DANA STEPHENSEN, CORYPHÉE

2011 season

Melbourne 13 – 24 September the Arts Centre, State Theatre with Orchestra

SYDNEY 2 – 21 December Theatre, Opera House with Australian Opera and Orchestra Mum’s lounge room Cavendish Road High School Davidia Lind Centre Ballet The Arts Centre,

TELSTRA IS PROUD TO SUPPORT DANCERS AT EVERY STAGE

It’s a long journey from those first hesitant steps to a performance on the world stage. Telstra proudly supports Australian dancers through community grants, the People’s Choice Award, and as principal partner of .

Broadcast Sponsor Supporting Sponsor Supporting Sponsor Principal Sponsor

Cover and above: Madeleine Eastoe and Kevin Jackson Photography Georges Antoni

TCON1179_D Madeleine Eastoe Photography Georges Antoni note from the artistic director

If you ask any dancer, they’ll say that Romeo This production will be such a valuable and Juliet is a ballet they aspire to dance. To addition to the repertoire and will give us a have the opportunity to have this classic tale new way to engage with this timeless story. created for you by one of the world’s great It is also a wonderful vehicle for the artistry narrative choreographers would be a dream of our talented dancers. Equally it has been come true. That is just what’s been happening an amazing showcase for the artisans who for the last few months! It has been so exciting make the sets, props and costumes, as to watch this new production take shape well as the technical staff who bring them across the company, in the rehearsal rooms, to the stage. I would like to pay tribute to the set workshop, the painting studio and the Diana Ramsey, whose gift has so generously costume department. supported the creation of Akira Isogawa’s costumes for this production through the A new /Janet Vernon ballet is James and Diana Ramsey Foundation. Her always much anticipated and if you add into leadership in supporting artistic endeavour it Shakespeare’s best-known story, costumes is an inspiration to us all. by Akira Isogawa, a set by Gerard Manion and lighting by Damien Cooper, it becomes a must- My thanks go also to our Principal Sponsor see season highlight and a fantastic way to Telstra, whose long-term support makes it finish our 49th year. Each of these artists has possible for an innovative new production to an extraordinary vision for this new production. go from a dream to reality. It is great to once Bringing a unique new interpretation to this again work with our Broadcast Partner STVDIO, universal story has been a mammoth task and whose investment in bringing dance to the one achieved through hours of collaboration, widest possible audience we applaud. We enquiry and research. I thank each of them also salute our Partner Sambag, for their passion and talent in bringing this whose Romeo & Juliet collection was inspired new work to life. by our ballet, and Supporting Sponsor Napoleon Perdis, whose Love Unleashed Romeo & Juliet is a perfect way to honour range was released to celebrate this Dame , whose life work has brand-new production. been to nurture great talent. Her passion for creativity made her one of the driving forces in Finally, I would like to thank you, our setting up The Australian Ballet. As founding wonderfully passionate audience. Thank director of The , she you to so many of you who have supported developed successive generations of dancers the company as subscribers and donors over and choreographers who have gone on to many years. To those who may be with us for shape ’s dance community, and built the first time I hope that it will the beginning an organisation that continues this work. She of many evenings at the ballet. To all I wish saw the potential of a young 14-year-old boy you every happiness for the coming festive from Tasmania, and planted the seed for the season and look forward to sharing the many amazing career that has led Graeme Murphy exciting 50th-anniversary performances to artistic triumphs around the world. and celebrations with you in 2012.

David McAllister AM Kevin Jackson and Madeleine Eastoe Notes from Photography Georges Antoni behind the scenes

The creation of an original full-length ballet is you’ll be watching our performances from the an exciting endeavour that involves the entire best seats in the house; you’ll save money company. This year, The Australian Ballet and and gain flexibility. Aside from benefits like our audiences have been eagerly anticipating discounts and priority notification of pre-sales Graeme Murphy’s interpretation of Romeo & and special events, you’ll learn more about the Juliet. Ballet fans who have enjoyed Nutcracker art form you love through our free informative – The Story of Clara, , The Silver talks, our fortnightly e-newsletter Behind Ballet Rose and Firebird – Graeme’s landmark works and the twice-yearly subscriber-only magazine for the company – will particularly look forward Ballet News. The impact on the company is to this latest addition. very real: subscribers make up a significant part of our annual income and we consider This sense of continuity and context is them a vital part of the ballet family. especially meaningful to our subscribers, who approach each season with layers of Some subscribers have chosen to deepen memories and knowledge that enrich their their commitment to the company by becoming appreciation. The subscriber experience gives donors. Their gifts support annual programs you an enhanced sense of closeness with and contribute to a more secure future for the company. You’ll watch different dancers the organisation, and they have the pleasure bring their unique interpretations to each of seeing the results of their generosity at work, and follow them as they develop from work on the stage, on tour and in our talented budding talents to full-blown stars. You’ll dancers. We greatly appreciate the loyalty get a fuller sense of The Australian Ballet’s and passion of our subscribers and donors; artistic range by seeing a variety of works that it is you who enable us, in the words of Dame reflect our commitment to presenting the best , to bring “something of of and the most innovative great beauty into other people’s lives”. contemporary works, while embracing emerging creative voices that will advance the art form.

In addition to the intangible benefits of a long-term engagement with the company, there Valerie Wilder are a wide range of privileges that are enjoyed Executive Director by subscribers, and the announcement of our 2012 50th anniversary season is a perfect time to review the many advantages of renewing or starting a subscription to The Australian Ballet. As one of our subscribers, romeo & juliet

Concept and Graeme Murphy choreographer’s note Creative associate Janet Vernon Music This timeless tale is in fact a tale for ALL Costume design Akira Isogawa times. LOVE transforms and transcends, Set design Gerard Manion opening a door to reveal a different world, Lighting design Damien Cooper where time bends and stretches and Projection design Jason Lam landscapes appear both familiar and foreign. Into this world our lovers stray, to pit their The costume creation for this production passion against bigotry, conflict and hatred. was made possible by a generous gift DEATH also transforms and transcends – flesh from the James and Diana Ramsey melts and becomes earth in life’s continuum. Foundation with a matching gift from the Ian Potter Foundation ’s prose is legend, his words immortal. My words, written in flesh Wallpaper design CHATTERTON F5710-01 and sweat, are ephemeral. Though I strive for used by kind permission of Osborne and Little some gestural equivalent, my language can These performances of Romeo and Juliet by only be read through the lens of the dancers’ Sergei Prokofiev are given by permission of artistry. Happily the commitment and talent of Hal Leonard Australia Pty Ltd, exclusive agents for Boosey & Hawkes Music Publishers Ltd of this company is my greatest ally. synopsis I am indebted to David McAllister for giving me the opportunity to tackle this glorious Between the Montagues and Capulets tale, and I am in awe of The Australian there is a bitter and ancient feud. Romeo, Ballet’s set design, costume and technical a son of the Montagues, goes uninvited to departments, who have supported my long- a Capulet ball and is instantly smitten with time collaborators Akira Isogawa, Gerard Juliet, the daughter of the house. Later that Manion, Damien Cooper and Jason Lam in night, Romeo visits Juliet’s balcony, and they realising their extraordinary visions. I also rapturously declare their love. thank the music department, led by Nicolette Fraillon, whose research and advice has A sympathetic Holy Man marries the pair in been invaluable. My personal Juliet, Janet secrecy, and they arrange to meet in Juliet’s Vernon, has been as lovingly determined as bedroom that night. But before their marriage Ms Capulet Jnr to put right my wrongs and find is consummated, Tybalt, Juliet’s hot-tempered solutions to the many twists and turns of this cousin, meets Romeo in the market place ballet’s journey. and tries to provoke him into a fight. When he refuses, Tybalt brawls with Romeo’s dear I trust my Romeo & Juliet brings some truths friend Mercutio and kills him. Enraged, Romeo and perhaps tears to you, the audience, and, kills Tybalt and is sentenced to exile. I hope, some small measure of pride to my teacher, mentor and friend Dame Margaret Before he leaves, the lovers spend their Scott, to whom it is lovingly dedicated. wedding night together. They part the next morning in despair. Juliet’s parents announce Graeme Murphy 2011 their plan to marry her to the nobleman Paris, so she resorts to a drug that will send her into a death-like trance. Romeo, in exile, hears of Juliet’s death and, missing the messenger sent to assure him she is alive, rushes to her tomb, where he finds and kills the mourning Paris. Overcome with grief for his lost love he drinks poison and dies by Juliet’s side – just as she wakes from her drugged sleep. Finding Romeo’s body, she stabs herself with his dagger and the two lovers lie together in death.

Madeleine Eastoe and Kevin Jackson Photography Georges Antoni Make-up by Gracie Distefano for Napoelon Perdis Graeme Murphy Photography James Braund

Simone Goldsmith and in Swan Lake Photography Jeff Busby

Lana Jones and Kevin Jackson in Firebird Photography Alex Makeyev

Graeme Murphy: Star -maker Jane Albert talks to dancers of The Australian Ballet past and present Kevin Jackson, Graeme Murphy and Lana Jones in rehearsals for Firebird Chengwu Guo in Firebird (and the man himself ) about Murphy’s unerring eye for talent. Photography Jess Bialek Photography Alex Makeyev

They call it many things: the X-factor, the Midas With each new production audiences look Goldsmith, a quiet, self-contained dancer who you completely into his world. I never second- Like Goldsmith, Lana Jones was surprised not Other dancers talk about ‘the Murphy effect’ on touch, the Murphy effect. The labels refer to forward to the unveiling of new talent. Simone was technically assured but yet to reach her guessed anything he asked of me, I believed only at being picked as the dancer on whom their careers, the honour of having him hand- Graeme Murphy’s uncanny ability to pluck Goldsmith, Madeleine Eastoe and Amber potential. Audiences, critics – even the dance in his vision and wanted to make it work. It Murphy would create in 2009, but pick them for a role and the extent to which relatively unknown names from the company ranks Scott were all exquisite in Swan Lake; Lana community – were gobsmacked, as night after was one of the most inspiring and creative also at the effect that role would have on her they relish exploring his tough but rewarding and give them roles that transform their careers. Jones, Kevin Jackson, and Chengwu Guo night Goldsmith brought out a depth of emotion times of my career.” career. “I got huge recognition for that and I choreography. Eastoe is lucky enough to have thrilled audiences with their performances in and an astonishing level of dancing never wasn’t really expecting it; I didn’t realise how danced most of the lead roles in Murphy’s During the past 20 years The Australian Ballet Firebird; Ty King-Wall and Juliet Burnett gave before seen in her nine years with the company. What exactly is Murphy’s type of dancer, and pivotal it would be for my career at the time, , and cites dancing Odette as a senior has invited Murphy to apply his considerable star turns in The Silver Rose. Although they Her performances cemented her promotion to how do he and Vernon tap into a dancer’s that I would win awards,” Jones says. Another artist in the London premiere of Swan Lake in choreographic weight and remarkable gift for are well known today, most of them were first principal artist and brought her a clean sweep potential where another choreographer might thing she didn’t know was that Murphy and 2005 as a career highlight. She was promoted narrative to various classic ballets and : given that chance to shine after being hand- of the country’s top dance awards. miss it? “The big demand for me isn’t just the Vernon had been watching her for a long time. to principal artist the following year. “His ballets , Swan Lake, The Silver Rose (a picked by Murphy and his creative associate, physicality and technicality; it’s that ability to “We’ve loved Lana long and far, and she’s have been around at pretty pivotal parts of my ballet version of the opera Der Rosenkavalier) muse and life partner Janet Vernon, who then No-one was more surprised at what communicate which is so important,” Murphy never disappointed us,” he says. “There was a life,” she says. “Performing Nutcracker early on and Firebird. Each production has delivered a created on them such captivating movement Murphy coaxed out of her than Goldsmith. says. “That’s where Madeleine becomes misconception she had beautiful technique but [while still a ] was something I was able bold new interpretation, drawing in audiences that audiences couldn’t help but fall in love “I remember the day David McAllister told a very beautiful foil for any choreographer. was quite cold, but if you give her something to step up to do; people then get to see you in unfamiliar with the original and captivating old with them. me Graeme had chosen me for Swan Lake, You might look at her and think she’s not that is very human and passionate she a different light, not just on the technical side. hands with a fresh approach to a story they and honestly, I was shocked. I didn’t think I statuesque but what she does with movement responds fabulously.” As with Goldsmith, You can’t help but think Graeme has had a thought they knew. Nowhere was this more evident than the night was his type of dancer at all. I hadn’t had too and storytelling is extraordinary. I really do Jones’s ascent post-Murphy was swift; she was hand in making it easier for me.” in Melbourne in 2002 when the curtain rose much to do with Janet and Graeme until that need people who can tell the story with the But a Murphy premiere isn’t just about the promoted to principal artist the year after her on the world premiere of Murphy’s Swan Lake. time,” she says. “[But] Graeme is a wonderful body, really understanding the language of performance in the multi-award winning role. Then-Corps de Chengwu Guo promise of a rewarding night in the theatre. The role of Odette had been choreographed on storyteller, it is one of his many gifts, he draws movement as a device to convey emotion.” was unfamiliar with Murphy until they worked Amber Scott in Swan Lake Juliet Burnett and Brett Simon in rehearsals for Romeo & Juliet Janet Vernon and Graeme Murphy Photography Jim McFarlane Photography Lynette Wills Photography James Braund

Andrew Killian, Kevin Jackson and Graeme Murphy in rehearsals for Romeo & Juliet. Photography Lynette Wills

Ty King-Wall and Lucinda Dunn in The Silver Rose Photography David Kelly

Amber Scott and Rudy Hawkes in rehearsals for Romeo & Juliet Photography Lynette Wills

Ty King-Wall and Juliet Burnett in The Silver Rose Photography David Kelly

Madeleine Eastoe and Steven Heathcote in Swan Lake Photography David Kelly

Graeme Murphy Kevin Jackson, Lana Jones and Graeme Murphy in rehearsals for Firebird Photography James Braund Photography Jess Bialek

together on Li Cunxin’s autobiographical film drawing out even deeper performances and the studio [disappeared] and I just gave him the passing of time, and he knows how to use “At the time it was a little bit scary – when to return to the stage in the role of Clara the Mao’s Last Dancer, in which Guo played characterisations. “There are people who what he wanted.” movement to express this,” Scott says. “He really you’re dancing with a principal you feel that Elder when his Nutcracker premiered in 1992. the teenaged Cunxin. “The more you threw you’ve seen do every role known to man lets the individual tailor it to how they want to extra sense of responsibility, you have to Romeo & Juliet is dedicated to her. Speaking at that boy the more he gave back,” Murphy and then suddenly you give them a different Unlike many dancers, Murphy is firmly of the interpret it. He gives a lot of advice but gives you come up to their level,” says King-Wall. “It as one who was instrumental in encouraging says of Guo, whose film role gave him a great treatment and they behave in a completely belief that success isn’t just about being picked the confidence to become another character.” was an exciting experience for me. I loved Murphy to choreograph, she says he is an boost, resulting in Murphy casting him as different way and astonish you. And that’s to perform on opening night. He and Vernon working with Luci, she wasn’t intimidating evocative storyteller with an excellent eye for Kostchei in Firebird. “Firebird was exciting, very rewarding,” says Murphy. take great care in selecting and working with Juliet Burnett, who danced the lead role of at all. I learned a lot from her experience in characterisation. “Graeme’s talent is indefinable and scary, The Australian Ballet is such a big subsequent casts, giving yet more dancers Sophie in the 2010 Australian production terms of artistry and characterisation. Being a [but] his gift is in narrative. It’s an exceptional company and I was brand new and all of a Kevin Jackson has performed lead roles in all their chance to shine. It is remarkable how of The Silver Rose, concurs. “Graeme and young guy I was more interested in my jumps gift and very rare. He is also full of fun.” sudden this opportunity came up for me,” Murphy’s ballets and was the dancer Murphy many dancers have cemented their reputation Janet encouraged me to approach it with my and turns than being a character and telling Guo says. “Graeme choreographed the whole chose for Prince Ivan in Firebird. Much from dancing the same role. “Amber Scott was own intellectual and physical abilities and a story. [That maturity] was a combination of Lana Jones encapsulates all the dancers’ role on me. That was my first principal role, of the groundwork for Romeo & Juliet was consummate as Odette,” Murphy says. “She encouraged an individual interpretation. It really Luci Dunn and Graeme and Janet’s ballet.” sentiments when she says that the very act of I can never forget about it. He’s one of those choreographed on Jackson and Eastoe. “For took the work on a journey. She wasn’t being brought out the best in all the casts,” she says. He was promoted to senior artist this year. being hand-picked by Murphy ensures you will some reason from day one Graeme always any other cast, she was being her.” give him 110 per cent. “Graeme takes risks choreographers who digs the potential out of A less obvious advantage for the junior the dancers. That’s very special.” had his eye on me, which I could feel during So who was the star-maker who singled out with people and that makes you want to do the my corps work in Swan Lake,” Jackson says. The dancers credit Murphy with giving them the dancers performing in Murphy’s ballets is the Graeme Murphy? Arguably it was Margaret best for him. He really believes in his dancers, As well as casting “the secret little ones that “Then when Firebird came along and he picked confidence to individualise roles, pointing out he chance to learn from their more experienced Scott, Murphy’s principal and first teacher and when someone believes in you, anything go unnoticed”, as Murphy describes them, he me I felt he believed in me so I could let go, empowers them to interpret things themselves. counterparts. Murphy cast soloist Ty King-Wall at The Australian Ballet School, who picked is possible.” also likes to challenge established dancers, and all the insecurities of being at the front of “Graeme has a really good understanding of as Octavian in The Silver Rose, partnering the him out for notice when he was just 14. Forty the human condition: love, betrayal, youth, highly respected principal artist Lucinda Dunn. Jane Albert is a freelance writer and the author of years after her retirement Murphy invited her House of Hits Fabrics used in the ‘Market’ scene costumes. Twenty full-time wardrobe staff worked for three months on the costumes (around 9600 hours), with a single costume taking as many as 80 hours to complete. Over 5000 metres of fabrics, 2000 sequins and 1000 Swarovski crystals were used, and 40 saris were broken down for their beading.

Photography Kate Scott

Kevin Jackson is fitted for Romeo’s ball-room costume, a perfect distillation of Isogawa’s style. The vest, a stalwart of ballet costuming, is re-engineered in butter-soft pleated leather, and branded with a pistol on the breast. Though Romantic in shape, the shirt is unusual in texture; it’s been pleated with a Japanese techinique called shibori, which produces creamy, meringue-like puffs.

Lilies – beautiful and deadly – are a recurring motif in the ballet. Set designer and painter Gerard Manion created these hyper-real flowers in CAD. The designs were then printed onto cloth and retraced in sweeping strokes of neon paint. Romeo & Juliet’s built sets are given further texture with front and rear projections.

12 July 2011 – Principal Artist Adam Bull and Graeme Murphy on the first morning of rehearsals. “We don’t have the luxury of falling back on Shakespeare’s amazing words,” Murphy tells the packed studio. “We have to start fresh.” Traversing time and place, this Romeo & Juliet features myriad set changes and hundreds of costumes.

