2013 SEASON

Melbourne 29 August – 7 September Arts Centre Melbourne, State Theatre with Orchestra Victoria Sydney 7 – 25 November Joan Sutherland Theatre, Sydney Opera House with Australian Opera and Ballet Orchestra

Supporting Partner Principal Partner

Cover: Madeleine Eastoe in La Sylphide Image – 3 Deep with Georges Antoni Above: Lucinda Dunn in Paquita Photography Justin Smith Madeleine Eastoe and Kevin Jackson in La Sylphide Image – 3 Deep with Georges Antoni

NOTE FROM THE ARTISTIC DIRECTOR

La Sylphide premiered in Paris, 14 years earlier than Paquita, and it heralded the era of Romantic ballet. The first Sylph, Marie Taglioni, is credited with being the mother of pointe work, and she used her incredible ability to balance on her toes for the first time in this work. The illusion of barely touching the floor, hovering on the tips of the toes, gave Taglioni a weightlessness that removed her from the earthly realm and enabled her to inhabit the world of the woodland fairy she portrayed. What Taglioni began has now evolved into a technique employed by every ballerina.

Our production of La Sylphide was staged by the great Danish dancer Erik Bruhn in 1985. This version is choreographed by the famous Danish choreographer August Bournonville; although not the same version danced by Taglioni, it is one of ballet’s most authentic historical works, as it has been lovingly handed down by generations of Danish ballet masters since its creation in 1836. With evocative designs by Anne Fraser and a lively score by Herman Løvenskiold, this work holds a special place in our repertoire.

I wish to thank Martin James, a former principal artist of The Royal Danish Ballet, who has been with us as a guest teacher and coach for this season of La Sylphide. I remember enjoying Martin’s performances as a dancer, and it has been wonderful to see him hand on his knowledge of this ballet and the Bournonville technique with such enthusiasm and generosity.

The Romantic period was a fertile time for ballet. I also want to thank our Principal Sponsor Telstra, This was when the ballerina first began dancing en which for 29 years has enabled us to remain “on our pointe, which became one of the defining elements of toes” and to spread the love of dance across the our art form. Narratives full of exotic and supernatural nation. It is also incredibly fitting that we welcome beings made for extraordinary flights of fantasy, and as our new Official Pointe Shoe Partner Bloch introduced to the stage a whole new universe of Australia, which for the past 81 years has been magical creatures to seduce and bewitch humans, producing beautiful ballet shoes and a whole range and teach us important moral lessons. Tonight brings of dancewear for dancers around the globe, and who together two works from either ends of the era. custom-make the pointes that many of our ballerinas wear. Coincidentally, the first style of pointe shoe Paquita, which premiered in 1846, is recognised Bloch manufactured – which is still sold today – is as one of the last of the Romantic ballets. Although called the Sylphide! I would also like to thank our originally it was a full-length work, over time its grand many patrons and donors, and most particularly pas de deux, taken from the marriage scene in the last The Australian Ballet Society, which has generously act, has become most widely known and performed. supported this season. Although it was staged originally by Joseph Mazilier, the choreography we know today is that of the ballet I hope you enjoy this evening of fabulous supremo Marius Petipa, who revised the work while Romantic ballet! ruling over the Imperial Ballet of the Mariinsky Theatre. It is a dazzling showpiece for the two principals and the entourage of corps de ballet and soloist ladies who support them.

This season, the ballet has been masterfully staged by the company’s Associate Artistic Director, Danilo David McAllister AM Radojevic. With glorious tutus by Hugh Colman and Artistic Director a “gotta dance” score by Ludwig Minkus, Paquita offers the dancers rich opportunities to shine. Artists of The Australian Ballet in La Sylphide, 2005 Photography Jeff Busby

LA SYLPHIDE

PAQUITA The Sylphide shows herself at the window and declares Choreography Marius Petipa her love for James, telling him that she has followed Music Ludwig (Léon) Minkus and protected him for years. As the festivities are Costume design Hugh Colman about to begin, James hides the Sylph under a rug Lighting design Francis Croese on the armchair. He is unable to concentrate on his Variations 5 and 9 are arrangements courtesy of Barry Wordsworth, wedding; the Sylphide keeps appearing, although only Music Director of The Royal Ballet, Covent Garden he can see her. Just before the ceremony she entices him away into the forest. Effie dissolves into tears. LA SYLPHIDE Choreography Erik Bruhn after August Bournonville Act II – a woodland glade Music Herman Løvenskiold Led by Madge, several witches are cooking up a Costume and set design Anne Fraser scarf in a magic cauldron. James enters with the Original lighting design William Akers Sylphide, who shows him her realm. She brings him Reproduced by Francis Croese berries and water, but avoids him when he tries to catch her. She calls on her sisters, and the forest CHARACTERS fills with sylphides dancing their airy dances for James. The Sylphide Meanwhile, the young farmers have set out to look for James him. Gurn finds James’ hat, but Madge convinces him His mother to say nothing, and to propose to the heart-broken Effie, his fiancée Effie, who accepts him. Gurn, his cousin Nancy, Effie’s friend When they have all left, James emerges and Madge Madge, a witch gives him the scarf, telling him that it will bind the Sylphide to him, so she cannot fly away. James is Act I – James’ farmhouse delighted; when the Sylphide returns and sees the James, a young Scottish farmer, dozes in an armchair. scarf, she is also charmed by it, and allows James The Sylphide, a woodland sprite, kneels by his side. to place it around her shoulders. After flitting around the room, she kisses him on the forehead and he awakens, confused. He is to be Immediately, her wings fall off and the Sylphide dies. married that day to Effie, but the Sylphide, who is in Effie and Gurn get married as the Sylphide is borne love with James, tempts him. He runs after her, but through the air by her sisters. James realises that she disappears up the chimney. The preparations for Madge was the catalyst for the loss of both the the wedding at the farm are in full swing, and Effie’s Sylph and Effie and confronts her, but is repelled friends arrive with gifts. The old fortune-teller Madge by her magic and collapses lifeless. Madge is has slipped in to warm herself by the fire. James triumphant in her revenge. wants to throw her out, but she is permitted to remain and after a few brandies begins to tell fortunes. She predicts that Gurn, James’ rival, will win Effie. James, This season of La Sylphide is proudly supported in a fury, chases Madge out; she curses him. by The Australian Ballet Society Miwako Kubota in Paquita, 2007 Artists of The Australian Ballet in Don Quixote, 2013 Lana Jones and Olivia Bell in Paquita, 2007 Photography Jim McFarlane Photography Jeff Busby Photography Jim McFarlane

Leanne Stojmenov in The Sleeping Beauty, 2009 Photography Jim McFarlane

For Marius Petipa, the offer was as unexpected as Olivia Bell in Paquita, 2007 mostly his productions that were passed into the it was welcome. Would he leave Paris to become Photography Jim McFarlane repertoires of ballet companies in the 20th century. a premier danseur at the Imperial Theatres in St Petersburg? Yes, he would, and within days, the Petipa began his Russian years as a dancer but he Frenchman set sail from Le Havre with his mother’s soon began to teach, take rehearsals and refine his warnings in his ears. “You wrap yourself up well. choreographic ideas as an apprentice to Perrot. When Take care that your nose and ears don’t freeze. Perrot left Russia, Petipa and St Léon stepped up to It is so cold there the streets have to be heated.” become rivals as resident choreographers; Petipa was BALLET’S the winner, outmaneuvering St Léon and taking control Madame Victorine Petipa couldn’t have known that as chief ballet master of the Imperial Theatres in the job meant a very long separation from her beloved 1869. For the next three decades, Petipa was the son, who made Russia and the Imperial Theatres his overlord of Russian ballet. His own creations or his home for more than six decades. As he wrote in his revivals dominated the repertoire. He had a run of memoirs, “Sixty years of service in one place, in one successes, including Don Quixote in 1869 and La institution is quite rare, and a destiny not granted to Bayadère in 1877, and, soon after, his revivals of MASTER many mortals.” Mazilier’s Le Corsaire and Paquita. “Quite rare” was an understatement. His record as Petipa had a sentimental attachment to Paquita – his a ballet master and choreographer has never been brother Lucien created the role of the ballet’s hero for surpassed, not just because of the duration of his the Paris premiere in 1846. Two years later, Marius career but for the creation of what became known made his Russian debut dancing the same role. as the Russian Imperial style – an amalgam of the French and Danish schools of ballet with a dash of Mazilier’s Paquita, of the genre known as ARCHITECT Italian virtuosity – that reached its zenith with Swan “pantomime ballet”, tells the story of a French Marius Petipa transformed the art form, creating the gems Lake and The Sleeping Beauty. officer’s love for Paquita, a girl brought up as a gypsy, The Grand pas classique, the wedding during Napoleon’s occupation of Spain in the early Petipa was the master architect of classical ballet 19th century. The course of their love does not run of the classical canon, and his legacy can still be felt today. in the second half of the 19th century, but he was celebration at the end of Petipa’s Paquita, smooth until the discovery that Paquita is not what also a genius at nip and tuck, restoring and adapting is both a lesson in classicism and a she seems. She was abducted by gypsies as a child as he reimagined the works of his forebears and and her father, who died when she was young, was Valerie Lawson looks at his life and work. contemporaries, among them the Frenchmen Jules distillation of his grand Imperial style, related to the French officer and his father, also Perrot, Jean Corelli, Joseph Mazilier and Arthur in which the ballerina and the premier a general. The class barrier to their union is thus St Léon. Revivals and reconstructions can end in danseur are the brilliant centre jewels overcome, and they are able to marry. disaster, but Petipa’s additions to such ballets as Giselle, Coppélia, Le Corsaire, La Sylphide and Paquita within the circlet of the corps de ballet. The full-length Paquita vanished from the classical meant he extended the life of the works, and it is repertoire until the choreographer Pierre Lacotte Daniel Gaudiello and Lana Jones in Don Quixote, 2013 Kirsty Martin with artists of The Australian Ballet in Paquita, 2007 Photography Jeff Busby Photography Jim McFarlane

Kirsty Martin in Paquita, 2007 Lucinda Dunn and Robert Curran in The Sleeping Beauty, 2009 Photography Jim McFarlane Photography Jim McFarlane

staged a revival for the Paris Opera Ballet in 2003. The Sleeping Beauty and Raymonda, demonstrate When Petipa was eventually ousted from his job The film of the production preserves the exemplary the perfection of the classical ballet vocabulary. by ruthless administrators, he mourned that “my performances of the étoiles, Agnes Letestu and beautiful artistic career is over ... what will they do Jose Martinez. The Grand pas classique, the wedding celebration after my death? Then my name will never appear at the end of Petipa’s Paquita, is both a lesson in on the programme”. How wrong he was. Almost 200 Whether it is performed in its entirety or, as is more classicism and a distillation of his grand Imperial years after his birth, his works still represent the common, cut down to its wedding-scene climax, the style, in which the ballerina and the premier danseur backbone of classical ballet. ballet displays the virtuosity and elegance of the are the brilliant centre jewels within the circlet of ballerina and her partner. Petipa’s revival of the ballet the corps de ballet. Petipa spent the last three years of his life in Gurzuf, in 1881 was created as just such a showcase for the in the Crimea, where the weather was kinder than in Russian ballerina Ekaterina Vazem, who had earlier The pas de deux that concludes the wedding St Petersburg. His heart may have been broken by his created the role of Nikiya in La Bayadère. celebration was the prototype for Petipa’s later hasty exit from the Imperial Theatres, but in the balmy showpieces: the Grand pas d’ action in Act III of Swan climate of this resort town by the Black Sea, at least In her memoirs Vazem writes of Petipa’s eccentricities Lake and the wedding pas de deux of Princess Aurora his nose and ears would have stayed warm. and vanities, but she also acknowledges his mastery and Prince Désiré in The Sleeping Beauty. of choreography and the way in which he conjured up Three days after his death, his body was taken grand spectacles with “absorbing dramatic stories and These masterpieces of harmony and symmetry were to St Petersburg, where it was buried at the Tikhvin brilliant mise-en-scene … his favourite device was to appreciated by choreographers of the 20th century Cemetery at the Alexander Nevsky Monastery. He stretch the action to some sort of celebration, especially such as George Balanchine and Frederick Ashton who, was at peace at last, in the same final resting place a wedding”. That “stretching of the action” turned out in ballets such as Theme and Variations, Symphony as Tchaikovsky. to be a blessing for ballet audiences, as his extended in C, Birthday Offering and Cinderella, honoured the celebratory scenes, such as the wedding scenes in Petipa legacy. Valerie Lawson is an author and dance historian POINTES IN TIME Nothing jars like a sylph in sneakers. Nothing says ballet quite like the pointe shoe. Caitlyn Lehmann investigates the history of ballet’s most iconic accessory.

When Marie Taglioni wafted across the stage in wrote a delighted Austrian physician, she caused 1832, she took a stage stunt familiar to audiences “high heels to disappear from among the ... more and turned it into an eloquent and enchanting part refined part of the ladies there.” of ballet technique. Taglioni made pointe work seem effortless, and she made it a defining symbol of a For the first time, flat satin or silk pumps became de ballerina’s femininity. But the pointe shoe’s history rigueur daywear across much of Europe – for men and does not start there. for women – and, in the absence of laces or buckles, the shoes were often made to fit tightly. By 1798, The story begins with a jolt to assumptions. It’s Britain’s Morning Post was reporting that ribbons were a man – Antoine-Bonaventure Pitrot – who is the being added to secure ladies’ slippers, “bound round earliest subject of a description of pointe work. He the leg ... to display the fineness of its shape, and … was a premiere danseur much admired across Europe, render the gait more firm.” For dancers, soft slippers and his “supernatural” abilities are commemorated were ideal, providing greater flexibility for the feet in the pages of the Trattato Teorico-Prattico di Ballo and lending naturalism to Greco-Roman and Oriental (1779), a treatise on Italian dance written by his characters, and to the supernatural beings becoming colleague, Gennaro Magri. Marvelling at a feat which increasingly popular in Romantic theatre. Delicately Pitrot often demonstrated, Magri described how he tapering feet began to dominate the iconography of “hoists up the whole of his body on the big toe of the dance, and the illusion quite literally took off when foot, and thus extends perfectly all the articulations, dancers started “flying” about on wires. with the result that the haunch, leg, and foot itself fall into one perpendicular line.” It was, as yet, a feat Choreographer Charles-Louis Didelot was a wires without a name. Although the phrase sur la pointe was pioneer in his London production of Zéphire et in use at the time, it referred to standing on a high Flore (1796). The ballet, famously satirised by demi-pointe – its meaning only shifted in the the author William Makepeace Thackeray, saw mid-19th century. wing-clad characters lingering on toe-tip before mechanics whisked the dancers skywards. The Still, Pitrot’s idiosyncrasy may not have gone further True Briton described the ballet as “one of the most without a radical change in footwear, which occurred captivating entertainments of the kind we have ever shortly afterwards. Ballet dancers, like the aristocrats witnessed. By an airiness of fancy, [Didelot] makes whose court dances evolved into the art form, wore all his personages literally fly … in a very new and heeled shoes during most of the 18th century, extraordinary manner.” If his dancers were not channelling the status and carriage of their courtly actually en pointe when the ballet had its premiere, patrons. But in the 1790s, political and aesthetic they certainly were during later revivals. The ballerina revolutions collided. In the wake of the French Fanny Bias is on her pointes in an 1820s print showing Revolution, the years of The Terror saw aristocratic her as Flora, and the ballet remained popular after fashions abandoned wholesale and France’s influence pointe work became widespread. on style thrown into confusion. Heeled shoes went the way of Marie Antoinette. And just at that moment, the By the early 19th century, what might have promised Lucinda Dunn in La Sylphide, 2005 dancer Maria Vigano caused a sensation in Vienna by to be a unisex phenomenon was rapidly advancing as Photography Jeff Busby Photography Lynette Wills swapping her heeled shoes for flats. “In an instant,” a female speciality. Displays of virtuosity dominated Madame Romanini, the aerial Sylphide, 1883 Getty Images/DeAgostini

Lucinda Dunn in La Sylphide, 2005 Photography Jeff Busby Marie Taglioni in Zéphire et Flore, c.1831

Natasha Kusen Olivia Bell as the Black Queen in Checkmate, 2011 Photography Chrystal Daniel Photography Georges Antoni the stage as ballet in France struggled to carve work, reinforcing their slippers with lines of darning Since the heady days of the Romantic ballet, popular new purpose and identity in a turbulent political and strips of leather, cardboard or cork. The shift to culture has had a particular love affair with ballerinas environment. Legs flew higher, pirouettes multiplied blocked shoes, originally constructed of newspaper and their pointe shoes. Throughout their history, and briefly held poses en pointe became more and floured paste with a flat platform at the front pointes have been synonymous with obsessions of complex and more frequent. Genevieve Gosselin, of the toe, was a gradual process. Indeed, Danish various kinds. Among the more reprehensible was a who debuted at the Paris Opera in 1809, was among dancers continued wearing soft toe shoes well craze for child dancers that swept through Boston in the leaders of a younger generation of pointe pioneers. after 1900, as archival footage shows. the 1910s after Anna Pavlova visited the city. Little Many years after her untimely death in childbirth, girls, some barely old enough for school, were put observers still recalled how “The astonishing flexibility en pointe to give entertainments of “toe dancing” of her legs [and] her powerful musculature, permitted at balls, recitals and public fundraisers. Anna Pavlova her to remain suspended for a minute on the tips of Until the 1880s, most dancers relied herself had fraught relations with her shoes. She wore her toes.” on the natural strength of their feet pointes with a wide platform for her signature pieces like The Dying Swan – but took exception to their Other pioneers included Elisa Vaque-Moulin and for pointe work, reinforcing their splayed appearance, and had photographs Didelot’s Russian pupil, Avdotia Istomina – and, slippers with lines of darning and retouched to make her shoes look narrower! perhaps most significantly, Amalia Brugnoli, from whom Taglioni took her inspiration. In 1827, the strips of leather, cardboard or cork. Movies like The Red Shoes (1948) and Black Swan Almanacco of La Scala remarked the novelty of the The shift to blocked shoes, originally (2010) have done their bit to perpetuate the pointe effect that Brugnoli achieved: “Actually working on constructed of newspaper and floured shoe’s association with extreme or distorted passions. the pointe of her foot, her steps, her attitudes, her But in the end, it’s the contradictions and paradoxes turns acquire an airy something which strikes and paste with a flat platform at the front of pointe work that have made it such a charged astounds the imagination.” In London, the Morning of the toe, was a gradual process. phenomenon in our culture. From the earliest days Herald described her toes as “unequalled by anything when women shod themselves in pretty pink satin within our recollection, except Paganini’s bow or single slippers, the practice has evoked “a kind of artificial string” and tailed off in amazement on the matter of barefooted state” that nevertheless holds in check “her stacato [sic] on the tips of her two toes – !” These days, pointe work sustains a highly specialised “the very abandon and sexuality we commonly global industry devoted to accommodating the associate with bare feet.” It’s this conundrum, Like George Balanchine in the 20th century, the aesthetic preferences and physical requirements of articulated by Gerri Reaves, that makes pointe work great Russian ballet master Marius Petipa had an individual dancers. Many companies that manufacture so alluring, and lets dancers exploit the shoes’ implicit eager interest in the creative possibilities of pointe pointe shoes have proud histories of their own, such yet suspended sensuality to evoke such a rich array technique. According to author Carol Lee, Petipa made as Capezio in New York (1887), Gamba (founded in of emotional colours and nuances. From the airy pointework obligatory for all the female dancers of London in 1903, now owned by Repetto) and Freed chasteness of the sylph to the steely belligerence the Imperial Theatre, allowing him to put the entire of London (1929). Bloch, now retailing worldwide, of the Black Queen in Checkmate to the sensual corps de ballet en pointe in 1877 for the famous was founded in Sydney in the 1930s. Pointe shoes bourrés of Manon to the witty, glittering footwork Kingdom of the Shades scene in his La Bayadère. As come in a breathtaking array of subtly different styles of Balanchine’s Rubies, versatility (and just a dash the periods of time that dancers spent on their toes and sizes. Newer, synthetic materials like plastic and of glamour!) are at the core of the pointe’s appeal. increased, changes were made to the construction of rubber have also been incorporated to improve and Dr Caitlyn Lehmann is a cultural historian specialising in dance the shoes themselves. Until the 1880s, most dancers lengthen the shoes’ performance, although traditional history and 18th-century studies relied on the natural strength of their feet for pointe manufacturing techniques are still used. Thank you to our Official Pointe Shoe Partner Bloch LA SYL-FEVER How Marie Taglioni and La Sylphide took 19th-century popular culture by storm. By Caitlyn Lehmann.

