THE AUSTRALIAN BALLET CINDERELLA 1 B:250 mm T:240 mm S:216 mm

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. B:340 mm S:306 mm T:330 mm

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

2 THE AUSTRALIAN BALLET 2019 SEASON

Telstra_BalletDancerAwards_MainstageProgramAd_121818.indd

Project Title: Ballet Dancer Awards Job Number: None E.C.D. C.D. A.C.D A.D. C.W.

Client: Telstra Bleed: 250 mm x 340 mm Creative Director: None Media: None Trim 1: 240 mm x 330 mm Art Director: None Copywriter: None Photographer: None Live: 216 mm x 306 mm Art Buyer: None STUDIO PRODUCTION IA PRODUCER ACCOUNT EX. ART BUYER Illustrator: None Gutter: None Studio Artist: Olga Lamm None Insertion Date: None Print Producer: Account Executive: None

Publications/Delivery Company: Inks Mainstage Program Ad Cyan, Magenta, Yellow, Black

Fonts TELSTRA AKKURAT (REGULAR, LIGHT, BOLD)

LINKS: MAY18_TELSTRABALLET_JADE_HERO_0317_VERT_EXT_CMYK.tif (CMYK; 446 ppi; 67.22%), TAB-Telstra-Logo-White.ai (11.8%) FILE IS BUILT AT: 100% THIS PRINT-OUT IS NOT FOR COLOR.

450 West 33rd Street New York, NY 10001 212.946.4000 Round: 1 Version: A 12-18-2018 1:57 PM B:250 mm T:240 mm S:216 mm

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. B:340 mm S:306 mm T:330 mm

19 – 28 MARCH 2019 | ARTS CENTRE MELBOURNE

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

Ingrid Gow, Amy Harris, Jessica Wood and Leanne Stojmenov. Photography Taylor-Ferné Morris

Telstra_BalletDancerAwards_MainstageProgramAd_121818.indd

Project Title: Ballet Dancer Awards Job Number: None E.C.D. C.D. A.C.D A.D. C.W.

Client: Telstra Bleed: 250 mm x 340 mm Creative Director: None Media: None Trim 1: 240 mm x 330 mm Art Director: None Copywriter: None Photographer: None Live: 216 mm x 306 mm Art Buyer: None STUDIO PRODUCTION IA PRODUCER ACCOUNT EX. ART BUYER Illustrator: None Gutter: None Studio Artist: Olga Lamm None Insertion Date: None Print Producer: Account Executive: None

Publications/Delivery Company: Inks Mainstage Program Ad Cyan, Magenta, Yellow, Black

Fonts TELSTRA AKKURAT (REGULAR, LIGHT, BOLD)

LINKS: MAY18_TELSTRABALLET_JADE_HERO_0317_VERT_EXT_CMYK.tif (CMYK; 446 ppi; 67.22%), TAB-Telstra-Logo-White.ai (11.8%) FILE IS BUILT AT: 100% THIS PRINT-OUT IS NOT FOR COLOR.

450 West 33rd Street New York, NY 10001 212.946.4000 Round: 1 Version: A 12-18-2018 1:57 PM Ako Kondo. Photography Jeff Busby

4 THE AUSTRALIAN BALLET 2019 SEASON NOTE FROM THE ARTISTIC DIRECTOR

Since its premiere in 2013, Alexei Ratmansky's mesmerising production of Cinderella has played to great acclaim, not only around Australia, but in London and Shanghai. It is such a pleasure to bring this magnificent ballet back to Melbourne.

Alexei Ratmansky is widely acknowledged to be a genius, and his mastery of storytelling through dance could not be more beautifully represented than in this fabulous production. The memories of working with him on this ballet are treasured by our dancers. He inspired the company not only to dance Cinderella with wit, musicality and precision, but through his choreography and insightful direction he taught us all about the majesty of our profession.

The creative team for this work were equally inspiring. The outrageously vivid and imaginative designs of Jérôme Kaplan bring so much to the narrative success of this production. He was such a joy to work with and he had the same impact on the artisans in our wardrobe department, the set builders and the scenic painters as Alexei had on the dancers. Wendall K. Harrington made magic with her extraordinary projections and Rachel Burke painted the stage with glorious lighting.

Cinderella has become one of the most requested and beloved ballets in our repertoire and I am sure that for many years to come it will continue to entrance all of us who dream of living ‘happily ever after’.

Thank you for joining us in 2019. I hope you enjoy and are inspired by our marvellous Year of Enchantment.

David McAllister AM

THE AUSTRALIAN BALLET CINDERELLA 5 Dimity Azoury and Cristiano Martino. Photography Daniel Boud

6 THE AUSTRALIAN BALLET 2019 SEASON NOTE FROM THE EXECUTIVE DIRECTOR

Those of us who were lucky enough to be in Melbourne for the world premiere of Alexei Ratmansky’s Cinderella in 2013 knew instantly that we were seeing the birth of an important new ballet, one that the company would be performing for years to come. The unique and beautiful movement created by the world’s most in-demand classical choreographer, paired with sumptuous sets and costumes by Jérôme Kaplan, made this new production an instant hit with our audiences.

Following sold-out seasons all around Australia, and a rapturous response from audiences in Shanghai and London, we are now thrilled to bring Cinderella back to Arts Centre Melbourne, where it had its world premiere.

The scope of The Australian Ballet’s activities and our ambitious projects – such as new productions and touring both at home and abroad – can only be achieved with the help of our many generous supporters. As always, we are extremely grateful to our government and corporate partners. The company is generously supported by the Australian Government through the Australia Council for the Arts, the Victorian Government through Creative Victoria and the NSW Government through Create NSW.

Our Principal Partner Telstra has supported the company for more than 34 years and is a part of our family in every sense. Our Lead Partner Qantas safely carries this busy company wherever we go in style and comfort and Lead Partner Aqualand, the Australian luxury property company, who is a Production Partner for Cinderella, supports our artistic ambitions. We hope you enjoy this exciting and imaginative interpretation of one of the world’s favourite fairytales.

Libby Christie

THE AUSTRALIAN BALLET CINDERELLA 7 Amber Scott. Photography Lynette Wills

8 THE AUSTRALIAN BALLET 2019 SEASON CINDERELLA

Choreography Alexei Ratmansky SYNOPSIS Act III

Music Sergei Prokofiev Act I Scene 1 Set and costume design Jérôme Kaplan Scene 1 The Prince is desperate to find his vanished love, and has a succession of women come to his Original lighting design Rachel Burke Cinderella is working hard while her Stepmother palace to try on Cinderella’s slipper. When it fits and Stepsisters are preparing for a magnificent reproduced by Graham Silver none of them, he sets out to travel the world in ball given by the prince of the land. search of her, visiting many lands and encountering Projection design Wendall K. Harrington Cinderella’s Father has fallen on hard times. many temptations. However, he can’t forget He likes to drink with his friends, which makes Cinderella and returns to his kingdom determined Cinderella’s Stepmother angry. She becomes to search every corner of it, although he is fast CHARACTER LIST even more furious when she sees Cinderella losing hope.

Cinderella taking a portrait of her dead mother from its hiding place. She destroys the portrait and, Scene 2 The Prince along with Cinderella’s Stepsisters, upbraids Cinderella, returned to her workaday life, treasures the poor girl cruelly. Cinderella’s Stepmother her memories of the enchanted night with the A dance teacher visits to teach the Stepmother Prince, but holds little hope of seeing him again. Skinny Stepsister and Stepsisters graceful steps, and hairdressers The Stepsisters, on the other hand, think they have Dumpy Stepsister arrive to give them splendid styles and help them made a great hit with the Prince, and each dreams on with their finery. Only Cinderella is left out, and excitedly of marrying him. Cinderella’s Father when the Stepmother and Stepsisters set off, she As part of his search, the Prince comes to visit is disconsolate. She takes solace in her dreams, The Fairy Godmother them. The Stepmother and the Stepsisters try imagining she is dancing at the ball. on the slipper, but their feet are too big for it. The Dance Teacher The Fairy Godmother sees her sorrow and Only Cinderella’s foot fits it, and the Prince The Prince’s Footman takes pity on her. Eccentrically disguised and realises she is his love. They are reunited, accompanied by celestial bodies – sun, moon, and embark on their lives together. Ball guests, The Solar System, Father’s friends, planets, stars – she visits Cinderella and transforms The Prince’s friends, Hairdressers, Tempters her rags into a sumptuous ball gown. Before the planets transport her to the ball, the Fairy Godmother warns her not to lose track of time We dedicate this season of Cinderella to Dame – at midnight, the magic will vanish. Margaret Scott, who passed away in February of this year. Dame Margaret was one of the great powerhouses of ballet in this country. She was Act II instrumental in the establishment of The Australian Scene 1 Ballet and was the first director of The Australian Ballet School. During almost three decades in this The Prince’s ball is in full swing, and the whole position, she discovered and nurtured generations court is trying to win his eye, particularly the of talented dancers, many of whom have gone on Stepmother and her daughters. But when to invigorate the art form both here and overseas. Cinderella arrives and encounters the Prince it is love at first sight for both of them. The court She will be sorely missed, and remembered looks on jealously, and all the ladies rush off to with love. dress themselves like Cinderella. The Stepmother and Stepsisters also hasten to change their clothes, but they’re a step behind the fashion.

As the night progresses, the Prince is captivated by Cinderella, and their love blossoms, despite the Stepmother and her daughters’ best efforts to win his attention. In her ecstasy, Cinderella forgets The Fairy Godmother’s warning. When midnight strikes and time again intrudes, she runs from the ballroom, leaving her slipper behind.

THE AUSTRALIAN BALLET CINDERELLA 9 Ty King-Wall and artists of The Australian Ballet. Photography Daniel Boud

