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Home , Adam Cooper (dancer), Chroma (ballet), Craig Ross, Danseur noble, Derek Deane, Graeme Murphy

Together, we’re lifting Marcus higher.

You voted Marcus Morelli as 2019 People’s Choice Winner. We’re proud to support his brilliant talent through the Telstra Awards.

Telstra and , celebrating 36 years of partnership.

Marcus Morelli 2019 Telstra People’s Choice Winner

Photographer: Justin Ridler

2 THE AUSTRALIAN BALLET 2020 SEASON Together, we’re lifting Marcus higher.

You voted Marcus Morelli as 2019 Telstra People’s Choice Winner. We’re proud to support his brilliant ballet talent through the Telstra Ballet Dancer Awards.

Telstra and The Australian Ballet, celebrating 36 years of partnership.

13 – 24 MARCH | Arts Centre 3 – 22 APRIL | House

Government Commissioning Production Lead & Production Lead Principal Partners Partner Partner Partner Partner Partner Marcus Morelli 2019 Telstra People’s Choice Winner

Imogen Chapman. Photography Justin Ridler Photographer: Justin Ridler Tzu-Chao Chou and Lana Jones in Dyad 1929 Photography Jim McFarlane

4 THE AUSTRALIAN BALLET 2020 SEASON NOTE FROM THE ARTISTIC DIRECTOR

New works are the lifeblood of all arts companies. Over the centuries, dancers and dance makers have shaped and changed ballet, taking its technique to fresh and exciting places. In every generation a handful of visionaries can inspire us to see ballet through a new lens, and in turn inspire others to create. Volt is a celebration of this process.

I first saw Wayne McGregor’s work in the early 2000s. The piece, brainstate, featured Deborah Bull, then a principal of , and it was riveting. Wayne went on to create works for the world’s most prestigious ballet companies. His extraordinary vision, creativity and intellect have revolutionised the way we look at ballet in the 21st century. In 2009 Wayne created Dyad 1929 on our company as part of our four-year curation of works celebrating the innovations of the Russes, and thus began our dancers’ love affair with his work. A young Alice Topp was part of the creation process for Dyad 1929, and this experience was one of the catalysts for her to begin her own choreographic journey by making a piece for our bodytorque program in 2010.

I want to thank Wayne for the opportunity to revive two of his masterworks, and Dyad 1929. It has been a joy to have Antoine Vereecken return to our studios to oversee the staging of these works, and to have Neil Fleming-Brown with us to teach Chroma. Their profound knowledge of Wayne’s oeuvre has allowed us to revive these works in all their sharp and astonishing detail. It has been wonderful to hear the very different but equally galvanising scores of and Steve Reich echoing through the corridors; they instantly make you want to dance. We have been amazed afresh by John Pawson’s powerful set for Chroma under Lucy Carter’s lighting and the sleek subtlety of Moritz Junge’s costumes. Lucy's marvellous creativity is again on display in her lighting design for Dyad 1929; she also devised the stunning stage concept in collaboration with Wayne.

It is always a thrill to present a world premiere. Alice Topp’s Logos was co-commissioned by Wayne’s company Studio Wayne McGregor, The Australian Ballet and Dance@TheGrange. A duet from it, made on the dancers of Company Wayne McGregor, was performed for the first time in 2019 as part of Dance@TheGrange; we are now excited to unveil the full work as part of our Volt seasons. After the huge success of Alice’s Helpmann Award-winning Aurum in 2018, she has chosen to continue her journey with long-time collaborator Jon Buswell, who designed both the set and the lighting for Logos, and her musical muse Ludovico Einaudi. Another of Alice’s muses, our former Principal Artist Leanne Stojmenov, has returned to dance with us in Logos, bringing all the passion and dynamism of the performances we treasured during her 18 years with the company.

During my two decades as artistic director, it has been such a joy to see the growing audiences for our annual contemporary program. In The Australian Ballet’s first season, Artistic Director staged a choreographic workshop and commissioned a new Australian work, Rex Reid’s Melbourne Cup. Since then, each director has added to our repertoire with works by the world's leading choreographers and ’s unique dancemakers. I am sure this will continue well into the future, and that our company and audiences will always be challenged, excited and inspired. I hope you enjoy both this season of Volt and ballet’s continuing evolution.

David McAllister AM

THE AUSTRALIAN BALLET VOLT 5 NOTE FROM THE EXECUTIVE DIRECTOR

True to our motto ‘Caring for tradition, daring to be different’, we are committed to presenting an exciting season each year. This year we are proud to bring you the electrifying Volt – a brilliant showcase of 21st-century British and Australian works.

World-renowned choreographer Wayne McGregor makes ballets that beautifully suit our dancers’ athletic, bold style. We are thrilled to revive two of his one-act works: Chroma, which we first danced in 2014, and Dyad 1929, commissioned by The Australian Ballet in 2009.

We are also proud to present Logos, a world premiere by Resident Choreographer Alice Topp, co-commissioned by The Australian Ballet, Studio Wayne McGregor and Dance@TheGrange. Alice credits Wayne with inspiring her to discover her own artistic voice. Watching Alice’s transformation from dancer to acclaimed choreographer has been a thrill both for the company and our audiences.

Just as we all enjoy the wonderful partnerships we see on stage, we appreciate our loyal corporate partners, who share our passion for this extraordinary art form and our ambition for the company.

This year marks our 36th year of support and friendship with Principal Partner Telstra. This invaluable partnership has transformed the lives of so many Australians, from our dancers, through the Telstra Ballet Dancer of the Year Awards, to the hundreds of thousands who have enjoyed our annual regional tour, which Telstra supports.

Our Lead Partner Qantas makes it possible for this touring company to travel the country and the world in comfort and safety. Our other Lead Partner, the Australian luxury property developer Aqualand, is also a Production Partner for Volt. Major Partners Herbert Smith Freehills and Kawai, both key supporters of the company and exemplars of excellence, are Commissioning and Production Partners, respectively, for Volt. Our thanks to all of these vitally important partners.

Since its inception in 1962, The Australian Ballet has been generously supported by our corporate and government partners and our philanthropic patrons as well as you, our loyal audience members. Our shared love of dance has made it possible for the company to grow and present world-class performances and exciting seasons. Quite simply we wouldn’t be here without you. Thank you.

We hope that you enjoy Volt as much as our dancers enjoy performing it for you.

Libby Christie

6 THE AUSTRALIAN BALLET 2020 SEASON Adam Bull and Amber Scott in Chroma Photography Jess Bialek

THE AUSTRALIAN BALLET VOLT 7 Volt

With and Orchestra

CHROMA (2006) LOGOS (2020) DYAD 1929 (2009) Choreography Wayne McGregor Choreography and costume design Alice Topp Choreography Wayne McGregor

Music Joby Talbot Music Ludovico Einaudi Music Steve Reich Double Sextet 'Cloudpark', 'A Yellow Disc Rising From the Sea', 'Whirling Winds', 'Ultimi Fuochi', 'Logos' and Wayne McGregor and Lucy Carter 'Transit of Venus' and 'Hovercraft' 'Elegy for the Arctic' Stage concept Published by Chester Music Limited and used by kind Costume design Moritz Junge permission of the Music Sales Group Set and lighting design Jon Buswell Lighting design Lucy Carter III Logos is a co-commission by Studio Wayne 'Aluminum', 'The Hardest Button to Button' McGregor, The Australian Ballet and Dance@The Principal Restager Antoine Vereecken and 'Blue Orchid' Grange. It is generously supported by the Robert Dyad 1929 was originally commissioned by Published by Peppermint Stripe Music/EMI Music Publishing Ltd Southey Fund for Australian Choreography. New arrangement by Joby Talbot The Australian Ballet and had its premiere at 'Whirling Winds', 'Logos' and 'Elegy for the Arctic' are Arts Centre Melbourne on 21 August 2009 orchestrated by Christopher Austin published by Chester Music Limited and used by kind Used by kind permission of the Music Sales Group permission of the Music Sales Group. These performances of Double Sextet by Steve Reich are given by permission of Hal Leonard Australia Pty Ltd, exclusive 'Ultimi Fuochi' is used by kind permission of Ludovico Einaudi Set design John Pawson agents for Boosey and Hawkes Music Publishers Ltd of London

Costume design Moritz Junge “And you really will have to make it through that violent, metaphysical and symbolic storm … CHOREOGRAPHER’S NOTE Lighting design Lucy Carter people will bleed there, and you will bleed too …” In 2009, to celebrate the centenary of Stager Neil Fleming Brown Haruki Murakami the magnificent , I embarked upon generating a diptych: two contrasting Coached by Principal Restager Antoine Vereecken “Perhaps all the dragons in our lives are princesses yet complementary ideas produced on two who are only waiting to see us act, just once, with sides of the world – Dyad 1909 (London) Chroma was commissioned by The Royal Ballet beauty and courage. Perhaps everything that and Dyad 1929 (Melbourne). and had its premiere at The Royal Opera House, frightens us is, in its deepest essence, something Covent Garden, on 17 November 2006 helpless that wants our love.” The maverick impresario and founder of the Ballets Russes, , had a creative

Rainer Maria Rilke vision that served to challenge the social norms chroma kro¯’ma of the day. His work seduced the rest of the CHOREOGRAPHER’S NOTE 1. the purity of a colour, or its freedom from world with productions that not only redefined white or grey. How do you wear your monsters? When do you ballet but set a fresh agenda for the process of start wearing another's monsters as your own? art. The Ballets Russes was very much a product 2. intensity of distinctive hue; saturation of its time. From a scientific, social, political and of a colour. Life can feel full of modern demons and pressures. technological perspective, the period of 1909 – Sometimes it becomes a dance with your devils of “Deceptions of the senses are the truths 1929 was rich with discovery and experimentation; grief, a wrestle with pain, a bargaining with your of perception.” the world was changing and fast. beasts of fear. The storm around us drowns us, Johannes Evangelists Purkinje, and before we know it, we have lost ourselves, For this Dyad diptych, I was inspired by Czech anatomist and physiologist engulfed in the whirling turbulence. a fascinating example of the period’s rapid evolution, illustrated brilliantly by “The minimum could be defined as the perfection Logos explores the beast within us – our fears, its preoccupation with Antarctica. that an artefact achieves when it is no longer fights, darkness and demons – the storms you possible to improve it by subtraction. This is the can’t out-run. What do your monsters look like? In January 1909, the Anglo-Irish explorer quality that an object has when every component, Ernest Shackleton embarked upon his seminal Logos, a Greek word meaning reason or logic, every detail, and every junction has been reduced Antarctic expedition, the Nimrod. He was the was behind the creation of Logotherapy, a concept or condensed to the essentials. It is the result of first to successfully reach the magnetic South developed by the neurologist, psychiatrist and the omission of the inessentials.” Pole. By 1929, aviator Richard Evelyn Byrd – the holocaust survivor Victor Frankl. It is centred on pioneering American polar explorer – was the John Pawson, Minimum the principle that finding meaning in life is the first to actually fly over the South Pole in a Ford primary motivational force for survival. Trimotor. In a mere 20 years the technological CHOREOGRAPHER’S NOTE Logos is a work about armouring ourselves revolution had given man the enduring power of Often in my own choreographies I have actively against today’s predators, pressures, climate flight and with it a renewed energy for expedition. conspired to disrupt the spaces in which the body and often, ourselves. It’s about flexing our Literally now able to ‘dis-cover’ more of the globe, performs. Each intervention, usually some kind mental muscles as we go in to battle with our it was a new dawn in possibility. Although Dyad of addition, is an attempt to see the context of daily demons. How can our fears be so great 1929 is not a narrative ‘about’ Antarctica the the body in a new or alien way. On reading John that our only solution is to turn on ourselves dance, design and music contain traces of the Pawson’s Minimum I was captivated by this notion and each other? In these times, isn’t hope and Ballets Russes spirit, made visible for our time. of subtraction, the ‘essential’ space, which seems love our greatest weapon and armour? Dyad 1929 is dedicated to the memory to reduce elements to make visible the invisible. of Merce Cunningham (1919 – 2009), Intriguingly, although Pawson’s designs do give Alice Topp a choreographer whose curiosity, sense definition to space(s), they are somehow always “The violets in the mountains have broken of adventure and seamless collaboration boundary-less. This potential ‘freedom space’ the rocks.” knew no bounds. would be an extraordinary environment for a new choreography, where the grammar and articulation Tennessee Williams Wayne McGregor of the body is made crystal clear, graphic and unmediated. It could be a space where the body becomes absolutely architectural. At the same time, in creating volume(s) of tone for the choreography to inhabit the body can behave as a frequency of colour – in freedom from white: CHROMA.

I heard Joby Talbot’s Hovercraft piece for orchestra and felt its immediate physical impact – visceral, unsettling, hungry and direct. These short five minutes became our keystone to unlocking a strangely seductive score that tensions the aggressive force of with the enigmatic beauty of Talbot’s own compositions.

Wayne McGregor

8 THE AUSTRALIAN BALLET 2020 SEASON Alice Topp, Brett Simon and Juliet BurnettCallum in Linnane.Chroma PhotographyPhotography LynetteJustin Ridler Wills

THE AUSTRALIAN BALLET VOLT 9 Adam Bull and Amber Scott in Chroma PhotographyArtists of Houston Jess BialekBallet. Photography Amitava Sarkar

10 THE AUSTRALIAN BALLET 2020 SEASON Shock Waves

OVER A DECADE HAS PASSED SINCE ITS PREMIERE, BUT WAYNE McGREGOR’S CHROMA STILL PACKS A PUNCH. BY EMILIA SPITZ AND LINDA URUCHURTU

Andrew Killian and Leanne Stojmenov in Chroma Photography Jess Bialek

In the world of contemporary ballet, with For many, Chroma was an introduction to new abstract works being made every year, McGregor’s instantly identifiable language of what makes an enduring classic? While no hyper-extended limbs, speedy changes and sharp choreographer has ever been able to bottle up attack. Audiences that evening were in for many their ‘secret sauce’, there are elements that stand- surprises: the ballet was performed completely out works tend to share: they are often inspired off-pointe, its costumes were minimalist vests by cross-disciplinary sources, they combine and shorts by Moritz Junge, toned to each memorable movement with catchy music and they dancer’s flesh, and the set was like a Zen music have a unique ability to draw in new audiences. box. In addition, regular ballet goers could never have imagined the disruptive pairings McGregor Chroma ticks all these boxes. It debuted in 2006 had assembled in his dream cast of ten, including at the Royal Opera House, alongside Christopher the petite and ethereal with the Wheeldon’s DGV: Danse à grande vitesse – not contemporary edge of , and the one, but two instant classics in a single evening steeliness of with the lightning – and went on to gain wide appeal within the speed of Australian dancer Steven McRae. dance world. It paved the way for Wayne McGregor to become The Royal Ballet’s resident Before McGregor had approached Joby Talbot choreographer; his ballets have since become or started thinking about the choreography itself, desired by major ballet companies around the he had found the space in which his dancers would globe, a significant feat given that McGregor’s move. Fascinated with the work of renowned background is in and he has no architect John Pawson and his visual essay classical training. Minimum, where he proposes the idea that one could attain the ‘essential’ space by a process McGregor had choreographed Qualia, a 30-minute of subtraction, McGregor commissioned a white work featuring 19 dancers, for the Royal Opera box, revealed to us as soon as the curtain opens, House back in 2003, but the real buzz happened creating a strong impression and sense of place, around the premiere of Chroma. Here was a ballet a pure space. set to an orchestral arrangement of music by The White Stripes – more precisely, a selection of It has been thirteen years since Chroma’s pieces by composer Joby Talbot that included his sensational premiere and six since The Australian reimagining of several tracks from the celebrated Ballet danced it for the first time. A hit with garage rock duo (‘Aluminum’, ‘Blue Orchid’ and audiences and critics alike, the ballet has won a ‘The Hardest Button to Button’). Chroma had a number of prestigious dance awards, including limited run of six performances, so tickets became Best Dance Production at the 2007 Laurence like gold dust, fuelling the hype among London’s Olivier Awards in the UK. Many technological ardent culture buffs. advances – and revolutionary dance works – later, we live in a time where the word ‘disruptive’ is

THE AUSTRALIAN BALLET VOLT 11 It recast the way we look at dance spaces, at ballet bodies and their potential for moving in a new and alien way.

frequently bandied about. But, looking back, Chroma caused a real disruption in the ballet world, creating a benchmark. It recast the way we look at dance spaces, at ballet bodies and their potential for moving in a new and alien way. Drawing upon both the classical line and phrases that we’d previously seen in the work of legendary choreographers like Merce Cunningham and William Forsythe, McGregor found new applications, new ground and a new, full-on vocabulary that is as exciting for the dancers to perform as it is for audiences to watch. There are some elements, for instance men partnering men, that are now frequently seen in ballet choreography, and which McGregor has since explored in ballets like Obsidian Tear (2016) and Yugen (2018), but which were certainly not mainstream when Chroma was unveiled. Disruption aside, there is something magical and ethereal about the first minutes ofChroma and in some of its that hint at McGregor’s fascination with ballet. A dancer moves her torso in wavelike motions, a leitmotif that recurs in this first section. Plunging into space, she meets the steely lines of her partner. In the white minimalist box, dancers create the décor with counterpoints of energy and stillness, sometimes as if in slow motion. There are elements of beauty and the grotesque, a dialogue between classical and modern, a balancing act that continues until the very end and that is perfectly punctuated by the score, often energetic, dramatic and screeching but also calm, delicate, shimmering.

Chroma has now been revived several times at The Royal Ballet, which has taken it on tour to , North America, and Taipei. It has also been staged by twelve other companies: National Ballet of , , , The Australian Ballet, , , Alvin Ailey American Dance Theater, the , , , and Norwegian National Ballet. As Chroma has been performed across the world it has found new voices to express it, and dancers with very Kevin Jackson and Juliet Burnett in Chroma different movement qualities to the original cast Photography Jess Bialek have taken over the roles, revealing new sides to the piece. Particularly striking was the powerful and articulate way of moving that five dancers from Alvin Ailey American Dance Theatre brought to the 2016 revival in London, when that company collaborated with The Royal Ballet, showing that the work is a great fit for both modern dance and classical companies.

How does it remain timeless? Chroma is successful not only because of its ideal mix of design, music and choreography, but because of its potential to challenge preconceptions about the ballet body and abstract dance, and its ability to bring together different audiences. Several seasons and many companies later, this cerebral, sensorial masterpiece retains its mesmerising power.

Emilia Spitz and Linda Uruchurtu write about ballet and dance at www.theballetbag.com

12 THE AUSTRALIAN BALLET 2020 SEASON Andrew Killian and Leanne Stojmenov in Chroma Photography Jess Bialek

THE AUSTRALIAN BALLET VOLT 13 Full Circle

AS SHE PREMIERES HER LATEST WORK, RESIDENT CHOREOGRAPHER ALICE TOPP LOOKS BACK ON THE ROAD SHE’S TRAVELLED. BY JANE ALBERT

When Alice Topp was a young after that production’s successful debut as part Alice Topp dancer she had an experience that would of the company’s Verve program. Aurum played Photography Christopher Rodgers-Wilson alter the course of her life and career: she met New York’s Joyce Theater in 2019 and won the Wayne McGregor. It was 2009, and the British Helpmann Award for Best Ballet the same year. choreographer was working with The Australian As is often the case with Topp, who is a deep Ballet on a new production, Dyad 1929, his first with the company. In typical McGregor style, he thinker, the idea for Logos had been percolating encouraged the dancers to do something new: for some time as she had supported or observed rather than dictate the steps, he suggested they fellow dancers and friends going through think for themselves, break out of the classical particularly difficult times, such as illness or mould and create their own unique movement. relationship breakdowns. The experience gave Topp the confidence to tune “In the two years since Aurum opened I’ve had into her own choreographic ideas, which for some a lot of friends go through challenging times, time had been quietly brewing in the background. which got me thinking about a kind of storm Eleven years later, she has come full circle. and how you weather that storm and what the Now a resident choreographer with The Australian damage is. Aurum is about your monsters, your Ballet, Topp is sharing the billing with McGregor vulnerabilities, your darkness, and the point at in a triple bill that includes two of his ballets and which your demons impact another person and they take them on.” the world premiere of her new work, Logos. “Before working with Wayne I was trying to fit a Too many people adopt a mask rather than admit mould,” Topp explains. “In the corps de ballet I they are struggling, and Topp is hopeful Logos will was always trying to blend in as one of 24 swans spark a conversation among audiences. “People or flowers or snowflakes or wilis. I never thought perceive it as strength, that Australian thing of about what my own voice would be like.” But ‘she’ll be right mate’, but it takes strength to be when McGregor cast her as second cast to former able to say, ‘Actually I’m not ok’. People supress grief, depression and illnesses because they Principal Artist Leanne Stojmenov in Chroma, he challenged her to think differently. He said, think it’s not what others want to know about; so I wanted to create a piece that can start a ‘I don’t want you to do what Leanne does, that’s An AI Performance Experiment, which invited conversation about whatever those monsters why I cast you. I want to see what you do with it.’ his dancers to respond to a digital collection of are. No one is immune to suffering.” It challenged me to think about my own artistic 25 years’ worth of McGregor’s dance steps. voice, gave me permission to be myself, to Topp was particularly moved when she watched The duet Clay now opens Logos, a 25-minute work celebrate my idiosyncrasies and not try to a number of her fellow dancers struggle off- for nine dancers. The music is by Topp’s perennial squash them. And that’s directly informed my stage before pushing their personal issues aside favourite Ludovico Einaudi. “I’m so inspired by his artistic voice as a choreographer.” to perform night after night, giving 110 per cent music, it tells a story in itself,” she says. commitment. It seems fitting then thatLogos should take In fact, it was Einaudi’s music that gave rise to the its place alongside Dyad 1929, the work that “Everyone in this industry performs to some work’s title. “One of the tracks was called Logos set her on her choreographic path, and another degree and the audience doesn’t know what and [Music Director] Nicolette Fraillon told me it of Topp’s favourite McGregor works, Chroma. these people have been going through. You walk was derived from a Greek word meaning reason “When [Artistic Director] David McAllister invited down the street and don’t know anyone’s story … and logic.” Fraillon went on to relate the story of me to create a piece alongside my choreographic watching people go on and perform as if nothing Holocaust survivor Viktor Frankl, who created hero as part of a triple bill that included two of is wrong and realising everyone is performing to the Logotherapy principal, based around the my favourites pieces to dance, it was an absolute some degree made me want to say, ‘Let’s say it’s idea that finding meaning in life was the primary ‘yes!’,” she says. ok not to be ok’.” motivational force for survival. “Titles for me Topp’s output as a choreographer has been In another case of Topp’s life coming full circle, are really important because they need to say prodigious, particularly when you consider she has Logos grew out of some choreographic ideas she something about the work but not give it away, juggled it with her full-time job as a dancer with developed with McGregor’s own dancers at Studio so I thought it apt to create a piece titled Logos The Australian Ballet. She joined the company’s Wayne McGregor in London last year after he given it’s about survival and finding your way corps de ballet in 2007; she made her first commissioned her to create a duet for the Dance@ through darkness to the other side,” she says. choreographic work, Trace, in 2010 as part of the TheGrange festival. Now in its second year, the Topp likes to design the costumes for her ballets. company’s choreographic showcase bodytorque. annual dance program is curated by McGregor Logos moves away from the all-white she chose Three further successful bodytorque works ensued and staged in a picturesque historic estate outside for Aurum and the all-black she picked for Little between 2011 and 2014, after which she branched London. Topp travelled to London for a month Atlas. “This piece is more individual, it’s broken out into choreographing music videos for artists and spent the first fortnight on her own with up into solos, duets and a small group section, including Megan Washington (2014) and Ben McGregor’s dancers creating the duet Clay, so I wanted the costumes to be individual, and Folds (2017). in addition to teaching them Little Atlas. colour was important,” she explains. But it was in 2016 that Topp made her “To work with them was a great privilege,” says As resident choreographer, Topp says she hopes choreographic breakthrough after being invited Topp. “They hadn’t had another choreographer to create work that connects with people. “I’m to create her first mainstage work, for the there for five years, so I was intimidated, but they quite emotionally fuelled. I want to share stories company’s Symphony in C season. The result were so keen for new ideas and it was great to that are important to me and hopefully people will was Little Atlas, performed that year and again in see them open and excited about working with come away feeling they’ve shared an experience 2017. Although she finds inspiration in art, books, me.” Clay and Little Atlas were staged alongside with everyone else in that auditorium,” she says. music and films, Topp describes her creative voice Ballet Black’s The Suit and Washer over three as “emotionally fuelled” and her follow-up, the performances. Topp also shadowed McGregor Jane Albert is a journalist specialising in the arts moving 2018 work Aurum, was no different. Topp for a week as he developed a new work in was appointed resident choreographer not long collaboration with Google AI, Living Archive:

14 THE AUSTRALIAN BALLET 2020 SEASON Company Wayne McGregor dancers Rebecca Bassett-Graham and Izzac Carroll in Clay. Photography Camilla Greenwell

THE AUSTRALIAN BALLET VOLT 15 New Galaxies

WHEN WAYNE McGREGOR ARRIVED AT THE AUSTRALIAN BALLET TO MAKE DYAD 1929, THE COMPANY WAS SET ABLAZE. KATE SCOTT WAS THERE.

