2012 season

Melbourne 24 February – 6 March Arts Centre , State Theatre with Orchestra 5 – 25 April Theatre, with Australian Opera and Orchestra

Media Sponsor Principal Sponsor

Cover and above: Lana Jones Photography Georges

TEL0262_AB_297x210_v07_OL.indd 1 25/10/11 5:32 PM Andrew Killian Photography Georges Antoni note from the artistic director

Since its very first season, To complete the evening, Warumuk – Ballet has been a champion of new Australian in the dark night reunites The Australian work. Two homegrown (Rex Reid’s Ballet with Bangarra Theatre. Our Melbourne Cup and Ray Powell’s Just for Fun) two companies have been having a most were in that inaugural program, and over the passionate artistic “affair” since our first past 50 years we have built a huge catalogue joint production in 1997, when of original works. created Rites. Since then, Bangarra and TAB have shared the stage in , New York Infinity starts our year of celebration and Paris, and it is such a joy to have the looking firmly forward. Three brand-new opportunity to be together again in this exciting works, three commissioned scores, three 50th anniversary year. With music by David different explorations of our contemporary Page, costumes by Jennifer Irwin and set Australian dance culture – each work exploring designs by Jacob Nash, Warumuk - in the dark the importance of dance in our country’s night draws on the beautiful Aboriginal stories creative landscape. of the night sky to create a work celebrating our has been provoking and unique Australian culture. We feel so privileged exciting audiences since he created his first to be able to share in Stephen’s vision for this work for as a dancer in piece and to be able to perform it both here 1971. After a succession of dazzling large in and on our upcoming tour to story ballets, The Narrative of Nothing is an New York. opportunity to see him inspired simply by So begins our 50th anniversary. I would like the dancers he has chosen for this work to thank everyone who has come together to and ’s Fire Music. Jennifer Irwin’s make this first season possible. Along with the costumes and Damien Cooper’s lighting and artists and staff who have worked so hard to stage concept have also been fuelled by this realise the show you see tonight, I’d also like renowned ’s amazing score. to thank the many supporters who have helped Inspired from a different source, Gideon make this season possible, including The Obarzanek’s There’s Definitely a Prince Involved Angior Family Foundation, The Ross Trust and looks at the iconic ballet through the Robert and Elizabeth Albert Music Fund. the eyes of people he interviewed as research A huge thank you is also due to our Principal for this work. When asked what they knew Sponsor Telstra, which has been supporting of ballet, the interviewees often mentioned us for over half of our 50 years! As well, I’d Swan Lake, but it seems there was a lot of like to thank our media sponsor STUDIO, who confusion around the ballet’s actual plot! There shows the very best of the arts from Australia is no doubt that Gideon is able to tap into the and around the world. hearts and minds of today’s audiences with Like you, I’m looking forward to discovering his thoughtful and revealing works. Working what Infinity has in store. I hope you will with Alexi Freeman, Stefan Gregory and Ben return to enjoy all that lies ahead in our Cisterne, Gideon has also drawn from the 50th anniversary season. riches of The Australian Ballet’s production department to stage his piece. And what a pleasure it has been to have dancers Sara Black, Harriet Ritchie, Kristina Chan, Robbie Curtis and James O’Hara working with our dancers to create this brand-new work. David McAllister AM Robyn Hendricks Notes from Photography Georges Antoni behind the scenes

This year, The Australian Ballet turns 50 – As we reflect on our past and envisage a significant milestone for our national company, our future, we think particularly of our and one which allows us to celebrate our many generous supporters. As you sit in rich history while investing in a vibrant and the theatre, and before the curtain opens sustainable future for the art form. on our 50th anniversary season, say hello to the people sitting close by. You may notice It will be a year of major activity both on and some of them wearing a specially designed off the stage. We’ll be reaching more audiences pin, which celebrates their philanthropic than ever before, visiting all of Australia’s major giving to the company over a number of years. cities, and touring to New York in June. Our The different coloured pins recognise their regional touring arm The Dancers Company years of generosity. Some people have been will also expand its reach, travelling to Victoria, donors since our very beginnings, and to these New South Wales and Queensland. Our people we are especially grateful. Without our “footprint” will be larger than ever before, philanthropic supporters this company would and our commitment to making ballet not own its own building, nor be able to tour accessible to all has never been stronger. internationally, or to develop our dancers with scholarships each year. You may be wearing These plans reflect our responsibility a pin yourself, but if not, it’s never too late to to meaningfully celebrate this significant begin a career as a philanthropist, and no gift milestone with all of our ballet family, from is too small. I urge you to congratulate the pin our current loyal audiences to volunteer wearers around you, and to consider making groups, private donors, corporate partners, a gift to the ballet yourself. the international dance community, our national arts peers, the general public, first I’d like to say a very special thank you to the time attendees, the media, governments at supporters who helped realise the visions you all levels and of course our current staff will see in Infinity. They are The Angior Family base and extensive alumni. Foundation (The Narrative of Nothing), The Ross Trust (Waramuk – in the dark night) and The The company is committed to ensuring that Robert and Elizabeth Albert Music Fund, whose ballet can be experienced at all levels of the assistance made it possible to commission the community – not only in our 50th year but three new scores you will hear tonight. for the next 50 years. Through innovative education programs in schools, on grand stages of the nation’s best theatres, at home via live broadcasts, in remote locations or under the stars, The Australian Ballet will be inspiring people by dance in 2012 and beyond. Valerie Wilder Executive Director Infinity

THE NARRATIVE OF NOTHING that it was very much to do with love, true love. around the influence of Bangarra has been even Graeme Murphy This emerging topic seemed to be an invitation stronger, with a concept inspired by the myths Creative associate Janet Vernon for people to speak more about themselves. of and our long association with Yolngu families Music Brett Dean Or maybe my discipline to stay on subject easily of North East Arnhem Land. Costume design Jennifer Irwin dissolved as I was seductively drawn to more Stage and lighting design Damien Cooper personal and private stories. Coming together in a cohesive creative process, Bob Scott these wonderful dancers have embraced each In idealism is a rare other’s dance language to awaken a distinctive The Narrative of Nothing was made possible with concern. But given the opportunity to work contemporary style. the support of The Angior Family Foundation with a classical , for me there is no getting around it. In Swan Lake we all This work carries the Bangarra aesthetic Fire Music by Brett Dean was commissioned by the pine for the prince and the swan queen to through my collaboration with artistic peers Stockholm Philharmonic Orchestra, BBC Radio 3 and come together. Tragically, however, fidelity is in music, design and lighting. One of the most The Australian Ballet. These performances of Fire Music are given by permission of Hal Leonard Australia Pty Ltd, irrevocably severed by a moment of regrettable challenging aspects has been observing David exclusive agents for Böte & Bock (Boosey & Hawkes) of Berlin. ecstatic passion between the prince and the Page’s composition for orchestral instruments, alluring black swan. This forever ruins the combining recorded Yolngu songs and language Choreographer’s note possibility of true love in their present world; and the hum of the land with the richness of The narrative of nothing … for we are by it can now be fulfilled only in the afterlife. live orchestra. nature’s strange design like children, who gazing upwards find “dragons in the clouds”. I have always been interested in the seemingly Jacob Nash’s set design has created a mythical, Graeme Murphy 2012 irreconcilable differences between people’s timeless space that shelters and supports this real lives and their ideals. In this case, our Indigenous experience. A 20-year THERE’S DEFINITELY A PRINCE INVOLVED often messy, tedious or compromised with Jennifer Irwin has been reflected intuitively Choreography Gideon Obarzanek after Marius relationships compared with our fantasy and in her amazing costume designs. With lighting Petipa and Lev Ivanov desire for “the one true love”. The one who will so integral to the theatrical atmosphere, Music Stefan Gregory after Piotr Ilyich transform us from our lesser self and into the it has been exciting to work with Padraig O Tchaikovsky beautiful special person we deep down know Suilleabhain in his debut as . Costume design Alexi Freeman assisted by our true self to be. As in Swan Lake, true love I’ve always been fascinated with Aboriginal Caroline Dickinson proves elusive. Despite this, most of us cling astronomy and the timeless mystery of the Stage concept Benjamin Cisterne and Gideon onto the belief that somewhere out there it night sky. Over the years, Bangarra’s cultural Obarzanek exists. Romantic idealism is a driving force consultant Kathy Balngayngu Marika and I have Lighting design Benjamin Cisterne in human nature. It is also the backbone of talked about the myriad of Yolngu creation . stories within the constellations of stars. So the Original sets designed for The Australian Ballet Gideon Obarzanek 2012 process has been to digest and pay homage to by Hugh Colman used with kind permission of the integrity of these stories, and shape them Mr Colman WARUMUK – in the dark night into a contemporary form. Choreography Stephen Page Choreographer’s note Music * From evening star to morning star and in So let’s talk about ballet. What can you tell me? Orchestration Jessica Wells between, Warumuk – in the dark night explores … Swan Lake? OK, how does the story go? Costume design Jennifer Irwin the Milky Way, shooting stars, the Seven … Hmm, that’s an interesting take. Set design Jacob Nash Sisters, the tides of the moon and the drama What do you think it’s about? Lighting design Padraig O Suilleabhain of the lunar eclipse. Each of these elements has … Love? So, let’s talk about love. Sound design Bob Scott its Western interpretation, but my perspective comes from listening to the Yolngu. Although I am very much involved with dance, *featuring Dhuwa and Yirritja songs and stories from North East Arnhem Land it has been over 20 years since I worked with Yolngu creation stories of the spiritual vocals by Jamie Wanambi, Banula Marika and Janet ballet. So when David McAllister discussed the Guypunguna Munyarryun relationship between people, land and nature idea of making a new work with the company, are reflected and celebrated in the night sky. I found myself talking a lot about ballet with Warumuk – in the dark night was made possible Stephen Page 2012 friends and colleagues. Interestingly, most with the support of The Ross Trust knew very little about it, but when pushed to The commissioning of the three musical works name a ballet almost all said Swan Lake. When Choreographer’s note in Infinity has been generously supported by I asked them to tell the story, I received some Warumuk – in the dark night is my fifth work for The Robert & Elizabeth Albert Music Fund Graeme Murphy, Lana Jones, genuinely interesting variations on this ancient The Australian Ballet and the third time we’ve Stephen Page and Gideon Orbanazek Photography Georges Antoni folktale. What was conclusive, however, was collaborated with both companies. This time Lana Jones and Graeme Murphy Photography Georges Antoni Fifteen hundred little stories

In the early days of making The Narrative of Nothing, Graeme Murphy chatted to us about the music, his process and why nothing is really something.

On Brett Dean’s Fire Music … stabbing, the love scene, the climax of the love will be flames, or they’ll be flickering, or they’ll If you commission a score, it’s because you scene. So just being allowed to explore the be embers, or charcoal. I think that some of trust the composer. If I’m doing an abstract dancers’ movements and their personal styles that imagery gets stuck in your brain. work, I say to the composer “Do what you have is what’s so delicious about this process. And to do, and I will do what I have to do,” – and also, these dancers are hand-picked: they’re On narrative v abstract ballet … hopefully there’s a beautiful marriage of two art the people I’ve been looking at, and longing to I’ve always been scared of things like forms! When you have a great composer, the work with! Some of these people caught my eye biographical works. If you’re dealing with people worst thing you can do is say, “I want it to start in Romeo & Juliet: they might have just been a who are living, or who have lived, you go into soft, and then build …” or something like that. minion in the Bazaar scene, but you knew they their heads, and it always ends up being an His sense of form is better than your sense of had something interesting to show. invention. Whereas if you’re working in pure form. And then you respond – or you can work movement, the invention is “how far can I push against it. I love the permutations of possibility, It’s the sort of thing that I did at Sydney Dance the human body? What are the possibilities of because there’s no right way. In classical ballet, Company, when I had a palette of dancers – one human body ?” Then double it when you you tend to let the music be God, because that a small number, 16, 18, sometimes 20 have two, and so on. I quite like that aspect – music is probably God-like, it’s been written by dancers; but in the course of working with them that the non-narrative might be telling people a Tchaikovsky or someone. But in today’s world of (as I have been, with The Australian Ballet, in hell of a lot more than if I’d been telling a story, sound and sonic painting, it’s amazing how you a long-term way) you actually get a real handle because it’s really pure subconscious at work. can interpret. You can have the quietest piece of on what they can give you, what they can do. I often think that my abstract works are much music and do the busiest piece of choreography, There’s so much gorgeousness there. And more autobiographical! and it works. That’s what we were doing today! because they’ve been with the company one, two, three years, they’re finding their stride: There’s a real reason I alternate [between they’re not wallflower mice anymore! They’re story ballets and abstract ballets]. I love the On working with the dancers of The Australian getting ready for their moment! And if I can engagement you get when you tell an audience Ballet … help them into that moment, and consequently a story, but I also love the engagement you get Narrative is so prescriptive to your highlight that moment, that’s great. when you do a non-narrative and people make choreographic freedom. The normal event of their own story. The Narrative of Nothing is movement might be something that, for me, On the design … about our ability, right from when we’re children, just flows – but if I’m telling a story I really As I wanted to focus on clarity of body form, I to find stories in everything. We find stories have to be conscious of what the movement is gave Damien Cooper a brief to do a design in when we look up at clouds, when we look at saying, of getting the message across, instead light, eliminating the physical distraction of décor. people across a crowded room. As an adult in a of just free-falling into the next movement that Complementing this, Jennifer Irwin’s costumes theatre, no one is going to think, “I’m watching I feel would be a natural progression. I try to are personalised, printed then overlaid with a an abstract ballet.” They’re going to go off on make everything fluid anyway, even if I’m telling splattering of minute mirrors that actually sculpt their own tangents – and there are 1500 little a story, but there’s that extra pressure when the shape of the body, even in low-level lighting. stories being written every night in 30 minutes, you know “I only have this many bars to set up as the ballet is created. So The Narrative of the next storyline.” Romeo & Juliet is a great Although our creative departure points were Nothing is still a narrative. example – a score that demands that everything very different, maybe Brett and I will end up on happens on the note – the fight scene, the the same page, in a strange way. The dancers Robyn Hendricks Photography Georges Antoni What is ballet? Inspired by the interviews that Gideon Obarzanek conducted as research for There’s Definitely a Prince Involved, we asked our social media community (and some non-aficionados) a simple question: What is ballet? These are some of our favourite answers.

Ballet is music made visible. Ballet is freedom. It’s like air; you have to have Around the time that ballet was created, Yvonne it to survive. It’s that magical feeling that you classical music was the dominant music of have when you are out on stage. Ballet is not . Classical music was always being Ballet is a jewelled rabbit hole you get lured just hard work, magic and elegance, it’s your perfected and promoted as the way of coming down by stories and feathery costumes and heart, your soul and everything worth living closest to God in the mind. However, this twinkling lights and strange music. Then you for. Ballet is an art, dedication, passion and perfect way of touching God was missing the pop out the other end and nothing ever looks love. Ballet is an escape from the world. It is physical motion required to propel one towards the same again. bleeding blisters and aching bones, but we do God with the body. Ballet was invented to be Janey it because we love it and it’s who we are and that motion. Even if you don’t believe in the God it’s a part of us that could never be replaced. for whom all of this was meant, you can still feel Ballet is my life! It is the one thing that makes Colleen it pushing you to a higher state of being. me whole and drives me to get up each morning. David As a 12-year-old boy, ballet has provided me A performance dance that looks like it really with the most joyful times in my life and the hurts your feet. Ballet is a stylish way to keep parents poor and biggest achievements in my life – selection Lou little girls dreaming. in the ITP program with The Australian Ballet Lynette Larson School and the opportunity to perform with The Australian Ballet in Sydney in last year. Through ballet I have learnt to laugh “ … Ballet is an arm Ballet is what you’re forced to do as a kid. and cry. Other kids at school don’t get me, but and a leg, a hollowed back, a GG ballet has made me realise that you need to curved neck, an arched foot. It have a dream in life, and do what makes you Ballet means you dance in your heart. happy no matter what others think! Thanks is years of discipline, sacrifice Alix, aged 8 ballet for igniting the flame within me to one day and devotion reflected in be a professional . So ballet is and the beauty of movement, the Ballet is sport made sexy. always will be a part of me, a way of life, the one joy of storytelling and the Jane thing that truly makes me happy and feel alive! Lachlan Martin performance of artistry. Ballet is the fourth word my daughter ever Kate said. For her second birthday, I bought her first Ballet is an art form, as old as some of the pair of ballet shoes. For two years she danced most classic paintings. The control and around the house until they fell apart. For her discipline needed are every bit as difficult as Ballet is being four years of age and because fourth birthday I got her dance lessons and those for the ancient karate. Being able to you are too small to sit in the theatre seat and for two years now, I have watched her dance. lose yourself in the movement, the music and be able to see, you have to sit in the aisle. And I have seen the joy on her face that ballet the emotion as a spectator is truly the most when it is all over, you won’t go home until they brings. Ballet is my daughter’s passion. luxurious of experiences. But being the dancer all come out and do it again. Shannon Board and able to lose yourself totally to the same Philip movement, music and emotion is a gift many Ballet is breath. Ballet is blood. Ballet is strive for, few experience and is truly akin to Control and freedom. my soaring soul. being close to the Divine. Alexander Feathertop Kate Ayre Ballet feels warm and happy. I love to jump If you have an answer to this question Billy Elliot said ballet was like electricity and show my family my dancing. you’d like to share, visit flowing through the body. The more I think Felix, a ballet dancer aged 7 behindballet.com/what-is-ballet. about it, the more I think he was right. Felicity Ballet to me is love, peace, beauty, colour, You can also leave us an answer on Facebook passion, tranquility, beautiful music, bright and (facebook.com/theaustralianballet) or Twitter Ballet is a unique form of boot camp that dark, happy and sad, sensational costumes, (@TheAusBallet). can induce a 30-something-year-old woman athletic and elite bodies – for me, it is five – who danced in her youth – to unironically nights in the year when I just feel complete as don a plastic tiara and somehow exude a a person after seeing The Australian Ballet. sense of genuine elegance. My front row seat says it all for me! Melissa Paula and Vicki Attard in Rites, New York 1999 Photography Jim McFarlane A new Kirsty Martin and Patrick Thaiday Patrick Thaiday with artists of Bangarra in Paris, 2008 Dance Theatre and The Australian Photography Lisa Tomasetti Ballet in Rites, Paris 2008 Photography Lisa Tomasetti

Vivienne Wong and Daniel Gaudiello in Rites 2006 language Photography Jim McFarlane

The Australian Ballet meets

The “artistic affair” between Bangarra and The Rites was first performed as part of the Australian Ballet could be said to have begun in Melbourne International Festival. It went on 1996, when Bangarra’s artistic director Stephen to enter The Australian Ballet’s repertoire; Page made the work Alchemy on TAB at the the company performed it to acclaim in Frances Rings and Steven Heathcote invitation of , its then-artistic Paris, London and Manchester. in a marketing image 2005 Photography Jean François Campos director. But it was not until 1997 that the two companies were united on stage in Rites, Page’s The two companies were reunited in 2006 vision of the famous Stravinsky score. Ross when Page made Amalgamate on them, using Stretton, then TAB’s artistic director, suggested a commissioned score co-composed by Page’s the use of the music. Despite admitting that his brother David and Elena Kats-Chernin. first response to it was to fall asleep, Page’s imagination was eventually fired. He said of Warumuk – in the dark night marks the Artists of Bangarra Dance Theatre and The Australian Ballet in Rites, Paris 2008 the work: “Rites is an exploration of the natural newest chapter of the companies’ Photography Lisa Tomasetti forces which determine Australia’s ancient bountiful collaboration. landscape. It is also an exploration of the movements of the dancers of the two companies and develops a new language in dance.”

