Endnotes 1 C. Cummins, ‘Review: Sun Music, ’, The Courier-Mail, Brisbane, 9 October 1968. Introduction 2 M. Cook, . The Making of a Ballet, Golden Press, , 1978, pp. 65, 75. Time in Motion: 50 Years of The Australian Ballet celebrates the enduring style, strength 3 E.H. Pask, Ballet in : The Second Act 1940–1980, Oxford University Press, , 1982, p. 287. and passion of The Australian Ballet and its creative output over fifty years. Drawn primarily 4 E. Westwood, The Australian Ballet, programme, 2006, p. 10. from Arts Centre Melbourne’s Performing Arts Collection and the archives of The Australian Time in Motion Ballet, this exhibition re-visits some of the company’s most memorable works, illustrating its 5 Marilyn Rowe quoted in The Australian Ballet, The Merry Widow programme, 2011, p. 22. dynamic rise to the heights of international success. 6 Vicki Attard quoted in The Australian Ballet, Madame Butterfly programme, 2011, p. 18. 50 Years of The Australian Ballet The Australian Ballet debuted as the nation’s first government-subsidised, professional 7 M. Potter, A Passion For Dance, National Library of Australia, Canberra, 1997 p. 135. ballet company in 1962. The prospect of full-time employment for Australian dancers and 8 David McAllister quoted in The Australian Ballet, Edge of Night programme, 2010, p.4 Arts Centre Melbourne the subsequent establishment of The Australian Ballet School in 1964 were instrumental in developing a strong framework for the development of dance in this country. Under the 9 June –23 September 2012 guidance of Peggy van Praagh, the company was soon well established on the world stage, attracting the support and active participation of leading international artists and State Library of New South Wales mounting highly successful tours overseas. The company’s repertoire grew to encompass Acknowledgements 12 November 2012 –10 February 2013 the great full-length classics as well as contemporary ballets created by major Australian Free events This exhibition would not have been possible without the support and international choreographers, and now includes over 380 works. and assistance of The Australian Ballet. My thanks are extended to Arts Centre Melbourne David McAllister and Nicolette Fraillon for their valuable input to the Set design by Anne Fraser for Swan Lake, Thursday 21 June 2012 development of the exhibition and related public programs. I would Borovansky Ballet, 1957; also used by also like to acknowledge Yvonne Gates for overseeing The Australian The Australian Ballet, 1962 Colin Peasley, Artist in Residence, The Australian Ballet Ballet’s substantial contribution to the exhibition and for her assistance Gift of Anne Fraser, 1996 discusses the works that helped shape with the process of copyright clearance. I appreciate the efforts of Arts Centre Melbourne, The Australian Ballet in its formative years. Barbara Langley, Angela Embleton and Michael Williams who allowed Performing Arts Collection Wednesday 18 July 2012 me to access material in storage and I am also grateful to Hugh Colman, Colin Peasley and Stephen Baynes for their involvement in Hugh Colman, Designer, discusses the creative process exhibition floor talks. of designing costumes for The Australian Ballet. The exhibition has benefitted from the beautiful film work of Lily Coates Thursday 16 August 2012 and Gavin Youngs from The Apiary and I am sincerely grateful to The David McAllister, Artistic Director and Nicolette Australian Ballet for making this happen and thank all those who took Fraillon, Chief Conductor and Music Director, part in the filming. My thanks are also extended to the photographers The Australian Ballet discuss 50 years of and copyright holders who have given permission for the reproduction Australian Ballet performance. of their works in the exhibition. Thanks are also extended to the State Library of New South Wales Wednesday 29 August 2012 for hosting this exhibition from November, 2012. We value the Stephen Baynes, Resident Choreographer, opportunity to work with them to celebrate The Australian Ballet’s 50th The Australian Ballet discusses the creative process Anniversary and to provide further access to Arts Centre Melbourne’s of making a ballet. Performing Arts Collection. Bookings essential Finally I would like to thank Diana Dzelalija for designing the exhibition Phone 03 9281 8754 or email and Rowena Craick for spearheading the development of the [email protected] exhibition’s website. I would also like to thank my colleagues at Arts Centre Melbourne for their continued support and willing assistance, Time 1pm to 2pm Margaret Marshall, Steven Tonkin and Elyse White among them. In the beginning Venue Gallery 1 I would particularly like to thank Project Manager Kathryn Kiely for her patience, diligence and