50 YEARS OF DEFINING CONTEMPORARY DANCE “It’s not every year that a Sydney icon celebrates its golden jubilee, which is why it’s a big deal that Sydney Dance Company is turning 50.” Time Out Sydney

ii 2019 Impact Report 2019 Impact Report 1 Contents

2019 at a glance 4

Chair’s Report 6

Executive Director’s Report 9

Artistic Director’s Report 10

The Company 13

The Dancers 14

On Stage 16

New Breed 24

On the Road 28

Our Reach 30

A Golden Year 32

Wharf Renewal 37

Training the Future 38

PPY19 Revealed 40

Our Community 42

Your Impact 46

Thank You 48

Our Performance 50

Sydney Dance Company 2019 52

Our Partners 54

2 2019 Impact Report On Stage

15 works, 73 performances, National tour International tour and 38,632 total attendances, 6 Australian states and territories, 4 countries, 12 performances 2019 at 10 world premieres 12 Australian towns and cities

a glance 47,918 km travelled by 82 days on the road 1,950 hotel and apartment nights land and air

437 Airline tickets 24 Coaches and hire cars 17 Choreographic and music 227 Taxis commissions

Training the Future Revenue

7 School Matinees with 12,324 4,321 attendances

Number of young people 2,792 Students from NSW, and teachers engaged including 1,510 from across Australia Western Sydney

Our online community YouTube views Instagram, Facebook, YouTube, Weibo, WeChat, LinkedIn 66.66% of total revenue self generated

Work provided for 154 people 197,644 559.7K 73% artists and 27% administrators

In 2019 we held a total of 3,669 adult classes, with a total of 78,247 dance class attendees. The total face to face engagement was 128,239 people.

4 2019 Impact Report 2019 Impact Report 5 Chair’s Report

Mid way through 2019 I was humbled to take over the pandemic and the future of the performing arts, along reins as Chair of Sydney Dance Company in our 50th with many other industries, will be significantly impacted. anniversary year, having served on the Board since 2015 Sydney Dance Company is positioned to withstand the and as Deputy Chair since 2018. My sincere thanks go headwinds of this challenge, but it will certainly bring to my predecessor Karen Moses, for her outstanding additional pressures throughout 2020 and into 2021. leadership over the seven years she served on the My sincere thanks go to the NSW Government Board and with three of those as Chair. Her clearsighted for their ongoing support of Sydney Dance Company. guidance and stewardship has helped position us for the We are enormously grateful for the investment they are challenges in front of us. making in Walsh Bay and in furnishing the Company with Sydney Dance Company’s 50th birthday year temporary premises in this once-in-a-generation period. was a milestone both on and off the stage. It gave us a The Australian Federal Government continues moment to pause and take stock. To reflect on what has to support Sydney Dance Company through the Australia been achieved over that time and to focus on what the Council for the Arts and we thank them for that valuable future looks like. We undertook that 2019 would be a year assistance. Government support of the arts is vital for that marked not just a celebration of the past 50 years, the cultural life of Australia to flourish and Sydney Dance but an establishment of the foundations of the next five Company is proud to be a flag bearer as we tour the decades. As the company celebrated its artistic legacy world. I was thrilled to be able to join the company in with a diverse program of new Australian work, we were Europe and see first-hand the extraordinary response also busy with ongoing activity around the renewal of our the dancers received. Standing ovations and sold out home at Walsh Bay. performances at every stop! The revitalisation of the Walsh Bay Arts Sydney Dance Company exists as a company Precinct will be a landmark turning point for the driven to create new work as well as increase access Performing Arts in Sydney. As one of the original tenants to dance to the broadest possible range of people. in the precinct – who helped the area come alive and be Our efforts in the areas of commissioning new work, synonymous with theatre, dance and music – we know education, outreach and training would not be possible that our future will be bright and expansive from our re- without the support of the donor family and corporate imagined home there. partners who share the vision with us. Thank you. This A great number of people have rallied behind ongoing support is essential to the sustainability of this that vision for the future and I do want to thank them for company and is truly and warmly appreciated. their leadership as over the course of 2019 we continued To Anne and Rafael, the talented management, detailed work on the development, in lock step with the staff and dancers of Sydney Dance Company, we do NSW Government; The Neilson Foundation, Simon and not exist without your dedication, tenacity and creativity. Catriona Mordant, The Wales Family Foundation, Jane and Thanks to your collective contribution, truly in 2019 our Andrew Clifford, Carla Zampatti and Julian and Lizanne art reached new heights of international acclaim and Sydney Dance Company Knights. Each has made a significant contribution to excellence. It has been a journey over many years to Board Directors 2019 our Capital Campaign and along with many others, their achieve these outcomes and Anne and Rafael are a collective support means we look to a future where our formidable combination. This is an arts organisation of artists will create their work in fit for purpose and world which all Australians should rightly feel proud. Brett Clegg (Chair) class facilities. To my fellow Board members, I extend my Pamela Bartlett Sydney Dance Company had a busy year sincerest gratitude. We are fortunate to have such a David Baxby (appointed 12/8/19) across 2019 with an extensive performance schedule as diverse and capable set of individuals around the table, all Jillian Broadbent AC well as the far-reaching education and access activities of whom demonstrate great commitment and passion for Peter Brownie (resigned 03/6/19) which traverse the nation. Our open dance class advancing the cause of Sydney Dance Company. As we David Friedlander (appointed 14/10/19) programs continue to provide a valuable participation confront the impacts from Covid-19 on our organisation, Kiera Grant (resigned 02/12/19) pathway for thousands of attendees. Despite operating in the alignment and capability among this group is a Mark Hassell temporary premises at Ultimo, the team has continued to great asset. All of us are committed to seeing through Sandra McCullagh (appointed 12/8/19) ensure that Sydney Dance Company remains accessible the current period of disruption and protecting what is Catriona Mordant AM for as many people as possible. special about Sydney Dance Company – so we can come Karen Moses (Chair - resigned 12/8/19) It was pleasing to end the year with a surplus through to the other side shining, and as hungry as ever Beau Neilson (resigned 29/4/19 of $825,139 which is comprised of an annual operational to make Australia and the world that much more vibrant, Paris Neilson (appointed 12/8/19) surplus of $10,850 in addition to a surplus result for the providing inspiration to our audiences at a time when it is Emma-Jane Newton Capital Campaign, noting the bulk of our outflows for that never more needed. Chrissy Sharp project will take place in 2020. It is sobering to note that Carla Zampatti AC these results are being posted during the global Covid-19 Brett Clegg, Chair

6 2019 Impact Report 2019 Impact Report 7 Executive Director’s Report

It was a great pleasure to lead Sydney Dance Company It is exciting to watch the progress of works and we are into its 50th Anniversary and to work so closely with looking forward to returning to expanded premises at Rafael and the Board to deliver a program that both the end of 2020. Our sincere thanks go to our Capital reflected on the past and looked to the future. Rafael’s Campaign donors and the NSW Government for their vision for the year focused on Australian voices on shared investment in Sydney Dance Company’s future. the stage and it was wonderful to see 10 incredible Our thanks also go to the Federal new choreographic commissions brought to life Government for its support through the Australia across the year. Council for the Arts, who in partnership with the The company delivered 73 performances NSW Government, provide a base of support for the to audiences across Australia and Europe. Featuring company which we were able to leverage and grow to a diverse range of choreographic and composition ensure we could deliver the breadth of activity the year voices, the program absolutely shone a spotlight on encompassed. In the current climate of the Covid-19 the contemporary dance landscape in Australia. Over pandemic, the importance of Government support for the course of the year Sydney Dance Company directly the Arts has never been more keenly felt. employed 154 people, and contracted many more, to There are many people who work tirelessly create and deliver performances ranging in scale from a behind the scenes at Sydney Dance Company to bring 250 seat theatre at Sydney’s Carriageworks through to every performance to life, to greet each class attendee, international stages in halls of 2,000 seats. The activities to sell each ticket. I thank each and every one of them; for the year generated a total revenue of $11,965,879 their dedication is endlessly inspiring. Of course not which resulted in a total surplus result of $825,139, all of the people who work so hard are on our staff – noting Sydney Dance Company is actively fundraising to many are volunteers and their efforts are driven by an support the Capital works of the Wharf renovation. altruistic agenda and love of the company – a big shout In reflecting on what makes Sydney Dance out here to the Dance Noir committee, co-chaired by Company special, I am very proud of the fact that the Peter Reeve and Pam Bartlett. They, and the whole Company delivers not only exceptional performances committee, worked day and night to deliver an event by the exquisite dancers of the company, but also fun, which was not only fabulous fun, but the was the most educational and quality opportunities to learn and successful fundraising event Sydney Dance Company participate in dance. Sydney Dance Company’s reach in has ever hosted. these areas is an impressive facet of our activities and My sincere thanks to Karen Moses for her really goes to the heart of our belief that dance is for leadership and guidance during her time as Chair of everyone. Our programs reach out to students studying the Board – it was always much valued. Thanks also to dance across the country and to young people with no Brett Clegg who succeeded Karen in the role of Chair, prior dance experience, where often a Sydney Dance taking up the position in August 2019 after serving Company performance is the first time these kids have as Deputy Chair. My thanks also to the Directors of ever seen contemporary dance. the Board, past and present – each have played a Sydney Dance Company also serves part in Sydney Dance Company’s success and in our young people with professional aspirations through 50th Anniversary year it was a pleasure to reflect our training programs including our youth ensemble, and celebrate with them. As we navigate through the professional intensives and our accredited Pre- challenges of 2020, and plot our recovery for the future, Professional program where elite young dancers can it is reassuring to have the skills and leadership of our gain valuable studio experience and either a diploma current Board on hand. or an advanced diploma. Last but not least a big thank you to Rafael Our open class program continued to deliver Bonachela and the dancers of the company – together wonderful participation experiences to thousands of you create a world on stage for us to lose ourselves in people across 2019. With attendances of over 80,000 each night in the theatre. That joy is sadly missed as across our adult short courses, open classes and our we move through this strangest of times, waiting for the school holiday programs, Sydney Dance Company is theatres to be full once more with audiences, together very much a part of many people’s dance life. We thank in that shared experience, and artists to be on our each audience member and dance class participant stages once again. who has chosen to spend time with us. Across 2019, our first full year located off the Anne Dunn, Executive Director Wharf, all our rehearsals and in-studios programs took place in our temporary home in our Wattle Street studios, as work continued on the Walsh Bay Arts Precinct.