Artists of Bangarra Dance Theatre and The Australian Ballet in Amalgamate, 2006 Photography Jim McFarlane

Albert David and Miranda Coney in a marketing image for Rites 1997 Photography Jim McFarlane

Artists of Bangarra Dance Theatre and The Australian Ballet in Rites, Paris 2008 Photography Lisa Tomasetti

Artists of Bangarra Dance Theatre and The Australian Ballet in Amalgamate, 2006 Photography Jim McFarlane choreographers

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Graeme Murphy AM GIDEON OBARZANEK STEPHEN PAGE The narrative of nothinG THERE’S DEFINITELY A PRINCE INVOLVED WARUMUK – IN THE DARK NIGHT

Graeme Murphy was born in Melbourne and studied at The After deferring science at university, Gideon Obarzanek Stephen is a descendant of the Nunukul people and the . He has danced with The Australian studied dance at The Australian Ballet School. He later Munaldjali clan of the Yugambeh tribe from South East Ballet, Sadler’s Wells Ballet (London) and Ballets Félix danced with the and the Sydney Dance Queensland. Blaska (France). In 1971, he received an Australia Council Company before working as an independent performer Grant to study overseas. He returned to Australia in 1975 and choreographer with various dance companies and Stephen has been artistic director of the internationally as a freelance choreographer. The following year, he was independent projects within Australia and abroad. While acclaimed Bangarra Dance Theatre since 1991, and has appointed artistic director of (then in his 20s he created new works for The Australian Ballet, developed a signature body of works (including Ochres, known as The Dance Company NSW), a position he held Sydney Dance Company, the , Skin, Bush and Mathinna) that has become a milestone until 2007. During his 31-year tenure, he created more the Kibbutz Contemporary Dance Company and, most in the Australian performing arts. than 50 works, including 30 full-length productions. prolifically, Nederlands Dans Theater. Stephen continues to reinvent Indigenous story-telling Graeme is the recipient of an AM (1982) for his Services In 1995, Gideon Obarzanek founded Chunky Move and both within his own company and through collaborations to Dance and three honorary doctorates – Hon. D. Lit. Tas earned an enviable reputation for producing a distinct yet with other performing arts companies. He directed (1990), Hon. D. Phil. Qld (1992) and Hon. D. Lit. UNSW unpredictable brand of genre-defying dance performance. the Indigenous sections for the 2000 Sydney Olympic (1999). He was honoured at the Inaugural Sydney Opera Gideon’s works have been diverse in form and content Games Opening and Closing Ceremonies; directed the House Honours (1993) and named a National Living Treasure and include stage productions, installations, site-specific highly acclaimed Page 8; choreographed the films (1999) by the National Trust of Australia. He has received works and film. His multi-award winning works have been Black River, Bran Nue Dae and ; and in a Helpmann Award (2001) for Best Choreography, Body of performed in many festivals and theatres around the 2011 wrote and directed Bloodland with Wayne Blair and Work – a Retrospective; the prestigious James Cassius world in the UK, Europe, Asia and the Americas. Kathy Balngayngu Marika for in Award (2002), and a Centenary Medal (2003). He was named association with Bangarra. He was also artistic director Cultural Leader of the Year by the Australian Business Arts After 16 distinguished years as director of his own of the 2004 Festival of the Arts. Foundation, received the Dame Elisabeth Murdoch Award company, Gideon recently left Chunky Move to pursue (2004) and was listed among Australia’s 50 Most Glamorous an independent career. His developing interest in In 2008 Stephen was named NSW Australian of the Exports at a special celebration hosted by the Australian storytelling and documentaries has also led him Year in recognition of his efforts to bring cultures together Government and Austrade (2005). He received the Award to become an Associate Artist with the Sydney through the performing arts and his commitment to for Contribution to Cultural Exchange from the Ministry of Theatre Company. developing the next generation of Indigenous storytellers. Culture, the People’s Republic of China (2008) and the In 2010 Stephen was honoured at the Australian Dance Fred & Adele Astaire Award for Excellence in Choreography Awards for his Services to Dance. in Film for Mao’s Last Dancer (New York, 2011). Warumuk - in the dark night follows four critically acclaimed Graeme’s directing and choreographic credits include works for The Australian Ballet: Alchemy (1996), Rites Metamorphosis, Turandot, Salome, The Trojans, Aida (Opera (1997), Totem (2002) and Amalgamate (2006). Australia); Ainadamar (The of Arts); Beyond Twelve, Nutcracker – The Story of Clara, Swan Lake, Firebird, The Silver Rose and Romeo & Juliet (The Australian Ballet); (a Sydney Dance Company and The Australian Ballet co-production); VAST (The Australian Bicentennial Authority); Hua Mulan (a Sydney Dance Company and Shanghai Song and Dance Ensemble co-production); Die Silberne Rose (Bayerisches Staatsballett, Munich); Water (Shanghai Ballet); Forty Miles – A River of Dreams (Tasdance); Embodied () and The Torvill and Dean World Tour Company. He also choreographed Death in Venice (Canadian Opera Company); Samson et Dalila (The Metropolitan Opera, New York); the movie Mao’s Last Dancer and the Andrew Lloyd Webber musical Love Never Dies. Calvin Hannaford, Karen Nanasca and Charles Thompson in rehearsal for Graeme Murphy’s The Narrative of Nothing Photography Lynette Wills

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Bangarra’s 2012 Congratulations on a remarkable 50-year journey

Keeping on your toes for half a century is quite an accomplishment. Qantas is proud to cultural support The Australian Ballet. traditions Catherine Baldwin explains the relationships with traditional Indigenous communities that underpin Bangarra’s work.

As artistic director of Bangarra Dance Theatre, in North East Arnhem Land, Warumuk - in the national and international attention to the Stephen Page has nurtured deep relationships dark night reflects the richness of the intrinsic early initiatives of the land rights movement. with a number of traditional Aboriginal links between the Yolngu and their natural and Although he upheld the now discredited communities across Australia and especially spiritual world. doctrine of terra nullius, Justice Blackburn with the Yunipingu, Marika and Munyarryun acknowledged that: families of North East Arnhem Land. Kinship relations are mapped onto the world of the Yolngu – everything, everywhere, belongs The evidence shows a subtle and elaborate With each new work, Stephen and his collaborating to the two moieties of Dhuwa or Yirritja – the system highly adapted to the country in which artists take time to visit communities, to sit with land, the sky, water, plants, animals and the people led their lives, which provided a the elders and share ideas of how their traditional people. Dhuwa and Yirritja each have their stable order of society and was remarkably customs, myths, songs and can inspire own lands, languages and philosophies. Their free from the vagaries of personal whim or the contemporary story-telling in our dance theatre creation stories tell of ancestors bringing these influence. If ever a system could be called works. Elders travel from their communities to elements into being and laying down the law “a government of laws, and not of men”, Bangarra’s studios and work with our performers that governs them all. This law is essential to it is that shown in the evidence before me. and artists during the rehearsal process as part Yolngu identity and culture, as it defines who [Milirrpum v Nabalco (1971) 17 FLR 141, at p267] of this cultural exchange. owns and manages the natural world. Language is the key to community life and cultural To complete the cycle, Bangarra makes a Yolngu speak a dozen different dialects, so English practice: the telling of stories, the sharing of commitment to take our works back to country, is a thirteenth language. The term they use to history, personal interaction. The preservation of to spend time with the community, describe their societal bonds is yothu yindi, literally languages and the maintenance of the Outstations workshops and performing, out of respect for meaning “child and mother”. Yothu yindi recognises or homelands of Arnhem Land is critical to having their permission to include traditional duality but also promotes balance within a diverse the survival of Yolngu culture. The Outstations elements in our contemporary theatrical and complex society. Yolngu ceremonies are provide a place for traditional ceremony, customs experiences. a form of communal expression of stories told and cultural practices. With recent changes through music, songs and dances, linking the in Australian government policy, Aboriginal The theatre is a perfect environment for merging Yolngu to each other and the world they inhabit. communities have become concerned about the past with the present in a timeless space, the prospect of maintaining their homelands. where every element – from costumes and sets to Living a traditional lifestyle, the Yolngu had lighting – is symbolic and infused with meaning. their first contact with Balanda (Europeans) in We hope you enjoy the Yolngu influences within Stephen’s choreography and theatrical direction the 1930s, initially with the establishment of Warumuk – in the dark night. Through Bangarra’s is a connection to the unseen; to how Indigenous missions, then with military personnel in WWII relationships with the communities of North people view the world – part physical, part spiritual. and, more recently with the mining industry. East Arnhem Land we hope to help rekindle interest in, and encourage all Australians to Yolngu are the custodians of the world’s oldest In 1963, provoked by a unilateral government engage with, traditional Aboriginal culture. culture, which stretches back over 40,000 decision to excise a part of their land for Catherine Baldwin is the executive director years and continues to be practiced today in a bauxite mine, Yolngu at Yirrkala sent to of Bangarra Dance Theatre. the communities of Arnhem Land. Drawing the House of Representatives a petition on on the stories of the night sky from Yirrkala bark. This traditional bark painting attracted Robyn Hendricks. Photography Georges Antoni. 1 4

2 3 Ballet 10.

made 9 5 infinite 6 Photographer Lynette Wills documented the production process as the three ballets of the Infinity program took shape in studio and wardrobe department. 8

Clockwise from top left: 6. Jennifer Irwin at work, and one of her designs 1. Graeme Murphy and Janet Vernon look on as for Warumuk – in the dark night Charles Thompson, Karen Nanasca and Calvin 7. Alice Topp and Christopher Rodgers-Wilson Hannaford try out new choreography for The get serious about There’s Definitely a Prince Narrative of Nothing Involved 2. Charles Thompson and Karen Nanasca 8. Designs taking shape for There’s Definitely 3. Patrick Thaiday in rehearsal for Warumuk – in a Prince Involved the dark night 9. Alexi Freeman, designer for There’s Definitely 4. Designer Jennifer Irwin and Stephen Page at a Prince Involved, at work with The Australian the greeting for Infinity guests at The Primrose Ballet’s Ladies’ Cutter Musette Molyneaux 7 Potter Ballet Centre 10.Gideon Obarzanek watches as Madeleine 5. Dimity Azoury working on Warumuk – in the Eastoe rehearses There’s Definitely a Prince dark night with Stephen Page Involved Lana Jones Photography Georges Antoni Music note

We speak to the three of the newly commissioned Infinity scores.

Brett Dean Stefan Gregory David Page The Narrative of Nothing There’s Definitely a Prince Involved Warumuk – in the dark night Brett Dean’s Fire Music is dedicated to the What’s your background as a composer? Has writing for an orchestra been a different victims of the 2009 “Black Saturday” bushfires I work a lot in the theatre world. Previously I’ve experience for you? in Victoria, Australia. Co-commissioned by played in rock bands and jazz ensembles, and I’m not a composer as such, in terms of writing The Australian Ballet, the Royal Stockholm my original study was mathematics. A good music notation; it’s all in my head, and I try Philharmonic and BBC Radio 3, it premiered friend of mine became a set designer, and and get it out as best I can. I use Logic Audio in Stockholm in 2011. we lived together; I met a lot of directors, and [music software], and with Bangarra’s stuff it wasn’t long before someone asked me to it’s always been electronic, so this is a huge Did the knowledge that Fire Music would be compose for a show. I seem to have been challenge for me, to work with particular used for choreography influence your work? in work continually since then. instruments. I’m using pre-recorded voices, It did, actually. Graeme said to me quite plainly language voices, related to songlines that go from the outset: “Write the piece you want to How are you and Gideon working together? with the stories in the work. They’ve been a write. Don’t worry about what I might make of The sort of music Gideon is used to working great inspiration in terms of what I complement it.” But I think the knowledge of it being the with is electronic music, often without a meter; them with musically. There are two: the Evening motor, the engine, for a piece of dance theatre it has more of an ambiguity to it, an openness. Star and Morning Star, which brings in the day. was in the back of my mind, and quite happily We’ve been talking a lot about creating I’m working with an orchestrator, Jessica Wells so. I felt the piece going in certain rhythmic orchestral music that embodies that aesthetic. – I’ve worked with her before [on the Sydney directions … [it] really takes off in certain What’s interesting about being in the rehearsal Olympics]. I give her a printout of the music, moments. It has a high energy. Originally, that studio is that I can see the way that Gideon and she’ll correct me [laughs]. She’ll put it was to do with the dynamics and propulsion is playing with the form of the [Swan Lake] right! Stephen’s not a big fan of brass. He loves of fire; I’d spent a bit of time talking with a choreography – manipulating this, fragmenting harps. I love percussion. We’ll be using a lot fire scientist from the CSIRO. But then it took that, breaking that down – and you think, of traditional percussion instruments that we on its own dynamic, and part of that was the “I could do that with the music”. However, source from communities. knowledge that this would be used on stage. although it’s really nice when you can mirror a formal idea from the choreography, it doesn’t How do you start writing? Do you get inside Did the physics of fire provide you with a system always work in practice. Sometimes you Stephen’s head a bit? for composition? can communicate the idea, but it requires I love images. I work with Jacob [Nash, the set [The scientist] showed me maps, diagrams, a different kind of formal interruption. It’s designer] a lot, see what he’s got. And often even videos of fires that they’d tracked … but certainly about scoring what he’s doing, but when Stephen [approaches a work] he’ll tell me that was only one part of the story really, and in you think, “How would I actually score that what he sees the dancer doing, and what the the end it didn’t correlate closely enough with to communicate the same thing?” story is, and how he’s going to tell it physically. where I wanted to go. Once the piece started It’s the visual thing that gets me, when you to evolve in terms of sounds and motifs and Does your mathematics background come into can see the journey. Like in the moon section energy of its own, it took on its own life – a bit your composition? – it’s the female moon, and the men are the like a fire, it just started spreading. [Parts of Funnily enough, it did today. I’ve been trying to tides. So then I can represent the men with an it] have a manic quality; it’s technically quite look at ways to create slightly different timbres instrument or a melody, give them an identity. challenging, it has a very fast inner life, very in the orchestra. One of the ways electronic fast passage work, but the main pulse of the musicians create different sounds is to use So you went to Arnhem Land as preparation piece is fairly steady – so it has these big additive synthesis, which is an idea that was for this work? bones, and this relentless pushing forward, around in the 1960s, when they had really Yeah, we went up. I’m quite familiar with the all the while darting out in different directions. primitive synthesisers, and you’d get sounds stories and the people and the places; I’ve by layering sine waves. So I’m interested in been up there a few times. It’s that beauty In one part of Fire Music, you use electric the idea that you can change the timbre of a of going to another world, this mythical place. guitar to signify the “momentous, dizzying heat” sound by adding harmonics to things. Gideon Despite the problems with health, and money, of Black Saturday. Have you used other sounds likes distortion, and distortion is the addition and mining … they have this beautiful culture in that evocative way? of harmonics. One way of adding distortion that’s grounded and ancient, and we have There are satellite groups of instruments that mathematically, using computer programs, the ability to access it, because we’ve been are out in the theatre … a lot of the fast, is to use Chebyshev polynomials. So I was adopted into the family. It’s very beautiful and powerful fire music is heralded by [trumpet] looking at that today. But theory’s no good special to have that license, and I’m really fanfares that resound around the whole space. unless it sounds good! fortunate to be part of that. We give back to the There’s something about the theatricality of the community – we go back and show them what sound being all around you; someone who’d we’ve done. They love the stories going on, they heard the piece said that it’s a bit like there’s no feel it’s very important not only because they’re escape, like a fire. It envelops the whole space. going out to a wider community, but because There are quite a few electronic sounds, most their own young people don’t know the stories; of which come from natural sources. There are they’re so caught up in Americanised music like a lot of closely miked thunder-sheet sounds rap. They don’t know these stories that have right at the opening. In there somewhere is been going on for thousands of years. a recording that I made myself of a scraping, Kevin Jackson and Andrew Killian Photography Georges Antoni booming door in the Old Melbourne Gaol. Robyn Hendricks Photography Georges Antoni conductor composers