“It is Monday morning and I am sitting in on Wayne McGregor rehearsals for Wayne McGregor‘s Dyad 1929. Photography Teagan Glenane The experience is like watching creatures learn how to walk on another planet.”

So wrote Anna Sutton, a blogger invited into The Australian Ballet’s studios to document the creation of Dyad 1929. In a concentrated development timeline of just a few weeks, it seemed everyone in the building was learning an alien language. Here was a choreographer who’d set a ballet (a ballet!) to The White Stripes and whose reputation as a cerebral, experimental iconoclast preceded him, who spoke in shotgun staccato and choreographed just as quickly, who peppered his studio dialogue with onomatopoeic directives like “Wooooaaahhh” and “Zzyyyuppp”. Here was a very tall man with long, hypermobile, expressive arms, who told the dancers to write calligraphy with their limbs, to imagine pulling their rib cages through their shoulder blades, to harden their bodies into cut glass. The cast would rush to and from rehearsals slick with perspiration, looking feverish and a little terrified, but clearly exhilarated. There was a strange vibration in the hallways. It was clear something extraordinary was being made, but no one was quite sure what the thing was.

Dyad 1929 premiered in 2009 and was part of a four-year programming arc celebrating the trailblazing Ballets Russes. Most of the choreographers involved took the opportunity to reimagine existing Ballets Russes works – tackled and Alexei There was a strange vibration in the hallways. It was clear Ratmansky Scuola di ballo – but McGregor was something extraordinary was being made, but no one was driven by the maverick spirit of Sergei Diaghilev, the founder of Ballets Russes. “Diaghilev had quite sure what the thing was. a creative vision that served to challenge the social norms of the day,” wrote McGregor in his course of increasingly ambitious challenges. thrill – and it was entirely thrilling, the visceral, choreographer’s note. “His work seduced the The original score, specially commissioned for very human thrill of watching extraordinary bodies rest of the world with productions that not only Dyad 1929, was abandoned. Instead, McGregor and minds take flight – was knowing it could fall redefined ballet but set a fresh agenda for the set to the piece to Steve Reich’s Double Sextet, into chaos at any time. Afterward people would process of art.” The bar was set high. McGregor a fearsome piece of rhythmically layered grasp for analogies. The dancers looked alien, like drew further inspiration from Ernest Shackleton’s engineering which McGregor said, almost impossible insects. Lana Jones’ physique recalled pioneering journey to the South Magnetic Pole in proudly, was “very difficult to count”. the gunmetal symmetry of a missile just before 1909 and the accelerated period of technological, launch. Juliet Burnett called it “disturbing the “We would rarely leave the studio without a coat scientific, social and political development universe”; Dana Stephensen said dancing it was of sweat, and perhaps a little bit of a headache that followed it. Just 20 years after Shackleton like pushing your body and brain into “totally new – possibly from dehydration, but more likely reached the South Pole by ship and pony, galaxies”. Nobody wanted to go home and so we because Wayne was challenging our minds,” aviator Richard Evelyn Byrd flew straight over didn’t, moving from the after-party to a bar and blogged dancer Juliet Burnett. “It was an epiphany it in a Ford Trimotor. McGregor explored this then another bar to keep talking about what of sorts for me. I had discovered muscles I had in a diptych of works: Dyad 1909, created in we’d just witnessed. London on his own company, and Dyad 1929. never been in tune with. I pushed my body to fill negative space like a broad brush painting oil Dyad 1929 was a turning point for The Australian In the studio next to McGregor’s, Alexei on canvas, or a fine needlepoint etching, or the Ballet in many ways. It was the beginning of a Ratmansky was creating his new Scuola di ballo. breath of an acrylic spray-can on a wall.” Dancer long relationship with Wayne McGregor: the Both choreographers were at the top of their Dana Stephensen likened her body to a rubber company would take Dyad 1929 on its 2012 game – and couldn’t have been more different in band that never quite snapped. tour of New York, and dance his works Chroma their approach. Ratmansky’s work was classical, in 2014 and Infra in 2017. Contemporary We’d all seen the costumes in development stripped down to its elegant fundamentals. seasons like Vanguard, 20:21, Faster and Verve and heard whispers about the set, but nothing Dancers picked up his choreography easily, and became a highlight of the company’s calendar, had prepared us for the blinding visual onslaught his habit of clapping twice with a sage “Correct!” demonstrating a heightened appetite for the of opening night. Those blazing whites, intense on completion of a movement phrase spread dangerous and the new. McGregor, like Diaghilev, as the Antarctic sun, formed a pure geometry throughout the building. (“Correct!” we’d say, had set a fresh agenda for the process of art. clapping twice, in meetings.) His work, said with vortex blacks, creating a laboratory for Ratmansky, “has to be understated so you don’t high-stakes experimentation. The music’s manic, Kate Scott is a writer and the editor of Luminous: pull the love from the audience.” McGregor, cascading counts made your heart feel like it was celebrating 50 years of The Australian Ballet meanwhile, seemed to be setting an obstacle alternately speeding up and losing beats. Half the

16 THE AUSTRALIAN BALLET 2020 SEASON Andrew Killian, Lana Jones and Daniel Gaudiello in Dyad 1929 Photography Branco Gaica

Robyn Hendricks and Daniel Gaudiello in Dyad 1929 Photography Jim McFarlane

THE AUSTRALIAN BALLET VOLT 17 PLAYBILL ADS 19

Stephanie Williams and Andrew Killian in Dyad 1929 Photography Jim McFarlane

18 THE AUSTRALIAN BALLET 2020 SEASON PLAYBILL ADS 19

THE AUSTRALIAN BALLET VOLT 19 PLAYBILL ADS 20

20 THE AUSTRALIAN BALLET 2020 SEASON Creatives Photo Pål Hansen Photo Kate Longley

WAYNE McGREGOR CBE ALICE TOPP

Choreographer Choreographer Chroma, Dyad 1929 Logos

Wayne McGregor CBE is a multi-award-winning British Alice was born and raised in Bendigo and started dancing choreographer and director. He is artistic director of Studio at the age of four. After two years with Royal New Zealand Wayne McGregor, the creative engine of his life-long choreo- Ballet, she joined The Australian Ballet in 2007. Her passion graphic enquiry into thinking through and with the body. Studio for choreography began when she created her first work, Wayne McGregor encompasses his extensive creative collabo- Trace, for the 2010 season of Bodytorque, the company’s rations across dance, film, music, visual art, technology and choreographic showcase. From 2011 to 2014, she made science; Company Wayne McGregor, his own touring company three further works for the Bodytorque seasons; in 2016 she of dancers; and world-class learning, engagement, research and choreographed Little Atlas, which appeared in the company’s artist development programs. Studio Wayne McGregor is found mainstage program Symphony in C in both 2016 and 2017. at Here East in Queen Elizabeth Olympic Park. In 2018 her work Aurum, which was created with the support of a Prize for New Dance, had its world premiere Wayne is resident choreographer at The Royal Ballet, where as part of The Australian Ballet’s Verve program. It appeared his productions are acclaimed for their daring reconfiguring at New York’s Joyce Theater in 2019 and was staged by Alice of classical language. He is professor of choreography at at the in 2020. Trinity Laban Conservatoire of Music and Dance; he has an Honorary Doctor of Science from Plymouth University and an In 2019 Alice won the Helpmann Award for Best Ballet for Honorary Doctor of Letters from University of Leeds. In 2017 Aurum. She has also been nominated for a Green Room he was awarded an Honorary Fellowship of the British Science Award (Little Atlas, 2017) and for two Australian Dance Association. In 2019, he was made an Honorary Doctor of both Awards (Same Vein, 2014 and Trace, 2010). University of the Arts London (UAL) and University of Chester. She has choreographed music videos for artists including Wayne is regularly commissioned by and has works in the Megan Washington and Ben Folds, and has been invited to repertories of the world’s most important ballet companies, create works for II and . including , the Alvin Ailey American Dance She was appointed one of The Australian Ballet’s resident Theater, , Bolshoi Ballet, Royal Danish Ballet choreographers in 2018. and San Francisco Ballet. He has choreographed for theatre, opera, film Harry( Potter and the Goblet of Fire, The Legend of Tarzan, Fantastic Beasts and Where To Find Them, Sing), music videos (Radiohead, Thom Yorke, The Chemical Brothers), fashion (Gareth Pugh at London Fashion Week 2017, NY Fashion Week 2014), campaigns (Selfridges), TV (Brit Awards 2016, 2015), and site-specific performances (Big Dance Trafalgar Square, 2012).

Wayne’s work has earned him four Critics' Circle National Dance Awards, two Time Out Awards, two South Bank Show Awards, two Olivier Awards, a and two Golden Mask Awards. In 2011 he was awarded a CBE for Services to Dance.

In Australia, Chroma won a Helpmann Award for Best Ballet or Dance Work in 2014; in 2009, Dyad 1929 was nominated in the Green Room Awards for Best Dance Ensemble and Design, and in the Betty Pounder Awards for Choreography. In 2010, it was nominated in the Helpmann Awards for Best Ballet or Dance Work and Best Choreography.

THE AUSTRALIAN BALLET VOLT 21 Creatives Photo Ravi Deepres

ANTOINE VEREECKEN NEIL FLEMING BROWN

Principal Restager Stager Dyad 1929 Chroma Chroma

Born in Gent, , Antoine trained at the Born in Glasgow, Neil Fleming Brown danced of Antwerp. From 1993 to for Company Wayne McGregor from 2006 to 1997 he performed with Les Ballets C. de la B. 2010. He is now a Studio Wayne McGregor In 1997 he joined Malaika Kusumi’s Renaissance dance artist who has been rehearsal director de la Danse in Frankfurt and later joined the for Company Wayne McGregor, a member of Kibbutz Contemporary Dance Company in . the Learning and Engagement team, and a restager of McGregor works for dance schools From 2001 to 2003 Antoine performed with and other companies. He has restaged Polar the Richard Alston Dance Company in London Sequences for Trinity Laban Conservatoire and during that time restaged Richard Alston’s of Music and Dance, Chroma for the National Red Run on the London Contemporary Dance Ballet of and Infra for The Australian School. Antoine danced for Company Wayne Ballet and . McGregor from 2004 till 2011. Since 2011 he has been the principal restager at Studio Wayne McGregor and has worked on projects including the filmHarry Potter and the Goblet of Fire for Warner Brothers, Dido and Aeneas for La Scala Milan and Gareth Pugh’s Lexus Design Disrupted at New York Fashion Week, as well as restaging several of McGregor’s works for San Francisco Ballet, the National Ballet of Canada, the Bolshoi Ballet, The Royal Danish Ballet, Boston Ballet, The Royal Ballet, Alvin Ailey American Dance Theatre, The Australian Ballet, the , Dutch National Ballet and Hong Kong Ballet, among others. In 2012, Antoine won an Isadora Duncan Dance Award for his restaging of Chroma on the San Francisco Ballet.

As a teacher, Antoine has taught for The Royal Ballet School, London Contemporary Dance School, National Ballet School of Canada, Royal Danish Ballet Summer School, Royal Ballet School of Antwerp, , School, D.A.N.C.E, DAF Dance Arts Faculty in Rome and Company Wayne McGregor, among others.

Dimity Azoury and Andrew Killian rehearsing Dyad 1929 Photography Kate Longley

22 THE AUSTRALIAN BALLET 2020 SEASON Creatives Photo Jeffrey Herman

LUDOVICO EINAUDI STEVE REICH JOBY TALBOT

Composer Composer Composer Logos Dyad 1929 Chroma

Ludovico Einaudi's phenomenal CD sales Steve Reich has been called "America’s Joby Talbot was born in London in 1971. and ability to sell out major concert halls greatest living composer" (Village Voice), He studied composition privately with Brian worldwide are confirmation that he is one "the most original musical thinker of our time" Elias and at Royal Holloway and Bedford New of ’s success stories. After (The New Yorker), and "among the great College before completing a Master of Music studying at the Conservatory in Milan, and composers of the century" (The New York (Composition) at the Guildhall School of Music subsequently with , he spent Times). His music has influenced composers and Drama under Simon Bainbridge. several years composing in traditional forms. and mainstream musicians all over the world. In the mid-1980s he began to search for a Music for 18 Musicians and Different Trains Talbot’s diverse catalogue includes the narrative © more personal expression in a series of works have earned him two Grammy Awards, and ballets Alice's Adventures in Wonderland (2011) for dance and multimedia, and later for . in 2009, his Double Sextet won the Pulitzer and The Winter's Tale (2014), both collaborations His music is ambient, meditative and often Prize. His documentary video opera works – with choreographer introspective, drawing on minimalism, world The Cave and Three Tales, done in collabo- for The Royal Ballet and National Ballet of music and contemporary pop. He has made a ration with video artist Beryl Korot – have Canada, which have since entered the repertory significant impact in the film world, with four been performed on four continents. His recent of companies worldwide; the choral Path of international awards to his name. work Quartet, for percussionist Colin Currie, Miracles (2005), a 60-minute a cappella journey sold out two consecutive concerts at Queen along the Camino de Santiago commissioned by Elizabeth Hall in London, shortly after tens of Nigel Short’s Tenebrae and performed regularly thousands at the Glastonbury Festival heard by international ensembles; arrangements of Radiohead’s Jonny Greenwood perform songs by the Detroit rock duo The White Stripes Electric Counterpoint, followed by the alongside Talbot's original works for choreog- London Sinfonietta performing his Music rapher Wayne McGregor’s Chroma (The Royal for 18 Musicians. Ballet, 2006); Worlds, Stars, Systems, Infinity (2012), an additional movement to Holst's In 2012, Steve was awarded the Gold Medal The Planets for the Philharmonia Orchestra’s in Music by the American Academy of Arts interactive digital installation, Universe of Sound, and Letters. He has additionally received the under Esa-Pekka Salonen; Genus Quartet (2013) Praemium Imperiale in Tokyo, the Polar Music for Los Angeles' acclaimed Calder Quartet, Prize in Stockholm, the BBVA Award in Madrid premiered as part of the Barbican's weekend and recently the Golden Lion at the Venice of new music curated by Nico Muhly; and the Biennale. He has been named Commandeur animated feature Sing (Garth Jennings, 2016) de l’Ordre des Arts et des Lettres, and has for Illumination Entertainment (Despicable been awarded honorary doctorates by the Me, Minions). For the BBC Proms, Talbot has Royal College of Music in London, the Juilliard written The Wishing Tree (The King's Singers, School, the Liszt Academy in Budapest and 2002); Sneaker Wave (BBC National Orchestra the New England Conservatory of Music, of Wales, 2004); an arrangement of Purcell's among others. "There’s just a handful of living Chacony in G Minor (BBC Symphony Orchestra, composers who can legitimately claim to 2011); and Ink Dark Moon, a concerto for the have altered the direction of musical history acclaimed Miloš Karadagli (BBC and Steve Reich is one of them," states Symphony orchestra, 2018). The Guardian. Talbot has considerable experience writing Reprinted by kind permission of for the screen, including for the classic BBC Boosey & Hawkes comedy series The League of Gentlemen and feature filmsThe Hitchhiker’s Guide to the Galaxy (Garth Jennings, 2005) and Closed Circuit (John Crowley, 2013). He has been twice commissioned by the British Film Institute, to re-score the silent filmsThe Lodger (1999) and The Dying Swan (2002). A new score to Carl Theodor Dreyer’s 1932 Vampyr for LA Opera’s Off Grand season at the Ace Hotel in Los Angeles was presented in 2018.

Talbot’s critically acclaimed first opera, , was given its premiere in 2015 by The Dallas Opera. In the same year, he was awarded the prestigious Prix Benois de la Danse for The Winter's Tale. Future works include a cantata commissioned by Independent Opera for Britten Sinfonia and Britten Sinfonia Voices; a second opera for The Dallas Opera; and a third with Christopher Wheeldon.

THE AUSTRALIAN BALLET VOLT 23 Creatives Photo Gilbert McCarragher Gilbert Photo

JON BUSWELL LUCY CARTER MORITZ JUNGE JOHN PAWSON

Set and costume design Stage concept and lighting Costume design Set design Logos design, Dyad 1929 Chroma and Dyad 1929 Chroma Lighting design, Chroma

Jon Buswell has designed lighting for well Lucy Carter is a multi-award winning, critically Moritz’s work in ballet includes Songs John Pawson was born in 1949 in Halifax, over one hundred productions in the UK, acclaimed lighting designer. She received the of Bukovina (); Yorkshire. After a period in the family textile Europe and Australia. 2018 Critics Circle National Dance Award for Outlier (New York City Ballet); Dyad 1929 business he left for Japan, spending several Outstanding Contribution to Dance, and is (The Australian Ballet and Houston Ballet); years teaching English at the business A graduate of Croydon School of Art in the a two-time winner of the prestigious Knight L’Anatomie de lasensation (Paris Opera university of Nagoya. Towards the end of UK, Jon worked for the Royal Shakespeare of Illumination Award for Dance for Chroma Ballet); and Renature (Nederlands Dans his time there he moved to Tokyo, where he Company before becoming a freelance (2008) and for Woolf Works (2015); winner Theater). For The Royal Ballet he has designed visited the studio of Japanese architect and designer in 1997, working across all disciplines of the 2013 TMA Achievement award in Opera Multiverse, Woolf Works, Live Fire Exercise, designer Shiro Kuramata. Following his return of the performing arts. He was the technical for Lohengrin; and the 2004 Olivier Dance Limen. He has designed Infra (The Royal Ballet, to England, he enrolled at the Architecture director of from 2008 Award for 2 Human. , Mariinsky Ballet, , Association in London, leaving to establish to 2015, and is currently the technical director Hessisches Ballet, Royal Danish Ballet, Flanders his own practice in 1981. of The Australian Ballet. Her opera credits include Katya Kabanova Ballet and The Australian Ballet) and Chroma (The Royal Opera House – Best New Opera (The Royal Ballet, The Australian Ballet, Alvin From the outset his work has focused on His previous lighting designs for The Australian Production, Olivier Awards 2019), Hansel and Ailey American Dance Theater, Boston Ballet, ways of approaching fundamental problems Ballet include , Constant Variants, Gretel (The Royal Opera House), Werther National Ballet of Canada, San Francisco of space, proportion, light and materials, Symphonie Fantastique, Night Path, Monument, (Bergen National Opera), Elektra (Goteborg Ballet, Royal Danish Ballet, Pennsylvania rather than on developing a set of stylistic The Sleeping Beauty, Little Atlas and Aurum. Opera), Lohengrin (, Ballet, Bolshoi Ballet, Dutch National Ballet mannerisms – themes Pawson also explored Recent and forthcoming ballet work includes Polish National Opera and Welsh National and Polish National Ballet). in his book Minimum, first published in 1996, Dracula, La Sylphide, Coppélia, , Opera), La Finta Giardiniera (Glyndebourne which examines the notion of simplicity in art, , and Peter Pan and Teatro alla Scala), Peter Grimes (Aldeburgh Recent work in opera includes set and architecture and design across a variety of (West Australian Ballet); La Bayadère, The on the Beach), Salomé and of costume design for The Love for Three historical and cultural contexts. Sleeping Beauty, Coppèlia and La Fille mal Gerontius (ENO at The Royal Festival Hall). Oranges (Staatstheater Mainz); Cosi Fan Tutte gardée (Queensland Ballet); and Aurum, for Opera Australia and Powder Her Face at Early commissions included homes for the Hansel and Gretel, The Nutcracker, Romeo Her dance credits include McGregor and Theater Aachen; and costume designs for Der writer Bruce Chatwin, opera director Pierre and Juliet, The Sleeping Beauty, Don Quixote, Mugler, Woolf Works, Obsidian Tear, Afterite, fliegende Holländer (the Metropolitan Opera Audi and collector Doris Lockhart Saatchi, A Christmas Carol and (Royal New Yugen, Multiverse, Chroma and Autobiography and Festival d'Opéra de Québec); , together with art galleries in London, Dublin Zealand Ballet). with long-term collaborator Wayne McGregor; Roberto Devereux and Cavalleria Rusticana/ and New York. Threshold (Le Patin Libre) and The Most Pagliacci for Metropolitan Opera; Rusalka for His theatre work includes Glengarry Glen While private houses have remained a Incredible Thing (). Lyric Opera Chicago; Don Carlo at the Bolshoi Ross, Blithe Spirit, The Seagull, Twelfth Night consistent strand of the work, subsequent Opera; The Winter’s Tale for English National and Madagascar (Black Swan State Theatre Her theatre credits include On The Town projects have spanned a wide range of scales Opera; La Cenerentola at Glyndebourne; Company) and Signs of Life (Black Swan/ (Hyogo Performing Arts, Japan), Home, and building typologies, ranging from Calvin and for the Royal Opera Les Troyens Sydney Theatre Company). His overseas I’m Darling (National Theatre and West End, Klein Collection’s flagship store in Manhattan (also La Scala and San Francisco Opera), work includes Lady Windemere’s Fan with London), The Almighty Sometimes (The Royal and airport lounges for Cathay Pacific in Hong Aïda (also at Valencia) and The Tempest. Vanessa Redgrave; The Royal Family with Exchange), Everybody’s Talking About Jamie Kong, to a condominium for Ian Schrager on Judi Dench (Theatre Royal Haymarket); ( & UK Tour), Oil (Almeida) and The Moritz’s recent costume design for theatre New York’s Gramercy Park, the interior of a The Vagina Monologues (The Royal Court at End of Longing (Playhouse). includes The Visit and Macbeth at the Royal 50-metre yacht and sets for new ballets at the New Ambassadors Theatre); My Brilliant National; A Midsummer Night’s Dream at London’s Royal Opera House and the Opéra Other credits include lighting design for Gareth Divorce with Dawn French (Apollo Theatre); Shakespeare’s Globe; Dance Nation at the Bastille in Paris. Pugh’s Women’s Collection in London Fashion Otello (Lyric Opera of Chicago); The Magic Almeida; All About my Mother at the Old Vic; Week (2017 and 2019) and Paloma Faith’s Over the years John Pawson has accrued Flute, Oedipus Rex and Gianni Schicchi (Royal and Aristocrats at the Donmar Warehouse. College of Music); The Flying Dutchman (New performance at the Brit Awards in 2015. extensive experience of the particular Zealand Opera); and Pinocchio (Opera du Rhin/ challenges of working within environments of West Australian Ballet). historic, landscape and ecological significance. Key examples including the Sackler Crossing Jon has also worked as lighting designer for — a walkway over the lake at London’s Royal televised features including the UEFA Gala Botanic Gardens, Kew — the Cistercian Abbey Awards 2000 and Nutcracker Sweeties, of Our Lady of Nový Dvu˚r in Bohemia, the for and the BBC. interior renovation of the basilica of the Benedictine Archabbey of Pannonhalma in Hungary and the remodelling of the former Commonwealth Institute in London, opened as a new permanent home for the Design Museum in 2016.