ongoing support throughout the making of Scheduled events are correct at the time of printing. The Australian Ballet took its first steps with the courtship rituals of the male lyrebird, Helpmann this exhibition. For further details and updates visit artscentremelbourne.com.au nineteenth-century classic Swan Lake at Her explored the brutal perception of the Australian Majesty’s Theatre in Sydney on 2 November male in this one act work. Featuring a score Margot Anderson 1962. The audience for this long awaited debut by Malcolm Williamson and décor by Sidney State Library of New South Wales Curator, Dance and Opera was a discerning one, cultivated over decades Nolan, The Display proved to be a suitably by the visits of leading international dancers, home-grown showpiece for the company’s first Wednesday 14 November 2012 such as Adeline Genée, Anna Pavlova and major international tour in 1965. Colin Peasley, Artist in Residence, The Australian Ballet cover photo: members of the Ballets Russes companies. By this time The Australian Ballet had benefitted Natasha Kusen, The Australian Ballet discusses the works that helped shape The Australian Ballet The sets and costumes for this production had from van Praagh’s world-wide connections, Serenade in its formative years. previously been commissioned by Edouard playing host to such famous names as Erik Choreography G Balanchine Borovansky for his company’s first full-length ©The George Balanchine Trust. Bruhn, Sonia Arova, Margot Fonteyn and Rudolf Tuesday 27 November 2012 version of Swan Lake in 1957. Photograph Justin Smith 2004 Nureyev. Its profile hit new heights overseas David McAllister, Artistic Director and Nicolette Fraillon, The success of The Australian Ballet’s early when van Praagh unveiled her new production Chief Conductor and Music Director, The Australian Ballet performances owed much to the Borovansky of Giselle in Birmingham,England, on 10 discuss 50 years of Australian Ballet performance. Ballet and the classic European repertoire it November 1965. With Fonteyn and Nureyev Tuesday 4 December 2012 had made popular with Australian audiences. in the lead roles, and sets and costumes Peggy van Praagh had led the Borovansky designed by Kenneth Rowell, the production Stephen Baynes, Resident Choreographer, Ballet in its final years and was well positioned was an instant success, going on to win the The Australian Ballet discusses the creative process to take on her new role of Founding Artistic Grand Prix of the City of when it was of making a ballet Director with The Australian Ballet. The works performed there a week later. Time 6pm to 7pm she selected for the company’s early Kenneth Rowell designed many of The seasons set the scene for years to come and Bookings essential Australian Ballet’s most popular works in those included popular classics from the Borovansky formative years. His designs for Coppélia Phone (02) 9273 1770 or email repertoire, with more recent ballets by leading [email protected] were originally commissioned by van internationa l choreographers and brand Praagh for the Borovansky Ballet in 1960. This new Australian commissions from a pool of production became a firm favourite with immerging local talent. Australian audiences and remained active in Costume design by Kenneth Rowell for the Rex Reid’s Melbourne Cup was the first work the company’s repertoire until 1979. Rowell’s title role of Giselle, The Australian Ballet, c.1965 to be commissioned. Based on the inaugural designs for Sun Music were considered a Gift of The Australian Ballet, 1998 running of the legendary horse race in 1861, ‘magnificent achievement by critics when the Arts Centre Melbourne, Performing Arts Collection Melbourne Cup’s place in The Australian Ballet’s ballet premiered in 1968’.1 Choreographed by first season fulfilled van Praagh’s wish to present Helpmann, Sun Music’s abstract themes of soil, Marilyn Jones as Odette in Swan Lake, new repertoire featuring Australian themes. Two mirage, growth, energy and destruction were The Australian Ballet, 1968 Exhibition Partners years later audiences were introduced to the drawn from Peter Sculthorpe’s avant-garde Photograph by Geoffrey Hales darker aspects of Australian culture through score and gave the company its first non- Gift of Geoffrey Hales, 2001 ’s The Display. Using the narrative success. Arts Centre Melbourne, Performing Arts Collection artscentremelbourne.com.au In production In the studio