brett dean Stefan Gregory David Page Musicians from the Composer Composer Composer Australian National Nicolette Fraillon THE NARRATIVE OF NOTHING THERE’S DEFINITELY A PRINCE WARUMUK – IN THE DARK NIGHT Academy of Music (ANAM) music director and INVOLVED chief conductor Brett Dean studied in Stefan is a composer who works David is a descendant of Francesca Hiew, predominantly in theatre, where the Nunukul people and the Thibaud Pavlovic-Hobba, violin Nicolette Fraillon began her In 1998 she took up the before moving to his work is highly acclaimed. Munaldjali clan of the Yugambeh Thomas Higham, viola music studies on violin and position of Director at the in 1984, where he was a Recent productions he has tribe from southeast Queensland. Anna Pokorny, cello piano at an early age. At 16 School of Music, Australian permanent member of the Berlin composed for include As You Like He has composed music for she conducted her first National University, and Philharmonic’s viola section for It, Neighbourhood Watch, The Bangarra Dance Theatre’s Located in the historic concert with the Victorian continued her conducting work 14 years. In 1988 he also began Seagull, The Wild Duck, Measure major works and for Alchemy South Melbourne Town Junior Symphony Orchestra. with the West Australian Ballet, composing, initially concentrating for Measure and That Face for and Amalgamate, collaborations Hall, the Australian National She graduated on viola from the West Australian Symphony on experimental film projects and Belvoir St Theatre (where he is between Bangarra and The Academy of Music (ANAM) Melbourne University in 1982, Orchestra, the Australian Youth as an improvising performer. an artistic associate); Baal for Australian Ballet. He composed, is Australia’s only national, gaining an equal first place in Orchestra and the Malthouse and Sydney Theatre with Steve Francis, the music purely performance-based her year in Performance. From Symphony Orchestra. Brett Dean’s first international Company; The War of the Roses for the Indigenous sections of music training institution, 1984–87 she furthered her breakthrough as a composer came She debuted with The Australian and Frankenstein for Sydney the 2000 Opening and Closing bringing together the finest instrumental studies at the with his score for Jirˇí Kylián’s full- Ballet in 2002, conducting Theatre Company; Thyestes, Ceremonies of the Sydney young musicians from around Hochschule für Musik in length ballet One of a Kind (NDT Spartacus, and was then The Suicide and B.C. for The Olympic Games and the Sydney the country for an intensive and from 1987–88 in Hannover. 1998). His music has also been invited by David McAllister to Hayloft Project; and Othello for Olympic Arts Festival, and in year-long program of study, During her time in Germany and set to dance by choreographers become Music Director and Bell Shakespeare Company. 2002 for the Sydney Dreaming training and performance. Austria Nicolette toured with Heinz Spoerli, , Gina Chief Conductor, beginning in Stefan has also worked as a Festival. many orchestras, including the Rings and Adrian Burnett. January 2003. Since joining sound designer on most of the Each year ANAM’s 60 Salzburger Chamber Ensemble the company, Nicolette has preceding as well as King Lear David’s other music credits musicians present over and the Chamber Orchestra of Brett now shares his time between conducted all programmes for and Hamlet for Bell Shakespeare include Heartland; Pride and 150 public performances, Bassano, and was a member of Berlin and his native Australia, The Australian Ballet, including Company; Silent Disco and The Poison for ABC TV; themes for in partnership with leading the Haydn Quartet, based at the and his works attract considerable three overseas tours, and has Call for Griffin Theatre Company; Songlines, Living Black and teachers and artists from Esterhazy Palace in Eisenstadt. attention, championed by been a guest conductor for San conductors such as Sir Simon and A Midsummer Night’s Dream Pioneers of Love for SBS TV; Australia and abroad. Musicians In 1990 Nicolette moved to Francisco Ballet. Following The Rattle, , Markus for B Sharp/Bob Presents/Arts Round Up, Passing Through, who have performed with ANAM’s the Netherlands, where she Australian Ballet’s 2005 tour Stenz and Daniel Harding. Radar. Stefan received a Sydney Grace and Saturday Night Sunday students in recent years include became Assistant Musical to the UK, Nicolette was, in He has been commissioned Theatre Award nomination for Morning, five of the thirteen Simone Young, Steven Osborne, Director for the 1991–92 2006, invited back to conduct by the Berlin Philharmonic, Best Score or Sound Design for Bit of Black Business AFC short , season of Les Misérables in The Sleeping Beauty with Orchestra, Los Measure for Measure, a Green film series; and the film Jacob, Marwood, Sara Macliver, Daniel and The Hague. Royal Ballet. In Angeles Philharmonic, BBC Room Award nomination for selected for the 2009 Melbourne Harding, Dmitry Sitkovetsky, In 1992 she was admitted to 2007 Nicolette guested with the Proms, Lucerne Festival, Royal Thyestes, and a Helpmann Award International Film Festival. His Pekka Kuusisto, Steve Davislim, the Netherlands Broadcasting Ballet. In 2008 Stockholm Philharmonic, Cologne nomination for Baal. His work performance credits include Meow Meow and Thomas Adès. Association’s International she returned to the Birmingham Philharmonie, BBC Symphony, with the band Faker earned him his Green Room Award-winning Conductors’ Masterclass, Royal Ballet for a Nutcracker and the Melbourne and Sydney a Jack Award for best newcomer, solo performance in Page 8, ANAM regularly works with resulting in a performance with season, then finished the Symphony Orchestras, among a platinum single for “This which toured nationally and leading artists and designers from the Dutch Radio Symphony year with a New Year’s Gala in others. In 2010, Dean’s debut Heart Attack” and several ARIA internationally, and in 2011 a range of backgrounds. In recent Orchestra in the Concertgebouw Skopje with the Macedonian opera Bliss was first performed to nominations for best rock album, Bloodland for Sydney Theatre years ANAM has commissioned in Amsterdam. This led to an Philharmonic Orchestra. In early critical acclaim by best group and single of the year. Company in association with new work from choreographer invitation to conduct for the 2011, Nicolette guested with under Elgar Howarth in the Sydney Bangarra. Helen Herbertson (Bach Suites), Nederlands Dans Theater. She , conducting Opera House, and, following further designers Ben Cobham and was then invited to become their production of Giselle. performances in Melbourne’s State Since 1995, David has won Bluebottle (ANAM Quartetthaus), Music Director and Chief Theatre, received its European four of eight nominations for the improviser Paul Grabowsky and Conductor of the National Ballet premiere at the 2010 Edinburgh Deadly Sound Awards, an ARIA the Australian Art Orchestra of the Netherlands, working with Festival. A new production of Bliss nomination, the 2000 Indigenous (Tract), singer and such renowned choreographers also opened the Hamburg Opera’s Artist Award for The Sidney the Brodsky Quartet (Songs from as Hans van Manen, Toer van 2010/11 season. Myer Foundation and the 2009 the Middle) and composers James Schayk, Rudi van Dantzig and Helpmann Award for Best Ledger, Brett Dean, Anthony , and conducting Brett is enjoying increasing Original Score for Mathinna. Pateras and Gordon Kerry. numerous world premieres. success as a conductor, following During the following five years recent engagements conducting The string quartet was winner she worked with the North orchestras such as the of the 2011 ANAM Chamber Holland Philharmonic Orchestra, Philharmonic, Concertgebouw Music Competition. It will play the New Sinfonietta Amsterdam, Orchestra, Melbourne Symphony, in selected performances of Noord Nederlands Orchestra, BBC Philharmonic, Gothenburg The Narrative of Nothing. the Gelders Orchestra in Symphony and the Radio Arnhem, the Limburg Symphony Symphony Orchestra. He has also Orchestra, the Residentie performed his own Viola Concerto Orchestra in The Hague, the with orchestras in Los Angeles, Kanazawa Chamber Orchestra London, Dresden, Hamburg, Lyon, (Japan) and the Finnish Ballet. Stockholm, Sydney, Melbourne and . creatives

Benjamin Cisterne damien cooper Alexi Freeman jennifer Irwin JacoB nash Padraig O Suilleabhain Bob Scott Janet Vernon AM Stage and lighting design Stage and lighting design Costume design Costume design Set design Lighting design Sound design Creative associate THERE’S DEFINITELY A PRINCE THE NARRATIVE OF NOTHING THERE’S DEFINITELY A PRINCE THE NARRATIVE OF NOTHING WARUMUK – IN THE DARK NIGHT WARUMUK – IN THE DARK NIGHT infinity THE NARRATIVE OF NOTHING INVOLVED INVOLVED WARUMUK – IN THE DARK NIGHT

Benjamin is renowned for creating Damien has designed more than Formally trained in Fine Art at Jennifer Irwin’s career spans 30 Jacob is a Murri man who grew up Originally from Ireland, Padraig Bob Scott is a sound designer Adelaide-born Janet Vernon bold designs, based in light, that 100 theatre productions, including the University of Tasmania, Alexi years constructing and designing in Brisbane and graduated from moved to Australia in 2008. His and mix engineer with an studied at The Australian Ballet are integral to a performance. He The Seagull, Gethsemane, Stuff majored in Printmaking and costumes. For The Australian the NIDA Design Course in 2005. Irish roles included technical interest in combining modern School and has danced with The is passionate about the capability Happens and Toy Symphony Sculpture. He produced paintings, Ballet she has worked on In 2006, he wrote and directed manager for City Theatre Dublin audio techniques such as live Australian Ballet, Ballets Félix of light in performance design at Belvoir, and The Lost Echo, sculpture, limited edition prints, Amalgamate, Totem, X, Aesthetic the short film Blood Lines. He was and Ireland’s National Theatre signal processing, recording, Blaska (France) and Sydney and its role in art, and works The Women of Troy, The Cherry garments and costumes. Arrest, Subtle Sequence of a recipient of the British Council and lighting technician for The editing and amplification with Dance Company. In 1976 she was collaboratively on projects across Orchard, Tot Mom and Riflemind Receiving the Manufacturing Revelation, Rites and Alchemy. For initiative Realise Your Dreams in Abbey Theatre. Production acoustic instruments. He is appointed, along with Graeme all art forms. Since completing at Sydney Theatre Company. Design Fund from Arts Tasmania Bangarra Dance Theatre she has 2008. In 2010 he designed of credits include The Matchmaker audio director for the Anzac Day Murphy, to the artistic helm of his studies in 2002 at the WA (2005) enabled the genesis of worked on Fire, True Stories, Skin, earth & sky for Bangarra Dance and Vagina Monologues for City Gallipoli Broadcasts, Townsville Sydney Dance Company, where Academy of Performing Arts he Damien’s career highlights the ALEXI FREEMAN fashion Bush, Uniapon, X300, Walkabout, Theatre, winning a Green Room Theatre Dublin, and Romeo and Festival, Four they remained for 31 years. has been involved in the creation include Exit the King on label (est. 2006). Alexi has Mathinna, Corroborree, Fish Award for Best Design in Dance. Juliet, An Ideal Husband, Three Winds Festival and the Canberra Graeme created roles for Janet of lighting designs for exhibitions Broadway, starring Geoffrey since completed twelve seasons and Ochres. For Sydney Dance Appointed Artist-in-Residence Sisters, Kicking a Dead Horse International Music Festival. including Shéhérazade, Daphnis including the Australian War Rush and Susan Sarandon; of ready-to-wear available in Company she has created designs with Bangarra in 2011, Jacob and Julius Caesar for The Abbey He does freelance recording and Chloé (Lykanion), Some Memorial and the National Sports Graeme Murphy’s Swan Lake, Australia, New Zealand, USA for numerous works including designed the set for the Belong Theatre. and producing work for various Rooms (The Bathroom), After Museum, architecture such as the which has been presented by The and Europe. Berlin, Free Radicals, Fornicon, season, featuring new works classical music organisations Venice, Nearly Beloved, King Roger Darwin Entertainment Centre, and Australian Ballet in London, Paris Synergy with Synergy, Piano About by Elma Kris and ID by Other career highlights are: including the ABC, Australian (Queen Roxanna), Berlin, The performance projects, including and Tokyo; Keating! The Musical, Prior to working with The Sonata, Shining, Shades of Gray, Stephen Page. Technical Management for the Chamber Orchestra, Opera Protecting Veil, Salome (Herodias) Timothy Harbour’s Halcyon for Australia’s most successful Australian Ballet, Freeman has Directors Cut and Ever After Ever. 2008 International Puppet Australia, Nigel Kennedy, Nigel and The Trojans (Andromeque) – a The Australian Ballet, Stephanie subsidised theatre show ever; collaborated with numerous She has also designed costumes His other theatre credits include Festival; Relight Technician for a Westlake, Vexations 840, collaboration with Opera Australia. Lake’s Mix Tape and Gideon and ’s creatives including choreographer for Sydney Theatre Company, The Lonesome West, Ruben Polish tour of Townlands of Brazil Australian Baroque Brass, Salut Obarzanek’s Connected for Birdbrain, which has played over Stephanie Lake, dancer Brooke Company B Belvoir, Opera Guthrie and Jesus Hopped the for Axis Arts Centre; Riverdance, Baroque, Song Company and Creative Associate credits Chunky Move. 60 venues around the world. Stamp, architect Aaron Roberts, Australia, West Australian Ballet, ‘A’ Train for BSharp at Belvoir Castle Ward Opera, Celtic Nights Ensemble Offspring. He has include Swan Lake, Nutcracker – filmmaker Tom Blachford and Adelaide Festival Trust, Royal New St Theatre; Yibiyung and Ruben Summer Cabaret and West Side worked as sound supervisor in The Story of Clara, Firebird, The Benjamin has toured extensively Damien’s opera designs include jeweller Tessa Blazey. His works Zealand Ballet and Singapore Guthrie for Belvoir St Theatre; Story for Jim Molloy Productions; the Concert Hall of the Sydney Silver Rose and Romeo & Juliet as both a designer and master A Midsummer Night’s Dream at have been exhibited at The Dance Theatre. Macbeth for Bell Shakespeare Cyrano for Barabbas and I Keano Opera House. (The Australian Ballet); Tivoli (A electrician and has completed Houston Grand Opera, Canadian Powerhouse Museum, Craft Company; The Removalists ,Tusk for Little Lane Productions. Sydney Dance company and The artistic and technical residencies Opera Company and Lyric Opera Victoria, the Australian Centre for Jennifer designed costumes for Tusk and Like a Fishbone for Recent work includes sound Australian Ballet co-production); in Australia and Europe. He has Chicago; Chorus! At HGO; and the Moving Image, and as part The Awakening, the Indigenous Sydney Theatre Company; Romeo Since working in Australia, design for Opera Australia’s Hua Mulan (a Sydney Dance worked with many choreographers Cosi Fan Tutte and Peter Grimes of L’Oréal Melbourne Fashion segment of the Sydney 2000 and Juliet for Sydney Theatre Padraig’s theatre credits include Bliss; recordings for the film Company and Shanghai Song & including Gavin Webber at Opera Australia. Festival and Melbourne Spring Olympic Opening Ceremony, and Company – Education; Rainbow’s Let the Sun Shine, Duets, The Mrs Carey’s Concert (for which Dance Ensemble co-production); (Dancenorth/Independent), Fashion Week. co-designed all the costumes for End for Parramatta Riverside Little Dog Laughed and The he won an Australian Screen Die Silberne Rose (Bayerisches Philip Adams (Balletlab), Luke Damien works with many leading the Sydney 2000 Olympic Closing Theatre and Into: Belonging for Cow Jumped Over The Moon for Sound Guild Award for sound); Staatsballet, Munich); Water George and Gabrielle Nankivell. dance companies in Australia and Currently based in Melbourne, Ceremony. She also worked on the Sydney Festival/ Parramatta , and Sydney I’m Your Man for Belvoir Theatre; (Shanghai Ballet); Forty Miles – Benjamin’s work has been this work has toured extensively Freeman makes seasonal Official Commemorative Ceremony Riverside Theatre. Regional Dance, Breast Wishes, Fractured Again with Ensemble A River of Dreams (Tasdance); recognised by multiple around the globe. His recent work collections for women which marking the Centenary of Inside Out and Thursday’s Child for Offspring; the music mix for Ainadamar (The Adelaide Festival Greenroom Awards. includes Chunky Move’s Mortal continue to incorporate elements Australian Federation, the Olympic The Seymour Theatre Centre. He Shaun Parker’s Happy as Larry; of Arts); Aida (Opera Australia); Engine; Bangarra Dance Theatre’s of hand-drawn and printed textiles Arts Festival of the Dreaming, was touring electrician for Steel Dark, not too Dark (a collaboration the movie Mao’s Last Dancer and Of Earth And Sky; Stalker Theatre worked into drape juxtaposed and Vast for the Australian Magnolias and Six Characters with choreographer Alexandra the Andrew Lloyd Webber musical Company’s Shanghai Lady Killer; with tailoring. bicentenary. for Sydney Festival, and The Harrison); sound design for the Love Never Dies. Australian Dance Theatre’s Be Sapphires for Black Swan and Australian Chamber Orchestra; Your Self and The Australian Jennifer has designed costumes Belvoir St Theatre. The Crowd with cinematographer Awards include: an AM for Ballet’s The Silver Rose and for the international box office Jon Frank; composition for Branch Services to Dance (1989); Romeo & Juliet. sensation Dirty Dancing. Her Since joining Bangarra Dance Nebula’s Concrete and Bone; and Sydney Opera House Honours costume-cutting credits include Theatre in 2010, Padraig has ’s Beautiful Noise for Legs (1993); Green Room Award for Damien has been awarded The Matrix I, II & III, Mission worked as head electrician on on the Wall. Concept and Realisation, Swan three Sydney Theatre Awards Impossible II, Red Planet, Looking of earth & sky, Mathinna, Spirit Lake (2003); Centenary Medal for Best Lighting Design and for Natalie Wood, Romeo and and Belong. for services to society and a Green Room Award for Best Juliet and Strictly Ballroom. She dance; Lifetime Achievement, Body Of Work In 2007. Work in has been nominated for ten (2006); 2011 includes Summer Of The Green Room Awards and two Green Room Award, Outstanding Seventeenth Doll at Belvoir and . Jennifer’s Contribution to Dance (2006) and Bloodland at STC. many successful collaborations the Fred & Adele Astaire Award are reflected in her inclusion for Excellence in Choreography in in the Who’s Who of Australian Film for Mao’s Last Dancer (New Women 2011 for her “contribution York, 2011). Dance Australia to design in Australia”. named her ‘One of Australia’s Five Best Female Dancers Ever’. Principal Artists generously principal supported by Les Etoiles Mrs Mary Barlow Mrs Helen O’Neil Ms Robin Campbell Mrs Kerry Packer AO artists Mrs Sam Chisholm Dr Valmai Pidgeon AM Ms Val Harding Lady Potter AC Lynnette Harvey Mrs Robert Rose AM Mr Arthur L Norcott Mrs Christine Smedley Mrs Roma Norcott Kelly Wyborn Kevin Jackson’s Principal Artist position is generously supported by the Male Principal Artist Endowment Fund (Anonymous Patron)