8 2019 Impact Report 2019 Impact Report 9 Artistic Director’s Report

Looking back on 2019, our 50th anniversary and a performances in my home town, Barcelona. As any artist remarkable year of celebration, it was my privilege to will attest, presenting work to family is a thrill and a true curate a year of dance that reflected the past, celebrated privilege! I was also honoured that a duet from my work, the present and looked to the future. As a contemporary ab[intra] was featured in the 350th anniversary gala of company it was important to me that our community the Paris Opera Ballet in the Palais Garnier in September. could both enjoy reflection and look to what lies ahead. Dancers Davide Di Giovanni and Charmene Yap In celebration of this monumental year, it was accompanied me to Paris to teach the work to two Étoiles important to me to commission a range of Australian of the Opera Ballet; an incredible experience. voices in homage to the extraordinary investment that I was delighted that in July, 2018 guest Sydney Dance Company has made in the cultural choreographer, Antony Hamilton was awarded the landscape over five decades, and as a reflection of Helpmann Award for Best Choreography in a Ballet, Dance contemporary dance in Australia today. 10 new works or Physical Theatre Production for his work Forever & Ever were commissioned this year. for Sydney Dance Company, a fitting honour for such a The first season saw Gabrielle Nankivell striking piece from our 2018 season. and Melanie Lane present Neon Aether and WOOF, At the heart of everything that is Sydney Dance respectively. Nankivell has worked with us over several Company is the dancers and I am proud of them all. All years, most recently with Helpmann Award-nominated at the top of their game, they rose to numerous creative Wildebeest. Neon Aether transported audiences to an challenges and exceeded my expectations. I particularly ethereal dystopian world. Lane first brought WOOF to want to acknowledge the multi award-winning Charmene New Breed in 2017. Leaving a lasting impression on the Yap, who stepped down from full-time performance in audience, it was magnificent to see the work return to the 2019 after 10 years, taking up the newly created role of stage and to tour across Australia. Rehearsal Associate, where her expertise is now directed In the second season, Gideon Obarzanek’s Us to support the dancers. I also want to pay tribute to 50 brought together many elements of the essence of this Juliette Barton who returned to the stage this year after Company. Obarzanek danced with the Company in the the birth of her first child. I concur with The Australian, 1990s and founded Chunky Move. His creative imperative which noted “Longstanding company member Juliette for this piece truly touched me; dance lives in the bodies Barton has returned from maternity leave looking even of the dancers and the minds of the audience. Us 50 more striking than before, if that were possible.” explored how dance is communicated: 10 incredible I want to sincerely thank to all those whose alumni dancers from the last five decades returned to creativity, passion and talent have brought Sydney the stage to perform with the current Company and Dance Company to where it is now. To former Artistic 25 audience members each night. An incredible and Directors Suzanne Musitz, Jaap Flier, Tanja Liedtke, emotional spectacle. Graeme Murphy AO and Janet Vernon AM for their 2019 saw two of my own works staged; a new vision and stewardship of the Company across the years; creation, Cinco in Season One and 6 Breaths in Season to the donors and supporters of the Company whose Two. 6 Breaths, a collaboration with composer the late investment in my creative vision is so greatly appreciated; Ezio Bosso, was one of my first works for Sydney Dance to the generations of dancers and audiences; to both Company when I was privileged to take up the position outgoing Chair Karen Moses, Chair Brett Clegg and of Artistic Director 10 years ago, another milestone to the Board of Sydney Dance Company, whose support, celebrate in 2019. It was a delight to work on Cinco with counsel and guidance I value enormously; and to Anne regular collaborator Damien Cooper and the talented Dunn, Executive Director, and the staff of Sydney Dance Australian fashion designer Bianca Spender. Company, whose collective drive and passion for the The sixth edition of New Breed in December success of this organisation is unparalleled. It is an honour saw outstanding new works from independent to work with you all. choreographers Josh Mu, Lauren Langlois and our As I write this in the midst of the Covid-19 crisis, dancers Davide Di Giovanni and Ariella Casu. The in what is a changed world, our Studios are closed, our passionate support of The Balnaves Foundation and the performances postponed and our future is still uncertain. partnership of Carriageworks continue to make this vital However, after five decades of exemplifying contemporary program possible, for which I am very grateful. dance in Australia, I am confident that whatever the future Touring is part of Sydney Dance Company’s holds for us all, Sydney Dance Company will continue DNA. Having the opportunity to share our work with to play an essential role in the cultural life and creative audiences across Australia and the globe is exhilarating. As expression of the nation for decades to come. well as an extensive Australian tour this year, a European tour to Austria, Poland, Finland and Spain concluded with Rafael Bonachela, Artistic DIrector

10 2019 Impact Report 2019 Impact Report 11 The Company

Australia’s leading contemporary dance company, Sydney to lead it for a remarkable 30 years. Murphy and his Dance Company presents new works in Sydney, around collaborators created work that enthralled audiences Australia and internationally, under the Artistic Direction in Australia and in extensive international touring. The of Rafael Bonachela and the Executive leadership of Company moved into The Wharf, its Walsh Bay home, in Anne Dunn. Over the last five decades, Sydney Dance 1986 and will return to this iconic building in 2021, on the Company has forged a unique path in Australian dance. completion of extensive re-development and renovation. Hundreds of thousands of people across the country and After the tragic death of incumbent Artistic around the world have experienced the joy of watching Director Tanja Liedtke in 2007, Rafael Bonachela took on exceptional dancers perform. the Artistic Directorship in 2009 and this year celebrated 2019 was Sydney Dance Company’s 50th his 10th year with the Company. Under Bonachela’s anniversary: five decades of defining contemporary dance direction, the Company continues to build a rich in Australia. Rising from a schools touring ensemble Ballet repertoire of outstanding dance, foster the Australian in a Nutshell, The Dance Company (NSW) was founded choreographic talent of the future, and offer world-class in 1969 by dancer Suzanne Musitz. From 1975-76 the tertiary-level training to young dancers. An ensemble of Company was directed by Dutch choreographer Jaap 16 full-time dancers and one trainee share studio space Flier, before the appointment of Australian choreographer in Sydney’s Ultimo with 25 Pre-Professional Year student Graeme Murphy AO in 1976. In 1979 Murphy and his dancers, school and holiday workshop participants, and partner Janet Vernon AM instituted the defining name almost 80,000 annual public dance class attendees. change to Sydney Dance Company and proceeded

12 2019 Impact Report 2019 Impact Report 13 The Dancers

From a Dancer’s Perspective

I have been a dancer with Sydney Dance Company for the past whilst fully aware it was happening right there almost twelve years now, and that is a statement I make in the present. It prompted me to think that although with a genuine sense of pride. In 2019, Sydney Dance the body might change with time, become less agile Company celebrated its 50th Anniversary and for me or mobile, the artistry within every performer, within personally it was a moment to reflect on all that Sydney every dancer who has shared their gift with Sydney Dance Company has meant to me. Dance Company’s audiences, lives on with vigour and In early 2018 I fell pregnant and was vitality; and that is something to be remembered and redeployed to the administrative team in order to celebrated. As I look back on my career with Sydney ensure my safety during that time. One of my jobs was Dance Company, which spans just one fifth of its researching and gathering information about the last glorious life-time, I feel humbled, grateful and proud to 50 years of Sydney Dance Company in preparation for belong here. the 50th Anniversary year. As I set about this task, I saw myself within the broader context of all that Sydney Juliette Barton, Company Dancer Dance Company has been and I was overwhelmed with gratitude to be a part of this community. A community of artists, dancers, choreographers, composers and leaders who have across the decades, given the best parts of themselves to this company, fuelled by ambition, dedication, loyalty and a hunger for excellence; a community that has inspired future artists and ignited the imagination of their audience for 50 years. This sense of gratitude really stuck with me, so when I was given the opportunity to return from maternity leave to a season in which I would share the stage with 10 Sydney Dance Company alumni, 16 current company dancers and 25 audience members, I jumped at the chance. In September 2019, the returning alumni and current company dancers convened in the studio with choreographer and fellow Sydney Dance Company alum Gideon Obarzanek to commence rehearsals for Us Dancers 2019, from top left 50. The camaraderie and mutual respect between old and new was instant. Some of the alumni I had crossed paths with already, such as Bradley Chatfield, who was in his last of 18 years with the company the first year that I Juliette Barton Luke Hayward joined, and some of them I had never met, however I felt a sense of awe at being given the opportunity to create Alex Borg (Trainee) Dimitri Kleioris and perform with these dancers. Together we were only a small representation of the hundreds of dancers that have Ariella Casu Chloe Leong graced stages with Sydney Dance Company over the decades, but nevertheless it was a nod to the rich history Davide Di Giovanni Jesse Scales of artistry and experience and an acknowledgement of the value in it all. Holly Doyle Emily Seymour In one of the early days of rehearsal we were set a task to pair up two current company with one Janessa Dufty Mia Thompson Sydney Dance Company alumni, then instructed to create a dance sequence that was a ‘feel good groove’. Dean Elliot Charmene Yap Current company then extrapolated that into a bigger dance phrase, to be danced alongside the alumni Riley Fitzgerald Chloe Young performing their ‘groove’. For me this was a highlight of the whole experience, as we watched each group Jacopo Grabar Victor Zarallo perform their little creation. The room was alive with artistry, and I felt like I was granted special passage into Liam Green