10 THE AUSTRALIAN BALLET 2019 SEASON SPEAKING RATMANSKY

OUR DANCERS ON MAKING CINDERELLA WITH THE MASTER OF THE STORY BALLET. BY ROSE MULREADY

Alexei Ratmansky in rehearsals for Cinderella. Photography Lynette Wills

Alexei Ratmansky’s Cinderella has to be the only In the 21st century, Ratmansky stands alone as an version of the ballet where the lovers quarrel interpreter of the classical canon, and companies during the final pas de deux. When he was writing all over the world compete for his time. In terms the synopsis, the choreographer was insistent of national styles, he’s a polyglot: he was trained that there should be no ‘happily ever after’. in Russia (where he eventually became director Instead, “the reunited couple embark on their lives of the Bolshoi Ballet) but also danced with Royal together”, with all the complexity that implies. Danish Ballet and the Royal Winnipeg Ballet. As they dance, a projection behind them shows Since 2009, he’s been the artist in residence at the cycle of the four seasons, and they move American Ballet Theatre. What kind of movement through ecstasy to doubt, conflict and finally language emerges from this broad exposure to contentment. Principal Artist Ty King-Wall, one of different traditions? Ratmansky’s original Princes, says, “Relationships are not straightforward, they’re not fairytales: When dancers talk about Ratmansky’s there’s tension and struggle, things we have to choreography, one word comes up over and over: work through. Just as you see the progression of ‘body’. In ballet parlance, this means taking steps the four seasons, you see the progression of their to their fullest expression: bending at the waist, relationship, from the sweet honeymoon phase, going right down to the floor, using your lateral through obstacles and road blocks, working space. King-Wall remembers the choreographer through it. It’s a very human, very relatable “was always saying, ‘More body, more body.’” way to finish a fairytale.” Senior Artist Dimity Azoury, who debuted as Cinderella in 2018, says, “That range of movement Human and relatable: it’s these qualities that make is not something we get to explore every day. Ratmansky’s revivals of the great classics (Swan Trying to push that movement within the music is Lake, Le Corsaire, The Nutcracker and a host of the challenge of it. There are a lot of steps, and a others) live and breathe for modern audiences lot of detail in those steps. He always pushed us – and for dancers. King-Wall remembers to work the choreography to its full extent.” Ratmansky’s direction for the Prince’s first explosive entrance into the ballroom: “He told “It’s a really Russian way of moving, that expansive us, ‘I want you coming out like you’re driving a use of the body,” says King-Wall. “In Russia they Lamborghini.’” From this, the dancers got an have these giant stages, and you see the dancers instant picture of the Prince’s character. “He’s powering through space because they have so a little bit showy, a bit of a playboy: he’s a nice much room to move. I think Alexei’s choreography guy, but he’s always had luxuries in life.” When reflects that.” Ratmansky was coaching the Stepmother and For Artistic Director David McAllister, who the Stepsisters on how to preen for the Prince commissioned Cinderella, the Russian element on their Mae West-lips couch, he demonstrated in Ratmansky’s language resides in his special himself. “You’ve got to strike the most fabulous sensitivity to the legacy of Marius Petipa, who pose!” he said, hurling himself onto the couch with fashioned ballet’s most revered classics, including coquettishly crossed legs and a film-star pout. The Sleeping Beauty and The Nutcracker. “Petipa’s choreography has a lot of petit allegro in the

THE AUSTRALIAN BALLET CINDERELLA 11 Ty King-Wall and artists of The Australian Ballet. Photography Daniel Boud

“Sometimes, with the jumps, where you’d usually think of going up, you have to pull yourself out of the air, otherwise you’ll be too slow. You have to let the feet take over.”

feet, a lot of beats, but a really expansive upper The Act II choreography for the Prince and what I’ve done – I’ll be back,’ and then he’d body. In the late 20th-century interpretations Cinderella – in which both move from solo to pas go off to an office and come back with more. of the classics, we lost a lot of that upper body de deux to solo to a second pas de deux with I have no idea what he was doing when he was movement, but it’s there in Ratmansky.” It’s no barely a breather – is another Everest for the gone!” McAllister can supply the answer: “He’d sit coincidence that Ratmansky, since 2015, has taken dancers. Martino says, “Ty and all the boys who there with headphones on and listen to the score, on meticulous, scholarly reconstructions of Petipa had done it before told me, ‘It’s a killer – prep and then come back out with more movement. classics, working from notations to shear off the yourself.’ It would easily be the most physically It was almost like the music was directly feeding modern idiosyncrasies – high extensions, soaring challenging thing I’ve ever done. There’s so much his ideas.” leaps – that have occluded the original style. of that on-and-off balance stuff with your partner and you’ve got sweat dripping in your eyes and For Harris, Ratmansky’s control of his material Despite his devotion to classical sources, you can barely breathe!” Amy Harris, the original freed her to concentrate on character. “I love and his work within that tradition, Ratmansky’s Stepmother, says that role was also “brutal on working with him, because you know exactly choreography is as distinctive as a fingerprint. your body. I felt like I had to be in character at least what he’s trying to achieve, he shows you As well as the extreme ‘body’ and the swift 15 minutes before the performance, because from everything he wants. You don’t have to layer footwork, his hallmark is the filling of each the moment that curtain goes up and you throw on the style later – from the moment you learn musical phrase with a flurry of steps, sometimes that wig on the ground, you’re into it! So I always that first step, that unique movement is inside unexpected ones. Senior Artist Valerie wanted to be super-warm and ready. I like to do you. From there, it becomes more about the Tereshchenko, who has danced the Stepmother that first solo full out before the curtain goes up character and storytelling.” McAllister says this in several seasons, cites Ratmansky’s radar- so my heart rate is up and I’m ready to go, because was Ratmansky’s greatest gift to the company. sensitive musicality. “He wouldn’t just make a you’re literally sitting on a chair and then you go “He made you remember what’s important about step that fit the music; he was also really able from zero to 100 in a fraction of a second.” ballet. When he was giving a gesture or a step, to hear the dynamics of the music, so he would he’d never say ‘and then you do this’ – he’d always make a step that would be, say, fast-slow, fast- It’s fortunate that Ratmansky is so adept at say, ‘and then you say this’ – it was always about slow – he’d play with the music, going from getting the last drop out of his dancers. Like many telling the story.” quick to melting in one phrase.” King-Wall notes artists at the zenith of their field, he is remarkably the unusual combinations in the choreography: humble. In the studio, King-Wall says, “He’s very Despite the choreography’s toll on the body, all the perhaps a double sissonne from fourth position gentle, very softly spoken: very expressive, open, Cinderellas and Princes speak of that breakthrough instead of fifth, rapid transitions from turned out generous, gives a lot of himself. He’d never rage moment of grasping the steps and going beyond positions to turned in, or jumps without the usual at you, he’d say just say, ‘Hmmm, no, that’s not them into what McAllister sees as the essence of preparations. “You have to anticipate in your quite right.’ It’s like a parent who says to you, ‘I’m Ratmansky’s language: “the beautiful way bodies mind – by the time you get there, it’s too late. not angry, I’m just disappointed.’ If you couldn’t mould and float around each other.” Azoury says, Sometimes, with the jumps, where you’d usually get what he wanted, you’d feel so bad! You really “The pas de deux feel as good as they look, which think of going up, you have to pull yourself out wanted to get it right for him.” Martino agrees: is not always the case! They’re hard, but when of the air, otherwise you’ll be too slow. You have “You’d think you were giving your all, and then you’re listening to the orchestra and you’re in to let the feet take over. It’s a challenge.” he’d come over and stretch you just that little bit the story – they’re not hard.” further. He was quite calm, but very energetic, ‘Challenge’ is another word that regularly comes Rose Mulready is The Australian Ballet’s very positive. You wanted to work hard for him.” up when dancers talk Ratmansky. Senior Artist content expert Cristiano Martino, who debuted as the Prince Ratmansky’s clarity also helped the dancers (with Azoury) last year, says that the ‘Lamborghini’ master his language. He would come into the entrance is “one of the toughest I’ve ever done, studio equipped with a small black book, the in terms of nerves. You come straight out of day’s movements mapped out. Tereshchenko the wings with a series of jetés, then there’s a remembers, “He always came with material consecutive pirouette and a tour to the knee ready. I still have strong visual memories of him with a spotlight in your face ... quite a moment! demonstrating a particular step. When he’d But when you nail it, it feels great.” run out of ideas, he’d always say, ‘Just clean up

12 THE AUSTRALIAN BALLET 2019 SEASON Valerie Tereshchenko. Dimity Azoury and Cristiano Martino Photography Kate Longley Photography Daniel Boud

Ingrid Gow, Amy Harris and Eloise Fryer with artists of The Australiuan Ballet. Photography Kate Longley

THE AUSTRALIAN BALLET CINDERELLA 13 KevinAko Kondo Jackson. and Chengwu Photography Guo. PhotographyJustin Ridler Jeff Busby

14 THE AUSTRALIAN BALLET 2019 SEASON CINDERELLA: THE CHARACTERS

ALEXEI RATMANSKY FRESHENS TRADITIONAL WORKS WITH INSIGHTFUL AND VERY HUMAN TOUCHES. ROSE MULREADY LOOKS AT THE MAIN CHARACTERS OF HIS CINDERELLA AND HOW THEIR COMPLEXITY MAKES THE BALLET BREATHE.

Dimity Azoury with artists of The Australian Ballet. Photography Daniel Boud

CINDERELLA her cloak – unlike her Stepmother and Stepsisters, who have cavalierly piled him high with their Cinderella – everyone’s favourite rags-to-riches extravagant coats. And unlike the snooty ball heroine. A sweet, uncomplaining drudge whisked guests, who fawn all over the Prince while from squalor by a magical benefactor and a laughing at Cinderella behind their hands, she’s handsome prince. In Ratmansky’s ballet, she’s unaffected and sincere, dancing the sweet little more than that – this Cinders has spirit and dance she’s practised in her gloomy kitchen. passion, planet escorts, and a fabulous Dior- style gown to boot. When midnight strikes and Cinderella comes down with a bump from the blissful heights of When we first see Cinderella, she’s slump- the ball, she’s forlorn and despairing … but also shouldered with exhaustion, hanging out the angry! In a beautiful bit of ‘feisty’ choreography, fine clothes of her Stepmother and Stepsisters. she rolls over and kicks her feet against the Abandoned by her weak-willed father and ground in a fury. yearning for her dead mother, Cinderella may be worn down by her life of slavery, but she’s Ratmansky avoids saccharine in Cinderella’s still got spunk. She dreams of setting her final love pas de deux with the Prince. This Stepsisters to work sweeping the floor and Cinderella won’t be a happy-ever-after pushover: folding the laundry; she imagines herself free her movement is fierce and questioning and of her workaday woes and dancing at the ball. passionate, and there’s as much talking (in a complex twining of the hands and arms) as Whirled by kind planets and stars (not to smooching. Somehow you just know that the mention the moon and the sun) to the Prince’s harmony between them will be all the better ball, Cinderella immediately shows her worth by for the piquant notes. helping the elderly footman gather up the folds of

THE AUSTRALIAN BALLET CINDERELLA 15 THE PRINCE Cristiano Martino. Photography Daniel Boud Fairytale princes can feel a bit machine-cut. Sure, they’re handsome (natch) and brave and romantic … but what are they really like?

In Ratmansky’s Cinderella, the Prince has a distinct character, and you know it the moment he comes on stage. In the original Russian libretto for the ballet Cinderella, his entrance is described thus: “A young prince of military bearing dashes into the ballroom like a whirlwind. He seats himself on the throne like a horseman in the saddle, as though he’s about to goad his horse into a gallop.” Ratmansky follows this headlong description by having his white-suited Prince leap onto stage like a comet, performing a dazzling series of turns and jumps.

This exuberant Prince is every inch the rock star – complete with a sycophantic, Beatles-screaming court – but like Cinderella, he’s a world apart from the bitchy ball guests. Where they mock Cinderella’s naive dance, he is charmed by her lack of pretension.

The Prince proves a tenacious lover. When Cinderella disappears, he searches the world for her (again, Ratmansky follows the original libretto, which has the Prince go on an odyssey through many different lands and temptations as he tries to find his lost love). In Ratmansky’s ballet the temptations come in both slinky female and exotic male form, but the Prince, though dallying briefly, doesn’t lose sight of his quest.

His reward? Why, the girl, of course!

And while the lovers’ final pas de deux hints at a future more complex than that standard-issue happy-ever-after – as well as euphoria and chemistry, it has shades of conflict and retreat, the hands and arms describing an intricate conversation – the romance of this Cinderella and Prince will surely be one out of the box.