Olivia Bell Adam Bull Lucinda Dunn Madeleine Eastoe daniel gaudiello kevin jackson “An intoxicating lead” “Tender and self-deprecating … “Lucinda Dunn is a superstar” “Her dancing is fearless and utterly assured” “Precision, and charm” “Physically striking and technically Sunday Herald Sun a true ” Sunday Herald Sun Herald Sun thestage.co.uk assured” The Observer, UK The Sunday Age Newcastle-born Olivia Bell competed in the Prix de Adam Bull was born in 1981 and began training at Dance Lucinda Dunn received her early training in Sydney with A graduate of The Australian Ballet School, Perth-born Brisbane-born Daniel Gaudiello strapped on his first Born in Perth, Kevin commenced his dance training at the competition and won a scholarship to the Paris World 301 with Brian Nolan before joining The Australian Janece Graham and Tanya Pearson before going on to win Madeleine Eastoe joined the company in 1997 and pair of dancing shoes at the age of six at the Johnny age of seven with the Shirley Farrell Academy of Dance. Opéra Ballet School, where she graduated in 1995. Joining Ballet School. In 2000 he represented Australia in the Paris a Prix de Lausanne scholarship to study at danced many lead roles before being promoted to Young Talent School, then went to Promenade Dance In 2002 he graduated from The Australian Ballet School The Australian Ballet the same year, Olivia would go on International Ballet Competition, before graduating from The School, London. While in London she also performed with principal artist following her debut as Giselle in 2006. Academy. Later he completed the Queensland Dance and joined The Australian Ballet in 2003. In his time with to dance some of The Australian Ballet’s most coveted Australian Ballet School with honours in 2001. Adam joined . In 1991 Lucinda joined The Madeleine has particularly enjoyed working one on one School of Excellence and Queensland Ballet professional the company, he has performed many lead roles in both lead roles, hailed variously as “imperious and sinuous”, The Australian Ballet in 2002, going on to dance and Australian Ballet and was promoted to principal artist in with choreographer to create the lead year before being accepted into The Australian Ballet classical and contemporary works by choreographers “truly exquisite”, and for her “cool, sensitive precision”. In principal roles in works by George Balanchine, Jiˇrí Kylián, 2002. She has also been awarded several scholarships to role in 2007’s Constant Variants, and dancing with guest School, where he performed as an exchange student with Tim Harbour, Nicolo Fonte, Matjash Mrozewski, Wayne 1996 she was awarded a Khitercs Foundation scholarship, Graeme Murphy, , Stephen Baynes, study overseas and has been partnered by many international artists such as Angel Corella in La Fille mal gardée and The National Ballet School of Canada and the School of McGregor and Graeme Murphy. Kevin enjoys the technique enabling her to study abroad. Olivia’s acclaimed Stanton Welch, Nicolo Fonte and Wayne McGregor. After just guests of The Australian Ballet. A diverse and musical Cédric Ygnace in Giselle. A career highlight was dancing American Ballet. Daniel joined The Australian Ballet and artistry demanded by many different works but performances in everything from the most classical of six months as a senior artist, Adam was promoted to the dancer with a strong technique, Lucinda excels in the pure Odette on the opening night of Graeme Murphy’s Swan in 2004 and in early 2007 participated in classes holds the story ballet closest to his heart. Kevin was ballets to contemporary pieces have shown her great highest rank of principal in June 2008, capping off a string classical ballets and enjoys portraying characters in story Lake in London, a role she reprised on the company’s with some of the world’s finest ballet companies in promoted to principal artist in 2010 and looks forward to versatility. A career highlight was her debut in the title role of critically acclaimed lead performances. Performances in ballets, as well as the physicality of contemporary pieces. 2007 Japan tour and 2008 Paris and Manchester tours. London, Amsterdam, Munich and Paris. Daniel made entertaining audiences around Australia and the world. of Manon in 2008. Olivia was promoted to principal artist principal lead roles in the company’s tours to Paris, London, Madeleine has also toured internationally with The his choreographic debut with a piece called Notte in in 2007. Manchester and Japan have also been career highlights. Repertoire highlights Australian Ballet to China, Singapore, New Zealand Bianco for Bodytorque.To the Pointe in 2009 and was Repertoire highlights In addition to the ballerina roles in all of the major classical and the USA. promoted to principal artist in 2010. •Romeo in Graeme Murphy’s Romeo & Juliet 2011 Repertoire highlights Repertoire highlights ballets such as Giselle, Romeo and Juliet, Swan Lake and •Pinkerton in Stanton Welch’s Madame Butterfly2011 •Graeme Murphy’s Swan Lake 2002–10 •Romeo in Graeme Murphy’s Romeo & Juliet 2011 Coppélia, a particular career highlight for Lucinda was Repertoire highlights Repertoire highlights •Prince Siegfried in Graeme Murphy’s Swan Lake 2009 •’ Afternoon of a Faun 2008 •Danilo in Ronald Hynd’s The Merry Widow 2011 dancing the world premiere of Stanton Welch’s The Sleeping •Juliet in Graeme Murphy’s Romeo & Juliet 2011 •Franz in Coppélia 2010 •Prince Florimund in Stanton Welch’s The Sleeping •Sugar Plum Fairy in ’s The Nutcracker •Graeme Murphy’s Nutcracker - The Story of Clara 2009 Beauty in 2005 and most recently, dancing Firebird and •Peter Wright’s The Nutcracker 2007 •Basilio in 2010 Beauty 2009 2007, 2010 •Prince Florimund in Stanton Welch’s The Sleeping Beauty 2009 Nutcracker – The Story of Clara by Graeme Murphy. Other •Kitri in Don Quixote 2007 •Christopher Wheeldon’s Continuum® 2004 •Doctor/Lover in Graeme Murphy’s Nutcracker – The •Christopher Wheeldon’s After the Rain©, Continuum© •Des Grieux in Sir Kenneth MacMillan’s Manon 2008 highlights include her performances on The Australian •Stephen Baynes’ Constant Variants 2007 •Lescaut in Sir Kenneth MacMillan’s Manon 2008 Story of Clara 2010, 2009 and Mercurial Manoeuvres© •Prince Siegfried in Graeme Murphy’s Swan Lake 2008 Ballet’s tours to London, Tokyo, Italy, Shanghai and New •Giselle in Giselle 2006 •Petrouchka in Petrouchka 2009 •Prince Ivan in Graeme Murphy’s Firebird 2009 •Terpsichore in George Balanchine’s Apollo 2007 •The Prince in Peter Wright’s The Nutcracker 2007, 2010 York, as well as dancing lead roles in contemporary works by •The Sylphide in La Sylphide 2005 •Des Grieux in Sir Kenneth MacMillan’s Manon 2008 •Zobeide in Schéhérazade 2006 •Basilio and Espada in Don Quixote 2007 Christopher Wheeldon, Jiˇrí Kylián, Jerome Robbins, George •Odette in Graeme Murphy’s Swan Lake 2005 Guest appearances •Jerome Robbins’ A Suite of Dances 2008 •Jiˇrí Kylián’s Petite Mort and Stepping Stones 2005 •Albrecht in Giselle 2006 Balanchine, , Nicolo Fonte and Stephen Baynes. •La Fille mal gardée 2004 •, London and Barcelona 2009 •George Balanchine’s Apollo 2007 •Flavia in Spartacus 2003 •Juliet in ’s John Cranko’s •William Forsythe’s In the Middle, Somewhat Elevated Guest appearances Guest appearances Romeo and Juliet 2003 Awards Awards 1996 and The Vertiginous Thrill of Exactitude 2000 •Fall for Dance Festival, New York 2011 •The •Clara in Graeme Murphy’s Nutcracker – the Story •Australian Dance Award nomination for Dyad 1929 •Telstra Ballet Dancer Award 2008 •Grande Pas Classique 2008 •Stuttgart 50th Anniversary Gala 2011 •Birmingham Royal Ballet of Clara 2000 2010 •The Australian Scholarship •George Balanchine’s Agon 2004, Serenade, Symphony •The Dancers Company tour 2006 •World Ballet Festival, Tokyo 2009, 2006 •Green Room Award nomination for Petrouchka 2010 •Khitercs Foundation Scholarship 2007 in C and Ballet Imperial •Morphoses/The Wheeldon Company 2009 Awards •Helpmann Award nomination for Graeme Murphy’s Awards •Telstra People’s Choice Award 2006 The Silver Rose 2010 Choreographic works Guest appearances •Green Room Award “Year’s work” nomination 2009 Awards •Green Room Award 2005 •Telstra Ballet Dancer Award 2007 •Enter Closer for Bodytorque.2.2 2009 •The Dancers Company tour 2001 •Benois de la Danse Best Male Dancer nomination for •Helpmann Award nomination for Best Female Dancer, •Helpmann Award nomination 2003 •Freda Irving Scholarship 2006 Graeme Murphy’s Swan Lake 2009 2011, 2010 •BJ Sutton Scholarship You may not know ... You may not know … •Telstra Ballet Dancer Award nominee 2006 and 2004 •Australian Dance Award for Outstanding Performance 2008 You may not know … Kevin is studying for the Vocational Graduate Olivia took time out to travel and see the world •Green Room nomination for Albrecht in Giselle 2006 •Helpmann Award nomination for Dance Performer of the Madeleine is a big fan of Roger Federer. You may not know ... Certificate in Elite Ballet Instruction with in 1997, rejoining the company in 1999. •The Australian Ballet Society Scholarship in 2001 Year 2007 and 2004 “I love camping on the beach, spending time The Australian Ballet School. •Mo Award nomination for Dance Performer with my family, and my two dogs Chloe and Rico.” You may not know ... of the Year 2006, 2005 and 2001 “I have ticked off a lifelong dream of visiting the Antarctic •Green Room Award for Best Female Dancer 2005 continent, doing so in our summer break at the end of 2009. Landing at the same site as the famous Australian You may not know … explorer Sir Douglas Mawson was an awe-inspiring and Lucinda and husband Danilo are proud parents of two life-changing experience.” daughters, Claudia and Ava. principal artists

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

lana jones andrew killian Yosvani Ramos Rachel Rawlins amber scott leanne stojmenov “Mesmerising in execution” “Immaculate and debonair” “A revelation ... with his smouldering matinee “meltingly beautiful” “A definition of poise and steely confidence, “Flawless” media-culture.org.au Dance Australia -idol looks, he achieves the extraordinary” Adelaide Advertiser every bit the prima ballerina” The Australian Evening Standard Herald Sun Lana Jones was born in Coffs Harbour but moved soon Melbourne-born Andrew Killian, a student of The Yosvani Ramos was born in Camagüey, Cuba and trained at Rachel studied ballet with Del Brady in Canberra. She Amber Scott joined The Australian Ballet School at Leanne was born and raised in Perth where she began after to Canberra, where she commenced her ballet Australian Ballet School, joined The Australian Ballet the National Ballet School, going on to dance with Jeune moved to Melbourne at 14 and trained at the VCA, the age eleven. After graduating as dux, Amber joined her initial ballet training with Helen McKay. Her full-time training at the Canberra Youth Ballet School. She moved to in 2000 and was promoted to principal artist in 2011. Ballet de France and Ballet de l’Opéra National de Paris National Theatre Ballet School with Ann Jenner, and at The Australian Ballet in 2001. She was promoted to training began at the Graduate College in 1993 under Melbourne in 1999 to attend The Australian Ballet School, During his time with The Australian Ballet Andrew has after winning the Gold Medal at the Paris International The Australian Ballet School with . After principal artist in 2011. Career highlights include working the school’s director, Terri Charlesworth, and in 1999 graduating dux to join The Australian Ballet in 2002. In thoroughly enjoyed performing leading roles in the Ballet Competition in 1998. He joined English National dancing with The Australian Ballet, she joined The Royal with Wayne McGregor on Dyad 1929 in 2009, and with she joined the West Australian Ballet. In 2001 Leanne 2005 she was promoted to coryphée and won the Telstra company’s extensive classical repertoire including Ballet as a Soloist in 1999 and was promoted to senior Ballet for two years as a first soloist. Returning to Australia, Stephen Page on Rites in 2006 and 2008; dancing with left Perth to take up a position with The Australian Ballet. Ballet Dancer Award, the highest accolade of its kind for Lescaut in Sir Kenneth MacMillan’s Manon, Espada in soloist in 2000, then principal artist in 2003 after his she was promoted to principal artist. Reviewers comment guest artist Robert Tewsley during the 2008 Manon Receiving the New South Wales Friends of The Australian Australian Ballet dancers. A rising star within the ranks, ’s Don Quixote, the Prince in Peter Wright’s performance as Franz in Coppélia. During his time with on her fine technique, lyricism and deeply felt narrative season; and performing Odette with Adam Bull in Ballet scholarship in 2004 enabled her to study throughout Lana’s dancing has been critically acclaimed as “joyous and The Nutcracker, and the Cavalier in George Balanchine’s English National Ballet he created many pieces in the interpretation. “Her delicacy is divine, her abandon is Graeme Murphy’s Swan Lake in Paris and Manchester Europe. Leanne has a high regard for artists who can adapt effervescent”, with one writer declaring her performance Ballet Imperial. Andrew has also been involved in the company’s choreographic workshops and was nominated breathtaking and her artistry will show you what ballet in 2008 and Tokyo and Nagoya in 2010. to all kinds of roles and repertoire. Leanne was promoted in George Balanchine’s Apollo as “supernatural”. creation of many new works including Stephen Baynes’ for several years running in the Critics’ Circle National can achieve” (Madame Butterfly 2011). “She’s superb; to principal artist in 2011. Lana was promoted to principal artist in 2010. Constant Variants and Tim Harbour’s Wa, and has Dance Awards. He joined The Australian Ballet as a a prima ballerina if ever there was one”(Sugar Plum Repertoire highlights performed in most of The Australian Ballet’s Bodytorque principal artist at the beginning of 2008. Fairy, Peter Wright’s Nutcracker 2010). •Hanna in The Merry Widow 2011 Repertoire highlights Repertoire highlights seasons. He enjoys working closely with choreographers •Juliet in Graeme Murphy’s Romeo & Juliet 2011 •Juliet in Graeme Murphy’s Romeo & Juliet 2011 •Juliet in Graeme Murphy’s Romeo & Juliet 2011 and offers a unique versatility that places him in high Repertoire highlights Repertoire highlights •Stephen Baynes’ Beyond Bach 2011 •Sir Kenneth MacMillan’s Concerto 2011 •Valencienne in Ronald Hynd’s The Merry Widow 2011 demand. Andrew has toured with The Australian Ballet to •Franz in Coppélia 2010 •Cio-Cio-San in Stanton Welch’s Madame Butterfly 2011 •Christopher Wheeldon’s After the Rain© 2011 •Suzuki in Stanton Welch’s Madame Butterfly 2011 •Sir Kenneth MacMillan’s Concerto (1st and 3rd New Zealand, Japan, China, the UK and France. He was •The Prince in Stanton Welch’s The Sleeping Beauty 2009 •Sugar Plum Fairy in Nutcracker 2010 •2nd Movement in Sir Kenneth •Clara in Peter Wright’s The Nutcracker 2010 movement) 2011 nominated for the Telstra Ballet Dancer Award in 2009. •Graeme Murphy’s Nutcracker – The Story of Clara 2009 •Aurora in Stanton Welch’s The Sleeping Beauty 2009 MacMillan’s Concerto 2011 •Swanilda in Coppélia 2010 •Pas de deux in Christopher Wheeldon’s After the Rain© 2011 •Des Grieux in Sir Kenneth MacMillan’s Manon 2008 •Odette in Graeme Murphy’s Swan Lake 2009 •Sugar Plum Fairy in Peter Wright’s The Nutcracker 2010 •Odette in Graeme Murphy’s Swan Lake 2009 •Black Swan Pas de Deux 2010 Repertoire highlights •Kai in The Snow Queen 2007 •Clara the Ballerina in Graeme Murphy’s Nutcracker •Odette in Graeme Murphy’s Swan Lake 2010, 2009, •Wayne McGregor’s Dyad 1929 2009 •Swanilda in Coppélia 2010 •A Suite of Dances 2008 •Basilio in Don Quixote 2006 2009 2008, 2006, 2005, 2004 •Alexei Ratmansky’s Scuola di ballo 2009 •Wayne McGregor’s Dyad 1929 2010 •The Cage 2008 •Prince Siegfried in Swan Lake 2004 •Manon in Manon 2008 •Stephen Baynes’ Molto Vivace 2010 •Ballerina Doll in Petrouchka 2009 •Aurora, Carabosse and Lilac Fairy in Stanton Welch’s •Rites 2008 •The Prince in Cinderella 2003 •Kitri in Don Quixote 2007 •Aurora and Lilac Fairy in Stanton Welch’s •Manon in Sir Kenneth MacMillan’s Manon 2008 The Sleeping Beauty 2009 •Spring Waters 2007 •Romeo in Rudolf Nureyev’s Romeo and Juliet 2002 •Raymonda Grey in Stephen Baynes’ Raymonda 2006 The Sleeping Beauty 2009 •Esmeralda pas de deux 2008 •The Baroness in Graeme Murphy’s Swan Lake 2009 •After the Rain© 2007 •Albrecht in Giselle 2001 •Giselle in Giselle 2008, 2006 •Flute variation and pas de deux in Serge Lifar’s •Kitri in Don Quixote 2007 •Firebird in Graeme Murphy’s Firebird 2009 •Stepping Stones 2005 •George Balanchine’s Who Cares? 2000 •Jirˇí Kylián’s Forgotten Land and Petite Mort 2005 Suite en blanc 2009, 2005 • pas de deux 2007 •Forgotten Land 2005 •Principal Man in Etudes 2000 •Juliet in John Cranko’s Romeo and Juliet 2003 •Manon in Sir Kenneth MacMillan’s Manon 2008 •Krzysztof Pastor’s Symphonie Fantastique 2007 Guest Appearances •Petite Mort 2005 •The Prince in The Nutcracker 1999 •Jirˇí Kylián’s Stepping Stones 2005 •Fall for Dance Festival, New York 2011 Guest appearances Guest appearances •Aurora in Stanton Welch’s The Sleeping Beauty 2009, •The Ballet 2011 Guest Appearances Awards •International Gala, Ena Ballet, Kuala Lumpur, 2011 •Fall for Dance Festival, New York City 2011 2005 •West Australian Ballet •Fool’s Paradise with Morphoses 2009 •Silver Medal in Nagoya, Japan 1999 •World Festival of Ballet, Tokyo 2009 •The ’s 50th Anniversary Gala 2011 •The Nutcracker with 2007 •Gold Medal in the International Ballet Competition •Farewell Gala for Desmond Kelly 2008, Birmingham •The Dancers Company tour 2004, 2003 Awards in Paris 1998 Royal Ballet •Telstra Ballet Dancer Award nominee 2009, 2007 Awards You may not know... •Silver Medal in Mississippi, USA 1997 •Twentieth Anniversary Gala, Singapore Dance Awards and 2005 •Khitercs Foundation Scholarship Andrew is still struggling to learn how to cook and •Silver Medal and Best Couple in the Junior division Theatre 2008 •Telstra Ballet Dancer Award and Telstra People’s Choice •Australian Dance Award for outstanding performance cried like a baby at his best friend’s wedding. at the International Ballet Competition in Varna, •Featured in Michael Carter’s experimental Award 2004 Guest Appearances by a female dancer in Firebird 2009 Bulgaria 1996 film Principal Role •First Place Junior Asian Pacific Competition, Tokyo 1999 • 2008 •Green Room Award for best female dancer in Firebird 2009 •Grand Prix and the Best Couple at the first International •Adeline Genée Awards, bronze medal 1998 •Miami International Dance Festival 2010 •Helpmann Award for best female dancer in Firebird 2009 Ballet Competition in Havana 1995 You may not know •Morphoses 2009 •Helpmann Award for best female dancer in Forgotten •Gold Medal at the International Ballet Competition in Rachel came to Australia as a one-year-old and learned You may not know Land 2006 Vignale, Italy 1994 to balance on her six-week voyage from England. Amber recently took up golf and pottery and one day You may not know ... would like to walk the pilgrims’ route “The Way of St “Although for now my passion is in the arts, in the future You may not know ... You may not know … James” from France to . I would love to open a small business.” Lana loves photography, jet skiing and the beach, Yosvani speaks fluent French, Spanish, Portuguese and has two dogs, Chloe and Rico. and English and loves cooking Cuban food. senior artists

