AS GOLD SPONSOR, BLOCH CELEBRATES THE GENÉE INTERNATIONAL BALLET COMPETITION 2016 SYDNEY

CLAUDIA DEAN, BLOCH BRAND AMBASSADOR GOLD MEDAL AND AUDIENCE CHOICE AWARD 2009 souvenir programme

Contents

02 Welcome 17 Judges

04 The theatres 18 Faculty

05 Dame Adeline Genée DBE 24 Lynn Wallis OBE: An artistic vision 06 Where are they now? 27 2016 Semi-finalists 08 Genée International Ballet Competition 38 Genée Dance Challenge

11 Awards 42 Maria O’Connor: Semi-finals Continuity and variations 12 Semi-finals programme 7–9 December 44 Creative Spaces The Concourse 14 Final programme 47 Acknowledgements 15 Guest performance final 11 December Sydney Opera House

Presented by welcome

Photo: Charlotte MacMillan Photo: Charlotte As President of the Royal Academy of Dance, it gives me great pleasure to welcome you to the Genée International Ballet Competition 2016.

Every year, we bring together an international group of judges for the Semi-finals and Final, made up of top professionals from the ballet world. And this year our esteemed panel represents both the northern and southern hemispheres.

A huge amount of enthusiasm and hard work has gone into creating the competition this year, not least because it is returning to the beautiful city of Sydney for the first time in a decade. I am thrilled that our finalists will have the opportunity to perform at one of the world’s great venues, the Sydney Opera House.

I would like to wish the very best of luck to all of the candidates, and to urge them to savour the experience and to take as much away from it as they can. Genée alumni have gone on to dance with the best companies in the world, but whichever way their

Photo: Spiros Politis Spiros Photo: careers have taken them, all have treasured memories of forging new friendships and the exhilaration of their performances.

I would also like to pay tribute to the candidates’ parents and teachers for supporting them on their journeys and inspiring them to reach their potential. I know just how important that encouragement is when trying to forge a career as a professional dancer.

In whatever capacity you find yourself here, as a candidate, a supporter, or as a dance lover, I know that you’ll enjoy the passion, pride and prestige of the Genée experience.

My very best wishes to all,

Darcey Bussell CBE President, Royal Academy of Dance

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Photo: Elliott Franks nternational enée I would also like to thank our distinguished judges, Kevin I would like to welcome you all to the G Luke Rittner Chief Executive, Royal Academy of Dance Ballet Competition for 2016. for Competition Ballet Since we took the decision to stagethe Genée aroundthe world, we have been to Sydney, Hong Kong, Toronto, Singapore, Athens, Cape Wellington, Town, Antwerp and Glasgow, before returning to London last Every year. destination has cast its spell and lent its own colour and uniqueness to the event, and here we are, back in Sydney, the scene of one of our biggest and most ever. competitions successful days,For 10 candidates have been taking part in what might be described as the Olympic Games of ballet; such are the demands of the coaching. But, the Genée is also known as the ‘friendly’ competition, and we aim to make it an experience that no candidate will ever forget. No event of this kind can happen without the support and hard work of a lot of people. are We enormously gratefulto our sponsors and donors, and we extend a warm welcome to them tonight. I O’Hare, David McAllister and Francesco Ventriglia; Tim Harbour, this year’s commissioned choreographer; and all members of the international faculty. This Final at the Sydney Opera House will provide a thrilling evening, displaying the exceptional talents of these young dancers. I wish every one of them a successful Genée and I hope that you will all be inspired and enthralled by this year’s competition. the theatres Photo: courtesy of Sydney Opera House Opera Sydney of courtesy Photo: Photo: courtesy of Century Venues Century of courtesy Photo:

Sydney Opera House The Concourse

The Sydney Opera House is Australia’s biggest tourist The Concourse is the cultural home of the North Shore and destination. One of the world’s busiest performing arts centres, is one of Sydney’s leading entertainment and arts venues. For it welcomes more than 8.2 million visitors a year, and hosts over 100 years, the site has been the home of performing arts, nearly 2,000 performances, enjoyed by more than 1.5 million community celebrations and civic ceremonies. audience members. The site, previously known as Civic Place, has housed buildings Located on Bennelong Point – known by Australia’s First Nations of public significance and been recognised as an important part Eora people as ‘Tubowgule’, or ‘where the knowledge waters of the local community for decades. The first Willoughby Town meet’ – the Opera House continues to be a meeting place for Hall was built on the site in 1903, primarily designed to house celebration and ceremony, alive with stories past and present. the Willoughby Symphony Orchestra, and the Bailey Hall was designed as a multi-function space, with the facilities for the The Sydney Opera House offers a diverse year-round performance of drama and musical theatre. In 1972, the original programme of artistic experiences including performances from Town Hall was demolished and replaced by a new Civic Centre. its resident companies: Opera Australia, Sydney Symphony Orchestra, the Australian Chamber Orchestra, Sydney Theatre The site of The Concourse opened in September 2011, and Company, Bell Shakespeare, Bangarra Dance Theatre and The continues a century-old tradition of performing arts with its Australian Ballet. unique mix of venues for live theatre, dance, music, business events and exhibitions.

04 dame adeline genÉe DBE

Before co-founding the Association of Teachers of Operatic Archive RAD Photo: Dancing (the forerunner of the RAD) in 1920, Adeline Genée had an illustrious career as a dancer. Born in Denmark, she had been taught by her uncle. By the age of 15 she had already been performing on stage for five years, dancing at the Zentralhallen Theatre at Stettin and, at 17, appearing at the Imperial Opera in Berlin. At 19, her reputation earned her an engagement at the Empire Palace of Varieties in London’s Leicester Square. She remained a star there for 12 years, winning an adoration and respect that raised the standing of the dancing profession in the public eye.

Genée’s influence on ballet did not end with her performing career. She joined Philip Richardson, Edouard Espinosa and others to set up an Association of Teachers of Operatic Dancing, becoming its first president. Directly due to her were Queen Mary’s becoming the Patron in 1928, and the granting of a Royal Charter which saw its transformation into the Royal Academy of Dancing, and then the Royal Academy of Dance.

Throughout the Second World War Genée remained at the head of the RAD, working tirelessly on its behalf. In 1950 her services to ballet were recognised with a DBE, the first to be bestowed on a member of the dance profession. She retired as president in 1954 but took a continuing interest in the RAD until her death in 1970. Today, her name is remembered in a studio at RAD headquarters, and in the annual Genée International Ballet Competition. First held in 1931, the competition has taken place almost every year since.

In 2002, the competition was held for the first time outside London, with Sydney Opera House playing host to a record number of candidates. It has since been held around the world. For the first time in over ten years, the competition returns to Sydney.

05 where are they now?

With over 80 years of history, and increasing prominence The Royal Ballet has drawn many of its dancers from Genée in the world of ballet, the Genée continues to produce an candidates. As far back as the 1934 competition, Felicity Gray impressive list of alumni. The competition receives entries won gold and joined the Vic-Wells Ballet, as it was then known. from all over the world, many of whom have gone on to great John Hart won gold in 1939, joined the company and went on things. Here, we catch up with just a few of them. to become assistant director, and Aussie sisters Madonna and Leanne Benjamin each won gold (in 1979 and 1981 respectively), Rewinding to the competition’s birth, Australia first made its ahead of joining. Specifically, Leanne’s dance career launched mark on the competition when Laurel Martyn won gold in 1935. with Sadler’s Wells Royal Ballet, where she rose to Principal. She She danced with Sadler’s Wells Ballet, later becoming Principal danced with London Festival Ballet and Deutsche Oper Ballet with the Borovansky Ballet back in Australia. Taught by one RAD before joining The Royal Ballet, becoming Principal after her founder Phyllis Bedells, Laurel became Director of Ballet Victoria debut as Odette/Odile in Swan Lake in 1993. Others who joined and was awarded an Australian Dance Award for lifetime the company more recently include current Principal Steven achievement in 1997. 1947 saw Rowena Jackson strike gold McRae, another well-known Australian who took gold in 2002. – a New Zealander now living in Australia – and she became Principal of Sadler’s Wells Ballet in 1954 before becoming Genée alumni have travelled extensively and have left their Director of the National School of Ballet in Wellington. mark all over the world, particularly Down Under. Elisha Willis, who won silver in 1996 and 1999, joined The Australian Ballet and then Birmingham Royal Ballet as Principal in 2004. Just this Photo: Leslie E Spatt Leslie Photo: year, she retired from performing to retrain as a costume maker. Elsewhere eminent names sparkle too. Céline Gittens was born in Trinidad and trained in Canada, taking the gold and Audience Choice Award in 2005. She too is a Principal in Birmingham, and a member of the Genée Alumni Scheme, helping to promote the competition and its legacy. Others include Samira Saidi, current Director of Dance at English National Ballet School who won silver in 1977 and joined Birmingham Royal Ballet; Xander Parish, who joined The Royal Ballet after winning silver in 2004, becoming the first British dancer to join the Mariinsky Ballet in Russia; and Andre Portasio, who competed in both 1998 and 1999, joined English National Ballet and then founded ArtStreamingTV, with whom we worked to live stream the Final of Genée 2015 in London.

Iain Mackay Bronze Medallist Genée 1999, London

06 Other names have flourished post-Genée in varying artistic The Genée has a formidable tradition of balletic success, and the directions. Flora Cheong-Leen, who won silver in 1975 before world has benefitted from the high calibre of its alumni, in and joining The Royal Ballet, is now a leading Hong Kong arts and outside of dance. This is a legacy of which we are truly proud, culture figure. Following his gold in 1983, Yuri Ng joined The and as the competition goes from strength to strength, the National Ballet of Canada and has since created pieces for future looks equally promising. the Genée and the RAD’s Solo Seal exam. Linda-Mae Brewer (aka Aeva Mae) competed in 1979. After dancing with South To find out more about the Genée Alumni Scheme, visit Australian Ballet Company, Ballet Metropolis and Dance www.rad.org.uk/geneealumni Theatre London, she became a well-known face in Andrew Lloyd Webber’s Cats, performing in many other musicals and films. Errol Pickford, from the 1984 competition, is now Head of Graduate Performance and Outreach at Elmhurst Ballet School, having performed previously with The Royal Ballet and West Australian Ballet. Finally, Scotsman Iain Mackay, another Birmingham Royal Ballet Principal, competed in 1999 and is now the RAD’s Male Dance Ambassador. What a coup!