The Australian Ballet’s presentation of large­ premiere took place at the newly built Sydney Sleeping Beauty with designer Hugh Colman The Australian Ballet has continued to process, a recurring theme throughout his one. The outcome was Rites, a work firmly scale theatrical productions attracted the Opera House in September 1973. in 1984. Like Woolliams, she remained true to commission cutting-edge works by leading extensive body of work. Stephen Baynes and rooted in the timeless Australian landscape attention of influential guest artists and an When Anne Woolliams took over as Artistic the traditional form of the work, but modified international and Australian choreographers were both leading soloists that manages to transcend the origins of emerging industry of highly skilled designers, Director in 1976, The Australian Ballet was well aspects of Petipa’s choreography to showcase over its fifty-year history, maintaining an active with the company when appointed Resident each company to become one truly original costume and prop-makers, scenic painters prepared to realise her grand vision for a particular strengths of the company. Gielgud participation in the worldwide development Choreographers in 1995. Although markedly contemporary ballet. and lighting technicians. When Helpmann new production of Swan Lake. With thirteen took the same approach to Giselle in 1986, of as an art form. This dynamic different in their approach, they both share a David McAllister was a leading principal joined van Praagh as Associate Artistic years’ experience as Assistant Director of the working with designer Peter Farmer to update body of work has unearthed a new wave deeply held belief in the relevance of classical dancer with The Australian Ballet when Rites Director in 1965 he brought with him a wealth , Woolliams introduced Australian the look and feel, while maintaining its appeal of Australian choreographic talent and ballet as a means of expression in a modern made its historic debut. He was appointed of theatrical experience from his early career audiences to exciting new works by leading for a new generation of classical ballet fans. a collaborative spirit that has generated world. For Baynes this is demonstrated through Artistic Director of the company in 2001 and with ’s Vic-Wells Ballet and the Old Vic international choreographers such as Jirˇí Kylián It was ’s turn in 1992 and, keen groundbreaking moments in the history of the purity of classical technique and the made his mark early by commissioning Theatre. His understanding of entertainment and . She took a more traditional to unburden the 100-year-old classic from Australian dance. serenity it evokes in works such as Beyond Bach, Graeme Murphy to produce a new Swan influenced the early development of the approach to Swan Lake, retaining much of its sugar-sweet trappings, Gielgud turned to In 1973 van Praagh approached world­ which premiered to critical acclaim in 1995. Lake. Murphy took an innovative approach, company and informed his decision to invite the original choreography, but worked closely choreographer Graeme Murphy. renowned American choreographer Glen For Welch it is shown through works like constructing a modern-day narrative linked to stage his own production of with designer Tom Lingwood to adapt the Murphy was no stranger to the challenges of Tetley to create a new work for the company. Divergence, a masterful blend of classical to the breakdown of Princess Diana’s royal with The Australian Ballet in 1970. fairytale narrative and emphasise the central re-visiting historic works, having created his own Famous for his ability to fuse classical and and contemporary ballet fuelled by the marriage as the basis for a radical departure Nureyev’s Don Quixote premiered as part theme of good versus evil. Lingwood’s highly interpretations of classic pieces from the Ballets modern dance, Tetley took four of the innate ‘twentieth-century frenetic energy’ he from the company’s previous productions. It 7 of the Adelaide Festival that year, featuring detailed designs for costumes, scenery, props, Russes’ repertoire. The traditional European company’s principal dancers – Marilyn Rowe, is known for. was a triumph, and as Swan Lake made its third Nureyev himself in the role of Basilio. A fast­ furniture, back drops and gauzes took over five themes and imagery of The Nutcracker held Carolyn Rappel, Gary Norman and John took over as Artistic Director in 1997 transition through the company’s repertoire, the paced, colourful work infused with Nureyev’s weeks to produce.2 At a cost exceeding all little appeal for him, until, in collaboration with Meehan – into the studio and created Gemini. and introduced a number of contemporary seeds were sown for his future re-imaginings of technical prowess and sense of humour, Don previous productions by The Australian Ballet, designer Kristian Fredrikson, he found a way of His style was new to the dancers and required works by leading international choreographers, Firebird in 2009 and Romeo and Juliet in 2011. Quixote was an instant success with audiences Woolliams’ Swan Lake was a major