Juliet Burnett reiko hombo ty king-wall Miwako Kubota “Captivating in sincerity.” “Utterly charming” “Vibrant and energetic” “Delicate and regal” The Australian The Age The Sunday Age The Daily Telegraph playbill ads 35-36 Born in Sydney, Juliet trained in the Reiko started ballet at the age of five in Born in Waihi, New Zealand, Ty King-Wall Miwako was born in Japan and began her with Valerie Jenkins, her hometown of Kobe, Japan. After ten started dancing at the age of seven. He ballet training with Fumika Morishima in and later with Christine Keith. She was years of training in Japan, she joined The received his early ballet training at the Okinawa. Before joining The Australian also fortunate to receive special coaching Australian Ballet School in 2003. In 2006 Dance Education Centre in Tauranga. Ballet School she trained with Kimie from the late Valrene Tweedie, a great Reiko made her debut with The Australian A Junior Associate of the New Zealand Sasamoto and Iwao Nagae in Tokyo. In mentor for Juliet. She was accepted into Ballet in Giselle, dancing the Peasant Pas School of Dance, he left New Zealand at 1997 Miwako was awarded the Idemitsu The Australian Ballet School in 2000 De Deux. Since then, Reiko has danced 16 to study full-time at The Australian Scholarship at the sixth Asia Pacific and joined The Australian Ballet in 2003. a handful of critically acclaimed principal Ballet School. Upon graduating dux Competition. After graduating from The Highlights since then have included being roles with the company, including Clara with honours, Ty was accepted into The Australian Ballet School in 1998 with plucked from the rank of coryphée to in Peter Wright’s The Nutcracker, and Australian Ballet in 2006. Since joining honours she joined The Australian Ballet, create the title role in Matjash Mrozewski’s the title roles in Paquita and Matjash the company, Ty has danced numerous going on to perform in many roles, including Semele, working closely with Graeme Mrozewski’s Semele. Reiko was promoted principal roles, and had the role of Ceyx principal ones. She has toured to Japan, Murphy and Janet Vernon in the role of to soloist in 2010. created on him in Tim Harbour’s Halcyon. New Zealand, China, London and New York Sophie in The Silver Rose, and fulfilling a Repertoire highlights He was promoted to soloist in 2010 and with the company. Miwako was promoted lifelong dream to dance her namesake •Coppélia 2010 to senior artist in 2011. to senior artist in 2010. role in Murphy’s Romeo & Juliet. She is •Alexei Ratmansky’s Scuola di ballo 2009 Repertoire highlights Repertoire highlights also a writer and regular contributor to The •Stanton Welch’s The Sleeping Beauty •Pinkerton in Stanton Welch’s •Cio-Cio-San in Stanton Welch’s Australian Ballet’s blog Behind Ballet. Juliet 2009 Madame Butterfly 2011 Madame Butterfly 2011 was promoted to soloist in 2009 and to •Suite en blanc 2009 •The Prince in Peter Wright’s The •Valencienne in Ronald Hynd’s senior artist for the 2011 season. •Graeme Murphy’s Firebird 2009 Nutcracker 2010 The Merry Widow 2011 Repertoire highlights •Matjash Mrozewski’s Semele 2008 •Franz in ’s •2nd movement pas de deux •Juliet in Graeme Murphy’s Romeo & Juliet •Graeme Murphy’s Swan Lake 2008 Coppélia 2010 in Sir Kenneth MacMillan’s 2011 •Paquita 2007 •Octavian in Graeme Murphy’s Concerto 2011 •2nd Movement pas de deux in •Don Quixote 2007 The Silver Rose 2010 •Christopher Wheeldon’s After the Rain© Sir Kenneth MacMillan’s Concerto 2011 •La Favorita 2007 •Prince Florimund in Stanton 2011 •Stephen Baynes’ Beyond Bach 2011 •Spring Waters 2007 Welch’s The Sleeping Beauty 2009 •Stephen Baynes’ Beyond Bach 2011 •Sophie in Graeme Murphy’s The Silver •Les Présages 2007 •Nacho Duato’s Por vos Muero 2009 •The Lady in Stephen Baynes’ Rose 2010 •Peter Wright’s The Nutcracker 2007 •Stanton Welch’s Divergence 2009 Molto Vivace 2010 •The Lady in Stephen Baynes’ Molto •Giselle 2006 •Suite en blanc 2009 •Swanilda and Dawn in Peggy Vivace 2010 •Raymonda 2006 Awards van Praagh’s Coppélia 2010 •Wayne McGregor’s Dyad 1929 2009 Guest appearances •Telstra Ballet Dancer Award 2010 •Princess Aurora and Lilac Fairy in Stanton •Flute variaton in Serge Lifar’s Suite en •The Dancers Company tour 2011, 2009, •Silver Medal, Asia Pacific Welch’s The Sleeping Beauty 2009 blanc 2009 2006 International Ballet Competition 2005 •Young Tsarevna in Graeme Murphy’s •Valse variation, Prelude and pas de deux Firebird 2009 Awards •PACANZ Young Performer of the in Mikhail Fokine’s Les Sylphides 2009, Year Award 2002 •Clara, Rose Fairy and Snow Fairy in Peter 2006 •Telstra Ballet Dancer Award nominee Wright’s The Nutcracker 2010, 2007 •Semele in Matjash Mrozewski’s 2008 You may not know ... •Prelude and Mazurka in Mikhail Semele 2008 •The Friends of The Australian Ballet Ty is studying towards a Bachelor of Arts, Fokine’s Les Sylphides 2009, 2006 •Polyhymnia in George Balanchine’s Apollo Scholarship 2005 majoring in History and Classical Studies, •Caroline Poon Scholarship 2004 and is an avid cricket fan. Awards 2007 •Khitercs Travelling Scholarship 2011 Guest appearances You may not know … •Marigold Southey Scholarship 2007 •The Dancers Company tour 2004 Reiko would love to work as a Japanese- English interpreter one day. Guest appearances Awards •The Dancers Company tour 2006 •Khitercs Travelling Scholarship 2011 You may not know ... •Telstra Ballet Dancer Award nominee Miwako loves knitting, crochet, puzzles, 2009 Sudoku and cooking and is a proud You may not know ... Melbourne Storm supporter. Juliet’s mum is Indonesian, and comes from a large family of dancers, actors, musicians, poets and playwrights. Juliet’s grandmother was the Sultan’s in his court in Java. soloists

Ben Davis Matthew Donnelly chengwu guo Amy Harris Robyn Hendricks Born in Melbourne in 1982, Ben Born in New South Wales, Growing up in China, Chengwu Amy Harris was born in Ararat, South African-born Robyn Davis used to tag along to his Matthew trained in Newcastle Guo began dance classes at the Victoria and began jazz and tap Hendricks began ballet classes sister’s jazz ballet classes and before joining The Australian age of eleven. He was accepted classes at her local ballet school, aged eight after her grandfather copy the routines from the back Ballet School. After graduating into the Beijing Dance Academy Rosengreens School of Dancing, observed her dancing on her of the studio before he started with honours in 1996, he was where he was able to combine at the age of three. From the toes all the time. Growing up attending his own classes at invited to join the Royal Danish his ballet training with academic age of ten, Amy trained in the in an academic family, Robyn playbill ads 35-36 age seven. He trained with Ballet, where he worked with studies. Chen’s talent for ballet Cecchetti method with Carole was the first family member Leeanne Rutherford at Ballet some of the world’s leading was soon evident when he Oliver School of Ballet in Ballarat, to pursue a creative passion. Theatre of Australia and joined choreographers including received a gold medal at the Tao and as a Cecchetti scholar won Training in the Cecchetti The Australian Ballet in 2005. Maurice Béjart, who recreated a Li Bei of China Competition, and bronze and silver medals. In Syllabus, Robyn travelled to Ben was promoted to coryphée solo for him in Gaîté Parisienne. also at the Beijing International 1999, aged 15, Amy successfully Melbourne in 2001 to participate in 2009 and soloist for the 2011 A memorable moment was Competition. In 2006 Chen auditioned for The Australian in the annual Cecchetti season. performing Return to the became a prize winner at the Ballet School. She joined The International Competition. Repertoire highlights Strange Land for Her Majesty prestigious Prix de Lausanne Australian Ballet in 2002 and During the competition, she was •The Baron in Graeme Murphy’s Queen Margrethe of Denmark Competition in Switzerland, was promoted to coryphée in approached by The Australian The Silver Rose 2010 in 1998. Matthew returned to receiving a full scholarship to 2007 and soloist in 2011. Ballet School and was asked to •Stanton Welch’s Divergence The Australian Ballet in 1999. complete his vocational ballet Repertoire highlights audition formally for entrance 2009 While enjoying the physical training. He chose to take up this •Hanna in The Merry Widow 2011 into the prestigious national •The Professor in Alexei challenges of the contemporary scholarship at The Australian •Lady Capulet in Graeme school. During her time at Ratmansky’s Scuola di works, classic storytelling is his Ballet School. During his time at Murphy’s Romeo & Juliet 2011 The Australian Ballet School, ballo 2009 passion. Matthew was promoted the School Chen toured regional •The Black Queen in Ninette de Robyn was one of four students •Wayne McGregor’s Dyad 1929 to soloist in 2005. Australia with The Dancers Valois’ Checkmate 2011 selected to participate in a 2009 Repertoire highlights Company, and received glowing •Christopher Wheeldon’s After student exchange to Canada, •Nicolo Fonte’s The Possibility •Drosselmeyer in Peter reviews for his roles in The the Rain© 2011 where she studied for four Space 2008 Wright’s The Nutcracker Sleeping Beauty, Graduation Ball •3rd Movement solo in weeks with the National Ballet •Jiˇrí Kylián’s Petite Mort 2005 2010 and Coppélia. Chengwu joined Sir Kenneth MacMillan’s School in Toronto. She joined The Australian Ballet in 2008 The Australian Ballet in 2005. Awards •Dr Coppelius in Peggy van Concerto 2011 Praagh’s Coppélia 2010 and was promoted to coryphée in •Kevin Jackson’s Encomium in Repertoire highlights •Maurice Sullivan scholarship 2011, and to soloist for the 2012 2007 •Stephen Baynes’ Body Torque.Muses 2011 •Wayne McGregor’s Dyad Constant Variants 2007 season. •Carabosse and Water Fairy in 1929 2009 You may not know ... •Colas and Alain in Repertoire highlights Stanton Welch’s The Sleeping •Alexei Ratmansky’s Scuola Ben is a huge fan of pop music Frederick Ashton’s La Fille Beauty 2009 di ballo 2009 and loves singing in the car •Mercutio and Tybalt in Graeme mal gardée 2004 Murphy’s Romeo & Juliet 2011 Awards •Nacho Duato’s Por vos (which he sometimes forgets •Mercutio in John Cranko’s muero 2009 is not a soundproof booth). •Lead Pontevedrian in Ronald •Telstra People’s Choice Award Romeo and Juliet 2003 Hynd’s The Merry Widow 2011 2008, 2010 •Stanton Welch’s The •Twyla Tharp’s In the •First Red Knight in Ninette de •Friends of the Australian Ballet Sleeping Beauty 2009 Upper Room 2002 Valois’ Checkmate 2011 Scholarship 2001 Guest appearances •Peter Martins’ Fearful •Sir Kenneth MacMillan’s •Nagae Scholarship 2000 •The Dancers Company Symmetries 1997 Concerto 2011 You may not know ... tour 2008 Guest appearances •Alice Topp’s Scope 2011 Amy loves photography and Awards •The Dancers Company tour •Goro in Stanton Welch’s music and finds herself snapping •Telstra Ballet Dancer 2011 Madame Butterfly 2011 away and going to gigs whenever Award nominee 2009, 2007 Awards •Graeme Murphy’s Firebird 2009 she can fit it in. •Friends of The Australian •George Garrett scholarship Guest appearances Ballet Scholarship 2010 •The Dancers Company tour You may not know ... •Adeline Genée Awards, 2008 Robyn enjoys reading and Silver Medal 1995 Awards cooking in her spare time. •Asian Pacific International Ballet •Telstra Ballet Dancer Award and She is fluent in Afrikaans. Competition, Silver Medal 1995 Telstra People’s Choice Award •Adeline Genée Awards, 2011 Bronze Medal 1994 You may not know... You may not know … Chengwu likes to watch Matthew has a keen interest Japanese anime in his in film and editing, and has spare time. produced work for the company’s website and for use in performances. soloists coryphÉes

Kismet Bourne Brett Chynoweth Natalie Fincher Halaina Hills John-Paul Idaszak Ako Kondo Natasha Kusen

Brooke Locket Jarryd Madden Heidi Martin Karen Nanasca Sharni Spencer Dana Stephensen Garry Stocks