Photography Kate Scott

Romeo & Juliet: the

Romeo & Juliet is Murphy’s eleventh work for making The Australian Ballet, and with each new ballet the Murphy choreographs a climactic fight scene on Kevin Jackson deepens. “This is a collective effort,” he (Romeo) and Andrew Killian (Tybalt). Behind them, subsequent says. “I can’t do this alone.” Rehearsals are hands-on, casts mirror their movements. A total of five Romeos and five with Murphy often stepping into the roles himself to Juliets will dance through the first two seasons. demonstrate how a move might be executed. Photography Kate Scott of a 18 July 2011 – the Romeo & Juliet photoshoot at The Australian Ballet’s costume and set store in Kensington, where the temperature hovers around 10 degrees. Newly cast leads Kevin Jackson and Madeleine Eastoe give Isogawa’s costumes their first proper dance-through, accessorising with heavy coats between takes. Though the costumes look delicate, they’re also robust: many will be machine washed and tumble-dried after every show. mast e rwork Lynette Wills is a photographer and former principal artist of The Australian Ballet Since the first stitch was sown and the first step created, Lynette Wills has been documenting the vast effort behind Romeo & Juliet. These are some of her photographs. playbill ads 17

Photography James Braund

Graeme Murphy AM Graeme’s directing and choreographic credits Creative Associate credits include Swan Lake, choreographer include Metamorphosis, Turandot, Salome, The Nutcracker – The Story of Clara, Firebird and Graeme Murphy was born in Melbourne and Trojans, Aida (); Ainadamar The Silver Rose (The Australian Ballet); studied at The Australian Ballet School. (The Festival of Arts); Beyond Twelve, (A and The Australian He has danced with The Australian Ballet, Nutcracker – The Story of Clara, Swan Lake, Ballet co-production); Hua Mulan (a Sydney Sadler’s Wells Ballet (London) and Ballets Firebird and The Silver Rose (The Australian Dance Company and Shanghai Song & Dance Félix Blaska (France). In 1971, he received an Ballet); Tivoli (a Sydney Dance Company and Ensemble co-production); Die Silberne Rose Australia Council Grant to study overseas. He The Australian Ballet co-production); VAST (The (Bayerisches Staatsballet, Munich); Water returned to Australia in 1975 as a freelance Australian Bicentennial Authority); Hua Mulan (Shanghai Ballet); Forty Miles – A River of choreographer. The following year, he was (a Sydney Dance Company and Shanghai Dreams (Tasdance); Ainadamar (The Adelaide appointed artistic director of Sydney Dance Song and Dance Ensemble co-production); Festival of Arts); Aida (Opera Australia); the Company (then known as The Dance Company Die Silberne Rose (Bayerisches Staatsballett, movie Mao’s Last Dancer and the Andrew Lloyd NSW), a position he held until 2007. During Munich); Water (Shanghai Ballet); Forty Miles Webber musical Love Never Dies. his 31-year tenure, he created more than 50 – A River of Dreams (Tasdance); Embodied works, including 30 full-length productions. () and The Torvill and Dean Awards include: an AM for Services to Dance World Tour Company. He also choreographed (1989); Honours (1993); Graeme is the recipient of the Order of Australia Death in Venice (Canadian Opera Company); Green Room Award for Concept and Realisation, (1982) for his Services to Dance and three Samson et Dalila (The , New Swan Lake (2003); Centenary Medal for honorary doctorates – Hon. D Litt Tas (1990), York); the movie Mao’s Last Dancer and the services to society and dance; Lifetime Hon. D Phil Qld (1992) and Hon. D Litt UNSW Andrew Lloyd Webber musical Love Never Dies. Achievement, (2006); (1999). He was honoured at the Inaugural Green Room Award, Outstanding Contribution Sydney Opera House Honours (1993) and Janet Vernon AM to Dance (2006) and the Fred & Adele Astaire named a National Living Treasure (1999) by the creative associate Award for Excellence in Choreography in Film National Trust of Australia. He has received a Adelaide-born Janet Vernon studied at The for Mao’s Last Dancer (New York, 2011). Dance Helpmann Award (2001) for Best Choreography, Australian Ballet School and has danced with Australia named her ‘One of Australia’s Five Body of Work – a Retrospective; the prestigious The Australian Ballet, Ballets Félix Blaska Best Female Dancers Ever’. James Cassius Award (2002), and a Centenary (France) and Sydney Dance Company. In 1976 Medal (2003). He was named Cultural Leader she was appointed, along with Graeme Murphy, of the Year by the Australian Business Arts to the artistic helm of Sydney Dance Company, Foundation, received the Dame Elisabeth where they remained for 31 years. Graeme Murdoch Award (2004) and was listed among created roles for Janet including Shéhérazade, Australia’s 50 Most Glamorous Exports at a Daphnis and Chloé (Lykanion), Some Rooms special celebration hosted by the Australian (The Bathroom), After Venice, Nearly Beloved, Government and Austrade (2005). He received King Roger (Queen Roxanna), Berlin, The the Award for Contribution to Cultural Exchange Protecting Veil, Salome (Herodias) and The from the Ministry of Culture, the People’s Trojans (Andromeque) – a collaboration with Republic of China (2008) and the Fred & Adele Opera Australia. Astaire Award for Excellence in Choreography in Film for Mao’s Last Dancer (New York, 2011). Teaching the torches to burn bright In the 1960s, two choreographic giants created versions of Romeo and Juliet that still light up the ballet firmament. Rose Mulready traces their trajectories.

playbill ads 18

Lisa Bolte and Steven Heathcote in Romeo and Juliet, 1997 Photography Branco Gaica Marilyn Rowe and Fiona Tonkin and Steven Heathcote Geon van der Wyst and Lisa Bolte and in Romeo and Juliet, 1975 in Romeo and Juliet, 1997 in Romeo and Juliet, 1997 in Romeo and Juliet Photography David Parker Photography Branco Gaica Photography Branco Gaica Photography unknown

Kelvin Coe and Romeo and Juliet 1974 Photography David Parker

David McAllister says it in his foreword to this by storm. Now it burst upon me as new and Australian Ballet, which has never performed the most minor roles: “If you were a peasant, Like Cranko, MacMillan was a muse-driven replace Seymour and Gable in the London program: Ask any aspiring dancer what role completely valid, in the same way that the young the MacMillan production. (Graeme Murphy, they would ask you ‘What are you buying in choreographer. “I am inspired all the time by premiere with Margot Fonteyn and Rudolf they most covet, and ‘Romeo’ and ‘Juliet’ today are thrilled by the fashions of the thirties when he briefed the company on his Romeo the market? Who do you like? Who aren’t dancers’ bodies, by whoever works with me; Nureyev, a hot-ticket partnership that guaranteed come up again and again. Romeo and Juliet is that so appal me. & Juliet, dubbed Cranko’s ballet “the elephant you talking to?’ If you were a noble, they’d I have to find the right thing for their bodies.” their investment. (Fonteyn, by several accounts, in the room”.) For Lisa Bolte, a former the only 20th-century ballet that is regularly The “realism” of the production – heavy ask ‘What family are you from? Why were you He considered Seymour, in particular, his was horrified and argued desperately against principal artist of The Australian Ballet and grouped with such luminous benchmarks of the sets that captured the pompous weight of invited to the ball? Who’s sleeping with who?’” creative ideal. All three plunged into an intense the substitution, acquiescing only when the an acclaimed interpreter of Cranko (she was canon as Swan Lake and . And despite aristocratic Verona, dramatic acting, the engagement with the text, smoking endless ballet itself seemed under threat. Seymour chosen by to Bianca in The Fiona Tonkin, also a former principal artist numerous productions (by choreographers strong drive of the narrative – was in direct cigarettes and staying up all night to argue over felt no bitterness toward her or Nureyev, Taming of the Shrew after only three months with The Australian Ballet and now its principal including Ashton, Béjart and Nureyev), it is opposition to the prevailing trends of 1950s psychology and motivation. whom she regarded as a soul mate.) with the company), the key to the ballet’s coach, is considered one of Australia’s great the visions of and Sir Kenneth Western ballet: primarily Balanchine’s popularity with dancers is its dramatic journey Juliets. “Cranko used the music beautifully. The MacMillan made the three central pas de The original Romeo and Juliet, relegated to MacMillan that still dominate imaginations stripped-back abstractions of technique, but and Cranko’s flair for storytelling. Coached whole production is so clear in telling the story. deux – balcony, bedroom, tomb – before the a lower cast, were compelled to teach ‘their’ and repertoires throughout the West. also Ashton’s light touch and preoccupation by famed actor-dancers like Gielgud, Paul The fight scenes are simple, but spectacular. rest of the ballet. They are the lynchpins of the choreography to four other couples. For with subtly nuanced society pieces. Here Although the original production of Romeo DeMasson and Ai-Gul Gaisina, Bolte teased It’s a beautiful piece of theatre.” Tonkin points work, and arguably its greatest genius. The Seymour, who had ruined a marriage and was something dancers could really get and Juliet in Russia was famously dogged out the underlying feelings of scenes, “trying out the depth of detail given to every strand of semi-necrophiliac tomb pas is intentionally danced her guts out to play Juliet, it was a their dramatic teeth into. by problems – political stale-mating, artistic to find a truth”, building an interpretation the story. The closeness between Lady Capulet shorn of classical prettiness: MacMillan told blow that almost unseated her reason. Gable tantrums, endless changes, striking dancers For Cranko, a choreographer who effortlessly that spanned years. “You tend to do less and her nephew Tybalt, for instance, is hinted Seymour, “Don’t be afraid to look ugly. You’re left ballet for good not long after, and became – by the time the ballet came to London in fused dance and drama, Romeo and Juliet was as you get older, when you’re acting. The at in “little cameo scenes in the ballroom” – just a lump of dead meat,” and Gable based an actor. Nevertheless, their performances 1956 it was sufficiently coherent to make a an obvious choice. He first tackled the play in really beautiful parts can be when you’re just later, when she discovers his body and throws his movement on a gorilla in the London Zoo were acclaimed by critics who, despite sensation. The performed the abbreviated form, in a production staged outdoors being ‘silent’ – you can read a whole lot of herself in a quasi-sexual frenzy of grief on his who refused to give up her dead baby, dandling charismatic performances by Rudi and Margot version premiered at the Kirov in 1940, with for La Scala in 1958 and starring a young Carla language just with silence. The role has been bier, those earlier scenes deepen the tragedy. it and bashing it into chairs. When Seymour’s and the inevitable audience hysteria that choreography by Leonid Lavrovsky. Soviet Fracci as Juliet. Later, after making the move to interpreted so well by Cranko that you can The critic John Percival wondered at Cranko’s Juliet dies, it is with her legs open in a clumsy followed, recognised the original couple as the legend Galina Ulanova, despite taking strike Ballet, he expanded and reworked the find moments of silence in the ballet that skill: “How much depth lay hidden in the sprawl: a triumph of fervent realism over truer expressions of MacMillan’s vision. action over Prokofiev’s “undanceable” music production from the start, waiting to be dug out balletic grace. “We were not ethereal lovers ballet; this version premiered in 1962. tell everything, and you don’t have to do In an echo of Percival’s words about Cranko’s during Romeo and Juliet’s creation, was as much.” by the performers.” miming impassioned vows,” says Seymour incandescent as Juliet. The production struck Cranko’s later Romeo and Juliet was made on in her autobiography, “but two sexually alive Romeo and Juliet, Seymour says, “Even though the rabid balletomanes of (some his muses, Marcia Haydée and . When the guardians of the Cranko tradition MacMillan, who was mentored and influenced teenagers whose passions were unbuttoned.” choreography is always there, you sometimes of whom had queued for three days and four Both dancers were strong dramatic artists, came to The Australian Ballet to stage his by Cranko early in his choreographic career, saw The critic Richard Burke, after seeing discover what is really in it much later on. I did nights for tickets) with the force of a revelation. and Cranko’s interpretation is distinguished by Romeo and Juliet, the dramatic logic underlying the Stuttgart version and was inspired. He made Seymour’s performance, said that he could so with the last act of Romeo, when I found In her autobiography Margot Fonteyn pinpoints its theatrical coherence. It is also an intensely the choreography was their focus. Both Reid a balcony on and imagine her asking in rehearsal, “Could I recently that there is something abandoned the nature of the epiphany: musical work, appearing to grow out of the lush Anderson and the late (a Christopher Gable for Canadian television in April chew gum in the balcony scene?” in Juliet’s desperation.” Like Shakespeare’s texture of the Prokofiev score; its sweeping former artistic director of The Australian 1964, and found an immediate affinity with the text, both Cranko and MacMillan’s versions of The very weight of the production, criticized by lifts, haughty stalkings and impassioned runs Ballet) had worked closely with Cranko, and subject: he finished the pas in three rehearsals. The heady experience of making the ballet Romeo and Juliet have deep layers that allow some as old-fashioned, was what impressed seem to make the music visible. both were insistent on the importance of On the strength of this, House ended bitterly for the three collaborators. audiences and dancers to return to them over me. No doubt it was just such realism that motivation. Bolte, who has played a lily maid, a commissioned a full-length version, and Leaned on by the impresario who was organising lifetimes, each time mining fresh insight from Diaghilev had discarded when he presented his This Romeo and Juliet is the version most clown and a noblewoman in the production as MacMillan set to work the same year. ’s tour to New York, the Covent the plight of Fortune’s fools. innovations early in the century, taking familiar to the dancers and audiences of The well as Juliet, remembers their focus on even Garden management demanded that MacMillan This is not to suggest that Lurhmann’s Romeo can’t be a ‘playa’ with a girl who makes The absence of Shakespeare’s words solved Zeffirelli’s film is loved for its visual interpretation is some emo slouch-fest him the “god of my idolatry” and who speaks many of the problems of modernisation that sumptuousness, the beautiful score by Nino taking unwarrantable liberties. His staging of marriage so surely, even though he knows Lurhmann struggled to resolve. The lovers do Rota, and most of all for its teenage casting of the brawling between factions, which can more of the world than she. In West Side Story, not need a priest to take their vows; they use – it bounces with pretty flesh, tight bottoms Kids be fangless and hammy in modern dress, is Robert Wise and ’ musical the audience as witnesses. The business of posing in hose and heaving bosoms. This resolved brilliantly as a ritualised gun culture treatment of the play, released as a film in the potion is dispensed with in favor of Tony’s makes the elders of the piece appear even with references to Sergio Leone and the 1961, Tony asks Maria at the dance if she is murder by one of the Sharks avenging the more ancient; the match between Juliet physical grace of the bullfight. Lurhmann shifts toying with him and she replies “I have not yet death of Bernardo, the Puerto Rican Tybalt. and Paris is repellant and unsuitable. As the confrontation from the town square, missing learned how to joke that way.” Shakespeare took pains to reinforce in the These from most urban experience, to the petrol In West Side Story adults have become play, the sickness of Zeffirelli’s Verona is not station, a real locus of tension in the modern Shakespeare’s language might be missing from generationally irrelevant, reflecting the just vendetta, but also the callousness with world. It’s a vulnerable space, separated from West Side Story, but it deals more convincingly evolution of a 50s youth culture independent which the major families will force marriages, the protection of the vehicle and its machismo. than Lurhmann’s film with the immediate bond of adult influence. The few adults who appear manipulate their children as pawns for political between the lovers. The strength of Maria/Juliet’s are untrustworthy or ineffectual. None of the and financial advantage, and teach them to Lurhmann has the sense to slow the frenetic love undoes the angry warning of Anita in “A Boy gang members ever go home; they cleave to hate mindlessly. “The story is of two urchins Days pace of his edits in the scenes between his Like That”, convincing Anita to deliver a message each other as family, alienated from parents crushed by a stupid, banal quarrel with origins lovers, but he is less sure with passion than to Tony/Romeo, the man who has just killed her who don’t understand what the streets are like even the adults don’t know,” was Zeffirelli’s Anna Hedigan looks at youthful rebellion he is with violence. It is as though he is slightly own fiancé. It’s an exceptionally realised scenario or who are too far gone to care. When candy description at the time. in three iconic film versions of Romeo and Juliet. embarrassed to attempt to transpose to the that makes this believable – the music, lyrics and store owner Doc rails at the Jets, “You make modern world the Renaissance belief that the performance of Rita Moreno as Anita make this world lousy,” he gets the reply, “We didn’t His emphasis is on the simple desires of the the truest love strikes quickest. No girl today the audience accept the truth, the rightness of make it, Doc.” Order is not restored at the end lovers and how they are thwarted by the mess would fall for that line. the love between Tony and Maria. Theirs is a by a reconciliation of the patriarchs, as it is in adults make of things. Juliet’s confidante, her Whether personified by ’s late- popcorn seats (the groundlings) and to love that dissolves the insurmountable. Shakespeare’s play, but by a funeral cortege beloved nurse, turns away from supporting her 90s Latino peacocks, the 1950s clean-jean academe (the aristocrats) simultaneously, Lurhmann never believably resolves the for Tony made up of members from both gangs. charge’s secret marriage and recommends juvenile delinquents of West Side Story or as Shakespeare himself needed to. problem of sex, specifically why Romeo and West Side Story has become critically bigamy, urging her to land the larger catch of Zeffirelli’s hippie flower children, Romeo and Juliet don’t have it without the sanction of unfashionable. Its broad pantomime of Puerto It is Franco Zeffirelli’s Romeo and Juliet Count Paris. The change that comes over baby- Juliet is all about the youthquake. It’s the “When he played the Elizabethan stage, he was marriage. He wants to fuse the brash corruption Rican experience, all-Anglo ‘brownface’ (1968) against which all film versions are bride Juliet in that scene is coming-of-age in a zeitgeist pinned like a butterfly. Its concern basically dealing with an audience of 3,000 of gangsta allegiances with actual religious casting, hyper-real sets and the clean judged. His is the most ‘vernacular’ film, set nutshell. She has the look of an abandoned child, is with the eternal alienation of young people drunken punters who were selling pigs and geese devotion, but his embrace of camp – guns and muscularity of Robbins’ choreography were in 15th-century Verona. But faithfulness to then bewilderment, then, finally, determination. from the adult world, a snapshot of how, at that in the stalls ... And his style was to have stand- flak jackets emblazoned with the Virgin Mary, said to neuter the danger of the street. The Shakespeare’s imagined version of Italy does She freezes out the Nurse and from that time, it felt to be young. Mercutio’s dying curse up comedy one moment, a song and then the tattooed crucifixes, a street punk wearing leads are the prettiest members of the cast, not blunt Zeffirelli’s criticism of those in power. moment grimly keeps her secrets to herself. “A plague on both your houses!” is a rejection highest tragedy right next to it,” Lurhmann says. grillz emblazoned with ‘SIN’ – undermines but the weakest. It seems a little unfair to As might be expected from a film released of the quarrel that his elders insist he prolong. any sense of piety and instead reads as discount its merits on these grounds, though. at the height of 60s counterculture, Zeffirelli Friar Lawrence’s meddling ends with him He might just as well shout “Fight the Man!” Lurhmann’s modernisation (Shakespeare superstition and aestheticised Mexican kitsch. has plenty to say about Verona’s patriarchs. fleeing from the crime scene of the tomb and 2.0, if you like) was panned in the film press As a work of the mid-50s, the film stings like There is an exquisite tension between the leaving Juliet to her fate, unwilling to have his As generational preoccupations change over (though oceans of ink have been spent on He tones down the sexual subtext embodied a zip-gun. The language of the stage musical chocolate-box medieval beauty of the settings involvement exposed. In the end, the priest time, so Romeo and Juliet yields, in the hands it in universities) with complaints about its by Juliet’s earthiness in the balcony scene and was watered down for the screen, but is and the ugly possibilities of the mob that is sacrifices Juliet to maintain his position in the of the director, to their expression. Lurhmann ‘MTV’ editing and reliance on camp, as well doesn’t know what to do with the consummation coded so cleverly in Sondheim’s lyrics that missing from the bleaker mise en scène in cultural ascendancy, just as all the elders do. describes Shakespeare as a “relentless as its mumbled verse. However, a cracking of passion – he has Romeo and Juliet goofing the taboos are shattered without our notice; the films of Wise/Robbins and Lurhmann. Shakespeare’s meaning, in a play from his entertainer”. He aimed to restore the play’s alternasoundtrack and the canny casting around under white sheets, giggling. It’s we’re too busy singing along to Bernstein’s Only Zeffirelli’s lovers are in harmony with own juvenilia, couldn’t be clearer: Don’t trust sudden shifts in mood from slapstick to pathos, of gorgeous American actors speaking a shame, because the power of Juliet’s irresistible melodies and gawping at the sheer Verona’s appearance. The rest of their town is anyone over thirty. from dirty jokes to elevated classicism, as naturally as possible made the film a innocence, the directness of her love, “more physical exuberance of the dance. Prostitution, out of joint. Dead bodies are scooped up and claiming that Victorian-era treatments of blockbuster with the audience most important true/Than those that have more cunning to be alcoholism, venereal disease, premarital sex, paraded before the prince, covered in blood Anna Hedigan is a writer, editor and reviewer Shakespeare smoothed them away to a to Lurhmann: the young. It was the first Romeo strange” as Shakespeare writes, is essential open racism, police corruption and a near- and dust. Duelling is a scrappy, ugly business based in rural Victoria respectful, declamatory stiffness. In other and Juliet since Zeffirelli’s that could properly in making sense of the story. Its guilelessness rape? Things fly under the censor’s radar so that begins with half-jesting displays of words, Lurhmann tried to sell his film to the be called a ‘date film’. fuses the lovers and indicates her constancy. wonderfully in a musical. plumage and ends bare-knuckled in the dirt. creatives

damien cooper Gerard Manion Akira isogawa Jason Lam damien welch lighting design set design costume design projection design Guest artist

