‘Sydney Dance Company - A study of a connecting thread with the Ballets Russes’ Peter Stell B.A. (Hons). The Australian Centre, School of Historical Studies, The University of Melbourne. A thesis submitted in fulfilment of the requirements for the degree of Master of Arts by Research May, 2009. i Declaration I declare that the work presented in this thesis is, to the best of my knowledge and belief, original, except as acknowledged in the text, and that the material has not been submitted, either in whole or in part, for a degree at this or any other university. …………………………………………. Peter Stell ii Abstract This thesis addresses unexplored territory within a relatively new body of scholarship concerning the history of the Ballets Russes in Australia. Specifically, it explores the connection between the original Diaghilev Ballets Russes (1909- 1929) and the trajectories of influence of Russian ballets that visited Australia. The study’s hypothesis is that the Sydney Dance Company, under the artistic direction of Graeme Murphy between 1976 and 2007, and the creation in 1978 of Murphy’s first full-length work Poppy, best exemplifies in contemporary terms the influence in Australia of the Ballets Russes. Murphy was inspired to create Poppy from his reading of the prominent artistic collaborator of the Ballets Russes, Jean Cocteau. This thesis asserts that Poppy, and its demonstrable essential connection with the original Diaghilev epoch, was the principal driver of Murphy’s artistic leadership over fifty dance creations by himself and collaborative artists. This study sketches the origins of the Ballets Russes, the impact its launch made on dance in the West, and how it progressed through three distinguishable phases of influence. It summarises the important features of the visits to Australia of Russian ballet companies from Adeline Genee in 1913 to the culturally altering impact of the revived Ballets Russes companies over three extended tours between 1936 and 1940. It charts the formation of viable ballet companies in Australia, commencing with Kirsova in 1939 and Borovansky in 1940, to the Australian Ballet in 1962 and the Sydney Dance Company led by Murphy between 1976 and 2008. Drawing on distinctions between classical and contemporary dance, it attempts to demonstrate the groundwork of example established by the Russian ballet, and, particularly, the revived Ballets Russes visits up to 1940. Data for this thesis was drawn from a personal interview with Graeme Murphy, original documentary research in public collections in Australia, government and Sydney Dance Company archives, newspapers and secondary literature. iii Acknowledgments I wish to thank my supervisor, Associate Professor John Murphy, who has not only been unswerving in redirecting me to the main thrust of my topic, but has demonstrated unmitigated support throughout. I am inestimably grateful to Graeme Murphy for having so enthusiastically participated in an audiotape interview. Invaluable help and advice was given by Janine Kyle, International Business Manager of the Sydney Dance Company, and her staff; Dr Michelle Potter (previously Curator Dance and Music at the National Library of Australia, and presently Curator Jerome Robbins Dance Division, New York Public Library for the Performing Arts at Lincoln Center, New York), staff at the Manuscript Room, National Library of Australia; the National Film and Sound Archives; Mitchell Library State Library of New South Wales, Sydney; Performing Arts Museum Collection, Adelaide Festival Centre, Adelaide; Performing Arts Museum Collection, Victorian Arts Centre (VAC), Melbourne; the Library at the Victorian College of the Arts (VCA), Melbourne; the Baillieu and Education Resource Centre Libraries at Melbourne University; and the Barr Smith Library at the University of Adelaide. I am grateful for the injection of enthusiasm so freely given by both the (late) Dr Helene Kandell; and my dear friend Margaret Cockram, who has kindly read through my drafts. Substantial reference publications and theatre memorabilia relating to this topic belong in my own personal collection. Finally, I acknowledge the five hundred dollars financial support toward four research trips undertaken to Sydney, administered by the Australian Centre at Melbourne University. iv Abbreviations References to newspapers and collections in the footnotes, figures, bibliography or appendices are identified by the following short titles and abbreviated forms: AB = Australian Ballet. NLA = National Library of Australia. RB = Royal Ballet. SDC = Sydney Dance Company. SMH = Sydney Morning Herald. v Contents Page: Introduction 1 Chapter One The Diaghilev Epoch, 1909-1929. 15 Chapter Two The Influence of the Ballets Russes on Australian Dance. 37 Chapter Three Poppy. 73 Chapter Four Conclusion. 102 Bibliography (1-21) Appendix A Interview with Graeme Murphy, Artistic Director Sydney Dance Company (16/2/2007). (1-22) Appendix B Repertoire of the Sydney Dance Company (1-13) between 1978 and 2007. vi List of Images preceding text: 1. Cocteau Poster for the Ballets Russes, Grand Saison de Monte Carlo, 1911. 