The 1832 version of La Sylphide ushered in something Bourbon advertising label for La Sylphide Bourbon There are touching descriptions of Victoria playing wholly unprecedented – a new era for ballet in which AM Bininger & Company, New York, 1860 Sylphide-inspired dress-ups with her young relations. Getty Images/Buyenlarge the Romantic spirit, style and stardom came together After luncheon one Sunday, the family dressed as never before. In Marie Taglioni, the ballerina who Victoria’s three-year-old niece, Eliza, in a short-sleeved created the role of the sylph, those elements fused gauze dress and pink stockings, and gave her a wreath to create an indelible impression of magic, mystery of roses to wear and “wings like Taglioni”. Eliza’s older and ethereal loveliness. brother, four-year-old Charles, was outfitted to match, “like a Scotch-man with bare legs and a plaid dress.” Born in Sweden and raised in Paris, Taglioni The children “danced about very funnily”, Victoria possessed a distinctive physique with long arms wrote approvingly. and a slight stoop, and, as a child, a decided look of skinniness. Years of rigorous training, first in Paris and Like so many Romantic ballets, the appeal of La later in Vienna, produced the suppleness, elegance Sylphide lies within its exquisite deceptions. For all its and effortless technique for which she would later be harmless prettiness and airy fantasy, the ballet taps renowned. In Vienna, she submitted to a particularly deep anxieties and conflicting – very adult – desires. gruelling regime of exercises under the supervision In the early 19th century, it spoke to the vogue for wan of her father, and gradually honed a style that was Gothic heroines, to women who imagined themselves to become her own. as creatures of faint heart and delicate dispositions. But it resonated, too, with women frustrated with When Marie returned to Paris in 1827, her assurance While gentleman race-goers called bourgeois morality, who saw in the Sylph a spirit and stamina – joined to harmonious lines and a that loved freely, a creature that expressed the most notable lack of stage mannerisms – was a revelation their horses “Sylphide” and “Taglioni”, natural passions without fearing stigma or retribution. to her contemporaries. At a time when dancers were women coiffed their hair à la Taglioni, Often described as a ballet that evokes the Romantic preoccupied with attention-seeking tours de force, donned Sylphide-inspired fashions, (male) artist’s quest for the unobtainable, La Sylphide Taglioni revealed a “wonderful lightness, an absence is existentialism for women, with its explorations of all violent effect”, and, as Lady Blessington added, and read a range of popular fiction in of individual desire, love as a force of concord and “a modesty as new as it is delightful to witness in her which aristocrats intrigued in their disorder, and its probing of the boundary between art”. As one French critic tellingly wrote, her graceful the real and the supernatural. style “is Romanticism applied to dance”. In La Sylphide, opera boxes while performances the novelty of Taglioni’s style became the basis for an of La Sylphide were in progress. Today, La Sylphide is also more immediately intense and truly poetic vision. As the Sylph, she teased recognised as the prototype ballet blanc. Its scenic the senses and transported the audience, her dancing groupings of women in diaphanous tutus popularised “the most aerial that can effected by mortal feet.” In London, Taglioni returned for four successive the “white” aesthetic that was imitated in France years to reprise her famous role, sparking a veritable and in opera houses all over Europe. As the French Taglioni’s personal triumph ensured La Sylphide would bonanza for high-end retailers. The English lady of critic and author Theophile Gautier remarked, “After be the ballet for which she was always remembered. It fashion could avail herself of the gauze sylphide, tissu La Sylphide … the Opéra was given over to gnomes, elevated the already admired dancer to pan-European sylphide (“new and very pretty for walking bonnets”), undines, salamanders, elves, nixes, wilis, peris – celebrity. Like a modern musical blockbuster, the La satin sylphide (described as “exceedingly soft and to all that strange and mysterious folk who lend Sylphide “experience” bound audiences from Dublin brilliant”) and the rose-coloured mousseline sylphide; themselves so marvellously to the fantasies of the to St Petersburg. Taglioni made her final appearance she might add to these purchases with an ivory- maitre de ballet.” As the rage for supernatural ballets as the Sylph just two weeks before her retirement in handled “La Sylphide” parasol or the “turban Sylphide” progressed, the spirit of Romanticism was sometimes 1847. Throughout the 1830s and 1840s, countless (“adapted to very youthful features”). By 1835, there lost amid the countless imitations, burlesques and productions inspired by La Sylphide also sprang to was also Madame Saint Anton’s “Corset Perfectionne fairy extravaganzas that La Sylphide spawned. But life in cities left unvisited by Taglioni herself, most Sylphide”, promising “perfect ease and comfort” and later masterpieces also came to life, including Giselle notably in Copenhagen, where the version of La a “sylph-like” figure for the wearer. Free from steel (1841) and Swan Lake (1877), which not only offered Sylphide now most commonly performed was and whalebone and “precluding the necessity of tight their own moonlit visions of unearthly women, but created by the great Danish choreographer August lacing”, the corset was available from Madame’s successfully reproduced that essential Romantic Bournonville, in 1836. Sydney audiences caught showrooms in London and Paris and was, so the paradox of pleasure-in-pain through their portrayals their own glimpse of La Sylphide when the pas seul advertisement ran, all the rage with the haut ton. of foiled desires, unreachable beauties, and love was danced there in 1837. A complete version was that bloomed beyond the grave. produced in Melbourne in 1845. Princess Victoria of Kent, the future Queen Victoria, was perhaps too young to be trying the latest As for the young Victoria, she too had something of a As Sylph and woman, Taglioni became a byword for innovations in corsetry, but Taglioni was as familiar brush with Romanticism’s wayward charms. The lovely propriety, fleetness and refinement as she repeatedly a name in the royal household as that of any duke Taglioni, that chestnut mare of which the princess was criss-crossed Europe. Her fame spread, too, with the or general. A regular visitor to the opera house, so fond, hid unruly tendencies of her own. Taglioni was help of lithography, which made the dancer’s image the Princess frequently recorded her impressions turned out for life. Taglioni was “not safe”. more accessible than ever before. Yet, however much in her journal, appraising Taglioni’s “inimitable” her reputation was built on the adulatory reviews of performances with the sincerity of a veteran. The Dr Caitlyn Lehmann is a cultural historian specialising in dance male critics, it was Taglioni’s appeal to women that 13-year-old princess owned a Sylphide doll and later history and 18th-century studies made her truly a household name. While gentleman received “a very pretty print of Mdlle. Taglioni” for her race-goers called their horses “Sylphide” and “Taglioni”, sixteenth birthday. After winning a bet with the King women coiffed their hair à la Taglioni, donned Sylphide- at Ascot Races, Victoria was also given a horse, which inspired fashions, and read a range of popular fiction Queen Adelaide christened Taglioni. “I am delighted in which aristocrats intrigued in their opera boxes with her,” Victoria wrote, “she is tall and slender ... Opposite: Marie Taglioni in La Sylphide, c.1831 while performances of La Sylphide were in progress. and of a dark chestnut colour.” Getty Images/DeAgostini CHOREOGRAPHER S

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AUGUST BOURNONVILLE ERIK BRUHN Choreographer Choreographer

For almost 50 years the great 19th-century Danish Erik Bruhn was born in Copenhagen in 1928 and dancer and choreographer, August Bournonville entered The Royal Danish Ballet School, where he (1805-1879), led the ballet at Copenhagen’s Royal was trained in the Bournonville tradition. He made Theatre, bringing it into a golden age and providing the his professional debut with the Metropolitan Ballet Danish repertory with some of its most revered works. in London. He quickly distinguished himself and Moreover, he carefully reorganised the company’s established an international career. He became school, forming such solid foundations that his spirit regarded as one of the best dancers in the world – and style still dominate The Royal Danish Ballet an immaculate technician, unsurpassed in his more than a century after his death. culture and nobility, and of rare intelligence. Though he occasionally did some choreography, his real Bournonville’s career as a dancer began under gift was as a producer of the classics. He danced the tutelage of his dancer father, who later became all the premier danseur roles of the traditional and the artistic director of The Royal Danish Ballet; Bournonville repertory. Bournonville also studied in Paris and danced with the Paris Opera Ballet. He returned to dance with In 1964 Erik Bruhn staged a production of The Royal Danish Ballet in 1830, and eventually Bournonville’s La Sylphide for The National Ballet of stepped into his father’s shoes as artistic director. Canada, beginning a long and continuing association During his nearly 50-year career he worked with and with that company as a dancer and producer. His many choreographed for five generations of dancers. successes included Coppélia, Les Sylphides and a controversial two-act version of Swan Lake. In 1973 Despite the new and much more dominant position he became The National Ballet of Canada’s resident given to the ballerina during the Romantic period, producer. From July 1983 until his death in April Bournonville continued to regard neither the female 1986, he was the company’s artistic director. nor the male dancer as dominant in ballet, but rather preferred the vision of two equally worthy partners Erik Bruhn’s association with The Australian Ballet working harmoniously in the service of the “noble began in 1962, when he danced in the company’s art of Terpsichore”. The distinctive Bournonville first production, Swan Lake, as Prince Siegfried; he style, based on the early French school of ballet, also guested in Coppélia. In 1985 he supervised his is understated and elegant, with low arabesque production of La Sylphide and also appeared as guest and arm lines and rapid footwork. artist in the role of Madge, his last stage appearance before his death. CREATIVES

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HUGH COLMAN FRANCIS CROESE ANNE FRASER MARTIN JAMES COLIN PEASLEY OAM Costume designer Lighting designer Set & costume designer Guest teacher Guest artist PAQUITA PAQUITA & LA SYLPHIDE LA SYLPHIDE LA SYLPHIDE

Hugh Colman is an honours Newcastle-born Francis Croese Born in New Zealand, designer Martin James was born in Sydney-born Colin Peasley graduate of Melbourne began his dance studies Anne Fraser began her career Christchurch in 1961, and was a founding member of University and trained as a with Tessa Maunder before in advertising before joining graduated from the New The Australian Ballet and during designer with the Melbourne attending the inaugural year the Union Repertory Theatre Zealand School of Dance in his distinguished career with Theatre Company. He has been of The Australian Ballet School (now the Melbourne Theatre 1977; shortly afterwards he the company he attained great a resident designer for that in 1964. During his twelve-year Company), for which company was made a principal dancer personal success, particularly company, as well as for the dancing career Francis Croese she designed the original with the Royal New Zealand in an extraordinary variety of State Theatre Company of South achieved the rank of senior production of Summer of the Ballet. In 1985 he joined the character roles, many of which Australia. The major part of his soloist and partnered many Seventeenth Doll, as well as its English National Ballet, and he created. Invited onto the career since 1970 has been guest and Australian Ballet subsequent London production. was a principal dancer with the ballet staff of The Australian working as a freelance designer. ballerinas including Margot This was followed by Swan Lake company from 1987 to 1990. Ballet in 1975, he became With close to 200 production Fonteyn, Marilyn Jones, for the Borovansky Ballet and From 1990 to 1994 he was the company’s teacher and credits, he has worked for most Marilyn Rowe, Lucette The Gondoliers and The Mikado a principal with the Deutsche ballet master, responsible for of the major theatre, dance and Aldous, Antoinette Sibley for JC Williamson. Productions Opera Ballet, and from 1994 the reproduction of ballets opera companies in Australia. and Kathleen Gorham. of Symphony in Gold for The to 2000 he was a principal from repertoire and the daily These include The Australian Francis Croese was Australian Ballet and The with The Royal Danish scheduling of rehearsals. Ballet, Opera Australia, Victoria appointed The Australian Constant Wife for Williamson’s Ballet. During his time with Among the many awards Colin State Opera, State Opera of Ballet’s assistant stage were followed by engagements the company he received a has received is a Medal of the South Australia, Melbourne manager in 1976, its stage with the South Australian Knighthood of Service medal Order of Australia for Services Theatre Company, Sydney manager the following year Theatre Company and, as from Queen Margrethe II for to Dance in the 1996 Queen’s Theatre Company, State and its stage director in 1983. Head of Design, with the his contribution to ballet and Birthday honours list, and his Theatre Company of South During this time he worked Old Tote Theatre Company. dance in Denmark. admittance to the Ausdance Australia and various closely with the company’s While freelancing as a Martin’s career as a guest Hall of Fame in 2005. He is a commercial enterprises. Director of Productions, designer Anne Fraser worked artist has taken him around Fellow of the Imperial Society Hugh has lectured in design William Akers, on all aspects for the Melbourne Theatre the world. He has danced of Teachers of Dancing. In for various institutions, including of production and lighting design Company, the Victoria State most of the principal roles in May 2013, Colin received RMIT and the VCA; for the latter and in 1982 created the lighting Opera (The Return of Ulysses, the classical and contemporary the Green Room Lifetime he directed and designed a for the Kozlovs’ production Die Fledermaus and Eugene repertoires, as well as having Achievement Award. production of The Marriage of of The Nutcracker. In 1995, Onegin), the South Australian roles created especially for him. In 1997 Colin retired as a Figaro in 1994. More recent Francis Croese was appointed Opera (Cappiccio and Countess The ballerinas he has partnered principal artist and established work includes the set design technical director. During his Maritza) as well as designing include Natalia Makarova, The Australian Ballet’s for Pecan Summer for Short technical career he worked with and setting up the Performing Ekaterina Maximova, Lynn Education Program. He was Black Opera. He and director many of the world’s leading set Arts Museum at the Victorian Seymour and Sylvie Guillem. named artist in residence in Ailsa Piper adapted a production and lighting designers and in Arts Centre and designing After his retirement Martin 2011. Colin retired from The from Webster’s The Duchess of some of the world’s great opera the initial exhibition, They Call became a ballet master for Australian Ballet in 2012, the Malfi, which was presented by houses. At the end of 2007, Me Melba. My Fair Lady and The Royal Danish Ballet, later year of the company’s 50th Bell Shakespeare. Colman also Francis retired from The costumes for Andrea Chenier becoming a freelance guest anniversary and his 50th designed costumes and sets Australian Ballet. for the Victoria State Opera teacher and ballet master with year with it. He continues to for Dark Lullaby, Ballet Imperial, He has created lighting followed. In 1992 she designed major ballet companies and perform character roles with the Scuola di ballo and Stephen designs for The Australian Reg Livermore’s production of institutions throughout Europe. company as well as maintaining Baynes’ Swan Lake for The Ballet, The Australian Ballet La Traviata for the Victoria He has been a regular teacher a busy international schedule Australian Ballet. School, The Dancers Company, State Opera. and coach with the New Zealand as a repetiteur, coach, In 2006 Colman won the John San Francisco Ballet’s UNited Anne Fraser’s design for School of Dance and the Royal teacher and adjudicator. Truscott Award for Excellence We Dance Festival, Japan The Australian Ballet’s La New Zealand Ballet since his in Design. Previous Green Room Ballet Association and recently Sylphide won her the 1985 return. Awards were for The Australian designed the lighting for Stanton Green Room Award for Ballet Martin is also a celebrated Ballet’s productions of The Welch’s new production of La Design. In 1993 she was made painter and graphic artist who Sleeping Beauty (1984) and Bayadére for Houston Ballet. a Member of the Order of has had many exhibitions. He Snugglepot and Cuddlepie. Australia for her contribution is currently working toward a to theatre and design. major showing of his work in 2013/2014. Josephine Jason, Marilyn Rowe and artists of The Australian Ballet in Les Sylphides, c.1970s Photography Greg McCloskey

Marie Taglioni in La Sylphide, 1832 Christine Walsh in La Sylphide, c.1980s

Airy Spirits Fluttering woodland sprites – whether it be sylphs or their more sinister sister, the wili – have bewitched ballet audiences for almost two centuries.