24 THE AUSTRALIAN BALLET 2020 SEASON Danielle Rowe and Adam Bull in Dyad 1929 Photography Jim McFarlane

THE AUSTRALIAN BALLET VOLT 25 Music Note

MUSIC DIRECTOR AND CHIEF CONDUCTOR NICOLETTE FRAILLON TALKS TO ROSE MULREADY ABOUT THE CHALLENGES, EXHILARATIONS AND EMOTIONS OF VOLT ’S THREE SCORES.

Vivienne Wong and Rudy Hawkes in Chroma Photography Jess Bialek

Can you talk about the unusual formation of The genius minimalists like Reich know exactly how much the orchestra in Steve Reich’s Double Sextet, the score for Dyad 1929? variation to put into their repetitions to keep the brain engaged, The piece calls for two identical sextets, each although they’ll sometimes intentionally put their audience consisting of a piano, a , a clarinet, a flute, on edge. It’s not meant to be easy listening. a and a vibraphone. Reich composed it for the contemporary sextet Eighth Blackbird, and he wrote it so that they could play in juxtaposition with a recording of themselves. That would ahead, all at the same time. As a conductor, Romanticism, which was all about large certainly be an interesting way to do it, but it you’re constantly responding to what’s being and layered complexities, with many voices wouldn’t allow us the flexibility that we need played and also working out how to bring things playing different lines. The minimalists pared to accompany dance, so we play it live, with back into alignment. And with the exception of the things back; they may have used large orchestras two identical sextets facing one another. second movement, there’s absolutely no place to and built large musical architectures, but they rest. It’s a relentless machine. used very simple building blocks. The genius What’s it like to navigate the intricacies of this minimalists like Reich know exactly how much famously brain-twisting music? It sounds a little like doing a cryptic crossword variation to put into their repetitions to keep while riding in a horse race. the brain engaged, although they’ll sometimes It’s exceedingly complex, massively challenging, intentionally put their audience on edge. It’s not particularly for the pianists and vibraphone More like a cryptic crossword plus a triple sudoku meant to be easy listening. players. Its rhythmic patterns are mathematically – and remember, you’re not riding just to win, you have to keep in a certain alignment with the other based, and it changes meters in just about every And so, to Chroma. What are the different horses at all times. It’s also a full left brain/right bar in the first and third movements; there’s no elements that make up Joby Talbot’s score? cruising along for 20 bars in 4/4, you can’t relax brain activity, because while you have to have your for a moment. As a conductor, you have to be mathematical mind totally engaged, you also have Joby had just been working on arrangements of right on it, or the whole ensemble will collapse. to bring your interpretative qualities to the playing, The White Stripes’ songs with the orchestrator For a lot of the piece the two sextets are fighting or it will be dull and inert. When you get to the Christopher Austin, and three of those are used against each other, playing in canon: so the same end of it, you’re totally exhausted and exhilarated, in Chroma. When Wayne McGregor approached rhythmic patterns, but slightly displaced. When and full of relief that it hasn’t fallen apart! Joby to score the ballet, he didn’t have The White Stripes in mind. He really liked Joby’s piece musicians are playing the same thing but just a What makes Steve Reich one of the greats? few beats out, they will instinctively gravitate Hovercraft, which would end up as the finale of towards alignment. So on the one hand, you have Reich, Philip Glass and Michael Nyman were the Chroma, but it wasn’t long enough for a ballet. to listen to each other, because you’re playing in key figures of the late 20th-century minimalist The remaining three of the ballet’s seven sections an ensemble; but on the other hand, you’re trying movement, which had a profound impact not are the pieces A Yellow Disc Rising From the not to listen, because you’ll end up playing the just on classical music but on pop music. Sea, Transit of Venus and Cloudpark, which were wrong part. It completely fries your brain! All of As the name suggests, they used a minimal set of composed during Joby’s year-long residency this is happening manically fast. We musicians are ideas, repeated with slight variations, to achieve at Classic FM. processing what’s around us, playing, and thinking their effects. It was the opposite of Wagnerian

26 THE AUSTRALIAN BALLET 2020 SEASON Conductors

How do he and Christopher Austin transform The White Stripes’ songs? What I find fabulous about it – apart from the fact that I like the original songs – is that Joby took these vary pared-back pieces played by two people, just and drums and voice, and turned them into music for a massive orchestra. The pieces aren’t just kitsch arrangements of rock‘n’roll (of which there were many squirm- inducing examples in the 70s and 80s); they stand on their own as works of art, and they’re brilliantly and inventively orchestrated. Joby and Chris use every instrument under the sun, from tubular bells to saxophones. There’s a massive percussion section and the whole orchestra is amplified; alternating with these huge, hectic NICOLETTE FRAILLON AM SIMON THEW numbers are slower movements, which I find incredibly beautiful. Like Mozart, Joby has a real gift for melody, and each one of these three pieces Music Director & Chief Conductor Conductor is a little gem: beautifully evocative moments of stillness and reflection. Then back to the massive, rhythmically driving Hovercraft as the closer. Nicolette Fraillon began her music studies on violin and piano Simon Thew has undertaken conducting studies in Sydney, This piece was actually written as a tribute to the at an early age. At 16 she conducted her first concert with the Vienna, Berlin, and Barcelona with mentors including Sebastian hovercraft – as a boy Joby was fascinated by them. Victorian Junior Symphony Orchestra. She graduated on viola Weigle, Nicolette Fraillon, Harry Spence Lyth, Richard Bonynge, from Melbourne University in 1982, gaining an equal first place and John Hopkins. in her year in Performance. From 1984–87 she furthered her And finally, Ludovico Einaudi, whose music In 2007 Simon was awarded the Dame /Richard Alice Topp uses for Logos. What makes him instrumental studies at the Hochschule für Musik in Vienna and from 1987–88 in Hannover. During her time in and Bonynge Travel Scholarship, which enabled further study in such a hugely popular composer? Nicolette toured with many orchestras, including the Europe, culminating in his position as musical intern at the Bayreuth Festival in 2008. Einaudi is strongly influenced by the minimalist Salzburger Chamber Ensemble and the Chamber Orchestra of Bassano, and was a member of the Haydn Quartet, based at the In 2010 he was awarded the Hephzibah Tintner Fellowship, movement, and he uses a simple harmonic Esterhazy Palace in Eisenstadt. language that sounds human and poignant. which gave him performance and mentoring opportunities with The Australian Ballet, Opera Australia, and the Sydney His pieces will often start with one or two In 1990 Nicolette moved to the , where she became assistant musical director for the 1991–92 season of Symphony. Simon was The Australian Ballet’s Conducting instruments, so you get a sense of ‘aloneness’, Les Misérables in Amsterdam and The Hague. In 1992 she was admitted to the Fellow in 2011, and in the same year was awarded a Churchill then more and more join in and there’s a huge Netherlands Broadcasting Association’s International Conductors’ Fellowship. This enabled him to undertake professional build-up, a climax and then resolution, often a Masterclass, resulting in a performance with the Dutch Radio development opportunities with ballet companies, opera return to a solo instrument. It’s very emotive, Symphony Orchestra in the Concertgebouw in Amsterdam. houses and orchestras in London, Birmingham, Vienna, Berlin, and New York across 2012. moving writing, which is why he plays to packed This led to an invitation to conduct for the . She was then invited to become music director and chief audiences all over the world. But in some of the Simon was an assistant conductor with Opera Australia from conductor of the National Ballet of the Netherlands, working with 2007 – 2010. In 2010 he conducted Opera Australia’s Oz Opera pieces that Alice chose for Logos, Einaudi is doing such renowned choreographers as , Toer van regional tour, and in the same year made his conducting something a bit different, playing with the idea of Schayk, Rudi van Dantzig and , and conducting debut with The Australian Ballet. In 2012 he acted as assistant numerous world premieres. During the following five years she dissonance. In Whirling Winds, which opens the conductor on the company’s New York tour. ballet, there’s something unsettling, a tension; worked with the North Holland Philharmonic Orchestra, the those dissonant create a sense that all New Sinfonietta Amsterdam, Noord Nederlands Orchestra, the Simon was a regular guest conductor with The Australian Ballet Gelders Orchestra in Arnhem, the Limburg Symphony Orchestra, is not right with the world, which matches the between 2013 and 2016. He conducted performances in most of the Residentie Orchestra in The Hague, the Kanazawa Chamber the company's seasons during that time. In 2017 he accepted an dark themes Alice is exploring. Orchestra in Japan, and the Finnish Ballet. invitation to become The Australian Ballet’s assistant conductor. He has also worked as a guest conductor for English National In 1998 she took up the position of Director at the School Elegy for the Arctic, which forms the final Ballet, Birmingham Royal Ballet and Houston Ballet. section of Logos, was commissioned in 2016 of Music, Australian National University, and continued her by Greenpeace, who were aware of Einaudi’s conducting work with the West Australian Ballet, the West He has an active concert-conducting career and is committed Australian Symphony Orchestra, the Australian Youth popularity and knew that he was an advocate for to the education of young conductors and instrumentalists. Orchestra and the Canberra Symphony Orchestra. action on climate change. They took him out to film him playing it in the Arctic, on a pontoon in She debuted with The Australian Ballet in 2002, conducting ice-laden water, right next to one of the glaciers Spartacus, and was then invited by David McAllister to become music director and chief conductor, beginning in January 2003. that are melting at an unprecedented rate; a chunk Since joining the company, Nicolette has conducted all programs of ice falls from it into the water during the clip. for The Australian Ballet, including all of its overseas tours, and has The piece, with its solo piano and soulful writing, been a guest conductor for San Francisco Ballet. Following was used as a call to save the Arctic, a plea to The Australian Ballet’s 2005 tour to the UK, Nicolette was, in 2006, the world’s governments to do something about invited back to conduct The Sleeping Beauty with Birmingham climate change. Given what Australia has gone Royal Ballet. She conducted the ballet again on Birmingham Royal Ballet’s 2018 tour of Japan. In 2007 she guested with New York through this summer, it feels like a really poignant City Ballet. In 2008 she returned to the Birmingham Royal Ballet time to be playing it. for a season of The Nutcracker, then finished the year with a New Year’s Gala in Skopje with the Macedonian Philharmonic Rose Mulready is The Australian Ballet’s Orchestra. In early 2011 Nicolette guested with San Francisco Ballet, content expert conducting their production of Giselle; in 2014 she guested with New York City Ballet. In 2016 she conducted the opening night of Birmingham Royal Ballet’s production of ’s The Nutcracker, which was also the choreographer’s 90th birthday.

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

THE AUSTRALIAN BALLET VOLT 27 qantas.com/100

28 THE AUSTRALIAN BALLET 2020 SEASON qantas.com/100 Close Up: Dana Stephensen

DANA STEPHENSEN TALKS TO CHLOE GORDON ABOUT BALLET AFTER MOTHERHOOD, AND THE JOYS OF DANCING IN DYAD 1929 AND AURUM.

You were in the original cast of If I'm not meant to be on in the Dyad 1929 in 2009. What stands out first show, but then I get called in your mind about that experience, in to perform, that's just how it is. more than a decade later? I pick him up from day care and take him to the theatre, and there's It was transformative. At the time always someone who's happy Wayne McGregor was really coming to play with him. onto the scene in the ballet world. It was an absolutely new way of Years ago, my preparation was moving and thinking and working very different. You'd be there early and creating, and the energy at that and focus on yourself and do your time was incredible. I remember exercises and your breathing and going home on the tram every night really put yourself in the right place and trying to remember the steps, to go on stage. Whereas now if he's because it was just so fast. It was in the changeroom with me, I don't like you were rewiring your brain. have as long to get into that place. But that's actually really freeing. How Wayne works is very You accept that whatever happens different: for example, you create will be something special and in the moment, and it's not about rewarding. replicating, it's always about creating, constantly. You'd produce You’re passionate about nutrition. so much material so quickly and Is this an interest you might pursue then repeat it, but have to do it beyond your dance career? differently. As a young dancer, It could be something I move into. I hadn't experienced that level of I'd like to give back to the dance physical and mental challenge before. world. I think all dancers feel What do you enjoy about working that way. with Alice Topp? Nutrition has been a really important Alice's work feels incredibly human. part of my career. Little things She always wants us to feel beautiful that I've learned to include in my and look beautiful. She's very lifestyle have helped me thrive in this collaborative. Alice and I have been career, have a child and continue to in the company our whole careers work. This is my 16th year with the together, so she knows my body company. That's pretty amazing, and how to bring out the best in and I'm very proud of that because me, as well as the other dancers. it's not a given, to be able to remain at this level for that long. I know the Aurum was such a success. We took factors that have helped me, and it to New York last year and had I like to think I could give back in standing ovations every night, which my own unique way, one day – blew us away. We were at the Joyce when it's time. Theater, which has so much history, and these new audiences, who Chloe Gordon is a communications didn't necessarily know us, were all specialist with a focus on the arts standing up and cheering. Everyone had tears running down their face.

How do you think the experience of becoming a parent to your son Jasper has changed your approach to your professional work? In many ways I'm less driven to perfection because I just don't have the time or the headspace. I take more risks. I don't hold back. You have to focus on what you can do at the time and let go of what might not be possible.

Photography Daniel Boud

THE AUSTRALIAN BALLET VOLT 29 Principal Artists

DIMITY AZOURY BENEDICTE BEMET ADAM BULL

“deliciously precise” “sweetness, buoyancy and freedom” Philanthropy Ambassador Simon Parris: Man in Chair Arts writer Deborah Jones “tender and self-deprecating … a true ” The Observer, UK

Dimity Azoury began dancing at the age of four in her home Benedicte Bemet was born in Mackay in 1994, and started ballet Adam Bull's principal artist position is generously town of Queanbeyan, NSW. She studied for eleven years at at the age of three. She grew up on the Gold Coast and began supported by Lachlan & Sarah Murdoch the Kim Harvey School of Dance in Canberra before moving to her training at the Ransley's Ballet Centre. When she was ten her The in 2005. She was accepted into family relocated to Hong Kong, where she continued her ballet Adam Bull was born in 1981 and began training at Dance World The Australian Ballet in 2008, where she had the opportunity training at the Jean M. Wong School of Ballet. She was accepted 301 with Brian Nolan before joining The Australian Ballet School. to travel to Paris, London, New York, Japan, San Francisco and into The Australian Ballet School at age 14. In her time at the In 2000, he represented Australia in the Paris International Ballet Los Angeles. She has loved working with many choreographers school she received the Award for Excellence in Level 6; in 2009 Competition, before graduating from The Australian Ballet School including Nicolo Fonte, Graeme Murphy, Tim Harbour, Stephen she was sent to New York and Canada to represent the school with honours in 2001. Adam joined The Australian Ballet in 2002, Page and . Dimity was promoted to in in the student exchange program. Benedicte toured with The going on to dance in many leading roles. After just six months as a 2015 following her debut as Baroness von Rothbart in Graeme Dancers Company in 2010 and 2011. She joined The Australian senior artist, Adam was promoted to principal artist in June 2008, Murphy’s Swan Lake, to senior artist in 2017 and to principal Ballet in 2012; she was promoted to coryphée in 2013, to soloist capping off a string of critically acclaimed lead performances. artist in 2019. in 2016, to senior artist in 2018 and to principal artist in 2019. Adam has danced a vast range of the male classical repertoire; he has a fondness for works by , Sir Kenneth Repertoire highlights Repertoire highlights MacMillan, Graeme Murphy, , Christopher — Alice in Christopher Wheeldon's Alice's Adventures in — Swanilda in Peggy van Praagh's Coppélia 2016 Wheeldon and Wayne McGregor. Performing in principal lead Wonderland© 2017 — William Forsythe's In the Middle, Somewhat Elevated 2016 roles on the company’s tours to Paris, London, New York, — Aurora in David McAllister's The Sleeping Beauty 2017 — Viktor Gvosky's classique 2016 Los Angeles and Japan have been career highlights. — Clara in Graeme Murphy's Nutcracker – The Story of Clara 2017 — Second Region Pas de deux in Christopher Wheeldon's — Wayne McGregor's Infra 2017 DGV©: Danse à grande vitesse 2016 Repertoire highlights — Swanilda in Peggy van Praagh's Coppélia 2016 — Third Movement Principal in George Balanchine's — Albrecht in 's Giselle 2015, 2006 — Baroness von Rothbart in Graeme Murphy's Swan Lake Symphony in C 2016 — Prince Siegfried in Graeme Murphy’s Swan Lake 2008 – 2015 2016, 2015 — Aurora and Princess Florine in David McAllister's — des Grieux in Sir Kenneth MacMillan’s Manon 2014, 2008 — Tim Harbour's Filigree and Shadow 2015 The Sleeping Beauty 2015 — The Prince in Peter Wright’s The Nutcracker 2014, 2010, 2007 — 's In the Upper Room 2015 — Peasant Pas de deux in Maina Gielgud’s Giselle 2015 — James in La Sylphide 2013, 2005 — Myrtha in Maina Gielgud's Giselle 2015 — Clara in Peter Wright’s The Nutcracker 2014 — The Prince in Alexei Ratmansky’s Cinderella, 2013 — Jirˇí Kylián's Bella Figura 2013 — Sérénade Variation in ’s Suite en blanc 2014 — Prince Siegfried in Stephen Baynes’ Swan Lake 2013, 2012 — Soloist in Paquita 2013 — in ’s Onegin 2012 Awards — Bedroom Pas de deux from Sir Kenneth MacMillan’s Manon — Telstra Ballet Dancer Award, 2014 Guest appearances with American Ballet Theatre’s , The Australian — and The Dancers Company — Telstra Ballet Dancer Award nominee 2012 Paquita Swan Lake Act III, Ballet 50th Anniversary Gala, 2012 tour 2015 — Susan Morgan Scholarship 2012 — Danilo in Ronald Hynd’s 2011

You may not know ... Awards Guest appearances Dimity loves animals, especially wombats, giant anteaters — Telstra Ballet Dancer Award 2015 — Cinderella Pas de deux, Sapphire Gala 2015 and draft horses. — Khitercs Hirai Foundation Scholarship 2014 — Prince Siegfried in Derek Deane’s Swan Lake, — Green Room Award nomination for Clara in Shanghai Ballet 2014 The Nutcracker 2014 — 1st Chinese International Ballet Gala 2013 — Telstra People’s Choice Award 2013 — Fall for Dance Festival, New York 2011 — 50th Anniversary Gala 2011 You may not know ... — The Dancers Company tour 2006 Benedicte loves baking and cooking anything involving chocolate! Awards — Green Room Award 'Year’s Work' nomination 2009 — Benois de la Danse Best Male Dancer nomination for Graeme Murphy’s Swan Lake 2009 — Khitercs Hirai Foundation Scholarship 2009 — Green Room Award nomination for Albrecht in Giselle 2006

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

30 THE AUSTRALIAN BALLET 2020 SEASON BRETT CHYNOWETH CHENGWU GUO AMY HARRIS

“a very special artist” “explosive energy” “flawless technique” Arts writer Deborah Jones The Age The Daily Telegraph

Brett Chynoweth was born in Melbourne. At age five, he began Growing up in China, Chengwu Guo began dance classes at Amy Harris was born in Ararat, Victoria and began jazz and tap training at a local ballet school. He soon moved to The Australian the age of eleven. He was accepted into the Beijing Dance classes at her local ballet school at the age of three. From the Ballet School, where he received, among other awards, the Dr Academy where he was able to combine his ballet training with age of ten, Amy trained in the with the Carole HC (Nuggett) Coombes Travelling Scholarship, which enabled academic studies. Chen’s talent for ballet was soon evident Oliver School of Ballet in Ballarat, and as a Cecchetti scholar she him to train in New York and Toronto. He graduated dux from when he received a gold medal at the Tao Li Bei of China won bronze and silver medals. In 1999, aged 15, Amy successfully The Australian Ballet School with honours and joined The Competition, and also at the Beijing International Competition. auditioned for The Australian Ballet School. She joined The Australian Ballet at the beginning of 2009; he was promoted In 2006 Chen became a prize winner at the prestigious Prix de Australian Ballet in 2002 and was promoted to coryphée in to principal artist on stage at the end of the 2018 season in his competition in Switzerland, receiving a full scholarship 2007, soloist in 2011 and senior artist in 2012. In 2018 she was home town of Melbourne. Since joining The Australian Ballet, to complete his vocational ballet training. He chose to take up promoted to principal artist on stage after her performance as Brett has performed a variety of classical and contemporary this scholarship at The Australian Ballet School. During his time Tertulla in the world premiere of Lucas Jervies' Spartacus. works by choreographers such as , , at the School Chen toured regional Australia with The Dancers Tim Harbour, Jirˇí Kylián, Wayne McGregor, Graeme Murphy and Company, and received glowing reviews for his roles in The Repertoire highlights Alexei Ratmansky, and his principal roles include works by some Sleeping Beauty, Graduation Ball and Coppélia. Chen joined — The Queen of Hearts in Christopher Wheeldon's © of the greats - , George Balanchine, Serge Lifar, The Australian Ballet in 2008 and was promoted to principal Alice's Adventures in Wonderland 2017 Kenneth MacMillan, Christopher Wheeldon and Peter Wright. artist in 2013. — Wayne McGregor’s Infra 2017 — Aurora and the Lilac Fairy in David McAllister's The Sleeping Repertoire highlights Repertoire highlights Beauty 2017 — Prince Désiré in David McAllister's The Sleeping Beauty 2018, — Albrecht in Maina Gielgud’s Giselle 2015 — The Stepmother in Alexei Ratmansky's Cinderella 2016 2017, 2015 — Puck in Frederick Ashton’s The Dream 2015 — Baroness von Rothbart in Graeme Murphy's Swan Lake 2016 — Wayne McGregor’s Infra (2017), Chroma (2014) and Dyad 1929 — Solor in ’s La Bayadère 2014 — William Forsythe's In the Middle, Somewhat Elevated 2016 (2013) — The Prince in Peter Wright’s The Nutcracker 2014 — Swanilda in Peggy van Praagh’s Coppélia 2016 — Viktor Gvosky's Grand pas classique 2017, 2016 — Basilio in Rudolf Nureyev’s Don Quixote 2013 — Romola in 's Nijinsky 2016 — Franz in Peggy van Praagh's Coppélia 2016 — Principal Man, Mazurka, in Harald Lander's Études 2012 — Twyla Tharp's In the Upper Room 2015 — Puck in Frederick Ashton's The Dream 2015 — Mercutio and Tybalt in Graeme Murphy’s Romeo & Juliet 2011 — Hanna in The Merry Widow 2011 — The Prince in Peter Wright's The Nutcracker 2014 — First Red Knight in Ninette de Valois’ Checkmate 2011 — Lescaut in Sir Kenneth MacMillan's Manon 2014 — Sir Kenneth MacMillan’s Concerto 2011 Guest appearances — Mazurka in Serge Lifar's Suite en blanc 2014 — Graeme Murphy’s Firebird 2009 — Principal Lady in Paquita and Odile in Swan Lake, The Dancers Company tour 2013 Guest appearances Guest appearances — The Prince in Peter Wright's The Nutcracker, Birmingham — The Dancers Company tour 2008 Awards Royal Ballet 2018 — Telstra Ballet Dancer Award 2012 Awards — Telstra People’s Choice Award 2008, 2010 Awards — Green Room Award nomination for Don Quixote — Walter Bourke Scholarship 2013 and La Sylphide 2013 You may not know ... — Telstra Ballet Dancer Award Nominee 2011 — Maurice Sullivan Scholarship 2013 Amy is married to fellow dancer Jarryd Madden; they have — Maurice Sullivan Memorial Scholarship 2011/12 — Telstra Ballet Dancer Award and Telstra People’s a daughter, Willow, and a son, Phoenix. Choice Award 2011 You may not know ... Brett's favourite city is London: so much so, he once You may not know ... flew there for 24 hours just to see a show at the Royal Chengwu likes to watch Japanese anime in his spare time. Opera House.

