee (2017), Chroma (2014) and tour 2015 Jarryd is an avid comic 2012 Dyad 1929 (2013, 2009) book collector, movie — Susan Morgan Scholarship  Awards buff and music lover. 2012 — Telstra Ballet Dancer He is a first-time parent Guest appearances — Kitri in Don Quixote, The Award 2015 to beautiful daughter You may not know ... — Khitercs Hirai Foundation Dancers Company tour 2010 Dimity loves animals, Willow with fellow Scholarship 2014 Awards especially wombats, giant dancer Amy Harris. — Green Room Award — Telstra Ballet Dancer anteaters and draft horses.  nomination for Clara in Award 2010 The Nutcracker 2014 — Khitercs Hirai Foundation Scholarship 2008 — Telstra People’s Choice Award 2013 You may not know ... Dana has a young son You may not know ... Benedicte loves baking called Jasper who is the and cooking anything light of her life. She writes involving chocolate! when she can on her blog The Balance Point(e) 34 THE AUSTRALIAN BALLET 2019 SEASON (thebalancepointe.com) VALERIE JADE WOOD TERESHCHENKO

“Magnificent” “Graceful strength”

The Border Mail Dance Australia

Valerie Tereshchenko was Jade Wood was born in born in Kiev, Ukraine. She Cairns, Queensland, and immigrated to Australia with started dancing at the age her family when she was six of three at the Jillanne years old and a year later Reynolds School of Dance. took her first ballet class. After moving with her family Valerie's talent for movement to Portugal for a year when was nurtured at a number she was ten, she returned of Melbourne-based dance to Cairns and joined The schools, including West Australian Ballet School’s Point Ballet Academy, Interstate Junior Programme, Ballet Theatre of Victoria, traveling to Melbourne a few and the Australian Interna- times per year. In 2004, Jade tional School of Coaching. relocated to Melbourne to Valerie later joined The attend The Australian Ballet Australian Ballet School. School. She toured with The In 2008 she participated in Dancers Company in 2009 a school exchange in North and 2010 and joined The America and that same year Australian Ballet in 2011. She performed with The Dancers has toured internationally Company tour for the second with the company to New time. In 2009 she joined The York, Los Angeles, Berkeley, Australian Ballet; she was Beijing, Shanghai and promoted to coryphée London. She was promoted in 2015, to soloist in 2017 to coryphée in 2015, to soloist and to senior artist in 2018. in 2017 and to senior artist in 2018. Repertoire highlights — The Lilac Fairy in David Repertoire highlights McAllister’s The Sleeping — Cinderella in Alexei Beauty 2017, 2015 Ratmansky's Cinderella — Wayne McGregor’s Infra 2018 2017 — Princess Florine and the — Lead Swan in Stephen Fairy of Musicality in David Baynes' Swan Lake 2016 McAllister's The Sleeping — Viktor Gvosky's Grand pas Beauty 2018, 2017, 2015 classique 2016 — Alice in Christopher — William Forsythe's In Wheeldon's Alice's the Middle, Somewhat Adventures in Elevated 2016 Wonderland© 2017 — Russian Dancer in Stephen — Giselle in The Australian Baynes' Swan Lake 2016, Ballet's Regional Tour of 2012 Giselle, 2017 — Myrtha, Queen of the Wilis — Valencienne in Ronald in Maina Gielgud’s Giselle Hynd's The Merry Widow 2015 2018 — Guardian Swan in Graeme — Firebird in Graeme Murphy’s Swan Lake 2015 Murphy's Firebird 2018 — Stepmother in Alexei — Viktor Gvosky's Grand pas Ratmansky’s Cinderella classique 2017 2014 – 2016 — 4th Movement Principal in George Balanchine's Awards Symphony in C 2017 — Telstra Ballet Dancer — 's Award 2017 Diana and Actéon Pas de — Telstra Ballet Dancer deux 2016 Award nominee 2013 — ‘Bomb Squad’ Ballerina in Twyla Tharp's In the Upper Guest appearances 2015 — Paquita and Swan Lake Act Room

III, The Dancers Company Awards tour 2015 — Telstra Ballet Dancer Award and People's Choice You may not know ... Valerie speaks fluent Award 2018 Russian. — Telstra Ballet Dancer Award nominee 2016, 2014

You may not know ... Jade and her fiancé are proud owners of two long-haired miniature dachshunds named Bentley and Winter. Chengwu Guo. Photography Lynette Wills

THE AUSTRALIAN BALLET GISELLE 35 SOLOISTS

IMOGEN CHAPMAN NICOLA CURRY INGRID GOW BRODIE JAMES NATASHA KUSEN CALLUM LINNANE

Imogen was born in Perth, Nicola Curry grew up in Ingrid Gow was born in Brodie James was born Born in Sydney, Natasha Callum Linnane grew up in Western Australia. She began Colorado Springs, USA. At Randwick, Sydney in 1987. in Perth and began his Kusen began dancing at the Ballarat, Victoria, where he ballet at the age of three, and the age of 14, she moved to She knew from the age of dance training with jazz age of four. She trained with began tap-dancing classes at at the age of eleven moved Toronto to train at Canada’s four that she wanted to grow and acrobatics at the Jody Nicholina Kuner’s Academy the age of seven. He started to Melbourne to continue National Ballet School, where up to be a ballerina. Her Marshall Dance Company Ballet in Randwick. In 2001 ballet classes when he was her training at The Australian she received the Erik training began at Academy in 2001. He trained at The Natasha won a scholarship at eleven. He trained with Ballet School. In 2007 she Bruhn Memorial Award for Ballet in Sydney and Graduate College of Dance the to study Lauren Young before being moved to London to accept Excellence in Ballet. At the continued at the New Zealand from 2005 under the at The Royal Ballet School in accepted into The Australian a place at The Royal Ballet age of 18, Nicola moved School of Dance. In 2007 direction of Dawn Weller. He London. While still a student, Ballet School in 2008. Callum School, graduating in 2010. to New York City to join Ingrid successfully auditioned was offered a scholarship to she toured with The Royal toured with The Dancers During her time at The Royal American Ballet Theatre, for Royal New Zealand Ballet, attend The Australian Ballet Ballet to Australia in 2002 Company in 2013 and 2014; Ballet School, she performed where she danced for ten where she danced for three School in 2008; while there and Russia in 2003. Upon he joined The Australian with The Royal Ballet in years. While at ABT, she years. Ingrid joined The he spent time studying at graduation in 2003, Natasha Ballet in 2015. He was productions including performed featured roles Australian Ballet in 2010; she Canada’s National Ballet came home to Australia promoted to coryphée in La Bayadère, Giselle and such as Hermia in Frederick was promoted to coryphée School as an exchange to join The Australian 2017 and to soloist in 2018. Cinderella, toured to Japan Ashton’s The Dream, a Big in 2013 and to soloist in 2018. student. He toured with The Ballet. In 2006 she was the with the School, and was Swan in Kevin McKenzie’s Dancers Company in 2011 recipient of the George Repertoire highlights chosen (in her second year of Swan Lake, Her Stepsister in Repertoire highlights and joined The Australian Garratt Scholarship, which — Jack/Knave of Hearts in training) to tour with Carlos James Kudelka’s Cinderella, — Princess Royal in Graeme Ballet in 2012. In 2014 he enabled her to gain valuable Christopher Wheeldon's Acosta, performing Apollo in Lady Capulet in Sir Kenneth Murphy’s Swan Lake 2015 participated in a dancer experience visiting European Alice's Adventures in Valencia. After her graduation MacMillan’s Romeo and — Richard House’s Control exchange, performing with ballet companies. Natasha Wonderland© 2017 she joined the Scottish Juliet, and Tall Pas d’Action and Finding the Calm for the Royal Ballet of Flanders was promoted to soloist — Second Movement Ballet before joining The in Natalia Makarova’s La Bodytorque 2014, 2013 in Antwerp. He was promoted in 2013. Principal in George Australian Ballet in 2011. She Bayadère, along with a variety — Frederick Ashton’s to coryphée in 2017, and to Balanchine's Symphony was promoted to coryphée in of other featured roles in Symphonic Variations 2015 soloist in 2018. Repertoire highlights in C 2017 2016 and to soloist in 2018. ballets by George Balanchine, — Jiří Kylián's Petite Mort — Frederick Ashton’s — Vaslav Nijinsky in John Twyla Tharp, John Neumeier 2014 Repertoire highlights II and The Neumeier's Nijinsky 2016 Repertoire highlights and Alexei Ratmansky. She — Jiří Kylián's Bella Figura — The Prince in Alexei Dream 2015 — William Forsythe's In — Prayer in Peggy van has toured with American 2013 Ratmansky's Cinderella — Jirˇí Kylián's Petite Mort, the Middle, Somewhat Praagh's Coppélia 2016 Ballet Theatre to , — Skinny Stepsister in Alexei 2018 Sechs Tänze, Bella Figura Elevated 2016 — Guardian Swan in Graeme Muscat, Oman, Abu Dhabi, Ratmansky's Cinderella — Tim Harbour's Filigree and and Stepping Stones 2014, — First Movement Principal Murphy’s Swan Lake 2016, London, Paris, Tokyo, Beijing, 2016, 2015, 2013 Shadow 2018 2013, 2005 in George Balanchine's 2015 Seoul, Taipei and numerous — Garry Stewart's Monument — The Caterpillar in — Third Shade variation and Symphony in C 2016 — Lead Swan in Stephen US cities. Nicola joined The 2013 Christopher Wheeldon's Ajah in Stanton Welch’s — Stomper in Twyla Tharp's Baynes' Swan Lake 2016 Australian Ballet in 2015. — Lady Capulet in Graeme Alice's Adventures in La Bayadère 2014 In the Upper Room 2015 — William Forsythe's In Murphy's Romeo & Juliet Wonderland© 2017 — Snow Fairy and Arabe — Tim Harbour's Filigree and in Peter Wright’s the Middle, Somewhat Repertoire highlights 2011 — Viktor Gsovsky's Grand pas The Shadow 2015 Elevated 2016 — in John — Grand Matriarch in Ronald classique 2017, 2016 Nutcracker 2014 — Lead Swan in Stephen — Venus in Alexei Neumeier's Nijinsky 2016 Hynd's The Merry Widow — 1st Movement Soloist Awards Ratmansky's Cinderella — Lead Swan and Spanish 2011 in George Balanchine's Baynes’ Swan Lake 2012 — Telstra Ballet Dancer Award 2016, 2015 Dancer in Stephen Baynes' Symphony in C 2017 — Suzuki in Stanton Welch’s 2016 — Fairy of Joy in David Swan Lake 2016 Awards — Albrecht in Giselle Madame Butterfly 2011 — Prayer in Peggy van McAllister's The Sleeping — William Forsythe's In — Telstra Ballet Dancer (Regional Tour) 2016 You may not know ... Beauty 2015 the Middle, Somewhat Award nominee 2014 — 'White Couple' in Jiří Praagh’s Coppélia 2010 Callum is related to — Twyla Tharp's In the Upper Elevated 2016 Kylián's Forgotten Land — Nacho Duato’s Por vos Lieutenant-Colonel Vivian muero 2009 Room 2015 — The Lilac Fairy and Fairy of You may not know ... 2016 Bullwinkel, AO, MBE, ARRC, ED, — Calliope in George — Tim Harbour's Filigree and Grace in David McAllister's Ingrid loves reading and — Frederick Ashton’s FNM, an Australian Army Shadow 2015 The Sleeping Beauty 2015 adding to her high-heel Monotones II 2015 Balanchine’s Apollo 2009 nurse during the Second — ‘Stomper’ in Twyla Tharp's collection. — Garuda the Dream God — Christopher Wheeldon’s World War and the sole © Awards In the Upper Room 2015 in Stanton Welch’s La Continuum 2004 surviving nurse of the — Telstra Ballet Dancer Bayadère 2014 Bangka Island Massacre, Awards People’s Choice Award which took place on 16 Guest appearances — Telstra Ballet Dancer 2014 — Myrtha, Queen of the Wilis February 1942. Vivian Guest appearances Award nominee 2013, 2010 in Giselle, The Australian — Paquita and Swan Lake Act was an Australian hero.  — George Garrett Scholarship Ballet Regional Tour 2016 III, The Dancers Company You may not know ... 2006 Imogen is very fond of tour 2015 animals, the bush, live Awards You may not know ... music and spending time — Telstra Ballet Dancer Awards Natasha curates her own at her family home in Award nominee 2016 — Telstra Ballet Dancer style blog, Studio to Street Perth's hills. Award nominee 2018, 2016 (studiotostreet.com.au), an You may not know ... additional creative outlet Nicola is a qualified Pilates You may not know ... where she combines her instructor. She can also Brodie is currently two passions, dance and be seen performing in the studying a bachelor fashion, through creative ballet class scenes in the of media and writing and photography. 2010 Oscar Award-winning communications online. filmBlack Swan.