Robert Curran and Madeleine Eastoe Fanny Cerrito and partner in La Sylphide Amber Scott and artists of The Australian Ballet in Giselle, 2006 Photography Justin Smith Getty Images/DeAgostini Photography Danielle Lyons

Marilyn Rowe and artists of The Australian Nina Vyroubova and Roland Petit in La Sylphide, 1947 Ballet in Les Sylphides, c.1970s Photography Getty Images/Lipnitzki/Roger Viollet Photography Greg McCloskey

Madeleine Eastoe Maria Taglioni in La Sylphide Photography Justin Smith Josephine Jason and Marilyn Rowe in Les Sylphides, c.1970s The British Library/Robana via Getty Images Amber Scott in Paquita, 2007 Photography Jim McFarlane

MUSIC NOTE What made the 19th-century ballet composer tick? Nicolette Fraillon, The Australian Ballet’s Chief Conductor and Music Director, talks about the scores for La Sylphide and Paquita.

What I find interesting about La Sylphide is that it of the second half of the 19th century, when you get beautiful melody after beautiful melody, particularly started with a different score altogether. In its first the Wagner operas or the Tchaikovsky ballets, where for pas de deux. iteration as the Filippo Taglioni ballet in Paris, it had the music is operating on a far more complex level a score by Jean Schneitzhoeffer. Taglioni [the father expressively. During the Romantic movement there was a real of Marie] created it to a particular scenario and got interest in folk art and folk dancing, particularly Schneitzhoeffer to write a score. That’s actually the There are themes, in Løvenskiold’s score: the theme in Russia. So composers would go in search of folk work that Bournonville wanted, but the copyright was of James, the theme of Effie, the theme of the witch, melodies. Minkus was obviously a very well-educated too expensive. However, he was allowed to use the but they’re not used in any complex sense. It’s not and literate musician, because he knew how to grab scenario, so he created essentially the same story like a sophisticated leitmotif usage where the theme a Spanish melody, not to use literally, but to work out but asked Herman Løvenskiold to write a new score. itself will develop – it will be musically dissected and what it was that made it sound Spanish and to then Løvenskiold was very young at the time, about 19 or distorted and taken into different keys and stretched create something that felt Spanish, but was of the 20, and had done virtually nothing else. He didn’t do so it’s expressing the development of the character. period. He was a really skilled artisan who created a lot after that either! This is the only work of his which This happens in Tchaikovsky, but not in Løvenskiold charming folk dances and folk ballets and set a scene is regularly performed. or Minkus. very quickly. He also did that through the orchestration. He was a violinist who then became a conductor and Musically, the Romantic period didn’t really start When you look at the CVs of 19th-century ballet composer, and obviously one with really good ears, until 1830, so music kind of lagged behind ballet composers, they’d often start as musicians in pit because he knew how to use certain orchestral and the other art forms. That’s why you have ballets orchestras and then start conducting – so they effects to evoke a character or set a scene. Take that were created in that period (like La Sylphide) obviously got to know the art form a bit. I think the overtures for Don Quixote or La Bayadère – you where the scenario is really Romantic, but the music also that they weren’t driven by blinding ambition have an idea that you’re in Spain, or some exotic far that goes with it doesn’t sound Romantic: it’s still to be composers of other kinds (or if they were, they Eastern country, just through his orchestration and descriptive, formulaic. Melodically, it’s pretty and weren’t particularly good at it). It’s a real mind-set his melodies. catchy and good to dance to, but rhythmically very thing. Compare it to these days where we have people simple in the way that the ballet music of that period who write for advertising or film – it’s quite a different Minkus was really prolific. He was leading an tended to be. It was all about underscoring, literally experience to then actually write for a symphony or orchestra and conducting and composing work after underscoring, the action, not being anything that was a string quartet, something abstract, without a story, work, to brief after brief, for different choreographers, terribly emotive in itself. It creates a sort of mood – if without a brief. all in a relatively short amount of time. So he wasn’t it’s in a minor key it’ll be a sad mood, if it’s a major a genius in a Tchaikovsky or Beethoven sense, but he key it’s a happy mood. For the witch, it’s more dramatic In those days, writing for ballet was writing to order. must’ve been really adept and clever to turn out what brassy moments. To get a Scottish character in there, Choreographers would say “I want this”, or they would he did at the rate that he did – and to understand what there are a few Scottish-sounding melodies; the get a dramaturge to write a scenario, and then it would classical ballet needed, how to make the dancers piccolo is used with a kind of fife effect. be taken step by step, movement by movement: “I look great, how to give them the vehicle to show off. want 16 bars of a happy allegro and then I want a folk Part of the cult of Romanticism in all the art forms Probably the best of Løvenskiold’s writing is what dance for the gypsies who are coming in and then is the cult of the individual, and, particularly in the he does in the overture; perhaps because there is I want (in the case of La Sylphide) a scene for the Imperial Ballet, women and then men both developed nothing happening on stage, and he is freed by that. witch and pretty, light music for the Sylph – and stronger and stronger techniques. Minkus had to write You get dramatic brass chords in the opening and then they delivered all of that, music to prescription. them the vehicles to really show off their steps, so a wistful cello solo and then tremolo effects in the he understood a lot about ballet and exactly how to strings (that’s the really fast moving of the bow up and Ludwig Minkus had a real melodic gift, especially deliver what the choreographer was wanting from down on a note) to convey something ethereal – and considering the amount of stuff that he had to write, him – and he did that in spades. that’s about as evocative as the score gets. It’s lovely, and rewrite, and produce to order – like an advertising it’s listenable, but it’s light years behind the music jingle writer or a film composer. He could produce Kevin Jackson and Madeleine Eastoe in La Sylphide CONDUCTORS Image – 3 Deep with Georges Antoni

NICOLETTE FRAILLON PHILIP ELLIS PAUL MURPHY SIMON THEW Music Director Guest Conductor Guest Conductor Guest Assistant & Chief Conductor Melbourne Sydney Conductor Nicolette Fraillon began her In 1998 she took up the Born in London in 1962, Paul Murphy is principal Simon Thew has undertaken music studies on violin and position of Director at the Philip Ellis won First Prize at conductor of the Birmingham conducting studies in Sydney, piano at an early age. At School of Music, Australian the 1991 Leeds Conductors Royal Ballet and its orchestra, Vienna, Berlin and Barcelona 16 she conducted her first National University, and Competition. He has over 20 the Royal Ballet Sinfonia. with mentors including concert with the Victorian continued her conducting work years’ experience conducting In addition to an extensive Sebastian Weigle, Nicolette Junior Symphony Orchestra. with the West Australian Ballet, for ballet. As conductor for touring schedule both in the Fraillon, Harry Spence Lyth, She graduated on viola from the West Australian Symphony the Birmingham Royal Ballet, UK and abroad, their work Richard Bonynge AC CBE, Melbourne University in 1982, Orchestra, the Australian Youth he has conducted at least 50 together includes concerts and John Hopkins OBE. gaining an equal first place in Orchestra and the Canberra performances every season and recordings. In 2007 Simon was awarded her year in Performance. From Symphony Orchestra. since 1990. As a guest Paul has been a regular guest the Dame Joan Sutherland- 1984–87 she furthered her She debuted with The Australian conductor he has worked conductor with The Royal Richard Bonynge Travel instrumental studies at the Ballet in 2002, conducting for companies including Ballet since 1994, working Scholarship, which enabled Hochschule für Musik in Vienna Spartacus, and was then The Royal Ballet, Angel Corella regularly with the orchestra of further study in Europe, and from 1987–88 in Hannover. invited by David McAllister to Ballet, English National Ballet, the Royal Opera House. He has particularly in German opera. During her time in Germany and Gothenburg Ballet, La Scala become Music Director and conducted many of the UK’s In 2008 Simon was the Austria Nicolette toured with Chief Conductor, beginning in Ballet, Polish National Ballet, finest ensembles, including the many orchestras, including the Semper Oper Ballet – Dresden, musical intern at the Bayreuth January 2003. Since joining Royal Philharmonic Orchestra, Festival for Die Meistersinger Salzburger Chamber Ensemble the company, Nicolette has Adventures in Motion Pictures, the Hallé, the Royal Liverpool and the Chamber Orchestra and Kobayashi Ballet. von Nürnberg. In 2010 the conducted all programmes for Philharmonic Orchestra, the awarding of the Hephzibah of Bassano, and was a member The Australian Ballet, including In June 2012, he made his BBC National Orchestra of of the Haydn Quartet, based Tintner Fellowship gave him three overseas tours, and has debut with Paris Opera Ballet Wales, the New Queen’s Hall performance and mentoring at the Esterhazy Palace in been a guest conductor for San conducting La Fille mal gardée Orchestra, the Ulster Orchestra, Eisenstadt. opportunities with The Francisco Ballet. Following The at the Opera Garnier. For the BBC Concert Orchestra, Australian Ballet, Opera In 1990 Nicolette moved to Australian Ballet’s 2005 tour The Australian Ballet he has the Orchestra of Opera North Australia and the Sydney the Netherlands, where she to the UK, Nicolette was, in conducted The Nutcracker, and the City of Birmingham Symphony. In 2011 Simon became Assistant Musical 2006, invited back to conduct The Merry Widow and Symphony Orchestra. was The Australian Ballet’s Director for the 1991–92 The Sleeping Beauty with Swan Lake. Abroad, he has worked with Conducting Fellow. season of Les Misérables in Birmingham Royal Ballet. In He is principal conductor of such orchestras as the Bergen In 2012, Simon was awarded Amsterdam and The Hague. 2007 Nicolette guested with the Jersey Symphony Orchestra, Philharmonic, the Tokyo In 1992 she was admitted to the New York City Ballet. In a Churchill Fellowship and associate conductor of the Philharmonic, the Hong Kong undertook professional the Netherlands Broadcasting 2008 she returned to the English Sinfonia (1985 – 2005) Philharmonic, the Washington Association’s International Birmingham Royal Ballet for development opportunities and musical director for National Opera Orchestra, the with Birmingham Royal Ballet, Conductors’ Masterclass, a Nutcracker season, then soprano Lesley Garrett. Sofia Opera Orchestra and resulting in a performance finished the year with a New The Royal Ballet, English He is a regular guest the Orchestra of the Teatro National Ballet, Vienna with the Dutch Radio Symphony Year’s Gala in Skopje with Massimo in Sicily. He has also Orchestra in the Concertgebouw the Macedonian Philharmonic conductor for the Royal Philharmonic, Berlin State Philharmonic Orchestra, been a guest conductor for New Opera and American Ballet in Amsterdam. This led to an Orchestra. In early 2011, York City Ballet, Ballet du Rhin, invitation to conduct for the Nicolette guested with San (and has made many recordings Theatre. with them) and has conducted the Royal Ballet of Flanders, Nederlands Dans Theater. She Francisco Ballet, conducting Dutch National Ballet and most He has a strong commitment was then invited to become their production of Giselle. symphony concerts with the to the development of young St Petersburg Philharmonic recently, The Australian Ballet Music Director and Chief and the National Ballet of musicians, and has conducted Conductor of the National Ballet Orchestra, Belgian National many youth and student Orchestra, Philharmonia Japan; he has made of the Netherlands, working with numerous recordings. orchestras in Sydney and such renowned choreographers Orchestra, London Philharmonic, Melbourne, most notably the as Hans van Manen, Toer van BBC Philharmonic, English He studied conducting at the SBS youth orchestra, with which Schayk, Rudi van Dantzig and Chamber Orchestra, Hallé Royal Academy of Music with he has worked since 1997. Krzysztof Pastor, and conducting Orchestra and many others. Colin Metters, John Carewe, Simon was an Assistant numerous world premieres. George Hurst and Sir Colin Conductor with Opera Australia During the following five years Davis. He was made an from 2007 until 2010. In 2010 she worked with the North Associate of the Royal he conducted Opera Australia’s Holland Philharmonic Orchestra, Academy of Music in 1997. Oz Opera regional tour, and the New Sinfonietta Amsterdam, in the same year made his Noord Nederlands Orchestra, conducting debut with The the Gelders Orchestra in Australian Ballet; he also acted Arnhem, the Limburg Symphony as assistant conductor on the Orchestra, the Residentie company’s 2012 New York tour. Orchestra in The Hague, the Kanazawa Chamber Orchestra (Japan) and the Finnish Ballet. Artists of the Australian Ballet in La Sylphide, 2005 Photography Jeff Busby PRINCIPAL ARTISTS GENEROUSLY SUPPORTED BY LES ETOILES PRINCIPAL Mrs Mary Barlow Mrs Roma Norcott Ms Natasha Bowness 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 Jodie Maunder Mrs Christine Smedley Mr Arthur L Norcott Marijke Webb

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, aplomb and charm” “Physically striking and technically Sunday Herald Sun a true danseur noble” Sunday Herald Sun Herald Sun thestage.co.uk assured” The Observer, UK The Sunday Age

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

LANA JONES ANDREW KILLIAN TY KING-WALL AMBER SCOTT LEANNE STOJMENOV

“Mesmerising in execution” “Immaculate and debonair” “All charm and youthful exuberance” “A definition of poise and steely confidence, “Flawless” media-culture.org.au Dance Australia Dance Informa every bit the prima ballerina” The Australian Herald Sun

Lana Jones was born in Coffs Harbour but moved soon after to Melbourne-born Andrew Killian, a student of The Australian Born in Waihi, New Zealand, Ty King-Wall started dancing at Amber Scott joined The Australian Ballet School at age eleven. Leanne was born and raised in Perth where she began her initial Canberra, where she commenced her ballet training at the Canberra Ballet School, joined The Australian Ballet in 2000 and was the age of seven. He received his early ballet training at the After graduating as dux, Amber joined The Australian Ballet in 2001. ballet training with Helen McKay. Her full-time training began at Youth Ballet School. She moved to Melbourne in 1999 to attend The promoted to principal artist in 2011. During his time with The Dance Education Centre in Tauranga. A Junior Associate of the She was promoted to principal artist in 2011. Career highlights the Graduate College in 1993 under the school’s director, Terri Australian Ballet School, graduating dux to join The Australian Ballet Australian Ballet Andrew has thoroughly enjoyed performing leading New Zealand School of Dance, he left New Zealand at 16 to study include working with Wayne McGregor on Dyad 1929 in 2009, Charlesworth, and in 1999 she joined the West Australian Ballet. in 2002. In 2005 she was promoted to coryphée and won the Telstra roles in the company’s extensive classical repertoire including full-time at The Australian Ballet School. Upon graduating dux and with Stephen Page on Rites in 2006 and 2008; dancing with In 2001 Leanne left Perth to take up a position with The Australian Ballet Dancer Award, the highest accolade of its kind for Australian Lescaut in Sir Kenneth MacMillan’s Manon, Espada in Rudolf with honours, Ty was accepted into The Australian Ballet in 2006. guest artist Robert Tewsley during the 2008 Manon season; and Ballet. Receiving the New South Wales Friends of The Australian Ballet dancers. A rising star within the ranks, Lana’s dancing has Nureyev’s Don Quixote, the Prince in Peter Wright’s The Nutcracker, Since joining the company, Ty has danced numerous principal performing Odette with Adam Bull in Graeme Murphy’s Swan Lake Ballet scholarship in 2004 enabled her to study throughout Europe. been critically acclaimed as “joyous and effervescent”, with one and the Cavalier in George Balanchine’s Ballet Imperial. Andrew roles, and had the role of Ceyx created on him in Tim Harbour’s in Paris and Manchester in 2008 and Tokyo and Nagoya in 2010. Leanne has a high regard for artists who can adapt to all kinds of writer declaring her performance in George Balanchine’s Apollo has also been involved in the creation of many new works including Halcyon. He was promoted to soloist in 2010 and to senior roles and repertoire. Leanne was promoted to principal artist in 2011. as “supernatural”. Lana was promoted to principal artist in 2010. Stephen Baynes’ Constant Variants and Tim Harbour’s Wa, and has artist in 2011. Repertoire highlights performed in most of The Australian Ballet’s Bodytorque seasons. •Odette/Odile in Stephen Baynes’ Swan Lake 2012 Repertoire highlights Repertoire highlights He enjoys working closely with choreographers and offers a unique Repertoire highlights •Pas de deux from Christopher Wheeldon’s After the Rain© 2012 •Odette/Odile in Stephen Baynes’ Swan Lake 2012 •Odette/Odile in Stephen Baynes’ Swan Lake 2012 versatility that places him in high demand. Andrew has toured with •Basilio in Rudolf Nureyev’s Don Quixote, 2013 •Glen Tetley’s Gemini 2012 •Juliet in Graeme Murphy’s Romeo & Juliet 2011 •Glen Tetley’s Gemini 2012 The Australian Ballet to New Zealand, Japan, China, the UK and •Principal Man in Harald Lander’s Études, 2012 •Hanna in The Merry Widow 2011 •Sir Kenneth MacMillan’s Concerto 2011 •George Balanchine’s Tschaikovsky Pas de Deux 2012 France. He was nominated for the Telstra Ballet Dancer Award •Prince Siegfried in Stephen Baynes’ Swan Lake 2012 •Juliet in Graeme Murphy’s Romeo & Juliet 2011 •Suzuki in Stanton Welch’s Madame Butterfly 2011 •Principal Lady in Harald Lander’s Ètudes 2012 in 2009. •Lensky in John Cranko’s Onegin 2012 •Stephen Baynes’ Beyond Bach 2011 •Clara in Peter Wright’s The Nutcracker 2010 •Juliet in Graeme Murphy’s Romeo & Juliet 2011 •Pinkerton in Stanton Welch’s Madame Butterfly 2011 •Christopher Wheeldon’s After the Rain© 2011 •Swanilda in Coppélia 2010 •Sir Kenneth MacMillan’s Concerto (1st and 3rd movement) 2011 Repertoire highlights •The Prince in Peter Wright’s The Nutcracker 2010 •2nd Movement Pas de Deux in Sir Kenneth MacMillan’s •Odette in Graeme Murphy’s Swan Lake 2009 •Pas de deux from Christopher Wheeldon’s After the Rain© 2011 •A Suite of Dances 2008 •Franz in Peggy van Praagh’s Coppélia 2010 Concerto 2011 •Wayne McGregor’s Dyad 1929 2009 •Swanilda in Coppélia 2010 •The Cage 2008 •Octavian in Graeme Murphy’s The Silver Rose 2010 •Sugar Plum Fairy in Peter Wright’s The Nutcracker 2010 •Alexei Ratmansky’s Scuola di ballo 2009 •Wayne McGregor’s Dyad 1929 2010 •Rites 2008 •Prince Florimund in Stanton Welch’s The Sleeping Beauty 2009 •Odette in Graeme Murphy’s Swan Lake 2010, 2009, 2008, 2006, •Ballerina Doll in Petrouchka 2009 •Aurora, Carabosse and Lilac Fairy in Stanton Welch’s •Spring Waters 2007 2005, 2004 •Manon in Sir Kenneth MacMillan’s Manon 2008 The Sleeping Beauty 2009 •After the Rain© 2007 Awards •Stephen Baynes’ Molto Vivace 2010 •Esmeralda pas de deux 2008 •The Baroness in Graeme Murphy’s Swan Lake 2009 •Stepping Stones 2005 •Telstra Ballet Dancer Award 2010 •Aurora and Lilac Fairy in Stanton Welch’s The Sleeping Beauty 2009 •Kitri in Don Quixote 2007 •Firebird in Graeme Murphy’s Firebird 2009 •Forgotten Land 2005 •Silver Medal, Asia Pacific International Ballet Competition 2005 •Flute variation and pas de deux in Serge Lifar’s Suite en blanc •Le Corsaire pas de deux 2007 •Petite Mort 2005 •PACANZ Young Performer of the Year Award 2002 2009, 2005 •Krzysztof Pastor’s Symphonie Fantastique 2007 Guest Appearances •Manon in Sir Kenneth MacMillan’s Manon 2008 •Jirˇí Kylián’s Stepping Stones 2005 •Fall for Dance Festival, New York 2011 Guest Appearances You may not know ... •Aurora in Stanton Welch’s The Sleeping Beauty 2009, 2005 •The Hong Kong Ballet 2011 •Fool’s Paradise with Morphoses 2009 Ty is studying towards a Bachelor of Arts, majoring in History Guest appearances •West Australian Ballet •The Nutcracker with Houston Ballet 2007 and Classical Studies, and is an avid cricket fan. •Fall for Dance Festival, New York City 2011 Awards •The Stuttgart Ballet’s 50th Anniversary Gala 2011 •Telstra Ballet Dancer Award nominee 2009, 2007 and 2005 Awards You may not know... •The Dancers Company tour 2004, 2003 •Khitercs Foundation Scholarship Andrew is still struggling to learn how to cook and cried like Guest Appearances •Australian Dance Award for outstanding performance a baby at his best friend’s wedding. Awards •Miami International Dance Festival 2010 by a female dancer in Firebird 2009 •Telstra Ballet Dancer Award and Telstra People’s Choice •Morphoses 2009 •Green Room Award for best female dancer in Firebird 2009 Award 2004 •Royal Swedish Ballet 2008 •Helpmann Award for best female dancer in Firebird 2009 •First Place Junior Asian Pacific Competition, Tokyo 1999 •Helpmann Award for best female dancer in Forgotten Land 2006 •Adeline Genée Awards, bronze medal 1998 You may not know ... “Although for now my passion is in the arts, in the future You may not know ... You may not know I would love to open a small business.” Lana loves photography, jet skiing and the beach, and has Amber recently took up golf and pottery and one day would like two dogs, Chloe and Rico. to walk the pilgrims’ route “The Way of St James” from France to Spain. LANA JONES’ PRINCIPAL ARTIST POSITION IS GENEROUSLY SUPPORTED BY THE DOROTHY HICKS FUND AMBER SCOTT’S PRINCIPAL ARTIST POSITION IS GENEROUSLY SUPPORTED BY THE BARBARA DUHIG FUND. SENIOR ARTISTS