Damien has designed more Gerard Manion was born in Born in Kyoto, Japan, Akira Jason has his fingers in many Damien started training than 100 theatre productions, Southport, . He Isogawa moved to Australia in 1986 pies. A respected dancer, he at the Marilyn Jones and including The Seagull, has been a stable artist with where he studied fashion design at has performed widely as an School of Ballet Gethsemane, Stuff Happens and Maunsell Wickes Gallery in the Sydney Institute of Technology, independent artist and with at the age of 15, and was Toy Symphony at Belvoir, and The Paddington since 1998 and his drawing inspiration from companies such as Sydney accepted into The Australian Lost Echo, The Women of Troy, work is strongly represented in contemporary Japanese design. Dance Company, Opera Ballet School at 16. In 1992 The Cherry Orchard, Tot Mom collections around the world. In He is now one of Australia’s Australia and tasdance. he joined The Australian Ballet, and Riflemind at Sydney Theatre recent years Gerard has enjoyed most celebrated designers. His While still performing, he and was promoted to soloist Company. a diverse career, balancing work has been warmly received began collaborating with in 1996, then to senior artist Damien’s career highlights his impressive work for the by fashion critics, drawing choreographers and directors, and finally to principal in 1998. include Exit the King on dance and theatre stages with favourable reviews from leading creating projections for Sydney Damien has performed works by Broadway, starring Geoffrey the ongoing demands of his figures such as Anna Piaggi and Dance Company, Sydney Theatre many famous choreographers, and Susan Sarandon; principal creativity as an artist media including The New York Company, Jason Pitt and Dance including William Forsythe, Graeme Murphy’s Swan Lake, creating formal artworks and Times and US Vogue. North, among others. He first Nacho Duato, , collectible pieces. worked with Graeme Murphy Graeme Murphy, , which has been presented by Since 1998, Akira has shown The Australian Ballet in London, It was the creation of the set for and Janet Vernon when he both James Kudelka, Gideon his collections in Paris, where he danced in and recreated the Obarzanek and Paul Lightfoot, Paris and Tokyo; Keating! Graeme Murphy’s Air and Other presents Spring/Summer and The Musical, Australia’s most Invisible Forces in 1999 that projections for Some Rooms. and has danced in hundreds Autumn/Winter collections to He has since danced in Murphy’s of ballets. After a stretch with successful subsidised theatre marked a turning point in both international buyers each year. show ever; and Australian Dance Gerard’s style and his career. The Garden of Paradise for Nederlands Dans Theater I from Theatre’s Birdbrain, which has Embarking on new design In 1999, Akira was named the Ten Days on the Island 2000 to 2002, Damien returned played over 60 venues around projects in subsequent years, Designer of the Year and Festival and collaborated on to The Australian Ballet. In 2009 the world. Gerard has further refined his Womenswear Designer of the The Silver Rose with Bayerisches Damien retired as principal design style, reducing the visual Year at the Australian Fashion Staatsballet and The Australian dancer to become resident Damien’s opera designs include Industry Awards. In 2005 he was Ballet. He is thrilled to be a part guest artist. A Midsummer Night’s Dream at effects to his signature line work. In 2002, his set design honoured by Australia Post and of Romeo & Juliet, probably his Houston Grand Opera, Canadian named an Australian Legend favourite ballet of all time. Opera Company and Lyric Opera for Graeme Murphy’s Ellipse for Sydney Dance Company – his image appearing on a Jason and long-time collaborator Chicago; Chorus! At HGO; and commemorative postage stamp. Cosi Fan Tutte and Peter Grimes gained rave reviews and a Adam Synnott joined forces at Opera Australia. Green Room Award. Also in 2005 he was awarded in 2008 as Kaboom Studios. Prix De Marie Claire Best Together they plan to take over Damien works with many leading In 2005, he was invited to design Graeme Murphy’s Australian Designer. In 2006 the world, but in the short term dance companies in Australia Akira received the Award for have settled with creating ever and this work has toured GRAND, reuniting with collaborators Murphy Fashion Excellence at the more ambitious media projects. extensively around the globe. National Retail Association They created the interactive His recent work includes Chunky (choreography) and Akira Isogawa (costumes) for their Fashion Design Awards. projections for Move’s Mortal Engine; Bangarra and Dancers’ Impulse and Sue third project together. Akira’s work has been fondly Dance Theatre’s Of Earth And Healey’s As you Take Time, and embraced by the Australian Sky; Stalker Theatre Company’s Sydney Dance Company has recently for the acclaimed Side arts sector. In 2004/05 Akira Shanghai Lady Killer; Australian since taken Air and other to One with Lisa Griffiths and Isogawa: Printemps Été opened Dance Theatre’s Be Your Self invisible forces, GRAND and Craig Bary. and The Australian Ballet’s The Ellipse on extensive tours in at the National Gallery of Silver Rose. Australia and to Europe and the Victoria. In 2003 Sydney Festival Besides his work in film and staged an exhibition of his new media, Jason is completing Damien has been awarded United States, where Gerard’s work has received high praise. garment construction techniques a degree in medicine and three Sydney Theatre Awards at Object Gallery, creating the undertaking various research for Best Lighting Design and In 2007, Gerard completed his most successful show in the projects; he occasionally a Green Room Award for Best fourth set design for Sydney gallery’s history. Akira has also moonlights as a photographer. Body Of Work In 2007. Work in Dance Company: the revitalised been invited to exhibit at the 2011 includes Summer Of The staging of Graeme Murphy’s Museum of Contemporary Art Seventeenth Doll at Belvoir and Berlin for seasons in Sydney and has twice been included Bloodland at STC. and . in the Powerhouse Museum’s In 2008 Gerard was Fashion of the Year retrospective. commissioned to design the He has designed costumes for sets for Azsure Barton’s first four Sydney Dance Company Australian production, Sid’s productions – Salome, Air & Waltzing Masquerade. Other Invisible Forces, Ellipse and Grand, and for the players in the Madeleine Eastoe and Kevin Jackson Photography Georges Antoni Australian Chamber Orchestra. Music “By 1900, Strauss and his rivals were all dead, and the search was on for a note successor. Franz Lehár, a Hungarian and former military bandmaster, turned out to be that man.”

Never was a tale of greater woe Prokofiev in 1941 maintained that the Suddenly we were startled by a shout from than Prokofiev’s music to Romeo “barbarism” of his first ending was driven Lavrovsky: “Why don’t you begin?” “We Galina Ulanova by the belief that “living people can dance, can’t hear the music,” we replied. Prokofiev, the dying cannot”. There were also musical who was present, lost his temper: “I know The intrigue surrounding Sergei Prokofiev’s considerations, as Prokofiev explained: what you want!” he shouted. “You want attempts to mount a ballet version of drums not music!” We did not take offence. Shakespeare’s Romeo and Juliet is the stuff What really caused me to change my We invited him to come on to the stage and of legend. Prokofiev’s difficulties began when, mind about the whole thing was a remark sit beside us. He did so, and throughout in 1934 and before a note was even written, someone made to me about the ballet: the entire scene he sat, listening carefully the newly politicised Kirov Ballet of Leningrad “Strictly speaking, your music does not to the orchestra without saying a word. (St Petersburg) terminated his commission express any real joy at the end”. That was But on leaving, he said, still looking very for a new ballet. The Kirov’s decision followed quite true. After several conferences with annoyed, “Very well, I shall rewrite the the fall from political grace of its director, the the choreographers, it was found that a music here and add something.” avant-garde choreographer Sergei Radlov, with tragic ending could be expressed in the whom Prokofiev was collaborating. The Ballet dance and in due time the music for that In the end, such was the extent of the revisions was undoubtedly also uneasy at the prospect ending was written. that legend has it Prokofiev had difficulty of staging a work whose tragic ending was out recognising his own score, which had been of step with the ruthlessly enforced optimism Although Prokofiev failed to identify the re-orchestrated to a syrupy consistency quite of Stalinism’s socialist regime. choreographers with whom he wrought the at odds with his usual economy. Soviet cultural changes, they were likely to have included the commissars believed that the ‘masses’ were Cast adrift by the Kirov, Prokofiev and Radlov Czech Ivo Psota, with whom he collaborated uplifted by lashings of strings and brass. signed a contract with the Bolshoi Theatre on an abridged version that finally received in 1935 and set about the challenge of its world première in Brno, Czechoslovakia, Despite all the changes, Prokofiev’s music translating the complex dramatic layers of in 1938. The public success of the Brno carries considerable literary power in its own Shakespeare’s original text into music and performance, together with a wartime right. Romeo and Juliet is not simply a story dance. Employing a technique not dissimilar to relaxation in Soviet cultural policy, prompted told to music – it is a story told in music. Subtle the Wagnerian leitmotif, Prokofiev used themes the Kirov and Bolshoi ballets to overcome their themes assume dramatic functions; the andante and motifs to represent the emotional and reluctance. The Soviet première of Romeo and tenero that accompanies the first meeting of dramatic development of specific characters Juliet, choreographed by Leonid Lavrovsky in the doomed couple is recalled when Juliet and events. He composed the piano score association with Radlov, was given by the Kirov dreams of Romeo. Romeo’s arrival is heralded quickly during the summer and autumn of in 1940. The Bolshoi followed suit in 1946. by a passionate cello theme, and the two 1935 at the Bolshoi’s rural retreat, and was melodies combine during the pas de deux. What making rapid progress with the orchestration The Kirov production was and remains had earlier begun as a light-hearted scherzando when he returned to Moscow to play the controversial. The constant revisions that the work depicting Juliet as an innocent and excitable score to the Bolshoi’s staff. To his dismay its had undergone resulted in what the critic Arlène young girl undergoes a series of transformations directors promptly declared it ‘undanceable’. Croce described as a “choreographic nightmare”. until making its last, impassioned, appearance in History tells us that the verdict probably had Lavrovsky was forced to add an epilogue, insert the strings at the end. Prokofiev also uses rhythm more to do with politics than the music itself. solo , delete , and on to great dramatic effect. The physicality of the and on. But it was the music that suffered most. fight between Tybalt and Mercutio is mirrored in Prokofiev was in a bind with regard to Galina Ulanova, the great Soviet ballerina syncopated jabs and asymmetrical rhythms. The Shakespeare’s tragic ending. As Dmitri who danced Juliet, recalled the initial friction frenetic semiquavers and dissonant punctuations Shostakovich had discovered to his cost when between the composer and choreographer: accompanying Romeo’s subsequent struggle with his mordant opera Lady of Mtsensk Tybalt seem to evoke not only his sense of duty to (1934) was savaged by Stalin and removed Lavrovsky and Prokofiev had had some his fallen friend, but his uncontrolled fury at what from the stage, Soviet authorities had no time heated arguments about the music. has happened. They also herald the inevitable for sad endings. Sensing the way the political Lavrovsky had told the composer that there and devastating consequences of his actions. winds were blowing, Prokofiev and Radlov was not enough music in the ballet for a full- substituted Shakespeare’s original ending with length production and that he would have to As had Tchaikovsky and Stravinsky before him, a happy one: Romeo arrives in the nick of time add to it. To which Prokofiev had stubbornly Prokofiev in Romeo and Juliet was able to invest to find Juliet alive, and the two live happily ever replied, “I have written exactly as much the music itself with an expressive function, after. Living happily ever after not only accorded music as is necessary and I am not going rather than relegating it to a mere soundtrack with Stalin’s order that everyone should do so to add a single note. The ballet is complete to events unfolding on stage. Against all odds or face the consequences; it also dovetailed as it is. You may take it or leave it.” – political, artistic and personal – Prokofiev with Prokofiev’s Christian Scientist belief in succeeded in greatly enriching life everlasting. However, Stalin’s cultural Ulanova, who with the other dancers had music’s symphonic traditions commissar Andre Zhdanov also maintained threatened strike action on the eve of the Dr Mark Carroll is an Associate Professor at The Elder that, in effect, old was good, new was bad. So première, went on to describe an early Conservatorium, University of Adelaide by 1938 Romeo and Juliet were restored to their rehearsal in which the composer’s reputed Thanks to our Piano Partner Kawai for supplying our Kevin Jackson rightful places of, well, dying happily ever after. prickliness was apparent: rehearsal pianos Photography Georges Antoni Conductor

BalletIntersections ofv style betweenFashion stage and street, runway and rehearsal room

Nicolette Fraillon Ollivier-Philippe Cuneo music director and Guest Conductor chief conductor (Sydney Season)

Nicolette Fraillon began her In 1998 she took up the Ollivier-Philippe Cuneo music studies on violin and position of Director at the studied violin and conducting piano at an early age. At 16 School of Music, Australian in Australia, France and the she conducted her first National University, and USA, and from 2000 to 2005 concert with the Victorian continued her conducting work he participated in Symphony Junior Symphony Orchestra. with the , Australia’s Conductor She graduated on viola from the West Australian Symphony Development Program. Melbourne University in 1982, Orchestra, the Australian Youth Ollivier-Philippe was a member gaining an equal first place in Orchestra and the Canberra of the Young Artist Program her year in Performance. From Symphony Orchestra. at Opera Australia, assisting 1984–87 she furthered her She debuted with The Australian Richard Hickox and other instrumental studies at the Ballet in 2002, conducting conductors on 13 productions. Hochschule für Musik in Vienna Spartacus, and was then In 2007, he made his debut for and from 1987–88 in Hannover. invited by David McAllister to Opera Australia, conducting Le During her time in Germany and become Music Director and Nozze di Figaro at the Sydney Austria Nicolette toured with Chief Conductor, beginning in Opera House. many orchestras, including the January 2003. Since joining Salzburger Chamber Ensemble Ollivier-Philippe was previously the company, Nicolette has a Young Artist Conductor at and the Chamber Orchestra of conducted all programmes for Bassano, and was a member of West Australian Opera and The Australian Ballet, including the Associate Conductor for the Haydn Quartet, based at the three overseas tours, and has Esterhazy Palace in Eisenstadt. Batavia for the 2004 been a guest conductor for San International Arts Festival. In 1990 Nicolette moved to Francisco Ballet. Following The He has conducted the Sydney the Netherlands, where she Australian Ballet’s 2005 tour Symphony, Adelaide Symphony became Assistant Musical to the UK, Nicolette was, in Orchestra, Opera Queensland, Director for the 1991–92 2006, invited back to conduct Malaysian Philharmonic season of Les Misérables in The Sleeping Beauty with Orchestra, Orchestra Victoria Amsterdam and The Hague. . In and ARCO Chamber Orchestra. In 1992 she was admitted to 2007 Nicolette guested with the 2009 engagements included the Netherlands Broadcasting Ballet. In 2008 Die Zauberflöte and Così fan Association’s International she returned to the Birmingham tutte (Opera Australia), and La Conductors’ Masterclass, Royal Ballet for a Nutcracker Boheme at the Sidney Myer resulting in a performance with season, then finished the Music Bowl in association with the Dutch Radio Symphony year with a New Year’s Gala in Opera Australia, The Pearlfishers Orchestra in the Concertgebouw Skopje with the Macedonian (West Australian Opera) and in Amsterdam. This led to an Philharmonic Orchestra. In early Nutcracker – The Story of Clara invitation to conduct for the 2011, Nicolette guested with (The Australian Ballet). 2010 Nederlands Dans Theater. She , conducting engagements include Walton’s was then invited to become their production of Giselle. The Bear and Ibert’s Angelique Music Director and Chief (Victorian Opera), OzOpera’s tour Conductor of the National Ballet of La Traviata, Rigoletto for Opera of the Netherlands, working with Australia in Sydney and The such renowned choreographers Silver Rose for The Australian as Hans van Manen, Toer van ballet in Sydney. Schayk, Rudi van Dantzig and , and conducting Ollivier-Philippe holds a Bachelor numerous world premieres. of Music (Honours) from the During the following five years University of she worked with the North and a Masters in Performance Holland Philharmonic Orchestra, from Indiana University in the New Sinfonietta Amsterdam, Bloomington, USA. He received Noord Nederlands Orchestra, the 2006 Brian Stacey Award for the Gelders Orchestra in Emerging Conductors. Arnhem, the Limburg Symphony Orchestra, the Residentie Orchestra in The Hague, the Kanazawa Chamber Orchestra (Japan) and the Finnish Ballet. Dana Stephensen and Brett Simon Photography Paul Empson The Australian Ballet ballet v fashion Natalie Portman in Black Swan Meanwhile, the was revolutionising ballet aesthetics and throwing emphasis onto At a stretch: technique. Balanchine’s ‘leotard ballets’ of The Australian Ballet’s the 1960s pared costumes down to essentials in a move that some have equated to bra- burning. Black and white became so top 10 fashion moments loving the synonymous with Balanchine’s neoclassical style that they became almost a genre of their own. Suzanne Farrell, Balanchine’s greatest leotard dancer and muse, starred in many of these productions throughout the 1960s; she was the epitome of the modern ballerina. This was the nvented by a sensation-creating French Space Age: ballet was streamlining, and the trapeze artist in 1859, the leotard has nature of dancewear was changing forever. moved between and Bazaar with an adaptability that’s positively, well, So, also, was fashion. Suspenders and Ielastic. Since its early days it’s gone through stockings were superseded by ; some changes, becoming shorter (the first revealing clothes required flesh-coloured leotard covered almost the whole body) and leotards underneath them, and the rise of sleeker. The invention of Spandex by DuPont form-fitting, movable fabrics ushered in a in 1959 is the leotard’s breakthrough date; the feeling of playful modernity. give-and-take qualities of the synthetic fabric spurred the advent of sporty fashions and The leotard became institutionalised in spirited active wear. the 1950s and 60s through its use in dance schools, rising to popularity as a result of the Emilio Pucci’s long-sleeved bodysuit exploded 1970s aerobics craze and space-age films. on the scene in 1960 in a brightly pixelated Lustrous Lycra came into its own as leggings print. His ‘capsulas’ – tight, stretch nylon and and leotards inched onto the streets and the silk one-piece bodysuits – were precursors to club dance floor. The catsuit became campy Kirsty Martin Photography Tim Richardson the Lycra leotard and exercise garments of high fashion, exalted by superheroes and the 1970s and 80s. vixens like Julie Newmar’s Catwoman and Jane Fonda’s Barbarella. 1975: Desmond Heeley’s costumes for The in red glitter platform boots, with Li Cunxin Ballet and fashion – Merry Widow channel the height of Belle as her Prince Charming. The other dancers, In films like Saturday Night Fever (1977), Époque glamour with swooping hats, in white tutus (women) and black bandages the leotard was king. In the same year Stevie hourglass waists, bustles, flounces and over jock straps (men) pose with a black strange attractors Nicks posed on the cover of Fleetwood Mac’s fans, offset by a hefty dose of military suave Friesian stallion called Lucifer. seminal Rumours album in black ballet and Balkan dash. The lavish colour and slippers, tights and a bat-wing dress. In extravagant lines of the costumes win as 2010: Alice Topp, a member of our corps de icture Audrey Hepburn’s ballet Marie Taglioni’s innovative Romantic 1979, People magazine ran with the headline, many hearts as the dancing. ballet, creates her first work Trace for our flats in Funny Face. Or Marilyn inspired a case of the ‘gimme-that!’s before “Danskin Designer Bonnie August Has Got choreographic workshop Bodytorque.à la mode, Monroe’s iconic 1950s ‘ballerina’ shoot ever Monroe popularised it. Fashionable Almost Everybody Going Around in Next 1994: Vanessa Leyonhjelm designs the using stretchy flesh-toned costumes created by in a dress inspired by a Romantic-era ladies of the 19th century, inspired by to Nothing”. costumes for Stanton Welch’s fresh new work fashion designers Crystal Dunn and Georgia Ptutu. Or even the tight waists and ultra-flared, Taglioni’s wistful en pointe wafting, went Divergence, using industrial fabrics and street- Lazzarro for inspiration. “The fabric dictated stiffened skirts of Dior’s New Look. Long mad for the ethereal. They affected gauzes The leotard was pivotal to fashion in the inspired shapes to make the dancers look as the movement,” says Topp. “It created its own before Black Swan reignited the ballet-fashion and fluttering diaphanous ribbons, and 1980s. Although the prevailing trend was haughty and menacing as catwalk models. The dance vocabulary.” Topp is nominated for relationship, stylists and designers had a cultivated a not-of-this-world air. The tutu, for a more relaxed silhouette, the vogue for most-talked about piece? A perfectly round, an Australian Dance Award for Outstanding yen for the graceful, exaggerated shapes of in fact, has been a key scene of the ballet- exercise scissor-kicked well into the 1980s quivering tutu made of air-conditioning mesh, Choreography, and Trace is filmed by classical costumes; and when ballet moves fashion exchange (so much so that in 2002 with the Jane Fonda-led craze for exercise worn with a stiffly shaped bra. Sideshow Alley TV in a Melbourne laneway and beyond the traditional it returns the favour, The Australian Ballet commissioned a series videos and fitness clubs. performed at the L’Oréal Fashion Festival Week. borrowing from street styles and haute of reinvented tutus designed by the likes of 2002: For the Tutu Project, we commission couture to dress its dancers. Colette Dinnigan and Akira Isogawa). It’s Norma Kamali’s 1981 ‘Sweats’ collection was 17 top Australian designers, including Akira 2011: Amber Scott stars in A Dance for One, a certainly not above responding to cultural an innovative blend of exercise clothing and Isogawa, Collette Dinnigan, Easton Pearson video for the Melbourne fashion label Lover, The symbiotic relationship between the trends. Look at the way it moved from the high fashion. The Fleece range introduced and Scanlan and Theodore, to reinvent the in which she’s shown dreamily warming up in ballet and fashion communities makes a lot heavily beaded and stiffened numbers of activewear as daywear and became one of tutu. The imaginative results (including a a studio full of dusky Dégas light and dancing of sense. After all, they’re both focused on the 19th century to the freer shapes of the first fashion phenomena of the 1980s. Scanlan and Theodore tutu made entirely by herself to Satie in Lover’s ballet-inspired lithe, breed-apart muses dressed in fantastical Pavlova’s 1920 tutus and the abbreviated Work-out clothes were transformed into from black ballet slippers) star in parades, collection. Scott uses the diaphanous laces concoctions. (Of course, fashion designers frills of the 1960s. haute couture ensembles. Kamali photo shoots and an exhibition. and silks (teamed with grey marle pieces) to don’t have to make sure their creations can added androgynous suits in bright pop inspire the movement. withstand a triple pirouette.) Both inspire So how has this osmotic deal worked out for colours, cheerleader mini skirts and 2006: Anna French, whose collaboration with with otherworldly visions that filter down on ballet? Fashion designers have been turning harem pants to the existing spectrum our Resident Choreographer 2011: Huge buzz surrounds The Australian to the street. And both borrow right back from their hands to dance costumes since Chanel of grey sweatshirt fleece. Oversized spans several eye-catching works, designs an Ballet’s Melbourne studios as Akira Isogawa T-shirts were worn like mini dresses the street and from historical dress to fuel whipped up tunics for Nijinska’s Le Train Bleu. opulent suite of costumes for Baynes’ revamped creates the costumes for Graeme Murphy’s and layered over leotards, while legwarmers their aesthetics. More recently, Valentino has designed for the Raymonda, which is loosely based on the life Romeo & Juliet. Isogawa uses his trademark witnessed the fitness. Suddenly, women in , Karl Lagerfeld for the of Grace Kelly. Monaco meets Rear Window- sheer fabrics and appliqués to clothe sweats were everywhere. Kamali went on to One of the most famous intersections of dance , and Akira Isogawa era Hollywood in a succulent explosion of the skittish, innocent Juliet, and snake design for Twyla Tharp dance productions and fashion is the era of the Ballet Russes. Serge for The Australian Ballet. Dancers turn their New-Look brocades and perfectly cut tuxedos. leathers and reptile-scale pleated silks for throughout the 1980s. Diaghilev’s lavish commissions for his company enviable physiques to modelling for the glossy the Montague men. Gun and rose motifs put it at the forefront of artistic innovation in the magazines, and star in fashion and music 2009: Tim Richardson photographs our distinguish the warring families. Perhaps the designer Jean Muir put it best. early 20th century, and its designs, particularly videos. It’s all part of a cultural signal: ballet dancers in shots styled by Toni Maticevski, She was passionate about ballet and valued the vivid, sinuous, Oriental-inspired costumes is saying, ‘Hey – it’s not all tulle and chignons. a Melbourne designer whose clothes tend 2012: One to grow on … In our 2012 season, practicality and comfort. In 1989 she said, of Léon Bakst, coloured the aesthetic of the Ballet can be as sexy, as threatening, as edgy, toward frangible concoctions of filmy layers. Gideon Obarzanek will create a new ballet for “I like structure, but I like it to be fluid. So whole decade. Paul Poiret’s wildly popular as envied, as the streetest of street wear or the The shoot produces many memorable images, the Infinity program with costumes by Alexi that, therefore, I make structured shapes in ‘Orientalism’ look, with its harem pants, highest haute couture.’ And fashion replies, including one of Kirsty Martin in a tangle of Freeman, a Melbourne designer who aims to jersey. They have fluidity but they still have beading and heavily furred cuffs, was pure ‘Of course it can - we’ve always known it. zephyrous fabric. “lure fashion into bed with art”. The result? a structure – which is rather like classical Bakst. Considering Poiret’s designs are widely Now give us that tutu!’ Glam, industrial, geometric, shiny. We can’t ballet.” credited with helping to free women from the Rose Mulready 2010: Our dancers star in a Harper’s Bazaar wait to see what happens when ballet makes Anna Sutton corset, today’s women should probably drink Reiko Hombo shoot dreamed up by Edward Coutts it a ménage a trois. Photography Justin Smith a toast to Bakst as well as Poiret. Davidson. Danielle Rowe is a glam Cinderella Rose Mulready When ballet experience stepped in to Education the sun 2012