14 2019 Impact Report 2019 Impact Report 15 Cinco

Choreography Rafael Bonachela Much of Bonachela’s oeuvre in his 10 years as Artistic On Stage Director of Sydney Dance Company has explored and Music Alberto Ginastera, played with numbers. Ginastera’s String Quartet No.2 String Quartet No.2 Op.26 Op.26, composed in five parts, presented a ready name and approach for this new work in the Company’s Recording by EnsŌ String Quartet 50th year. Using five dancers, Bonachela explored the Costume Designer Bianca Spender duality and opposition in the texture of the music. At times melancholic and pensive and at others insistent Lighting Designer Damien Cooper and urgent, the movement was paced to the emotive states he encountered in listening to the work. Cinco featured the design of long-term String Quartet No.2 Op.26 by Alberto Ginastera is used Bonachela collaborator Damien Cooper and costume by by permission of Hal Leonard Australia, exclusive agents renowned Australian fashion designer Bianca Spender, for Boosey & Hawkes Music Publishers Ltd of London. who brought her defined sensibility to the stage, clothing the dancers in twists and falls to match their Cinco was supported by Sydney Dance Company’s own physical grace. Commissioning Fund. “Unflinchingly speedy choreography…a dazzling technical display of flexibility.” The Sydney Morning Herald

“Showcases the inimitable, mature, magisterial Bonachela- God-given gift to ignite spine-tingling lyricism with brazen strength.” Sydney Arts Guide 40 Performances

16 2019 Impact Report 2019 Impact Report 17 Neon Aether WOOF

Choreographer Gabrielle Nankivell Choreographed by Gabrielle Nankivell, an Australian Choreographer Melanie Lane “A stunning, wildly inventive work” (Limelight), WOOF was performer and director with formative ties to Europe, created in 2017 for New Breed, Sydney Dance Company’s Composer Luke Smiles Neon Aether was an ode to the burning intangibles that Music Chris Clark annual showcase of the work of emerging and independent fuel imagination. Informed by a somewhat nomadic choreographers. A crowd pleaser from its first performance, Costume Designer Harriet Oxley existence, Nankivell’s work is concerned with notions of Costume Designer Aleisa Jelbart the 2019 iteration of WOOF generated variations of impermanence; the territory of sensations that seem to collective actions performed by a group. Lane’s imagined Lighting Designer Damien Cooper be in and of the air, the ethereal, the un-pin-downable, Lighting Designer Verity Hampson future stole from renaissance imagery, pop culture and the just beyond our grasp. science fiction, and re-invented community. Neon Aether nodded to the material of With the contagion of crowd mentality, the madness, of stars and magnetism, of space exploration WOOF was originally commissioned for Sydney Dance dancers were possessed by spontaneity, ferocity, and love, of desire and the infinite unknown. Nankivell Company’s New Breed season in 2017, which was made absurdity and also the ecstasy, romance and heroism explained “This seemed to me a kind of future nostalgia possible by The Balnaves Foundation. of primitive beings. In dialogue with Clark’s bold musical — like heartbeats in glass jars or fireworks in outer space score, WOOF relentlessly forged a duality of instability — like being compelled to move inextricably into the and empowerment, and harnessed the fantasy of a post- future with a Polaroid from 1974 strapped to your chest. human collective spirit. Just like science fiction and space time, this felt like a projection of possibility – like a rocket ascending while “Like watching a haute couture calendar shoot in slow humanity holds its breath." motion…intelligent, stimulating choreography – both very artistic and hugely enjoyable, and showcases the discipline “Breathtaking contemporary dance…an almost hypnotic and professionalism of the SDC ensemble.” Bachtrack experience… the sensation of peering into different alchemy chambers, each illuminated by a different- “Witty and fresh.” The Sydney Morning Herald coloured light, and catching brief glimpses of scientific explorations into the mysteries of the universe.” Bachtrack “The WOOF choreography was inventive and often tinglingly exciting.” The Daily Telegraph “Compelling, fascinating and full of frontiering spirit.” 40 Performances The Daily Telegraph 40 Performances

18 2019 Impact Report 2019 Impact Report 19 6 Breaths Us 50

Choreographer Rafael Bonachela Premiered in Sydney in 2010, 6 Breaths was Bonachela’s Choreographer Gideon Obarzanek Choreographed by Sydney Dance Company alumni second collaboration with Italian composer Ezio Bosso. and founding Artistic Director of Melbourne’s Chunky Composer Ezio Bosso Inspired by the act of breath, the essential action for Assistant Choreographer Charmene Yap Move, Gideon Obarzanek’s Us 50 was a glorious and life, 6 Breaths explores life, vitality and spirit translated heartfelt celebration of the power of movement. Inspired Concept Rafael Bonachela & to dance, accompanied by Bosso’s six movements, Composer Chris Clark by the many hundreds of dancers who have graced Ezio Bosso composed for six cellos and piano. the Company’s stage over the last five decades, Us 50 Since 6 Breaths was last seen in Sydney, the Costume Designer Harriet Oxley explored how making and performing dance is passed on Video Artist Tim Richardson work has travelled to New York, London, Barcelona from one dancer to the other, and how the accumulation and Germany. 6 Breaths was performed as part Lighting Designer Benjamin Cisterne of all the dancers’ individual styles have helped to shape Costume Designer Josh Goot of the Venice Biennale Danza in Italy in 2010, the the Company’s identity. first international invitation for the Company under Us 50 featured the return to the stage of 10 Lighting Designer Benjamin Cisterne Bonachela’s artistic directorship. Artistic Director’s Commissioning Partner: alumni dancers whose own personal histories represented The 2019 iteration was presented in Sydney in The Naomi Milgrom Foundation five generations of significant contribution to the November as a double-bill celebration of the Company’s Company’s body of work. Sydney Dance Company thanks Rafael Bonachela for his 50th anniversary. We also thank the Naomi Milgrom Foundation for its Obarzanek brought 25 audience members to generous support of the re-staging of 6 Breaths support of our Us 50 Education Program, enabling young the stage every night, directed live via earphones, “6 Breaths …was danced thrillingly…particularly Riley people to access outstanding contemporary dance embodying how the history of an ephemeral art form Fitzgerald and Dimitri Kleioris in the work’s central duet.” through performances and workshops with Sydney is passed on through the bodies of the dancers and The Australian Dance Company. accumulated in the minds of the audience.

“Spellbinding combination of heart-stopping athleticism We would also like to thank Robert Albert AO and “An exhilarating, heart-warming piece that explores the and riveting emotion.” Bachtrack Elizabeth Albert, Ian Galloway and Linda Treadwell, relationship between the dancers and the audience, and the and Tony Jones for their support of the alumni joy that forms when a community gathers to share a piece dancers featured in this work. of movement.” Limelight

10 Performances 10 Performances

20 2019 Impact Report 2019 Impact Report 21 ab[intra]

Choreographer Rafael Bonachela Bonachela’s ab [intra], premiered in 2018 in Sydney and toured Australia that year. An exploration of our Original Music Nick Wales* primal instincts, impulses and visceral responses, it takes audiences on a journey of intense emotion from Lighting Design Damien Cooper tenderness to turmoil. With music fusing a lush cello concerto with Costume & Set Design David Fleischer ambient electronica, the dancers occupy a visually arresting ethereal world. ab [intra] enjoyed huge critical and audience *Original compositions for ab [intra] by Nick Wales. acclaim on its premier and has become a touring favourite for Sydney Dance Company. In 2019, it was Additional Music from Klatbune by Peteris Vasks, with performed in St Pölten (Austria), Koupio Dance Festival permission of Hal Leonard Australia Pty Ltd, exclusive (Finland), Łódź Ballet Festival (Poland) and at the Grec agents for Schott Music Ltd of Mainz. Festival in Barcelona.

 “ab [intra] ‘has to be seen to be believed’. Don’t miss this electrifying journey showcasing Australia’s best contemporary dancers.” The Sydney Morning Herald

 “A beautiful display of interconnected athleticism…it’s a captivating journey” Daily Review

10 Performances

22 2019 Impact Report 2019 Impact Report 23 New Breed

The sixth edition of New Breed in December saw Sydney “The program ends on a buzzing high; the world is on fire, New Breed Dance Company conclude its 50th Anniversary program, but we still make art, and maybe that makes the art even celebrating the best contemporary dance talent in more urgent, even more beautiful.” Time Out Australia. New Breed is an important incubator for the next generation of creative artists, and Sydney Dance “The showcase is creative, quirky, bold and, best of all, Company takes great pride in fostering their development. experimental…the unique works are a testament to Not only does New Breed provide an opportunity for the mentoring of the next generation of contemporary dancers at Sydney Dance Company to explore their brilliance. It’s in good hands.” Bachtrack choreographic ambition, it also gives two independent Australian choreographers the stage to create and present new work each year. This is only possible with the visionary and long-standing support of The Balnaves Foundation and the collaborative partnership of Carriageworks. The 2019 edition saw the four choreographers New Breed Principal Partner explore a vastness of meaning from the joy of jazz music, to the negotiation of our bodies in society, rehumanising in a dehumanised world and the contemplation of dystopian futures.