Genée success is not limited to yesteryear however. Jessica Allison-Walker won the Choreographic Award in 2014, and went on to join West Australian Ballet. From the same competition, gold medallist Vida Polakov also joined the company on a Young Artist Scholarship. Other more recent competitors from the 2015 London competition have already joined Joburg Ballet, the Joffrey Ballet, San Francisco Ballet and FX Šalda Theatre, Czech Republic. Photo: Vanessa Winship Photo: Patrick Baldwin Patrick Photo:

Elisha Willis, Silver Medallist Céline Gittens Genée 1996, London Gold Medallist with Dame Antoinette Sibley Genée 2005, London

07 Genée INTERNATIONAL BALLET COMPETITION

The Genée is one of the most prestigious ballet competitions Performance in the world. It attracts the finest RAD-trained dancers from • Confident movements performed with ease around the globe and from diverse backgrounds. Genée alumni • An ability to interpret and express the varying artistic have gone on to careers with some of the most respected qualities and appropriate styles international dance companies. The competition is open to dancers who have passed the RAD’s Advanced 2 examination in ballet with Distinction. Medals and prize money

Medals are awarded to candidates showing the highest levels of Criteria for assessment competency in the stated criteria, with gold, silver and bronze medals awarded in male and female categories: The candidates are assessed on the following: • Gold ($10,000) – awarded when a candidate demonstrates Technique exceptional technical skills, an innate response to music, • Secure posture and weight placement; use of turnout; outstanding performance qualities and charisma articulated, clearly defined footwork • Silver ($6,000) – awarded to a candidate who is proficient in • Co-ordinated and sensitive use of the arms and hands in technique, musicality and performance balanced harmony with the whole body, showing breadth of • Bronze ($4,000) – awarded to a candidate who is proficient movement, use of épaulement, alignment, head and eye line in technique, musicality and performance, although some • Rhythmical and controlled pirouettes areas of the work may not be as strong as others • Controlled, sustained and co-ordinated adagio movements The judges’ decision is final, though they may decide to award creating harmonious lines through the whole body more than one medal in each category. In such cases, the prize • Effective use of elevation, accurate batterie, and the ability to money will be divided between the medallists. This may mean reflect the dynamics and artistic qualities of the allegro steps that where there are more than two candidates at silver, but only • Use of space one at bronze, the latter will receive a greater monetary prize.

Musicality • Rhythmical accuracy and timing • Response to musical atmosphere, dynamics and phrasing

08 Photo: Franks Elliott

Drew Jackson Finalist Genée 2015, London Photo: Elliott Franks

udience

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Dancer’s Own Choreographic Award Margot Fonteyn Audience Choice Award

(sponsored by Mondor) The Margot Fonteyn Audience Choice Award gives the audience Introduced at the 2013 Genée, this award recognises and the opportunity to vote for their favourite candidate at the Final promotes choreography in the competition. of the competition.

Candidates are invited to perform a variation of 1.00–1.30 The voting slips will be collected at the end of the second minutes’ duration (performed in pointe shoes for females), interval during the Final, after the candidates have performed all choreographed by themselves, their teacher or a peer, to a piece three Variations. The candidate with the most votes is then given of music of their choice. the award.

The award goes to the candidate who demonstrates the highest This award is generously supported by the Dame Margot standard of choreography assessed on: Fonteyn Scholarship Fund. • structure The Medal and prize money presented to the winner of the Audience Choice Award have been donated by the Dame Margot Fonteyn Scholarship Fund, • dynamics in movement which has also provided a bursary for competition candidates. The Fund • use of space was established following the death of Margot Fonteyn in 1991 and provides scholarships and prizes to vocational dance students in need of financial • depiction of a theme or story, and support, and to promote the appreciation of ballet as an art form. • use of music or sound.

The winner of the Choreographic Award will be announced following the Semi-finals, and the winning variation will be performed again at the Final. Photo: Franks Elliott

Jana Baldovino – Dancer’s Own Choreographic Award winner Genée 2015, London

11 semi-finals programme

Wednesday 7 December MALES

Classical Class 19th Century Variations Taught by: Lynn Wallis Sleeping Beauty Act III, Prince Florimund Accompanists: Grant Kennedy and Archibald McKenzie Swan Lake Act I, Pas de Trois Swan Lake Act III, Prince Siegfried Coppélia Act III, Franz Thursday 8 December Raymonda Act III, Jean de Brienne Le Corsaire Act III Dancer’s Own Don Quixote Act III Candidates will perform a variation choreographed by themselves, their teacher or a peer to a piece of music of their 20th Century Variations choice. Danses Concertantes Principal Variation Choreography: Kenneth MacMillan, 1955 Music: Igor Stravinsky Friday 9 December Les Patineurs Blue Boy’s Variation Classical Repertoire Variations Choreographer: Frederick Ashton, 1937 Each candidate will perform one of the following: Music: Giacomo Meyerbeer, arranged by Constant Lambert

FEMALES Accompanists: Diane Palmer and Archibald McKenzie

19th Century Variations The Royal Academy of Dance gratefully acknowledges and thanks Lady Sleeping Beauty Prologue, Fairy Variation III MacMillan for permission to perform Danses Concertantes, Wendy Ellis-Somes for Cinderella Summer Variation, and The Frederick Ashton Sleeping Beauty Prologue, Fairy Variation V Foundation for Les Patineurs Blue Boy’s Variation. Raymonda Act I, Variation I Raymonda Act I, Variation II The performances of Danses Concertantes are by permission of Schott Raymonda Act II, Variation II Music Ltd and Chester Music Ltd and Cinderella Summer Variation by Raymonda Act III, Variation I permission of Boosey & Hawkes Music Publishing. La Bayadère Act III, 1st Girl La Bayadère Act III, 2nd Girl La Bayadère Act III, 3rd Girl

20th Century Variations Danses Concertantes Principal Variation Choreography: Kenneth MacMillan, 1955 Music: Igor Stravinsky

Cinderella Summer Variation Choreography: Frederick Ashton, 1948 Music: Sergei Prokofiev

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Photo: Elliott Franks final programme

Sunday 11 December MALES 19th Century Variations Introduction Sleeping Beauty Act III, Prince Florimund Lynn Wallis, Artistic Director, Royal Academy of Dance Swan Lake Act I, Pas de Trois Into the Unknown (variations commissioned by Swan Lake Act III, Prince Siegfried Royal Academy of Dance, sponsored by Energetiks) Coppélia Act III, Franz Choreographer: Tim Harbour Raymonda Act III, Jean de Brienne Le Corsaire Act III Each female candidate will perform: velvet drop Don Quixote Act III Each male candidate will perform: teak 20th Century Variations Music: Nicole Murphy Danses Concertantes Principal Variation Accompanists: Grant Kennedy and Archibald McKenzie Choreography: Kenneth MacMillan, 1955 Music: Igor Stravinsky – INTERVAL – Les Patineurs Blue Boy’s Variation Dancer’s Own Choreographer: Frederick Ashton, 1937 Music: Giacomo Meyerbeer, arranged by Constant Lambert Candidates will perform a variation choreographed by themselves, their teacher or a peer to a piece of music of their choice. Accompanists: Diane Palmer and Archibald McKenzie

Classical Repertoire Variations – INTERVAL – Each candidate will perform one of the following: Guest performance FEMALES Monotones II performed by Amanda McGuigan, Richard House 19th Century Variations and Brodie James from The Australian Ballet Sleeping Beauty Prologue, Fairy Variation III Choreography: Frederick Ashton Sleeping Beauty Prologue, Fairy Variation V Staged by: Lynn Wallis Raymonda Act I, Variation I Music: Erik Satie Raymonda Act I, Variation II Pianist: Duncan Salton Raymonda Act II, Variation II Raymonda Act III, Variation I – PAUSE – La Bayadère Act III, 1st Girl La Bayadère Act III, 2nd Girl Announcement of winners, including the Margot Fonteyn La Bayadère Act III, 3rd Girl Audience Choice Award, and presentation of medals by David McAllister AM, Chair of the panel of judges. 20th Century Variations Danses Concertantes Principal Variation Don’t forget to vote for your favourite candidate using the voting slip Choreography: Kenneth MacMillan, 1955 supplied. The voting slips will be collected at the end of the second interval Music: Igor Stravinsky after the candidates have performed all three Variations. The candidate with the most votes from the audience will be awarded the Margot Fonteyn Cinderella Summer Variation Audience Choice Award. Choreography: Frederick Ashton, 1948 Music: Sergei Prokofiev

14 guest performance

The Australian Ballet

Amanda McGuigan Amanda studied at McDonald College and at Tanya Pearson’s Classical Coaching Academy in Sydney. She was also a junior associate of The Australian Ballet School. At the age of 15 she moved to London to study at The Royal Ballet School. After graduation, she joined American Ballet Theatre (2007–2010) and then the Dutch National Ballet (2010–2013). With these two companies she toured extensively and danced featured roles such as Lady Montague in Romeo and Juliet, a lead swan in Swan Lake, and the Lilac Fairy in The Sleeping Beauty. She joined The Australian Ballet in 2014 and was promoted to coryphée in 2015.

Richard House Richard began his dance studies at the Classique School of Dance in Sunbury, Victoria, learning jazz and tap. He initially took up ballet to help with his posture and placement in other dance styles. At 12 he was accepted to train at the Victorian College of the Arts in Melbourne, studying ballet, jazz, tap, acrobatics and contemporary. In 2006 he was awarded a VCA scholarship to train at the Scottish School of Dance in Glasgow. He was accepted into The Australian Ballet School in 2008. While there he discovered a passion for choreography and was awarded the Graeme Murphy Award for Excellence in Contemporary Dance. He toured with The Dancers Company in 2010 and joined The Australian Ballet in 2011.