JULIET BURNETT CHENGWU GUO AMY HARRIS RUDY HAWKES REIKO HOMBO MIWAKO KUBOTA

“Captivating in sincerity” “explosive energy” “Flawless technique” “Outstanding” “Utterly charming” “Delicate and regal” The Australian The Age The Daily Telegraph Sydney Morning Herald The Age The Daily Telegraph

Born in Sydney, Juliet trained in Growing up in China, Chengwu Amy Harris was born in Ararat, At the age of seven, Ipswich- Reiko started ballet at the Miwako was born in Japan the Cecchetti method with Valerie Guo began dance classes at the Victoria and began jazz and born Rudy joined his local age of five in her hometown and began her ballet training Jenkins, and later with Christine age of eleven. He was accepted tap classes at her local ballet dance school, where he spent of Kobe, Japan. After ten years with Fumika Morishima in Keith. She was also fortunate into the Beijing Dance Academy school, Rosengreens School several years learning jazz, of training in Japan, she joined Okinawa. Before joining The to receive special coaching where he was able to combine of Dancing, at the age of three. tap, and contemporary ballet. The Australian Ballet School in Australian Ballet School she from the late Valrene Tweedie, a his ballet training with academic From the age of ten, Amy trained He studied at the Shayne 2003. In 2006 Reiko made her trained with Kimie Sasamoto great mentor for Juliet. She was studies. Chen’s talent for ballet in the Cecchetti method with McCormick Dance Centre and debut with The Australian Ballet and Iwao Nagae in Tokyo. In accepted into The Australian was soon evident when he Carole Oliver School of Ballet Brisbane Dance Centre before in Giselle, dancing the Peasant 1997 Miwako was awarded the Ballet School in 2000 and received a gold medal at the Tao in Ballarat, and as a Cecchetti joining the Queensland Dance Pas De Deux. Since then, Idemitsu Scholarship at the joined The Australian Ballet in Li Bei of China Competition, and scholar won bronze and silver School of Excellence. He moved Reiko has danced a handful sixth Asia Pacific Competition. 2003. Highlights since then have also at the Beijing International medals. In 1999, aged 15, Amy to Melbourne in 2002 to take of critically acclaimed principal After graduating from The included being plucked from the Competition. In 2006 Chen successfully auditioned for The up a position at The Australian roles with the company, Australian Ballet School in 1998 rank of coryphée to create the became a prize winner at the Australian Ballet School. She Ballet School. In 2004 Rudy including Clara in Peter Wright’s with honours she joined The title role in Matjash Mrozewski’s prestigious Prix de Lausanne joined The Australian Ballet was selected to participate The Nutcracker, and Kitri in Australian Ballet, going on to Semele, working closely with Competition in Switzerland, in 2002 and was promoted to in a student exchange to Don Quixote. Reiko was perform in many roles, including Graeme Murphy and Janet Vernon receiving a full scholarship senior artist in 2012. New York and Toronto, taking promoted to soloist in 2010 principal ones. She has toured in the role of Sophie in The Silver to complete his vocational Repertoire highlights classes with the American Ballet and to senior artist in 2012. to Japan, New Zealand, China, Rose, and fulfilling a lifelong ballet training. He chose to •Hanna in The Merry Widow Theatre’s Studio Company. He Repertoire highlights London and New York with the dream to dance her namesake take up this scholarship at 2011 joined The Australian Ballet •Kitri in Rudolf Nureyev’s company. Miwako was promoted role in Murphy’s Romeo & Juliet. The Australian Ballet School. •Lady Capulet in Graeme in 2005 and was promoted to Don Quixote 2013 to senior artist in 2010. She is also a writer and regular During his time at the School Murphy’s Romeo & Juliet senior artist in 2012. Rudy •Cio-Cio-San in Stanton Welch’s Repertoire highlights contributor to The Australian Chen toured regional Australia 2011 has enjoyed working with many Madame Butterfly 2011 •Tatiana in John Cranko’s Ballet’s blog Behind Ballet. with The Dancers Company, •The Black Queen in Ninette choreographers including Wayne •Valencienne in Ronald Hynd’s Onegin 2012 Juliet was promoted to soloist and received glowing reviews de Valois’ Checkmate 2011 McGregor, Graeme Murphy and The Merry Widow 2011 •Cio-Cio-San in Stanton Welch’s in 2009 and to senior artist for his roles in The Sleeping •Christopher Wheeldon’s Janet Vernon, Stephen Page •Olga in John Cranko’s Madame Butterfly 2011 for the 2011 season. Beauty, Graduation Ball and After the Rain© 2011 and Stephen Baynes. Onegin 2012 •Valencienne in Ronald Hynd’s Repertoire highlights Coppélia. Chengwu joined The •3rd Movement solo in Repertoire highlights •Swanilda in Coppélia 2010 The Merry Widow 2011 •Glen Tetley’s Gemini 2012 Australian Ballet in 2008 and Sir Kenneth MacMillan’s •Prince Siegfried in Stephen •Alexei Ratmansky’s Scuola •2nd movement pas de •Nutcracker Act II pas de deux, was promoted to senior artist Concerto 2011 Baynes’ Swan Lake 2012 di ballo 2009 deux in Sir Kenneth 2012 in 2013. •Kevin Jackson’s Encomium •Onegin in John Cranko’s •Stanton Welch’s The MacMillan’s Concerto 2011 •Juliet in Graeme Murphy’s Repertoire highlights in BodyTorque.Muses 2011 Onegin 2012 Sleeping Beauty 2009 •Christopher Wheeldon’s Qantas is proud to Romeo & Juliet 2011 •Basilio in Rudolf Nureyev’s •Carabosse and Water •Romeo in Graeme Murphy’s •Suite en blanc 2009 After the Rain© 2011 •2nd Movement pas de deux Don Quixote 2013 Fairy in Stanton Welch’s Romeo & Juliet 2011 •Graeme Murphy’s Firebird 2009 •Stephen Baynes’ Beyond in Sir Kenneth MacMillan’s •Principal man, Mazurka, The Sleeping Beauty 2009 •Danilo in Ronald Hynd’s •Matjash Mrozewski’s Bach 2011 Concerto 2011 in Harald Landers’ Études 2012 Awards The Merry Widow 2011 Semele 2008 •The Lady in Stephen be the official airline of •Stephen Baynes’ Beyond •Benno in Stephen Baynes’ •Telstra Ballet Dancer Award •PInkerton in Stanton Welch’s •Graeme Murphy’s Swan Baynes’ Molto Vivace 2010 Bach 2011 Swan Lake 2012 2012 Madame Butterfly 2011 Lake 2008 •Swanilda and Dawn in Peggy •Sophie in Graeme Murphy’s •Don Quixote pas de deux, •Telstra People’s Choice Award •Ceyx in Tim Harbour’s •La Favorita 2007 van Praagh’s Coppélia 2010 The Silver Rose 2010 New York 2012 2008, 2010 Halcyon 2010 •Spring Waters 2007 •Princess Aurora and Lilac •The Lady in Stephen •Le Corsaire pas de deux, •Octavian in Graeme Murphy’s •Clara in Peter Wright’s Fairy in Stanton Welch’s The The Australian Ballet. •Friends of the Australian Baynes’ Molto Vivace 2010 Telstra Ballet in the Park Ballet Scholarship 2001 The Silver Rose 2010 The Nutcracker 2007 Sleeping Beauty 2009 •Wayne McGregor’s Dyad 2012 •Nagae Scholarship 2000 •Prince Partner in Graeme Guest appearances •Young Tsarevna in Graeme 1929 2009 •Mercutio and Tybalt in Murphy’s Nutcracker – Murphy’s Firebird 2009 You may not know ... •The Dancers Company tour •Flute variation in Serge Graeme Murphy’s Romeo The Story of Clara 2009 2012, 2011, 2009, 2006 •Clara, Rose Fairy and Snow Lifar’s Suite en blanc 2009 & Juliet 2011 Amy loves photography •Stephen Page’s Rites 2008 Fairy in Peter Wright’s The •Mikhail Fokine’s Les •First Red Knight in Ninette and music and finds herself •Stephen Page’s Awards Nutcracker 2010, 2007 Sylphides 2009, 2006 de Valois’ Checkmate 2011 snapping away and going Amalgamate 2006 •Telstra Ballet Dancer Award •Prelude and Mazurka in •Semele in Matjash •Sir Kenneth MacMillan’s to gigs whenever she can •Rat Pack member in Stephen nominee 2008 Mikhail Fokine’s Les Mrozewski’s Semele 2008 Concerto 2011 fit it in. Baynes’ Raymonda 2006 •The Friends of The Australian Sylphides 2009, 2006 Ballet Scholarship 2005 •Polyhymnia in George •Graeme Murphy’s Firebird •Jirˇí Kylián’s Forgotten Land, Awards Balanchine’s Apollo 2007 2009 Stepping Stones and Petite •Caroline Poon Scholarship 2004 •Khitercs Travelling Scholarship Guest appearances Guest appearances Mort 2005 2011 •The Dancers Company tour 2004 •The Dancers Company tour Awards You may not know … •Marigold Southey Scholarship Reiko is the proud owner of Awards 2008 •Telstra Ballet Dancer Award 2007 nominee 2011, 2007 a 100-year-old piano. Please •Khitercs Travelling Scholarship Awards feel free to drop by for musical Guest appearances 2011 •Telstra Ballet Dancer Award •Lionel Phillips Scholarship •The Dancers Company tour 2003 soirées if you are so inclined. You may not know ... and Telstra People’s 2006 Juliet’s mum is Indonesian, Choice Award 2011 You may not know ... You may not know ... and comes from a large family You may not know... Rudy is engaged to fellow Miwako loves knitting, crochet, of dancers, actors, musicians, Chengwu likes to watch dancer Dimity Azoury, and puzzles, Sudoku and cooking poets and playwrights. Juliet’s Japanese anime in his their dog is going to be their and is a proud Melbourne grandmother was the Sultan’s spare time. page boy/pagedog at their Storm supporter. principal dancer in his court in Java. wedding. Qantas Airways Limited ABN 16 009 661 901.

QDM0339 Skytrax Ballet Magazine FPC 240x330.indd 1 12/07/13 2:30 PM SOLOISTS

BRETT CHYNOWETH BEN DAVIS MATTHEW DONNELLY ROBYN HENDRICKS AKO KONDO NATASHA KUSEN BRETT SIMON JACOB SOFER DANA STEPHENSEN LAURA TONG VIVIENNE WONG ANDREW WRIGHT