36 THE AUSTRALIAN BALLET 2019 SEASON JAKE KAREN NANASCA RINA NEMOTO JILL OGAI CHRISTOPHER SHARNI SPENCER MANGAKAHIA RODGERS-WILSON

Jake was born on the Karen Nanasca was born Rina Nemoto was born in Jill Ogai was born in Sydney Christopher Rodgers-Wilson Sharni Spencer was born in Sunshine Coast, Queensland. in Auckland, New Zealand. Tokyo, Japan, and began in 1993, and grew up on Bondi was born in but Lismore NSW and grew up As soon as his parents Hailing from an athletic dancing at the age of three. Beach. At the age of four grew up in Melbourne, in Tamworth and Newcastle. discovered that their baby family, she followed in their At the age of 15, she travelled she and her twin brother, starting ballet classes at the She began dance classes was bopping his little head to footsteps by studying ballet to Paris for two years of after watching a ballet video, age of six. He trained at the when she was three years any music he heard, they put from the age of seven. training with surprised their parents by Camberwell District Ballet old and studied at Sally him into dance classes. At the Her natural talent was Daini Kudo and Dominique asking if they could start School before moving to Kefts School of Dance and age of ten Jake successfully immediately noticed and Khalfouni. In 2009, Rina was ballet classes. She began at London to study at The Royal Marie Walton Mahon Dance auditioned for The Australian nurtured by her teachers at awarded a Prix de Lausanne The Ballet Class Rose Bay. Ballet School, where he won Academy before joining New Ballet School. At the age of the Mt Eden Ballet Academy. scholarship and joined The When her family moved the Charles Wall scholarship Zealand School of Dance. 18 he joined The Australian She won the New Zealand Royal Ballet as an apprentice to Adelaide she continued and the Kenneth MacMillan Sharni joined The Australian Ballet. He was promoted National Ballet Award in dancer. She joined The training with Sheila Laing Trust Scholarship, and toured Ballet at the beginning of to coryphée in 2017 and to 2004, followed by a placing Australian Ballet in 2011; she and Elayne Cherry before to Germany and Dubai. 2008 and was promoted soloist in 2018. in the semi-finals of the Prix was promoted to coryphée in moving to Melbourne at age Chris joined the Birmingham to coryphée in 2012 and to de Lausanne in 2005. In 2016 and to soloist in 2018. 14 to begin full-time studies at Royal Ballet in 2007. Career soloist in 2017. She was the Repertoire highlights 2006 she was the recipient The Australian Ballet School. highlights included the pas de recipient of the Khitercs Hirai — Tim Harbour's Squander of the Elizabeth McDonald Repertoire highlights Jill toured with The Dancers quatre in Peter Wright’s The Foundation Scholarship in and Glory 2017 Scholarship, allowing her to — Alice in Christopher Company in 2010 and 2011 Sleeping Beauty, the pas de 2012, and used it to spend — Vaslav Nijinsky in John cross the Tasman and join Wheeldon's Alice's and joined The Australian six in Swan Lake, Rose Fairy three months rehearsing Neumeier's Nijinsky 2016 The Australian Ballet School. Adventures in Ballet in 2012. She was Cavalier in Peter Wright’s The and performing Giselle with © — Stephen Page's Waramuk - Karen became a member of Wonderland 2017 promoted to soloist in 2018. Nutcracker, First Seminarian . in the dark night 2012 The Australian Ballet's corps — Fairy of Grace and Fairy in David Bintley’s Carmina — Graham Murphy's Beyond de ballet in 2009 and was of Generosity in David Repertoire highlights Burana, the Mandolin Dance Repertoire highlights Twelve 2012 promoted to coryphée in McAllister's The Sleeping — Fairy of Temperament and in Sir Kenneth MacMillan’s — Cinderella in Alexei — Gary Stewart's Monument 2012; she was promoted to Beauty 2017, 2015 Princess Florine in David Romeo and Juliet, Grosse Ratmansky's Cinderella 2011 soloist in 2018. — Pas de trois from Stephen McAllister's The Sleeping Fugue by Hans van Manen 2018 Baynes' Imaginary Masque Beauty 2017, 2015 and In the Upper Room by — Valencienne in Ronald Awards Repertoire highlights 2017 — Tim Harbour's Squander Twyla Tharp. He toured with Hynd's The Merry Widow — Telstra People's Choice — Giselle in Giselle (The — Pas de deux from Stephen and Glory 2017 the BRB to Japan, China 2018 Award 2017, 2012 Australian Ballet's Regional Baynes' Molto Vivace — Diana and Actéon Pas de and the USA. He joined The — The Fairy of Generosity Tour) 2017, 2016 (Ballet Under the Stars deux 2017, 2016 Australian Ballet in 2011; he in David McAllister’s The — Fairy of Temperament You may not know ... 2017) — The Duchess in Stephen was promoted to coryphée Sleeping Beauty 2017, 2015 In 2014 Jake made the in David McAllister’s The — La Sieste in Serge Lifar's Baynes' Swan Lake 2016 in 2013 and soloist in 2016. — The Countess in Stephen decision to take a two-year Sleeping Beauty 2017, 2015 Suite en blanc (Adelaide — William Forsythe's In Baynes' Swan Lake 2016 sabbatical and fulfil a — Diana and Actéon Pas de Gala Spectacular 2017) the Middle, Somewhat Repertoire highlights — 'White Couple' in Jirˇí life-long dream to serve deux 2017 — 2nd Movement Soloist Elevated 2016 — Camille in Ronald Hynd's Kylián's Forgotten Land as a Christian missionary — 3rd movement Soloist in George Balanchine's — Tim Harbour’s Filigree and The Merry Widow 2018 2016 for The Church of Jesus in George Balanchine's Symphony in C 2017 Shadow 2015 — Jack/Knave in — Fourth Movement Soloist Christ of Latter Day-Saints. Symphony in C 2017 — Dawn in Peggy van — Twyla Tharp’s In the Upper Christopher Wheeldon's in George Balanchine's He served in the Toronto — Wayne McGregor's Infra Praagh's Coppélia 2017 Room 2015 Alice's Adventures in Symphony in C 2016 © mission and returned to 2017 — Countess, Lead Swan and — Dumpy Stepsister in Alexei Wonderland 2017 — Lead Wili in Maina The Australian Ballet in — Red Pas de deux in Jirˇí Russian Dancer in Stephen Ratmansky’s Cinderella — Franz in Peggy van Gielgud’s Giselle 2015 2016. Kylián’s Forgotten Land Baynes' Swan Lake 2016 2015, 2014 Praagh's Coppélia 2016 — Cygnet in Graeme 2016 — Moth in Frederick Ashton’s — The Bluebird in David Murphy’s and Stephen — ‘Stomper’ in Twyla Tharp's Awards The Dream 2015 McAllister’s The Sleeping Baynes’ Swan Lake 2012 - In the Upper Room 2015 — Telstra Ballet Dancer — First Shade variation Beauty 2015 2015 — Cygnet in Graeme Award nominee 2018, 2014 in Stanton Welch’s La — Peasant Pas de deux in — Soloist in Paquita 2013 Murphy’s Swan Lake 2012 - Bayadère 2014 Maina Gielgud’s Giselle — Stephen Baynes' Requiem 2015 You may not know ... 2015 2011 — Clara in Peter Wright’s The Rina is interested in Guest appearances — Earl in Graeme Murphy’s Nutcracker 2014 pottery, and would like to — Expressions Dance Swan Lake 2015 Awards — Wayne McGregor’s Dyad explore it when she has Company Solo Festival — Frederick Ashton’s — Telstra Ballet Dancer Award 1929 2013, 2009 more time. of Dance, Tim Harbour’s Symphonic Variations and nominee 2017, 2013 Extro 2 The Dream 2015 — Khitercs Hirai Foundation Awards — Wayne McGregor's Scholarship 2012 — Telstra Ballet Dancer Awards Chroma 2014 You may not know ... Award nominee 2011 — Telstra Ballet Dancer — Jirˇí Kylián’s Petite Mort Sharni has swum with Award nominee 2016 2014 manta rays in Hawaii. You may not know ... — The Adolescent in Graeme In 2015 Karen participated You may not know ... Murphy's Beyond Twelve in an exchange with the Jill paints, draws and 2012 makes her own clothing. and performed in Rudolf Awards Nureyev's production of — Telstra Ballet Dancer Don Quixote. Award 2013

Guest appearances — Swan Lake Act III and Paquita, The Dancers Company tour 2014, 2013

You may not know ... In addition to dancing and his family and friends, Chris has a passion for all kinds of breakfast foods.