THE AUSTRALIAN BALLET VOLT 31 Principal Artists

ROBYN HENDRICKS KEVIN JACKSON ANDREW KILLIAN

“serene beauty” “Jackson is a delightfully impulsive Romeo, “immaculate and debonair” Arts writer Deborah Jones all boyish charm and passion” Dance Australia The West Australian

South African-born Robyn Hendricks began ballet classes aged Kevin Jackson’s principal artist position is generously Melbourne-born Andrew Killian, a student of The Australian eight after her grandfather observed her dancing on her toes supported by Lynnette Harvey Ballet School, joined The Australian Ballet in 2000 and was all the time. Growing up in an academic family, Robyn was the promoted to principal artist in 2011. During his time with The first family member to pursue a creative passion. Training in Born in Perth, Kevin commenced his dance training at the age Australian Ballet Andrew has thoroughly enjoyed performing the Cecchetti Syllabus, Robyn travelled to Melbourne in 2001 of seven with the Shirley Farrell Academy of Dance. In 2002 leading roles in the company’s extensive classical repertoire to participate in the annual Cecchetti International Competition. he graduated from The Australian Ballet School; he joined including Lescaut in Sir Kenneth MacMillan’s Manon, the Prince During the competition, she was approached by The Australian The Australian Ballet in 2003 and was promoted to principal in Peter Wright’s The Nutcracker, Prince Siegfried in Stephen Ballet School and was asked to audition formally for entrance artist in 2010. In his time with the company, he has performed Baynes’ Swan Lake and the Cavalier in George Balanchine’s into the prestigious national school. During her time at The many lead roles in both classical and contemporary works by Ballet Imperial. Andrew has also been involved in the creation Australian Ballet School, Robyn was one of four students choreographers including John Neumeier, Alexei Ratmansky, of many new works including Stephen Baynes’ Constant selected to participate in a student exchange to Canada, where Wayne McGregor, Jirˇí Kylián and Graeme Murphy. Kevin enjoys Variants and Tim Harbour’s Wa, and has performed in most of she studied for four weeks with the National Ballet School in the technique and artistry demanded by many different works The Australian Ballet’s Bodytorque seasons. He enjoys working Toronto. She joined The Australian Ballet in 2005; she was but holds the story ballet closest to his heart. closely with choreographers and offers a unique versatility promoted to soloist in 2011, to senior artist in 2016, and to that places him in high demand. Andrew has toured with The Repertoire highlights principal artist the same year. Australian Ballet to Auckland, Tokyo, Shanghai, New York, — in John Neumeier's Nijinsky 2016 Los Angeles, London and Paris. Repertoire highlights — Prince Désiré in David McAllister's The Sleeping Beauty 2015 — Alice in Christopher Wheeldon's — Albrecht in Maina Gielgud’s Giselle 2015 Repertoire highlights Alice's Adventures in Wonderland© 2019, 2017 — Oberon in Frederick Ashton’s The Dream 2015 — Prince Siegfried in Graeme Murphy’s Swan Lake 2015, 2014 — Odette in Graeme Murphy's Swan Lake 2018 — Onegin and Lensky in John Cranko’s Onegin 2012 — Wayne McGregor’s Chroma and Dyad 1929 2014, 2013 — Giselle in Maina Gielgud's Giselle 2019, 2018 — des Grieux in Sir Kenneth MacMillan’s Manon 2014, 2008 — Lescaut in Sir Kenneth MacMillan’s Manon 2014, 2008 — Flavia in Lucas Jervies' Spartacus 2018 — Prince Siegfried in Graeme Murphy’s Swan Lake 2014, 2013, — Jirˇí Kylián’s Petite Mort and Bella Figura 2014, 2013 — Odette/Odile in Stephen Baynes' Swan Lake 2016 2009 — Christopher Wheeldon’s After the Rain© 2011, 2007 — Gamzatti in Stanton Welch's La Bayadère 2014 — Romeo in Graeme Murphy's Romeo & Juliet 2011 — The Prince in Peter Wright’s The Nutcracker 2010 — Wayne McGregor's Infra (2017), Chroma (2014) — ’ A Suite of Dances 2008 — Jerome Robbins’ A Suite of Dances and The Cage 2008 and Dyad 1929 (2009) — George Balanchine’s Apollo 2007 — ’s Rites 2008 — ‘Cigarette’ solo in Serge Lifar’s Suite en blanc 2014 — Jirˇí Kylián’s Stepping Stones 2005 and Forgotten Land Guest appearances — 2nd Ballerina in George Balanchine's Ballet Imperial 2014 2016, 2005 — The Prince in Stanton Welch's The Nutcracker, Houston Ballet — Christopher Wheeldon's After the Rain© 2011 2016 Guest appearances — des Grieux in Kenneth MacMillan's Manon, American Ballet — Fool’s Paradise with Morphoses 2009 Guest appearances Theatre (exchange artist) 2014 — Fall for Dance Festival 2014, 2012 — The Nutcracker with Houston Ballet 2007 — Lucas Jervies' Human/Abstract, JACK Productions, 2010 — The Dancers Company tour 2014, 2008 Awards Awards — Green Room Award ‘Year’s Work’ nomination 2012 Awards — Nomination for the Benois de la Danse award for — Telstra Ballet Dancer Award nominee 2015, 2011, 2009, 2007 — Telstra Ballet Dancer Award nominee 2009, 2006 Jack/Knave in Christopher Wheeldon's Alice's Adventures © You may not know ... in Wonderland , 2017 You may not know ... Robyn is interested in the horse-breeding industry — Helpmann Award for Best Male Dancer, Nijinsky, 2017 Andrew is still struggling to learn how to cook and and owns a horse with her husband Charles Thompson, — Telstra Ballet Dancer Award 2008 cried like a baby at his best friend’s wedding. a former member of The Australian Ballet. — Khitercs Hirai Foundation Scholarship 2007

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

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

32 THE AUSTRALIAN BALLET 2020 SEASON PRINCIPAL ARTISTS NSW/QLD Mrs Jane Freudenstein Deborah McMurtrie VIC Mrs Annette Davis Rosie Lew AM GENEROUSLY Hayley Baillie Bozena Gawart Mrs Helen O'Neil Mrs Mary Barlow Alane Fineman Ms Jodie Maunder SUPPORTED BY Mrs Barbara Bedwell Mrs Lynnette Harvey Mrs Roslyn Packer AC Mrs Di Bertalli Prue Gillies AM Lady Potter AC CMRI LES ÉTOILES Mrs Susan Chisholm Roland Howlett Dr Valmai Pidgeon AM Lisa Bolte Ms Val Harding Linton Soderholm Mrs Bar Cohen Mrs Frances Ingham Mrs Nancy Reardon- Ms Natasha Bowness Ms Linda Herd Mrs Shaneen Crouch Sarah Ingham Fonseca Ms Robin Campbell Mr Ian Hicks AM Mrs Gordon Douglass AM Mrs Loraine McLaren Mrs Kelly Wyborn Angie Carter Mrs Susie Hicks

TY KING-WALL AKO KONDO AMBER SCOTT

“attains impressive heights” “poised and elegant” “alluring calmness and superb artistry” New Zealand Theatre Review The Age Fjord Review

Born in Waihi, New Zealand, Ty King-Wall started dancing at Ako was born in Nagoya, Japan in 1991. At three years old she Amber Scott’s principal artist position is generously the age of seven. He received his early ballet training at the began her training at the Shiho Kanazawa Ballet Studio. In 2005 supported by Barbara Duhig Dance Education Centre in Tauranga. A Junior Associate of Ako won second prize at the Japan Grand Prix, and in 2006 the New Zealand School of Dance, he left New Zealand at 16 to she studied at The Royal Ballet School’s International Summer Amber Scott joined The Australian Ballet School at age eleven. study full-time at The Australian Ballet School. Upon graduating School. In 2007 she was awarded The Australian Ballet School After graduating as dux, she joined The Australian Ballet in dux with honours, Ty was accepted into The Australian Ballet Tuition Scholarship, which was announced at the Youth America 2001. In 2003 she spent four months on a dancer exchange in 2006. Since joining the company, Ty has danced numerous Grand Prix. Ako toured with The Dancers Company in 2008 at the Royal Danish Ballet, giving her the opportunity to learn principal roles, and had the role of Ceyx created on him in Tim and in 2010 joined The Australian Ballet. She was promoted the Bournonville technique firsthand. Amber was promoted to Harbour’s Halcyon. He was promoted to soloist in 2010, to to principal artist in April 2015 following her debut as Giselle, principal artist in 2011 after performing the Second Movement senior artist in 2011, and to principal artist in 2013. becoming The Australian Ballet's first Japanese principal artist. from Sir Kenneth MacMillan’s Concerto. Career highlights include Since joining The Australian Ballet, Ako has performed a variety working with Wayne McGregor on Dyad 1929 and Chroma; Repertoire highlights of classical and contemporary works by choreographers such dancing with Robert Tewsley during the 2008 Manon season, — Albrecht in Maina Gielgud’s Giselle 2015 as Forsythe, McGregor, Murphy, Ratmansky and Wheeldon, and Damian Smith in Christopher Wheeldon’s After the Rain© Pas — Solor in Stanton Welch’s La Bayadère 2014 danced principal roles in ballets by choreographers such as de deux in 2012 and in Alexei Ratmansky’s — Basilio in Rudolf Nureyev’s Don Quixote 2013 Ashton, Balanchine, Lifar, MacMillan and Wright. Cinderella in 2013. — Principal Man in Harald Lander’s Études 2012 — Prince Siegfried in Stephen Baynes’ Swan Lake 2012 Repertoire highlights Repertoire highlights — Lensky in John Cranko’s Onegin 2012 — Alice in Christopher Wheeldon's Alice's Adventures in — Swanilda in Peggy van Praagh’s Coppélia (with David Hallberg — Pinkerton in Stanton Welch’s Madame Butterfly 2011 Wonderland© 2017 of American Ballet Theatre) 2016 — The Prince in Peter Wright’s The Nutcracker 2014, 2010 — Wayne McGregor's Infra 2017 — Aurora and the Lilac Fairy in David McAllister’s The Sleeping — Franz in Peggy van Praagh’s Coppélia 2010 — Aurora in David McAllister's The Sleeping Beauty 2017, 2015 Beauty 2015 — Prince Florimund in Stanton Welch’s The Sleeping — Swanilda in Peggy van Praagh's Coppélia 2016 — Giselle in Maina Gielgud’s Giselle 2015 Beauty 2015 — Odette/Odile in Stephen Baynes' Swan Lake 2016 — Nikiya in Stanton Welch’s La Bayadère 2014 — William Forsythe's In the Middle, Somewhat Elevated 2016 — The Sugar Plum Fairy in Peter Wright’s The Nutcracker 2014, Guest appearances — Cinderella in Alexei Ratmansky's Cinderella 2015 2010 — Prince Siegfried in Russell Kerr’s Swan Lake with — Giselle in Maina Gielgud’s Giselle 2015 — Odette/Odile in Stephen Baynes’ Swan Lake 2013, 2012 Royal New Zealand Ballet 2013 — Lescaut’s Mistress in Sir Kenneth MacMillan’s Manon 2014 — Odette in Graeme Murphy’s Swan Lake 2004 – 2015 — and Aurora’s Wedding, The Dancers Company — Kitri in Rudolf Nureyev's Don Quixote 2013 — Manon in Sir Kenneth MacMillan’s Manon 2014, 2008 tour 2008 — Tatiana in John Cranko's Onegin 2012 Guest appearances — Hanna in Ronald Hynd's The Merry Widow 2011 Awards — Odette/Odile in Derek Deane's Swan Lake, Shanghai Ballet — Telstra Ballet Dancer Award 2010 2017 Guest appearances — Khitercs Hirai Foundation Scholarship 2013 — Yokohama Ballet Festival 2017, 2016 — Odette/Odile in Derek Deane’s Swan Lake with the Shanghai — Lissa Black Scholarship 2011 — The Dancers Company tour 2012, 2011 Ballet 2014 — Silver Medal, Asia Pacific International Ballet — International Gala 2013 Competition 2005 Awards — Odette/Odile in Russell Kerr's Swan Lake with Royal New — PACANZ Young Performer of the Year Award 2002 — Helpmann Award for Best Female Dancer for Christopher Zealand Ballet 2013 Wheeldon's Alice's Adventures in Wonderland© 2018 — Fall for Dance Festival, New York City (Glen Tetley's Gemini) 2011 You may not know ... — Nomination for Australian Dance Award for Outstanding — The Stuttgart Ballet's 50th Anniversary Gala (Molto Vivace Ty is an avid follower of cricket, rugby union and AFL. Performance by a Female Dancer for Christopher Wheeldon's Pas de deux) 2011 He is also a long-time fan of Hergé’s The Adventures of Alice's Adventures in Wonderland© 2018 Tintin comics, and wants to start brewing his own beer. — Nomination for the Benois de la Danse for Alice in Christopher Awards Wheeldon's Alice's Adventures in Wonderland© 2017 — Helpmann Award nomination for Stephen Baynes’ — Australian Dance Award for Outstanding Performance by a Swan Lake 2013 Female Dancer in Peggy van Praagh's Coppélia 2016 — Telstra Ballet Dancer Award and Telstra People's Choice — Telstra Ballet Dancer Award nominee 2015, 2012 Award 2004 — Susan Morgan Scholarship 2013 — First Place Junior Asian Pacific Competition, Tokyo 1999 — Adeline Genée Awards, bronze medal 1998 You may not know ... You may not know ... Ako is currently learning her third language, Chinese, Amber first danced with David Hallberg, and plans to learn more languages in the future. of American Ballet Theatre, in The Australian Ballet’s 2013 Sydney season of Alexei Ratmansky’s Cinderella. In 2016, she again partnered David in the company’s Sydney season of Coppélia, his first performances after a two-and-a-half- year break recovering from injury.

THE AUSTRALIAN BALLET VOLT 33 Senior Artists

JARRYD MADDEN CRISTIANO MARCUS MORELLI SHARNI SPENCER DANA STEPHENSEN VALERIE MARTINO TERESHCHENKO

“superb” “fresh and alluring” “fleet-footed precision” “elegant and sophisticated” “a true delight” “magnificent”

The Daily Telegraph Bachtrack Sydney Morning Herald Arts writer Deborah Jones Bachtrack The Border Mail

Encouraged by his dance- Cristiano Martino began Marcus Morelli was born in Sharni Spencer was born in At the age of three Dana Valerie Tereshchenko was teacher mother, Jarryd ballet in his hometown of Melbourne and started dance Lismore NSW and grew up Stephensen began her born in Kiev, . She Madden started dancing at Adelaide at The Barbara classes at the age of ten. He in Tamworth and Newcastle. training in ballet, jazz, tap and immigrated to Australia with the age of three at his local Jayne Dance Centre. He studied at the Jane Moore She began dance classes singing with Davidia Lind in her family when she was six dance school in Wauchope, moved to Melbourne in 2009 Academy of Ballet and The when she was three years her hometown of . years old and a year later . He to join The Australian Ballet Australian Ballet School, and old and studied at Sally She later trained with Mary took her first ballet class. remained there until 2005 School, where he trained for toured with The Dancers Kefts School of Dance and Heath and Sandra Ashley. She trained at various when, aged 16, he joined four years before graduating Company in 2013. He joined Marie Walton Mahon Dance Dana joined The Australian Melbourne dance schools Melbourne’s National Theatre as dux. He joined The The Australian Ballet in 2014; Academy before joining New Ballet School in 2002. She including West Point Ballet Ballet School. After a guest Australian Ballet in 2013; he he was promoted to coryphée Zealand School of Dance. joined The Australian Ballet in Academy, Ballet Theatre stint with The Australian was promoted to coryphée in 2015, and to soloist in 2017, Sharni joined The Australian 2005. She has since enjoyed of Victoria, the Australian Ballet during the 2007 in 2015, to soloist in 2017 after dancing the Bluebird Ballet at the beginning of international tours to Los International School of season of Peter Wright’s The and to senior artist in 2018. in The Sleeping Beauty. 2008 and was promoted to Angeles, New York, UK, Coaching and The Australian Nutcracker, Jarryd officially He was promoted to senior coryphée in 2012. She was Auckland, Shanghai, Tokyo, Ballet School. She joined joined the company at the Repertoire highlights artist after the 2018 season the recipient of the Khitercs and Paris. Her Khitercs Hirai The Australian Ballet in — Spartacus in Lucas Jervies' beginning of 2008; he was of Spartacus. Hirai Foundation Scholarship Scholarship enabled her to 2009; she was promoted Spartacus 2018 promoted to coryphée in in 2012, and used it to spend gain invaluable experience to coryphée in 2015, — The Prince in Alexei 2011, to soloist in 2015 and Repertoire highlights three months rehearsing and training with numerous ballet to soloist in 2017 and to Ratmansky's Cinderella to senior artist in 2017. — Stanislav Nijinsky in John performing Giselle with Dutch companies in Europe. Dana senior artist in 2018. 2018 A versatile artist, Jarryd Neumeier's Nijinsky 2016 National Ballet. She was was promoted to coryphée — Prince Désiré and has performed in every — Actéon in Diana and promoted to soloist in 2017 in 2010 and later that year Repertoire highlights the Bluebird in David — The Queen of Hearts in Bodytorque season since Actéon Pas de deux 2016 and to senior artist in 2020. won the Telstra Ballet Dancer McAllister's The Sleeping Christopher Wheeldon's joining the company. — The Bluebird in David Award. Dana was promoted 2017 Beauty McAllister's The Sleeping Repertoire highlights to soloist in 2012 and to Alice's Adventures in — Wayne McGregor's Repertoire highlights Infra Beauty 2015 — Alice in Christopher senior artist in 2018. Wonderland© 2019, 2017 — Jack/Knave of Hearts, Mad 2017 — Puck in Frederick Ashton’s Wheeldon's Alice's — Tertulla in Lucas Jervies' Hatter and Caterpillar in — The Golden Slave/Faun in The Dream 2015 Adventures in Repertoire highlights Spartacus 2018 Christopher Wheeldon's John Neumeier's Nijinsky — Peasant Pas de deux in Wonderland© 2019 — Swanilda in Coppélia — Giselle in The Australian Alice's Adventures in 2016 Maina Gielgud’s Giselle — Peasant Pas de deux in (The Australian Ballet Ballet's Regional Tour of Wonderland© 2017 — Benno in Stephen Baynes' 2015 Maina Gielgud's Giselle Regional Tour) 2019 Giselle 2017 — Doctor/Beloved Officer Swan Lake 2016 — Earl’s Equerry in Graeme 2019 — Stepmother in Alexei — The Lilac Fairy in David in Graeme Murphy's — Viktor Gvosky's Grand pas Murphy’s Swan Lake 2015 — Giselle in Giselle (Regional Ratmansky’s Cinderella McAllister's The Sleeping Nutcracker – The Story of classique 2016 — Trepak in Peter Wright’s Tour) 2017 2018, 2013 Beauty 2017, 2015 Clara 2017 — Oberon in Frederick The Nutcracker 2014 — The Fairy of Generosity — Tertulla in Lucas Jervies' — Wayne McGregor's Infra 2017 — Wayne McGregor's Infra Ashton’s The Dream 2015 — Agni the Fire God and in David McAllister's The Spartacus 2018 — Viktor Gsovsky's Grand pas 2017 — Frederick Ashton’s Fakir in Stanton Welch’s Sleeping Beauty 2017, 2015 — Tim Harbour's Filigree and classique 2016 — Franz in Peggy van Symphonic Variations 2015 La Bayadère 2014 — Cinderella in Alexei Shadow 2018 — William Forsythe's In Praagh's Coppélia 2016 — Jirˇí Kylián’s Petite Mort — Pas de cinq in Serge Lifar’s Ratmansky's Cinderella — Valencienne in Ronald the Middle, Somewhat — William Forsythe's In 2014 Suite en blanc 2014 2018 Hynd's The Merry Widow Elevated 2016 the Middle, Somewhat — Valencienne in Ronald 2018 — Russian Dancer in Stephen Elevated 2016 Awards Awards Hynd's The Merry Widow — Princess Florine and the Baynes' Swan Lake 2016, — Telstra Ballet Dancer — Twyla Tharp's In the Upper — Telstra People’s Choice 2018 Fairy of Temperament 2012 Award nominee 2014 Room 2015 Award 2015 — The Countess in Stephen in David McAllister's The — Myrtha, Queen of the Wilis — Jirí Kylián’s Bella Figura Baynes' Swan Lake 2016 Sleeping Beauty 2018, 2017 in Maina Gielgud’s Giselle You may not know ... 2013 Cristiano is still best friends You may not know ... — ‘White Couple‘ in Jirˇí — Giselle in Giselle (The 2015 — Wayne McGregor's Dyad with his first dancing Marcus enjoys playing Kylián’s Forgotten Land Australian Ballet's Regional — Stepmother in Alexei 1929 2013, 2009 partner, whom he’s known video games, watching TV, 2016 Tour 2016) Ratmansky’s Cinderella — Nacho Duato's Por Vos from the age of ten; she and skateboarding in his — Fourth Movement Soloist — Lescaut's Mistress in 2016 - 2014 Muero 2009 often comes to see him spare time. in George Balanchine's Sir Kenneth MacMillan’s dance. — Nicolo Fonte’s Possibility Symphony in C 2016 Manon 2014 Guest appearances Space 2008 — Cygnet in Graeme — Rose Fairy in Peter Wright’s — Paquita and Swan Lake Act Murphy’s and Stephen The Nutcracker 2014 III, The Dancers Company Awards Baynes’ Swan Lake 2012 - — Wayne McGregor’s Infra tour 2015 — Telstra People's Choice 2015 (2017), Chroma (2014) and Award 2016 Dyad 1929 (2013, 2009) Awards — Telstra Ballet Dancer — Telstra Ballet Dancer Awards Award 2017 Award nominee 2012 — Telstra Ballet Dancer Award Guest appearances — Telstra Ballet Dancer — Green Room Award for nominee 2017, 2013 — Kitri in Don Quixote, The Award nominee 2013 Year's Work 2019 — Khitercs Hirai Foundation Dancers Company tour 2010 Scholarship 2012 You may not know ... You may not know ... Awards Valerie is a board Jarryd is an avid You may not know ... — Telstra Ballet Dancer member of Ballet Without comic-book collector, Sharni has swum with Award 2010 Borders, a not-for-profit movie buff and music manta rays in Hawaii. — Khitercs Hirai Foundation organisation that aims to lover. He has a daughter, Scholarship 2008 bring ballet education and Willow, and a son, Phoenix, pathways to all children, with fellow dancer You may not know ... regardless of socio- Amy Harris. Dana has a young son economic circumstance called Jasper who is the light of her life. or geography.