Brett Chynoweth was born Born in Melbourne in 1982, Born in New South Wales, South African-born Robyn Ako was born in Nagoya, Born in Sydney, Natasha began Brett Simon was born in Jacob Sofer was born in Israel Dana Stephensen began her Laura grew up in a rural area Born in Sydney in 1983, Melbourne-born Andrew Wright in Melbourne. At age five, he Ben used to tag along to his Matthew trained in Newcastle Hendricks began ballet Japan in 1991. At three years dancing at the age of four. Adelaide and began his dance and moved to Melbourne at the dance training aged three with of Northland, New Zealand, Vivienne trained at the Ecole began dancing at Christine began training at a local ballet sister’s jazz ballet classes and before joining The Australian classes aged eight after her old she began her training at She trained with Nicholina training with Sheila Laing. At age of five. He studied at the Davidia Lind in Brisbane. She and has lived in Singapore and Classique, the North Shore Waters School of Dance in school. He soon moved to copy the routines from the back Ballet School. After graduating grandfather observed her Shiho Kanazawa Ballet Studio. Kuner’s Academy Ballet in 16, he moved to Melbourne and National Theatre Ballet School later trained with Mary Heath London. She started dancing Dance Academy and, later, The 1990 before completing his VCE The Australian Ballet School, of the studio before he started with honours in 1996, he was dancing on her toes all the time. In 2005 Ako won second Randwick. In 2001 Natasha studied at The Australian Ballet and the Victorian College of and Sandra Ashley before at four when she began going Australian Ballet School, as well and secondary dance training where he received, among attending his own classes at invited to join the Royal Danish Growing up in an academic prize at the Japan Grand Prix won a scholarship at the School, graduating in 2003. the Arts Secondary School studying with the Queensland along with her older sister as studying at the Newtown High at the Victorian College of other awards, the Dr HC age seven. He trained with Ballet, where he worked with family, Robyn was the first and in 2006 she studied at Prix de Lausanne to study at From 2004 to 2006 Brett was before attending The Australian Dance School of Excellence in to ballet and piano lessons. School of Performing Arts. In the Arts. In 2001 Andrew was (Nuggett) Coombes Travelling Leeanne Rutherford at Ballet some of the world’s leading family member to pursue a The Royal Ballet School’s The Royal Ballet School in a member of West Australian Ballet School. After graduating 2001, then joined The Australian Laura studied with Maureen 2001 she travelled to Paris with accepted into The Australian Scholarship, which enabled him Theatre of Australia and joined choreographers including creative passion. Training International Summer School. London. While she was still a Ballet and in 2007 he joined Jacob joined the Royal New Ballet School in 2002. In Ax, Philippa Campbell and Joye The Australian Ballet School Ballet School and during his to train in New York and Toronto, The Australian Ballet in 2005. Maurice Béjart, who recreated a in the Cecchetti Syllabus, In 2007 she was awarded student, Natasha toured with The Hong Kong Ballet as senior Zealand Ballet in 2003, where her graduating year she was Lowe in New Zealand, then for the Danse de Mai. Vivienne time there had the opportunity and the prestigious Graeme Ben was promoted to coryphée solo for him in Gaîté Parisienne. Robyn travelled to Melbourne The Australian Ballet School The Royal Ballet Company to soloist after appearing with he danced the role of Mercutio seconded to The Australian at the English National Ballet joined The Australian Ballet to study with The National Murphy Award for Excellence in in 2009 and soloist for the A memorable moment was in 2001 to participate in the Tuition Scholarship, which Australia in 2002 and Russia them as a guest artist. Brett in Romeo and Juliet both in Ballet to perform in various School from 1998 to 2000. in 2003 and was promoted Ballet School of Canada and Contemporary Dance. Brett has 2011 season. performing Return to the annual Cecchetti International was announced at the Youth in 2003. Upon graduation in has performed many principal New Zealand and during the seasons before joining the Upon graduation Laura entered to soloist in 2012. She loves the School of American Ballet been on five Dancers Company Repertoire highlights Strange Land for Her Majesty Competition. During the America Grand Prix. Ako toured 2003, Natasha came home to and soloist roles in classical 2004 UK tour. He also danced company full-time in 2005. She the English National Ballet travel and has enjoyed touring as an exchange student. After tours between 2003-08. •The Baron in Graeme Queen Margrethe of Denmark competition, she was with The Dancers Company in Australia to join The Australian and contemporary ballets and the role of Franz in Coppélia has since enjoyed international before joining The Australian with The Australian Ballet to graduating as dux, Andrew He graduated dux from The Murphy’s The Silver Rose 2010 in 1998. Matthew returned to approached by The Australian 2008 and in 2010 she joined Ballet. In 2006 she was the was nominated for Best Male and several main parts in tours to New York, the UK, Ballet in 2004. Laura has London, Manchester, Auckland, joined The Australian Ballet Australian Ballet School with •Stanton Welch’s Divergence The Australian Ballet in 1999. Ballet School and was asked to The Australian Ballet. She was recipient of the George Garratt Dancer at the 2005 Helpmann contemporary seasons. Jacob Auckland, Shanghai, Tokyo, danced a diverse repertoire Shanghai, Tokyo, and Paris. in 2004. In 2007 he travelled honours to join The Australian 2009 While enjoying the physical audition formally for entrance promoted to soloist for the Scholarship, which enabled Awards for his performance joined The Australian Ballet at and Paris. At the end of 2008, since joining the company and In 2008 she was awarded the to Europe on a scholarship Ballet at the beginning of 2009. •The Professor in Alexei challenges of the contemporary into the prestigious national 2013 season. her to gain valuable experience in West Australian Ballet’s the beginning of 2005 and was Dana was awarded the Khitercs particularly enjoys the challenge Christine Johnson Maple Brown from the company. In 2010 Brett has since danced with Ratmansky’s Scuola di ballo works, classic storytelling is school. During her time at Repertoire highlights visiting various European ballet Dangerous Liaisons. Brett joined promoted to soloist in 2011. Scholarship, which enabled her of roles that are both physically Scholarship, which enabled her he guested in the USA at the the company across Australia 2009 his passion. Matthew was The Australian Ballet School, •Glen Tetley’s Gemini 2012 companies. Natasha was The Australian Ballet in 2009 Repertoire highlights to gain invaluable experience and artistically demanding. to gain invaluable experience Oregon Ballet Theater’s gala. and overseas, as well as •Wayne McGregor’s Dyad promoted to soloist in 2005. Robyn was one of four students •The Countess in Stephen promoted to soloist in and was promoted to soloist •The Photographer in Graeme training with numerous ballet She has toured to New York, training with numerous He was promoted to coryphée studying throughout Europe 1929 2009 Repertoire highlights selected to participate in a Baynes’ Swan Lake 2012 June 2013. in 2011. Murphy’s The Silver Rose companies in Europe. Dana was London, Tokyo, Paris, Athens contemporary and ballet in 2008 and to soloist for the on scholarship. •Nicolo Fonte’s The Possibility •Drosselmeyer in Peter student exchange to Canada, •Kitri in Don Quixote 2012 Repertoire highlights Repertoire highlights 2009 promoted to Coryphée in 2010 and Shanghai. Laura was companies around Europe. 2011 season. Repertoire highlights Space 2008 Wright’s The Nutcracker 2010 where she studied for four (Guest Artist with The Dancers •Suzuki in Stanton Welch’s •Glen Tetley’s Gemini 2012 •The Professor in Alexei and went on win the Telstra promoted to soloist in 2009. Repertoire highlights Repertoire highlights •Wayne McGregor’s Dyad 1929 •Jiˇrí Kylián’s Petite Mort 2005 •Dr Coppelius in Peggy van weeks with the National Ballet Company) Madame Butterfly 2011 •Prince Gremin in John Ratmansky’s Scuola di ballo Ballet Dancer Award later that Repertoire highlights •Suzuki in Madame Butterfly •Prince Gremin in John School in Toronto. She joined year. She was promoted to 2013 Awards Praagh’s Coppélia 2010 •Graeme Murphy’s The •The Red Queen in Ninette Cranko’s Onegin 2012 2009 •Suzuki and Kate in Stanton 2011 Cranko’s Onegin 2012 •Melancholic in George •Stephen Baynes’ The Australian Ballet in 2005 Narrative of Nothing 2012 de Valois’ Checkmate 2011 •Tybalt and Lord Capulet in •Stephen Baynes’ Constant Soloist for the 2013 season. Welch’s Madame Butterfly •Wayne McGregor’s Dyad •Camille in Ronald Hynd’s •Maurice Sullivan and was promoted to soloist Balanchine’s The Four scholarship 2007 Constant Variants 2007 •Graeme Murphy’s Swan Lake •Sir Kenneth MacMillan’s Graeme Murphy’s Romeo Variants 2007 Repertoire highlights 2011 1929 2009 The Merry Widow 2011 Temperaments 2013 •Colas and Alain in in 2011. 2012, 2010 Concerto 2011 & Juliet 2012, 2011 •Peter Wright’s The Nutcracker •The Duchess in Stephen •Stephen Baynes’ Molto •Nacho Duato’s Por vos •Christopher Wheeldon’s •Earl’s Equerry in Graeme You may not know ... Frederick Ashton’s La Fille Repertoire highlights •Alice Topp’s Scope 2011 •Count Danilo in Ronald Hynd’s 2007 Baynes’ Swan Lake 2012 Vivace 2010 Muero 2009 After the Rain© 2011 Ben is a huge fan of pop music Guest appearances Murphy’s Swan Lake, 2012 mal gardée 2004 •Christopher Wheeldon’s •The Dancers Company, 2012 •Shade Variation, La Bayadère The Merry Widow 2011, 2007 •Don Quixote 2007 •3rd Movement Principal Girl •Cigarette variation in Serge •Earth Fairy in Stanton Welch’s •Act III grand pas de deux in •Mercutio in Graeme Murphy’s and loves singing in the car •Mercutio in John Cranko’s After the Rain© 2011 2010 •Christopher Wheeldon’s •Stephen Baynes’ Raymonda in Sir Kenneth MacMillan’s Lifar’s Suite en blanc 2009 The Sleeping Beauty 2009 Stanton Welch’s The Romeo & Juliet 2012, 2011 (which he sometimes forgets is Romeo and Juliet 2003 •Wayne McGregor’s Dyad Awards •Prayer in Peggy van Praagh’s After the Rain©, 2011 2006 Concerto 2011 •Guardian Swan in Graeme •Stanton Welch’s Divergence Sleeping Beauty 2010 •Goro in Stanton Welch’s not a soundproof booth). •Twyla Tharp’s In the 1929 2009 • Telstra Ballet Dancer Award Coppélia 2010 •Stephen Baynes’ At the •Jirˇí Kylián’s Petite Mort 2005 •Lead Cupid in Molto Vivace 2010 Murphy’s Swan Lake 2009 2009 •Stanton Welch’s Divergence nominee 2012 Madame Butterfly 2011 Upper Room 2002 •Alexei Ratmansky’s Scuola •Robert Curran’s Fold 2010 edge of night 2010 You may not know ... •Kitri in Don Quixote 2010 •Carabosse in Stanton •Serge Lifar’s Suite en Blanc 2009 •Lead Cupid in Stephen Baynes’ •Peter Martins’ Fearful di ballo 2009 You may not know... •Nacho Duato’s Por vos Muero •William Forsythe’s Steptext Jacob enjoys designing, (Guest Artist with The Dancers Welch’s The Sleeping 2009 •Wayne McGregor’s Dyad Molto Vivace 2010 Symmetries 1997 •Nacho Duato’s Por vos Ako loves wearing Yumiko 2009 2009 photography and riding his Company) Beauty 2009 •Nicolo Fonte’s The 1929 2009 •Nacho Duato’s Por vos Muero Guest appearances muero 2009 leotards. She owns lots of •Stanton Welch’s Divergence •Romeo in Rudi van Dantzig’s motorbike, and has a mini •Russian Ballerina in Gala •Nacho Duato’s Por vos Possibility Space 2008 •Peasant Pas De Deux in 2009 •The Dancers Company tour •Stanton Welch’s The them. 2009 Romeo and Juliet 2007 schnauzer called Spiky. Performance 2010 muero 2009 •Wind and Water in Stephen Giselle 2008 Awards 2012, 2011 Sleeping Beauty 2009 •Calliope in George •Le Viscomte de Valmont •Rosina in Scuola di ballo 2009 •Stanton Welch’s Divergence Page’s Rites 2008 •Pas de cinq in Suite en •Telstra Ballet Dancer Award Guest appearances Balanchine’s Apollo 2009 in Simon Dow’s Dangerous •Dyad 1929 2012, 2009 2009 •Jirˇí Kylián’s Forgotten Land blanc 2009 Awards •Water Fairy in Stanton Welch’s Liaisons 2005 •Pas de Cinq in Suite en Blanc •Mistress in Sir Kenneth 2005 •George Balanchine’s Nominee 2011 •George Garrett scholarship • The Dancers Company tour •Maurice Sullivan Memorial 2008 The Sleeping Beauty 2009 Awards 2009 MacMillan’s Manon 2008 •Jirˇí Kylián’s Petite Mort 2005 Symphony in C 2004 2010 •Jiˇrí Kylián’s Stepping Stones •Mazurka in Les Sylphides 2009 •The Wife in Jerome •Jirˇí Kylián’s Bella Figura 2005 •J i ˇr í K y l i á n ’ s Sechs Tanze Scholarship 2011/12 •Adeline Genée Awards, Awards •Helpmann Award 2005 nomination for Best Male Guest Appearances Robbins’ The Concert 2008 Awards 2004 You may not know... Silver Medal 1995 •Telstra Ballet Dancer Award •Christopher Wheeldon’s •Waltz in Les Sylphides “On the weekend or my days off, •Asian Pacific International nominee 2011, 2009, 2007 Dancer 2005 •The Dancers Company tour •Telstra Ballet Dancer Award Guest appearances Continuum 2004 •Keith M Christensen Award 2010 2009, 2006 nominee 2010 •The Dancers Company tour I love to get a coffee and roam Ballet Competition, Silver •Friends of The Australian •Nicolo Fonte’s Almost Tango the city and the galleries of Medal 1995 Ballet Scholarship for Excellence Awards Awards •Christine Johnson Maple 2011 2004 •The Geoffrey Rothwell •Telstra Ballet Dancer Award Brown Scholarship 2008 Melbourne.” •Adeline Genée Awards, You may not know ... •Joint winner of the Telstra Awards Bronze Medal 1994 Awards scholarship Ballet Dancer Award 2010 nominee 2009 •Graeme Murphy Award for •Telstra Ballet Dancer Award Robyn is interested in the horse •Telstra Ballet Dancer Award •The Noel Pelly scholarship Excellence in Contemporary You may not know … breeding industry and owns a •Khitercs Scholarship 2008 You may not know ... nominee 2008 nominee 2010 You may not know ... •James and Pamela Mills Laura has three sisters; Dance (The Australian •Anne Woolliams Award for Matthew has a keen interest horse with her partner Charles Ballet School) in film and editing, and has Thompson, also a member of You may not know... After living in Hong Kong, Scholarship 2004 a scientist, a vet and an Excellence in Dance 2001 produced work for the The Australian Ballet. At the beginning of 2009, Brett has a great appreciation •Graeme Murphy Award for economist. You may not know... •Geoffrey Rothwell company’s website and for Natasha took part in a dancer for chinese dumplings. His Excellence in Contemporary “I love music and going to scholarship use in performances. exchange with the Royal Danish favourite is Xiao Long Bao, Dance 2003 see live bands, concerts, •James & Pamela Mills Ballet and spent three months a shanghainese specialty. You may not know... symphonies, operas and scholarship with the company, where she Dana has a passion for Natural musicals. I also love yoga, the You may not know... performed in their production Medicine and is studying part- outdoors, playing my guitar, Andrew loves to travel. of The Nutcracker. time to be a Naturopath. One and have a passion for natural His favourite city is New York. day she hopes to be fluent in medicine.” German but still has a very long way to go. CORYPHÉES

Dimity Azoury Kismet Bourne Calvin Hannaford Halaina Hills Cameron Hunter John-Paul Idaszak Brooke Lockett

Jarryd Madden Heidi Martin Karen Nanasca Christopher Rodgers-Wilson Sharni Spencer Garry Stocks

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Jessica Fyfe Ingrid Gow Noah Gumbert Timothy Harford Ella Havelka Jack Hersee Richard House

Brodie James Jake Mangakahia Luke Marchant Cristiano Martino Rina Nemoto Jill Ogai Mitchell Rayner

Valerie Tereshchenko Charles Thompson Sarah Thompson Alice Topp Jade Wood

Tomoya Imai Occupational Trainee Pascalle Paerel from Momoko Tani Ballet Company, Japan. Het National Ballet Exchange Program PHILANTHROPY The Australian Ballet Foundation incorporates specific-purpose major gifts, grants, and endowments created by individuals and bequests, for the benefit of The Australian Ballet.

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Colin Peasley and David McAllister in La Sylphide, 1980 Photography David Parker

A note from the Director of Philanthropy

It’s always great to see audience favourites come have been committed to us for a long time. We hope been important to us resonates with audiences for back to the stage. In this season of La Sylphide, those in the audience who are new to these iconic many years to come. By giving a gift or pledge to Colin Peasley will once again bring the character ballets come to love and appreciate them too. The Australian Ballet’s Foundation or our Annual Madge to wicked life. We will also see our new Giving program, or by remembering the ballet in crop of principal dancers bringing fresh life to Whether our ballets are classics or new works, your will, you will be making a difference – and these two wonderful classics. you help bring them to life through your support, helping to secure this company’s future. your applause, your stories and memories. Please The classical heritage is important not only to join us, and let’s all work together to make sure our Kenneth W Watkins our dancers, but to our audiences, many of whom ballets continue to live on, ensuring that what has Director of Philanthropy Your support of The Australian Ballet will give you … PHILANTHROPY “The satisfaction of knowing that you are bringing “ something of great beauty into other people’s lives. In the 50 year life of The Australian Ballet, many individuals have generously volunteered thousands of hours and contributed millions DAME PEGGY VAN PRAAGH of dollars to ensure the company’s growth and success. FORMER ARTISTIC DIRECTOR We gratefully recognise these lifetime gifts, pledges, estates, and planned gifts received through bequests. ” THE DAME PEGGY VAN PRAAGH LEADERSHIP CIRCLE 212 members have confirmed a bequest to the Company, totalling $18,934,500