10 Performances

In Walked Bud Creeper

Choreographer Davide Di Giovanni Choreographer Lauren Langlois

Music In Walked Bud by Sound Designer Jason Wright Thelonius Monk Lighting Designer Alexander Berlage Lighting Designer Alexander Berlage Costume Designer Aleisa Jelbart Costume Designer Guy Hastie

Arise Zero

Choreographer Ariella Casu Choreographer Josh Mu in collaboration with dancers Music Bab’ Azîz and Faces, Armand Amar Composer Huey Benjamin

Composer Marco Cher-Gibard Lighting Designer Alexander Berlage

Dramaturg Bem Le Hunte Costume Designer Aleisa Jelbart

Lighting Designer Alexander Berlage

Costume Designer Aleisa Jelbart

24 2019 Impact Report 2019 Impact Report 25 “Ensemble performance that opened a window on the infinite dynamic possibilities of the human body… the range and vibrancy of movement by the dancers was awe inspiring.” The Daily Telegraph

26 2019 Impact Report 2019 Impact Report 27 On the Road

Touring continues to play an integral role in the life of For the fifth year, the national touring off pretty fast and when it came to bows, the noise Barcelona also saw the Company joined by Sydney Dance Company and 2019 was no exception. In program was enhanced by an extensive workshop emanating from the audience was amazing.” a number of donors and supporters from Australia and addition to our three Sydney seasons, we shared our work program for young people, supported by the Thyne Sydney Dance Company is held in high across Europe, many of whom had made the journey extensively across Australia and around the world, reaching Reid Foundation. This program sees teaching artists esteem as an international cultural leader and, as especially to see the performance. The Sydney Dance 31,302 people in Australia and 7,390 internationally. visit communities across Australia to deliver workshops an international representative of Australian arts, we Company family was honoured to be hosted by the In 2019 the Bonachela / Nankivell / Lane to primary and secondary school students, in the run are delighted to be supported by the Department Australian Ambassador to Spain, who threw a post- program which premiered in Sydney hit the road and up to the Company’s visit to the local theatre. In 2019, of Foreign Affairs and Trade (DFAT). 2019 saw an show reception on the opening night to celebrate all of was performed in 11 Australian towns and cities, with 24 119 workshops were delivered to 2712 young people in extensive European summer festival tour, taking in St the Australian companies and artists performing in the performances across five states and territories: Melbourne, regional Australia. Pölten, Austria; the Kuopio Dance Festival, Finland; Grec Festival. Canberra, Adelaide, Darwin, Hobart, regional Nothern Łódź Ballet Festival, Poland; and the Grec Festival Territory, regional Victoria and regional South Australia. “We are a regional school with a high level of Barcelona, Spain. Executive Director Anne Dunn said of touring, disadvantage through unemployment, single It was an honour to be hosted by the ”As the country’s leading contemporary dance company, parent families, distance, drought affected, Australian Ambassadors in each location. In Finland, we make it our mission to inspire and engage as many where the sun barely set, the Company was co- people as possible through dance. We do this by bringing financial, refugee and indigenous. This hosted by the Australian Ambassador and the Finnish our work to the smallest communities, regional centres opportunity was such an amazing experience. Australian Society, and guided through a sing-along and all seven capital cities. We engage people of all We are still so amazed that you came all the of Bound for Botany Bay and I Am, You Are, We ages with our work through performances, education way to Shepparton!!” Teacher, Shepparton Are Australian. Dancers of the Company and the and outreach activities and professional development Ambassador sang together in good voice! opportunities while on tour. It is also our responsibility For new Company dancer, Luke Hayward, The Ambassadors and delegates from the to continuously evolve the artform, while extending our 2019’s Australian tour was a very special personal Embassies in Warsaw and in Vienna travelled to Łódź reach and enabling more people to benefit from watching experience. “2019 was my first time touring with and St Pölten respectively for the performances and and participating in it.” Sydney Dance Company and my favourite memory each hosted a post-show reception. She continued, “We make a significant was performing for family and friends in Alice Springs. Barcelona was another family affair for contribution to the Australian arts landscape through Many of them hadn’t seen me dance in 8 years! The Sydney Dance Company; as the home town of Artistic the range of artists we commission and the new opening piece was Neon Aether by Gabrielle Nankivell, Director Rafael Bonachela, and dancer Victor Zarallo, Australian works produced each year, by Rafael and which started with my solo. As soon as the lights came friends and family of both turned out in force. Victor the next generation of dance makers. Our audiences on, dramatically revealing me onstage, everyone in the said “My parents told everyone they knew to come and are always our most important collaborators. We want audience gasped and started whispering, “Oh it’s Luke!”, watch the show. I left home when I was 16 years old, so them to come on the journey with us and we do this by “Is that Luke?”, “Is that the guy”, “Oh that’s the boy”, and having the opportunity to dance with my professional conveying our message about dance while inspiring and “shhhhhh”! I went from feeling nervous, to sweaty feet company in my hometown, even if it was only once... it challenging them.” and hands, and shaking. Thankfully, I shook the nerves was so worth it.”

28 2019 Impact Report 2019 Impact Report 29 International

ab [intra] Festspielehaus, St Pölten, Austria 7 June Kuopio City Theatre Kuopio, Finland 12–13 June Our Reach Łodź Grand Theatre Łodź, Poland 18–19 June Mercat de les Flors, Grec Festival Barcelona, Spain 2–4 July

Lux Tenebris Kuopio Music Centre Kuopio, Finland 14–15 June

National

Season One: Bonachela / Nankivell / Lane Roslyn Packer Theatre Walsh Bay Sydney, NSW 26 March–13 April Canberra Theatre Centre Canberra, ACT 2–4 May Arts Centre Melbourne Melbourne, VIC 8–11 May West Gippsland Arts Centre Warragul, VIC 16 May Frankston Arts Centre Frankston, VIC 18 May The Capital BendigoVIC 22 May Mildura Arts Centre Mildura, VIC 25 May Darwin Entertainment Centre Darwin, NT 27 July Araluen Arts Centre, Alice Springs, NT 31 July Middleback Arts Centre Whyalla, SA 3 August Adelaide Festival Centre Adelaide, SA 8–10 August Theatre Royal Hobart, TAS 15–17 August

Season Two: Bonachela / Obarzanek Roslyn Packer Theatre Walsh Bay Sydney, NSW 1–9 November

Season Three: New Breed Carriageworks Sydney, NSW 28 Nov–7 Dec

PPY19 Revealed Carriageworks Sydney, NSW 11–13 Dec

Poland Finland Sydney 2 performances, 1 work 4 performances, 2 works 39 performances, 13 works Canberra Austria 3 performances, 3 works 1 Performance, 1 Work Melbourne 6 performances, 3 works Victoria 4 performances, 3 works Northern Territory 2 performances, 3 works South Australia 5 performances, 3 works Spain Tasmania 3 performances 4 performances, 3 works 1 work

30 2019 Impact Report 2019 Impact Report 31 A Golden Year

“A reminder of how audiences and arts dance. Ramon was one of the first people to be granted a residency visa on compassionate grounds through the companies are in a constant dialogue, but Gay Immigration Task Force when he moved to Australia also the cultural phenomenon of dance from the Philippines in the 1980s. extending beyond what we see on stage. It’s central to our culture in ways we can’t fully “My inspiration is the people – all the students understand.” Time Out Sydney who come to our classes, the Company dancers, the creative team, the administrative team and For a contemporary dance company to reach the milestone of 50 years is a major achievement; Sydney the people who support us. They are all included Dance Company has existed almost as long as the in the float. It’s been so rewarding to see them all artform itself, and has defined contemporary dance in dancing together and of course, to celebrate the Australia since its inception. Turning the big 5-Oh saw a 50th Anniversary of the Company by wearing series of special events in celebration. gold! My idea of fun is dancing, inclusion, diversity In February, the Company was deeply honoured to be hosted by the Governor-General, and team work.” Ramon Doringo His Excellency General Sir Peter Cosgrove and Lady Cosgrove at Admiralty House at a reception for 90 guests. A specially commissioned project, 50 Years, 50 Memories On a late-summer evening, Sydney Dance was posted weekly on the Sydney Dance Company Company founder Suzanne Davidson (nee Musitz), website across the year, and widely shared on social former Artistic Director Graeme Murphy AO and his media. A series of moments and milestones across creative associate Janet Vernon AM, members of the years was captured and the posts jogged many government, current and former Board Directors, memories for alumni, our community and audience and Sydney Dance Company staff gathered with the members alike. It was delightful to hear personal stories Governor-General and Lady Cosgrove to enjoy a cocktail from so many people. reception and an elegant evening of celebration, a fitting The choreographic year, celebrating the future tribute to the esteem in which the Company has been of dance in Australia, culminated with the second season held over its illustrious history. in Sydney. A double bill featured Rafael Bonachela’s early In recognition of the Company’s long-held work for Sydney Dance Company, 6 Breaths and Us 50, commitment to inclusion and diversity, a float bedecked an unique, once-in-a-lifetime work, choreographed by in gold glitter was built for the Company’s first ever former Company dancer Gideon Obarzanek and paying appearance in the annual Sydney Gay and Lesbian tribute to the ephemeral way in which we experience and Mardi Gras Parade. Company dancers, staff, donors, pass down contemporary dance. board members and studio class participants donned gold lame shorts, picked up their pom-poms and “The history of Sydney Dance Company is marched down Oxford Street. A sight to treasure, with embedded in the dancers’ bodies and the one truck, one drag-queen, two go-go dancers, and 80 dancers, Sydney Dance Company won the award memories of audiences...the real detail and for Best Choreography, curated by the incomparable nuance of dance works – the movement, the Ramon Doringo, Dance Class Manager of Sydney style – has always been passed from one Dance Company studios for the past three decades! dancer to another.” Gideon Obarzanek Ramon’s inspiration for the 2019 Mardi Gras Parade choreography was a celebration of diversity through

32 2019 Impact Report 2019 Impact Report 33 Obarzanek explored this concept through a grand was the first time see contemporary dance live and it scale work which featured 10 alumni dancers who was wonderful to see the growth in their understanding returned to the stage, some after many decades. of dance.” And as a student said “Loved it! Can we go From the cohorts of the 1970s, 80s, 90s, and 2000s, again next year?” and ranging in age from 44–64, Bradley Chatfield, Sydney Dance Company commissioned Kathryn Dunn, Lea Francis, Kip Gamblin, Stefan a celebratory film, documenting the Company’s on- Karlson, Wakako Asano, Bill Pengelly, Linda Ridgeway stage history, which was screened at the top of each Gamblin, Nina Veretennikova and Sheree Zellner performance during Season Two. Created from footage returned to the rigours of the rehearsal studio and shot over the decades by Pedro Greig, who has filmed nightly performance. all of the Bonachela-era performances, and Graeme The current and alumni dancers were joined Murphy’s long-term collaborator, filmmaker Philippe on stage each night by 25 members of the audience, Charluet, the 8-minute film, 50 Years of Defining who were instructed in the choreography by Rehearsal Contemporary Dance featured many of Murphy and Associate Charmene Yap, whose dulcet tones and Bonachela’s most renowned and critically acclaimed clear instructions came through hidden ear-pieces. works. This film drew gasps of delight each night as With almost 250 participants across the season, the audiences remembered favourite works and dancers youngest in their early teens and the oldest in their and appreciated the depth of the creative legacy that 80s, this was a unique production and a glorious Sydney Dance Company has had on Australian culture celebration of the dance community. over the last five decades. “I can’t even begin to describe to you the impact this had on those who participated. The energy of cultural exchange, history, memory and physical presence was so strong... It felt GREAT.” Us 50 audience participant