Our popular education program offers experiences of the highest value through participation, engagement and observation of dance.

In 2012, the program is again packed full of events for a broad range of age groups and skill levels – classes, special days, workshops and tours. We offer The Repetto: in-theatre programs where you can see dancers in practice and performance as hen the boarded well as talks and forums which offer a Nijinska’s Le Train Bleu part shoe, part legend greater insight into our performances (The Blue Train) in 1924, the and behind-the-scenes activities. quintessentially modern Coco ChanelW was the perfect choice as costumier. ountless ballerinas have graced has it that he went through 30 pairs a year The program will go on sale 30 Jan 2012, Her simple, spirited designs were a carefree the stage with elegant Repetto- until his death in 1991. Numerous other so put the date in your diary now and stay evocation of seaside chic at a time when shod feet, but the shoe long ago celebrities followed in his footsteps, but none tuned for more details. sportswear was a relatively new category of burst the confines of ballet and headed with such captivating style as Gainsbourg. clothing. Le Train’s cast of wayfaring sports outC to the street. Its ubiquitous style has since To mark Repetto’s 60th Anniversary in 2007, Photography Teagan Glenane champions (including a golfer inspired by the morphed into every imaginable form, from pony- the label invited 20 artists and designers Government Partners Principal Sponsor Princes of Wales) and ladies of leisure spun hair leopard print to crystal-embellished suede. to design shoes and tutus, resulting in a a seaside pantomime out of a gymnastic- wondrously tangential travelling exhibition. classical ballet tightrope. Their costumes – The legendary label is an enduring tribute to In 2009 Karl Lagerfeld designed his stunning black tank bathing tops, striped wool jerseys, passion and technique. In 1947 Rose Repetto, tutu-inspired creation, and the Rodarte- culottes and muted tunic dresses accessorised mother of dancer and choreographer Roland Repetto marbled ballet flat debuted at Colette with bathing caps like nubile petals – reflected Petit, lovingly created a pair of ballet shoes in Paris. This year Repetto has conspired the spirit of a libertarian age. The influence of for him in a humble Parisian atelier. The with designer John Derian to make wearers’ Coco Chanel’s Le Train designs were echoed innovative reverse-stitch technique she used feet look like a spring garden, courtesy of a in Chanel’s 2010 Resort collection. resulted in a flexible, lightweight slipper that vibrant floral print. became popular amongst dancers, who still Le Train Bleu takes place on the French flock to Repetto boutiques today. The most memorable recent collaborations Riviera circa 1920s, an era where populist combine classical romance with uniquely visions of a modernist utopia gave rise to the Brigitte Bardot is often attributed with 21st-century sensibilities. Fashion retailer cult of the body beautiful. Choreographer launching the Repetto into the sartorial Opening Ceremony marked their Repetto Luminous: celebrating Bronislava Nijinska used Chanel’s sporting stratosphere. The screen siren asked Repetto Shop-in-Shop and collaborative line with a ensembles to satirise this trend, although to adapt the for the cobbled streets swoon-inducing film called Pas de Deux Coda, Chanel was quite the sporty type herself: of everyday life. The result can be seen in which they describe as a ‘Valentine to the 50 years of The indeed, legend has it that Coco was credited a famous photograph of Bardot sensuously Ballet’. This cinematic reverie features Joffrey with making suntans fashionable in Europe, draped over a Rouge Simca at the 1956 ballerinas in full flight, dancing in practice Australian Ballet following a run-in with the sun while yachting Cannes Film Festival. She transformed the clothes, Opening Ceremony and Repettos. on the Riviera. Repetto into an icon of Parisian chic, forever One of the most magical moments in the inseparable from that ravishing image. In 1959 Repetto story happened earlier this year, Luminous captures 50 years of Le Train was a typical Ballets Russes Rose opened her first boutique on the Rue de la when the Paris Repetto Boutique featured an collaboration of leading artists, with Jean Paix, a few strides away from the Paris Opera. The Australian Ballet in photographs, Cocteau as librettist and Pablo Picasso interactive window installation. Enchanted revealing dancers at work and at play, fulfilling the rather specific role of curtain In the 1970s, men took up the craze with the passers-by could orchestrate ballerinas in painter. Jean Cocteau envisaged the ballet as a Zizi Homme Repetto, a narrow lace-up jazz a transitional 3D landscape – a fairytale for on stage and on tour, in rehearsals series of vignettes filled with all the things you shoe originally designed for Zizi Jeanmarie. a new generation. In that very same street and in love, and the many creatives might see on the front of a postcard sent from The story of how Serge Gainsbourg came to where Rose began her illustrious career, who nurtured our artistic vision. France circa 1924 (jets falling out of the sky, wear these paragons of pared-down cool is Repetto’s path continues to illuminate. maillots, chorus lines, movie cameras). When the stuff of rock-n-roll folklore. Writes Karin Anna Sutton This handsome 368-page coffee table book features I think of Le Train Bleu I imagine rosy women Nelson in , “Unbeknown to Speaking of shoes … we’d like to thank Sambag, our defining images and never-seen-before photographs and men with shoulders like boulders racing many, Serge Gainsbourg, the seminal French Pointe Shoe Partner, for their support. of the company, accompanied by essays from seaside together, trying to catch the first wave singer and style icon, had sensitive feet. Boots Anna Sutton is a freelance arts and fashion writer Australia’s leading arts writers. of salacious gossip as it crashes and breaks hurt him. He hated walking. His only salvation Rose Mulready is The Australian Ballet’s publications editor onto the shore … was calfskin jazz shoes made by Repetto …” Available at australianaballet.com.au/luminous Anna Sutton Gainsbourg’s girlfriend Jane Birkin bought For more ballet v fashion stories, as well as him a pair of white Zizi Hommes, and legend behind-the-scenes glimpses, dancer insights, videos and photo galleries, visit behindballet.com

Government Partners Principal Sponsor Government Partners Principal Sponsor pr i n c i pa l artists

Principal Artists generously supported by Les Etoiles

Mrs Mary Barlow Natasha Bowness Ms Robin Campbell Mrs Sam Chisholm Val Harding Lynnette Harvey Mr Arthur L Norcott Mrs Roma Norcott Mrs Helen O’Neil Mrs Kerry Packer AO Dr Valmai Pidgeon AM Lady Potter AC Mrs Robert Rose AM Mrs Christine Smedley

Lana Jones’ principal artist position is generously supported by The Dorothy Hicks Fund

Olivia Bell Adam Bull Robert Curran Lucinda Dunn Madeleine Eastoe “An intoxicating lead” “Tender and self-deprecating … “The ultimate poetic and sensitive dancer” “Lucinda Dunn is a superstar” “Her dancing is fearless and Sunday Herald Sun a true ” Sunday Herald Sun Sunday Herald Sun utterly assured” The Observer, UK Herald Sun

Newcastle-born Olivia Bell competed in the Prix de Adam Bull was born in 1981 and began training at Dance A graduate of The Australian Ballet School, Robert Lucinda Dunn received her early training in Sydney with A graduate of The Australian Ballet School, Perth-born Lausanne competition and won a scholarship to the World 301 with Brian Nolan before joining The Australian Curran joined The Australian Ballet in 1996 and was Janece Graham and Tanya Pearson before going on to win Madeleine Eastoe joined the company in 1997 and Paris Opéra Ballet School, where she graduated in Ballet School. In 2000 he represented Australia in the promoted to principal artist in 2002. During his time with a scholarship to study at The Royal Ballet danced many lead roles before being promoted to 1995. Joining The Australian Ballet the same year, Paris International Ballet Competition, before graduating the company he has performed in numerous classical School, London. While in London she also performed with principal artist following her debut as Giselle in 2006. Olivia would go on to dance some of The Australian from The Australian Ballet School with honours in 2001. and contemporary works by choreographers such as Birmingham Royal Ballet. In 1991 Lucinda joined The Madeleine has particularly enjoyed working one-on-one Ballet’s most coveted lead roles, hailed variously as Adam joined The Australian Ballet in 2002, going on to Jiˇrí Kylián, William Forsythe, Stanton Welch, George Australian Ballet and was promoted to principal artist in with choreographer Stephen Baynes to create the lead ‘imperious and sinuous’, ‘truly exquisite’, and for her dance soloist and principal roles in works by ,John Cranko, Stephen Baynes, Jerome 2002. She has also been awarded several scholarships to role in 2007’s Constant Variants, and dancing with guest ‘cool, sensitive precision’. In 1996 she was awarded a Balanchine, Jiˇrí Kylián, Graeme Murphy, Christopher Robbins and Sir Kenneth MacMillan, carving out a niche study overseas and has been partnered by many international artists such as Angel Corella in La Fille mal gardée and Khitercs Foundation scholarship, enabling her to study Wheeldon, Stephen Baynes, Stanton Welch, Nicolo Fonte with his powerful partnering. Robert particularly enjoys guests of The Australian Ballet. A diverse and musical Cédric Ygnace in Giselle. A career highlight was dancing abroad. Olivia’s acclaimed performances in everything and Wayne McGregor. After just six months as a senior the interaction with other dancers in the technical dancer with a strong technique, Lucinda excels in the pure Odette on the opening night of Graeme Murphy’s Swan from the most classical of ballets to contemporary pieces artist, Adam was promoted to the highest rank of principal achievements of pas de deux and the creation of stories classical ballets and enjoys portraying characters in story Lake in London, a role she reprised on the company’s have shown her great versatility. A career highlight was in June 2008, capping off a string of critically acclaimed and feelings on stage. Robert has toured extensively ballets, as well as the physicality of contemporary pieces. 2007 Japan tour and 2008 Paris and Manchester tours. her debut in the title role of Manon in 2008. Olivia was lead performances. Performances in principal lead roles overseas with The Australian Ballet, and a burgeoning Madeleine has also toured internationally with The promoted to principal artist in 2007. in the company’s tours to Paris, London, Manchester and interest in choreography has seen him create four works Repertoire highlights Australian Ballet to China, Singapore, New Zealand Japan have also been career highlights. for the company’s Bodytorque program. In addition to the ballerina roles in all of the major and the USA. Repertoire highlights classical ballets such as Giselle, Romeo and Juliet, Swan •Graeme Murphy’s Swan Lake 2002–10 Repertoire highlights Repertoire highlights Lake and Coppélia, a particular career highlight for Lucinda Repertoire highlights •Jerome Robbins’ Afternoon of a Faun 2008 •Graeme Murphy’s Nutcracker - The Story of Clara 2009 •Graeme Murphy’s Nutcracker – The Story of Clara 2009 was dancing the world premiere of Stanton Welch’s The •’s The Nutcracker 2007 •Sugar Plum Fairy in Peter Wright’s The Nutcracker •Prince Florimund in Stanton Welch’s •Des Grieux in Kenneth MacMillan’s Manon 2008 Sleeping Beauty in 2005 and most recently, dancing • 2007 2007, 2010 The Sleeping Beauty 2009 •Symphonie Fantastique 2007 Firebird and Nutcracker – The Story of Clara by Graeme •Constant Variants 2007 •’s After the Rain©, Continuum© •Des Grieux in Sir Kenneth MacMillan’s Manon 2008 •Don Quixote 2007 Murphy. Other highlights include her performances on •Giselle 2006 and Mercurial Manoeuvres© •Prince Siegfried in Graeme Murphy’s Swan Lake 2008 •Apollo 2007 The Australian Ballet’s tours to London, Tokyo, Italy, •La Sylphide 2005 •Terpsichore in George Balanchine’s Apollo 2007 •The Prince in Peter Wright’s The Nutcracker 2007, 2010 •Giselle 2006 Shanghai and New York, as well as dancing lead roles in •Graeme Murphy’s Swan Lake 2005 •Zobeide in Schéhérazade 2006 •Basilio and Espada in Don Quixote 2007 •Le Spectre de la rose 2006 contemporary works by Christopher Wheeldon, Jiˇrí Kylián, •La Fille mal gardée 2004 •Jiˇrí Kylián’s Petite Mort and Stepping Stones 2005 •Albrecht in Giselle 2006 •Forgotten Land 2005 Jerome Robbins, George Balanchine, Twyla Tharp, Nicolo •Romeo and Juliet 2003 •Flavia in Spartacus 2003 •Petite Mort 2005 Fonte and Stephen Baynes. •Graeme Murphy’s Nutcracker – the Story of Clara 2000 •William Forsythe’s In the Middle, Somewhat Elevated Guest appearances •Other Dances 2001 1996 and The Vertiginous Thrill of Exactitude 2000 •The Dancers Company tour 2006 •At the edge of night 1997 Guest appearances Awards •Grande Pas Classique 2008 •The •Telstra People’s Choice Award 2006 Awards •George Balanchine’s Agon 2004, Serenade, Symphony Guest appearances •Le Jeune Ballet de France •Green Room Award 2005 •Green Room Award ‘Year’s work’ nomination 2009 in C and Ballet Imperial •The Sleeping Beauty with •Birmingham Royal Ballet •Helpmann Award nomination 2003 •Benois de la Danse Best Male Dancer nomination for •The Nutcracker with the Royal Danish Ballet •World Ballet Festival, Tokyo 2009, 2006 Guest appearances Graeme Murphy’s Swan Lake 2009 •Morphoses/The Wheeldon Company 2009 You may not know … •Swan Lake with The Dancers Company 2001 •Telstra Ballet Dancer Award nominee 2006 and 2004 Choreographic works “My great uncle Herbert Sachse invented the •Green Room nomination for Albrecht in Giselle 2006 •Fold for Bodytorque.à la mode 2010 Awards Pavlova dessert. He was a chef at the Esplanade You may not know … •The Australian Scholarship in 2001 •Veiled in Flesh for Bodytorque.2.2 2009 •Australian Dance Award for Outstanding Performance 2008 Hotel in 1935 and was asked by the opera singer Olivia took time out to travel and see the world •amusemeant for Bodytorque.To the Pointe 2008 •Helpmann Award nomination for Dance Performer of the Dame Nellie Melba for a nice light dessert. Inspired by in 1997, rejoining the company in 1999. You may not know ... •Promenade for Bodytorque.Generations 2007 Year 2007 and 2004 the dancer Anna Pavlova who was performing in Perth “I have ticked off a lifelong dream of visiting the Antarctic •Mo Award nomination for Dance Performer at the time, he named it after her for the light and fluffy continent, doing so in our summer break at the end of You may not know … of the Year 2006, 2005 and 2001 qualities it’s so famous for.” 2009. Landing at the same site as the famous Australian Robert is undertaking a Bachelor of Business by •Green Room Award for Best Female Dancer 2005 explorer Sir Douglas Mawson was an awe-inspiring and correspondence, and is studying for the Vocational life changing experience.” Graduate Certificate in Elite Ballet Instruction with You may not know … The Australian Ballet School. He has a miniature Lucinda and husband Danilo are proud parents border collie called Gilly. of toddler Claudia. pr i n c i pa l artists

daniel gaudiello kevin jackson lana jones andrew killian Yosvani Ramos Rachel Rawlins “Precision, and charm” “Physically striking and technically “Mesmerising in execution” “Immaculate and debonair” “A revelation ... with his smouldering matinee “meltingly beautiful” thestage.co.uk assured” media-culture.org.au Dance Australia -idol looks, he achieves the extraordinary” Adelaide Advertiser The Sunday Age Evening Standard