Brodie James Brodie James began his dance training with jazz and acrobatics at the Jody Marshall Dance Company, Perth in 2001. He trained at The Graduate College of Dance from 2005 under the direction of Dawn Weller. He was offered a scholarship to attend The Australian Ballet School in 2008. While there he spent time Photos: Daniel Boud Daniel Photos: studying at Canada’s National Ballet School. He toured with The Dancers Company in 2011 and joined The Australian Ballet in 2012. In 2014 he participated in a dancer exchange, performing with the Royal Ballet of Flanders in Antwerp.

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David McAllister AM Kevin O’Hare Artistic Director, The Australian Ballet Director, The Royal Ballet

A graduate of The Australian Ballet School, David joined The Appointed in July 2012, Kevin is responsible for driving the Australian Ballet in 1983. He was promoted to Principal Artist artistic direction of the Company. in 1989, performing principal roles in Onegin, Romeo and Juliet, La Fille mal gardée, The Sleeping Beauty, Don Quixote, The Sentimental Kevin trained at The Royal Ballet School and through an Bloke, Coppélia, Manon, La Sylphide, Sinfonietta and Stepping Stones. exchange programme with Royal Danish Ballet. He began his performing career with The Royal Ballet’s sister company In 1985 he won a Bronze Medal at the Fifth International Ballet Sadler’s Wells Royal Ballet, and stayed as a Principal during its Competition in Moscow and was invited to return as a guest transformation into Birmingham Royal Ballet. artist with the Bolshoi Ballet, the Kirov Ballet and the Georgian State Ballet. In 1989 David guested with The National Ballet of Kevin’s repertory included all the leading classical roles, such Canada, dancing John Cranko’s Romeo and Juliet as well as Etudes as Prince Siegfried (Swan Lake), Prince Florimund (The Sleeping and The Four Temperaments. He also danced with Birmingham Beauty), Albrecht (Giselle) and Romeo (Romeo and Juliet), and he Royal Ballet and Singapore Dance Theatre, and in 1992, took worked with many leading figures in the ballet world, including part in the Royal Gala performance of Coppélia for the Princess Ninette de Valois, Peter Wright, Frederick Ashton, Kenneth of Wales. He danced for the final time in Giselle in 2001 at the MacMillan and David Bintley, and created several roles, including Sydney Opera House, and became Artistic Director of The Amynta (Bintley’s Sylvia). Australian Ballet in July 2001. Kevin retired from the stage in 2000, training in company David became a Member of the Order of Australia in 2004, and management with the Royal Shakespeare Company. This led to was elected Vice President of the Royal Academy of Dance in the post of Company Director with BRB in 2001 before joining 2005. The Royal Ballet in 2002 as Company Manager. He was made Administrative Director in 2009 before being appointed to his current role. In 2013 he was appointed to the board of Dance UK. Photo: Joe Plimmer Joe Photo: Antoni Georges Photo:

17 judge producer

Francesco Ventriglia Lynn Wallis OBE Artistic Director, Royal New Zealand Ballet Artistic Director, Royal Academy of Dance Francesco trained at the Ballet School of La Scala, Milan, joining Lynn graduated from The Royal Ballet Senior School in 1965 into its ballet company in 1997. He made his debut as a soloist in The Royal Ballet Touring Company, becoming Ballet Mistress at William Forsythe’s In The Middle, Somewhat Elevated in 1998, and the school from 1969 until 1982, when she was made Deputy in 1999 was chosen by Natalia Makarova to portray the Bronze Principal. During this time she reproduced a great many ballets Idol in her La Bayadère. Roland Petit entrusted him with roles in from classical repertoire for the school performances at the his Carmen and Notre Dame de Paris. Royal Opera House, and other venues.

In 2006 he created three works for Roberto Bolle: The Fight; In 1984 Lynn was invited by Erik Bruhn to join The National Ballet New Year’s Concert; and The Myth of the Phoenix. In 2007 he of Canada as Artistic Co-ordinator, where she eventually became established the Heliopolis Company, debuting at the Venice Co-Artistic Director with Valerie Wilder. In 1990, Lynn was Biennale. In the same year he created A Midsummer Night’s appointed Deputy Artistic Director of English National Ballet. Dream and Jago, the honest poetry of deception, for the Arena di Verona. His Two Step Black has been performed at the Bolshoi Lynn joined the RAD in 1994 as Artistic Director and is Theatre and in New York. In 2008 he created Contradictions responsible for setting and maintaining the standards of dance which premiered at the Mariinsky Theatre, and in 2009 he was training worldwide, developing the syllabus and planning courses invited by the Bolshoi Theatre to create Zakharova Super Game. internationally for students. Other commissions include Immemoria, in 2010, and Sed lux In 2004 she was nominated for an Isadora Duncan Dance Award permanent – Transit umbra for the Ballet du Grand Théâtre de for restaging Ashton’s Monotones I and II, for San Francisco Ballet. Genève. In 2012, Dance and Ballet named him ‘Best Director of the Year’ in recognition of his work at MaggioDanza. Lynn is a Trustee of the Dance Professionals Fund, a Fellow of the Imperial Society of Teachers of Dancing and Governor for Francesco took up his appointment as Royal New Zealand Elmhurst Ballet School. She was awarded an OBE for services to Ballet’s Artistic Director in 2014. dance in the 2015 Queen’s Birthday Honours. Photo: David Tett David Photo: Photo: Stephen A’Court

18 faculty

Adrian Burnett Fiona Tonkin Director Dance, Australia Council for the Arts Artistic Associate & Principal Coach, The Australian Ballet A graduate of The Australian Ballet School, Adrian joined The Australian Ballet in 1988 before moving to the Basel Ballet in Fiona joined Royal New Zealand Ballet in 1979 before moving to Switzerland. Returning to The Australian Ballet in 1994, he The Australian Ballet where she became a Principal Artist. became lead soloist. Her career highlights include performing The Sleeping Beauty at In 1999 he received the Lissa Black Choreographic Award, and the Royal Opera House London; Romeo & Juliet at The Kirov in 2002 his Subtle Sequence of Revelation won the Green Room Theatre St Petersburg; Spartacus at the Metropolitan Opera Award for Best New Choreography. He became Senior Artist House New York; and opening the company’s 1992 London and Resident Choreographer at The Australian Ballet from 2003 Coliseum season of Giselle. She appeared as a guest artist with to 2006, and co-directed their 40th anniversary programme. He Kirov Ballet in Swan Lake, the Rudolf Nureyev Farewell Tour, and also produced Out There – The Australian Ballet in Schools. was partnered by Fernando Bujones in the 1988 season of The Three Musketeers. She performed the title roles in the television In 2002, Adrian choreographed the guest performance for the broadcasts of La Fille mal gardée, and Romeo and Juliet. Genée at the Sydney Opera House and created the solos for the competitions in Singapore and Wellington. He has also worked In 1994, after a period studying with Stuttgart Ballet and Yvette with Dutch National Ballet, Houston Ballet, Singapore Dance Chauviere, Fiona returned to New Zealand and completed Theatre, New York City Ballet’s Choreographic Institute, The a Bachelor of Arts degree. During this time, she was a guest Australian Ballet, West Australian Ballet, Royal New Zealand teacher and répétiteur in both New Zealand and Australia. Ballet, Sydney Dance Company, Royal Swedish Ballet, Scottish In 2000 she was appointed rehearsal director of Royal New Ballet and Wayne McGregor’s Random Dance. Zealand Ballet, and two years later became Assistant Artistic Director of English National Ballet. He was appointed Director Dance at the Australia Council for the Arts in 2015. 2016 marks Fiona’s 28th year with The Australian Ballet. Anderson Gregory Photo: Photo: Daniel Boud Daniel Photo:

19 commissioned Choreographer composer

Tim Harbour Nicole Murphy Tim danced with The Australian Ballet for 13 years, retiring in Nicole is the recipient of various awards for composition. In 2007 as a Senior Artist. 2012 she was chosen to represent Australia at the 30th Asian Composers League Festival in Tel Aviv. Most recently, Nicole was As a choreographer Tim got his start in The Australian Ballet’s selected as one of six composers to work with composer Steve bodytorque program and has since created work for The Reich in Toronto as a part of his 80th birthday celebrations. Australian Ballet, West Australian Ballet and Queensland Ballet. In 2008 he created Tocatta for New York City Ballet’s Nicole’s music has been performed at music festivals around the Choreographic Institute and in 2009 Christopher Wheeldon’s world and she has been commissioned by Melbourne Symphony company Morphoses invited him to create Leaving Songs, which Orchestra, Orchestra Victoria, Wild Rumpus (San Francisco), premiered at London’s Sadler’s Wells before touring to New Chamber Sounds (Singapore), the Mid America Freedom Band York’s City Centre. (Kansas City) and the Definiens Project (Los Angeles). Her music has been performed by ensembles such as the Tasmanian Tim’s first main stage commission for The Australian Ballet Symphony Orchestra, Ars Nova (Dallas), Halcyon (Sydney), came in 2010 with Halcyon. This was followed in 2012 by Soundstreams (Toronto) and Chronology Arts (Sydney). Sweedeedee created for The Australian Ballet’s 50th Anniversary celebrations. In 2014 Tim became a Resident Choreographer As an undergraduate, Nicole studied under Gerard Brophy, of The Australian Ballet. That year he made Ostinato, which was graduating in 2004 with a First Class Bachelor of Music degree. presented at the Fall For Dance Festival in New York. In 2015 She went on to complete her Master of Music degree at the Tim created Filigree and Shadow, which premiered at the State Queensland Conservatorium of Music in 2011, under the Theatre, Melbourne before touring to the Opera House, Sydney. tutelage of Dr. Gerardo Dirié.