THE AUSTRALIAN BALLET GISELLE 37 CORYPHÉES

SHAUN NATHAN JACQUELINE TIMOTHY JASMIN DREW COREY FRANÇOIS-ELOI ANDREWS BROOK CLARK COLEMAN DURHAM HEDDITCH HERBERT LAVIGNAC

LUKE AMANDA ALICE YUUMI MARCHANT McGUIGAN TOPP YAMADA

CORPS DE BALLET

SARA MATTHEW DANIEL LISA SARANJA ISOBELLE JACOB EVIE ANDRLON BRADWELL BRYNE CRAIG CROWE DASHWOOD* DE GROOT FERRIS

ROHAN SERENA ELLA CAMERON DANIEL SEAN EMMA MASON FURNELL GRAHAM HAVELKA** HOLMES IDASZAK KILEY KOPPELMAN LOVEGROVE^

ANNALIESE COCO THOMAS ALEXANDRA SOPHIE GEORGE-MURRAY TYSON RICCARDO MACDONALD MATHIESON MCCLINTOCK MOORE MORGAN NIGHTINGALE POWELL RODIGHIERO

JOSEPH MONTANA EDWARD KATHERINE KELSEY YICHUAN AYA JESSICA ROMANCEWICZ RUBIN SMITH SONNEKUS STOKES WANG WATANABE WOOD

^Philanthropy Ambassador **Corps de Ballet position supported by The Susan and Sam Chisholm Fund LUCIEN ^Corps de ballet position supported by The Ross Trust XU Mason Lovegrove is the 2018 recipient of the Walter Bourke Award

38 THE AUSTRALIAN BALLET 2019 SEASON PROUDLY SUPPORTING AUSTRALIA’S INSPIRATIONAL ARTISTS AND CREATORS

Callum Linnane and Isobelle Dashwood. Photography Taylor-Ferné Morris

THE AUSTRALIAN BALLET GISELLE 39 ARTISTIC STAFF

FIONA TONKIN STEVEN HEATHCOTE ELIZABETH TOOHEY PAUL KNOBLOCH MEGAN CONNELLY AM

Artistic Associate Ballet Master & Ballet Mistress & Ballet Master Ballet Mistress & & Principal Coach Regional Touring Repetiteur Rehabilitation Associate Specialist

Fiona Tonkin began her Born in Western Australia, Elizabeth Toohey was Paul Knobloch was born Megan Connelly joined The career at the Royal New Steven Heathcote took up born in Newcastle and in Canberra and began Australian Ballet in 1991 Zealand Ballet in 1979. At the ballet lessons at the age of joined The Australian Ballet his dance training at the under the direction of Maina invitation of Marilyn Jones, ten. He was accepted into The after graduating from The Canberra Dance Development Gielgud, and performed in Fiona joined The Australian Australian Ballet School at the Australian Ballet School in Centre before graduating many works including The Ballet in 1980. By 1987 she age of 16 and was offered a 1979. She remained with the from The Australian Ballet Sleeping Beauty, Don Quixote, had become a principal artist, contract with The Australian company until 1990. In 1985 School with honours in 1997. Giselle, Romeo and Juliet, renowned for her interpre- Ballet in 1983. she and David McAllister The Merry Widow, La Fille tative artistry, classicism entered the 5th International Paul joined The Australian mal gardée, The Taming of and technical versatility. Steven experienced a rapid Ballet Competition in Moscow. Ballet in 2002 and rose to the Shrew and Symphony rise to the rank of principal Following this, they were the rank of soloist before in C. She was appointed Career highlights include artist, a position he sustained invited to perform Don embarking on an international assistant to the ballet staff dancing Aurora at the for 20 years. He was invited Quixote with the career. In 2009 he took up before taking up the position Royal Opera House London, to perform as guest artist in 1986 and the Kirov Ballet in the invitation to join Béjart of principal teacher at the Juliet at the Kirov Theatre with some of the world’s 1988. They performed Walter Ballet Lausanne as a premiere Christine Walsh Dance Centre. St Petersburg, Flavia and major ballet companies, Bourke’s Grand Tarantella danseur and has performed all In 1999 she was appointed Giselle at the Metropolitan including American Ballet in galas around the former over the world as a member ballet mistress on the Year Opera House New York, and Theatre, Birmingham Royal , cementing an of distinguished companies 2000 project for the Sansouci opening the company’s 1992 Ballet, the Royal Danish Ballet enduring partnership. including English National Music Festival, Berlin. She London season as Giselle. and the . Ballet, West Australian Ballet, has performed with Victoria She appeared as a guest Elizabeth’s performance Alonzo King LINES Ballet USA State Opera and Opera After retiring from the artist with the Kirov Ballet in highlights include Kitri in Don and . Australia; her choreographic dance stage in 2007 as The Swan Lake and on the Rudolf Quixote, Lise in La Fille mal works include Between Space Australian Ballet’s longest Paul has danced many Nureyev Farewell Tour, and gardée, Swanilda in Coppélia, for the 2000 Australian serving principal artist, Steven principal and soloist roles danced the title roles in the Olga in Onegin and Kate in Dance Awards, and Voices, appeared in the 2009 feature in the works of celebrated ABC Television broadcasts The Taming of the Shrew; accompanied by Melbourne filmMao’s Last Dancer and choreographers and has of La Fille mal gardée and she also danced featured Bulgarian Women’s . has been actively engaged performed on the most Romeo and Juliet. Fiona roles in contemporary works She has been a guest teacher in specialised coaching for illustrious stages in the world received Green Room by choreographers such as at Sydney Dance Company, dancers, public speaking, including , Awards in 1988 and 1989. Sir Kenneth MacMillan and , Victorian presenting and acting. London Coliseum and Jirˇí Kylián, and created the College of the Arts, Ballet During her 14 years with the role of Rose in Robert Ray’s Tokyo Bunka Kaikan. In 2010 Steven conceived Philippines, Royal Flemish company Fiona performed in The Sentimental Bloke. She and directed a new production He has built a strong identity Opera Ballet School, over 70 ballets including all has been a guest artist with of Handel’s Julius Caesar, as both a leading artist and Staatheatre St Gallen, the major classics as well as Norwegian National Ballet and for Victorian Opera. In 2012 choreographer and has a Michael Clark Company ballets such as Onegin, Song a resident guest principal with he returned to opera as string of accolades to his and Cecchetti Society. of the Earth, Monotones, English National Ballet. Career choreographer and assistant name. Paul has caught the Suite en blanc, Serenade, highlights include dancing the At the invitation of David director to John Bell for eye of many renowned Symphony in C, Ballet Peasant Pas de deux in Maina McAllister, Megan returned the Victorian Opera’s new choreographers and has had Imperial, Four Temperaments, Gielgud’s Giselle at New York’s to The Australian Ballet in production of Stravinsky’s numerous roles created on , Return to the Metropolitan Opera House and 2001 as assistant to the The Rake’s Progress. him as a dancer; he has also Strange Land, Forgotten the Bluebird Pas de deux in artistic director, and soon forged his own choreographic Land and Pillar of Fire. Maina Gielgud’s The Sleeping after added the work of ballet In 2013, Steven performed voice, creating works for Beauty at London’s Covent coach to the role. During this Fiona graduated with a the title role of Don Quixote The Australian Ballet, Ballet Garden before the Queen, time, Megan co-authored Bachelor of Arts in 1998 in The Australian Ballet’s Victoria and leading schools both with David McAllister. Bodywise for ABC books and while guest-teaching in New production of the ballet, and and institutions across was assistant director to John qualified as an APMA Pilates Zealand and Australia. In 1999 Following her retirement, Australia, Canada and Bell for Opera Australia's new Instructor. she completed The Australian Elizabeth completed an Arts the USA. production of Tosca. Ballet School’s Teachers Administration apprenticeship In 2009 Megan was He has had professional Course and was awarded with English National Ballet; appointed ballet technique Steven lives in Melbourne teaching appointments at the Australian Multicultural she is also an internationally & rehabilitation specialist for with his wife Kathy; they companies including Sydney Foundation Scholarship. certified Stott Pilates The Australian Ballet and have two adult children. Dance Company, Bangarra Instructor. returned to the stage as the In 2000 Artistic Director Dance Theatre, and Hong In 2014, at the invitation Mother in Alexei Ratmansky’s Matz Skoog appointed her Kong Ballet. of David McAllister, Steven In 2008 she joined the Royal Scuola di ballo. In 2010 she Rehearsal Director of the returned to The Australian Swedish Ballet’s rehabilitation joined the teaching staff of Royal New Zealand Ballet. Ballet as a ballet master and team; under the directorship The Australian Ballet School, She continued to work with regional touring associate. of Johannes Öhman, she was in addition to her work with Skoog in London as assistant ballet mistress and rehearsal the company, and in 2012 artistic director of the English director. completed a Vocational National Ballet in 2002. Fiona Graduate Certificate in Elite returned to The Australian She has taught at several Dance Instruction. In 2014 Ballet in 2003 at the international summer schools she was awarded a Churchill invitation of David McAllister, and was a guest teacher with Fellowship. and celebrated 25 years with Estonian National Ballet in the company in 2013. 2015. In 2016, she returned to The Australian Ballet as a guest teacher and in 2017 accepted David McAllister’s invitation to become a ballet mistress with the company.

40 THE AUSTRALIAN BALLET 2019 SEASON PLAYBILL ADS 41

THE AUSTRALIAN BALLET GISELLE 41 PLAYBILL ADS 42

42 THE AUSTRALIAN BALLET 2019 SEASON Alice Topp. Photography Lynette Wills

THE AUSTRALIAN BALLET GISELLE 43 Amy Harris. Photography Lynette Wills

44 THE AUSTRALIAN BALLET 2019 SEASON PHILANTHROPY

LIFETIME COMMITMENTS

We celebrate the individuals and foundations whose generosity has had a significant and transformative impact on the history of The Australian Ballet.

$1,000,000 PLUS Mr Robert Albert AO RFD RD & Mrs Elizabeth Albert The late Betty Amsden AO The Australian Ballet Society Mr William Bowness AO Joan and Peter Clemenger Trust Mr Jim Cousins AO & Mrs Libby Cousins Mrs Barbara Duhig Friends of The Australian Ballet (NSW) Ltd Frances Gerard Estate of Anne Gluyas Estate of Reginald Edward Gregory Estate of George William Gregson Estate of Lionel Frederick Hann and Harry John Colligan Mrs Lynnette Harvey Ms Linda Herd Mr Ian Hicks AM Lachlan & Sarah Murdoch Estate of Arthur & Roma Norcott Mrs Roslyn Packer AC Dr Valmai Pidgeon AM The Ian Potter Foundation Lady Potter AC CMRI James & Diana Ramsay Foundation Mr Kenneth R Reed AM Ty King-Wall. Photography Lynette Wills The Ross Trust Sandra Taylor-Bowman Graeme Uthmeyer & Lisa Bolte A NOTE FROM EDWINA McCANN Zambelli Family

$500,000 PLUS Along with everyone on the Foundation Board, I am delighted to Mrs Mary Barlow experience Maina Gielgud’s Giselle with our Sydney audiences in 2019. Mrs Jennifer Brukner & The late Mr John Brukner Ms Robin Campbell Maina’s much-celebrated production, with Peter Farmer’s beautiful Mrs Susan Chisholm & the late Sam Hewlings Chisholm AO designs, has been a vital piece of the company’s repertoire since it first Estate of Keith M Christensen premiered in Adelaide in 1986; it has since toured around the country and Colonial Foundation Limited the world. On our 50th anniversary tour of New York in 2012, the sublime Ethel Margaret Ewing Cutten Foundation Act II pas de deux was a highlight of our Infinity mixed bill. Friends of The Australian Ballet (SA) Inc Maina’s Giselle is an essential part of the company’s history, and is one The Glendonbrook Foundation production that I happily come back to again and again. In memory of Mrs J J Holden Mrs Susan Morgan In 1997, to celebrate Maina’s tenure as artistic director (from 1983 to 1996), Mrs Helen O'Neil the company created The Maina Gielgud Fund. The fund, which sits within The Australian Ballet Foundation, was established with donations from the Bruce Parncutt AO public and the Friends of The Australian Ballet NSW. We are so fortunate The late Lady (June) Porter to have such passionate ballet lovers who support the company right Estate of Peter & Barbara Shearer around the country; to all of you who made the creation of this fund Peter & Christine Smedley possible, thank you. Mr Dick Smith AC & Mrs Pip Smith AO Lady Southey AC & the late Sir Robert Southey AO CMG With best wishes, Talbot Family Foundation Ray Wilson OAM