Brisbane-born Daniel Gaudiello strapped on his first pair Born in Perth, Kevin commenced his dance training at the Lana Jones was born in Coffs Harbour but moved Melbourne-born Andrew Killian, a student of The Yosvani Ramos was born in Camagüey, Cuba and trained Rachel studied ballet with Del Brady in Canberra. She of dancing shoes at the age of six at the Johnny Young age of seven with the Shirley Farrell Academy of Dance. soon after to Canberra, where she commenced her Australian Ballet School, joined The Australian Ballet at the National Ballet School, going on to dance with moved to Melbourne at 14 and trained at the VCA, the Talent School, then at Promenade Dance Academy. In 2002 he graduated from The Australian Ballet School ballet training at the Canberra Youth Ballet School. in 2000 and was promoted to principal artist in 2011. Jeune Ballet de France and Ballet de l’Opéra National National Theatre Ballet School with Ann Jenner, and Later he completed the Queensland Dance School of and joined The Australian Ballet in 2003. In his time with She moved to Melbourne in 1999 to attend The During his time with The Australian Ballet Andrew has de Paris after winning the Gold Medal at the Paris at The Australian Ballet School with Gailene Stock. Excellence and professional year the company, he has performed many lead roles in both Australian Ballet School, graduating dux to join The thoroughly enjoyed performing leading roles in the International Ballet Competition in 1998. He joined After dancing with The Australian Ballet, she joined The before being accepted into The Australian Ballet School, classical and contemporary works by choreographers Australian Ballet in 2002. In 2005 she was promoted company’s extensive classical repertoire including English National Ballet as a Soloist in 1999 and was Royal Ballet for two years as a First Soloist. Returning where he performed as an exchange student with The Tim Harbour, Nicolo Fonte, Matjash Mrozewski, Wayne to coryphée and won the Telstra Ballet Dancer Award, Lescaut in Sir Kenneth McMillan’s Manon, Espada promoted to senior soloist in 2000, then principal artist to Australia, she was promoted to principal artist. National Ballet School of Canada and the School of McGregor and Graeme Murphy. Kevin enjoys the the highest accolade of its kind for the dancers of The in Rudolf Nureyev’s Don Quixote, the Prince in Peter in 2003 after his performance as Franz in Coppélia. During Reviewers comment on her fine technique, lyricism and American Ballet. Daniel joined The Australian and artistry demanded by many different works Australian Ballet. A rising star within the ranks, Lana has Wright’s The Nutcracker, and the Cavalier in George his time with English National Ballet he created many deeply felt narrative interpretation. “Her delicacy is in 2004 and in early 2007 participated in classes but holds the story ballet closest to his heart. Kevin was been critically acclaimed as ‘joyous and effervescent’, Balanchine’s Ballet Imperial. Andrew has also been pieces in the company’s choreographic workshops and divine, her abandon is breathtaking and her artistry will with some of the world’s finest ballet companies in promoted to principal artist in 2010 and looks forward to with one writer declaring her performance in George involved in the creation of many new works including was nominated for several years running in the Critics’ show you what ballet can achieve” (Madame Butterfly London, Amsterdam, Munich and Paris. Daniel made entertaining audiences around Australia and the world. Balanchine’s Apollo as ‘supernatural’. Lana was Stephen Baynes’ Constant Variants and Tim Harbour’s Circle National Dance Awards. He joined The Australian 2011). “She’s superb; a prima ballerina if ever there was his choreographic debut with a piece called Notte in promoted to principal artist in 2010. Wa, and has performed in all of The Australian Ballet’s Ballet as a principal artist at the beginning of 2008. one” (Sugar Plum Fairy, Peter Wright’s Nutcracker 2010). Bianco for Bodytorque.To the Pointe in 2009 and was Bodytorque seasons. In this creative process Andrew Repertoire highlights Repertoire highlights promoted to principal artist in 2010. Repertoire highlights enjoys working closely with choreographers and offers Repertoire highlights •Black Swan Pas De Deux 2010 •Cio-Cio-San in Stanton Welch’s Madame Butterfly 2011 •The Prince in Peter Wright’s The Nutcracker 2010 a unique versatility that places him in high demand. •Franz in Coppélia Repertoire highlights •Coppélia 2010 •Sugar Plum Fairy in Nutcracker 2010 •Octavian in Graeme Murphy’s The Silver Rose 2010 Andrew has toured with The Australian Ballet to New •The Prince in Stanton Welch’s The Sleeping Beauty 2009 •Franz in Coppélia 2010 •Aurora, Carabosse and Lilac Fairy in Stanton Welch’s •Aurora in Stanton Welch’s The Sleeping Beauty 2009 •Prince Siegfried in Graeme Murphy’s Swan Lake 2009 Zealand, Japan, China, the UK and France. Andrew was •Graeme Murphy’s Nutcracker – The Story of Clara 2009 •Basilio in Don Quixote 2010 The Sleeping Beauty 2009 •Odette in Graeme Murphy’s Swan Lake 2009 •Prince Florimond in Stanton Welch’s nominated for the Telstra Ballet Dancer Award in 2009. •Des Grieux in Sir Kenneth MacMillan’s Manon 2008 •Christopher Wheeldon’s Continuum® 2004 The Sleeping Beauty 2009 •The Baroness in Graeme Murphy’s Swan Lake 2009 •Kai in The Snow Queen 2007 •Clara the Ballerina in Graeme Murphy’s Nutcracker 2009 •Lescaut in Sir Kenneth MacMillan’s Manon 2008 •Doctor/Lover in Graeme Murphy’s Nutcracker – The Story •Firebird in Graeme Murphy’s Firebird 2009 Repertoire highlights •Basilio in Don Quixote 2006 •Manon in Manon 2008 •Petrouchka in Petrouchka 2009 of Clara 2009 and Japan Tour 2010 •Wayne McGregor’s Dyad 1929 2010 •A Suite of Dances 2008 •Prince Siegfried in Swan Lake 2004 •Kitri in Don Quixote 2007 Guest appearances •Prince Ivan in Graeme Murphy’s Firebird 2009 •George Balanchine’s Ballet Imperial 2008 •The Cage 2008 •The Prince in Cinderella 2003 •Raymonda Grey in Stephen Baynes’ Raymonda 2006 •English National Ballet in Le Spectre de la rose, •Des Grieux in Sir Kenneth MacMillan’s Manon 2008 • classique pas de deux 2010 •Rites 2008 •Romeo in Rudolf Nureyev’s Romeo and Juliet 2002 •Giselle in Giselle 2008, 2006 London and 2009 •Jerome Robbins’ A Suite of Dances 2008 •The Mistress in Sir Kenneth MacMillan’s Manon 2008 •Spring Waters 2007 •Albrecht in Giselle 2001 •Jirˇí Kylián’s Forgotten Land and Petite Mort 2005 •Kitri in Don Quixote 2007 •After the Rain© 2007 •Juliet in Cranko’s Romeo and Juliet 2003 Awards •George Balanchine’s Apollo 2007 •George Balanchine’s Who Cares? 2000 Guest appearances •Stepping Stones 2005 •Principal Man in Etudes 2000 •Australian Dance Award nomination for Dyad 1929 2010 Awards Guest appearances •West Australian Ballet •Forgotten Land 2005 •The Prince in The Nutcracker 1999 •Green Room Award nomination for Petrouchka 2010 •Telstra Ballet Dancer Award 2008 •International Gala, Ena Ballet, Kuala Lumpur, 2011 •The Royal Ballet 2010 •Petite Mort 2005 •Helpmann Award nomination for Graeme Murphy’s •The Australian Ballet Society Scholarship •World Festival of Ballet, Tokyo 2009 Guest Appearances Awards The Silver Rose 2010 •Khitercs Foundation 2007 Awards •Farewell Gala for Desmond Kelly 2008, Birmingham •Fool’s Paradise with Morphoses 2009 •Silver Medal in Nagoya, Japan 1999 •Telstra Ballet Dancer Award 2007 •Khitercs Foundation scholarship to The Royal Ballet Royal Ballet Choreographic works •The Nutcracker with Houston Ballet 2007 •Gold Medal in the International Ballet Competition •Freda Irving Scholarship 2006 •Enter Closer for Bodytorque.2.2 2009 •Australian Dance Award for outstanding performance in Paris 1998 •Twentieth Anniversary Gala, Singapore Dance •BJ Sutton Scholarship by a female dancer in Firebird 2009 You may not know... Theatre 2008 You may not know ... •Silver Medal in Mississippi, USA 1997 •Green Room Award for best female dancer Andrew is still struggling to learn how to cook and •Featured in Michael Carter’s experimental You may not know ... Kevin is studying for the Vocational Graduate •Silver Medal and Best Couple in the Junior division “I love camping on the beach, spending time in Firebird 2009 cried like a baby at his best friend’s wedding. at the International Ballet Competition in Varna, film Principal Role Certificate in Elite Ballet Instruction with •Helpmann Award for best female dancer with my family, and my two dogs Chloe and Rico.” Bulgaria 1996 You may not know The Australian Ballet School. in Firebird 2009 •Grand Prix and the Best Couple at the first International Rachel came to Australia as a one-year-old and learned •Helpmann Award for best female dancer Ballet Competition in Havana 1995 to balance on her six-week voyage from . in Forgotten Land 2006 •Gold Medal at the International Ballet Competition in •Telstra Ballet Dancer Award 2005 Vignale, Italy 1994 You may not know ... Lana loves photography, jet skiing and the beach, You may not know … and has two dogs, Chloe and Rico. Yosvani speaks fluent French, Spanish, Portuguese and English and loves cooking Cuban food. pr i n c i pa l artists

playbill ads 35-36

amber scott leanne stojmenov “A definition of poise and steely confidence, “Flawless” every bit the prima ballerina” The Australian Herald Sun

Amber Scott joined The Australian Ballet School at Leanne was born and raised in Perth, where she began age eleven. After graduating as dux, Amber joined her initial ballet training with Helen McKay. Her full-time The Australian Ballet in 2001. In 2003 she spent four training began at the Graduate College in 1993 under months on a dancer exchange at the Royal Danish Ballet, the school’s director, Terri Charlesworth, and in 1999 giving her the opportunity to learn the Bournonville she joined the West Australian Ballet. In 2001 Leanne technique firsthand. A lyrical and musical dancer, Amber left Perth to take up a position with The Australian relishes the many different genres in the company’s Ballet. Receiving the New South Wales Friends of The repertoire. Performing traditional fairytale and dramatic Australian Ballet scholarship in 2004 enabled her to full-length ballets are career favourites. Amber was study throughout Europe. Leanne has a high regard for promoted to principal artist in 2011. Career highlights artists who can adapt to all kinds of roles and repertoire. include working with Wayne McGregor on Dyad 1929 She was promoted to principal artist in 2011. in 2009, and with on Rites in 2006 and Repertoire highlights 2008; dancing with guest artist Robert Tewsley during •Coppélia 2010 the 2008 Manon season; and performing Odette with •Graeme Murphy’s Swan Lake 2009 Adam Bull in Paris and Manchester in 2008 and Tokyo •Wayne McGregor’s Dyad 1929 2009 and Nagoya in 2010. •Alexi Ratmansky’s Scuola di ballo 2009 Repertoire highlights •Petrouchka 2009 •Sugar Plum Fairy in Peter Wright’s The Nutcracker, 2010 •Sir Kenneth MacMillan’s Manon 2008 •Odette in Graeme Murphy’s Swan Lake 2010, 2009, •Esmeralda 2008 2008, 2006, 2005, 2004 •Don Quixote 2007 •Stephen Baynes’ Molto Vivace 2010 •Apollo 2007 •Aurora and Lilac Fairy in Stanton Welch’s The •Stephen Baynes’ Constant Variants 2007 Sleeping Beauty 2009 •Le Corsaire 2007 •Flute variation and pas de deux in ’s •Symphonie Fantastique 2007 Suite en blanc 2009, 2005 •Les Présages 2007 •Manon in Sir Kenneth MacMillan’s Manon 2008 •Giselle 2006 Guest appearances •Stepping Stones 2005 •The Dancers Company tour 2004, 2003 •Stanton Welch’s The Sleeping Beauty 2009, 2005 •Grand Tarantella 2005 Awards •Telstra Ballet Dancer Award and Telstra People’s Awards Choice Award 2004 •Telstra Ballet Dancer Award nominee •First Place Junior Asian Pacific Competition, 2009, 2007 and 2005 Tokyo 1999 You may not know … •Adeline Genée Awards,bronze medal 1998 “Although for now my passion is in the arts, in the future I would love to open a small business.” senior soloists artists

Juliet Burnett ty king-wall Miwako Kubota Ben Davis Matthew Donnelly Amy Harris “Captivating in “Vibrant and energetic” “Delicate and regal” Born in Melbourne in Born in New South Amy Harris was born in sincerity.” The Sunday Age The Daily Telegraph 1982, Ben Davis used to Wales, Matthew trained Ararat, Victoria and began The Australian tag along to his sister’s in Newcastle before jazz and tap classes at Born in Sydney, Juliet Born in Waihi, New Miwako was born in Japan jazz ballet classes and joining The Australian her local ballet school, trained in the Cecchetti Zealand, Ty King-Wall and began her ballet copy the routines from the Ballet School. After Rosengreens School of method with Valerie started dancing at the age training with Fumika back of the studio before graduating with honours Dancing, at the age of Jenkins, and later with of seven. He received his Morishima in Okinawa. he started attending in 1996, he was invited three. From the age of Christine Keith. She was early ballet training at the Before joining The his own classes at age to join the Royal Danish ten, Amy trained in the also fortunate to receive Dance Education Centre Australian Ballet School seven. He trained with Ballet, where he worked with special coaching from the in Tauranga. A Junior she trained with Kimie Leeanne Rutherford at with some of the world’s Carole Oliver School of late Valrene Tweedie, a Associate of the New Sasamoto and Iwao Nagae Ballet Theatre of Australia leading choreographers Ballet in Ballarat, and as great mentor for Juliet. Zealand School of Dance, in Tokyo. In 1997 Miwako and joined The Australian including Maurice Béjart, a Cecchetti scholar won She was accepted into he left New Zealand at 16 was awarded the Idemitsu Ballet in 2005. Ben was who recreated a solo for bronze and silver medals. playbill ads 35-36 The Australian Ballet to study full-time at The Scholarship at the sixth promoted to coryphée in him in Gaîté Parisienne. In 1999, aged 15, Amy School in 2000 and joined Australian Ballet School. Asia Pacific Competition. 2009 and soloist for the A memorable moment successfully auditioned The Australian Ballet in Upon graduating dux with After graduating from The 2011 season. was performing Return for The Australian Ballet 2003. Highlights since honours, Ty was accepted Australian Ballet School to the Strange Land School. She joined The then have included being into The Australian Ballet in 1998 with honours Repertoire highlights for Her Majesty Queen Australian Ballet in 2002 plucked from the rank in 2006. Since joining the she joined The Australian •The Baron in Graeme Margrethe of Denmark in and was promoted to of coryphée to create company, Ty has danced Ballet, going on to perform Murphy’s The Silver Rose 1998. Matthew returned coryphée in 2007 and the title role in Matjash such featured roles as in many roles, including 2010 to The Australian Ballet soloist in 2011. Mrozewski’s Semele, Prince Florimund in The principal ones. She toured •Stanton Welch’s in 1999. While enjoying and working closely with Sleeping Beauty, Octavian to Japan, New Zealand, Divergence 2009 Repertoire highlights the physical challenges of Graeme Murphy and Janet in The Silver Rose, Franz in China, London and New •The Professor in Alexei •The Silver Rose 2010 the contemporary works, Vernon in the role of Coppélia, and the Prince York with the company. Ratmansky’s Scuola di •The Girlfriend in Peggy classic storytelling is his Sophie in The Silver Rose. in The Nutcracker. He also Miwako was promoted to ballo 2009 van Praagh’s Coppélia passion. Matthew was She is also a writer and had the role of Ceyx created senior artist in 2010. •Wayne McGregor’s 2010 promoted to soloist regular contributor to The on him in Tim Harbour’s Dyad 1929 2009 •Robert Curran’s Fold, Repertoire highlights in 2005. Australian Ballet’s blog Halcyon. Ty was promoted •Swanilda and Dawn •Nicolo Fonte’s The BodyTorque.à la mode Behind Ballet. Juliet was to soloist in 2010, and in Peggy van Praagh’s Possibility Space 2008 Repertoire highlights 2010 promoted to soloist in senior artist in 2011. Coppélia 2010 •Jiˇrí Kylián’s Petite Mort •Drosselmeyer in Peter •Stephen Baynes’ At the 2005 Wright’s The Nutcracker edge of night 2010 2009 and to senior artist Repertoire highlights •Princess Aurora and Lilac 2010 •Hera in Tim Harbour’s for the 2011 season. •Peter Wright’s The Fairy in Stanton Welch’s Awards •Dr Coppelius in Peggy Halcyon 2010 Repertoire highlights Nutcracker 2010 The Sleeping Beauty •Maurice Sullivan van Praagh’s Coppélia •Stanton Welch’s The •Sophie in Graeme •Tim Harbour’s Halcyon 2009 scholarship 2007 2010 Sleeping Beauty 2009 Murphy’s The Silver Rose 2010 •Young Tsarevna in You may not know ... •Stephen Baynes’ •Nacho Duato’s Por vos 2010 •Peggy van Praagh’s Graeme Murphy’s Firebird Ben is a huge fan of pop Constant Variants 2007 muero 2009 •Wayne McGregor’s Dyad Coppélia 2010 2009 music and loves singing •Colas and Alain in •Alexei Ratmansky’s 1929 2009 •Stanton Welch’s The •Clara, Rose Fairy and in the car (which he Frederick Ashton’s La Fille Scuola di ballo 2009 •Flute variation in Serge Sleeping Beauty 2009 Snow Fairy in Peter sometimes forgets is not mal gardée 2004 Lifar’s Suite en blanc •Nacho Duato’s Por vos Wright’s The Nutcracker Awards a soundproof booth). •Mercutio in John 2009 muero 2009 2010, 2007 •Telstra People’s Choice Cranko’s Romeo and •Valse variation in Mikhail •Stanton Welch’s •Stephen Baynes’ Molto Award 2008, 2010 Juliet 2003 Fokine’s Les Sylphides Divergence 2009 Vivace, Beyond Bach, •Friends of the Australian •Twyla Tharp’s In the 2009 •Suite en blanc 2009 Requiem and Catalyst Ballet Scholarship 2001 •Prelude and Mazurka Upper Room 2002 •Nagae Scholarship 2000 •Semele in Matjash Awards in Michel Fokine’s Les •’ Fearful Mrozewski’s Semele •Telstra Ballet Dancer You may not know ... Sylphides 2009, 2006 Symmetries 1997 2008 Award 2010 Amy loves photography Awards •Polyhmnia in George •Telstra Ballet Dancer Awards and music and finds •George Garrett Balanchine’s Apollo 2007 Award nominee 2010 •Telstra Ballet Dancer herself snapping away and scholarship 2010 Guest appearances and 2008 Award nominee 2010 going to gigs whenever •Adeline Genée Awards, •The Dancers Company •Lissa Black scholarship she can fit it in. Guest appearances Silver Medal 1995 tour 2004 2009 •The Dancers Company •Asian Pacific •Silver Medal, Asia Awards tour 2006 International Ballet Pacific International •Telstra Ballet Dancer Competition, Silver Ballet Competition 2005 You may not know ... Award nominee 2009 Medal 1995 •PACANZ Young Performer Miwako loves knitting, •Adeline Genée Awards, You may not know ... of the Year Award 2002 crochet, puzzles, Sudoku Juliet’s mum is and cooking and is a Bronze Medal 1994 You may not know ... Indonesian, and comes proud Melbourne Storm You may not know … Ty is studying towards a from a large family supporter. Matthew has a keen Bachelor of Arts, with a of dancers, actors, interest in film and double major in History musicians, poets and editing, and has produced and Classical Studies, playwrights. Juliet’s work for the company’s through New Zealand’s grandmother was the website and for use in Massey University. Sultan’s performances. in his court in Java. soloists