LIFETIME COMMITMENTS PLANNED GIVING

The Late Jim Finch Mr Arthur L Norcott Colin Peasley in La Sylphide, 2005 Peter F Fleming Mrs Roma Norcott Photography Jeff Busby $1,000,000 PLUS Rita Fletcher Diane O’Flaherty Mr Robert Albert AO RFD & Mrs Elizabeth Albert Barrie I Follows AM JP & & Verna Oakley Margaret Gail Follows The Late Kathleen O’Hara Betty Amsden OAM* Mr George Foster Di Palmer & Mrs Geraldine Fox-Penglis Stephen Rodgers-Wilson Friends of The Australian Ballet (NSW) Ltd Frances Gerard Mrs Meredith Peters Mr Jim Cousins AO & Mrs Libby Cousins* Anthea Gilbert D E Pidd Suzanne Gleeson Lady Porter Mrs Barbara Duhig The Late Mrs Krystyna Gogolak Mario Proto & Mr Stephen Gogolak Mrs Diana Ramsay AO Frances Gerard Ms Margo Graham Penelope S Rawlins Mrs Lynnette Harvey Lyn Grigg Kenneth R Reed AM Louis Hamon OAM Trevor Rice Mr Ian Hicks AM Mrs Lilian Hardy Rhonda & Peter Roga Sue Harlow and Merv Keehn Richard Ross James and Diana Ramsay Foundation Mr Robert B Haynes Caroline J Ross-Smith Mrs Kerry Packer AO Hilary A Hazledine Ms Ros Russell Mrs Jean Healey Mrs Margaret Sault Dr Valmai Pidgeon AM Christopher Hector Margot Seeley & Ros Neave Rhonda Sheehy Mr Kenneth R Reed AM Kathy Hirschfeld Mr & Mrs Charles Sheldon Sandra Taylor-Bowman* Ms Claire Houston Sara J Simpson Dr & Mrs Ken Hoyle Elvira Sinicins The Australian Ballet Society Lilla Ito Mr Alan Smith & Michael & Jennifer James Mr Daryl Anderson The Ian Potter Foundation Max Johnston Lady Southey AC The Dame Peggy van Praagh Mr Ronald G Kaiser Jacques Spira OAM & Leadership Circle Marlene Kavanagh The Late Edith Spira $500,000 PLUS Marion J Kelly Norman Stevens Mrs Valda Klaric Ms Juanita Stockwell Mr William Bowness Securing the future through a bequest Lisa Kokegei Miss Pat Sutherland Deb Sutton Estate of Keith M Christensen Simon Lambourne Francine Lancaster Elizabeth Swanton Joan & Peter Clemenger Trust The Australian Ballet acknowledges with great Mavis Lance Susanne Sweetland appreciation bequests notified by the following Mrs Carlean Langbein Ms Susan Taylor Friends of The Australian Ballet (SA) Inc benefactors. These bequests will be invaluable in The Late Geraldine Lawton Sandra Taylor-Bowman Dr Christine Thevathasan Colin Peasley OAM, Mrs Susan Morgan the achievement of the company’s objectives. Mrs Judy Lee Lilian Leighton Dr Diana Tolhurst Ambassador for Planned Giving Lady Southey AC & The Late Sir Robert Southey AO CMG Mr L Kevin Adair Rowena Catchatoor Daniel-Francois Lemesle Michele & Mario Topcic Mrs Sheila Adams Ron and Luci Chambers Kate Lewis Dr Sally Townsend Talbot Family Foundation Richard Allert AM FCA Mr Bryan Chidgey Dr C S Loader Miss Ruth Trait The Australian Ballet first presented La Sylphide & Barbara Allert Miss Beverley F Clark Mrs Patricia Loughhead Patricia Tyler in 1985. It was staged by the great Danish The Ross Trust John & Susan Vanderstock Betty Amsden OAM Joyce Clothier OAM Pamela and David Luhrs dancer Erik Bruhn. Paul DeMasson danced the Mrs Patricia Anders Chris Mackay Patricia Speher Vanderwal Ray Wilson OAM* Judy Connor role of Madge on opening night, but the company Ms Greta Archbold Geoff & Margaret Markham Ms Jill Vaughan Caroline Cooper MVO convinced Erik to play the role of the witch for one Anonymous (1) Dr Lorraine Baker L Marrone Peter Vaughan Mr Jim Cousins AO memorable performance. It was his last. He died Mrs Mary Barlow & Mrs Libby Cousins Patsy Martin Dr Richard Vesey Dr Rosemary Barnard Judith Cowden Mr Edward J Mason Mrs Jacqueline Wallace the following year in Canada, where he was artistic $300,000 PLUS Ms Jennifer Barnes Miss Katrina Cowen Graham Matheson Kenneth W Watkins director of the National Ballet of Canada. Lesley Bawden Mrs Joan Cowie David McAllister AM Pamela Whalan Robin Campbell & Bruce Parncutt Philip & Laurel Bendrey Laurie Cowled Mr Robert W McCormack Dinah Whitaker in memory I also appeared as Madge during that season, of Emma Toussaint Estate of Melba Cromack Mrs Anne Boyle Mrs Maree D’Alterio D J McGregor and although it was daunting to follow such great Ann and Derek Braham John Daly Mr Michael McKenzie Margaret Amery White artists in the role, I was very lucky to be able Mr & Mrs Henry Greenfield Donna Brearley Mr Leonard Dark & Mr Neil Jones Barry & Megan Willcox to base my interpretation on their memorable Patricia A Breslin Merawyn Davies Judithe & John McKindley Mr Antony Williams performances. I was no stranger to travesty roles, Ian & Jeannie Johnson Jan Williams Mrs R D Bridges OBE David de Verelle-Hill Heather McNicol as I had already appeared opposite Ray Powell as Leonard J Wilson Mrs Helen O’Neil Mrs Margaret Broeks Miss Patricia Downes Toni Meath one of the Ugly Sisters in our 1974 production of Jannie Brown George Drew Prudence Menzies James Agapitos OAM & Ray Wilson OAM Cinderella, as the Widow Simone in La Fille mal Lady Potter AC Ms Deborah Buckett Mrs Lorraine Drogemuller Ms A Michell Ms Sallyann Wilson gardée and as the Countess in Gaîté Parisienne; Wendy Burgin Mrs Jill Duck Margaret Middleton Josie Woodgate OAM however, this was my first witch. Renaissance Tours Dr Sheena L Burnell Edrina Dunstan & Susan Morgan Yvonne Yendell Trish Byrne The Late David Dunstan Mary Murphy Peter & Christine Smedley Victor & Christine Zemancheff Although I cause havoc onstage, behind the scenes Pam Caldwell Carol & Ted Edwards TJ Nakasuwan Mrs Ruth Zionzee Mr Dick Smith AO & Mrs Pip Smith Mr John Calvert-Jones AM & Jo Edwards Simon & Meredith Nettleton I have great pleasure in helping our hard-working Mrs Janet Calvert-Jones AO Mrs Joan Daphne Evans Miss Shirley Neville Anonymous (55) Philanthropy team to raise funds for this wonderful The Ethel Margaret Ewing Cutten Foundation Dr Brian T Carey Richard Evans Miss Judith Newberry Correct as at company. Your continuing support of our efforts Robert E A Carli Ross Fairhurst Dr Kersti Nogeste 26.06.2013 makes this old witch very happy. Thank you! *Italics denotes a Bequest to The Australian Ballet PHILANTHROPY The Australian Ballet is proud to acknowledge the generous support and encouragement it receives through Annual Giving. Continued support from individuals and corporations is essential to develop our artistic excellence and secure the future of the company.

ESTATES FUNDS WITHIN THE ENDOWMENT ANNUAL GIVING

Lady Porter Emma Zuber Ms Louise Christie Gillian & Michael Hund Miss Jennifer Rhodes GENERAL SUPPORT Mr Kenneth R Reed AM Anonymous (1) Mrs Catherine Clarke The Hon David Hunt AO QC Dr Sharon D Ricardo The Australian Mrs Margaret S Ross AM Christine Collingwood & Margaret Hunt Mr Chris Richardson Ballet Society Inc Mrs Joyce Sproat CORPS DE BALLET Dr Anne Colman & Dr Alastair Jackson Judy Roach for President Jill Thorpe PATRONS Prof Peter Colman Mrs D Jackson Estate Ian Roach Josie Woodgate OAM Dr Michael & Gifts $3,000 – $4,999 Dr Margaret Cook Miss Kathryn James robAust Pty Ltd Friends of The Australian Mrs Lynne Wright Antoinette Albert Barry Cowdell Mr Maxwell Johnston Mr & Ms Robert Roos Ballet (NSW) E Xipell Rosemary & John Barr Mr Tim Cox AO & Mr Paul A Jones Dr John Rose Chairman Greg Khoury Anonymous (5) Mr Lee Barr Mrs Bryony Cox Mr & Mrs J Karkar Ms Sandra Rowlands Friends of The Maxine Bowness Mrs Elinor Crossing Mr & Mrs Ervin Katz Mrs Deri Saunders Australian Ballet (SA) Inc CORYPHEE PATRONS Mr Paul Carter Mrs Lyndall Cummine Rhonda & Emily Keene Bill & Patrice Scales President Catherine Gifts $5,000 – $9,999 Mrs Jane Clarke Mr & Mrs Ron Cundy ANNUAL GIVING Ms Marion J Kelly In memory of Phyllis Ellice-Flint Mr & Mrs Abercrombie Annette Cook John F. Cuningham Scarlett President Mrs Therese Kennedy The Australian Ballet Mrs Joan Darling Dr Carolyn Currie Lady Potter AC Mr Ross Adler AC Mr Stephen Knapik Franz & Anna Schlosser School & Mrs Fiona Adler Mr Chris Gillman Mrs Kate Damm Max & Jill Schultz Vivien & Graham Knowles Director LES ETOILES Mrs Ruth Armytage AM Alan & Marion Grundy Jenny Darling & Mrs Jenny Kudelka Tim & Lynne Sherwood Marilyn Rowe OBE Emma Darling Supporting the Mr James Bain AM Mrs Felicity Gunner OAM Mrs Nathalie Kulakowski Mr Charlie Shuetrim AM Australian Opera Principal Artists & Mrs Janette Bain Mr Robert Dickerson AO Pat Howell Prof Bruce R Lawford & Mrs Sandra Shuetrim and Ballet Orchestra Gifts of $25,000 & Mrs Jennifer Dickerson Arda Barry Estate Dale & Ian Johnson & Dr Susan Shadforth Nev Simpson through Opera Australia Mrs Mary Barlow Jean-Yves Didier Kirsty A Bennett Michelle Johnson Dr Joan M Lawrence AM Ms Sara J Simpson Orchestra Victoria Ms Natasha Bowness John & Ros Dowling Ros Bracher AM Mrs Kerry Jones Mr Ross Liebmann Mr & Mrs B N Smith Sydney Opera Patricia Duffy Ms Robin Campbell Jannie Brown Miss Dawn Kelly Rosalind Lilley Ms Joy Smith House Trust Christopher Dunkley of Mrs Sam Chisholm Charles G Clark Mrs Sylvia Lavelle Prof Nerida A Smith Queensland Performing Meddlers Susie Lobb Ms Val Harding Bar & Tim Cohen Mr Hugh MacLachlan & Mr Sam Smorgon AO Arts Centre Mrs Edrina Dunstan Mr & Mrs Rob Logie-Smith Lynnette Harvey Mr Jim Cousins AO Mrs Fiona MacLachlan OAM Richard & Elizabeth Longes & Mrs Minnie Smorgon Jodie Maunder & Mrs Libby Cousins Ken & Christina Marks Dunstan Family Mrs Heather M Spencer SUPPORT FROM Foundation Martin Family in memory Mr Arthur L Norcott Paul & Samantha Cross Dr Marjory-Dore Martin Jacques Spira OAM PRIVATE FOUNDATIONS Ms Jane Edmanson OAM of Lloyd Martin AM Mrs Roma Norcott Mrs Shirley Danglow Mr Robert W McCormack Mrs Fiona Stephinson Dunstan Family Artists of The Australian Ballet in rehearsal for La Sylphide Dr Lynette Edwards Mrs Pamela Marx Mrs Helen O’Neil Mrs Suzanne Davidson OAM Mr Bruce Stracey Foundation Photography Lynette Wills Malcolm & Sandy & Prof. Robert Bryce Mrs Judith Matear Ms Ashley Dawson-Damer McLachlan John & Jo Strutt Eirene Lucas Foundation Mrs Kerry Packer AO Roxanne Egeskov Mrs Marie McCann OAM Ethel Margaret Ewing Dr Valmai Pidgeon AM Mrs Gretchen Dechert Alan Smith & Daryl & Russell Norton Mrs Cherry McCardel The Honourable Anderson Brian Sully QC Cutten Foundation – The Australian Ballet Foundation incorporates specific-purpose major Lady Potter AC Mr Adam C Elder Miss S Y Evans James & Carole Lady Southey AC Mildred Teitler ANZ Trustees gifts, grants, and endowments created by individuals and Mrs Robert Rose AM Mr and Ms Ronald Mr & Ms Barry Fagg McCormick Enestrom Mrs Valerie M Taylor Mr Allan Thorne James & Diana Ramsay bequests, for the benefit of The Australian Ballet. Mrs Christine Smedley Rosemary Farrow Ms Sandra McCullagh Foundation In memory of Winefred Danny & Barbara Watson Mr & Mrs Peter Thornhill Mrs Marijke Webb Adrian and Michela Fini Mrs Jane McGregor Joan & Peter Faithfull Mrs Sally White OAM Dr Diana Tolhurst Anonymous (1) Mr & Mrs Robert Flew H. E. McKenzie Clemenger Trust Mr & Mrs Chris Fullerton Donna Woodhill Ruth Trait ACCESS & OUTREACH Chris & Anne Knoblanche The Noël Pelly AM Fund Mrs Shirley Fong Mr Michael McKenzie Lord Mayor’s Charitable Mrs Neilma Gantner Anonymous (3) Ann Tregear Rene Macrae Fund for Mrs Susan Maple-Brown AM The Richard & Barbara PRINCIPAL PATRONS Mr William J Forrest AM & Mr Neil Jones Foundation Dr Nicholas Girdis Dr Kym Trigg Education and Regional Mr Fred Millar AO CBE & Allert Fund Gifts over $20,000 George Foster John McKim AM & Rae McCusker Charitable & Mrs Marina Girdis Gifts $1,000 – $2,999 McKim Activity Beth Millar Mr Robert Albert AO RFD Eric & Tonia Gale Mrs Claire Truscott Foundation Kate & Bill Guy Charles & Renee Abrams The Colin Peasley OAM Perini Family Foundation INTERNATIONAL GUEST & Mrs Elizabeth Albert Mr Garry Mclean Daphne & Ross Turnbull Sandy Michell Laura Tong in rehearsal for Paquita Louis J. Hamon OAM Ms Joanne Gallpen Fund for Education ARTISTS FUND Miss Margaret Attwood Ms Barbara Ahern Mr & Mrs Robert McLellan Rosslyn J Turner Legacy – ANZ Trustees Photography Lynette Wills Queensland Friends of Christine George Angie Carter Ms Linda Herd Don & Veronica Aldridge Mrs Ann McNamara The Australian Ballet Joan & Peter Clemenger Trust Ms Diana Gerstman Mrs Jean Upton The Cory Charitable BALLET PRODUCTIONS Mrs Jodie B Hughes Mrs Jane Allen Dr Pam McQueen Foundation Mr Dick Smith AO Mr & Mrs Anthony Mr & Mrs Adrian Gibson Dr Richard Vesey Dame Margaret Scott Fund Maple-Brown Mr John Ingham & Miss Catherine Alston The Ken & Asle Chilton & Mrs Pip Smith INTERNATIONAL TOURING Mr Neil R Gill Mrs Pamela McTaggart Mrs Susan Wakil The Australian Ballet acknowledges with great appreciation the bequests which Mrs Frances Ingham Charitable Trust – for Choreographers The Robert Salzer Foundation It was the opening night Mr & Mrs John Morrison In memory of Ian John M Michelmore S & J Wallis it has received from the Estates of the following benefactors. These bequests Dr Judith Kinnear Ms Judy Gillard Perpetual Trustees Dame Peggy van Praagh Peter & Frieda Thornhill of Graeme Murphy’s Swan The Late Dame Elisabeth & Ila Anderson M. Middleton Phillipps Rosemary Walls have been invaluable in the achievement of the company’s objectives. Fund for Choreography Mr & Mrs Aron Kleinlehrer The Late William G Glover The Ross Trust Lake in London in 2005 that Murdoch AC DBE Mr & Mrs Richard Desmond B Misso Esq Dr & Mrs John O Ward Kevin Regan Fund endowed Graham Matheson Armstrong Mrs Anne Gluyas The Stuart Leslie inspired Frances Gerard to Mrs Janis Salisbury Ms Niq Morcos & Mrs Margaret Ward DANCERS Dr Kirsten Gormly & Foundation by Max Johnston establish this important Fund. Mr & Mrs John M McArthur M&J Barbour Ms Morgaine Williams Barry Kay Memorial Mr Kristian Downing Mrs Ivy M Warth Mr Reginald Edward Gregory Gay John Therese Clarke Betty June Drabsch Ross Stretton Fund Ms Laurie Cowled SENIOR ARTIST PATRONS Mecca Cosmetica Mrs Zell Barrien William Arthur Hugh Scholarship Fund Mr & Mrs Leon Gorr Mr William Mudford Mr Kenneth W Watkins MBE & Mrs Gregory Gwendoline I Tregear Marianne Martin endowed by Bee Fletcher Frances Gerard Gifts $15,000 – $19,999 Brian Nebenzahl OAM RFD Alasdair Beck Gordon Fund – The Barbara Duhig Fund Mrs Christine Gorrie Mr William Murdoch Pat & John Webb Perpetual Trustees Patricia Marie Smit Lesley Morgan Sperry Mr Norman Drogemuller OAM The Frank & Dale & Ian Johnson Betty Amsden OAM & Jocelyn Nebenzahl Phil & Laurel Bendrey & Mr Richard O’Dwyer Thora Pearce Fund The Christine Marie Johnson Mr & Mrs Charles Graham Marion Wells Patricia Hope Willis Gwen Hunt Jean M Negus Mrs Sarah Murdoch David McAllister AM Mr & Mrs Geoff O’Conor Mrs Roma Blair Dr M L Murnane AM The James & Diana Ramsay Maple-Brown Scholarship Mr Richard Green & Angela Westacott OUT THERE – Colin Robert Marshall Mrs Patricia McSpeerin Dr Dawn Meryl Thew Mrs R H O’Connor Mrs Sue Perini The Hon Mr Justice (Ret) Miss Catherine Boag Mr Barry P Murphy (The Australian Ballet) Fund The Dorothy Hicks Fund Barry O’Keefe AM & Mrs Isabella Green OAM Pamela Whalan THE AUSTRALIAN Hazel Graham Mr Noël Pelly AM Judith Gwen Newberry Mrs Kerry Packer AO Mrs Jan Bowen The Kenneth R Reed Fund The Freda Irving Memorial Mrs Janette O’Keefe Lyn Grigg Mr D M Murray Mrs Marjorie White BALLET IN SCHOOLS Ethel Margaret Ewing Cutten Lady Snedden AM Duncan Elphinstone Dr Valmai Pidgeon AM SOLOIST PATRONS Patricia Boyle The Maina Gielgud Fund Scholarship Fund Dave Poddar & Louise Hamshere Irena Nebenzahl Dr Eva Wicki Australian Decorative Robert J Shipsides William F Wells McBryde Leary Mr Kenneth R Reed Gifts $10,000 – $14,999 Mrs R D Bridges OBE The Margaret Ellen Pidgeon The George Garratt Fund Angela Flannery Mrs Barbara R Hardy G.D. & A.M. Nash Mr & Mrs Morris & Fine Arts Society E M Black Miss Ruth Margaret Davidson Mrs Faye Abbott & family Mrs Annabel M Brown Mrs Thora Pearce Fund for Classical Ballet The James Slater We are also grateful to Ronald B Raines Mr and Mrs Haskins OAM Simon & Meredith Willcoxson Sydney Inc. Paul Sinclair Dr Alf Howard those other individuals in memory of Rachel Miss Ann Williams endowed by Dr Valmai Memorial Fund Professor Ruth Mrs Jennifer Brukner Nettleton Judith Williams Friends of The who made donations of Cameron Mrs Sarah F Hayward Mrs M M C Djordjevic Mr Ian Berkeley Small Ms Jane D Crawford Pidgeon AM Rentschler OAM Kim Burnett Mrs Jan Northam Australian The Maurice Sullivan $20,000 or less. Brian Abel & Mrs Jean Healey Randal & Asako Williams Dr George Garratt Nola Joan Hassall Mr Harold G Marshall AM The Robert Southey Fund Mr & Mrs Ian Burton Sir Gustav Nossal AC CBE Ballet (SA) Inc Memorial Scholarship Fund The Late Ben Gannon AO Mrs Y. Reuvekamp Mrs Margaret Hill-Smith Kay Williamson Robert Salzer AO Jean Hammond Muriel Leadbeater for Australian Choreography, Mrs Nancy Butler & Lady Lyn Nossal James N Kirby The Susan Morgan Fund Joy Anderson & Neil Lyne Sedgman Mr & Mrs Michael Hill- Mr Robert Winnel AM endowed by The Sidney MUSIC Russell J Nowell Foundation Betty Gleeson-White Mr A S Leslie Melba Alma Cromack The Walter Bourke Prize Dr Jeane-Claude Strong Trish Byrne Smith Myer Fund Robert and Elizabeth Thomas Ms Josie Woodgate OAM Talbot Family Clifford Burgess Mr Laurie Davies Patricia Cameron-Stewart Mrs Nancye E Cain Mrs Diana-Rose Orr Albert Fellowships Mr John Calvert-Jones AM & Mrs Anne Symons Ms Miranda Hodge World Presidents Foundation Keith M Christensen Esther Primrose Lucy Canon Albert McPherson Mrs Janet Calvert-Jones AO Pam Caldwell Faye Parker Organisation Sydney CONTRIBUTIONS TO THE GENERAL (conductor and pianist) Targus Australia Pty Ltd Dr Darryl & Mrs Katherine The Ian Potter William Arthur Hugh Gordon Gertrude Poelman Charles Ross Adamson Cameron Family Mary Parry Chapter GENERAL FUND The Ian McRae AO Fund The Robert & Elizabeth Mr Michael Crouch AO Dr Christine Thevathasan Hodgkinson Foundation Freda Eileen Spicer Dame Joyce Margaretta Daws Miss Sheila Scotter AM MBE & Mrs Shanny Crouch June Cameron Mr & Mrs Thomas Payne Mr & Mrs Iain H Wyatt Ms Robin Campbell The K.M. Christensen & A.E. Albert Music Fund Dr David & Dr Keith Holt & The Profield Geoff & Jan Phillips Asle Noel Chilton Lady Nancy Fairfax AM OBE Harold Bruce Cadell & Mr Bruce Parncutt Bond Bequest John Lanchbery Fund Mrs Gordon Douglass AM Mrs Christine Thorpe Janet Campbell Mrs Anne Fuller Yvonne Yendell Foundation Mr & Mrs Alan L Platt Gwendolyn Letitia Tennant Ernest Spinner Mrs Rosemary Campbell OAM David Crawford AO & The Marigold Southey Fund Mrs Barbara Duhig Mr & Mrs Leigh Virtue Ms Joyce Campbell Mr & Mrs Gary W Honan Anonymous (25) Sir Robert Southey AO CMG Margery I Pierce Pauline Marie Johnston Mr Robert A Hook Robin Potter OAM Maureen Crawford The Kathleen Gorham Fund Correct as at Mr John R Fullerton Mrs Suzanne A Waterhouse Mr & Mrs Carriol PHILANTHROPY Brenda June McGowan Barbara Bishop Hewitt Barbara Whilton Shearer Ian & Norma Drew established in her memory 26.06.2013 Beverley Harvey & Mr & Mrs Andrew Wheeler Mr Paul Carter Mrs Robyn Hopkins Kerryn Pratchett SUPPORTERS SUPPORT Mr Will Noble Mrs Sylvia Box Mr Peter Langgord AM With the support of Gandel The Melba Alma The Late Richard Harvey Price & Christine Williams Frances Cattell Mrs Caroline Howard Lynn Rainbow-Reid Gifts $100 - $999 Renaissance Tours – Norma Lucas Payne Dr Donald Wright Mrs Mary Jones Philanthropy Cromack Fund Joan Lyons Ray Wilson OAM & The Dr David & Dr & Mrs Greg Hoy Mary Rayner Total (1179) Preferred Philanthropy Mrs Ila Leland Massy Burnside Mrs Sally Sinisoff Anonymous (4) Henry & Miriam Greenfield The Neil Hopkins Fund Mrs Susan Maple-Brown AM Late James Agapitos OAM Mrs Caroline Champion Mrs Christine Hughes Mr Peter Reilly Correct as at 26.06.2013 tour operator Halaina Hills and students PHILANTHROPY Photography Teagan Glenane The Australian Ballet Production Centre is our most important capital project in more than two decades. The generous contributions PUBLIC of our Production Centre Patrons and Supporters will ensure the future sustainability of this revered and renowned company. PROGRAMS 2013 OPEN CLASSES FOR DANCE STUDENTS Have you dreamt of taking a class with a dancer of THE AUSTRALIAN BALLET PRODUCTION CENTRE PHILANTHROPY TEAM The Australian Ballet? Our non-syllabus classes for Grade 3 to advanced dance students FOR A CONVERSATION are designed to encourage a sensitive approach to musical phrasing, ABOUT PHILANTHROPY correct alignment of the body and greater efficiency in moving. PLEASE CONTACT: Held in the studios where our dancers train and rehearse, these classes are an opportunity not to be missed!