Ty King-Wall. Photography Lynette Wills

Jill Ogai, Ingrid Gow, Brodie James and Dana Stephensen. Photography Chris Boud

Amy Harris. Photography Lynette Wills

STEPMOTHER This Cinderella is not your average fairytale, and the Stepmother is not your average monster. She’s vain, funny, glamorous – and mean as poison! She has banished Cinderella’s father, a down-on-his luck drunkard, from the house; but she’s still jealous of his first wife, Cinderella’s dead mother. In fact, one of her first acts in the ballet is to kick the first wife’s portrait to shreds, devastating Cinderella.

In many versions of the fairytale, the Stepmother is old, and as ugly as her daughters: but in Jérôme Kaplan’s chic 1940s-inspired designs, she’s something of a dish. Deep purples and magentas, velvet, satin, cute little cami-knickers, a fabulously draped ball gown, a swooping Victory-roll up-do: it’s no surprise that when the Prince comes calling with the slipper, she has a red-hot go at trying it on herself!

Of course, as in all good fairytales, the villain gets her comeuppance. Throughout the ballet the Stepmother is raging with vitality, prepared to go to any slapstick lengths to secure the rich prize of the Prince; but when Cinderella produces the pair to the Prince’s slipper, she is utterly vanquished. Limp with defeat, the Stepmother slinks into the background; but you can’t imagine this rampaging force of nature staying there for long.

16 THE AUSTRALIAN BALLET 2019 SEASON Ingrid Gow and Eloise Fryer. Jill Ogai with artists of The Australian Ballet Photography Kate Longley Photography Daniel Boud

Ingrid Gow and Eloise Fryer. Photography Kate Longley

STEPSISTERS Oh, those wicked Stepsisters! With their zany costumes and me-me-me antics, they come perilously close to stealing the show in Alexei Ratmansky’s Cinderella. How do you make dancers ugly and ungainly? Frederick Ashton solved the problem by having his Stepsisters played by men in drag and clownish prosthetics (in the original version of his production, he and Robert Helpmann played the roles, drawing on the English vaudeville tradition). Alexei Ratmansky has choreographed brilliant slapstick routines for the Stepsisters – tripping all over themselves (and the dance master) in their dancing lessons, showing off cringe-worthy moves in the ballroom and of course, falling foul of that just-won’t-fit slipper!

Kaplan’s hilarious costumes for the Stepsisters do part of the work for Ratmansky. In the original Russian libretto for Cinderella, the Stepsisters are called Skinny and Dumpy, a tradition that Ratmansky has followed in his production. Kaplan uses balloon skirts to make the two sisters into a beanpole and a pumpkin, then adds knee socks under their pointe shoes, towering wigs and garish make-up to make two visions only a Stepmother could love.

In many versions of Cinderella, you heartily despise the Stepsisters: in Ratmansky’s, you can’t help but love them. Sure, they’re narcissistic, spiteful, clumsy and selfish: but they also have a touch of vulnerability and a squeal-y enthusiasm that makes them sort of endearing. And oh, what fun they are to watch!

THE AUSTRALIAN BALLET CINDERELLA 17 CREATIVES

ALEXEI RATMANSKY

Choreographer

Alexei Ratmansky was born in St Petersburg and trained at the Bolshoi Ballet School in Moscow. His performing career included positions as principal dancer with Ukrainian National Ballet, the Royal Winnipeg Ballet and the Royal Danish Ballet. He has choreographed ballets for the Mariinsky Ballet, the Royal Danish Ballet, the Royal Swedish Ballet, Dutch National Ballet, New York City Ballet, San Francisco Ballet, The Australian Ballet, Kiev Ballet and the State Ballet of Georgia, as well as for Nina Ananiashvili, Diana Vishneva and Mikhail Baryshnikov. His 1998 work Dreams of Japan earned a prestigious Golden Mask Award from the Theatre Union of Russia. In 2005, he was awarded the Benois de la Danse prize for his choreography of Anna Karenina for the Royal Danish Ballet. He was made a Knight of Dannebrog by Queen Margrethe II of Denmark in 2001.

Ratmansky was named artistic director of the Bolshoi Ballet in January 2004. For the Bolshoi Ballet, he choreographed full-length productions of The Bright Stream (2003) and The Bolt (2005) and re-staged Le Corsaire (2007) and the Soviet-era Flames of Paris (2008). Under Ratmansky’s direction, the Bolshoi Ballet was named Best Foreign Company in 2005 and 2007 by The Critics’ Circle in London, and he received a Critics’ Circle National Dance Award for The Bright Stream in 2006. In 2007, he won a Golden Mask Award for Best Choreographer for his production of Jeu de Cartes for the Bolshoi Ballet. In 2009, Ratmansky choreographed new dances for the Metropolitan Opera’s production of Aida. He joined American Ballet Theatre as artist in residence in January 2009. For American Ballet Theatre, Ratmansky choreographed On the Dnieper (2009); Seven Sonatas and Waltz Masquerade, a ballet honouring Nina Ananiashvili’s final season (2009);The Nutcracker (2010), The Bright Stream (2011), Dumbarton (2011), Firebird and Symphony #9 (2012) and Chamber Symphony and Piano Concerto #1.

Ratmansky was a recipient of a Genius Award from the MacArthur Foundation in 2013; he was named a mentor of the Rolex program for 2014/15. In 2015, he premiered his production of The Sleeping Beauty, a co-production of American Ballet Theatre and La Scala.

His first work with The Australian Ballet was Scuola di ballo in 2009. In 2013, he made Cinderella on the company.

In recent years, Ratmansky has staged a number of reconstructions of Marius Petipa’s works, the most recent being Harlequinade. Based on meticulous historical research, these productions restore Petipa’s original intentions, which have been drastically altered by various stagings through the years.

Robyn Hendricks. Photography Lynette Wills

18 THE AUSTRALIAN BALLET 2019 SEASON PLAYBILL ADS 19

THE AUSTRALIAN BALLET CINDERELLA 19 PLAYBILL ADS 20

20 THE AUSTRALIAN BALLET 2019 SEASON CREATIVES

JÉRÔME KAPLAN RACHEL BURKE WENDALL K. HARRINGTON

Set and costume design Lighting design Projection design

Born in Paris, Jérôme studied Rachel has worked nationally and Wendall K. Harrington is based Scenography at L’Ecole de la Rue internationally with Australia’s in New York and has received Blanche and after graduating in 1987 leading arts companies for the last numerous awards for her designs, began designing sets and costumes 30 years. Her awards include eight which include The Who’s Tommy on for theatre and opera. Green Room Awards for Excellence Broadway, Driving Miss Daisy, Grey in Theatre Lighting Design, IES Gardens, The Capeman, Ragtime, In 1992 he collaborated with Victorian and National Awards The Will Rogers Follies, Putting the Ballets de Monte-Carlo and of Excellence for Lighting Design It Together, Company, Freak, My Jean-Christophe Maillot for the first in 2005 and 2010 and Helpmann One and Only, The Heidi Chronicles time on L’Enfant et les sortilèges; Award nominations in 2005 and and They’re Playing Our Song. he has since designed sets and 2015. She is a sessional lecturer in Off-Broadway, she has designed costumes for the company’s Lighting Design at the University Angels in America, Hapgood, As productions of Romeo and Juliette, of Melbourne’s Faculty of Fine Thousands Cheer and Merrily we Cinderella, Casse-Noisette Circus, Arts and Music. Previous designs Roll Along. Ballet designs include Eye for Eye and Scheherazade. for The Australian Ballet include The Fairy’s Kiss, The Firebird, Opera, Alexei Ratmansky’s Scuola di ballo; Pictures at an Exhibition and Anna In 2001, Jérôme became the first Stephen Baynes’ Art to Sky, Swan Karenina for Alexei Ratmansky; French scenographer to be invited Lake, El Tango, Imaginary Masque, Ballet Mécanique for Doug Varone; to work with the National Ballet of Unspoken Dialogues and Molto Othello for Lar Lubavich, and The China in Beijing, where he created Vivace; George Balanchine’s Ballet Nutcracker for San Francisco Ballet, costumes for Raise the Red Lantern. Imperial; Adrian Burnett’s intersext; Houston Ballet and Miami Ballet. Jérôme has designed ballets for and Natalie Weir’s Dark Lullaby. For opera, she has designed companies all over the world. His Her theatre designs include, for Werther at the MET and Lucia di recent work includes Christopher Melbourne Theatre Company: The Lammermoor for La Opera as well as Wheeldon’s The Sleeping Beauty, House of Bernada Alba, Melbourne Rusalka, La Fancuilla, The Grapes of Ib Andersen’s Kermesse in Bruges Talam, Buyer and Cellar, Cock, Wrath, The Turn of the Screw, Nixon for the Royal Danish Ballet and Solomon and Marion, True Minds, in China and A View From the Bridge. Nacho Duato’s The Nutcracker Constellations, Coup D’Etat and Her designs have featured in the for the Mikhailovsky Ballet, Teatro True West; for Sydney Theatre concerts of Chris Rock, Simon and alla Scala and Deutsche Oper. Company: The Father, Black Medea Garfunkel, John Fogerty and Talking Since 2010 Jérôme has worked with and Night Fall; for Belvoir: The Heads, as well as in William Bolcom’s Alexei Ratmansky, creating sets and Man from Mukinupin, Parramatta Songs of Innocence and Experience. costumes for Don Quixote (Dutch Girls, Black Medea and Little Black The former design director of National Ballet); the world premiere Bastard - Life x 3; for Malthouse Esquire magazine, Wendall has of Lost Illusions (Bolshoi Ballet), for Theatre: Walking into the Bigness, created player introductions for the which Jérôme won a 2012 Golden Cargo and Woman Bomb; for Arena New York Knicks and Rangers as Mask Award for Costume Design; Theatre Company: Moth and Marlin; well as two fine daughters. Cinderella (The Australian Ballet); for Playbox: Wolf, Glass Mermaid, She lectures widely on projection Paquita (Bavarian State Ballet); Swan Good Works, The Incorruptible, design and heads the Projection Lake (Zürich Ballet in co-production Night Fall and Rapture. Rachel has Design concentration at the Yale with Teatro alla Scala); Serenade a critically acclaimed body of work School of Drama. after Plato’s Symposium (American in the independent theatre sector, Ballet Theatre) and The Fairy’s Kiss including many works with Dee & for the Miami City Ballet. Cornelius, Peta Murray, Jenny Kemp and Nadja Kostich. She recently In 2018 he designed Lucas Jervies' designed sold-out national tours new production of Spartacus for of SHIT (Dee & Cornelius) and The The Australian Ballet; in 2019 he Season (Sydney Festival, Ten Days will design Stanton Welch's Sylvia, on the Island, MIFA 2017, National a co-production between Houston Tour 2018). Ballet and The Australian Ballet.

THE AUSTRALIAN BALLET CINDERELLA 21 A SURREAL CINDERELLA

PLANETS, METRONOMES AND BOWLER HATS: JÉRÔME KAPLAN TALKS TO VALERIE LAWSON ABOUT HIS DESIGNS FOR CINDERELLA.