$300,000 PLUS Estate of Christine Ann Brown Edwina McCann Mr John A Calvert-Jones AM & Mrs Janet Calvert-Jones AO Chair Mr Colin Carter AM & Mrs Angie Carter Foundation Board Ms Laurie Cowled Estate of Melba Cromack Craig Dunn & Bozena Gawart Estate of Susan Fitzpatrick Mr & Mrs Henry Greenfield FOUNDATION BOARD Ms Val Harding Edwina McCann Arun Abey Suellen Enestrom Mr John C. Higgins AO & Ms Jodie Maunder Chair Mary Barlow Frances Ingham Ian & Jeannie Johnson Hayley Baillie Sarah Ingham David McAllister AM Robin Campbell Di Bertalli Nicola Kaldor Mr Peter Reilly & Mr Linton Soderholm VIC State Chair Bill Bowness AO Gail Marshall Jane Freudenstein Natasha Bowness Jodie Maunder Renaissance Tours NSW State Chair Prue Brown Sybella Morris Thyne Reid Foundation Colin Carter AM Karen Morrison Mrs Marjorie White Georgina Curran Maria Pannozzo Cara Elsley Lynne Wright Italics denotes this commitment includes a bequest to The Australian Ballet We also wish to acknowledge and thank those individuals who have chosen to remain anonymous

THE AUSTRALIAN BALLET GISELLE 45 PHILANTHROPY

THE AUSTRALIAN BALLET FOUNDATION INTERNATIONAL TOURING FUND

The acts of generosity that sustain The Australian Ballet Foundation will support International touring was an original the company’s aspirations for generations to come. Major gifts from individuals and objective of The Australian Ballet, and organisations underpin all of the company’s activities, from our outreach and access the company continues to be a proud projects to developing a new generation of choreographers and supporting our cultural ambassador for Australia on the dancers as they enter the next stage of their careers. Specific-purpose major gifts, world stage. The International Touring grants and endowments have built, and will continue to build, an incredible platform Fund was established by Frances from which the company will present the best the art form has to offer. Gerard after experiencing opening night of Graeme Murphy’s Swan Lake FUNDS WITHIN THE AUSTRALIAN BALLET FOUNDATION at the London Coliseum in 2005. It has considerably strengthened our touring MAJOR GIFT The James & Diana The Robert Salzer The George Garratt program, enabling our dancers to The Ian Potter Ramsay Fund Foundation Fund perform regularly on the world stage. Foundation The Kenneth R Reed Mr Dick Smith AC The Freda Irving This important financial base gives Fund & Mrs Pip Smith AO Memorial Scholarship The Australian Ballet the resources to Fund ACCESS & OUTREACH Kevin Regan Fund Peter & Frieda Thornhill take the best of the country’s artists Margaret May Attwood endowed by Max Mr Richard Warburton The Christine Marie Johnston Johnson Maple-Brown to theatres across the globe. Crown Resorts AO & Mrs Susan Scholarship Foundation Dame Warburton Fund for Choreog- Memorial Sir Andrew & Lady raphers endowed by Scholarship Fund Derek & Ann Braham Mrs R H O'Connor Fairley Foundation DANCERS' ENDOWED Mrs Mary Barlow Khitercs Hirai Marilyn Burton Mrs Roslyn Packer AC William Arthur Hugh POSITIONS Foundation Ms Laurie Cowled Dr Valmai Pidgeon AM Gordon Fund - Mrs Jennifer Brukner The Susan and Sam Frances Gerard Mr Kenneth R Reed AM Perpetual Trustees Lauraine Diggins Chisholm Fund The Susan Morgan Fund Lionel Frederick Hann Renaissance Tours Graf Family Foundation & Michael Blanche The Barbara Duhig The James Slater Memorial Fund & Harry John Colligan Fund Rene Macrae Fund for Mr John C. Higgins Fund Fund endowed by Bee Education and Regional & Ms Jodie Maunder The Lynnette Harvey The Dick & Pip Smith In memory of Mrs J J Fletcher Activity Neil & June Jens Fund Scholarships Holden Talbot Family Packer Family Avner Klein & The Dorothy Hicks Fund The Maurice Sullivan Dale & Ian Johnson Foundation Foundation Maria Pannozzo The Lachlan & Sarah Memorial Scholarship Fund Lachlan & Sarah Mrs Mary Ann Wright The Colin Peasley OAM Mr Allan Myers AC QC Murdoch Fund Murdoch Fund for Education & Mrs Maria J Myers AC The Antony Williams and Joseph Hand Thyne Reid Foundation Robert Southey DANCERS' Australian Ballet Fund for Australian RETRAINING Choreography, Scholarship ADMINISTRATION Bowness Family endowed by The Sidney REGIONAL TOURING FUND The Richard & Barbara Foundation Pty Ltd Fund We are also grateful to Allert Fund Dave Poddar Dame Peggy van those individuals who The Melba Alma & Angela Flannery Praagh Fund for have made donations Cromack Fund Lisa Ring Choreography of $20,000 or less to Touring across Australia has been The Kathleen Gorham these funds a fundamental component of The Fund established in her MUSIC CONTRIBUTIONS TO memory The Robert and Australian Ballet’s annual activities THE GENERAL FUND The Neil Hopkins Fund Elizabeth Albert Music since 1962. The creation of the Bowness Family The Ian McRae AO Fund Funds Foundation Pty Ltd Regional Touring Fund demonstrates The Nöel Pelly AM Fund Robert and Elizabeth Ms Robin Campbell our commitment to making Australia’s Albert Fellowships The Marigold Southey & Mr Bruce Parncutt AO national ballet company accessible Fund (conductor and pianist) David Crawford AO Fund to all, inspiring, delighting and & Maureen Crawford The Will Noble, Joyce challenging audiences. BALLET Henry & Miriam Sproat & Janet Cooke PRODUCTIONS Greenfield Music Fund “The Australian Ballet is one of the The Maina Gielgud Mr Christopher principal pillars of cultural activity Fund Knoblanche AM in Australia. I believe it is important, William Arthur Hugh & Mrs Anne Knoblanche INTERNATIONAL GUEST ARTIST Gordon Fund - Mrs Susan Maple-Brown indeed essential, that rural and country Perpetual Trustees AM Joan and Peter audiences away from the big cities Clemenger Trust The Arthur & Roma Mrs Beth Millar and the are provided with the opportunity Norcott Fund for late Fred Millar AO CBE to see the company’s repertoire – to Classical Ballet SCHOLARSHIPS Mr Brian Nebenzahl experience the contribution that the The Frank & Thora OAM RFD and Mrs Betty Amsden AO Fund Pearce Fund Jocelyn Nebenzahl The Lissa Black Award ballet is making to our cultural life.” The Margaret Ellen Perini Family for Classical Ballet Lord Glendonbrook Pidgeon Fund for Foundation The Walter Bourke Prize Founding supporter of the Regional Touring Fund Classical Ballet Lady (June) Porter endowed by his friends endowed by Dr Valmai The Paula Jacqueline Fund Tania Austin Estate of Ainsley Gotto Pidgeon Swain Bursary Queensland Friends of Mr John A Calvert- Rene Macrae Fund The Australian Ballet Jones AM & Mrs Janet for Education and Calvert-Jones AO Regional Activity The Glendonbrook Foundation

46 THE AUSTRALIAN BALLET 2019 SEASON ANNUAL GIVING

LES ETOILES SENIOR ARTIST Mr Michel-Henri Carriol Supporting the PATRONS & Mrs Julie Carriol OAM Principal Artists Gifts $15,000-$19,999 Mrs Roxane Clayton Gifts of $25,000 R W Brown Dr Anne Colman NSW/QLD Mr John R Fullerton & Prof Peter Colman AC Hayley Baillie Hayden Attractions Gena Culley Mrs Barbara Bedwell Pty Ltd Mrs David Darling Mrs Susan Chisholm Shane Lloyd Mr John Downer AM & Mrs Rose Downer Mrs Bar Cohen Mrs Susan Maple-Brown AM EBCD Developments Mrs Shanny Crouch Sybella Morris (TAS) Pty Ltd^ Mrs Gordon Douglass Mr Greg Egan AM Mr Robert Peck AM & Ms Yvonne Von Hartel Mr Adam C Elder Mrs Jane Freudenstein AM peckvonhartel & Ms Joanne Hart Bozena Gawart architects Mr & Mrs Ronald Mrs Lynnette Harvey Mr Kenneth R Reed AM Enestrom Roland Howlett Sandy Michell Legacy Family Faithfull Mrs Frances Ingham Mr Peter Frost Sarah Ingham SOLOIST PATRONS Mr & Mrs Chris Fullerton Mrs Loraine McLaren Gifts $10,000-$14,999 Geoff & Lorrainne Mrs Helen O'Neil Brian Abel in memory of Mr Louis J Hamon OAM Mrs Roslyn Packer AC the late Ben Gannon AO Mrs Catherine Harris AO Dr Valmai Pidgeon AM Mrs Ruth Armytage AM PSM Mrs Nancy The late John Baldwin Beverley Harvey & the Reardon-Fonseca & Meredith Baldwin late Richard Harvey Mrs Kelly Wyborn Marilyn Burton Mrs Jean M Healey Mr John A Calvert- Henderson Endowment VIC Jones AM & Mrs Janet Mrs Pat Howell Calvert-Jones AO Mrs Mary Barlow Peter James Mrs Di Bertalli Leith & Susan Campbell & Libby Christie Lisa Bolte Mrs Barbara Duhig Nicola Kaldor Ms Natasha Bowness Cara Elsley Mr & Mrs Ervin Katz Ms Robin Campbell Dr Robert Gillett Dr Judith Kinnear & Mrs Susan Gillett Angie Carter Mrs Lavelle Mr Andrew Guild Mrs Maureen Crawford Mrs Judy Lee & Ms Ai-Gul Gaisina Ty King-Wall and Amber Scott. Mrs Annette Davis Martin Family in Mrs Jill M Hinrichsen Photography Lynette Wills Alane Fineman memory of Lloyd Martin Mr Aron Kleinlehrer Prue Gillies AM AM OAM Ms Val Harding Pamela M Marx Joan Lyons Ms Linda Herd Mr & Mrs John M Mr & Mrs Anthony Rosie Lew McArthur At the heart of philanthropy at The Maple-Brown Ms Jodie Maunder In memory of Nola Australian Ballet are our Annual Giving Diana McLaurin McCullagh Lady Potter AC CMRI supporters, whose inspiring generosity Don & Angela Mercer Mr Ronald B Raines Linton Soderholm Karen & John Morrison makes possible everything you see on Rella Consultants Bruce Parncutt AO Renaissance Tours stage. Ballet lovers across Australia PRINCIPAL PATRONS Mrs Patricia H Pitman Professor Ruth support the artistic director’s vision to Gifts over $20,000 Jill Thorpe Rentschler OAM Mr Robert Albert AO present an ever-changing and evolving Dr Michael & Mrs Lynne Lyne Sedgman program of seasons showcasing the RFD RD & Mrs Elizabeth Wright Albert Matt Shelmerdine*^ breadth and depth of the company's Emma Zuber Mrs Roseanne Amarant The Sheridan Family Anonymous (4) talents. All gifts to our Annual Giving Mrs Ingrid Kaiser Gary Singer & Geoffrey Smith program, large or small, are magnified Mr Ronald G Kaiser CORYPHEE PATRONS In memory of well beyond their monetary value, The Stuart Leslie NATASHA BOWNESS Gifts $5,000-$9,999 Mrs Joan Swan President as they support our artists each time Foundation Mr Arun Abey Susan Thacore Annual Giving Judy & Steven Lowy they step onto the stage. & Ms Bernadette Bolger Mrs Susan Thomas Mr & Mrs Geoff O'Conor Mr Ross Adler AC Mr & Mrs Leigh Virtue Mrs Sue Perini & Mrs Fiona Adler Mrs Susan Warburton Mrs Margaret S Ross AM Antoinette Albert Philippa Warner Mrs Anne Symons Margaret Bland Mrs Sally White OAM Christopher & Maxine Bowness Carol Tipler Mr Ray Wilson OAM & Mrs Roslynne Bracher AM the late James Agapitos Mrs Mary Ann Wright Caroline OAM E Xipell & Stephen Brain Donna Woodhill Anonymous Ms Jannie Brown Ms A Dickschen Kim Burnett & Mr W. Brind Zichy- Woinarski QC Anonymous (6)