Robyn Hendricks RUDY HAWKES reiko hombo Brett Simon Jacob Sofer Laura Tong Andrew Wright South African-born Robyn At the age of seven, Reiko started ballet at Brett Simon was born Jacob Sofer was born Laura was born in Melbourne-born Andrew Hendricks began ballet Ipswich-born Rudy joined the age of five in her in Adelaide and began in Israel and moved to Whangarei, New Zealand, Wright began dancing at classes aged eight after his local dance school, hometown of Kobe, Japan. his dance training with Melbourne at the age grew up in Northland, New Christine Waters School her grandfather observed where he spent several After ten years of training Sheila Laing. At 16, he of five. He studied at Zealand and has lived in of Dance in 1990 before her dancing on her toes years learning jazz, tap, in Japan, she joined The moved to Melbourne and the National Theatre Singapore and London. completing his VCE and all the time. Growing up and . Australian Ballet School studied at The Australian Ballet School and the She started dancing at secondary dance training in an academic family, He studied at the Shayne in 2003. In 2006 Reiko Ballet School, graduating Victorian College of the four when she began at the Victorian College of Robyn was the first McCormick Dance Centre made her debut with The in 2003. From 2004 to Arts Secondary School going, along with her older the Arts. In 2001 Andrew family member to pursue and Brisbane Dance Australian Ballet in Giselle 2006 Brett was a member before attending The sister, to ballet and piano was accepted into The a creative passion. Centre before joining dancing the Peasant of West Australian Ballet Australian Ballet School. lessons. Laura studied Australian Ballet School Training in the Cecchetti the Queensland Dance Pas De Deux. Since and in 2007 he joined After graduating Jacob with Maureen Ax, Phillipa and during his time there Syllabus, Robyn travelled School of Excellence. He then, Reiko has danced The joined the Royal New Campbell and Joye Lowe had the opportunity to to Melbourne in 2001 to moved to Melbourne in a handful of critically as senior soloist after Zealand Ballet in 2003, in New Zealand, then study with The National participate in the annual 2002 to take up a position acclaimed principal appearing with them where he danced the at the English National Ballet School of Canada Cecchetti International at The Australian Ballet roles with the company, as a guest artist. Brett role of Mercutio in Romeo Ballet School from 1998 and the School of Competition. During School. In 2004 Rudy was including Clara in Peter has performed many and Juliet both in New to 2000. Upon graduation American Ballet as an the competition, she selected to participate Wright’s The Nutcracker, principal and soloist Zealand and during the Laura entered the English exchange student. After was approached by The in a student exchange to and the title roles in roles in classical and 2004 UK tour. He also National Ballet before graduating as dux, Andrew Australian Ballet School New York and Toronto, Paquita and Matjash contemporary ballets and danced the role of Franz in joining The Australian joined The Australian and was asked to audition taking classes with the Mrozewski’s Semele. he was nominated for Coppélia and several main Ballet in 2004. Laura Ballet in 2002. 2007 saw formally for entrance into ’s Reiko was promoted Best Male Dancer at the parts in contemporary has danced a diverse Andrew travel to Europe the prestigious national Studio Company. He to soloist in 2010. 2005 Helpmann Awards seasons. Jacob joined repertoire since joining the on a scholarship from school. During her time joined The Australian Repertoire highlights for his performance in The Australian Ballet at company and particularly the company. In 2010 he at The Australian Ballet Ballet in 2005 and was •Coppélia 2010 West Australian Ballet’s the beginning of 2005 enjoys the challenge guested in the USA at the School, Robyn was one of promoted to soloist for the •Alexei Ratmansky’s Dangerous Liaisons. Brett and was promoted to of roles that are both Oregon Ballet Theater’s four students selected to 2011 season. Rudy has Scuola di ballo 2009 joined The Australian soloist in 2011. physically and artistically gala. He was promoted participate in a student enjoyed working with many •Stanton Welch’s The Ballet as coryphée in July Repertoire highlights demanding. She has to coryphée in 2008 and exchange to Canada, choreographers including Sleeping Beauty 2009 2009 and was promoted •The Photographer in toured to Japan, China, to soloist for the 2011 where she studied for four Wayne McGregor, Graeme •Suite en blanc 2009 to soloist in 2011. Graeme Murphy’s The New Zealand, London, season. weeks with the National Murphy and Janet Vernon, •Graeme Murphy’s Repertoire highlights Silver Rose 2009 Paris and Greece. Repertoire highlights Ballet School in Toronto. Stephen Page and Firebird 2009 •Stephen Baynes’ At the •The Professor in Alexei Repertoire highlights •Act 3 grand pas de deux She joined The Australian Stephen Baynes. •Semele 2008 edge of night 2010 Ratmansky’s Scuolo di •Stephen Baynes’ in Stanton Welch’s The Ballet in 2005. Repertoire highlights •Graeme Murphy’s •William Forsythe’s ballo 2009 Molto Vivace 2010 Sleeping Beauty 2010 Repertoire highlights •Jirˇí Kylián’s Forgotten Swan Lake 2008 Steptext 2009 •Stephen Baynes’ •Cigarette in Serge Lifar’s •Stanton Welch’s •Wayne McGregor’s Dyad Land, Stepping Stones •Paquita 2007 •Romeo in Rudi van Constant Variants 2007 Suite en blanc 2009 Divergence 2009 1929 2009 and Petite Mort 2005 •Don Quixote 2007 Dantzig’s Romeo and •Peter Wright’s The •Guardian Swans in •Wayne McGregor’s •Alexei Ratmansky’s Scola •Stephen Page’s •La Favorita 2007 Juliet 2007 Nutcracker 2007 Graeme Murphy’s Swan Dyad 1929 2009 di ballo 2009 Amalgamate 2006 •Spring Waters 2007 •Count Danilo in Ronald •Don Quixote 2007 Lake 2009 •Peasant Pas De Deux in •Nacho Duato’s Por vos •Stephen Page’s Rites •Les Présages 2007 Hynd’s The Merry Widow •Stephen Baynes’ •Carabosse in Stanton Giselle 2008 muero 2009 2008 •Peter Wright’s 2007 Raymonda 2006 Welch’s The Sleeping •Pas de cinq in Suite en •Stanton Welch’s The •Rat Pack member The Nutcracker 2007 •Le Viscomte de Valmont •Jirˇí Kylián’s Petite Mort Beauty 2009 blanc 2009 Sleeping Beauty 2009 in Stephen Baynes’ •Giselle 2006 in Simon Dow’s 2005 •Nacho Duato’s Por vos •George Balanchine’s Guest appearances Raymonda 2006 •Raymonda 2006 Dangerous Liaisons You may not know ... muero 2009 2004 •The Dancers Company •Prince Partner in Graeme Guest appearances 2005 Jacob enjoys designing, •Stanton Welch’s •Jiˇrí Kylián’s Sechs Tanze tour 2008 Murphy’s Nutcracker – •The Dancers Company Awards photography and riding his Divergence 2009 2004 The Story of Clara 2009 • Girl in Les Awards tour 2011, 2009, 2006 •Helpmann Award motorbike and has a mini Awards •Octavian in Graeme nomination for Best schnauzer called Spiky. Sylphides 2009, 2006 •Telstra Ballet Dancer •Telstra Ballet Dancer Murphy’s The Silver Rose Awards •The Mistress in Sir Award nominee 2009, •Telstra Ballet Dancer Male Dancer 2005 Award nominee 2008 2010 •Keith M Christensen Kenneth MacMillan’s •Anne Woolliams Award 2007 •Ceyx in Tim Harbour’s Award nominee 2008 Manon 2008 •Friends of The Australian •The Friends of The Award for Excellence for Excellence in Dance Halcyon 2010 •The Geoffrey Rothwell •The Wife in Jerome 2001 Ballet Scholarship Australian Ballet Robbins’ The Concert Scholarship 2005 scholarship •Geoffrey Rothwell You may not know ... •The Noel Pelly scholarship 2008 scholarship Robyn enjoys reading and •Caroline Poon Scholarship 2004 You may not know … •James & Pamela Mills cooking in her spare time. Laura has three sisters: scholarship She is fluent in Afrikaans. You may not know … a scientist, a vet and an You may not know... Reiko would love to work economist as a Japanese-English Andrew loves to travel. His interpreter one day. favourite city is New York.

Andrew Killian and Robyn Hendricks Photography Lynette Wills coryphÉes

Kismet Bourne Chengwu Guo Natalie Fincher Halaina Hills Natasha Kusen Jarryd Madden Heidi Martin Fostering potential far and wide.

“Out There - The Australian Ballet in schools provides the opportunity for Dana Stephensen Garry Stocks Vivienne Wong boys and girls to participate in workshops that engage and educate, regardless of * Scholarship their previous dance experience. corps de ballet endowed by the Paulette Carson Trust Thanks to In Schools Education Program Partner NAB, workshops will be offered to thousands of Australian students this year. NAB’s support means we can give as many students as possible the chance to dance, fostering their potential and opening them Dimity Azoury Imogen Chapman Brett Chynoweth Kristy Corea Eloise Fryer Rohan Furnell Jessica Fyfe up to new artistic experiences.”

David McAllister Artistic Director, The Australian Ballet

Ingrid Gow Noah Gumbert Calvin Hannaford Timothy Harford Jack Hersee Richard House Cameron Hunter

John-Paul Idaszak Ako Kondo Brooke Lockett Jake Mangakahia* Luke Marchant Karen Nanasca Rina Nemoto

Mitchell Rayner Christopher Rodgers-Wilson Sharni Spencer Benjamin Stuart-Carberry Valerie Tereshchenko Charles Thompson Sarah Thompson

Photo: James Braund.

Alice Topp Jade Wood Jessica Wood artistic staff

Danilo Radojevic Mark Kay Elizabeth Hill Fiona Tonkin darren parish Associate Artistic Director & Choreologist Ballet Mistress & Repetiteur Principal Coach & Ballet Mistress Ballet Master & Choreologist