investment making it relevant to an Australian audience a level of learning that went beyond steps to a including James Kudelka, and McAllister has introduced a number of and Nureyev returned to make a film version for the company and a box-office success that by linking it with the story of the Ballets whole new way of moving. Gemini’s success William Forsythe. In 1997 he instigated one of innovative new works to Australian audiences. with the company in 1972. The filming took ensured its future at the heart of the repertoire Russes in Australia. Murphy’s Nutcracker – marked a turning point for The Australian the company’s most successful collaborations In 2009 he invited British choreographer 3 place in three abandoned aircraft hangars for twenty-five years. The Story of Clara has become an Australian Ballet, proving that both the company and its when he approached , Artistic Wayne McGregor to create a work as part at Melbourne’s Essendon Airport, where the was appointed Artistic Director classic, a daring departure from the original, audience were ready to take on cutting-edge Director of Bangarra Dance Theatre, Australia’s of the worldwide celebrations of the Ballets dancers, extras and substantial crew worked of The Australian Ballet in 1983 and became but a calculated risk that paid off for The contemporary works from around the world. premier Indigenous performing arts company, Russes’ centenary. McGregor responded long into the night over five weeks to meet known for her love of classical repertoire. Australian Ballet. Clockwise from left: While remaining open to new challenges to choreograph a work to Stravinsky’s The Rite with Dyad 1929, taking dancers on a journey Nureyev’s exacting standards. The film’s world She presented her own production of The Marilyn Rowe as Hanna Glawari and John from abroad, The Australian Ballet has always of Spring. Although unfamiliar with the score, of self-discovery that echoed the making of Meehan as Count Danilo in The Merry Widow, nurtured choreographic talent from within. Page welcomed the opportunity to unite the Tetley’s Gemini decades earlier. McAllister The Australian Ballet, c.1975 Graeme Murphy was still a dancer with two companies, bringing costume designer continues to showcase the work of emerging Photograph by David Parker the company when given a twelve-month Jennifer Irwin and set designer Peter England choreographers from the company, including Image courtesy The Australian Ballet residency in 1976. He went on to choreograph with him on the journey. Inspired by the wild Tim Harbour, who conceived Halcyon for the a number of works, including Beyond Twelve extremes of Stravinsky’s music, he worked company in 2010 with a commissioned score Costume design by Peter Farmer for intensively with the dancers to combine the role of Cio-cio San, Madame Butterfly, in 1980, in which he explored the ageing by composer Gerard Brophy. The Australian Ballet, 1995 two vastly different forms of movement into Gift of The Australian Ballet, 1998 Arts Centre Melbourne, Performing Arts Collection

Ann Jenner as Swanilda in Coppélia, The Australian Ballet, 1979 Vivienne Wong in Warumuk – in the dark night, Photographer unknown Stephen Baynes and Daniel Gaudiello The Australian Ballet, 2012 Image courtesy The Australian Ballet rehearsing Constant Variants, Photograph by Lynette Wills The Australian Ballet, 2007 Image courtesy The Australian Ballet Fiona Tonkin in the title role of Giselle, Photograph by Christopher Tovo The Australian Ballet, 1986 Image courtesy The Australian Ballet Alice Topp and James O’Hara in Photographer unknown Artists of The Australian Ballet and There’s Definitely a Prince Involved, Image courtesy The Australian Ballet Bangarra Dance Theatre rehearsing Rites, Stephen Baynes and Daniel Gaudiello The Australian Ballet, 2012 The Australian Ballet, 1997 rehearsing Constant Variants, Photograph by Lynette Wills Photograph by Tim Webster The Australian Ballet, 2007 Image courtesy The Australian Ballet Purchase, 1999 Photograph by Christopher Tovo In character Arts Centre Melbourne, Performing Arts Collection Image courtesy The Australian Ballet Lana Jones and Adam Bull in Narrative of Nothing, The Australian Ballet, 2012 Clockwise from left: Many of The Australian Ballet’s most popular Fiona Tonkin, who continues to inspire dancers Heeley and a cast of glamorous characters. Photograph by Lynette Wills Graeme Murphy with Miranda works have a story to tell. The female characters taking on the role today. Marilyn Rowe was in the early stages of Image courtesy The Australian Ballet Coney and artists of The Australian at the heart of these stories vary from heart­ Coppélia remains similarly intact as a her career when chosen to create the role Ballet rehearsing Nutcracker - broken heroines to