Correct as at 02.04.2019

THE AUSTRALIAN BALLET GISELLE 47 PHILANTHROPY

ANNUAL GIVING

CORPS DE BALLET Vanessa Barlow^ Mr Charles P Curran AC Mrs Jenny Gust Mr Tom Kudelka Mr Michael Mount PATRONS Miss Margaret Barnes Dr Carolyn Currie Mr Hugh Hallard Mrs Nicholina Kuner Lachlan & Sarah Gifts $3,000-$4,999 Mr John W H Barr AM Mrs Katherine S Damm Ruth Hallett Samantha Lambert^ Murdoch*^ Miss Catherine Alston & Mrs Rosemary Barr Ms Anthoula Danilatos Wendy & Andrew Marissa Knies Lanier^ John Jerome Myers^ Dr Lorraine Baker Pamela Barr Miss Ann Darby Hamlin Beatrice Lang Irena Nebenzahl Phil & Laurel Bendrey Phillip Benedetti^ Jenny Darling Charles Hardman + R Lattey Simon & Meredith Ms Kirsty Bennett Sharon Bennie^ & Emma Darling 100th Gallery Mrs Sylvia Laumets- Nettleton Mr Charles G Clark Leah Bischoff*^ Mrs Mary Davidson & Mr L Harrison Tsiros James Neuman & Allan Charles & Patricia Ms Christine Bishop Mr Frederick Davidson AM Melissa Hartman^ Mrs Elizabeth Laverty Lifson, California, USA Galluccio Miss Catherine Boag Mr Ernest Dawes OBE Andrew Hartwell^ Prof Bruce R Lawford Beverly Ng^ The Greatorex Bodycentric Adelaide & Mrs Nola Dawes Mr Haskins OAM & Dr Susan Shadforth Mr & Mrs Anthony Foundation Pty Ltd Lisa Bolte*^ Mrs Felicity Demediuk & Mrs Haskins Dr Joan M Lawrence AM Nicholas Alan & Marion Grundy Olivia Bond^ Sandra & Stephanie Jill Hawker Mary Jane M. Lawrie Peter & Carolyn Norrie Denman Louise Hamshere Patricia Boyle Nick Hays Delysia Lawson Lyn & Gus Nossal Sarah Hogan MPA^ Ms Sue Harlow Mrs Alix Bradfield Mrs Sarah F Hayward Anne Lazberger Mrs Kathleen Nowik Kay Dowling & Mr Mervyn Keehn Sanchia Brahimi^ Karen Healey^ Dino Leone Susie Nugan*^ Lorraine Drogemuller Dianne Hodge Ms Elizabeth Bray Linden D Hearn OAM Lessep Investment Mrs Rachel O'Conor Patricia Duffy Doug Hooley Jacqueline Brooks Andrew Henderson Management^ Mr Richard O'Dwyer Mrs Edrina Dunstan Susan Jennison OAM Dr William Brooks Hannah Hesse^ Regina Levine*^ Janette O'Keefe Dale & Ian Johnson & Mr Alasdair Beck Kristin Edmonds*^ Elisa Hindhaugh^ Mr Ross Liebmann Mrs Janette O'Keefe Therese A Kennedy Brooke Brown^ Lyn Edwards Dr & Mrs Darryl Melanie Listorti^ Catherine L Osborne & Robert Bryce Ms Barbara Kingsell Prue Brown^ Hodgkinson Brooke Lockett^* Mrs Mary Parry Eeskay Investments Mr Hugh MacLachlan & Louise Bryant*^ Mr Peter Holbeach Elizabeth H Loftus Joshua Penn^ Pty Ltd Mrs Fiona MacLachlan Mrs Geraldine Bull Lisa & Daryl Holmes Grace Logvyn^ Mrs Yvonne R Penny OAM In memory of Joyce Barbara Bursill Katrina & Simon Holmes Mr Richard Longes Jodi Pettersen*^ Mrs Barbara Maidment Cordony à Court^ Mrs Nancy Butler Andrew Low^ Margie Phillipps Judy Eyre Ken & Christina Marks Mr Robert A Hook Dr Richard K S Phoon Trish Byrne & Tony De Domenico Debbie Mahar Judy Matear Mrs Robyn Hopkins Norman & Carolyn Mrs Nancye E Cain Mr & Mrs Barry Fagg Michael & Monika Mr Robert W Carrie Howard Malone^ Pinder Ms Clea Caisley H Elizabeth Fairfax^ McCormack AM Jenny Howland Elizabeth Lyn Maloney Paul M Pinel Dr M L Murnane AM Caroline Fazakas & John Caldicott Dr Judith Humberstone Louise & Robert Pinpoint Pty Ltd Mr Barry P Murphy Isaac & Judi Feldman Pam Caldwell Gillian Hund Manifold Mr Dave Poddar A.M. Nash Anna Findlay*^ & Ms Angela Flannery June Cameron Georgina Hunt^ Laura Manning^ Tom & Lurline Payne Mrs Holly Fletcher Diana Polkinghorne Janet Campbell Frances Ingham^ Helen Mantzis^ Geoff & Jan Phillips Alethea Flynn^ Mrs Katherine Pontifix^ Dr Verne Caradus Sarah Ingham*^ Carolyn Marlow Mrs Elisabeth Pidd Dr Joanna Flynn Kerryn Pratchett Mrs Frances Cattell Mrs Marilyn Jacka John & Margaret Mason Mrs Josephine R Strutt Mrs Chantal de Fraga^ Beverley & John Purdey Emily Chambers^ Dr Alastair Jackson AM Susanna Mason The late Mrs Susan Yvonne Frindle Carli Ratcliff^ Dr David & Mrs Caroline Mrs D Jackson Mr Graham H Matheson Wakil AO Mrs Kylie Ganko Champion Fiona Jamieson^ Sam McCardel Ms Lynn C Rainbow Suzanne Waterhouse Michelle Gardiner^ Reid AM Dr Joanna Cheung In memory of Jayantha Ruth McColl AO Barbara Watson & the Diana Gerstman Mary Rayner Diana Choquette Jayasuriya Carole McCormick late Danny Watson Georgie George^ & Robert Milliner Shareen Joel^ Irina McCreadie Paul Rein Ruth Zionzee Prue Gilbert^ Lisa Clark Dance Centre Cmr Leigh Johns OAM Pip McCully Miss Jennifer Rhodes Anonymous (2) Vanessa Gilbert* Christine Clough Ms Michelle Johnson Kay & Wayne McDonald Mrs Susan Rigg & Marshall Hunwick^ Andrew Connolly Jinah Johnston^ Mrs Jane McGregor Dr Peter Rigg-Smith Gifts $1,000-$2,999 Mr Neil R Gill Annette Cook Kerry-Anne Johnston Malcolm & Sandy Judy Roach Nina Aberdeen*^ & Mr Lee Christofis Dr Margaret Cook Max Johnston McLachlan Michael Robertson^ Gemma Felicity Acton^ Mrs Joan Gillespie G Coss Maggie Joye^ Mr Garry McLean Dr Stephen Rodgers- Mrs Alexandra Adams Elizabeth Gipps Wilson & the late Mr Tim K Cox AO Nicky Joye^ Mrs Ann McNamara Kimberley Gire^ Dr Diane Palmer Mrs Lenore Adamson & Mrs Bryony Cox Prof. Peter Juliff AM Gina McNamara*^ Joakim Apostolas Judith Rogers Ellie* & Charlie Aitken^ Angela Crammond Ms Irene Kearsey Catherine McOmish & Kirra Givanni^ Ms Sandra Rollo The Aitken Family^ Ms Kay Cranwell Roslyn Keay Dr Pam McQueen Jennifer & Sarah Goddard John & Helga Rose Aldridge Family Alexandra de & Mr Andrew McQueen Ryan Gollan^ Mike Kendall^ Endowment Crespigny^ Ian McRae AO Cecilia Rosenberg^ Mr Charles Goode AC Rhonda & Emily Keene Julie & Benjamin Allen Flora Zeta Cheong- & Ms Asa Rowe Nadine Rosham^ & Mrs Cornelia Goode Marion J Kelly Jane Allen Leen^ Jacqui Melck^ Ms Sandra Rowlands Julie & Bill Goold Patricia & Alun Janet Allen Lucy Clemenger*^ Mr Roger Menz Mr Mark Sampson Alexandra Gordon^ Kenwood For Ian & Ila Anderson Sarah Colquhoun^ Ian Merrylees Vanessa Sanchez-Levy^ Dr Kirsten Gormly Mr Paul Keogh Juliet Anderson* Amanda Coombs^ Kaylene Savas^ & Mr Kristian Downing Mrs Diane Kierce Ms Meredith Miller & Denham Schiff^ Veronica Corrigan^ Judge Stephen Scarlett Mrs Christine Gorrie Mem Kirby^ Prue Miller^ Shauna Anderson^ Paula Cronin OAM RFD Lianne Graf Mrs Karen Margaret Patricia Miller Dr MP Anthony^ Mrs Prue Crookes^ Evelien Scherp^ Mrs Susan V Grant Kightley Dr David Millons AM Jeremy Arnott Paul & Samanth Cross^ Kathryn Kings David Minns Mr & Mrs Douglas G Mrs Beatrice Gray Scott Josie Ashton*^ Ms Elinor Crossing Mrs Valda Klaric Desmond B Misso Esq Kate Elizabeth Griffiths^ Penelope Scott^ Maximilian Bak^* Sophie Crowe^ Patricia Kline & Alice Moore^ Ms Lyn Grigg Lorraine Seabrook Mia & Jasmine Barbour Lyndall Cummine the late George Kline Jennifer Grimwade Maryanne Moore Scott & Alina Barlow*^ Mrs Christine Searcy Mrs Gweneth Cundy & Ian Cashion Vivien & Graham Susan Morgan David Barlow^ Knowles Marilyn Seidel Bernard & Georgie Mrs Felicity Gunner Emma Morrison^ Penny Barlow*^ Mrs Margaret Sekel Curran*^ OAM & Mr Perry Gunner Mrs Dinah Krongold Marie Morton