The Naomi Milgrom Foundation generously supported the creation of Us 50 as the inaugural Artistic Director’s Commissioning Partner and gave additional support for a complementary education project which saw 440 school students participate in workshops and attend school matinees. In an unforgettable experience, 50 students took on the roles of audience participants in both school matinees, and performed on stage with the alumni and Company dancers. The feedback from teachers and students was heartening. A teacher reported that “Students that I teach are in an Intensive English Centre and most are from refugee backgrounds. As such these students have often had trauma in their lives and not much opportunity to visit the theatre and see live performance. For many this

34 2019 Impact Report 2019 Impact Report 35 Wharf Renewal

Nestled under the Harbour Bridge, Pier 4 has been our corporate meetings, small dance classes and rehearsals home since 1985. A unique space hewn from Sydney’s and streaming virtual classes to the world. industrial heritage, our studios have been home to The new wellness Studio will allow dancers generations of renowned dancers and the foundation and the public alike to undertake specialist Pilates and of performances that have brought worldwide acclaim yoga training and a new recovery and treatment room for Australian culture. Over that time we have taught will ensure our dancers receive the best care available. hundreds of thousands of people to dance in our The reconfigured café space will be opened up to the studios. The quirky, creaky, historic Wharf has become magnificent location and provide a buzzing meeting synonymous with Sydney Dance Company. spot for the neighbourhood. Our vision for the future sees Sydney Dance Sydney Dance Company spent 2019 Company cement its position as one of the world’s operating from temporary studios at Ultimo as work leading contemporary dance companies, expanding continues on the Wharf and whilst we love our our reach and inspiring Australians’ love of dance. temporary home, we are very much looking forward We will commission and create more new work. We to getting back to Walsh Bay where our hearts lie, will enhance our development program for young being able to spread our wings and stretch ourselves choreographers. We will deepen our engagement in with new initiatives. the communities of Australia. We will reach more young Our sincere thanks go to the NSW people and nurture the talent of the future. We will train Government for their visionary support of the Walsh more extraordinary dancers and we will be a national Bay precinct redevelopment. They are investing not just and global home for contemporary dance. We have in Sydney Dance Company, but in all of the co-located made a promise for the future to perform at our peak, to performing arts companies and the thousands of people inspire and educate and to share dance with everyone. who attend their classes and performances. In 2019, we continued on our pathway to We also want to thank each and every one achieving our vision, with work well and truly underway of our Capital Campaign donors for their belief in our at the Wharf. Our harbour-side home is being vision for a future for Sydney Dance Company. transformed as part of a unique cultural district, an iconic waterfront destination for both the city and the nation, cementing Sydney’s reputation as an innovative, dynamic and creative city and drawing in local, national and global audiences. As one of the longest tenured residents, we are playing a pivotal role in this incredibly exciting project. The rejuvenation of our home at the Wharf will provide significant upgrades to our four rehearsal studios with new sprung floors, new acoustic treatments, new heating and cooling systems and improved customer amenities. A brand new fifth Studio will be unique, purpose-built and overlooking Sydney Harbour Bridge; a multi-purpose space for artistic endeavour and community outreach with a retractable seating bank for intimate showings and small-scale performances, complete with its own entrance and foyer space. A new sixth Studio will be a flexible space suitable for

36 2019 Impact Report 2019 Impact Report 37 Training the Future

“It’s an edgy picture … invigorating to watch Orfeo ed Euridice, Leah Marojevic’s Homage, because of the vitality, commitment and skill of The Consumerist Spectacle by Vicki Van Hout and an the dancers.” The Sydney Morning Herald excerpt from Rafael Bonachela’s Lux Tenebris. PPY19 Revealed was generously supported by Hermès Australia. 2019 marked the sixth year of Sydney Dance Company’s Pre-Professional Year program and the “It has been a delight to be involved in the strength, skill and maturity of the graduating ensemble creative growth of these amazing dancers was a testament to the way the course has developed over the past year and I am overjoyed to see and flourished since its inception. It has become a critical element of the advanced training and education them performing an excerpt from my own programs at Sydney Dance Company and a unique, yet work, Lux Tenebris; they really have brought it integral part of the dance training ecology in Australia. to life!” Rafael Bonachela. The 2019 PPY ensemble consisted of 26 dancers, who worked with 29 Australian-based Earlier in the year PPY participated in the guest teachers and choreographers, as well as seven creation of Sydney Dance Company commissioned international guest choreographers from across the globe: dance-film project On The Edge, directed by Greece, Israel, U.K, Canada, Spain and Belgium. Four choreographer and film-maker Sue Healey. The week- of the 2019 cohort were supported in their studies by long dance film project concluded with a shoot day scholarships from Stephen and Julie Fitzgerald, the Doug at Leura, in the Blue Mountains, where the dancers Hall Foundation, the Wales Family Foundation and Mary interacted with the breath-taking landscapes. Zuber. The Hepzibah Artist Development Program, which The well-established relationship with supports the next generation of Australian artists, helped NAISDA Dance College continued in 2019, with two to ensure that professional development opportunities days of workshops and a mock audition experience for were afforded to both emerging, visiting choreographers the students. Force Majeure Artistic Director Danielle and creatives and the PPY dancers themselves. Micich and independent choreographer Victoria Hunt PPY19 dancers studied for Advanced led the workshops. The collaboration concluded with Diplomas and Diplomas of Dance. Key body practices PPY students traveling to NAISDA in Wyong where they exercised by the young dancers included Yoga and learned dances unique to indigenous culture with the mindfulness with Jolie Brook; Pilates with Ingrid Shaw; NAISDA cohort. Ballet mechanics and functionally efficient movement In a step away from the physical, the dancers with Head of Training Linda Gamblin and Company were taught by former Company Dancer and renowned Exercise Physiologist Annie Jefferies; injury prevention educator Shane Carroll in the skills required for project and safe practice with Company Physiotherapist proposals for fundraising and grant applications. The Ashley-Mary Cohen; resilience and self-care lectures dancers created their own mock funding project which and workshops with ‘Balance’ EAP psychologist Sallie they presented and discussed in the studio in front of Grey; and conscious and safe movement with Course industry guests in order to simulate the experience. “The transformation Coordinator Omer Backley-Astrachan. Overall, the calibre of dancers emerging Through the course ethos of collaborating in from PPY continues to rise and their post-training career I’ve experienced this year a co-creative environment, the dancers navigated their trajectories continue to impress. Telea Jensen graduated way through 2019 with curiosity and intrigue, culminating from PPY 2019 in the knowledge that she would be has been incredible.” in a successful PPY19 Revealed season; a quadruple-bill joining the Sydney Dance Company ensemble as the performed over three performances at Carriageworks in company trainee for 2020. Telea Jensen (PPY 2019) December. The season included Idan Cohen’s

38 2019 Impact Report 2019 Impact Report 39 PPY19 Revealed

Orfeo ed Euridice The Consumerist Spectacle

Choreographer Idan Cohen Choreographer Vicki Van Hout in collaboration with the Music Orfeo ed Eurydice performers Overture Orfeo and Eurydice Coro Act 1 Concept and Direction Vicki Van Hout and Scene 1 C.W Gluck Sound Designer Phil Downing Lighting Designer Alexander Berlage Music Siobhan Lynch, Soleil Costume Designer Fiona Holley Harvey and Vicki Van Hout

A Prequel Journey Me-Lee Hay Text Vicki Van Hout Opal Russell

Wiradjuri Language Henrietta Baird and Translation Vicki van Hout Homage Recorded Narrative Imogen Chen Narration Concept and Direction Leah Marojević Lighting Designer Alexander Berlage Sound Designer Samir John Kennedy Costume Designer Fiona Holley Lighting Designer Alexander Berlage

Costume Designer Fiona Holley and dancer

Lux Tenebris

Choreographer Rafael Bonachela

Composer Nick Wales

Costume Designer Alesia Jelbart

Lighting Designer Alexander Berlage

40 2019 Impact Report 2019 Impact Report 41 Our

As Australia’s pre-eminent contemporary dance Youth Ensemble Community company, Sydney Dance Company’s role in fostering The launch of the inaugural Youth Ensemble was a huge excellence and the next generation of talent is success. Working in conjunction with regular studio imperative. 2019 was no exception. training, this three-term program provided 24 young The Wattle Street studios were busy across dancers creative expression, technical development and the year with a number of youth and education programs a unique opportunity to learn contemporary repertoire including two exciting firsts; the inaugural Sydney from industry specialists from Sydney Dance Company’s Dance Company Youth Ensemble and the launch teaching faculty. Successful course applicants travelled of the Sydney Dance Company affiliated McDonald from all over regional NSW to participate with a handful College Senior Contemporary Dance Program. 2019 travelling considerable distances from Coolamon, also saw two professional intensives for emerging and Glenbrook, Mt Rankin, Glen Alpine and Thiroul. With professional dancers, in April and December. Across a focus on technique, conditioning, improvisation, the year, 17 tertiary students from across Australia took choreography and artistry, the Youth Ensemble dancers part in secondments at Sydney Dance Company. The were afforded the opportunity to further develop their popular program of school matinees ran across both contemporary and allied dance techniques, create and main seasons, and a busy program of school holiday explore their own movement, and learn and rehearse workshops saw the studios filled with excited young contemporary dance choreography in a professional dancers. The Make Your Move Program provided context. Informed by Sydney Dance Company’s access to dance for those with limited mobility, and the innovative approach to dance education, this program ever-popular public dance classes saw almost 80,000 offered the dancers an insight into their identity as attendances. Over the last thirty-plus years, these public artists, what the world of professional contemporary dance classes have been embedded in the hearts of dance is like and gave them a chance to further hone Sydney’s dance enthusiasts and avid exercisers alike. their skills. The Youth Ensemble also supported those studying HSC Dance in school. McDonald College Working in partnership is integral to the success of School Matinees, Workshops and Holiday Workshops Sydney Dance Company’s community outreach and the A highlight of our education program is always the Senior Contemporary Dance Programme affiliated with ever-popular school matinee program. This year we McDonald College, enabled students in Years 10-12 to performed for 4,321 upper primary and secondary engage in all aspects of Contemporary Dance training, school students in Sydney, Melbourne, Adelaide and combined with academic studies for the NSW Higher for the first time, Hobart. The Season Two matinees in School Certificate. Throughout the year the students Sydney were extra special as students were able to worked on development of their technical skills and actively participate in the performance of Us 50. artistry, taught by an array of teachers, choreographers Alongside our matinee program we and educators from Sydney Dance Company’s teaching also worked with students in almost 300 workshops, faculty. The training was geared towards preparing delivered across the country. We worked with students for multiple career trajectories including Hiphopportunities for Youth in Bendigo, and travelled to employment in a full-time dance company, working as schools from inner Sydney to Whyalla in South Australia an independent dancer, choreographer, director, dance and Dance Studios in Alice Springs. educator, or as an integral collaborator in any creative environment. The students came from various states, locations and dance backgrounds but throughout the course of the year learned to operate as a cohesive collective of sharp minds and dancing bodies. The Senior Contemporary Dance Program dancers concluded their year with a High Performance Season at NIDA’s Parade Theatre on 20 October. Cass Mortimer Eipper (ex-Company dancer) and Lucas Jervies both choreographed a work, and the dancers performed an excerpt of Rafael Bonachela’s Lux Tenebris. Of the eight dancers in the Senior Contemporary Dance Program in 2019, five were in year 12 and successfully completed their HSC; one of those students went on to join the cohort of Sydney Dance Company’s PPY 2020.