RUDY HAWKES Brett Simon Jacob Sofer Laura Tong Andrew Wright At the age of seven, Ipswich- Brett Simon was born in Adelaide Jacob Sofer was born in Israel Laura was born in Whangarei, Melbourne-born Andrew Wright born Rudy joined his local and began his dance training and moved to Melbourne at the New Zealand, grew up in began dancing at Christine dance school, where he spent with Sheila Laing. At 16, he age of five. He studied at the Northland, New Zealand and has Waters School of Dance in 1990 several years learning jazz, moved to Melbourne and studied National Theatre Ballet School lived in Singapore and London. before completing his VCE and tap, and . at The Australian Ballet School, and the Victorian College of the She started dancing at four when secondary dance training at the Vivienne Wong He studied at the Shayne graduating in 2003. From 2004 Arts Secondary School before she began going along with her Victorian College of the Arts. In McCormick Dance Centre and to 2006 Brett was a member attending The Australian Ballet older sister to ballet and piano 2001 Andrew was accepted into Brisbane Dance Centre before of West Australian Ballet and in School. After graduating Jacob lessons. Laura studied with The Australian Ballet School and joining the Queensland Dance 2007 he joined The Hong Kong joined the Royal New Zealand Maureen Ax, Phillipa Campbell during his time there had the School of Excellence. He moved Ballet as senior soloist after Ballet in 2003, where he danced and Joye Lowe in New Zealand, opportunity to study with The to Melbourne in 2002 to take appearing with them as a guest the role of Mercutio in Romeo then at the English National National Ballet School of Canada up a position at The Australian artist. Brett has performed and Juliet both in New Zealand Ballet School from 1998 to and the School of American Ballet School. In 2004 Rudy many principal and soloist roles and during the 2004 UK tour. He 2000. Upon graduation she Ballet as an exchange student. was selected to participate in a in classical and contemporary also danced the role of Franz in entered the English National After graduating as dux, Andrew student exchange to New York ballets and he was nominated Coppélia and several main parts Ballet before joining The joined The Australian Ballet in and Toronto, taking classes with for Best Male Dancer at the in contemporary seasons. Jacob Australian Ballet in 2004. Laura 2002. In 2007 he travelled to the ’s 2005 Helpmann Awards for his joined The Australian Ballet at has danced a diverse repertoire Europe on a scholarship from the Studio Company. He joined performance in West Australian the beginning of 2005 and was since joining the company and company. In 2010 he guested The Australian Ballet in 2005 Ballet’s Dangerous Liaisons. Brett promoted to soloist in 2011. particularly enjoys the challenge in the USA at the Oregon Ballet and was promoted to soloist joined The Australian Ballet as Repertoire highlights of roles that are both physically Theater’s gala. He was promoted for the 2011 season. Rudy coryphée in July 2009 and was •The Photographer in Graeme and artistically demanding. She to coryphée in 2008 and to has enjoyed working with many promoted to soloist in 2011. Murphy’s The Silver Rose 2009 has toured to Japan, China, soloist for the 2011 season. choreographers including Wayne Repertoire highlights •The Professor in Alexei New Zealand, London, Paris Repertoire highlights McGregor, Graeme Murphy and •Stephen Baynes’ At the edge of Ratmansky’s Scuola di ballo and Greece. •Camille in Ronald Hynd’s Janet Vernon, Stephen Page and night 2010 2009 Repertoire highlights The Merry Widow 2011 Dimity Azoury Benedicte Bemet Imogen Chapman Joseph Chapman Jasmin Durham Eloise Fryer Rohan Furnell Stephen Baynes. •William Forsythe’s Steptext •Stephen Baynes’ Constant •Stephen Baynes’ •Christopher Wheeldon’s Repertoire highlights 2009 Variants 2007 Molto Vivace 2010 After the Rain© 2011 •Ceyx in Tim Harbour’s •Romeo in Rudi van Dantzig’s •Peter Wright’s The Nutcracker •Cigarette variation in Serge •Act III de deux in Halcyon 2010 Romeo and Juliet 2007 2007 Lifar’s Suite en blanc 2009 Stanton Welch’s The Sleeping •Octavian in Graeme Murphy’s •Count Danilo in Ronald Hynd’s •Don Quixote 2007 •Guardian Swan in Graeme Beauty 2010 The Silver Rose 2010 The Merry Widow 2007 •Stephen Baynes’ Raymonda Murphy’s Swan Lake 2009 •Stanton Welch’s Divergence •Prince Partner in Graeme •Le Viscomte de Valmont 2006 •Carabosse in Stanton Welch’s 2009 Murphy’s Nutcracker – in Simon Dow’s Dangerous •Jirˇí Kylián’s Petite Mort 2005 The Sleeping Beauty 2009 •Wayne McGregor’s Dyad 1929 The Story of Clara 2009 Liaisons 2005 You may not know ... •Nacho Duato’s Por vos muero 2009 •Stephen Page’s Rites 2008 Awards Jacob enjoys designing, 2009 •Peasant Pas De Deux in •Stephen Page’s •Helpmann Award nomination for photography and riding his •Stanton Welch’s Divergence Giselle 2008 Amalgamate 2006 2009 •Pas de cinq in Suite en blanc Best Male Dancer 2005 motorbike, and has a mini Jessica Fyfe Ingrid Gow Noah Gumbert Calvin Hannaford Timothy Harford Jack Hersee Richard House •Rat Pack member in Stephen •Keith M Christensen Award for schnauzer called Spiky. • Girl in Les Sylphides 2009 Baynes’ Raymonda 2006 Excellence 2009, 2006 •George Balanchine’s •Jirˇí Kylián’s Forgotten Land, •The Geoffrey Rothwell •The Mistress in Sir Symphony in C 2004 Stepping Stones and Petite Mort scholarship Kenneth MacMillan’s Manon •J i ˇr í K y l i á n ’ s Sechs Tanze 2004 2005 •The Noel Pelly scholarship 2008 Guest appearances •The Wife in Jerome Robbins’ •The Dancers Company tour You may not know ... The Concert 2008 After living in Hong Kong, 2011 Brett has a great appreciation You may not know … Awards for chinese dumplings. His Laura has three sisters: •Telstra Ballet Dancer Award favourite is Xiao Long Bao, a a scientist, a vet and an nominee 2008 shanghainese specialty. economist. •Anne Woolliams Award for Excellence in Dance 2001 •Geoffrey Rothwell scholarship Cameron Hunter Brodie James Jake Mangakahia Luke Marchant Rina Nemoto Jill Ogai Mitchell Rayner •James & Pamela Mills scholarship You may not know... Andrew loves to travel. His favourite city is New York.

Christopher Rodgers-Wilson Benjamin Stuart-Carberry Valerie Tereshchenko Charles Thompson Sarah Thompson Alice Topp Jade Wood artistic staff

Danilo Radojevic Fiona Tonkin tristan message Associate Artistic Director Principal Coach & Ballet Mistress & Repetiteur

Danilo Radojevic, a dancer with Fiona Tonkin began her career Tristan was born and grew up a dynamic style and exceptional in Wellington where she joined in Melbourne, graduating from technical skill, catapulted to the in The Australian Ballet School in international status at the age 1979. Her association with The 1999. He joined The Australian of 19 when he won the Gold Australian Ballet began in 1980 Ballet in 2000 and was Medal at the 1977 International when Marilyn Jones invited her promoted to Soloist in 2005. Ballet Competition in Moscow, to join the company. Tristan was known as a strong the only Australian to win this By 1987 she had become dancer, a sensitive partner prestigious award throughout a principal artist, renowned and a compelling artist. He the Moscow competition’s for her interpretative artistry, performed soloist and principal long history. classicism and technical roles including Jean de Brienne Soon after, Danilo left The versatility. On her retirement in in Stephen Baynes’ Raymonda Australian Ballet to become 1993, she had danced almost and the lead roles in Spartacus a soloist with American Ballet every major female role in the and The Sentimental Bloke. He Theatre in New York. He company’s repertoire. also danced works by Graeme remained with the company for Murphy, Stanton Welch, Glen Career highlights with The Tetley, Christopher Wheeldon 15 years, visiting his homeland Australian Ballet include her in 1978 and 1979 with Stars and Jirˇí Kylián. During Tristan’s performances at The Royal career he toured with The of the World Ballet and in 1991 Opera House, the Kirov with Rudolf Nureyev’s last Australian Ballet to China, Japan, Theatre and the Metropolitan New Zealand, the UK and France. tour. Danilo was promoted to Opera House and opening principal dancer of American the company’s 1992 London While still dancing Tristan began Ballet Theatre by Artistic Director Coliseum season as Giselle. teaching at The Australian Ballet Mikhail Baryshnikov in 1981 and The Australian Ballet School and performed the leading roles She appeared as a guest artist and studying for the Vocation in many of the classics, often with the Kirov Ballet in Swan Graduate Certificate in Elite alternating with Baryshnikov Lake and on Rudolf Nureyev’s Ballet Instruction through The himself. Farewell Tour, and danced lead Australian Ballet School. Tristan roles in the ABC TV broadcasts joined The School full time as a After retiring from dancing, of La Fille mal gardée and Romeo Danilo taught at American classical teacher in 2009 and and Juliet. Fiona received Green was invited by Artistic Director Ballet Theatre, New York Dance Room Awards in 1988 and 1989. Studios and leading universities David McAllister to rejoin The in California, gaining a reputation Fiona returned to New Zealand Australian Ballet as ballet as an outstanding technical in 1994 where she completed a master and repetiteur in 2012. coach. He returned to join the Bachelor of Arts at Canterbury ballet staff of The Australian University while guest teaching Ballet in 1997 at the invitation in New Zealand and Australia. of former Artistic Director Ross In 1999 she completed The Stretton. Australian Ballet School’s Professional Dance Teachers Danilo was appointed Associate Course and was awarded Artistic Director of The Australian the Australian Multicultural Ballet in July 2001. Foundation Scholarship. In 2000 Artistic Director Matz Skoog appointed her Rehearsal Director of the Royal New Zealand Ballet. She continued to work with Skoog in London as Assistant Artistic Director of the English National Ballet in 2002. Fiona has worked with many choreographers including Stanton Welch, Mark Morris, Christopher Hampson and Mark Baldwin. Fiona returned to The Australian Ballet in 2003 at the invitation Kevin Jackson and Andrew Killian of David McAllister. Photography Georges Antoni guest bangarra dance artists theatre australia There’s Definitely a Prince Involved