34 THE AUSTRALIAN BALLET 2020 SEASON JADE WOOD CHRISTOPHER RODGERS-WILSON

“graceful strength” “poised and regal”

Dance Australia Sydney Morning Herald

Jade Wood was born in Christopher Rodgers-Wilson Cairns, Queensland, and was born in England but started dancing at the age grew up in Melbourne, of three at the Jillanne starting ballet classes at the Reynolds School of Dance. age of six. He trained at the After moving with her family Camberwell District Ballet to Portugal for a year when School before moving to she was ten, she returned London to study at The Royal to Cairns and joined The Ballet School. Christopher Australian Ballet School’s joined the Birmingham Royal Interstate Junior Programme, Ballet in 2007, and toured traveling to Melbourne a few with the company to Japan, times per year. In 2004, Jade China and the USA. He joined relocated to Melbourne to The Australian Ballet in 2011; attend The Australian Ballet he was promoted to coryphée School. She toured with The in 2013, to soloist in 2016 Dancers Company in 2009 and to senior artist in 2019. and 2010, and joined The Australian Ballet in 2011. She Repertoire highlights has toured internationally — The Prince in Peter with the company to New Wright's The Nutcracker York, Los Angeles, Berkeley, 2019 Beijing, Shanghai and — The Shepherd in Stanton London. She was promoted Welch's Sylvia 2019 to coryphée in 2015, to soloist — Crassus in Lucas Jervies' in 2017 and to senior artist Spartacus 2018 in 2018. — Camille in Ronald Hynd's The Merry Widow 2018 Repertoire highlights — Jack/Knave in — Cinderella in Alexei Christopher Wheeldon's Ratmansky's Cinderella Alice's Adventures in 2018 Wonderland© 2017 — Princess Florine and the — Franz in Peggy van Fairy of Musicality in David Praagh's Coppélia 2016 McAllister's The Sleeping — The Bluebird in David Beauty 2018, 2017, 2015 McAllister's The Sleeping — Alice in Christopher Beauty 2015 Wheeldon's Alice's — Frederick Ashton’s Adventures in Symphonic Variations and Wonderland© 2017 The Dream 2015 — Giselle in The Australian — Wayne McGregor's Ballet's Regional Tour of Chroma 2014 Giselle, 2017 — Jirˇí Kylián’s Petite Mort 2014 — Valencienne in Ronald Hynd's The Merry Widow Guest appearances 2018 — Swan Lake Act III and — Firebird in Graeme Paquita, The Dancers Murphy's Firebird 2018 Company tour 2014, 2013 — Viktor Gvosky's Grand pas classique 2017 Awards — 4th Movement Principal — Telstra Ballet Dancer in George Balanchine's Award 2013 Symphony in C 2017 — Agrippina Vaganova's You may not know ... Diana and Actéon Pas de Christopher loves an deux 2016 outdoor adventure, and — ‘Bomb Squad’ Ballerina in recently hiked through Twyla Tharp's In the Upper Patagonia. Room 2015

Awards — Telstra Ballet Dancer Award and People's Choice Award 2018 — Telstra Ballet Dancer Award nominee 2016, 2014

You may not know ... Jade and her fiancé are proud owners of two long-haired miniature dachshunds named Bentley and Winter. Dana Stephensen in rehearsal for Dyad 1929. Photography Teagan Glenane

THE AUSTRALIAN BALLET VOLT 35 Soloists

NATHAN BROOK IMOGEN CHAPMAN NICOLA CURRY INGRID GOW BRODIE JAMES CALLUM LINNANE

Nathan Brook’s Soloist Imogen was born in Perth, Nicola Curry grew up in Ingrid Gow was born in Brodie James was born Callum Linnane grew up in position is generously Western Australia. She began Colorado Springs, USA. At Randwick, Sydney in 1987. in Perth and began his Ballarat, Victoria, where he supported by the Stephanie ballet at the age of three, and the age of 14, she moved to She knew from the age of dance training with jazz began tap-dancing classes at Fairfax & Hayley Baillie Fund at the age of eleven moved Toronto to train at Canada’s four that she wanted to grow and acrobatics at the Jody the age of seven. He started to Melbourne to continue National Ballet School, where up to be a ballerina. Her Marshall Dance Company ballet classes when he was Nathan was born and raised her training at The Australian she received the Erik training began at Academy in 2001. He trained at The eleven. He trained with in Avalon Beach, New Ballet School. In 2007 she Bruhn Memorial Award for Ballet in Sydney and Graduate College of Dance Lauren Young before being South Wales. He started moved to London to accept Excellence in Ballet. At the continued at the New Zealand from 2005 under the accepted into The Australian dance classes at the age a place at The Royal Ballet age of 18, Nicola moved School of Dance. In 2007 direction of Dawn Weller. He Ballet School in 2008. Callum of seven after his parents School, graduating in 2010. to New York City to join Ingrid successfully auditioned was offered a scholarship to toured with The Dancers recognised that, no matter During her time at The Royal American Ballet Theatre, for Royal New Zealand Ballet, attend The Australian in 2013 and 2014; what the music, Nathan Ballet School, she performed where she danced for ten where she danced for three School in 2008; while there he joined The Australian was always dancing. He with The Royal Ballet in years. While at ABT, she years. Ingrid joined The he spent time studying at Ballet in 2015. He was trained at Lamont Dance productions including performed featured roles Australian Ballet in 2010; she Canada’s National Ballet promoted to coryphée in School in Avalon Beach, with La Bayadère, Giselle and such as Hermia in Frederick was promoted to coryphée School as an exchange 2017 and to soloist in 2018. Aryana Lamont, until the Cinderella, toured to Japan Ashton’s The Dream, a Big in 2013 and to soloist in 2018. student. He toured with The age of 14, when he moved with the School, and was Swan in Kevin McKenzie’s Dancers Company in 2011 Repertoire highlights to Melbourne to attend The chosen (in her second year of Swan Lake, Her Stepsister in Repertoire highlights and joined The Australian — The Prince in Alexei Australian Ballet School. After training) to tour with Carlos James Kudelka’s Cinderella, — Myrtha, Queen of the Wilis Ballet in 2012. In 2014 he Ratmansky's Cinderella graduating, Nathan joined Acosta, performing Apollo in Lady Capulet in Sir Kenneth in Maina Gielgud's Giselle participated in a dancer 2018 Queensland Ballet’s Young Valencia. After her graduation MacMillan’s Romeo and 2019 exchange, performing with — Albrecht in Maina Gielgud's Artist Program, where he had she joined the Scottish Juliet, and Tall Pas d’Action — The Queen of Hearts in the Royal Ballet of Flanders Giselle 2018 the opportunity to perform Ballet before joining The in ’s La Christopher Wheeldon's in Antwerp. He was promoted — Jack/Knave of Hearts in in George Balanchine’s Australian Ballet in 2011. She Bayadère, along with a variety Alice's Adventures in to coryphée in 2017, and to Christopher Wheeldon's Serenade© and Sir Kenneth was promoted to coryphée in of other featured roles in Wonderland© 2019 soloist in 2018. Alice's Adventures in McMillan’s Romeo and Juliet. 2016 and to soloist in 2018. ballets by George Balanchine, — The Fairy of Grace in David Wonderland© 2017 He joined Queensland Ballet Twyla Tharp, John Neumeier McAllister's The Sleeping Repertoire highlights — Second Movement proper in 2015, touring with Repertoire highlights and Alexei Ratmansky. She Beauty 2015 — The Prince in Peter Principal in George the company to Toronto, — Prayer in Peggy van has toured with American — The Princess Royal in Wright's The Nutcracker Balanchine's Symphony Canada and London. Nathan Praagh's Coppélia 2016 Ballet Theatre to , Graeme Murphy's Swan 2019 in C 2017 joined the corps de ballet of — Guardian Swan in Graeme Muscat, Oman, Abu Dhabi, Lake 2015 — Orion in Stanton Welch's — Vaslav Nijinsky in John The Australian Ballet in 2016; Murphy’s Swan Lake 2016, London, Paris, Tokyo, Beijing, — Frederick Ashton’s Sylvia 2019 Neumeier's Nijinsky 2016 he was promoted to coryphée 2015 Seoul, Taipei and numerous Symphonic Variations 2015 — The Prince in Alexei — William Forsythe's In in 2018 and soloist in 2019. — Lead Swan in Stephen US cities. Nicola joined The — Jiří Kylián's Petite Mort Ratmansky's Cinderella the Middle, Somewhat Baynes' Swan Lake 2016 Australian Ballet in 2015. 2014 2018 Elevated 2016 Repertoire highlights — William Forsythe's In — Jiří Kylián's Bella Figura — Tim Harbour's Filigree and — First Movement Principal — Jupiter in Alexei the Middle, Somewhat Repertoire highlights 2013 Shadow 2018 in George Balanchine's Ratmansky's Cinderella Elevated 2016 — Tertulla in Lucas Jervies' — Skinny Stepsister in Alexei — The Caterpillar in Symphony in C 2016 2018 — Venus in Alexei Spartacus 2018 Ratmansky's Cinderella Christopher Wheeldon's — Stomper in Twyla Tharp's — Scorpius in Lucas Jervies' Ratmansky's Cinderella — The Lilac Fairy in David 2016, 2015, 2013 Alice's Adventures in In the Upper Room 2015 Spartacus 2018 2016, 2015 McAllister's The Sleeping — Lady Capulet in Graeme Wonderland© 2017 — Tim Harbour's Filigree — Graeme Murphy's — Fairy of Joy in David Beauty 2018, 2017, 2015 Murphy's Romeo & Juliet — Viktor Gsovsky's Grand pas and Shadow 2015 Schéhérazade 2018 McAllister's The Sleeping — Myrtha, Queen of the Wilis 2011 classique 2017, 2016 — Kromow in The Merry Beauty 2015 in Maina Gielgud's Giselle — Grand Matriarch in Ronald — Albrecht in Giselle Awards Widow 2018 — Twyla Tharp's In the Upper 2018 Hynd's The Merry Widow (Regional Tour) 2016 — Telstra Ballet Dancer Award — Stephen Baynes' Constant Room 2015 — The Queen of Hearts in 2011 — 'White Couple' in Jiří 2016 Variants 2018 — Tim Harbour's Filigree and Christopher Wheeldon's Kylián's Forgotten Land — The Caterpillar in Shadow 2015 Alice's Adventures in Awards 2016 You may not know ... Christopher Wheeldon's Wonderland© 2017 — Telstra Ballet Dancer — Frederick Ashton’s Callum is related to Alice's Adventures in Awards — Bronislava Nijinsky in John Award nominee 2014 Monotones II 2015 Lieutenant-Colonel Vivian Wonderland© 2017 — Telstra Ballet Dancer Neumeier's Nijinsky 2016 — Garuda the Dream God Bullwinkel, AO, MBE, ARRC, ED, —  Aerial trio in David People’s Choice Award — Lead Swan in Stephen You may not know ... in Stanton Welch’s FNM, an Australian Army Bintley's Faster 2017 2014 Baynes' Swan Lake 2016 Ingrid loves reading and La Bayadère 2014 nurse during the Second — The New Dancer/Léonide — William Forsythe's In adding to her high-heel World War and the sole Massine in John Neumeier's You may not know ... the Middle, Somewhat collection. Guest appearances surviving nurse of the Nijinsky 2016 Imogen is very fond of Elevated 2016 — Paquita and Swan Lake Act Bangka Island Massacre, — Second Movement Soloist animals, the bush, live — Stomper in Twyla Tharp's III, The Dancers Company which took place on 16 in George Balanchine's music and spending time In the Upper Room 2015 tour 2015 February 1942. Vivian Symphony in C 2016 at her family home in was an Australian hero. — Stephen Baynes' Imaginary Perth's hills. Awards Awards Masque 2016 — Telstra Ballet Dancer — Telstra Ballet Dancer Award nominee 2016 Award nominee 2018, 2016  You may not know ... Nathan is the youngest You may not know ... You may not know ... of three boys. Growing Nicola is a qualified Pilates Brodie is currently up on the beach, both his instructor. She can also studying a bachelor older brothers became be seen performing in the of media and competitive surf boat ballet class scenes in the communications online. rowers; Nathan prefers 2010 Oscar Award-winning to scuba dive. filmBlack Swan.

36 THE AUSTRALIAN BALLET 2020 SEASON JAKE KAREN NANASCA RINA NEMOTO JILL OGAI MANGAKAHIA

Jake was born on the Karen Nanasca was born Rina Nemoto was born in Jill Ogai was born in Sydney Sunshine Coast, Queensland. in Auckland, New Zealand. Tokyo, Japan, and began in 1993, and grew up on Bondi As soon as his parents Hailing from an athletic dancing at the age of three. Beach. At the age of four discovered that their baby family, she followed in their At the age of 15, she travelled she and her twin brother, was bopping his little head to footsteps by studying ballet to Paris for two years of after watching a ballet video, any music he heard, they put from the age of seven. training with surprised their parents by him into dance classes. At the Her natural talent was Daini Kudo and Dominique asking if they could start age of ten Jake successfully immediately noticed and Khalfouni. In 2009, Rina was ballet classes. She began at auditioned for The Australian nurtured by her teachers at awarded a The Ballet Class Rose Bay. Ballet School. At the age of the Mt Eden Ballet Academy. scholarship and joined The When her family moved 18 he joined The Australian She won the New Zealand Royal Ballet as an apprentice to Adelaide she continued Ballet. He was promoted National Ballet Award in dancer. She joined The training with Sheila Laing to coryphée in 2017 and to 2004, followed by a placing Australian Ballet in 2011; she and Elayne Cherry before soloist in 2018. in the semi-finals of the Prix was promoted to coryphée in moving to Melbourne at age de Lausanne in 2005. In 2016 and to soloist in 2018. 14 to begin full-time studies at Repertoire highlights 2006 she was the recipient The Australian Ballet School. — Tim Harbour's Squander of the Elizabeth McDonald Repertoire highlights Jill toured with The Dancers and Glory 2017 Scholarship, allowing her to — Alice in Christopher Company in 2010 and 2011 — Vaslav Nijinsky in John cross the Tasman and join Wheeldon's Alice's and joined The Australian Neumeier's Nijinsky 2016 The Australian Ballet School. Adventures in Ballet in 2012. She was © — Stephen Page's Waramuk - Karen became a member of Wonderland 2017 promoted to soloist in 2018. in the dark night 2012 The Australian Ballet's corps — Fairy of Grace and Fairy — Graham Murphy's Beyond de ballet in 2009 and was of Generosity in David Repertoire highlights Twelve 2012 promoted to coryphée in McAllister's The Sleeping — Fairy of Temperament and — Gary Stewart's Monument 2012; she was promoted to Beauty 2017, 2015 Princess Florine in David 2011 soloist in 2018. — from Stephen McAllister's The Sleeping Baynes' Imaginary Masque Beauty 2017, 2015 Awards Repertoire highlights 2017 — Tim Harbour's Squander — Telstra People's Choice — Giselle in Giselle (The — Pas de deux from Stephen and Glory 2017 Award 2017, 2012 Australian Ballet's Regional Baynes' Molto Vivace — Diana and Actéon Pas de Tour) 2017, 2016 (Ballet Under the Stars deux 2017, 2016 — Fairy of Temperament You may not know ... 2017) — The Duchess in Stephen In 2014 Jake made the in David McAllister’s The — La Sieste in Serge Lifar's Baynes' Swan Lake 2016 decision to take a two-year Sleeping Beauty 2017, 2015 Suite en blanc (Adelaide — William Forsythe's In sabbatical and fulfil a — Diana and Actéon Pas de Gala Spectacular 2017) the Middle, Somewhat life-long dream to serve deux 2017 — 2nd Movement Soloist Elevated 2016 as a Christian missionary — 3rd movement Soloist in George Balanchine's — Tim Harbour’s Filigree and for The Church of Jesus in George Balanchine's Symphony in C 2017 Shadow 2015 Christ of Latter Day-Saints. Symphony in C 2017 — Dawn in Peggy van — Twyla Tharp’s In the Upper He served in the Toronto — Wayne McGregor's Infra Praagh's Coppélia 2017 Room 2015 mission and returned to 2017 — Countess, Lead Swan and — Dumpy Stepsister in Alexei The Australian Ballet in — Red Pas de deux in Jirˇí Russian Dancer in Stephen Ratmansky’s Cinderella 2016. Kylián’s Forgotten Land Baynes' Swan Lake 2016 2015, 2014 2016 — Moth in Frederick Ashton’s — Stomper in Twyla Tharp's Awards The Dream 2015 In the Upper Room 2015 — Telstra Ballet Dancer — First Shade variation — Cygnet in Graeme Award nominee 2018, 2014 in Stanton Welch’s La Murphy’s Swan Lake 2012 - Bayadère 2014 2015 You may not know ... — Clara in Peter Wright’s The Rina is interested in Guest appearances Nutcracker 2014 pottery, and would like to — Expressions Dance — Wayne McGregor’s Dyad explore it when she has Company Solo Festival 1929 2013, 2009 more time. of Dance, Tim Harbour’s Extro 2 Awards — Telstra Ballet Dancer Awards Award nominee 2011 — Telstra Ballet Dancer Award nominee 2016 You may not know ... In 2015 Karen participated You may not know ... in an exchange with the Jill paints, draws and makes her own clothing. and performed in Rudolf Nureyev's production of Don Quixote.

THE AUSTRALIAN BALLET VOLT 37 Coryphées

SHAUN JACQUELINE TIMOTHY JASMIN DREW COREY FRANÇOIS-ELOI MASON ANDREWS CLARK COLEMAN DURHAM HEDDITCH HERBERT LAVIGNAC LOVEGROVE^

LUKE AMANDA ALICE YUUMI MARCHANT McGUIGAN TOPP YAMADA

Corps de ballet

SARA KARINA MATTHEW DANIEL LISA SARANJA ISOBELLE JACOB ADAM ANDRLON ARIMURA BRADWELL BRYNE CRAIG CROWE DASHWOOD^ DE GROOT ELMES

EVIE ROHAN THOMAS BENJAMIN SERENA ELLA CAMERON DANIEL ALAIN FERRIS FURNELL GANNON GARRETT GRAHAM HAVELKA HOLMES IDASZAK JUELG

LARISSA EMMA RILEY LILLY COCO THOMAS SOPHIE GEORGE-MURRAY TYSON KIYOTO-WARD KOPPELMAN LAPHAM MASKERY MATHIESON McCLINTOCK MORGAN NIGHTINGALE POWELL

JETT JOSEPH MONTANA KATHERINE BELLE YICHUAN AYA JESSICA LUCIEN RAMSAY ROMANCEWICZ RUBIN SONNEKUS URWIN WANG WATANABE WOOD XU

^Philanthropy Ambassador Joseph Romancewicz's Corps de ballet position generously supported by Jodie Maunder Ella Havelka's Corps de ballet position supported by The Susan and Sam Chisholm Fund Mason Lovegrove's Coryphée position supported by The Ross Trust