From the moment the curtain rises on Alexei Cinderella’s rescuer, the Fairy Godmother, looks Malachite Hall of the Winter Palace, now part of Ratmansky’s Cinderella, we enter a topsy-turvy like a woman down on her luck. “Alexei asked the Hermitage Museum, was the answer to the dreamscape. Shoes flip into hats, a sofa is shaped me to dress the Godmother as a beggar,” said richness Ratmansky wanted. into two plump lips, a door frame is slumped Kaplan, “not like a beautiful fairy. That’s why I tipsily to one side, a footstool has human feet and designed this long coat and crazy nose, to make Cinderella enters the ballroom like a beam of topiary trees are transformed into metronomes. her a charming and funny beggar. Her bowler hat light, wearing a statement dress with a skirt so is another important aspect of Surrealism that lusciously full that it resembles a full-blown rose This is a world of Surrealistic landscapes, inspired you can see in the paintings of Magritte and after the winter passes. The shape of the cinched- by the art of Salvador Dalí, René Magritte and Paul Delvaux.” waist dress is a nod to post-World War II fashions, Giorgio de Chirico, and by the eccentric designs when women put aside their austere straight of these artists’ collaborator, the couturier Elsa Kaplan planned to follow the traditional plot of skirts and jackets and embraced the femininity Schiaparelli. the Cinderella ballet, in which soloists represent of Christian Dior’s New Look. the Seasons, but Ratmansky suggested using Surrealism stalks through every scene of this planets instead. “The idea was to find something “When Cinderella appears for the first time in front , from the heroine’s modest kitchen to Cinderella for each planet, something very clear that the of the Prince she must be the most beautiful girl the Prince’s lavish ballroom, from the arrival of audience would recognise.” Designing the he has ever seen,” said Kaplan. “It’s difficult to the Planets who whisk Cinderella to the palace, costumes for the Moon and Sun was relatively create that clear contrast far away on stage with to the Prince’s journey to find the missing slipper. easy, but Jupiter, Mars, Mercury, Venus, Saturn all those beautiful girls from The Australian Ballet There’s the voluptuous pink sofa, evoking the and Neptune, all named after gods, were harder to around. That's why I thought that if Cinderella piece designed by Dalí and inspired by lips of depict. Kaplan studied Roman and Greek images wore a ball gown shaped very much in the Dior the sex siren Mae West; the tick-tock of clocks for gods and goddesses and based the costumes New Look, and if the other women wore pants, (the Surrealists loved timepieces); shoe hats like on their individual powers. The costume for Venus the effect would be clear and successful.” those of Schiaparelli; and the relentless clicking had aspects of the Goddess of Love, Neptune hands of life-size metronomes based on Man Ray’s The dress is white (tulle) and gold (lamé) “because represented the sea, Mars was the God of War she must look immediately precious and pure”. Indestructible Object. and Mercury was the Winged Messenger. When the other women see the Prince’s reaction Magritte’s favourite headpiece, the bowler hat, He worked with the help of The Australian Ballet’s to Cinderella in that look-at-me dress, they swap turns up on the head of the Fairy Godmother, wardrobe department and a freelance costume their tuxedos for romantic dresses similar in style who makes her first entrance as she steps through maker, David Anderson, who was “really creative”. to the heroine’s, but by then nothing can outshine an empty picture frame like those often found Tulle fashioned into the shape of bowls formed the the riveting Cinderella. in Magritte’s paintings. basis for the Planets’ costumes: “I remember one The most magical scene in the ballet takes place In his initial conversations with Ratmansky, the that was really very heavy to dance in. It made it in the palace gardens, where topiary trees shed French designer Jérôme Kaplan suggested that difficult to jump. It actually weighed ten kilos.” their greenery to reveal their inner selves: giant the ballet’s décor and costumes should refer to the While the Planets represent a rainbow of colours, metronomes. “Alexei asked me for a garden for age of Surrealism, the 1920s and 1930s. It was an the Stepsisters, Dumpy and Skinny, and the the ball. It was a great subject for me and it was intuitive decision, he said, to link the art movement Stepmother have signature colours that they wear logical to have topiary in the palace garden and with Prokofiev’s haunting score for . Cinderella throughout the ballet. Dumpy wears pink, Skinny that became much clearer when I found the idea Replaying the music, written in the darkest days of jade green or teal, to make them stand out against of Man Ray’s metronome (Indestructible Object, World War II, Kaplan found the mood “strange and the set. The Stepmother is dressed in shades of 1923) – a perfect idea for midnight and a perfect sad, and it became very clear that this music was plum. “I often use this kind of tint for powerful and shape for topiary. The idea came to me so easily, close to Surrealism.” negative characters,” says Kaplan. I don’t know to tell you the truth. It was one of my first ideas.” His idea for the first set was a stage within a why. Maybe it comes from [the colours worn by] Kaplan is both witty and modest when he stage. Kaplan imagined that the Stepmother, with high dignitaries of the church.” describes his process, revealing his “secret” design her daughters and Cinderella, made their home As the action enters the palace ballroom, the formula. It’s this: “To collect all the documents I in an old theatre, perhaps the only building that colour palette moves to a muted tone, with the can find on the general concept. Then with time, still stood after the bombing of a city. The décor men in long coats and the women in tuxedo suits my mind starts to associate. A good designer included theatre props and sets that remained of olive, chocolate, garnet and plum. Kaplan is exactly like a good cook. Find first the good intact after the devastation, as well as objects first chose a grey-and-pink colour scheme for ingredients and organise well all together.” that the Stepmother had acquired in more affluent the ballroom set but Ratmansky decided that times, including the Mae West Lips Sofa. The Valerie Lawson is an author and dance historian was “a bit too sad and Soviet” and asked for a audience mightn’t completely understand the richer setting. Kaplan found the prototype for back-story of the setting, but the design “gives the ballroom during a visit to the museums of a mood”. St Petersburg. There, in the green-and-gold

22 THE AUSTRALIAN BALLET 2019 SEASON THE AUSTRALIAN BALLET CINDERELLA 23 Jade Wood, Cameron Hunter and Jill Ogai. CELESTIAL Photography Jeff Busby BODIES

WHY HAVE A PUMPKIN COACH WHEN YOU CAN HAVE STARS AND PLANETS? ALEXEI RATMANSKY'S CINDERELLA TRAVELS IN STYLE, THANKS TO JÉRÔME KAPLAN'S BRILLIANTLY INVENTIVE DESIGNS.

Artists of The Australian Ballet. Photography Daniel Boud

24 THE AUSTRALIAN BALLET 2019 SEASON Rina Nemoto, Brodie James, Imogen Chapman and Natasha Kusen. Photography Daniel Boud

Imogen Chapman. Karen Nanasca and Nathan Brook. Photography Daniel Boud Photography Daniel Boud

THE AUSTRALIAN BALLET CINDERELLA 25 MUSIC NOTE

MUSIC DIRECTOR & CHIEF CONDUCTOR NICOLETTE FRAILLON TELLS JANE ALBERT WHY PROKOFIEV’S SCORE FOR CINDERELLA IS HIS MASTERPIECE.

Dimity Azoury with artists of The Australian Ballet Photography Daniel Boud

Why isn’t the Cinderella score as well known Politically as well, it was still Soviet Russia, still The second Cinderella theme is in the key of C. as other ballet scores? the same controls, only stronger during war time, There’s an understanding that every key will make about what was permissible and what art could you feel something different – so C major is quite Prokofiev’s Romeo and Juliet is the score that and couldn’t say. If you think about the traditional different to E major. C major is often used for the everyone knows, and one of the best ballet scores. story where Cinderella goes to the ball and is grand royal theme, there’s a sense of solidity and Cinderella is probably less approachable, but I rescued from her poor life by the royal court – they coming home. But because there are no black actually think it’s a much better score, and there’s would never have been able to portray that in notes, or sharps, it gives a sense of simplicity. a lot more of Prokofiev inCinderella than there is Soviet Russia. The Soviets got rid of the royals and It’s the most important key in the ending of in At the time he was writing Romeo and Juliet. the royal court. So what they created is a version Romeo and Juliet, when after all the tragedy the Romeo and Juliet, in Russia in the 1930s, every in which Cinderella is a misfit in her environment, music resolves with C major. work of art had to go through a panel of experts with a horrible stepmother and stepsisters – that’s to be approved. They ruled that Prokofiev hadn’t all the same – but she’s not a depressed Cinderella, And so it is in Cinderella. The love duet at the illustrated Romeo and Juliet richly and lushly she’s feisty. And the Prince is also a misfit in his end of Act II is in C major. It’s a key of childlike enough, so it was re-orchestrated by a variety of environment. It’s even written in the score that simplicity with an accompaniment that is other composers. He had to accept it, and it was a when he first appears he bursts on stage, and traditional and melodic, and gives a real sense much bigger, lusher orchestration than what he’d it’s quite clear from the music and from the way of beauty and happiness. This second Cinderella actually written. So it’s not all Prokofiev, and not choreographer Alexei Ratmansky has created it theme comes back a lot, in different keys, with all how he originally wrote it. that he’s totally different from everyone else in different orchestrations, to indicate that different the court. things are happening. It’s quite different to the How did the political situation of the 1940s first theme with its stark bleakness. influence the score? Cinderella Cinderella has three themes, which change as her story develops? And then there’s a third one, also in the key of While Prokofiev was writing the score WWII C major, again reflecting an almost childlike feel. broke out, then in 1941 Hitler turned on Russia and Yes: the opening theme we come across in It uses a limited range and comes in on a flute, invaded. Prokofiev had made a start on the score Cinderella is in a minor-key theme, not the quite a girly instrument, like Juliet’s theme in but then he, along with all artists, was evacuated beautiful theme that audiences might expect. Romeo and Juliet. The flute, like the pan pipe, from St Petersburg to the southern states. This was So immediately you get a sense of the sadness gives you that back-to-nature theme. Yet there’s a to keep them safe from the war. And he turned to and starkness. And that’s the first ofCinderella’s harmonic change of colour that suggests there’s writing the opera of War and Peace instead, which own themes. The structure of the melody itself more to her than just being a pretty girl. And the was deemed to have greater national importance. creates a kind of character, giving you an idea way that theme develops isn’t straightforward, the When he returned to Cinderella Russia had been of environment: the overture starts with a huge accompaniment isn’t straight unison, it becomes through the siege of Leningrad, very dark times. leap, an octave leap, that gives you a sense of more complex, giving you an idea this is a living, It wasn’t a happy environment in which to be emptiness, a sense of bleakness. breathing girl. writing a happy fairytale. So what was happening in the country influenced his take.

26 THE AUSTRALIAN BALLET 2019 SEASON CONDUCTORS

Which other characters have their own themes in Cinderella? The Fairy Godmother has a few themes that characterise her, fragments of which appear in different keys and with different instruments whenever she appears or whenever there’s magic afoot. Her theme appears in oboe, or piccolo/ oboe. Piccolo is not usually used as a solo instrument; and the oboe has an otherworldly character, a nasal character, so it’s an odd choice of instruments and makes it clear there’s something else afoot. Underneath that is a cymbal, with flutes, and harp – which Tchaikovsky used to suggest magic. Prokofiev uses tremolo (where you bow the strings up and down very fast) for a shimmering effect; and there is tuba underneath. So again, there is nothing in the middle registers, which gives that otherworldly feel.