Tim lives in Melbourne where he is part of the dance staff of the Nicole is represented as an Associate Artist by The Australian Victorian College of the Arts Secondary School (VCASS). He Music Centre and is Composer-in-Residence at the Queensland also teaches at Melbourne University (VCA). Academy for Creative Industries. She is currently completing a PhD at the University of Queensland. Photo: courtesy of The Australian Ballet Australian The of courtesy Photo: Photo: Emma Cowell

20 notator accompanist

Mark Kay Grant Kennedy Mark took up choreology after studying Benesh Movement Grant studied piano with a variety of teachers in the Hunter Notation at The Australian Ballet School. In 1986 he completed Valley and in Sydney before pursuing dance accompaniment the notation course at the Benesh Institute in London and while professionally. He has been on the staff of RAD Australia since there worked with Gillian Lynne on The Phantom of the Opera. He 2008 as Dance Accompanist and Music Services Administrator. joined The Royal Ballet as a freelance notator in 1987 and worked Grant is responsible for the accompaniment of examinations on Eagling’s Beauty and the Beast and Dowell’s Swan Lake. in various Australian RAV centres, student and CPD courses, scholarships and awards days as well as Faculty of Education In 1988 Mark went to work for English National Ballet where he programmes. His administrative responsibilities include performed, notated, staged and worked with choreographers contribution to formulation of Academy music policy, pianist and directors, including Peter Schaufuss, Ronald Hynd, Kenneth recruitment, training and standardisation and collaboration on MacMillan, Nicholas Beriozoff, Ben Stevenson and Ivan Nagy. syllabus development projects.

In 1993, Mark was invited to join The Australian Ballet and in Grant accompanied the Australian launches of the Grades 1–3 2002 was appointed Ballet Master/Choreologist. While there he and Intermediate Foundation and Intermediate syllabi. He was notated and staged ballets, as well as performing many character also an accompanist at the 2012 Genée in Wellington. roles. After 19 years, Mark decided to leave the company, but has returned to stage Manon, Nutcracker and Coppélia. Grant works widely as a freelance accompanist for dance educators, and local and international ballet companies. He has As a freelancer, Mark has staged Peter Schaufuss’s Nutcracker composed music for various dance-related projects including for the Graz Oper Ballet in Austria, Rudolf Nureyev’s Don the various levels of Marie Walton Mahon’s Progressing Ballet Quixote for the Royal Swedish Ballet, The Royal Ballet and La Technique programme. Scala Theatre Ballet, Ronald Hynd’s The Merry Widow for Hong Kong Ballet, and Christopher Wheeldon’s Continuum for Dutch National Ballet and Zurich Ballet. Photo: Nicolas Winyard Nicolas Photo: Photo: Stephen A’Court

21 accompanists

Archibald McKenzie Diane Palmer

Archibald was born in Perth, Western Australia, and grew up in Sydney born and raised, Diane began piano studies at an early Copenhagen, Antwerp, Paris, London and Sydney. He has been age, achieving straight As in all the piano grades in the Australian based in Sydney since 1982, with several stays in Europe and Music Examinations Board syllabus. China. She received the Associate Diploma (A.Mus.A) in piano from Trained as a pianist, linguist and lawyer, Archibald has performed the same organisation at 16 years of age. She graduated from as a pianist, conductor, composer and music director in a variety the Canberra School of Music/Australian National University in of professional contexts, lectured in Chinese and Central 1992 with a Bachelor of Music (Piano – Performance) which was Asian studies, translated a number of books on modern and awarded ‘With Distinction’. This four-year degree provided her contemporary Chinese art from the Chinese, and curated and with an overview of all aspects of piano performance, covering contributed to several art exhibitions including The Grand Canal the broad range of solo and accompaniment repertoire available. (Venice Biennale 2013). Diane relocated to Melbourne and has freelanced extensively In 1998 Archibald founded Alegria Dance with Hilary Kaplan, in the specialised art of classical ballet accompaniment. She was and in 2002 he founded the Kudos Foundation with a group invited to join the music staff at The Australian Ballet School in of academics and lawyers to support the study of Classics 2009 where she is currently a full-time pianist. in Australia. He was a pianist for the Genée International Ballet Competition in Sydney 2002, Hong Kong in 2006, and Wellington in 2012. Kaplan Hilary Photo: School Ballet Australian The of courtesy Photo:

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inalist ondon F natalia Hordov A enée L 2015, G

Photo: Elliott Franks Lynn wallis OBE: an artistic vision

As Lynn Wallis OBE prepares to step down as the RAD’s Lynn receiving Artistic Director after 22 years in post, we take a look at her her OBE career through the words of friends, colleagues and ex-pupils.

‘[When I was a student] she was such an authority within the profession, with such passion and discipline. I never wanted to put a foot wrong in front of her, and I just thought, “she’s got to notice me”…I was in awe. I wanted to do her proud and impress her.’ Darcey Bussell, former student and RAD President

‘…her passion and commitment to our art form has been an inspiration…ensuring dancers across the world have a fantastic training system that is fun and instructive, challenging and creative.’ David McAllister, Artistic Director of The Australian Ballet

‘Lynn sets the bar so high for herself and my admiration for her is unbounded. She has made an astonishingly sound, carefully Wallis Lynn of courtesy Photo: considered and intelligent contribution to the dance world.’ Dame Monica Mason, former Director of The Royal Ballet

‘Lynn has had a unique and extraordinary career but what sets her aside as exceptional is her humanity, her passion…and her generosity, kindness and care. There are so many stories...I feel extremely fortunate that those beautiful legs walked into my life all those years ago.’ David Nixon, Artistic Director of Northern Ballet ‘Lynn’s legacy is in the dancers that are coming through. The Lynn ‘has absolutely no sense of self-importance. Not long ago RAD is the strongest it’s ever been.’ I took part in a workshop for teachers which focused on La Fille Kevin O’Hare, Director of The Royal Ballet mal gardée, so we duly hopped about as chickens and harvesters all day long.’ ‘She was exacting with regards to technique, musicality and style. Jeanetta Laurence OBE, former colleague I was young, and little bit naughty. Lynn asked for silence and I made a girl scream. I ended up in the corner of the studio.’ ‘One would never guess that this calm and unassuming person Ashley Wheater, Artistic Director of Joffrey Ballet had achieved such a successful career in ballet at home and abroad...I can still see her standing modestly in the wings, ‘Boy, did we have fun! Lynn’s infectious enjoyment, energy and completely in charge.’ naughty sense of humour made everyone feel very special.’ Dame Beryl Grey, President of English National Ballet Gary Harris, Genée 2002 judge

24 ‘Lynn asked if I had a nickname, as there was already Christopher ‘Quite recently Lynn did a short demonstration for me in her Powney in the company, and a Christian too. When I told her it kitchen of some of the Russian barre exercises she had learnt was “Hampy” she said “Perfect! That’s what you’ll be called” and [from me], and still remembers!’ that stuck with me for my entire professional career’. Valerie Sunderland, international teacher and former examiner Christopher Hampson, Artistic Director of Scottish Ballet ‘In 2006 I asked Lynn to mount Monotones I and II…within ‘Lynn and I first met when we were students at The Royal Ballet a week she managed to teach the work and [all the dancers School and have remained friends ever since. Her great sense wanted] to get it right to please her.’ of fun might well have contributed to one of my reports which Vivienne (Vicki) Karras, former colleague stated “although Kathryn did not cause any trouble, she is usually around when it happens!”’ ‘Being taught Swan Lake repertoire by Lynn, [she did] everything Kathryn Wade, former RAD Trustee better than all of us. She had a dynamic brilliance in executing the work. When we were finding our wings she just ran rings [When we were creating the new Intermediate Foundation and around us and we were dazzled. She became the whole corps Intermediate] Lynn found a talkative woman in the sauna who de ballet on her own.’ asked for advice daily on the problems she was experiencing Harriet Thorpe, actress and former pupil with her love life…every morning I was waiting for the next chapter. Had the syllabus not worked we could have started a ‘Lynn and I have almost always agreed – bar two clear TV series… exceptions: I always wanted the Dance Proms performance to Paula Hunt, Chair of the Panel of Examiners and Head of end with fireworks and balloons. Lynn did not. And whilst we Syllabus Development share a love of Strictly Come Dancing, Lynn is also an enormous fan of The X Factor. I am not.’ ‘I remember having taken an embarrassing, un-choreographed Christopher Nourse, Administrative Director, tumble in Les Patineurs attended by Princess Margaret; Lynn, Frederick Ashton Foundation with a wry smile, simply asked if I had found the ice too slippery? Enough said!’ All quotations are taken from an article by Jessica Wilson, published in the October 2016 edition of Dance Gazette. Derek Purnell, former student and former RAD Trustee

Coaching candidates at Genée 2015, London Photo: Franks Elliott

25 Photo: Elliott Franks ardweg ondon

enée L 2015, obert van den A inalist R F G 2016 Semi-finalISTs

01 Ella Atkinson 06 Emma-Rose Barrowclough Age: 15 Age: 18 Nationality: Australian Nationality: New Zealander School: Dance Technique School: New Zealand School of Dance Trained by: Karen Perring, Arna Dess Trained by: Christine Gunn Dancer’s Own: Home Sweet Home Dancer’s Own: Reveal Music: Detektivbyrån – Home Sweet Home Music: Andrew Hewitt – The Double Theme Choreographer: Arna Dess, Ella Atkinson (Version 1) Choreographer: Isaac Di Natale

02 Claire Aubrey 07 Kristin Barwick Age: 16 Age: 18 Nationality: Australian Nationality: Australian School: Tanya Pearson Classical Coaching Academy School: West Australian Academy of Performing Trained by: Lucinda Dunn Arts Dancer’s Own: In a Time Lapse Trained by: Diana de Vos Music: Ludovico Einaudi – Experience Dancer’s Own: Care Less Choreographer: Adam Blanch Music: Steve Reich – Clapping Music Choreographer: Kim McCarthy

03 Madison Ayton 08 Chloe Blair Age: 15 Age: 17 Nationality: Australian Nationality: South African School: Annette Roselli Dance Academy School: Gauteng Dance Academy Trained by: Annette Roselli Trained by: Bernice Lloyd Dancer’s Own: Slip Slidin’ Dancer’s Own: First Light Music: Johannes Brahms (arr. Goran Frost) – Music: Yanni – In the Mirror Dance to a Black Pipe Choreographer: Kitty Phetla Choreographer: Paul Thomas Boyd