38 THE AUSTRALIAN BALLET 2020 SEASON PROUDLY SUPPORTING AUSTRALIA’S INSPIRATIONAL ARTISTS AND CREATORS

Callum Linnane and Isobelle Dashwood. Photography Taylor-Ferné Morris

THE AUSTRALIAN BALLET VOLT 39 Artistic Staff

FIONA TONKIN OAM ELIZABETH TOOHEY PAUL KNOBLOCH MEGAN CONNELLY AM

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

Fiona Tonkin began her Born in Western Australia, Elizabeth was born in Paul Knobloch was born Megan Connelly joined The career at the Royal New Steven Heathcote took up Newcastle and joined The in Canberra and began Australian Ballet in 1991 Zealand Ballet in 1979. At the ballet lessons at the age of Australian Ballet after his dance training at the under the direction of Maina invitation of Marilyn Jones, ten. He was accepted into The graduating from The Canberra Dance Development Gielgud, and performed in Fiona joined The Australian Australian Ballet School at the Australian Ballet School in Centre before graduating many works including The Ballet in 1980. By 1987 she age of 16 and was offered a 1979. She remained with the from The Australian Ballet Sleeping Beauty, Don Quixote, had become a principal artist, contract with The Australian company until 1990. In 1985 School with honours in 1997. Giselle, Romeo and Juliet, renowned for her interpre- Ballet in 1983. she and David McAllister The Merry Widow, La Fille tative artistry, classicism entered the 5th International Paul joined The Australian mal gardée, The Taming of and technical versatility. Steven experienced a rapid Ballet Competition in Moscow. Ballet in 2002 and rose to the Shrew and Symphony rise to the rank of principal Following this, they were the rank of soloist before in C. She was appointed Career highlights include artist, a position he sustained invited to perform Don embarking on an international assistant to the ballet staff dancing Aurora at the for 20 years. He was invited Quixote with the Bolshoi Ballet career. In 2009 he took up before taking up the position Royal Opera House London, to perform as guest artist in 1986 and the Kirov Ballet in the invitation to join Béjart of principal teacher at the Juliet at the Kirov Theatre with some of the world’s 1988. They performed Walter Ballet Lausanne as a premiere Christine Walsh Dance Centre. St Petersburg, Flavia and major ballet companies, Bourke’s Grand Tarantella danseur and has performed all In 1999 she was appointed Giselle at the Metropolitan including American Ballet in galas around the former over the world as a member ballet mistress on the Year Opera House New York, and Theatre, Birmingham Royal Soviet Union, cementing an of distinguished companies 2000 project for the Sansouci opening the company’s 1992 Ballet, the Royal Danish Ballet enduring partnership. including English National Music Festival, Berlin. She London season as Giselle. and the Mariinsky Ballet. Ballet, West Australian Ballet, has performed with Victoria She appeared as a guest She has been a guest artist Alonzo King LINES Ballet USA State Opera and Opera After retiring from the artist with the Kirov Ballet in with Norwegian National and . Australia; her choreographic dance stage in 2007 as The Swan Lake and on the Rudolf Ballet and a resident guest works include Between Space Australian Ballet’s longest Paul has danced many Nureyev Farewell Tour, and principal with English National for the 2000 Australian serving principal artist, Steven principal and soloist roles danced the title roles in the Ballet. Career highlights Dance Awards, and Voices, appeared in the 2009 feature in the works of celebrated ABC Television broadcasts include dancing the Peasant accompanied by Melbourne filmMao’s Last Dancer and choreographers and has of La Fille mal gardée and Pas de deux in Maina Gielgud’s Bulgarian Women’s Choir. has been actively engaged performed on the most Romeo and Juliet. Fiona Giselle at New York’s She has been a guest teacher in specialised coaching for illustrious stages in the world received Green Room Metropolitan Opera House at Sydney Dance Company, dancers, public speaking, including Palais Garnier, Awards in 1988 and 1989. and the Bluebird Pas de deux Queensland Ballet, Victorian presenting and acting. London Coliseum and at London’s Covent Garden College of the Arts, Ballet During her 14 years with the Tokyo Bunka Kaikan. before the Queen, both with Philippines, Royal Flemish company Fiona performed in In 2010 Steven conceived David McAllister. Opera Ballet School, over 70 ballets including all and directed a new production He has built a strong identity Staatheatre St Gallen, the major classics as well as of Handel’s Julius Caesar, Following her retirement, as both a leading artist and Michael Clark Company ballets such as Onegin, Song for Victorian Opera. In 2012 Elizabeth completed an Arts choreographer and has a and Cecchetti Society. of the Earth, Monotones, he returned to opera as Administration apprenticeship string of accolades to his choreographer and assistant name. Paul has caught the Suite en blanc, Serenade, with English National Ballet; At the invitation of David director to John Bell for eye of many renowned Symphony in C, Ballet she is also an internationally McAllister, Megan returned the Victorian Opera’s new choreographers and has had Imperial, Four Temperaments, certified Stott Pilates to The Australian Ballet in production of Stravinsky’s numerous roles created on , Return to the Instructor. In 2008 she joined 2001 as assistant to the The Rake’s Progress. him as a dancer; he has also Strange Land, Forgotten the Royal Swedish Ballet’s artistic director, and soon Land and Pillar of Fire. rehabilitation team, where forged his own choreographic In 2013, Steven performed after added the work of ballet she worked with injured voice, creating works for the title role of Don Quixote coach to the role. During this Fiona graduated with a dancers and expectant The Australian Ballet, Ballet in The Australian Ballet’s time, Megan co-authored Bachelor of Arts in 1998 mothers. During this time Victoria and leading schools production of the ballet, and Bodywise for ABC books and while guest-teaching in New she developed a program, and institutions across was assistant director to John qualified as an APMA Pilates Zealand and Australia. In 1999 for the Centre, which Australia, Canada and Bell for Opera Australia's new Instructor. she completed The Australian focuses on safe biomechanical the USA. production of . Ballet School’s Teachers build-up during a professional In 2009 Megan was He has had professional Course and was awarded barre. She was also the appointed Steven lives in Melbourne teaching appointments at the Australian Multicultural company’s ballet mistress & rehabilitation specialist for with his wife Kathy; they companies including Sydney Foundation Scholarship. and rehearsal director. The Australian Ballet and have two adult children. Dance Company, Bangarra returned to the stage as the In 2000 Artistic Director Dance Theatre, and Hong In 2014, at the invitation In 2017, Elizabeth accepted Mother in Alexei Ratmansky’s Matz Skoog appointed her Kong Ballet. of David McAllister, Steven David McAllister’s invitation to Scuola di ballo. In 2010 she Rehearsal Director of the returned to The Australian become a ballet mistress and joined the teaching staff of Royal New Zealand Ballet. Ballet as a ballet master and repetiteur of The Australian The Australian Ballet School, She continued to work with regional touring associate. Ballet: she has also performed in addition to her work with Skoog in London as assistant as a guest artist, in roles such the company, and in 2012 artistic director of the English as the Queen in McAllister’s completed a Vocational National Ballet in 2002. Fiona The Sleeping Beauty. In Graduate Certificate in Elite returned to The Australian 2019, Christopher Wheeldon Dance Instruction. In 2014 Ballet in 2003 at the entrusted her with the task of she was awarded a Churchill invitation of David McAllister, staging his Alice’s Adventures Fellowship. and celebrated 25 years with in Wonderland© for the the company in 2013. company.

40 THE AUSTRALIAN BALLET 2020 SEASON PLAYBILL ADS 41

THE AUSTRALIAN BALLET VOLT 41 PLAYBILL ADS 42

42 THE AUSTRALIAN BALLET 2020 SEASON Robyn Hendricks and Chengwu Guo in Chroma Photography Jess Bialek

THE AUSTRALIAN BALLET VOLT 43 Danielle Rowe and Adam Bull in Dyad 1929 Photography Jim McFarlane

44 THE AUSTRALIAN BALLET 2020 SEASON Philanthropy

LIFETIME COMMITMENTS

Leanne Stojmenov and Andrew Killian in Chroma Photography Jess Bialek We celebrate the individuals and foundations whose generosity has had a significant and transformative impact on the history of The Australian Ballet.

$1,000,000 PLUS Mr Robert Albert AO RFD RD & Mrs Elizabeth Albert The late Betty Amsden AO The Australian Mr William Bowness AO Joan and Peter Clemenger Trust Mr Jim Cousins AO & Mrs Libby Cousins Mrs Barbara Duhig Friends of The Australian Ballet (NSW) Ltd Frances Gerard AM The Glendonbrook Foundation Estate of Anne Robertson Gluyas Estate of Reginald Edward Gregory Estate of Lionel Frederick Hann & Harry John Colligan Mrs Lynnette Harvey Ms Linda Herd Mr Ian Hicks AM Bevelly Mitchell Lachlan & Sarah Murdoch Estate of Arthur & Roma Norcott Mrs Roslyn Packer AC Dr Valmai Pidgeon AM The Ian Potter Foundation Lady Potter AC CMRI James & Diana Ramsay Foundation A NOTE FROM EDWINA McCANN Mr Kenneth R Reed AM The Ross Trust Sandra Taylor-Bowman We are very excited about this season of Volt, both because it promises Graeme Uthmeyer & Lisa Bolte thrilling and dynamic contemporary dance and because it will showcase Zambelli Family a new work, Logos, by Alice Topp, the company’s newest resident choreographer. She has been transformed personally and professionally $500,000 PLUS through her time at The Australian Ballet, and it has been a pleasure to Mrs Mary Barlow watch her career blossom. Mrs Jennifer Brukner & the late Mr John Brukner Ms Robin Campbell The Australian Ballet’s founding director, Dame Peggy Van Praagh, Mrs Susan Chisholm & the late Sam Hewlings Chisholm AO had a strong belief that new works were vital to the company, Estate of Keith M Christensen and new choreography has been a part of our programming ever Colonial Foundation Limited since. Our original productions have been supported by philanthropy Ethel Margaret Ewing Cutten Foundation in many ways, notably through The Maina Gielgud Fund, established Friends of The Australian Ballet (SA) Inc in 1996, and The Robert Southey Fund for Australian Choreography, Gandel Philanthropy established in 1999, funds from which are supporting Volt. Sir Robert’s love for ballet began with the Ballets Russes, and he was chairman of Estate of George William Gregson The Australian Ballet from 1980 to 1990. The fund that bears his name In memory of Mrs J J Holden perpetuates Dame Peggy’s vision that The Australian Ballet should Mrs Susan Morgan continue to commission new Australian works. Mrs Helen O'Neil Bruce Parncutt AO This season of Volt, with its inclusion of Logos, demonstrates The late Lady (June) Porter the importance of nurturing homegrown choreographic talent. Estate of Peter & Barbara Shearer Alice began her career with creations for the bodytorque program Christine Smedley & the late Peter Smedley AM before moving on to success after success, most recently with her work Mr Dick Smith AC & Mrs Pip Smith AO , which received a Helpmann Award for Best Ballet and has had Aurum Lady Southey AC & the late Sir Robert Southey AO CMG acclaimed seasons in Sydney, Melbourne, New York and Wellington. Talbot Family Foundation Bravo to Alice, and to those wonderful patrons who had the vision Ray Wilson OAM to establish the funds that help nurture Australian talent. $300,000 PLUS Estate of Christine Ann Brown Mr John A Calvert-Jones AM & Mrs Janet Calvert-Jones AO Mr Colin Carter AM & Mrs Angie Carter Ms Laurie Cowled Edwina McCann Estate of Melba Cromack Chair Craig Dunn & Bozena Gawart Foundation Board Estate of Susan Fitzpatrick Mr & Mrs Henry Greenfield FOUNDATION BOARD Ms Val Harding Edwina McCann Nina Aberdeen Suellen Enestrom Mr John C. Higgins AO & Ms Jodie Maunder Chair Arun Abey AM Frances Ingham Ian & Jeannie Johnson Hayley Baillie Sarah Ingham David McAllister AM Jane Freudenstein Mary Barlow Nicola Kaldor Chair, Northern Chapter Di Bertalli Gail Marshall OAM Mr Peter Reilly & Mr Linton Soderholm Bill Bowness AO Jodie Maunder Renaissance Tours Robin Campbell Natasha Bowness Jane McLachlan Thyne Reid Foundation Chair, Southern Chapter Prue Brown Karen Morrison Mrs Marjorie White Colin Carter AM Maria Pannozzo Georgina Curran Lynne Wright Italics denotes this commitment includes a bequest to The Australian Ballet Cara Elsley We also wish to acknowledge and thank those individuals who have chosen to remain anonymous

THE AUSTRALIAN BALLET VOLT 45 Philanthropy

THE AUSTRALIAN BALLET FOUNDATION INTERNATIONAL TOURING FUND

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

46 THE AUSTRALIAN BALLET 2020 SEASON ANNUAL GIVING

LES ETOILES Mr Ronald G Kaiser Dr Michael Vivienne Wong, Rudy Hawkes & Mrs Lynne Wright and Leanne Stojmenov in Dyad 1929 Supporting the Patricia King Photography Jim McFarlane Principal Artists The Stuart Leslie Emma Zuber Gifts of $25,000 Foundation Anonymous (3) NSW/QLD Judy & Steven Lowy Hayley Baillie Mr & Mrs Geoff O'Conor CORYPHEE PATRONS Mrs Barbara Bedwell Mrs Sue Perini Gifts $5,000-$9,999 Mrs Susan Chisholm Mrs Margaret S Ross AM Mr Arun Abey AM Mrs Bar Cohen Mrs Anne Symons & Ms Bernadette Bolger Mrs Shaneen Crouch Christopher Mrs Ross Adler AC & Mrs Fiona Adler Mrs Gordon Douglass AM & Carol Tipler Antoinette Albert Mrs Jane Freudenstein E Xipell Miss Catherine Alston Bozena Gawart Anonymous Mrs Carolyn Baum Mrs Lynnette Harvey Phil & Laurel Bendrey Roland Howlett SENIOR ARTIST PATRONS Maxine Bowness Mrs Frances Ingham Gifts $15,000-$19,999 Mrs Roslynne Bracher AM Sarah Ingham Mrs Catherine Harris Ms Jannie Brown Mrs Loraine McLaren AO PSM Kim Burnett Deborah McMurtrie Hayden Attractions Mr Michel-Henri Carriol Mrs Helen O'Neil Pty Ltd & Mrs Julie Carriol OAM Mrs Roslyn Packer AC Shane Lloyd John & Mandy Collins Dr Valmai Pidgeon AM Mrs Susan Maple- Dr Anne Colman Brown AM Mrs Nancy Reardon- & Prof Peter Colman AC Fonseca Sybella Morris Gena Culley Mrs Kelly Wyborn Mr Robert Peck AM Mrs David Darling & Ms Yvonne Von Hartel Ms A Dickschen VIC AM peckvonhartel architects & Mr W. Brind Zichy- Mrs Mary Barlow Woinarski QC Mr Kenneth R Reed AM Mrs Di Bertalli Mr John Downer AM Sandy Michell Legacy Lisa Bolte & Mrs Rose Downer Mrs Mary Ann Wright Ms Natasha Bowness Mr Greg Egan Anonymous Ms Robin Campbell Mr Adam Elder Angie Carter & Dr Joanne Hart Mrs Annette Davis SOLOIST PATRONS EBCD Developments Alane Fineman Gifts $10,000-$14,999 (TAS) Pty Ltd^ Prue Gillies AM Brian Abel in memory of Mr & Mrs Chris Fullerton Ms Val Harding the late Ben Gannon AO Geoff & Lorrainne Ms Linda Herd Mrs Ruth Armytage AM Mr Louis J Hamon OAM Mr Ian Hicks AM Margaret Bland Beverley Harvey & the Mrs Susie Hicks Marilyn Burton late Richard Harvey Rosie Lew AM Mr John A Calvert- Mrs Jean M Healey Jones AM & Mrs Janet Ms Jodie Maunder Andrew Henderson Calvert-Jones AO Lady Potter AC CMRI & James Lake At the heart of philanthropy at The Susan & Leith Campbell Linton Soderholm Henderson Endowment Australian Ballet are our Annual Giving Paula Cronin Michael & Stacey supporters, whose inspiring generosity Mrs Wendy Dimmick Hill Smith CORPS DE BALLET Mrs Barbara Duhig Carol-Anne Humphreys makes possible everything you see on CIRCLES Mr & Mrs Ronald Margaret Joye^ stage. Ballet lovers across Australia Gifts $5,000-$50,000 Enestrom support the artistic director’s vision to Joseph Romancewicz Nicola Kaldor Dr & Mrs Donald Mr & Mrs Ervin Katz present an ever-changing and evolving Jodie Maunder Faithfull Ervin & Judith Katz program of seasons showcasing the In memory of Audrey Ms Susan Kelly breadth and depth of the company's Katherine Sonnekus Frindle Therese A Kennedy Mr & Mrs Stephen Mr John R Fullerton talents. All gifts to our Annual Giving Ainsworth Dr Judith Kinnear Susan & Robert Gillett program, large or small, are magnified Andrew & Andrea Banks The Landau Group Mrs Jill M Hinrichsen well beyond their monetary value, Michael DeSaxe Commercial NATASHA BOWNESS Pat Howell President as they support our artists each time Mr John Marshall Delysia Lawson Mr Aron Kleinlehrer Annual Giving & Mrs Gail Marshall OAM Martin Family in they step onto the stage. OAM Christine Wenkart memory of Lloyd Joan Lyons Martin AM Diana McLaurin Pamela M Marx PRINCIPAL PATRONS Don & Angela Mercer Mr & Mrs John M Gifts over $20,000 John & Karen Morrison McArthur Mr Robert Albert Bruce Parncutt AO AO RFD RD In memory of & Mrs Elizabeth Albert Mrs Patricia H Pitman Nola McCullagh Mrs Roseanne Amarant Matt Shelmerdine*^ N Moulton & the late Winston Broadbent Meredith Baldwin Jill Thorpe R W Brown Mrs Susan Warburton Mrs Ingrid Kaiser Correct as at 12.02.2020

THE AUSTRALIAN BALLET VOLT 47 Philanthropy

ANNUAL GIVING

Mr & Mrs Joshua Pitt Mrs Elisabeth Pidd Mrs Nancy Butler Mr & Mrs James T. Jane Hawkins^ Anne Lazberger Mr Ronald B Raines Dr Jenny Proimos Ita Buttrose AC, OBE Dominguez Nick Hays Mrs Judy Lee Rella Consultants & Mr Nicholas Glenning Trish Byrne Kay Dowling Karen Healey^ Dino Leone Renaissance Tours Mr Mark Sampson Mrs Nancye E Cain Lorraine Drogemuller Linden D Hearn OAM Lessep Investment Professor Ruth Mrs Josephine R Strutt Ms Clea Caisley Patricia Duffy Diana Heggie Management^ Rentschler OAM Swann Family Elizabeth & John The late Mrs Edrina Lucy Hennessy^ Regina Levine*^ Anne & John Rumpler Foundation Caldicott Dunstan Hannah Hesse^ Ms Christine Lewis Lyne Sedgman Mrs Suzanne A Pam Caldwell Mr & Mrs P Easter Eva Hillebrand^ Angela Li^ Waterhouse Gary Singer Mrs June V Cameron Kristin Edmonds*^ Dianne Hodge Mr Ross Liebmann Ruth Zionzee & Geoffrey Smith Janet Campbell Ms Janet Edstein Dr & Mrs Darryl Rosalind Lilley In memory of Anonymous (7) Rosemary Campbell Lyn Edwards Hodgkinson Melanie Listorti^ Mrs Joan Swan Estate & Robert Bryce Sarah Hogan MPA^ Ms Catherine Mrs Susan Thomas Gifts $1,000-$2,999 Kate Cannon^ Eeskay Investments Mr Peter Holbeach Livingstone AO Pty Ltd Meg Tudehope^ Nina Aberdeen*^ Kate Canty^ Robert & Susan Hollow Brooke Lockett*^ Judy Eyre & Tony De Mr & Mrs Leigh Virtue Gemma Felicity Acton^ Kelleigh Carroll Katrina & Simon Holmes Elizabeth H Loftus Domenico Philippa Warner Barbara Adams Emily Cassen^ à Court^ Grace Logvyn^ Mr & Mrs Barry Fagg Mrs Sally White OAM Mrs Lenore Adamson Mrs Frances Cattell Mr Robert A Hook Nicky Long^ Caroline Fazakas Mr Ray Wilson OAM Ellie* & Charlie Aitken^ Mrs R A Chaffey Doug Hooley Mr Richard Longes Dr Isaac & Mrs Judith & the late James Ingrid Albert^ Rosanna Chalk^ Mrs Robyn Hopkins Low Family Agapitos OAM Feldman Jane Allen Emily Chambers^ Gillian Horwood Foundation^ Melinda Wright^ Anna Findlay*^ Janet Allen Dr David & Mrs Caroline Kylie Hourigan^ Lusso Collective^ Wyke Family Margot Finney For Ian & Ila Anderson Champion Carrie Howard M+D Fuels Anonymous (6) Mrs Holly Fletcher Denham & Kate Champion^ John & Jenny Howland Danielle Mahemoff Alethea Flynn^ Juliet Schiff*^ Flora Zeta Cheong- Dr Judith Humberstone Lyn Maloney CORPS DE BALLET Amanda Forster^ Shauna Anderson^ Leen^ Gillian Hund OAM Louise & Robert PATRONS Dr MP Anthony^ Diana Choquette Cedric & Esther Fuchs Manifold Gifts $3,000-$4,999 Mrs Frances Ingham^ Joakim Apostolas & Robert Milliner Charles & Patricia Mrs Elizabeth Mann Mrs Alexandra Adams Galluccio Sarah Ingham*^ & Kirra Givanni^ Lucy Clemenger^ Louise Manning^ Benjamin & Julie Allen Mrs Kylie Ganko Ms Michelle Inns Jeremy Arnott Christine Clough Helen Mantzis*^ Dr Lorraine Baker Georgie George^ Mrs Susan Israel Josie Ashton*^ Sarah Colquhoun^ & Ms Shoshana Israel Carolyn Marlow Ms Kirsty Bennett Prue Gilbert^ Mr Joh Bailey Andrew Connolly John Mason OAM Caroline & Stephen Mrs Marilyn Jacka Hayley Baillie^ Dr Margaret Cook Vanessa Gilbert & Margaret Mason Brain & Marshall Hunwick^ Dr Alastair Jackson AM Michelle Baillieu David Cooper Antonia Sue Brown Mr Neil R Gill Mrs D Jackson & Marshall Baillieu In memory of Joyce Mavrocordatos^ Mr Charles G Clark & Mr Lee Christofis Fiona Jamieson^ Maximilian Bak*^ Cordony Ruth McColl AO Annette Cook Elizabeth Gipps Shareen Joel^ Mia & Jasmine Barbour Veronica Corrigan^ Carole McCormick G Coss Kimberley Gire^ Cmr Leigh Johns OAM Scott & Alina Barlow*^ Mr Tim K Cox AO Irina McCreadie Gregory Forsyth in Jennifer & Sarah Michelle Johnson David Barlow^ & Mrs Bryony Cox Kay & Wayne McDonald memory of Carol-Anne Goddard Jinah Johnston^ Penny Barlow*^ Angela Crammond Mrs Jane McGregor Humphreys Anna Goldthorp^ Nicky Joye^ Vanessa Barlow^ Ms Kay Cranwell Malcolm & Sandy Diana Gerstman Ryan Gollan*^ Prof. Peter Juliff AM Miss Margaret Barnes Ms Meredith McLachlan Alan & Marion Grundy Mr Charles Goode AC Ms Irene Kearsey Mr John W H Barr AM Creightmore Mr Garry McLean Mr Andrew Guild & Mrs Cornelia Goode Roslyn Keay & Mrs Rosemary Barr Mrs Prue Crookes^ John McMurrick & Ms Ai-Gul Gaisina Julie Goold Rhonda & Emily Keene Phillip Benedetti^ Paul & Samantha Cross^ Mrs Ann McNamara Mr Andrew Hamlin Leon & Judith Gorr Marion J Kelly Mrs Angelina Beninati Ms Elinor Crossing Gina McNamara*^ Louise Hamshere Mrs Christine Gorrie Mike Kendall^ Sharon Bennie^ Sophie Crowe^ Catherine McOmish Ms Sue Harlow Suzie Gough^ Patricia & Alun Kirsty Berger^ Lyndall Cummine Dr Pam McQueen & Mr Mervyn Keehn Stephen & Jane Gow Kenwood Leah Bischoff*^ Mr Charles P Curran AC & Mr Andrew McQueen Susan Jennison OAM Lianne Graf Mr Paul Keogh Ms Christine Bishop Bernard & Georgie Ian McRae AO Dale & Ian Johnson Mrs Beatrice Gray Mrs Diane Kierce Miss Catherine Boag Curran*^ & Ms Asa Hasselgård Ms Barbara Kingsell Kate Elizabeth Griffiths*^ Mrs Karen Margaret Lisa Bolte*^ Dr Carolyn Currie The McVay Family^ Mem Kirby^ Jennifer Grimwade Kightley Felicity Bongiorno*^ Mrs Katherine S Damm Ms Toni E Meek Mrs Valda Klaric & Ian Cashion Kathryn Kings Patricia Boyle Ms Anthoula Danilatos Sarah Meers^ Mr Hugh MacLachlan Alan & Marion Grundy Ms Barbara Kingsell Mrs Alix Bradfield Miss Ann Darby Jacqui & Christopher & Mrs Fiona MacLachlan Mrs Felicity Gunner Patricia & George Kline Jenny Darling Melck^ OAM Ms Elizabeth Bray OAM & Mr Perry Gunner & Emma Darling Marissa Knies Lanier^ Ian Merrylees Judy Matear Thomas Bridge^ Mrs Jenny Gust Mr Ernest Dawes OBE Vivien & Graham Ms Meredith Miller Mr Graham H Matheson Mrs P Britz Knowles & Mrs Nola Dawes Mr Hugh Hallard David Minns Mr Robert W Jacqueline Brooks Mrs Dinah Krongold Mrs Nola Dawes Ruth Hallett Desmond B Misso Esq McCormack AM Dr William Brooks Ms Charlotte De Vivienne Hannigan^ Mr Tom Kudelka Susan Morgan & Mr Alasdair Beck Rosalie Montagna Courcey-Bayley Jenny Hargrave^ Nicholina & Peter Kuner Dr M L Murnane AM Nigel & Sheena Maryanne Moore Mrs Chantal de Fraga^ Mrs Roush Hargraves Samantha Lambert^ Mr Barry P Murphy Broughton Professor Elizabeth Natalie Deague^ Mr L Harrison Beatrice Lang More AM A.M. Nash Mrs Annabel M Brown Mrs Felicity Demediuk Melissa Hartman*^ Mrs Sylvia Laumets- Emma Morrison^ Mrs Mary Parry Brooke Brown^ Tsiros Sandra & Stephanie Andrew Hartwell^ Marie Morton Tom Payne OAM Prue Brown^ Prof Bruce Lawford Denman Mr Haskins OAM Mr Roderick Morton & Lurline Payne Mrs Geraldine Bull & Dr Susan Shadforth Anna Donnan^ & Mrs Haskins Lachlan & Sarah Geoff & Jan Phillips Barbara Bursill Mary Jane M. Lawrie Jill Hawker Murdoch*^