MELBOURNE The Primrose Potter Australian Ballet Centre studios Monday 23 September

Kenneth Watkins SYDNEY Director of Philanthropy Sydney Opera House rehearsal room 03 9669 2780 Sunday 17 November Artists of The Australian Ballet in rehearsal for Paquita Sunday 1 December Photography Lynette Wills

GOLD PATRONS Lyn Foster In memory of Mavis Deri Saunders BOOK NOW GIFTS $50,000 & OVER GIFTS $1,000 – $9,999 Geraldine Fox-Penglis Maddison Mr & Mrs Franz C at australianballet.com.au/openclasses Mr William Bowness Antoinette Albert Friends of The Australian Mr & Mrs J N Mann Schlosser or call 1300 369 741 (cost of a local call). Ms Robin Campbell Veronica Aldridge Ballet (SA) Inc Ms Julie Marshall Mrs Debbie J Schroeder & Mr Bruce Parncutt Dr Adrianne Anderson Joan & John Gillespie In memory of Max & Jill Schultz Mr & Mrs Anthony Mr Gregory Ashton The Late William G Glover Lloyd Martin AM Miss Sarah Sciacca Ken Groves Maple-Brown Dr Lorraine Baker Charles & Cornelia Goode Dr Marjory-Dore Martin Mrs Lisa Sheldon Senior Manager – Major Gifts Lynton & Susan Morgan Ms Jo-Anne Mason Mr & Mrs Andrew Banks Foundation Mr Charlie Shuetrim AM 02 9253 5317 Mrs Helen O’Neil Mrs Mary Barlow Mrs Christine Gorrie Bruce Matear AM & & Mrs Sandra Shuetrim James & Diana Ramsay Phil & Laurel Bendrey Lianne Graf Judy Matear Mr Nev Simpson Foundation Paul & Rebecca Bertrand Ms Margo Graham Graham Matheson Mr Gary Singer & David Ashmole, Maina Gielgud, John Lanchbery and Christine Walsh, The Sleeping Beauty, Covent Garden, 1988 Dr Ian Ross & Eva Besen AO & Mr & Mrs John M Mr Geoffrey Smith In memory of Rosemary Photo Express Newspapers London Mrs Margaret S Ross AM Marc Besen AO Campbell McArthur Mr & Mrs Peter Smedley E Xipell Mrs Jennifer Blegg Lyn Grigg Mr Robert W McCormack Mrs Heather Smith Ms Toni E Meek THE AUSTRALIAN Mr & Mrs Graham Bone Mr Ken Groves Joyce C Smith SILVER Miss Patricia A Breslin Louise Hamshere Angela Mercer Mrs Margery E Snowball GIFTS $25,000 – Pamela & Kaylene Broad Desmond B Misso Esq Ms Miranda Starke $49,999 Ms Catherine Harris AO Donna Brearley Ms Rita Brown Wendy Monro Judith Steele Barbara Bedwell Glenys M Harris Planned Giving Manager Noel Buchanan Veronica Mooney John & Jo Strutt BALLET STORY The Calvert-Jones Ian & Enid Haskins Mrs Nancy Butler Ms Vicki Morrison Mr Brett A Stubbs 03 9669 2782 Foundation Mrs Jean Healey June Cameron Marie Morton & Ms Natalie Phillips Mr Louis J Hamon OAM Mr Ian Hicks AM A timeline of The Australian Ballet’s lively history in words and pictures Mr & Mrs Michel-Henri Judith Mount Ms Deborah Symond & Ms Val Harding & Ms Susie Grant Carriol Donald Murray Mr Jonathan Alphandery Lord Mayor’s Charitable Mr & Mrs John Hindmarsh ausballetstory.com Mrs Frances Cattell Simon & Meredith Mr Stephen Symond Foundation Dr R & Mrs D Hodge Ms Ann Clarke Nettleton Ruth Tarlo ANNUAL GIVING McLaren Family Keith Holt & Anne Fuller Janet Cliff Dr Kersti Nogeste Doody Taylor Mr Dick Smith AO Gary & Carly Honan Christine Clough Mr & Mrs Geoff O’Conor Mrs Christine Thorpe & Mrs Pip Smith Mr Robert A Hook Marianne Cochrane The Hon Justice Barry Ms Jill Thorpe Mrs Anne Symons Mrs Jenny Howland Christine Collingwood O’Keefe AM & Mr Alden L Toevs The Angior Family Mr Mark Hughes Annette Cook Mrs Janette O’Keefe & Ms Judi Wolf Foundation Mrs Lorraine Irving Mrs Joan Cowie Catherine Osborne Mr & Mrs William Thyne Reid Charitable Max Johnston Mrs Roslyn Packer AO & Shirley Tsui Trusts Mrs Lyndall Cummine Lilian & Felicity Curtis Mr Paul Jones & Valerie P Packer Jenny Turnbull Ms Suzanne Swensson Dr Diane Palmer & Judy Turner & Neil Adam Lisa Bolte BRONZE In memory of Kath Ms Vicki Jones Dr Stephen Rodgers- Patricia Tyler Patrons Manager VIC/TAS GIFTS $10,000 – & Jim Darby Mr Greg Khoury Wilson $24,999 Ms Ashley Dawson-Damer Dr & Mrs Richard Vesey 03 9669 2735 Mrs M Khoury L Peggie Her Grace Duchess of Mrs Felicity Demediuk Mr & Mrs William H Webb Welbergen Stephanie Elizabeth Donati Dr Judith Kinnear Mrs Sue Perini Marion Wells Alesandra (Stephanie Jane Douglass AM Joan Kitchin Dr Nicole Phillips Angela Westacott Banks) John & Ros Dowling Mrs Valda Klaric Mr Valentino Piazzi Pamela Whalan Mr & Mrs Tim Cohen In memory of Carol Draper Mr Stephen Knapik Dr Valmai Pidgeon AM Mrs Anne Wharton Mr Jim Cousins AO Lorraine Drogemuller Mr Julian Knights Lady Porter Dr E. Wilson & Mrs Libby Cousins Patricia Duffy T A Laming Mr & Mrs Brent Potts Mr Ray Wilson OAM Judy & Chris Fullerton Jo Edwards Richard Laslett Kerryn Pratchett Mr & Mrs Roy Woodhouse Jane Diamond Mr John R Fullerton Julie & Richard Eisenbise R. Lateef Mario Proto Yvonne Yendell In Memory of Margaret Ms Angela Embleton Mrs Sylvia Lavelle Megan Qualischefski Ruth Zionzee Patrons Manager NSW/ACT Goddard Miss Shirley Evans Mr John Laws CBE OBE Mrs Susan Rigg Anonymous (23) 02 9253 5316 Ms Jennifer Grimwade In memory of Winefred & Mrs Caroline Laws Judy Roach for Ms Linda Herd Faithfull Mrs I E Luke Estate Ian Roach PRODUCTION CENTRE Mrs Janis Salisbury Margot Finney Dr Lee MacCormick Ms Mary A Rolfe SUPPORTERS (113) Mrs Anne White Mr Stephen Fitzgerald Edwards PHD Mr & Mrs Gary Rothwell Correct as at Anonymous (2) & Mr William Whitehill Mr Hugh MacLachlan & Margaret Routley 26.06.2013 Mr & Ms Toby Forwood Mrs Fiona MacLachlan OAM Mr & Mrs John Sample Annabel Bronner-Reid in La Sylphide, 2005 ARTISTIC Photography Jeff Busby STAFF

DANILO RADOJEVIC FIONA TONKIN TRISTAN MESSAGE EVE LAWSON Associate Artistic Principal Coach Ballet Master Ballet Mistress Director & Ballet Mistress & Repetiteur & Repetiteur Danilo Radojevic, a dancer with Fiona Tonkin began her career Tristan was born and grew Born in Washington, DC, a dynamic style and exceptional in Wellington where she joined up in Melbourne, graduating Eve received her training at technical skill, catapulted to the Royal New Zealand Ballet in from The Australian Ballet the School of American Ballet. international status at the age 1979. Her association with The School in 1999. He joined The She became a principal dancer of 19 when he won the Gold Australian Ballet began in 1980 Australian Ballet in 2000 and with the Kansas City Ballet, Medal at the 1977 International when Marilyn Jones invited her was promoted to Soloist in and in 1988 joined the Miami Ballet Competition in Moscow, to join the company. 2005. Tristan was known as City Ballet under the Artistic the only Australian to win this By 1987 she had become a a strong dancer, a sensitive Direction of Edward Villella. prestigious award throughout principal artist, renowned for her partner and a compelling artist. She was appointed Ballet the Moscow competition’s interpretative artistry, classicism He performed soloist and Mistress of the Miami City long history. and technical versatility. On her principal roles including Jean Ballet in 1994, and named Soon after, Danilo left The retirement in 1993, she had de Brienne in Stephan Baynes’ Principal Ballet Mistress in Australian Ballet to become danced almost every major Raymonda and the lead roles in 1998. In 2003 Eve was named a soloist with American Ballet female role in the company’s Spartacus and The Sentimental Ballet Mistress of the Dance Theatre in New York. He repertoire. Bloke. He also danced works Theatre of Harlem, and served by Graeme Murphy, Stanton remained with the company for Career highlights with The on the faculty of the Dance 15 years, visiting his homeland Welch, Glen Tetley, Christopher Theatre of Harlem School. Australian Ballet include her Wheeldon and Jirˇí Kylián. During in 1978 and 1979 with Stars performances at The Royal She was named Ballet Mistress of the World Ballet and in 1991 Tristan’s career he toured with of the Dutch National Ballet Opera House, the Kirov The Australian Ballet to China, with Rudolf Nureyev’s last Theatre and the Metropolitan in 2005. In 2003 and 2005, tour. Danilo was promoted to Japan, New Zealand, the UK she was the Assistant to the Opera House and opening and France. principal dancer of American the company’s 1992 London Artistic Director for the New York Ballet Theatre by Artistic Coliseum season as Giselle. While still dancing Tristan began International Ballet Competition Director Mikhail Baryshnikov teaching at The Australian Ballet and accepted the position of in 1981 and performed the She appeared as a guest artist and The Australian Ballet School Associate Director in 2006. leading roles in many of the with the Kirov Ballet in Swan and studying for the Vocation She has also served on the classics, often alternating Lake and on Rudolf Nureyev’s Graduate Certificate in Elite Board of Directors of the World with Baryshnikov himself. Farewell Tour, and danced lead Ballet Instruction through The Dance Alliance/Americas. roles in the ABC TV broadcasts Australian Ballet School. Tristan After retiring from dancing, of La Fille mal gardée and Romeo Eve is currently a repetiteur Danilo taught at American joined The School full time as for the George Balanchine Trust, and Juliet. Fiona received Green a classical teacher in 2009 and Ballet Theatre, New York Room Awards in 1988 and 1989. having staged Balanchine works Dance Studios and leading was invited by Artistic Director internationally, including Duo universities in California, gaining Fiona returned to New Zealand David McAllister to rejoin The Concertant for The Royal Ballet, a reputation as an outstanding in 1994 where she completed Australian Ballet as Ballet Jewels for the Dutch National technical coach. He returned a Bachelor of Arts at Canterbury Master and Repetiteur in 2012. Ballet and Seranade for the to join the ballet staff of The University while guest teaching Dance Theatre of Harlem. Australian Ballet in 1997 at in New Zealand and Australia. She joined The Australian the invitation of former Artistic In 1999 she completed The Ballet in 2012. In 2013, she Director Ross Stretton. Australian Ballet School’s staged George Balanchine’s Professional Dance Teachers Danilo was appointed The Four Temperaments Course and was awarded for the company. Associate Artistic Director the Australian Multicultural of The Australian Ballet in Foundation Scholarship. July 2001. 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 of David McAllister. MELBOURNE SYDNEY