04 Jana Baldovino 09 Summer Bradley Age: 16 Age: 16 Nationality: New Zealander Nationality: New Zealander School: Alegria Dance Studios School: Mt Eden Ballet Acadamy Trained by: Hilary Kaplan, Archibald Mckenzie Trained by: Melinda Palmer Dancer’s Own: Epilogue Dancer’s Own: House of the Blue Danube Music: Peter Sculthorpe – Port Essington VI: Music: Malcolm Mclaren – House of the Blue Epilogue: The Bush (Con Semplicita) Danube Choreographer: Paulina Quinteros Choreographer: Melinda Palmer

05 Cadence Barrack 10 Valentina Buay Age: 15 Age: 16 Nationality: New Zealander Nationality: Singaporean School: Philippa Campbell School of Ballet School: North Shore Dance Academy Trained by: Philippa Campbell Trained by: Anne Gray Dancer’s Own: Tribute Dancer’s Own: Emotion Music: Yanni – Tribute Music: Ennio Morricone – River Choreographer: Joye Lowe Choreographer: Anne Gray

27 2016 Semi-finalISTs

11 Anna Caleo 16 Brittany-Jayde Duwner Age: 16 Age: 16 Nationality: Australian Nationality: Australian School: The Ann Roberts School of Dance School: Newcastle Dance Academy Trained by: Jane Pirani Trained by: Tracy Caldwell Dancer’s Own: Summer Dancer’s Own: An Ending A Beginning Music: Antonio Vivaldi – The Four Seasons Music: Ólafur Arnalds – Doria Concerto No.2 in G Minor, ‘Summer’ Choreographer: Katrina Lentfer Choreographer: Jane Pirani

12 Olivia Castagna 17 Eleftheria Economidou Age: 18 Age: 19 Nationality: Australian Nationality: Cypriot/Greek School: Victorian College of the Arts Secondary School: Motion Art Studio School Trained by: Penelope Georgiadou Trained by: Janne Blanch Dancer’s Own: Spring Dancer’s Own: Awakening Music: Tonči Huljić – Croatian Rhapsody Music: Gustav Mahler – Symphony No.5 in C Choreographer: Irene Timofeeva Sharp Minor Choreographer: Rani Leuther 13 Montana Chong 18 Sarah Eddie Age: 18 Age: 18 Nationality: Canadian Nationality: Australian School: International School of Ballet School: Elmhurst Ballet School Trained by: Umran Sumen Trained by: Denise Whiteman Dancer’s Own: Last Minute Dancer’s Own: Conceal Music: Aphex Twin – Kesson Dalef Music: The Piano Guys – Code Name Vivaldi Choreographer: Yukichi Hattori Choreographer: Sarah Eddie

14 Kaomi Jia Wen Chow 19 Chacha Ellis Age: 17 Age: 15 Nationality: Malaysian Nationality: New Zealander School: Crestar School of Dance School: Wellington Dance Academy and Trained by: Shyamala Vhamathawan Performing Arts Dancer’s Own: Rainbow After the Rain Trained by: Paula Hunt Music: Masaki Kurihara – Amefuri Rin-chan Dancer’s Own: Caprichoso Choreographer: Kaomi Chow Jia Wen Music: Francisco Ta’rrega – Capricho Arabe Choreographer: Tessa Hall

15 Claudia Dutton 20 Melissa Fawke Age: 16 Age: 18 Nationality: Australian Nationality: Australian School: Alegria Dance Studios School: MAKS Ballet Studios Trained by: Hilary Kaplan, Archibald McKenzie Trained by: Matthew Shilling Dancer’s Own: Lilacs Dancer’s Own: Amyrantha Music: Jules Massenet – Lilacs Music: Drehz – Heart Cry Choreographer: Paulina Quinteros Choreographer: Melissa Fawke, Matthew Shilling

28 2016 Semi-finalISTs

21 Karen Ferry 26 Holly Frick Age: 18 Age: 16 Nationality: British Nationality: Australian School: Ballet West School: Victorian College of the Arts Secondary Trained by: Jonathan Barton, Andrew McNicol, School Sonja Fajardo Trained by: Janne Blanch Dancer’s Own: Have you seen the mechanical doll? Dancer’s Own: Synergy Music: Ezio Bosso – V. Intermezzo 1 Music: Massive Attack – Fatalism Choreographer: Emmeline Jansen Choreographer: Holly Frick

22 Talia Fidra 27 Emily Gasson Age: 15 Age: 15 Nationality: Australian Nationality: Australian School: Claudia Dean Coaching School: The Macarthur Ballet and Dance Studio Trained by: Heidi Landford, Claudia Dean Trained by: Joanne Simms Dancer’s Own: The Heightened Line Dancer’s Own: VSLI Music: Mikael Karlsson – Finale & Manège from Music: Paul Tinsley – Thick, Cold with Warm Sides Alexander Ekman’s ‘Tyll’ Choreographer: Mitchell Turnbull Choreographer: Adam Blanch

23 Alexandria Finley 28 Krystal Gaudry Age: 19 Age: 17 Nationality: American Nationality: Australian School: Santa Clarita Ballet Academy School: Australian Dance Performance Institute Trained by: Corinne Glover Trained by: Barbara Eversen Dancer’s Own: Secrets Dancer’s Own: Spectrum Music: Al van der Beek, Steven Sharp Nelson – Music: Valgeir Sigurosson – Erased Duet Beethoven’s 5 Secrets Choreographer: Brooke Thompson Choreographer: Pamela Sosa, Alexandria Finley

24 Lily Kate Folpp 29 Claire Gosbell Age: 16 Age: 16 Nationality: Australian Nationality: Australian School: Victorian College of the Arts Secondary School: Elmhurst Ballet School School Trained by: Denise Whiteman, Christine Atkinson Trained by: Janne Blanch Dancer’s Own: Reflection Dancer’s Own: Waterfall Music: Arvo Pärt – Spiegel Im Spiegel Music: Armand Amar – Waterfall Choreographer: Melisa Ribola Choreographer: Louise Deleur

25 Makeely Foster Papanicolaou 30 Layne Hampson Age: 15 Age: 16 Nationality: Australian Nationality: Australian School: MAKS Ballet Studios School: Karen Ireland Dance Centre Trained by: Matthew Shilling, Trained by: Karen Ireland Katherine Arnold-Lindley Dancer’s Own: Faun Dancer’s Own: Deconstruct Music: Ólafur Arnalds – Faun Music: Armand Amar – Human Choreographer: Karen Ireland Choreographer: Matthew Shilling

29 2016 Semi-finalISTs

31 Jasmine Harcourt 36 Mamiko Inoue Age: 16 Age: 18 Nationality: Australian Nationality: Japanese School: The Macarthur Ballet and Dance Studio School: Morikawa Satomi Ballet Academy Trained by: Joanne Simms Trained by: Satomi Morikawa Dancer’s Own: Departure Dancer’s Own: Kaleidoscope Music: Alexandre Desplat – Lili’s Death Music: Bel Suono – Мегаполис Choreographer: Mitchell Turnbull Choreographer: Reina Onuma

32 Yuzu Hikosaka 37 Savannah Ireland Age: 18 Age: 18 Nationality: Japanese Nationality: South African School: Elmhurst Ballet School School: Carstens/Ireland Ballet School Trained by: Denise Whiteman Trained by: Natasha Ireland, Sandra Carstens Dancer’s Own: The Ragtime Dance Dancer’s Own: Homecoming Music: Scott Joplin – The Ragtime Dance Music: Jon Schmidt – Homecoming Choreographer: Yuzu Hikosaka Choreographer: Natasha Ireland

33 Jane Horner 38 Antonia Johnson Age: 16 Age: 18 Nationality: British Nationality: Australian/British School: Australian Dance Performance Institute School: Elmhurst Ballet School Trained by: Barbara Eversen Trained by: Denise Whiteman Dancer’s Own: Jane Dancer’s Own: Dansonata Music: A Winged Victory for the Sullen – We Music: Ervin Schulhoff – Sonata for Solo Violin: Played Some Open Chords and Rejoiced, for the 1 Allegro Con Fuoco Earth Had Circled the Sun Yet Another Year Choreographer: Lachlan Monaghan Choreographer: Rhys Humphreys 34 Jacinta Horton 39 Chloe Jones Age: 16 Age: 18 Nationality: Australian Nationality: British School: Katharine Mantle Performing Arts Academy School: Elmhurst Ballet School Trained by: Katharine Mantle, Adrienne Eastoe, Trained by: Denise Whiteman Elena Marcon Dancer’s Own: Nebula Dancer’s Own: Equilibrium Music: Max Richter – A Lover’s Complaint Music: Paul Cardall – Life and Death Choreographer: Chloe Jones Choreographer: Katharine Mantle

35 Jessica Sarah Hurwitz 40 Janae Kerr Age: 17 Age: 15 Nationality: South African Nationality: Australian School: Carstens/Ireland Ballet School School: Tanya Pearson Classical Coaching Academy Trained by: Natasha Ireland, Sandra Carstens, Trained by: Marie Walton-Mahon Anya Carstens Dancer’s Own: 528491 Dancer’s Own: Escape Music: Hans Zimmer – 528491 Music: Philip Glass – Truman Sleeps Choreographer: Shayarne Matheson Choreographer: Linde Wessels

30 2016 Semi-finalISTs

41 Steffanie Kobayashi-Cox 46 Anastasia Lewis Age: 16 Age: 16 Nationality: New Zealander Nationality: Australian School: Philippa Campbell School of Ballet School: Professional Ballet Coaching Academy Trained by: Philippa Campbell, Joye Lowe Australia Dancer’s Own: Escape Trained by: Suzanne Way Music: Tan Dun – In the Bamboo Forest Dancer’s Own: Fandango for Fifi Choreographer: Joye Lowe Music: Anne Carr-Boyd – Fandango for Fifi Choreographer: Louise Deleur