Pier 4/5, Hickson Road, Dawes Point, NSW Artists in Residence 2000 Kathy Balngayngu Marika, T. (02) 9251 5333 Cultural Consultant F. (02) 9251 5266 Jacob Nash, Designer Website www.bangarra.com.au David Page, Composer Email [email protected] Hetti Perkins, Curator Facebook facebook.com/bangarra Frances Rings, Choreographer Internationally acclaimed, Bangarra Rehearsal Director produces distinctive dance theatre that Catherine Goss tells the stories of Indigenous Australia. Production Manager Under the artistic direction of Stephen Page Phoebe Collier Sara Black Kristina Chan James O’Hara for over 20 years, Bangarra has created a Elma Kris Yolande Brown Patrick Thaiday Deborah Brown Jhuny-Boy Borja Waangenga Blanco Tara Gower signature body of work that has influenced Stage Manager Sara graduated from Kristina has performed From Fremantle WA, the development of contemporary Kate Williams Elma Kris was raised Yolande is a descendant Patrick was born in Deborah is a Jhuny-Boy was born Waangenga is a Tara is a Yawuru girl on Thursday Island of the Bidjara clan of Biloela, Queensland, descendant of the Badu in The Philippines descendant of the from Broome with the VCA in 2005. nationally and James joined Ballet Australian culture. Head Mechanist with her families from the Kunja nation of and grew up in Mackay. and Meriam people of and was brought up Meriam Island people Aboriginal, Fillipino, Since graduating internationally, working Junior de Geneve in Kayne Johnson she has worked with with Australian Dance 2003. He was awarded Each year, Bangarra presents over 110 Central and Western central Queensland His parents come from the Torres Straits and in the outback town and of the Pajinka Irish and Spanish many artists including Theatre, Garry Stewart, a Princess Grace performances that are regularly sold out. Head Electrician Torres Strait Islands. and also has French Iama and Erub in the also acknowledges of Katherine in the Wik, Cape York. After ancestry. A dance and Wendy Houstoun, Chunky Move, Sydney Foundation Bursary in The ensemble of 14 performers tours Padraig O Suilleabhain She is of the Kulkalgaw and Celtic origins. She Torres Strait Islands. her Scottish heritage. Northern Territory. completing three visual arts graduate, to Australian capital cities, regional and Bagryana Popov, Theatre Company, 2004 and was a member ASM Trainee Ya, Kala Lagaw Ya joined Bangarra in Patrick joined Bangarra She joined Bangarra He joined Bangarra in years of study at she joined Bangarra in remote areas and overseas. Underpinning Gideon Orbarzanek, Theatre of Image, West of the Ballet Preljocaj Louana Sainsbury and Kalaw Kawa Ya 1999. Highlights include in 2002; his solo work in 2003. Highlights 2003 and has since NAISDA, Waangenga 2006. She performed Lucy Guerin and David Australian Opera, Opera from 2005-6. He all of Bangarra’s productions is the strong language groups. Elma dancing traditional in Walkabout began his include the company’s performed in Bush, was invited to join in productions such as Pledger. She has been Queensland, State performed Decadance connection with Indigenous communities has taught Visual Arts “out bush”, performing reputation as a powerful return to country on Mer Clan, Boomerang, True Bangarra in 2005. Spirit, Bush, Mathinna, involved in six projects Opera South Australia, (Ohad Naharin) while a that remain its core inspiration. Bangarra Dance Theatre and began her own the role of Lady Jane and distinctive dancer. Island and Dhalinbuy, Stories, Mathinna, He has performed in Fire – A Retrospective at Chunky Move; she Stephanie Lake, Ros guest with Cedar Lake in Board 2012 Performances dance company named Franklin in Mathinna He has performed Rites with The of earth & sky and Bush, Boomerang, Clan, and Belong. She also won a Helpmann Award Warby, Deborah Hay, New York, participated Larissa Behrendt (Chair) Terrain Bibir (Strength). Joining and receiving the 2010 in Clan, Boomerang, Australian Ballet, and Belong. Jhuny-Boy feels True Stories, Fire – A danced in the film Bran and was nominated for , Narelle in Dancelines ‘08 Tanya Hosch Choreographer Frances Rings Bangarra in 1999, she Deadly Award for Dancer Gathering, True Stories, BAM and Bangarra’s privileged to be a part Retrospective, Mathinna, Nue Dae. Her most a Green Room Award Benjamin, Lucy Guerin (Wayne McGregor) and Michael McDaniel 29 June – 7 July, won the 2007 Deadly of the Year. A graduate Mathinna, Fire – A 20th Anniversary Fire of Bangarra, learning of earth & sky, Spirit and memorable experience for Glow. She worked as and Kate Champion. is a founding member of Stephen Page Arts Centre Melbourne Award for Dancer of of QUT, she received Retrospective, of earth – A Retrospective. Her about and embodying Belong. He was also the with Bangarra has been choreographic assistant Kristina received a and choreographer with Greg Phillips www.artscentremelbourne.com.au the Year. She made her QUT’s 2005 Outstanding & sky, Spirit and Belong, award nominations the Indigenous culture lead dancer in the 2006 performing in front of on the Helpmann Award in 2011 Cross Connections Ballet Lynn Ralph 1300 182 183 choreographic debut Alumni Award for the to much acclaim. include a 2010 of this land, bringing it Commonwealth Games her family. Tara believes Musical and Michael for her role in Narelle in Copenhagen. Since Paul Wand AM for Bangarra, creating Creative Industries. In Patrick believes that his Helpmann Award and to the world and back to Opening Ceremony. growing up on Yawuru 18 July – 18 August, Kantor’s Woyzeck. Benjamin’s In Glass 2006 he has created Emeret Lu in 2007, and 2012 she was associate in-built desire to dance a 2011 Deadly Award. the people it came from. In 2009 Waangenga land gave her the Artistic Director Sydney Opera House Sara is also a founding and Australian Dance with and been assistant choreographed About director of I Am Eora, comes from his parents’ She draws inspiration was nominated for the strength of identity to Stephen Page www.sydneyoperahouse.com.au member of ROGUE. Awards for her roles in to Sidi Larbi Cherkaoui. in 2011. part of Sydney Festival. ancestors. from nature and Deadly Award for Dancer make her dreams into 02 9250 7777 works by Tanja Liedtke, In 2011 he performed Executive Director Yolande believes people her family’s diverse of the Year. reality. Twelfth Floor (2006) and Die Winterreise (Matthew Catherine Baldwin 24 – 25 August, can achieve whatever background. construct (2009). Lutton). Manager, Marketing IPAC, they set their hearts on. & Communications www.merrigong.com.au Nathalie Vallejo 02 4224 5999 Manager, Philanthropy 29 August – 1 September, & Government Relations Her Majesty’s Theatre, Adelaide Nicholas Hartley www.bass.net.au 131 246 Manager, Finance & Operations Ashwin Rathod 13 – 15 September, Canberra Theatre Centre Cultural Program & Company Manager www.canberratheatrecentre.com.au Amy Hammond or 02 6275 2700 Sponsorship Manager 3 – 7 October, Michael O’Rourke QPAC, Brisbane Marketing & Communications Coordinator www.qpac.com.au Sarah Whelan 136 246 Media & Marketing Coordinator Robbie Curtis Harriet Ritchie Carolyn Hammer of earth & sky Leonard Mickelo Daniel Riley Jasmin Sheppard Ella Havelka Tara Robertson Travis De Vries Kaine Sultan-Babij Robbie was an acrobat Harriet trained in Sydney Administrative Coordinator Choreographers Frances Rings, Born in Ipswich, McKinley Jasmin, a descendant Born in Dubbo, Ella Born and raised in Travis is a Gamilaroi Kaine was born and in the Flying Fruit Fly before graduating Helen Anu Daniel Riley McKinley Queensland, Leonard Daniel is a Wiradjuri of the Walangamma is a descendant of Darwin, Tara is a man who was born in raised in Whyalla, South Circus. He trained at from the VCA with a Executive Assistant is a descendant of man who has been tribe in the Gulf of the Wiradjuri people. descendant of the Muswellbrook, NSW. In Australia. Of Aboriginal, the New Zealand School Bachelor of Dance in 28 March – 1 April, Ellen Watts Glen St Theatre the Wakka Wakka performing with Carpentaria, was born Ella’s first few days Munanjali people from 2010, he was accepted Afghan and Yugoslavian of Dance, and has 2005 and Honours in tribe, Bidjara nation, Bangarra since in Brisbane and raised with Bangarra in the Logan River area on secondment with descent, his spiritual danced with Footnote 2007. Since then she 31 October – 17 November, Gungahlu tribe, Juduwa 2007. His Bangarra in Melbourne. She 2009 were spent with of Queensland. She Bangarra to work with connections are to Dance Company, Opera has toured nationally and tribe and Kulili tribe. credits include Clan, joined Bangarra in 2007 the community in completed a Bachelor Frances Rings on the Arrernte people Australia, in the Shaun and internationally, New South Wales He joined Bangarra in True Stories, Rites, and has performed in Arnhem Land. She first of Dance Performance Artefact as a part of the of the Central Desert Parker production Happy performing and 2006, performing first in Awakenings, Mathinna, True Stories, Mathinna, appeared in Fire – A at the Adelaide Centre of earth & sky program. regions in Northern as Larry and in the Legs developing works for the Gathering program Fire – A Retrospective, Fire – A Retrospective, Retrospective and was of Performing Arts in In 2011, Travis began Territory. A graduate of on the Wall production Chunky Move, Lucy with The Australian of earth & sky, Spirit of earth & sky, Spirit nominated as Dancer 2005. She made her a traineeship with the Aboriginal Centre Beautiful Noise, directed Guerin Inc and many Ballet. He has also and Belong. In 2010 he and Belong. Dance to Watch in the Dance debut with Bangarra on Bangarra, performing for the Performing Arts, by Anton. Robbie also independent artists. performed nationally choreographed his first has given Jasmin the Australia Critics Survey. the 2011 international in Belong and on he has worked with performs in circus and Harriet was part of the and internationally in work, Riley – part of the opportunity to connect Since then she has tour of Spirit; she the regional tour of many industry artists toured with CIRCA in Lucy Guerin Inc Aether Mathinna, Bush, Fire – A of earth & sky program. to her culture, and she performed in Mathinna, also performed in the Mathinna. He has a and danced as a part their 2011 European Company, which won Retrospective, of earth He has been nominated hopes to inspire others of earth & sky, Spirit and national tour of Belong passion for dance and of Leigh Warren and tour. Robbie is a the 2007 Green Room & sky, Spirit and Belong. for an Australian Dance to follow their hearts Belong. Ella owes her and the regional tour of continues to immerse Dancers at the 2011 recipient of the JUMP Award for Best Dance Leonard’s mentor is Award and a Deadly and dreams. success to her mother; Mathinna. himself and improve his WOMADelaide festival. mentorship grant. Ensemble; she was also his foster mum, who Award, and nominated her strength and skills with Bangarra. He joined Bangarra nominated for a 2008 opened his heart to to apply for the Rolex determination inspires in 2011 as a trainee Green Room Award dance. Protégé & Mentor her in everything she dancer, performing in for Most Outstanding Initiative. does. Belong and Mathinna. Female Dancer for her work in Corridor. ENDOWMENT Estates Ms Jennifer Barnes Patsy Martin Orchestra Victoria Albert Ms Rita Brown Mrs Marie McCann Susan Warburton Funds within The Endowment The Australian Ballet Philip & Laurel Bendrey Mr Edward J Mason Sydney Opera House Trust Mr James Bain AM & Mrs Kim Burnett Mrs Cherry McCardel Mrs Margaret Ward philanthropy The Australian Ballet Endowment acknowledges with great Mrs Anne Boyle Graham Matheson Queensland Performing Arts Janette Bain Marilyn Burton Ms Sandra McCullagh Mrs Suzanne A Waterhouse encompasses capital funds appreciation the bequests which David McAllister AM Centre Mrs Ros Bracher AM Mrs Nancy Butler Mr Kenneth W Watkins created by individuals, large it has received from the Estates Ann & Derek Braham Mrs Ann McFarling Jannie Brown donations and bequests. The of the following benefactors. Donna Brearley Mr Robert W McCormack Ms Trish Byrne Mrs Jane McGregor Pat & John Webb income earned is used for the These bequests have been Patricia A Breslin D J McGregor ANNUAL GIVING Joyce Clothier OAM Mrs Nancye E Cain Mr Michael McKenzie & Mr Angela Westacott benefit of the Ballet. invaluable in the achievement Mrs R D Bridges OBE Mr Michael McKenzie & Mr President, Lady Potter AC Bar & Tim Cohen Pam Caldwell Neil Jones Pamela Whalan of the company’s objectives. The Australian Ballet is proud Daniel Gaudiello and Lana Jones Mrs Margaret Broeks Neil Jones Mr Jim Cousins AO & Mrs Mrs June Cameron John & Rae McKim Mrs Anne Wharton to acknowledge the generous Photography James Braund The International Fund Mr Reginald Edward Gregory Judithe & John McKindley Libby Cousins Mr & Mrs Robert McLellan Jannie Brown support and encouragement Ms Joyce Campbell Mrs S White Capital Contributions MBE & Mrs Gregory Ms Laurie Cowled Ms Deborah Buckett Meath it receives through Annual Mr & Mrs Michel-Henri Carriol Mrs Ann McNamara Drs E & H Wicki Ms Laurie Cowled Patricia Marie Smit Wendy Burgin Prudence Menzies Giving. Continued support Mrs Shirley Danglow Mr Paul Carter Dr Pam McQueen Mr & Mrs M Willcoxson Frances Gerard Patricia Hope Willis Dr Sheena L Burnell Ms A Michell from individuals and Mrs Suzanne Davidson OAM Dr G David & Mrs Caroline Mrs Pamela McTaggart Judith Williams Dale & Ian Johnson Colin Robert Marshall Trish Byrne Margaret Middleton corporations is essential to Mr Adam C Elder Champion Harry Melkonian & Wei Wu Kay Williamson Mrs Sarah Murdoch Hazel Graham develop our artistic excellence Pam Caldwell Mrs Susan Morgan Ms Suellen Enestrom Ronda Chisholm John M Michelmore Mr Robert Winnel Mrs R H O’Connor Ethel Margaret Ewing Cutten and secure the future of The Mr John Calvert-Jones AM Mary Murphy In memory of Winefred Ms Louise Christie Margaret Middleton Ms Josie Woodgate OAM Mrs Kerry Packer AO Robert J Shipsides Australian Ballet. If you would Faithfull & Mrs Janet Calvert-Jones AO TJ Nakasuwan like to join our Annual Giving Mrs Catherine Clarke Desmond B Misso Esq Ms Helen Woods Dr Valmai Pidgeon AM E M Black Mr & Mrs Chris Fullerton Dr Brian T Carey Simon Nettleton program, please ring: Mrs David Clarke Ms Beatrice Moignard Iain & Judy Wyatt Mr Kenneth R Reed Paul Sinclair Mr John R Fullerton Robert E A Carli Miss Shirley Neville Judy Turner Dr Anne Colman Mrs Veronica Mooney Yvonne Yendell Talbot Family Foundation Mrs M M C Djordjevic Dr Nicholas Girdis CBE & Mrs Rowena Catchatoor Miss Judith Newberry Senior Manager QLD/SA/WA Dr Margaret Cook John & Jaye Morey robAust Pty Ltd Mr & Mrs William Webb Dr George Garratt 03 9669 2732 Marina Girdis Ron & Luci Chambers Dr Kersti Nogeste Barry Cowdell Mrs Marie Morton Ruth Zionzee Anonymous (1) Robert Salzer AO Lisa Bolte Louis Hamon OAM Mr Bryan Chidgey Mr Arthur L Norcott Tim & Bryony Cox Dr Merrilyn Murnane AM Anonymous (32) Patrons Manager VIC/TAS Dr Robert & Mrs Dianne We are also grateful to those Betty Gleeson-White Miss Beverley F Clark Mrs Roma Norcott Mr Michael Crouch AO & Mrs Mr Barry P Murphy other individuals who made 03 9669 2735 Hodge Clifford Burgess Kathleen O’Hara Shanny Crouch Mr D M Murray donations of $20,000 or less. Joyce Clothier OAM Jane Diamond Mecca Cosmetica Supporters Keith M Christensen Di Palmer & Stephen Mrs Lyndall Cummine Mrs Margaret Murray Gifts $100 – $999 It was the Opening Night of Judy Connor Patrons Manager NSW/ACT Dale & Ian Johnson William Arthur Hugh Gordon Rodgers-Wilson Charles Curran AC & Eva 1213 Swan Lake in London in 2005 Caroline Cooper MVO 02 9253 5316 Greg Khoury Irena Nebenzahl Freda Eileen Spicer Mrs Meredith Peters Curran that inspired Frances Gerard to Mr Jim Cousins AO & Mrs Libby All donations are fully tax deductible. Dr Judith Kinnear Mr Simon Nettleton establish this important Fund. Asle Noel Chilton Cousins Dagmar Elisabeth Pidd Mrs Kate Damm Jan Northam Mr & Mrs Aron Kleinlehrer MAJOR GIFT Gwendolyn Letitia Tennant Judith Cowden Lady Porter Mrs Joan Darling Les Etoiles – Supporting the Miss Fay Mahoney Russell J Nowell & MATCHING GRANT Endowment Funds Sir Robert Southey AO CMG Miss Katrina Cowen Mrs Diana Ramsay AO Principal Artists Ms Jenny Darling & Ms Emma Graham Matheson Mrs Rachel H O’Conor The Ian Potter Foundation The Robert & Elizabeth Albert Brenda June McGowan Darling Joan Cowie Penelope S Rawlins Mrs Mary Barlow Richard O’Dwyer The Ian Potter Foundation Music Fund David McAllister AM Mrs Felicity Demediuk Mr Will Noble Mrs Maree D’Alterio Kenneth R Reed Ms Robin Campbell The Hon Mr Justice B O’Keefe has made a grant of $4 John & Anni McArthur Dickerson Gallery NSW The Richard & Barbara Allert Fund Norma Lucas Payne John Daly Trevor Rice Mrs Sam Chisholm AM & Mrs Janette O’Keefe million over five years for Susan Morgan Neil Gill The K Christensen & AE Bond Mrs Ila Leland Massy Burnside Mr Leonard Dark Rhonda & Peter Roga Ms Val Harding Mrs Diana-Rose Orr the maintenance, upgrading Bequest Dame Elisabeth Murdoch Jean-Yves Didier and refurbishment of The Gay John Therese Clarke Merawyn Davies Richard Ross Lynnette Harvey Ms Amanda Paliouras The Walter Bourke Prize AC DBE Mr John G Donaldson AO Primrose Potter Australian Gwendoline I Tregear David de Verelle-Hill Caroline J Ross-Smith Mr Arthur L Norcott Faye Parker The George Garratt Fund Prof Ruth Rentschler Mr John Downer AM & Mrs Ballet Centre and towards Lesley Morgan Sperry Miss Patricia Downes Ms Ros Russell Mrs Roma Norcott Geoffrey & Jan Phillips furthering the company’s The Maina Gielgud Fund Dr Ian Ross & Mrs Margaret Downer Gwen Hunt George Drew Mrs Margaret Sault Mrs Helen O’Neil S Ross AM Paul Pinel education programs, The Kathleen Gorham Fund Patricia Duffy Mrs Patricia McSpeerin Mrs Lorraine Drogemuller Miss Sheila Scotter AM MBE Mrs Kerry Packer AO Lyne Sedgman Mr & Mrs Alan L Platt followed by a matching established in her memory Olive Dunk grant of up to $4 million Mr Noël Pelly AM Mrs Jill Duck Margot Seeley Dr Valmai Pidgeon AM Mrs Anne Symons Robin Potter OAM The Neil Hopkins Fund Mrs Edrina Dunstan that matches other grants Lady Snedden AM Edrina Dunstan & The Late Mr & Mrs Charles Sheldon Lady Potter AC Kerryn Pratchett The Freda Irving Memorial Dr Christine Thevathasan and donations made to The William F Wells David Dunstan Dr Lyn Edwards & Prof Robert Scholarship Fund Sara J Simpson Mrs Robert Rose Jill Thorpe Bryce C. L. Priest Australian Ballet on a dollar Mrs Thora Pearce Mrs Carol Edwards Barry Kay Memorial Elvira Sinicins Mrs Christine Smedley Mr & Mrs Leigh Virtue Mr Greg Egan Lynn Rainbow Reid for dollar basis. Miss Ann Williams Jo Edwards Scholarship Fund Lady Southey AC Kelly Wyborn Ray Wilson OAM & The Late Miss S Y Evans Mr Peter Reilly & Mr Linton Mr Ian Berkeley Small Mrs Joan Daphne Evans Soderholm John Lanchbery Fund Jacques Spira OAM & Edith James Agapitos OAM Mr & Ms Barry Fagg Nola Joan Hassall Richard Evans Spira Miss Jennifer Rhodes The Ian McRae AO Fund Principal Patrons Emma Zuber Ronald B Farrow Jean Hammond Ross Fairhurst Norman Stevens Gifts over $20,000 Judy Roach for Estate Ian The Susan Morgan Fund Anonymous (5) Mr William J Forrest AM Mr A S Leslie The Late Jim Finch Ms Juanita Stockwell Mr Robert Albert AO Roach The Frank & Thora Pearce Fund George Foster Mr Laurie Davies Peter F Fleming Miss Pat Sutherland & Mrs Albert Mrs Janet Rogers The Colin Peasley OAM Fund Corps de Ballet Patrons Eric & Tonia Gale for Education Esther Primrose Lucy Gertrude Rita Fletcher Deb Sutton Mr Peter Clemenger AM Gifts $3,000 – $4,999 Pamela Rogers & Mrs Joan Clemenger Ms Joanne Gallpen The Noël Pelly AM Fund Poelman Barrie I Follows AM JP Elizabeth Swanton Mr Lee Barr Ms Ros Russell In our 50th anniversary year, Mrs Tonya McCusker Mrs Kylie Ganko The Margaret Ellen Pidgeon Fund Dame Joyce Margaretta Daws & Margaret Gail Follows Susanne Sweetland Rosemary & John Barr Mrs Deri Saunders Support from Private Miss Cynthia Parker Christine George for Classical Ballet endowed Lady Nancy Fairfax AM OBE Mr George Foster Ms Susan Taylor Arda & John Barry Mr Bill Scales AO Foundations it’s time to celebrate – and to Mr Dick Smith AO Ms Diana Gerstman by Dr Valmai Pidgeon AM Ernest Spinner Mrs Geraldine Fox-Penglis Dr Christine Thevathasan Ms Barbara Bedwell Mr Garry Scarf Dunstan Family Foundation & Mrs Pip Smith Mr & Mrs Adrian Gibson reflect on the many supporters The James & Diana Ramsay Margery I Pierce Frances Gerard Dr Diana Tolhurst Kirsty Bennett Franz & Anna Schlosser Eirene Lucas Foundation (The Australian Ballet) Fund Mr Neil R Gill Barbara Bishop Hewitt Anthea Gilbert Michele & Mario Topcic Maxine Bowness Max & Jill Schultz James & Diana Ramsay The Kenneth R Reed Fund Senior Artist Patrons Ms Judy Gillard who have helped make The Mrs Sylvia Box Suzanne Gleeson Dr Sally Townsend Charles G Clark Donna Scott-Young Foundation Kevin Regan Fund endowed by $15,000 – $19,999 William G. Glover Dr Donald Wright The Late Mrs Krystyna Gogolak Miss Ruth Trait Annette Cook Prof Ron Sekel OAM & Mrs Khitercs Hirai Foundation Max Johnston Betty Amsden OAM Mr Charles Goode Australian Ballet great. Mrs Sally Sinisoff & Mr Stephen Gogolak Patricia Tyler Mr John K Dowling Margaret Sekel Lord Mayor’s Charitable The James Slater Memorial Fund Mrs Sue Perini Dr Kirsten Gormly & Mr Foundation – Eldon & Anne Betty June Drabsch Ms Margo Graham John & Susan Vanderstock Mrs Neilma Gantner Dr Adam T Sheridan The Marigold Southey Fund Mrs Janis Salisbury Kristian Downing Foote Trust From The Ballet’s first days, inspired and passionate volunteers have Marianne Martin Lyn Grigg Patricia Speher Vanderwal Mr Chris Gillman Tim & Lynne Sherwood The Robert Southey Fund Mr & Mrs Leon Gorr McCusker Charitable Mr Norman Drogemuller OAM Louis Hamon OAM Nev Simpson given thousands of hours of work, and they continue to give in many for Australian Choreography, Ms Jill Vaughan Soloist Patrons Mrs Anne Gluyas Foundation Mrs Lilian Hardy Mr Richard Green & Mrs Mr Gary Singer & Mr Geoffrey ways, through The Australian Ballet Society in Victoria, the Friends endowed by The Sidney Myer Fund Jean M Negus Peter Vaughan Gifts $10,000 – $14,999 Alan & Marion Grundy Isabella Green OAM Perpetual Trustees Sue Harlow & Merv Keehn Smith of New South Wales and the Friends of South Australia. A loyal band Fund endowed Dr Dawn Meryl Thew Dr Richard Vesey Brian Abel & The Late Ben Mrs Jean Healey Lyn Grigg Sidney Myer Fund Mr Robert B Haynes Gannon AO Mr & Mrs B N Smith of volunteers in Brisbane and Perth also give invaluable assistance by Bee Fletcher Judith Gwen Newberry Kenneth W Watkins Pat Howell Mrs Felicity Gunner OAM Snowy Nominees Charitable Hilary A Hazledine Mrs Roseanne Amarant Mrs Jenny Smith The Maurice Sullivan Memorial Duncan Elphinstone McBryde Pamela Whalan Gillian Hund Maria Hall Trust when the company performs there. Scholarship Fund Leary Christopher Hector & Ros Mrs Ruth Armytage Prof Nerida A Smith Margaret Amery White Miss Dawn Kelly Louise Hamshere The Angior Family Foundation Dame Peggy van Praagh Fund Miss Ruth Margaret Davidson Neave Mr John Calvert-Jones AM & Mr Sam Smorgon AO & Mrs Dinah Whitaker in memory Christina Marks Ms Linda Herd Minnie Smorgon The Cory Charitable The initiative and dedication of ballet lovers across all communities for Choreography Dr Alf Howard Ms Claire Houston of Emma Toussaint Mrs Janet Calvert-Jones AO Foundation Mr Robert W McCormack Dr & Mrs Darryl J Hodgkinson Mr Ezekiel Solomon AM is remarkable; many of our supporters follow The Australian Ballet Margaret Elizabeth Oxford Fund Ms Jane D Crawford Dr & Mrs Ken Hoyle Angie Carter Barry & Megan Willcox Malcolm & Sandy McLachlan Mrs Robyn Hopkins The Flew Foundation The Christine Marie Johnson Lilla Ito Mrs Gordon Douglass AM Mr David Southwick around Australia and across the world. As I look over the company’s Mr Harold G Marshall AM Mr Williams Mr Henry Nowik AO OBE The Greatorex Foundation Maple-Brown Scholarship Mrs Caroline Howard Jacques Spira OAM & Edith historical accounts, I note that philanthropic gifts have always been Muriel Leadbeater Michael & Jennifer James Jan Williams Mrs Barbara Duhig & Mrs Kathy Nowik The Ross Trust The Dorothy Hicks Fund Dr & Mrs Greg Hoy Spira Melba Alma Cromack Max Johnston Leonard J Wilson Mrs Penny Edwards Yvonne Reuvekamp The Stuart Leslie Foundation a part of our income. In the early years we had gifts of pounds, The Melba Alma Cromack Fund Mrs Christine Hughes Ms Fiona Stephinson Patricia Cameron-Stewart The Late Mrs Mary Jones Ms Sallyann Wilson Mr Charles & Mrs Claire Handler Mr Michael Shmith William Arthur Hugh Gordon shillings and pence; in the 1980s a formal philanthropy program Anonymous (1) Dr Alastair Jackson Mr Bruce Stracey Canon Albert McPherson Marlene Kavanagh Josie Woodgate OAM Beverley Harvey & The Late Valerie Taylor Fund was established. Richard Harvey Mrs D Jackson The Honourable Brian Sully QC Charles Ross Adamson Marion J Kelly Yvonne Yendell Suzanne Waterhouse Contributions to the General Fund Chris & Anne Knoblanche Michelle Johnson Mildred Teitler Anonymous (2) Mrs Valda Klaric Victor & Christine Zemancheff Danny & Barbara Watson Out There – The Australian In 2012 philanthropy will contribute 12% to the company’s operating Ms Robin Campbell & Mr Bruce Lisa Kokegei Joan Lyons Mr Maxwell Johnston Mr Grant Thomas Ballet in Schools Parncutt Mrs Ruth Zionzee Mrs Marjorie White Mr Paul A Jones Mr & Mrs Peter Thornhill budget. We salute our patrons and supporters, who are increasingly The Dame Peggy van Praagh Simon Lambourne Mr Robert Maple-Brown AO Talbot Family Foundation David Crawford AO & Maureen Anonymous (55) Donna Woodhill Ruth Trait Leadership Circle Securing the Francine Lancaster & Mrs Susan Maple-Brown Mr & Mrs Ervin Katz The Ian Potter Foundation playing a significant role in keeping The Australian Ballet on stage. Crawford Anonymous (3) future through a bequest Dr Clare Myers Mrs Jenny Kudelka Mr Roger N Traves SC The Profield Foundation Mavis Lance General Support Ian & Norma Drew If you would like further Mr & Mrs B G O’Conor Mrs Nathalie Kulakowski & Mrs Samantha Traves Mrs Carlean Langbein The Australian Ballet Society Fred P Archer Charitable Trust I invite you to consider being a part of the ballet family, either as Henry & Miriam Greenfield information on the Bequest Gifts $1,000 – $2,999 Ann Tregear Peter Langford AM Inc Dave Poddar & Angela Flannery Peter Langford AM - The Trust Company Mr Robert Maple-Brown AO program, please ring Donna Don & Veronica Aldridge a member of a volunteer group or by making a donation to support President Josie Woodgate OAM Norman F Pollack Dr Joan M Lawrence AM Mrs Claire Truscott Tim Fairfax Family Foundation & Mrs Susan Maple-Brown Brearley (03) 9669 2782. The Late Geraldine Lawton Miss Catherine Alston David McAllister’s vision for our great company. Friends of The Australian Lady Porter Margaret Lederman Rosslyn J Turner William Angliss (Victoria) Mr Fred Millar AO CBE & Beth Mrs Judy Lee In memory of Ian & Ila Ballet (NSW) Mr Kenneth R Reed Mr Ross Liebmann Mrs Jean Upton Charitable Fund Millar Mr L Kevin Adair Daniel-Francois Lemesle Anderson Chairman Greg Khoury Mrs Joyce Sproat & Mrs Cooke Rosalind Lilley Mrs Robyn Veal The Australian Ballet belongs to all Australians and we, the current Perini Family Foundation Mrs Sheila Adams Kate Lewis Mr & Mrs Richard Armstrong Friends of The Australian Susie Lobb Mrs K D Verco Philanthropy Support custodians, are dedicated to ensuring it will continue to showcase Queensland Friends of The Dr C S Loader Dr Michael & Mrs Lynne Wright Peter & Jennifer Bartter Richard Allert AM FCA Ballet (SA) Inc Dr Richard Vesey Renaissance Tours – Australian Ballet E Xipell Mr & Mrs Rob Logie-Smith all the talent and artistry that makes this company great. & Barbara Allert Mrs Patricia Loughhead President Catherine Ellice-Flint P. & L. Bendrey Preferred Philanthropy Anonymous (2) Richard & Elizabeth Longes Mrs Susan Wakil The Robert Salzer Foundation Betty Amsden OAM Pamela & David Luhrs The Australian Ballet School Birdsall Leather & Crafts Helen & Morris Margolis John & Judith Walker tour operator Kenneth W Watkins Dick & Pip Smith Mrs Patricia Anders Chris Mackay Director Marilyn Rowe OBE Miss Catherine Boag Coryphee Patrons Mrs Alexandra Martin Mrs Jackie Wallace Peter & Frieda Thornhill Ms Greta Archbold Geoff & Margaret Markham Australian Opera and Ballet Mr Leonard Bosman Director of Philanthropy Gifts $5,000 – $9,999 Dr Marjory-Dore Martin S & J Wallis Correct as at Anonymous (1) Dr Rosemary Barnard L Marrone Orchestra through Opera Mrs R D Bridges OBE Phone 03 9669 2780 Mr Ross Adler AC Ms Rosemary Walls 18.01.2012 Australia & Mrs Fiona Adler Mrs Annabel M Brown Mrs Judith A Matear melbourne sydney