48 THE AUSTRALIAN BALLET 2019 SEASON ANNUAL GIVING

Artists of The Australian Ballet. Photography Lynette Wills

Ms Lisa Shadgett Paris Thomson^ Melinda Wright^ Joan and Peter Initiated in 2014 by The Australian Ballet’s Dr Robyn Sharp Mr Allan Thorne Kelly Wyborn^ Clemenger Trust Global Ambassador Sarah Murdoch, our Jane Shaw^ Penelope Thring Wyke Family Dr Lee MacCormick Ballet Ambassador program connects Jennifer Shaw^ Sue Thrower David Wynne^ Edwards Charitable Foundation an international network of individuals, Lynne Sherwood & the Ms Lisa Xia He Ting^ Susan Wynne^ The Marian & E. H. Flack leaders of a new generation of ballet late Tim Sherwood Miss Ruth Trait Ms Yang Yang^ Trust Mrs Dorothy Short Meg Tudehope^ Yvonne Yendell lovers advocating for the company McCusker Charitable Charlie & Sandy Daphne & Ross Turnbull Evelyn Yong*^ around the world. Through intimate Foundation Shuetrim Janet Cliff Irene Zaparas^ ‘behind the curtain’ access, our ballet Packer Family Dr John Sime & Jenny Turnbull Mark & Krista Zielezna Foundation ambassadors become deeply committed Mr Nev Simpson Rosslyn J Turner Anonymous (40) Pierce Armstrong Trust to the development of the art form Mrs Rosemary Simpson Ms Patricia Tyler The Ian Potter and promotion of the company to Ms Sara J Simpson Mrs Jean Upton DEVOTEES Foundation new audiences. Mrs Joecelyn Smith Catherine & Patrik Gifts $250-$999 The Profield Foundation Prof Nerida A Smith Valsinger (456) James & Diana Ramsay Pip Smith Vinta Investment Foundation Major Partner Management Pty Ltd Smith Finance Group SUPPORTERS The Ross Trust Ptd Ltd^ Stan & Judy Wallis Gifts $25-$249 The Sentinel Foundation Mr Sam Smorgon AO Maggie Wang^ (909) Dick and Pip Smith & Mrs Minnie Smorgon Mrs Carolyn Ward Foundation Ezekiel Solomon AM Mrs Margaret Ward SUPPORT FROM Thyne Reid Foundation Camilla Speer^ The Shirley Ward TRUSTS AND Mrs Heather M Spencer Foundation FOUNDATIONS SUPPORT FROM Nicola Stanford Mr Ralph Ward-Ambler Australian Decorative FRIENDS AND Sarah Stavrow^ AM & Mrs Barbara & Fine Arts Society SOCIETIES Ward-Ambler In memory of Susan Sydney Inc. The Australian Ballet Steele-taylor Mrs Hazel Watson The Calvert-Jones Society Inc Dr Kristen Steele^ Dr Peter Wearne Foundation Interim President "The Australian Ballet is truly central to Jessica Steiger-Thorpe^ & Ms Polly Shaw Colonial Foundation Judith Rhodes Alisa St John*^ Pat & John Webb Limited Friends of the Australian my passion for ballet and I am committed Valentina Stojanovska*^ Mr Tim Weisheit The Copland Ballet (NSW) Ltd to representing the company as Global Dominique Stokes^ Laura Weston^ Foundation Chairman Greg Khoury Ambassador. I want every Australian, Swann Family Miss Pamela Whalan The Cory Charitable Friends of the Australian whether in Australia or around the world, Foundation Mrs Anne Wharton Foundation Ballet (SA) Inc to look up to our company and be proud. Crown Resorts Ms Suzanne Swensson Anne White President Lorraine Our dancers and our productions are a & Mr Paul Jones Chloe White^ Foundation Irving true representation of who we are." Mr James Syme Mrs Marjorie White Ethel Margaret Ewing Cutten Foundation - Robyn Tamke Judith Williams Sarah Murdoch Equity Trustees Global Ambassador Jodie Tapscott^ Annabel Williamson The Duncan Leary Mildred Teitler Dr Edward Wills Charitable Trust Dr Christine Alice Wilmot * Ballet Ambassador Board Gandel Philanthropy Thevathasan Ms Josie Woodgate ^ Ballet Ambassador The Glendonbrook Mr Douglas Thirkell OAM Foundation Mrs Annalise Thomas Andrew Wright^ Graf Family Foundation Peter & Lesley Thomas Helen Wright

Correct as at 02.04.2019

THE AUSTRALIAN BALLET GISELLE 49 Artists of The Australian Ballet. Photography Lynette Wills

50 THE AUSTRALIAN BALLET 2019 SEASON PHILANTHROPY

DANCE WITH US – THE PRIMROSE POTTER AUSTRALIAN BALLET CENTRE REDEVELOPMENT

The renovation of The Primrose Potter Australian Ballet Centre LEADERSHIP GIFTS SILVER PATRONS will have both an immediate and a far-reaching impact on The Ian Potter Brian Abel our dancers’ health and wellbeing; the development of new Foundation Barbara Bedwell The Zambelli Studio ballets; and ultimately, our performances. Libby Christie Endowed by the & Peter James The contributions of our Ballet family have been the keystone Zambelli Family Suellen & Ron of this once-in-a-generation project, and we gratefully The Susan Morgan Enestrom Pointe Shoe Room Ms Linda Herd acknowledge those individuals and organisations whose Endowed by Susan Joan Lyons generosity is celebrated in the new spaces of The Primrose Morgan David McAllister AM Potter Australian Ballet Centre. Ian & Primrose Potter Mr Robert W Physiotherapy Suite McCormack AM Endowed by Lady McLaren Family Potter AC CMRI Jade Wood. Photography Kate Longley Tony Osmond James & Diana Ramsay & Fiona Griffiths Pilates Suite Mrs Sue Perini James & Diana Ramsay Mr Peter Reilly Suite for Artists of The & Mr Linton Soderholm Australian Ballet Mrs Mary Ann Wright Endowed by James & Diana Ramsay Anonymous (2) Foundation William & Joanne BRONZE PATRONS Crothers Medical Hugh Hallard Consulting Suite Mrs Catherine Harris Endowed by the AO PSM Upotipotpon Foundation SUPPORTERS Lisa Bolte Dancers' Dr Lorraine Baker Lounge Phil & Laurel Bendrey Endowed by Graeme Marilyn Burton Uthmeyer Mr Jim Cousins AO & Mrs Libby Cousins PLATINUM GIFTS Mr Ronald G Kaiser Craig Dunn & Bozena Graham Matheson Gawart Dave Poddar & Angela Flannery GOLD PATRONS E Xipell Ruth Armytage AM Anonymous Bowness Family Foundation Colin & Angie Carter Family Faithfull Mrs Lynnette Harvey Diana McLaurin Christine & Peter Smedley Mr Dick Smith AC & Mrs Pip Smith AO Peter & Anne White Mrs Sally White OAM

Correct as at 02.04.2019

THE AUSTRALIAN BALLET GISELLE 51 PHILANTHROPY

PLANNED GIVING – DAME PEGGY VAN PRAAGH LEADERSHIP CIRCLE

Miss Patricia Downes Francine Lancaster Wilson & the late George Drew Mavis Lance Dr Diane Palmer Mrs Lorraine Mrs Carlean Langbein Rhonda & Peter Roga Drogemuller Richard Laslett Richard Ross Mrs Jill Duck Mrs Judy Lee Caroline J Ross-Smith Edrina Dunstan & Lilian Leighton Ms Ros Russell The Late David Dunstan Daniel-Francois Mrs Margaret Sault Betty Eastgate Lemesle Margot Seeley Carol & Ted Edwards Dr C S Loader Rhonda Sheehy Jo Edwards The Late Mrs Patricia Mr & Mrs Charles Lyn Edwards Loughhead Sheldon The Late Mrs Joan Pamela & David Luhrs Mr Michael Short Daphne Evans Chris Mackay Stephanie Shwabsky Richard Evans Geoff & Margaret in memory of Betty Terry Fahy Markham Shwabsky Ross Fairhurst Leonor Marrone in Sara J Simpson Mrs Jacqueline Farrar memory of Romina Gary Singer The Late Jim Finch Patsy Martin & Geoffrey Smith Peter F Fleming The Late Mr Edward J Elvira Sinicins Barrie I Follows AM JP Mason Mr Alan Smith & Margaret Gail Follows Graham Matheson & Mr Daryl Anderson Mrs Geraldine David McAllister AM Prof Nerida A Smith Fox-Penglis Mr Robert W Lady Southey AC Jennifer Fulton McCormack AM Ms Miranda Starke Frances Gerard Sandra McCullagh Annie Stephens Anthea Gilbert Ann McFarling Ms Juanita Stockwell Suzanne Gleeson D J McGregor Miss Pat Sutherland Ms Margo Graham Del & Andrew Deb Sutton Derek & Joan McGuiness Elizabeth Swanton The impact of making a gift in your will to The Australian Lyn Grigg Mr Michael McKenzie Susanne Sweetland & Mr Neil Jones Mr Leonard Groat Regine Szmulewicz Ballet is truly profound, and will continue to benefit Judithe & John Colin Gunther Ms Susan Taylor generations of ballet lovers and dancers, as well as the McKindley Louis J. Hamon OAM Sandra Taylor-Bowman art form we all love and admire. Nearly 300 members Heather McNicol Louise Hamshere Dr Christine of the Ballet family have confirmed a bequest to The Dr Toni Meath Mrs Lilian Hardy Thevathasan Roger Menz Australian Ballet. Sue Harlow Shirley A Tink Prudence Menzies & Merv Keehn Michele & Mario Topcic “The Australian Ballet has not only been my career but Desmond B Misso Esq Vivien & Dr Sally Townsend also my life’s passion, so by including the company in Christopher Hart Carolyn & Ian Mitchell Miss Ruth Trait my will I hope I can assist many others to experience Miss Carol Hay Ken Mitchell Patricia Tyler the wonderful joy of dance.” Jennifer R Hay Susan Morgan Mrs Jean Upton Colin Peasley OAM Robert B Haynes Mary Murphy John & Susan Planned Giving Ambassador Hilary A Hazledine TJ Nakasuwan Vanderstock Mrs Jean Healey Simon & Meredith Hon Rosemary Varty Nettleton Christopher Hector Ms Jill Vaughan Mr L Kevin Adair Beverley A Brown OAM Patricia Concannon & Ros Neave Miss Shirley Neville Peter Vaughan Alexandra Adams Jannie Brown in memory of Ruby Linden D Hearn OAM Dr Jennifer M Newton Mrs Jacqueline Wallace Mrs Sheila Adams Dr Roger Brown Concannon Ms Linda Herd Dr Kersti Nogeste Kenneth W Watkins Richard Allert AM FCA Jennifer Brukner Judy Connor Kathy Hirschfeld Carolyn Norrie Pamela Whalan & Barbara Allert & The late John Brukner Dr Margaret Cook Ms Dianne Hodge Kathleen Y Nowik Dinah Whitaker in Patricia Anders Ms Deborah Buckett Caroline Cooper MVO Ms Claire Houston Mr Richard O'Dwyer memory of Emma Dr Greta Archbold Dr Sheena L Burnell Ms Joanne Coughlin Dr & Mrs Ken Hoyle Diane O'Flaherty Toussaint & Verna Oakley Lorelei Anne Bache Trish Byrne Mr Jim Cousins AO Dr Irene Irvine Brenda White & Mrs Libby Cousins The Late Kathleen Dr Lorraine Baker Pam Caldwell Lilla Ito Margaret Amery White Judith Cowden O'Hara Mrs Mary Barlow Mr John Calvert-Jones Michael & Jennifer James Barry & Megan Willcox Miss Katrina Cowen Catherine L Osborne Dr Rosemary Barnard AM & Mrs Janet Calvert- Cmr L. A. T. Johns OAM Deb Williams Jones AO Mrs Joan Cowie Mrs Sue Perini Ms Jennifer Barnes Dale & Ian Johnson Jan Williams The Late Dr Brian T Laurie Cowled Mrs M M Peters Lesley M Bawden Max Johnston Leonard J Wilson Carey Adam & Donna Margaret Phillipps Philip & Laurel Bendrey Mr Paul Jones Ray Wilson OAM Robert E A Carli Cusack-Muller D E Pidd Mr Ken Bloxsom Ms Suzanne Swensson Ms Sallyann Wilson Rowena Catchatoor Mrs Maree D'Alterio The Late Lady (June) Tamara & Mark Mr Ronald G Kaiser Josie Woodgate OAM Frank & Danielle John Daly Porter Boldiston Marlene Kavanagh Yvonne Yendell Chamberlin Ann Darby in memory Mario Proto Patricia Boyle Dawn V Kelly Damian Young Ron & Luci Chambers of Kath & Jim Darby The Late Mrs Diana Ann & Derek Braham Marion J Kelly Victor & Christine Miss Beverley F Clark Mrs Merawyn Davies Ramsay AO DSJ Donna Brearley Zemancheff Dr Judith Kinnear Penelope S Rawlins Rosalie & Graeme Clark David de Verelle-Hill Mrs Ruth Zionzee Patricia A Breslin Mrs Valda Klaric Janet Cliff & Andrew R. Dixon in Kenneth R Reed AM Ms Christine A Brewer Anonymous (72) Jenny Turnbull memory of Phyllis J. Lisa Kokegei Dr Stephen Rodgers- Mrs Margaret Broeks Joyce Clothier OAM Manning Simon Lambourne