42 Kanon Kondo 47 Molly Little Age: 16 Age: 19 Nationality: Japanese Nationality: Australian School: Kudo Ballet School School: Alegria Dance Studios Trained by: Moritoshi Kudo, Sakae Maruyama Trained by: Hilary Kaplan Dancer’s Own: canon Dancer’s Own: Little Song Music: Drehz – Heart Cry Music: Peter Sculthorpe – Little Song Choreographer: Yoshiki Noborisaka Choreographer: Paulina Quinteros

43 Talia Langtry 48 Jazmin Marquez Age: 18 Age: 16 Nationality: Canadian Nationality: Australian School: Flora Pigeau Dance Academy School: Premiere Elite Trained by: Tyra Sergeant Trained by: Kahlia Mehmet-Smith Dancer’s Own: Rhapsody Dancer’s Own: Amelie Music: Sergei Rachmaninoff – Rhapsody on a Music: Yann Tiersen – J’y Suis Jamais Allé Theme of Paganini Choreographer: Kahlia Mehmet-Smith Choreographer: Nicki Hobbis

44 Isabelle Leclezio 49 Jamie McPhee Age: 19 Age: 16 Nationality: Australian/Mauritian Nationality: Australian School: Western Australian Academy of School: North Shore Dance Academy Performing Arts Trained by: Anne Gray Trained by: Diana de Vos Dancer’s Own: Dare to Dream Dancer’s Own: Get a Move On! Music: Neil Diamond – Dear Father Music: A Carthy, J Henry, L Hardin – Choreographer: Anne Gray Get a Move On! Choreographer: Kristin Barwick 45 Bella (Chae Yeon) Lee 50 Hannah Nash Age: 16 Age: 16 Nationality: Korean Nationality: Australian School: Carisma Dance & Fitness School: Alegria Dance Studios Trained by: Carissa Neate-Lammers Trained by: Hilary Kaplan, Archibald Mckenzie Dancer’s Own: A Day at the Beach Dancer’s Own: Humoresque Music: Penguin Cafe Orchestra – Perpetuum Music: Nielsen Klaverstykker – Humoreske/ Mobile Humoresque Choreographer: Carissa Neate-Lammers Choreographer: Joshua Consadine

31 2016 Semi-finalISTs

51 Maeve Nolan 56 Arisa Sano Age: 16 Age: 17 Nationality: Australian Nationality: Australian School: Tanya Pearson Classical Coaching Academy School: Sydney Ballet School Trained by: Marie Walton-Mahon Trained by: Jasmin Bobyk Dancer’s Own: Abide Dancer’s Own: Divided Music: Henry Francis Lyte, William Henry Monk – Music: Shigeru Umebayashi – Lovers from ‘House Abide With Me of Flying Daggers’ Choreographer: Amanda Whittaker Choreographer: Paris Bobyk

52 Sara Ouwendyk 57 Fabiana Sarto Age: 17 Age: 17 Nationality: Australian Nationality: Brazilian School: Western Australian Academy of School: Carina Castro Ballet Performing Arts Trained by: Carina Castro Trained by: Suzanne Arrigo Dancer’s Own: Eponina Dancer’s Own: The Theory of Everything Music: Ernesto Nazareth – Eponina Music: Jóhann Jóhannsson – Cambridge, 1963 Choreographer: Luiz Carlos Nogueira Choreographer: Jayne Smeulders

53 Geraldine Petersen 58 Yasmin Sayah Age: 18 Age: 17 Nationality: Australian Nationality: Australian School: Prudence Bowen Atelier School: Melbourne City Ballet (school) Trained by: Heidi Landford Trained by: Michael Pappalardo Dancer’s Own: This Place is a Shelter Dancer’s Own: The Sky Seen from the Moon Music: Ólafur Arnalds – This Place is a Shelter Music: Ezio Bosso – The Way of 1000 and One Choreographer: Bethany Cockburn Come: VII. Allegretto Choreographer: Michael Pappalardo

54 Zoe Phillips 59 Ada Sayasane Age: 18 Age: 15 Nationality: American Nationality: Australian School: Susan Hayward School of Dancing School: Anita Coutts School of Dance Trained by: Susan Hayward Trained by: Anita Coutts-Delaland Dancer’s Own: Beyond Sparkling Words Dancer’s Own: Run Music: Alexandre Desplat – The Rehearsal Music: I Virtuosi Italiani & Daniel Hope – Run Choreographer: Logan Learned Choreographer: Anita Coutts-Delaland

55 Evelyn Roberts 60 Jessi Seymour Age: 18 Age: 15 Nationality: Australian Nationality: Australian School: Western Australian Academy of School: Alegria Dance Studios Performing Arts Trained by: Hilary Kaplan Trained by: Diana de Vos Dancer’s Own: Badinerie Dancer’s Own: La Foule Music: Johann Sebastian Bach – Badinerie Music: Ángel Cabral – La Foule Choreographer: Paulina Quinteros Choreographer: Kim McCarthy

32 2016 Semi-finalISTs

61 Sian Sherwood 66 Caitlin Tanner Age: 17 Age: 17 Nationality: Australian Nationality: South African School: The Macarthur Ballet and Dance Studio School: Cape Junior Ballet School Trained by: Joanne Simms Trained by: Dianne Cheesman Dancer’s Own: The Result Dancer’s Own: Elements Music: Paul Tinsley – The Result Music: Max Richter – November Choreographer: Mitchell Turnbull Choreographer: Kirsten Isenberg

62 Taylah Small 67 Emma Thomas Age: 16 Age: 18 Nationality: Australian Nationality: British School: Katharine Mantle Performing Arts Academy School: Ballet West Trained by: Adriane Eastoe, Katharine Mantle Trained by: Jonathan Barton Dancer’s Own: Obliviation Dancer’s Own: Synergy Music: Ólafur Arnalds – 3055 (Edit) Music: Johann Sebastian Bach – 6 Suites (Sonatas) Choreographer: Katharine Mantle for Cello BWV1007-12, Suite No.2 Choreographer: Andrew McNicol

63 Katelyn Starie 68 Anna Van Eijck Age: 16 Age: 17 Nationality: Australian Nationality: New Zealander School: Classical Coaching Australia School: Wellington Dance and Performing Arts Trained by: Janine McGrath Academy Dancer’s Own: Bach Trained by: Paula Hunt Music: Steven Sharp, Al Van der beek & Johann Dancer’s Own: Fugata Sebastian Bach – The Cello Song Music: Astor Piazzolla – Fugata Choreographer: Riley Baldwin Choreographer: Paula Hunt

64 Tyla Steinbach 69 Alexandra Van Veijeren Age: 16 Age: 17 Nationality: Australian Nationality: South African School: Tanya Pearson Classical Coaching Academy School: Wells Studio of Ballet Trained by: Marie Walton-Mahon Trained by: Jacqui Wells Dancer’s Own: Eclecticism Dancer’s Own: Are you listening? Music: Nils Frahm – Says Music: Hans Zimmer – Are You Listening, Clark? Choreographer: Adam Blanch Choreographer: Angela Revie

65 Rebecca Strain 70 Jade Wallace Age: 18 Age: 19 Nationality: Canadian Nationality: British School: Ballet West School: Elmhurst Ballet School Trained by: Jonathan Barton Trained by: Denise Whiteman Dancer’s Own: Clouded Contrasts Dancer’s Own: The Secretary Music: Ezio Bosso – VII. Before Four Music: Leroy Anderson – Typewriter Symphony Choreographer: Emmeline Jansen Choreographer: Jade Wallace

33 2016 Semi-finalISTs

71 Alexandra Walton 74 Claire Wu Age: 15 Age: 16 Nationality: Australian Nationality: American School: The Teresa Johnson Ballet School School: Rachel’s Ballet Trained by: Teresa Johnson Trained by: Leigh Ann Koelsch Dancer’s Own: Homage Dancer’s Own: Siren Music: Pablo de Sarasate – Serenade Andalouse, Music: Daniel Crook – Siren Op. 28. Choreographer: Isabelle Sjahsam Choreographer: Alice Topp

72 Elisabeth Wenta 75 Beatriz Zolan Age: 15 Age: 19 Nationality: Australian Nationality: British School: Premiere Elite School: Academia Belén Fernández, Jerez de la Trained by: Kahlia Mehmet-Smith Frontera Dancer’s Own: Lost Love Trained by: Belén Fernández Music: Max Richter – Sarah’s Book Dancer’s Own: All in the Mind Choreographer: Kahlia Mehmet Music: Christopher Benstead – All in the Mind Choreographer: Belén Fernández

73 Evangelyn Sheat Yee Wong Age: 18 Nationality: Singaporean School: Ballet West Trained by: Jonathan Barton Dancer’s Own: Impulse Music: Max Richter – Berlin by Overnight Choreographer: Natasha Watson

34 2016 Semi-finalISTs

76 Luke Dimattina 81 Ryu Homberger Age: 17 Age: 17 Nationality: Australian Nationality: Australian School: Victorian College of the Arts Secondary School: Victorian College of the Arts Secondary School School Trained by: Janne Blanch Trained by: Janne Blanch Dancer’s Own: Impel Dancer’s Own: Amore Music: Kronos Quartet – Little Blue Something Music: Ryuichi Sakamoto – Amore Choreographer: Luke Dimattina Choreographer: Ryu Homberger

77 Clayton Forsyth 82 Matthew Jordan Age: 19 Age: 17 Nationality: Australian Nationality: Australian School: The Ballet School Australia School: Turning Point Dance Trained by: Noeleyne Wilson Trained by: Michelle Hofmann Dancer’s Own: Requiem Dancer’s Own: Tensipation Music: Al Van de Beek, Stephen Sharp Nelson – Music: Ramin Djawadi – Hear Me Roar Hello/Lacrimosa (Chello) Choreographer: Shane Placentino Choreographer: Noeleyne Wilson