Orchestration is also used to great effect when NICOLETTE FRAILLON AM SIMON THEW characterising the Stepsisters and the Stepmother. From the very first time they appear on stage there’s a vicious attack roll on a tambourine, Music Director & Chief Conductor Conductor it’s as if they’re hissing at Cinderella; and a very nasty angular melody that’s quite dissonant and aggressive rhythmically, with no resolution. Nicolette Fraillon began her music studies on violin 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 Prokofiev writes an uncomfortable register on the Victorian Junior Symphony Orchestra. She graduated on viola Weigle, Nicolette Fraillon, Harry Spence Lyth, Richard Bonynge, celli, an angular melody on the oboe, and the poor from Melbourne University in 1982, gaining an equal first place and John Hopkins. old first trumpet is given this terribly hard piece to in her year in Performance. From 1984–87 she furthered her play, so he almost spits it out because it’s so hard, instrumental studies at the Hochschule für Musik in Vienna and In 2007 Simon was awarded the Dame Joan Sutherland/Richard from 1987–88 in Hannover. During her time in Germany and Bonynge Travel Scholarship, which enabled further study in giving that aggressive, nasty, clumsy sound. These Europe, culminating in his position as musical intern at the are not graceful folk. Even if you had no visuals Austria Nicolette toured with many orchestras, including the Salzburger Chamber Ensemble and the Chamber Orchestra of Bayreuth Festival in 2008. you would know the ugly crew had come on stage Bassano, and was a member of the Haydn Quartet, based at the In 2010 he was awarded the Hephzibah Tintner Fellowship, which and someone is being nasty! Esterhazy Palace in Eisenstadt. gave him performance and mentoring opportunities with The The prince’s melody is way more down to earth, In 1990 Nicolette moved to the Netherlands, where she became Australian Ballet, Opera Australia, 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, heralded by trumpets and more traditional, and in the same year was awarded a Churchill Fellowship. This noble brass writing. And every time it’s played in Amsterdam and The Hague. In 1992 she was admitted to the Netherlands Broadcasting Association’s International Conductors’ enabled him to undertake professional development opportu- it’s a beautiful sound, there’s nothing nasty or Masterclass, resulting in a performance with the Dutch Radio nities with ballet companies, opera houses and orchestras in discordant about it. 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 When Cinderella first dances with the Prince, Theater. She was then invited to become music director and chief 2007 – 2010. In 2010 he conducted Opera Australia’s Oz Opera how does Prokofiev use melody to set the scene? conductor of the National Ballet of the Netherlands, working with regional tour, and in the same year made his conducting such renowned choreographers as Hans van Manen, Toer van debut with The Australian Ballet. In 2012 he acted as assistant It’s their first pas de deux, so you would expect Schayk, Rudi van Dantzig and Krzysztof Pastor, and conducting conductor on the company’s New York tour. it to be sweet and romantic. But Prokofiev has numerous world premieres. During the following five years she actually written such a big melodic span that it’s worked with the North Holland Philharmonic Orchestra, the Simon was a regular guest conductor with The Australian Ballet really unsettling. You’re not even sure what key 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, you’re in – it’s a broad-ranging, scared yet exciting 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. melody. It’s such a brilliant depiction of all the Orchestra in Japan, and the Finnish Ballet. He has also worked as a guest conductor for English National emotions that must be flooding both their brains. Ballet, Birmingham Royal Ballet and Houston Ballet. It’s definitely not the Disney, saccharine, “isn’t 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 love beautiful?” music – it constantly sweeps you conducting work with the West Australian Ballet, the West the education of young conductors and instrumentalists. in different directions, just as their emotions are Australian Symphony Orchestra, the Australian Youth doing to them. Orchestra and the Canberra Symphony Orchestra.

Then he introduces the oboe, which is not the She debuted with The Australian Ballet in 2002, conducting traditional romantic instrument, and it becomes Spartacus, and was then invited by David McAllister to become music director and chief conductor, beginning in January 2003. almost aggressive; then romantic again; then Since joining the company, Nicolette has conducted all programs off the rails. And you’re left wondering, “is he for The Australian Ballet, including all of its overseas tours, and has sweeping her into that nasty court world?” been a guest conductor for San Francisco Ballet. Following The The end in E major is slightly more reassuring Australian Ballet’s 2005 tour to the UK, Nicolette was, in 2006, as they walk off arm in arm, so you have a sense invited back to conduct The Sleeping Beauty with Birmingham it might be all right in the end. Royal Ballet. She conducted the ballet again on Birmingham Royal Ballet’s 2018 tour of Japan. In 2007 she guested with New Jane Albert is an author and freelance journalist York City Ballet. In 2008 she returned to the Birmingham Royal Ballet for a season of The Nutcracker, then finished the year with specialising in the arts a New Year’s Gala in Skopje with the Macedonian Philharmonic Thank you to our Official Piano Partner Kawai, Orchestra. In early 2011 Nicolette guested with San Francisco Ballet, conducting their production of Giselle; in 2014 she guested with who supplied the grand pianos played in these New York City Ballet. In 2016 she conducted the opening night performances of Cinderella. of Birmingham Royal Ballet’s production of Peter Wright’s The Nutcracker, which was also the choreographer’s 90th birthday.

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

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

28 THE AUSTRALIAN BALLET 2019 SEASON CLOSE UP: SHARNI SPENCER

SOLOIST SHARNI SPENCER TELLS CHLOE GORDON ABOUT DEBUTING AS CINDERELLA, HER INSPIRATIONS AND HER IDEAL DAY OFF.

What is your history with the ballet version of Cinderella? I saw the Paris Opera Ballet perform Nureyev’s Cinderella – in Paris – in 2011. I had been awarded a professional development scholarship to travel around Europe and see performances and take classes with different ballet companies. I saw a lot of ballet on that trip, but Cinderella stood out, and I fell in love with Prokofiev’s score. Perhaps because it’s a story that I had watched and loved since I was a very young girl, I just loved that performance.

You made your debut as Cinderella last year in Sydney. What do you like about dancing the role? Once it begins, you really feel like you’re being transported into the story, it’s very magical. You step out into the first act, and the way the set is designed you can’t really see the wings from the stage, so you feel like you’re really in Cinderella’s house.

After my first performance, I came out of the Opera House and I could see budding ballerinas, tiny girls, leaping and dancing and twirling. It was really rewarding, to come out and see that we’d really touched people and brought them joy. It makes all the hard work seem worthwhile.

What was it like to be part of the Cinderella creation process with Alexei Ratmansky, back in 2013 when you were a coryphée? It was amazing how he got the dancers to move. There are a lot of off-axis balances, a lot pushing and pulling, and throwing your body one way while your limbs go another way.

You performed the lead role in Giselle in the 2017 regional tour. What were the highlights from that tour? Performing in Hobart in the amazing theatre there! That was my very first show. I was dancing with Jake Mangakahia, and I remember how surreal it felt to be actually performing a role that I had only ever dreamed of.

I was very emotional at the end of that tour, looking back on all the incredible experiences.

Who inspires you? I’m constantly inspired by many different people! When I was preparing for the role of Cinderella, I was in rehearsals with many dancers who had performed the role before. It was so wonderful to see how they worked and to learn from them, particularly Leanne Stojmenov, as the role was created on her. She had many tips and tricks to share and a beautiful free movement quality, and an amazing way of using her head and upper body in the Ratmansky style.

I’ve always loved Leanne, and also Amber Scott. I’ve loved a lot of The Australian Ballet’s dancers: Kirsty Martin is another. I’m also a huge fan of The Royal Ballet’s Marianela Nuñez.I’ve recently been watching the tennis, as the Australian Open has been on. I love Roger Federer and find watching Feel at home all the way there all the tennis players very inspiring. I used to watch tennis with my Grandma when I was younger.

What does an ideal day off look like for you? Breakfast and coffee with my husband at one of Hatice Kaynak, Qantas Cabin Crew my favourite local cafes in Middle Park, then a trip to South Melbourne Market to stock up on some essentials – and some other, not-so-essential items, like fresh flowers. Then a swim, or a walk along the qantas.com beach, followed by some hokey pokey ice cream Photography Daniel Boud from Jock’s Ice Creamery.

THE AUSTRALIAN BALLET CINDERELLA 29 PRINCIPAL ARTISTS

ADAM BULL BRETT CHYNOWETH CHENGWU GUO

“Tender and self-deprecating … a true “A very special artist” “explosive energy” danseur noble” Arts writer Deborah Jones The Age The Observer, 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 Australian Ballet School. 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 2000; 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 Carlos Acosta, Nacho Duato, 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, Graeme Murphy 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, Serge Lifar, 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 Stanton Welch’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’ Checkmate 2011 — Prince Siegfried in Stephen Baynes’ Swan Lake 2013, 2012 — Lescaut in Sir Kenneth MacMillan's Manon 2014 — Sir Kenneth MacMillan’s Concerto 2011 — Onegin in John Cranko’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 American Ballet Theatre’s Julie Kent, 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, Northern Ballet Sapphire Gala 2015 — Walter Bourke Scholarship 2013 and La Sylphide 2013 — Prince Siegfried in Derek Deane’s Swan Lake, — Telstra Ballet Dancer Award Nominee 2011 — Maurice Sullivan Scholarship 2013 Shanghai 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 ... — Stuttgart 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 KEVIN JACKSON

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

Amy Harris was born in Ararat, Victoria and began jazz 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 Cecchetti method 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 Perth, 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 John Neumeier, 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 — Vaslav Nijinsky 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 Paquita 2014 — Romeo in Graeme Murphy's Romeo & Juliet 2011 — Christopher Wheeldon's After the Rain© 2011 — Jerome Robbins’ A Suite of Dances 2008 Guest appearances — Wayne McGregor's Dyad 1929 2009 — George Balanchine’s Apollo 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 CINDERELLA 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 Royal Ballet School’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 — Stephen Page’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 Royal New Zealand Ballet 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 Royal Danish Ballet, 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; 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 David Hallberg 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 — National Ballet of China 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 (Glen Tetley's Gemini) 2011 Lady Potter AC CMRI — The Stuttgart Ballet's 50th Anniversary Gala (Molto Vivace Linton Soderholm Pas de deux) 2011

You may not know ... Amber first danced with David Hallberg, principal dancer 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 CINDERELLA 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 Brisbane. 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. He 2002. In her graduating year Japan, San Francisco and School at age 14. In her time Jarryd officially joined the was promoted to senior artist she was seconded to The Los Angeles. She has loved at the school she received company at the beginning of Repertoire highlights after the 2018 season of Australian Ballet to perform in — Spartacus in Lucas Jervies' working with many choreog- the Award for Excellence in 2008; he was promoted to 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 — Trepak 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 — Jirí 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 Symphony in C 2016 — Jirí 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 and to coryphée in 2015, to soloist 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 — Agrippina Vaganova'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. Jill Ogai. Photography Daniel Boud