52 THE AUSTRALIAN BALLET 2019 SEASON PLANNED GIVING – ESTATES PHILANTHROPY TEAM

The Australian Ballet gratefully acknowledges all the bequests it has received FOR A CONVERSATION ABOUT PHILANTHROPY PLEASE CONTACT: from the following ballet lovers. We are exceptionally privileged to be able to realise the dreams and aspirations of these individuals to see their legacy Kenneth Watkins become a part of the company’s history. Philanthropy Director 03 9669 2780 [email protected]

Nick Hays Philanthropy Manager 03 9669 2732 [email protected]

Ben Lee Patrons Manager VIC/TAS 03 9669 2735 [email protected]

Liz Ruggieri Planned Giving Manager VIC/TAS/SA/WA 03 9669 2782 [email protected]

Heather McNicol Planned Giving Manager NSW/ACT/QLD 02 9253 5313 [email protected]

Ty King-Wall and Ako Kondo. Photography Jeff Busby

Mr Reginald Edward Gay John Therese Jean M Negus Ronda Anne Chisholm CONTACT PHILANTHROPY Gregory MBE Clarke Dr Dawn Meryl Thew Mrs Dorothy (Deri) AT THE AUSTRALIAN BALLET Phone: 1300 752 900 & Mrs Gregory Gwendoline I Tregear Judith Gwen Newberry Saunders Monday – Friday, 9am – 5pm Patricia Marie Smit Lesley Morgan Sperry Duncan Elphinstone Mr Wilfred John Patricia Hope Willis Gwen Hunt McBryde Leary Stanton Online: www.australianballet.com.au/donate Colin Robert Marshall Mrs Patricia McSpeerin Miss Ruth Margaret Jacques Spira OAM Email: [email protected] Hazel Graham Mr Noël Pelly AM Davidson & Edith Spira Mail: The Australian Ballet Ethel Margaret Ewing Lady Snedden AM Dr Alf Howard Mr George Foster Philanthropy Department Cutten William F Wells Ms Jane D Crawford Corel Garling Primrose Potter Australian Ballet Centre Robert J Shipsides Mrs Thora Pearce Mr Harold G Marshall AM Janice Petterson Level 6, 2 Kavanagh St E M Black Miss Ann Williams Muriel Leadbeater Mr Antony Williams Southbank VIC 3006 Paul Sinclair Mr Ian Berkeley Small Melba Alma Cromack Patricia Speher Vanderwal Mrs M M C Djordjevic Nola Joan Hassall Patricia Cameron- Mr Arthur L Norcott Dr George Garratt Jean Hammond Stewart & Mrs Roma Norcott Robert Salzer AO Mr A S Leslie Canon Albert McPherson Paula Jacqueline Swain Betty Gleeson-White Mr Laurie Davies Charles Ross Adamson Betty Amsden AO Clifford Burgess Esther Primrose Lucy Miss Sheila Scotter AM Christine Ann Brown Keith M Christensen Gertrude Poelman MBE Dr Brian T Carey William Arthur Hugh Dame Joyce Margaretta Harold Bruce Cadell Gordon Daws Mrs Rosemary Valerie Ellen Mooney Freda Eileen Spicer Lady Nancy Fairfax AM Campbell OAM Susan Fitzpatrick Asle Noel Chilton OBE Pauline Marie Johnston Joan Winsome Maslen Gwendolyn Letitia Ernest Spinner Peter & Barbara Shearer Ainsley Gotto Tennant Margery I Pierce Mary Sylvia Joyce Jones Lionel Frederick Hann Sir Robert Southey AO Barbara Bishop Hewitt Peter Langford AM & Harry John Colligan CMG Mrs Sylvia Box Norman Stevens John N Mann Brenda June McGowan Dr Donald Wright Dr Lynn Harvey Joseph Rita Doreen Fletcher Mr Will Noble Mrs Sally Sinisoff Janet Fischer George W Gregson Lucas Payne Betty June Drabsch Dr Diana Tolhurst Judith Mary Steele Mrs Ila Leland Massy Marianne Martin Dr Richard Vesey Alan John Robison Burnside Mr Norman Drogemuller Mrs Anne Gluyas Joyce Johnston OAM Anonymous (27)

Correct as at 02.04.2019

THE AUSTRALIAN BALLET GISELLE 53 SYDNEY

OPERA AUSTRALIA ORCHESTRA

PICCOLO OPERA AUSTRALIA ORCHESTRA MANAGEMENT Diane Berger Joshua Clarke MANAGEMENT General Manager, Orchestra Proud Performance Partner of The Australian Ballet Principal Principal Chief Executive Officer Gérard Patacca Rory Jeffes Craig Ross Orchestra Manager Assoc. Principal Artistic Director Emma In der Maur CONCERTMASTER AND VIOLA Lyndon Terracini AM Conall McClure Brian Evans Deputy Orchestra Manager ORCHESTRA DIRECTOR Virginia Comerford Principal Principal 3rd Chief Operating Officer Ella Howard Jun Yi Ma Principal John Horn Matthew Tighe Colin Grisdale Orchestra Operations Ida Speyer Gron Corporate Affairs Director Manager Assoc. Principal TROMBONE Assoc. Principal Yvonne Zammit Rhonda Jones ASSOCIATE Mark Bruwel Gregory van der Struik Tara Houghton CONCERTMASTER Principal Head of Music Assistant Orchestra Manager Huy-Nguyen Bui Amanda Murphy Tahu Matheson Anna Bennett Brett Favell Magda Kruszynska Assoc. Principal General Manager Technical Orchestra Coordinator Rixon Thomas Services Bradley Barrack Neil Thompson VIOLIN Principal William Farmer Clif Bothwell Ashley Retter Katherine Lukey Ella Brinch Roslyn Jorgensen Executive Producer Touring Deputy Concertmaster Charlotte Fetherston and Commercial Catalin Ungureanu Alex Budd Greg Ford BASS TROMBONE Principal 1st Violin Peter Jenkin Human Resources Director Justin Julian Principal Brett Page Tony Gault Jessica Platts Principal 1st Violin Philip Green General Manager, Orchestra Assoc. Principal Airena Nakamura Gérard Patacca Principal 2nd Violin Richard Rourke Teije Hylkema Edwin Diefes Executive Producer Theatre Mark Fitzpatrick Principal Principal Georgia Rivers Assoc. Principal 2nd Violin Ezster Mikes-Liu Matthew Walmsley Executive Producer Major Assoc. Principal Virginia Blunt John Lewis Projects Andrew Hines Principal Louisa Robertson Rachel Easton Acting Assistant Principal Yu-Qing Rebecca Irwin David Clarence Pierre Emery Adrian Keating Principal OPERA AUSTRALIA Margaret Iddison BOARD OF DIRECTORS Marek Kruszynski Douglas Eyre Allan Watson Minah Choe Principal Assoc. Principal David Mortimer AO Daniel Rosenbaum Chairman Victoria Parkin Matthew Ockenden The Opera Australia Orchestra Jaroslaw Talar Philip Bacon AM Thomas Rann Assoc. Principal is assisted by the Australian PERCUSSION Government through the Australia Rachel Westwood Brian Benjamin Melissa Woodroffe Shaun Trubiano Council for the Arts, its arts funding Ben Smith Acting Assoc. Principal David Epstein and advisory body, the NSW Principal Government through Create NSW Kelly Tang Gillian Hansen Kevin Man Jonathan Feder and the Victorian Government Brett Berthold through Creative Victoria. Julia Broom Principal Greg Taylor Assoc. Principal Jane Hansen Dominique Gallery Andrew Meisel Joshua Hill Tim McFarlane AM Belinda Jezek Assoc. Principal HORN Timothy Paillas Alison Pert Reafen Liu Edmund Bastian Bourian Boubbov Hugh Tidy Deena Shiff Acting Principal Daniel Lopez Bonita Williams Andrew Sisson AO Lisa Wynne-Allen Ursula Luxton Jennifer Druery HARP Josephine Sukkar AM Kerry Martin Robert Johnson Jane Rosenson Guest Principal Michele O’Young FLUTE Principal Lee Wadenpfuhl Yuhki Mayne Elizabeth Pring Emily Granger Guest Principal Principal Natalie Wong Jennifer Taylor Milen Boubbov Tracy Wan Amanda Hollins Assoc. Principal Michael Dixon Sonia Wilson Nicola Crowe Katy Grisdale Kim Falconer Jenny McLeod-Sneyd James Fortune Rafael Salgado

SYDNEY OPERA HOUSE

Sydney Opera House Sydney Opera House Trust EXECUTIVE MANAGEMENT Jon Blackburn Executive Director, Bennelong Point Nicholas Moore Chair Louise Herron AM GPO Box 4274 Corporate Services & CFO Anne Dunn Chief Executive Officer Sydney 2001 NSW Kya Blondin Michael Ebeid AM Kate Dundas Administration Director, People & Kathryn Greiner AO Executive Director, (02) 9250 7111 Government Chris Knoblanche AM Performing Arts Box Office Hugh Lamberton Deborah Mailman AM Jade McKellar (02) 9250 7777 Director, Office of the CEO Kevin McCann AM Director, Visitor Experience Facsimile Kylie Rampa Ian Cashen (02) 9250 7666 Jillian Segal AO Executive Director, Building, Website Safety & Security Phillip Wolanski AM sydneyoperahouse.com Brendan Wall Director, Engagement & Development