78 Brayden Gallucci 83 John Paul Lowe Age: 17 Age: 17 Nationality: Australian Nationality: New Zealander School: Alegria Dance Studios School: Wellington Dance and Performing Arts Trained by: Hilary Kaplan Academy Dancer’s Own: After The Storm Trained by: Paula Hunt Music: Dmitri Shostakovich – Ruhe nach dem Dancer’s Own: Without Words Sturm/Calm after the Storm (largo) Music: Franz Schubert – Täuschung from Choreographer: Adam Blanch Winterreise, D911 Choreographer: Paula Hunt, Ngaere Jenkins 79 Jeremie Wen-Jian Gan 84 Joshua Price Age: 18 Age: 16 Nationality: Malaysian Nationality: Australian School: Serena Ballet School School: The Dance Centre/Amanda Bollinger Trained by: Serena Tan Suet Leng Dance Academy Dancer’s Own: Syncopation Trained by: Janice Heale Music: Fritz Kreisler – Syncopation Dancer’s Own: The Story of the Shield Choreographer: Kenichi Soki Music: Bear McCreary – The Story of the Shield Choreographer: Joseph Aitken

80 Cameron Holmes 85 Hamish Scott Age: 17 Age: 18 Nationality: Australian Nationality: British School: Tanya Pearson Classical Coaching Academy School: Elmhurst Ballet School Trained by: Marie Walton-Mahon Trained by: Sarah Dickinson Dancer’s Own: Burdened Dancer’s Own: Tango Nuevo Music: Karl Jenkins – Palladio Music: Astor Piazzola – Moderato Tangabile Choreographer: Monique Holmes, Choreographer: Hamish Scott Cameron Holmes

35 2016 Semi-finalISTs

86 Gabriel Sinclair Age: 17 Nationality: Australian School: Professional Ballet Coaching Academy Australia Trained by: Suzanne Way, Julie Wells Dancer’s Own: Andrei Music: Armand Amar – Andrei’s Theme Choreographer: Louise Deleur

87 Oscar Ward Age: 18 Nationality: British School: Ballet West Trained by: Jonathan Barton Dancer’s Own: Oblique Music: Jóhann Jóhannsson – Chalkboard Choreographer: Natasha Watson

88 Connor Williams Age: 18 Nationality: British School: Elmhurst Ballet School Trained by: Denise Whiteman, Sarah Dickinson Dancer’s Own: Hush Music: Trad. arr. Bobby McFerrin – Hush Little Baby Choreographer: Brogan Mckelvey, Connor Williams

36

inalist ondon F shihara Honoka I enée L 2015, G

Photo: Elliott Franks GENÉE DANCE CHALLENGE

Throughout 2016, the RAD has been bringing the excitement of the Genée to the whole of Australia through the Genée Dance Challenge, sponsored by Bloch. This is a national competition giving students from Grade 4 to Advanced 2 a taste of taking part in the Genée itself.

A series of semi-finals have been held around the country for the past few months, to find candidates for each of the four levels to go forward to the final in Sydney on 10 December. Successful students are also given the thrilling opportunity to attend the Genée Final on the following evening.

Each student took part in an open class given by a guest teacher before performing a Dancer’s Own variation. These were judged by some of the country’s leading dance professionals including Madeleine Eastoe, Daniel Gaudiello, Belinda Hernandez, Olivia Jenkins, Mary Li, Lisa Pavane, Gillian Revie and Jayne Smeulders.

As a result, 44 students made it to the final, to take their first steps on their own journey to the Genée.

Jasmine Healey Winner – Level 2 Sydney Metropolitan, New South Wales Photos: Beverley Davis Photos: Beverley

Charlie Dashwood Winner – Level 2 Victoria

38 Tailha Kyrwood Winner – Level 3 Northern New South Wales

LilySophia Dashwood Winner – Level 1 Victoria Photos: Beverley Davis Photos: Beverley

Grace Boswell Winner – Level 4 South Australia

39 Harlequin Floors, official dance floor supplier to the Genée International Ballet Competition 2016

“There are many things a dancer has to contend with. One of the things they don’t want to worry about is the floor they are dancing on. The floor is a dancers’ friend; after all they are in contact with it the whole time they are performing, and they know that with Harlequin they will be secure. It’s the care and attention that Harlequin as an organisation gives to the Royal Academy of Dance, being one of the many reasons for choosing Harlequin.”

Australian Harlequin Pty Ltd SYDNEY Unit 1, 47 Prime Drive LONDON Lynn Wallis Seven Hills, NSW 2147 LUXEMBOURG BERLIN Artistic Director Australia PARIS MADRID Royal Academy of Dance Tel: +61 (2) 9620 7770 LOS ANGELES Fax: +61 (2) 9620 7771 PHILADELPHIA FORT WORTH @DanceFloors @RADheadquarters #Genee2016 www.harlequinfloors.com HONG KONG [email protected] TOKYO

Genee Advert Oct (210x210mm).indd 1 06/10/2016 14:34 Harlequin Floors, official dance floor supplier to the Genée International Ballet Competition 2016

“There are many things a dancer has to contend with. One of the things they don’t want to worry about is the floor they are dancing on. The floor is a dancers’ friend; after all they are in contact with it the whole time they are performing, and they know that with Harlequin they will be secure. It’s the care and attention that Harlequin as an organisation gives to the Royal Academy of Dance, being one of the many reasons for choosing Harlequin.”

Australian Harlequin Pty Ltd SYDNEY Unit 1, 47 Prime Drive LONDON Lynn Wallis Seven Hills, NSW 2147 LUXEMBOURG BERLIN Artistic Director Australia PARIS MADRID Royal Academy of Dance Tel: +61 (2) 9620 7770 LOS ANGELES Fax: +61 (2) 9620 7771 PHILADELPHIA FORT WORTH @DanceFloors @RADheadquarters #Genee2016 www.harlequinfloors.com HONG KONG [email protected] TOKYO

Genee Advert Oct (210x210mm).indd 1 06/10/2016 14:34 maria o’connor: continuity and variations

A familiar face to anyone involved in the Genée in recent years, How many Genée competitions have you been involved in, and candidate coordinator, Maria O’Connor, recently celebrated do you remember your first one? 25 years at the RAD. Maria started out on a three-year My first Genée was in London in my first year. For me it was teacher training course at the Academy back in 1983. After special because we actually had a British female win the gold several years of freelance teaching, she worked as a chaperone medal – something that was comparatively rare at that point. and house mother for the RAD London Summer Schools That and getting to work with David Wall and Julia Farron really before being offered a permanent role with what was then the stand out for me. Education and Training Department in 1991. I’ve since been involved in 23 competitions (I had to count them!). The only one I missed was Sydney 2002, so I’m particularly looking forward to being a part of this one.

Is there a particular competition that stands out in your memory? The most memorable one for me was Athens in 2004. Apart from the particularly high calibre of the male competitors that year, with amazing dancers such as Xander Parish and Shevelle Dynott taking medals, it was also the venue itself. The Final took place at the Herodes Atticus Odeon, a 2,000 year-old amphitheatre. The candidates actually performed under the stars in this amazing space. There was a magical atmosphere and the performances appeared less restricted – even the jetés seemed to reach higher than usual. Perhaps it was also the presence of Terpsicore herself? That night will always be special to me.

What, if anything, has changed about the competition over the years? Candidates used to have to take a class on the stage as part of the Final. This was a lot of pressure and a very long evening for them – and even for the staunchest of ballet lovers. This now forms a part of the Semi-final instead. But artistically, it’s the choice of variations that has changed, first when Lynn Wallis introduced the 20th Century variations. The candidates were then able to move away from the classical repertoire to perform

Photo: Evan Li the works of other great choreographers like Frederick Ashton and Kenneth MacMillan. And they now have new freedom with the ‘Dancer’s Own’ section. It’s brought new scope Watching the Genée Final from for expression and performance that is so important. It has the wings –Wellington, 2012 definitely changed the competition for the better.

42 Is there somewhere that you’d like to see the Genée staged Shevelle Dynott, Bronze Medallist, Kannelopolous John Photo: that it hasn’t been yet? at the Herodes Atticus Odeon, There are lots of countries that would make great hosts for the Genée 2004, Athens Genée, but on a practical level, it would need to be somewhere with the facilities to stage it properly. Without a doubt, Japan would be great hosts. They are absolutely besotted with ballet and have such high standards.

What advice would you give to this year’s candidates about how to get through it all? Luke Rittner, our Chief Executive, always likes to talk about the friendly nature of the Genée and he’s absolutely right. Candidates should enjoy every moment and make the most of every opportunity. After all, they’ll get so much attention and good advice – in some cases from teachers who have taught their teachers. But I also think that they shouldn’t perhaps focus too much on the Final and the medals. Some of the most beautiful dancers I’ve ever seen have taken part, not got through to the Final, but have still taken something from the competition and have gone on to have very successful careers.

At the Genée 2012 post-Final Reception, with Ariana Hond, Silver Medallist and Audience Choice Award winner Photo: Evan Li

43 CREATIVE SPACES

Established as a series of wraparound events to enhance April saw the epic ‘Join Hands for Genée’ at which Claudia Dean, the Genée experience, Creative Spaces in 2016 has seen a 2009 Genée gold medal winner, led a Guinness Book of World programme celebrating the return of the competition to Records attempt to gather the most people together to hold hands. Sydney and ensuring that Australia is a major dance destination in 2016. Back to Brisbane in May for a Pas de deux Workshop, and then on to Melbourne for a special High Tea with former Genée Criss-crossing the country, events kicked off in Sydney in January winners and candidates. Past medallists came together with RAD with a Teacher’s Dinner and evening of networking at The members, students and dance enthusiasts. Each hosted a table Food Society, with RAD Artistic Director, Lynn Wallis, as guest and shared their experiences and memories, as well as giving speaker. their advice and insight to the next generation of Genée hopefuls.

