REMEMBERING EDOUARD BOROVANSKY AND HIS COMPANY 1939–1959 Marie Ada Couper Submitted in total fulfillment of the requirements of the degree of Doctor of Philosophy 2018 School of Culture and Communication The University of Melbourne 1 ABSTRACT This project sets out to establish that Edouard Borovansky, an ex-Ballets Russes danseur/ teacher/choreographer/producer, was ‘the father of Australian ballet’. With the backing of J. C. Williamson’s Theatres Limited, he created and maintained a professional ballet company which performed in commercial theatre for almost twenty years. This was a business arrangement, and he received no revenue from either government or private sources. The longevity of the Borovansky Australian Ballet company, under the direction of one person, was a remarkable achievement that has never been officially recognised. The principal intention of this undertaking is to define Borovansky’s proper place in the theatrical history of Australia. Although technically not the first Australian professional ballet company, the Borovansky Australian Ballet outlasted all its rivals until its transformation into the Australian Ballet in the early 1960s, with Borovansky remaining the sole person in charge until his death in 1959. In Australian theatre the 1930s was dominated by variety shows and musical comedies, which had replaced the pantomimes of the 19th century although the annual Christmas pantomime remained on the calendar for many years. Cinemas (referred to as ‘picture theatres’) had all but replaced live theatre as mass entertainment. The extremely rare event of a ballet performance was considered an exotic art reserved for the upper classes. ‘Culture’ was a word dismissed by many Australians as undefinable and generally unattainable because of our colonial heritage, which had long been the focus of English attitudes. Borovansky transformed the culture of ballet in Australia with business drive and artistic endeavours, aiming at the lower class population but aware that all the audience must be considered. He was willing to entertain, encourage and educate if necessary, but always aware of the box office and an accepted standard of balletic ability. The Borovansky Australian Ballet performances were ‘ballet for the people’ in the same way as ‘music for the people’ was accepted. Borovansky challenged the well-entrenched national ‘cultural cringe’ in his own way. Borovansky was convinced that Australians could dance as well as if not better than overseas artists, if given the opportunity. He was aware of the strong, athletic bodies of young Australians but ignored the fact that these same bodies were deemed not quite up to world standards, particularly in theatrical circles. He set out to foster Australian dancers by opening a ballet school in Melbourne with his Russian-born and ballet-trained wife, Xenia, in charge. This enabled their students to receive the correct training to 1 become professional ballet dancers within their own country, although remaining at the will of theatrical entrepreneurs. After establishing the Borovansky Australian Ballet company, he created a ‘star’ system which made many of his dancers famous in Australia, New Zealand and overseas. While Borovansky was a visible presence within his company, explaining, demonstrating and exhorting, he was also known to theatre patrons through his stage speeches regarding government support for his company, as well as the many letters he wrote to his loyal supporters. Borovansky made it possible for Australians and New Zealanders to witness ballet performances as regularly as theatres could accommodate them, enhancing their enjoyment and understanding of this art form as it was absorbed into their theatrical culture. The Borovansky Australian Ballet became the precursor to the Australian Ballet, but his contribution to the theatrical and cultural history of Australia has never been granted official recognition. 2 This is to certify that i. The thesis comprises only my original work towards the PhD except where indicated in the Preface. ii. Due acknowledgement has been made in the text to all sources. iii. The thesis is less than 100,000 words in length, exclusive of bibliographies, biographies and appendices. Marie Ada Couper 2018 3 Preface I could hear a Chopin waltz faintly in the background as I groped along a dusty, ghostly corridor that connected His Majesty’s Theatre with Jennie Brenan’s ballet academy, Exhibition Street, Melbourne, where I was a full-time student paying for my lessons by attending to the administrative side of the school. I knew that the Borovansky Ballet was presenting a season in Melbourne and that Les Sylphides was danced to this music, and was thus encouraged to continue through the maze of spiderweb curtains to discover where these secret passages would end. As the music increased in volume, I eventually discovered a door on the left-hand side of the passageway, which I tentatively pushed open to reveal the Dress Circle of the theatre. I was immediately aware of the electric atmosphere of a