CONCERTMASTER PICCOLO BOARD Orchestra Victoria Beatrice Head GOVERNMENT PARTNERS ASSOCIATE OBOE PERCUSSION ORCHESTRA OPERA AUSTRALIA Roger Jonsson Michael Smith Tony Osmond acknowledges the Hans & Petra Henkell Australia Council for the Arts CONCERTMASTER Conall McClure Shaun Trubiano MANAGEMENT MANAGEMENT (Acting Chair) outstanding generosity Alastair Jackson Arts Victoria Huy-Nguyen Bui Matthew Tighe* General Manager, Narelle Beattie VIOLIN OBOE of our very special donors. Peter Johnson The support received from the TIMPANI Yi Wang Stephen Robinson Jason Bunn Every gift is important and Peter Kolliner OAM Australian Government through VIOLIN Mark Bruwel David Clarence Orchestra Acting General Manager Erica Kennedy Joshua de Graaf* Dennis Carmody appreciated and allows David Geoffrey Penington the Australian Council for Arts Adrian Keating COR ANGLAIS Allan Watson* Gérard Patacca Lyndon Terracini Jane Gilmour OAM Orchestra Victoria to Judith McCallum and from the Victorian Government Tomomi Brennan* CLARINET Catalin Ungureanu Andrew Malec HARP Deputy Orchestra Artistic Director Elizabeth Ambrose Richard Hamer continue to deliver high Michelle & Ian Moore through Arts Victoria provides the Tony Gault Manager Paul Champion quality accessible music Avi Paluch foundation from which we present CLARINET Jane Rosenson Anthony Legge Binny Baik Sue Nattrass AO Airena Nakamura Emma In der Maur Richard Sholl* Rob Perry across Victoria. Lady Primrose Potter AC all our partner opera and ballet Peter Jenkin Associate Music Director Severin Donnenberg John & Lorraine Redman companies. Further support from (2nd Violins) Italics Principal Catherine McCorkill* Orchestral Operations The Australian Opera and Lubino Fernandes^ BASS CLARINET MAJOR GIFTS Keith Richards Local Governments assists our Mark Fitzpatrick* * Associate Principal Leith Brooke Richard Rourke Manager Ballet Orchestra Limited, Andrew Mitchell MANAGEMENT Robert Albert AO, RFD RD Michael Robinson AO & innovative Community & Director of Development Rachel Gamer (2nd Violins) a subsidiary company of Artistic Director & Mrs Libby Albert Judith Robinson Education Programs. BASSOON Anna Dodgshun Matthew Hassall* BASSOON Virginia Blunt Alex Budd Opera Australia, is assisted Adam Chalabi Evelyn & Tom Danos Charles Roxburgh Douglas Eyre Assistant Orchestra Rachael Hunt Lucinda Cran Rachel Easton General Manager, Melbourne by the Australian Government Jane Edmanson OAM Mr Hendrik & LOCAL GOVERNMENT Matthew Ockenden* Manager Ceridwen Jones Tahnee Van Herk* Seconded Administrator Neilma Gantner Mrs Elizabeth Van Herk PARTNERSHIPS Yu-Qing Rebecca Irwin and Enterprises through the Australia Council, Gillian Hansen Ella Howard its arts funding and advisory Mara Miller^ Matthew Ockenden* (Acting) Claire Stonier-Kipen Gaye & John Gaylard Drs Victor & Karen Wayne City of Melbourne Marek Kruszynski Anton Dolk body, and by the NSW Philip Nixon FRENCH HORN Director of Operations Geoff Handbury AO City of Greater Bendigo Samuel Podjarski HORN Orchestra Co-ordinator Director – Human Resources John Noble Peter A Kingsbury PRINCIPAL REGIONAL Greater Shepparton City Council Daniel Rosenbaum Victoria Chatterley Valérie Morgan-Pertus Government through Jasen Moulton James Foster Heather McKenzie PARTNER Mornington Peninsula Shire Ian McCahon Arts NSW. Susan Pierotti^ Anton Schroeder* Robert Sek Lisa Wynne-Allen Senior Staging Assistant Martin Reddington Finance & Corporate Don Mercer Bendigo Bank Southern Grampians Shire Council Jaroslaw Talar Bourian Boubbov Artistic Administrator Linda Hewett* Services Manager Baillieu Myer AC & Bendigo Bank’s strong Swan Hill Rural City Council Scott Moon Christine Ruiter Heather McMahon Mrs Sarah Myer community and regional Wellington Shire Council Rachel Westwood Michael Dixon Sue Olden David Hagan Philip Wilson Technical Operations and VIOLA Margaret S. Ross AM focus has great synergies VIOLA OPERA AUSTRALIA TRUMPET Community Relations with Orchestra Victoria’s PERFORMANCE PARTNERS Project Manager Paul McMillan Virginia Comerford TRUMPET BOARD OF DIRECTORS Mark Fitzpatrick & Marketing Manager PRINCIPAL DONORS work across Victoria. Orchestra Victoria is the proud Hannah Forsyth*^ David Dixon Joshua Clarke Ziggy Switkowski Gerard Patacca Anthony Pope* Georgina Russell David & Cindy Abbey orchestral performance partner of: Catherine Bishop Mark Skillington William Bamford TRUSTS & FOUNDATION The Australian Ballet Magda Kruszynska Craig Ross* Chairman General Manager, Orchestra Jason Bunn Robert Smithies^ HR Consultant Barbara Bobbe SUPPORT Opera Australia Amanda Murphy Bruce Hellmers Lesley Alway Georgia Rivers Nadine Delbridge Clare Blake Edward W Brentnall William Angliss (Victoria) Victorian Opera Marilyn Wilson Anson Austin OAM TROMBONE CORNET Director of Sales and Raymond Hope Suzie Brown Charitable Fund The Production Company Virginia Braden OAM Scott Evans Orchestra Manager Beth Brown & Tom Bruce AM Collier Charitable Fund CELLO Brian Evans Marketing Lawrence Jacks David Epstein Anthony Gilham* Alex Morris Terry Campbell AO & Joan & Peter Clemenger Trust PRINCIPAL PRESENTING Eszter Mikes-Liu* TROMBONE Tim McFarlane Chris Yates CELLO Concert & Workshop Christine Campbell The A.L. Lane Foundation PARTNERS Pierre Emery Gregory van der Struik Director – Technical BASS TROMBONE Peter & Ivanka Canet Sidney Myer Fund 3MBS 103.5FM Judith Stewart Melissa Chominsky Coordinator Andrew Hines Brett Favell* Administration Geraldine Evers Sandy Clark Australian Communities Arts Centre Melbourne Josephine Sukkar Diane Froomes* Edwina Dethridge Margaret Iddison William Farmer Sarah Cuming Ben Anderson (Acting) Anne Sophie Colin Foundation Capital Theatre Bendigo Henry Urbanavicius Grace Croft William Buckland Foundation Eastbank Centre Shepparton Philippa Gardner TUBA Operations Assistant BASS TROMBONE Estelle Hentze Dr E Durham Smith Ray & Joyce Uebergang Foundation Esso BHP Billiton Wellington DOUBLE BASS Brett Page Tania Hardy-Smith Jonathan Woods Peter Duncan Entertainment Centre Brett Berthold Andrea Taylor HARP Production Coordinator Lord Ebury & Lady Ebury CORPORATE The Kantor Family Music and Andrew Meisel* TUBA Susan Fitzpatrick Ace Radio Performing Arts Centre, The Paul Zabrowarny Mary Anderson Brihony Dawson Edmund Bastian Edwin Diefes Diana Frenkel Allens > < Linklaters Hamilton & Alexandra College DOUBLE BASS TIMPANI Orchestral Librarian Jane P Gilmour OAM Primrose Properties P/L Melbourne Recital Centre Jennifer Penno Davin Holt Guy du Blêt Robert Smithies Isabella Green OAM & Kent Moving & Storage Melba Recordings FLUTE Dennis Vaughan* Finance & Payroll Officer Richard Green Maple-Brown Abbott Ltd Swan Hill Town Hall Performing Elizabeth Pring Matthew Thorne PERCUSSION Richard W Hamer Arts & Conference Centre Conrad Nilsson Rose Dragovic Geelong Performing Arts Centre Amanda Hollins* FLUTE Paul Sablinskis* Administration Officer Peninsula Community Theatre Alistair Howlett Lisa-Maree Amos Meredith Dellar Sunshine Secondary College PICCOLO Karen Schofield* Italic print denotes Principals, Diane Berger Lorraine Bradbury * denotes Associate Principal, Orchestra Victoria ^ denotes Principal Emeritus Ph (03) 9694 3600 [email protected] www.orchestravictoria.com.au Principal Regional Partner

Arts Centre Melbourne EXECUTIVE GROUP Arts Centre Melbourne For your information Sydney Opera House Sydney Opera House Trust EXECUTIVE MANAGEMENT PO Box 7585 Ms Judith Isherwood, gratefully acknowledges The management reserves Bennelong Point Mr Kim Williams AM (Chair) Chief Executive Officer St Kilda Road Chief Executive the support of its donors the right to add, withdraw or GPO Box 4274 Mr Wayne Blair Louise Herron AM Melbourne Vic 8004 through Arts Centre substitute artists and to vary Sydney 2001 NSW Ms Jodie Bennett, Ms Catherine Brenner Chief Operating Officer Telephone Executive Corporate Melbourne Foundation the program as necessary. Administration The Hon Helen Coonan Claire Spencer (03) 9281 8000 Services, CFO Annual Giving Appeal. The Trust reserves the right (02) 9250 7111 Director, Programming of refusing admission. Ms Renata Kaldor AO Facsimile Mr Tim Brinkman, Box Office Jonathan Bielski (03) 9281 8282 Executive Performing Arts Recording devices, cameras (02) 9250 7777 Mr Robert Leece AM Director, Theatre & Events and mobile telephones must Mr Peter Mason AM Website Ms Louise Georgeson, Facsimile David Claringbold artscentremelbourne.com.au General Manager not be operated during the (02) 9250 7666 Mr Leo Schofield AM Director, Building Development, Corporate performance. Website Mr John Symond AM Development & Maintenance Communications & Special In the interests of public Victorian Arts Centre Trust sydneyoperahouse.com Mr Robert Wannan Greg McTaggart Mr Tom Harley (President) Events health, Arts Centre Melbourne Director, External Affairs Ms Sarah Hunt, is a smoke-free area. Ms Deborah Beale Brook Turner Mr Sandy Clark General Manager Marketing and Audience Development Director, Commercial Mr Julian Clarke David Watson Mr Kyle Johnston, Ms Dana Hlavacek Executive Customer Ms Catherine McClements Enterprises Mr Graham Smorgon AM Mr Tony Murphy, Mr David Vigo Acting Executive Facilities and Services COMPANY WITH AND DIRECTORS THANK S

MELBOURNE EXECUTIVE Education Production Wardrobe Recording & Broadcast Philanthropy Services The Primrose Potter Artistic Director Education Director Wardrobe Production Manager Recording & Broadcast Manager PRINCIPAL PARTNER Australian Ballet Centre, David McAllister AM Helen Cameron Michael Williams Manager Susan Learner 2 Kavanagh St, Southbank Robyn Fincham SUPPORTING OUR Executive Director Public Programs Manager Wardrobe Production Grants & Foundations Victoria 3006 Libby Christie Viviana Sacchero Coordinator Manager Telephone 1300 369 741 Music Director Education & Public Programs Jenny Howard Customer Relationship Olivia Jones EVERY STEP [email protected] Management australianballet.com.au & Chief Conductor Operations Manager Ladies’ Cutters Philanthropy Services Nicolette Fraillon Donna Cusack Musette Molyneaux Customer Relationships Assistant – Donations In business, as in dance, the right partner is everything. Manager Our corporate partners provide much-needed funds that help Associate Executive Director Dance Education Julie Bryant & Events SYDNEY Amalia Hordern us realise our artistic vision, from producing exciting new ballets Philippe Magid Ensemble Leader Gentlemen’s Cutters Coral East The Australian Ballet Database Administrator Telstra, supporting and staging iconic works to making a splash on the world stage. Level 3 10 Hickson Road, Chief Financial Officer Fiona Koski Marsia Bergh Assistant to Philanthropy The Australian Ballet for more Richard Laslett than a quarter of a century They also assist us behind the scenes, giving us product and The Rocks Sydney 2000 Carol Benson Dance Education Ensemble Johanna Gallagher Director Telephone (02) 9253 5300 Paris Hodson Senior Costumier Sharyn Gilham in-kind support, which allows us to achieve excellence on both Director of Philanthropy Customer Services sides of the curtain. The Australian Ballet Kenneth Watkins Madeleine Murray Maureen Ryan Philanthropy Assistant ABN 57 004 849 987 Alistair Stewart Customer Services Manager (Sydney) Director of Artistic Operations Costumiers Adam Santilli Kristopher Yates Jessie Dole Lynn Neilsen Importantly, sponsors bring us closer to you. They help us to Helen McCormack MAJOR PARTNERS Patron Karine Larche Assistant Customer keep ticket prices affordable, visit communities across Australia Her Excellency Ms Quentin Production Director Medical Elizabeth Maisey Services Manager FINANCE & and broadcast our ballets. We’d like to acknowledge the generosity Ann Brennan Bryce AC Governor-General Darren Conway Medical Coordinator Ruth Owen ADMINISTRATION of our current partners, whose support enables us to care for of the Commonwealth of Director of Human Resources Dr Ken Crichton Casual costumiers Customer Services Finance tradition, while daring to be different. Australia Tim Murphy Sports Physician Corinne Gibbs Administrator Finance Manager Pam Martin Carolyn Dryley Director of Corporate Dr Andrew Garnham Zoe Giblett If you would like to learn more about our corporate partnerships BOARD Relations Kate Gudsell Specialty Ticketing Financial Accountant Official Pointe Shoe Partner Official Legal Partner Méthode Tasmanoise®: Official Piano Partner Principal Physiotherapist Official sparkling program, please contact Sophie Burbidge, Corporate Relations Chairman Sophie Burbidge Peggy Jackson Coordinator Diana Bedoya & Medical Team Manager wine partner Director, on (02) 9253 5311 or email Jim Cousins AO Susan Mayes Peri Jenkins Alex Wyatt Operations Accountant Deputy Chair Fiona Page [email protected] ARTISTIC Physiotherapist Reporting and Analytics Felicity Frederickson Sarah Murdoch Ballet Kate Powers Coordinator Directors Sophie Emery Georgiana Russell-Head Payroll Administrator Associate Artistic Director Jeffrey Guiborat Jennifer Jiang John Ellice-Flint Danilo Radojevic Myotherapist Ingrid Sing Penny Fowler Stuart Buzza CS Assistants Accounts Administrator Principal Coach & Ballet Head of Millinery Matt Jakowenko Christopher Goldsworthy - Consultant General Vicki Car Corah Quitazol Official Beauty Partner Official Airline Partner World-class luxury in the Dancers’ Representative Mistress Melanie Knight Great Barrier Reef Fiona Tonkin Practitioner Casual Milliner Shane Sotiropoulos Catherine Harris Dr Vicki Higgins Information Technology Siobhan McKenna Ballet Master & Repetiteur Tessie Scott Myron Yovannidis Body Conditioning Specialist IT Manager Sarah Murdoch Tristan Message Production Division Assistant Damien Calvert Bruce Parncutt Paula Baird Colt Dana Morfett Corporate Relations Ballet Mistress & Repetiteur Systems Administrator Peter Smedley Eve Lawson Corporate Relations Account Craig Spencer STAGE Managers Simon Laidler Ballet Mistress Scenery & Properties Company Management Scenic Design Coordinator Christina Chiam & Rehabilitation Facilitator Company Managers Hayley D’Elboux Administration MEDIA PARTNERS FOUNDATION BOARD Noelle Shader Scott Mathewson Chairman Craig Spencer Sarah Griffiths National Events Manager Executive Assistant to Ballet Technique & Jasmine Moseley Design Assistant the Executive Director Mary Barlow Kat Chan Fionn Meikle Carol Benson Rehabilitation Specialist Assistant Company Manager Sarah Monaghan Megan Connelly Corporate Relations Bill Bowness Felicity Howell Coordinator Assistant to the Associate Robin Campbell Resident Choreographers Artistic Operations Production Centre Stephanie Perrett Executive Director Libby Christie Stephen Baynes Coordinator Production Centre Jaala Benbow Jim Cousins AO Stanton Welch – Facilities Manager Noeleen King Media Relations Assistant to the Director Robert McCormack Sean Balchin Human Resources Kenneth Watkins Travel Coordinator Media Relations Manager Music Michelle Saultry Acting Wardrobe Store Nicole Lovelock Zena Madu Music Operations Manager Manager Assistant to Company SUPPORTING PARTNERS Honorary Life Members Julie Amos Assistant Travel Coordinator Penelope Bjorksten Publicists Lynne McDougall Bradley Grimshaw Secretary/CFO Elizabeth Albert Principal Pianist Vivien Newnham Robert O Albert AO RFD RD Arianne Martin & Music Librarian MARKET DEVELOPMENT Office & Ballet Centre Ila Massy Burnside Stuart Macklin Technical & Production Marketing & Media and Marketing John Calvert-Jones AM Production Coordinator Coordinator Manager Pianist & Associate Communications Tracy Hosier Dr H C Coombs & Administrator, Marketing & Grace Breen Timothy KF Cox AO Music Librarian The Dancers Company Office Support Coordinator Duncan Salton Communications Manager Maina Gielgud AO Angela Embleton Chrystal Daniel Projects Jenny Abramson Sir Robert Helpmann CBE Pianist Stage Manager Strategic Marketing Manager Director of Special Projects EH&S Advisor John McCallum AO CBE Brian Cousins Fiona Boundy Yvonne Gates Rachel Lopez FW Miller AO CBE Alice Wilkinson GOVERNMENT PARTNERS Colin Peasley OAM Master Technician Strategic Communications Artistic Management Bruce Gordon Philanthropy THE PRIMROSE POTTER Noël Pelly AM Executive Assistant Kitty Walker Lady Porter Master Electrician Senior Manager – AUSTRALIAN BALLET to Artistic Director Campaign Marketing Major Gifts CENTRE PTY LTD Sir Ian Potter KNO Kate Longley Graham Silver Daniel Burns Lady Potter AC Ken Groves ABN 16 005 363 646 Artistic Administrator & Wardrobe Master Digital Marketing Dame Margaret Scott AC DBE Geoffrey Harman Patrons Manager Director NR Seddon AO CBE Assistant to Music Director Maeve Ashby (NSW, ACT) Christopher Knoblanche The Australian Ballet is The Australian Ballet is supported The Australian Ballet is supported & Chief Conductor Assistant Stage Manager assisted by the Commonwealth by the NSW Government through by the Victorian Government Lady Southey AC Education & Philanthropy Jane Diamond (Chairman) Government through the Australia Arts NSW through Arts Victoria Sir Robert Southey AO CMG Frank Leo Victoria Woolley Marketing Council, its arts funding and Patrons Manager Car Park Manager advisory body Dame Peggy van Praagh DBE Artistic Coordinator Mechanists Fiona Howat Lisa Bolte John Vanderstock Josephine Woodgate OAM Caitlin Topham Bart Kendall Senior Graphic Designer Avon Kilcullen Planned Giving Manager Car Park Attendants Gina Batzakis Donna Brearley David Webster Lighting AV Technician Publications Editor Maurice Surley Adrian Siggs Rose Mulready Casual Maintenance Assistant Wardrobe Master Junior Graphic Designer Stephen Reddrop Ian Martlew Lauren Cassar correct as 12.08.13 Wigs Supervisor

Alison Kidd Industry Partner Ty King-Wall and Amy Harris Photography Georges Antoni Laura Tong in rehersals for Don Quixote Photography Lynette Wills Reiko Hombo Photography Lauren Cassar Make-up Napoleon Perdis

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FOR THIS PRODUCTION The Australian Ballet Costumes manufactured by portrait photography by the Production Division of James Braund The Australian Ballet Principals portrait make-up Scenery & properties by Napoleon Perdis manufactured by The Australian Ballet 2013 Show Works identity 3 Deep Design Scenery & properties www.3deep.com.au painted by The cast for this performance is Scenic Studios available on the nightly cast list Fabric dyeing which is issued free of charge Lynn Munro to patrons. The Australian Ballet reserves the right to cancel or Program edited by alter any detail of this season, Rose Mulready or any performance forming part of this season, as it considers Program designed by necessary. Gina Batzakis Jasmin Tulk

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