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

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 England 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. classical ballet 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 and Neumeier's Nijinsky 2016 The Australian Ballet School. Adventures in Ballet in 2012. She was Cavalier in Peter Wright’s The performing Giselle with Dutch © — Stephen Page's Waramuk - Karen became a member of Wonderland 2017 promoted to soloist in 2018. Nutcracker, First Seminarian National Ballet. 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 life-long — Diana and Actéon Pas de Gala Spectacular 2017) the Middle, Somewhat Repertoire highlights — 'White Couple' in Jirˇí dream to serve as a Christian deux 2017 — 2nd Movement Soloist Elevated 2016 — Camille in Ronald Hynd's Kylián's Forgotten Land missionary for The Church — 3rd movement Soloist in George Balanchine's — Tim Harbour’s Filigree and The Merry Widow 2018 2016 of Jesus Christ of Latter in George Balanchine's Symphony in C 2017 Shadow 2015 — Jack/Knave in — Fourth Movement Soloist Day-Saints. He served in the Symphony in C 2017 — Dawn in Peggy van — Twyla Tharp’s In the Upper Christopher Wheeldon's in George Balanchine's Toronto mission and returned — Wayne McGregor's Infra Praagh's Coppélia 2017 Room 2015 Alice's Adventures in Symphony in C 2016 © to The Australian Ballet in 2017 — Countess, Lead Swan and — Dumpy Stepsister in Alexei Wonderland 2017 — Lead Wili in Maina 2016. — Red Pas de deux in Jirˇí Russian Dancer in Stephen Ratmansky’s Cinderella — Franz in Peggy van Gielgud’s Giselle 2015 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 Royal Swedish Ballet 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 CINDERELLA 37 PROUDLY SUPPORTING AUSTRALIA’S INSPIRATIONAL ARTISTS AND CREATORS

Callum Linnane and Isobelle Dashwood. Photography Taylor-Ferné Morris

38 THE AUSTRALIAN BALLET 2019 SEASON CORYPHÉES

NATHAN JACQUELINE TIMOTHY JASMIN DREW COREY FRANÇOIS-ELOI LUKE PROUDLY SUPPORTING AUSTRALIA’S BROOK CLARK COLEMAN DURHAM HEDDITCH HERBERT LAVIGNAC MARCHANT INSPIRATIONAL ARTISTS AND CREATORS

AMANDA ALICE YUUMI McGUIGAN TOPP YAMADA

CORPS DE BALLET

SHAUN SARA MATTHEW DANIEL LISA SARANJA ISOBELLE JACOB ANDREWS ANDRLON BRADWELL BRYNE CRAIG CROWE DASHWOOD DE GROOT

EVIE ROHAN SERENA ELLA CAMERON DANIEL SEAN EMMA FERRIS FURNELL GRAHAM HAVELKA* HOLMES IDASZAK KILEY KOPPELMAN

MASON ANNALIESE COCO THOMAS ALEXANDRA SOPHIE GEORGE-MURRAY TYSON LOVEGROVE** MACDONALD MATHIESON MCCLINTOCK MOORE MORGAN NIGHTINGALE POWELL

RICCARDO JOSEPH MONTANA EDWARD KATHERINE KELSEY YICHUAN AYA RODIGHIERO ROMANCEWICZ RUBIN SMITH SONNEKUS STOKES WANG WATANABE

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

THE AUSTRALIAN BALLET CINDERELLA 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 Bolshoi Ballet 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 Soviet Union, 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 Mariinsky Ballet. 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 Sydney Dance Company. 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 Choir. 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 Palais Garnier, Awards in 1988 and 1989. Sir Kenneth MacMillan and Queensland Ballet, 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 The Concert, 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 of Mother in Alexei Ratmansky’s Matz Skoog appointed her Kong Ballet. 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 CINDERELLA 41 PLAYBILL ADS 42

42 THE AUSTRALIAN BALLET 2019 SEASON Artists of The Australian Ballet. Photography Daniel Boud

THE AUSTRALIAN BALLET CINDERELLA 43 Cristiano Martino and Karen Nanasca with artists of The Australian Ballet. Photography Daniel Boud

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 The Ross Trust Ako Kondo and Chengwu Gou. Photography Jeff Busby Sandra Taylor-Bowman Graeme Uthmeyer & Lisa Bolte A NOTE FROM EDWINA McCANN Zambelli Family

$500,000 PLUS Together with my fellow Foundation Board members, I am thrilled to be Mrs Mary Barlow able to share Alexei Ratmansky’s beguiling Cinderella with you in this return Mrs Jennifer Brukner & The late Mr John Brukner Melbourne season. Ms Robin Campbell Mrs Susan Chisholm & the late Sam Hewlings Chisholm AO Cinderella was first performed in 2013, and has already become a gem of Estate of Keith M Christensen The Australian Ballet’s repertoire, performed to great acclaim around the Colonial Foundation Limited country as well as in London and Shanghai. Ethel Margaret Ewing Cutten Foundation The original season of Cinderella was supported by the Dame Margaret Friends of The Australian Ballet (SA) Inc Scott Fund for Choreographers. The Fund was established to support The Glendonbrook Foundation choreographers as they develop new works for the company; most recently, In memory of Mrs J J Holden it supported Alice Topp as she made her work Aurum for our contemporary Mrs Susan Morgan triple bill Verve in 2018. Funds such as this are excellent examples of the Mrs Helen O'Neil support from our Ballet family that helps create invaluable opportunities Bruce Parncutt AO for our wonderful artists. The late Lady (June) Porter Cinderella is such a delightful way to begin our Year of Enchantment in Estate of Peter & Barbara Shearer Melbourne. Peter & Christine Smedley Mr Dick Smith AC & Mrs Pip Smith AO I look forward to seeing you in the theatre. 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 Mr John A Calvert-Jones AM & Mrs Janet Calvert-Jones AO Mr Colin Carter AM & Mrs Angie Carter Edwina McCann Ms Laurie Cowled Chair Estate of Melba Cromack Foundation Board 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 Bill Bowness AO Di Bertalli Gail Marshall Mr Peter Reilly & Mr Linton Soderholm VIC State Chair Natasha Bowness Jodie Maunder Jane Freudenstein Prue Brown Robert McCormack AM Renaissance Tours NSW State Chair Robin Campbell Karen Morrison Thyne Reid Foundation Colin Carter AM Maria Pannozzo Mrs Marjorie White Georgina Curran Lynne Wright Cara Elsley 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 CINDERELLA 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 Margaret Scott Warburton Fund for Choreog- Barry Kay 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 Ross Stretton 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 Myer Fund We are also grateful to Allert Fund Dave Poddar & Angela Dame Peggy van those individuals who The Melba Alma 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 John Lanchbery 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 Dr Anne Colman Supporting the PATRONS & Prof Peter Colman AC Principal Artists Gifts $15,000-$19,999 Gena Culley Gifts of $25,000 R W Brown Mrs David Darling NSW/QLD Mr John R Fullerton Mr John Downer AM Hayley Baillie Hayden Attractions & Mrs Rose Downer Mrs Barbara Bedwell Pty Ltd Mr Greg Egan Mrs Susan Chisholm Shane Lloyd Mr Adam C Elder & Ms Joanne Hart Mrs Bar Cohen Mrs Susan Maple-Brown AM Mr & Mrs Ronald Mrs Shanny Crouch Sybella Morris Enestrom Mrs Gordon Douglass Family Faithfull AM Mr Robert Peck AM & Ms Yvonne Von Hartel Mr Peter Frost Mrs Jane Freudenstein AM peckvonhartel Mr & Mrs Chris Fullerton Bozena Gawart architects Geoff & Lorrainne Mrs Lynnette Harvey Mr Kenneth R Reed AM Mr Louis J Hamon OAM Roland Howlett Sandy Michell Legacy Mrs Catherine Harris AO Frances Ingham PSM Sarah Ingham SOLOIST PATRONS Beverley Harvey & the Mrs Loraine McLaren Gifts $10,000-$14,999 late Richard Harvey Mrs Helen O'Neil Brian Abel in memory of Mrs Jean M Healey Mrs Roslyn Packer AC the late Ben Gannon AO Henderson Endowment Dr Valmai Pidgeon AM Mrs Ruth Armytage AM Mrs Pat Howell Mrs Nancy Marilyn Burton Peter James & Libby Reardon-Fonseca Mr John A Calvert- Christie Mrs Kelly Wyborn Jones AM & Mrs Janet Nicola Kaldor Calvert-Jones AO Mr & Mrs Ervin Katz Leith & Susan Campbell VIC Dr Judith Kinnear Mrs Barbara Duhig Mrs Mary Barlow Mrs Sylvia Lavelle Cara Elsley Mrs Di Bertalli Mrs Judy Lee Dr Robert Gillett Lisa Bolte Martin Family in & Mrs Susan Gillett Ms Natasha Bowness memory of Lloyd Martin Ms Robin Campbell Mr Andrew Guild AM & Ms Ai-Gul Gaisina Angie Carter Pamela M Marx Mrs Jill M Hinrichsen Mrs Maureen Crawford Mr & Mrs John M Mr Aron Kleinlehrer Philanthropy Ambassador Natasha Kusen Mrs Annette Davis McArthur OAM Photography Jordan Graham Alane Fineman In memory of Nola Mr & Mrs Anthony Prue Gillies AM McCullagh Maple-Brown Ms Val Harding Karen & John Morrison Diana McLaurin Ms Linda Herd Mr Ronald B Raines Bruce Parncutt AO Rosie Lew Rella Consultants At the heart of philanthropy at The Mrs Patricia H Pitman Ms Jodie Maunder Renaissance Tours Australian Ballet are our Annual Giving Jill Thorpe Lady Potter AC CMRI Professor Ruth supporters, whose inspiring generosity Dr Michael & Mrs Lynne Rentschler OAM Linton Soderholm Wright makes possible everything you see on Lyne Sedgman Emma Zuber stage. Ballet lovers across Australia Matt Shelmerdine*^ Anonymous (4) The Sheridan Family support the artistic director’s vision to PRINCIPAL PATRONS Gary Singer & Geoffrey present an ever-changing and evolving Gifts over $20,000 CORYPHEE PATRONS Smith program of seasons showcasing the Mr Robert Albert AO Gifts $5,000-$9,999 RFD RD & Mrs Elizabeth In memory of breadth and depth of the company's Mr Arun Abey Albert Mrs Joan Swan & Ms Bernadette Bolger talents. All gifts to our Annual Giving Mrs Roseanne Amarant Susan Thacore program, large or small, are magnified Mr Ross Adler AC Mrs Susan Thomas Mrs Ingrid Kaiser & Mrs Fiona Adler well beyond their monetary value, as Mr & Mrs Leigh Virtue NATASHA BOWNESS Mr Ronald G Kaiser Antoinette Albert President Mrs Susan Warburton they support our artists each time they The Stuart Leslie Margaret Bland Annual Giving Foundation Philippa Warner step onto the stage. Maxine Bowness Judy & Steven Lowy Mrs Sally White OAM Mrs Roslynne Bracher Mr Ray Wilson OAM & Mr & Mrs Geoff O'Conor AM Mrs Sue Perini the late James Agapitos Caroline & Stephen OAM Mrs Margaret S Ross AM Brain Donna Woodhill Mrs Anne Symons Ms Jannie Brown Ms A Dickschen & Mr W. Christopher & Kim Burnett Brind Zichy-Woinarski Carol Tipler Mr Michel-Henri Carriol QC Mrs Mary Ann Wright & Mrs Julie Carriol OAM Anonymous (6) E Xipell Mrs Roxane Clayton Anonymous

Correct as at 11.01.2019

THE AUSTRALIAN BALLET CINDERELLA 47 PHILANTHROPY

ANNUAL GIVING

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

48 THE AUSTRALIAN BALLET 2019 SEASON ANNUAL GIVING

Artists of The Australian Ballet. Photography Kate Longley

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

Correct as at 11.01.2019

THE AUSTRALIAN BALLET CINDERELLA 49 Eloise Fryer, Amber Scott and Ingrid Gow. Photography Kate Longley