theatre in rehearsal with the power of the sound. It was the Borovansky Ballet in full costume, rehearsing Les Sylphides. Just as I had sunk discreetly into the nearest seat, a thunderously amplified expletive assailed my eardrums. A strangely accented male voice then continued to describe the close relationship of the corps de ballet to a herd of cows. He proceeded to stand on a chair and drill them endlessly until he was satisfied their lines were straight: each head turned to the same angle and each arm at the same height. Such was my introduction to the mastermind who was to become ‘the father of Australian ballet’! There were a few more precious assignations, but all rather one- sided affairs. Blissfully ignorant, I have only discovered through research for this thesis that Borovansky’s rehearsals were ‘closed’ and he often had more important people than a ballet student ejected from the theatre. What I absorbed from these clandestine episodes was, firstly, an obsession with straight lines which manifests itself every time I produce a concert for my own ballet school and, secondly, an odd mixture of admiration and apprehension. I was never able to overcome the latter sufficiently to audition for Borovansky’s company. My involvement with classical ballet, albeit on the fringe, for the past fifty years and the fact that I was an ardent aficionado of the Borovansky Australian Ballet almost from its creation have made this research all the more personal on the one hand and gratifyingly illuminating on the other. I commenced serious classical ballet training at the Jennie Brenan Academy of Dance in 1944, after several years attached to Alice Alwyn’s dance school, where we 4 were versed in theatrical dancing for the performance of Christmas holiday pantomimes presented by Hoyts theatres. The options for aspiring ballerinas in the 1950s were the same as in the 1940s – either Borovansky’s company or a self- funded overseas trip in the hope of a successful audition. Like many other disillusioned ballet students, I did neither. Having attained Royal Academy of Dancing qualifications, I initiated my own ballet school in June 1962 after moving to Frankston some two years earlier. My two most memorable achievements involved being a foundation member of the Royal Academy of Dancing Teachers’ Workshop and having one of my male students appointed Dean of Dance at Brisbane’s School of Excellence. On a more personal level, my second-eldest son graduated from the Australian Ballet School to the London Festival Ballet, later returning to Australia to join the West Australian Ballet Company, and my daughter has performed in Australia and overseas in commercial theatre; both attained A. R. A. D. status and are currently teachers of dance. I undertook this research with the hope that it may lead to a revival of interest in Edouard Borovansky and the outstanding dancers from his company, who provided the nucleus of our present Australian Ballet. Borovansky was the only ballet pioneer in Australia who kept his dancers performing without private or government backing, for almost two decades. He was also the initiator of a ballet tradition and culture in this country. Borovansky’s achievements have never been officially recognised nor examined in total, which has resulted in an incomplete representation of Australia’s theatrical history. 5 Acknowledgments This thesis would not have been possible without the assistance, encouragement and interest of many diverse personalities. In the first instance, I humbly thank my principal supervisor, Angela O’Brien, who has not only given her academic expertise without stint, but created the time to dispense this knowledge. Hilary Crampton, Lee Christofis and Robin Grove have also shared input in certain stages of this venture. My niece, Jennifer Higgins, has been an enthusiastic and willing compatriot from the beginning by personally introducing me to members of the National Library of Australia, Canberra, who provided guidance in my research area, personally rendered research assistance and shared her home with me when I was visiting Canberra. National Library of Australia researcher Richard Stone was one contact introduced by my niece, who provided me with a copy of his preliminary findings on Borovansky, and I am deeply indebted to him. Barry Kitcher, for his sincere good wishes, the loan of his personal memorabilia and, above all, listing of the Borovansky Australian Ballet dates and programs in his book From Gaolbird to Lyrebird, which saved me interminable hours of time. Edna Busse, for allowing me access to her home and private memorabilia during my visit to Wagga Wagga, which she freely allowed me to copy, numerous cups of tea and the personal gift of her one-cup teapot, to be forever treasured. One of my ex-students, Karen Ryan, and her young family, for providing a second home during my first study visit to Canberra. Patricia Convrey, for her patience and input during numerous telephone calls and visits to the Performing Arts Collection at the Arts Centre, Melbourne.