42 2019 Impact Report 2019 Impact Report 43 More than 12,000 children enjoyed the transformative the New Breed program. Cass Mortimer Eipper (former power of dance in 2019. In addition to these activities, Company dancer) and Charmene Yap (Rehearsal 1,780 budding young dancers who wanted to extend Associate) also led workshops with the young dancers. their skills, experience life in our studios and work with a whole range of teachers across disciplines, participated Public Dance Classes. in school holiday intensives. Like the Wharf Studios, our temporary home in Wattle Street buzzes seven days a week as dancers of all ages “I’ve been coming for four years, since I and capabilities attend class. In 2019, 78,247 classes was in Year Three. I really like how I can be were taken in a range of styles including Contemporary, challenged here in these workshops. I think Ballet, Jazz, Theatre Jazz, Tap, Yoga, Pilates, Stretch, Lyrical, Latin Funk, Hip Hop, JFH; and at a range of levels it’s the atmosphere and how all the teachers from introductory course to advanced. are amazing choreographers. I just love the feeling of the whole thing.” “I enjoy the family culture the most. Teachers, Workshop participant Samantha. administration staff and students are all extremely friendly. Some of them have

Youth Intensive been with Sydney Dance Company for a few Another first for 2019 was the Winter Youth Intensive decades, and many people recognise Sydney which ran for the first time during the holidays with Dance Company as their “special place”. I 10 dancers participating in the week-long program. also love the strong focus on dance technique Participants learned from current Company dancer training. The teachers are knowledgeable and Juliette Barton as well as Lucas Jervies and PPY graduate Eliza Cooper. The week culminated in an willing to continually invest in the students." informal showing and feedback from the participants Classes Member, 2019 was overwhelmingly positive. One dancer from this week went on to successfully audition for PPY 2020. Make Your Move The Make Your Move program was first established Professional Intensive in 2017, designed as a series of creative workshops Providing pathways for emerging and professional for people with mobility restrictions to participate dancers into the industry is a critical part of our in contemporary dance. Created to enhance skills continuum of dance training. 2019 was the first year we and confidence in movement, and build strength, the ran two Professional Intensives. The first was held in program also gives participants the chance to creatively April and was attended by 23 dancers from across the explore some of the ideas that inspire Sydney Dance globe including the UK, USA, New Zealand and Japan, as Company’s productions. Led by an experienced dance well as from all over Australia and included two NAISDA teacher, these classes start with a gentle warm up scholarship recipients. One of the participants, Coco and stretch, usually from a seated position. Make Your Wood, was in her final year at Rambert Dance School Move, designed to allow those with mobility issues and in London at the time and her personal experience over their carers to dance together, was delivered in 2019 by the week was really positive, commenting that she felt Sydney Dance Company teacher Shane Carroll, across “comfortable trying new things. There’s no judgement, and six sessions to participants at the Seniors Social Hub at that has been very apparent throughout the whole week Wesley Mission Fairfield. with all the teachers, students, staff, dancers. It’s been a really good learning environment.” When asked about her future aspirations Coco revealed that she “would love to do a pre-professional program [at SDC] or get a trainee position in the company.” She has since returned home to Australia from London to join the 2020 PPY cohort. December’s Summer Professional Intensive saw 18 dancers take part, hailing from New York, Singapore, New Zealand and the UK, as well as Australia. The timing of this program allowed New Breed choreographer Josh Mu to teach, further extending the professional development opportunities offered by

44 2019 Impact Report 2019 Impact Report 45 Your Impact

Our family of philanthropic donors and supporters is Dancers’ Circle Celebrating a decade of Dance Noir and five decades of former Company dancer Kevin Chen). The dance floor instrumental to so many elements of our work, from Our dancers are the heart of our Company. Without Sydney Dance Company, Decadance was always going opened to all with guests flooding the stage to party into supporting the commissioning of new work, to taking their extraordinary talent, drive and artistry, there is no to be the party of the (half) century. With a fittingly the early hours, with dancers, guests and Committee the Company on the road and underpinning many of our Sydney Dance Company. We are proud of the care and glamorous dress code of Pop Couture, a record 540 Members celebrating what was an incredibly successful education and outreach activities. With philanthropic and support we provide for all our dancers to maintain peak guests danced the night away at the Hordern Pavilion. and enjoyable night. sponsorship income representing 37.5% of Sydney Dance physical and mental condition and to ensure they can Our Dance Noir guests never fail to impress with their Company’s revenue in 2019, the role of our donor and work at the highest level of performance. The Dancers’ fashion, with red-carpet arrivals from Ab Fab’s Patsy, Fundraising Dinners supporter community is critical to our success. Circle directly supports the growth and development of to a gold-coned Madonna and a resurrected JFK and Fundraising dinners are a cornerstone of Sydney We welcomed the significant support of a the ensemble, enabling pathways for their time with the Jacki Onassis! Dance Company’s philanthropic calendar and in 2019, number of grant-making trusts in 2019, including the Company and beyond as they look to a career beyond A stunning pair of Jan Logan earrings were Board Member Carla Zampatti AC once again hosted a Neilson Foundation, Naomi Milgrom Foundation, Thyne the stage. up for grabs as the annual raffle prize, whilst major sumptuous evening in her home to raise funds for the Reid Foundation, The Balnaves Foundation, Crown live auction prizes included trips to the Mediterranean, commissioning of Season One’s program. More than 60 Resorts Foundation, Packer Family Foundation and Contemporary Women Supporting Dance Mexico, LA and Bordeaux, alongside a luxury cocktail guests were joined by Sydney Dance Company’s creative Nelson Meers Foundation. Their collective commitment Sydney Dance Company has a proud history of supporting cruise and Marchetti S211 Jet flights. This was the team, choreographer Melanie Lane, lighting designer to the growth and development of Sydney Dance and providing career opportunities for female artists at all Company’s most successful annual fundraiser to date Damien Cooper and costume designer Bianca Spender. Company, through their support of a range of major levels, including choreographers, dancers in the ensemble, raising a record amount over $700,000, through over 100 The evening raised $170,000 in support of the creation programs, is transformational. creatives and women in leadership roles. We have also auction prizes and live pledging. of new work. 2019 also saw the tenth anniversary of In 2019, in celebration of the 50th Anniversary, nurtured, fostered and launched the careers of many The Dance Noir Committee, chaired by Board the annual Touring Fund dinner, held in one of Sydney’s we welcomed two new cohorts of supporters to our female dancers over the last five decades. In 2019, we Director Pam Bartlett and Creative Producer Peter favourite restaurants, Buon Ricordo. Founders Armando donor family, the Dancers’ Circle and Contemporary launched the Contemporary Women Supporting Dance Reeve excelled this year. Their incredible dedication, Percuoco and Gemma Cunningham joined 50 guests and Women Supporting Dance, with launch events hosted by group, giving more than 20 women the opportunity to commitment and sheer hard work made sure Dance host, former Executive Director Noel Staunton to raise Board Member Catriona Mordant AM (Dancers’ Circle) contribute to the success of the remarkable women of Noir was a blistering success, and that fundraising to over $100,000 in support of 2019’s extensive touring and supporter Sue Cato (CWSD). Sydney Dance Company whilst networking with colleagues. support Sydney Dance Company’s work in creating and schedule. sharing contemporary dance across Australia was the Dance Noir - Decadance talk of the town. Rehearsal Events Onstage, our dancers surpassed themselves. The intimacy of joining Rafael and the dancers in the “With a theme of Pop Couture, the evening’s Always the highlight of the evening, this year’s studio to share in the creative process is a favourite celebrations, dubbed ‘10 Years of Decadance’, performances included a spectacular homage to Marilyn activity amongst Sydney Dance Company’s donor family gathered a 500-person strong guest list with Monroe, the stunning duet from ab [intra], a foot- and in 2019, the Philanthropy team hosted 229 guests at stomping and floor-shaking excerpt from WOOF and a 8 events, all of whom enjoyed a behind-the-scenes view the promise of a dance-filled evening they neon-lit finale, to Rozalla’s iconic anthem Everybody’s of the making of new work, with insights from both Rafael wouldn’t soon forget” VOGUE Australia Free, featuring the legendary drag artiste Adelaide Travel- and the dancers. lodge (a spectacular return to the Dance Noir stage by