Danilo Radojevic, a dancer with Mark Kay took up the profession Elizabeth was born in Fiona Tonkin began her career Originally from Melbourne, a dynamic style and exceptional of choreology after studying Melbourne, Australia. Her in Wellington where she joined Darren started dancing with technical skill, catapulted to Benesh Movement Notation at full-time dance training was at the in Jennie Johnson before attending international status at the age The Australian Ballet School. the West Australian Academy 1979. Her association with The The Australian Ballet School. He of 19 when he won the Gold In 1986 he went to London to of Performing Arts, under Australian Ballet began in 1980 went on to enjoy a successful Medal at the 1977 International complete the course at the the direction of Alan Alder when Marilyn Jones invited her career spanning 18 years with Ballet Competition in Moscow, Benesh Institute and while and Lucette Aldous. At the to join the company. Queensland Ballet, Bonner the only Australian to win this there notated and worked conclusion of her training in By 1987 she had become Ballet, Basel Ballet, Gothenburg prestigious award throughout with choreographer Gillian 1986, Elizabeth joined West a principal artist, renowned Ballet, The Royal New Zealand the Moscow competition’s Lynne on the musical The Australian Ballet under the for her interpretative artistry, Ballet, English National Ballet long history. Phantom of the Opera. direction of Barry Moreland. classicism and technical and the . During Soon after, Danilo left The He joined The Royal Ballet as During the ten years with West versatility. On her retirement in this period he danced many Australian Ballet to become a freelance notator in 1987 Australian Ballet, Elizabeth 1993, she had danced almost leading roles in ballets by such a soloist with American Ballet and worked on Wayne Eagling’s was encouraged to explore her every major female role in the notable choreographers as Theatre in New York. He Beauty and the Beast and choreographic and rehearsal company’s repertoire. Sir Frederick Ashton, George remained with the company for ’s Swan Lake. direction talents, assisting ballet Balanchine, Robert Cohen, staff and leaving a legacy of Career highlights with The Harold Collins, Robert North, 15 years, visiting his homeland After a twelve-month repose Australian Ballet include her in 1978 and 1979 with Stars several works in repertoire. Jirí Kylián, Youri Vamos and in Australia, Mark returned performances at The Royal Mats Ek. of the World Ballet and in 1991 to London in 1988 to work Moving to freelance work in Opera House, the Kirov with Rudolf Nureyev’s last for English National Ballet. 1996, Elizabeth choreographed Theatre and the Metropolitan He has received the Cadbury tour. Danilo was promoted to During his five years with and taught classical ballet for Opera House and opening Arts Award (1991), the Swedish principal dancer of American the company he performed, several of the major dance the company’s 1992 London Male Dancer Award (1994) Ballet Theatre by Artistic Director notated, and worked with many institutions in Australia. She Coliseum season as Giselle. and the Swedish Freemason’s Mikhail Baryshnikov in 1981 choreographers and directors, commenced a choreographic Critics’ Award (1995). He gained and performed the leading roles career in opera which has She appeared as a guest artist his Professional Dancers’ including Peter Schaufuss, with the Kirov Ballet in Swan in many of the classics, often , Sir Kenneth seen her create movement for Teaching Diploma through the alternating with Baryshnikov Fledermaus, Lakme, Arabella, Lake and on Rudolf Nureyev’s in MacMillan, Nicholas Beriosoff, Farewell Tour, and danced lead himself. Ben Stevenson and Ivan Nagy. Pirates of Penzance, HMS 2003 and his Benesh Movement Pinafore, Trial by Jury, Tales roles in the ABC TV broadcasts Notation Diploma in 2005. After retiring from dancing, As a freelancer, Mark has staged of La Fille mal gardée and Romeo Danilo taught at American of Hoffmann, My Fair Lady, A Now based in London, Darren’s Peter Schaufuss’ Nutcracker for Little Night Music, all for Opera and Juliet. Fiona received Green Ballet Theatre, New York Dance the Graz Oper Ballett in Austria Room Awards in 1988 and 1989. freelance teaching has taken him Studios and leading universities Australia. She also wrote and to companies and schools world- in 1992, Rudolf Nureyev’s Don directed a schools’ production Fiona returned to New Zealand in California, gaining a reputation Quixote for the Royal Swedish wide. He has held posts at the as an outstanding technical of Cinderella for Oz Opera. in 1994 where she completed a Elmhurst and Laban institutes Ballet in 1994 and for The Elizabeth has had the privilege of Bachelor of Arts at Canterbury coach. He returned to join the Royal Ballet in 2001, and (UK), trained the original Billys ballet staff of The Australian working with celebrated directors University while guest teaching for Billy Elliot, and taught in the taught Christopher Wheeldon’s and conductors such as Stuart in New Zealand and Australia. Ballet in 1997 at the invitation © Genée competition (2010). Continuum for the Dutch Maunder, John Cox, Lindy Hume In 1999 she completed The of former Artistic Director Ross National Ballet (2005) and As a notator he has worked Stretton. and Richard Bonynge. Australian Ballet School’s Zurich Ballet (2006). Professional Dance Teachers for The Royal Ballet on Wayne Danilo was appointed Associate Elizabeth holds a graduate McGregor’s Chroma, Nimbus In 1993 former Artistic Director Diploma in Arts Management, Course and was awarded Artistic Director of The Australian Maina Gielgud invited Mark to the Australian Multicultural and Infra and Christopher Ballet in July 2001. a qualification which has Wheeldon’s additional join The Australian Ballet as allowed her to work as Company Foundation Scholarship. the company’s choreologist, choreography for The Manager for Opera Australia, In 2000 Artistic Director Matz Sleeping Beauty. where he continues to notate Artistic Liaison Manager for ABC Skoog appointed her Rehearsal and stage ballet, as well as television and Opera Australia Director of the Royal New Darren loves life and all the performing character roles such and Producer for Symphony of Zealand Ballet. She continued adventures that come with it. as Sancho Panza in Don Quixote. Australia. to work with Skoog in London For The Dancers Company, In 2003 Elizabeth was asked as Assistant Artistic Director of he has been responsible for the English National Ballet in teaching, staging, and recently to assist on her production of Wild Swans for The 2002. Fiona has worked with performing the role of The Head many choreographers including Mistress in Graduation Ball. Australian Ballet. This project enabled her to teach and coach Stanton Welch, Mark Morris, for The Australian Ballet; she Christopher Hampson and Mark later choreographed for the Baldwin. inaugural season of Bodytorque. Fiona returned to The Australian Ballet in 2003 at the invitation Lana Jones and Adam Bull Photography Lynette Wills of David McAllister. ENDOWMENT Estates Philip & Laurel Bendrey Patsy Martin Australian Opera and Ballet Mrs Barbara Duhig Malcolm & Sandy McLachlan Michelle Johnson John & Jo Strutt Funds within The The Australian Ballet Ms Kirsty Bennett Mr Edward J Mason Orchestra through Opera Mrs Penny Edwards Dr Merrilyn Murnane AM Mr Maxwell Johnston The Honourable Brian Sully QC Endowment acknowledges with great Australia Philanthropy Mrs Anne Boyle Graham Matheson John & Catherine Ellice-Flint Mr Henry Nowik AO OBE Mr Paul A Jones Mildred Teitler The Australian Ballet appreciation the bequests Orchestra Victoria Ann & Derek Braham David McAllister AM Beverley Harvey & The Late & Mrs Kathy Nowik Steven & Paula Jones Ruth Trait Endowment encompasses which it has received from Sydney Opera House Trust capital funds created by the Estates of the following Donna Brearley Mr Robert W McCormack Richard Harvey Yvonne Reuvekamp Mr & Mrs Ervin Katz Mr Roger N Traves SC Queensland Performing Mrs Norma Leslie Mr Michael Shmith & Mrs Samantha Traves individuals, large donations benefactors. These bequests Patricia A Breslin D J McGregor Arts Centre Mrs Jenny Kudelka and bequests. The income have been invaluable in Joan Lyons Valerie Taylor Mr A.J. Truett Daniel Gaudiello and Lana Jones Mrs R D Bridges OBE Mr Michael McKenzie Mrs Nathalie Kulakowski earned is used for the the achievement of the Photography James Braund Mrs Margaret Broeks & Mr Neil Jones Mr Robert Maple-Brown AO Ann Tregear Peter Langford AM Mrs Claire Truscott benefit of the Ballet. company’s objectives. ANNUAL GIVING & Mrs Susan Maple-Brown Jannie Brown Judithe & John McKindley President Danny & Barbara Watson Dr Joan M Lawrence AM Daphne Turnbull Mr Reginald Edward Gregory Mrs D H McLaurin Ms Deborah Buckett Canon Albert McPherson Lady Potter AC Donna Woodhill Margaret Lederman Rosslyn J Turner The International Fund MBE & Mrs Gregory Dame Elisabeth Murdoch Wendy Burgin Toni Meath The Australian Ballet is proud Anonymous (2) Mr Ross Liebmann Mr & Mrs F G Upton Capital Contributions Patricia Marie Smit AC DBE Dr Sheena L Burnell Prudence Menzies to acknowledge the generous Rosalind Lilley Mrs Robyn Veal Ms Laurie Cowled Patricia Hope Willis support and encouragement Dr Clare Myers Trish Byrne Ms A Michell Gifts $1,000 – $2,999 Susie Lobb Mrs K D Verco Frances Gerard Colin Robert Marshall it receives through Annual Mr & Mrs B G O’Conor Pam Caldwell Margaret Middleton Mrs Anna Affleck Mr & Mrs Rob Logie-Smith Dr Richard Vesey Dale & Ian Johnson Hazel Graham Giving. Continued support Mrs Sue Perini Mr John Calvert-Jones AM & Mrs Susan Morgan from individuals and Don & Veronica Aldridge Richard & Elizabeth Longes John & Judith Walker Mrs Sarah Murdoch Ethel Margaret Ewing Cutten Dave Poddar Mrs Janet Calvert-Jones AO Mary Murphy corporations is essential to Mrs Jane Allen Mrs Jackie Wallace Mrs R H O’Connor Robert J Shipsides & Angela Flannery Anthony & Suzanne Dr Brian T Carey TJ Nakasuwan develop our artistic excellence Miss Catherine Alston Maple-Brown S & J Wallis Dr Valmai Pidgeon AM E M Black Lady Porter Robert E A Carli Simon Nettleton and secure the future of The In memory of Ian & Ila Anderson Mrs Alexandra Martin Ms Rosemary Walls Mr Kenneth R Reed Paul Sinclair Australian Ballet. If you would Mr Kenneth R Reed Rowena Catchatoor Miss Shirley Neville Richard & Therese Armstrong Mrs Judith A Matear Susan Warburton Talbot Family Foundation Mrs M M C Djordjevic like to join our Annual Giving Renaissance Tours Ron & Luci Chambers Miss Judith Newberry Peter & Jennifer Bartter Marie McCann OAM Mrs Margaret Ward Anonymous (1) Dr George Garratt program, please ring: E Xipell Mr Bryan Chidgey Dr Kersti Nogeste Ms Barbara Bedwell Mrs Cherry McCardel Mrs Elizabeth Wareing We are also grateful to those Robert Salzer AO Judy Turner Anonymous (1) Miss Beverley F Clark Mr Arthur L Norcott Senior Manager QLD/SA/WA P. & L. Bendrey Mr Robert W McCormack Mrs Suzanne A Waterhouse other individuals who made Betty Gleeson-White donations of $20,000 or less. Joyce Clothier OAM Mrs Roma Norcott 03 9669 2732 Birdsall Leather & Crafts Ms Sandra McCullagh Mr Kenneth W Watkins Clifford Burgess Coryphee Patrons Lisa Bolte Miss Catherine Boag It was the Opening Night of Judy Connor Kathleen O’Hara Gifts $5,000 – $9,999 Mrs Ann McFarling Pat & John Webb Keith M Christensen Patrons Manager VIC/TAS Swan Lake in London in 2005 Caroline Cooper MVO Di Palmer & Stephen Antoinette Albert Mr Leonard Bosman Mrs Jane McGregor M W Wells that inspired Frances Gerard to William Arthur Hugh Gordon 03 9669 2735 Mr Jim Cousins AO Rodgers-Wilson Jim & Janette Bain Maxine Bowness Mr Michael McKenzie Angela Westacott establish this important Fund. Freda Eileen Spicer Jane Diamond & Mrs Libby Cousins Mrs Meredith Peters Mrs Susan Brennan & Mr Neil Jones Pamela Whalan Asle Noel Chilton Patrons Manager NSW/ACT Arda & John Barry Judith Cowden Lady Porter Mrs Ros Bracher AM Mrs R D Bridges OBE John & Rae McKim Mrs Anne Wharton Endowment Funds Gwendolyn Letitia Tennant 02 9253 5316 Miss Katrina Cowen Mrs Diana Ramsay AO Mrs Annabel M Brown Mrs Ann McNamara Mrs Marjorie White The Robert & Elizabeth Sir Robert Southey AO CMG All donations are fully tax deductible. Jannie Brown Joan Cowie Penelope S Rawlins Ms Rita Brown Drs Pam & Andrew McQueen Mrs S White Albert Music Fund Brenda June McGowan MAJOR GIFT Joyce Clothier OAM Mrs Maree D’Alterio Trevor Rice & MATCHING GRANT Marilyn Burton Mrs Pamela McTaggart Drs E & H Wicki The Richard & Barbara Mr Will Noble Bar & Tim Cohen Allert Fund John Daly Rhonda & Peter Roga The Ian Potter Foundation Mrs Nancy Butler Harry Melkonian & Wei Wu Mr & Mrs M Willcoxson Norma Lucas Payne Annette Cook The K Christensen Mr Leonard Dark Richard Ross The Ian Potter Foundation has Ms Trish Byrne Mr Alex Michalak Judith Williams Mrs Ila Leland Massy Burnside Mr Jim Cousins AO & AE Bond Bequest Merawyn Davies Caroline J Ross-Smith made a grant of $4 million over & Mrs Libby Cousins Pam Caldwell John M Michelmore Kay Williamson Gay John Therese Clarke five years for the maintenance, The Walter Bourke Prize David de Verelle-Hill Ms Ros Russell Ms Laurie Cowled Mrs June Cameron Margaret Middleton Mr Robert Winnel What does it take to be a part of something Gwendoline I Tregear upgrading and refurbishment of The George Garratt Fund Miss Patricia Downes Mrs Margaret Sault Mrs Shirley Danglow Ms Joyce Campbell Desmond B Misso Esq Ms Josie Woodgate OAM unique, great and lasting? Lesley Morgan Sperry The Primrose Potter Australian The Maina Gielgud Fund George Drew Miss Sheila Scotter AM MBE Ballet Centre and towards Mrs Suzanne Davidson OAM Mr & Mrs Michel-Henri Carriol Beatrice Moignard Ms Helen Woods Gwen Hunt The Kathleen Gorham Fund Mrs Lorraine Drogemuller Margot Seeley furthering the company’s Mr Adam C Elder Mr Paul Carter Mrs Veronica Mooney Iain & Judy Wyatt Mrs Patricia McSpeerin The journey begins with the artistic director established in her memory Mrs Jill Duck Mr & Mrs Charles Sheldon education programs, followed In memory of Winefred Faithfull Mrs Ronda Chisholm Mrs Marie Morton robAust Pty Ltd Mr Noël Pelly AM by a matching grant of up deciding to commission a new ballet. He The Neil Hopkins Fund Edrina Dunstan & The Late Sara J Simpson Mr & Mrs Chris Fullerton Mrs David Clarke Mr D M Murray Ruth Zionzee to $4 million that matches The Freda Irving Memorial Lady Snedden AM David Dunstan Elvira Sinicins Dr Anne Colman Mrs Margaret Murray works with the choreographer he’s selected to other grants and donations Mr John R Fullerton Anonymous (26) Scholarship Fund William F Wells Carol & Ted Edwards determine the work – in this case Romeo & Juliet Mr Tiger Smith made to The Australian Ballet Dr Nicholas Girdis CBE Dr Margaret Cook Mr Simon Nettleton Barry Kay Memorial Mrs Thora Pearce Jo Edwards Lady Southey AC on a dollar for dollar basis. & Mrs Marina Girdis Barry Cowdell Mrs Jan Northam Supporters – and together they decide on the creative team. Scholarship Fund Miss Ann Williams Mrs Joan Daphne Evans Jacques Spira OAM Louis Hamon OAM Tim & Bryony Cox Russell J Nowell Gifts $100 – $999 John Lanchbery Fund Mr Ian Berkeley Small Richard Evans & Edith Spira Louise Hamshere Mrs Joanne Crothers Mrs Rachel H O’Conor 1080 The creative briefs are fixed, the budgets are The Ian McRae AO Fund Nola Joan Hassall Ross Fairhurst Norman Stevens Claire Handler Charles Curran AC & Eva Curran Richard O’Dwyer The Susan Morgan Fund set and the process brings together a host of Jean Hammond The Late Jim Finch Ms Juanita Stockwell Gillian Hund Mrs Kate Damm The Hon Mr Justice B O’Keefe Support from Private The Frank & Thora Pearce Fund artists, including costume, lighting and set designers, who together Mr A S Leslie Peter F Fleming Miss Pat Sutherland Dale & Ian Johnson Mrs Joan Darling AM & Mrs Janette O’Keefe Foundations The Colin Peasley OAM Fund The Sandy Michell Legacy - agree on how they will tell the story. Interestingly, when all the Mr Laurie Davies Rita Fletcher Deb Sutton Greg Khoury Ms Jenny Darling Mrs Diana-Rose Orr for Education ANZ Trustees design elements are in place, the last piece of creation is the Esther Primrose Lucy Barrie I Follows AM JP Elizabeth Swanton Dr Judith Kinnear & Ms Emma Darling Ms Amanda Paliouras The Noël Pelly AM Fund Gertrude Poelman Dunstan Family Foundation & Margaret Gail Follows Susanne Sweetland Les Etoiles Mr & Mrs Aron Kleinlehrer Mrs Felicity Demediuk Mrs Yvonne R Penny choreography. The choreographer will have thought a great deal The Margaret Ellen Pidgeon James & Diana Ramsay Dame Joyce Margaretta Daws Mr George Foster Ms Susan Taylor Supporting the Dickerson Gallery NSW Di Palmer & Stephen about what they want the ballet to look like, but it is only when they Fund for Classical Ballet Mr Steven Lowy AM Foundation Lady Nancy Fairfax AM OBE Mrs Geraldine Fox-Penglis Dr Christine Thevathasan Principal Artists & Mrs Judy Lowy Jean-Yves Didier Rodgers-Wilson get into the studio with the dancers that all the elements start to endowed by Dr Valmai Mrs Mary Barlow Khitercs Hirai Foundation Ernest Spinner Frances Gerard Dr Diana Tolhurst Geoffrey & Jan Phillips Pidgeon AM Miss Fay Mahoney Mr John G Donaldson AO Lord Mayor’s Charitable become a reality. By this time, hundreds of hours have been spent Margery I Pierce Natasha Bowness Dr Valmai Pidgeon AM The James & Diana Ramsay Anthea Gilbert Michele & Mario Topcic Graham Matheson Mr John Downer AM Foundation building and painting sets and making the costumes to exacting Barbara Bishop Hewitt Ms Robin Campbell Mr & Mrs Alan L Platt (The Australian Ballet) Fund Suzanne Gleeson Dr Sally Townsend David McAllister AM & Mrs Downer The Cory Charitable Mrs Sam Chisholm specifications, and choreologists and ballet staff have worked The Kenneth R Reed Fund Mrs Sylvia Box The Late Mrs Krystyna Miss Ruth Trait John & Anni McArthur Patricia Duffy Robin Potter Foundation Val Harding tirelessly to assist the choreographer in bringing the ballet together. Kevin Regan Fund endowed Dr Donald Wright Gogolak & Mr Stephen Patricia Tyler Mecca Cosmetica Olive Dunk Kerryn Pratchett The Flew Foundation Gogolak Lynnette Harvey by Max Johnston Mrs Sally Sinisoff John & Susan Vanderstock Susan Morgan Dr Lyn Edwards Mrs Esme Proudman The Greatorex Foundation Ms Margo Graham Mr Arthur L Norcott The curtain goes up and the audience witnesses the birth of The James Slater Memorial Fund Betty June Drabsch Patricia Speher Vanderwal Diana & Graeme Phillips & Prof Robert Bryce Lynn Rainbow Reid The Ken & Asle Chilton Lyn Grigg Mrs Roma Norcott something truly extraordinary. The Marigold Southey Fund Marianne Martin Ms Jill Vaughan Norman F Pollack Mr Greg Egan Miss Jennifer Rhodes Charitable Trust Mrs Lilian Hardy Mrs Helen O’Neil The Robert Southey Fund Mr Norman Drogemuller OAM Peter Vaughan Prof Ruth Rentschler Miss S Y Evans Judy Roach for Estate Ian Roach The Ross Trust for Australian Choreography, Mr Robert B Haynes Mrs Kerry Packer AO That is the incredibly exciting, creative side of the business and Jean M Negus Dr Richard Vesey Dr Ian Ross & Mrs Margaret Ronald B Farrow Ms Judy Rogers Snowy Nominees Charitable endowed by The Sidney Dr Dawn Meryl Thew Hilary A Hazledine Dr Valmai Pidgeon AM S Ross AM Mr & Mrs Robert Flew Pamela Rogers Trust that is what drives us all to be part of this . While Myer Fund Kenneth W Watkins Judith Gwen Newberry Christopher Hector Lady Potter AC Lyne Sedgman Mr William J Forrest AM Dr John Rose William Arthur Hugh Gordon all that creativity has been taking place, Finance, Marketing & Fund Pamela Whalan Duncan Elphinstone & Ros Neave Mrs Robert Rose AM George Foster Fund – Perpetual Trustees Communications, Customer Services and Fundraising teams endowed by Bee Fletcher Di Whitaker, in memory of Mrs Joyce Sproat & Mrs Cooke Michael & Veronica Roux McBryde Leary Ms Claire Houston Mrs Christine Smedley Eric & Tonia Gale The Maurice Sullivan Emma Jane Toussaint Mrs Anne Symons Ms Ros Russell have been working to support the artistic process. Miss Ruth Margaret Davidson Dr & Mrs Ken Hoyle Memorial Scholarship Fund Margaret Amery White Dr Christine Thevathasan Ms Joanne Gallpen Mrs Deri Saunders Dr Alf Howard Lilla Ito Principal Patrons Out There – The Australian Dame Peggy van Praagh Barry & Megan Willcox Jill Thorpe Mrs Kylie Ganko Mr Bill Scales AO The journey of Romeo & Juliet would not have been possible without Michael & Jennifer James Gifts over $20,000 Ballet in Schools Fund for Choreography Ms Jane D Crawford Mr Antony Williams Mr & Mrs Leigh Virtue Christine George In memory of Phyllis Scarlett the generosity of the James & Diana Ramsay Foundation. Diana Max Johnston Mr Robert Albert AO Talbot Family Foundation Margaret Elizabeth Oxford Fund Mr Harold G Marshall AM Jan Williams Ms Diana Gerstman Max & Jill Schultz & Mrs Albert Ray Wilson OAM & The Late The Angior Family Foundation Ramsay and her trustees decided to contribute $300,000 towards Muriel Leadbeater The Late Mrs Mary Jones James Agapitos OAM Ms Judy Gillard The Christine Marie Johnson Leonard J Wilson Mr Peter Clemenger AM Donna Scott-Young Melba Alma Cromack Marlene Kavanagh The Ian Potter Foundation the production of the costumes designed by Akira Isogawa. This Maple-Brown Scholarship Ms Sallyann Wilson & Mrs Joan Clemenger Dr Michael J Wright William G. Glover Mrs Christine Searcy Marion J Kelly The Profield Foundation gift was matched by the Ian Potter Foundation and a budget of The Dorothy Hicks Fund Patricia Cameron-Stewart Josie Woodgate OAM Emma Zuber Mr Charles Goode Ms Polly Shaw Mrs Tonya McCusker Tim Fairfax Family The Melba Alma Cromack Fund Anonymous (2) Mrs Valda Klaric $600,000 was realised, making possible the production of the Yvonne Yendell Anonymous (5) Dr Kirsten Gormly Dr Adam T Sheridan Foundation Lisa Kokegei & Mr Kristian Downing most beautiful costumes imaginable. Victor & Christine Gifts $15,000 – $19,999 Tim & Lynne Sherwood Simon Lambourne William Angliss (Victoria) Contributions to the The Dame Peggy van Zemancheff Betty Amsden OAM Corps de Ballet Patrons Mr & Mrs Leon Gorr Nev Simpson Charitable Fund Praagh Leadership Circle Francine Lancaster Philanthropy is increasingly playing a major role in what is being General Fund Mrs Ruth Zionzee Mrs Janis Salisbury Gifts $3,000 – $4,999 Mr Richard Green Mr Gary Singer David Crawford AO Securing the future through Mavis Lance Mr Lee Barr & Mrs Isabella Green OAM achieved by The Australian Ballet and we are so grateful to all our Anonymous (42) Mr Dick Smith AO & Mr Geoffrey Smith Philanthropy Support & Maureen Crawford a bequest Mrs Carlean Langbein Rosemary & John Barr Lyn Grigg If you would like further & Mrs Pip Smith Mr Steven Skala AO Renaissance Tours – Patrons, whose donations are the lifeblood of the company. Ian & Norma Drew Felicity Gunner OAM information on the Bequest Peter Langford AM General Support Kirsty Bennett & Mrs Lousje Skala Preferred Philanthropy Henry & Miriam Greenfield Geraldine Lawton Bequest The Australian Ballet Society Inc Charles G Clark Maria Hall Mr & Mrs B N Smith tour operator As the curtain rises on Graeme Murphy’s new Romeo & Juliet, you will program, please ring Donna Soloist Patrons Mr Fred Millar AO CBE Brearley (03) 9669 2782. Mrs Judy Lee President Josie Woodgate OAM Gifts $10,000 – $14,999 Mr John K Dowling Mrs Jean Healey Mrs Jenny Smith Dendy Films & Kino & Beth Millar be witnessing the culmination of enormous effort and dedication by Mr L Kevin Adair Daniel-Francois Lemesle Friends of The Australian Brian Abel & The Late Ben Mrs Neilma Gantner Ms Linda Herd Prof Nerida A Smith Hopscotch Perini Family Foundation so many and we thank our Patrons for supporting us. Philanthropy is Mrs Sheila Adams Kate Lewis Ballet (NSW) Gannon AO Mr Chris Gillman Dr & Mrs Darryl J Hodgkinson Mr Sam Smorgon AO Queensland Friends Chairman Greg Khoury helping us to be part of something unique, great and lasting. Richard Allert AM FCA Dr C S Loader Mrs Roseanne Amarant Mrs Anne Gluyas Alan Holgate & Mrs Minnie Smorgon Correct as at of The Australian Ballet Friends of The Australian & Barbara Allert Mrs Patricia Loughhead Mrs Ruth Armytage Alan & Marion Grundy Mrs Robyn Hopkins Mr Ezekiel Solomon AM 05.08.11 The Robert Salzer Foundation Ballet (SA) Inc Kenneth W Watkins Betty Amsden OAM Pamela & David Luhrs Mr John Calvert-Jones AM & Pat Howell Mrs Caroline Howard Mr David Southwick Dick & Pip Smith President Catherine Ellice-Flint Mrs Patricia Anders Chris Mackay Mrs Janet Calvert-Jones AO Gillian Hund Dr & Mrs Greg Hoy Jacques Spira OAM Director of Philanthropy Peter & Frieda Thornhill The Australian Ballet School Ms Greta Archbold Geoff & Margaret Markham Angie Carter Miss Dawn V Kelly Mrs Christine Hughes & Edith Spira Phone 03 9669 2780 Anonymous (1) Director Marilyn Rowe OBE Ms Jennifer Barnes L Marrone Mrs Gordon Douglass AM Christina Marks Dr Alastair Jackson Mr Bruce Stracey melbourne sydney