2. Cocteau Poster for the Ballets Russes: Karsarvina in Le Spectre de la Rose. 3. Cover Program A Tour of America October 1916 to February 1917: ‘Serge de Diaghilev’s Ballets Russes’, The Slave in Scheherazade. 4. Program Illustration A Tour of America October 1916 to February 1917: set for L’Apres-Midi-d’un Faun (Debussy/Bakst). 5. Program Illustration A Tour of America October 1916 to February 1917: “The gaiety of Paris is eclipsed. The Russian Dancers have deserted her”. Nijinsky as the Faun. 6. SDC Program Frontispiece: Poppy … the life and art of Jean Cocteau, April 12-22, Theatre Royal Sydney, 1978. 7. SDC Program Notes: Graeme Murphy dances the life of Jean Cocteau. 8. Jean Cocteau: The Man in the Mirror. 9. Jean Cocteau: Sketches backstage at the Ballets Russes. 10. Jean Cocteau: Sketches of Stravinsky, Diaghilev, and self-portrait. 11. SDC Poppy: The three Nijinsky’s (dancer performing La Rose, Soul, and Choreographer), overseen by Diaghilev. 12. SDC Poppy: Graeme Murphy rehearsing with Janet Vernon and Ross Philip. 13. SDC Poster featuring Daphnis and Chloe, Viridian and Sheherazade, Australian tour, 1980. 14. Graeme Murphy as The Faun, Afternoon of the Faun, 1987. 15. Graeme Murphy and Janet Vernon in between rehearsals for SDC, 2000. vii List of Images in the text: Page 1. John Cargher. 8 2. Sergei Diaghilev. 15 3. Boris Kustodiyev: Group Portrait of the World of Art Artists. 15 4. Vaslav Nijinsky in Le Pavilion D’Armide, 1909. 20 5. Nijinsky and Karsarvina in Le Spectre de la Rose, 1909. 22 6. Jean Cocteau. Poster for the 1911 Ballet Russes season showing Nijinsky in Le Spectre de la Rose. 22 7. Nijinsky, sketched to illustrate his extraordinary physique, deliberately developed his prominent quadriceps to perform a sensational ‘ballon’ in jetes. 22 8. Nijinsky as the androgynous role as slave, in Scheherazade. 23 9. Stravinsky, in 1911, with Nijinsky as Petrushka. 24 10. Vaslav Nijinsky as The Faun in ‘L’Apres-Midi d’un Faun’. 27 11. Henri Matisse: The Dance, associated with Stravinsky’s Dances of the young girls from The Rite of Spring. 29 12. Nijinsky in the Cocteau collaboration, Jeux. 31 13. Leonide Massine, Diaghilev’s second protégée, in The three Cornered Hat. 31 14. Diaghilev and Serge Lifar (1905-1986), the third protégée. 31 viii 15. De Basil’s dancers embarking at Port Adelaide, 1936. 38 16. Dupain, Max: Portrait of Tamara Toumanova and Paul Petroff in Frenchs Forest, 1940. 39 17. Photographer unknown: Portrait of Genee in the title role of La Camargo, 1912. 40 18. Anna Pavlova created the role of The Dying Swan, choreographed by Fokine, at the Maryinsky Theatre, St Petersburg, in 1905. 42 19. Photographer Unknown (Possibly Monty Luke): Anna Pavlova and her party arrive in Sydney and are met by John Tait (right) of the J.C. Williamson organization. 43 20. Monte Luke: Anna Pavlova and Pierre Vladimiroff, in Invitation to the Dance, Sydney, 1929. 43 21. Photographer Unknown: Portrait of Serge Lifar in costume for Icare, Ballets Russes, Australia, 1940. 47 22. Souvenir program, Monte Carlo Russian Ballet, Australian tour (1936–1937). Cover design for Schéhérazade by Norman Lindsay. 47 23. Dupain, Max: Valentina Blinova and Valentin Froman in The Firebird, Monte Carlo Russian Ballet, 1936 or 1937. 48 24. Georges, S: David Lichine and Tatiana Riabouschinska in Le Spectre de la Rose. 48 25. Shier, Spencer: Irina Baronova and Anton Dolin (centre) and dancers of the Covent Garden Russian Ballet in Aurora's Wedding, Sydney, 1938. 48 ix 26. Dupain, Max: Rachel Cameron (left), Henry Legerton and Strelsa Heckleman of the Kirsova Ballet in Costume for Faust, Act III, c1936. 50 27. Dupain, Max: Portrait of Helene Kirsova, Kirsova Ballet, 1941. 50 28. Borovansky, Edouard: Self-portrait. 52 29. Borovansky, in Capriccio, 1948. 52 30. Part of J.C. Williamson collection of photographs. NLA. Martin Rubenstein and Kathleen Gorham, in Gay Rosalinda, 1946. 55 31. Borovansky, right, with Principals Margot Fonteyn and Michael Sommes of the Royal Ballet, Australia, 1957. 56 32. Stringer, Walter: Scene from the Borovansky Ballet production of Robert Pomie’s The Surfer’s, 1961. 57 33. Eric Smith: Marilyn Jones and Garth Welch in Nutcracker, Borovansky Ballet, 1960. 57 34. Stewart, Jean: Janet Karin as Priscilla, and Ray Trickett in the title role of the Guild’s production of Laurel Martyn’s Voyageur, 1957. 59 35. Esler, Ronald: Laurel Martyn and Max Collis, En Saga, Ballet Guild, 1947. 59 36. Bryon, Keith: Peggy Van Praagh (1910-1990), Founding Artistic Director, AB, 1965-1974 and 1978. 61 37. Lynkushka, Angela: Dame Margaret Scott (1922-). Inaugural Director of the AB School, 1964-1990. 61 x 38. Stringer, Walter: set design by Anne Church for Rex Reid’s Melbourne Cup, 1962. 61 39. Stringer, Walter: Bryan Lawrence as The Leader and Kathleen Gorham as The Girl in Helpmann’s The Display, Adelaide, 1964.