46 2019 Impact Report 2019 Impact Report 47 Thank You! Annual Partner Program 2019

Sydney Dance Company would like to thank all Peter Reeve and Jaycen Fletcher, Chrissy Sharp and Performance Partners $20,000+ Head, Amanda Heckes, Hue-Williams Family, Allen Iu our 2019 Partners for their generous support and Michael Lynch, Leslie Stern, Victoria Taylor, Susan Manuela Darling-Gansser and Michael Darling, Tim and Bernadette Walker, Gabrielle Iwanow, David Jonas acknowledge those who have given anonymously. Our Wynne Fairfax AC, Andrew and Emma Gray, David and Fiona and Desmon Du Plessis, Tony Jones, Elias and Jana Partners make it possible for us to create and present Hancock, Susan Maple-Brown AM and the late Robert, Juanas, Les Kennedy, David and Jacqueline Lindberg, new work, inspire future generations of dancers and Dancers’ Circle Maple-Brown AO, Beau Neilson, Emma-Jane Newton Andrew and Del McGuiness, Dr Gary Nicholls and Niall audiences, extend our reach and plan for the future. To celebrate our 50th anniversary, we are proud to and Chris Paxton Barlow, Susan Perrin-Kirby, CA Scala and DB Studdy, We couldn’t do it without you! have launched the Dancers’ Circle, which directly Ezekiel Solomon AM, Allegra Spender and Mark Capps, supports the growth and development of our ensemble Studio Partners $10,000+ Vanepe Pty Ltd, David and Katrina Williams of dancers, enabling pathways for their time with the Kyril Agnew, Pam and Doug Bartlett, Paul Brady and Platinum Partners Company and beyond. Christine Yip, Jillian Broadbent AC and Olev Rahn, Rehearsal Partners $1,000+ A special thank you to our Platinum Partners for Janice and Tony Burke, Sue Cato and Vaughan Busby, Janet Abernethy and Richard Willis, Lenore Adamson their enduring commitment and passion for Sydney Patron: Julian Knights AO Brett Clegg and Annabel Hepworth, Jane and Andrew and The late Ross Adamson, Antoinette Albert, Dance Company. Clifford, Cullman Family Fund, Ian Galloway and Linda Catherine and Nigel Allfrey, Ian Belgiorno-Zegna, Steve Kyril Agnew, Paul Brady and Christine Yip, Janice and Treadwell, Kiera Grant, John Griffiths and Beth Jackson, Bennett, Maxine Brenner, Sally Burleigh, Jacqui Burton, Robert Albert AO and Elizabeth Albert, The Balnaves Tony Burke, Brett Clegg and Annabel Hepworth, The The John and Frances Ingham Foundation, Sarah and Grant Chamberlain and Jacqueline Scott, John and Foundation, Crown Resorts Foundation, Julian Knights Hansen Family, Julian Knights AO and Lizanne Knights, Robby Ingham, Memocorp Australia Pty Ltd, Karen Libby Clayton, Rob Coombe, Judy Crawford, Susanne AO and Lizanne Knights, Jules Maxwell, Naomi In memory of Nola McCullagh, Lorraine Tarabay and Moses, Erin Ostadal and the late Billy Ostadal, John de Ferranti, Helen Forrester, Julie Godfrey and Steve Milgrom Foundation, Naomi Milgrom AO, Andrew Nick Langley, Mary Zuber Prescott AC and Jennifer Prescott, Ruth Ritchie Family Lang, Amber Gooley, Ben Harlow, Michael Harvey and Messenger, The Neilson Foundation, Judith Neilson Fund, Warryn and Kellie Robertson, Dick and Pip Smith, Jacqui Galbraith, Cheryl Hatch, Terry Kaljo, Josephine AM, Packer Family Foundation, Gretel Packer, Thyne 2019 Pre-Professional Year Bianca Spender and Sam McGuiness, Turner, Barbara Key and Ian Breden, Margaret Kelly, Joanne Killen, Reid Foundation, The Wales Family Foundation, Carla Stephen and Julie Fitzgerald Scholarship, Doug Hall Wilby and Christopher Joyce, Yang Yang Marina and Richard Leong, Tanja Liedtke Endowment, Zampatti Foundation, Mary Zuber Foundation Scholarship, The Wales Family Foundation Christina Ludwigson, Jane McCallum, Carol Mills, Clare Scholarship, Mary Zuber Scholarship, The Hephzibah Duet Partners $5,000+ Munnelly, Dr Lisa O'Brien, Gordon O’Neill and Davina Take a Step Campaign Artist Development Program Aidan and Aleks Allen, Aniek Baten, Karola Brent Withers, Tony O'Regan, K Palghat, Greeba Pritchard, We would like to thank the following Partners for and Tim Reed, Burquest Family, Hilary Burton and Kate Richardson and Chris Marrable, Stuart Thomas, their visionary support of our Take a Step Campaign Contemporary Women Supporting Dance Craig Goodmnan, Andrew Cameron AM and Cathy Mike Thompson, Sylvia Tooth, Sherlock Wealth, Chris to secure the next 50 years of Sydney Dance Company, Established in 2019, our Contemporary Women Cameron, Dr Michelle Deaker, Susie Dickson and and Sonya Wirasinha, John and Gay Woods, Di Yeldham transforming our physical space and underpinning Supporting Dance initiative supports opportunities for Martin Dickson AM, Mike Dixon and Dr Dee de Bruyn, our creativity. female artists, both dancers and creative collaborators, Suellen and Ron Enestrom, James and Jacqui Erskine, Ensemble Partners $250 - $999 whose incredible talent is integral to the realisation of Kay Freedman and the late Ian Wallace, Margaret Dr Cynthia a Beckett and Gordon Smith, Pamela Bailey NSW Government, The Neilson Foundation, The Wales our artistic vision. Gibbs, Kathryn Greiner AO, Mark Hassell, Linda Herd, John Barrer, Bill and Marissa Best, Ted Blamey, Family Foundation, Jane and Andrew Clifford, Catriona Fraser Hopkins, Tina and Mark Johnson, John Kaldor Matthew Blampey, Bodycentric, Sarah Brasch, Kerrie Mordant AM and Simon Mordant AM, Carla Zampatti Hayley Baillie, Larissa Behrendt, Angela Belgiorno- AO, Jarrod and Kate Key, Susie Manfred and Hunter Cai, Judith Campbell, Min Li Chong, Bruce Cutler AC, Julian Knights AO and Lizanne Knights Zegna, Sue Cato, Rochelle Collis, Tanya Diesel, Belinda McPherson, Alexandra Martin in memory of Lloyd AO and Margaret Cutler, Tanya Diesel, Marilyn Anne Gibson, Emma Gray, Louise Herron AM, Belinda Martin AM, Carina Martin, David Mathlin and Camilla Forbes, James Gribble, Josie Gurney, Rachael Haggett, Pam and Doug Bartlett, Kiera Grant and Mark Tallis, Hutchinson AM, Virginia Judge, Katie Lahey AM, Drover, Mr and Mrs McCullagh, In memory of Nola Jane-Maree Hurley, Nabeel and Marian Ibrahim, Mark Hassell, The Alexandra and Lloyd Martin Family Carol Lewis, In memory of Nola McCullagh, Annabelle McCullagh, Catriona Mordant AM and Simon Mordant Robert Kidd, Skye Leckie OAM, Andrew and Charlotte Foundation, Karen Moses, Emma-Jane Newton and Mooney, Emma-Jane Newton, Matina Papathanasiou, AM, Paris Neilson and Todd Buncombe, Roslyn Packer Lennox, Doreen and Phillip Marsh, Connie Mckeage, Chris Paxton, Thyne Reid Foundation, Mary Zuber Sarah Rennie, Julia Ritchie, Alenka Tindale, Karin AC, peckvonhartel architects, Rebel Penfold-Russell Ruth, McLelland, Dr Clinton Ng, Simon Oaten, Stephen Upton-Baker OAM, Peter Reeve and Jaycen Fletcher, The Rossi O'Rourke, Graham and Karen Paxton, Dr Natalie Peter and Liz Brownie, Paul Brady and Christine Yip, Foundation, Penelope Seidler AM, Peter and Victoria Pelham, Mark and Jennifer Royle, Norman R Scott, Brett Clegg and Annabel Hepworth, Cullman Family Bequests Shorthouse, Leslie Stern, Victoria Taylor, Alenka Natasha Shah, James Sharp and Karl May, Jann Fund, Jane and Richard Freudenstein, David Mathlin, In The Estate of C.R. Adamson Tindale, Cynthia Whelan, Ray Wilson OAM, Judi Wolf Skinner, Jan Sundell OAM, Guy Thompson, Christine memory of Nola McCullagh, Ezekiel Solomon AM, Judi The Estate of Patricia Cameron-Stewart and Alden Toevs, Adam Worling Public Relations Thomson, Monica Zhao Wolf and Alden Toevs The Estate of Janet Fischer The Estate of Patricia Leehy Dance Partners $2,000+ Rafael Bonachela and Joe Lawler, Michelle and Logan The Estate of Peggy Watson (Raczkowska) ADFAS Sydney, Ralph Ashton, Hayley and James Baillie, Boyle, Jillian Broadbent AC and Olev Rahn, Janice Paul Bedbrook, Berg Family Foundation, John and and Tony Burke, Zoë Cobden-Jewitt and Peter Jewitt , Susan Blue, Cheryl M Brennan, Phillip and Catherine Debbie Coffey, Alexandra Considine, Jade and Richard Brenner, Jane Bridge, Peter Chadwick, Janine Collins, Coppleson, Anne Dunn and Patricia Buick, Donna Natalie Devlin, Paul R. Espie, Annalise Fairfax, Steve and Carl Jackson, Tina and Mark Johnson, Longreach and Emma Fouracre, Belinda Gibson, Girgensohn Ownership Trust, Macquarie Group Foundation, Rohan Foundation, Bradford Gorman and Dean Fontana, John Morris, Lizzi Nicoll, Nick Read, Margaret Payn,