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

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

Melbourne ARTISTIC Consultant General Fiona Page CS Coordinator – Ticketing FINANCE & Principal Sponsor The Primrose Potter Ballet Practitioner Ellen Strasser Anna Kavanagh ADMINISTRATION Australian Ballet Centre Associate Artistic Director Dr Vicki Higgins Sally Sutherland CS Coordinator – Reports Finance 2 Kavanagh Street, Danilo Radojevic Body Conditioning Specialist Head of Millinery & Projects Finance Manager Southbank Victoria 3006 Principal Coach & Ballet Paula Baird Colt Vicki Car Jeffrey Guiborat Carolyn Dryley Telephone (03) 9669 2700 Mistress Casual Millinery CS Assistants Financial Accountant [email protected] Fiona Tonkin Diana Bedoya australianballet.com.au STAGE Kate Powers Matt Jakowenko Ballet Master & Repetiteur Company Management Georgiana Russell-Head Shane Sotiropoulos Operations Accountant Tristan Message Company Managers Wardrobe Production Felicity Frederickson Sydney Ballet Mistress Robyn Fincham Assistant Payroll Administrator The Australian Ballet Corporate Relations & Rehabilitation Facilitator Sarah Griffiths Katie Glenn-Smith Director of Corporate Dianne Waddingham Level 3 10 Hickson Road, Noelle Shader The Rocks Sydney 2000 Assistant Company Manager Production Division Relations Accounts Administrator Telstra, supporting The Ballet Coach Jasmine Moseley Assistant Libby Gauld Denise Barratt Australian Ballet for more Telephone (02) 9252 5500 than a quarter of a century The Australian Ballet Megan Connelly Artistic Operations Dana Morfett Corporate Relations Account Finance Assistant ABN 57 004 849 987 Artist in Residence Coordinator Managers Thilini Siriwardana Colin Peasley Noeleen King Scenery & Properties Christina Chiam Hayley D’Elboux Patron Resident Choreographers Travel Coordinator Scenic Design Coordinator Information Technology Her Excellency Ms Quentin Stephen Baynes Michelle Saultry Scott Mathewson National Events Manager IT Manager Bryce AC Governor-General Stanton Welch Assistant Travel Coordinator Design Assistant Fionn Meikle Damien Calvert of the Commonwealth of Major Sponsors Guest Teacher Lynne McDougall Kat Chan Corporate Relations IT Assistant Australia Mary Li Coordinator Peter Hawthorn Zoe Knight Technical & Production Store BOARD Music Production Coordinator Wardrobe Manager Administration Chairman Media Relations Music Operations Manager & Administrator, Barbara Langley Executive Assistant Official legal partner Méthode Tasmanoise®: Official Piano Partner Official Beauty Partner Official airline Christopher Knoblanche Media Relations Manager Julie Amos The Dancers Company Store Operations Manager to Executive Director of The Australian Ballet Exclusive sparkling of The Australian Ballet of The Australian Ballet of The Australian Ballet Deputy Chairman Nicole Lovelock wine sponsor Principal Pianist Angela Embleton Warren Rice Louise Grills Jim Cousins AO & Music Librarian Stage Manager Publicists Directors Assistant to Company Stuart Macklin Fiona Boundy Bradley Grimshaw Robert O Albert AO, RFD, RD Production Centre Eli Wallis Secretary/CFO John Borghetti Pianist & Associate Master Technician Vivien Newnham Project Manager Media Relations Coordinator Julie da Costa OAM Music Librarian Bruce Gordon Jo Sapir Felicity Howell Office & Ballet Centre Li Cunxin Duncan Salton Master Electrician Manager John Ellice-Flint Pianist John Berrett Tracy Hosier Christopher Goldsworthy - MARKET DEVELOPMENT 50th Anniversary Emma Lippa Wardrobe Master Receptionist Partner Official Wine Sponsor Proud partner Dancers’ Representative Marketing & The Robert and Elizabeth Geoffrey Harman Director of Special Projects Jenny Abramson of The Australian Ballet of The Australian Ballet of The Australian Ballet Siobhan McKenna Communications Albert Piano Fellow Yvonne Gates Sarah Murdoch Assistant Stage Managers Marketing & Brian Cousins Peter Smedley Keiren Smith Communications Manager HUMAN RESOURCES Craig Spencer Victoria Woolley Kate Scott Philanthropy Human Resources Manager Senior Manager Artistic Management Mechanists Strategic Marketing Helen Williams Media Sponsors – Annual Giving Honorary Life Members Executive Assistant Bart Kendall Alice Wilkinson Judy Turner Elizabeth Albert to Artistic Director Avon Kilcullen Strategic Communications THE PRIMROSE POTTER Robert Albert AO, RFD, RD Kate Longley Senior Manager Lighting AV Technician Dana Moran AUSTRALIAN BALLET John Calvert-Jones AM – Major Gifts Artistic Administrator & Graham Silver Campaign Marketing CENTRE PTY LTD Timothy K F Cox AO Ken Groves Assistant to Music Director Assistant Wardrobe Master Daniel Burns ABN 16 005 363 646 Proud sponsor of The fashion of See the arts up close Maina Gielgud AO & Chief Conductor Ian Martlew Patrons Manager The Australian Ballet ballet to come on channel 132 Frederick W Millar AO, CBE Frank Leo Digital Marketing (NSW, ACT) Director Lady Porter Chrystal Daniel Christopher Knoblanche Artistic Coordinator Jane Diamond Lady Potter DLJ (Chairman) Caitlin Topham Production Wardrobe Education & Philanthropy Patrons Manager Dame DBE Wardrobe Production Marketing Lisa Bolte Car Park Manager Lady Southey AM Manager Fiona Howat John Vanderstock Josie Woodgate OAM Education Michael Williams Planned Giving Manager Graphic Designer Donna Brearley Car Park Attendants Education Program Director Wardrobe Production Jasmin Tulk Vi Nguyen EXECUTIVE Helen Cameron Grants Manager Coordinator Publications Editor Maurice Surley Proud sponsor of Supporting the Proud sponsor of Artistic Director Nick Hays Education Operations Jenny Howard Rose Mulready Casual Maintenance The Australian Ballet magic of ballet The Australian Ballet David McAllister AM Manager Philanthropy Services Head Costumier Marketing Assistant Stephen Reddrop Executive Director Viviana Sacchero Manager /Ladies’ Cutter Maeve Ashby correct as 1.2.12 Valerie Wilder Education Coordinator Kerry Cumberbatch Susan Learner Merchandising Coordinator Music Director Donna Cusack Prospect Researcher Ladies’ Cutter & Assistant to Associate Supporting Sponsors & Chief Conductor Olivia Jones Dance Education Ensemble Musette Molyneaux Executive Director Nicolette Fraillon Hannah Beer Gentlemen’s Cutter Fiona Macmillan Philanthropy Services Associate Executive Director Christopher Ead Marsia Bergh Assistant Philippe Magid Alexander McKinnon – Donations and Events Abigail Oliveira Senior Costumier Customer Relationship Coral East Chief Financial Officer Maureen Ryan Management Carol Benson Assistant to Philanthropy Australia’s leading Luxury Hotel Partner of A unique Australian expression Medical Costumiers Customer Relationships Director Mind & Body Health Clubs The Australian Ballet in Sydney of world-class luxury in the Director of Philanthropy Medical Coordinator Penelope Bjorksten Manager Sharyn Gilham Whitsundays Kenneth Watkins Jessie Dole Amalia Hordern Dr Ken Crichton Philanthropy Assistant Director of Artistic Peri Jenkins Sports Physician Database Administrator (Sydney) Operations Elizabeth Maisey Dr Andrew Garnham Richard Laslett Lynn Neilsen Government Partners Helen McCormack Ruth Owen Industry Partner Matching Grant Partner Principal Physiotherapist Customer Services Production Director Casual Costumiers Susan Mayes Customer Services Manager Darren Conway Lara Barwick Adam Santilli Physiotherapist Pettie Danos Sophie Emery Johanna Gallagher CS Coordinator – Operations Ann Brennan The Australian Ballet is The Australian Ballet is supported The Australian Ballet is supported Myotherapist Lexi George assisted by the Commonwealth by the NSW Government through by the Victorian Government Stuart Buzza Corinne Gibbs CS Coordinator – Sales Government through the Australia Arts NSW through Arts Victoria Zoe Giblett Pam Martin Council, its arts funding and Angela Mesiano advisory body Brian Misson experience education 2012

Education in our 50th anniversary year

Our education program Pointe Shoe Workshop goes wherever the and Dance as a company goes so this Career are back by year we have more than popular demand and 120 fun and informative new additions to the events in Melbourne, program are Meet the Sydney, Brisbane, Choreographers and Adelaide and Perth as Connecting Exercises with well as regional centres Classical . in Victoria, New South Wales and Queensland. Book now australianballet.com.au/ All your favourite events education have returned including or call 1300 369 741 Introduction to the Ballet, (cost of a local call). Open Classes, Boys’ Day, Chance to Dance, Ballet Centre Tours, Informative Talks and more! playbill ad 55 Education Ambassadors Amber Scott and Cameron Hunter. Photography Lynette Wills

FOR THIS PRODUCTION Specialist Fabric Printing The Australian Ballet Costumes manufactured printink portrait photography by by the Production Additional costumes James Braund Division of The Australian sourced from The Principals’ portrait Ballet Australian Ballet’s make-up by Scenery & properties classical repertoire Napoleon Perdis manufactured by Show For Warumuk – in the The Australian Ballet Works dark night 2012 identity Scenery & properties Additional Costumes 3 Deep Design painted by Scenic manufactured by Jennifer www.3deep.com.au Studios Irwin The cast for this Fabric Dyeing Lynn Munro Cloths painted by performance is available on the nightly cast list Fabric Painting Victoria Scenografic Studio Pty. which is issued free of Rowell Ltd. (Sydney) charge to patrons. The Specialist props For Narrative of Nothing: Australian Ballet reserves manufactured by Traleen Specialist Fabric Printing the right to cancel or alter Ryan (Sydney) by Think Positive (Sydney) any detail of this season, and Publisher Textiles Program edited by or any performance (Sydney) Rose Mulready forming part of this For There’s Definitely a Program designed season, as it considers Prince Involved by Jasmin Tulk necessary.

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

For further information please visit australianballetschool.com.au

This is a Playbill / SHOWBILL publication. Operating in Sydney, Melbourne, Canberra, Brisbane, Adelaide, Perth, & Darwin Playbill Proprietary Limited / Showbill Proprietary Limited ACN 003 311 064 ABN 27 003 311 064 Overseas Operations: This publication is sold subject to the condition that it shall not, by way of trade or otherwise, be lent, resold, hired out or otherwise circulated without the publisher’s New Zealand: Wellington: Playbill (NZ) Limited, Level 1, 100 Tory Street, Wellington, New Zealand 6011; (64 4) 385 8893, Fax (64 4) 385 8899. consent in writing. It is a further condition that this publication shall not be circulated in any form of binding or cover other than that in which it was published. Auckland: Mt. Smart Stadium, Beasley Avenue, Penrose, Auckland; (64 9) 571 1607, Fax (64 9) 571 1608, Mobile 6421 741 148, Email: [email protected]. Head Office: Suite A, Level 1, Building 16, Chairman Brian Nebenzahl oam, rfd UK: Playbill UK Limited, C/- Everett Baldwin Barclay Consultancy Services, 35 Paul Street, London EC2A 4UQ; (44) 207 628 0857, Fax (44) 207 628 7253. Fox Studios Australia, Park Road North, Moore Park NSW 2021 Managing Director Michael Nebenzahl Hong Kong: Playbill (HK) Limited, C/- Fanny Lai, Rm 804, 8/F Eastern Commercial Centre, 397 Hennessey Road, Wanchai HK 168001 WCH 38; (852) 2891 6799; Fax (852) 2891 1618. PO Box 410 Paddington NSW 2021 Malaysia: Playbill Malaysia Sdn Bhn, C/- Peter I.M. Chieng & Co., No.2-E (1st Floor) Jalan SS 22/25, Damansara Jaya, 47400 Petaling Jaya, Selangor Darul Ehsan; (60 3) 7728 5889; Fax (60 3) 7729 5998. Telephone: +61 2 9921 5353 Fax: +61 2 9449 6053 Editorial Director Jocelyn Nebenzahl Singapore: Playbill (HK) Limited, C/- HLB Loke Lum Consultants Pte Ltd, 110 Middle Road #05-00 Chiat Hong Building, Singapore 188968; (65) 6332 0088; Fax (65) 6333 9690. E-mail: [email protected] Website: www.playbill.com.au Manager–Production & Graphic Design Debbie Clarke South Africa: Playbill South Africa Pty Ltd, C/- HLB Barnett Chown Inc., Bradford House, 12 Bradford Road, Bedfordview, SA 2007; (27) 11856 5300, Fax (27) 11856 5333. All enquiries for advertising space in this publication should be directed to the above company and address. Entire concept copyright. Reproduction without permission in whole or in part of any material contained herein is prohibited. Title ‘Playbill’ is the registered title of Playbill Proprietary Limited. Title ‘Showbill’ is the registered title of Showbill Proprietary Limited. Additional copies of this publication are available by post from the publisher; please write for details. XXXXXX Principal Sponsor

2012 Melbourne sydney