48 THE AUSTRALIAN BALLET 2020 SEASON ANNUAL GIVING

Hollie Nasser^ Lorraine Seabrook Vinta Investment SUPPORT FROM Nicola Curry and Jake Mangakahia Irena Nebenzahl Mrs Christine Searcy Management Pty Ltd TRUSTS AND rehearsing Dyad 1929 Photography Kate Longley Simon & Meredith Marilyn Seidel The late Mrs Susan FOUNDATIONS Nettleton Mrs Margaret Sekel Wakil AO The Calvert-Jones Foundation James Neuman & Allan Lauren Selby^ Stan & Judy Wallis Ken & Asle Chilton Lifson, California, USA L M Shadgett Rosemary Walls Charitable Trust Beverly Ng^ & R S Murphy Maggie Wang^ Colonial Foundation Mr & Mrs Anthony Dr Robyn Sharp Mrs Carolyn Ward Limited Nicholas Jane Shaw^ Mrs Margaret Ward The Cory Charitable Justine & Carl Nicholls^ Jennifer Shaw^ The Shirley Ward Foundation Peter & Carolyn Norrie Mrs Lynne Sherwood Foundation Ethel Margaret Ewing Lyn & Gus Nossal Mr Ralph Ward-Ambler Mrs Dorothy Short Cutten Foundation - Susie Nugan^ AM & Mrs Barbara Charlie & Sandy Equity Trustees Josephine Nyssen^ Ward-Ambler Shuetrim Dimmick Charitable Barbara Watson Mrs Rachel O'Conor Dr John Sime Trust Mrs Hazel Watson Mr Richard O'Dwyer Mr Nev Simpson Sir Andrew & Lady Dr Peter Wearne Mrs Janette O'Keefe Ms Sara J Simpson Fairley Foundation & Ms Polly Shaw Mrs Marylou Orloff David Slack^ Gandel Philanthropy Pat & John Webb Catherine L Osborne Smith Finance Group William Arthur Hugh Mr John Weickhardt Helen Otto^ Ptd Ltd^ Gordon Fund - Miss Pamela Whalan Professor Andrew Korda Mrs Elizabeth Smith Perpetual Trustees Mrs Anne Wharton & Ms Susan Pearson Mrs Jocelyn Smith Graf Family Foundation Anne White Mrs Yvonne R Penny Prof Nerida A Smith The Eirene Lucas Chloe White^ Tanya Perilli^ Nicholas Smith^ Foundation Mrs Marjorie White Initiated in 2014 by The Australian Ballet’s Jodi Pettersen*^ Mr Sam Smorgon AO Dr Lee MacCormick Margie Phillipps & Mrs Minnie Smorgon Gudrun Willcocks^ Edwards Charitable Global Ambassador Sarah Murdoch, our Foundation Dr Richard K S Phoon Ezekiel Solomon AM Judith Williams Ballet Ambassador program connects McCusker Charitable Norman & Carolyn Mrs Heather M Spencer Randal & Asako Williams an international network of individuals, Foundation Pinder Alisa St John*^ Annabel Williamson The Ian Potter leaders of a new generation of ballet Pinpoint Pty Ltd Gretel Wilson^ Nicola Stanford Foundation lovers advocating for the company Sally Plowman^ Ms Josie Woodgate Sarah Stavrow^ The Profield Foundation around the world. Through intimate Danielle Poli^ OAM Valentina Stojanovska*^ James & Diana Ramsay ‘behind the curtain’ access, our ballet Mrs Katherine Pontifix^ Helen Wright Mr Bruce Stracey Foundation Kerryn Pratchett Kelly Wyborn^ ambassadors become deeply committed Patricia Sun^ The Ross Trust Mrs Anne Prior David Wynne^ to the development of the art form Surface Design Dick & Pip Smith Susan Wynne^ and promotion of the company to Beverley & John Purdey Bethan Sutton Foundation Yvonne Yendell Lynn Rainbow-Reid AM Mr Ian Swan Thyne Reid Foundation new audiences. Evelyn Yong*^ Belinda Raissis^ Ms Suzanne Swensson Igor & Jenny Zambelli Paul Rein & Mr Paul Jones SUPPORT FROM Anonymous (50) Major Partner J Rhodes Mr James Syme FRIENDS AND Mrs Robyn Rich Robyn Tamke SOCIETIES Chris & Lesley Victoria Taylor DEVOTEES The Australian Ballet Richardson Dr Christine Gifts $250-$999 Society Inc Mrs Susan Rigg Thevathasan (383) President Marilyn Jacka Dr Peter Rigg-Smith Mrs Annalise Thomas Friends of the Australian Judy Roach Peter & Lesley Thomas SUPPORTERS Ballet (NSW) Ltd Chairman Greg Khoury Christine Robertson Paris Thomson^ Gifts $25-$249 Friends of the Australian Michael Robertson^ Mr Allan Thorne (827) Ballet (SA) Inc Dr Stephen Rodgers- Penelope Thring President Lorraine Irving Wilson & the late Sue Thrower Dr Diane Palmer Dr Sarah K Tolerton^ Mrs Janet Rogers Miss Ruth Trait "The Australian Ballet is truly central to John & Helga Rose Daphne & Ross Turnbull my passion for ballet and I am committed Cecilia Rosenberg^ Janet Cliff to representing the company as Global Nadine Rosham^ & Jenny Turnbull Ambassador. I want every Australian, Ms Sandra Rowlands Rosslyn J Turner whether in Australia or around the world, James Rozsa Anna Turvoll^ to look up to our company and be proud. & Julie Barnes Ms Patricia Tyler Our dancers and our productions are a Samper Pty Ltd Mrs Jean Upton true representation of who we are." Kaylene Savas^ Catherine & Patrik In memory of Valsinger Sarah Murdoch Phyllis Scarlett Ms Joyce Van Leeuwen Global Ambassador Evelien Scherp^ Anna Van Weel Mr Douglas G Scott Georgina Vanden * Ballet Ambassador Board Elisabeth & Doug Scott ^ Ballet Ambassador

Correct as at 12.02.2020

THE AUSTRALIAN BALLET VOLT 49 Philanthropy

DANCE WITH US – THE PRIMROSE POTTER AUSTRALIAN BALLET CENTRE REDEVELOPMENT

The renovation of The Primrose Potter Jade Wood. Photography Kate Longley Australian Ballet Centre will have both an immediate and a far-reaching impact on our dancers’ health and wellbeing; the development of new ballets; and ultimately, our performances. The contributions of our Ballet family have been the keystone of this once-in- a-generation project, and we gratefully acknowledge those individuals and organisations whose generosity is celebrated in the new spaces of The Primrose Potter Australian Ballet Centre.

LEADERSHIP GIFTS SILVER PATRONS The Ian Potter Brian Abel Foundation Barbara Bedwell William & Joanne Annabelle Chaplain AM Crothers Medical & Andrew Willink Consulting Suite Libby Christie Endowed by William & Peter James & Joanne Crothers Suellen & Ron Enestrom Susan Morgan Pointe Jennifer Grimwade Shoe Room & Ian Cashion Endowed by Susan Morgan Ms Linda Herd Ian & Primrose Potter Joan Lyons Physiotherapy Suite David McAllister AM Endowed by Lady Edwina McCann Potter AC CMRI Mr Robert W James & Diana Ramsay McCormack AM Pilates Studio McLaren Family James & Diana Ramsay Tony Osmond Suite for Artists of The & Fiona Griffiths Australian Ballet Mrs Sue Perini Endowed by James Mr Peter Reilly & Diana Ramsay & Mr Linton Soderholm Foundation Mrs Mary Ann Wright Lisa Bolte Dancers’ Lounge Endowed by Graeme BRONZE PATRONS Uthmeyer Hugh Hallard Zambelli Family Studio Mrs Catherine Harris Endowed by Zambelli AO PSM Family SUPPORTERS PLATINUM GIFTS Dr Lorraine Baker Craig Dunn Phil & Laurel Bendrey & Bozena Gawart Marilyn Burton Mr Jim Cousins AO GOLD PATRONS & Mrs Libby Cousins Ruth Armytage AM Mr Ronald G Kaiser Bowness Family Graham Matheson Foundation Pty Ltd Dave Poddar Colin & Angie Carter & Angela Flannery Family Faithfull E Xipell Mrs Lynnette Harvey Diana McLaurin Christine Smedley & the late Peter Smedley AM Mr Dick Smith AC & Mrs Pip Smith AO Peter & Anne White Mrs Sally White OAM

50 THE AUSTRALIAN BALLET 2020 SEASON THE DAVID McALLISTER FUND

David McAllister. Photography Justin Ridler

This fund has been established to enable all future artistic directors to access a discretionary fund that will allow them to take advantage of short-term artistic opportunities. The fund celebrates and honours the generous philanthropic contributions David McAllister made to The Australian Ballet during his time as artistic director.

Gifts over $100,000 William & Joanne John & Karen Morrison The Australian Ballet Crothers Mrs Helen O'Neil Society Ms Anthoula Danilatos Sue Perini Mr & Mrs Anthony Mr Ernest Dawes OBE Mrs Patricia H Pitman Maple-Brown & Mrs Nola Dawes Mrs Margaret S Ross AM Van Cleef & Arpels Ms Maria L Evans Matt Shelmerdine Dr & Mrs Donald Gary Singer Gifts $5,000-$9,999 Faithfull & Geoffrey Smith Mrs Maxine R Bowness Mr John R. Fullerton Pip Smith AO Joshua & Pamela Pitt Jennifer Grimwade Mrs Marjorie White & Ian Cashion Igor & Jenny Zambelli Linda Herd Gifts $1,000-$4,999 A. Dickschen & W. B. Dr Lorraine Baker Mr John C. Higgins AO Zichy-Woinarski Q.C. and Ms Jodie Maunder Lisa Bolte & Graeme Emma Zuber Ms Michelle Johnson Uthmeyer Anonymous (2) Mrs Annabel M Brown Nicola Kaldor Ms Margaret Kirby Mrs Barbara Bursill Gifts $250-$999 Mr Ross Liebmann Elizabeth & John (64) Caldicott Shane Lloyd Kon & Helen Mantzis Ms Robin Campbell Gifts $100-$249 Mrs Margaret Mason Terry Campbell AO (386) & Christine Campbell Mr Robert W Mr & Mrs Carriol McCormack AM Mrs Angela Malcolm & Sandy Crammond AM McLachlan Mr David Crawford McLaren Family AO and Mrs Maureen Ms Meredith Miller Crawford Bevelly Mitchell Tzu-Chao Chou and Lana Jones in Dyad 1929 Photography Jim McFarlane

Correct as at 12.02.2020

THE AUSTRALIAN BALLET VOLT 51 Philanthropy

PLANNED GIVING – DAME PEGGY VAN PRAAGH LEADERSHIP CIRCLE

Ann Darby in memory Marlene Kavanagh Kenneth R Reed AM of Kath & Jim Darby Dawn V Kelly Dr Stephen Rodgers- Mrs Merawyn Davies Marion J Kelly Wilson David de Verelle-Hill Dr Judith Kinnear Rhonda & Peter Roga Andrew R. Dixon in Mrs Valda Klaric Richard Ross memory of Phyllis J. Lisa Kokegei Caroline J Ross-Smith Manning Simon Lambourne Ms Ros Russell Miss Patricia Downes Francine Lancaster Mrs Margaret Sault George Drew Mavis Lance Margot Seeley The late Mrs Lorraine Richard Laslett Rhonda Sheehy Drogemuller Mrs Judy Lee Mr & Mrs Charles Mrs Jill Duck Daniel-Francois Sheldon The late Mrs Edrina Lemesle Mr Michael Short Dunstan & the late Stephanie Shwabsky Mr David Dunstan Dr C S Loader in memory of Betty Betty Eastgate The late Mrs Patricia Loughhead Shwabsky Carol & Ted Edwards Pamela & David Luhrs Sara J Simpson Jo Edwards Chris Mackay Gary Singer Lyn Edwards & Geoffrey Smith Geoff & Margaret Richard Evans Markham Elvira Sinicins Terry Fahy Barbara Marrett Mr Alan Smith Ross Fairhurst & Mr Daryl Anderson Leonor Marrone in Mrs Jacqueline Farrar memory of Romina Prof Nerida A Smith The late Jim Finch Patsy Martin Lady Southey AC Peter F Fleming Graham Matheson Ms Miranda Starke Barrie I Follows AM JP David McAllister AM Annie Stephens & Margaret Gail Follows Mr Robert W Ms Juanita Stockwell Mrs Geraldine McCormack AM Miss Pat Sutherland Fox-Penglis Sandra McCullagh Deb Sutton Jennifer Fulton Ann McFarling Elizabeth Swanton Frances Gerard AM D J McGregor Susanne Sweetland Anthea Gilbert Del & Andrew Regine Szmulewicz Suzanne Gleeson McGuiness Ms Susan Taylor The impact of making a gift in your will to The Australian Ms Margo Graham Ballet is truly profound, and will continue to benefit Mr Michael McKenzie Sandra Taylor-Bowman Derek & Joan & Mr Neil Jones Dr Christine generations of ballet lovers and dancers, as well as the Lyn Grigg Judithe & John Thevathasan art form we all love and admire. Nearly 300 members Mr Leonard Groat McKindley Shirley A Tink of the Ballet family have confirmed a bequest to The Colin Gunther Heather McNicol Michele & Mario Topcic Australian Ballet. Louis J. Hamon OAM Dr Toni Meath Dr Sally Townsend Louise Hamshere Prudence Menzies Miss Ruth Trait “The Australian Ballet has not only been my career but Mrs Lilian Hardy Desmond B Misso Esq Patricia Tyler also my life’s passion, so by including the company in Sue Harlow Carolyn & Ian Mitchell Mrs Jean Upton my will I hope I can assist many others to experience & Merv Keehn Ken Mitchell John & Susan the wonderful joy of dance.” Vivien & Christopher Susan Morgan Vanderstock Hart Colin Peasley OAM Mary Murphy Hon Rosemary Varty Planned Giving Ambassador Miss Carol Hay TJ Nakasuwan Ms Jill Vaughan Jennifer R Hay Simon & Meredith Peter Vaughan Robert B Haynes Nettleton Mrs Jacqueline Wallace Mr L Kevin Adair Mrs Margaret Broeks Janet Cliff Hilary A Hazledine Miss Shirley Neville Kenneth W Watkins Alexandra Adams Beverley A Brown OAM & Jenny Turnbull Mrs Jean Healey Dr Jennifer M Newton Pamela Whalan Richard Allert AM FCA Jannie Brown Joyce Clothier OAM Linden D Hearn OAM Dr Kersti Nogeste Dinah Whitaker in & Barbara Allert Dr Roger Brown Patricia Concannon Christopher Hector Carolyn Norrie memory of Emma The late Patricia Anders in memory of Ruby Jennifer Brukner & the & Ros Neave Kathleen Y Nowik Toussaint Dr Greta Archbold late John Brukner Concannon Ms Linda Herd Mr Richard O'Dwyer Brenda White Lorelei Anne Bache Ms Deborah Buckett Judy Connor Kathy Hirschfeld Diane O'Flaherty Margaret Amery White Dr Margaret Cook Dr Lorraine Baker Dr Sheena L Burnell Ms Dianne Hodge & Verna Oakley Barry & Megan Willcox Caroline Cooper MVO Mrs Mary Barlow Trish Byrne Ms Claire Houston The late Kathleen Deb Williams Ms Joanne Coughlin Dr Rosemary Barnard Pam Caldwell Dr & Mrs Ken Hoyle O'Hara Jan Williams Mr Jim Cousins AO Ms Jennifer Barnes Mr John Calvert-Jones Dr Irene Irvine Catherine L Osborne Leonard J Wilson AM & Mrs Janet Calvert- & Mrs Libby Cousins Lesley M Bawden Lilla Ito Mrs Sue Perini Ray Wilson OAM Jones AO Judith Cowden Philip & Laurel Bendrey Michael & Jennifer Mrs M M Peters Ms Sallyann Wheeldon Susan & Leith Campbell Miss Katrina Cowen Mr Ken Bloxsom James Margaret Phillipps Josie Woodgate OAM Robert E A Carli Mrs Joan Cowie Tamara & Mark Cmr L. A. T. Johns OAM D E Pidd Yvonne Yendell Boldiston Rowena Catchatoor Laurie Cowled Dale & Ian Johnson The late Lady (June) Damian Young Patricia Boyle Frank & Danielle Adam & Donna The late Max Johnston Porter Victor & Christine Chamberlin Cusack-Muller Ann & Derek Braham Mr Paul Jones Ms Mario Proto Zemancheff Ron & Luci Chambers Mrs Maree D'Alterio Donna Brearley Suzanne Swensson Lynn Rainbow-Reid AM Mrs Ruth Zionzee Miss Beverley F Clark John Daly Patricia A Breslin Mr Ronald G Kaiser Penelope S Rawlins Anonymous (152) Ms Christine A Brewer Rosalie & Graeme Clark

52 THE AUSTRALIAN BALLET 2020 SEASON PLANNED GIVING – ESTATES PHILANTHROPY TEAM

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

Amber Scott, Leanne Stojmenov and Vivienne Wong in Chroma Photography Jess Bialek

Sonia Grebenshikoff Philanthropy Manager NSW, ACT & QLD 02 9253 5317 [email protected]

Ben Lee Philanthropy Manager VIC, TAS & WA 03 9669 2735 [email protected]

Liz Ruggieri Planned Giving Manager 03 9669 2782 [email protected]

Andrew Wright Planned Giving and Patrons Representative NSW, ACT & QLD 02 9253 5316 [email protected] Mr Reginald Edward Mrs Patricia McSpeerin Ms Jane D Crawford Antony Williams Gregory MBE Mr Noël Pelly AM Mr Harold G Isabell Honor Hall & Mrs Gregory Lady Snedden AM Marshall AM Maynard CONTACT PHILANTHROPY AT THE AUSTRALIAN BALLET Patricia Marie Smit William F Wells Muriel Leadbeater Christine Ann Brown Phone: 1300 752 900 Patricia Hope Willis Mrs Thora Pearce Melba Alma Cromack Patricia M. Vanderwall Monday – Friday, 9am – 5pm Colin Robert Marshall Miss Ann Williams Patricia Cameron- (Speher) Online: www.australianballet.com.au/donate Hazel Graham Mr Ian Berkeley Small Stewart Mr Arthur L Norcott & Mrs Roma Norcott Email: [email protected] Ethel Margaret Nola Joan Hassall Canon Albert Ewing Cutten McPherson Lionel Frederick Hann Mail: The Australian Ballet Jean Hammond Robert J Shipsides Charles Ross Adamson & Harry John Colligan Philanthropy Department Mr A S Leslie E M Black Miss Sheila Scotter Jennifer May Teague Primrose Potter Australian Ballet Centre Mr Laurie Davies Paul Sinclair AM MBE Paula Jacqueline Swain Level 6, 2 Kavanagh St Esther Primrose Lucy Harold Bruce Cadell Joan Winsome Maslen Southbank VIC 3006 Mrs M M C Djordjevic Gertrude Poelman Mrs Rosemary Rita Doreen Fletcher Dr George Garratt Dame Joyce Campbell OAM Robert Salzer AO Margaretta Daws Dr Brian T Carey Pauline Marie Johnston Betty Gleeson-White Lady Nancy Fairfax Susan Fitzpatrick Clifford Burgess AM OBE Peter & Barbara Shearer Betty Amsden AO Keith M Christensen Ernest Spinner Mary Sylvia Joyce Jones Valerie Ellen Mooney William Arthur Margery I Pierce Peter Langford AM John N Mann Hugh Gordon Barbara Bishop Hewitt Norman Stevens Ainsley Gotto Freda Eileen Spicer Mrs Sylvia Box Dr Lynn Harvey Joseph George William Gregson Asle Noel Chilton Dr Donald Wright Janet Fischer Joyce Johnston Gwendolyn Letitia Mrs Sally Sinisoff Dr Diana Tolhurst Alan John Robison Tennant Betty June Drabsch Dr Richard Vesey Judith Mary Steele Sir Robert Southey Marianne Martin Mrs Anne Gluyas Joan Daphne Evans AO CMG Mr Norman Ronda Anne Chisholm Gail Lorraine Limbrick Brenda June McGowan Drogemuller OAM Mrs Dorothy (Deri) Dr Diane Palmer Mr Will Noble Jean M Negus Saunders Yvonne Florence Norma Lucas Payne Dr Dawn Meryl Thew Mr Wilfred John Stanton Reuvekamp Mrs Ila Leland Massy Judith Gwen Newberry Jacques Spira OAM Michael Jenkins Crouch Burnside & Edith Spira Duncan Elphinstone Lilian Leighton Gay John Therese Clarke McBryde Leary Mr George Foster Jean Avril Moore Gwendoline I Tregear Miss Ruth Margaret Eva Wicki Anonymous (21) Lesley Morgan Sperry Davidson Corel Garling Gwen Hunt Dr Alf Howard Janice Petterson Correct as at 12.02.2020

THE AUSTRALIAN BALLET VOLT 53 Melbourne

ORCHESTRA VICTORIA

SAXOPHONE HARP Tutti Gifts of $5,000 Justin Kenealy ++ Section Principal Andrew Fairley AM Vacant Tutti Violin Joseph Lallo ++ Orchestra Victoria is assisted by Delyth Stafford ++++ the Commonwealth Government BASSOON through the Australia Council, its ANNUAL GIVING CONCERTMASTER CELLO Section Principal arts funding and advisory body Key The Conductor's Podium Vacant Section Principal Lucinda Cran * Acting ** Acting Associate Principal Gifts $35,000 and over Yi Wang* Melissa Chominsky Associate Principal *** Acting Section Principal Mr Robert Albert AO RFD RD Chair supported by Vacant § On Leave & Mrs Elizabeth Albert