54 THE AUSTRALIAN BALLET 2019 SEASON Dimity Azoury. Photography Kate Longley

THE AUSTRALIAN BALLET GISELLE 55 COMPANY AND DIRECTORS

MELBOURNE Peter Smedley Artistic Management Head Mechanist & Head Audience Engagement Philanthropy Manager Dr Valami Pidgeon AM Flyman Nick Hays The Primrose Potter Senior Artistic Coordinator Audience Engagement Lynnette Harvey Alex Wyatt Tom Cole Australian Ballet Centre, Manager Patrons Manager Mrs Roslyn Packer AC 2 Kavanagh St, Southbank Artistic Coordinator Deputy Head Mechanists Viviana Sacchero (VIC & TAS) Graeme Murphy AO Victoria 3006 Robyn Begg Tom Paine Audience Engagement Ben Lee Janet Vernon AM Telephone 1300 369 741 Taylor Chen Program Coordinator Peter Clemenger AO Education Patrons Manager [email protected] Mary Grul Joan Clememger AO Head of Education Lead Mechanist - Orchestra Victoria australianballet.com.au Katy McKeown Pip Strachan Olivia Passmore Prof John Rose AO Digital SYDNEY Diana Ramsay AO Dance Development Officer Head Electrician Digital Manager Planned Giving Managers Lady June Porter Jasmin Dwyer Adrian Siggs Liz Ruggieri The Australian Ballet Joanna O'Connor Julie da Costa OAM Heather McNicol Level 4 10 Hickson Road, Dance Education Presenters Content Expert Kenneth R Reed AM PRODUCTION The Rocks Sydney 2000 Alexander Mitchell Rose Mulready Philanthropy Services Manager David Crawford AO Telephone (02) 9253 5300 Yvette Sauvage Business Manager, Production Adam Santilli Christopher Knoblanche AM Social Media Specialist The Australian Ballet Chantelle van der Hoek Darren Conway Barbara Duhig Hannah Leane Ballet Ambassador ABN 57 004 849 987 Ben Obst Production Coordinator Program Specialist Marilyn Jones OBE Digital Specialist Education Administrator and Freya Phillips David Wynne PATRON Stephen Baynes Maeve Ashby/Sam Sally Cha Jim Cousins AO Content Coordinator Production Wardrobe Philanthropy Services His Excellency General Sarah Murdoch Sophia Bender Head of Costume Workshop Recording & Broadcast Coordinator the Honourable Sir Peter Bill Bowness AO Musette Molyneaux Recording & Broadcast Diana Chatfield Cosgrove AK MC (Ret’d), Artistic Health Frances Gerard Manager Governor-General of the Principal Physiotherapist Costume Administrative Patrons Coordinator Susan Morgan Robyn Fincham Commonwealth of Australia & Artistic Health Team Coordinator Philippa Clement - Levin Beverley Brown OAM Manager Eloise Fryer Content Creator Barbara Marrett BUSINESS SERVICES BOARD Susan Mayes Wardrobe Coordinators Brett Ludeman Toni Cody Chair Jenny Howard Finance Rehabilitation Physiotherapist Public Relations Christie Milton Craig Dunn ARTISTIC DIRECTOR Sophie Emery Public Relations Manager Chief Financial Officer David McAllister AM Directors Physiotherapists Senior Gentlemen's Cutter Kate Muir & Director of Marsia Bergh Business Operations Olivia Bell – EXECUTIVE DIRECTOR Bridy White Publicists Sally Underwood Dancers’ Director Libby Christie Michelle Bergeron Senior Ladies’ Cutter Anthea Waller Annabelle Chaplain MUSIC DIRECTOR Myotherapist/Massage Ruth Bartel Sophie Rennard Executive Assistant John Ellice-Flint Michelle Saultry & CHIEF CONDUCTOR Therapists Cutters Penny Fowler Customer Experience Nicolette Fraillon AM Shaun Bryce Sophia Cameron Finance Manager Catherine Harris AO PSM & Ticketing Brad Moffitt Etai Alves Carolyn Dryley Catherine Livingstone AO Executive Assistant Senior Manager, Customer Georgiana Russell-Head Edwina McCann to Artistic Director Exercise Instructors Experience & Ticketing Manager, Forecasting, Tony Osmond Kate Longley Sakis Michelis Costumiers Steven Payne Planning and Analysis Bruce Parncutt AO Darren Spowart Ruth Owen Nazif Marikar Executive Assistant to Customer Knowledge Manager Susan Street AO Jessie Dole the Executive Director Consultant Sports Richard Laslett Orchestra Accountant Sarah Monaghan & Exercise Physician Rhiannon Irving Senthil Radhakrishnan Global Ambassador Ticketing Operations Manager Dr Andrew Garnham Alice Mere Sarah Murdoch ARTISTIC Kate Powers Shannon Toyne Senior Business Analyst General Practitioners Diana Bedoya Emily Lewis Database FOUNDATION BOARD Ballet Dr Vicki Higgins Artistic Associate Madeleine Duncan Coordinator Payroll & Indirect Tax Chair Edwina McCann Dr Jason Lam & Principal Coach Wig Supervisor Viraj Godbole Specialist Arun Abey Medical Administrator Kristina Barisic Fiona Tonkin Alison Kidd VIP Ticketing Specialist Mary Barlow Sarah Thompson Accountant Hayley Baillie Ballet Mistress & Repetiteur Production & Design Rose McNeill-Young Stephanie Cornish Di Bertalli Elizabeth Toohey STAGE Production Design Ticketing & Merchandise Bill Bowness AO Ballet Master Regional & Director, Production Coordinator Operations Coordinator Assistant Accountants Natasha Bowness Storytime Tours & Planning Kat Chan Sara Klug Isabel Pena Munevar Prue Brown Chris Yates Thilini Siriwardana Paul Knobloch Production Centre Customer Experience Robin Campbell Ballet Master & Production Facilities Manager Team Leader Colin Carter AM Artistic Planning and Information Technology Regional Touring Associate Avon Kilcullen Perry Hingston Georgina Curran Operations Technology Manager Steven Heathcote AM Cara Elsley Director of Artistic Planning Production Centre Customer Experience David Cooper Helen McCormack Costume Coordinator Suellen Enestrom Ballet Mistress & Assistants IT Manager Penelope Bjorksten Jane Freudenstein Rehabilitation Specialist Head of Artistic Planning Emily Klug Damien Calvert Frances Ingham Megan Connelly Tessa Kay Collections Program Manager Mary Grul Natalie Howe Web Developer Sarah Ingham Guest Teacher Tessie Scott Contract Administrator, Gabrielle Monaghan Daniel Lukas Nicola Kaldor Tristan Message Production Facilities Storeman Artistic Jonathan Gormann Gail Marshall Andrew Nish Building Management Resident Choreographers Noeleen King Jodie Maunder Reception Building Projects & Ballet Stephen Baynes Associate Producer, Regional Sybella Morris MARKETING, Lynne McDougall Centre Manager Tim Harbour Touring and Storytime Ballet Karen Morrison COMMERCIAL AND Tracy Hosier Alice Topp Hannah Beer Maria Pannozzo AUDIENCE DEVELOPMENT Stanton Welch AM EXTERNAL RELATIONS Building Services Assistant Lynne Wright Company Manager Director Marketing, Director External Relations Simon McGowan Guest Teacher Jess Jellie Commercial & Penny Waitsman Honorary Life Members Johnny Eliasen Deputy Company Manager Audience Development Cleaners External Relations Partnership Lance Humphries Past & Present Music Kate Peters Penny Rowland Managers John Athinis Dame Peggy van Praagh DBE Executive Assistant to Music Assistant Company Manager Executive Assistant Fiona Gosschalk Casey McCormack NR Sneddon AO CBE Director & Chief Conductor Hannah Denison Melanie Swieconek Sarah Vick Bishnu Sapkota Sir Ian Potter Alexandra McKnight Technical Estaban Llano Sir CBE Marketing External Relations Assistant Conductor Technical Director Sir Robert Southey AO CMG Senior Marketing Manager Development Manager Simon Thew Jon Buswell HUMAN RESOURCES Noël Pelly AM Renee Colquhoun Matthew Henry Principal Pianist Stage Manager Human Resources Consultant Dr HC Coombs Marketing Managers Grants Manager & Music Librarian Deborah Whiteley Kate Reilly Ila Massy Burnside Stephanie Corne Kate Horwood John McCallum AO CBE Stuart Macklin correct as 29.03.19 Assistant Stage Managers Melissa Ray Account Executive Elizabeth Albert Pianist & Associate Drew Cipollone Marketing Specialist Hannah Fulker Robert O Albert AO RFD RD Music Librarian Christabel Fry Jackie Money John Calvert-Jones AM Duncan Salton Account Coordinator Head of Staging Operations Timothy KF Cox AO Marketing Coordinator Alyssan Russell Pianists Bart Kendall Keshia Contini Maina Gielgud AO Brian Cousins PHILANTHROPY Head of Lighting FW Miller AO CBE Kylie Foster Lead Graphic Designer Graham Silver Director Philanthropy Colin Peasley OAM Ashleigh Hills The Hephzibah Tintner Kenneth Watkins Lady Potter AC CMRI Wardrobe Master Foundation, and the Robert Graphic Designers Dame Margaret Scott AC DBE Geoffrey Harman Executive Assistant Lady Southey AC and Elizabeth Albert Lucy Brown Philanthropy Josephine Woodgate OAM Conducting Fellow Deputy Head of Touring Stephen Wood Sharyn Gilham Marilyn Rowe OBE Patrick Burns Wardrobe Valantine Turner Ian McRae AO

56 THE AUSTRALIAN BALLET 2019 SEASON THE AUSTRALIAN BALLET GISELLE

WITH THANKS

PRINCIPAL PARTNER

LEAD PARTNERS LEARNING PARTNER

Official property partner Official airline partner

MAJOR PARTNERS

Official pointe shoe Official legal Official piano Official cruise Official jewellery partner partner partner partner partner

MEDIA PARTNERS

SUPPORTING PARTNERS

GOVERNMENT PARTNERS INDUSTRY PARTNER

The Australian Ballet is The Australian Ballet The Australian Ballet is assisted by the Australian is supported by the supported by the NSW Government through the Victorian Government Government through Australia Council, its arts through Creative Victoria Create NSW funding and advisory body

SUPPORTING OUR EVERY STEP

In business, as in dance, the right partner is If you would like to learn more about our everything. Our corporate partners provide much- corporate partnerships program, please contact needed funds that help us realise our artistic Penny Waitsman on 02 9253 5308 vision, from producing exciting new ballets and or email [email protected] staging iconic works to making a splash on the world stage. They also assist us behind the scenes, giving us product and in-kind support, which allows us to achieve excellence on both sides of the curtain.

Importantly, sponsors bring us closer to you. They help us to keep ticket prices affordable, visit communities across Australia and broadcast our ballets. We’d like to acknowledge the generosity of our current partners, whose support enables us to care for tradition, while daring to be different.

57 THE AUSTRALIAN BALLET GISELLE 57 Open Masterclasses & National Audition Tour 2019

Visit our website for locations, dates, and further information

PLAYBILL AD 55

Photography by Sean Fennessy by Photography australianballetschool.com.au

BLOG INSTAGRAM TWITTER FACEBOOK PINTEREST YOUTUBE australianballet. @ausballet @theausballet theaustralianballet behindballet theaustralianballet com.au/blog

For this production Scenery & properties Fabric dyeing Graphic Designer The cast for this performance is available Costumes manufactured by painted by Lynn Munro Jasmin Tulk on the nightly cast list which is issued free the Production Division of Scenic Studios of charge to patrons. The Australian Ballet The Australian Ballet Specialist footwear The Australian Ballet reserves the right to cancel or alter any Scenic materials & manufactured by portrait detail of this season, or any performance Scenery & properties backdrops supplied by Steppin’ Out, Sydney photography by forming part of this season, as it considers manufactured by Imported Theatre Fabrics Daniel Boud necessary. Show Works Program edited by Rose Mulready

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THE AUSTRALIAN BALLET GISELLE 59 1 – 18 MAY 2019 | SYDNEY OPERA HOUSE

60 THE AUSTRALIAN BALLET 2019 SEASON