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 LEADERSHIP GIFTS SILVER PATRONS Centre will have both an immediate and a far-reaching impact The Ian Potter Brian Abel on our dancers’ health and wellbeing; the development of Foundation Barbara Bedwell The Zambelli Studio new 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 will be celebrated in the new spaces of The Morgan David McAllister AM Primrose 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 11.01.2019

THE AUSTRALIAN BALLET CINDERELLA 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]

Lucien Xu with artists of The Australian Ballet. Photography Daniel Boud

Nick Hays Philanthropy Manager Patrons Manager - QLD/WA 03 9669 2732 [email protected]

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

Jane Diamond Patrons Manager NSW/ACT 02 9253 5316 [email protected]

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

Heather McNicol Mr Reginald Edward Gay John Therese Jean M Negus Ronda Anne Chisholm Planned Giving Manager Gregory MBE Clarke Dr Dawn Meryl Thew Mrs Dorothy (Deri) NSW/ACT/QLD & Mrs Gregory Gwendoline I Tregear Judith Gwen Newberry Saunders 02 9253 5313 [email protected] Patricia Marie Smit Lesley Morgan Sperry Duncan Elphinstone Mr Wilfred John Patricia Hope Willis Gwen Hunt McBryde Leary Stanton Colin Robert Marshall Mrs Patricia McSpeerin Miss Ruth Margaret Jacques Spira OAM Hazel Graham Mr Noël Pelly AM Davidson & Edith Spira Ethel Margaret Ewing Lady Snedden AM Dr Alf Howard Mr George Foster CONTACT PHILANTHROPY AT THE AUSTRALIAN BALLET Cutten Ms Jane D Crawford Corel Garling William F Wells Phone: 1300 752 900 Robert J Shipsides Mr Harold G Marshall AM Janice Petterson Mrs Thora Pearce Monday – Friday, 9am – 5pm E M Black Muriel Leadbeater Mr Antony Williams Miss Ann Williams Online: www.australianballet.com.au/donate Paul Sinclair Mr Ian Berkeley Small Melba Alma Cromack Patricia Speher Vanderwal Email: [email protected] Mrs M M C Djordjevic Nola Joan Hassall Patricia Cameron- Mr Arthur L Norcott Mail: The Australian Ballet Dr George Garratt Jean Hammond Stewart & Mrs Roma Norcott Philanthropy Department Robert Salzer AO Mr A S Leslie Canon Albert McPherson Paula Jacqueline Swain Primrose Potter Australian Ballet Centre Betty Gleeson-White Mr Laurie Davies Charles Ross Adamson Betty Amsden AO Level 6, 2 Kavanagh St Clifford Burgess Esther Primrose Lucy Miss Sheila Scotter AM Christine Ann Brown Southbank VIC 3006 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 Norma 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 11.01.2019

THE AUSTRALIAN BALLET CINDERELLA 53 MELBOURNE

ORCHESTRA VICTORIA

Lloyd Van’t Hoff++ PERCUSSION ORCHESTRA VICTORIA Ed & Marj Eshuys Robin Henry++ Section Principal is a wholly owned subsidiary Peter Griffin AM Sandra Ismail+ Mathew Levy of The Australian Ballet. & Terry Swann Amy Whyte+ Associate Principal T: (03) 9694 3600 Louis J. Hamon OAM Vacant www.australianballet.com.au Russell & Jenni Jenkins BASSOON CONCERTMASTER CELLO James Townsend+++ Section Principal Peter & Carmel Johnson Vacant Robert Allan+ Section Principal Lucinda Cran G Croft Erica Kennedy* Melissa Chominsky Stephen Falk+ Associate Principal Peter McLennan Yi Wang* Associate Principal Vacant Peter Neville+ Orchestra Victoria is assisted by & John Lander Diane Froomes the Commonwealth Government Principal Contrabassoon Scott Weatherson+ through the Australia Council, its Michelle and Ian Moore DEPUTY CONCERTMASTER Sarah Cuming Timothy Murray arts funding and advisory body Roger Jonsson HARP Marie Morton FRSA Philippa Gardner Lyndon Watts+++ Section Principal Prof David Penington VIOLIN Tania Hardy-Smith Matthew Angus++ Vacant Lady Primrose Potter AC Principal 1st Violin Andrea Taylor Amanda Lee+ Delyth Stafford++++ CMRI Yi Wang Daniel Smith+ Christopher Martin+ Megan Reeve+++ Orchestra Victoria is supported by Kerryn Pratchett Principal 2nd Violin Zoe Wallace+ the Victorian Government through Monica Naselow Creative Victoria. Mr John Redman HORN Key Associate Principal 1st Violin DOUBLE BASS Section Principal * Acting Principal Regional Partner Jan & Keith Richards Tomomi Brennan Section Principal Jasen Moulton ** Acting Associate Principal Adrienne Shaw *** Acting Section Principal Associate Principal 1st Violin Stuart Riley Associate Principal § On Leave Libby Smith Erica Kennedy Associate Principal Vacant + Guest Musician P & J Spark Rebecca Adler Vacant Principal Third Horn ++ Guest Principal Bruce & Leona Sterling Binny Baik Matthew Thorne Linda Hewett +++ Guest Associate Principal PHILANTHROPY AT ORCHESTRA VICTORIA Sarah Tehan Alyssa Conrau § Vacant Sydney Braunfeld ++++ Guest Section Principal Emma Sullivan+++ Rachel Shaw § ≠ Courtesy of Melbourne Symphony MUSICAL CHAIRS Elizabeth & Hank Van Herk Rachel Gamer Orchestra Ms Linda Herd Igor & Jenny Zambelli Matthew Hassall Shannon Birchall+ Anton Schroeder++ Supporting Principal Isabella Brown+ Sharon Hatton+ Anonymous Rachael Hunt MANAGEMENT Cor Anglais Nic Synot+ Rebeca Luton+ Supporters Philip Nixon Artistic Director Susan and Leith Campbell Gifts $100 - $999 John Noble Robert Shirley+ Nicolette Fraillon AM Supporting Associate FLUTE Melanie Simpson+ Executive Director Principal Clarinet (35) Chris Ruiter Section Principal Sara Pheasant ANNUAL GIVING INSTRUMENT ACQUISITION Lucy Warren Lisa-Maree Amos TRUMPET FUND Head of Orchestra The Conductor's Podium Tony Zhai Associate Principal Section Principal Management Gifts $35,000+ Susan and Leith Campbell Vacant Karen Schofield Mark Fitzpatrick Angela Chilcott Mr Robert Albert AO RFD RD ENDOWMENT FUNDS Principal Piccolo Vacant Associate Principal Project Manager & Mrs Elizabeth Albert Education Jenny Khafagi+++ Vacant Anthony Pope Elise Lerpiniere Leader Circle Rebecca Johnson++ The Judith & Alasdair Jo Beaumont+ Vacant Orchestra Manager Gifts $10,000 - $34,999 McCallum Fund Natasha Conrau+ Dominique Chaseling++ Timothy Francis+++ Harriette Blanden Mr Richard Guy OAM & Ms Lesley & Bob Qualtrough Lauren Gorman+ Michael Olsen+ Orchestra Project Coordinator Emma Hunt+ Claire Guy Bequest Edwina Kayser+ Jennifer Timmins+ Louisa Trewartha+ Laura Message Ms Linda Herd Hamilton and Western Allison Wright+ Operations Assistant Miranda Matheson+ Dr Peter A Kingsbury District OBOE Rachel Owen Lynette Rayner+ Section Principal Avner Klein & Maria Pannozzo Geoff and Helen Handbury TROMBONE Orchestra Librarian Lisa Reynolds+ Foundation Vacant Section Principal Glynn Davies Don & Angela Mercer Charlotte Ryssenbeek+ Associate Principal Estates Scott Evans Marketing Specialist Mrs Margaret S Ross AM Joshua de Graaf*** Associate Principal Melissa Ray Mrs Neilma Baillieu Gantner VIOLA Performer Patrons Principal Cor Anglais Vacant Section Principal Marketing Coordinator Gifts $5,000 - $9,999 PLANNED GIVING Dafydd Camp Paul McMillan Principal Bass Trombone Keshia Contini Gaye & John Gaylard G C Bawden & L de Kievit Michael Pisani+++≠ Benjamin Anderson Associate Principal Orchestra Accountant Hans & Petra Henkell Lesley M Bawden David Reichelt++ Robert Collins+++ Senthil Radha Vacant Dr Alastair Jackson AM Canny Quine Foundation Stephanie Dixon+ Simon Baldwin++ External Relations Jason Bunn** Cusack-Muller Bequest Jasper Ly+ Account Manager Judith & Alasdair McCallum Catherine Bishop Jessica Buzbee+ Fiona Gosschalk Patrons TRUSTS AND FOUNDATIONS Nadine Delbridge Pius Choi+ CLARINET Patrons Manager Gifts $1,000-$4,999 Australian Communities Vacant Section Principal TUBA Olivia Passmore David and Cindy Abbey Foundation – Hamer Family Paul Champion Fund Beth Hemming+ Principal [email protected] Matthew & Joanne Angus Tom Higham+ Associate Principal Karina Filipi+ Besen Family Foundation Marc Besen AC & Eva Besen Justin Beere Matthew Laing+ Nelson Woods++ BOARD AO Gwen & Edna Jones Principal Bass Clarinet Foundation Cora Teeuwen+ Libby Christie Tom Bruce & Beth Brown Vacant TIMPANI Angela Kelly The Robert Salzer Foundation Section Principal Peter and Ivanka Canet David McAllister AM The William Buckland Guy du Blêt Mr Jim Cousins AO Foundation & Mrs Libby Cousins

Correct as at 06.02.2019 ARTS CENTRE MELBOURNE

Arts Centre Melbourne Victorian Arts Executive Team Melanie Smith Conditions of Entry PO Box 7585 Centre Trust Claire Spencer Executive Director, Arts Centre Melbourne Performing Arts welcomes everyone to visit St Kilda Road James MacKenzie Chief Executive Officer Melbourne Vic 8004 (President) Beau Vigushin our spaces and experience Deirdre Blythe the performing arts. Telephone Frankie Airey Executive Director, Chief Operating Officer Conditions of Entry are (03) 9281 8000 Customer Experience Paul Barker Leanne Lawrence available on our website Richard Zimmermann Website Warwick Bray Executive Director, www.artscentremelbourne. artscentremelbourne.com.au Executive Director, Catherine McClements Human Resources com.au Philanthropy Andrew Myer AM Fiona Poletti Ian Roberts Executive Director, Arts Centre Melbourne extends heartfelt thanks to our Arts Nora Scheinkestel External Engagement Angels, whose generosity, loyalty and commitment ensure Helen Silver AO as many Victorians as possible can experience the joy of the performing arts here in Melbourne.