Major Gifts Trust & Foundation Support City of Melbourne Orchestra Victoria acknowledges Orchestra Victoria’s activities City of Greater Shepparton the outstanding generosity of throughout the State are made City of Geelong our very special donors. possible with the generous East Gippsland Shire Council Mr Robert Albert AO, RFD support from the following Echuca Moama Tourism RD & Mrs Libby Albert Trusts and Foundations. Latrobe City Council Miss Betty Amsden OAM The Angior Family Foundation Mildura Rural City Council Annamila Pty Ltd William Angliss (Victoria) Southern Grampians Shire Evelyn & Tom Danos Charitable Fund Council Mrs Neilma Gantner Collier Charitable Fund Wyndham City Council Gaye & John Gaylard Harold Mitchell Foundation Performance Partners Geoff Handbury AO Helen Macpherson Smith Trust Orchestra Victoria is the Mr Richard Hamer John T Reid Charitable Trusts CONCERTMASTER PICCOLO Board proud orchestral performance Handbury Family Foundation Sidney Myer Fund Concertmaster Cello Horn Orchestra Management Management Adam Chalabi Michael Smith Hon. Mary Delahunty (Chair) partner of Australia’s premier Dr Peter A Kingsbury Gippsland the Myer Foundataion Aubrey Murphy Eszter Mikes-Liu* Victoria Chatterley General Manager, Adrian Collette AM Paul Champion performing arts companies. DEPUTY CONCERTMASTER OBOE Dental Group Lord Mayor’s Charitable Evelyn Danos The Australian Ballet Associate Concertmaster Pierre Emery Lisa Wynne-Allen Orchestra Chief Executive Roger Jonsson Stephen Robinson Mr David Mandie AM, OBE Foundation (Eldon & Anne Richard Hamer Melba Recordings Andrew Hines Ed Hossack Joshua de Graaf* Don & Angela Mercer Foote Trust) Huy-Nguyen Bui Trumpet Lyndon Terracini VIOLIN Jane Gilmour OAM Opera Australia Margaret Iddison Dame Elisabeth Murdoch AC, DBE Melbourne Community Joshua Clarke Orchestra Manager Artistic Director Yi Wang CLARINET Tony Osmond The Production Company Deputy Concertmaster Henry Urbanavicius Lady Southey AC Foundation Craig Ross* Gérard Patacca Erica Kennedy* Paul Champion Rob Perry Victorian Opera Vivien Jeffery Narelle Beattie Perpetual Ltd Andrew Wilson Elizabeth Ambrose Richard Sholl* Lady Marigold Southey AC Principal Donors Bruce Hellmers Poola Charitable Foundation Principal Presenting Partners Orchestral Operations Finance Director and Binny Baik The ongoing work of Orchestra Violin Double Bass BASS CLARINET Management Margaret & Irene Stewardson Orchestra Victoria enjoys Cornet Manager Company Secretary Severin Donnenberg Victoria throughout Victoria is Adrian Keating+ Brett Berthold Andrew Mitchell Charitable Trust working with companies and Brian Evans Anna Dodgshun Lubino Fernandes^ Managing Director only possible with donations Catalin Ungureanu+ Alex Budd Tattersall’s George Adams venues throughout Victoria Andrew Meisel* The Australian Opera and Rachel Gamer BASSOON Rob Robertson Every gift is important and Foundation to make music accessible. Tony Gault+ Edmund Bastian Trombone Assistant Orchestra General Manager, Ballet Orchestra Limited, a Lucinda Cran appreciated. Matthew Hassall Deputy Managing Director/ William Buckland Foundation 3MBS 103.5 FM Airena Nakamura Gregory van der Struik Manager Melbourne and Tahnee Van Herk* Davis & Cindy Abbey Jennifer Penno subsidiary company of Opera Rachael Hunt Director of Development The Arts Centre (Principal 2nd) Brett Favell* Ella Howard Enterprises Alan & Sally Beckett Corporate Partnerships David Cooper Australia, is assisted by Ceridwen Jones CONTRABASSOON Franca Smarrelli City of Melbourne Peter & Ivanka Canet Partnerships with the Mark Fitzpatrick* William Farmer the Australian Government Mara Miller^ Melbourne Recital Centre Flute Orchestral Administration Anton Dolk Glenn Prohasky Personal Assistant to Sandy Clark business community through Virginia Blunt through the Australia Philip Nixon NGV International Elizabeth Pring Bass Trombone Coordinator Director - Human FRENCH HORN Managing Director Grace Croft sponsorship ensure that Rachel Easton Council, its arts funding and John Noble Vicki Shuttleworth Bequests Amanda Hollins* Brett Page Emma In der Maur Resources Susan Pierotti^ Jasen Moulton Hon. Mary Delahunty Orchestra Victoria can Yu-Qing Rebecca Irwin advisory body, and by the Paul Doyle continue to deliver high quality Leaving a legacy to Orchestra Alistair Howlett Ed Hossack Martin Reddington Linda Hewett Director of Operations Marek Kruszynski Tuba Senior Staging Assistant NSW Government through Heather McMahon Jane Edmanson OAM accessible music across Victoria supports the Ed Diefes Scott Moon General Manager, Christine Ruiter Heikki Mohell Orchestra’s ongoing cultural Samuel Podjarski Piccolo Arts NSW. Ian Hocking & Rosemary Forbes Victoria. Orchestra VIOLA TRUMPET Production Manager Isabella Green OAM & Richard Iluka Resources Limited contribution to Victorians. Daniel Rosenbaum Diane Berger Percussion Board of Directors Mark Fitzpatrick Miss Betty Amsden OAM Paul McMillan Paul Doyle Green Ace Radio Robert Sek Oboe Allan Watson Ziggy Switkowski Ian McCahon Anthony Pope* Jean Hadges Allens Alan Egan Jaroslaw Talar Hannah Forsyth*^ Production Coordinator Conall McClure Timpani Chairman Artistic Administrator Catherine Bishop Mark Skillington Henkell Brothers Australia, Pty Ltd Arthur Robinson Rosemary Forbes Rachel Westwood Ryan Barwood Ian Hocking Matthew Tighe* David Clarence Lesley Alway Liz Nield Jason Bunn Robert Smithies^ Darvell M Hutchinson AM Kent Moving & Storage The late G.B.Hutchings Thomas Dundas Mark Bruwel Anson Austin OAM Nadine Delbridge TROMBONE Orchestra Manager Dr Alastair Jackson Chandler Direct Personalised Harp Marketing and Russell & Jenni Jenkins Communication The late James Minson Kerry Martin Virginia Braden Ray Hope Scott Evans Mel Wilson Cor Anglais Communications Director Peter Kolliner OAM Universal Music Graeme Studd Jennifer Taylor Jane Rosenson David Epstein Anthony Gilham* Orchestral Librarian Andrew Malec CELLO Maple-Brown Abbott HR Legal Michael Walker Stephanie Zarka Italics denotes Principal Tim McFarlane Sue Olden Robert Smithies (Acting) Investment Managers For more information Melissa Chominsky BASS TROMBONE Government Partners Clarinet + denotes Principal 1st Richard Owens OAM Technical Operations and Yvonne & Phillip Marshall about how you can support Viola Diane Froomes* Geraldine Evers Library Assistant The support received from the Peter Jenkin Judith Stewart Project Manager David McAlpine Orchestra Victoria please Virginia Comerford Violin Sarah Cuming Jennette Green Australian Government through HARP Heather McKenzie contact 03 9694 3600 or Richard Rourke * denotes Associate Josephine Sukkar Nicholas Selman Philippa Gardner the Australia Council for the Amanda Murphy* Mary Anderson Community Programs Michelle & Ian Moore [email protected] Tania Hardy-Smith Arts and from the Victorian David Dixon Bass Clarinet Principal Head of Development Manager Baillieu Myer AC & Mrs Sarah Myer Andrea Taylor TIMPANI Government through Arts Please note that this list is Magda Kruszynska Euan Huggett Minerva Draeger John & Lorraine Redman updated annually on 1 January. Chris Yates Guy du Blêt Victoria provides the foundation DOUBLE BASS Michael Robinson AO & Judith Marilyn Wilson Director - Technical Corporate Services from which we present all Bassoon Davin Holt PERCUSSION Robinson Shelley Sörensen Administration Manager our activities particularly our Douglas Eyre Dennis Vaughan* Conrad Nilsson Elizabeth Tupper Philip Bird work with our partner opera Matthew Ockenden* Paul Sablinskis* Ross & Daphne Turnbull Matthew Thorne and ballet companies. Further Marketing Coordinator Drs Victor & Karen Wayne Gillian Hansen FLUTE support from Arts Victoria and BOLD PRINT Justin King Erna Werner & Neil Werner OAM Lisa-Maree Amos denotes Section Leaders local Governments across Karen Schofield* *denotes the player who leads Administration Officer Principal Regional Partner Victoria support our innovative Lorraine Bradbury the section in the absence of Estelle Hentze Bendigo Bank Community and Education the Section Leader Bendigo Bank’s strong community Programs. ^ denotes Principal Emeritus Finance Officer and regional focus has great City of Greater Bendigo Rose Dragovic synergies with Orchestra Shire of Campaspe Finance Assistant Victoria’s work across Victoria. Otway Shire Council Jason Nguyen

the Arts Centre Executive Group The Arts Centre gratefully FOR YOUR INFORMATION Sydney Opera House Sydney Opera Executive Director, Building PO Box 7585 St Kilda Ms Judith Isherwood acknowledges the support ·The management Bennelong Point House Trust Management Development & Road Melbourne Vic 8004 Chief Executive of its donors through the reserves the right to add, GPO Box 4274 Mr Kim Williams AM Chief Executive Officer Maintenance Telephone Arts Angels Program. withdraw or substitute Sydney 2001 NSW (Chair) Richard Evans Greg McTaggart Administration Ms Catherine Brenner (03) 9281 8000 Mr Tim Brinkman artists and to vary the Chief Operating Officer (02) 9250 7111 Facsimile Executive, Performing Arts programme as necessary. Rev Dr Arthur Bridge AM David Antaw Director, Venue Partners (03) 9281 8282 · The Trust reserves Box Office Mr Wesley Enoch Executive Producer, & Safety Website the right of refusing (02) 9250 7777 SOH Presents Julia Pucci Mr Michael Burns Ms Renata Kaldor AO theartscentre.com.au admission. Facsimile Jonathan Bielski Chief Financial Officer Executive, Facilities Mr Robert Leece AM, RFD ·Cameras, tape recorders, (02) 9250 7666 Claire Spencer & Asset Management Ms Sue Nattrass AO Director, Marketing, Victorian Arts Centre paging machines, video Website Communications & Dr Thomas Parry AM Trust recorders and mobile sydneyoperahouse.com Customer Services Ms Pippa Croucamp Ms Janet Whiting telephones must not be Mr Leo Schofield AM Victoria Doidge Executive, Corporate (President) operated in the venue. Mr Evan Williams AM Services (CFO) Ms Deborah Beale ·In the interests of public Ms Terry Bracks health, the Arts Centre is Ms Melindy Green a smoke-free area. Mr Paul Brasher Executive, Marketing Mr Julian Clarke & Development Ms Catherine McClements Mr Graham Smorgon Mr Mike Harper Prof Leon van Schaik AO Executive, Commercial Mr David Vigo & Visitor Operations c o m pany & d i r e c t o r s business & government par t n e r s

Melbourne ARTISTIC Physiotherapists Casual Costumiers Customer Services Assistant to Philanthropy The Primrose Potter Ballet Sophie Emery Lara Barwick Customer Services Manager Director Principal Sponsor Australian Ballet Centre Principal Coach & Ballet Ebonie Scase Lexi George Adam Santilli Sharyn Gilham 2 Kavanagh Street, Mistress Myotherapist Corinne Gibbs CS Coordinator – Operations Philanthropy Assistant Southbank Victoria 3006 Fiona Tonkin Stuart Buzza Zoe Giblett Ann Brennan (Sydney) Telephone (03) 9669 2700 Peggy Jackson Ballet Mistress & Repetiteur Consultant General CS Coordinator – Sales Lynn Neilsen [email protected]. Elizabeth Hill Aurelie Jean au australianballet.com.au Practitioner Peri Jenkins Pam Martin FINANCE & Telstra, supporting The Australian Ballet Ballet Mistress Dr Vicki Higgins Anne Kay CS Coordinator – Ticketing ADMINISTRATION for more than a quarter of a century & Rehabilitation Facilitator Body Conditioning Specialist Angela Mesiano Anna Kavanagh Finance Sydney Noelle Shader Fiona Page Finance Manager Paula Baird Colt CS Coordinator – Reports The Australian Ballet Choreologist & Ballet Sally Sutherland Carolyn Dryley Level 3 10 Hickson Road, & Projects Master Head of Millinery Financial Accountant The Rocks Sydney 2000 STAGE Jeffrey Guiborat Lead Sponsor Mark Kay Vicki Car Diana Bedoya Telephone (02) 9252 5500 Darren Parish Company Management CS Assistants The Australian Ballet Company Managers Casual Millinery Benji Groenewegen Operations Accountant ABN 57 004 849 987 Ballet Coach Robyn Fincham Kate Powers Matt Jakowenko Felicity Frederickson Megan Connelly Sarah Griffiths Georgiana Russell-Head Kate Millard Payroll Administrator Tessie Scott Artist in Residence Assistant Company Shane Sotiropoulos Samantha Oliver Patron Colin Peasley Nurturing the future Her Excellency Ms Quentin Manager Casual Wardrobe Production Accounts Administrator Assistant of Australian ballet Bryce AC Governor-General Resident Choreographers Jasmine Moseley Corporate Relations Denise Barratt Katie Glenn-Smith of the Commonwealth of Stephen Baynes Operations Coordinator Business Development Finance Assistant Australia Stanton Welch Noeleen King Production Division Kathy Gambranis Thilini Siriwardana Assistant Guest Teacher* Travel Coordinator Corporate Relations Dana Morfett Major Sponsors Cynthia Harvey Michelle Saultry Account Managers BOARD *Guest Teacher visit Information Technology Chairman Assistant Travel Coordinator Christina Chiam IT Manager endowed by Freda May Elizabeth Gauld Christopher Knoblanche Irving Scholarship Lynne McDougall Scenery & Properties Damien Calvert Deputy Chairman Scenic Design Coordinator National Events Manager IT Assistant Jim Cousins AO Scott Mathewson Official legal partner of Méthode Tasmanoise®: Official Piano Partner of Official Beauty Partner of Fionn Meikle Peter Hawthorn Directors Technical & Production The Australian Ballet Exclusive sparkling The Australian Ballet The Australian Ballet Music Design Assistant Corporate Relations Robert O Albert AO, RFD, RD Production Manager wine sponsor Music Operations Manager Kat Chan Coordinator John Borghetti Romeo & Juliet Julie Amos Zoe Knight Administration Julie da Costa OAM Paul Anderson Principal Pianist Executive Assistant Li Cunxin Reception/Office & Music Librarian Production Coordinator Store to the Executive Director John Ellice-Flint Administration (Sydney) Stuart Macklin & Administrator, Wardrobe Manager Louise Grills Christopher Goldsworthy - Barbara Langley Kendal Cuneo The Dancers Company Assistant to Company Dancers’ Representative Pianist & Associate Angela Embleton Store Operations Manager Secretary/CFO Siobhan McKenna Music Librarian Media Relations Stage Manager Warren Rice Vivien Newnham Official airline of Sarah Murdoch Duncan Salton Media Relations Manager Pointe Shoe Partner Official Wine Sponsor Proud partner Fiona Boundy The Australian Ballet of The Australian Ballet of The Australian Ballet Peter Smedley Pianist Nicole Lovelock Office & Building Projects ofThe Australian Ballet Craig Spencer Emma Lippa Master Technician Production Centre Administrator Bruce Gordon Publicist Tracy Hosier The Australian Ballet Project Manager Eli Wallis Honorary Life Members Master Electrician Jo Sapir Receptionist Conducting Fellow Media Coordinator Elizabeth Albert John Berrett Jenny Abramson Simon Thew Bradley Grimshaw Media Sponsors Robert Albert AO, RFD, RD Wardrobe Master MARKET DEVELOPMENT John Calvert-Jones AM Media Relations Assistant Geoffrey Harman Marketing & HUMAN RESOURCES Timothy K F Cox AO Artistic Management Felicity Howell Assistant Stage Managers Communications Human Resources Manager Maina Gielgud AO Personal Assistant Keiren Smith Marketing & Helen Williams Official outdoor The fashion of ballet Proud sponsor See the arts up close Frederick W Millar AO, CBE to the Artistic Director Victoria Woolley Communications Manager 50th Anniversary media partner to come of The Australian Ballet on channel 132 Lady Porter Larissa McKinnon EHS Coordinator Kate Scott Director of Special Projects Lady Potter DLJ Mechanists Marina Milankovic Artistic Administrator & Yvonne Gates Dame Margaret Scott DBE Assistant to Music Director Bart Kendall Strategic Communications Lady Southey AM & Chief Conductor Avon Kilcullen Kitty Walker THE PRIMROSE POTTER Josie Woodgate OAM Frank Leo Campaign Marketing Assistant Wardrobe Master Philanthropy AUSTRALIAN BALLET Daniel Burns Artistic Coordinator Ian Martlew Senior Manager CENTRE PTY LTD EXECUTIVE Caitlin Topham Digital Marketing – Annual Giving ABN 16 005 363 646 Artistic Director Chrystal Daniel Judy Turner Production Wardrobe Director Proud sponsor of Supporting the Proud sponsor of David McAllister AM Senior Manager The Australian Ballet magic of ballet The Australian Ballet Education Wardrobe Production Education & Philanthropy Christopher Knoblanche Executive Director – Major Gifts Education Consultant Manager Marketing (Chairman) Valerie Wilder Fiona Howat Ken Groves Helen Cameron Michael Williams Car Park Manager Music Director Patrons Manager Education Operations Wardrobe Production Graphic Designer John Vanderstock & Chief Conductor Jasmin Tulk (NSW, ACT) Manager Coordinator Car Park Attendants Supporting Sponsors Nicolette Fraillon Jane Diamond Viviana Sacchero Jenny Howard Publications Editor Vi Nguyen Associate Artistic Director Patrons Manager Education Coordinator Head Costumier Rose Mulready Maurice Surley Danilo Radojevic Lisa Bolte Donna Cusack /Ladies’ Cutter Marketing Assistant Casual Maintenance Associate Executive Kerry Cumberbatch Maeve Ashby Planned Giving Manager Dance Education Ensemble Stephen Reddrop Australia’s leading Elegant, Understated Luxury Hotel Partner A unique Australian expression Director Donna Brearley Hannah Beer Ladies’ Cutter Merchandising Coordinator correct as 11.08.11 Mind & Body Health Clubs and Stylish of The Australian Ballet of world-class luxury in the Philippe Magid Polly Hilton Musette Molyneaux & Assistant to Associate Grants Manager in Sydney Whitsundays Chief Financial Officer Alexander McKinnon Acting Gentlemen’s Cutter Executive Director Nick Hays Carol Benson Patrick Meessmann Marsia Bergh Fiona Macmillan Philanthropy Services Director of Philanthropy Senior Costumier Manager Kenneth Watkins Susan Learner Government Partners Matching Grant Partner Medical Maureen Ryan Customer Relationship Medical Coordinator Director of Operations Costumiers Management Prospect Researcher Dr Ken Crichton Helen McCormack Penelope Bjorksten Customer Relationships Olivia Jones Sports Physician Manager Technical & Production Jessie Dole Philanthropy Services The Australian Ballet The Australian Ballet The Australian Ballet is Director Dr Andrew Garnham Karine Larché Emma Carter Assistant is assisted by the is supported by the supported by the Victorian Darren Conway Principal Physiotherapist Elizabeth Maisey Database Administrator – Donations and Events Commonwealth NSW Government Government through Arts Ruth Owen Coral East Government through the through Arts NSW Victoria Director of Corporate Susan Mayes Richard Laslett Australia Council, its arts Relations funding and advisory body Sophie Burbidge Madeleine Eastoe and Kevin Jackson Photography Georges Antoni

playbill ad 55

FOR THIS Fabric Dyeing & The Australian Ballet PRODUCTION Costume Properties 2011 identity Set Design Lynn Munro 3 Deep Design Realisation Fabric Painting www.3deep.com.au Julie Nelson Victora Rowell Costumes Wigs & The cast for this manufactured by the hairpieces by performance is Production Division of Alison Kidd available on the nightly cast list which The Australian Ballet Specialist props is issued free of Scenery & properties Greg Taylor charge to patrons. manufactured by Yolande Robertson The Australian Ballet Show Works Program edited by reserves the right to Scenery & properties Rose Mulready cancel or alter any painted by Program designed detail of this season, Scenic Studios by Jasmin Tulk or any performance Specialist Costume The Australian Ballet forming part of Manufacture portrait photography this season, as it David Anderson by James Braund considers necessary. Berensens Tailors

The Australian Ballet School is Australia’s premier vocational training institution for classical dance, and offers a carefully graded eight-level Training Programme to prepare students for a professional dance career. Auditions are open to all boys and girls from age 9 and above with a dream to create a DIRECTOR: Marilyn Rowe OBE future in dance.

For further information please visit australianballetschool.com.au

This is a Playbill / SHOWBILL publication. Operating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, Hobart & Darwin Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064 Overseas Operations: This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s New Zealand: Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published. Auckland: Mt. Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: [email protected]. Head Office: Suite A, Level 1, Building 16, Chairman Brian Nebenzahl oam, rfd 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. Fox Studios Australia, Park Road North, Moore Park NSW 2021 Managing Director Michael Nebenzahl 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 6799; Fax (852) 2891 1618. PO Box 410 Paddington NSW 2021 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 Ehsan; (60 3) 7728 5889; Fax (60 3) 7729 5998. Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 Editorial Director Jocelyn Nebenzahl Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088; Fax (65) 6333 9690. E-mail: [email protected] Website: www.playbill.com.au Manager–Production & Graphic Design Debbie Clarke : Playbill South Africa Pty Ltd, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333. 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. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details. XXXXXX 2011 Melbourne sydney