48 2019 Impact Report 2019 Impact Report 49 Our Performance

Across 2019 Sydney Dance Company operated out $11,140,740. This consists of $10,960,777 of operational Performances 2019 2018 of temporary studios in Ultimo as work continued on expenses and $179,963 of Infrastructure Project related Sydney 39 37 the redevelopment of its permanent home in Walsh expenses. The surplus for the year ended 31 December Canberra 3 6 Bay. Despite this disruption, Sydney Dance Company 2019 was $825,139 (2018: $253, 261). Melbourne 6 6 delivered 73 performances reaching an audience of There were no significant changes in the state Other State Capital Cities 9 6 over 38,600 people and a further 78,200 attendees of affairs of the Company during the year. NSW Regional - 4 to its open class program and over 12,000 young Since the reporting period close of December Australia Regional excl. NSW 9 8 people engaged through the school performance and 31 2019, the global pandemic Covid-19 has triggered International 10 17 workshops programs. The Pre-Professional Year (PPY) Government directives to close theatres and studios, delivered its 6th cohort of graduating students and the and this has had a material impact in the operations Total Performances 73 81 program continues to go from strength to strength. of the company since March 2020. It is currently too 2019 was Sydney Dance Company’s soon to accurately predict the full impact of this global Paid Audiences 2019 2018 50th anniversary year and the Company delivered pandemic on the Company’s finances or operations. Sydney 15,039 15, 304 a diverse program of activities both on stage The Company has taken steps to mitigate this impact Melbourne 3,158 2, 771 and off. Across the year Sydney Dance Company by pivoting to digital delivery of its open classes Darwin 357 346 commissioned 10 new works, accompanied by 7 and education activity as well as increase its online Hobart 1,465 - new music commissions. The Company produced presence. The Australian and NSW Governments have Adelaide 2,017 - a short film celebrating the history of the company also each introduced measures to mitigate impacts and NSW Regional - 1,308 and commissioned a web series called 50 Years, these measures have assisted the Company’s going Australia Regional excl. NSW 1,915 3,528 50 Memories recalling anecdotes and moments concern position in 2020. International 7,390 18,600 from across the Company’s history. In addition to Total Paid Audience 32,698 43,402 performances in Sydney, the company delivered an International tour taking in Poland, Austria, Finland Unpaid Audience* 5,934 6,056 and Spain and a national tour taking in Melbourne, Canberra, Hobart, Adelaide and Darwin as well as Total Audience 38,632 49,458 regional centers in Victoria, South Australia and the Northern Territory. Number of seasons presented in Sydney 4 4 Across the year Sydney Dance Company Number of new dances commissions 10 9 employed 154 staff and contractors, with 73% of them Number of new music commissions 7 9 being artists or production workers. We maintained Number of different works in repertoire during the year 11 13 a full-time ensemble of 17 dancers and employed an additional 10 alumni dancers from across the company’s five decades. Education & Outreach The financial accounts for 2019 show Number of School Matinees 7 4 a surplus result of $825,139 and total revenue of Attendance at School Matinees 4,321 3,176 $11,965,879. This healthy surplus is a result of the Number of Workshops, Masterclasses and In-school Performances 257 275 increase in development income for the Capital Attendance at Workshops, Masterclasses and In-school Performances 6,203 7,072 Campaign. As Sydney Dance Company moves Graduation Pre-Professional Year Students 24 26 forward with detailed plans for the building works, the Attendance in Open Dance Classes and courses 78,247 78,918 challenges of working in temporary locations spread Attendance at School Holiday Workshops 1.050 1,371 across three sites are being effectively managed and Reach of SDC related live activities 128,239 141,242 the company is looking forward to returning to Walsh Bay in late 2020. Financial Results The annual surplus consists of an operating surplus of $10,850, calculated after Income $ 11,965,879 $ 12,462,133 funding the $744,139 impact-of-disruption costs Expenses $ 11,140,740 $ 12,208,872 on the base operating deficit result of -$733,289. Surplus $ 825,139 $ 253, 261 The aforementioned impact-of-disruption costs are funded from the Infrastructure Project gross surplus of $1,558,428, leaving an Infrastructure Project net surplus *Includes sponsor and other complimentary tickets of $814,289. Total income for the period is $11,965,879. This amount is made up of operational income of $10,227,488 and Infrastructure related income of $1,738,391 from donations. Expenses for the year total

50 2019 Impact Report 2019 Impact Report 51 Sydney Dance Company 2019

Board of Directors Management Head of CRM & Ticketing The Company Teacher Reference Group Brett Clegg (Chair) Heath Wilder Carley Bugeja Pamela Bartlett Artistic Director Ticketing Specialist Rehearsal Director Katrina Cluff David Baxby (appointed 12/8/19) Rafael Bonachela John Calvi Chris Aubrey Adelaide Eastley Jillian Broadbent AC Executive Director Rehearsal Associate Joanne Gilmour Peter Brownie (resigned 03/06/19) Anne Dunn Head of Marketing Charmene Yap (from August 2019) Allie Gunton David Friedlander (appointed 14/10/19) Deputy Executive Director Zena Morellini Dancers Rebecca James Kiera Grant (resigned 02/12/19) Lizzi Nicoll (from August 2019) Digital Marketing Juliette Barton (Maternity Leave Ebony Keys Mark Hassell Chief Financial Officer Coordinator until August 2019)) Carly Olander Sandra McCullagh (appointed 12/8/19) Sean Radcliffe Anne Brito (until August 2019) Alex Borg (Trainee) Jacqueline Saunders Catriona Mordant AM Chief Commercial Officer Daniel Azzopardi Ariella Casu David Sheridan Karen Moses (Chair - resigned 12/8/19) Caroline Spence (from October 2019) Davide Di Giovanni Jennifer Turner Beau Neilson (resigned 29/4/19) Marketing Coordinator Holly Doyle Paris Neilson (appointed 12/8/19) Executive Assistant Adrienne Salmon Janessa Dufty Education Advisory Group Emma-Jane Newton Andy Grant Marketing & Publicity Dean Elliott Helen Cameron Chrissy Sharp Assistant Riley Fitzgerald Lesley Graham Carla Zampatti AC Producer Amelia Zhou Jacopo Grabar Julie Dyson Dominic Chang (until September 2019) Liam Green Ruth Osborne International Patron Programming Coordinator Laura Wong (from October 2019) Luke Hayward Susan Rix Dame Darcey Bussell DBE Kerry Thampapillai Publicity Manager Dimitri Kleioris Alexandra Barlow Chloe Leong Founding Patron Dancers’ Circle Accountant Resident Multimedia Artist Jesse Scales Julian Knights AO Melissa Sim Pedro Greig Emily Seymour Payroll Assistant Mia Thompson Ambassadors Carina Mision Head of Open Programs Charmene Yap (until July 2019) Judy Crawford Susan Bowmer (Maternity Cover) Polly Brett Chloe Young Bee Hopkins Finance Advisor Dance Class Manager Victor Zarallo Jules Maxwell Amanda Descoeudres Ramon Doringo Project Manager Schools and Community Company Doctor Dance Noir Committee Nick Read Coordinator Dr. Michael Berger Co-Chairs: Pam Bartlett and Peter Reeve Emma Powell-El Gammal Sports Doctor Committee: Sally Burleigh, Development Director Jacob Williams (Maternity Cover) Dr. James Lawrence Jane Clifford, Debbie Coffey, Zoë Cobden-Jewitt Head of Training Physiotherapists Vitek Czernuszyn, Georgina (until August 2019) Linda Gamblin Ashlea-Mary Cohen Fergusson, Alexa Haslingden, Head of Philanthropy Pre-Professional Year April-Rose Ferris Donna Jackson, Tina Johnson, Michelle Boyle Course Coordinator Terry Kaljo, Jan Logan, Jane Annual Giving Manager Omer Backley-Astrachan Company Teachers McCallum, Christina Voitenko, Sonia Grebenshikoff Learning Manager Simonne Smiles Michelle Walsh and Judi Wolf. (until July 2019) Sam Dashwood Cathie Goss Philanthropy Coordinator Customer Service Assistant Emily Amisano Heloise Cahill Alys Gwillim Eileen Hall Philanthropy Assistant Education Strategic Advisor Shane Carroll Anya Platoskina Helen Cameron Fiona Jopp Corporate Development Richard Cilli Manager Technical Director Saul Smith (Accompanist) Alex Bellemore Guy Harding Corporate Partnerships Stage Manager and Events Executive Simon Turner Lachlan Bell Production Technicians Philanthropy Associate Tony McCoy Carina Martin James Lister Head Mechanist John Shedden (until May 2019) Head of Wardrobe Annie Robinson

52 2019 Impact Report 2019 Impact Report 53 The contribubtion of our partners and sponsors is Our Partners essential to the operation of Sydney Dance Company. We are grateful for their investment in our vision

Government Partners

Sydney Dance Company is assisted by the Australian Sydney Dance Company is supported by the NSW Government through the Australian Council, its arts and Government through Create NSW. funding advisory body.

New Breed Principal Partner Artistic Director's Major Partner Commissioning Partner (Us 50)

We thank the Naomi Milgrom Foundaion for its support of our Us 50 Education Program, enabling young people to access outstanding contemporary dance through performances and workshops wih Sydney Dance Company

Foundation Partners Company Partners

Associate Partners Industry Partner Government Supporters

Supporters Contact Photo Credits

CAPI, Champagne Pommery, For more information, please contact Hellene Algie, Daniel Boud, Samantha Committee for Sydney, Contemporary Deputy Executive DIrector Lizzi Nicoll, Dashwood, Holly Doyle, Chloe Young, Hotels, GPO Grand Restaurants [email protected] Pedro Greig, Winkipop Media, Yaya and Bars, Pages, Pearsons Florist, Stempler, Ben Symons Stedmans, Tattersalls Club Hyde Park, Young Henrys

54 2019 Impact Report 2019 Impact Report 55 Phone: 61 2 9221 4811 Address: GPO Box 1598, Sydney NSW 2001 Visit: 385 Wattle St, Ultimo, NSW 2007 Email: [email protected] ABN: 59 002 707 897

@sydneydanceco sydneydancecompany.com 56 2019 Impact Report