February, and Melbourne held a Masterclass with Kevin Jackson, In June, to honour our Patron Her Majesty Queen Elizabeth Principal Dancer of The Australian Ballet, while Perth put on a II’s 90th birthday, students and teachers across New South Day of Dance and a Teachers’ Cocktail Party with RAD Chief Wales attended a workshop and took Devonshire tea wearing Executive, Luke Rittner, as special guest. their tiaras. RAD Registered Teacher and Examiner, Hilary Kaplan, focused on Variations from the RAD syllabus for grades It was then back to Sydney for a Film Night at the Riverside Intermediate Foundation to Advanced 2. Teachers observed and Theatre, Parramatta, where guests enjoyed The Nutcracker then took part in a Q & A session over tea. featuring Francesca Hayward, Lauren Cuthbertson and Matthew Golding. This was followed a couple of weeks later by Behind the Contemporary workshops for students at Intermediate Examiner’s Table, a workshop offering an exclusive look inside Foundation and above were on the programme in July. These the examination studio with Paula Hunt, Chair of the Panel of were led by Stephen Tannos, one of the most sought after Examiners and Head of Syllabus Development at the RAD. contemporary teachers of the moment.

Brisbane teachers then enjoyed a Morning Tea with Luke in On to the final events of the programme: Dance Teaching for March, while in the same month, Hobart had its own Day of the 21st Century conference in Sydney, taking place over the Dance. Melbourne put on an RAD Showcase, a community- Genée weekend. The Conference begins with a cocktail party focused gala performance bringing together the Victorian and and welcome from guest speaker David McAllister, Artistic Tasmanian dance communities. Director of The Australian Ballet, and RAD Vice President.

The afternoon before the Final will also feature a High Tea with ‘Join Hands for Genée’ the Genée Final Judges, David McAllister, Kevin O’Hare and Francesco Ventriglia at the Sir Stamford Hotel, in which they look forward to the main event.

Through these events, we hope to have raised the profile of the Photo: Andre Cois Andre Photo: Genée, the work of the RAD and of dance in general. We also hope that Creative Spaces has helped to bring something of the celebratory spirit of the Genée to as many people as possible.

To find out more about Creative Spaces, visit www.rad.org.au/creativespaces.

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Royal Academy of Dance Genée International Ballet Competition 2016 Patron Producer HM Queen Elizabeth II Lynn Wallis President Panel of Judges Darcey Bussell CBE David McAllister (Chair) Kevin O’Hare Vice Presidents Francesco Ventriglia David Bintley CBE Li Cunxin Coaching sessions – classical class Dame Beryl Grey DBE Dmus DLitt Ded FRSA Olivia Jenkins – teacher Dr Ivor Guest MA DUNIV FRAD Janine Torriero – pianist Dame Gillian Lynne DBE Events Management David McAllister AM Matthew Cunningham Wayne Sleep OBE Kerrie Hoskins Sir Peter Wright CBE DMus FBSM DLitt Sarah-Jane Lewis Chairman of the Board of Trustees Maria O’Connor Guy Perricone Candidate chaperones Chief Executive Dawn Burman Luke Rittner Sharon Cois Sally Egan Director of Finance and Operations Jane Hollier Ian Pogue BA (Hons) ACA Karen Monaghan Director of Education and Training Angela Muller Michelle Groves MA BSc (Hons) BPhil (Hons) Rhonda Smith Shelley Yacopetti Director of Examinations Andrew McBirnie BA MMus PhD LTCL Marketing, Communications & Advertising Nichola Hall Director of Marketing, Communications & Membership Lucinda Hennessy Melanie Murphy BA (Hons), MCIM, Dip. IPR MCIPR Melanie Murphy Director of Strategic Development and Fundraising Gabriela Nicolescu Matthew Cunningham Chasidy Ochalek Aiden Truss Artistic Director Jessica Wilson Lynn Wallis OBE Design & Programme Director of the Benesh Institute Nandita Dutta Liz Cunliffe ARAD FI Chor Public Relations Articulate

47 ACKNOWLEDGEMENTS

Official Genée 2016 Photographer Royal Academy of Dance Australia WinkiPop Media National Director Australia Genée 2016 Live streaming Bronwyn Watkins DJBarrett Financial Controller With thanks to the technical and stage management Leigh Heasman departments at The Concourse and Sydney Opera House Faculty of Education Programmes Manager Trust Kathy Baykitch Sydney Opera House Trust Examinations Manager Mr Nicholas Moore – Chair Kathryn Hughes The Hon Helen Coonan Mr Matthew Fuller Membership Manager Ms Brenna Hobson Karen Monaghan Mr Chris Knoblanche AM National Marketing & Communications Manager Ms Deborah Mailman Nichola Hall Mr Peter Mason AM Ms Catherine Powell Genée International Ballet Competition Ms Jillian Segal AM Australian Project Manager Mr Phillip Wolanski AM Kerrie Hoskins Sydney Opera House Executive Management Regional Manager New South Wales/ Louise Herron AM – Chief Executive Officer Australian Capital Territory Timothy Calnin – Director, Performing Arts Karen Monaghan Natasha Collier – Chief Financial Officer Regional Manager Victoria/Tasmania Michelle Dixon – Director, Safety, Security & Risk Jane Hollier Katy McDonald – Director, People & Culture Jade McKellar – Director, Visitor Experience Regional Manager Queensland Greg McTaggart – Director, Building Sharon Cois Brook Turner – Director, Engagement & Development Regional Manager Western Australia Shelley Yacopetti Regional Manager South Australia Nichola Hall

48 Dance Accompanist and Music Services Administrator The Royal Academy of Dance also recognises support from: Grant Kennedy The Dame Margot Fonteyn Scholarship Fund Members of the Genée Circle Finance Assistant RAD Enterprises Ltd Ankita Kanaiya Candidate lunches supplied by Food Society IT & Administration Official Genée 2016 Merchandise Nicolas Winyard Kerrie Hoskins and Kylie Nel of RAD Australia, who designed a Examinations Coordinator unique range of merchandise for this year’s competition. Michelle Ludenia Most sincere thanks to: Examinations Assistant The RAD membership in Australia, and in particular the many Beverley Davis registered teachers and schools who have supported local fundraising events and activities, as well as those who have given Merchandise Coordinator donations. Nicole Abate We are grateful to all those who worked so hard to make these events a success. Sponsors, supporters and donors

Genée 2016 Official Sponsors The ROYAL ACADEMY OF DANCE® and RAD® are Registered Trade Marks of the Royal Academy of Dance. The use or misuse of the Trade Mark or any other content of this publication without prior permission from the Royal Academy of Dance is strictly prohibited. Royal Academy of Dance® is a charity registered in England and Wales No. 312826, and registered with the Australian Charities and Not-for-profits Commission (ACNC) Registered in Australia ABN 132 361 256

49

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10352 RAD New Open Day Advert NOV 2016 ART 210mm sq.indd 1 07/11/2016 12:21 Dance in a wider context Styles taught: Vestris/ Bournonville, Volkova/Vaganova, RAD, Cecchetti, Graham, Spanish Dance Society Graduates dancing professionally in Australia, Europe, North America, South Africa, Asia

Jessi seymour isobel Anderson AwArd 2016 CongrAtulAtions to hArry winner CeCChetti ChurChes (royAl bAllet, nsw intermediAte medAl 2016 london) on being seleCted winner CAnAdiAn nAtionAl to represent the royAl bAllet sChool Allet ompAny At the rik 4 week summer sChool 2016 b C e winner luCie sArAnovA bruhn Competition silver seCtion 2016; in CAnAdA in november finAlist robert And 2016 elizAbeth Albert pAul russell sCholArship 2016 Genée Gold 2009 sydney eisteddfod

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royalballetschool.org.uk/summer-school © Royal Ballet School/Brian Slater © Royal Registered Charity No: 214364 Dance in a wider context Styles taught: Vestris/ Bournonville, Volkova/Vaganova, RAD, Cecchetti, Graham, Spanish Dance Society Graduates dancing professionally in Australia, Europe, North America, South Africa, Asia

Jessi seymour isobel Anderson AwArd 2016 CongrAtulAtions to hArry winner CeCChetti ChurChes (royAl bAllet, nsw intermediAte medAl 2016 london) on being seleCted winner CAnAdiAn nAtionAl to represent the royAl bAllet sChool Allet ompAny At the rik 4 week summer sChool 2016 b C e winner luCie sArAnovA bruhn Competition silver seCtion 2016; in CAnAdA in november finAlist robert And 2016 elizAbeth Albert pAul russell sCholArship 2016 Genée Gold 2009 sydney eisteddfod

steven mCrAe genée gold 2002 prix de lAusAnne winner 2003, AureliAn Child brAyden gAlluCCi prinCipAl de broCAs SUMMER winner isobel Anderson Artist royAl bAllet genée gold 2012 SCHOOL AwArd AdvAnCed 1 2016 Covent gArden, luCie sArAnovA runner-up CeCChetti nsw 16-20 JANUARY winner young AwArds winner 2013 2017 senior medAl 2016 AustrAliAn CeCChetti gold finAlist prix de lAusAnne medAl 2013, 2016 AChiever of the yeAr uk 2014 sCholArship hAmburg sChool finAl yeAr 2015/2016 Artistic Director: Lucinda Dunn OAM Principal Part Time Academy Marie Walton Mahon RAD RTS ARAD

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Auditions for 2017 entry Please see website for further details:

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2016 Graduates Inés Marroquín now dancing with Semperoper Dresden Timothy Dutson now dancing with Birmingham Royal Ballet

ENBS_210x210mm_AUDITIONS.indd 1 10/10/2016 13:19 Get involved! RAD Friend Join our worldwide dance community. As well as receiving Dance Gazette delivered straight to your door, our members-only e-newsletter will keep The Official School of you up to date with details of events, discounts and other benefits. English National Ballet

Auditions for 2017 entry Photo: Andy Ross Andy Photo: Please see website for further details:

Find out more: www.enbschool.org.uk Cross Photo: Tim Visit www.rad.org.uk/join 2016 Graduates Email [email protected] Inés Marroquín now dancing with Semperoper Dresden Royal Academy of Dance® is a charity registered in England and Wales No. 312826 Timothy Dutson now dancing with Birmingham Royal Ballet Call +44 (0)20 7326 8070

ENBS_210x210mm_AUDITIONS.indd 1 10/10/2016 13:19 Patron: Her Majesty Queen Elizabeth II

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Cover photos by Elliott Franks: Paige Rochester, Finalist (front) and Lania Atkins, Silver Medallist (back), Genée 2015, London