mischievous village girls, of Hanna Glawari, and found her to be ‘a The Story of Clara, traditional work and Swanilda’s battle to regain and require a highly skilled balance of drama complex character, a very merry widow, The Australian Ballet, 1992 control of her fiancé’s affections provides Photograph by Jim McFarlane and dance if they are to be performed well. dancers with an opportunity to explore a more yes, but beneath the dazzling surface, very 5 Image courtesy The Australian Ballet The title role of the classic ballet Giselle has light-hearted and comical character. For van vulnerable’. The role of Hanna requires a sense been a milestone in the careers of the world’s Praagh, Swanilda was a life-long companion. of worldliness that comes with maturity and In the moment Rudolf Nureyev with artists of leading dancers since it was first performed She first danced the role in 1942 with Sadler’s some of the most memorable performances The Australian Ballet during the by Carlotta Grisi at the Paris Opera in 1841. Wells (later Royal) Ballet, developing a have been from dancers nearing the end of As David McAllister entered his second decade directing the artistic making of the film Don Quixote, their career. The Australian Ballet, 1972 Giselle’s story is played out over two acts as she strong association with the ballet over many vision of The Australian Ballet he embarked on a new journey with Photograph by Paul Cox slips from the heady heights of true love to the acclaimed performances. She introduced her In 1995 The Australian Ballet’s resident Murphy and Page, uniting them in a triple bill with Chunky Move’s Image courtesy The Australian Ballet depths of betrayal. Her ensuing madness and own production of Coppélia into The Australian choreographer Stanton Welch embarked on Gideon Obarzanek. The three choreographers share a passion for ultimate demise makes Act One a harrowing Ballet repertoire in 1962 and re-visited it in 1979, his own adaptation of an opera, choosing dance that has led them to form their own contemporary dance Joanna Seidel and Garry Cox experience. The ghostly movement sustained calling upon film and theatre director George Puccini’s Madame Butterfly. He worked with companies, where they have developed works of international renown. constructing costumes for Swan Lake, through Act Two, when Giselle emerges from Ogilvie to dampen the famously sunny spirits designer Peter Farmer to create a strong sense The combination of Murphy’s The Narrative of Nothing, Obarzanek’s The Australian Ballet, 1977 the grave, requires a dramatic shift in mood of the ballet and add dramatic depth to the of time, place and character for the story of There’s Definitely a Prince Involved and Page’s Warumuk – In the Photograph by Michael Cook and a level of control that makes it one of the characters. Cio-Cio-San and her tragic fate at the hands Dark Night made for an innovative mix of styles and reflected the Image courtesy The Australian Ballet most demanding roles in the classical ballet Helpmann’s decision to translate Franz Léhar’s of Pinkerton, the American naval officer. Vicki company’s ability to respond to different ‘creative voices’8. 4 repertoire. The Australian Ballet has produced famous operetta The Merry Widow into dance Attard created the role of Cio-Cio San and The successful blending and dynamic delivery of such diverse many memorable interpretations of the role, in 1976 appeared to be out of step with the found Farmer’s costumes an integral part of the choreographic talent says as much about The Australian Ballet in its starting with those of Kathleen Gorham, Elaine worldwide trend for more serious dance works. process. Farmer’s choice of soft pastel shades 50th year as it does about its audience and the country it represents. Fifield, and Marilyn Jones in van Praagh’s Ever the showman, he directed the production and layers of delicate silk chiffon and organza The company has much to celebrate in 2012 and as a fitting tribute award-winning production of 1965. Gielgud’s like a Hollywood film. Choreography by Ronald emphasised the fragile nature of the character to Peggy van Praagh and those who have helped realise her vision, re-staging of Giselle in 1986 introduced a new Hynd, The Merry Widow had a sweeping score and helped Attard achieve the ‘ethereal and The Australian Ballet will unveil a brand new version of Swan Lake. The 6 generation of dancers to the role and some arranged by John Lanchbery, extravagant weightless illusion’ required for the role. audience may have changed since the company first presented Swan heart-breaking performances, including that of sets and costumes designed by Desmond Lake in 1962 but the expectations are just as high and the collective need for dance in this country is stronger than ever.