DEPUTY CONCERTMASTER Lady Southey AC Principal Contrabassoon + Guest Musician Vacant Orchestra Victoria is supported by Associate Principal Timothy Murray ++ Guest Principal the Victorian Government through Leader Circle Diane Froomes +++ Guest Associate Principal Creative Victoria. VIOLIN Matthew Angus +++ Gifts $10,000-$34,999 ++++ Guest Section Principal Principal 1st Violin Sarah Cuming Colin Forbes-Abrams + Mr Richard Guy OAM Yi Wang Philippa Gardner & Ms Claire Guy HORN PHILANTHROPY AT Principal 2nd Violin Tania Hardy-Smith MANAGEMENT Ms Linda Herd Section Principal ORCHESTRA VICTORIA Monica Naselow Andrea Taylor Artistic Director Don & Angela Mercer Jasen Moulton Nicolette Fraillon AM The Hamilton and Western Associate Principal 1st Violin Chair supported by Mr Robert District Fund Mrs Margaret S Ross AM DOUBLE BASS Executive Director Tomomi Brennan § Albert AO RFD RD and Mrs Endowed by the Geoff and Lady Southey AC Section Principal Sara Pheasant Associate Principal 1st Violin Elizabeth Albert Helen Handbury Foundation Performer Patrons Stuart Riley Head of Operations Erica Kennedy The Richard Bonynge Gifts $5,000-$9,999 Chair supported by Associate Principal and Planning Associate Principal Fellowship G C Bawden & L de Kievit in Don and Angela Mercer Vacant Nathan Smith Generously Supported by memory of Richard Gill AO Jenny Khafagi + Principal Third Associate Principal Orchestra Manager Lady Potter AC CMRI Rebecca Adler Gaye & John Gaylard Vacant Linda Hewett Harriette Blanden Chair supported by Instrument Acquisition Fund Hamer Family Foundation Matthew Thorne Sydney Braunfeld § Project Manager Mr Andrew Fairley AM Susan & Leith Campbell Hans & Petra Henkell Vacant Vacant Elise Lerpiniere Binny Baik General Support Dr Alastair Jackson AM Alex Morton +++ Executive Assistant to the Kylie Davies+++ The Judith & Alasdair Alyssa Conrau Executive Director Dr Peter A Kingsbury Giovanni Vinci + Sharon Hatton + McCallum Fund Rachel Gamer Laura Message David McAllister AM Robert Shirley + Lesley & Bob Qualtrough Judith & Alasdair McCallum Matthew Hassall FLUTE Assistant Orchestra Manager Bequest Jessica Hort Rachael Hunt Section Principal TRUMPET The Hon Howard Nathan AM Support from Trusts and QC & Ned Upton Philip Nixon Lisa-Maree Amos Section Principal Orchestra Technicians Foundations Mark Fitzpatrick Joshua Bridges Jan & Keith Richards John Noble Chair supported by Peter Besen Family Foundation Griffin AM & Terry Swann Rory Wilson Patrons Chris Ruiter Associate Principal The William Buckland Associate Principal Timothy Francis Orchestra Coordinator Foundation Gifts $1,000-$4,999 Lucy Warren Nathaniel Currie David and Cindy Abbey Karen Schofield Anthony Pope Hamer Family Foundation Tony Zhai Matthew & Joanne Angus Principal Piccolo Orchestra Librarian The Robert Salzer Foundation Vacant TROMBONE Glynn Davies G Croft Vacant Estates Vacant Section Principal Orchestra Accountant Jane Edmanson OAM Rebecca Johnson ++ The Estate of Mrs Neilma Sarah Coghlan + Scott Evans Isabel Pena Dominique Chaseling + Gantner Ed & Marj Eshuys Karla Hanna + Associate Principal With assistance from PLANNED GIVING Peter Griffin AM & Terry Swann Vacant Natalia Harvey + OBOE STAFF OF THE AUSTRALIAN Valerie & Ian Guthrie G C Bawden & L de Kievit Section Principal Principal Bass Trombone BALLET Edwina Kayser + Lesley M Bawden Louis J Hamon OAM Vacant Benjamin Anderson Marketing Coordinator Miranda Matheson + Keshia Contini Cusack-Muller Bequest Russell & Jenni Jenkins Associate Principal Don Immel +++ Lynette Rayner + Canny Quine Foundation Peter & Carmel Johnson Joshua de Graaf*** Robert Collins + External Relations Lisa Reynolds + Account Manager MUSICAL CHAIRS Alex & Tyler McKenzie Principal Cor Anglais TUBA Fiona Gosschalk Principal Gifts of $10,000 Peter McLennan & John Lander VIOLA Dafydd Camp Chair supported by Karina Filipi ++ Publicist Ms Linda Herd Michelle and Ian Moore Section Principal Sophie Rennard Ms Linda Herd Principal Cor Anglais Marie Morton FRSA Paul McMillan TIMPANI David Reichelt +++ External Relations Grants Mr Robert Albert AO RFD RD Kerryn Pratchett Associate Principal Section Principal Manager & Mrs Elizabeth Albert Rachel Curkpatrick + Mr John Redman Vacant Guy du Blêt Kate Horwood Section Principal Horn Judith Robinson Jason Bunn Chair supported by Igor and Mr Jim Cousins AO CLARINET Libby Smith Nadine Delbridge Jenny Zambelli with Libby & Mrs Libby Cousins Section Principal BOARD and Jim Cousins AO Igor & Jenny Zambelli P & J Spark Vacant Paul Champion Libby Christie Section Principal Timpani Bruce & Leona Sterling Vacant Associate Principal PERCUSSION Sally Underwood Peter Griffin AM & Terry Elizabeth & Hank Van Herk Beth Hemming + Justin Beere Section Principal David McAllister AM Swann Section Principal Flute George Waters & Bernadette Josh Stilwell + Chair supported by Mathew Levy Beattie Don & Angela Mercer Cora Teeuwen + Susan and Leith Campbell Associate Principal ORCHESTRA VICTORIA Section Principal Double Bass Dr Victor Wayne & Dr Karen Principal Bass Clarinet Vacant is a wholly owned subsidiary Wayne OAM Lady Southey AC Vacant Scott Weatherson +++ of The Australian Ballet. Section Principal Cello Anonymous (3) Alexander McCracken +++ T: (03) 9694 3600 Matthew Brennan + Supporters Luke Carbon ++ www.orchestravictoria.com.au Associate Principal Gifts Stephen Falk + of $8,000 Gifts $100-$999 Peter Neville + Susan & Leith Campbell (39) Associate Principal Clarinet ARTS CENTRE MELBOURNE

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

54 THE AUSTRALIAN BALLET 2020 SEASON Sydney

OPERA AUSTRALIA ORCHESTRA

PICCOLO HORN PERCUSSION OPERA AUSTRALIA Diane Berger Sydney Braunfeld Shaun Trubiano BOARD OF DIRECTORS Proud Performance Partner of The Australian Ballet Principal Principal Kevin Man David Mortimer AO # Chairman Alexandra Castle Bourian Boubbov Adam Cooper-Stanbury Acting Assoc. Principal Philip Bacon AM Joshua Hill# CONCERTMASTER AND VIOLA Lisa Wynne-Allen Brian Benjamin OBOE ORCHESTRA DIRECTOR Virginia Comerford Kerryn Joyce Lee Wadenpfuhl# Jonathan Feder Jun Yi Ma Principal Conall McClure Shanie Klas Principal Gergely Malyusz Jane Hansen Jacqueline Cronin# Tim Paillas# Matthew Tighe Jennifer McLeod-Sneyd Tim McFarlane AM Assoc. Principal # ASSOCIATE Assoc. Principal Hugh Tidy CONCERTMASTER Tara Houghton Rafael Salgado Alison Pert Mark Bruwel Huy-Nguyen Bui Magda Kruszynska Rohan Richards Deena Shiff Stephanie Cooper HARP Amanda Murphy Andrew Sisson AO Jane Rosenson Josephine Sukkar AM VIOLIN Ella Brinch TRUMPET Principal COR ANGLAIS Katherine Lukey Jacqueline Cronin Joshua Clarke Natalie Wong# Jonathan Ryan# Principal Deputy Concertmaster Amanda Murphy ORCHESTRA MANAGEMENT Eve Osborn# Craig Ross Catalin Ungureanu General Manager, Orchestra Neil Thompson Key Principal 1st Violin Assoc. Principal Gérard Patacca Ella Brinch # - Guest Principal Brian Evans Tony Gault CLARINET Orchestra Manager Principal 1st Violin Andrew Jezek Principal 3rd Peter Jenkin Emma In der Maur Neil Thompson Colin Grisdale OPERA AUSTRALIA Airena Nakamura Principal Deputy Orchestra Manager MANAGEMENT Principal 2nd Violin # Philip Green Craig Mitten Ella Howard Chief Executive Officer Mark Fitzpatrick # CELLO Assoc. Principal Matthew Collins Rory Jeffes Orchestra Operations Assoc. Principal 2nd Violin Teije Hylkema Richard Rourke Alexandra Bieri Manager Artistic Director Virginia Blunt Principal Rhonda Jones Sandra Ismail Lyndon Terracini AM Rachel Easton Ezster Mikes-Liu Assistant Orchestra Manager TROMBONE Chief Operating Officer Assoc. Principal Anna Bennett Yu-Qing Rebecca Irwin John Horn BASS CLARINET Gregory van der Struik Andrew Hines Orchestra Coordinator Adrian Keating Principal Corporate Affairs Director Acting Assistant Principal John Lewis Ashley Retter Yvonne Zammit Marek Kruszynski Principal Brett Favell Brighdie Chambers Pierre Emery Daniel Rosenbaum Alex McCracken# Assoc. Principal Head of Music Margaret Iddison Tahu Matheson Rachel Westwood William Farmer Minah Choe Roslyn Jorgensen Technical Director Ben Smith SAXOPHONE Paul Ghica# Clif Bothwell Kelly Tang # Michael Duke Human Resources Director Tobias Aan Christina Leonard# BASS TROMBONE Jessica Platts DOUBLE BASS Anna Albert James Nightingale# Brett Page General Manager, Orchestra Brett Berthold Julia Broom # Gérard Patacca Principal Andrew Smith Belinda Jezek TUBA Executive Producer In-Theatre Andrew Meisel Georgia Rivers Edwin Diefes Reafen Liu Assoc. Principal BASSOON Principal Executive Producer Major Kerry Martin Edmund Bastian Douglas Eyre Projects and Touring Scott Frankcombe# James Steendam Bonita Williams Principal Louisa Robertson Jennifer Taylor Jennifer Druery Matthew Ockenden Producer, Commercial Assoc. Principal TIMPANI Cristina Vaszilcsin Susie Parks, Mark Sutcliffe Gillian Hansen David Clarence FLUTE Brighdie Chambers Principal Elizabeth Pring Alex Farrugia Allan Watson Principal Assoc. Principal The Opera Australia Orchestra Gillian Smith is assisted by the Australian Amanda Hollins Government through the Australia Assoc. Principal Council for the Arts, its arts funding and advisory body, the NSW Kim Falconer Government through Create NSW and the Victorian Government Kate Rockstrom through Creative Victoria.

SYDNEY OPERA HOUSE

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

THE AUSTRALIAN BALLET VOLT 55 The Australian Ballet Company and Directors

MELBOURNE Lady Southey AC Pianists Stage Manager Audience Engagement Philanthropy Manager Josephine Woodgate OAM Brian Cousins Deborah Whiteley (NSW, ACT & QLD) The Primrose Potter Audience Engagement Marilyn Rowe OBE Kylie Foster Sonia Grebenshikoff Australian Ballet Centre, Assistant Stage Managers Manager Ian McRae AO 2 Kavanagh St, Southbank Assistant Music Librarian Drew Cipollone Viviana Sacchero Philanthropy Manager Peter Smedley Victoria 3006 Glynn Davies Christabel McGaw Audience Engagement (VIC, TAS & WA) Dr Valmai Pidgeon AM Telephone 1300 369 741 Program Coordinator Ben Lee Lynnette Harvey The Robert and Elizabeth Head of Staging Operations [email protected] Mary Grul Mrs Roslyn Packer AC Albert Conducting Fellow Bart Kendall Planned Giving Manager australianballet.com.au Joel Bass Liz Ruggieri Graeme Murphy AO Head of Lighting Digital SYDNEY Janet Vernon AM The Robert and Elizabeth Graham Silver Digital Manager Philanthropy Business Peter Clemenger AO Albert Piano Fellow Manager The Australian Ballet Wardrobe Master Joanna O'Connor Joan Clememger AO Darci Gayford Adam Santilli Level 4 10 Hickson Road, Geoffrey Harman Content Expert Prof John Rose AO The Rocks Sydney 2000 Artistic Management Rose Mulready Planned Giving & Patrons Diana Ramsay AO Deputy Head of Touring Telephone (02) 9253 5300 Senior Artistic Coordinator Representative (NSW & ACT) Lady June Porter Wardrobe Digital Specialists The Australian Ballet Alex Wyatt Andrew Wright Julie da Costa OAM Valantine Turner Maeve Ashby ABN 57 004 849 987 Artistic Coordinator Kenneth R Reed AM Head Mechanist & Head Sam Sally Cha Ballet Ambassador Amelia Drummond Program Specialist PATRON David Crawford AO Flyman Social Media Specialist Christopher Knoblanche AM Tom Cole David Wynne His Excellency General the Education & Outreach Gemma Browne Barbara Duhig Head of Education & Outreach Special Events Coordinator Honourable David Hurley AC Deputy Head Mechanists Marilyn Jones OBE Katy McKeown Recording & Broadcast Diana Chatfield DSC (Retd), Governor-General Taylor Chen Stephen Baynes Recording & Broadcast of the Commonwealth of Education & Outreach Tom Paine Patrons Coordinator Jim Cousins AO Manager Australia Manager Philippa Clement-Levin Sarah Murdoch Lead Mechanist Robyn Fincham Jasmin Dwyer Pip Strachan BOARD Bill Bowness AO Content Creator Philanthropy Services Education & Outreach Frances Gerard AM Head Electrician Brett Ludeman Coordinator Chair Susan Morgan Coordinator Adrian Siggs Kelly Winter-Irving Craig Dunn Beverley Brown OAM Yvette Sauvage Content Coordinator Directors Barbara Marrett Dance Educators PRODUCTION Sophia Bender BUSINESS SERVICES Olivia Bell – Toni Cody Alexander Mitchell Business Manager, Production Finance Public Relations Dancers’ Director Mary Barlow James Fraser Darren Conway Chief Financial Officer Public Relations Manager Annabelle Chaplain AM Robin Campbell Jessica Fraser & Director of Production Coordinator Anthea Waller Penny Fowler Judy Connor Chantelle van der Hoek Freya Phillips Business Operations Catherine Harris AO PSM Libby Cousins Publicist Sally Underwood Artistic Health Catherine Livingstone AO Production Wardrobe Sophie Rennard Principal Physiotherapist Edwina McCann ARTISTIC DIRECTOR Head of Costume Workshop Executive Assistant & Artistic Health Team Tony Osmond David McAllister AM Musette Molyneaux Customer Experience Michelle Saultry Manager Bruce Parncutt AO EXECUTIVE DIRECTOR & Ticketing Finance Manager Susan Mayes Costume Administrative Natasha Stott Despoja AO Senior Manager, Customer Carolyn Dryley Libby Christie Coordinator Susan Street AO Rehabilitation Physiotherapist Experience & Ticketing MUSIC DIRECTOR Isabel Waluga Manager, Forecasting, Sophie Emery Steven Payne Planning and Analysis Global Ambassador & CHIEF CONDUCTOR Wardrobe Coordinators Physiotherapists Customer Knowledge Manager Sarah Murdoch Nicolette Fraillon AM Jenny Howard Nazif Marikar Bridy White Richard Laslett Executive Assistant Christie Milton Orchestra Accountant Michelle Bergeron FOUNDATION BOARD Ticketing Operations Manager Isabel Pena to Artistic Director Senior Costume Cutters Myotherapist/Massage Shannon Toyne Edwina McCann Kate Longley/Eloise Fryer Sophia Cameron Senior Business Analyst Chair Therapists Executive Assistant to Georgiana Russell-Head Database Diana Bedoya Shaun Bryce Coordinator Jane Freudenstein the Executive Director Payroll & Indirect Tax Brad Moffitt Costume Cutters Viraj Godbole Chair, Northern Chapter Sarah Monaghan Anna Porcaro Specialist Exercise Instructors Robin Campbell Laura Stewart VIP Ticketing Specialist Kristina Barisic ARTISTIC Sakis Michelis Rose McNeill-Young Chair, Southern Chapter Costumiers Accountant Ballet Darren Spowart Nina Aberdeen Etai Alves Ticketing & Merchandise Stephanie Cornish Artistic Associate Consultant Sports Arun Abey AM Jessie Dole Operations Coordinator & Principal Coach & Exercise Physician Assistant Accountant Hayley Baillie Rhiannon Irving Sara Klug Fiona Tonkin OAM Dr Andrew Garnham Patricia Caparros Mary Barlow Alice Mere Customer Experience Di Bertalli Ballet Mistress & Repetiteur General Practitioners Ruth Owen Team Leader Information Technology Elizabeth Toohey Dr Sonya Morrissey Bill Bowness AO Milliner Perry Hingston Technology Manager Natasha Bowness Dr Jason Lam David Cooper Ballet Master Regional & Kate Powers Customer Experience Prue Brown Storytime Tours Welfare & Development Wig Supervisor Supervisor IT Manager Colin Carter AM Paul Knobloch Coordinator Alison Kidd Emily Klug Damien Calvert Georgina Curran Sam Wright Ballet Master & Web Developer Cara Elsley Production & Design Customer Experience Regional Touring Associate Artistic Health Team Suellen Enestrom Production Design Assistants Daniel Lukas Steven Heathcote AM Administrator Frances Ingham Coordinator Jonathan Gormann Sarah Thompson Technology Analysts Ballet Mistress & Kat Chan Mary Grul Sarah Ingham Clinton Graham Rehabilitation Specialist STAGE Natalie Howe Nicola Kaldor Shaun Turner Megan Connelly Production Centre Gabrielle Monaghan Gail Marshall OAM Director, Production Production Facilities Manager Felicity Wells Jodie Maunder Guest Teachers & Planning Avon Kilcullen Building Management Jane McLachlan Vicki Attard Chris Yates Reception Building Projects & Ballet Production Centre Karen Morrison Lynne McDougall Centre Manager Costume Coordinator Maria Pannozzo Lucinda Dunn Artistic Planning and Tracy Hosier Lynne Wright Operations Penelope Bjorksten EXTERNAL RELATIONS Madeleine Eastoe Building Services Assistant

Johnny Eliasen Head of Artistic Planning Collections Program Manager Director External Relations Simon McGowan Honorary Life Members Tristan Message Tessa Kay Tessie Scott Penny Waitsman Past & Present Andrew Murphy Production Facilities Storeman Cleaners Contract Administrator, Partnerships Managers John Athinis Dame Peggy van Praagh DBE Danilo Radojevic Andrew Nish Artistic Fiona Gosschalk Lance Humphries NR Sneddon AO CBE Lynette Wills Noeleen King MARKETING, Sarah Vick Estaban Llano Sir Ian Potter Resident Choreographers Associate Producer, Regional COMMERCIAL AND Development Manager Casey McCormack Sir CBE Stephen Baynes Touring and Storytime Ballet AUDIENCE DEVELOPMENT Matthew Henry Bishnu Sapkota Sir Robert Southey AO CMG Tim Harbour Hannah Beer Noël Pelly AM Alice Topp Marketing Grants Manager HUMAN RESOURCES Company Manager Dr HC Coombs Stanton Welch AM Senior Marketing Manager Kate Horwood Human Resources Manager Ila Massy Burnside Jess Jellie Renee Colquhoun Music Account Executives Belinda Leaver John McCallum AO CBE Deputy Company Manager Executive Assistant to Music Marketing Manager Julia Baar Elizabeth Albert Kate Peters Human Resources Consultant Director & Chief Conductor James Wright Hannah Fulker Robert O Albert AO RFD RD Kate Reilly Alexandra McKnight Assistant Company Manager Marketing Specialist John Calvert-Jones AM PHILANTHROPY Hannah Denison correct as 10.02.20 Assistant Conductor Keshia Contini Timothy KF Cox AO Director Philanthropy Simon Thew Technical Maina Gielgud AO Graphic Designers Kenneth Watkins Technical Director FW Miller AO CBE Principal Pianist Lucy Brown Jon Buswell Executive Assistant Colin Peasley OAM & Music Librarian Stephen Wood Philanthropy Lady Potter AC CMRI Duncan Salton Dame Margaret Scott AC DBE Sharyn Gilham

56 THE AUSTRALIAN BALLET 2020 SEASON THANK YOU

PRINCIPAL PARTNER

LEAD PARTNERS LEARNING PARTNER

Official property partner Official airline partner

MAJOR PARTNERS

Official Official legal Official piano Official cruise Official jewellery partner partner partner partner partner

MEDIA PARTNERS

SUPPORTING PARTNERS

TRUST AND FOUNDATION PARTNERS

GOVERNMENT PARTNERS INDUSTRY PARTNER LEADERSHIP ADVISOR

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

SUPPORTING OUR EVERY STEP In business, as in dance, the right partner is everything. Our corporate partners provide much needed funds that help us realise our artistic vision, from producing exciting new ballets and staging iconic works to making a splash on the world stage. They also assist us behind the scenes, giving us product and in-kind support, which allows us to achieve excellence on both sides of the curtain. Importantly, sponsors bring us closer to you. They help us to keep ticket prices affordable, visit communities across Australia and broadcast our ballets. We’d like to acknowledge the generosity of our current partners, whose support enables us to care for tradition, while daring to be different. If you would like to learn more about our corporate partnerships program, please contact Penny Waitsman on 02 9253 5308 or email [email protected]

THE AUSTRALIAN BALLET VOLT 57 Experience Classes with The Australian Ballet School

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

PLAYBILL AD 55

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Costumes manufactured by Logos built by Adelaide Program edited by The Australian The cast for this performance is available the Production Division Festival Centre Workshops Rose Mulready Ballet portrait photography on the nightly cast list which is issued free of The Australian Ballet and ShowTex by of charge to patrons. The Australian Ballet Daniel Boud reserves the right to cancel or alter any Graphic Designer Sergei Konstantinov detail of this season, or any performance Scenery and properties by Specialist fabric painting Jasmin Tulk forming part of this season, as it considers and dyeing Show Works necessary. Lynn Munro

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58 THE AUSTRALIAN BALLET 2020 SEASON PLAYBILL AD 55

THE AUSTRALIAN BALLET VOLT 59 13 – 24 MARCH 2020 | Arts Centre Melbourne 3 – 22 APRIL 2020 | Sydney Opera House

60 THE AUSTRALIAN BALLET 2020 SEASON