54 THE AUSTRALIAN BALLET 2019 SEASON Alice Topp. Photography Daniel Boud

THE AUSTRALIAN BALLET CINDERELLA 55 COMPANY AND DIRECTORS

MELBOURNE Lynnette Harvey Education PRODUCTION Digital Specialist Philanthropy Services Mrs Roslyn Packer AC Head of Education Maeve Ashby/Sam Sally Cha Coordinator The Primrose Potter Business Manager, Production Graeme Murphy AO Katy McKeown Diana Chatfield Australian Ballet Centre, Darren Conway Janet Vernon AM Recording & Broadcast 2 Kavanagh St, Southbank Dance Development Officer Patrons Coordinator Peter Clemenger AO Production Wardrobe Recording & Broadcast Victoria 3006 Jasmin Dwyer Philippa Clement - Levin Joan Clememger AO Head of Costume Workshop Manager Telephone 1300 369 741 Prof John Rose AO Dance Education Presenters Musette Molyneaux Robyn Fincham BUSINESS SERVICES [email protected] Alexander Mitchell Diana Ramsay AO Costume Administrative Content Creator australianballet.com.au Yvette Sauvage Finance Lady June Porter Coordinator David Ward Chantelle van der Hoek SYDNEY Julie da Costa OAM Eloise Fryer Chief Financial Officer Kenneth R Reed AM Ben Obst Public Relations & Director of The Australian Ballet Wardrobe Coordinators David Crawford AO Public Relations Manager Business Operations Level 4 10 Hickson Road, Education Administrator and Jenny Howard Christopher Knoblanche AM Kate Muir Sally Underwood The Rocks Sydney 2000 Content Coordinator Christie Milton Barbara Duhig Sophia Bender Telephone (02) 9253 5300 Publicists Executive Assistant Marilyn Jones OBE Senior Gentlemen's Cutter The Australian Ballet Anthea Waller Michelle Saultry Stephen Baynes Medical Marsia Bergh Sophie Rennard ABN 57 004 849 987 Principal Physiotherapist Finance Manager Jim Cousins AO Senior Ladies’ Cutter & Medical Team Manager Carolyn Dryley PATRON Sarah Murdoch Ruth Bartel Customer Experience Bill Bowness AO Susan Mayes & Ticketing Manager, Forecasting, His Excellency General Cutters Frances Gerard Senior Manager, Customer Planning and Analysis the Honourable Sir Peter Physiotherapists Sophia Cameron Susan Morgan Sophie Emery Experience & Ticketing Nazif Marikar Cosgrove AK MC (Ret’d), Etai Alves Beverley Brown OAM Bridy White Steven Payne Governor-General of the Georgiana Russell-Head Orchestra Accountant Barbara Marrett Michelle Bergeron Commonwealth of Australia Customer Knowledge Manager Senthil Radhakrishnan Toni Cody Costumiers Richard Laslett Myotherapist/Massage Ruth Owen Financial Accountant BOARD ARTISTIC DIRECTOR Therapists Lillian Hull Ticketing Operations Manager Diana Bedoya Shaun Bryce Chair David McAllister AM Jessie Dole Shannon Toyne Payroll & Indirect Tax Craig Dunn Brad Moffitt EXECUTIVE DIRECTOR Rhiannon Irving Tessitura Database Specialist Directors Libby Christie Exercise Instructors Alice Mere Coordinator Kristina Barisic Olivia Bell – Sakis Michelis Kate Powers Viraj Godbole MUSIC DIRECTOR Accountant Dancers’ Director Darren Spowart Emily Lewis & CHIEF CONDUCTOR VIP Ticketing Specialist Stephanie Cornish Annabelle Chaplain Consultant Sports Nicolette Fraillon AM Wig Supervisor Rose McNeill-Young Assistant Accountants John Ellice-Flint & Exercise Physician Alison Kidd Executive Assistant Customer Experience Isabel Pena Munevar Penny Fowler Dr Andrew Garnham Catherine Harris AO PSM to Artistic Director Production & Design Team Leader Thilini Siriwardana

Catherine Livingstone AO Kate Longley General Practitioners Production Design Perry Hingston Dr Vicki Higgins Coordinator Information Technology Edwina McCann Executive Assistant to Customer Experience Dr Jason Lam Kat Chan Technology Manager Tony Osmond the Executive Director Assistants David Cooper Bruce Parncutt AO Sarah Monaghan STAGE Production Centre Emily Klug IT Manager Director, Production Production Facilities Manager Sara Klug Global Ambassador ARTISTIC Damien Calvert & Planning Avon Kilcullen Mary Grul Sarah Murdoch Natalie Howe Ballet Chris Yates Production Centre Web Developer Gabrielle Monaghan Daniel Lukas FOUNDATION BOARD Artistic Associate Costume Coordinator & Principal Coach Artistic Planning and Penelope Bjorksten Jonathan Gormann Chair Edwina McCann Building Management Fiona Tonkin Operations Reception Arun Abey Director of Artistic Planning Collections Program Manager Office and Building Manager Ballet Mistress & Repetiteur Lynne McDougall Mary Barlow Helen McCormack Tessie Scott Tracy Hosier Elizabeth Toohey Hayley Baillie Production Facilities Storeman Cleaners Head of Artistic Planning EXTERNAL RELATIONS Di Bertalli Ballet Master Regional & Andrew Nish Lance Humphries Tessa Kay Director External Relations Bill Bowness AO Storytime Tours John Athinis MARKETING, Penny Waitsman Natasha Bowness Paul Knobloch Contract Administrator, Casey McCormack Prue Brown Artistic COMMERCIAL AND Ballet Master & External Relations Partnership Sayesha Neupane Robin Campbell Noeleen King AUDIENCE DEVELOPMENT Regional Touring Associate Managers Estaban Llano Colin Carter AM Director Marketing, Steven Heathcote AM Associate Producer, Regional Fiona Gosschalk Georgina Curran Touring and Storytime Ballet Commercial & Sarah Vick HUMAN RESOURCES Cara Elsley Ballet Mistress & Hannah Beer Audience Development Director of Human Resources Rehabilitation Specialist External Relations Suellen Enestrom Company Manager Penny Rowland Angela Kelly Megan Connelly Development Manager Jane Freudenstein Jess Jellie Executive Assistant Matthew Henry Human Resources Consultant Frances Ingham Guest Teacher Deputy Company Manager Melanie Swieconek Kate Reilly Sarah Ingham Tristan Message Account Executive Kate Peters Gail Marshall Hannah Fulker correct as 22.01.19 Resident Choreographers Marketing Jodie Maunder Assistant Company Manager Senior Marketing Manager Stephen Baynes Account Coordinator Robert McCormack AM Hannah Denison Renee Colquhoun Tim Harbour Alyssan Russell Karen Morrison Alice Topp Technical Marketing Managers Maria Pannozzo PHILANTHROPY Stanton Welch AM Technical Director Stephanie Corne Lynne Wright Director Philanthropy Jon Buswell Melissa Ray Music Kenneth Watkins Executive Assistant to Music Stage Manager Marketing Specialist Honorary Life Members Executive Assistant Director & Chief Conductor Deborah Whiteley Jackie Money Past & Present Philanthropy Alexandra McKnight Dame Peggy van Praagh DBE Assistant Stage Managers Marketing Coordinator Sharyn Gilham NR Sneddon AO CBE Assistant Conductor Drew Cipollone Keshia Contini Philanthropy Manager Sir Ian Potter Simon Thew Christabel Fry Lead Graphic Designer Nick Hays Sir Robert Helpmann CBE Principal Pianist Head of Staging Operations Ashleigh Hills Sir Robert Southey AO CMG Bart Kendall Patrons Manager & Music Librarian Graphic Designers Noël Pelly AM (NSW & ACT) Stuart Macklin Head of Lighting Lucy Brown Dr HC Coombs Jane Diamond Pianist & Associate Graham Silver Stephen Wood Ila Massy Burnside Patrons Manager John McCallum AO CBE Music Librarian Wardrobe Master Audience Engagement (VIC & TAS) Duncan Salton Geoffrey Harman Elizabeth Albert Audience Engagement Ben Lee Robert O Albert AO RFD RD Pianists Deputy Head of Touring Manager Patrons Manager John Calvert-Jones AM Brian Cousins Wardrobe Viviana Sacchero - Orchestra Victoria Timothy KF Cox AO Kylie Foster Valantine Turner Olivia Passmore Maina Gielgud AO Audience Engagement The Hephzibah Tintner Head Mechanist & Head FW Miller AO CBE Program Coordinator Planned Giving Managers Foundation, and the Robert Flyman Colin Peasley OAM Mary Grul Liz Ruggieri and Elizabeth Albert Tom Cole Lady Potter AC CMRI Heather McNicol Conducting Fellow Digital Dame Margaret Scott AC DBE Deputy Head Mechanists Patrick Burns Digital Manager Philanthropy Services Manager Lady Southey AC Tom Paine Joanna O'Connor Adam Santilli Josephine Woodgate OAM Artistic Management Taylor Chen Ballet Ambassador Marilyn Rowe OBE Senior Artistic Coordinator Content Expert Lead Mechanist Program Specialist Ian McRae AO Alex Wyatt Rose Mulready Pip Strachan David Wynne Peter Smedley Artistic Coordinator Social Media Specialist Head Electrician Dr Valami Pidgeon AM Robyn Begg Hannah Leane Adrian Siggs

56 THE AUSTRALIAN BALLET 2019 SEASON THE AUSTRALIAN BALLET CINDERELLA

WITH THANKS

PRINCIPAL PARTNER

LEAD PARTNERS LEARNING PARTNER

Official property partner Official airline partner

MAJOR PARTNERS

Official pointe shoe Official legal Official piano Official vitamin Official cruise Official jewellery partner 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 CINDERELLA 57 Experience Classes with The Australian Ballet School

Join us for classes taken by expert teachers of The Australian Ballet School. Visit our website to find out more.

PLAYBILL AD 55

Photography by Lynette Wills Lynette by Photography australianballetschool.com.au

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

FOR THIS Scenery & Furniture Scenic Printing Program edited by The cast for this performance is available PRODUCTION properties upholstered by by Bravo Print & Rose Mulready on the nightly cast list which is issued free manufactured by Pat Navascues, Design Pty. Ltd. of charge to patrons. The Australian Ballet Costumes Show Works Navascues Graphic Designer reserves the right to cancel or alter any manufactured by Upholstery Scenic Cloths Jasmin Tulk detail of this season, or any performance the Production Specialist props supplied by forming part of this season, as it considers Division of The manufactured by Scenery painted Imported Theatre The Australian necessary. Australian Ballet Nicholas Dunand, by Scenic Studios Fabrics Ballet portrait Propstuff photography by Daniel Boud

This is a PLAYBILL / SHOWBILL publication. OPERATING IN SYDNEY, MELBOURNE, CANBERRA, BRISBANE, ADELAIDE, PERTH, HOBART & DARWIN Playbill Proprietary Limited / Showbill OVERSEAS OPERATIONS: This publication is sold subject to the condition that it shall not, by way of trade or otherwise, New Zealand: Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. be lent, resold, hired out or otherwise circulated without the publisher’s consent in writing. It is Auckland: Mt. Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: admin@playbill. Head Office: Suite A, Level 1, Building 16, 9449 6053 co.nz. Fox Studios Australia, Park Road North, E-mail: [email protected] UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Moore Park NSW 2021 Website: www.playbill.com.au Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 PO Box 410 Paddington NSW 2021 6799; Fax (852) 2891 1618. Telephone: +61 2 9921 5353 Fax: +61 2 Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2-E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited.

58 THE AUSTRALIAN BALLET 2019 SEASON PLAYBILL AD 55

THE AUSTRALIAN BALLET CINDERELLA 59 19 – 28 MARCH 2019 | ARTS CENTRE MELBOURNE

60 THE AUSTRALIAN BALLET 2019 SEASON